ACT 1.
Opening Scene.
[Flashback: Michael is at the interview in which he secured the position to help design Fox River.]
Interviewer: Sorry to keep you waiting.
Michael: Oh, it's not a problem.
Interviewer: Hmm. Impressive resume.
Michael: Thank you.
Interviewer: Tell me why you chose to pursue a career in engineering.
Michael: Well, um. I've always been interested in, ah...structure. Geometry. How things fit together. How an object that performs a function can also be a work of art.
Interviewer: What about the future? Where do you see yourself in five years?
(Michael looks at him.)
[Camera pans over Fox River State Penitentiary.]
[1. INT. Prison pipes system. Night.]
(Michael makes his way over to the bag of his possessions he previously stole from the Receiving and Discharge room.)
[Flashback:
Geary: One suit, black.]
(Michael takes the suit out of the bag and takes it with him. He comes to a fork in the tunnel, and chooses the left pipe. He rips off one of the buttons and throws it down another pipe. It bounces until it comes to a halt, and Michael listens.)
(He throws the suit in after the button, then slides down himself. He is at the bottom of a vertical drainpipe, and looks up at least 20 feet to see a grate at the surface. He looks over at a hole in the one of the walls, near the floor.)
He rips open the suit and pulls out some rope and a bin bag that was hidden in the lining. He puts the suit in the bin bag, ties it up with rope, and stuffs the bin bag in the hole so its airtight. He lets the remainder of the rope lay on the floor.)
[2. EXT. Prison yard. Day.]
(T-Bag is on the telephone.)
T-Bag: That baby boy all growed up yet? (he laughs) Oh, he's gonna raise hell the next few years. Take after his momma. Yeah, you know. Same old same up here. (he looks across the yard and makes eye contact with Abruzzi.) But uh, things are getting pretty tense. Like they're fixing to, uh...collide. You know what I mean, Jimmy? There's a potential situation.
[3. EXT. Prison yard. Day.]
Michael: I found our access to the infirmary building but I'm gonna need some time to make it work.
Lincoln: How much time?
Michael: Enough for me to find my way up a 20 ft vertical drain pipe without using a ladder. I'll probably need to skip PI tomorrow if I'm gonna get this thing done.
Lincoln: You can't just skip it. It ain't class. What if one of the bulls decided to drop in?
Michael: Well, I don't have a choice do I? Once we get through the pipe below the guard's room, it'll be a whole lot easier. I can come and go without using the door and with Westmoreland as a lookout, we'll have one more man available for digging.
Lincoln: Westmoreland's gonna be a problem. All seven of us can't break over that wall in 18 minutes. You said it yourself, it's impossible. Listen, man, I'm telling you. One of us has gotta take a hike.
Michael: I know.
(They come round the corner to find C-Note standing there.)
C-Note: Mind if I share that with the rest of the class?
[4. INT. Break room. Day.]
(Michael rubs his head, distressed.)
C-Note: Apparently, college boy here did the math. Figured out that we got too many clowns in the car. So one of us is in here digging, but his seat ain't guaranteed.
Lincoln: How's this your problem?
Michael: He doesn't know what he's talking about.
Sucre: I'm not gonna dig if I'm not gonna go (he throws his tool down).
Lincoln: We need to make a decision who gets cut.
Abruzzi: I think we all can agree who that should be, right?
(The door opens, and T-Bag comes in.)
T-Bag: Pardon me for interruptin', but uh...what's that smell? (he sniffs the air.) It smells a little like...conspiracy.
Michael: We need to get back to work.
T-Bag: Yeah well before you do I have an announcement to make. I've been growing leery of the way y'all talk like I'm a lesser man. So I bought an insurance policy. I called up my guy on the outside and I told him about our plan. And I told him in all likelihood, I'll be seeing him next week. But if he don't hear from me five minutes before the escape and 20 minutes after, I told him to call up the warden, blow the whistle on the whole thing. So if y'all got ideas about gettin' rid of me, I suggest you make other plans.
OPENING CREDITS.
[4. EXT. Prison yard. Day.]
(The PI team walk back through the gates.]
Lincoln: Son of a bitch has got a countermove for everything.
Abruzzi: Not for this.
(Abruzzi looks back at T-Bag, who is walking alone. C-Note and Sucre are behind him.)
C-Note: Odd men out. Me and you.
Sucre: What do you mean?
C-Note: Look who you're walkin' with right now. You should be up there, calling the sh*ts with the rest of the suits.
Sucre: Yeah? So?
C-Note: So? Scofield is only here for one reason. His brother. And he only needs two things. The old man's money, and the mob boss's plane. He don't need you. You just happened to be in the same cell when he got here. You and the toilet.
Sucre: I've done a lot of work on this thing.
C-Note: Exactly. And me too. You know, we're just the damn labourers on this thing, man. The night that Fish goes into that hole, you think he wants to carry all that extra baggage? 'Cause that's all we are.
Sucre: I don't know about you, but I'm going.
(He goes to walk on, but C-Note catches his arm. Sucre looks down at the hand on his arm, then up at C-Note.)
C-Note: How much does he tell you anyways? Or does he keep it all to himself? Yeah he probably tells you the less you know the better, right?
Sucre: You don't know what you're talking about. He tells me everything.
C-Note: If he tells you everything, then you don't need him. Now, we can go by ourselves. Me and you. Or, you know, you can wait, and see if Scofield really wants to carry a heavy weight. It's up to you, papi.
[5. EXT. Prison yard. Day.]
(Michael stares at the water pipe in the yard. Tweener comes up behind him.)
Tweener: Yo. I'm still waitin'.
Michael: What for?
Tweener: I swiped you that watch, man. Where's my PI?
Michael: That's not gonna happen.
Tweener: You promised.
Michael: I said I'd think about it. Maybe somewhere down the road.
Tweener: Yeah, I ain't gonna hold my breath.
[Camera sh*t of an ambulance, lights and siren on, going down the street. A car pulls up quickly outside a building. Sign outside reads: New Glarus Hospital.]
[6. INT. Nick's car. Day.]
(Veronica is holding Nick in the back seat, he's bleeding profusely.)
LJ: What do you want me to do?
Veronica: Get somebody, now!
Nick: No, no! They see a b*llet, they're gonna call the cops!
Veronica: We don't have a choice, okay? I'm not gonna let you die.
Nick: Find it.
Veronica: What?!
Nick: The b*llet. Just find it and dig it out.
Veronica: I can't!
Nick: Do it!
[7. INT. Infirmary. Day.]
(Michael uses a mop to make a hole in the thin layer of plastic under the grate in the corner which he had previously corroded. He takes a paper crane out of his pocket and drops it into the hole: it falls to the floor of the maintenance room beneath the infirmary.)
(A door opens in the corridor.)
Bellick (o/s): Where's Scofield?
(Michael puts the mop back and waits.)
Bellick: There you are. Just looked for you in your cell. Couldn't find you anyplace. Couldn't find your credit card either. You know the one I'm talking about.
(Sara comes up to the doorway.)
Bellick: The one your whore wife trunked in the other day. She told me all about it. (He turns round and sees Sara.) Maybe 'whore' is too strong. What do you call a girl who married a felon to get into the United States? Why'd she have to come here for, anyway? No strip clubs in Whazistan?
Sara: Officer Bellick.
Bellick: Captain.
Sara: Fine. Do you mind conducting your inquisitions on your own time please? I have a schedule to maintain.
Bellick: Excuse me, Doctor. I was just asking Mr. Scofield about the contraband he had his stripper wife trunk in the other day. But you go ahead, your job's more important.
(He walks away. Michael sits down in the chair and Sara puts on her gloves.)
Michael: He's had it out for me since the day I got here.
Sara: Hold still please.
Michael: Sorry.
(There's a silence. Sara begins to do the sh*t.)
Michael: I only married her so she could get her green card.
Sara: I saw you coming out of the conjugal room.
Michael: That's just business.
Sara: You don't have to explain it to me, Michael.
Michael: I know. But I want to.
(Sara walks out of the room, Michael is left holding the cotton wool on his arm where she just gave him his sh*t.)
[8. INT. Prison cell block. Day.]
(The inmates are walking back to their cells. T-Bag is behind Westmoreland.)
T-Bag: DB. Oh, is that who you is now? I thought you was just a cowboy.
Westmoreland: Take a couple of steps back, boy.
T-Bag: You know, what I can't understand is why somebody like you wants to get out anyway? How you gonna survive, huh? The world's all different now. It's scary. They got computer phones, boobies made of silicone. You wouldn't know what to do.
Westmoreland: I don't have to justify myself to you.
T-Bag: Oh, you're gonna have to. Them old bones is just gonna be dragging us done. Maybe I'll just snap a few of 'em right now...
(Westmoreland shoves T-Bag away from him hard.)
Westmoreland: Take your best sh*t.
Geary (from the stairs): Hey, break it up down there.
T-Bag: Bow out, cowboy. I'm not gonna warn you no more.
(Westmoreland ignores him and walks into his cell.)
[9. INT. Abruzzi's cell. Day.]
(Abruzzi is sitting on his bunk, staring at the wall.)
(Someone walks past outside and drops a note on his bunk. He picks it up and looks at it. He looks back up at the wall. There's nothing there that we can see except a rust stain.)
[10. EXT. Prison yard. Day.]
(Abruzzi walks over to the fence segregating him from Lincoln.)
Lincoln: What's up?
Abruzzi (handing him something through the bars): Records from the phone in the yard. James Bagwell lives down in Gary.
Lincoln: T-Bag's insurance policy?
Abruzzi: Yeah. My guy's gonna lock him up in a moving van for a couple of days until we're in the clear.
Lincoln: Moving van?
Abruzzi: Yeah. Don't worry, he can breath and all. We do it all the time.
Lincoln: What about T-Bag?
Abruzzi: He's no longer a thr*at. Trust me.
(Abruzzi moves away, past T-Bag who is sitting on a bench watching them.)
[11. EXT. Jimmy Bagwell's house. Day.]
(Jimmy lifts his son Jimmy Bagwell Junior onto a rocking horse in the front yard.)
(A van drives up, and the driver gets out.)
Maggio: You James Bagwell? Got a delivery for you.
Jimmy: Yeah?
(Jimmy follows him towards the van, and Jimmy Junior follows too.)
[12. INT. Hospital. Day.]
(LJ sits outside in the hall reading a paper. Veronica comes to sit next to him.)
Veronica: You all right?
LJ: Yeah.
Doctor: Ma'am?
Veronica: Yes?
Doctor: Can I speak with you, please?
Veronica: Of course. (to LJ) You stay here okay? (to the doctor) Is he gonna be okay?
Doctor (o/s): We don't know yet, he's lost a lot of blood.
(LJ looks at the newspaper.)
Doctor (o/s): I was going to call the police but I wanted to speak with you first.
(LJ is looking at the obituaries: Lisa Rix, Funeral Service, Today at 2:00, Westlake Cemetery. He looks up at Veronica.)
Doctor: His wound is obviously the product of a g*nsh*t.
CUT TO: Veronica and the doctor
Doctor: You need to be honest with me. What was he doing when he got sh*t?
Veronica: He was in the garage, underneath his car.
Doctor: He's in surgery right now. The blood loss has caused his muscle tissue to suffer from a lack of oxygen. He's also sustained a fair amount of damage to his shoulder. With a b*llet there's always an increased risk of infection. So he has to be admitted. Is there anyone you should call? Any family?
Veronica: No. It's just me.
Doctor: All right, well I'll let you know as soon as he's in recovery.
(Behind them, LJ is walking out the exit.)
Veronica: Thank you.
(Veronica turns around and sees LJ's chair is empty, the newspaper left on it.)
[13. EXT. Cemetery. Day.]
(Hale drives into the cemetery. The car cell phone rings.)
Hale: Yeah?
CUT TO: Kellerman, walking in the street.
Kellerman: Are you there yet?
Hale (o/s): Almost.
Kellerman: Remember, be patient. Follow his lead. We want the trifecta today.
CUT TO: Hale, getting out of his car.
Hale: Yeah, I'm on it.
(He hangs up and looks over at the mourners. There's no sign of LJ yet.)
[14. EXT. Prison yard. Day.]
(Abruzzi in on the telephone.)
Abruzzi: It's me.
Maggio (o/s): Yeah, I got bad news.
Abruzzi: Like what?
CUT TO: Maggio outside Jimmy's house.
Maggio: The job you ordered went bad. The guy was paranoid, he had a g*n. One thing led to another.
CUT TO: Abruzzi in the yard.
Abruzzi: What, he's dead?
Maggio: Yeah. And unfortunately...there was a kid there.
Abruzzi: What are you...what are you talking about? You k*lled a kid?
Maggio: It was unintentional.
Abruzzi: It's a kid, man!
Maggio: I know, I'm sorry. The SOB used him as a shield.
Abruzzi: A boy or a girl?
Maggio: I don't know, a boy.
Abruzzi: How old?
Maggio: Four, maybe five.
(Abruzzi closes his eyes in dismay.)
ACT 2.
[15. INT. Prison visiting room. Day.]
Sucre: Who's here to see me?
Patterson: Hell if I know. Some lady.
(Sucre looks across and sees Maricruz sitting at a table.)
Sucre: Baby.
Maricruz: Hi.
Sucre: You look so beautiful.
Maricruz: I came here 'cause I have to tell you something.
Sucre: What?
Maricruz: I'm pregnant, Fernando.
Sucre: Pregnant?
Maricruz: With your baby. I'm gonna have your son.
Sucre: You...you're gonna...we...we're gonna have a baby? (turns around to speak to someone) Oye, papi, you hear that? I'm gonna be a dad!
Maricruz: I'm not finished.
Sucre: What, mami? What?
Maricruz: Okay, Hector - he asked me to marry him.
Sucre: What?
Maricruz (crying): Look, it's crazy, I know.
Sucre: Well, tell him no. Tell him you're having my son, we're gonna be a family.
Maricruz: Fernando, look, my mom, she says that having a baby is the hardest job in the whole world. And it's even harder if I do this by myself. And all I know is, I'm really scared. I'm really scared to do this alone.
Sucre: You're not gonna have to.
Maricruz: Well, I haven't told him no yet.
Sucre: You're not actually considering this?
Maricruz: Oh, baby...I don't know. I don't know.
Sucre: My God, baby, you gotta stop listening to these people. They're poisoning your brain. Your hormone things, they're out of whack. You're not thinking straight. This is our child we're talking about. I want you to listen to me. I want you to wait. I'm gonna be out. Sooner than you think.
Maricruz (shaking her head): You keep on telling me that.
(A buzzer sounds.)
Patterson: All right. Visiting time is up. Let's go.
Sucre: Tell me. Tell me you're gonna wait.
(He hugs her.)
Patterson: Hands off, Sucre.
Sucre: You're all I got left in the world, baby. Please. I love you.
Maricruz: But you'll learn to love again, right? (She walks away.)
Sucre: Tell me you're gonna tell him no, honey.
Maricruz: I don't know. I don't know anything anymore.
(Patterson moves over and pats Sucre on the shoulder.)
Patterson: Sucre. Come on.
[16. EXT. Cemetery. Day.]
(LJ drives the car through the cemetery and stops.)
CUT TO: Hale in his car on his cell.
Hale: The kid's here.
Kellerman (o/s): Perfect. Follow him back to the lawyers, call me back.
(LJ walks over to the coffin, which is still on the stand on the grass. There are no mourners there now. He smiles slightly to see all the flowers, then he sees the coffin and tries very hard to hold back the tears. Hale watches him and is saddened by his grief.)
[17. INT. Michael's cell. Night.]
(Sucre is in his bunk. Michael arranges his own bedding so it looks like someone is sleeping in it.)
Sucre: Where are you going?
Michael: I'll be back in ten minutes.
Sucre: What do you have to do?
Michael: It's complicated. I can't explain. But if it works, you'll see soon enough.
Sucre: I wanna go with you. I wanna see now.
Michael: Someone has to stay here. I need a look out.
Sucre: I'm always on look out.
Michael: You're my cell mate. Who else is gonna do it?
(Sucre is silent. Michael stands and holds his fist out.)
Michael: I'll be back in ten minutes, okay?
(Sucre bumps Michael's fist with his own.)
Michael: Okay.
(Michael goes behind the toilet into the wall.)
[18. INT. Abruzzi's cell. Night.]
(Abruzzi is staring at the wall. There is a rust stain on it, and inside it Abruzzi is envisioning the picture of Jesus Christ's crown of thorns.)
CUT TO: Outside Abruzzi's cell, a note on a rope is thrown outside it. Abruzzi's cell mate takes it and reads it.
Cell Mate: We're all lined up for tomorrow. Where do you want him?
(Abruzzi doesn't answer, still staring at the crown of thorns.)
Cell Mate: John. Tomorrow, where do you want T-Bag? In the shop or in the shed?
Abruzzi: Shh. I don't care. You decide.
[19. INT. Prison tunnels. Night.]
(Michael goes back to the vertical drain he was in the previous night. He turns the wheel on the water mains, opening the pipe. Then he looks up at the grate, 20 ft above his head.)
[20. INT. Church. Night.]
[Abruzzi's Dream:]
(Abruzzi walks up to an open coffin, at the end of an empty church. Inside the coffin is Jimmy Junior. Abruzzi looks at him. Suddenly a g*nsh*t fires and Jimmy Junior opens his eyes wide.)
[21. INT. Abruzzi's cell. Night.]
(Abruzzi jolts awake from his dream. He looks over at the image of an angel, and crosses himself. It's more defined than ever.)
ACT 3.
[22. INT. Hospital. Night.]
(Nick is in recovery, Veronica at his side holding his hand. LJ walks into the room.)
Veronica: Thank God. Are you okay?
(She hugs him.)
LJ: Yeah, I'm okay. She didn't do anything. She didn't deserve it.
(Camera shows Hale behind them at the doorway.)
Veronica: I know.
(Veronica looks up at the doorway, but Hale is gone.)
CUT TO: Hale standing outside the door, leaning against the wall. He looks worried.
[23. INT. Prison cell block. Day.]
(C-Note walks past the cells, and one of his mates hands him some postcards.)
Inmate: Here you go, man.
C-Note: Yeah, you got it.
(C-Note flicks through the postcards, all from with images of Iraq on them.)
Inmate: These were seriously hard to get. What you need 'em for anyway?
C-Note: None of your business.
[24. INT. T-Bag's cell. Day.]
(T-Bag is sitting on his bunk. Pope comes up to the cell door. T-Bag stands and comes out.)
Pope: Thank you for waiting, Theodore. I don't mean to deny your time in the yard.
T-Bag: What's this all about?
Pope: I, uh...I'm afraid I have some terrible news. Your cousin James was sh*t and k*lled in his home. His son James Junior was k*lled as well.
(T-Bag is visibly upset and shaken.)
Pope: I'm very, very sorry.
(He leaves him standing there, looking like he might break down in tears any second.)
[25. INT. Abruzzi's cell. Day.]
Abruzzi: What does it mean? Am I chosen? Or what?
Reverend Mailor: Often, the Lord appears when you're in particular need of forgiveness. Maybe that's what's happening right now.
(Abruzzi looks guilty.)
[Flashback: Abruzzi giving the nod to his mob friend, who sh**t dead two men in his warehouse.]
[Flashback: Abruzzi cuts off Michael's toes.]
[Flashback: Abruzzi gouges out Fiorello's eye with a broken light bulb.]
Reverend: John, it's never too late. If you agree to accept Christ into your heart and turn from your sin, He will forgive you. And save you in Eternity.
(Abruzzi looks up at the image of Jesus and the crown of thorns.)
Reverend: Do you agree?
(Abruzzi nods, tears in his eyes now.)
Reverend: Revelation, chapter 3, verse 20. "Jesus said, 'Behold. I stand at the door and knock. If any man hear my voice and open the door, I will come in to him'."
(He hands Abruzzi a cross on a chain he took out of the bible he is holding. Abruzzi takes it, still staring up at Jesus and the crown of thorns. The Reverend looks up to see what he is looking at: camera shows that from his point of view there is nothing there, only a rust stain. Abruzzi kisses the cross.)
[26. INT. Prison cells block. Day.]
(The inmates file outside.)
Sucre: He got to the infirmary building last night through the old sewer pipe. It's the same pipe that runs under the guard's room. That's all I know.
(C-Note holds up his fist. Sucre bumps it gently.)
[26. EXT. Prison yard. Day.]
(Bellick and Geary are watching Tweener walking in the yard.)
Geary: That's the little thumbsucker that swiped my watch.
Bellick: Who, Tweener?
Geary: Solid gold. Took it right off my arm. It was a half hour before I even noticed.
Bellick: Whose was it in the first place? I don't care if you stole it, you can tell me.
Geary: Michael Scofield.
(Bellick stares at him, then looks across at Tweener.)
[27. EXT. Prison yard. Day.]
(The inmates are at work in the yard. Westmoreland walks over to Michael.)
Westmoreland: What are you looking at?
(Michael looks over at the water mains tap.)
Michael: I'll be right around the corner.
(Michael walks over to the mains pipe and tries to turn the wheel but it's stuck. He uses the handle of his rake for leverage and finally the wheel gives way.)
[CUT TO: Water spilling out of the pipe in the vertical drain.]
[CUT TO: Michael turns the wheel the whole way round.]
[CUT TO: The water spills out faster, starting to fill up the drain.]
[CUT TO: Michael sets the stop watch on his watch and watches it. Its counting down, and reads 3 minutes 15 seconds...]
[CUT TO: Westmoreland looking anxious.]
[CUT TO: The water rising fast.]
[CUT TO: Michael looking at his watch: 2 minutes 55 seconds...]
[CUT TO: Patterson moving towards the corner.]
[CUT TO: The water almost at the halfway point.]
[28. EXT. Prison yard. Day.]
Patterson: Westmoreland!
Westmoreland (coughs, trying to warn Michael): You scared me, boss!
[CUT TO: Michael looks at his watch: 1 minute 30 seconds...]
[29. EXT. Prison yard. Day.]
Patterson: Get back to work!
(Westmoreland coughs loudly.)
[CUT TO: Michael, looking anxious.]
(Patterson blows his whistle.)
Patterson: All right, let's go!
[CUT TO: Michael looking at his watch: 5 seconds...4 seconds...3 seconds...2 seconds...]
(Michael stops the watch, and pulls the wheel to close off the water. The water is almost at the top of the drain. He picks up his rake and joins the other inmates.)
Patterson: Move it, Scofield!
(Michael smiles at Westmoreland, who smiles back.)
[30. INT. Abruzzi's cell. Day.]
Abruzzi (reading): "For me, I would call upon God and the Lord shall save me, cry aloud and He shall hear my voice." (He pauses.) "...He shall hear my voice...hear my voice...He shall hear my voice."
(He closes the bible to reveal he is hiding a blade underneath it. He slips the blade into his watch strap.)
Abruzzi: He shall hear my voice.
[31. EXT. Prison yard. Day.]
(T-Bag is working in the yard. Suddenly one of Abruzzi's cronies grabs him from behind, and three more join him, dragging him into the shed.)
ACT 4.
[32. INT. Michael's cell. Day.]
(Sucre is writing a list of names: Oscar, Carlos, Alejandro. Michael is tying a strip of material from the bunk to the cell door.)
Michael: What are you doing?
Sucre: Nothing.
Michael: Well, keep an eye on the tier for me, will you?
Sucre: When are we getting out of here exactly? I need to know the time.
Michael: As soon as possible.
Sucre: 'As soon as possible', that's not a specific time. You tell Abruzzi the time?
Michael: Yes, because he needs to know.
Sucre: Why does he need to know and I don't?
Michael: Because he's arranging the plane. Why the sudden curiosity?
(Sucre is silent.)
Michael: Why would you want to be responsible for potentially dangerous information? The less you know, the better. It's for your own good.
(Sucre is not happy. Michael hangs a sheet over the material he just hung up.)
Michael: I have to go. I'll meet you in PI.
[33. INT. Bellick's office. Day.]
(Bellick is eating a fast food meal, and Tweener watches him from a chair next to the desk.)
Bellick: Stealing from a guard. You can get thrown in the SHU for that. Maybe even add a few years to your bit.
Tweener: I don't know what...
Bellick: No, don't deny it. I already know it's true. Lucky for you, I got some pull around here. I can make this sort of thing go away like it never even happened.
(Bellick picks up a fry, dips it in his milkshake then eats it.)
Bellick: That's good. Now...
(Tweener looks at the food longingly.)
Bellick: I'm sure you've heard the word 'rat'. I don't like it. 'Snitch' neither. Those sort of words aren't appropriate for what I need from you. What I need is a little information. Like when you're hanging out with Scofield. Just come back and tell me what he said.
(Tweener stares at the burger. Bellick reaches into the food bag.)
Bellick: I got an extra burger. But, man, I'm full. What do you say, kiddo? You want a cheeseburger? Or you wanna go to the SHU?
(Tweener thinks about it. Then he grabs the burger and starts eating it.)
Bellick: That's my boy.
[Camera sh*t of Agent Hale's house.]
[34. INT. Hale's house. Day.]
(Hale is standing at the window.)
Allison: Hey honey, what are you doing here? I thought you left.
Hale: I, um...I've been thinking. I think we need to make a change.
Allison: What are you talking about?
Hale: Remember when we first got married, and we thought about moving out west?
Allison: Yeah, we were 22.
Hale: Well, maybe we should give it a sh*t. It's not too late.
Allison: I don't understand. What bought this on?
Hale: It's just work. And I'm tired of being on the road working for somebody else while you sit at home all alone night after night. I want our lives to be about us.
Allison: I do too. But there's so much to think about, with the kids and the house.
Hale: We gotta go.
Allison: You're in trouble, aren't you?
[35. INT. Break room. Day.]
(Lincoln and Sucre are alone in the room, Sucre in the hole digging. C-Note comes in.)
C-Note: Oh, crowd has thinned out in here.
Lincoln: How you doing, Sucre?
Sucre: Almost there. Switch me out.
(Lincoln hands the spade to C-Note.)
Lincoln: You're up. Then Westmoreland. We gotta get through, Michael's gonna be coming back this way.
(Lincoln goes outside to take over watch duties. Westmoreland comes in.)
[36. INT. Prison pipes system. Day.]
(Michael comes through the pipe until he reaches the pipe that slides into the vertical drain. He puts his hand in and feels the pipe is half full of water, leading to the drain. He strips off down to his underwear, then slides into the drain.)
(He feels around for the rope, finds the end of it then swims up to the surface. He reaches out to grab the grate and slides it off. He pulls himself up into a maintenance room. Looking up at the ceiling, he can see the grate that he poked through in the infirmary, and the crane he dropped through is on the floor.)
(Michael pulls hard on the rope and the bin bag comes away from the hole. The water starts draining away. He ties the rope to the grate, then he walks over to the crane. He picks it up and throws it into the vertical drain. He walks over to the grate and picks off some more of the plastic that has been corroded. Above him, he can see Sara washing her hands.)
Sara: Katie, go ahead and bring that up.
CUT TO: The water level dropping in the drain.
(Michael looks down the drain, the camera watching him from inside.)
[37. INT. Hospital. Day.]
(Veronica and LJ are at Nick's bedside. The telephone in the room rings. Veronica answers it.)
Veronica: Hello?
Hale (o/s): Veronica Donovan?
Veronica: Who...who is this?
Hale (o/s): I...it doesn't matter who I am. Don't hang up.
(LJ and Nick watch her.)
CUT TO: Hale at home.
Hale: I have information that you may be interested in. Information that will lead to the exoneration of Lincoln Burrows.
Veronica: What? What is it?
Hale: I can't tell you that now. Meet me tomorrow at the Highland Cafe on Kennedy Avenue. This isn't a trap. I will tell you everything you need to know. Highland Cafe, 8pm.
[38. INT. Shed. Day.]
(Abruzzi's cronies are b*ating up on T-Bag viciously. His hands are tied with gaffer tape so he can't even think about fighting back. Abruzzi comes in.)
Abruzzi: All right, that's enough. Leave us alone.
Inmate: You sure?
Abruzzi: Get out of here.
(The three inmates throw him on the table and leave the room. T-Bag sees Abruzzi coming for him and tries to move away.)
T-Bag: You don't have to do this.
(Abruzzi reaches for the blade in his watch strap.)
T-Bag (scared): You don't have to do this. You don't have to do this...
(Abruzzi grabs him, raising the blade and bringing it slowly towards T-Bag's neck.)
Abruzzi: You bought it on yourself. I'm just an emissary for all the pain and suffering you caused. All the families you ruined. All the kids.
T-Bag: What about Jimmy? He had nothing to do with this. You didn't need to k*ll him. And what about his beautiful son? (crying) His whole life was in front of him, why did you need to k*ll a beautiful child?
(Abruzzi pauses.)
T-Bag: After all I've done, maybe I do deserve to die. Maybe I do. But you are no better than me.
(Abruzzi grips the front of his jacket and yanks him upright.)
Abruzzi: But I can be. If I want. (In T-Bag's face) God has given me the chance to choose.
T-Bag: What?
Abruzzi: And maybe I should give you a chance as well.
T-Bag: You should. Anything, anything. Please. Please...please.
Abruzzi: Back out. (He puts the Kn*fe on T-Bag's cheek.)
T-Bag: Of the escape?
Abruzzi: Or die.
T-Bag: I wouldn't...I wouldn't make it out there anyway. Not with my proclivities.
Abruzzi: I want you to give me your word. You hear me? (shakes him.) I want you to give me your word!
T-Bag: You got it. You got it, John. You got it. Come on, you got it.
Abruzzi (raising the blade): Swear.
T-Bag (in terror): I'm out! I swear! I swear to God! I swear...
(Abruzzi drops his blade hand and T-Bag's head falls forward onto his chest, Abruzzi cradles him.)
Abruzzi: All right. All right! (He sets him back down on the table.) I have forgiven you. I have forgiven you.
(T-Bag is crying, he doubles over on the table.)
Abruzzi: You just have to pray that the Lord Jesus Christ will do the same.
(Abruzzi turns away. T-Bag sits up: he has a razor blade between his teeth. He takes it out with his still tied hands.)
T-Bag: Hey, John. You know, actually, about Jesus...
(Abruzzi turns around. T-Bag slashes the blade across his neck. Blood spatters in arterial spray on the window.)
T-Bag: ...say hi to him for me, will you?
(He cuts the ties on his hands, and walks out past Abruzzi who is bleeding and choking on the ground.)
[39. INT. Break room. Day.]
C-Note: I'm through.
Westmoreland: Keep it up.
Sucre: Come on, stomp it.
(C-Note stamps on the remaining concrete.)
CUT TO: Michael in the pipe beneath the break room, now dressed. In front of him, concrete falls into the pipe.
CUT TO: Lincoln on watch, outside the break room. Geary comes round the corner. Lincoln runs into the break room.
Lincoln: Bulls.
Sucre: Oh, hurry. Hurry, hurry, hurry, hurry up...
(Westmoreland goes over to the door.)
Westmoreland (to Lincoln): You gotta stall 'em. We're not ready.
Lincoln: Hey, boss.
Geary: What you doing out here, Linc?
Lincoln: Taking a break.
Geary: I gotta check the status in there.
(Lincoln moves to stop him going in.)
Lincoln: It's all good.
Geary: Then you won't mind me checking it out.
CUT TO: the wooden board being put over the hole.
CUT TO: Michael in the pipe.
Michael: Hey. Hey!
CUT TO: Lincoln and Geary.
Geary: What the hell's your problem, con?
CUT TO: C-Note and Sucre hurrying to put the carpet and the table back.
CUT TO: Lincoln and Geary.
(Lincoln moves to stop Geary getting past.)
Geary: Hey, hey! Step off, or you're going to the SHU!
(Westmoreland is still at the door, they're not ready. Lincoln sighs, then shrugs, hauls off and punches Geary.)
(Two more guards race round the corner.)
Guard: Burrows! Get off him!
(Lincoln stays on top off Geary until the guards reach him, dragging him off.)
Guard: Get off! Get up!
(They drag Lincoln away. Geary gets up, feeling his jaw.)
[40. INT. Break room. Day.]
(Westmoreland comes back into the room. The inmates take off the wooden board and help Michael up through the hole.)
Michael: Thanks. Well, we leave tonight.
(Sucre, C-Note and Westmoreland look despondent.)
Michael: Where's my brother?
Westmoreland: Michael, we got a big problem.
(Camera pans over the prison yard, two guards dragging a struggling Lincoln away towards the SHU).
END CREDITS.