ACT 1.

[1. INT. Michael's cell. Day.]

(Michael wakes up, looks at his watch. He gets up, goes over to the sink and splashes his face with water. He dries it and sighs, thinking.)

[Flashback:

Michael is in a jewelers shop.

Michael: That one.

Jeweler: Nice choice.

Michael: Thanks.

Jeweler: Platinum. Brushed.

Michael: 6.25?

Jeweler: 6.25. She's a lucky woman.

Michael: Yes. She is.

(He holds up the ring to inspect it. It glints in the light, which turns into the light of Sara's pen in the following scene.]

[2. INT. Infirmary. Day.]

Michael: You kept it.

Sara: Kept what?

Michael: The flower.

(sh*t of the paper rose in Sara's cupboard.)

Sara: I'm a pack rat. I never throw anything out.

Michael (sarcastic): Yeah, all this clutter. It's overwhelming.

Sara: You should see my apartment.

Michael: Whoa. We haven't even had our first date yet and you're already inviting me in. I thought you were a nice girl.

Sara: Oh, Michael, we all know nice girls finish last.

(She picks up her stethoscope and gestures to him to lift up his shirt. She puts a hand on his shoulder, and the other on his chest listening to his heart.)

Michael: So where do you finish?

Sara: That depends on where I start. Deep breath. Exhale. Inhale.

(They look into each others eyes, almost as if they're about to kiss. Then they are interrupted.)

Katie: Sara, we're backing up out here.

Sara: Right, I'm sorry. (to Michael) I'm gonna get your sh*t.

(When she walks out, Michael walks over to the drain and pours the two chemicals from his toothpaste tubes down the drain. When they run together they make a hissing noise and bubble. He looks out of the window at thick power cable lines running across the yard from the infirmary wall to the outside wall. He looks up at the watch tower. Then he looks down at the ground and the camera pans down to a particular spot.)

[3. INT. Cabin. Day.]

(Nick sits on the kitchen worktop, LJ is sat on a chair the wrong way. Veronica paces.)

Veronica: This is not what I signed on for.

Nick: What do you want us to do? You want us to wave the white flag? Call time out?

Veronica: I just wanna get Lincoln off death row!

Nick: Lincoln? We just learned that Vice President Reynolds funnelled millions of dollars in research grants into her brother's company. That money was filtered into millions of small accounts that made millions of small donations to her campaign, setting her up to be the next leader of the Free World. This doesn't end with us stopping an execution anymore.

Veronica: For me it does.

(Nick walks away.)

[sh*t of their car outside the cabin.]

[Quinn is still watching them, standing in the trees. He raises his hand to show he is holding some sandpaper. He puts it to his cheek and rubs it hard, causing scarring and abrasions.]

[4. INT. Break room. Day.]

(T-Bag is also using sandpaper, on the wall in the break room.)

Abruzzi (holding a clipboard): Okay, let's rotate.

C-Note (in the hole, digging out concrete, quietly): Son of a...

Abruzzi: Sergeant Sodomy, you're up next.

(T-Bag ignores him, but goes over and collects a shovel. C-Note holds out a hand to be helped out of the hole. T-Bag just looks at him.)

C-Note: Come on.

T-Bag: I don't know about y'all but, uh... (He pulls C-Note out of the hole, but by gripping his arm instead of his hand.) ... this room is getting a little too dark for me to dig.

C-Note: Are you telling me that there's a hole in Fox River that you don't wanna get into?

(Ominous music plays. T-Bag gets right in C-Note's face. Lincoln moves to push them apart, but T-Bag moves forward for another go.)

Lincoln: Hey. No-one gets hurt.

(They separate.)

C-Note: Hey, you know, I got a question. How come Fusilli over here ain't handling a shovel?

Abruzzi: I handle arrangements on the outside.

C-Note: Really. So what is that, transport, paper, what?

Abruzzi: Exactly. Makes me manager.

C-Note: And that makes us just labour, right?

Abruzzi: Mmhmm. Now you're getting it.

C-Note (moves closer): You know, management better keep a close eye on the conditions up in here, or the labour's liable to go on strike. You feel me?

Abruzzi: Get back to work.

(Sucre enters quickly.)

Sucre: Whoa, whoa, CO coming. Hurry, you guys.

(The crew move quickly to put the wooden board over the hole, pull the carpet across and the table back, then pretend they are working.)

Abruzzi: Put that back up there.

C.O. Campbell: Scofield. Move it. It's time for your conjugal.

(The team look at him in surprise.)

Campbell: Your wife is here.

[OPENING CREDITS.]

[5. INT. Outside conjugal room. Day.]

(Michael's wife is searched by a female guard. Bellick is looking at the wife appraisingly.)

Bellick: So you're Mrs. Scofield. Ever done this before? Had a conjugal I mean.

Nika: No.

Bellick: Don't worry, I'm just trying to make conversation.

Female Guard: Clear.

(Nika walks into the conjugal room.)

Bellick: She look familiar to you?

Female Guard: No, Captain.

Bellick: I know her from somewhere.

[6. INT. Conjugal room. Day.]

Michael: You came.

Nika: Of course.

Michael: How've you been?

Nika: Fine. I found a job.

Michael: Good. I'm glad.

Nika: Is it awful, being here?

Michael: Remember the first place you stayed? That hotel, by the airport? Only difference is $69 and the free shampoo.

(He sits down on the bed. Nika sits next to him and puts her hand on his arm.)

Michael: You're still wearing it.

(Nika holds up her hand: her wedding finger has on it the ring Michael bought in the earlier flashback.)

Nika: Every day. I worry about you.

Michael: Don't.

Nika: Is there anything else that I can do?

Michael: Just what we agreed on.

Nika: I was so nervous when they were checking. (She reaches into her bra and takes out a credit card.) One question. Why would you need a credit card in prison?

[7. INT. Prison. Day.]

Sara: See, I don't think the riot changed anything. Have you seen the latest budget cuts for this place?

Katie: Another ten per cent from healthcare.

Sara: And 35 from prevention.

Katie: He might be the governor, but he's also your father. Maybe he thinks if he cuts enough, they can't afford you.

(Katie walks away and Sara smiles, but then stops. Ahead of her, Michael kisses Nika and hugs her.)

Michael: Thank you.

(Nika smiles and leaves. Sara, unsure what to do, turns and walks the other way.)

[8. INT. Search room. Day.]

Bellick: You understand this is standard procedure following a conjugal, right Scofield?

Michael: Never can be too careful.

C.O.: All right. Bend over.

Bellick: You have a good time in the romper room with that Euro?

Michael: Whatever you say, boss.

Bellick: She come around here before?

Michael: First time.

Bellick: You sure? 'Cause damn if I don't recognize her from somewhere. Maybe she visits some other con. k*lling two birds with one bone. Catching my drift?

Michael (not rising to the bait): I wouldn't know.

C.O.: All right. He's clear, Captain.

Bellick: Make sure you take a shower, Scofield. You never know what some women can give you.

(Michael picks up his box of clothes and ignores him.)

[9. INT. Break room. Day.]

T-Bag (singing): Swing low, sweet chariot...coming forth to carry me home...swing low... (he looks up at C-Note) You know this one don't you? (singing) Swing low...sweet chariot. Coming forth to carry me home. (He looks at C-Note again.) Come on, gimme something. I thought you was a musical people.

C-Note: You know, your parents must be so proud of you, man. I mean, hitting the trailer park trifecta. You're a r*cist, a paedophile, and stupid.

(T-Bag laughs and pulls himself up out of the hole, sitting on the edge.)

T-Bag: You know, it vexes me that I'm made out to be the bad guy in the room. It's not like y'all were incarcerated for stealing any Girl Scout cookies.

Abruzzi: None of us m*rder any Girl Scouts in the process.

Sucre (coming in): Michael's coming back from the boneyard.

(The team look panicked.)

Sucre: Alone, alone.

(Michael comes in and shuts the door behind him.)

Sucre: I tell you everything about me and Maricruz and you can't even tell me you're married?

Michael: Later.

C-Note: Rough day, huh Scofield? While the rest of us are in here slinging concrete, you got some little girl in to play on your rusty trombone, huh?

T-Bag: Man's got a point. It just doesn't seem equitable like, you know what I'm saying?

Lincoln: Shut up and dig, T-Bag.

Abruzzi: I think what the idiots inside here want to know is, while we're digging this hole, what are you doing?

(Michael looks round at them all. They wait, expectantly.)

Michael: I'm going shopping.

[10.INT. Michael's cell. Night.]

(Sucre puts a mirror out of the cell door bars.)

Sucre: We're good. All clear.

(Michael takes the credit card out of the lining of his jacket.)

Sucre: A credit card? The bulls catch you with that they'll be so far up your doggy door you'll be...

Michael: Don't worry. They won't be catching me with one.

Sucre: Why are you so sure?

(Michael rips the back off of the credit card.)

Michael: Because. (He holds up the credit card to reveal a security strip on the back: it's a keycard.) I don't have a credit card.

[Flashback:

Michael's desk, full of brochures and books about security codes. He puts a card in a card reader, and types on his laptop. The laptop copies a code onto the card in the card reader and it pops out again.

Michael puts stickers on the front and back to disguise it as a credit card.]

[11. INT. Inside prison walls. Night.]

(Camera on Michael's hand as it grips the grate above him. He moves it aside and pulls himself up through the hole. He walks along over the grates and suddenly stops d*ad: there's a guard walking on the grated walkway beneath his. He quickly presses up against the wall until the guard passes.)

(Michael walks on, and gets to a door with a window in it. Through the window he can see a guard, and a door marked "Receiving and Discharge". The guard leaves through a different door.)

(Michael walks up to the door, gets out his key card. He runs it through the security box on the wall, and the light turns from red to green. The door opens and Michael walks in.)

[12. INT. Receiving and Discharge room. Night.]

(Michael is in the room where they keep the inmates' belongings in boxes for the duration of their stay at Fox River. He locates his box, marked with his name. In the Authorized Property table, there is a tick by "Embossed Stamped Envelopes" only.)

[sh*t of the cabin in New Glarus - Night.]

[13. INT. Cabin. Night.]

(Veronica is sleeping, when a thud wakes her up. She sits up, then goes into the living area to investigate.)

Veronica: Nick?

(Nick is sleeping on the sofa. There is a sudden knocking on the door.)

Quinn (o/s): Help! Please...Please, I had an accident. My car is totalled. Please, is there anybody there?

(LJ walks into from another room. Nick reaches for his g*n and gestured for them to stay silent.)

Veronica: We can't just ignore him.

LJ: The hell we can't.

Quinn (still knocking, o/s): Help me, please...help me, please!

(Nick goes over to the door.)

[sh*t of Quinn through the spy hole.]

Quinn: Ow. God!

(Nick undoes the bolt and opens the door. Quinn comes in.)

Nick: What happened?

Quinn: I must have dozed off. I've been driving for 12 hours.

LJ: Should I get him some water from the well?

Nick: No, the well's dried up.

Quinn (in pain): Oh God...

Nick: I think there's a medical kit over there...

(Nick turns his back on him and walks across the room. Camera remains on him and suddenly a g*n is fired, hitting him in the back. He falls with a yell.)

Quinn: No-one's going anywhere.

ACT 2.

[14. INT. Cabin. Night.]

[Camera begins on Veronica's face, with tape over her mouth. She is sitting beside LJ who is in the same state; both of their hands are tied behind their backs.]

(Quinn leans over Nick and takes his g*n out of his pocket.)

Quinn: All right, say goodbye to Junior.

(He grabs LJ's chair and drags it backwards into the next room. LJ makes muffled yells. Quinn shuts the door on him and then sits opposite Veronica.)

Quinn: You know how many pints of blood the human body has? The answer is ten. Ten pints. How many do you think Prince Charming over there on the floor has left? Eight? Going on seven. I'll tell you what, I'm gonna take him out to the woodshed and have a little talk. In the meantime I want you to chew on this: you tell me everything that you have discovered about the Burrows case, and who else you've told about it, and there's a chance that I might let you go in time to get Mr. Savrinn to a doctor. You decide whose life is more valuable. The guy waiting to die on death row, or the guy wishing he'd die out in the woodshed.

[15. INT. Prison. Night.]

(Michael takes the box of his possessions over to a large pipe opening.)

[Flashback:  A C.O. is putting Michael's stuff into the brown bag that he is taking them out of in the present day.

C.O.: One suit, black. One pair of socks, black. One pair of shoes. Shoelaces. One small tape recorder. One gold watch.]

(Michael opens the envelope that had the gold watch put into it, but it is now empty. He throws the envelope down, angrily.)

[16. INT. Cabin. Night.]

(Quinn takes the tape off of LJ's mouth and sits opposite him.)

Quinn: You ever stayed at a fancy hotel, LJ? You leave your room in the morning, it's a mess. Wet dirty towels on the bathroom floor, last night's room service stinking to high heaven. Then, you come back at night, it's all gone. Fresh towels, clean sheets, candy on the pillow. It's just the best feeling in the whole world. 'Cause someone else cleaned up your mess, all you had to do was walk away.

LJ: Don't you hurt them.

Quinn: Okay. But you gotta tell me exactly what they know and who else they have told, and nobody has to die tonight. You just walk away. Let me clean up your mess.

LJ: I don't know what's going on. I swear to God.

Quinn: Well, I wish I could believe that.

(He puts the tape back over LJ's mouth and slaps him round the head before leaving the room.)

[17. EXT. Prison yard. Day.]

Westmoreland: Bellick assigned me a new cellmate.

Michael: Who'd you get?

Westmoreland: Some new fish. Ran a bump and swipe on an off-duty cop. Fast hands, faster mouth.

Tweener: Yo, what's crackin', my peoples?

Westmoreland: Speak of the devil. Michael Scofield, David Apolskis.

Tweener: 'Sup. I seen you before, right? You're part of that PI crew. Maybe you can hook me up. Y'know, brother needs to make some green, some cashish, you know what I'm saying?

Michael: The pay is 19 cents an hour.

Tweener: 19 cents? That's sl*very, yo.

Michael: That's prison, yo. Besides, PI's all full up for now.

Tweener: All right. I feel you. But keep a brother in mind, you know, if somethin' opens up, yo. Hell, I'll pay 19 cents an hour to get me some more time out of the block.

(Tweener hits his own chest with his fist then points at Michael with two fingers, and walks away.)

Westmoreland: Like having another kid. Already raised one. I'm too old to do it again.

Michael: You ever hear of anything being stolen from R&D?

Westmoreland: Of course. Bulls steal from personals all the time. Problem is, you never know what's gone until you're on the outside of the walls. At that point, you can't do anything about it.

Michael: What if you knew now?

Westmoreland: Look. I told you. Leave me out of whatever it is you've got going.

Michael: I just need to know if you've seen a guard with a gold watch.

Westmoreland: There's a lot of people can get you a gold watch in here.

Michael: Yeah, but I need this specific gold watch.

Patterson (outside the fence): Westmoreland! Pope wants to see you. Let's go.

Westmoreland (to Michael): Look. I haven't seen nothin'. But there is this one CO. Word is, he's the worst thief in here.

[20. INT. Prison. Day.]

(Camera on the wrist on a guard, there's a gold watch on it. Zoom out to reveal it's Geary. He hands some documents to Bellick.)

Geary: My wife just faxed this over for you from County Records, copy of Scofield's marriage license. She says you owe her big time. Looks legit. He wasn't trying to sneak in some whore for a conjugal.

Bellick: Says here they got married the day before Scofield robbed that bank.

Geary: Why the hell would he do that?

[21. EXT. Prison yard. Day.]

(Michael and a group of other inmates are at work in one of the yards. Behind Michael, Lincoln stands by the fence in ADSEG.)

Lincoln: Heard from Veronica?

Michael: No.

(He watches Geary walk across the yard, clearly wearing the gold watch.)

Lincoln: Just a note from LJ, saying he's with her, that he was safe. But now it's been a while. Doesn't feel right. Feels wrong.

(Michael is preoccupied, watching Geary. The CO is talking to another guard.)

Geary: I gotta go.

Lincoln: Really wrong.

Guard: I'll see you.

[22. EXT/INT. Woodshed. Day.]

[Camera pans in on the woodshed at the cabin.]

(Nick is slumped up against the wall, blood still leaking from his wound and pooling next to him.)

Quinn: I, uh...I've come to a realization. Either Miss Donovan and that boy don't like you very much, or they have an unreasonable amount of faith in your cardiovascular system. So tell me, Nick, this all you got? (he waves a file in Nick's face.) This paper trail of an indictment that never even happened? Is this it? We know you don't have a surveillance tape any more, you know, you don't have anybody to testify...

(Nick reaches out slowly for a lump of wood.)

Quinn: ... so is this really all you've got?

(Nick says nothing. Quinn sighs.)

Quinn: Mr. Savrinn, that b*llet went through your teres major, ripped the lateral margin of your scapula, leaving you absolutely no medial rotation of your arm. So if you try to swing that piece of lumber at me...

(Nick grips the wood and tries to raise his arm, then screams in pain as something cracks.)

Quinn: It's gonna feel like your arm is ripping out of its socket. Come on, Nick. Mr. Project Justice. We both know why you're really here, don't we? And it ain't to save Lincoln Burrows' life.

[Camera sh*t of the cell block in general population. All the cell doors are open and the inmates are walking towards the exit.]

[23. INT. Tweener's cell. Day.]

PA: All prisoners, you've got fifteen minutes of walk time.

Tweener (rapping): Inside these walls, I creep and I crawl, lookin' for a way out, but I know there's gonna be no easy route, this is gonna be a 12-round...(he writes in his book)... a 12-round bout...with Bellick and T-Bag on my mind, this grind in here...

(Michael clears his throat. Tweener looks up.)

Michael: You still interested in getting in on PI?

Tweener: Does my momma got big breastices?

Michael: I wouldn't know.

Tweener: Hell yeah she does. And hell yeah I do.

Michael: All right, look. I need a favour. Word is you made your trade as a snatch and grab.

Tweener (smiling proudly): That's right.

Michael: I need you to steal something back that was stolen from me.

Tweener: What kind of 'something' we talkin' about?

Michael: Just a watch.

Tweener: Uh-uh. There ain't no such thing as just a watch. Every design has a different clasp, every clasp has a different swipe.

Michael: It's Italian. A Remedi. Gold band, pearl face, all weather.

Tweener: What year?

Michael: 2003.

Tweener (shakes his head): That's a butterfly clasp on that bitch.

Michael: Which means what?

Tweener: Hidden deployment. There ain't no way to snatch it without the mark feelin' it.

(Michael is disappointed.)

Tweener: Which just means I'm gonna have to get whimsical on this ficky.

(He holds out his fist to Michael, who bumps it with his own.)

Tweener: I get you this watch, that mean I get in on some of that PI?

Michael: It means I'll think about it. No promises.

Tweener: Why you need this watch so bad anyway?

Michael: Let's just say it means a lot to someone in my family.

(Tweener nods as Michael walks away. He stands at the cell door, and it closes.)

[Camera sh*ts of different inmates standing in front of their cell doors, as one by one they slam closed.]

[24. INT. Pope's office. Day.]

Pope: Come in Charles, sit down.

(Westmoreland sits in the chair in front of the desk.)

Westmoreland: What's going on?

Pope: I got some bad news, Charles. Your daughter is very sick. She's got oesophageal cancer. Now, she's at Sacred Heart, in Indianapolis, and she wants to see you while there's still time.

Westmoreland: How much time?

Pope: Doctors say a few weeks. The problem is the DOC is not gonna let you go. They think you're still a flight risk.

Westmoreland: She's my only child.

Pope: I know that. Believe me, Charles, I've lobbied on your behalf. It's state policy. They will only extend furloughs in the case of funerals.

Westmoreland: You're tellin' me I have to wait until she dies before I see her?

[25. INT. Infirmary. Day.]

(Michael stands by the window. He watches two guards doing a round of the prison yard. He looks at his watch.)

Katie: Mr. Scofield. Looks like I'll be administering your sh*t today.

Michael: Where's Doctor Tancredi?

Katie: We've got a busy schedule today. She's with another patient.

(Shouting starts in the corridor.)

Guard (o/s): Hold his legs! Hold his legs down! Hey, we need a doctor here!

(Katie runs into the corridor.)

Katie: What happened?

(Geary and Campbell run in with a gurney: on the gurney Tweener is shaking, having an apparent fit, with food all over his face and down his sweater.)

Geary: I don't know, the kid was in chow, all of a sudden he collapsed and started spitting up his food!

Katie: Looks like he's having some kind of seizure.

Sara: Get him up here, make sure he doesn't hurt himself.

(Geary and Campbell lift Tweener from the gurney onto the bed, Tweener is still fitting and choking.)

Sara (to Katie): I'm gonna need O2 and cardio from you.

(Michael looks on from outside the door. Camera sh*t of Geary's wrist, with the watch on, holding Tweener down.)

(Tweener sees him and manages to wink.)

Geary: Hold 'im! Hold 'im!

(Camera moves to Geary's wrist again. The watch is gone. Michael smiles.)

[26. INT. Cabin. Day.]

(Veronica, still gagged, has moved her chair over to the furnace and is trying to burn off the ties holding her hands behind her back. The door opens and she quickly moves her chair away. Quinn enters.)

Quinn: So Ms. Donovan. How is that background in real estate law going for you? Is it a big help? Hm? Well, frankly, I think we caught a break. If Lincoln had nailed a girl with half a brain, she probably would've brought this whole thing down already. But you know what the worst part is? That you dragged these people into this knowing that you had no clue how to get them out. I mean, if you had just minded your own business, people like Leticia Barris, she wouldn't have a mouthful of maggots right about now.

(Veronica looks up, shocked.)

Quinn: Your fiancé would not be lying in his apartment, waiting for the smell of his rotting corpse to let the neighbours know that something had gone horribly wrong. That's right, their deaths are on your head. You made this mess. Nobody else. You. But you are also the one person that can end it all right here. All I need to know is who else you've involved. So you just nod and I'll know you're ready to talk.

(Veronica sits perfectly still, staring at him.)

Quinn. Whew. You know, Ms. Donovan, I think that you look a little cold. Maybe you'll find it easier to talk after you've warmed up a little.

(He goes to light an oil burner. Veronica whimpers, then when his back is turned she breaks free and swings the chair at him, hard.)

ACT 3.

[27. INT. Cabin. Day.]

(Veronica runs into LJ's room, rips the tape off his mouth and begins to untie him.)

LJ: Where is he? What happened?

Veronica: We gotta move. Come on, we don't have time. Come on.

[28. INT. Woodshed. Day.]

(Veronica and LJ run into the woodshed.)

Veronica: Come on. We're getting out of here!

(She cuts his ankle ties.)

Veronica: Where are the keys?

Nick (weakly): Pocket. Left.

(Veronica gets the keys and throws them at LJ.)

Veronica: Start the car!

LJ: Is he gonna be all right?

Veronica: Go and start the car, LJ!

(LJ disappears. Veronica goes to pull Nick up.)

Veronica: Come on. We're gonna get you to a hospital all right?

[29. EXT. Cabin. Day.]

(LJ runs to the car and gets in. He tries to start the car but the engine splutters.)

LJ: Come on...

(A g*n explodes the back window, spraying glass all over LJ. He ducks and gets out of the car, ducking behind it. Quinn comes out of the cabin and sh**t again, this time hitting the rear windscreen. LJ makes a run for it into the woods.)

[30. INT. Prison cells. Day.]

(Westmoreland walks along the cells until he gets to Michael's. He taps the watch on the bars.)

Westmoreland: A gift from my cellmate.

Michael: Thank you. And thank him.

Westmoreland: The watch. What's it for, anyway?

Michael: Thought you didn't wanna know about any of this?

Westmoreland: Things have changed. I want in.

Michael: Why the sudden change of heart?

Westmoreland: I have my reasons.

Michael: Don't take this the wrong way, but everyone who's in is bringing something to the table.

Westmoreland: How about money?

Michael: How much we talking about?

Westmoreland: I think you know.

Michael: I seem to remember several conversations that ended with "I am not DB Cooper."

Westmoreland: I lied.

Michael: You lied.

Westmoreland: We're cons. We tend to do that.

Michael: I checked your alibi. According to records, you were incarcerated at the time of the Cooper hijacking.

Westmoreland: My father and I share more than just a weakness for easy money. We also share a name. Charles Westmoreland Senior was the one locked up that day. Now do you want the money or not?

Michael: No offence, but it's a little convenient. You want in, and suddenly you're the guy. How do I know you're not lying right now?

Guard: Hey, Old Man River. Keep it moving.

(Westmoreland moves away towards his own cell.)

[31. INT. Michael's cell. Day.]

(Michael takes the back off the gold watch, and the back off the small recording device. He wires them together, and straps them together with elastic bands. He looks at the finished device and smiles.)

[32. EXT. Break room. Day.]

(Abruzzi stands outside the break room on watch.)

[33. INT. Break room. Day.]

(T-Bag fills the walls with the concrete fragments, then turns to Sucre who is in the hole.)

T-Bag: Hey, Sucre. I got a question about you and the rest of the Mexicans.

Sucre: I don't think I'll be able to help. Seeing as I'm Puerto Rican.

T-Bag: Geographical semantics, amigo. I'm speaking about the general Latino population. How is it that a people so historically lazy ended up being such a big part of the nation's workforce?

Sucre (angry): The way I see things, it's everyone else that's lazy. Otherwise, there wouldn't be any jobs for the immigrants. The ones sitting at home, collecting unemployment, the lazy ones - it's not us.

(T-Bag turns round to C-Note.)

T-Bag: You gonna let him talk about your people like that?

C-Note: Whatever, Deliverance. You know what, we may be a team in here, but just so that you know: the minute we get over that wall it's every man for himself. Or sooner.

[34. EXT. Woods. Day.]

(LJ races through the trees, Quinn after him with his g*n drawn. Quinn raises his g*n and fires.)

[35. EXT. Cabin. Day.]

Veronica: LJ?

[36. EXT. Woods. Day.]

(Quinn looks around for LJ.)

CUT TO: Veronica walking through the woods.

Veronica: LJ? LJ!

CUT TO: camera sh*t of a pair of legs walking across the muddy ground.

CUT TO: Veronica in the woods. Suddenly a twig snaps and Quinn comes out of the trees.

Quinn: You know how the Russians do things? They let you live, and they k*ll everyone else in your family and anyone you've ever loved. How's that sound?

Veronica: Go to hell.

Quinn: Oh, come on. Is that any way for a lady to talk?

(Veronica glances at the covered well in the ground that is just in front of Quinn. He puts a foot on it.)

Quinn: What, you think I'm an idiot? I'm just gonna walk into a well? Seriously, Ms. Donovan...

(LJ comes running out of the woods at top speed: he slams into Quinn so hard he knocks Quinn down the well and falls onto the ground himself. Getting up, he walks over to Veronica and they both look at the well.)

Veronica: You all right?

(Camera sh*t of Quinn lying at the bottom of the well, groaning, with his cell phone next to him.)

[37. EXT. Prison yard. Day.]

(Michael and other inmates are working.)

PA: Attention inmates. Weight pile is out of bounds until further notice. Weight pile is out of bounds until further notice.

(Michael looks up at the cables running from the infirmary window to the outside wall. He looks up at the watch tower, then squats down to the ground. He quickly digs a very small hole with a trowel. He checks around for guards. He gets the watch/recording device out of his pocket, puts it in the hole and buries it except for a very small piece of the top.)

Guard: Scofield! No sitting down on the job! I want you out here working where I can see you.

Michael: I'm on it, boss.

Guard: Move it, Scofield! Move it!

(Michael looks back at the device, and then walks away.)

(Camera zooms in on the device in the ground.)

[CUT TO: Michael pacing in his cell, wringing his hands together.]

[CUT TO: the device in the ground.]

[Camera zooms in to the device beneath the ground: the watch reads a few seconds before 9pm. As they tick to the hour, a red light comes on and the tape in the recording device starts turning.]

[CUT TO: Michael sitting on his bunk, rubbing his head with his hands.]

[CUT TO: guards feet walking over the yard, focus is on the device in the ground. They stop dangerously close to it, and one of them lights the other's cigarette. Then they walk on without noticing it.]

[CUT TO: Michael, in his cell, looking anxious.]

[CUT TO: close up of the tape going round in the recording device.]

[38. INT. Bellick's office. Night.]

(Bellick is looking at the file they have for Nika, when they checked her out for visitation/conjugal. Camera zooms in on Nika's photograph, then on Bellick's face as he seems to recognize her.)

[39. INT. Lap-Dancing club. Night.]

(Bellick walks in and one of the dancing girls speaks to him on his way through.)

Girl: Hey, Brad! Good to see you.

Bellick: Hey, baby.

Man (o/s): All right ladies and gentlemen, put your hands together for our next lovely young lady. Up on the main stage, its Jasmine.

(Camera pans up the dancing legs of a girl, who is wearing only blue lingerie. As Bellick stares at her, the camera reveals its Nika.)

ACT 4.

[40. INT. Lap-Dancing club. Night.]

(Nika walks up to the bar and looks over at Bellick. She is now wearing slightly more clothes. Bellick is sitting in shadow so she can't see his face.)

Nika: Would you like a private dance?

Bellick: Why don't you sit down and chat for a while? See if we h*t it off.

Nika: What's your name?

Bellick: Brad. Yours?

Nika: Jasmine.

Bellick: Come on. Your real name.

Nika: It's Nika.

Bellick: Nika. That's a pretty name. Tell me, Nika...How's your husband feel about you working in here?

Nika: I'm not married.

Bellick: I hope you're lying for the sake of titillation. Otherwise, your little visit to Fox River this morning would have been breaking the law. (He leans forward, out of the shadows.) Mrs. Scofield.

Nika: We are married, but they tell all the girls to lie. It's better for making business.

Bellick: I'm not here to get you in trouble. I just wanna know a little more about your husband.

Nika: Well, he's a very good man.

Bellick: I'm sure he is. But even good men do bad things. Your accent. You're from...don't tell me...Budapest, right?

Nika: Prague.

Bellick: Prague. How recently did you come over? Only a couple of months I bet. You like it here in America?

Nika (uncomfortable): You know, I really have to get moving. They don't like us to spend too much time in one spot.

Bellick: Now, I don't want to have to check into your immigration status. (He places his police badge on the table.) I just need to know what Michael Scofield wanted from you in exchange for the green card.

Nika: Nothing. We met while he was studying overseas...

Bellick: I don't want to know what you memorized for the INS. Now, either you answer my questions about Scofield, or I call my guy in the Chicago PD. And maybe he starts asking some questions about you.

(Pause. Nika stares at him then sighs.)

Nika: Credit card. He asked me to bring him a credit card. That's it.

(She walks away in disgust.)

[41. EXT. Well. Day.]

(Quinn comes around and groans. He reaches in his pocket for his cell phone and dials.)

Quinn: Yeah, trace this call. Come and get me now! New Glarus, I'm in New Glarus.

[Camera pans over the prison. Day.]

[42. INT. Chapel. Day.]

(Westmoreland walks in to sit by Michael. Michael holds up a bible for him.)

Westmoreland: No thanks. I bought my own. (whispers) Dorothy Andrews Elston Kabis. United States treasurer, 1971. The year of the DB Cooper hijacking. DI192589. The first number in the series of bills used in the ransom drop.

Michael (whispers): Thanks for the history lesson. All it proves is you did the research. Same as me.

(Westmoreland stands, hands Michael his bible and walks away.)

(Michael notices something sticking out of the bible. He pulls it out. It's a $100 bill, bearing the same series number Westmoreland just told him.)

[43. EXT. Prison yard. Day.]

(Michael digs up his watch/recording device.)

CUT TO: Sara walking over to him from the other side of the fence.

Sara: So you're married?

Michael (puts the device in his pocket): Uh, well...not in the traditional sense of the word.

Sara: Michael, we're both adults. Put your cards on the table.

(Michael stares at her.)

Sara: Okay, I'll go first. Um, as one of a very few women around here, I'm used to a certain amount of innuendo and flirtation being thrown my way. I'm not used to enjoying it.

Michael: Look, Sara...

Sara: It's Dr. Tancredi. And please let me finish. I'm not a jealous woman. But I'm a careful one. And for some reason when I'm around you, I'm not careful.

Michael: You don't have to be.

Sara: Yes I do. There's so many questions surrounding you, Michael. There are way too many. So here's the deal. Um...from now on, your sh*ts, any medical concerns, they're all fine as long as it's doctor/patient. But personal questions and favours of any kind are no longer part of our relationship.

(She turns to walk away.)

Michael: The questions you have about me. There are answers.

(Sara continues walking. Michael looks upset.)

[44. EXT. Well. Day.]

Kellerman: Quinn.

Quinn: Hey, I was getting worried. You guys get lost?

(Kellerman peers down the well and looks away, trying not to laugh.)

Hale: We had to call you again to pinpoint your signal but you never picked up.

Quinn: Yeah battery went d*ad on the damn cell phone. What are you gonna do, right?

Kellerman (clearing showing his strapped up fingers): So, uh...how'd it go?

Quinn: Well, I got a broken leg down here. Uh, listen, you know, I think maybe we got off on the wrong foot. You got bosses, I got bosses, I mean but at the end of the day we're all on the same team. Right, we're just trying to tie up some loose ends.

Kellerman: I could not agree more.

Quinn: Yeah. So can you guys get a rope or a ladder or something?

(Kellerman takes off his jacket, moves to the well and grabs the wooden board that goes over the top. He drags it over. Quinn hears it.)

Quinn: What the hell is that? Hey. Hey!

Kellerman: Just tying up some loose ends.

Quinn: You stupid son of a...hey! Hey, guys...don't do this. Don't do this!

(Kellerman spits on the board, and puts his jacket back on. Hale looks shocked.)

Quinn (o/s): Come on, please. My leg is broken. I can't stand, you gotta help me.

Hale: You can't just leave him down there. He'll die.

Quinn (o/s): I'm begging you, please...

Kellerman: He's the only one who knows we don't have the Burrows kid. The only one.

Quinn (o/s): I got a family! Kellerman! Hale! Guys!

Kellerman: There's room for you down there too, Danny.

(Hale walks off into the trees, not happy. Kellerman follows.)

Quinn (o/s): Don't leave me like this. Don't leave me! Please! Please!

(Camera pans down to the wooden board covered with leaves.)

[45. INT. Michael's cell. Day.]

(Sucre washes his face in the basin.)

Sucre: Coming back to PI today? It's getting kinda testy in there, you know.

Michael: Yeah. I just needed to find something out.

(He is sitting on the bunk looking at the watch/recording device.)

Sucre: What the hell is that?

Michael: Listen.

(He switches it on. The tape hisses.)

Sucre: Am I supposed to be hearing something?

Michael: Shh. Just hold on.

(The tape hissing continues.)

[Camera blends into a sh*t of Sucre standing at the left side of the bunk.]

[Camera blends into a sh*t of Sucre standing at the right side of the bunk, leaning over it.]

[Camera blends into another sh*t of Sucre standing with his back against the bunk, head back.]

[Camera blends into a sh*t of Sucre sitting on the top bunk, feet hanging over the edge.]

[Camera blends into a final sh*t of Sucre leaning over the bunk at the left side.]

(In all these scenes, Michael has stayed in the same position, holding the device.)

(Jingling is heard on the tape. Michael looks at the watch on his wrist and stops the tape.)

Michael: There.

Sucre: What?! We sat around for 20 minutes waiting to hear that?

Michael: 18 minutes actually. And yes. (he leans back on his bunk, satisfied.)

Sucre: What was it?

Michael: Keys. The guards' keys. 18 minutes is how long we have between each time the guards pass beneath the infirmary windows on their rounds at night. Cons aren't allowed outside after hours. It was the only way I could find out the timing.

Sucre: What does that mean?

Michael: It means... (he checks out the cell door.) ...Four days from now, on the night of the escape, we'll have 18 minutes to get the bars off the window and for all seven of us to get across the wire and over the wall.

Sucre: Is that doable?

Michael: Of course.

(He looks unsure.)

[46. INT. Break room. Day.]

(Lincoln is sanding the wall. He notices Michael staring into space and goes over.)

Lincoln: What's up?

Michael: Nothing.

Lincoln: Hey, I know that look. What's up?

(Sucre's spade makes a clinking sound.)

Sucre: I h*t it! I h*t it!

[CUT TO: T-Bag outside on watch. He hears the noise and listens at the door.]

C-Note (o/s): Guys, guys...

[CUT TO: Inside break room.]

Abruzzi: All right, all right...

(T-Bag enters the room.)

Lincoln (to Michael): Come on, Michael. Talk to me.

Michael: You want the good news or the bad news?

Lincoln: The good.

Michael: Westmoreland and his money are in.

Lincoln: What's the bad?

Michael: I've done the math. I figure it'll take at least five minutes for us to get the bars off the window in the infirmary, and two minutes for each to get across the wire and over the wall.

Lincoln: So?

Michael: We've only got 18 minutes. We've got two many people.

(Camera sh*ts of Sucre, C-Note, Abruzzi, T-Bag.)

Michael: One of 'em has to go.

END CREDITS.
{"type": "series", "show": "Prison Break", "episode": "01x11 - And Then There Were 7"}