This is the transcript from the episode English, Fitz or Percy.

Season 1, Episode 5 - "English, Fitz or Percy"

Written by: Paul Scheuring and Zack Estrin

Starring: Wentworth Miller, Dominic Purcell and Robin Tunney

Act 1Edit

[Flashback - tattoo parlor - Michael is getting part of his tattoo done, the words 'English', 'Fitz' and 'Percy'. The camera then pans across his back and we see a tattoo of some kind of demon. Back to real time - Pope's office, Kellerman and Hale are sat in front of Pope's desk, Pope is making his way towards his seat]

POPE: I assume this is about your transfer request for Michael Scofield.

KELLERMAN: More specifically, why you denied it.

POPE: Look, Mr Kellerman, do I come into your house and tell you where to put your furniture?

HALE: We're just asking for professional courtesy.

POPE: But you're asking for a federal courtesy in a state penitentiary.

KELLERMAN: You know, most people in your position would be happy to have another body taken off their hands.

POPE: These men are my responsibility. From the minute they walk through those walls, for the time that they pay their debt to society, I'm responsible for them. Which means that unless Mr Scofield has done something I don't know about, he is gonna stay here at Fox River under my watch.

KELLERMAN: Mr Pope, in our line of work we've discovered that just about everyone has done something that someone doesn't know about.

[Kellerman hands a file to Pope]

POPE: What's this?

KELLERMAN: Right now, just a piece of history. Whether it becomes a current event - now, that's up to you.

[Pope sees that on the file, the words 'TOLEDO' and 'POPE, HENRY' have been written. Pope shared a fairly long look with Kellerman]

POPE: My wife already knows about Toledo.

KELLERMAN: Does she really?

[Pope opens the file, looks shocked and has to take a seat]

KELLERMAN: You're a smart man, Warden. I'm sure if you look hard enough, you can find a reason why Michael Scofield's presence is no longer required at this particular correctional facility.

[We see a crime scene picture of a dead young man, it looks like he's been shot]

[Between the courtyard and the P.I room - Michael is doing P.I work, other prisoners are working around him. Michael is cutting an underground tube with some pliers, he stands up]

MICHAEL: I need some more PVC here, boss.

[The prison guard Michael is talking to signals that it's okay to go and get it. Michael walks past Lincoln and looks at him, Lincoln takes this signal and snaps the blade of the end of his spade on purpose]


PRISON GUARD: [Signalling that it's okay to go and get another spade] Sure thing, Burrows.

[Lincoln throws the shaft onto the floor and turns away]

PRISON GUARD: But, hey. I want to check your trunk for splinters. I want every piece accounted for.


ABRUZZI: I got a red fertiliser bag inside!

[We see he's stood in front of the P.I room]

ABRUZZI: [To Sucre] Hey, you! You! Get in there and clean it up before this whole place starts smelling like San Want.

[Sucre stops what he's doing and begins to make his way into the P.I room while mumbling something under his breath]

ABRUZZI: Okay, he's on his way. Do you mind telling me what this is all about?

[Sucre enters]

MICHAEL: These are the guys we're breaking out with.

ABRUZZI: [Smirking] I don't think so, Fish. That was not our agreement. I'm not gonna work with this crazy rhino.

LINCOLN: Keep pushing it, John.

[Lincoln steps forward]

ABRUZZI: Yeah, I keep pushing it, you know. Huh? What's your deal, man?

[Lincoln pushes Abruzzi back]

LINCOLN: Touch my brother again, I'll show you.

ABRUZZI: Brother? Your brother? [Laughs]

MICHAEL: We've only got a few minutes. Are we gonna spend them spitting on each other or are we gonna talk some business? But the reason we're all here today is we have a decision to make.


MICHAEL: English, Fitz or Percy? If we're gonna pull this off, we need to take one of them out.

ABRUZZI: And you want us to tell you which one?

MICHAEL: I just want you to help me get to them. I'll take it from there.

SUCRE: You're crazy, you know that?

MICHAEL: All I need is 5 minutes.

ABRUZZI: Oh, you won't even get 5 seconds.

SUCRE: I thought you had everything worked out, Fish?

MICHAEL: We're not breaking out of a Jamba Juice, gentleman. It's gonna take a little more than digging a few holes. There are eyes, ears, dots that couldn't be connected from the outside.

LINCOLN: And English, Fitz and Percy?

MICHAEL: One of those dots.

[Abruzzi and Sucre are looking very unsure and worried]

ABRUZZI: [Getting up in Michael's face] And how exactly are you supposed to pull this off?

MICHAEL: With a little help from my friends.

[A-wing - Michael and Sucre are being led back to their cell by prison guards, Stolte steps out of their cell]

STOLTE: Sucre, hold up. Michael, you've got company. Michael steps forward and sees Pope sitting in the chair, Michael enters]

POPE: Why do I get the feeling that there's more to you than meets the eye, Scofield?

[Michael spots that there are drips running down the side of the toilet because of him removing it from the wall]

POPE: Anything you want to tell me? Some other reason you're in here besides holding up a bank?

[Michael sees more water leaking out, he completely ignores Pope. Pope stands up and walks towards Michael]

POPE: You're being transferred.


POPE: We're moving you over to Statesville.

MICHAEL: You can't do that.

POPE: Yes, I can. I'm the boss here. This is my house.

MICHAEL: 3 weeks.

POPE: What for?

MICHAEL: Lincoln Burrows. He's being executed in 3 weeks.

POPE: Well, I'm aware of that. What's that to you?

MICHAEL: He's my brother. When I knew I was being sent to prison, my attorney petitioned the DOC.

POPE: So you could be near him?

MICHAEL: That's right. [Pause] Don't take that away from me. Not until it's over.

POPE: I'm not the one behind the transfer. You're up against much bigger fish than me. I'll arrange for you to say goodbye. You ship out tomorrow.

[Pope exits]

[Pope's office - Pope is looking through the Toledo file. He sees the picture of the dead young man, then a newspaper article with a picture of the same man, and a caption reading 'Local Youth Found Dead'. Pope then takes out a Bible]

[Lincoln is sat in the prison church holding a Bible, Michael enters and sits in the row behind Lincoln, he then leans forward]

MICHAEL: I'm going into the walls tonight. See if I can access the roof.

LINCOLN: You gonna tell me about the transfer?

MICHAEL: I'm taking care of it.

LINCOLN: You're taking care of it? Sounds to me like you're reaching.

MICHAEL: Maybe. A little.

LINCOLN: A little? [Smirks] You know, I'd made my piece with what was coming, then you show up and give me the one thing a man in my situation shouldn't have. Hope. And now that's gonna be taken away, man-

MICHAEL: Don't do this, Linc.

LINCOLN: I got 3 weeks. What do you want me to do?

[Flashback - we see a close up of a very young Michael]

LINCOLN: [Out of shot] Come on, Michael. What do you want me to do?

MICHAEL: Bring her back.

[We see a very young Lincoln and Michael stood by the sea in suits, probably not long after their mother's funeral]

LINCOLN: You know I can't do that. [Approaching Michael] But, look, there's some stuff that I can do. It's not gonna be the same but we're gonna figure it out. And no matter what, it's still gonna be me and you.

MICHAEL: Okay, but what if something happens to you?

LINCOLN: You just... have a little faith.

[Back to real time - Michael puts his hand on Lincoln's shoulder]

MICHAEL: Just have a little faith.

[Michael exits]

[Veronica's apartment - Nick and Veronica are going over Lincoln's case, they're watching the security video from the night Lincoln supposedly shot the vice-president's brother, the video is on pause]

NICK: Alright, here's the deal. We believe Lincoln, this tape is a lie. It has to be.

VERONICA: You saw it, it's all there.

NICK: Yeah, but maybe what we're looking for is what's not there. [Starting the video over, Steadman drives into the parking lot] Okay. Steadman. You see, what's he looking at?

[Nick pauses the tape on Steadman leaning out the window of his car and looking at something]

VERONICA: A car? A pedestrian? I...

NICK: No, no, no, his eyeline is too high, right? He's-, it's like he's looking right into the camera. He might as well be saying 'cheese'.

[Nick plays the video again, Steadman pulls into a parking space]

VERONICA: Now he just sits there.

NICK: Like 10, 15 seconds, as if he was maybe-

VERONICA: [Realising] Waiting for someone.

NICK: Right.

[On the video, Lincoln walks up to the car and shoots his gun. Nick pauses the video again]

NICK: There. That's a 9 millimetre, shouldn't there be some kind of kick or something?

VERONICA: Lincoln's pretty strong.

NICK: Yeah, but strong enough to bury a recoil? Now, you shoot somebody, supposedly for revenge, [as Lincoln opens the passenger door of the car, leans in and does something] do you take the time to go back in and hit the glovebox or do you just get the hell out of there?

VERONICA: Feds said he was trying to make it look like a robbery.

[Nick rewinds the tape slightly and plays it again]

NICK: [Pointing at the TV screen] Look. Look at Lincoln's angle as he leaves the frame.


NICK: Walks away from the car. Now, this guy, who conveniently hides his face from the camera, he comes back in; why?

VERONICA: To explain the bloody pants they'd already planted in his apartment. Nick, this is great.

NICK: Yeah.

VERONICA: Who shall we go to?

NICK: Nobody. Yet. I mean, to the unbiased eye we're just backing a horse that tied the gate. A lot of what ifs and conjecture, you know, we don't have anything, we need some evidence. Look, if-, if Lincoln didn't fire this gun then somebody with some serious skills went to work on this tape to prove that he did.

VERONICA: Fine, but how do we prove that?

NICK: I know a guy.

VERONICA: You know a guy...

NICK: Yeah, I know a guy.

[Fox River cafeteria - Michael picks up a tray of food]

MICHAEL: Thanks.

[Michael turns to walk away but Abruzzi blocks his way]

ABRUZZI: It seems we need to have another pow wow 'cause there's been talk about you packing your bags.

MICHAEL: Don't believe everything you hear. I'm not going anywhere.

[Michael tries to walk away but Abruzzi doesn't move his arm, so Michael walks around the other side of him, Abruzzi follows]

ABRUZZI: You know, I have a really hard time trusting you, Fish.

MICHAEL: The important thing is that we stay on schedule.

ABRUZZI: Yeah? English, Fitz and Percy?

MICHAEL: English, Fitz or Percy.

ABRUZZI: You know which one I think we should take out?

MICHAEL: With all due respect, I don't need opinions. I need answers.

[Abruzzi smirks slightly]

MICHAEL: Remember the Warden leaves at 5 tonight, so by 5 aftter 5 we're gonna need that key.

ABRUZZI: [Stepping in front of Michael, blocking his path] And how is this key gonna give you the answers?

MICHAEL: I'll worry about that. You worry about getting the key.

[Michael tries to walk away once more, Abruzzi grabs him by the scruff of his shirt with one hand]

ABRUZZI: This key better be worth it. Understand?

[Abruzzi exits, Michael sits down at a table with Westmoreland]

WESTMORELAND: Afternoon, Mr Scofield.

MICHAEL: I need to know if there's any way to block a transfer order.

WESTMORELAND: [Chuckles slightly, taking off his glasses] There's about 50 ways.

MICHAEL: Alright. I'll take the quickest.

WESTMORELAND: You follow motion for what they call an interlocutory injunction.

MICHAEL: How long does that take?

WESTMORELAND: How fast can you write? A man can claim almost anything that violates his constitutional rights. There's, er, environmental issues, allergies, religious requirements, take your pick.

MICHAEL: What if they don't buy it.

WESTMORELAND: Don't matter. Court's required by law to take your motion. 'Til they do, you can't be transferred. Hell, they've been trying to move my tired, grey behind for 10 years. God bless the American legal system.

MICHAEL: Why do you want to stay in here so badly?

WESTMORELAND: [Looking down at his cat, Marilyn, who he's holding underneath his jacket] There's someone here I can't bare to leave behind. I guess that means we've got something in common.


[Outside Fox River - A prison guard opens a gate for Sara and Katie as they exit Fox River, they are walking]

SARA: The state's requiring a physical for Lincoln Burrows.

KATIE: You heard the news, didn't you?

SARA: [To prison guard] Thanks. [To Katie] No, what?

KATIE: [Taking a file from Sara] They're brothers.

SARA: Who?

KATIE: Burrows and Scofield.

SARA: Michael Scofield?

KATIE: Heard it from one of the C.Os over in gen pop. He didn't say anything to you about it?


Katie: It must be hard to be here, so close to your brother, and not be able to do anything to help him.


[Pope's office - Pope is filling something out, Bellick enters and hands him some paper]

POPE: What's this?

BELLICK: A little bathroom reading.

POPE: Westmoreland again?

BELLICK: Scofield. He's blocking his transfer.

[Pope looks at the two sheets of paper that Michael has written]


[Michael's cell - Michael is stood against the cell wall, Sucre is sat on the edge of the top bunk]

MICHAEL: Even if the motion is denied, it's gonna take 30 days to process. And that means...

[Sucre whistles and makes a hand gesture that indicates them escaping from prison, then laughs and gives Michael a fist bump]

MICHAEL: [Looking at his watch] Alright, I'm going in. I'm gonna need your help.

SUCRE: You mean 'in' in? Now? I thought you were waiting 'til-

MICHAEL: I need to make sure I know how I'm getting up there, so when the time comes-

SUCRE: Yo, yo, yo. In case you didn't know this, the lights are all on. You got a live stuido audience, Fish. How are you gonna get around that?

MICHAEL: Didn't we have some laundry to do?

[Skips to Sucre washing a top in the sink while Michael unscrews a bolt]

SUCRE: Just to be clear, I ain't touching your drawers.

[Sucre then hangs a top up on the line, then stands by the cell gate and holds a mirror out through the bars so that he can see when someone's coming]


[Fox River outdoor area - some prisoners are being led through a yard, there are 6 or 7 prison guards are escorting them]

PRISON GUARD #1: On straight ahead!

PRISON GUARD #2: Keep it moving.

[We see Abruzzi walking along in the line, he spots a certain prison guard and turns to one of his cronies]

PRISON GUARD #2: Keep it moving, keep it moving.


[Abruzzi's cronie nods, takes a couple more steps, then floors the prison guard with one punch and a fight breaks out between the prisoners and the guards. The cronie that punched the guard is being wrestled on the floor, but while this is happening he grabs hold of the guard's keys and presses a material against it, the key leaving its shape indented into the material. Finally, a sniper shoots the ground nearby and all the cons drop to the floor. The prison guard that got punched kicks the cronie while he's down, then two guards pick him up and the cronie received one more punch to the gut befor being taken away. Abruzzi spots the material he was using to mould around the key, crawls over and picks it up]


[Michael's cell - he slides the toilet and sink away from the wall and crawls through to the other side, he is now in a very long, thin corridor that clearly isn't used much, all along the walls are metal pipes, etc. Michael looks around, then lifts up his top and looks at part of the tattoo on his torso. He then walks forward a little bit and begins to climb up by using the pipes on the walls, he pushes a panel of the metal floor above aside so that he can climb up through. Back in the cell, Sucre is by the toilet panicking]

SUCRE: [Whispering] Fish! [Moving back over to the cell gate] I can't deal with this.

[We see Michael climbing up another level, looking at his tattoo, then climbing up another, he then spots a hatchdoor leading to the roof just 2 levels above him. As Michael goes to climb back down the levels, someone opens the door at the end of the corridor and steps through, Michael looks extremely worried]

Act 2

[Michael's cell - carry on from where we left off before break - Sucre is still checking in the mirror that no officers are coming]

SUCRE: [Whispering to himself] Fish. Come on.

[Back to Michael 'behind the wall'. The man who came through the door turns out to be a janitor sneaking into the corridor for a cigarette, we see him lighting one and smoking it. We then see that Michael is holding himself up directly above the janitor, just underneath the level above but on top of two metal pipes that go all the way down the corridor. Back in the cell, Sucre runs back over to the hole in the wall behind the toilet]

SUCRE: [Whispering] Yo, Fish. Fish, you're taking too long, bro.

[We see the janitor still smoking his cigarette casually, Michael is sweating a lot. A bead of sweat drops from Michael's nose and just misses the janitor, who then turns around, puts out his cigarette and exits through the same door. Skips to Michael screwing the screws back into the toilet while Sucre stands against the cell wall]

SUCRE: This ain't gonna fly, man. The Ricans, we got genetically higher blood pressure, you know that? My cousin, he died from too much stress.

MICHAEL: I thought you said your cousin was moving in on your girl.

SUCRE: That's my other cousin, but thanks for bringing that up, jackass.

MICHAEL: [Standing up, opening a book and hiding the screw inside] Look, the good news is I can get to the roof.

SUCRE: So what happens now?

MICHAEL: Now it's all about timing.


[Abruzzi's cell - Abruzzi is looking at the time on his watch, it reads "3:49", then changes to "3:50", he then turns and looks at his cellmate who is using a toothrbush and some other instruments to create a liquid that will fall onto the material used to mould round the key, which will then dry, forming a copy of the actual key. Abruzzi looks down at Michael in his cell, Michael returns the look, Abruzzi nods and turns to see the key being completed]


[Unknown location, somewhere where security tapes are kept, etc - Nick and Veronica are with a man who knows all the ins and outs of video tapes and tampering with them, they're going over the tape]

SECURITY TAPE GUY: This is a top dollar job, do you know who did it?

NICK: No. Do you?

SECURITY TAPE GUY: People who do this kind of work are ghosts, man. The guy behind the guy behind the guy. You know what I mean?

VERONICA: Do you see anything? Definitive cuts any place that prove the tape might have been doctored?

SECURITY TAPE GUY: The thing's clean. No footprints. I mean, usually you pull a video back a couple of layers and anything bogus comes off, you know; now you see it, now you don't. But not this one. It's laced. Ingrained.

[On the video, Lincoln shoots his gun]

SECURITY TAPE GUY: Woah, woah, woah, woah.

NICK: You see something?

SECURITY TAPE GUY: No. The problem with your eyes is that they play tricks on you. But your ears, ears don't lie. Here's the audiotrack from the tape.

[We see Lincoln shoot the gun on the tape, the audiotrack flashes once with the bang]

SECURITY TAPE GUY: Sound pretty true, right?

NICK: Yeah.

SECURITY TAPE GUY: But noise is alive, see, it doesn't just die like that. Stripped down, those levels should be dancing, a room that size would give you a BLAM, blam, blam, blam, you know? Like one off each wall, a split second after the other. On yours, the reverbs bounce at the same time.

VERONICA: What does that mean?

SECURITY TAPE GUY: Well, the sound of the gunshot. It wasn't recorded in that room.

VERONICA: Would you testify to that?

SECURITY GUARD: [Hesitating] Oh, I don't know. The tape you gave me's a 2, you know, for all I know you guys tampered with it. Look, you want me to testify in court, I'm gonna need to get my hands on the original.

[Veronica and Nick share a concerned look]


[Pope's office - Michael is working on the model Taj Mahal, Pope accompanies him]

POPE: How are those allergies?

MICHAEL: Excuse me.

POPE: In your motion you sited chronic, um...

MICHAEL: Sinusitis.


MICHAEL: [Standing up] It's not an allergy actually, it's a bacterial infection.


MICHAEL: The moist air from the river along the east wall helps keep me, you know, [breathing in through his nose heavily] clear.

POPE: I'm impressed. Not even a week in here and you're already working it like an old con.

[Michael puts a support somewhere in the Taj Mahal and holds it there]

MICHAEL: Well, you've got one up on me, Warden. You know why I needed to file those motions but I have no idea why you needed to transfer me.

POPE: Traffic control, Scofield, that's all. Traffic control. Look, it's coming up on 5 o'clock, what do you say we call it a day?

MICHAEL: I don't think I can do that, sir.

POPE: Why not?

MICHAEL: If I let go of this support right now, the whole thing's coming down.

[Pope looks at what Michael's talking about]

MICHAEL: See, the Taj was designed using axial force, a series of internal forces along the longitude and the laxis that-

POPE: Ur, yeah, how much longer?

MICHAEL: Depends on how long it takes to dry. If you need me to leave, I can show your secretary how to hold it.

POPE: Alright, you can stay 'til it dries, there'll be a guard waiting outside the door. Just check in with Becky when you're done and she'll have somebody escort you back to your cell.

MICHAEL: Alright.

POPE: And, er, Scofield... I want to thank you for showing up today. I would have understood it if you didn't.

MICHAEL: We had a deal.

POPE: Right. Still, thanks. My wife is gonna love it.

MICHAEL: You're welcome.

[Pope exits. Michael lets go and stands upright, there was no actual threat of the structure falling down, he walks over to the door and listens]

PATTERSON: [Out of shot] See you tomorrow, sir.

BECKY: [Out of shot] Goodnight, boss.

[The sound of Pope exiting the other room, Michael opens the door and peaks out]

PATTERSON: We just happen to be two people who happen to know each other and happen to show up at the same movie theatre at what happens to be the same time.

[Becky giggles, embarrassed. Michael smiles and closes the door quietly, then tries to open the door to another room but it's locked. He looks at the time, it's about 5 to 5 PM. Skips to a corridor somewhere - Abruzzi is pushing a P.I trolley along]


[Pope residence - Judy is in the kitchen pouring two glasses of ice tea. Pope enters]

POPE: [Putting his bag, etc, down] You know, from this angle you look just as good as you did when we first met.

[Judy faces Pope]

JUDY: How about from this one?

POPE: Even better.

[They kiss and hug]

POPE: [Spotting the icea tea] Oh.

[Pope goes to pick up a glass]

JUDY: Uh-uh. Those are for your guests.

POPE: Guests?

JUDY: Your associates? They said you had a meeting. They're in the den.

[Pope walks through to the den, Kellerman and Hale are both sat in armchairs]

KELLERMAN: Evening, Warden.

[Kellerman and Hale both stand]


[Pope's office - Michael is looking at the clock, it's about 5 past 5 PM now, he leans against the door and feels Abruzzi unlock it from the other side, leaving the key in the door. Michael exits through that door, locking it and joining a queue of prisoners]


[Pope residence - Pope is sat behind a desk, Hale in a chair the other side, Kellerman is stood, pacing slightly

POPE: There's nothing I can do. I'm legally obligated to file every properly drafted motion with the court so that a hearing can be scheduled.

HALE: And how long does that take?

POPE: A month, maybe two if there's a large aim. I'm sorry but it's out of my hands.

HALE: Why do I get the feeling you're not all that disappointed?

KELLERMAN: May I ask you a question, Warden?

[Pope nods once]

KELLERMAN: More of an observation really. I was looking at the, um, morgue photos from that boy back in Toledo, Will Clayton, and, my lord, if he wasn't the spitting image of his daddy. [Taking a seat] The apple fell real far from the treet with that one, didn't it? It fell off the tree. It fell all over the pavement.

POPE: You son of a bitch.

KELLERMAN: Your wife gave you a pass on the affair. Something tells me that's pretty much all the forgiveness she's got left in her bag.

POPE: Especially when it comes to an illegitimate child.

KELLERMAN: What happened with young Will, Warden?

[Pope stands up, confronting Kellerman, Kellerman and Hale stand as well]

POPE: Get out of my house.

KELLERMAN: Lose Scofield's paperwork.

[Judy enters]

JUDY: Are you gentlemen staying for dinner?

HALE: Thanks but I think we're on our way.

KELLERMAN: Judy, it was a real pleasure. [Shaking Judy's hand] Thank you, and that just may have been the best ice tea I've ever had.

[They both chuckle]

KELLERMAN: [Putting his arm around Judy] Warden, you better do everything you can to hold on to this one.

POPE: [Hesitating slightly] I will.

[Kellerman and Hale exit]

JUDY: Is everything alright?

POPE: Oh, yeah. It's just fine. I, er, I just have a little unfinished work to take care of. I'll be right in.

JUDY: Okay.

[Judy exits and Pope shreds Scofield's paperwork]


[Lincoln's cell - A buzzer sounds, a prison guard handcuffs Lincoln to his bunk]

PRISON GUARD: It's all clear.

[Sara enters]

SARA: Evening, Lincoln.

LINCOLN: Doctor.

SARA: I'm, er, supposed to give you a physical this evening. Let me apologise in advance for the heavy dose of irony that we're about to participate in.

LINCOLN: That's fine, just doing your job.

SARA: [Wrapping a sphygmomanometer around Lincoln's arm]Yeah, well, letting the state know that you're healthy enough to execute is not why I went to medical school.

[Lincoln smiles, Sara puts the stethoscope in her ears]

SARA: I apologise.

LINCOLN: It's okay.

[Sara inflates the sphygmomanometer, records the resuld and removes it from Lincoln's arm]

SARA: Alright. I'm, er, gonna need a family medical history from you. [Getting out a form] Any ailments or conditions that are hereditary. Start with your mom.

LINCOLN: Er, cancer. Liver.

SARA: Okay, your father?

LINCOLN: Um, split when I was young.

SARA: Siblings.

[Lincoln shakes his head]

SARA: Anyone besides Michael?

[Lincoln turns and looks at Sara]

SARA: Fox River's a small town, Lincoln. People round here don't have a whole lot to do besides time and talk... Are you close?

LINCOLN: [Thinking back to when Lincoln was consoling Michael after their mother died] We were.

SARA: How about now?


SARA: How about now?

LINCOLN: He's been abandoned his whole life. Dad, mom, she died young, and now me.

SARA: You think that's why he's here? 'Cause your-, your death would feel like it's happening again?

LINCOLN: I abandoned him a long time ago. That's why he's here.

[We see Pope at home looking at old pictures of his illegitimate son, he turns one over and it says on the back "Will, Age 10", he drops the picture onto his desk]


[A-wing - Prisoners walk back to their cells in single file, Michael is in the line, he looks at his watch while he walks. Michael steps into his cell where Sucre is sat on the lower bunk reading, he watches his watch count down to 5:45 PM, then his watch beeps and he puts his hands in his pockets]

PRISON GUARD: [Out of shot] Gates closing!

[The cell gates close]

MICHAEL: It's time.

[Michael takes the bolt from underneath the top bunk]

SUCRE: Time? [Standing and going to the cell gate] Oh, God, here we go again. He comes in 15 minutes, what are you doing?

MICHAEL: [Unscrewing a bolt in the toilet frame] Trust me. The less you know, the better.

SUCRE: The less I know? Man, you got me in the dark.

MICHAEL: That's exactly where you want to be.


[Church - Pope sits on a pew, he may be in deep though or praying. Chaplain Ben enters out of shot]

BEN: Don't normally find you here at this hour. Are you seeking his forgiveness or advice?

POPE: [Chuckles slightly] I really don't know anymore, Ben. All I know is my son, Will, was my responsibility and if I'd stayed in his life, I could have saved his life.

BEN: His death was an accident, Henry.

POPE: [Nodding] He was a criminal. And an addict. But he was only 18 years old.

BEN: His mother made it clear you couldn't be in his life if you weren't going to be in hers. When you chose to stay with Judy, you understood that.

POPE: I not only understood it, I was grateful for it. I-, I told myself I was respecting her wishes. I cursed her under my breath, while every day I thanked God for allowing me to wash my hands of her. Of Toledo. All of it, I... So I ran home. To Judy. And I buried the secret. But I never got a chance to... to bury(?marry?) my... my so- [breaks down into tears] Oh, sh-... What kind of a person does that, Ben? Sacrifices somebody else's life just to make their own life easier.


[Evidence lockup - Veronica and Nick are in an office blockup where the evidence for many different cases are kept. They are talking to the secretary who works there]

SECRETARY: You can argue with me all night. Believe me, I haven't got anything better to do. But it won't change the fact that I can't just hand out original copies of evidence.

NICK: [Handing over a file] If you could just take a look-

SECRETARY: Oh, I don't care if your file was signed by the attorney general, I can't give it to you.

VERONICA: What if we brought somebody here to watch it? Your supervisor could monitor the entire time, we'd strip down, swear on a stack of Bibles, whatever it takes.

SECRETARY: Wait, what did you say the docket number was?

VERONICA: It's, er, 296SPE.


NICK: What's wrong?

SECRETARY: Come with me.

[The secretary leads Veronica and Nick through to a room in the back, the time on a clock displays that the time is just before 6 PM. The room is full of wet boxes and paper]

SECRETARY: Last nigh a pipe burst upstairs. Flooded the place. Files from over a hundred cases, pretty much lost all of them, including yours.

VERONICA: Just this room?

SECRETARY: Some kind of freak accident.

[Veronica and Nick share a look]


[Michael's cell - Sucre stands looking at his watch, the cell gate opens]

PRISON GUARD: [Out of shot] Count 'em.

BELLICK: [Out of shot] Callaghan, Knight... Malinowski, Poland...

[We see Michael climbing up through the levels behind the wall of his cell again. He opens the hatch that he saw last time and climbs out onto the roof of the prison. As he's climbing up the moist roof, he slips and slides down into a metal vent, making a bang. A spotlight pans right past him. Michael looks at the time, it's seconds after 6 PM. Back in the A-wing, Bellick is on Michael's row of cells now]

BELLICK: Chance, Crezziano... Scofield, Sucre.

[Sucre steps out of the cell, obviouly Michael doesn't]

BELLICK: Scofield. [Taking out his baton] Get the hell out here.

[Bellick enters the cell and hits Michael's bunk lightly, he realises Michael is not there]

BELLICK: We got a runner!

[Bellick blows his whistle]

Act 3

[The alarm sounds, bright lights shine all around the prison courtyard, prison guards search with torches and search dogs. In the A-Wing, prisoners are jeering and shouting. Sucre is the only prisoner stood outside his cell, Bellick still with him. Bellick hits his baton against the wall right next to Sucre's head, Abruzzi watches from his cell]

BELLICK: Alright, for the last time, pinata. Where the hell's Scofield? He's gone, you're gone, you hear me?

PATTERSON: [Through Bellick's radio] Call it off, captain. I got Scofield right here.


PATTERSON: [Through Bellick's radio] In the Warden's office.

BELLICK: You looking at him?

[We see Patterson smiling at Becky in her office room]

BELLICK: [Through Patterson's radio] Stop trying to nail the secretary and check the damn office!

[Patterson opens the door and realises Scofield is missing]

PATTERSON: Captain. He's gone.

[In the A-Wing, Bellick gives Sucre a stern look. We see Michael on the roof again, he watches police cars race down English Street, then looks at the time on his watch. He then turns to his left and sees more police coming along Percy Avenue. He turns left again and sees that Fitz Street is empty. We then see prison guards racing along the corridors behind the cell walls with guns and flashlights. Pope speaks to Bellick while walking to Becky's office]

POPE: A man can't just vanish, deputy.

[Pope enters Becky's office]

POPE: [To Becky] And he never checked out with you?


POPE: And the rear door?

PATTERSON: Still locked, sir, I checked.

POPE: [Bursting into his office] How the hell did he-

[Michael pops his head out from behind the Taj Mahal]

MICHAEL: What's going on?

BELLICK: [Rushing over to Michael] You're in the Warden's office after hours. [Grabbing Michael and pushing him up against a wall] I could kill you. And the paperwork wouldn't need much more than a day.

[Bellick holds his elbow against Michael's throat, choking him]

BELLICK: Tell me, what were you doing in here!?

POPE: Alright, deputy, that's enough.

[Bellick releases Scofield]

MICHAEL: The work wasn't dry, you said to stay until it was.

POPE: You were in here the whole time?

MICHAEL: Yes, sir.

BECKY: It's true, I never saw him leave.

PATTERSON: I must not have seen him behind the table.

BELLICK: Warden, all due respect, this is ridiculous. This prisoner was out of his cell. He missed the count.

[The camera focuses on a painting/material pattern on the wall again]

POPE: I understand, deputy. The thing is, Mr Scofield is not our problem anymore. It seems there was an error in his paperwork, he's gonna be transferred after all.

MICHAEL: That's not possible.

POPE: Escort the prisoner back to his cell.

[Bellick begins to lead Michael out of the room]

MICHAEL: Warden, all I need is 3 weeks.

[Michael begins to struggle, Patterson and Bellick restrain him]

Michael: Get off me!

[They wrestle Michael out of the room]

MICHAEL: Henry, please, I just need a little time. Just give me the time.

[Outside Veronica's apartment - Veronica and Nick are walking]

NICK: Any chance you want to write this off as a coincidence?

[Veronica gives Nick a look]

NICK: Yeah, me neither.

VERONICA: How could they knew we were coming for the tape? 3 hours ago, we didn't even know.

NICK: Well, we're pissing someone off.

VERONICA: You say that like it's a good thing.

NICK: People start breaking the law, you know you're getting warm.

[Veronica unlocks the door to her apartment block and they enter]

VERONICA: We still have our copy of the tape so maybe-

[She pauses, seeing that the door to her apartment is ajar. Nick spots this too and puts down his briefcase]


NICK: Stay here.

[Nick enters the apartment, Veronica following slowly behind]

NICK: Whoever it was has gone. Does it look like they got anything?


[Veronica puts her bag on the table and looks around]

VERONICA: Everything's exactly the way I left it.

[She spots an open cupboard and walks towards it quickly]

NICK: [Following] What? What?

[Veronica looks through some tablecloths and sheets, then starts throwing them out of the cupboard]

Nick: What?

VERONICA: The tape. It's gone.

NICK: Are you sure?

VERONICA: How could they know?

NICK: Let's think this through.

VERONICA: How could they know exactly where to look!?

NICK: Wait, does anyone else have a key to this place?


NICK: Are you sure this is where you put it?

VERONICA: You were here, remember? I was talking to you, I walked toward the cabinet, and I... said...

NICK: What? Veronica? Are you okay?

[Veronica turns her head slowly towards Nick]

NICK: Veronica?

[Michael's cell - Michael is sat on his bunk, Sucre his sat on his reading]

BELLICK: [Out of shot] Open up!

[The cell doors slide open, Bellick enters]

BELLICK: [To all prisoners] Breakfast time, let's move it! Sucre, let's go. Scofield, wait here. I'm sure your ride will be along any minute now.

[Bellick exits, Sucre hops down from his bunk]

MICHAEL: This can't be it. [Smiles] It can't end like this.

BELLICK: [Walking back past the cell] Let's move it!


SUCRE: What?

MICHAEL: We were gonna take Fitz out. It was as clear as day.

SUCRE: And the cops? How long did it take them to respond? You got all the timing down?

[Michael gives Sucre a look]

SUCRE: You think we would have made it?

[Michael doesn't respond, Bellick returns]

BELLICK: Sucre. Now.

[Bellick and Sucre exit. Michael takes the bolt from underneath Sucre's bunk and puts it underneath Sucre's pillow, then takes an origami swan from his shirt pocket and places it on the pillow, then leans against the cell wall. Skips to Bellick leading him out of the A-Wing, then to Bellick leading him along outside, Sara looks out of her office window and sees this. Michael is now being escorted past the courtyard, prisoners lean against the fence and watch him as he is lead away, we see Westmoreland watching, then Abruzzi]

ABRUZZI: Hey, Fishface! [Hits the fence] Where you going?

[We see Sucre watching on, also leaning against the fence, Abruzzi walks away]

ABRUZZI: [To one of his cronies] Call my wife. Tell her to get the kids and get the hell out of the country.

[We see Lincoln doing labour, accompanied by a guard, he looks up and sees Michael being escorted away, he stands up and watches]

MICHAEL: [Whispering] I'm sorry.

[Pope watches on out of his window, then leans back in his chair. The main gates to the prison are opened as Michael is lead out]

PRISON GUARD: Don't forget to buckle up.

[Bellick hands Michael, along with his file, to another prison guard, Pope enters]

POPE: What's this prisoner doing out of his cell?

PRISON GUARD #2: He's being transferred.

POPE: No, no, no, no, there must be some kind of a mistake. This man filed a motion yesterday, he has a medical condition which precludes transfer. [To Michael] Sinusitis, right?

MICHAEL: Sinusitis.

POPE: Take the prisoner back to his cell. But yank his rec time, he missed count last night.

[Michael spots a black car parked outside the main entrance of the prison, Kellerman and Hale are inside. Pope spots them too, gives a stern look, then walks away]

[Pope residence - Pope pulls into his driveaway and exits his car and walks toward the front door. Judy is sitting on a bench to the side of the front porch, Pope doesn't see her at first]

JUDY: Hey. You're home early. Everything okay?

POPE: Yeah. [Approaching Judy] Yeah, it is. There's just, um... Judy... There's someone I need to tell you about.

[A house on a lake, surrounded by trees and greenery, unknown location - the sound of a phone ringing, an unknown woman picks it up, Kellerman is on the other end]


KELLERMAN: [On the phone] The transfer did not go through.

UNKNOWN WOMAN: That's disappointing.

KELLERMAN: We can refile but the Warden-

UNKNOWN WOMAN: It's a waste of time. [Opening the fridge and taking a bottle of water] I think it's time we stop beating around the bush, gentlemen, and go after the damn bush.

[We see Lincoln in a the prison church while this phone conversation happens, Michael enters and puts his hand on Lincoln's shoulder]

KELLERMAN: Burrows. What do you want done?

UNKNOWN WOMAN: Take the only thing Burrows has left. Time. After all, the chair isn't the only way to take a man's life in prison.

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