From:www.fox.com/prisonbreak/recaps/recap_101_1.htm
Prison Break
Episode 101 "Pilot"
Airdate: 08/29/2005

Michael Scofield watches a tattoo artist add the finishing touches to a section of his arm. She marvels at her masterpiece. In just a matter of months, Michael has tattooed his chest, back and both arms down to the wrists. The tattoo artist tells him that it takes most guys a few years to get that much ink done. Michael cryptically replies, “I don’t have a few years.”

Michael hurries back to his apartment, passing a small origami swan perched on his desk. Every inch of wall and window space is wallpapered with papers, maps and newspaper articles. Some article titles read: “Lincoln Burrows’ Final Appeal Denied,” “Governor’s Daughter Wins Humanitarian Award,” and “Life Sentence for Mob Boss Abruzzi.” Michael methodically tears the web of information off the windows, and then turns to his computer. He pulls the hard drive out and steps out onto the balcony. Michael rears back and throws his hard drive into the Chicago River below.

The next day, Michael stands inside a bank, arm raised high with a gun pointed toward the ceiling. Bank personnel and clients sprawl across the floor, covering their heads. Michael fires his gun upward; the people cower. He points the gun at a bank employee behind the counter. “The vault. Open it.” She tells him that she can’t because the bank manager is not around; he’s at lunch. Michael aims his gun upward again and fires twice. “I’m not playing games, open it.” The bank employee tries to convince him that the half million he has in his bag is more than enough for him to just walk away. She trails off at the sounds of sirens. Squad cars surround the building. A police helicopter circles the bank. Michael drops his weapons, raises his hands and slowly turns around.

Inside a courtroom, Michael sits behind a table. His lawyer and longtime friend, Veronica Donovan, stands beside him. The judge is baffled by Michael’s no contest plea and suggests that he rethink it. When Michael says he is sure of his plea, Veronica steps in and tries to convince him otherwise. But Michael refuses to change it. The judge calls a recess to determine Michael’s sentence. As the bailiff leads Michael away, Michael sees his nephew, LJ, sitting in the courtroom. “Go home LJ. I didn’t want you to see this,” Michael tells him.

Veronica follows Michael to a jail cell in the courthouse. “He’s not going to take this well,” Michael says, referring to LJ. “Can you blame him?” Veronica snaps back. She tells him that LJ is beginning to feel like everyone he cares about is going to end up in prison. Veronica adds and LJ isn’t the only one who feels that way. Veronica interrogates Michael further about his behavior in the courtroom and the behavior that landed him there. This isn’t like him. But Michael insists, “You’ve got to let me deal with this.”

Back in the courtroom, the judge announces her decision. She was inclined to give Michael probation. But, because he fired a deadly weapon during the attempted robbery, she wants him to do time. She notices that Michael has requested a prison close to his Chicago home and places him at Fox River Penitentiary, a maximum security prison. The term of his sentence will be five years, beginning immediately.

Fox River Penitentiary is an old prison. Guard towers and forbidding razor wire line the perimeter. Inside, a correctional officer barks out orders as new inmates walk through their welcoming process. Here, inmates shower and receive prison uniforms. Michael is coldly greeted by the head correctional officer, Captain Brad Bellick. Bellick reads over Michael’s forms and lays out the rules of the prison. There are two commandments at Fox River. “One, you’ve got nothing coming to you,” Bellick gruffly states. When Michael inquires about the second commandment, Bellick replies, “See commandment number one.” Michael tells Bellick he’s just trying to do his time and get out, fly under the radar. Bellick looks down at Michael’s form again; the words “Type I Diabetes” are written and circled.

In his cell, Michael studies the hundreds of prisoners milling in their cells. “I suggest you take a seat, fish,” Fernando Sucre, better known as simply “ Sucre,” tells his new cellmate. Michael watches inmates walk across the floor below. Suddenly, one of them is stabbed by another. The victim falls to his knees, bleeding and screaming. The inmates holler in excitement. Sucre calls over Michael’s shoulder, “Welcome to Prisneyland, fish.”

Late at night, Veronica is at home staring out the window. Her fiancé, Sebastian, wanders down the stairs looking for her. There’s something on her mind. Sebastian asks, “You want to talk about it?” Veronica tries to brush it off, but she is troubled by Michael’s case. She says she shouldn’t talk about it and Sebastian heads back to bed.

Sucre and Michael head out to the yard. Sucre serves as a tour guide, telling him whose turf is where. They walk by an older man holding a cat. Michael inquires about him. Sucre tells him that while the man will deny it, he’s the infamous D.B. Cooper who parachuted out of a plane thirty years ago with a million and a half in cash. Sucre begins chatting with some other inmates while Michael’s eyes scan the yard. He focuses on two yellow fire hydrants and a grate expelling steam. Next to Michael’s foot is another grate, he forces a magazine down it. Then he turns back to Sucre and the inmates. “I’m looking for someone. His name is Lincoln Burrows.”

Sucre takes him to a part of the yard where they see Lincoln squatting against a wall, far removed from the general population. He’s known in the prison as “Linc the Sink.” He’s a death row inmate awaiting execution for the murder of the Vice President’s brother. Sucre asks Michael, “Why do you want to see Burrows so bad anyway?” Michael boldly replies, “Because he’s my brother.” Sucre tells him that the only way he can get close to his brother is through “P.I.” or Prison Industries. But former mob boss and Fox River celebrity John Abruzzi has a heavy hand in P.I..

Michael folds another origami swan in his cell. He flashes back to a conversation he had with Lincoln a few months ago, where they talked about the date of his execution. Separated by glass and steel in the visitation area, Lincoln swears to Michael that he did not kill the Vice President’s brother. Lincoln tells Michael that he doesn’t know how they did it, but it was a set up. Back in the cell, Sucre is writing a letter to his girlfriend, Maricruz. He wants to propose to her.

LJ and a friend ride their bikes through a dark alley in Chicago. They arrive at a set of doors, push a buzzer and a well-dressed man exits. They follow the man to a car, where he opens the trunk and puts a large bag of marijuana into LJ’s backpack. LJ and the man finalize the details of the transaction and the boys ride away. But undercover officers are watching. Before the boys can flee, the police close in on them.

Michael makes his way across the yard where John Abruzzi sits, playing cards. Michael boldly tells Abruzzi that he needs to be hired for P.I., but Abruzzi is not interested in this new fish. Someone like Michael has nothing to offer someone like Abruzzi. Michael quietly says, “I wouldn’t be so sure of that,” and places an origami swan before Abruzzi. Abruzzi’s goons stand up, signaling Michael’s exit. “Come find me when you want to talk,” Michael says as he backs away. Abruzzi flicks the swan away from him.

Inside a warehouse, giant slabs of meat hang from the ceiling and butchers stand about, chopping beef. Mobster Gavin Smallhouse enters, carrying an envelope. Maggio, a heavy set man in a butcher’s outfit, walks over to Gavin. Inside the envelope is a photo of an older man, taken from a distance. The man in the photo is Fibonacci, a mob informant whose testimony put Abruzzi behind bars. Smallhouse and Gavin are very interested in where the photo came from. But there’s something else in the envelope. “What is it?” asks Maggio.

In the prison infirmary, Dr. Sara Tancredi sinks a hypodermic needle into Michael’s arm. “I’m Michael, by the way,” he says to her in a mildly flirtatious tone. “And you are?” Sara replies, “Dr. Tancredi will do.” Michael asks her if she is the daughter of Governor Tancredi, but Sara doesn’t answer. If this humanitarian award winning idealist is in fact the daughter of the tough-on-crime governor, it is not a fact she likes to advertise. Dr. Tancredi exits the room for a moment, and Michael jumps up, sneaking another origami swan into the drainage grate in the infirmary floor. He’s back in his seat before Sara returns. She tells him that since hypodermic needles are not permitted in an inmate’s cell, he’ll have to come to the infirmary for his regular insulin shot.

In Washington, D.C., Special Agent Hale enters the office of Special Agent Kellerman. Hale tells Kellerman that everything is in place for Lincoln’s execution, except for Bishop McMorrow. Hale worries that the Bishop has a lot of influence with the Governor and may persuade him to grant a stay of execution. Kellerman realizes Hale’s point. “Maybe it’s time we arranged a visit with the good Bishop then.”

In the prison chapel, Lincoln gazes up at the chaplain. When he stands to exit, he turns and sees Michael for the first time. Lincoln can’t believe it. “Why?” he asks Michael. Michael tells him that he’s going to get Lincoln out of prison. Lincoln tells Michael it’s impossible. Michael replies, “Not if you designed the place it isn’t.”

Sebastian and Veronica flip through a book of wedding invitations. Sebastian tells her that they need to make a decision soon. But Veronica wants to take her time and do it right. Sebastian feels like Veronica is having second thoughts. Veronica reassures him that he’s the man she wants to be with.

Sucre is panicked about his letter to his girlfriend. She’s supposed to meet him for a conjugal in a couple days, but hasn’t called him to confirm that she’s coming. A C.O. bangs on the cell door. “Scofield, The Pope wants to see you.” Sucre tells Michael that no one gets an audience with The Pope unless he’s really interested in what you have to say.

Warden Henry Pope peels off his glasses and reads Michael’s academic accomplishments. “I can’t help but wonder what someone with your credentials is doing in a place like this.” Michael brushes it off. “Took a wrong turn a few months back, I guess.” The Pope noticed that in Michael’s file, he claimed to be unemployed, but Pope isn’t fooled. “I know you’re a structural engineer, Scofield.” Pope leads Michael into the next room where a massive model of the Taj Mahal made out of toothpicks sits atop a work table. The model represents his love for his wife, Pope explains, and he hopes to give it to her as a fortieth anniversary present in two months. The problem is, Pope has built it without proper reinforcements, and he needs Michael’s help to keep it from collapsing. Pope offers Michael three days of work a week in Pope’s office. Michael rejects the offer. The Pope is stunned, “Son, it’s better for me to owe you one in here than for you to owe me one, I can promise you that.” Michael says he’ll take his chances and Pope calls for the guard to escort Michael out.

LJ is being scolded by his mother, Lisa Rix. “Two pounds of pot? Were you trying to set a record?” LJ cracks a smile, but Lisa pounces on him. “It’s not funny LJ, you could be going to jail!” LJ’s stepdad, Adrian, enters. Lisa says that LJ needs guidance, and LJ mutters that he certainly won’t get it from Daddy Warbucks. Lisa doesn’t understand why LJ is misbehaving, until she thinks about Lincoln. Maybe a face-to-face with his father will set LJ straight.

Veronica visits Michael. Michael seems determined to stay put in Fox River, even telling Veronica not to appeal his case. Veronica knows something is going on and she demands to know what he’s planning. The conversation turns to Veronica’s relationship with Lincoln. She tells Michael that she gave Lincoln every chance to make it work when she returned from college and Michael points out that maybe Lincoln was hurt that she left in the first place. She begs Michael to stop what he’s doing. Michael tells her that if they want to save Lincoln, she needs to find whoever is trying to frame Lincoln.

As Veronica signs out, Lincoln is being led through a parallel corridor. He sees her, but she does not see him.

Hale and Kellerman meet Bishop McMorrow at his home. Kellerman attempts to convince the Bishop to separate himself, no matter what, from Burrows’ case. The Bishop is firm; if an inmate on death row asks for help, the Bishop will intervene. Kellerman plays his last card, and accuses the Bishop of committing fraud. The Bishop stands strong and says he will not be bullied.

Abruzzi leans against a payphone, on the other end is Maggio. “You heard me. Someone found Fibonacci.” Abruzzi’s eyes light up and he wants to know who sent it. Maggio says he doesn’t know, but in the envelope was a “folded up bird.” This registers with Abruzzi and he hangs up the phone and walks away.

Michael stands in the yard over the grate he dropped the magazine into. When he looks down, he sees the swan from the infirmary resting against it. Behind him, Charles Westmoreland watches; his cat, Marilyn, is wrapped in his jacket. Michael sits down next to him. Michael tells Westmoreland that he knew his wife. After testing Michael to ensure this new fish can be trusted, Westmoreland relaxes. Michael asks if Westmoreland is D.B. Cooper. Westmoreland smiles and replies, “Every new fish that comes in here, first thing they hear is that Charles Westmoreland is D.B. Cooper.” Westmoreland denies it. Abruzzi approaches, flanked by his goons. Westmoreland takes off.

Abruzzi wants Michael to talk. Michael only asks, “Say you could get outside those walls. Would you have the people in place to make sure you disappeared forever?” Abruzzi says he would, but that’s not what he came to talk to Michael about. He demands to know where Fibonacci is. Michael makes a threat; if someone comes for him, he’s going after Abruzzi. Abruzzi’s goons take offense to the statement and jump Michael. Michael lands a punch on Abruzzi before one of the goons unleashes a sock filled with batteries and begins whipping Michael. A C.O. in the guard tower takes notice and fires warning shots into the yard around Michael and Abruzzi, ending the skirmish.

In Pope’s office, the warden threatens to throw Michael in the SHU for ninety days for fighting. But Michael thinks fast and offers to help fix the Taj instead of doing time in isolation. Pope agrees.

The Bishop is fast asleep in his massive bed. A shadow moves across the wall. A floorboard creaks. “Who’s there?” he groans. He sits up, eyes wide. A gun with a silencer fires once.

In Veronica’s office, her assistant enters and tells her the news of the Bishop’s murder. As it dawns on her that the one person who could have helped save Lincoln’s life has been murdered, Veronica mutters, “Michael was right.” She removes a copy of Lincoln’s trial deposition from a file cabinet.

A guard walks Lincoln to the visitation area where Lisa and LJ wait. Lisa informs Lincoln of LJ’s arrest and tells him that LJ needs some fatherly advice. She leaves the two alone. Lincoln tries to tell him that he needs to fly straight because he doesn’t want to end up in a place like Fox River. LJ has no interest in taking advice from his deadbeat dad. “They’re putting me to death LJ. In a few months time, I’ll be dead. You get that?” Lincoln tells him. LJ snaps back, “You’re already dead to me.”

Sucre paces in the conjugal area, nervous that Maricruz isn’t coming. A guard opens the door and Maricruz enters. She giddily accepts Sucre’s proposal.

Michael visits the infirmary. Sara reads his chart; something is strange. His blood glucose isn’t reacting to the insulin the way a diabetic should. She asks if he’s sure he has Type I diabetes. He says he’s sure, ever since he was a kid. The phone rings, saving Michael momentarily. He gets up and looks out the window at a telephone wire that runs from the infirmary roof to the prison wall. He looks down and his hands are shaking. Sara tells him she will run some tests the next time he’s in.

Back in the conjugal area, Sucre asks Maricruz how she got to the prison. When she answers, “Hector,” Sucre explodes. He doesn’t like Hector. He thinks Hector’s trying to steal her away. Maricruz tells Sucre that he has nothing to worry about.

Michael approaches an inmate named C-Note, he’s the “local pharmacy.” Michael asks for PUGNAc, an insulin blocker. C-Note says that kind of medication should be available at the infirmary, but Michael sets him straight. He can’t get an insulin blocker from the infirmary because he’s already going there for insulin shot. C-Note wonders why anyone would fake a condition to get insulin they don’t need, but when Michael hands him the cash, he stops asking questions.

Michael is in his cell. A C.O. walks up and taps on the bars with a P.I. work card. Michael smiles.

After a session of painting the halls, Michael and Lincoln walk in together. Lincoln asks about Veronica, “She still engaged to that guy?” Lincoln comments that it could have been him. Lincoln knows he pushed a lot of people away in his life after he broke up with Veronica. Abruzzi watches them from a distance. Michael and Lincoln talk quietly about Michael’s plan, “Getting outside of these walls is just the beginning,” Lincoln tells him. Lincoln grills Michael about the plan, Michael smiles and briefs Lincoln about the prison retrofitting job in 1999. “You’ve seen the blueprints,” Lincoln says quietly. Michael removes the top half of his work jumpsuit, “Better yet. I’ve got them on me.” Michael stands before Lincoln, his chest, arms and back covered in a massive tattoo. Michael tells Lincoln to look closer. Lincoln is amazed as he sees that Michael has concealed the prison’s blueprints in his tattoo.
 
Prison Break
Episode 102 - "Allen"
Airdate: 08/29/2005

In the yard, Michael and Westmoreland square off in a game of checkers. Michael’s intelligent play earns praise from Westmoreland. Michael hints to Westmoreland about his plan to escape. Westmoreland chuckles, “Three days inside and he’s already thinking about turning rabbit.” Westmoreland tells Michael that there are more immediate pressures to worry about; racial tension is dividing the prison population and the pot threatens to boil over soon.

In his cell, Michael examines part of the tattoo on his forearm… it appears to be a design. After a moment, he lifts a mirror and the design becomes words and numbers. It reads: SCHWEITZER ALLEN 11121147 which Michael jots down on a pad of paper. Sucre stands at the toilet but it won’t flush. Sucre looks at Michael with alarm. “That means only one thing, Fish.” The voice of an unseen C.O. roars through the prison, “SHAKEDOWN!”

Prisoners jettison a storm of contraband from their cells onto the prison floor below. Several heavily armed guards march into the wing and they begin shaking down cells. Sucre tells Michael to look under the table; Michael reaches under it and finds a well-crafted metal shank. “What the hell is this?” Michael says and slowly turns around. Before Sucre can answer, Bellick is standing at the cell door. Bellick barks at a nearby C.O. to open the door. “So, tooling up for the race war, are we?” he asks Michael. Warden Pope walks up. “Is there a problem here, Deputy?” Bellick tells Pope about the shank and Pope asks Michael if it’s his. Michael doesn’t respond. “You’re not a good liar,” he tells Michael. “Come on Sucre, you’re going to the SHU.” The Pope orders Bellick to move along. Bellick, upset that he has to move on, tells Michael that although Pope runs the prison during the day, “I run it at night.”

In the chapel, Michael tells Lincoln that they are going to escape through the infirmary. That’s why he’s pretending to be diabetic and that’s why he needs to get the PUGNAc from C-Note in order to continue the charade. Lincoln thinks the whole plan is a mistake. After all, Michael can’t even get out of his cell. Michael assures him that he can. Lincoln asks, “You’re gonna get your hands on a key?” “Something like that,” Michael replies.

As the inmates file out into the yard, Michael breaks from the group and heads to a set of bleachers. He feels along the edges, his eyes casing the yard to make sure that no one is watching. His hands find the top of a bolt. He takes a moment to rub a finger across it a few more times. We see the bolt’s serial number: 11121147.

Flashback to Michael’s office, he’s sitting at his desk looking over the schematics for a set of bleachers. The detailed plans are for the same set of bleachers that sit in the prison yard. Michael makes a note on the blueprints: 11121147.

Back in the yard, Michael sits on the top riser of the bleachers, directly above the bolt. He slowly reaches into his pocket and reveals a quarter. He inserts the quarter into the slotted head of the bleacher bolt and loosens it. An inmate on the bench warns Michael that he’s on T-Bag’s turf. Michael inquires who T-Bag is. The inmate responds that T-Bag is responsible for the rape and murder of several boys and girls in Alabama. Just then, T-Bag walks up to the bench. A step behind, and holding an outward turned pocket on T-Bag’s pants, is May Tag, T-Bag’s submissive partner. T-Bag assumes that Michael is seeking protection in the upcoming race war. Michael stalls, quietly unscrewing the bolt. T-Bag offers Michael protection when the race war comes; all Michael has to do is take T-Bag’s pant pocket, which T-Bag rips out of May Tag’s hand. May Tag is not pleased with T-Bag’s new fascination with Michael. Michael rejects T-Bag’s offer and T-Bag forces Michael from the bleachers. As Michael walks away, the bolt is left half-unscrewed from the bench.

Inside a courthouse lobby, Veronica tracks down Tim Giles, Lincoln’s public defender. When Veronica inquires about the case, Tim tells her, “The man was guilty. The prosecution’s case was a slam dunk.” Veronica posits that the federal government forced the case through because the victim was the Vice President’s brother. Tim takes exception and recounts the evidence. “ Lincoln worked for Steadman’s company. He gets into a public altercation with the guy, so he gets fired. Two weeks later, Steadman’s shot dead. The murder weapon is found in Lincoln’s house and the victim’s blood is all over his clothes.” Veronica asks about a man named Crab Simmons, who could have exonerated Lincoln. Tim tells her he was a five-time felon. Veronica asks if he’d mind if she asked Crab a few questions.

Lincoln sits alone in his dark cell. He finds comfort in a frail ray of sunlight and he flashes back to a bedroom, after Veronica graduated from law school. The two are lying in bed and Lincoln notes that this is the first time in a long time that his life is making sense. He wants to take a picture to remember it. Veronica demurs, but after some playful protests, allows Lincoln to take the photograph.

Michael walks with C-Note in the yard. Michael asks about his PUGNAc. C-Note says he working on it. Michael makes it clear that he needs it soon which prompts C-Note to ask why. “What’s up there in that infirmary that you need so bad?” Michael smiles and walks away but not before T-Bag takes notice of his interaction with a black inmate.

Michael goes to the bleachers to retrieve the loosened bolt. T-Bag and his crew, however, catch him in the act. Michael tries to conceal the bolt, but T-Bag makes him hand it over. Assuming Michael will use the bolt as a weapon, T-Bag questions Michael’s target. After all, Michael was just fraternizing with a black inmate. Across the yard, C-Note watches angrily as Michael talks with T-Bag and his militant white cohorts. A C.O. outside the fence steps in and breaks up the group. T-Bag hands the bolt to May Tag and Michael walks away empty-handed.

Bellick walks by Michael and Sucre’s cell. He proceeds to do the shakedown that the Pope had prohibited him from doing earlier. He flips the mattresses and shakes out the books, but finds nothing. He discovers the pad of paper Michael was using earlier and uses a pencil to rub across the top of the paper, revealing the SCHWEITZER ALLEN 11121147 that Michael had written.

Michael goes to Abruzzi, hoping for help in getting the bolt back from T-Bag. Abruzzi tells Michael he will only help him if Michael reveals Fibonacci’s location. Michael tells him he will, but not until they’re both standing outside the prison walls. Abruzzi, fed up, walks away.

In visitation, Abruzzi finds Philly Falzone waiting for him. “It’s an honor,” Abruzzi tells him. Next to Falzone is Smallhouse, who talks down to Abruzzi. Falzone is aware that someone in the prison knows where Fibonacci is and Falzone wants something done before Fibonacci testifies at a congressional hearing in a month. If Fibonacci does testify, a lot of mobsters, including Falzone, will join Abruzzi in prison. Falzone threatens Abruzzi, “Our kids go to the same Catholic school. Be a shame for anything to happen to your kids, you know.” Abruzzi reassures Falzone that they will get Fibonacci.

Sucre paces in the SHU. He wants to use the phone so he can call Maricruz. The C.O. makes fun of him and denies his request.

Bellick has another C.O. look through the prison manifest for the name, Allen Schweitzer. There is no Allen Schweitzer in general population, nor is there one in the SHU. Bellick is frustrated.

The lead-up to the race war intensifies and inmates of all colors prep their weapons.

On the way back out to the yard, another inmate threatens Michael. “Hear the trumpets, Fish? I know you hear them. That’s Judgment Day. It’s comin’. Real soon.”

The inmates line up inside the cell block. Michael sees his chance to go through May Tag’s bunk and find the bolt. T-Bag catches him, but Michael thinks fast. “I want in,” he says. C-Note stops doing sit-ups in his cell and looks out to see Michael acting very friendly with T-Bag and May Tag. Michael explains to T-Bag that that’s why he wanted the bolt – to use as a weapon in the race war. T-Bag is happy to have Michael aboard, but doesn’t trust Michael with the “heavy artillery.” May Tag slips a popsicle stick into Michael’s pocket and Michael again leaves without his bolt.

Tim Giles visits Veronica in her office and apologizes for being short with her at the courthouse. He has brought a tape, the surveillance video the parking garage where Lincoln allegedly killed Terrence Steadman.

Veronica immediately watches the tape. The video shows a car with tinted windows pull into a parking space, shortly followed by Lincoln in a leather coat, arm pointed forward with a gun. When he arrives at the driver’s window, he fires once. Lincoln runs to the passenger side of the car, crawls in and rummages through the glove compartment. Then he runs from the view of the camera. Veronica turns away in horror, her worst fears now confirmed.

Michael stands with his back against a fence, Bellick comes up behind him and grumbles, “Allen Schweitzer. That name mean anything to you?” Michael plays dumb, replying “Never heard of the guy.” Bellick walks away, unsatisfied.

As Michael gets dressed after his shower, C-Note shows Michael a medication bottle. Michael follows C-Note around a corner, but Michael is immediately pinned against a wall by C-Note and some thugs. C-Note is furious that Michael has been hanging out with T-Bag. C-Note empties the bottle of PUGNAc and the group walks away with the threat, “You chose the wrong side.” Michael hits the wall in frustration.

Lincoln enters the visitation area where Veronica is waiting for him. She tells him he’s ruining people’s lives with his lie. Lincoln seems confused; Veronica sets him straight by telling him she saw the tape. Lincoln tells her the tape is false, but Veronica knows what she saw. “I know what I saw. I was there,” Lincoln says forcefully. In a flashback, Lincoln approaches that car, clearly nervous about what’s about to go down. When he looks in the driver’s side window, the driver is already dead, bloody and slouched forward against the steering wheel. Lincoln tells Veronica he never pulled the trigger. He tries to convince Veronica that he was set up. Veronica doesn’t know what to believe. Lincoln pleads, “If what we had meant anything, find out the truth.”

In the SHU, Sucre checks his watch and shouts to the officer outside. It’s Maricruz’s birthday and Sucre is desperate to call, but he has nothing to offer the C.O.. The C.O. ignores his plea and Sucre slumps to the floor.

A limo pulls up to a nightclub and Hector greets the several lovely women who pile out of it. But one woman remains inside: Maricruz. Maricruz tells Hector that she’s thinking about going home. Hector knows it’s because Sucre didn’t call her on her birthday and with gentle persuasion, Hector coaxes Maricruz out of the limo and into the club.

Tim Giles walks through a metal detector at the courthouse, where he’s intercepted by Hale and Kellerman. Kellerman flashes his government badge, then tells Giles they know he made a copy of the garage surveillance tape and wants to know why. “ It was for one of Burrows’ old girlfriends. She was under the impression that the guy was innocent. Figured it’d, you know, help her with closure.” Before they let Giles leave, they ask for Veronica’s name.

Veronica walks up to a run-down tenement building. She asks a woman outside if she knows Crab Simmons. “Crab’s my son.” An unseen woman parts the second-story curtain and eavesdrops on the conversation. Veronica asks Ms. Simmons where Crab is. Ms. Simmons replies, “He’s dead.”

The cell doors open and the inmates line up. A large Caucasian inmate steps forward. The C.O. orders him back, but he doesn’t respond. Westmoreland, cradling Marilyn, slowly creeps back into his cell. Another C.O. immediately calls for back up, and then all hell breaks loose. Michael tries to stay out of it, but an African-American inmate grabs him and tosses him from the second level. Michael hits the ground hard and rolls for cover. Seeing a moment to rid himself of his rival, May Tag charges Michael, bolt in hand. Michael wrestles May Tag to the ground, and rips the bolt from his hand. May Tag lunges forward, but before he can reach Michael, another inmate steps in and fatally stabs May Tag in the chest. May Tag falls into Michael’s arms. T-Bag sees this and assumes that Michael is responsible. The C.O.s fire tear gas into the hall, sending the inmates scattering. Michael finds his way back to his cell, coughing and covered in blood. T-Bag hovers over May Tag’s body shouting, “You’re a dead man, Scofield!”

The Pope paces the floor, lecturing the inmates. He had faith that they could behave like men, but they’ve disappointed him. The warden puts the prison on 48 hour lockdown, no food, no showers, and no visits. The Pope warns that if the inmates don’t learn to get along, the subsequent lockdowns will get longer. Michael sits against the cell wall and begins to rub his bolt against the floor.

T-Bag stands over May Tag’s body bag, a vengeful look in his eye.

In her office, Veronica gets a call from Leticia Barris, Crab Simmons’ ex-girlfriend. Leticia tells Veronica that she will give her some information, but only if they meet in a public place.

Leticia Barris walks in front of Veronica outside at Chicago’s Millennium Park. Leticia is already paranoid. “ We stay out here in the open. Where they can't get to us. Where they can't do the things they do.” Leticia says she has only agreed to talk to Veronica because the government is going to kill Lincoln just like they killed Crab. When Veronica raises the point that the coroner’s report showed Crab died of an overdose, Leticia shoots back, “Crab didn't use. He had a bad heart. If he touched the stuff, it'd kill him. I mean, don’t you think it’s just the slightest bit of a coincidence he OD’d a week after your boyfriend’s crime?” Crab was killed because he knew too much about what was going on. Leticia becomes spooked, convinced she was followed. She runs away before Veronica can get more answers.

In an undisclosed office, Kellerman reluctantly picks up the phone and makes a call. At the other end of the line, a woman chopping garlic picks up. Kellerman begins, “We have a small complication. There’s a lawyer poking around.” But the Garlic Cutter at the other end already knows about Veronica and she has faith that Veronica can be dealt with. Before Kellerman hangs up, the voice says, “Do what you need to do to make this go away.”

Michael continues to rub the bolt against the cell floor. T-Bag heckles him from his cell, “You still there, pretty? I just want you to know I’m coming for you.” Michael hears T-Bag’s eerie taunts, but forces himself to concentrate on sharpening the bolt. A flashback reveals Michael looking over the blueprints of Fox River and the details of the Schweitzer toilets used in the prison. His eyes focus on “Steel Angle Brackets with 1/4” Allen Bolts.” Back in the cell, Michael rolls up his sleeve to reveal the tattoo again. He presses the bolt against a small hexagon tattooed on his forearm. The sizes match. We finally understand Michael’s obsession with the bolt from the bleacher; he has created an allen wrench from it. He crawls over to the toilet and finds an allen bolt. He inserts the wrench and begins to turn it.

In the infirmary, Sara asks who her one o’clock is. The nurse replies that it is Scofield.

C-Note hands Michael his PUGNAc in the yard. He admits he was wrong about Michael and apologizes for the late delivery. Michael just hopes it didn’t arrive too late. A C.O. yells to Michael and leads him to the infirmary.

Sara pricks Michael’s finger and draws a sample of blood. She places the sample into a small device to measure Michael’s glucose. Michael nervously awaits the results. Sara sighs, “Bad news, I’m afraid. 180 mg/dl. You’re definitely diabetic.” Michael smiles. After Michael leaves, Sara comments to her nurse that it’s strange. Michael looked relieved when she told him he had diabetes.

Bellick escorts Michael back to his cell, pausing for a moment to get sugar for his coffee. The moment Bellick leaves Michael alone, three of Abruzzi’s thugs grab him and lead him into a gardening shed where Abruzzi waits. Abruzzi is fed up with the little dance he and Michael have been doing over Fibonacci’s whereabouts. The goons grab Michael and pin him on a table. One of the goons removes Michael’s boot, exposing his foot and then grabs a pair of pruning shears. The goon opens the shears; Michael’s two small toes rest in the blades. Abruzzi gives him one more chance to tell him where Fibonacci is. Michael, sweating and tense, replies, “ I’ll tell you the moment we’re outside those walls. Not a second before.”

Abruzzi counts to three. One… Two… Michael doesn’t waver. Three. The man closes the shears. Michael screams.
 
Prison Break
Episode 103 - "Cell Test "
Airdate: 09/05/2005

Blood covers the yard department floor. Abruzzi smiles as one of his goons holds gardening shears. Michael’s eyes glaze over in pain, fixed on the ceiling. C.O. Mack barges in, demands to know, “What the hell happened?” Abruzzi tells him it was an accident. Two more C.O.s take Michael away as Abruzzi snatches up Michael’s severed toes, concealing them in a blood-soaked sock. Bellick marches in and confronts Abruzzi. “I thought you were going to have a conversation with him.” Abruzzi replies, “Things escalated.”

The C.O.s drag Michael to the infirmary, his foot soaked in blood. Dr. Tancredi removes the makeshift bandage while Michael fights back tears of pain. “What happened?” Sara demands. Michael knows he cannot tell her the details of his dealings with Abruzzi, and as he struggles in excruciating pain, he begs her, “Please don’t make me lie to you.”

Sara finds Officer Bellick in the infirmary lobby and urges him to start an Internal Affairs investigation. Bellick tells her that it was only an accident, that Michael stepped on some gardening shears in the shed. Sara tries to press the issue, but Bellick smiles at her with an assurance that he’s taking care of it.

Michael rests in his cell bunk, his injured foot elevated and bandaged. The first signs of doubt and worry begin to creep onto Michael’s face.

The next day on P.I., Michael hobbles around, attempting to rake the grass around Lincoln’s pen. Lincoln rattles the chain link fence and threatens, “I’m gonna kill that scum!” Michael, though clearly in pain, calls Lincoln off. Abruzzi is a necessary player in the escape. Michael explains: Abruzzi owns a small charter flight business that operates from an airstrip ten miles from Fox River. They need Abruzzi to help them disappear. But Abruzzi isn’t the only person that they need to trust. They need to know if Sucre can keep his mouth shut, because Michael needs to break out through their cell. If he can’t get Sucre on board, the whole plan grinds to a halt.

Finally free from the SHU, Sucre immediately calls Maricruz from the yard payphone and starts leaving a suggestive message on her answering machine. Mrs. Delgado, unamused, picks up. A contrite Sucre explains that he can’t seem to reach Maricruz on her cell phone. Mrs. Delgado casually suggests that Maricruz must have turned her phone off while out with Hector. Sucre recoils at the thought of his girlfriend with the opportunistic Hector, but keeps his tone polite as he tells Mrs. Delgado, “I know you don’t like me, but I love your daughter.” Mrs. Delgado is unmoved, and tells Sucre that if he truly loved her, he would let her live her life. Sucre hangs up, angry, hurt and desperate to talk to Maricruz.

Lying in his cell, Sucre gazes at a picture of him and Maricruz. In the bunk below him, Michael lies down. He flashes back to his old apartment where he examines the intricate plans all over his walls. Amidst the drawings and photos, there’s a single post-it which reads “Cell Test.” Back in the present, Michael produces a cell phone from under his covers.

T-Bag walks up to the machine shop, where one of his gang brothers buffs a piece of metal. “I’m looking to do some damage,” T-Bag tells him. T-Bag wants a weapon that will not only kill, but will cause severe suffering to its victim. The gang member reaches below a cabinet and pulls out a jagged knife. “I call it The Gutter,” he tells T-Bag. T-Bag takes the blade, conceals it in a book and walks away.

Michael limps into visitation where Veronica sits at a table. She notices his limp, worries about his welfare, but he cuts her off and asks about the woman she went to see. Veronica tells him that her name is Leticia. “Leticia Barris?” Michael asks. Michael tells her that he tried the same routes to uncovering the truth behind Lincoln’s case that Veronica is now pursuing. He learned, however, that the whole conspiracy against Lincoln is a “bottomless pit.” Veronica tells Michael that Leticia was scared away before she could get more information, but she’s going to visit her today at the Elysian Fields Projects. Michael tells her she should bring somebody, maybe her fiancé. Veronica replies, “That’s the last thing Sebastian would want to do.”

LJ and Lisa sit across from probation officer, Jenae Conlin. Jenae puzzles over how a privileged, exemplary student turns to drug dealing. She mentions that Lisa has told her about Lincoln. Immediately, LJ darkens. Jenae feels that LJ has a lot of misdirected anger and intends to make sure that he doesn’t screw up his life as a result of it. She demands that LJ check in with her on a weekly basis and maintain good grades and attendance at school. LJ is happy to cooperate, but she throws in one more condition. “And to give you a real good idea where that anger of yours will get you if you don't rein it in, I'm signing you up for the Saturdays Scared Straight program at Fox River. You'll have a mentor who'll work with you weekly to give you a little perspective.” LJ gets nervous. A mentor? Jenae replies, “Your father.”

During P.I. duty in the laundry room, Michael walks past Sucre and opens a small electrical box. Sucre watches as Michael pulls the cell phone from his pocket, wraps it in a towel and stuffs it in the box. “Tell me that ain’t what I think it is,” pleads Sucre. Sucre tells Michael that if a C.O. catches him with a cell phone, two years can be added to his sentence automatically. But as his thoughts turn to Maricruz, Sucre’s fear quickly turns into interest. “But, that means you can make calls whenever you want, right?” he asks Michael. Michael slowly walks over to Sucre. “I don’t like that look in your eye.” Michael tells Sucre to forget what he saw.

In Lincoln’s cell, Pope glances at a blank form. “Why didn’t you include any names?” Pope asks. Lincoln scoffs back, “Why would I want anyone to watch me die?” Pope implores him to think it over, but Lincoln says he’ll go it alone. Pope takes a step towards Lincoln. As warden, he’s seen people go all ways. But those who went alone, “deeply regretted it in their final minutes.”

Veronica enters Leticia’s apartment complex. She treads up the stairs and finds Leticia’s apartment slightly ajar. “Hello?” she calls. No answer. She pushes the door open, but Leticia swings around the door and trains a pistol at Veronica. “Don’t you move a muscle!” she threatens. Paranoia has completely overwhelmed Leticia since Veronica’s last meeting with her. Leticia accuses Veronica of working with the government, the same people who killed Crab. Veronica pleads for Leticia to drop the gun and just hear her out. She notices that Leticia is packing her bags; she’s clearly about to run. Veronica tries to persuade her to come to her office and to give her statement. Leticia is terrified. She’s not as strong as Crab was, she says. She can’t take these people on. Veronica vows to protect her and reminds her that she may be the only one who can save Lincoln’s life and avenge Crab’s murder. All Leticia has to do is make a statement, sign it and then Veroncia swears she’ll drive her to the airport herself. She can disappear forever.

Sucre walks through the laundry room and pauses. He looks up at the electric box where Michael hid the cell phone.

In his pen, Lincoln walks along the fence and sees Sucre in the yard. He’s talking to some other inmates in Spanish. It appears he’s talking about the cell phone.

On the way back to his cell, Lincoln kneels, allowing a C.O. to unshackle him. Lincoln sees Bellick down the hall and calls him over. “I want some extra time outside the next couple weeks.” Bellick sneers at him, wondering if the paint fumes from P.I. are getting to him. Lincoln is prepared to horse trade. He hints that he knows about a con who has a cell phone. That gets Bellick’s attention. Bellick agrees to give Lincoln an extra half hour a week outside. Lincoln rises from his knees, heads into his cell, and as Bellick prepares to lock him down, says “You know a con named Sucre?”

In visitation, Abruzzi sits across from Falzone who wants to know if Abruzzi has broken Michael yet. Abruzzi tells him that Michael just won’t crack and slides a small cardboard box across the table. Falzone opens it, grimacing slightly. “Are these his?” Falzone sighs, now seeing that Abruzzi has a challenge ahead of him. He needs to find “other ways” to get to Michael. Abruzzi tells Falzone not to worry. He’ll get the job done. Then the gate opens, and Abruzzi’s kids run to the table, “Daddy, Daddy! Did you hear the news? We’re going to stay with Uncle Philly at the lake for a few weeks!” Falzone stares at Abruzzi and tells him that he has the utmost confidence that John will, in fact, come through. Abruzzi looks at Falzone, disgusted.

“How are those bone yard visits going with that girlfriend of yours?” Bellick asks as he approaches Sucre in a holding cell. Bellick informs Sucre that conjugal visits are only for married couples, to which Sucre defensively replies that he and Maricruz are engaged. Sucre begs to keep his conjugal visits. Bellick assures Sucrre that he won’t take them away. “But in exchange, you have to tell me where the cell phone is.” Sucre plays dumb. Bellick gives him another chance to save his conjugals before they’re gone forever. Sucre bites his lip.

Michael and Lincoln are painting a pillar in the laundry room when Bellick and several officers escort Sucre in. They all steadily march towards Michael. Michael’s face tenses. Bellick stops. “Turner! Your transfer came in. They want you down in administration.” The two brothers exchange a look of relief as Bellick turns to leave. When the coast is clear, Sucre angrily approaches Michael. “All I gotta say is that I better get to make all the calls I want.” Michael replies, “Gonna be kind of hard.” Michael pulls out the phone and hands it to Sucre. Sucre looks puzzled, and then snaps the phone in half. It was a sculpted and painted bar of soap. “Soap? I lost my conjugals over soap?” Sucre flicks the pieces at Michael. Michael tells Sucre that they’re planning to break out and that he had to test Sucre to see if they could trust him. Sucre is out of his mind with anger. Not only does he want no part of an escape plan, but Sucre threatens that if Michael continues to dig in their cell, he will split Michael’s wig.

Having successfully coaxed Leticia to her office, Veronica sits at her computer, poised to record Leticia’s testimony. She describes a man in a white cap who came to Crab’s door to do “big business.” White Cap, Leticia remembers, was not the kind of low-life Crab usually dealt with. Something about him was different. She recalls watching them go outside to meet with two other associates who in flashback are revealed to be Kellerman and Hale. She describes Kellerman and Hale as acting as though they were untouchable, “like they owned the place. Like they were government.” Veronica struggles with what government officials would want with a felonious drug dealer like Crab and how it would translate to Lincoln. All Leticia knows is that men who seemed to be government affiliated paid Lincoln’s ninety thousand dollar debt to Crab and the next thing she knew, Lincoln was arrested for murder and Crab was dead from a supposed “overdose.” Veronica types up the story, struggling to connect the dots in her mind. Still jittery and paranoid, Leticia heads to a nearby lounge to smoke a cigarette.

Dr. Tancredi examines Michael’s foot. She finds no redness or swelling; he’s healing well. But she’s still concerned for his well-being. “Michael, you understand by law I’m obligated to file a report if I feel there’s been prisoner misconduct.” Michael tells her that if she files that report, things could get worse for him. Sara asks him if he’s afraid. Michael recounts a story from his childhood, about how his brother helped him face his fear of monsters in the closet. His brother told him that you face your fear by opening the closet door and seeing that nothing’s there. Fear doesn’t exist. It’s not even air. Michael tells her that in prison, when you face your fear, when you open the closet, there are a 100 more doors, and the monsters are very real. Sara offers to send him to protective custody for his safety, but Michael refuses.

Veronica looks up from her typing with a start as someone walks into her office. It’s Kellerman, who introduces himself with a smile. He knows she’s looking into Lincoln’s case, and while he is sure they got the right man, he tells her that if she “comes across anything that could shed some light on his innocence, I’m offering my help.” Veronica thanks him guardedly and as soon as he’s gone, her thoughts turn to Leticia. She searches the lounge, but finds only a coil of smoke rising from a cigarette still burning in the ashtray. Veronica races out of the office and into the Chicago streets, but she doesn’t find her. All she sees is a man in a trench coat step into a car which proceeds to speed away. Just then, her cell phone rings. It’s her fiancé, Sebastian. He’s at the reception hall with the vendors. They scheduled meetings with the wedding planner today. Veronica cannot think about that now. She hangs up, her thoughts on Leticia who may have just disappeared for good.

Abruzzi and his cellmate, Gus, look down at Michael limping back to his cell. Abruzzi mutters, “We could cut off all his limbs, he still wouldn't talk. Pain's not the answer here. Maybe the Beatles were right. Maybe all you need is love.”

Michael returns to the cell to find Sucre packing his things for a cell transfer. Still angry, Sucre tells him that he’s going somewhere with a normal cellmate and not someone whose crazy plans threaten to ruin his chances of getting out. Michael begs Sucre to stay, but Sucre is resolute. “Fish, listen to me. I got 16 months. I got a fiancée to think about. I get caught with a hole in my wall, I don't see the real world for another 5 years. I can’t do that.” Sucre grabs his belongings and pushes past Michael.

Reverend Mailor sits on Lincoln’s bed while Lincoln squats on the floor. Echoing Pope’s sentiments, Mailor questions Lincoln’s desire to exclude his family from his last days. Lincoln doesn’t want to cause anyone any more pain and wonders why he should ask anyone to be with him in his final hours. Mailor tells him, “It’s about how you want to leave this world. What is the last image you want to take with you? A stranger?”

In the mess hall, T-Bag glowers, concealing the jagged-edged “Gutter” beneath the table as Michael clears his food tray. T-Bag stands to make a move but is stopped by Abruzzi. “Got an issue with our little friend there?” Abruzzi asks. T-Bag blows off Abruzzi. He doesn’t need Abruzzi’s okay to settle the score with Michael. Abruzzi corrects him. “Everything runs through me in here.” T-Bag snarls that he wants Michael. Abruzzi replies, “Seems you and I have something in common.”

As the inmates march out of the mess hall, one of Abruzzi’s goons shoulders Michael and forces him through an open door leading to a vacant kitchen annex where Abruzzi waits. Michael steels himself, but Abruzzi warns, “Easy now, fish. Don't make this any harder than it needs to be. It’s time we came to an arrangement, don’t you think?” On cue, T-Bag walks out from behind Abruzzi. T-Bag approaches Michael, “Gutter” in hand, preaching his twisted thoughts. “You know, I was thinking I was gonna gut you bow to stern soon as I laid eyes on you. But alackaday you look so pretty when you’re scared, don’t you? Maybe we ought to get the love out of the way before we get on to the hate. What do you say to that, Pretty? Maybe it's time I lit up that leather once and for all.” T-Bag takes one more step forward, and out of nowhere, Abruzzi elbows him in the face. The goons grab T-Bag and beat him down. Abruzzi escorts Michael out of the backroom before the C.O.s arrive. “That back there's my way of saying I know I've gone about this whole thing the wrong way. I'm trying to make amends here,” Abruzzi extends a hand to Michael, who pieces together the unexpected events with a quizzical look at the mercurial John Abruzzi.

As the inmates file out to the yard in their daily processional, Abruzzi asks what Michael needs from him. “A trade. You get me a plane, I’ll give you Fibonacci.” Abruzzi presses Michael further about the specific date and time of the escape. Michael holds the information back; he doesn’t trust Abruzzi that much yet.

Lincoln walks into the visitation cage, escorted by a guard, Louis. Lincoln asks Louis to take off the shackles and Louis says no, but Lincoln begs. “Ten minutes, please! It’s my kid.” Lincoln sits before LJ, the conversation is awkward. Lincoln tells LJ that he has to decide who should attend his execution. LJ squirms as Lincoln tells him how important he is to him. Lincoln presses his hand to the cage and asks that LJ do the same. Their fingers meet and Lincoln asks that LJ be there the day before he dies so Lincoln can see him, hug him one more time before his death. “I love you,” Lincoln mumbles. Tears well up in LJ’s eyes. “I’ve always loved you.” LJ blurts out that he doesn’t know if he can handle this. Lincoln replies, “Neither do I. But I don’t really have a choice. But you do.”

Veronica is late for a dinner out with Sebastian, who unsuccessfully tries to mask his frustration. Veronica rattles off her discoveries about Lincoln’s case, but Sebastian cuts her off and asks pointedly, “Do you want to get married or not?” Veronica says that she’s unsure and maybe they should postpone it for now. Sebastian counters with an ultimatum; if Veronica wants to postpone, then they should cancel it. Veronica sighs, then simply tells Sebastian, “I’m sorry.” “I’ll come get my stuff tomorrow,” he says as he walks away from the table.

In his cell, Michael flips open a hollowed-out book that stores his homemade allen wrench. Before he can dismantle the toilet, Bellick yells out, “Open on Forty!” Michael quickly conceals the bolt into his front pocket as Bellick swaggers in. “Scofield. Found you a new cellie. As luck would have it, I found him in Psych Ward. You were the only guy with an open tray, so...” Bellick is enjoying the moment and brings in a man introduced simply as “Haywire.” Haywire lurks at the cell door, clutching his possessions. “Oh, and Scofield. Just a heads up. Don’t make eye contact with him.”

In the yard, Michael walks along the fence near Lincoln. Michael tells Lincoln about Haywire. There’s no way they can bring Haywire into the plan. Michael will just have to work at night. “How far behind are we?” Lincoln asks. “Three days,” Michael says flatly. “I thought you said the margin of error was zero days,” Lincoln asks. “I did,” Michael says as he walks away.

Hale and Kellerman’s sedan creeps into a secluded clearing. Kellerman maintains a cool demeanor even as they open the trunk to reveal a bound and gagged Leticia. Kellerman instructs Hale to take her into the woods to dispose of her. Hale protests, but Kellerman is firm. Hale drags Leticia into the woods and forces her to the ground. Hale apologizes to Leticia for what he’s about to do. But before he can pull the trigger, a train whistle startles him. Leticia uses the distraction to get up and start running. Hale fires, striking her in the leg. As Hale approaches, Leticia begs for her life. Hale looks in her eyes, gun trained, but he just can’t squeeze the trigger. A gunshot rings out. Kellerman stands over Leticia’s dead body. He coldly tells Hale, “Pick up the casings.”

Michael waits until Haywire is quiet before he begins working again. He inserts the wrench into the bolt, but stops when he feels Haywire’s eyes on him. He slowly turns and, indeed, Haywire is watching him from the top bunk. Unnerved, Michael asks what Haywire’s problem is. “I have a neuroanatomic lesion affecting my reticular activating system,” Haywire replies. Michael asks, “What’s that mean?”

Haywire replies, “It means I don’t sleep. At all.”
 
Prison Break
Episode 104 - "Cute Poison"
Airdate: 09/12/2005

Asleep in his darkened cell, Lincoln jerks awake as the fluorescent lights snap on and the cell door slams open. Bellick storms into the cell with a crowd of C.O.s behind him. The C.O.s wrestle Lincoln off his cot as Bellick barks, “On your feet.” Lincoln struggles against the guards, demanding to know what’s happening. His questions are ignored by the guards, who rush him into a long, sterile corridor toward a metal door.

The door opens to reveal an execution chamber. Faceless onlookers watch Lincoln impassively through a glass window. Lincoln’s eyes grow huge as he sees the prepped electric chair. He looks again to Bellick, insisting “I’ve got a month left!” But the C.O.s force Lincoln into the chair and strap down his arms and legs. One C.O. wets Lincoln’s forehead with a sponge while another places a metal halo on his head. Lincoln fights to keep from hyperventilating, begging Bellick for mercy. Bellick leans towards Lincoln and murmurs, “Make your peace.” He pulls a black hood over Lincoln’s face and gives the signal to two C.O.s who pull the control switch. Lincoln’s body begins to shake.

Lincoln wakes up in his cell, still shaking. He sits up, haunted. His head sinks into his hands.

Michael crouches next to the toilet in his cell. He’s managed to pull it out about a foot from the wall and he uses his homemade allen wrench to scrape out the concrete between the cinder blocks. “Open on forty!” an unseen C.O. shouts out. Michael quickly pushes the toilet back to the wall as his cell door opens and Haywire returns. Michael’s new cellmate hops onto the top bunk and Michael asks, “Haywire, you ever thought about breaking out?” Haywire scoffs at the idea. On the outside, he’d face a barrage of halfway houses, psych visits, meds, parole officers, urine tests, and trying to keep a job. Haywire advises Michael that anyone who has suspicions of an escape plan should tell Bellick. “He’ll make life easier for you if…” Haywire trails off, distracted by Michael’s tattoos. “What are they of?” he asks. Michael quickly grabs a long sleeve shirt and covers his skin, telling Haywire curtly, “They’re just tattoos.” A C.O. calls into the cell, “It’s candy time, Haywire.” Haywire walks to the bars where a doctor hands him a cup of meds. Haywire swallows, then opens his mouth and moves his tongue around to prove that he took the pills. As soon as the doctor and the C.O. leave, Haywire pushes past Michael to the toilet and forces himself to vomit up the pills. Michael notes that maybe he’s being given those pills for a reason. Haywire replies, “Yeah, to keep me in their invisible freakin’ handcuffs.” Haywire steps towards Michael. “Seriously, though. Those tattoos. They’re beautiful. Mind if I, you know, see the whole thing?” Michael says yes, he does, and moves towards the opening door as inmates are released for yard time.

Outside, Michael crosses toward Sucre. Before Michael can say a word, Sucre brushes past, saying, “I’m not even talking to you.” Michael’s eyes turn and follow Sucre out, and then lock on Haywire, who stands by himself, staring at Michael’s torso. Michael turns away from Haywire, and rolls up his sleeve. He examines a tattoo on his forearm. It’s an overturned jug spilling liquid down a drain. The jug’s label reads, “CUTE POISON.” As Michael studies the tattoo, he flashes back to his old apartment where a web of documents are affixed to his wall. With a red marker he writes “CUTE POISON” across a page containing a complex chemical equation. Back in the yard, Abruzzi finds Michael and searches his face, suspicious. “What’s the problem?” Abruzzi asks. He pushes further to find out why Michael looks so tortured, Michael nods towards Haywire, who still stares at Michael’s torso. “That’s my new cellmate. He doesn’t sleep.” Which means, Michael tells Abruzzi, there is no digging. Abruzzi tells Michael that either he takes care of his problem, or Abruzzi is going to take care of Michael.

“It’s really coming together, isn’t it?” Warden Pope asks Michael as they survey Michael’s progress on the massive Taj Mahal model. Michael tells Pope that there’s still plenty to do, but they should be ready in time for Pope’s anniversary. Pope, grateful, says he wishes he could pay Michael for his help. Michael mentions that he would appreciate a cellmate transfer, if possible. Pope shakes his head. Bellick is in charge all cell transfers and unless there are extreme circumstances such as violence or sexual predation, the prison is too crowded to accommodate transfer requests. The door to Pope’s main office opens and Becky, Pope’s assistant, walks in closing the door behind her. “Warden, sorry, but your wife is here.” Caught off-guard, Pope slides out of the Taj Mahal room, careful that his wife doesn’t catch a glimpse of her anniversary present-to-be.

Pope tries to hurry his wife, Judy, out of the office, but she pauses and studies him. “You’re acting funny. What’s going on in there?” She motions towards the room housing the Taj. Pope tries to placate her, but this only piques her interest further. “This isn’t Toledo all over again, is it?” Pope is wounded by her vague insinuation. She takes a step towards the door, but Michael opens it before she can get any closer. “Warden, I’m not going to be able to cooperate. I’d get killed if I did. Johnson’s still deciding.” A look of relief on his face, Pope orders Michael back to his cell.

Lincoln enters the Attorney/Client visiting room, his hands and ankles shackled. Veronica stands at the table, waiting for him. “What are you doing?” he asks. “I’m your attorney,” she replies carefully. “If that’s all right with you.” Lincoln is hesitant. The last time they spoke she called him a liar and suspected that the judge who sentenced him to death “got it right.” Veronica explains that things have changed. She sits down and tells him that Leticia Barris corroborated his story. Unfortunately, Leticia is missing, and Veronica suspects that the Secret Service is involved. Lincoln knows that Veronica can’t do this alone, especially with government agencies working against them. He points her to Project Justice, a law firm that deals exclusively with death row cases. Lincoln has sent copies of his casework to a man there named Ben Forsik and Veronica agrees to follow up with him. Lincoln pauses, then asks about Sebastian. Veronica tells him that the engagement is off. Lincoln tells her that he’s sorry, to which Veronica coyly replies, “At least say it like you mean it.” Veronica gets up and heads for the door. Lincoln thanks her for coming to help. She offers a smile. “You can thank me when I get you out of here.”

Sucre is in the yard, leaning on the payphones. “Baby, it’s me. You there? Hello?” Another inmate, Trokey, steps up behind Sucre. “If she is, she obviously don’t want to talk to you.” Sucre tries to focus on his message, calmly urging Maricruz to come and see him.

Michael walks away from the showers with a towel wrapped around his waist. While his back is turned, Haywire approaches, his fixation on Michael’s tattoo now a full-fledged obsession. “It’s a pattern.” Michael turns quickly, his eyes focused. “What did you say?” Haywire repeats himself, and Michael tells him he’s seeing things. Michael covers his back with a towel and quickly walks off.

In private conference in Pope’s office, Pope attacks Bellick’s cell transfer decision. “Putting him in with Haywire is a low blow, Deputy.” Bellick responds that as long as he stays on his meds, Haywire is as harmless as a kitten. He also remind Pope that if Michael starts getting preferential treatment, it might ruin the Pope’s credibility with other inmates. While Pope intends to recommend Bellick to succeed him upon his retirement, Bellick has got to learn the value of rehabilitation.

Anticipating a long overdue visit with Maricruz, Sucre enters visitation with a spring in his step. A C.O. cuts him off and ushers him into a secure room. Sucre asks why he’s not going to open visitation, but the C.O. just says, “Ask your visitor.” Sucre turns and sees Hector stroll towards the cage. Sucre and Hector sit with glass, metal and no shortage of animosity between them. “What are you doing here? Where’s Maricruz?” Sucre asks. Hector coolly tells him that Maricruz isn’t going to be coming around to see him anymore. “She’s with me now.” Sucre loses control, shouting threats in angry Spanish from the cage enclosing him. A C.O. rushes in to restrain him. Hector backs away from the glass, smirking. “You’re just proving my point, man.”

Michael strides into the prison’s Toxic Control Center and flips a carton of cigarettes to the inmate trustee, Choppy. Choppy nods his head in the direction of the chemical supplies and warns Michael, “Make it quick.” Back among the shelves of bottles and buckets, Michael finds a bottle of masonry cleaner. He flashes back to his apartment where he studies a chemistry textbook. Two bold titles read, “Copper Sulfate” and “Phosphoric Acid.” Back in the Control Center, Michael slips the bottle of masonry cleaner into a sock sewn inside his jacket. He looks up as he hears Choppy’s voice, raised unnaturally, calling out, “Yeah, uhh, he’s right in here.” Choppy’s talking to Bellick, who finds Michael in the store room and informs him, “You’re in a restricted area.” Michael tries to cover by saying he’s looking for fertilizer, but Bellick asks why he’s in the masonry section. Bellick searches Michael for contraband, barely missing the hidden bottle. “Oh by way, how’s the foot?” Bellick asks as he jams his boot down on Michael’s injured foot. Michael drops to the floor and Bellick gets in his face, “Don’t ever go around me to the Pope again.” Bellick lifts Michael up and forces him out of the Control Center.

Michael finishes brushing his teeth in his cell. He turns around and states, “You know what Haywire? I don’t think we’re going to work out. And since I was here first, I think you should go.” Haywire sits on his bunk, clutching a pillow. “I crapped my pants once in junior high.” Michael’s eyes roll as Haywire continues his bizarre personal story. Michael scans Haywire’s belongings, a brush, toothbrush, and toothpaste. He turns and makes sure that Haywire’s attention is elsewhere, then quickly steals Haywire’s toothpaste. He stands over the toilet and squeezes much of the toothpaste out. Having finished recounting his embarrassing tale, Haywire insists that now it’s Michael’s turn to share a secret. Michael again tells him that the tattoos don’t mean anything.

Abruzzi leans up against the front of Michael’s cell. “Making any progress in there?” he asks. Michael’s answer is no, both to the digging and to his relationship with Haywire. Michael says he knows what to do, but Abruzzi, growing increasingly patient, doesn’t think Michael has the guts.

In the yard, Sucre charges toward the phones – they’re all occupied. Sucre approaches Trokey who’s mid-conversation and demands that he wrap up his call. Trokey blows Sucre off and Sucre hangs up Trokey’s call. Trokey makes a move towards Sucre, but backs down when Sucre holds his ground. “I thought so,” Sucre mutters as he begins to dial. Maricruz, on her cell phone, picks up. Sucre immediately asks about her and Hector. But Maricruz has a question of her own, “When were you going to tell me that Rita Saldana has been visiting?” She tells Sucre that Hector told her about Rita, which only makes Sucre more furious. He begs her not to listen to Hector’s lies, but Maricruz is torn. Just as Sucre starts to calm her down, and reassure her that he’ll be out in sixteen months, Hector walks up behind Maricruz. “I’m sorry, I have to go,” she says quickly as she hangs up on Sucre.

Veronica sits inside the Project Justice offices, across from Ben Forsik and Nick Savrinn. Ben tells Veronica that unless she’s uncovered any new evidence that she can provide them with, she’s probably wasting her time. Nick tries to ask her a follow-up question, but Ben cuts him off. Project Justice receives thousands of cases and they have to be selective about what they work on because they have limited help. Veronica says that she will do all of the leg work; Veronica just wants Nick and Ben to point her in the right direction. Ben apologizes, but says that he just doesn’t have the man power to take on her case. Veronica, dejected, gets up and leaves.

Hale sits in his car. He watches in the rear view mirror as Veronica exits the Project Justice building and walks to her car. He calls Kellerman, who is going through items in Veronica’s home. Hale tells him he has about thirty minutes to find something before Veronica returns. Kellerman says, “I’m not going to nearly need that much time. I’ve turned
 
Prison Break
Episode 105 - "English, Fitz or Percy"
Airdate: 09/19/2005

Back in the tattoo parlor where Michael’s plan first took shape, Sid, the artist, finishes filling in three boldly lettered words on Michael’s arm: “ENGLISH” “FITZ” “PERCY.”

In the present, Pope sits at his desk before two unexpected visitors, Agents Kellerman and Hale. They’ve come seeking answers about why Pope rejected Michael’s transfer request. Pope is firm on his position. The inmates of Fox River are his responsibility. He wouldn’t come into Kellerman or Hale’s house and tell them where to put their furniture. What that means is that, “unless Scofield’s done something I don’t know about, he’ll be staying at Fox River under my watch.” Kellerman replies softly that it has been their experience that everyone has done something that they don’t want people to know about. Kellerman slips Pope a file whose label reads “ TOLEDO,” “POPE, HENRY.” Pope says that his wife already knows about Toledo. Kellerman responds, “Does she really?” Pope’s face goes grim, as he opens the file. Inside is a black and white photo of a young man lying on a blood-soaked pavement. Kellerman says, “You’re a smart man, Warden. I’m sure if you look hard enough, you can find a reason why Scofield’s presence is no longer required at this correctional facility.”

Michael works on P.I., hunched over a long tube of PVC piping. He calls out to a nearby C.O. that he needs to grab more. The C.O. looks to the supply shed and nods his permission. Moments later, Lincoln breaks his shovel and he asks the guard to get a replacement. The guard again agrees. Abruzzi walks out of the work shed and announces, “We got a ripped fertilizer bag. You,” Abruzzi points to Sucre, “clean it up before the whole place starts smelling like San Juan.” Sucre does his best to ignore the dig to his homeland, and walks into the shed.

Now gathered in the privacy of the shed, the four men eye one another. Abruzzi asks Michael what this meeting is about. “These are the guys we’re breaking out with,” Michael explains. There’s immediate tension within the group. Abruzzi says there’s no way he’ll work with Lincoln. Lincoln gets in Abruzzi’s face, “Touch my brother, and I’ll break your face.” Abruzzi looks to Michael, then back to Lincoln, realizing for the first time that the two are brothers. Michael reminds the group that they don’t have time for bickering. “I’m already through the wall in my cell. And there’s corrosive working through the access pipe to the Infirmary, even as we speak.” He then reveals why he’s gathered the team right now. “We have a decision to make. English. Fitz. Or Percy? Way I see it, if were gonna pull this off, we need to take one of them out.” The guys think Michael is crazy but Michael insists that this is an integral part of the plan.

As Michael and Sucre return to their cell, a C.O. escorts Michael in, but pulls Sucre aside. Michael enters to find Pope, sitting and waiting. “Why do I have the feeling there’s more to you than meets the eye, Scofield?” Michael doesn’t answer, his attention focused on beads of water that drip from the toilet right near Pope. Pope reveals the reason for his visit. “You’re being transferred.” Panic seizes Michael. Michael begs Pope to wait three weeks for the transfer. Lincoln is his brother. That’s why he requested Fox River, to be close with him before the execution. But Pope’s hands are tied. “You’re up against much bigger fish than me. You ship out tomorrow.”

Alone in his office, Pope studies the folder labeled, “ TOLEDO.” He flips though the contents, stopping at an article whose headline reads, “Youth Found Dead.” Pope closes the file and reaches inside his desk drawer and pulls out a Bible.

Lincoln and Michael sit in the prison chapel. “I’m going into the walls tonight. See if I can access the roof.” But Lincoln doesn’t want to hear about it; he wants to talk about the transfer. “When were you going to tell me?” Lincoln asks. Michael tells Lincoln that he’s going to take care of it. But Lincoln has his doubts. “ I’d made my peace with what was coming. Then you show up and give me the one thing a man in here should never have. Hope.” Michael flashes back to the memory of him and his brother as kids. Young Michael does not know how they’ll manage after the death of their mother. Young Lincoln promises that he will always take care of Michael and tells his younger brother to “Have a little faith.” Back in the chapel, Michael looks at his brother and reminds him to “have a little faith” as well.

Veronica and Nick dissect the surveillance tape from the night of Terrence Steadman’s murder. Nick points out that there are multiple inconsistencies. First, Steadman’s eye line from the car is high, like he’s looking at the camera on purpose. Second, after he parks, Steadman doesn’t leave the car; it’s as if he’s waiting for someone. Then, after the shooting, the tape sees Lincoln walk around the car and then rummage around the glove box. Nick questions if the person who enters the passenger side of the car is even Lincoln, “He’s heading away from the car. And then this guy, who conveniently keeps his face hidden from the camera, comes back in. Why?" While they’re building leads, questions to ruin the credibility of the tape, they’ll need something more solid to go to a judge with. If Lincoln didn’t fire the gun, then someone with some serious skills doctored the tape. Nick says he knows someone who can analyze the tape.

In the mess hall, Abruzzi confronts Michael; the transfer rumor has spread. Michael insists that he’s not being transferred and that he’s taking care of everything and reminds Abruzzi to provide him with a key by the time Pope leaves work tonight. Satisfied, Abruzzi walks away and Michael takes a seat next to Westmoreland. “ I need to know if there’s any way to block a transfer order,” Michael tells him. Westmoreland says there are many ways he can do it but the quickest is to simply write up a motion claiming that the transfer violates his Constitutional rights. The courts by law have to hear the motion, and until then, Michael can’t be moved from Fox River.

Dr. Tancredi and another nurse walk outside the infirmary. When Sara mentions that the state is requiring a physical for Lincoln, the nurse asks Sara if she heard the gossip about Lincoln and Michael being brothers. Sara has heard nothing.

Bellick enters Pope’s office and hands him a handwritten motion. Pope asks what it is. Bellick replies gruffly, “ Scofield. He’s blocking the transfer.”

Michael tells Sucre that he filed the motion to block his transfer. Even if it gets denied, it’ll still take thirty days to process the paperwork. Sucre is excited by this triumph, but Michael quickly gets down to business; he wants to go back into the walls immediately. Sucre scoffs, “ Yo, in case you didn’t notice, the lights are all on, and you got a live studio audience, Fish. How’re you gonna get around that?” Michael smiles. “Don’t we have some laundry to do?”

Later, Sucre wrings out a shirt that he’s washed in the small sink in their cell. He hangs shirts on a makeshift laundry line that spans the width of the cell. The clothes, dangling off the line, obscures the back wall of the cell from any potential onlookers. Michael, safely concealed, disassembles the toilet.

Abruzzi , meanwhile, walks in a line of inmates to the yard. He turns and gives a signal nod to another inmate. The inmate moves towards a C.O. overseeing the line-up and punches him in the face. A pile of inmates and C.O.s flail about on the ground, Abruzzi stands by and sees the fallen inmate has snagged a pair of guard keys and is pressing the keys into a bar of soap. A gun shot comes down from a guard in a tower and Aburzzi ducks to the ground. Nearby is the piece of soap, the imprint of a key is on one side.

Michael pulls the toilet from the wall and asks Sucre if it’s safe to proceed. “You’re clear. Swim, Fish, swim!” Sucre smiles.

Michael crawls through the hole and into a narrow, but extensive service corridor. Metal catwalks and pipes sprawl in all directions. Michael gets his bearings by locating several ducts around him and then lifts up his shirt and compares them to a section of tattoo on his right abdomen. He traces a path with his finger, and then starts the timer on his watch. He walks a few steps, and then pushes his way up to the catwalk above him. He keeps climbing until he sees the roof access. Suddenly, the door at the end of the hallway opens, a maintenance man enters only feet away from Michael.

Sucre is starting to worry. He sticks his head in the toilet, hoping Michael can hear him, “Fish! You’re taking too long, bro!”

The maintenance man in the service corridor stops to take a smoke break. Above him, spread out from wall to wall and clinging to the pipes is Michael, face down. His muscles tremble from the exertion of holding himself up. He sweats heavily and a single drop makes its way down his nose. The sweat drips from his nose and narrowly misses the man’s boot. Having finished his cigarette, the maintenance man turns and leaves.

Michael, back in the cell, puts the toilet back together. Sucre is frantically telling him, “ This ain’t gonna fly, man. The Ricans, we got genetically higher blood pressure, you know that? “ Michael tells Sucre that he can make it to the roof, and the next part of the plan is “all about timing.”

Abruzzi checks his watch: 3:50 PM. His cellmate, Gus, expertly melts a plastic toothbrush with a book of matches, guiding the liquid plastic into the key mold imprinted on the bar of soap.

In an office crammed with computer equipment, monitors and electronic devices, Veronica and Nick consult with video analyst, Chaz Fink. Chaz marvels at the tape. “ The thing’s clean. No footprints. Usually, you peel the video back a few layers, anything bogus comes right off. Now you see it, now you don’t, right? But not this one. It’s laced. Ingrained.” Chaz plays the tape again. Something catches his interest and he replays the audio track. “The problem with your eyes is that they play tricks on you, but ears? Ears don’t lie. “ He focuses on the sound of the gunshot. As soon as it’s fired, the sound waves immediately die. “ Stripped down, those levels should dance. Room that size, would give you, BLAM BLAM BLAM BLAM . One off of each wall, a split second after each other. On yours, the reverb’s bouncing at the same time.” What this means, he tells an anxious Veronica, is that the sound of the gunshot was not recorded in the parking garage. Veronica grows excited. If Chaz will testify to that fact, they’ll have enough to take to a judge. Chaz is leery. He won’t testify unless he can get his hands on the original tape.

Michael huddles over the model of the Taj Mahal. Pope questions Michael about his “allergies,” the ones he cited in his motion. Michael replies, “ Sinusitis, yeah. It’s actually not an allergy, it’s a bacterial infection. But the moist air from the river along the East Wall, it helps keeps me,” Michael takes a deep breath, “You know. Clear.” Pope has to admire Michael’s initiative. He’s been in Fox River so short a time, yet he’s already figured out how to work the system. Michael presses Pope to reveal why it was Pope wanted him transferred. But Pope brushes off his question, pointing out that it’s almost five o’clock and they should call it a day. Michael tells Pope that if he left now, the support beam he’s holding would give in and the whole model would collapse. Michael says he has to stay and hold it in place until the glue dries. Pope agrees that Michael can stay. When he’s done, he’s to check in with Pope’s assistant, Becky, and she’ll have a guard escort him back to his cell. The Pope thanks Michael for showing up to work on the model, in spite of the outstanding transfer request. Michael smirks, “You’re welcome.”

The minute Pope leaves, Michael releases his hold on the support structure. It doesn’t collapse at all . Michael moves to the door where he listens to make sure the coast is clear. Pope is gone, but C.O. Patterson remains behind, flirting with Becky. Michael smiles, then moves to the rear door of the Pope’s office. It’s still locked. He looks at the clock: 4:55 PM.

Abruzzi skates down a corridor, pushing a janitorial bin with mops and brooms hanging from the side.

Pope arrives home and walks into the kitchen to find his wife, Judy, pouring some iced tea. Pope goes to grab a glass, but Judy slaps his hand away. She tells him that the iced tea is for his guests who are waiting in the den. An apprehensive Pope walks into the den; Hale and Kellerman are waiting.

The clock in the warden’s office reads 5:05 PM. Michael hears the sound of a key unlocking the rear door. He quietly opens the door, removes the plastic key, and joins a line of inmates walking as they file through the hall outside Pope’s door.

Back in his den, Pope explains to Kellerman and Hale that there is nothing he can do to accelerate Michael’s transfer. He’s legally obligated to file Michael’s motion with the court, which could take up to two months to be processed. Kellerman, frustrated, paces the room. “ I was looking at the morgue photos of that boy back in Toledo, Will Clayton. Spitting image of his daddy. Apple fell real far away from the tree with that one, didn’t it? Fell off the tree and all over the pavement.” Pope is furious, but Kellerman continues to push. They know that Judy and Pope worked things out after his affair, but that Judy does not know about Will, Pope’s illegitimate child. The Pope demands they leave, but Kellerman faces him and demands that the warden lose Michael’s motion. Judy enters to ask the agents if they’re staying for dinner, but the agents instantly turn on the charm and politely excuse themselves. Kellerman thanks Judy for the iced tea and tells Pope, “You better do everything you can to hold onto this one.” Pope, beaten, nods his head.

As soon as Kellerman and Hale leave, Pope enters his personal study and shreds Michael’s motion to deny transfer.

A guard secures Lincoln’s wrist and ankle shackles are secured, then gives Sara the all-clear to enter. She’s non-plussed to be there to perform the ironic task of making sure Lincoln is healthy enough for the state to kill him. “This,” she says, “is not why I went to medical school.” As part of the physical, Sara asks about the medical history for Lincoln’s mother, father and siblings. Lincoln pauses. Sara asks, “Anyone besides Michael?” Lincoln turns to her, not sure what to answer. “ Fox River ‘s like a small town, Mr. Burrows. People don’t have much to do here besides time and talk.” She asks curious about their relationship. “He’s been abandoned his whole life. Dad, mom, she died young. And now me.” Sara wonders aloud if that’s why Michael is here, to be near his brother before his death.

Pope sits alone in his study, going over the “ TOLEDO” file. He flips through pictures of Will. First, his elementary school pictures and then the police photos of his body sprawled on he pavement. Pope’s eyes well up with tears.

Michael files into gen pop with the other inmates and checks his tattoo: “ENGLISH,” “FITZ” “PERCY.” He then looks at his watch: 5:44PM. He enters his cell and the doors close behind him. “It’s time.” Sucre panics. “Count’s in fifteen minutes! What are you doing?” Michael says it’s better off if he keeps Sucre in the dark.

Pope prays in the empty prison chapel. The Reverend enters, “ Don’t normally find you here at this hour. Are you seeking His forgiveness, or advice?” Pope says he doesn’t know anymore and he opens up about Will. “He was a criminal, and an addict. But he was only eighteen years old. I should have kept him on the right path.” The Reverend is familiar with this bit of Pope’s past. He reminds Pope that the woman he had the affair with made her terms very clear. Pope could not be in his son’s life unless he would also be in the mother’s life. Pope knew that when he went back to Judy, it would mean he would never know his son. He ran away from his responsibility, but was grateful to be rid of it.

Veronica and Nick stand at the front desk of a records office. They urge a bitter clerk to let them see the original tape of the murder. She refuses. Veronica and Nick beg to see it, they’ll do whatever it takes to see that tape. The clerk furrows her brows and asks for the docket number. The clerk asks for the docket number from Veronica. The clerk sighs. “Come with me,” she says. They follow her to a small back room. The shelves and floor of the archive room are littered with soaked files, destroyed boxes and ruined papers. “Last night, pipe burst right upstairs. Flooded the place. Files from over a hundred cases, pretty much lost all of them. Including yours.” Veronica finds it strange that the only room that flooded was that evidence room. The clerk responds that it was some kind of freak accident.

Sucre checks his watch, the doors slide open for the inmate count. Michael is not in the cell.

Michael works his way through the service corridors again and back up to the roof. He moves quickly up the side of the roof and barely avoids a roaming search light. He checks his watch. Count has started.

Bellick reads of the names on his check list. “Scofield, Sucre.” He walks up to the cell, and Sucre is standing alone. Bellick enters and briefly looks over the cell, but Michael is nowhere to be found. Bellick stares down Sucre, and then calls out to the floor, “We got a runner!”

The alarms sound and the flood lights lining the yard come to life. Guards swarm the cell block searching for Michael. Bellick presses Sucre for more information, to no avail. Patterson radios Bellick from Pope’s office, “ Call it off, Captain. I got Scofield right in here.” Bellick barks at Patterson to visually confirm Michael’s location. Patterson opens the door to Pope’s office, and finds the room empty. Patterson presses the button on the walkie-talke. “Captain, he’s gone.”

Michael crouches on the roof, watching the action unfold. Police squad cars race towards the prison. A line of cars race down both Percy Avenue and English Street. Then Michael turns around to face a third street. This street remains dark and quiet. Fitz Street. Michael smiles.

Pope rushes back into his office, demanding to know how an inmate vanished with a guard right outside. Bellick storms behind him. Michael’s head pokes out from behind the model of the Taj. “What’s going on?” Bellick charges Michael, grabbing him and throwing him against a wall. “What were you doing in here!?” Pope calls Bellick off, asking Michael, “You were in here the whole time?” Becky tells Pope she never Michael him leave and Patterson admits he must not have seen him behind the table. Bellick is furious at the notion that Michael may not be punished for missing count, but Pope wearily interjects that Michael is no longer Fox River’s problem. “ There was...an error in his paperwork. Looks like his transfer will be going through after all. “ Michael is crushed and tries to plead with the warden, but Bellick forces him out.

“Any chance you wanna write it off as a coincidence?” Nick asks Veronica as they walk back into her apartment building. Assuming someone was behind the sabotaging of the evidence tape, Veronica asks how anyone could have known they’d be coming for it even before they did. Nick figures it’s a good sign. When people start breaking the law, that means you’re on to something. They reach Veronica’s apartment and see the door is open. Nick enters slowly, Veronica right behind. Everything is intact, nothing appears to be stolen. Veronica notices the cabinet in the kitchen was left open and she frantically tears through a pile of towels and napkins. Their copy of the tape is gone. Someone stole it. Nick asks if she’s sure that’s where she left it. Veronica replies, “Yes. You were here…” She stops herself and gives Nick a suspicious glance.

The next day, cell doors open in gen pop for inmates to go to breakfast. Bellick swaggers up to Michael and Sucre’s cell, instructing Michael to wait in his cell until his ride comes. Sucre hops of his bunk, “It can’t end like this.” Bellick hollers for Sucre to clear out, but Sucre lingers. “Fitz. We were going take Fitz,” Michael says quietly. “And the cops? How long it takes them to respond? You got all the timing down?” Sucre asks. Michael nods. “Think we would’ve made it?” Sucre asks, but before he can answer, Bellick pulls him out. Michael the allen wrench. Before getting up to leave, he slips it under Sucre’s pillow and places an origami swan on his bunk.

Bellick walks a heavily shackled Michael down an outside corridor. Sara watches from the infirmary as he passes. Then they take a long walk past the yard, the eyes of all inmates following Michael’s departure. Westmoreland holds Marilyn. Sucre hangs on the fence. Abruzzi leans over and whispers to Gus, “ Call my wife. Tell her to get the kids. Tell her to get out of the country.” Bellick and Michael stop just long enough for Lincoln and Michael to hold a glance between them. Lincoln stands and Michael mouths, “I’m sorry,” to him. Pope watches from his office, he sits back in his chair as Michael shuffles out of the prison and out of his life.

Bellick hands Michael over to another C.O. who will escort Michael to the bus. As the gates of the prison sally port open, Pope barks out, “ What’s this prisoner doing out of his cell?” After the guard says he’s being transferred, Pope steps in. “No, this must be some kind of a mistake. This prisoner filed a motion yesterday. He has a medical condition that precludes transfer. Sinusitis, isn’t it?” A quick but knowing look passes between Pope and Michael. Pope demands Michael be taken back and his recreational time taken away for missing prisoner count. Pope looks beyond the gates, Hale and Kellerman wait in their car.

When Pope returns home, he finds Judy waiting for him on their porch. Judy asks why he’s home early and if everything is okay. Pope sits down next to his wife and uncomfortably replies, “There’s someone I need to tell you about.”

Kellerman makes the unpleasant call to the Garlic Cutter. “The transfer didn’t go through. “ The Garlic Cutter has had it. She recommends a change of plans. Kellerman and Hale need to go after the cause of all of this, Lincoln. “After all,” she says, “the chair isn’t the only way to take a man’s life in prison.”
 
Prison Break
Episode 106 - "Riots, Drills and The Devil" Part 1 of 2
Airdate: 09/26/2005

The rides and attractions at Chicago’s Navy Pier glisten in the afternoon sun. An unassuming middle-aged man turns from a ticket booth to pass a handful of tickets to a group of eager kids. The man reaches out and kisses one of the boys with a fatherly smile, watching the kids run off. When he turns back, he freezes at the sight of Kellerman and Hale. Kellerman addresses the man as Diamond, whose face grows serious. He and the agents have a history. Diamond makes it clear that whatever the agents want, he wants no part of it. He’s been out of the life for years. Kellerman smirks as he takes a bite of ice cream. “ I know. Problem is, Diamond, no one’s gonna believe that after I take the heroin I have in my pocket and put it in the glove box of your reasonably priced minivan parked over there. I will cuff you and drag you right out of here, in front of everyone. “ Diamond relents, resentfully demanding to know what they need.

That night, alone in her apartment, Veronica reviews paperwork from Lincoln’s case. In the background, the President of the United States delivers a televised speech, discussing alternative fuels. “ What America needs is an environmentally friendly, logistically feasible, and economically responsible alternative fuel source.” Her phone rings, but she lets the answering machine get it. Wendy, her assistant, begins to leave a message that Nick Savrinn has been calling the office obsessively. Veronica picks up, instructing Wendy to tell him that she’s not there, should he come by the office.

Sucre perches on the top bunk acting as lookout over the cell block, while Michael grinds the other end of the bleacher bolt against the steel bunk frame. He holds the piece up to examine it; it’s a very crude drill bit. Michael then performs his routine of removing the toilet from the wall and makes his way into the catwalks behind the cells.

Deep in the prison bowels, Michael comes to a dead end. He is dwarfed by a massive cement wall, but seems unsurprised by its presence. He sets to work, positioning himself in the corner of the room and taking four steps forward along the barrier wall. He turns ninety degrees, and then steps forward three more paces. He removes the drill bit from his pocket and marks the floor. Michael slides over to a yellow scaffolding beam while he lifts up his left sleeve. He uses a tattoo marking on his upper arm to measure a point on the scaffolding, then he uses the bit to mark the point. Finally, he finds a tripod used to hold work lamps and places it above the mark on the floor.

C.O. Patterson calls out, “Bed check!” to the cell block. Sucre jumps off the top bunk and taps a small mirror against the toilet to signal Michael to return immediately. Sucre hurriedly stuffs pillows under Michael’s blanket in an attempt to give the appearance that he’s there.

Veronica heads out of her apartment and she’s startled when Nick walks up behind her. Nick wants to know why she’s avoiding him. Veronica makes it clear that she doesn’t want Nick’s help with Lincoln’s case anymore. She firmly tells him to leave her alone, but Nick persists. He is insulted by her suspicions that he stole the surveillance tape. She storms out the front door and Nick follows. She enlists the help of building handyman Lucasz, who walks her back inside after telling Nick to beat it.

C.O. Patterson conducts his rounds. He shines his flashlight into Sucre and Michael’s cell, his eye on Michael’s bunk. “Show some skin, Scofield,” he orders. There’s no movement from the bottom bunk. Patterson raps his flashlight on the bars and when there’s still no movement from Michael’s bunk, he goes for his keys to open the door. Finally, Michael pushes the covers back, squinting into the flashlight beam. “Tryin’ to sleep, boss.” Patterson continues down the row.

As soon as Patterson is gone, Michael whispers to Sucre, “I can’t get through the wall, Sucre. I know how to do it. I just don’t have the time to do it.” Michael explains that he based the plan on a schedule, but now he’s behind. Since he constantly needs to be back in his bunk for count, he can’t catch up. If Michael’s not through the wall by the end the next day, the plan will be in serious jeopardy. Sucre tells him that the only time when count is not performed is during a lockdown. If they can rile up the inmates enough to cause a lockdown, Michael will have all the time they need. But how to do it? It has been unseasonably warm this spring and if Michael can disable the air conditioning unit, that might be enough to aggravate the prisoners.

The next day in the yard, an inmate huddles close to the phone. The only part of his body that’s visible is his wrist, which sports a green string bracelet. He’s speaking with Diamond who instructs him on what he wants done. “For you Diamond, anything,” the inmate says as he looks across the yard and sees guards escorting Lincoln across the yard. “Lincoln Burrows is as good as dead.”

Across the yard, Sara shouts to Michael from the other side of the fence. “Hottest April on record.” Michael approaches the fence and Sara asks why he never mentioned that Lincoln was his brother. Sara suspects that it’s because her father is the governor of Illinois. Everyone knows that he has the power to grant clemency to any prisoner on death row, yet he never does. Michael reveals that his father was an abusive drunk who left his family, so he is not in the habit of judging anyone by their father’s actions or inactions. Sara offers to schedule Lincoln’s weekly check-ups to end before Michael comes in for his insulin. That way he could see his brother, even if it was just in passing. Touched, Michael thanks her.

Michael walks away from the fence and sits down next to an inmate, who looks around to ensure that they’re alone before saying, “Greetings from the kitchen, Fish.” The inmate passes an egg beater to Michael, who quickly conceals it in his pant leg.

Now recovered from the beating he took from Abruzzi’s gang, T-Bag is escorted back to gen pop by C.O. Geary. A few inmates, including Trokey, applaud his return. Trokey and the boys giggle perversely as Trokey announces that they got him a get well present. T-Bag walks into his cell to find a nervous young kid, Seth, waiting there. T-Bag beams, “It’s just the right size.” Seth is new in Fox River, but knows enough to fear T-Bag. He keeps his eyes on the floor as T-Bag approaches him. “You probably heard stories about me. They’re not all true. What do you say we go for a walk?” T-Bag turns out his left pocket, inviting Seth to take it.

Deep in the catwalks, Michael scales a set of pipes and moves upward until he reaches the air conditioning system. Using a small piece of metal he grabbed in the catwalks, he shorts out the fans.

Outside the attorney-client visitation room, C.O. Bob finishes searching Veronica’s bag and tells her that her co-council is already with Lincoln. Veronica looks confused, then races in to discover Nick alone with Lincoln. She’s furious that Nick would show up there and instructs Lincoln not to talk to him. But Lincoln asks her to hear Nick out. Veronica casts a suspicious glance. Nick tells her, “I’ve been going over the incident report from the night of murder and somebody made an anonymous phone call to the local cops claiming to see Lincoln running away from the garage with bloody pants.” Veronica knows this already. That call was what prompted the police to storm Lincoln’s apartment, where they found him with the bloody pants, the pants they believe were planted. She’s not willing to hear more from Nick. The call was from an anonymous source. They can’t cross-examine a witness if you don’t know who it is. Nick stops her. They might not know who the caller was, but with the help of one of his connections, they have discovered where the caller was. Whoever made that phone call could not have seen Lincoln running away from the garage that night. Veronica asks how Nick knows. Lincoln smiles slightly as Nick replies, “Because the phone call came from Washington, D.C.”

With the A.C. unit now disabled, the temperature in Fox River has the inmates restless and irritable. Michael sits and quietly traces a piece of his tattoo, the face of a devil, onto a piece of paper taped to his arm. Sucre looks around and sees Seth in T-Bag’s cell, cupping pretzel nuggets in his hand. T-Bag has made him into his personal snack tray. He’s also given Seth a new name. When Seth complains about the heat, T-Bag replies, “I say you could talk, Cherry? You’ll know when I want you to open your mouth.” T-Bag stands up and shouts to C.O. Geary about the heat, but Geary is unsympathetic to T-Bag’s concerns.

The doors open for count and all the inmates walk out. T-Bag takes a step forward as Geary walks by and asks him, “Why don’t you transfer us somewhere cooler? Like Africa?” Laughter and rumblings from the other inmates echo T-Bag’s sentiments about the heat. Geary orders T-Bag back on the line, but in this heat, no one is interested in following orders. Another C.O., Mack, senses trouble brewing and radios Bellick.

Bellick, in sick bay, accuses Mack of being soft on the cons and tells Mack that if he can’t deal with the problem himself, “Don’t bother cashing your paycheck this week.” Sara walks down the hall, but Bellick stops her, wondering what she’s doing outside of the infirmary. She tells him that she’s responding to a report that an inmate has heat exhaustion. Bellick thinks the inmate is just being difficult and he encourages her to stay in her wing where it’s safer for her. Sara stands up to Bellick, offering a subtly veiled threat to his job security should he ever deprive an inmate medical care. Bellick backs off and lets Sara get to work.

The inmates are getting more fired up as T-Bag continues to verbally abuse the guards. Finally, Geary has had enough and throws his cup of water in T-Bag’s face. Geary orders a lockdown, but several of the inmates refuse to return to their cells.

Having gotten the lockdown they wished for, Sucre and Michael move back into their cell. Michael tells Sucre to hang a sheet on the bars; they’re both going behind the walls.

Though most of the inmates comply with the lockdown, some stay out of their cells. The guards back out of the cell block and lock the gate behind them. T-Bag leads a pack of cons to the caged guard booth, out for blood after Geary disrespected him with the water. Bellick arrives, demanding to know what’s going on. T-Bag taunts Bellick as his posse claws at the guard cage. “What do you call a piece of white trash who couldn’t pass the cop’s exam and now makes less than a mailman? A C.O.” Bellick fires back, “You know Teddy, you really let me down and that’s hard to do. Because I don’t expect much from the inbred child of a retard. That’s right. I read the psych records. “ Bellick has hit a nerve. T-Bag explodes and the inmates go crazy behind him. Mack asks what they should do. Bellick says, “It’s hotter than hell. They’ll wear themselves out eventually.”

Back in the attorney-client visitation room, Lincoln is livid that evidence of a fake phone call isn’t enough for a stay of execution. Nick and Veronica explain that the evidence on which he was convicted is still too great. But the phone call is a start, and Nick tells Veronica that they need to catch the next flight to Washington, D.C.. They’ve got to find that telephone.

Bellick has lost his cocky grin as the inmates crawl all over the guard booth’s protective wire barrier. As the mesh begins to shake loose in one corner, Bellick instructs his men to relocate to his office, much to T-Bag’s glee.

Moving through the catwalks, Sucre and Michael can hear the chaos erupting above them in the cell block. They continue.

Watching from the security monitors on his desk, Bellick seethes as the inmates finally get through the window and storm the guard booth. Bellick removes a case from his desk drawer and loads a 9mm handgun that was inside. They watch as the inmates work the cell door controls to free the rest of general population. T-Bag’s foot steps on a set of keys. Bellick whirls around and Mack sheepishly admits that he lost them in the commotion. T-Bag smiles as he waves the keys at the camera. Bellick radios the other guards, “This is Bellick. Our wing has been breached. I want A-Wing evacuated and shut down. All access to B-Wing cut off now.”

Sara continues her rounds in the Sick Bay of B-Wing. The inmates are subdued until C.O. Rizzo receives news of the uprising in gen pop over his walkie-talkie. Sara looks concerned as the inmates around her start getting excited.

Sucre and Michael reach the wall that Michael had prepped earlier. Michael explains its significance. “Somewhere on the other side of this wall is the main drainage pipe to the prison’s old sewer system. If we can get through this wall, we can get into the pipe. If we can get into the pipe, we can get into the infirmary. And if we can get to the infirmary, then we can get out of here.”

C.O. Bob interrupts Lincoln, Veronica and Nick’s meeting. He informs them that there’s a disturbance in A-Wing. All visitors must leave immediately. Veronica resists at first, but Bob assures her that it’s for her own safety. Lincoln urges Veronica to go to Washington D.C. with Nick. Following up on that call is all they have to work with.

C.O. Bob escorts Lincoln back to his cell. Lincoln, concerned for Michael’s safety, asks what’s really going on in A-Wing. Bob is reluctant to say more, but he’s a good guy and he and Lincoln have a rapport. Bob assures him that no one is going anywhere; the cell block is locked down. Bob barely finishes his sentence before T-Bag runs into the hallway followed by a group of his thugs. T-Bag fixes a predatory stare on Bob who freezes with fear. “A rookie C.O.. And it isn’t even Christmas.” Lincoln assumes a protective stance. Knowing that the only way to save Bob is to fight, Lincoln takes Bob’s keys and unlocks his own handcuffs. “Get out of here T-Bag,” Lincoln warns, but T-Bag is adamant about getting his hands on Bob. T-Bag offers Lincoln a bribe to hand Bob over, but Lincoln refuses. As additional thugs circle around T-Bag, he menacingly tells Lincoln, “You’ve got a lot to learn about the art of bargaining position. Lesson one: Yours just changed.”

Using his carefully measured markings as a guide, Michael plugs in a work lamp and hangs it from the tripod he set up earlier. Sucre wants to know the exact location of the pipe. Michael tells him, “We’ve got someone to show us where it is.” Then he takes the tracing of the devil tattoo, places it before the lamp and the image projects onto the wall.

As Sara walks into her office within sick bay, C.O. Rizzo radios and asks if A-Wing needs back up. His offer denied, he turns around and a massive inmate, Stroker, grabs him by the throat. Sara, medical tray in hand, walks out of her office and sees Rizzo on the ground. Before she can react, Stroker grabs her around the neck and chokes her. She grabs a syringe from her tray and stabs him in the arm. Stroker lets go just long enough for Sara to break free and lock herself in her office. Sara looks out. All her patients close in around the glass-lined office. The inmates are now surrounding the office, threatening to break in. Sara tries to telephone for help, but another inmate, Pop Pop, has pulled the wire from the wall.

T-Bag slowly walks closer towards Lincoln. “You ever see on of those safari shows where a bunch of cheetahs just jump all up on an antelope? Guess which one you are?” Lincoln strikes first, head butting one of the goons. A few thugs grab Bob and pin him against a wall, while the rest struggle to take down Lincoln. But Lincoln will not go down easily. He dispatches thug after thug before T-Bag sneaks behind him and strikes Lincoln on the back of the head with a metal bar, knocking him unconscious.

Sucre studies the projected image of the devil, increasingly skeptical of Michael’s plan. The devil may have a lot of power, but unless he has a sledgehammer, Sucre doubts he can help them get through the wall. Michael answers by passing him the egg beater, now fashioned into a crude dr