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TRANSCRIPT:
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ACT 1.

[Camera pans over suburban housing - EXT - day.]

[Title Card: Tribune, Kansas.]

[Music: "Walking on Sunshine" by Katrina and the Waves.]

[Susan's Old House - EXT - day.]

[1. INT. Susan's Old House. Day.]

(T-Bag is still bound to a chair, his head hanging forward, looking pretty badly beaten. The music is playing from a stereo.)

Geary: For a millionaire, you travel light. Hey. Hey, what is this?

T-Bag (his speech is slow, slurred): It's for my blood pressure.

(Bellick comes in from the kitchen with a meat hammer.)

Bellick: Lookie what I found! Guess Ms. Hollander liked to beat some meat. A couple whacks on the temple with this would help you remember where you put the money.

Geary: Hey, we've been beating his ass all night. He ain't coming off the goods. We need to do something different.

T-Bag: It don't matter what you do to me. I ain't talking.

Bellick: Well, I ain't stopping till I get what I came for.

Geary: How about we listen to that again? (He presses the stereo button and the song starts over.)

T-Bag: Please...

(Bellick smashes the hammer on his bad hand and he yells in pain.)

Bellick: Tell me where that money is or I'm gonna read it on your tombstone.

T-Bag: Okay, okay, I will give you a little clue. It ain't here.

(As Bellick works T-Bag over with the meat hammer, the camera pans down T-Bag's leg, showing the key to the bus station locker is working loose from his sock.)

[Title Card: Chicago, Illinois. FBI Field Office.]

[2. INT. FBI Field Office. Day.]

(A hand crosses out Lincoln's mugshot in red marker pen.)

Agent Lang: Confirmed. Burrows is in custody.

(The office breaks into cheering and applause.)

Agent Wheeler: Unbelievable. He made it all the way to Arizona.

Lang: Another day, he'd have been gone. You find Mahone?

Wheeler: No. Keep trying to call, it goes straight to voicemail.

[3. INT. Car - Back Seat. Day.]

(Kellerman is trying to call Mahone.)

Mahone (v/o): This is Alexander Mahone. Please leave a message.

(He shuts off the phone, then it starts ringing. He answers it.)

Kellerman: Mr. Kim.

CUT TO: Bill Kim, walking on the balcony outside his office.

Kim: Mr. Kellerman.

Kellerman: Lincoln Burrows is in custody.

Kim: That's the reason I called. Who has him?

Kellerman: Willcox, Arizona P.D.

Kim: We need to extricate him. Right away. Where's Mr. Mahone?

Kellerman: I'm getting in touch with him now. But I can take care of this one myself.

Kim: This is why we hired Mr. Mahone. He's the official face here.

Kellerman: Don't worry, this won't be official. And there won't be any questions.

Kim: Of course there will. Just make sure no one's left to answer them.

[Title Card: Willcox, Arizona.]

[4. EXT. Road. Day.]

(A police car carrying Lincoln and LJ drives along an Arizona back road.)

Lincoln: My son had nothing to do with this, please.

Cop: A judge will decide that. (To his partner.) Did you call in?

Cop 2: Yeah. Phoenix is sending backup.

(A black van zooms up behind them.)

Cop: I don't think that's one of ours, Jimmy.

( The black van rear ends the squad car.)

Cop: What the hell?!

LJ: Hey!

(The squad car is forced off the road. It slams against a tree, and Lincoln kicks open the door. Lincoln and LJ take off running.)

Lincoln: Come on!

LJ: I'm coming!

(The black van screeches to a halt and several people jump out, including a blonde woman.)

Lincoln: Move it, run, don't stop!

Man: Come here!

(LJ is grabbed by one of the guys.)

LJ: Let go of me!

Jane Philips: Okay, calm down. Calm down.

(Lincoln, struggling with his captor, headbutts her in the face.)

Jane (angrily): You try that again...

Lincoln: Who the hell are you?!

Jane: We're on your side! We're with your father.

[Title Card: Chicago, Illinois. O'Hare International Airport.]

[5. INT. Airport. Day.]

(Kellerman hurries down the escalator. His cell phone rings. He checks the display and answers it.)

Kellerman: Mahone. Lincoln Burrows has been apprehended.

CUT TO: Mahone, standing with his car.

Mahone: Where?

Kellerman: Arizona. I'm on my way, and I need your talents on the ground as well.

Mahone: I'll get there as soon as I can.

Kellerman: I don't think you heard me. Get to Arizona.

Mahone: I'm this close to Scofield.

Kellerman: Well, we have a bird in the hand.

Mahone: Yeah, well, so might I. You wanted me to figure out Scofield's rendezvous with Tancredi?

*Flashback Images: Kellerman handing Mahone the paper crane, the list of possible combinations, Mahone circling 'Gila' on the map.*

Mahone: It's happening today.

*Flashback Images: Michael driving past a road sign: Gila, 73 mi. Sara sits in a motel room on the telephone, marking Gila, NM on a map.*

Mahone: And I'm sitting right on top of it.

(He hangs up and looks out over the roofs of Gila, New Mexico.)

OPENING CREDITS.

[Title Card: Gila, New Mexico.]

[Sundown Hotel - EXT - Day.]

[6. INT. Hotel. Day.]

(Sara stands in the bathroom, looking in the mirror. She ties back her hair.)

*FLASHBACK*

Sara walks into her father's house, sees him hanging on the back of the door. She covers her mouth in shock.

*END FLASHBACK*

(Sara empties her purse, her AA Big Book and other items.)

*FLASHBACK*

As Sara lifts her father from the door, a gold key falls from his person. She finds the key on the floor and stares at it.

*END FLASHBACK*

(Sara picks up the gold key from the jumble of her possessions. She threads it onto her keyring.)

[Title Card: Trinidad, Colorado.]

[Camera pans over fields, trees and mountains - Day.]

[7. EXT. House. Day.]

(The black van drives up to a large house in Colorado. Lincoln exits, followed by LJ. A man is waiting outside the house - Leon. He stares at Lincoln as he walks by.)

Lincoln: What are you looking at?

[8. INT. House. Day.]

Lincoln: Where are we?

Jane: It doesn't matter. You're safe here. You can take a seat.

Lincoln: I ain't doing a thing until I see my dad.

Jane: All I can tell you is, he's on his way. His flight lands in an hour.

Lincoln: Why should I trust you, lady?

Jane: I don't see you have much of a choice. I could drop you off back with the cops if you'd prefer.

(Lincoln stays silent. He glares over at Leon in the doorway.)

Jane: You have somewhere else to be?

Lincoln: Matter of fact, we do.

Jane: Well, we can't let you leave. And your father was expecting your brother to be with you. Do you know where he is?

Lincoln: Do you really think I'm gonna answer that?

Jane: You need to start co-operating with us, Lincoln. (She touches her split lip.) We're only trying to help.

[9. INT. Gila Hotel. Day.]

Mahone: Michael Scofield. He escaped from Fox River Penitentiary a week ago.

Clerk: Nope. Never seen him.

Mahone: Well, if you do, please call me at that number.

Clerk: Will do. There's another hotel down the road.

Mahone: Thanks.

[10. INT. Sundown Hotel. Day.]

(Sara is running the shower when there's a knock at the door. She wraps a towel around her waist and hurries over, checking through the spy hole.)

Sara: Yeah?

Man (o/s): You got a fax.

Sara: Uh, could you put it under the door please? Thank you.

(She picks it up. It reads: 'One hour. 16781 Butterfield Road'.)

[Title Card: Dinosaur, Nebraska.]

[11. EXT. Road. Day.]

(Sucre stands next to his car. The hood is open and he's reaching around inside the engine. He clearly has no luck getting the car started, and soon takes off jogging down the road.)

[12. EXT. Garage. Day.]

(Sucre walks up to the pay phone. He rips down a "Wanted" poster for the Fox River Eight, then picks up the receiver and dials.)

CUT TO: Theresa's Apartment. Theresa's friend hands the phone to Theresa.

Friend: Theresa, it's Fernando Sucre.

Theresa: Fernando.

CUT TO: Sucre: Theresa.

Theresa: She's not here.

Sucre: Please don't hang up. I'm so sorry. Please, just...I just need to know something.

Theresa: You've got bigger problems than my sister right now!

Sucre: No, no, wait, please, please. I need to talk to her. Please.

Theresa: You can't. My...we're leaving this afternoon.

Sucre: Where are you going?

Theresa: Ixtapa, Mexico. We won't be back for a week. We're taking the honeymoon she had planned with Hector. She's picking me up in a few hours.

Sucre: What time?

Theresa: A little before 2.

Sucre: She's gonna have to call me, okay? I'll give you the number.

Theresa: Where are you?

Sucre: Take this number of the caller ID. Please, Theresa. Just have her call me. Okay? I'll be right here.

[13. EXT. Beaten Track. Day.]

(Sara drives up a dirt road. She checks numbers on mailboxes until she finds 16781. There's nothing else there, no house, no cars. She checks the mailbox but its empty.)

(A white car slowly moves towards the mailbox. Frustrated, Sara gets back into her car. The white car pulls up behind hers. Camera shows a pair of feet getting out of the white car. Sara gets out again and finds herself staring over at Michael.)

Michael: Hello, Sara.

ACT 2.

[14. EXT. Beaten Track. Day.]

Michael: I wasn't sure you'd come.

Sara: I didn't have a choice.

Michael: This isn't gonna be easy for you.

Sara: You said in your message that you had a plan to make this right. I need to know what that is.

[15. EXT. Sundown Hotel. Day.]

(Mahone pulls into the Sundown Hotel's parking lot.)

[16. INT. Sundown Hotel. Day.]

Clerk: Yeah. Yeah, she checked in last night.

Mahone: Was she alone?

Clerk: Yeah. Kelli Foster. I put her in Room 9. You the guy that was trying to call this morning?

Mahone: A guy tried to call this morning?

Clerk: Yeah, he was trying to send her a fax.

Mahone: Did he do it?

Clerk: Yeah, twenty minutes ago.

Mahone: Does your fax have memory?

Clerk: I guess so.

(Mahone presses a button on the fax machine and out comes Michael's message.)

Mahone: Do you know where that is?

Clerk: It's five minutes away. Hey, if she comes back, is there anything you want me to do?

Mahone: She isn't coming back.

[17. EXT. Beaten Track. Day.]

Michael: I've arranged for us to get to Panama. We're meeting up with my brother tomorrow.

Sara: Wait, that's your plan? To run away to Panama with the two most wanted men in America? Michael, I came here because I thought you were gonna have real answers for me.

Michael: This is an answer. And right now it's the only one we've got.

Sara: Running away into the sunset with the man who lied to me? Really? I mean, did you know about the other guys? Did you know that I would be putting T-Bag back out onto the street?

Michael: I never meant for that to happen. I was doing what I needed to do. My brother was gonna die.

Sara: Now my father's dead.

(Michael is visibly shocked and choked up at this revelation. He leans on the hood of his car.)

Michael: I am sorry about your father. I'm sorry for a lot of things. For what I did to you. I have many...many regrets. But that's the biggest.

Sara: That doesn't help me right now.

Michael: I'm sorry for that too. I didn't expect you to, uh...I didn't expect you to forgive me. But I don't want you to, uh...I don't want you to be alone in this.

Sara: I don't wanna be alone.

(They are suddenly alerted to a car driving very fast up the dirt track towards them.)

Michael: Let's go. Get in the car.

Sara: We can't get out this way. Michael, that's the only way out of here.

Michael: Then that's the way we're going.

(Michael's car zooms off towards Mahone's car, neither of them willing to back down.)

Michael: Hold on. Just hold on.

Sara: Michael, what are you doing?

Michael: Just hold on.

(The cars continue to get closer.)

Michael: Come on...

Sara: Michael!

(At the last moment, the cars slide by each other, their sides grinding and showering sparks. Michael races on and Mahone swings his car around.)

Michael: You all right?

Sara: He's still behind us.

Michael: Hold on!

(Michael crashes through the fence of an old factory, Mahone right on their tail. Mahone manages to gain ground, and forces Michael's car off the road and into an old shed. The two of them flee the car and run into the factory.)

[18. INT. Susan's Old House. Day.]

(Geary heats up a metal skewer over a flame on the stove. Bellick cuts T-Bag's ties.)

Bellick: On your feet, Bagwell.

Geary: Skewer's hot.

(Bellick drags T-Bag towards the kitchen, but T-Bag seizes the opportunity and makes a run for it. Bellick dives for him, both of them crashing to the floor. In the struggle, the key flies across the floor.)

Geary: He's got a key!

(T-Bag lunges for it, grabs it and forces it down his own throat.)

Bellick: I'm gonna get that key if I have to...

(T-Bag opens his mouth wide, showing its empty. Bellick's eyes are lit with anger.)

[19. INT. Bathroom. Day.]

(Bellick throws a cooking strainer onto the toilet and forces T-Bag down onto it.)

Bellick: Down. (He secures T-Bag to the toilet with duct tape.) We're gonna see that key again, friend. We're gonna see it real soon.

(Geary walks in with a grocery bag.)

Bellick: Give me my credit card. What did you get me? (Geary throws him a packet.) What else did you get?

Geary: Prune juice, smokes, a little dip and a bag of sliders. What do you want first?

Bellick: Looks like a chew guy.

(They force some tobacco into T-Bag's mouth.)

Geary: No spitting.

Bellick: He's had worse things in his mouth.

[20. EXT. Garage. Day.]

(Sucre looks at the clock inside - it's just before 12. He looks at the pay phone - just as a cop car pulls up at the forecourt to get gas. The phone starts ringing.)

*Flashback Image: Maricruz and Sucre notice each other for the first time.*

(One of the cops walks towards the garage to pay.)

*FLASHBACK*

(Maricruz and Sucre in bed together.)

Maricruz: What do you want, Fernando? From the future?

*END FLASHBACK*

(Sucre watches the cop car. The phone continues to ring.)

*FLASHBACK*

(Maricruz and Sucre in bed together.)

Sucre: Would you run if I said 'you'?

Maricruz: Would you chase me if I did?

*END FLASHBACK*

(Sucre screws up his face in mental agony - he can't answer the ringing phone while the cops are there. The phone stops ringing.)

[21. INT. Old Factory. Day.]

(Michael and Sara, panting, duck into the factory.)

Sara: We gotta get back to my car.

Michael: It's too far.

(Mahone's car drives up a few yards away.)

Sara: If we go now, before he gets more people...?

Michael: He's not gonna call for backup. He wants his privacy.

Sara: Why?

(They watch as Mahone gets out, he looks around for them.)

Michael: He's not trying to catch me. He's trying to kill me.

ACT 3.

[Camera pans over the house in Colorado - EXT - Day.]

[22. INT. House in Colorado. Day.]

(Lincoln is alone with LJ.)

Lincoln: Your grandfather...he was the reason I was set up in the first place. He used to work for the people who wanted me dead. This is all just to get to him.

Jane (entering): Your father should be arriving any minute now.

Lincoln: Jane, right?

Jane: Mm-hm.

Lincoln (gesturing to his mouth): Sorry.

Jane: Don't worry about it.

Lincoln: You know my dad?

Jane: Mm-hm.

Lincoln: Well?

Jane: Well enough. We used to work together.

Lincoln: Ah. The Company.

Jane: Yeah. But that was a long time ago. And now I work against them, just like he does.

Lincoln: So I guess you walked out on your family too. No explanations, no goodbyes.

Jane: I don't have a family. Lincoln, he really wants to see you. And your brother. He hasn't seen Michael since he was 10 years old.

(A man enters the room.)

Man: They're here.

Jane: Wait here.

(She leaves with him. Lincoln grabs LJ's arm.)

Lincoln: Let's go.

LJ: Where are we going?

Lincoln: Michael never met your grandfather.

(A man appears behind them.)

Man: Hey!

(More people block the way in front of them. Lincoln turns around and is about to fight his way through the first man when his father - Aldo Burrows - walks into the room.)

Lincoln: Dad.

[23. INT. Old Factory. Day.]

Sara: I don't wanna get trapped in here.

Michael: There's gotta be an exit on the other side. You go on.

Sara: Michael...

Michael: I'll be right behind you. Go.

(She runs off in another direction, just as Mahone enters the factory, his gun raised. Michael picks up a metal pipe. It clangs on the wall behind him.)

(Mahone walks slowly towards the corner that Michael is hiding behind. He listens, but hears nothing. Michael waits, his metal pipe raised. Then Mahone changes his mind and walks the other way, closing in on Sara. Michael gestures for her to hide.)

(Sara ducks behind a wall as Mahone is approaching. Mahone listens, walks further towards the corner. Michael uses the metal pipe to knock over another metal pipe, which clangs on the floor, distracting Mahone. Sara is safe, as Mahone hurries towards the noise. Michael moves deeper into the factory.)

[24. EXT. Willcox, Arizona. Day.]

(Kellerman hurries through the crash scene, dialing on his cell phone.)

Kellerman (on phone): The news is not good. Burrows was intercepted before I got here. It's a setback, but we're not that far behind, I...

Kim: Paul, Paul, calm down. It'll be all right. Someone will take care of it.

Kellerman: Someone who? Bill, tell me you're not bringing someone else in on this.

Kim: You didn't think you were alone on this, did you? You're a soldier. There's an army. Tell me, what do you have on Sara Tancredi?

Kellerman: What does that have to do with this?

Kim: Go back to your original assignment.

Kellerman: Bill, I'm here now, I can do this, and then...

Kim: The girl. We need to know what her father told her. When you find out, give me a call.

(Kim hangs up. Kellerman makes an angry gesture then dials again.)

Kellerman (on phone): This is Agent Kellerman. I need that rental car information on Sara Tancredi.

[25. INT. Old Factory. Day.]

(Sara moves through the factory to the entrance and runs across to Mahone's squad car. Michael keeps moving and bumps into a jagged pipe, gashing his arm.)

CUT TO: Sara, in Mahone's car. She checks around for the keys, but can't find them. Instead, she ducks down and pulls out the wires from under the steering wheel, to hot wire it.

CUT TO: Michael, in the factory. He sees a propane gas valve. Holding his arm, he looks around.

CUT TO: Mahone, walking through the factory, gun raised.

CUT TO: Michael, who turns to find himself at a dead end. He breaks the seal on the valve, turning the handle until gas pours into the air.

[26. INT. Susan's Old House. Day.]

(Bellick is looking at a boating magazine.)

Bellick: Yeah, this is it right here. Seventy-five foot, twin diesel Azimut...fly-bridge, panoramics. You pull up in a boat like that, you're somebody.

Geary: Let me see.

Bellick: Hey, get off.

T-Bag (crying out): No.

(Bellick and Geary come over to the bathroom.)

Bellick: How you doing, Bagwell? (to Geary.) Get the stool.

Geary: What stool?

Bellick: The stool.

(Geary looks disgusted. T-Bag spits out the tobacco, furious.)

[27. INT. Susan's Kitchen. Day.]

(Geary cleans the key in the sink.)

Geary: It's from one of them lockers in a bus station. (He tosses it to Bellick who catches it.)

Bellick: I'll try not to think about where it's been.

(He walks over to T-Bag, who they have zip-cuffed by his severed hand to the radiator. He holds up a cell phone: it reads '911 - Calling'.)

Woman (v/o): 911, what's your emergency?

T-Bag: No, no, no, don't do that, come on.

Bellick: Hey there, send the police. Some scumbag broke into my house.

Woman (v/o): Your address?

Bellick: Yeah, 1605 Midberry Hill.

Woman (v/o): Is he still there?

Bellick: Yeah, you'd better come quick. (Yelling.) Let's hit it, Roy.

T-Bag: Come on, now, please don't do this. Just don't leave me like this, okay? I can take you back to the money. I know right where it is.

Bellick: So do I. Adios.

T-Bag: I'm begging you, don't do this. Please! Geary, come on, we can make a deal. I know what you want.

Geary: No deals. You just crapped out your last bargaining chip, pal.

T-Bag: Wait, please!

(They leave the house, and T-Bag pulls desperately on the zip-cuff.)

[28. INT. Old Factory. Day.]

(Mahone moves slowly into the dead end. He walks into the supply cage and sees the exit gate is chain shut. He realizes he's walked into a trap as Michael quickly closes the door, locking him in the cage. Mahone points the gun through the fence.)

Michael: I wouldn't do that if I were you, Alex. You smell that? It's propane. It's filling the room. And if you pull that trigger, we both die.

ACT 4.

[29. INT. Old Factory. Day.]

(Mahone angrily shakes the chained gate.)

Mahone: No! I'll do it. I'll do it!

Michael: Maybe. But before you do, let me ask you a question, Alex. Do you think you're still one of the good guys? Fighting the good fight? Because I think we both know you've crossed over. You're on the wrong side, chasing the wrong guys. My brother is innocent. He never killed anyone.

Mahone: Well, thanks for opening my eyes.

Michael: Okay, Alex, shoot. We both know what'll happen.

Mahone: The propane will kill me anyway. What difference does it make? Might as well do it right now.

Michael: That's a good point. (He smashes the window with his metal pipe.) There you go. There. There! That'll give you some time to think about what you're doing. But first, a word of advice: stop. Because when you get close, I will win every time.

Mahone: You think?

Michael: I'm not the one in a cage. (He begins to walk away from Mahone.)

Mahone: No, you're not. There's one big difference between you and I, Michael. And you just proved it. You can't kill. And that's what it's gonna take to stop me. Because I don't have the same reservations. I can't. So whether it's today in Gila, or tomorrow in Albuquerque...or two months from now in Panama...

(Michael stops, shocked.)

Mahone: ...I will get you. (Quietly.) I don't have a choice.

[30. EXT. Old Factory. Day.]

(Michael grabs his bag of things from the trunk of his wrecked car, as Sara rolls up in her rental car. Michael goes over and gets in.)

Michael: I bought us some time.

Sara: You okay? You're bleeding.

Michael: Let's go.

Sara: Get your seatbelt.

[Bus Station - EXT - Day.]

[Title Card: Tribune, Kansas.]

[31. INT. Bus Station. Day.]

(Bellick and Geary hurry down the steps inside towards the lockers.)

Geary: Here. 804.

Bellick: Move!

(He greedily opens the locker, shoving Geary aside.)

[32. EXT. Alley. Day.]

(Bellick and Geary hustle into an alley beside the bus station, where they can open the bag without being watched. While Bellick opens it, Geary slides the meat hammer from his jacket.)

Bellick: Ain't that the most beautiful thing you ever seen? All that green. It's prettier than the Grand Canyon. You know, Roy, this is a monumental moment for both of us.

Geary: Hand over the bag, Bradley.

Bellick: Put down the pounder, Grandma.

Geary: Hey, hey, I'm not kidding around.

Bellick: Oh, you think your pansy ass...?

(Geary strikes Bellick over the head with the hammer, twice. Bellick goes down. Geary grabs the bag.)

Geary: Next time, you pick through the crap!

[33. EXT. Quikshop. Day.]

(Sara hurries from the convenience store back to the car, holding a bag of supplies.)

Sara: Okay, first aid kit, disposable phones, a couple of toothbrushes.

Michael: What about the motel?

Sara: They charge by the hour, so they didn't ask for ID. Do you have the keys?

Michael: Yeah.

Sara: Want your hat?

(They walk away from the car towards the motel.)

[34. EXT. Garage. Day.]

(Sucre paces near another payphone, and finally snatches it up.)

Theresa (v/o): Sorry, we're not home. Leave a message at the beep and we'll get back to you.

Sucre: Theresa, this message is for Maricruz. I was right there waiting for your call. But the cops showed up and I couldn't pick up the phone. I know probably that's the exact reason why you may not wanna be with me. Listen to me. My Aunt Idalyz, she lives outside Mexico City. In the mountains, on a farm, with a llama for the baby to ride. So, next week when you fly back home, when you go to the airport, I'll be there. In the airport, in Ixtapa, waiting for you. I promise you, mi vida. I love you, mami, I love you more than anything. And I can't live without you. I just know I can make it work, baby.

(He reaches into his pocket and pulls out a piece of paper.)

*FLASHBACK*

At the used parking lot, Michael hands over the piece of paper to Sucre.

Michael: This is, uh...in case you run into trouble down the road.

*END FLASHBACK*

Sucre: I have a way.

(He stares down at the piece of paper. It reads BOLSHOI BOOZE.)

[35. INT. Theresa's Apartment. Day.]

(Hector bangs on the door, and Theresa's roommate Kalinda opens it.)

Hector: Where is she?!

Kalinda: Who?

Hector: Maricruz. She wasn't at home, and she's not at work.

Kalinda: Well, she's not here. I don't know where she is.

(Hector grips Kalinda roughly by the arms.)

Hector: You trying to cause problems for me, bitch? Don't lie to me!

(Kalinda wrenches out of his grip, glancing down at the coffee table. Hector follows her glance and picks up the flight itinery.)

Hector: She went to Mexico, didn't she? Went on our honeymoon. Paid for with my money.

(He storms out, taking the paper with him.)

[36. INT. Motel. Day.]

(Sara dresses Michael's wound.)

Sara: This isn't gonna feel good.

Michael: I have a high tolerance for pain. You know that.

Sara: You do. And you're not a diabetic, are you? (Michael looks away.) Right. Michael, tell me something. You think there's a part of you that enjoys this?

Michael: Peroxide in an open wound? No.

Sara: I mean, escaping from prison, and being on the run and the danger and the fear and the rush. All that. It, uh...it feels to me like chasing a high. And...and I know what that's like and...I should know better by now.

Michael: I never thought about it like that. I know you've heard this before...but it won't always be like this.

Sara: From everything you've told me, it's just getting worse.

Michael: They can't chase us forever. The guy who caught up with us today, he stops at the border. That's why we have to get across. And I have the people in place to help us do that, we're meeting them tomorrow. One more day, Sara. One more day. That's all I'm asking.

Sara: You can go get cleaned up. Keep this dry.

(She avoids his eyes. He looks disappointed, upset. He moves towards the bathroom, then turns.)

Michael: Sara...I'm glad you came.

[37. INT. House in Colorado. Day.]

Aldo: So...this is him. (He looks at LJ.)

Lincoln: Lincoln Junior.

Aldo: Named him after yourself.

Lincoln: I wasn't gonna name him "Aldo". LJ, this is your grandfather. Aldo Burrows.

LJ: Hi. (They shake hands.)

Aldo: I've waited for this for a long time. Um... (He gestures for LJ to sit down.) I've arranged a safe place for both of you to go to.

Lincoln: Well, thanks for bailing us out, but we gotta meet Michael.

Aldo: Where is he?

Lincoln: Down by the border. A place called Bolshoi Booze.

Aldo: I can go alone and get him.

Lincoln: No.

Aldo: Things are different. There's some evidence. We just need a little more time, and we can blow this whole thing wide open.

Lincoln: There is no time. I trust Michael. He has a plan to get us to Panama.

Aldo: You don't understand, Lincoln. You don't need to go to Panama. You don't need to run anymore. Where is he? I can go alone to get him.

CUT TO: Leon, outside the door. He dials on his cell phone.

Kim (v/o): Tell me good news.

Leon: Hey. I got Burrows. The trifecta.

Kim: Take care of them.

Leon: What about Scofield? They're gonna meet him.

Kim: It doesn't matter. Do it now.

[38. INT. Susan's Old House. Day.]

(T-Bag strains against the tie-cuff, trying to break free. Suddenly, sirens fill the air, heading for the house.)

[39. INT. Motel. Day.]

Michael: Sara?

(There's nobody else in the motel. Michael sees a note scrawled onto the back of one of the unfolded paper cranes. It reads: "This time I know better. I'm sorry...".)

[40. EXT. Motel. Day.]

(Sara walks over to the car and gets in. She starts the engine, but then pauses, thinking: is she doing the right thing? She turns off the engine, and gets out of the car. As she turns around, she sees Kellerman pointing a gun at her.)

Kellerman: Hi, Sara.

END CREDITS.

==========================
CAST: in credits order
==========================
Dominic Purcell (Lincoln Burrows)
Wentworth Miller (Michael Scofield)
Amaury Nolasco (Fernando Sucre)
Marshall Allman (LJ Burrows)
Wade Williams (Brad Bellick)
Paul Adelstein (Paul Kellerman)
Robert Knepper (Theodore 'T-Bag' Bagwell)
Rockmond Dunbar (Benjamin Miles 'C-Note' Franklin) (credit only)
Sarah Wayne Callies (Sara Tancredi)
William Fichtner (Alexander Mahone)
Matt DeCaro (Roy Geary)
Tony Denison (Aldo Burrows)
Kristin Lehman (Jane Phillips)
Kurt Caceres (Hector Avila)
Reggie Lee (Bill Kim)
Barbara Eve Harris (FBI Agent Lang)
Jason Davis (FBI Agent Wheeler)

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