Bellick comes in and bangs on the door. All four men look up. The door's been locked with a metal bar, and we intercut between the guys hustling around and Bellick yanking on the door. It's so tense! He finally shakes the door open, and when he comes in, the four guys are standing around looking sullen. It's like a boy band video gone horribly wrong. Bellick demands to know why the door was locked, and T-Bag uses his gift of prevarication for not-terribly-evil by saying, "It's not locked, boss. The fan kept pushing it open so we decided to wedge it closed." Bellick is none too pleased to hear this. He snarls, "You've been in here all night and you haven't done a damn thing." Sucre protests that the room's still wet, so there's nothing they can do. Michael -- who had picked up a crowbar earlier -- walks to the front of the crowd and drops the crowbar right where Bellick can see it. He's looking P-I-S-S-E-D and frankly, he's never been hotter. It would be cruel to make him angry all the time, but if it results in such flattering lighting, perhaps the cruelty can be justified on aesthetic grounds. Bellick is immune to the charm, however, and asks Michael if he has something he'd like to say. "Yeah!" he says. "I think you're a mean meanie who means! A little positive enforcement would make us work harder than all this negativity!" Oh, come on. Bellick bids them, "Wrap it up. And all four of you get your asses back to the block." Then he takes off. It's not until after he's walked out that he realizes there were only four cons. Bellick wheels back inside, and all four men look guilty as hell. (In a prison? What are the odds?) The guard then drawls, softly and maliciously, "You seem to be one light." Westmoreland straightens up after tying his bootlace and mildly says, "Right here, boss." Aw, yeah!
After Bellick takes off, that's when C-Note pitches a hissy about how he should be halfway home to seeing his family. "And I should be halfway to the spring cotillion," T-Bag moans. The guard comes in and hustles them up, but even he seems to be taken aback by the sour mood among Team Escarpara. The inmates sulk all the way back to their cells. But they look really cool, all walking in slow motion with dramatic lighting.
The next morning, Pope's outside doing an interview with one of the swarm of reporters who have descended upon Fox River in anticipation of the gruesome execution. Pope carries on about the strict guidelines and measures in place for an execution, all of which surely must include putting the inmate on a P.I. work crew, letting him roam about an infirmary unattended, and so on. At some point, he also pontificates on the whole sordid mess with "I believe in the process, but I don't relish the prospect of taking another man's life. Whether it's just or not, there's no joy in what lies before us today."