Rita is now on the wall, hanging down over Andy's back.

RED (V.O.)

That and a big damn poster.

TRACK IN to reveal Andy scraping patiently at the concrete.

RED (V.O.)

Like I said. In prison, a man'll do most anything to keep his mind occupied.

He hears FOOTSTEPS approaching. He smoothes the poster down and dives into bed. A GUARD strolls by a moment later, shining his flashlight into the cell.

EXT -- PRISON YARD -- DAY (1953)

Andy strolls along, whistling softly, hands in both pockets. TILT DOWN to his pantleg. Concrete grit trickles out.

RED (V.O.)

It turns out Andy's favorite hobby was totin' his wall out into the exercise yard a handful at a time…

INT -- 2ND TIER -- NIGHT (1962)

A GUARD strolls the tier, shining his flashlight into the cells. He pauses at Andy's bars, playing the beam over the sleeping form huddled under the blankets.

REVERSE ANGLE (FROM INS1DE ANDY'S CELL)

We see what the guard doesn't: instead of Andy's head under the blanket, it's a wadded-up pillow. The flashlight plays across the cell, pinning Marilyn Monroe in a circle of light.

ANGLE FROM BEHIND POSTER

The light illuminates her face through the paper. WIDEN to reveal Andy lying in his tunnel, holding his breath. The light clicks off. The FOOTSTEPS move on. He gets back to work.

RED (V.O.)

While the rest of us slept, Andy spent years workin' the nightshift…

INT -- SHAFT -- NIGHT (1965)

BOOMING SLOWLY UP the shaft. Rats scurry the pipes. Suddenly, r piece of concrete the size of a quarter jumps free and plummets down the shaft as the rock-hammer pushes through. The pick withdraws, replaced by Andy's peering eye.

A SERIES OF DISSOLVES (1965 through 1966)

takes us through the widening of the hole. First as big as a tea cup. Then a saucer. Then a dinner plate.

RED (V.O.)

Probably took him most of a year just to get his head through.

Andy finally gets his head through, scraping his ears. He's got a penlight clenched in his teeth. He peers down into the shaft. At the very bottom, maybe 20 feet down, a big ceramic pipe runs the length of the cellblock. Beneath its coat of grime and dust, the word "SEWER" is stenciled.

EXT -- LOADING DOCK ACCESS -- NIGHT (1966)

ANGLE LOOKING STRAIGHT DOWN. Below us, Tommy Williams lies facedown at Norton's feet. Blood is spreading, fanning out oa the pavement. Norton turns, strolls out of frame.

RED (V.O.)

I guess after Tommy was killed, Andy decided he'd been here just about long enough.

Again we see: Andy working. Norton pokes his head in.

NORTON

Lickety-split. I wanna get home.

ANDY

Just about done, sir.

Norton crosses to the wall safe and works the dial, his back turned. This time, though, we stay on Andy:

He pulls up his sweater, yanks out a large black book and a stack of files, lays them on the desk. He then grabs the real ledger and files, jams them down his pants and smoothes his sweater down. He picks up the bogus stack, crosses to Norton, and shoves everything in.