ACT 1.
Opening Scene.
[Caption: Three Years Ago...]
(Lincoln is sleeping on the street, huddled outside his apartment doorway. The streets are covered in snow and it's snowing lightly.)
Michael: Rough night?
(Lincoln wakes at his voice, and rubs his hands over his face. He is wearing a thin vest with jeans, and a leather jacket. Michael is wearing a warm coat, scarf and ear muffs.)
Michael: I got your message. What's the problem?
Lincoln (huddling in the cold): I lost my keys.
(Michael throws some keys at him.)
Lincoln: Where'd you find 'em?
Michael: Four feet that way.
Lincoln: Must've dropped 'em.
(He groaned as he stands upright.)
Lincoln: How you doin'? It's been a while.
Michael: Fine. How are you?
Lincoln: Cold. Man, I...need to talk to you about something. Grab some lunch at Fascatti's?
Michael: I have to get back to work. Speaking of which, I heard you got fired a few weeks ago. What was it this time?
Lincoln: You really wanna know? Or are you just enjoying the view from your high horse?
Michael: You know what I want? To not have to be the older brother to my older brother.
(He turns and walks away. Lincoln walks into his apartment.)
[1. INT. Lincoln's apartment. Day.]
(Lincoln sees a man sitting on his couch.)
Lincoln: What you doing here, Crab?
Crab: Long time no see Mr. Linc, where you been?
Lincoln: Here and there.
Crab: Mm-hm.
Lincoln: I'm gonna get your 90 grand, all right?
Crab: Relax, man. That debt already been paid.
Lincoln: By who?
Bo: Someone who likes to do people favours.
(Lincoln turns towards the new guy who has entered the room.)
Lincoln: I don't know what it is you think you're getting but let's be clear about something. It's gonna be a few days before I get the money lined up.
Bo: Let's not kid ourselves. You can't get anywhere near that kind of money. So let's talk about what you can do for me.
[2. INT. Upscale Chicago bar. Night.]
Caroline Reynolds (on the television): Allies are like family. We have disagreements but we always smooth things out by Thanksgiving.
(Michael sits at the bar with a co-worker.)
Co-Worker: Okay, if you had to choose. Vice President Reynolds, or Kathy in HR.
Michael: I'll take door number three.
Co-Worker: Come on. If you had to choose.
Veronica (joining them): The chick in HR. Michael never cared much for blondes.
Michael: V.
Veronica: How you doing, Mike?
(The Co-Worker walks away with a smile.)
Michael: I'm good. I'm good. How are you?
Veronica: I'm okay. I'm over at Glazer and Ross. Lawyer number 97. Benefits are good.
(They smile at each other.)
Veronica: How's Lincoln?
Michael: You guys haven't talked?
Veronica: No, not for a few years. He kinda dropped off the radar. How is he?
Michael: He's um....you know. He's...he's Linc.
[3. INT. Lincoln's apartment. Night.]
Lincoln: I don't care who the guy is. I ain't k*lling no-one.
Bo: I must've missed the part where I gave you a choice.
(Across the street from Lincoln's apartment, another man watches the scene through a high-power telephoto lens. He speaks into an ear mic.)
Man (v/o): Black leather jacket. Two buttons down the front. Three on each sleeve. One missing on his right, no, left arm. Jeans. Faded. Stain on the left knee.
CUT TO: Lincoln's apartment.
(Lincoln looks down at a folded piece of paper in his hand.)
Bo: He does bad things to good people. Think of it as a $90,000 b*llet. You start fresh, and you keep me from finding out if there's someone in your life you will do something for.
[4. INT. Michael's apartment. Night.]
(Michael and Veronica stumble into the apartment, both a little drunk.)
Michael: Ah, I should...I should call you a cab.
Veronica: You know how you can tell God is a man? Shoes.
(She struggles to take off her high heels, stumbles and falls into Michael's arms.)
Michael: Oh, easy...
(They stare into each others eyes, as if they are about to kiss. Veronica slides her hand down Michael's arm. Michael's cell phone ringing interrupts them as they almost kiss.)
Michael: I'm sorry.
(He looks at his cell phone. The display says "Lincoln".)
Veronica: What?
Michael: It's...
Veronica: Are you gonna answer it?
Michael: He'll leave a message. He always does.
[5. EXT. Street. Night.]
(Lincoln leans against a street lamp, leaving an urgent message.)
Lincoln: Michael, it's Linc. I need your help, bro. I'm in something real bad. I can't get out of it. I need you to straighten me out. My head's all messed up. And...anyway, it's real important, bro. You gotta call me. You gotta call me now.
[6. INT. Michael's apartment. Night.]
(Michael and Veronica are still staring at each other, a charge hanging in the air between them.)
Michael: We can't do this.
Veronica: I know. I know.
(He strokes her hair tenderly.)
Michael: I'll call you a cab.
[7. EXT. Street. Night.]
(Lincoln lingers by the street lamp, waiting for Michael to call him. When he doesn't, Lincoln walks off into the parking lot, a g*n tucked behind his back.)
[Opening Credits.]
[Camera sh*t of Chicago - night.]
[8. INT. Parking garage. Night.]
(Lincoln drops a cigarette on the floor.)
(Slow motion camera as Lincoln moves towards Steadman's silver BMW. He raises the g*n and points it in the open driver's side window and then stops in shock. His mark is already dead - slumped forward over the steering wheel, a b*llet hole evident behind his ear, blood everywhere. Lincoln runs.)
[9. INT. Surveillance truck. Night.]
(Agents Hale and Kellerman watch the security tape in the truck.)
Hale: Did we get him?
Kellerman: I believe we did, partner.
[10. EXT. Street. Night.]
(A panicking Lincoln runs fast down the street. He passes a small group of people, jostling one of them. He turns around and shouts after Lincoln angrily. It's Fernando Sucre.)
Sucre: Pedazo de mamon!
Manche: Fernando, we should whup that guy's ass!
Sucre: Please. Only time I seen you whup some ass is when that old man cut in front of you at Arby's.
Hector: Yeah, and he was like 102 and blind.
(He laughs and shoves Manche playfully.)
Sucre: With a plastic hip.
(Sucre looks across and notices a group of girls, one of whom is Maricruz.)
Sucre: Oh my God.
Hector: What?
(Sucre smiles at Maricruz and she bashfully smiles back. Hector notes this subtle flirtation and doesn't look happy about it.)
[11. INT. Hospital. Night.]
PA: Doctor Davis, telephone please. Doctor Davis, telephone please.
(Sara marches through the halls of the hospital.)
Resident: They're waiting for you in 4B.
Sara: Uh, pull his film. I'll be there in a minute.
Resident: Yeah.
(Sara walks into a medical supply closet, swiping her access card. She reaches for some dr*gs, and fills a hypodermic needle with morphine. She ties a piece of cloth around her upper arm and sticks the needle into her arm, pressing the plunger down.)
(The camera pulls in and out of focus, reflecting how the drug is making Sara feel. Camera pans to Sara's ID badge: Hospital Staff.)
[Caption: Al-Jabar AFB, Kuwait.]
(The sun is b*ating down and rising from the roads. Camera pans in on First Sergeant Franklin (C-Note), covered in sweat. He is watching soldiers unload coffins from a truck.)
[12. INT. Tent. Day.]
(C-Note removes the lid to a coffin in front of his commanding officer. It is filled with ice and beers.)
Commander: Sergeant Franklin, you never cease to amaze me. Is there anything you can't get here? All right. A deal's a deal. Prison guard duty. Away from the front. Safest place you could be.
C-Note: Thank you. And my wife and daughter back home thank you too, sir.
(He salutes him and the Commander salutes back.)
[13. INT. Architects office. Day.]
(Veronica walks through Michael's workplace. Michael is standing over his desk talking to a colleague about some blueprints.)
Michael: These cold seams are pretty significant. (to Veronica) Hey.
Veronica: Hi.
Michael (to his colleague): Would you give us a minute? Thanks.
Veronica: Have you been watching the news?
Michael: Why?
Veronica: It's Lincoln.
[14. INT. Prison visitation room. Day.]
(Lincoln is wearing an orange jumpsuit, looking agitated. Michael sits opposite him.)
Lincoln: I didn't do it.
Michael: Terrence Steadman. The vice president's brother. Do you have any idea what they're gonna do to you?
Lincoln: I didn't do it, man. It was a setup. I didn't do it.
Michael: You knew him.
Lincoln: Who?
Michael: Steadman.
Lincoln: No.
Michael: You worked for his company.
Lincoln: So what?
Michael: From which you were fired a few weeks ago.
Lincoln: I loaded containers in the warehouse. Never met the guy. What the hell, Michael? You sound like one of the damn detectives.
Michael: I'm just saying.
Lincoln: You think I did it?
(Michael looks down. Lincoln shakes his head in disbelief.)
Michael: I heard you owe someone 90 grand.
Lincoln: Who told you that?
Michael: People talk. And I know Steadman had a lot of money.
Lincoln: I may be a lot of things, but I'm not a m*rder*r.
Michael: Then what were you doing in that garage last night? You admitted to the police you were there. Honestly, Linc, I don't know how it's come to this. And you can't keep blaming Mom for dying, and Dad for leaving, because I was there too. The difference is I got out. Mom had life insurance, I took my half, put myself through school. What'd you do with your half, Linc?
Lincoln: Everything's not how it looks, Michael.
Michael: I hope for your sake that's true.
[15. INT. Caroline Reynolds' office. Day.]
Brinker: Here. Here is where we want the turn to anger.
Caroline: Trust me, that won't be a problem.
Brinker: Now remember to stress his record as a repeat offender. We need the public behind us if we want the death penalty.
Caroline: And where are we with Governor Tancredi?
Brinker: He has aspirations. He won't be a problem.
Man (o/s): Thirty seconds, Madam Vice President.
Caroline: Thank you.
[16. INT. Michael's workplace. Day.]
Veronica: The papers have already crucified him. The police say they got a phone call right after the m*rder from someone claiming they saw Lincoln running from the parking garage.
Michael: He was into someone for 90 grand. What do you need that kind of money for? dr*gs? Bribes? Forget about what you want to be true. Let's look at this objectively.
Veronica: Maybe you should too.
Michael: I am.
Veronica: All right, you know what, I promised I wouldn't say anything but I'm getting tired of you talking about him like he's some guy from the neighborhood that you used to know. He's your brother.
Michael: I know. And I know he helped you out with your dad back in the day, but you should see the kind of person he is now, the kind of people he keeps friends with.
Veronica: You wanna know what the 90 grand was for?
Michael: I think I do.
Veronica: You.
Michael: What do you mean?
Veronica: The money you got when you were 18 years old, from your mother's life insurance? The money that paid for your degree, that got you this job, that bought you your loft? Your mother never had life insurance. That money came from Lincoln.
Michael: How?
Veronica: He borrowed it. He knew it'd be tough to pay back but that didn't matter because he thought you deserved it. He also knew you'd never accept it if you knew it came from him. Michael, you are where you are because of your brother.
Michael: You're telling me he is where he is because of me?
(Michael looks guilty.)
ACT 2.
[Camera pans over the exterior of a police holding prison.]
[17. INT. Prison visitation room. Day.]
Michael: Why? Why didn't you tell me about the money?
Lincoln: No need to.
Michael: Oh, Linc.
Lincoln: Who told you? Veronica? What's she make of all this? About me?
Michael: I don't know.
Lincoln: Glad she got out when she did, huh?
Michael: You know how she feels about you. It's been the same way ever since we were kids.
Lincoln: Yeah.
Michael: Linc...I owe you an apology.
Lincoln: For what?
Michael: The night you called. If we'd talked, maybe I could've stopped you...
Lincoln: Hey, hey, hey, hey. It isn't your fault.
Michael: Then whose is it?
Lincoln: Listen up, you need to forget about this. Move on. Work hard. Do what you do.
Michael: I can't do that.
Lincoln: Oh yes you can. And you will.
(Michael nods slightly.)
Michael: Here's the part I don't understand. All the evidence is lining up in a path that leads directly to you. They say they have you on tape, pulling the trigger.
(Camera sh*t of Kellerman standing over the shoulder of a video technician, who is doctoring the security footage of Lincoln. It now looks and sounds like the g*n is being fired three times.)
Michael: If you didn't k*ll Terrence Steadman, how the hell did someone make it look like you did?
CUT TO: Kellerman: Perfect.
[18. EXT. Street. Day.]
(Sucre and his friends are walking along.)
Manche: 'Perfect' is a strong word, cuz.
Sucre: I got strong feelings, bro. I'm telling you, she might be the one.
Manche: Is she from the block?
Sucre: Nope. Uptown. Pill Hill.
(Hector laughs.)
Hector: You think you could hold onto a girl from the PH?
Sucre: I'm gonna take her out to dinner. You'll see. Someplace real nice.
Hector: Come on, Fernando. How are you gonna afford a place like that?
[19. INT. Liquor store. Night.]
(Sucre walks in quickly and pulls a g*n out, pointing it at the clerk.)
Sucre: Open the drawer. Open the drawer, coño!
Clerk: Okay, okay, all right, okay.
Sucre: Quick, quick, quick! Now!
(The clerk holds out a bunch of cash for Sucre to take, in shaking hands.)
Sucre: Actually, this is all I need.
(He takes a $100 bill.)
Clerk: Okay...
(Sucre runs out, leaving the clerk looking bemused.)
[Camera sh*t of the hot Kuwait desert.]
[20. INT. m*llitary Prison. Day.]
C-Note (to a fellow soldier: I appreciate your business, man. I'll have that in here for you about next week.
(C-Note chuckles and whistles as he walks down the hall. He suddenly hears the muffled sounds of screaming and halts.)
(He walks round a corner and the screams are much louder. In one of the cells he can see an Iraqi prisoner, naked and strapped in a chair except for a hood over his head. He is attached to electrodes and a soldier monitors intermittent electric currents while the prisoner screams in agony.)
[21. INT. Michael's office. Night.]
(Michael sits at his desk. He reaches for the incident report about his brother and skims it. He notices the names "Crab Simmons" and "Bo". He slides open his desk drawer to put the report in, when he sees, buried under blue prints, an old origami crane.)
[22. EXT. Street. Day.]
(Sara stumbles along with her boyfriend Colin. She is obviously in a drugged haze.)
Sara: Ah...I brought you a gift from the hospital.
Colin: Oh. Oh!
(Sara passes him three hypodermic needles.)
Sara (singing): I brought you a gift from the hospital.
Colin: I'm telling ya, it is like Christmas.
(Sara giggles and hugs him.)
Colin: And you work at the North Pole.
(A teenage boy passes them on a bike.)
Sara: If the North Pole had g*nsh*t wounds and amputations.
Colin: Seriously, I don't know how you work there.
Sara: What do you mean? I like to help people.
Colin: You like helping yourself. And you like helping your friends.
(They kiss. The sudden screeching of tyres, a car horn and a thud breaks them apart.)
Sara: Oh my God...oh my God...
(A crowd of people run up to the boy who passed Sara on his bike earlier. He is lying in the road, not moving.)
Woman: Oh, can you hear us? Are you okay? Can you hear us? Are you okay?
(Sara hears the woman talking in distorted tones.)
Woman: Help, somebody! Who's got a telephone? Call 911! Call 911! Help!
(She notices Sara's ID badge.)
Woman: Are you a doctor? Can you help him?
(Sara can only hear the woman in distorted tones. She stares at the woman in a drugged up haze and falls to her knees, looking at the boy. The boy is blurry to her eyes.)
Woman: Well, do something!
(Sara knows she is unable to do anything, she just stares at him. Finally Colin pulls her away as a man begins CPR on the boy. Sara wrestles out of Colin's grip and turns, dropping to her knees, staring at the dying boy in horror.)
[23. INT. Commander's tent. Day.]
(C-Note marches before Commander Meyers and salutes.)
Commander: At ease.
C-Note: The whiskey that you ordered, Sir, will be here in a couple of days.
Commander: That's fine. I actually bought you here to talk to you about something else. The prisoner abuse report you filed.
C-Note: Yes, sir.
Commander: I need to know how far you're willing to go with this.
C-Note: Whatever it takes, sir. I particularly have no love for the desert donkeys, but I do have some for the Geneva Convention.
Commander: If something like this gets out, it might open up our boys to similar treatment from the enemy.
C-Note: I understand that, sir, but I'm not planning on calling a press conference. what I'm saying is...what I saw was wrong, and someone needs to take responsibility for it, sir.
Commander: All right.
(Two m*llitary police officers enter the tent.)
Commander: Please take Mr. Franklin into custody.
C-Note: What? What the hell is going on, sir?
Commander: Sergeant Franklin, I'm hereby recommending that you be dishonorably discharged from the United States Army.
C-Note: What? For what?!
Commander: For engaging in illegal black-marketing.
C-Note: What...you asked me to get that stuff, man!
Commander: I kept it to myself. Maybe you should learn to do the same.
(The MPs drag him away.)
C-Note: You can't do this. You can't do this! You cannot do this!
[24. INT. Court room. Day.]
(The judge bangs his gravel.)
Judge: Has the jury reached a verdict?
Foreman: We have, Your Honour.
Judge: What say you?
Foreman: In the manner of the people of the State of Illinois versus Lincoln Burrows, on the count of m*rder in the first degree, we find the defendant guilty.
(Michael and Veronica look disappointed and upset.)
Judge: The defendant will remain in custody until one week from today, when we commence the penalty phase.
(Two police officers walk Lincoln away. Veronica gets in their path.)
Veronica: Lincoln.
(They clasp hands.)
[Flashback: Young Lincoln, holding hands in exactly the same way, with Young Veronica, while Young Michael watches.]
Michael: I'm so sorry, Linc.
Lincoln: Don't be. It's not your fault.
[Camera pans over rooftops covered in snow.]
[25. INT. Sucre's bedroom. Day.]
Sucre: You know what I like?
Maricruz: Hm?
Sucre: How, after we make love, you get this little puddle of water in your belly button.
Maricruz: Fernando, that's sweat! And get out of there! It's disgusting!
Sucre: I think it's beautiful.
(He blows a raspberry on her belly and they both laugh. She rolls over on top of him.)
Maricruz: Well, I think you're beautiful.
(They kiss.)
Maricruz: What do you want, Fernando?
Sucre: You gotta give me a few more minutes. We just...
(He laughs.)
Maricruz: Stop, no. From the future. What do you want from the future?
Sucre: Would you run if I said you?
Maricruz: Would you chase me if I did?
[26. INT. L Station. Day.]
(C-Note and Darius are standing on the platform.)
Darius: I don't get it. All these commercials show brothers learning computer skills, new technologies.
C-Note: Uncle Sam didn't teach me nothin' but cadence and k*ll.
Darius: You check over at the Price Mart?
C-Note: Ain't hiring. Especially with a brother with a dishonorable discharge - goes right to the bottom of the pile, man.
Darius: How long d'you think you can keep this up?
C-Note: Man, till somebody gives me a job.
Darius: No, I'm talking about lying to Kacee. Your unit's been on leave for a long damn time now. Pretty soon they're gonna start thinking you're lucky and she gonna start askin' questions.
C-Note: Yeah, well, then I need to start finding some answers.
Darius: Look, I happen to know of an employment opportunity.
C-Note: Oh, come on, man, you know I don't get down like that.
Darius: It's just driving a truck.
C-Note (disbelieving): Yeah.
Darius. A to B. That's it. Uncle Sam taught you how to drive trucks, didn't he?
C-Note: Yeah, and he also taught me to look inside.
Darius: It might be illegal, but it's also rent. A to B. Your call.
C-Note (unsure): Yeah.
[27. INT. Prison visitation room. Day.]
Michael: They didn't even let her testify.
Lincoln: Who?
Michael: Leticia Barris. And that cop changed his story a dozen times.
Lincoln: What part of 'move on' don't you get?
Michael: After Mom d*ed, and it was just you and me, I remember having trouble sleeping. Never knowing where you were. But when I'd wake up in the morning, there'd be this paper bird. An origami crane, sitting next to my bed. And I never knew what it meant exactly. But I figured it was your way of letting me know you were checking in on me. Anyway - I looked it up - the crane. It stands for familial obligation. Watching out for your own. Maybe it's my turn to watch out for you.
(He places the old crane on the table. Lincoln looks at it.)
Michael: So. Same time tomorrow.
Lincoln: No, man. They're transferring me to a prison where I'll wait until they execute me.
Michael: Can I still visit?
Lincoln: Yeah, not that far. A place called Fox River.
Michael (his eyes light up): Fox River.
Lincoln: Yeah. Why?
Michael: Nothing.
ACT 3.
[28. INT. Susan's house. Night.]
(Susan Hollander and her two children are laying the table.)
Gracey: How come there's four?
Susan: Well, Mommy's new friend is coming over for dinner again.
Zack (annoyed): Again? He just came over last night.
Gracey: I like him.
Susan: Well, I do too. And I want you both to be extra polite, because he's stopping by Malarkey's on his way home from work and he's bringing us a really good meal.
(The doorbell rings.)
Susan: In fact... You two, go wash your hands.
(She hurries to the front door, checking herself in the mirror first. She opens the door. Standing on the doorstep is Theodore Bagwell, wearing a collared shirt and a smart jacket. He smiles genuinely.)
T-Bag: Evening, Mrs. Hollander. Don't you look lovely this evening?
[29. INT. Michael's workplace. Night.]
(Michael comes out of the elevator at Middleton, Maxwell & Schaum. He walks over to a filing cabinet, and looks around. Squatting down he opens the bottom drawer. He finds a tube of Fox River blueprints, takes them and walks away, checking around him.)
[30. EXT. Sucre's apartment. Day.]
Sucre: All right. I'm gonna do it.
Hector: Do what?
Sucre: I'm gonna propose to Maricruz.
Manche: Are you serious?
Hector: When?
Sucre: As soon as I can afford the ring.
Hector (laughs): So what, like 10, 20 years?
Sucre: What's your problem, man? Why can't you just be happy for me?
Hector: I'm just trying to protect you. What, you think you can give her everything she wants?
Sucre: It takes more than money to do that.
Hector: You know I love you, cuz. (He kisses Sucre's cheek.) I just think you should look at the reality here.
Manche: Seriously, primo, how are you gonna afford a ring for a girl like that, huh?
[31. INT. Liquor store. Night.]
(Sucre walks into the liquor store and pulls out his g*n again.)
Sucre: Open the drawer!
Clerk: Hey, hey, hey, okay, okay...
Sucre: Coño, now!
(The clerk holds out a £100 bill.)
Clerk: This right?
Sucre: Actually, I'm gonna need a little bit more this time.
Clerk: Okay, okay...(He grabs at more notes) Here you go.
Sucre: I'm sorry.
Clerk: Okay.
(Sucre runs to the door and hears police sirens outside. He stops, knowing he is caught.)
[32. EXT. Liquor store. Night.]
(Sucre is led to a police car in handcuffs. Camera pans out to reveal Hector standing there, holding a cell phone - the cell phone has 911 on the display. He closes the cell and walks away.)
[33. INT. Caroline Reynolds' office. Night.]
Caroline: Anyone asking questions?
Kellerman: Not loud enough to hear.
Caroline: God! I can't remember the last time I was this much of a nervous wreck.
Kellerman: School board, second term, 1992?
(Caroline laughs. Kellerman hands her a piece of paper headed 'Montana Mansion' with a photo of a secluded mansion.)
Kellerman: Secluded, no real access roads, perfect for what you're looking for. Only one problem.
Caroline: What's that?
Kellerman: It's over two million dollars.
Caroline: Well, didn't my poor brother Terrence leave something for me in his will?
Kellerman: You'd have to ask your accountants, ma'am.
Caroline: Tell them to use that money. I'm paying for his mistake, he can pay for the damn house.
[34. INT. Community Center. Day.]
(Sara sits in a circle of people, at a Narcotics Anonymous meeting.)
Sara: I've been clean for 18 months now. I'll tell you, I've never been happier. That actually might be the wrong word. I'll be honest, there were times I was using I felt pretty damn happy. Um...but what I feel is different now. I feel...I feel joy.
(She fidgets her hands together.)
Sara: So here I am. I know that all I can do every day is the next right thing. And I think for me right now that means going back to work. I uh, I don't know. Maybe...maybe counseling. Um...I wanna help people get from where I've been to where I am.
[35. INT. Community Center. Night.]
(The meeting has adjourned. Sara pours coffee into a paper cup. She is approached by Captain Bellick.)
Bellick: Hey, Sara. You used to be a doctor, right?
Sara: Uh...I still am, in theory. Why?
Bellick: Well, I was just thinking, I might know of a job opening where I work.
Sara: Really? Where's that?
Bellick: You ever heard of Fox River?
Sara: The prison?
Bellick: Yeah. I know it sounds like a strange idea. Maybe...maybe you and I could, uh...maybe we could talk about it over dinner. I got a gift card to the Red Lobster over off the interstate.
Sara: Oh my God. Um...Thank you. Really. Uh...I...Tonight's kinda my night to work on my resume. Um...
(Bellick looks like his heart is breaking.)
Bellick: Oh. Yeah. Of course.
Sara: Sorry. I ...But thank you. Really. For the referral. Fox River.
Bellick: Yeah.
[36. INT. Michael's apartment. Night.]
(Michael stands opposite a black wall, with a newspaper clipping in the center. It reads: 'Lincoln Burrows Final Appeal Denied.' Michael had two rolls of blue prints over his shoulders. He spreads them out and pins them to the wall.)
[37. EXT. Streets. Night.]
(C-Note drives the truck along the road. He looks down at a photo of his wife and daughter. Suddenly two police cars pull up alongside him and he knows he's busted.)
[38. INT. Susan's house. Night.]
(T-Bag sits at the table with Gracey. Zack is on the couch, and Susan in the kitchen.)
T-Bag: You know, math was never my best subject either. But I got through it by learning some new tricks. You want to learn some tricks, Gracey?
Gracey: Like what?
(T-Bag holds his hands up.)
T-Bag: Like your nine times tables. Ready? Nine times one is ... (he puts one finger down, leaving nine remaining.)
Gracey: Nine.
T-Bag: Nine times two is ... (he puts down another finger, leaving eight remaining.)
Gracey: Eighteen.
T-Bag: Nine times three is ...
(Gracey pulls down one of his fingers gently, leaving seven.)
Gracey: Twenty-seven!
T-Bag: Exactly. You got it, now keep on going.
Gracey: Mommy, mommy, did you see what Teddy taught me?
Susan: Yes, that's great, honey. Go show your brother.
(Gracey goes to the couch.)
Gracey: Zack, look...nine times one...
Susan (to T-Bag): Thank you.
(She kisses him gently, smiles and walks back into the kitchen. T-Bag turns to watch the children.)
TV in kitchen: Welcome back to America's Most Wanted.
(Susan watches and sees a mugshot of T-Bag on the screen. She watches, horrified, realizing he is in the living room with her children.)
[39. INT. Michael's apartment. Night.]
(Michael paces, reciting things inaudibly under his breath. Index cards cover the blueprints as he tries desperately to memorize them.)
Michael: Right, right, left left, right, right...
(He removes an index card, but it's the wrong one.)
Michael: Right, right, left, left...left.
(Camera fades in to different sh*ts of him standing in different places along the wall.)
Michael (v/o): Left, left, right, boiler room, left, left, right...
(He rips off another index card, replaces it, frustrated. He throws the remaining index cards on the floor and then starts ripping them off the wall, muttering under his breath. He sighs, running his hands over his hair. The doorbell rings.)
[40. INT. Michael's apartment doorway. Night.]
(Michael opens the door to a pizza delivery girl.)
Michael: Hey.
Delivery Girl: Here you go.
Michael: Thank you.
(He hands her some money, and becomes transfixed by the tattoos covering her arms.)
Delivery Girl: Let me get your change.
(She hands out some money but he makes no move to take it.)
Delivery Girl: Do you want your change?
(Michael looks at a tattoo just below her neck.)
Michael: Keep it.
(She turns around to walk away. She has a tattoo on the back of her neck as well. Camera pans in on Michael's eyes, thinking.)
ACT 4.
[41. INT. C-Note's house. Day.]
(C-Note walks in to find his wife and daughter reading together on the couch.)
Kacee: Hey.
C-Note: Hey.
Dede: Daddy!
C-Note: Hey, sweetheart. Come here.
(She jumps into his arms and he hugs her.)
Kacee: Hey, there.
C-Note: Hey.
(Camera pans over to show Darius enter; he stays hidden.)
C-Note: You know, I got, uh...I gotta tell you something. And it's gonna be really hard to hear.
(Kacee takes Dede off of him.)
Kacee: Okay.
(They all sit on the couch.)
Kacee: What?
C-Note: Well, the thing is...(he looks at them) I'm...being...shipped back off.
Kacee: What?
C-Note: Yeah, um...my unit just got called back for another tour, baby.
Kacee: I can't believe it.
(Camera shows Darius shaking his head.)
C-Note: Deployment orders just came down, you know, with the Italians pullin' out and everything...
Dede: Tell 'em no, daddy!
(She hugs him tightly.)
C-Note: Oh...
Darius (in the doorway): Yo, B.
Kacee (to Dede): Come here, baby.
Darius: Can you give me a hand with something out back?
(C-Note looks at Kacee.)
Kacee: Okay.
[42. EXT. C-Note's house. Day.]
Darius: That's my sister you lied to in there!
C-Note: Which is why I know you're gonna take care of her when I'm gone.
Darius: This is crazy.
C-Note: Maybe. So is the way I got kicked out of the army. So is the way I got busted for driving that truck. And so is the way I feel about that woman up in there. She married a m*llitary man, who knows how to take care of his business. Now, if I look like one of these thugs...now, what do you think she's gonna do? Huh? How long do you think she's gonna wait for me while I'm inside?
Darius: I don't know, man.
C-Note: You owe me this, man. Don't you ever let her know where I am. Do you feel me?
[43. INT. Michael's apartment. Night.]
(Michael lays tracing paper over the Fox River blueprints - first his route through the pipes, then the demon holding the sword design for the tattoo.)
(The camera pans over the desk, across Michael's tattoo designs. There is Cute Poison, Ripe Chance Woods, and Allen Schweitzer. The camera moves to another piece: boLshoi booze.)
[44. INT. Mexican bar. Day.]
(Michael stands at the bar talking to a shady looking man.)
Man: Usually I do this the other way. Why do you want to...?
Michael: I want what I want.
(The man reaches into his pocket for a small piece of paper and slides it along the bar towards Michael.)
Man: You show this to anyone else, I am calling the whole thing off.
(Michael looks at the piece of paper: it says boLshoi booze.)
CUT TO: Paper on Michael's desk in his apartment, also reading boLshoi booze. The camera pans down to show another piece: Ripe Chance Woods.
[45. EXT. Cemetery. Day.]
(Michael stands in a snow-covered cemetery holding a shovel. He stands in front of a headstone, staring at it for a moment, then he lifts his shovel and smashes it into the earth.)
[46. INT. Michael's apartment. Day.]
(Michael looks over his wall of plans. He passes newspaper articles about John Abruzzi with headlines 'Life sentence for mob boss Abruzzi' and 'Informant key in prosecutor's case against Abruzzi'. He moves to an advert for Czechoslovakian brides. He runs his hand over a series of articles about Warden Pope and his impressive history.)
(Michael writes 'Pugnac' on a post-it note and sticks it to a copied article filled with chemical compounds.)
(Camera pans out to show Michael standing in front of the wall, now covered with articles, post-it notes, blue print plans and photographs.)
[47. INT. Fox River visitation room. Day.]
(Susan Hollander sits on the visitors' side seat. A buzzer sounds, and T-Bag walks over to sit opposite her. He looks contrite.)
Susan: My therapist said...she said that I'm holding too much in, and that I need to confront you to let you know how betrayed I feel. I let you into my life, my home. My God, I let you near my children!
T-Bag: I never touched them.
Susan: You should have told me what you were.
T-Bag (upset, vulnerable): You think you're the only one who feels betrayed? I...loved you, Susan. Real love. For the first time in my life. And then to have you do me like that. To throw me out to the dogs, just toss me out the back door, like...
Susan: You're a m*rder*r, Teddy!
T-Bag (shouts): That's not f...
(He stops, pauses.)
T-Bag: I have sinned in the past. But when I met you, that...person, the one who did all those terrible things, he d*ed. And I was reborn. By the grace of your love, I was a new man...a better man.
Susan: No. That doesn't just erase the man who k*lled six students in Alabama.
(Silence. Something changes in T-Bag's eyes.)
T-Bag (coldly, now): I guess that's where you're right. 'Cause when you sent me here to this place with these people, it brought that old dirty bastard right back home. In fact, there was a candle in the window just waiting for me to walk up them front steps. You know, I'm gonna...I'm gonna get out of here some day. And when I do...don't think I won't remember what your front steps look like, Susan.
(Susan spits on the glass and storms out the visitation room. T-Bag puts his hand on his side of the glass, next to her saliva.)
[Camera sh*t of the mansion in Blackfoot, Montana, in the same sh*t as was shown in the brochure.]
[48. INT. Mansion kitchen. Day.]
(Caroline Reynolds chops up vegetables and puts them in the blender. She carries a tray through to someone sitting in an armchair, facing the window.)
Caroline: It's almost over. Burrows will be dead soon and then things will start getting back to normal.
(The man leans forward and takes the glass of blended food.)
Caroline: I know that you've been through a lot. But I promise you, the worst is now behind us.
(The man takes a set of false teeth out of a mug. He turns around to look at Caroline: he is Terrence Steadman.)
Terrence: My dear sister. You have no idea what I've been through.
Caroline: Good night, Terrance.
[49. INT. Michael's apartment. Day.]
(Michael buttons up a white shirt and pushes his tie into place.)
CUT TO: Lincoln, looking down at the crane.
CUT TO: Michael's apartment.
(Michael walks over to the table, his hand hovering over two g*ns. He hesitates for a second, then picks them up and leaves the apartment.)
END CREDITS.