ACT 1.
Opening Scene.
(Michael is in Warden Pope's office, working on the model of the Taj Mahal. Pope enters the room.)
Pope: Hey, that's looking good. You're making some real progress.
Michael: Plaster adds a lot of weight. I may have to add reinforcements.
Pope: Whatever it takes. As long as you get done in time for the anniversary.
Michael: It'll be done. (He takes off the top and hands it to Pope.) Hold this.
Pope: You know, the shah loved his Taj so much that he built another temple just like it on the other side of the river. It was an absolute mirror image, except it was darker. It was like a black Taj Mahal.
Michael: Never heard of it. (He replaces the top.)
Pope: Well, that's 'cause it was never completed. He was overthrown by his favorite son before he could finish it.
Michael: Sounds like a myth.
Pope: No, it's 100% true. I think.
(They both chuckle. The door opens and Becky, Pope's assistant, looks in.)
Becky: Excuse me, Warden. Dr Tancredi's here to see you.
Pope: Thank you.
(They walk through to the outer office. Michael looks at Sara, an awkward moment passing between them.)
Pope: Adams, please escort Mr. Scofield back to his cell.
(The C.O. leads Michael away.)
Pope: Doctor, what can I do for you?
Sara: Actually, it's about Scofield, sir.
Pope: Come in.
(They walk into Pope's office.)
Pope: What about Scofield?
Sara: The burn on his back is fairly serious.
Pope: He seems to be recovering.
Sara: At first I assumed he was being assaulted by another inmate, but I found this embedded in the skin of his back.
(She hands Pope a plastic bag containing the scrap of fabric she got from Michael's wound.)
Sara: It's fabric. Came from a guard's uniform.
(Pope looks up, shocked.)
[1. INT. Michael's cell. Day.]
(Michael sits, trying to draw the missing section of blueprints on his back from memory. He screws up a piece of paper and throws it to one side, frustrated.)
Sucre: What are you doing?
Michael: I'm trying to remember those blueprints. What we lost to the burn. Without them, we'll never be able to navigate those pipes beneath psych ward.
Sucre: Any luck?
Michael: No. I spent a lot of time studying those blueprints. Tracing them, night after night. Tracing every possible route to the infirmary.
[Flashback: Michael tracing blueprints, looking at his planning wall in his apartment.]
Michael: It's like trying to take a test you studied for ten years ago.
[2. INT. Cell block. Day.]
(The inmates' are waiting around on the floor and the tiers. Bellick comes in.)
Bellick (shouts): PI!
(T-Bag walks over, and is joined by Sucre.)
(Camera pans across to a new inmate, Annie the tr*nny. He's wearing his blue shirt tied in a knot over his stomach, and his pants are low, revealing pink patterned women's underwear.)
Sucre: How do they get like that? I got no idea.
(Annie the tr*nny walks up the stairs facing the camera, revealing he is wearing overstated make-up.)
T-Bag: Tugging on too many pockets.
Sucre: She tug on your pocket?
T-Bag: I may be social, but that is a boundary line even I won't cross.
(They walk away, followed by Westmoreland. C-Note and Michael come up.)
C-Note: So how about it, Fish? When are we rollin' out?
Michael: One hiccup left, but I'm working on it.
C-Note: Yeah? What's that?
Michael: Our road map's a little incomplete at the moment.
[Camera sh*t of the storage buildings - exterior - day.]
[3. INT. Break room. Day.]
(Michael is trying to draw the route on the clipboard.)
Sucre: I don't get it. Why not just go down there again?
Michael: 'Cause one, I don't have the guard's uniform anymore, which means I can't get across the yard or past the orderly. And two, even if I did, it's a mess down there. (he taps the clipboard with his pen.) I need this.
Sucre: You think you're gonna remember it?
Michael: Not with you hounding me.
(The door opens and Patterson comes in.)
Patterson: Time to wrap it up. We're gonna have you start exterminating.
Michael: We're not done in here.
Patterson: Well, you look done to me.
C-Note: No, CO, we still got the carpet to do.
Patterson: No, Bellick is going to bring in professionals to do that. Wants the job done right.
Westmoreland: When's that gonna happen?
Patterson: Tomorrow.
(He leaves the room. T-Bag throws down his paint roller.)
T-Bag: We got a real problem on our hands, don't we? Rug monkeys gonna come in here, tear up that there carpet, that hole's gonna be smiling up at 'em.
Michael: We'll have to fill it in.
C-Note: We just dug that bitch.
Michael: All we need is a piece of plywood and a couple of inches of that fast settling concrete on top of it. The carpet guys will never know there's anything beneath. The night we break out, we'll just smash through with a sledgehammer.
(He looks around at his team.)
Michael: Well, okay. Let's get on it. We've only got a couple of hours to get this thing done.
[4. INT. Bellick's office. Day.]
(Tweener is escorted in Bellick's office. Inside are Bellick, and a very tall, fat, disgusting con.)
Bellick: Hey, Tweener. You met Avocado.
Tweener: Yo, what's up?
(Avocado reaches out and touches Tweener's chin.)
Avocado: Lookie. She's just a baby.
(Tweener slaps Avocado's hand away.)
Bellick: Hit road.
(The CO escorts Avocado away. Tweener looks at Bellick, nervously.)
Bellick: Have a seat. So. Scofield. What's the 9-1-1?
Tweener: It's 4-1-1. And I don't know, man. I ain't up in his car.
Bellick: You know, Avocado's looking for a new cellie.
Tweener: Boss, come on. I'm tryin' to break bread with the man, but I can't get jack unless I can get to the table, you know what I'm sayin'? Scofield's got his own peeps up in PI, he don't need me.
(Bellick stares at him, getting an idea.)
[5. INT Break room. Day.]
(The team are quickly mixing cement.)
Sucre: How long's this stuff take to dry?
C-Note: One, two hours.
(Westmoreland comes in.)
Westmoreland: Fire on the line.
C-Note: sh*t.
(They hurry to hide the hole.)
C-Note: Table, table, table.
(Sucre helps him move the table. Bellick walks in.)
Bellick (whistles): This place is sweet. I hear we're getting satellite.
T-Bag: Yeah, all the p*rn you can watch, boss.
Bellick: Good, good. You know, you girls have done such a good job. I thought you could use an extra pair of hands on the crew.
(The team look up in shock. Bellick whistles, and Tweener saunters in.)
Tweener: S'up?
OPENING CREDITS.
[6. INT. Break room. Day.]
(There is silence in the room with Tweener there. T-Bag stands by the wall with his paint roller, pretending like he's painting Tweener.)
C-Note: Hey, man, look at my brush. It's all stickin' together.
Michael: Somebody needs to go clean 'em out.
T-Bag: According to the rank, that would be you.
(He gives the paint roller to Tweener.)
Tweener: What do I gotta do?
Michael: There's a hose out by the shed in the yard. You can use that.
(The team start piling up their paint brushes. C-Note adds the paint stirrers.)
C-Note: Clean those too.
Tweener: Ai'ight. Sorry I busted up the party, yo.
(He makes like he's leaving but stands at the door. Westmoreland comes to check he's leaving, and he walks outside, disappointed.)
[Camera sh*t of a large impressive building in Chicago - day.]
[Caption: U.S. Secret Service Field Office. Chicago, Illinois.]
[7. INT. Field Office. Day.]
(Kellerman walks along with Brinker. He's holding a photo with a blown up photo of Aldo Burrows.)
Kellerman: Who is he?
Brinker: For your purposes, all you need to know is that the man in that photo used to work for The Company. He went rogue.
Kellerman: How is he involved in this situation?
Brinker: He's Burrows' father.
Kellerman: Wait, wait. You picked the son of a Company man to be our patsy? Did the Company know?
Brinker: The Company did know. That was the whole point.
Kellerman: How 'bout you elaborate on that?
Brinker: How about you stop with all the questions? You are a glorified bodyguard. That's it. The job's to be seen, not to be heard. Is that understood?
(Kellerman says nothing but it's clear he's less than happy. Brinker walks away.)
[Camera sh*t of the prison yard - day.]
[8. INT. Break room. Day.]
(C-Note mixes the cement.)
Michael: How close are we?
C-Note: Oh, we're good to go, baby.
(Westmoreland enters.)
Westmoreland: Got another badge!
Michael: What is this, happy hour?
(The team hurry to hide the hole again. Geary enters.)
Geary: Scofield. Pope wants to see you. The rest of you, round up. You're done in here.
C-Note: CO Patterson said we had till the end of the day to finish up.
Geary: And I say you're done. There's a couple of hours of work I want done in the yard before sundown.
(The team look at each other.)
Geary: Come on, let's go!
(The inmates have no choice but to leave the break room. Sucre goes over to Michael.)
Sucre: We're dead!
Michael: We're not. I'll get it done.
Sucre: It's gotta be done tonight.
Michael: I said I'll get it done.
Geary: Scofield, Pope's waiting.
[9. INT. Lincoln's cell. Day.]
(Lincoln is on his bed, eyes closed. Stolte opens the hatch in the door.)
Stolte: Hey, Linc.
(Lincoln moves over to the door and looks through the barred window.)
Lincoln: You gonna let me out?
Stolte: No, Linc. Just came to let you know they set a new date. DOC refiled all the paperwork. Execution's a week from Friday at midnight.
(Lincoln doesn't care about that.)
Lincoln: You gonna let me out in the yard or what?
Stolte: Unless I hear it from the Pope himself, I can't do it, man...
Lincoln: Come on, man. Ten minutes! That's all I'm asking. Ten minutes.
Stolte: I'm sorry.
[Camera sh*t of a railway, a train goes down the track - day.]
[10. INT. Nick's apartment. Day.]
Nick: Some guy just walks into the courtroom, drops off some medical records, Lincoln gets a stay of execution. Then, poof, he disappears into the cold. What do you think it could be? Some anti death penalty fanatic?
Veronica: Oh, come on, in this case, I doubt it. Without a name or a paper trail, we got no way of getting to him.
LJ: So once again, we have nothing.
Veronica: I wouldn't exactly call a two-week stay nothing, okay? It's more than we had yesterday.
LJ: Can I ask you a question? Do you really think that you're going to get to the bottom of this? That they'll let you get to the bottom of this? These guys don't exist! You go after them with the law, and they'll just use it against you.
Veronica: Look, we're doing the best we can, okay?
Nick: Law's the only way we're gonna bring them to justice, LJ.
LJ: They gunned my mother down, man. You think I give a damn about justice? I want them! I wanna do to them what they did to me.
Veronica: Come on, LJ.
Nick: It's for the courts to decide, not us.
Veronica: Look, they're gonna slip up, okay? They're gonna leave a piece of evidence that can't be refuted and we're gonna be waiting to nail them when they do.
Nick: Maybe they already slipped up. Up at the cabin, at the well.
Veronica: Quinn.
[11. EXT. The well. Day.]
Nick: Somebody covered it up.
Veronica: They must have come and gotten him.
Nick: There's only one way to find out.
(He bends down and moves the wooden board. The dead body of Quinn is still down there, his hand holding his cell phone.)
Veronica: Look. There's his cell phone.
(Both of them turn to look at LJ.)
[12. INT. Well. Day.]
(LJ is being lowered into the well with a rope. He keeps his feet on the wall.)
LJ: Easy...Okay, a little lower. A little more.
(He reaches down and grabs the cell phone.)
LJ: Okay, I got it.
(He looks at the wall and stops in shock. Chalked onto the wall it: Kellerman, O.Kravecki.)
Veronica: You okay?
LJ: Yeah, I'm fine.
(He looks over at the names again.)
LJ: Pull me up.
[13. INT. Pope's office. Day.]
(Michael is escorted in by Geary.)
Pope: Would you give us a minute, Geary?
(Geary leaves the room.)
Pope: Michael, I want you to be absolutely honest with me. Dr. Tancredi found this embedded in your flesh when she was treating you. Apparently it came from a guard's uniform. Have you been assaulted by an officer?
(Michael looks away, knowing he can't answer.)
Pope: Michael. Michael. I need an answer. This is not about sticking to the inmates' code any more. This is about officer misconduct, that's my responsibility. You wouldn't wanna see me lose my job now, would you?
Michael: No, of course not. You have been very good to me and my brother.
Pope: Then I need to know where you got that burn. Right now. Otherwise your ass is going to solitary. You understand? It's your choice.
[14. INT. AD SEG corridor. Day.]
(Two COs drag a madly struggling Michael down the Ad Seg hallway, a third CO leading the way.)
Michael: Don't! Please! Listen to me!
C.O.: Calm down! Calm down!
Michael: Listen to me! Don't do this! Don't do this!
(Lincoln, in his cell, hears the racket and goes to his door. Through the barred window he sees the COs bundling his brother into the next room.)
Lincoln: Michael!
(The three COs throw Michael onto the floor of the cell.)
CUT TO: Lincoln, watching them as they walk away.
CUT TO: Michael, on the floor of his ad seg cell.
CUT TO: Lincoln's cell.
(Lincoln moves to the drain on the floor of his cell and whispers.)
Lincoln: Michael! Michael...
CUT TO: Michael's cell.
(Michael looks around for the source of the sound. He finally notices a small drain.)
Michael: Linc?
Lincoln: What the hell are you doing in here!
Michael: Linc, we're in a lot of trouble now.
Lincoln: What happened?
Michael: Pope asked some questions that I couldn't answer.
Lincoln: About what?
Michael: He's got proof that I was where I wasn't supposed to be. He doesn't know it, but sooner or later, he's going to put the whole thing together. There's no way out of this.
Lincoln: Yeah, there is. You just gotta keep the faith.
Michael: No. I put my blood into this. And it's coming apart.
Lincoln: Listen to me. The whole point of solitary is to break you. Make you crazy. You gotta keep strong. You hear me? Don't let them break you.
Michael (quietly): I put my blood into this.
[15. EXT. Prison yard. Day.]
(C-Note is on the phone.)
C-Note: Look, baby, I'm so sorry it took me so long to get back to you. Turns out that our division is not getting mobilized for a couple more days.
Kacee: When I didn't hear from you, I didn't know what to think, baby. I got so worried. I started watching the news looking for casualties.
C-Note: I'm so sorry about all this. You gotta believe that.
Kacee: I started calling the rear detachment office, asking if there was some sort of problem with the 117th.
(C-Note is shocked and panicked.)
C-Note: No. There's not a problem with the 117th. We're coming back. It's a snafu, that's all. You know, a couple more days and we'll be on those hops, baby.
Kacee: That's not what the rear detachment officer said. He said the 117th wasn't coming home for another six months.
C-Note: What? Um, no, that...That can't be right.
Kacee: That's what he said.
C-Note: Oh, you know what it is? It's because we're transport. Technically, we're on a loan out from the 140th. That's why he said that.
Kacee: The 140th.
C-Note: Yeah. Yeah. It's just a few more days. That's all. You don't need to go callin' anyone. I'll be back, okay? I will call you as soon as I know the exact date. Okay? I love you.
(Kacee doesn't seem to be buying it.)
Kacee: I love you.
[16. EXT. Prison yard. Day.]
(C-Note walks away from the phone and starts to work.)
Sucre: Michael's in the SHU.
C-Note: God, the hits just keep coming!
Westmoreland: Last thing we wanna do now is panic, fellas.
T-Bag: Oh, it's panic time, old head. We got an unfinished hole in that room over there Scofield's supposed to fill tonight. Come tomorrow, 8am, they rip up that carpet, our game is over.
Westmoreland: Unless someone else fills it.
(Sucre looks up to find everyone looking at him.)
Sucre (shaking his head): Uh-uh.
C-Note: Sorry, papi, you're the only one with the toilet open to the outside world.
Sucre: You saying I go out there by myself tonight?
C-Note: That's exactly what we're saying.
Sucre: Are you kidding? That's impossible!
C-Note: I don't want to hear 'impossible' from you right now. I got people waiting on me, people that I'm gonna lose unless you man up and get some cojones, comprendez?
Sucre: That's easy for you to say, pendajo, it ain't your ass on the line.
C-Note: All of our asses are on the line. You're the only cat that can do something about it.
Sucre: Yeah, maybe I can get out of my cell, maybe I can get into the guard's room. But even if I do, and I fill that hole in, I'll still be in that room. I'll be sealed in, there's no way out.
C-Note: Scofield must have had a way out.
Westmoreland: He did. The grate at the Sally Port.
Sucre: Oh, that's right, the one out there in the middle of the open?!
C-Note: Yeah, so you'd better lace up, amigo, 'cause you're gonna have to make a run for it.
Sucre: That's ten years on my bid if I get caught!
T-Bag: Then you'd better figure out a way not to get caught.
C.O.: Line it up.
C-Note (to Sucre): Tonight, primo. It's gotta be tonight.
ACT 2.
[Camera pans over Fox River prison.]
[17. INT. Ad Seg. Day.]
(Michael sits by the wall of the small cell, staring, thinking.)
[Flashbacks: the blueprints, layers and layers of them, the pipes system]
Lincoln (o/s): Michael? Are you okay? What you doing?
Michael: Trying to remember what's beneath psych ward.
Lincoln: You're thinking about the wrong thing. You gotta think about how to get out of here.
(Michael runs his hands over his head and notices his sweatshirt. He takes it off and stares at it, then tears it apart using his fists and teeth.)
CUT TO: Lincoln's cell.
(Lincoln can hear what Michael's doing.)
Lincoln: Michael. Man, come on. Talk to me.
(Michael continues ripping the sweatshirt.)
[18. INT. Sucre's cell. Day.]
(Sucre lays on the bunk. He sits up, runs his hands over his head. He walks over to the railing outside his cell and looks down at the inmates on the floor. Annie the tr*nny walks through them. Sucre smiles.)
[19. INT.T-Bag's cell. Day.]
T-Bag: Uh-uh. Absolutely not.
Sucre: If I'm gonna be the one doing that run then you've gotta do some lifting too.
(T-Bag falls onto his lower bunk, pouting.)
T-Bag: I mean, you know what you're asking of me?
Sucre: You gotta do it for the team.
[20. A-Wing cell block. Day.]
(Annie the tr*nny continues to walk around. This time, T-Bag is close on his heels. He reaches out and snaps the back of Annie's exposed panties.)
T-Bag: Sister, your bloomers are showing.
Annie: They aren't showing, baby, they're flying. Proudly.
(T-Bag shoves him against a cell.)
T-Bag: I take it you are a party girl.
[Camera sh*t of the car outside the cabin in New Glarus.]
[21. INT. Cabin. Day.]
(LJ washes his hands. His eyes fall on the end cupboard on the wall. He opens it, revealing Nick's father's g*n collection. He closes the door just as Veronica walks in.)
Veronica: LJ, come on, we're leaving.
LJ: Okay.
(She walks out. LJ looks at the cupboard.)
[22. EXT. Cabin. Day.]
(Veronica gets into the car with Nick.)
Nick: If we get Quinn's phone powered up, it could be a gold mine of information. Nope, doesn't fit.
Veronica: We just need to find the right adaptor. What about Quinn? Are we just gonna leave him here?
Nick: You mean the guy who sh*t me in the back? Yeah, we're just gonna leave him here.
[Camera sh*t of watch tower - day.]
[23. INT. A-Wing cell block. Day.]
(T-Bag walks along the upper tier towards Sucre's cell. He rattles the cell door bars, and Sucre stands up. T-Bag hands him something o/s.)
T-Bag (whispers): You tell anyone about this, and I'll...
(He points at him, then walks on. Sucre smiles to himself.)
[24. INT. Bar. Night.]
Television Reporter: Capitol Hill saw its first deadlock on the senate floor this morning. The hotly contested energy bill ended up in a 50-50 tie. It will now be up to Vice President Reynolds to cast the deciding vote.
(Camera pans out to reveal Sara sitting with Nurse Katie.)
Katie: I know I sound like a broken record, but you work too hard. You need to get out, hang out with your friends more. What about men?
Sara: If this is your expose on my social life, it's about to be a real sad one. I, uh...I've had some bad luck when it comes to relationships.
Katie: You had bad luck or you had bad boys?
Sara: I think I've managed to have a little of both. Yeah, you know, you're right. I don't tend to go for the nice guys. I like the ones with the deep-seated emotional issues I can internalize and make my own.
Katie: Like Scofield?
Sara: No, not like Scofield.
Katie: Don't lie to me. Every time he comes in for his sh*t, you spend 20 minutes rolling up his sleeve.
Sara: You know what? I think he's interesting. And I think he's attractive, but he's still an inmate. I can promise you one thing, and that's that you will never see anything happen between me and an inmate.
[25. INT. Michael's ad seg cell. Night.]
(Michael sits on the floor, looking over the scattered mess of cloth strips he has arranged on the floor.)
[Flashbacks: The blueprints of the route underneath Fox River Asylum, the pipe system, different sh*ts of the blueprints.]
(Frustrated, he swings his hands about, scattering the cloth. He stops when his hand is gashed open. Blood trickles down his wrist.)
CUT TO: Lincoln in the next ad seg cell. He moves his mouth to the drain on the floor.
Lincoln: Michael.
CUT TO: Michael.
Michael (whispering): I put my blood into this.
CUT TO: Lincoln: What? What did you say?
CUT TO: Michael: I put my blood into this.
CUT TO: Lincoln, looking confused and worried.
CUT TO: Michael. He begins to punch the wall of the cell, over and over again.
[Camera sh*t of the full moon the night sky.]
[26. INT. Sucre's cell. Night.]
(Sucre puts on his hat, and unscrews the toilet from the wall. He enters the catwalks and pulls the toilet back behind him.)
[27. INT. Pipe system. Night.]
(Sucre navigates the pipes until he reaches underneath the guards' break room.)
[28. INT. Break room. Night.]
(Sucre comes up underneath the table. He quickly moves the table aside, takes off his jacket and starts mixing cement. He is just filling the hole when he hears a guard's radio.)
CUT TO: Stolte, walking outside.
CUT TO: Sucre. He panics and knocks over a bucket.
CUT TO: Stolte. He hears the noise and stops.
CUT TO: Sucre, hurriedly filling the hole.
CUT TO: Stolte, walking to the break room door.
CUT TO: Sucre, putting on his jacket.
[29. INT. Storage area. Night.]
(Stolte opens the door to the outer storage area. He walks slowly towards the break room door. He opens it and walks inside.)
(As he walks inside, camera pans in on Sucre who is in the outer storage area, hiding.)
(Stolte shines his flash light around the break room. He picks out the bucket on the floor. Satisfied, Stolte turns and leaves. Sucre breathes a sigh of relief.)
[30. EXT. Prison yard. Night.]
(Sucre exits the storage area and sprints to the corner of the building. He looks round the yard, then makes a dash for the sewerage grate. Just as he is about to get there, the flood lights slam on and an alarm sounds. A CO spots him.)
C.O.: STOP! Freeze right there! Get down on your knees!
(Sucre puts his hands up and drops to his knees.)
Sucre: Please don't sh**t! Don't sh**t!
(Two COs bundle him to the ground and cuff him.)
ACT 3.
[31. INT. Bellick's office. Night.]
Bellick: You know, the state of Illinois doesn't look too kindly upon prisoners who try to escape. Charges are filed, you get sent back to County for three months. Come back here with ten more years added to your bid.
Sucre: I wasn't trying to escape.
Bellick: Sure you weren't. You were just out there howling at the moon.
(Bellick suddenly launches for him, grabbing his throat and shoving him against the wall.)
Bellick: If I were you, I'd better start talking, mano.
Sucre: I stayed out after yard today. I waited under the bleachers until it got dark. Something was gonna come over the walls.
Bellick: dr*gs is almost as bad as escape. Last guy who had heroin slingshot over the wall got a nickel added to his bid.
Sucre: It wasn't dr*gs.
Bellick: Then what the hell was it?!
(He throws Sucre over to another CO.)
Bellick: Frisk him!
(The CO finds something wrapped up in Sucre's sock. He gives it to Bellick.)
Bellick: What do we have here?
(He opens the package and holds up the panties that Annie the tr*nny was wearing earlier.)
Bellick: A pair of grunds? You risked going to the SHU for a pair of grunds? Hell. You risked adding extra time to your bid all for a pair of panties?
Sucre: My girl just wanted me to know she was thinking about me, boss.
(Bellick opens the panties out: they are quite large.)
Bellick: You got a real beefer on your hands, don'cha?
Sucre: I know, boss. It's the dumbest thing I've ever done. I'm just scared that being here, I'm gonna lose her.
Bellick (to the CO): He did it for love.
Sucre: You understand?
Bellick: Yeah, sure, Sucre. I understand.
(He runs the panties under his nose.)
[32. INT. Ad Seg. Night.]
(Two COs throw Sucre into an Ad Seg cell. Sucre looks out his barred window.)
Sucre: Don't let me catch you alone next time, okay?
CUT TO: Lincoln looks out of his barred window.
Lincoln: Sucre?
Sucre: Sink?
CUT TO: Lincoln walks to his drain.
Lincoln: Sucre?
CUT TO: Sucre finds the source of sound and walks to his drain.
Sucre: Where's Michael?
Lincoln: Other side of you.
(Sucre goes to his wall and slaps it.)
Sucre: Michael? Michael?
CUT TO: Lincoln goes to his barred window on the door.
Lincoln: Michael!
CUT TO: Sucre: Michael! Michael! (he bangs on the wall.)
CUT TO: Lincoln goes to the drain.
Lincoln: Michael, come on.
(He goes to his door again.)
Lincoln: Badge! Badge!
(A CO appears.)
C.O.: Yeah?
Lincoln: Check on my brother. He's not responding.
C.O.: What?
Lincoln: Scofield. Check him out. He's not responding. Please!
(The CO goes over to Michael's cell and opens a hatch about knee height.)
C.O.: Scofield.
(He flicks on a small flash light.)
C.O.: Scofield.
(He shines the flash light into the cell and is shocked.)
C.O. (on his radio): I need a medic in here now, I repeat, now!
Lincoln: What?
[33. INT. Nick's apartment. Night.]
(Nick puts the telephone down. He's been trying to find a charger that will work with Quinn's phone.)
Nick: Electronic store on Eighth Avenue. Grab his phone. (to LJ) We'll be back in ten minutes. Stay on the couch.
(As soon as the door shuts after Nick and Veronica, LJ jumps up. He goes over to the laptop, and types in O. Kravecki and Chicago into a search.)
(The search returns: Owen Kravecki, 226 High Point Blvd, Chicago, IL, 60607. 312-555-0167. LJ picks up the telephone and dials the number.)
CUT TO: An apartment, where a telephone rings. The receiver handle is wrapped in plastic. Camera moves to show a fish t*nk with a couple of goldfish in it. The telephone continues to ring until an answerphone cuts in.
Answerphone: Hi, you've reached Owen Kravecki. I can't come to the phone right now.
[Flashback: Kellerman: You really think you're gonna get to four buttons before I get to one?]
Answerphone: Leave a message and I'll return your call. Thanks. Have a great day.
(LJ looks shocked as he realizes Owen Kravecki is Agent Kellerman. He replaces the receiver.)
[34. INT. Michael's ad seg cell. Night.]
(The CO opens the door and lets Sara in.)
C.O.: (into his radio) Light on 12.
(Sara walks in slowly, staring at Michael who is crouched on the floor holding his injured hand. She looks at the blood smeared on the wall.)
Sara (to CO): Would you wait outside please?
(The CO closes the door.)
Sara: Michael.
(Michael doesn't respond.)
Sara: Okay, you're gonna feel my fingers on your wrist.
(She stares at the maze of bloody lines on the wall.)
Sara: Come on, I need your eyes.
(She raises Michael's head gently and moves her flashlight across his eyes. Still no response.)
Sara: I'm gonna take a look at that hand.
(Michael leans forward slowly to rest his head on her leg.)
Sara: You're gonna be okay. You're gonna be okay.
[35. EXT. Prison yard. Day.]
(Tweener digs quietly near a fence, keeping an eye on Westmoreland. Westmoreland walks over to C-Note.)
Westmoreland: Sucre got...
C-Note: I heard. Papi better had did us right, man.
Westmoreland: I hope he had enough time.
T-Bag: Looks like we're about to find out.
(He points over at the break room as a carpet fitters truck pulls up.)
(The PI crew watch the truck. Tweener watches them suspiciously.)
[36. EXT. Street. Day.]
(Kellerman is talking on his cell phone.)
Caroline Reynolds (o/s): Make it fast.
Kellerman: I thought we picked Lincoln Burrows off the street 'cause he was some lowlife who couldn't defend himself. Now I learn it's all about his father, some old spook The Company's trying to settle a score with?
CUT TO: Caroline: Well, fortunately for us, The Company's agenda and our agenda have the same endgame.
Kellerman: Caroline, I've been doing this for 15 years and it's never been about anything other than you, your family and most importantly, this country. Now I need to know who I'm working for here.
Caroline: You are working for me.
Kellerman: Promise me, that.
CUT TO: Caroline's office. Agent Brinker is shown in by an aide.
Caroline: I promise you, Paul. I gotta go now.
[37. INT. Caroline's office. Day.]
Caroline: And to what do I owe this honour?
Brinker: To the vote on the senate floor this afternoon.
Caroline: Look, I get it. The vote comes down to me. I vote no, it'll get done.
Brinker: Well, actually, we are going to need you to vote yes on this one.
Caroline: I...I...want to make sure I heard you straight. You want me to vote on the environmentalists' side?
Brinker: This isn't about the vote. This is about you, and how you look to voters. Now, we have a nation that is growing increasingly hungry for altered energy. So if you come across as more centrist, you'll appeal to the broader swath of the electorate, the very people who will get you elected next year. Besides, once that bill hits the president's desk, he will veto it. Then we'll get precisely what we always wanted anyway. Won't we?
[38. EXT. Prison yard. Day.]
(Avocado walks up opposite Tweener, on the other side of the fence.)
Avocado: You probably don't have a hair on your body, do you?
Tweener: Just back your punk ass up.
Bellick: Hey, Tweener. Get over here.
(Tweener walks over to Bellick, ignoring T-Bag and the rest of the PI crew who are watching him.)
Bellick: Looks like Avocado's taken a shine to you. I can set you up as cellies, if you want?
Tweener: Stop it, a'ight? I got somethin' for ya this time. Scofield and his boys, they're up to somethin'.
Bellick: How about being a little more specific?
Tweener: Whatever it is, it's gotta deal with that room they're fixin'. Somethin' to do with the carpet.
(Bellick walks away from him. Tweener doesn't look happy.)
[39. INT. Break room. Day.]
(Two carpet fitters are measuring up the room. Bellick walks in.)
Bellick: Excuse me, fellas. Out of the way!
(The carpet fitters exit. Bellick throws the table aside and rips up the carpet. He walks over the floor, looking for any signs of tampering.)
[40. INT. Ad Seg. Day.]
(Sucre and Lincoln sit quietly in their separate cells. A buzzer sounds. They both hurry to their doors. Warden Pope and Sara hurry into Michael's cell.)
(Michael is lying on the floor, his hand bandaged. There is no response from him. Pope looks at Sara.)
Lincoln: Michael! Michael? Michael!
(A CO slams the outer door of Lincoln's cell shut to quieten him down.)
(Camera zooms in to Michael's wide open, non responsive eye.)
ACT 4.
[41. EXT. Street. Day.]
(LJ looks down at a note with Kravecki/Kellerman's address on it.)
(He walks up to the house and looks in the front window. He tries the front door but its locked.)
(LJ moves around to the back door. It's also locked. Across the way, unbeknownst to LJ, an old woman is hanging out her washing. LJ smashes a pane of glass with the handle of a g*n and lets himself in.)
[42. INT. Psych Ward. Day.]
(Michael sits quietly by Sara speaks to the woman on Admittance.)
Sara: He's totally nonresponsive, so start him on corpromazine. He's in danger of a psychotic break. I want you to notify me immediately if and when that happens. Thank you.
Orderly: All right, come on.
(The orderly lifts Michael to his feet.)
Orderly: Come this way. Here we go. Watch your step.
(The orderly hands Michael to another orderly. Michael is buzzed through a gate and the second orderly takes his arm.)
Orderly#1: Clean him up.
(Sara walks to the gate and watches him walk away.
[43. INT. Kellerman's house. Day.]
(LJ picks up a pack of buffalo jerky from a box full of them. He replaces it and walks into the living room. He looks at a pile of mail, all addressed to Owen Kravecki. Suddenly he looks out the window: Kellerman is coming to the front door. LJ runs.)
(Kellerman enters the house, a pile of mail in his mouth. He walks in, puts his briefcase down and begins to look through the mail, adding them to the pile that was already there. Suddenly he hears the click of a g*n and turns around. LJ is pointing the g*n he took from Nick's cabin at him.)
Kellerman: You scared me. Put it down. You're not a k*ller. You don't wanna make any rash mistakes here, LJ.
(LJ fires the g*n, hitting Kellerman in the neck. Kellerman falls to the floor with a moan of pain.)
LJ: Don't move!
Kellerman: Go easy. Go easy.
LJ: Shut up!
Kellerman: LJ, there's other ways out of this, you know. Okay? I can help you b*at this rap, but if you pull that trigger, you really will be a k*ller and then I can't help you. Okay? I'm government, LJ. There's a lot of things I can do for you.
(A car screeches to a halt outside.)
LJ: The only thing you can do for me is die!
(A police officer outside draws his g*n.)
Officer: Drop your w*apon.
(LJ freezes, unsure what to do.)
Officer: I said drop your w*apon!
Kellerman: Guess you're gonna have to take a rain check on that one. Huh?
(The officers slowly approach the house.)
Officer: Drop the g*n, now!
(LJ holds up his hands and drops the g*n. Kellerman relaxes, sitting on the floor.)
[44. INT. A-Wing cell block. Day.]
(Bellick marches Tweener, holding his possessions, up the stairs to the upper tier.)
Tweener: No. I did what you said.
Bellick: You brought me a pile of crap. There was nothing there.
Tweener: Boss, come on, man. I just need some more time.
Bellick: You had your time. You're a waste of my fries. (shouts) Open on 88!
(The cell door to 88 opens. Avocado sits up on his bunk.)
Tweener: Boss, come on, man! Dude, just give me another try.
(Bellick advances on him, forcing Tweener to reluctantly step back into the cell.)
Bellick: Close on 88!
Tweener: Boss...
Bellick: Have at it.
Tweener: Boss...
(Bellick is already walking away. Tweener looks up at Avocado, who towers over him, in terror.)
Tweener (almost crying): Boss!
[45. INT. Kellerman's house. Day.]
(LJ, handcuffed, is put into the back of a police car outside. Kellerman sits on his couch, tending to his bleeding neck.)
Officer: You're lucky. Kid's got a warrant for a double homicide.
Kellerman: Are you serious?
Officer: Any prior contact with him? Any idea why he chose your house?
Kellerman: None. He screamed something like, 'You k*lled my mom'. Going on about me being a government agent. And...it seemed like that kid was on dr*gs or something.
Officer: What do you do for a living, Mr. Kravecki?
Kellerman: I'm a regional sales manager for a dehydrated meat distributor.
Officer: What, you mean like jerky?
Kellerman: Yes. Are you a fan?
Officer: What kind?
Kellerman: Buffalo.
(He reaches into a box and pulls several packets out.)
Kellerman: Have some. Really. I'm swimming in the stuff.
(He turns and looks at LJ sitting in the back of the patrol car.)
[46. INT. Psych Ward. Day.]
(An orderly sits Michael, now wearing white prison clothes, onto a chair.)
Orderly: One hour till lunch.
(As the soon as the orderly leaves, Michael's eyes, previously wide and staring, flick to Haywire.)
[Flashbacks:]
Michael in the yard with Abruzzi.
Abruzzi: So what's the problem?
Michael: You're looking at him.
Abruzzi: What, Haywire?
Michael: Yep. He's my new cellmate.
Flashback: Haywire in Michael's cell.
Haywire: They think I have schizo-affective disorder with bipolar tendencies.
[End Flashbacks.]
(Michael walks over to sit opposite Haywire, who is staring into space, clasping his hands together.)
[Flashbacks:]
Haywire: Your tattoos.
Michael: What about them?
Haywire: What are they of?
Michael: They're just tattoos.
[Various flashbacks of Haywire's exposure to Michael's tattoos.]
Haywire: Man's got a maze on his skin. Why would he do that? Why would he put a maze on his skin?
[Haywire draws Michael's tattoos in his notebook.]
Haywire: It's a pathway. Where does it lead?
[End Flashbacks.]
(Michael sits opposite Haywire.)
Michael: Hello, roomie. You were right about my tattoo. It is a path, just like you thought. And I need you to remember when you saw it, Haywire. I need you to remember what it looked like. Do you think you can do that for me?
(Haywire pauses, then looks quizzically at Michael.)
Haywire: Who are you?
(Michael looks concerned and slightly worried.)
END CREDITS.