PRISON BREAK 1X03 - CELL TEST

Original Airdate (FOX): 05-SEP-2005
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TRANSCRIPT:
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COLD OPEN TO:
[INT. GARDENING SHED-DAY]
(The toe has been cut off and Michael is in a tremendous amount of pain.)
CO: (Coming in) Oh my God!
(They sit Michael up and Abruzzi wraps his sock around his foot.)
What the hell happened?
Abruzzi: An accident.
(Michael is lifted into two CO’s arms and they help him hobble out of the gardening shed. Abruzzi has the toe.)
Bellick: Get out. (Abruzzi’s boys leave) I thought you said you were going to have a conversation with him.
Abruzzi: I had it. Things sort of escalated.
CUT TO:
[INT. INFIRMARY-DAY]
.....
(The CO’s rush Michael in and are calling out to whoever’s in the room.)
CO: We need some help here!
Dr. Tancredi: Bring him on in here. Kathy, I’m going to need ten cc’s of Xylacane.
(They enter the makeshift ER and the CO’s place Michael carefully onto the bed. Michael starts to cry, putting his hands up to his face.)
Dr. Tancredi: (To the CO’s standing around Thanks guys, I’ll take it from here. (The CO’s don’t move, unsure.) I said thank you. (Firmly) I’ll take it from here.
(A CO throws Michael’s shoe down and they all leave. Shot goes to a close up on Michael’s bloody, wrapped foot. Dr. Tancredi brings over a small working tray.)
Dr. Tancredi: Okay, let’s take a look.
(She goes to unwrap the sock covering the foot and Michael, crying, grabs her wrists frantically, needing her to be gentle, not able to handle very much more.)
(Softly, gently) You’re okay. You’re okay.
(He slowly let’s go of her wrists and she quickly, but gently unwraps the red sock. Michael sees his foot and the tears start to come harder as he lies back, unable to look anymore.)
Dr. Tancredi: (Seeing this) What happened?
Michael: (Taking in a deep breath) Nothing.
Dr. Tancredi: (Pushing him) This isn’t nothing Michael, I need you to tell me what happened.
Michael: (Almost delirious in the excruciating pain) Don’t make me lie to you. (She looks at him, slightly alarmed) Please!
(Sara walks out of the ER and over to Bellick, who is talking with some of the other CO’s. He sees her and heads off in the opposite direction, taking off his cap.)
Dr. Tancredi: I think you’d better have a head start in the investigation.
Bellick: Oh. There’s no need to. We already know what happened.
Dr. Tancredi: Perhaps, you would be good enough to enlighten me?
Bellick: Well, there’s a pair of gardening shears left on the floor of the shed. Evidently, he stepped on them.
Dr. Tancredi: Blade went right through his foot huh?
Bellick: (Missing where she is leading this) Yeah.
Dr. Tancredi: So, why wasn’t the boot still on his foot?
Bellick: Like I said Doc. We got it taken care of. (To the other CO’s) Let’s go. (He puts his hat on and they exit.)
CUT TO:
[INT. MICHAEL’S CELL-NIGHT]
(Close up on the freshly bandaged foot. The shot moves up his body to Michael’s face as he keeps thinking about the what happened and the entire situation he’s put himself in. his eyes widen and he rubs them. A glimpse of hopelessness and desperation crosses over his features.)
CUT TO:
[EXT. PRISON YARD-DAY]
(Michael is getting used to walking without a little toe in his boots. He is feigning the job of raking.)
Lincoln: (From the other side of the fence) I’m gonna kill that scum.
Michael: (Looking at Abruzzi) You won’t. You kill him and kill our express ticket out of here.
Lincoln: Look what he did to you Michael. (Shaking the fence) You’re not going to last a second in this place unless I do something about it.
Michael: (Calm) You ever heard of Top Flight Charters?
Lincoln: Yeah.
Michael: They operate flights from small air fields across the mid west. Like the one ten miles from here. They’re run by a Shell Company (Shot of Abruzzi playing poker) Abruzzi owns. We get him on board there’s going to be a midnight flight waiting for us the night we get outside those walls.
Lincoln: You’re willing to risk the entire escape on a guy you don’t even know?
Michael: Preparation can only take you so far. (Looks up to the CO tower) After that you gotta take a few leaps of faith.
(Lincoln, pissed off, walks away from the wall.)
Lincoln: Abruzzi’s a huge leap of faith Michael.
Michael: I’m not talking about Abruzzi. There’s someone else who holds the key to this entire thing. With him it either works or it doesn’t. Problem is, couldn’t know who that is until I got in here. (He is looking at Sucre walk in, fresh from the shoe. Lincoln strides back to the wall, incredulous.)
Lincoln: Sucre! You can’t be serious. Guy’s a thief Michael, he can’t be trusted.
Michael: We’re going to have to trust him, because he’s my cellmate.
(Lincoln paces up and down beside the fence)
Lincoln: How well do you know him?
Michael: About as well as a man can in a week.
Lincoln: You tell him, he tells everyone, we’re done. You know that right?
Michael: If we don’t get him on board, there’s not going to be any digging in that cell and if there’s no digging in that cell…then there’s no escape.
(Shot zooms into Lincoln’s eyes.)
OPENING CREDITS
OPEN TO:
[EXT. PRISON YARD-DAY]
(Phone is ringing. Sucre is calling Maricruz on a communal phone)
Sucre: Maricruz. It’s me baby, you there? Pick up if you’re there. Mari, I’ve been in the shoe. I’ve been thinking about you, (V.O. as the shot goes to Maricruzs home) about your body. God I’ve been thinking about your body.
Mrs. Delgado: Hello?
Sucre: Mrs. Delgado, how you doin? It’s Fernando. (Awkward silence as she doesn’t respond.)
Sorry to bother you at home, but you know what is up with Maricruzs cell phone? It keeps going straight to voice mail.
Mrs. Delgado: So maybe she has it turned off.
Sucre: Any chance you know where she is?
Mrs. Delgado: I know exactly where she is.
Sucre: And that would be?
Mrs. Delgado: With Hector.
Sucre: (Getting upset) With Hector!
Mrs. Delgado: That’s right. They’re at the mall I think.
Sucre: I don’t suppose the next time you see you could tell her to turn her cell phone back on. Mrs. Delgado, I know you don’t like me, but I love your daughter and she loves me. We’re going to get married you know.
Mrs. Delgado: If you were a decent man and you really loved love her you would let her live her life.
Sucre: (Edgily) What’s that supposed to mean?
Mrs. Delgado: I’ll tell her you called. (She hangs up)
(Sucre bangs the phone against its box, angrily.)
CUT TO:
[INT. MICHAEL’S CELL-DAY]
(Sucre takes a picture of him and Maricruz off of the wall and looks at it. Meanwhile Michael thinks below him.)
WHITE FLASH TO:
[FLASHBACK- INT. MICHAEL’S APARTMENT-NIGHT]
(Michael paces before his article covered window. The shot closes in on a stickie that says “Cell Test”)
WHITE FLASH TO:
[PRESENT DAY- INT. MICHAEL’S CELL-DAY]
(Michael fingers a small black cell phone as the buzzer sounds and the cell doors open.)
CUT TO:
[INT. METAL SHOP-DAY]
(T-Bag enters the shop with a bible in his hand)
T-Bag: I’m lookin to do some damage.
Friend: Well you’ve come to the right place.
T-Bag: I wanna (He wiggles his fingers) do it slow. Inflict a maximum amount of pain so a guy wishes he’d just die. You know, get it over with, but just can’t quite get there.
Friend: Oh. I got that. I got that. Look at this right here boss. (He takes out a knife that has five razor sharp edges jutting out from one side.) I call it the gutter. Jam it up there in the stomach. These bits right here hook onto the intestines and pull back, poor suckers. Guts are hanging right out of his stomach. And he’ll get a good look at them, because the wounds not fatal, at least not until the infection sets in.
(He hands it to T-Bag, who places it into his bible.)
T-Bag: (Whispering into his ear) You’re one sick puppy, you know that? (He pats him on the shoulder)
Friend: Thank you.
CUT TO:
[INT. OPEN VISITING AREA-DAY]
(Michael walks in, limping slightly where Veronica stands to meet him. She looks him up and down.)
Veronica: What happened?
Michael: I’m okay. (He sits down and she follows)
(He can’t quite seem to look at her)
Veronica: They’ve gotten to you, haven’t they? (Michael looks at her)
The other prisoners. My god Michael, this place is going to kill you.
Michael: (Ignoring it) You said you talked to a woman. What was her name?
Veronica: Leticia.
Michael: Leticia Barris.
Veronica: (Surprised) How’d you know?
Michael: A year ago, I was doing exactly what you’re doing, trying to find out the truth. It’s a bottomless pit Veronica. They designed it that way, so that the time you got to the bottom of it Lincoln would be dead.
Veronica: Why didn’t you tell me you were doing this?
Michael: Once the date was set, once that final appeal had been rejected he had sixty days to live. Figured I could play their game and watch him die in the process or I could take matters into my own hands. (He looks down)
Veronica: (Leaning in) You don’t have to do that. Leticia knows something. I can get it out of her and maybe we can reopen Lincoln’s case.
Michael: (Looking at her) What did she tell you?
Veronica: She said that somebody else was behind the killing of the vice presidents brother.
Michael: Who?
Veronica: She got spooked. She took off before I could get anything out of her.
(Buzzer sounds and Michael looks away. They both begin to stand.)
She’s holed up in the Alaysian field projects. I’m going to go see her this afternoon.
Michael: Place is dangerous. You should take someone with you.
Veronica: Who?
Michael: Fiancee’d be a good place to start.
Veronica: I think that’s probably the last thing in the world Sebastian would ever want to do.
Michael: (Seriously) It’s good to see you.
Veronica: You too.
(They hold each other’s eyes for a long moment and then she walks out. He watches her go before he moves to leave.)
CUT TO:
[INT. PROBATION OFFICE-DAY]
PO: No priors. Good student. And then you get yourself arrested for intent to sell.
(LJ looks like he’s about to say something)
Good life get a little boring?
LJ: It was a stupid thing to do…it won’t happen again.
PO: Well, we’re all here to make sure of that. I took some time to speak to your mother before you came in. she told me that there were some extenuating circumstances in your life right-
LJ: (Rolls his eyes and glances at his mom) If you’re talking about that guy at Fox River, he’s got nothing to do with this.
Lisa: He refuses to call him his father.
LJ: (Simply) The world would be a better place without him.
Lisa: (Reprovingly) LJ.
PO: (Has been watching this.) It’s clear to me that you got a lot of anger young man. Misdirected it could land you in the wrong place. (Leans back in her chair) So to make sure that doesn’t happen, you’re going to have to check in with me once a week. Fridays. One hour. Your attendance at school, your grades need to be pristine.
LJ: Absolutely.
PO: And to give you a real good idea of where that anger’ll get you if you don’t rein it in, I’m signing you up for the Scared Straight program at Fox River. You’ll have a mentor who you’ll work with weekly, give you a little perspective.
LJ: A mentor?
PO: Your father.
(LJ doesn’t know how to respond to this.)
CUT TO:
[INT. P.I-DAY]
(Michael brings a paint bucket to where Sucre is working. He opens the power box on a concrete pillar. Takes a wrapped package out of the bucket and unwraps it. It is a cell phone. Sucre is watching him.)
Sucre: (Whispers) Tell me that isn’t what I think it is.
Michael: (Storing the cell phone in the box) It ain’t what you think it is.
Sucre: Fish, a cell phone in here! That’s cardinal sin number one. They can tack two years onto your bid automatic.
Michael: If they catch you.
Sucre: Man you know what kind of trouble I can get into for just knowing what I know.
Michael: (Discreetly) Shhhhhhhhhhhh.
Sucre: (Goes back to painting, then stops) That means I can make calls whenever I want, right?
Michael: (Stares at him hard) I don’t like the look in your eye. What’s in there, you never saw it, got it?
(Without waiting for a response, he walks away. Sucre watches him leave.)
CUT TO:
[INT. LINCOLN’S CELL-DAY]
Pope: (Standing in Lincolns cell doorway) Why didn’t you include any names?
Lincoln: Why would I want anyone to watch me die?
Pope: I’ve seen it happen a number of ways. Some people want to go it alone. Others have grandiose statements they wanna make. But most want some member of their family there when they leave this world.
Lincoln: I’ll do it alone.
Pope: Son. In my opinion, all inmates who have made that decision have deeply regretted it in their final minutes. Now I’ll…uh… (He looks at the paper) leave it blank for now. You have less than four months now. You should give it some thought. (He tosses the piece of paper onto Lincoln’s bed before he leaves. Lincoln sits down on his bed and puts his head into his hands.)
CUT TO:
[EXT. ALAYSIAN PROJECTS-DAY]
(Veronica enters the housing project.)
Veronica: Hi. I’m looking for Leticia Barris.
Woman: Five.
Veronica: Thank you.
(She slowly walks up the stairs and looks into the ajar doorway of apartment five. She slowly enters the apartment, looking around.)
Hello?
(Looks around some more before suddenly Leticia bursts through another door, pointing a semi automatic at Veronica’s head.)
Leticia: Don’t you move a muscle.
(The shot zooms in on Veronica’s apprehensive face. then CUT TO Commercial Set.)
OPEN TO:
[INT. LETICIA’S APARTMENT-DAY]
Veronica: (Hands still up) Take it easy Leticia.
Leticia: (Still pointing the gun at her) You’re working for them aren’t you?
Veronica: (Alarmed) With who?
Leticia: You think I’m stupid lady? I hear the clicks on my phone. I see the cars out there on the street.
Veronica: (Trying to stay calm) I know you’re scared. I am too. But please put the gun down!
(Veronica looks hesitantly down at the half filled suitcase flung on the unmade bed.)
Where are you goin?
(Leticia puts the gun down and continues to haphazardly pack.)
Leticia: Ireland. What difference does it make?
Veronica: It makes all the difference. No one has ever gotten your testimony.
Leticia: And that’s exactly the reason I’m still breathin.
Veronica: I’m not with them Leticia. You have to believe me.
Leticia: Oh yeah. Then what you sneakin in here for? (She stops and looks at Veronica)
Veronica: I thought maybe they’d gotten to you.
Leticia: (Smirking) Oh yeah and why do you care about my well-being all of the sudden?
Veronica: I don’t.
(Leticia stops again and looks at her admirably)
Leticia: Finally an honest answer.
Veronica: But maybe you can save Lincoln. And maybe you can bring down the guys who killed your boyfriend in the process. If somebody killed you and Crab could have done something to the guys who did it, you think he would have?
Leticia: (In tears) I’m not as strong as he was. I can’t take those people on.
Veronica: I’ll take em on. All you have to do is come into my office and tell me what you know. I’ll type it up, you can sign the affidavit and split. I’ll take you to the airport myself.
(The shot closes in on Leticia’s face)
CUT TO:
[EXT. FOX RIVER-DAY]
(Prisoners are being transferred into the Penitentiary.)
CUT TO:
[INT. P.I-DAY]
(Sucre looks at where the cell phone is being kept.)
CUT TO:
[EXT. PRISON YARD-DAY]
(Lincoln walks on his side of the fence, looks at something and then drops it. He gets closer to the fence, something attracting him on the other side. Sucre is with his hombres, speaking in Spanish, gesturing about a phone. They all laugh.)
CUT TO:
[INT. DEATH ROW HALLWAY-DAY]
(Lincoln is getting escorted back to his cell, he sees Bellick at the end of the hall)
Lincoln: Bellick. (He gets onto his knees to be unshackled)
Bellick: Hey, what’s up Lincoln?
Lincoln: I want some extra time outside for the next few weeks.
Bellick: Hehehe. Paint fumes in P.I must be getting to ya.
Lincoln: (Looks up, playing his card carefully) Cell phones allowed in here?
Bellick: (Taking off his hat) Who?
Lincoln: Extra time outside and a couple of cigarettes.
Bellick: Half hour one week. One cigarette. (He turns around)
Lincoln: Know a con named Sucre?
(Bellick slams the door shut)
CUT TO:
[INT. OPEN VISITING AREA-DAY]
(Abruzzi and Falzone are sitting at a table)
Falzone: This is what I don’t understand John. Fibonacci fingers you. He put you in prison for life. Yet you act like you don’t even wanna find out where he is.
Abruzzi: That’s not true Philly.
Falzone: Maybe it’s because you think you don’t have anything left to lose anymore. You know, you’re already locked up. You know, um, maybe you like it in here. I mean I don’t know.
(Abruzzi scoffs at that)
But what I do know is that if Fibonacci testifies next Monday you and I are going to be neighbors. I’m not going to let that happen.
Abruzzi: I don’t think you’d fit in here Philly. Fancy suits and ties; sharkskin.
Falzone: I think you’re right. So let’s cut to the chase. (He leans in) Did you break this kid? Did he tell you where Fibonacci is?
(Abruzzi takes a little box out of his pocket an slides it carelessly over to Falzone. Falzone is confused.)
What is this?
Abruzzi: A little gift from me to you. (Falzone opens it and looks slightly repulsed.)
Falzone: This his?
Abruzzi: Yeah, he won’t crack.
Falzone: (Sighs heavily) Perhaps you should consider using a different methodology then John. From what I gather, there are far worse threats in prison, other than bodily harm.
Abruzzi: What happened to the days when you used to trust me Philly. That I would get the job done?
Falzone: Those were in the days when you actually did get things done John.
(Abruzzi stares at him and behind Falzone the security door opens and in walk two little children; Abruzzi’s kids. He stares at Falzone, disgusted at the level to which Falzone would stoop. They run over to Abruzzi happily yelling his name.)
Daughter: Did you hear the news?
(Abruzzi pulls the girl onto his lap, forcing a smile onto his face)
Abruzzi: What? What news?
Daughter: (Pointing to Falzone) We’re going to stay with Uncle Philly at the lake for a few weeks.
Falzone: Yeah, we’re going to have a good time. (He laughs creepily and Abruzzi is now looking very nervous) Your right John, maybe you’re right. I do trust you. Now you’re gonna take care of that thing (He has a big, fake smile on his face) aren’t’ you?
(Camera shot closes in on Abruzzi’s overwhelmed expression)
CUT TO:
[INT. HOLDING CELL-DAY]
(Bellick smiles and walks in to the cell, where Sucre is standing.)
Bellick: So, how are those bone yard visits goin with that girlfriend of yours? I imagine pretty good, huh? You know visitation rules stipulate that conjugals are for married couples.
Sucre: We’re engaged. Besides, I got that comin to me cause I ain’t caused no static in this place. (Pleading) Please, don’t take my conjugals.
Bellick: (Reassuringly) I won’t.
Sucre: (Relaxing slightly) Thank you.
Bellick: In exchange, you have to tell me where that cell phone is. (Sucre looks at him sharply)
Sucre: A cell phone?
Belllick: Don’t play stupid with me. I’m giving you a chance to save your precious conjugals. You lie to me, they’re gone and their never comin back.
(Sucre looks away and back; conflicted)
So, where’s that cell phone?
CUT TO:
[INT. P.I-DAY]
(Michael and Lincoln are painting at the same pillar when Sucre is escorted back in by Bellick. they both turn to look at him discreetly, then at each other.)
Bellick: (Calling to a black inmate) Turner! Your transfer came in. they want you down in administration.
(He puts a hand on Sucre’s back and pushes him into Turner’s old spot. Bellick turns and walks out. Sucre picks up a mop handle, under the pretense of getting to work. Lincoln and Michael look at each other.)
Lincoln: (Walking away to get more paint, quietly) He didn’t talk.
(Sucre sees Bellick leave and straight away walks over to Michael. )
Sucre: (Staring ahead) All I gotta say is that I better be able to get all the free calls I want.
Michael: (Pulls out the cell phone) Gonna be kind of hard. (He hands it to Sucre)
Sucre: (Taking it and feeling the texture, he breaks it in half) Soap. (Getting angry, he throws the pieces back at Michael) I lost my conjugals over soap.
Michael: You might have lost your conjugals, but I could do you one better.
Sucre: Maricruz. (Skeptical) You’re going to get me to Maricruz.
Michael: That’s right.
Sucre: Yeah and how you gonna do that?
(Lincoln stops what he is doing and listens carefully.)
Michael: We’re breaking out of here.
Sucre: (Suspicious) How?
Michael: (Leads him away from the other inmates.) It starts in our cell.
Sucre: In our cell?
Michael: (As Lincoln picks up the cell phone pieces.) To tell you the truth, it’s already started.
Sucre: (Suddenly angry) Ah! Are you crazy? You think I wanna break out of here. Sixteen months from now I’m out the gate. I’m getting married Papi and I sure as hell ain’t doin it with a possie on my ass. Man I oughta beat you six days till Sunday. I lost my conjugals, pende hono, because of your little parcel.
Michael: (Still looking at him steadily) I had to test you. See if you could keep a secret.
Sucre: (Getting in his face) You wanna secret, well I gotta secret for you fish. (Lincoln is still listening) You dig in my cell when I’m there and I’m gonna split your wig. (He says something in Spanish, gesturing to his head and walks off. Michael stands there.)
Lincoln: That went well.
(The shot zooms in on Michael’s face and then through the tunnels of the prison to Commercial Set.)
OPEN TO:
[EXT. CHICAGO HIGHRISES-DAY]
CUT TO:
[INT. VERONICA’S OFFICE-DAY]
Veronica (V.O): Why don’t we start with Lincoln’s relationship with your boyfriend.
Leticia: Simple. He owed my man ninety grand and he wasn’t getting it done. Then all of the sudden it gets done. Crab walks in with the ninety k and a big fat smile on his face.
Veronica: Who paid him?

Leticia: Not Lincoln. They paid his marker.
Veronica: Who’s they? (Leticia gets nervous and gets up to pace around) It’s alright Leticia. I told you you’re safe here.
(Leticia hesitates and looks out the window.)
Leticia: Crab brought this guy home. Never saw him before.
WHITE FLASH TO:
[FLASHBACK- INT. CRAB SIMMONS HOUSE-DAY]
(V.O) Crab did what he always did when he was doing big business. (Leticia is narrating the events unfolding) Told me to take a walk, so that’s exactly what I did. There was something about this guy though. He wasn’t the kind of guy that Crab dealt with.
WHITE FLASH TO:
[PRESENT DAY- VERONICA’S OFFICE-DAY]
Veronica: What do you mean?
Leticia: Couldn’t put my finger on it until he went outside. (She moves to the window again.)
WHITE FLASH TO:
[FLASHBACK- CRAB SIMMONS HOUSE-DAY]
(Leticia watches as the man goes to his car)
(V.O) He had the look.
Veronica (V.O): What look?
(Two familiar Secret Service men go to their car in fancy suits)
Leticia (V.O): You know. Like they own the place, like they’re untouchable. Like they’re government.
Veronica (V.O): So the government paid Lincoln’s debt?
WHITE FLASH TO:
[PRESENT DAY- INT. VERONICA’S OFFICE-DAY]
(Leticia’s look to Veronica’s previous question answers it)
Did Crab say what they wanted in return?
Leticia: Uhu.
Veronica: Alright, just give me a moment to type this up.(Leticia heads to the door) Where you goin?
Leticia: I’m goin to have a smoke.
Veronica: This’ll only take me a minute.
Leticia: (Opening the door) So will the smoke.
(She exits and Veronica goes back to typing.)
CUT TO:
[EXT. FOX RIVER ADMINISTRATIVE BUILDING-DAY]
CUT TO:
[INT. INFIRMARY-DAY]
Dr. Tancredi: (Taping the fresh bandage on) No redness or swelling, so that’s no sign of infection. We’ll keep you on antibiotics for the next ten days. (She finishes, then looks up at Michael) Michael, you understand, by law, I’m obligated to file a report if I feel like there’s been prisoner misconduct. There’s no way this injury happened (Michael slowly puts his sock and shoe back on) by stepping on a blade in the gardening shed.
Michael: (Plainly) If you file a report, things could get a lot worse for me.
Dr. Tancredi: They’re not already?
Michael: (Looking at her evenly) Not compared to what they could be. (Smiling sadly) I’ve made some enemies.
Dr. Tancredi: Yeah…You scared?
(Michael just looks at her and she drops her head.)
Men! (He smiles at that) Okay. Here’s what I think. I think you are scared and you wouldn’t be human if you weren’t scared in a place like this.
Michael: (Tying his shoelace) When I was young, I couldn’t sleep at night (He puts his foot down, straddling the bed) because I thought there was a monster in the closet. But my brother told me there wasn’t anything in the closet but fear. (Dr. Tancredi smiles) And fear wasn’t real. He said it wasn’t made of anything just…air. Not even that. He said you just have to face it. You just have to open that closet and the monster would disappear. (He looks down)
Dr. Tancredi: Brother sounds like a smart man.
Michael: (Looks up at her) He is. In here though, you face your fear, you open that door (He begins to reveal some of his frustration and worry) and there’s a hundred more doors behind it. And the monsters that are hiding behind them are all real.
Dr. Tancredi: If you want I could recommend that you be sent to Ad. Section.
Michael: (Getting up) With the rape victims and the snitches.
Dr. Tancredi: It would keep you safe.
Michael: Thanks, but I think I’d like to face the monsters on my own. (He walks out)
CUT TO:
[INT. VERONICA’S OFFICE-DAY]
(Veronica doesn’t look up as somebody enters her office)
Veronica: Have a good smoke?
Man: I don’t smoke.
(Veronica looks up slowly and the shot reveals Agent Kellerman, who sits down.) Didn’t mean to startle you. (He holds out a hand) Special Agent Kellerman, Secret Service.
(Veronica shakes his hand, extremely wary.)
We’ve been informed that you obtained a copy of the surveillance tape entered as evidence in the Lincoln Burrows trial.
Veronica: Is there a problem with that?
Kellerman: We’re just following up.
Veronica: Has there been some amendment to the Freedom of Information Act that I’m not aware of?
Kellerman: You know when a prisoner gets close to the end of his time on death row there’s a lot of last minute-
Veronica: I’m sorry, I still don’t understand why this would be a problem for the Secret Service.
Kellerman: It’s not. The prosecution made its case far beyond any reasonable doubt. And, we know, that we have the right man. That being said, if you come across anything that could shed some light on his innocence, I’m offering my help.
Veronica: (Sarcastic) Sounds great. I really appreciate you coming by. (She stands and he follows suit. They shake hands again) Do you have a card Agent Kellerman?
Kellerman: Of course. (He hands one to her) Don’t hesitate to call.
Veronica: Thanks. (She looks at the card, thinking) Leticia!
(She exits her office and looks into the staff break room where a freshly extinguished cigarette still has smoke rising from the ash tray; but no ones in the room. Veronica rushes out into the street where she sees Kellerman getting into a car. It quickly pulls away from the curb and her cell phone rings; she answers it.)
Sebastian! I’m so sorry I-
Sebastian: Where are you?
Veronica: I’m uh. This isn’t the time, I’m sorry.
Sebastian: This is the time. I’m at the rec hall, the coordinators, the vendors.
Veronica: I just, look I’m sorry I can’t talk right now. (She shuts the phone and goes inside. Sebastian, on the other end, is incredulous)
CUT TO:
[INT. CELL BLOCK-DAY]
(The shot pans over to Abruzzi’s cell. They watch Michael, who is going back to his cell.)
Cellmate: Say we take the whole foot?
Abruzzi: We could cut off all his limbs, he still wouldn’t talk. Pain’s not the answer here. (Dryly) Maybe the Beatles were right. Maybe all you need is love.
CUT TO:
[INT. MICHAEL’S CELL-DAY]
(Michael walks up to his cell, only to stop in the doorway when he sees Sucre packing)
Michael: What are you doing?
Sucre: What does it look like I’m doing? I’m rolling it up.
Michael: (Entering) You can’t do this.
Sucre: I’m done with you and your reindeer games fish. I’m going to transfer to a nice quiet cell with a normal cellie who doesn’t screw my life up.
Michael: (Quietly) Look, I’m sorry about your conjugals, but if you go now... (He shoots a glance at the CO’s) Don’t do this, Please!
Sucre: Listen to me fish, I got sixteen months. I got a fiancé to think about. I get caught with a hole in my wall; I don’t get to see the real world for another five years.
CO: Let’s go Sucre.
Sucre: (Picking up his stuff) I can’t do that.
Michael: (Stopping him) There’s always a solution, we can work it out.
Sucre: Sorry fish. (He leaves and the camera closes in on Michael’s face)
CUT TO:
[INT. LINCOLN’S CELL-DAY]
Chaplain: Can I ask you something? Why have you denied any family or loved ones to be there for you in the end?
Lincoln: Why would I let them watch me die? I’ve already caused them enough pain.
Chaplain: Maybe it’s not about them watching you die.
Lincoln: (Finishing the thought) Maybe it’s about me watching them live. That the final torture?
Chaplain: No. it’s about how you wanna leave this world. What id the last image you want to take with you? A stranger?
(Lincoln looks down, deep in thought)
CUT TO:
[INT. PRISON CAFETERIA-DAY]
(T-Bag watches Michael get his food and moves to rise, getting the gutter ready to shank him. Abruzzi appears at his side and pushes him down, back into his chair)
Abruzzi: You got an issue with our little friend over there?
T-Bag: I don’t gotta come to you. You don’t give the green light.
Abruzzi: Everything here runs through me, you know that.
T-Bag: Maytag’s in the ground because of that piece of detritus.
Abruzzi: So now you want him.
T-Bag: Everyday for the rest of his bid.
Abruzzi: Seems you and I have something in common then.
CUT TO:
[INT. PRISON HALLWAY-DAY]
(The prisoners are all walking in line to the prison yard. Michael gets yanked out of the line and into a room of the side of the hall)
Abruzzi: (His back to Michael) Easy now fish. Don’t make this any harder than it needs to be. It’s time we came to an arrangement. Don’t you think? (As Abruzzi says this, T-Bag materializes from behind him. T-Bag looks at him. The shot cuts to Commercial Set)
OPEN TO:
[EXT. FOX RIVER PENITENTIARY-DAY]
CUT TO:
[INT. ROOM OFF THE HALL-DAY]
T-Bag: You know, I was thinkin I was gonna gut you bowel to stern as soon as I laid eyes on you. But alack the day you look so pretty when you’re scared. (To Abruzzi) I think we’re gonna get the love out of the way before we move onto the hate, what do you say to that pretty? Hmmm…yeah. Maybe it’s time I lit that fire once and for all, huh?
(Just as puts he puts the gutter down Abruzzi elbow punches him in the face. T-Bag falls back and Abruzzi punches him again in the face. Then he turns back to Michael, leaving T-Bag for his boys to beat up)
Abruzzi: Eh. He talks too much. (He grabs the back of Michael’s neck) You and I need to have a conversation.
(They leave the room and reenter the line. Abruzzi smoothes his hair back)
What happened in there was my way of saying I know. I’ve been going about this whole thing the wrong way.
(Michael just looks at him, extremely wary)
I’m trying to make amends here. Bygones be bygones. He holds out his hand which Michael looks at Abruzzi with heavy suspicion

Michael: You’re a mercurial man John.
Abruzzi: I prefer bold. (He walks ahead)
CUT TO:
[EXT.PRISON YARD-DAY]
(The inmates are walking in the prison line into the square)
Abruzzi: Tell me what you need from me.
Michael: A trade. You get me on a plane and I’ll get you Fibonacci.
Abruzzi: What do you need a plane for?
Michael: I think you know.
Abruzzi: I help you I’m in, you know that don’t you?
Michael: (Looks at him) I do.
Abruzzi: I just gotta know the exact date and time.
Michael: I’ll tell you soon enough.
Abruzzi: Soon enough ain’t gonna cut it. I need to be outside those walls before Fibonacci testifies.
Michael: You will be.
Abruzzi: (Skeptical) He testifies in one month.
Michael: Then you’ll be out in plenty of time.
Abruzzi: If not, you’re a corpse. (They both look at each other.) So you better cut the crap and tell me the exact date and time so I can start making the arrangements.
Michael: I don’t know if I can trust you that information yet.
Abruzzi: Why not?
Michael: Like I said John, you’re a mercurial man.
(They enter the prison yard.)
CUT TO:
[INT. CLOSED VISITING AREA-DAY]
(Lincoln is about to go in)
Lincoln: Lewis, take these off. (Gesturing to the hand shackles)
CO Lewis: I can’t do that.
Lincoln: Come on, I’m in a cage. Ten minutes. (CO Lewis goes to take him out, ignoring Lincoln’s plea) Please! It’s my kid.
(CO Lewis looks out into the visiting area and then back at Lincoln. Lincoln enters the cage, his arms free and sits down.)
LJ: (Rubbing his hands together, nervous) So here we are.
Lincoln: (Smiling) Yeah. How have you been?
LJ: (Laughing nervously) Ha! You know, in trouble.
Lincoln: How’s your mom?
LJ: (Laughing again) She’s good.
Lincoln: Hey, um, I’ve been talking to the Chaplain and uh, they’d like me to decide who I should have at the uh. (He doesn’t want to say it, rubs his chin.) I guess what I’m trying to say is, when you get to the end you start to realize what’s important to you, who really matters to you.
(The shot goes to LJ, who has tears in his eyes)
And you know that leaves you and Mike; you’re the only blood I got left in this world.
LJ: Yeah, I gotta say I’m not really following what you’re sayin.
Lincoln: Well, uh, in the end the only thing that matters is love, blood…family (LJ nods quietly) Ummmm. (He looks up and reaches his hand over the glass to the steel linked chain.) Give me your hand.
LJ: What are you doin?
Lincoln: Give me your hand. (When LJ doesn’t respond, he waits, then tries again, quietly pleading) Give me your hand.
(LJ, about to start crying, places his hand against Lincolns, their fingers connecting.)
I want you to be there when. I want you to be there the day before I die. (He looks at LJ) So I can see you, so I can hold you.
(LJ nods and Lincoln sees something in his expression)
Oh yeah. (He’s answered the question that was unasked) I love you. I’ve always loved you. (LJ starts crying)
LJ: This whole thing. (He pauses as emotions threaten to overwhelm him.) I don’t know if I can take it.
Lincoln: Me neither. I don’t have a choice. You do.
(The camera pulls back to show both men, more than just hands finally connected, though the glass separates them.)
CUT TO:
[EXT. WATERSIDE RESTAURANT-DAY]
(Sebastian has been sitting at a table for what appears to be a long time. Veronica hurries up)
Veronica: I’m so sorry. I met with this woman today and she knew something about Lincoln’s case and then she just disappeared. I think something happened to her.
Sebastian: (Not interested) Look, I’m going to make this real easy for you. Do you want to get married (The shot goes to Veronica’s face) or not?
Veronica: I don’t know.
Sebastian: Wonderful! (He pulls his hand away from hers)
Veronica: Maybe we could postpone it. Look I can’t do this right now. My head’s not in it, it’s supposed to be a celebration.
Sebastian: If you’re really telling me you want to postpone this thing then I wanna cancel it.
Veronica: (Tears in her eyes) Sebastian I’m sorry.
Sebastian: (Brightly) I’ll come get my stuff tomorrow. (He picks up his keys and leaves Veronica sitting there alone.)
CUT TO:
[INT. MICHAEL’S CELL –NIGHT]
(Michael opens a book to reveal the carefully hidden Allen bolt in a space in the spine of the book. He goes over to the toilet and starts to unscrew another bolt at the top of the toilet.)
Bellick: open on forty.
(The cell door opens. Michael rushes to get the Allen out and stands, slipping the Allen into his pocket right when Bellick walks in.)
Scofield! Found you a new cellie. As luck would have it I found him in the psych ward and you’re the only guy with an empty tray so…
Michael: Psych ward!
Bellick: You gotta problem with that? (Pulls out his Billy stick) Cause if you do, feel free to drop it in my suggestion box.
(He taps the inner rim of the toilet. They stare at each other and Bellick walks out.)
Haywire, get in here. (A scrawny, sickly looking man enters the cell) Close on forty. Oh and Scofield, just a heads up, don’t make eye contact with him.
(Haywire looks around his new cell and then at his new cellmate. Michael looks away, nothing turning out how he needs)
CUT TO:
[EXT. PRISON YARD-DAY]
(Lincoln shoots a basketball then goes over to the fence where Michael walks by.)
Michael: Lincoln we have a problem. I got a new cellmate.
Lincoln: Who?
(Michael nods ahead to Haywire)
That’s a problem.
Michael: We’re going to have to bring him on board.
Lincoln: You don’t bring a guy like that on board.
Michael: Then I’ll dig at night, when he’s sleeping.
CO: Ten feet Scofield. (Gestures)
(They move apart and as the CO turns back around they move towards the fence again)
Lincoln: How far behind are we?
Michael: Three days.
Lincoln: I thought you said the margin for error was zero days.
Michael: I did. (He walks off, leaving Lincoln alone with his basketball.)
CUT TO:
[EXT. COUNTRYSIDE-DAY]
(A car pulls up and backs into a secluded area near the woods. Agent’s Kellerman and Hale get out)
Kellerman: Aw, nice out here. I got a buddy who’s got a place way back in these woods, comes up here hunting around this time of year.
(They go around the car to the trunk and open it. Hale immediately gets a kick in the stomach)
Put her back in, back in.
(They try again and this time succeed to remove her from the trunk. Hale pulls her out and holds onto her)
Take her out there.
Hale: She’s nothing. Nobody would believe her if she talked anyway. (Leticia looks at him pleadingly, her mouth taped shut)
Kellerman: (Ignoring Hale) One hundred yards or so should do it…Do it…Go!
(Hale takes her out into the brush and she puts up a fight as he puts her on her knees and stands behind her; struggling to get his gun out to shoot her execution style.)
Hale: I’m sorry. You gotta believe that.
(A train spooks him and he releases Leticia, who takes the opportunity to run.)
Damn it!
(He aims at her and shoots, missing. She keeps running, screaming under her duct taped mouth. Kellerman hears the commotion and starts to run. Hale shoots again and connects with her calf. Leticia falls, but continues to crawl forward, Hale catches up quickly though.)
Leticia: Please!! (Terrified of him, edging away) Please!! (Hale points the gun at her, unable to…) Please!!
(Another guns shot rings out and the camera pulls back to reveal Kellerman with a smoking gun.)
Kellerman: (Disgusted) Pick up the casings. (He walks off)
CUT TO:
[EXT. FOX RIVER PENITENTIARY-NIGHT]
CUT TO:
[INT. MICHAEL’S CELL-NIGHT]
(Michael has waited enough time to presume that Haywire is asleep. Then, quietly, he goes over to the toilet. He’s about to get started when he hears bedsprings creak. He looks over to the beds and Haywire has turned around and is staring at him.)
Michael: What’s your problem?
Haywire: I’ve got a neural anatomic lesion affecting my reticular activating system.
Michael: What does that mean?
Haywire: It means I don’t sleep…at all!
(He lies back down and Michael looks supremely frustrated. The shot zooms through the tunnels and sewers of the prison.)
CUT TO BLACK

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