The following is not a novelization or an actual script but a dry transcript of the aired episode that includes accurate word-to-word dialogues, settings descriptions, action scenes and/or camera movements where the transcriber felt they were necessary. This transcript is posted on "TWIZ TV.COM" in world wide web exclusivity by courtesy of SIENNA.
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TRANSCRIPT:
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FADE INTO:

[INT. LINCOLN’S CELL-NIGHT]
 
(Camera pans around the dark cell to settle on Lincoln, sleeping. Suddenly the lights come on and Bellick steps in.)

Bellick: On your feet.

(Lincoln shields his eyes from the sudden bright light)

Lincoln: What time is it? What’s going on?

CO: Let’s go Lincoln. On your feet. (They pull him up and out of his cell)

Lincoln: No. No! Bellick! Bellick! Bellick! (He struggles the entire way and when they reach the room, he begins to panic even more.) NO! NO! (The chair is ready) Please no! I’m not ready! (They sponge his forehead and start placing the equipment on him, he whispers) Please Bellick! Please no! (He starts trying to steady his breaths, prepare himself for what’s going to happen. The one way mirror shows people watching this on the other side. The CO’s put the final bolt in and they all step away)

Bellick: (Coming close to Lincoln) Make your peace Lincoln. (He pulls a black cloth down over his face) Let’s get on with it.

(Lincoln is terrified…they flip the switch)

CUT TO:

[INT. LINCOLN’S CELL-NIGHT]

(He wakes up on his stomach and gets up, unnerved. He puts his head in to his hands.

CUT TO:

[EXT. FOX RIVER STATE PENITENTIARY-DAY]
CUT TO:

[INT. MICHAEL’S CELL-DAY]

(Michael is digging behind the toilet. He slides the bolt through the cracks in the concrete. Michael hears a sound and knows that Haywire is coming back. He places the toilet back in it’s spot and stands up.)

CO: 40

(Haywire returns and jumps up onto his bed)

CO: Close on 40.

(Michael acts as though he’s been washing his face.)

Michael: Haywire, you ever think about breaking out?

Haywire: What the hell would I do out there?

Michael: Not be here.

Haywire: Halfway houses, psych visits, meds, checkin in with the PO, urine samples, keepin a job. No. why do you ask?

Michael: (Testing him) This guy was talking about it in the yard yesterday. I didn’t know what to say.

Haywire: Tell officer Bellick, he’ll make life easy for you if…uh…

(Haywire looks up and something in Michael’s tattoo catches his eye.)

Michael: If what?

Haywire: Your tattoos…

Michael: (Turning around to face him) What about them?

Haywire: (Looking him over) What are they of?

Michael: They’re just tattoos. (He reaches out and grabs a sweatshirt)

Doctor: (Comes up to the door) Candy time Haywire

(Still staring at Michael, Haywire hops off the bed to take his meds)

Haywire: (Turning back to Michael) They think I have schizo affected disorder with bi polar tendencies. (Turns back to the Doc) Whatever. (He takes the pills) Take the pills; keep the quacks off of my back. (Sticks out his tongue as the doc shines a light inside, checking.) Bye now. (Turning back to Michael) Get out of my way)

(He goes over to the toilet and forces himself to throw up)

Michael: You know, maybe they give you those things for a reason.

Haywire: Yeah. (He straightens up) To keep me dull, to keep me in their invisible freakin handcuffs. Seriously though, those tattoos, their beautiful. Do you mind if I you know, look at the whole thing?

Michael: (Getting another shirt on) I do actually.

Haywire: Why?

Michael: (Fixing his collar and stepping outside the open cell door) Does there need to be a reason?

(Haywire just stands there)

CUT TO:

[EXT. PRISON YARD-DAY]

(Michael walks up to Sucre, who is passing him)

Michael: Sucre

Sucre: (Giving him the hand) I’m not even talking to you man.

(He walks inside and Haywire walks out, looking at Michael. Michael turns and lifts up his arm sleeve to reveal a part of the tattoo which says “CUTE POISON”)

WHITE FLASH TO:

[FLASHBACK- INT. MICHAEL’S APARTMENT-NIGHT]

(Michael is sitting at his desk in his apartment, reading. He goes over to the wall and writes CUTE POISON over a chemical reaction formula)

WHITE FLASH TO:

[PRESENT DAY- EXT. PRISON YARD-DAY]

Abruzzi: What’s the problem?

Michael: Nothing I can’t handle.

Abruzzi: I knew there was a problem. I could tell by looking at you from across the yard. Guys didn’t I say there was a problem? What’s the problem?

Michael: (Turning his head slightly, gesturing) You’re lookin at it.

(Abruzzi looks at Haywire standing behind Michael)

Abruzzi: What? Hay?

Michael: Yup. That’s my new cellmate.

Abruzzi: (Rolling his head) That’s a problem.

Michael: He doesn’t sleep.

Abruzzi: So when do you dig?

Michael: (Evenly) I don’t.

Abruzzi: (Getting in his face) Hey, you and I are in bed now. You made me a promise, you said that we were gonna get out of here. (Taking his shoulder) you relig now and I’m gonna gut you. So you better take care of business or I will take care of you. Have a nice day. (He taps Michael’s face and walks away. Michael turns to watch him go, then turns back to see Haywire still standing there; watching him.)

OPENING CREDITS

OPEN TO:

[EXT. FOX RIVER PENITENTIARY-DAY]

(Camera pans over the Prison)

CUT TO:

[INT. POPE’S OFFICE- DAY]

Pope: (Pleased) It’s really coming together isn’t it?

(Michael pops up from behind the Taj to stand beside him)

Michael: Yup.

Pope: You think it’ll be done in time?

Michael: Well I figure we still have the interior alcoves, and the palaters to do, which is no small task, but yes, I think so.

Pope: Listen, I have to say that I really appreciate all the effort that you’re putting into this. (Michael turns away, but Pope persists) I wish there was some way that I could, you know, pay you or something.

Michael: There is something you could do for me. (Looks at Pope) My cellmate.

Pope: The inimitable Charles Patoshick. Haywire?

Michael: Then you know?

Pope: Hold it right there. Officer Bellick is in charge of transfers. You’re going to have to talk to him about that.

Michael: (Dryly) I tried. But he seems to think we’re a good match.

Pope: Has he threatened you?

Michael: Who? Haywire or Bellick?

Pope: Hmm. Unfortunately, unless there’s evidence of violence or sexual predation between cellmates those kind of requests fall on deaf ears around here. Prison systems a little too crowded to for there to be requests based on personality. It’s not exactly sandals out there.

Becky: (Entering the room) Warden, sorry. Your wife’s here.

Pope: What! (Coming around his desk and buttoning up his vest) She’s not supposed to be here til four. Becky, do not let her come in here under any circumstances. She’s not supposed to see this until our anniversary. I’ll be right out. (He turns back to Michael, gets his suit jacket and leaves) Hi sweetheart. You’re early. Let’s go eat.

Judy: You’re acting funny.

Pope: I am?

Judy: (Smiling) What’s going on in there?

Pope: You know, just going over some files.

Judy: Becky said you were in a meeting.

(Pope looks at Becky and then back to Judy)

This isn’t Toldeo all over again is it?

Pope: (Confused and then hurt) Toledo? How can you say that?

Judy: Then you won’t mind if I look. (She moves past him towards his office door)

Pope: Judy.

(As he says her name, Michael walks out of the office and closes the door quickly)

Michael: Warden, I’m not going to be able to cooperate. I’d get killed if I did. Johnson’s still deciding.

Pope: (Catching on) Then you and I are done. (Michael nods tersely and leaves. Judy looks at her husband)

Judy: You should have just told me.

Pope: Well, you know how anxious I get when you come around the inmates. (To Becky) Have a guard escort Johnson back to his cell, I’ll deal with him later. (To Judy) Let’s go eat.

(They exit)

CUT TO:

[INT. OPEN VISITING AREA-DAY]

(Lincoln is escorted inside and looks with surprise at who’s standing before him. Shot turns around to reveal Veronica Donovan. Lincoln shuffles forward, wary)

Lincoln: What are you doing here?

Veronica: I’m your attorney. I’m representing you now, if that’s alright with you?

Lincoln: Last time you came here, you called me a liar.

Veronica: Things have changed. I believe you now. (She sits down) I got in touch with Crab Simmons girlfriend, Leticia. She corroborated your story.

Lincoln: (Astounded) Will she testify?

Veronica: She’s missing. I think that the Secret Service got to her.

Lincoln: Secret Service?

Veronica: (Leaning in) They’ve been poking around. As soon as they show up, she disappears. (Rhetorically) What do you think happened? 

Lincoln: I…I didn’t realize it went that high up, you know? Do you know what we’re up against?

Veronica: All I know is that it is more than either you or I can handle on our own.

Lincoln: (Thinking) Project Justice.

Veronica: Why have I heard of them.

Lincoln: All they handle is death penalty cases. There’s a guy there. Ben Forsythe, I sent him copies of everything I had. I mean, you can go there, tell him what you found. Maybe it’ll be enough to bring him on board.

Veronica; Okay.

Lincoln: (Awkward silence) So uh…how’s Sebastian?

Veronica: What do you mean?

Lincoln: Well, you being here, is he cool with it?

Veronica: I haven’t talked to him about it.

(Lincoln looks cofused)

The…um engagements off.

Lincoln: Oh! I’m sorry. (He looks down)

Veronica: You can at least say that like you mean it.

Lincoln: I do.

Veronica: God, you were always a lousy liar.  (He smiles slightly)

Lincoln: Hmm. Yeah.

Veronica: I better get to Project Justice.

(She gets up and walks away)

Lincoln: Veronica, thank you. I didn’t have a whole lot left.

Veronica: You can thank me when I get you out of here.

(The buzzer sounds as she walks out. Lincoln sighs and puts his forehead onto the table.)

CUT TO:

[EXT. PRISON YARD- DAY]

(Sucre is on the phone)

Sucre: Baby it’s me, you there? Hello? You there?

(Mna behind Sucre speaks up)

Man: Hey, if she is she obviously don’t want to talk to you.

(Sucre glares at the man, then turns back to the phone)

Sucre: It’s Wednesday babe. You gonna come around today right? Look, I gotta hang up now, I gotta go back in the block but you’re gonna be here today right? I’m your man baby and I love you. I do.

CUT TO:

INT. PRISON SHOWERS-DAY]

(Michael walks out of the shower with a towel around his waist. Haywire is behind him.)

Haywire: It’s a pattern.

(Michael turns sharply)

Michael: What did you say?

Haywire: Your tattoo, it’s a pattern.

(Michael puts the towel around his upper body, covering the tattoos)

Michael: You’re seeing things.

CUT TO:

[INT. POPE’S OFFICE-DAY]

Pope: Putting him in with Haywire is a low blow deputy.

Bellick: What? The shrink cleared Haywire for reentry into gen pop. Besides he’s so doped up on meds, he’s like a kitten these days.

Pope: (Scoffs) A kitten who murdered his parents.

Bellick: With all due respect, Sir. If you give Scofield preferential treatment, it’ll undermine your credibility.

(Pope looks at him)

Look I know you got a soft spot for the guy because he’s got brains in his head and he’s helping you with that contraption in there but the guys a violent criminal. He deserves punishment just as much as the rest of these guys.

Pope: (Irritated) You have been here long enough to know that I’m less interested in punishment then I am in rehabilitation. And sticking him in with Haywire is not rehabilitation in my book.

Bellick: (Taking off his hat) Well, you delegated authority over gen pop to me boss.

Pope: I know I did.

Bellick: Then you either gotta let me do my job or pass it onto somebody else.

Pope: Now Red, go easy. There’s a reason I’m giving you more responsibility. (He moves closer) When I retire I’m recommending you to take my place. Don’t make me regret it.  (Bellick is surprised) All I’m saying is take another look at the Scofield situation. I trust your judgment.

Bellick: Yes Sir.

CUT TO:

[INT. CLOSED VISITING AREA-DAY]

(The prisoners all walk into the open visiting area, but the door shuts as Sucre goes to walk through)

Sucre: Whoa, whoa. Hold up. This is supposed to be open visitation. Why are we doin it in here?

CO: Ask your visitor.

(Sucre looks over to see not Maricruz but Hector. Sucre: What’re you doin Hec? Where’s Maricruz?

Hector: She’s not gonna be able to come around here anymore.

Sucre: (Alarmed) Is she hurt?

Hector: No. She’s fine, she’s fine. She just uh…she’s with me now.

Sucre: She’s with you now. This is a joke right?

Hector: No. she made a decision man. She decided she needed stability.

Sucre: And she’s gonna get that from you?

Hector: Look man, you can think whatever you want about me but uh… (Tapping on the glass) I’m not the one who’s in prison. I can actually do something for her. And she wanted me to stop in here first in case you got mad-

(Sucre erupts, pounding on the glass. He stands up; cursing at Hector jumps in his seat, then gets up.)

You just proved my point. You’re a con and that’s all you’ll ever be.

(Sucre makes a threatening gesture to Hector, at which he scoffs and leaves.)

CUT TO:

[INT. SUPPLY ROOM-DAY]

(Michael walks in alone and tosses a large package of cigarettes at the man at the desk)

Man: Make it quick.

(Michael goes to the back shelves, searching for copper sulphate and phosphoric acid. Finding the chemicals, he puts them in towels in his jacket pockets.)

Man: (Louder than necessary) He’s uh right in here.
Bellick: Take a walk job. (From the end of the shelving unit) Scofield! (He walks towards him) You’re in a restricted area.

Michael: I’m doing yard work for P.I., we need some fertilizer.

Bellick: Then why are you in the masonry section?

 (He takes out his billy stick. Michael spreads his arms, the towels concealing what lies within them. Bellick runs the stick up and down Michael, then stops, satisfied)

Oh, by the way, how’s the foot?

(And he stomps the heel of his boot onto Michael’s toe stumps. Michael grunts hard and doubles over in pain. Bellick puts a hand on his shoulder and twists his heel, grinding the end of his boot harder into the toes of Michael’s work boots. Michael collapses, breathing heavily. Then Bellick squats down beside him.)

Don’t you ever go around me to the Pope again. (He rises) Now move. (Michael gets up and walks as steadily as he can towards the door. Shot runs through the tunnels of the prison to Commercial Set) 
 
OPEN TO:

[INT. MICHAEL’S CELL-DAY]

(He spits in the sink, thinking)

Michael: You know what Haywire? I don’t think we’re gonna work out and since I got here first I think you should go.

(Shot swings around to Haywire, sitting on his bed, clutching his pillow)

Haywire: I crapped myself once in junior high.

(Michael looks down, then to the sink where Haywire has his toiletries anally organized.)

During P.E. We were playing badminton and I knew I would have to walk past the other students to get to the locker room and so.

(Michael picks up Haywires toothpaste container. He unscrews the cap and squeezes, directing the flow into the toilet.)

I just started walkin and I tried to make fun of it, you know, before the other kids did. So I turned around behind me and I said, “look I have a tail”.

(Michael finishes and slips the empty plastic container into his pocket. Then he flushes the toilet. Haywire leans over the edge of the bed, where Michael’s head is, waiting anxiously)

I just shared a secret with you. (Whispers) Now it’s your turn.

Michael: You wanna know what the tattoos mean?

Haywire: (Excited) Yeah!

Michael: (Shortly) Nothing.

(He moves to the cell door)

(Abruzzi walks up)

Abruzzi: Hey fish. (Michael listens) You making any progress?

Michael: (Leaning his head on the wall) You mean with sleeping beauty back there or with the digging.

Abruzzi: Either.

Michael: None. But I know what to do.

Abruzzi: Oh yeah. Problem is, you don’t got the stugads to do it.

(Michael looks at him, he’s right)

CO: Abruzzi, let’s go.
Abruzzi: See yeah. (He continues walking)

CUT TO:

[EXT. PRISON YARD-DAY]

Man: (On the phone) Oh yeah really. Well tell that crazy son of a bitch I said hi.

(Sucre hurries over)

Sucre: (Gesturing) Wrap it up.

Man: How ‘bout Aunt Ruth/ She out of the hospital yet?

Sucre: Wrap it up.

Man: Hold on ma. (To Sucre) Bite me.

(Sucre slams the connection line down. The man puts the phone down, pissed)

We got a problem now man.

Sucre: (Getting into his face) Let’s handle it then. (Man smiles, doesn’t think it’s worth the effort and leaves.) That’s what I thought.

(He starts dialing a number. A phone rings)

Maircruz: Hello?

Sucre: Maricruz! It’s me baby. What the hell’s going on? What the deal with you and Hector?

Maricruz: When were you gonna tell me?

Sucre: Tell you what?

Maricruz: That Rita Sardini has been visiting you.

(On her end, Maricruz is pacing the sidewalk)

Sucre: What? 

Maricruz: Yeah. Hector told me.

Sucre: (Getting angry) Hector told you. Hector told you. Of course Hector told you. Baby that guys a snake, he’s a liar.

Maricruz: Why would he lie?

Sucre: Why would he lie? Because he’s been trying to get into your pants since the minute we started dating that’s why.

Maricruz: You know what. I don’t know what to believe.

Sucre: Me mami, believe me.

Maricruz: Yeah well. I wait by the phone twice a week.

Sucre: (Pleading) Baby, where is this coming from?

Maricruz: I don’t know. (Sighs) Look there’s just so many things. Yesterday I went to Theresa’s house and I saw her baby.

Sucre: Is that what this is about? You think your clock is ticking?

Maricruz: I’m going to be thirty in a few years.

Sucre: (Trying to reason with her) Baby you’re twenty five. You wanna get pregnant? Let’s get pregnant right now.

Maricruz: Baby, you know I can’t get pregnant until I’m married.

Sucre: We’re gonna get married in sixteen months.

Maricruz: Yeah, wll Hector says that if something goes wrong in there you could serve your full sentence. I can’t wait ten years. (Upset) I can’t wait ten years baby.

Sucre: (Calmly) I’m gonna be out in sixteen months. That a promendo mi amora.

Maricruz: Yeah, but what if something does happen. Baby I can’t wait that long. (Hector comes up behind her) I can’t. (She notices him) I’m sorry baby I gotta go. (She hangs up the phone)

Sucre: Hello? Babe wait hello? (He slams the phone down)

CUT TO:

[EXT. CHICAGO-DAY]

(Shot pans over Chicago)

CUT TO:

[INT. BEN FORSYTHES OFFICE-DAY]

(The shot goes to the title on the door. “Project Justice”. Veronica sits before two men, one being the man Lincoln recommended, Ben Forsythe.)

Ben: Even if Leticia did turn up again her testimony would be worthless. Junkies with criminal records don’t shine on the stand.

Veronica: Maybe, but I just found this out all in the past couple of days. I’m confident that I can find out a whole lot more now that I’m devoting all my time to the case.

Nick: Secret Service agents came to visit you when Leticia was in your office. What did they want?

Ben: Nick. Please. You gotta understand Ms. Donovan that, unless there’s new information that you can provide for us we already reviewed Mr. Burrow’s case thoroughly. Do you have any new evidence?

Veronica: No, but I-

Ben: But, that is effectively what you’re telling us, I need to clarify here.

Veronica: Yes. That is what I’m telling you. But look Mr. Forsike you don’t need to point out what I don’t have. I’m well aware of that. I’m asking for your help because I don’t think an innocent man should be killed for something he didn’t do; and I believe that is what it says in your mission statement in the lobby.

 Ben: (Not unkindly) We get thousands of requests for representation.

Veronica: (Quickly) I’m sure you do-

Ben: (Cutting her off) And I have to decide which cases we’re going to devote our very limited resources to.

Veronica: I will do all of the leg work, but since I don’t have any experience in death penalty cases I’m simply asking you to point me in the right direction.

(They both just look at her)

Please! (Quietly pleading)
       
Ben: I’m sorry. We simply don’t have the manpower.

(Veronica is stunned and disappointed. She wants to say something more, but decides against it. )

Veronica: Thank you for your time.

CUT TO:

[EXT. PORJECT JUSTICE BUILDING-DAY]

(Veronica walks out to her car. The camera swings to a dark car parked across the road. Agent Hale watches her from the side mirror of his car then dials a number on his cell phone.)

Hale: She’s just leaving now. It’s gonna take half an hour to get across town in this traffic.

CUT TO:

[INT. VERONICA’S HOUSE-DAY]

(Kellerman is going through her things)

Kellerman: (Into an earpiece) We’re not going to need nearly that much time. (He picks up a photo of Lincoln, Veronica and Michael in a ball cap at Veronica’s graduation from law school) I’ve turned up quite a bit already.

CUT TO:

[INT. MICHAEL’S CELL-NIGHT]

(Haywire is carefully arranging his toiletries.)

Haywire: Hey! Have you seen my toothpaste? It was right here.

Michael: (Staring out the bars of the cell) Haven’t seen it.

Haywire: I always put it in the same place.

Michael: I’m sure it’ll turn up.

(Haywire stares into the mirror, which is reflecting Michael’s frame)

CUT TO:

[INT. SUCRE’S CELL-NIGHT]

(Camera closes in on Sucre’s face as he looks at that picture of Maricruz. He’s decided.)

CUT BACK TO:

[INT. MICHAEL’S CELL-NIGHT]
(Michael is asleep facing the wall and Haywire is slowly ripping open parts of Michael’s shirt. Suddenly Michael wakes up and right’s himself so his feet are facing Haywire.)

Haywire: Your tattoos. There’s a maze.

Michael: (Fearful, but hiding it well) Get away from me.

Haywire: I need to see them. You gotta show them to me. They’re pullin me in. (He keeps coming closer to Michael)

Michael: (Pulling his feet into a defensive pose, close to his body) I said, get away from me.

Haywire: Okay. (Backing up) He’s got a maze on his skin; he’s got a maze on his skin. He’s got a maze on his skin. (He gets up and moves to the cell door) Why would he do that? Why would he put a maze on his skin? (Michael looks down; he knows what he has to do) I don’t know, ow. (He sticks his finger into his mouth and Michael continues to watch him. Shot moves through the tunnels of the prison to Commercial Set)

OPEN TO:

[EXT. FOX RIVER STATE PENITENTIARY-DAY]

CUT TO:

[EXT. PRISON YARD-DAY]

(Abruzzi is walking on the sidewalk and Michael hurries to catch up with him. He looks back at Haywire.)

Michael: How are your contacts in chem. lockup?

Abruzzi: Depends who’s asking?

Michael: I need a bottle of drain line root control sooner than later.

Abruzzi: You got weeds growin in your cell?
(Shot goes to Haywire walking, fidgeting with his notebook)

Michael: Just one.

CUT TO:

[EXT. CHICAGO POLICE STATION-DAY]

Police Officer: You’re the one who’s lookin for me?

Veronica: Yeah. I wanted to ask you a few questions about the Lincoln Burrows case.

Police Officer: Yeah?

Veronica: I’m Veronica Donovan. (Extending her hand) I’m representing Lincoln on his appeal.

Police Officer: What about it? (He starts walking, she hurries to catch up with him)

Veronica: You were the first one to respond to Lincoln’s apartment the night of the murder right?

Police Officer: That’s right.

Veronica: Look, I’d really appreciate it if you could just tell me exactly what you saw.

Police Officer: (He stops) Dispatch called in a tip that Lincoln Burrows was seen running from the garage where they found Terry Steadman. So we went over to Burrow’s place.

WHITE FLASH TO:

[FLASHBACK- INT. LINCOLN’S APARTMENT-NIGHT]

(V.O) We spread out, I took the bathroom and that’s where I saw your client washing off the bloody pants.

(In flashback the Police Officer points a gun at the defenseless Lincoln)

WHITE FLASH BACK TO:

[PRESENT DAY- EXT. CHICAGO POLICE STATION-DAY]

I don’t need to tell you it was Steadman’s blood do I?

Veronica: In the report that you typed up that night you said that you saw Lincoln standing in the bathroom, that’s all. But you testified that you saw him washing the pants, now which one is it?

Police Officer: Does it matter?

Veronica: Did you actually see him washing the pants or not?

Police Officer: Yes. He stood up, turned around. His hands were all wet and looking guilty as hell.

Veronica: Your testimony factored into his conviction, you know that right?

Police Officer: (Pissed off) Huh. You know what Lady; you got any other questions just go through the department.

(She watches him walk off, thinking about the conversation. She begins to walk to her car. When she reaches it she goes to open the driver’s door.)

Nick: Ms. Donovan? (She turns and he puts his hands up)  I…I didn’t mean to scare you.

Veronica: What are you doin here?

Nick: Nick Savrin, I’m with Project Justice.

Veronica: (Impatient, they flipped her off before) I know who you are, but what are you doin here?

Nick: (Getting closer) Hey look. My boss may not think Lincoln’s case is worth looking into but I do.

CUT TO:

[EXT. PRISON YARD-DAY]

(There is a shot of Haywire writing furiously into his notepad. The camera pulls forward to reveal him staring at Michael, who turns when Abruzzi sits down. Abruzzi shows Michael the Drain Line, then pulls it away to reveal a shank)

Abruzzi: There’s a quicker way to take care of it. (He holds out the knife)

Michael: There’s smarter ways too. (He takes the chemical and gets up)

 
CUT TO:

[INT. MICHAEL’S CELL-NIGHT]

(He uncoils an empty toothpaste tube. The shot shows the two chemicals.)

WHITE FLASH TO:

[FLASHBACK- INT. MICHAEL’S APARTMENT- NIGHT]

(Michael does a lab test, adding the two chemicals together and creating a corrosive effect.)

WHITE FLASH BACK TO:

[PRESENT DAY- INT. MICHAEL’S CELL- NIGHT]

(He separately pours the chemicals into toothpaste bottles and seals the lid. He holds the two bottles together)

CUT TO:

[EXT. CHICAGO RESTAURANT-DAY]

(Veronica and Nick are having coffee.)

Nick: What caught me was that most death penalty cases take ten years to exhaust all appeals. Lincoln got there in three.

Veronica: So, for it to be expedited there must have been some sort of political influence right?

Nick: Well, given that Terrence Steadman is the Vice President’s brother that’s not hard to believe.

Veronica: How though? Did they get to every judge that rejected Lincoln’s appeal?

Nick: Doesn’t take a judge. (He takes a sip) All it takes is a little special attention from one of the clerks. But how Lincoln got fast tracked doesn’t interest me, it’s why. He was set up and why?

Veronica: I think the answer to that might be in the victim. What do we know? He was the CEO of Ecklefields right? That he was pushing alternative energy.

Nick: Successfully pushing alternative energy. So oil companies,  the Saudis, even our own government stood to benefit with out of the picture.(Pause) Why’d you wait until now to take up the case?

Veronica: I thought he did it. Like everyone else. I just hope it’s not too late.

Nick: It very well may be. (Leans back in his chair) You need to prepare yourself for that.

(She doesn’t want to believe that)

Veronica: What about you? Why death penalty work?

Nick: My father did fifteen years for a crime he didn’t commit. I know first hand that when the government gets you in it’s crosshairs you don’t stand a chance. That’s why. Now do you want my help?

CUT TO:

[EXT. PRISON YARD-DAY]

(Michael is entering with Haywire still staring at him. Haywire is drawing a pattern on his notepad. Sucre rushes over to Michael)

Sucre: I want back in.

Michael: Too late.

Sucre: (Desperate) I’ll do anything you need. They’re diggin machines. You wanna go to China; I’ll get you to China fish. I’ll dig like a psychotic rodent if I have to fish. (He gets in front of Michael and physically stops him) I gotta be back in.

Michael: As of right now, there is no in. (He looks over a Haywire, who is still frantically drawing) Van Gogh over there is my new cellmate.

Sucre: (Barely giving him a glance) But you’re going to do something about it right. You’re going to get rid of him.

Michael: (Evenly) I’ll do what’s necessary.

Sucre: (Smiles and laughs, tightly hugging Michael) You my boy. (Michael smiles too) So how’re you gonna do it anyway?

Michael: Let’s just put is this way. Someone’s gonna get hurt.

(Sucre looks over at Haywire, who is still drawing)

CUT TO:

[EXT. COUNTRYSIDE-DAY]

CUT TO:

[INT. GARLIC CUTTER’S HOME-DAY]

 
(The phone rings as the Garlic Cutter pulls out a large cutting knife and slices through a red bell pepper.)

Garlic Cutter: How’d we miss this, guys?

Kellerman: Scofield’s father was out of the picture by the time he was born, took his mother’s maiden name.

Garlic Cutter: (Still chopping) Alright. Scofield had no priors and a full time job as an engineer.

Kellerman: Correct.

Garlic Cutter: Then he goes and robs a bank, discharging a gun in the process so that at sentencing he could maneuver his way to Fox River where his brother is scheduled to die in less than a month. Obviously something is up.

Hale: All due respect, but brothers are incarcerated together all over the country. It may just be a coincidence.

Garlic Cutter: Move on the younger brother. Do it preemptively, before anything rises up and bites everyone in the ass.

CUT TO:

[INT. MICHAEL’S CELL-DAY]

(Michael walks in to find Haywire arranging pictures all over Michael’s bed. Pictures of his tattoo.)

Haywire: it’s a pathway. Where does it lead? (Lunging at him) Where are you taking me?

(Michael shoves him off. Turns around, grabs the bars with his hands and begins to bash his forehead into them again and again)

What are you, nuts?

Michael: (Holding his bleeding head) Officer! I need an officer!

Haywire: (As officer’s come running) No, no, no.

CO: (Reaches the cell) What the hell’s the problem down here? (Sees Michael) Son of a bitch. Open up on 40.

Haywire: (Pointing at Michael) He’s got a pathway on his body. It leads somewhere.

CO: (Pointing his billy stick at Haywire) Back off Haywire.

Haywire: Look! Look at his tattoos. There’s a pathway in there.

CO: I said  back off Haywire. You wanna hot shot?

Haywire: (Lunging at Michael) I’m telling you. (The CO pepper sprays him and they apprehend him, dragging him out of the cell) It’s a pathway to hell. It’s a pathway to hell. He’s taking us to hell.

(The CO exits too and Michael steps out of his cell, blood dripping down his face, the camera enters his eye and then goes through the tunnels of the prison to Commercial Set)

FADE INTO:

[INT. MICHAEL’S CELL-DAY]

(Michael is sitting alone in his cell; reading. His cell door opens,  Sucre is back. Bellick also enters)

Bellick: So the gang’s all back together again. Well, ain’t that swell. (He gets close to Michael’s ear) Told you not to go around me to the Pope, but you just keep making waves don’t you?

(Bellick leaves and Sucre enters)

Sucre: I’m back man.

Michael: It’s good to have you back.

(Sucre goes to bump fists while Michael goes to shake hands. Their hands fumble around until they grab each other’s hands and embrace)

Sucre: So when do we get started? (Michael smiles)

CUT TO:

[INT. INFIRMARY-DAY]

(Dr. Tancredi can be seen through the window of the door. Shot pulls back to show Michael watching. He then goes over to the grate in the corner of the room, snapping off the caps of the toothpaste bottles. He pours one in then the other. A hissing noise can be heard as the chemicals react together. He quickly sits down as Dr. Tancredi enters the room.)

Dr. Tancredi: Good afternoon Mr. Scofield.

Michael: Hello.

Dr. Tancredi: How are you feeling today?

Michael: (Rolling up his arm sleeve) Well, good.

Dr. Tancredi: (Referring to the cut eyebrow) What happened? (Sits down)

Michael: Uh, caught an elbow playin basketball.

Dr. Tancredi: (Doesn’t believe it) Uhuh. (Putting on rubber gloves) Mind if I take a look?

Michael: (Invitingly) By all means
 (She peels off the bandage and takes a look, obviously more than an elbow)

Dr. Tancredi: You know, you’re going to get killed in here right? If you’re not careful.

(Michael looks over at the grate)

Michael: (Looking at her) I’ll make a bet that when I get out of here, alive, I’ll take you to dinner;… lunch…, a cup of coffee.

Dr. Tancredi: Michael, this… (Looking at him) this charm act could be exactly what is getting you into trouble out in the yard.

(He looks at her and then down. She doesn’t understand)

Lean forward.

(Properly chastised, he leans forward and she places a fresh bandage just above his eyebrow. The shot closes in on the grate, with the mixture bubbling.)

CUT TO:

[INT. OPEN VISITING AREA-DAY]

(Nick and Veronica are with Lincoln, discussing the case)

Nick: Alright, you went to the parking garage and Terence Steadman is already dead. (He has been pacing and strops and sits down.)

Lincoln: That’s right.

Nick: You said that you ran and took the gun.

Lincoln: Dumped the gun.

Nick: Where?

Lincoln: Storm drains. (Looking at Veronica) Van Buren Wells.

Veronica: Nobody ever found it.

Nick: Alright. What do you do after that? You go back to your apartment.

Lincoln: (Thinking back) Yeah.

WHITE FLASH TO:

[FLASHBACK- INT. LINCOLN’S APARTMENT-NIGHT]

(V.O) I was freakin out, tryin to figure out what happened. Then I saw the bloody pants in the tub.

WHITE FLASH BACK TO:

[PRESENT DAY- INT. OPEN VISITING AREA-DAY]

(Shot goes back to Lincoln)

Cops busted in a minute after I got there.

Veronica: The pants, the ones with Steadman’s blood on them. First cop on the scene said he saw you washing them in the bathtub.

Lincoln: He’s lying. My hands were wet after splashing water on my face.

WHITE FLASH TO:

[FLASHBACK- INT. LINCOLN’S APARTMENT-NIGHT]

(Cops burst into Lincoln’s apartment)

Police Officer: Lift up your hands. Hands up.

WHITE FLASH:

[PRESENT DAY- INT. OPEN VISITING AREA-DAY]
Lincoln: I never touched those pants.

Nick: Which brings us back to the gun; the one you said you dumped

Lincoln: It was planted. That’s the only way it could have got there.

Nick: Ballistics matched the bullet to-

Lincoln: (Getting upset and cutting him off) The gun was planted. It was planted! Just like the pants.

Nick: Your fingerprints were all over the gun.

Lincoln: (Thinking, realizes) Beau.

(Veronica looks at him and Nick looks at her.)
 
Nick: Who’s Beau?

Lincoln: He’s the guy who arranged everythin.

WHITE FLASH TO:

[FLASHBACK- INT. PARKING GARAGE-NIGHT]

(V.O) He had me come around the night before to try out a few guns to see which one felt right. That must have been the set up right there. One of those must have been the murder weapon.

(In the flashback Lincoln points to the gun he wants to use)

WHITE FLASH BACK TO:

[PRESENT DAY- INT. OPEN VISITING AREA- DAY]

(The shot goes back to Lincoln)

And that’s how they got my fingerprint on the gun, had to be.

Nick: Alright so this…this Beau coerces you into doing this all to clear a thousand dollar debt.

Lincoln: He was going to kill my son.

CUT TO:

[EXT. PRISON EXIT-DAY]

(Veronica and Nick are leaving)

Veronica: Well…

Nick: A lot of “I didn’t do it’s” and that doesn’t count for much. (He goes around to the driver’s side of their car) The surveillance tape, the one that shows Lincoln pulling the trigger, you’ve got it right? If he’s telling the truth then the tape is lying. I think we should take a look, decide for ourselves.

CUT TO:

[INT. MICHAEL/SUCRES CELL-NIGHT]

(Sucre is checking for guards on either side with his little mirror)

Sucre: (Whispers) You’re clear.

(Michael gets up with the Allen and starts to unscrew the toilet bolts.)

If the chemicals can eat through the iron pipes, how come they can’t eat through the tube?

Michael: It’s only when the chemicals are combined that they become a corrosive.

Sucre: You study chemistry or somthin?

Michael: Not in school.

(Sucre goes and checks the door again)
Sucre: But what you’re doing up there in the infirmary. What does that gotta do with what we’re doing in here?

Michael: Getting through this wall is just the beginning. There’s a whole lot of real estate in between here and the outside. The infirmary is the closest building to those walls.

(He is finally able to maneuver the toilet out of the way)

And the weakest link in the security chain.

Sucre: Cool!

Michael: (Puts a piece of paper through an edge in the concrete) I think I’ve gotten through enough grout to bust through. (He looks at Sucre) I’m gonna need you to make some noise.

(Sucre smiles and moves to the door. He starts singing a Spanish song. Michael looks at him; this was not what he had in mind)

Michael: (Cutting him off) Is that the best you can do?

Sucre: (Smiling) Have some faith Papi.  Have some faith.

(He starts singing again and sure enough the angry shouts begin to emerge. Michael smiles and turns back to the concrete. He starts kicking the piece that has been filed out with his good foot. The buzzer sounds as someone enters the ward.)

CUT TO:

[INT. LINCOLN’S CELL-NIGHT]

(Lincoln hears the noise and wakes up. He sits up, knowing what’s going on.)

CUT TO:

[INT. PRISON BLOCK-NIGHT]

(Sucre’s singing is really starting to get into the realm of shouting and Michael finally breaks through. Sucre shuts up as Bellick enters on the lower floor.)

Bellick: Not one more word. Next inmate that opens his mouth goes into the hole. (He leaves. Sucre checks the door again)

Sucre: We’re good.

(Michael slowly gets up onto his knees and climbs through the small opening. He looks around and it’s a passageway)

CUT TO:

[EXT. AGENT HALE’S HOUSE]

(His family is sitting at the table. Hale seems distracted.)

Wife: You okay?

Hale: Work. It’s fine. (He fiddles with his fork as the doorbell sounds) I got it.

 (He jumps up and goes to the door where Kellerman is standing on the porch.)

Everything alright?

Kellerman: Couldn’t be better.

Hale: You wanna come in. we’re just sitting down to eat.

Kellerman: No. I just wanted to tell you in person.

(Hale looks back inside and then steps out onto the porch, closing the door)

Problem solved.

Hale: What’s this?
Kellerman: It’s a transfer request. Michael is getting shipped out…tomorrow.

(Kellerman smiles and Hale smiles dutifully back)

Have a good night.

(Hale’s smile turns into a frown as Kellerman’s back turns. He goes back inside. The camera shot goes through the tunnels and.)

CUT TO BLACK.

 

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Transcribed by SIENNA for http://www.twiztv.com
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