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TRANSCRIPT:
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(‘Previously on Prison Break’ recap)

Camera pans across the ground to the scene of a car wreck. Police and fire crews and working around the burnt-out shell of the car resting on its roof. One detective is kneeling by the front passenger side door and peering into the car with a small flashlight. Police are taking pictures of the wreck. MAHONE is there, looking at the blackened car.

M.E.: (Speaking to MAHONE but looking at the car) Put in all that work, break out of prison, only to end up dead at the bottom of a ditch. Kinda sad, really. (Looks to MAHONE.) So which one of them was it?

Close-up on MAHONE. He’s deep in thought.

Cut to black. Title card: ‘12 Hours Earlier’.

F.B.I. Office. Pan down across the mug shots of the ‘Fox River 8’ on a pin-up board. MAHONE is looking at the mug shots.

LANG: We’ve got a blanket on all the hospitals.

MAHONE: Free clinics?

LANG: If they’ve got Band-Aids and Bactine we’ve got a body in there. The brothers come in for a medical, they’re getting in a van, on their way back to Fox River.

MAHONE: Anything break on the other six? (whistles and receives a file)

LANG: Eyes and ears on the fallies. So far no hits. Maybe they’re just laying low.

MAHONE: (moving into his office) It’s the hardest thing in the world for a con to do.

LANG: Nothing?

MAHONE: Three things in life are certain, Miss...?

LANG: Lang.

MAHONE: Death, taxes, and the fact that a man on the run will make a mistake sometime in the first 72 hours. Needing distance, he’ll steal a car. Needing money, he’ll rob a store. Needing help, he’ll trust someone that he shouldn’t. And when he does, he will leave behind the crumbs that will take us right to him.

***

NIKA’s apartment. Someone is knocking desperately at the door. NIKA goes to answer it, peering through the peep-hole first to see who it is. She recognises them, and quickly unlocks the door and opens it. MICHAEL is standing there with LINCOLN leaning heavily on him due to his gun shot wound in the leg.

MICHAEL: (out of breath) I need your help.

(MICHAEL and LINCOLN stumble into the apartment.)

NIKA: Michael, what are you doing?

(MICHAEL helps his brother over to the couch.)

MICHAEL: Cayenne pepper.

NIKA: (Closing the door) What?

(MICHAEL drops LINCOLN to the couch. LINCOLN moans in pain)

MICHAEL: In your kitchen. Do you have any?

NIKA: Um… yeah, maybe.

MICHAEL: (still out of breath and counting on his fingers.) I’m going to need some rubbing alcohol, some towels, and pain killers. Whatever you’ve got.

LINCOLN: And some booze.

MICHAEL: Please!

NIKA goes into the kitchen. MICHAEL kneels next to LINCOLN. NIKA grabs some bottles, including a bottle of alcohol. MICHAEL helps LINCOLN roll up his pant leg to reveal the bloody wound.

MICHAEL: Easy, easy, easy, easy.

(LINCLON groans in pain. NIKA gets supplies from a closet. MICHAEL examines the wound and dabs at it with a bloody cloth.)

LINCOLN: It’s fine. Let’s keep moving.

NIKA returns with the supplies. She stares in horror at the wound. LINCOLN downs some pain-killing pills.

MICHAEL: We keep moving, that leg keeps bleeding. That leg keeps bleeding, and we’re not getting out of Illinois. (He pours rubbing alcohol on the wound.) This is going to hurt.

(LINCOLN groans in pain.)

MICHAEL: (Whispers as he watches the alcohol clean the wound.) That’s good, that’s good, that’s good.

MICHAEL dabs the wound with the towels as LINCOLN takes the cap off the bottle of booze and drinks. MICHAEL sprinkles the cayenne pepper on the wound and LINCOLN groans again.

MICHAEL: This’ll seal the capillaries.

NIKA: Michael, you should not have come here. The police have been here asking questions.

MICHAEL: (still working on LINCOLN’s leg) We didn’t have a choice.

NIKA: Listen, you know I’m thankful for the help with the green card, but I just don’t want to get involved -

MICHAEL: I know, I know. (shouts) It wasn’t part of our deal! I know, I know! (sighs) I’m sorry. I’m sorry. There was nowhere else to go.

NIKA: When I saw you on the news I was worried. I just hoped you’d crossed the border by now.

MICHAEL: So did I.

MICHAEL has wrapped the towels around LINCOLN’s wound and is securing it with duct tape. When he’s done, he gives NIKA the bottle of pills.

MICHAEL: Keep giving him these. See if you can find him some clean clothes.

NIKA: (whispers) Okay. (She gets up and leaves.)

MICHAEL: (to LINCOLN) I’ve gotta go back and get our car. (He gets up.)

LINCOLN: Forget the car. We can get another.

MICHAEL: I don’t need a car, I need that car.

LINCOLN: Why?

(MICHAEL sighs and puts on his baseball cap.)

MICHAEL: Because in that car is everything we need to disappear.

(MICHAEL leaves the apartment. LINCOLN is left on the couch.)

***

Cut to the exterior city. MICHAEL turns a corner stops dead in his tracks, mouth open. The place on the street where his car was parked is empty. MICHAEL looks up and down the street.

*FLASHBACK*

MICHAEL parks the car. He and LINCOLN get out. MICHAEL passes a meter maid and checks the time on it.

*END FLASHBACK*

MICHAEL walks to the same meter maid, still checking around him to see if there’s anyone there. He knees down next to the kerb and sees broken glass as if from a broken window. He picks up a piece and looks at it. Close up on the bar code tattoo poking out from under his shirt cuff. The number code on the bottom reads 38 312 1037.

***

F.B.I. headquarters. Agents are looking at computer screens displaying blown up images of finger prints. LANG is at a computer. MAHONE enters and goes to look over LANG‘s shoulder at her screen.

MAHONE: What have you got?

FBI AGENT: Here we go, boss. (MAHONE and LANG look up at him. The AGENT hands MAHONE MICHAEL’s backpack) One of the blues hulled in a vagrant a couple hours ago. (MAHONE opens the backpack.) It seems the man was in possession of an item or two that didn’t exactly belong to him.

(MAHONE dumps the contents of the backpack on the desk. He goes through the ID cards, opens a passport to MICHAEL’s picture, and smiles.)

MAHONE: Looks like we’ve got our first mistake.

(OPENING CREDITS)

Connivance store. BELLICK is walking past the frozen food section. He opens the door and grabs some beer. He walks to the counter, pauses at some bags of jerky and swipes at them, not finding what he wants. He goes to the CASHIER who is reading a news paper.

BELLICK: Hey, you got any of that oriental jerky?

CASHIER: Excuse me?

BELLICK: (puts the beer on the counter) Teriyaki flavoured.

CASHIER: No.

BELLICK: Well, you got any in the back?

CASHIER: Um, let me check.

BELLICK: And, uh, get me a bottle of that Early Times while you're back there, junior.

CASHIER: (to a security guard who was come in through the back) Feel free to earn your pay check today. Watch the store, I’ll be right back.

BELLICK and the security guard see each other. The guard is ROY GEARY, who was fired from Fox River in the episode 'J-Cat’

BELLICK: How goes it, Roy?

BELLICK backhands GEARY in the face, knocking off his hat. They face off for a second and GEARY attacks BELLICK. They knock over stands of chips and wrestle on the ground.

(Later, the two men are sitting on the hood of a car in the parking lot, drinking the beer BELLICK bought and nursing their bruises.)

BELLICK: To be honest, Roy, I could have done without the knee to the junk.

GEARY: You bit me, Brad! Like a little girl, you bit me.

BELLICK: Well you had it coming.

GEARY: Eh, probably did.

BELLICK: You know, it’s crazy us taking it out on each other about how things turned out. You want someone to blame, how about those convicts stirring up letters in the papers every morning? They took my job, my pension, my dignity. When they went over that wall, they took all of it right along with them. Everything I’ve worked for my whole life.

GEARY: You see that reward they got? Those asshats are worth more dead than you and I are alive.

BELLICK: Not for long.

GEARY: What do you mean?

BELLICK: I mean somebody’s going to get that money. Might as well be me.

GEARY: You know, a job like that might go a little smoother with an extra pair of hands.

BELLICK: You really think I‘m going to split that reward with you?

GEARY: I’m just sayin,’ you running those brothers, two of them, one of you, you might find yourself wishing for a good wing man.

(BELLICK considers this.)

***

MICHAEL is hiding and watching his car being towed into an impound lot.

MICHAEL walks into the ‘office’ in the impound. The owner, CHUCK is on the radio talking to an employee.

CHUCK: Just get it done, Mike.

MIKE: (over the radio with feedback.) Right.

(CHUCK sets the radio down and MICHAEL approaches the counter.)

MICHAEL: How you doin’?

CHUCK: (Writing in a log and not looking at MICHAEL.) Can I help you?

MICHAEL: Yeah, I hope so, (reading CHUCK’s name on his shirt) Chuck.

(CHUCK looks at him. MICHAEL looks out into the yard.)

MICHAEL: I think you may have towed my car.

CHUCK: What’d look like?

Cut to the FBI office. MAHONE is interrogating the HOMELESS MAN who stole the MICHAEL’s backpack.

MAHONE: What did it look like? The car you stole the backpack from, what did it look like?

HOMELESS MAN: (shaking his head and shrugging.) I don’t know, man. Maybe it was… grey.

Cut to MICHAEL in the shop.

MICHAEL: It’s a grey Accord.

CHUCK: Licence number?

Cut to FBI office

HOMELESS MAN: Look, man, that’s all I know. I wasn’t after the car. I thought the bag had some clothes in it.

MAHONE: Do you remember where the car was parked?

Cut to the impound.

CHUCK: Where’d you park it?

MICHAEL: Corner of Hancock and 15th.

Cut to FBI office.

HOMELESS MAN: I don’t know. Maybe around 15th somewhere. But it ain’t gonna be there any more.

MAHONE: What do you mean?

HOMELESS MAN: That’s the reason I didn’t get to grab anything else. Tow truck rolled up.

(MAHONE looks to WHEELER.)

WHEELER: (Pulling out his cell phone.) Already on it.

Cut to MICHAEL in the shop.

CHUCK: Okay, that’s gonna be 60 bucks for the tow, 24 for the over night.

MICHAEL clears his throat and gets out the money. CHUCK watches as he counts it out and slaps it on the counter.

CHUCK: (gathering the money.) All right, I’ll be right back with your vehicle. Should be a few minutes.

(CHUCK goes out into the yard. MICHAEL nods once at him and watches him leave. He sighs and looks impatient.)

***

(Title card: ‘Defiance, Ohio‘)

(Phone ringing and being picked up as the camera pans past a tractor.)

PETEY: (Over the phone) Hello?

SUCRE: Petey? It’s Sucre.

PETEY: As in Fernando Sucre?

SUCRE: (talking on a pay phone) Is there another one?

PETEY: I hope not.

(Cut to PETEY. Title card: ‘Bedford-Stuyvesant, New York’)

PETEY: But my boy Sucre would not be calling me on the telephone and therefore making me an accessory to his dumb-ass escape, mate.

SUCRE: I’m sorry, bro. I jus- I just- I need you to get a hold of Maricruz. I can’t call her cell because the Feds will be all over the place.

PETEY: Listen, listen, man. You have got to forget about that girl.

SUCRE: If I could forget about her bendejo, I’d still be at Fox River sitting in cell 40 on your old bunk!

PETEY: Yeah, well, I hope you’re holding onto something tight because I’m about to break it down for you, brother. She’s getting married to Hector on Saturday.

SUCRE: What-what day is today?

PETEY: Thursday, bro. Sorry, mate.

SUCRE spots a parked car and makes a decision.

SUCRE: All right. You’ve got to get her to your place tonight.

PETEY: But hang on - !

SUCRE: I’ve got one last shot to make her change her mind, dude. Just find a way to get her there, okay?

PETEY: Wait!

(SUCRE hangs up.)

PETEY: Sucre, hang on, man.

He looks at the phone, knowing he’s been hung up on. SUCRE goes to the car. He takes off his jacket and wraps it around his arm to break a window. He gets in, hot wires it, and drives off.

***

Cut to the impound. CHUCK is driving MICHAEL’s car in. MICHAEL smiles and walks up to it. He sees the broken back window and looks inside. His backpack is gone. MICHAEL hits the top of the car in anger. CHUCK gets out.

MICHAEL: About the uh, about the broken window?

CHUCK: (pointing with a clip board in his hand.) We have a disclaimer posted right there on the wall says we’re not responsible for -

MICHAEL: (frustrated) I don’t-I don’t care about the broken window, Chuck. (he sighs and collects himself.) I had a backpack inside.

CHUCK: (Shakes his head.) Not when we got it. (He shows MICHAEL the keys.) Just got some paperwork for you to fill out. (He goes back inside.)

***

Cut to the hospital. A NURSE is cutting off SARA’s hospital wrist band.

SARA: You look familiar.

NURSE: You-you were the attending when I first started here.

SARA: (taking out a pad and a pen. She writes something down.) Sure. Would one of you mind calling me a cab, please?

NURSE: I don’t think so. (SARA looks up at her as POLICE come in.) Look, Dr. Tancredi, I… I just want to say good luck.

FEMALE COP: Sara Tancredi?

NURSE: I’m sorry.

FEMALE COP: You have the right to remain silent.

MALE COP: (Going to handcuff her.) Please put your hands behind your back.

SARA: If you have any questions, I’m happy to come with you. (She nods)

MALE COP: Miss Tancredi, out of respect for your father, I won’t ask you again.

SARA: My father?

MALE COP: I’m sure he’d prefer that this went without incident. (He handcuffs her.)

FEMALE COP: (As they’re walking out.) You have the right to speak to an attorney before you speak to the police. Anything you say my be used against you in a court of law. You can have an attorney present during questioning now or in the future…

KELLERMAN was witnessing the arrest. He’s talking on his cell phone.

KELLERMAN : Caroline, they’re taking her in…. Of course. I’ll keep an eye on her. (He hangs up.)

***

The impound. MICHAEL walks in and up to the counter again. CHUCK hands him some papers. A phone is ringing.

CHUCK: All you have to do is sign here at the bottom and you’ll be on your way. Excuse me, please. (He goes to answer the phone.) Brewster’s Towing.

MAHONE: (Cut to the FBI office) This is Agent Mahone of the Federal Bureau of Investigation. Whom am I speaking with?

CHUCK: Chuck.

MAHONE: Okay, Chuck, I want to alert you to a possible situation. Are you listening to me, CHUCK? An individual may be coming in there to inquire about a vehicle. A grey Accord probably with a buster rear window. Has anybody come by looking for a vehicle that matches that description?

MICHAEL looks nervous. He wants to leave. CHUCK looks at him and tires to act casual.

CHUCK: Yes, sir.

MAHONE: When?

CHUCK: (smiling and nodding to MICHAEL, who nods back.) Uh…

MAHONE: Chuck, can you tell me when he was there?

CHUCK: Right now.

CHUCK looks at MICHAEL. Close up on MICHAEL.

(Commercials.)

MAHONE: (Pointing to WHEELER off screen) Brewster’s Towing. Scofield’s there. (Into the phone) Chuck, stall him. Don’t let him leave.

WHEELER: All units…

CHUCK: (to MICHAEL, playing it cool) It’s my supervisor. He- he says I’ve got to get clearance before I can release the car.

(MICHAEL eyes his car keys sitting on the counter.)

MAHONE: Chuck, you there? Hey, Chuck! Chuck? Chuck, come on, are you still with me?

CHUCK: (Turning away from MICHAEL.) Yeah, that vehicle might not be here when you get here. You need to send somebody now.

MAHONE: (shouting) Do not let him leave!

(CHUCK hears the sound of a car starting up. He looks and sees MICHAEL driving away in his car.)

CHUCK: Oh, he got the keys.

(MICHAEL drives out of the impound lot at high speeds, almost losing control or the car.)

MAHONE: (Shouting to the room.) WHERE THE HELL ARE THOSE UNITS?!

AGENT: Still six or seven minutes out, sir.

(MAHONE swipes papers and files off his desk in anger. He looks at the papers on the floor and sees OSCAR SHALES’ mug shot.)

LANG: We’ve got chatter. It’s Franklin. He’s at a pay phone down town. Mistake number 2.

MAHONE closes his phone and leaves with her.

***

(Title Card: ‘Chicago, Illinois.’)

C-NOTE is talking on a pay phone talking to KACEE.

C-NOTE: I know. I know, baby. Just let me explain, all right?

KACEE: Were you ever even in the military?

C-NOTE: (punches the phone angrily) I served my country and my country served me up! All right? Now look, I wish I could lay this all out for you right here, right now. Just know, baby, I am sorry and I love you. And when the time comes, I will explain everything.

KACEE: Give me one good reason why I shouldn’t turn you in right now.

C-NOTE: You know what? I’ll give you three: me, you and that beautiful little girl of ours. Baby, look, I’ve got a plan. I’ve got a plan that’s gonna get us some money and you and I and baby and nobody can ever find us or bother us again! You’ve got to trust me. That’s all I need is the opportunity for you to hear me out, all right?

KACEE: (Crying and nodding.) All right.

C-NOTE: All right, listen. Has anybody tried to contact you about me?

KACEE: No.

C-NOTE: Okay, okay, that’s good. That’s good.

C-NOTE’s voice is coming through mikes in the FBI headquarters where they’ve tapped into the phone line. MAHONE and LANG are listening.

C-NOTE: Listen. In the Rainbow Room…

(MAHONE looks at LANG.)

LANG: Restaurant in New York city.

C-NOTE: Do you remember that beautiful spot where we took that picture? The one by the window?

KACEE: (Crying.) Mmm-hmm.

C-NOTE: I am going to be waiting in that spot one week from now.

(MAHONE raises his eyebrows.)

C-NOTE: And that’s all that I want in this whole world is for my two girls to be there waiting there for me. Do you understand what I’m saying?

KACEE: Look, I gotta go. (She sniffles)

C-NOTE: Baby, I just wanna know, are you going to be there?

KACEE: I don’t know.

C-NOTE: But you know me.

KACEE: Do I?

C-NOTE: Yes!

KACEE: Good Bye, Miles.

She hangs up and puts her face in her hands. C-NOTE also hangs up.

LANG: I’ll alert the field officers in Manhattan. Have them send Franklin’s picture to every employee at the Rainbow Room.

MAHONE: Go ahead and have a chat with his wife woman-to-woman. Ask her why she never once visited her husband in Fox River. Pretend you don’t know the answer. Their relationship is fragile. We keep tapping on the cracks and she’s going to break.

LANG: Yes, sir. I appreciate the assignment. I -

MAHONE: Lang, I don’t need the gratitude. I need leads, answers, progress. Anyone that can’t deliver that, just don’t even unpack. Clear?

LANG: Yes, sir. (She gets up and leaves.)

(MAHONE gets up and snaps his fingers.)

MAHONE: Mr Wheeler?

WHEELER: (Into a phone) Stand by.

MAHONE: Stay on Scofield. I want the licence plate number of that Accord and I want you to get it out on the wire.

(WHEELER nods and speaks back into the phone.)

WHEELER: Yeah.

MAHONE: Now.

WHEELER: I’ll call you back. (He hangs up.)

***

MICHAEL is screwing a new rear licence plate onto his car. LINCOLN and NIKA come out.

LINCOLN: What’s going on?

MICHAEL: Apparently, I wasn’t the only one looking for this car.

(LINCOLN gets in.)

LINCOLN: Great. Let’s get out of here.

(MICHAEL goes up to NIKA.)

MICHAEL: I’m sorry I had to involve you in this. I mean, any more than I already have. (He turns to get in)

NIKA: Good luck.

MICHAEL: To you, too. (He opens his door.) So, um… I’ll see you.

NIKA: I hope so.

MICHAEL gets in and NIKA walks back to the apartment. MICHAEL sighs and takes off his cap.

MICHAEL: (To LINCOLN.) You all right?

LINCOLN: Yeah.

MICHAEL: Good. We’re heading west, toward the money, toward LJ. Just got one more stop to make.

LINCOLN: What for?

MICHAEL: You trust me?

***

Cut to Fox River. A C.O. is walking down the halls with BELLICK and GEARY.

C.O.: Of course I trust you, Brad, it’s just… if anybody finds out about this, I’m -

BELLICK: They won’t.

(They get to a door. BELLICK goes to open it and looks at GEARY.)

BELLICK: Let me handle this.

GEARY waits outside.BELLICK shuts the door and walks towards someone.

BELLICK: Humpty Dumpty climbed up a wall. Humpty Dumpty had a great fall.

Pan to reveal MANCHE sitting at a table. BELLICK sits on the table.

MANCHE: Look, I already told the Feds, I don’t know anything, okay?

BELLICK: Those Sues with pedicures and painting overs why would you? They’ve got rules to follow, codes of conduct, and their jobs to protect. (He smirks) Now, me, on the other hand…

MANCHE: (Shaking his head.) Come on, Boss. I swear, those guys didn’t let me in on any plans.

BELLICK: You’re telling me that all your little pow-wows in the yard, they never once mentioned what they were going to do once they went over that wall?

MANCHE: That’s right.

MANCHE sighs, resigned. BELLICK gets up and circles the table.

BELLICK: Now, I may not work here any more, Biggins, but I’ve still got influence of people who do. People who will do whatever I ask them to, to whoever I ask them to.

BELLICK slams the table against the wall and approaches MANCHE, who is now frightened.

BELLICK: And uh, a curvy man like yourself… let’s just say there’s some filthy individuals who might enjoy a cellie with womanly attributes. (He leans in to whisper in MANCHE’s ear.) Now you're going to tell me everything you know about where those convicts are headed, or I’m going to throw your fat ass to the wolves.

MANCHE looks scared and conflicted.

***

Cut to FBI Headquarters. SUCRE’s mug shot is on a computer screen. WHEELER is on the phone.

WHEELER: Okay, thanks. (He hangs up and walks over to MAHONE at the giant map.) Mistake number three. Someone reported seeing a man who matched Fernando Sucre’s descriptions stealing a car.

MAHONE: Where?

WHEELER: (Taking a yellow stickpin from under another SUCRE mug shot and pinning it on the map.) Defiance, Ohio. Someone’s going down today.

MAHONE rolls his eyes and leaves.

***

Cut to the interior of the car SUCRE stole. He’s driving and there’s a bobble head of the Virgin Mary on the dash. The bobble head is shaking her head.

SUCRE: I know, mami, I know.

***

Cut to the interior of a jail interrogating room. SARA is sitting at a table with her head and arms resting on it. A guard opens the door and GOVERNOR TRANCREDI walks in. SARA looks up and pushed her hair out of her face. The GOVERNOR pulls up a chair and sits at the table.

GOVERNOR TRANCREDI : (Sighing) Sara, I paid your bail.

SARA: You took your time.

GOVERNOR TRANCREDI : I’m the Governor. I do have things I -

SARA: Go to Hell, Dad.

GOVERNOR TRANCREDI : You keep this up, this may be the only place I’ll be able to see you.

SARA: Do you even want to hear my side of things?

GOVERNOR TRANCREDI : Not particularly, Sara, no. (He stands) Especially when I have no idea who’s side you’re on. But I do know this: somebody is going to go down because of what happened at Fox River, and it would be in both of our best interests if that someone was not you. But to ensure this, certain steps need to be taken. One, you should go to a daily recover meeting. Two, you need to go before a judge and plead not guilty. And three, -

SARA: Dad, I don’t -

GOVERNOR TRANCREDI : You need to tell the D.O.C. everything you know about how that prison was being run and that Warden Pope, how he was granting favours to Scofield because Scofield helped him with his personal projects. Thereby exposing him to certain restricted areas where he may have been able to obtain a key to the infirmary.

SARA: I can’t do that.

GOVERNOR TRANCREDI : Oh, yes, you can, Sara. You can do that. And you will. (he walks around behind her chair.)

SARA: I did it, Dad. I left the door open, me and no one else.

GOVERNOR TRANCREDI : That’s not true.

SARA: (Whispers.) Yes, it is.

GOVERNOR TRANCREDI : That’s not true! (SARA hangs her head. GOVERNOR TRANCREDI kneels beside her.) Sara, just do what you’re told. Otherwise, there will be… consequences that will affect us all. Do you understand what I’m telling you?

SARA: Yes, sir.

GOVERNOR TRANCREDI : Good. (He gets up and sighs.) In one week, I will be appointed the new Vice-President of the United States. (SARA looks up.) There will be a ceremony. You will be invited. You will not attend. Good bye, Sara.

GOVERNOR TRANCREDI walks to the door and knocks on the glass, letting the guards know he wants to leave. They open the door and he goes out.

***

Cut to MICHAEL and LINCOLN driving in their car. LINCOLN reaches for the radio.

LINCOLN: Let’s put some music on.

MICHAEL: (Quickly stopping him.) No!

LINCOLN: (He sighs.) Forgot. No radio. Man, it’s quiet out here. Inside there was always noise, you know? Someone yelling, guards making rounds. Kinda got used to it. (He chuckles.)

MICHAEL: You’re right. We should go back.

The brothers share a look and a laugh. Shot of the barcode tattoo poking out from under MICHAEL‘s cuff.

LINCOLN: Yeah… The tats, they weren’t just for getting out, were they?

MICHAEL: (With a shrug) Breaking out was just the beginning. Now it gets a little more interesting.

LINCOLN: Mmm-hmm. Because me getting strapped to the electric chair wasn’t interesting enough.

MICHAEL: All I’m saying, is inside, we had the element of surprise. No one knew what we were planning. There’s something about this guy, the one in the elevator? He’s like…

*FLASHBACK*

LINCOLN and MICHAEL open the hatch in the elevator holding LJ, MAHONE and a guard. MAHONE and MICHAEL make eye contact.

MICHAEL: (V.O.) It’s like he knows where we’re going, what we’re thinking.

MICHAEL spots MAHONE in the grave yard.

MICHAEL: (V.O.) If that’s true, then it’s just a matter of time before he finds out about the money in Utah, Bolshoi Booze, our way into Mexico…

*END FLASHBACK*

MICHAEL: … everything.

The brothers think this over for a few moments. Then MICHAEL digs out his cell phone.

MICHAEL: You ready for this?

LINCOLN: (Nodding) Make the call.

MICHAEL dials.

PHONE VOICE RECOARDING: Please leave a message. *BEEP*

MICHAEL: Hey, it’s me. I’ve got Linc. We’re on our way there.

Cut to show the F.B.I. listening to MICHAEL’s message.

MICHAEL: (cont.) If for some reason you can’t make it, call me back at 917, 454, …

WHEELER enters F.B.I. HQ with a file. He gives it to MAHONE.

WHEELER: Just got this from surveillance. Remember that voice mail Scofield pre-paid for before he went off to prison?

MAHONE: Yeah.

WHEELER: Someone just left a message on it.

MAHONE looks up.

MAHONE: Who?

WHEELER: Scofield. (Inter cut with MICHAEL and LINCOLN in the car.) Something, something about a meeting. Sounded like he was waiting for someone else to check the message and then call him back.

MAHONE: This prefix. That’s the cell phone number. As long as it’s turned on…

WHEELER: We can track exactly where he is.

MAHONE gives him back the files.

***

Cut to SUCRE in his stolen car. A motorcycle COP pulls out of some bushes as he passes and begins to follow him. He pulls up along side the car and the COP and SUCRE glance at each other. The COP falls behind.

SUCRE: Don’t do anything stupid, do anything stupid.

He cringes when the COP turns on his siren, asking him to pull over.

(Commercials.)

The COP gets off his motorcycle and walks up to SUCRE’s car. SUCRE is nervous, tapping on the steering wheel, but he tires to keep calm.

SUCRE: Is there a problem, Officer?

COP: You know why I pulled you over today, sir?

SUCRE: Speeding?

COP: Let me see your licence and registration, please.

SUCRE: Uh, the thing is, I, uh…I lost my wallet.

COP: Well, I guess your registration will have to do just fine.

SUCRE nods and goes into the glove compartment, hoping that’s where the registration is. He shuffles through the papers inside, finds the registration, and hands it to the COP.

COP: (Reading the registration.) So… this is your car? (He looks at SUCRE) Mrs Miller?

SUCRE: Mrs - Mrs Miller’s my wife. I’m Mr Miller.

COP: Well, your tags are expired. I’ll be right back. (He goes back to his bike.)

SUCRE winces and mouths “damn!” He watches the COP through his side mirror and the rear-view mirror as he radios in the plate number on the car. The Virgin Mary bobble head is still shaking her head. SUCRE frowns at it.

***

Cut to Fox River. GEARY is still waiting in the hall when BELLICK walks out of the interrogation room.

GEARY: Did he sing?

BELLICK: Like a fat, sweaty bird.

The two start to walk out.

***

Cut to a school yard. C-NOTE is walking outside the fencing keeping the younger children in. He finds his daughter, DEDE drawing on an easel. He kneels down behind a pillar and calls to her.

C-NOTE: Hey, sweet-pea!

DEDE: (Seeing him and running over) Daddy!

C-NOTE: Hey, come here. (He puts his hand through the bars to hold her.) Oh, look at you! You’re so big! (He looks around nervously and sits on the pavement behind the pillar.) Hey, would you do me a favour? You grab a piece of chalk, (pointing to chalk on the ground and taking off his cap.) and draw daddy a picture on the ground, okay?

DEDE begins to draw as C-NOTE keeps glancing around him.

C-NOTE: So how you feelin,’ huh? You keeping your appetite up?

DEDE: Sorta, I guess.

C-NOTE: That’s good. That’s real good. Oh God, it’s so good to see you, baby girl.

DEDE smiles at him.

C-NOTE: Do you understand what Daddy is going through right now?

DEDE: Sorta, but the kids at school have been saying stuff.

C-NOTE: Okay, what have they been saying?

DEDE: They’re saying you’re on TV because you’re a bad man.

C-NOTE: And what do you think?

DEDE: I think if I were some place and they wouldn't let me see you, (shaking her head.) I wouldn’t do what they said, either.

C-NOTE smiles and glances around again.

C-NOTE: Okay, you know what? We’re going to be together real soon. I promise you. But Daddy needs you to do him a favour. I need you to get a message to Mommy, okay?

DEDE: Okay.

C-NOTE: Now, I need you to tell her if she understood what I told her, and if she is willing to trust Daddy, then she needs to turn on the porch light at 7:00, ‘kay?

DEDE nods.

C-NOTE: Can you remember that?

DEDE nods again.

C-NOTE: That’s a good girl.

TEACHER: (Sitting on a bench. From her POV, C-NOTE is not visible.) Dede, stay away from the gate, honey.

DEDE starts to get up and C-NOTE puts his cap back on.

C-NOTE: (regretfully) Daddy gotta get going, okay, sweet-pea?

DEDE: (Nods.) I love you, Daddy. (She walks away.)

C-NOTE: I love you too, baby. (He gets up and quickly walks away.)

***

Cut to MICHAEL and LINCOLN driving in their car.

LINCOLN: There.

They drive past a sign that says ‘Illionois 38.’ Close up of the 38 in MICHAEL’s bar-code tattoo.

MICHAEL: It’s not much further now.

MICHAEL sets his odometer back to zero.

***

Cut to MAHONE and WHEELER in a car trying to follow the signal from MICHAEL’s cell phone. WHEELER is looking at a GPS that’s taking them. MICHAEL’s car shows up as a red dot.

WHEELER: Okay, they’ve moved off the interstate. Heading north on route 38.

MAHONE’s cell rings. He answers it.

MAHONE: Talk to me. (He listens.) Where? (To WHEELER) There’s a petrolman who thinks he has Fernando SUCRE pulled over outside of Latrobe, Pennsylvania. (Into the phone.) Get in touch with the local dispatch. Make it clear that we want this man in custody and not in a body bag. Dead men can’t tell us where their friends are. Yeah, you got it. (He hangs up.)

***

Cut to the motorcycle COP still at SUCRE’s car. He’s talking into his radio while SUCRE looks anxious. Up ahead, the rail road crossing bell rings and the arms go down to stop traffic for the train to come. SUCRE looks from the COP to the train to the Virgin Mary bobble head, still shaking its head. The train starts to cross the road while SUCRE tries to think how he can get out of this.

POLICE RADIO: You have a positive id?

COP: It’s gotta be. It looks just like him.

POLICE RADIO: Take care…

COP: Yeah. Take care.

POLICE RADIO: Appreciate…

COP: Yeah, I will.

He sets the radio down and slowly approaches the car. He takes his gun out of its holster.

COP: Mr Miller? I’m going to have to ask you to place your arms outside the vehicle, please. (No response. The COP rushes to the window, gun drawn.) Mr Miller, I need to see some hands!

SUCRE is gone.

Cut to SUCRE running through a corn field towards the train.

***

Cut to MICHAEL and LINCOLN. They’re still driving. MICHAEL watches the odomiter roll to 11.8. Close up of the next number on his bar-code tattoo: 12.

MICHAEL: You ready?

LINCOLN: Yeah.

MICHAEL: Now.

MICHAEL slams on the breaks. The car skids on a bridge and stops facing the railing. MICHAEL and LINCOLN get out and look over the ledge. The riverbed is mostly dry. MICHAEL rattles the railing.

MICHAEL: This is the one.

He and LINCOLN start to unscrew the loose bolts securing the railing in place.

MICHAEL: You see them?

LINCOLN: Nope. Maybe he didn’t get your message.

***

Cut to the F.B.I. Car turn a corner and pass the ‘Illinois 38’ sign. The GPS beeps.

WHEELER: They’ve stopped. Couple miles up ahead. There’s- there’s nothing up there. Why would… what are they waiting on?

MAHONE: Or who?

***

Cut to MICHAEL and LINCOLN pushing the car back.

MICHAEL: All right, that’s good, that’s good, that’s good, that’s good.

MICHAEL pops the trunk. Inside the space there the spare tyre would be kept are two packages of meat. MICHAEL hands one to LINCOLN and takes the other.

***

MAHONE sighs as the FBI car gets stuck behind a slow-moving tractor going down the road.

WHEELER: Aw, c'mon! Come on! (He honks the horn)

MAHONE takes out a portable police serin and light and puts it on the dash. He turns it on.

MAHONE: Go red! Now! Go red!

WHEELER tries to pass the tractor and almost gets hit by and oncoming vehicle. The they again and succeed, racing off down the road.

***

Cut to MICHAEL and LINCOLN putting the meat in the front seats of the car and MICHAEL pressing the gas pedal down with a hockey stick. LINCOLN slams his door and MICHAEL turns on the radio. The station is set to 88.1. Country music plays as he picks up the phone and makes sure it’s still on. He presses some buttons and tosses it into the car.

MICHAEL: Just one more thing.

*FLASHBACK*

MICHAEL and LINCOLN are in the car outside NIKA’s apartment.

MICHAEL: You trust me?

LINCOLN: Of course.

MICHAEL: How do you throw a hunter off the scent?

LINCOLN: Get rid of the prey.

*END FLASHBACK*

MICHAEL: Remember, once I hit scan we’ve got about thirty seconds before it reaches 103.7. (Close up of the last numbers on the bar-code tattoo: 1037.)

LINCOLN: Then she blows.

MICHAEL: That’s right. Ready?

LINCOLN: (With a smile.) Ye-ah.

MICHAEL reaches inside the car and hits scan. The radio changes to 88.5. MICHAEL releases the emergency break and jumps back as the car zooms forward, slamming the door. The car breaks through the weakened railing and falls onto its roof on the riverbed, changing songs once to Hush by the Koola Shakers. MICHAEL and LINCOLN look over the edge at it.

MICHAEL: Okay, let’s go.

They start to run across the bridge. MICHAEL soon slows.

MICHAEL: Wait, the music’s not changing. Wait, wait, wait.

They stop at the end of the bridge and watch the car.

MICHAEL: Something’s wrong.

LINCOLN: What happened?

MICHAEL: I don’t know. We’re going to need that explosion.

They can hear the siren from the FBI car coming.

MICHAEL: He’s here. He’s here.

Cut to the FBI racing down the road.

MICHAEL and LINCOLN ease their way down to the riverbed.

MICHAEL: The radio must have jammed. We’ll have to set it off manually.

LINCOLN: Car could blow any second though.

MICHAEL: The Feds are going to be here in about two minutes. If it doesn’t look like we’re dead, we will be. (He turns to LINCOLN and raises a fist.) Rock, paper, scissors. (LINCOLN ignores him and starts towards the car.) Linc!

LINCOLN: It’s my turn.

The FBI are getting closer. MICHAEL watches and LINCOLN approaches the car.

LINCOLN: Better pray for reception.

He gets down and crawls partly inside the upside down vehicle. The radio is set on 102.1.

LINCOLN: How many stations between 102.1 and 103.7?

MICHAEL: (Squatting.) Way out here? Just one, probably. (He puts his hands to his mouth, nervous.)

LINCOLN slowly reaches over and presses scan.

Cut to MAHONE and the car in the riverbed exploding. MAHONE sees the massive fireball up ahead.

MAHONE: Oh, ho ho!

(Commercials.)

The camera flies over a city. Title card: ‘Bedford-Stuyvesant, New York.’

In PETEY’s apartment, there’s a knock at the door. When he answers, SUCRE runs in.

SUCRE: Where’s Maricruz?

PETEY: (As he closes the door.) Hey, look, man -

SUCRE: No, no, no, Petey! You look. I haven’t slept in 72 hours, I’ve seen a man’s hand get chopped off, I’ve been-I’ve been shot at, (PETEY approaches) dug up a grave, stolen a car, jumped on a frickin’ train! So please, just tell me where she is!

PETEY: Fernando! Slow down, man. I was trying to tell you, but you hung up the phone, man. The wedding is in Vegas.

SUCRE: (stunned.) The city?

PETEY: (Nods.) Yeah, and they left a few hours ago, bro.

SUCRE puts his hands to his head, anguished. He leans against a door frame and sees some keys on a hook. He grabs them and leaves, determined once again.

PETEY: No, wait! No, no! Nonononono! Come on! Hey! (He follows SUCRE.) Fernando!

Outside, SUCRE is heading towards a motorcycle, putting on a leather jacket.

PETEY: It’s pristine, man! It’s just -

SUCRE: It’s going to be back to you in one piece, bro. (He puts the keys in the ignition.)

PETEY: Can we go back to the part where I said “No”?

SUCRE: I wish I had a choice. (He gets on the bike.)

PETEY: You do have a choice! Come on, man! (SUCRE starts up the bike.) This is a 1952 Euro Motorbike, bro. If you so much as scratch it -

SUCRE: I won’t scratch it. (He kisses his fingers.) I promise. (PETEY considers.) She’s the love of my life, bro. I gotta do something.

PETEY: You look like Hell.

SUCRE: I’ve been through Hell, Papi. (He puts on a black cap.) Now, I’ve just gotta get to Vegas.

SUCRE rides off.

***

Cut to SARA sitting with a support group.

SARA: Um, hi, I’m Sara, and I, uh… (She blows out a breath.) Um… over the years, I’ve worked with more than a few people who’ve had a history of addiction, and, uh… I would tell them I could understand what they were going through because I… used to be just like them. I used to be … an addict too. And I think, uh… (She blows out another breath.) I think that what’s becoming clear to me is that the reason I understood them is that, (She clears her throat.) because I am like them. Um… I never used to be an addict. I uh… Hi, my name is Sara, and I’m an addict.

SUPPORT GROUP: Hi, Sara. (They applaud.)

KELLERMAN : Hi, my name is Lance and I’m an addict.

SUPPORT GROUP: Hi, Lance.

KELLERMAN : (Smiling at SARA.) I guess a lot of what Sara just said resonates with me and what I’m going through.

***

Cut to the scene of the car crash from the very beginning. MAHONE is looking at the wrecked car.

M.E.: (Speaking to MAHONE but looking at the car) Put in all that work, break out of prison, only to end up dead at the bottom of a ditch. Kinda sad, really. (Looks to MAHONE.) So which one of them was it?

Close-up on MAHONE. He‘s deep in thought.

*FLASHBACK*

OSCAR SHALES’ mug shot glares from where it fell to the floor.

*END FLASHBACK*

MAHONE: Shales.

M.E. Shales? What’s - ?

MAHONE: (Snapping out of it.) Scofield. Might be Scofield.

He walks away. WHEELER approaches the M.E.

WHEELER: Probably going to find his brother in there, too. (Quietly.) Oscar Shales was this guy MAHONE tracked for a while. Nasty little bottom feeder. You know the type. He’s still on the wind.

M.E.: Can’t get ‘em all, right?

Close up on MAHONE. He takes out his pen, opens it, and takes two pills.

Cut to MICHAEL and LINCOLN climbing up a steep dirt slope above the scene of the crash. The get over the crest.

MICHAEL: (Out of breath.) We should have a pretty clear path to Utah now. (He dusts off his hat.) They’ll turn their attention to the other guys which means we’ll be off the radar for a while.

LINCOLN: What if they get the lab results back from the accident?

MICHAEL: We’ll be in Mexico by then.

LINCOLN: Provided the transport comes through.

***

Cut to C-NOTE waiting in some foliage behind a chain-link fence. He can see his house and is waiting for KACEE to turn the porch light on.

C-NOTE: Oh, come on, baby.

KACEE checks on DEDE, who is asleep. The clock on her bedside table reads 7:02.

C-NOTE: (VO.) In the rainbow room. (DEDE’s room has a rainbow painted on the wall.) Do you remember, that beautiful spot where we too that picture. The one by the window. (There is a picture of them hanging by the window.) I am going to be waiting there in that spot one week from now.

KACEE sadly watches her daughter sleeping. The clock changes to 7:03.

Outside, C-NOTE sees the porch light come on. He smiles and leaves.

Inside, KACEE is by the light switch.

LANG: She sleeping okay?

KACEE smiles and walks over to her.

KACEE: Yeah, like a baby. (She sits at the table with LANG.)

LANG: Good. So, you said you had some information you wanted to tell me about your husband?

***

Cut to a car stopping on a dusty road. NIKA gets out and MICHAEL and LINCOLN greet her.

MICHAEL: Looks like I owe you another one.

NIKA: (Giving him the keys.) It’s okay.

MICHAEL: Okay. Well, uh, once we get to Mexico, I’ll send you ten thousand, like I promised. Plus another three for the car.

NIKA: Are you meeting up with her? The doctor?

MICHAEL: SARA? I don’t know.

MICHAEL tosses the keys to LINCOLN and they go to get in.

LINCOLN: We should get moving. The next town’s a few miles away.

NIKA: That’s fine. I can catch a bus from there.

MICHAEL: Thanks again, NIKA.

NIKA smiles at him. They get inside and LINCOLN drives away.

Further up the hill, BELLICK and GEARY have seen the entire transaction from their car. BELLICK turns to GEARY.

BELLICK: I knew the little whore’d take us right to ‘em.

They begin to drive away, presumably to follow them.

 

END OF EPISODE

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Transcribed by BELINDA
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