ACT 1.

[1. INT. Shower room. Day.]

(Close up of Michael's tattooed arm in the shower.)

Seth: Help me. Please.

(Michael looks at him. Then, across the room, T-Bag clears his throat, then walks over. Seth walks away.)

T-Bag: You'll have to forgive my boy. He has the propensity to be a bit gregarious when he shouldn't be. Fraternizing in the prison shower, come on.

Michael: Maybe you oughta cut the kid a break.

T-Bag: You wouldn't be meddling in my affairs now, would you, Scofield? You can't be that stupid. Not while I'm so fully invested in your affairs.

(They stare at each other for a second, Michael thinks about it.)

Michael: What's between you and him is between you and him.

T-Bag: That's what I thought you said.

(Michael walks away to collect his towel. Seth comes up behind him.)

Seth: You've gotta help me.

(Michael is silent, then walks away. Seth looks fearfully over to the showers.)

[2. INT. Pope's office. Day.]

Lincoln: You gotta help me.

Pope: You're talking to the wrong man, this is a matter for the police.

Lincoln: This is my son we're talking about. For God's sake, he's missing! Do something.

Pope: You have got to understand, I am the warden of a prison. When it comes to the law there is absolutely nothing I can do. Whatever happens out there is out of my jurisdiction until it comes through those gates.

Lincoln: It just did. Let me out.

Pope: What?

Lincoln: Let me find him. I know how he thinks. I know where he'd run.

Pope: Burrows, I would have thought that by now, under the circumstances,  you'd understand your position as a death row inmate. There is no way I can honour that request.

Lincoln: That ain't true. You got the power. In case of a family emergency, you can grant an inmate supervised leave.

Pope: Your son is a prime suspect in a double homicide.

[3. EXT/INT. Break room. Day.]

(Michael walks up to the storage room for PI, past T-Bag who is counting boxes and writing on a clipboard. They ignore each other. Bellick is inside, watching them.)

Bellick (to Sucre): Hey. What do you think this is, a siesta?

(Sucre looks at him. Bellick points to a wooden board on the wall, 'Fox River C.O. of the Month', with photographs of C.O.'s. Bellick's photo is the biggest, and in the middle at the top, he is obviously C.O. of the month.)

Bellick: You see that? Any idea how it got there?

(Sucre glances at Abruzzi, who smirks.)

Bellick: Work ethic. Those two words mean anything in your country? You're on PI, so quit slow-walking me. I'm not gonna warn you again. (To Abruzzi) What are you looking at?

(Abruzzi says nothing. Bellick walks away.)

[4. EXT. Outside storage room. Day.]

(T-Bag watches Bellick walk away, pretending to be counting boxes. When he's gone, T-Bag bangs on the door twice with the clipboard.)

[5. INT. Break room. Day.]

(Michael and the PI crew continue to dig the hole.)

Sucre: The bulls find this stuff they'll know we're digging.

Michael: That's why we gotta get rid of it. One piece at a time.

[6. EXT. Yard. Day.]

PA: (over loudspeaker) Attention in the yard. All prisoners remain 40 feet away from Gate A.

(Michael stealthily drops some concrete fragments into the ground and crushes them in with his foot.)

PA: New prisoners arriving in five minutes. Repeat, attention in the yard...

(Camera pans over to T-Bag standing by the fence, dropping his own concrete fragments.)

PA: All prisoners remain 40 feet away from Gate A. New prisoners arriving in five minutes.

(Camera pans over to Sucre, sitting on the benches, dropping concrete fragments into the ground. Sucre looks over at Abruzzi, casually walking over and dropping small pieces of concrete. Abruzzi smiles over at Michael. Michael turns and watches the bus with the new prisoners on it approach the prison gate.)

PA: Attention in the yard. All prisoners maintain a 40 foot perimeter around gate A.

(T-Bag walks over to join Michael.)

T-Bag (smiling): Freshmen.

[7. EXT. Yard. Day.]

(The new prisoners exit the bus in single file, all of them wearing handcuffs. One of them looks very nervous. Tweener is behind him in the line.)

Tweener: Best put on our jail face, BG. These crabs see you puckering, they're gonna bitchify you in a heartbeat.

(Pan over to T-Bag, who has noticed Tweener and makes a satisfied sound. Michael looks worried.)

(Camera zooms in on a piece of concrete on the ground, then a hand picks it up. Zoom out to show it's C-Note looking suspicious. He carries it away with him.)

[8. INT. Cells. Day.]

(All the inmates are walking back to their cells.)

Sucre: Looks like I gotta find something else to call you now.

Michael: Why's that?

Sucre: 'Cause you ain't a fish no more. You ain't the newest con in the t*nk no... (He notices something up on the second tier and breaks off.)

(Seth climbs over the second tier railing, the bed sheets tied round his neck and tied to the railings. He jumps over the railing, hanging himself. Camera close up on Seth's feet twitching, then Michael looking horrified and guilty.)

OPENING CREDITS.

[9. INT. Chapel. Day.]

Michael (head in hands): I could have done something.

Lincoln: No. T-Bag had his hooks in that kid, there was nothing you could have done.

Michael: I could have told the Pope. He could've transferred the kid to ADSEG, he would've been safe.

Lincoln: Go easy, Michael. You didn't even know him.

Michael: And that makes it okay? I turned my back on him because I didn't wanna make waves. It was just...easier to look the other way. Keep the plan safe.

Lincoln: And you did.

Michael: But at what price? That's not how she raised us. A man's down, you give him your hand. She'd roll over in her grave if she knew what I'd become.

Lincoln: She wouldn't. You've given me your hand, Michael. My son's out there with a bull's eye on his back. Do whatever you gotta do to get us out of here. Please.

[10. EXT. Streets of Chicago. Day.]

(LJ is curled up, sleeping fitfully, by a wall with no jacket, shoes or socks. A police siren sounds and wakes him. He looks around fearfully.)

[11. INT. The cabin in New Glarus. Day.]

(Veronica looks in the cupboards. In the final one, she sees several g*n.)

Nick: What are you doing?

Veronica: I was just looking for some coffee.

Nick: Yeah, there isn't any. They belonged to my father, if you were wondering.

Veronica: How long have they been in there?

Nick: I don't know. Five years?

(She looks at him, scared.)

Nick: You know, Veronica, we've been through a lot and uh, I'm freaking out here as much as you are, but you get this look in your eye sometimes like...like I'm the bad guy.

Veronica: I don't know who you are, Nick. You just magically show up like some knight in shining armour, ready to save the day.

Nick: You know, I think you seem to be forgetting something here. I'm in the cross hairs the same way you are. All for your ex, who unlike my father is a scumbag criminal, who just happens to be in prison for the one crime he didn't commit. You know something? I got enough of my own crap to deal with. You wanna go, you go.

[12. EXT. Prison yard. Day.]

(C-Note walks along by the fence, looking at the ground. He looks over at Michael, who drops some more concrete fragments on the ground cautiously.)

Tweener: Mind if I lamp with you, cuzzo?

C-Note: Roll, snowflake.

Tweener: Hey, man, I'm just...I'm just new, you know? I'm looking for some homies.

C-Note: I said, roll.

(C-Note's black inmate friends begin to walk over.)

Tweener: Brother, I'm just launching.

Black Inmate: Yeah? Well, launch somewhere else white boy.

Tweener (backs off): All right, y'all. I'm fittin' to bounce. Peace.

(He walks away. Camera pans over to show T-Bag is watching him, standing with his buddies.)

T-Bag: Boy's a bit confused about his pigmentation! But he sure does have spunk, doesn't he?

[13. EXT. Prison yard. Day.]

(Abruzzi furtively drops some concrete fragments down a drain.)

Bellick: Abruzzi!

Abruzzi: Yeah?

Bellick: What are you doing?

Abruzzi (walking over to the fence): What do you mean, what am I doing?

Bellick: First of the month's coming up, John.

Abruzzi: Yeah, so?

Bellick: I haven't got my monthly.

Abruzzi: What?

Bellick: I checked my balance online, it's looking seriously deficient.

Abruzzi: Uh...it's gotta be some kind of a mistake, like an accounting error or...

Bellick: Yeah? Tell Falzone I don't stand for accounting errors. I'm going back into my office at the end of the day. Gonna check my balance again. If it's not up to where it's supposed to be, all these privileges you got, like running PI, they're gone. Get it done, John.

[14. EXT. Prison yard. Day.]

(Abruzzi is on the telephone.)

Woman (off-screen): Falzone Enterprises.

Abruzzi: Get Philly.

Woman: I'm sorry, Mr Falzone's not available.

Abruzzi: You tell him it's John Abruzzi calling.

Woman: I'm sorry, I didn't realise.

Abruzzi: Well now you do.

Woman: Um... I'm sorry. He's gonna have to call you back.

Abruzzi: What? Hey...

(The line goes d*ad. Abruzzi looks worried.)

[15. INT. Cabin in New Glarus. Day.]

(Nick is getting dressed. Veronica goes into the bedroom.)

Veronica: I'm sorry. About before.

Nick: Pressure's getting to us, that's all. Good news is nobody can reach us out here. My old man made sure of that. Never even hooked up a telephone. Same with the well and the generator. You know, I used to think he was some kind of a conspiracy theory whacko. Turns out maybe he was right.

Veronica: I can't stay, Nick. I gotta get back. He's got less than two weeks.

Nick: The old man used to call this his serious tie. He only wore it when he really, really meant business. Be dangerous, you know, showing our faces again.

Veronica: Not if they're not looking for us. They think we're d*ad, right?

Nick: Yeah, but how long is that gonna last?

Veronica: We gotta be quick, be smart about it. The way I see it, we're just gonna be running in circles if we think we're gonna find exculpatory evidence before the execution. Prove he didn't do it.

Nick: I've gone up against pretty much every prosecutor in Cook County. Man gets m*rder, the first person they wanna talk to, to see who his real enemies were: the wife.

Veronica: You wanna go after the queen bee herself?

Nick: Leslie Steadman. Everyone in town knows the old bird lunches at the Lexington every day. With the society set.

[16. INT. Break room. Day.]

(Lincoln viciously bashes the hole in the floor.)

Abruzzi: Hey, hey, hey, hey. Slow down. Slow down!

(Lincoln ignores him.)

Abruzzi (to Michael): Man, your brother's gonna give us away.

(Sucre comes running in.)

Sucre: Bull's coming.

Abruzzi: Let's move.

Sucre: Hurry up, guys. Move it.

(The inmates hurry to cover the hole and put the table back.)

Patterson: All right. Everybody out.

T-Bag: What?

Patterson: I said, everybody out. Now.

(The inmates file out.)

Patterson (following them): Move it!

Michael: Where are we going?

Patterson: Around there. Round the corner. And don't move a damn muscle till I come get you. Go!

(He goes into the storage room. The inmates walk away.)

Sucre: What the hell's going on?

[17. INT. Break room. Day.]

(Patterson walks over to the shelving, and Becky comes out from hiding.)

Becky: We're so bad, aren't we?

Patterson: You're damn skippy. Let's go.

[18. EXT. Yard. Day.]

Michael (to Sucre): You gotta give us more of a warning next time.

Sucre: I'm sorry. He just showed up.

[19. INT. Break room. Day.]

(Becky and Patterson are kissing heavily.)

Becky: Oh, we're gonna get caught!

Patterson: By who?

Becky: By the warden! Oh...

(Patterson lifts her up and puts her on the table, hitching up her skirt. Camera stays at the level of their legs.)

Patterson: Baby, right now, in this room, at this moment, I am the warden.

Becky (gasping): Oh!

Patterson: Say it.

Becky: No, I'm not gonna say it...

Patterson: Come on baby, say it!

Becky: Oh, oh...you're the warden, Louis!

Patterson: Yes, yes.

(Camera zooms in on the table leg which is moving on the rug, dangerously close to the hole.)

ACT 2.

[20. EXT. Yard. Day.]

(Michael and his PI crew are waiting to re-enter the storage room. They watch the door, and see Patterson exit, followed by Becky who is adjusting her skirt.)

Lincoln: The sneaky son of a bitch.

Sucre: You think he found the hole?

[21. INT. Storage room. Day.]

(Michael walks to the table and crouches down.)

Michael: Another inch and he'd have found it. We need to find something to cover this hole. ASAP.

[22. INT. Visiting room. Day.]

(Abruzzi is meeting with his attorney.)

Abruzzi: Broke. What do you mean, broke?

Attorney: The C-Corps, investment accounts, even the offshore stuff, Caymans, Bermuda. Philly Falzone liquidated everything.

Abruzzi: Hey, I told you from the beginning what would happen if you screwed me.

Attorney: And I heeded it. That's why I warned you not to give Philly power of attorney. We had this conversation, remember? Look, the only real funds you have left are the $30,000 in your wife's pocket account. Now, I can...

Abruzzi: Don't. Don't touch that. Nobody touches that but her.

Attorney: What do I tell her? You know, about all this.

Abruzzi: Don't tell her anything, okay?

Attorney: The statements are going to come. She's going to know.

Abruzzi (reaching out as if to grip his jacket, then lightly rests his hand on his tie.) Hey, I told you. Don't tell her. All right? You got a problem with that?

Attorney: Okay John. You know where to contact me if you need anything else.

Abruzzi: The same goes for you.

(His visitor leaves, Abruzzi walks away towards the prison.

Abruzzi: Hey. Hey!

(Fiorello walks past him into the visiting room. The guard closes the gate to stop Abruzzi following.)

Fiorello: Philly.

Philly: You.

(The two men embrace and Fiorello kisses both his cheeks.)

Philly: So good to see you.

Fiorello: For you, the answer's always yes, Philly.

Philly: Sit down.

(He looks over at Abruzzi, smiles and then sits opposite Fiorello.)

Guard (to Abruzzi): Come on, John.

[23. INT. Sara's office. Day.]

(Scene starts with a close up on a woman's face, talking to Sara on the telephone.)

Woman: It looks like there's no record of a Fox River Medical Practice on our list of participating HMOs or PPOs.

CUT TO: Sara (on telephone): Okay, that's because we're a state penitentiary, and we're actually in kind of a unique situation here. Mr Scofield's insurance policy from his previous employer hasn't lapsed yet. For that reason the state's demanding that you pay for his treatment and not the taxpayers.

Woman: Okay, well it says here he already met his deductible.

Sara: Okay.

Woman: Oh, no, wait. That's his psych deductible. Not his medical.

Sara: Sorry, psych as in psychiatric?

[24. EXT. Yard. Day.]

(Abruzzi walks over to Fiorello who is sitting on the benches with two of his cronies.)

Abruzzi: Did I give you permission to call Philly? Hey. I asked you a question, man.

Fiorello: Listen, there, uh...there's been a restructuring. This comes from Philly himself. You couldn't deliver Fibonacci. So I'm the man in here now.

Abruzzi: Hey, tell you what. Run to the commissary and get me a packet of chips. We'll pretend this never happened, right?

Fiorello: No, I'm telling you, John. The sooner you face these facts, the better off we will all be.

Abruzzi (laughs): I can k*ll you in a heartbeat.

(He reaches over to grab him, but the two cronies stand up quickly and grab Abruzzi, pulling him away.)

Fiorello: Somehow, I doubt that. The sooner you face facts, the better off we will all be. You're yesterday's news, John.

(Abruzzi shoves off the cronies and watches them all walk away.)

[25. INT. Cells. Day.]

(The inmates file in from outside.)

Tweener: What's the word, brother, man? Y'all cookin' brownies, or what?

Inmate: Act your race, milk chicken.

Tweener: What's your deal, yo? You got tough buckets, or somethin'?

Inmate: You're a disgrace to your skin. You know that?

(He punches Tweener in the chest, down to the floor, Tweener cries out in pain.)

T-Bag: The boy just slipped. (He comes over to pull Tweener up.) The boy just slipped. (He hisses in Tweener's ear) Ain't that right?

(T-Bag pulls him upright, but he's hurt his knee and can't quite stand straight.)

T-Bag: Come on. Stand up. (He brushes him down)

Guard (o/s): Cons, let's get back.

T-Bag: What's your name, boy?

(Camera pans up to show Michael watching him.)

[26. INT. Lincoln's cell. Day.]

(Lincoln sits on the bed, head in hands. The hatch on the door opens and a guard puts a food tray in.)

Lincoln: Who's that?

Stolte: Stolte.

Lincoln: Stolte. You've heard about my kid, right?

Stolte: Take the tray, Linc.

Lincoln: I, uh...I just need to call him.

Stolte: Just take the tray, or I'm gonna shove it in there and you can eat it off the ground.

(Lincoln takes the tray, but then grabs Stolte's wrist.)

Lincoln: You have a son. Josh.

Stolte: Don't do anything stupid, Linc.

Lincoln: I'm not. I just wanna ask you a question, then I'm gonna let go. What if it were Josh? What if it were your son? Please.

[27. EXT. Streets of Chicago. Day.]

(LJ walks along the street, bare-foot. He looks around, then rounds the corner. He takes his cell phone out. He looks at the picture he took of Kellerman the day his mother was m*rder. He sends it to his email address. Then the cell rings: "Inmate, Fox River, Incoming Call".)

LJ: Dad?

Lincoln: LJ, thank God. Are you all right?

LJ: No. Nowhere near it.

Lincoln: What do you mean? Where are you?

LJ: What they're saying about me, it's not true.

Lincoln: I know it's not true.

LJ: They k*lled her. They k*lled her. They... Right in front of me. Right in front of my eyes.

Lincoln: You gotta...you gotta...

LJ (interrupting): Why are they doing this?

Lincoln: Listen, listen. You gotta step up. You gotta be the man now. You understand me? You understand me, LJ?

LJ: Yeah.

Lincoln: Okay, I want you to call Veronica.

LJ: Her number is disconnected, I already tried.

Lincoln: Nick Savrinn. You call Nick Savrinn. Works for Project Justice. You call him once we're done. You got it?

LJ: Nick Savrinn. Okay, I'll call. I'll call.

Lincoln: All right, man. Hang in there, man. It's gonna be all right. Hey...

(A black car screeches to a halt next to LJ. Kellerman and Hale jump out. Kellerman tells Hale to get back in the car and drive round, then he gives chase.)

LJ: They're here! (He takes off running.)

Lincoln: Who's here? LJ? LJ!

ACT 3.

[28. EXT. Streets of Chicago. Day.]

(LJ runs through the street, with Kellerman after him. The car follows.)

(LJ runs into a car park, shutting the gate behind him to slow Kellerman down. The car drives into the car park and LJ stops, looks around. Kellerman and Hale look around for him.)

(Camera pans down to show LJ hiding under one of the cars. Kellerman's feet walk past it. Then LJ's phone vibrates in his pocket. He grips it in panic, but Kellerman has heard it. He pulls out his g*n and cocks it, which LJ hears.)

Kellerman: You hear that? Did you hear it? You know what that means? Why don't you ask your mom what it means? Oh, I'm sorry, you might have trouble getting an answer out of her right about now, huh? LJ?

(Hale has his g*n out as well. They both look around.)

(LJ rolls from the car to under another.)

(Kellerman and Hale close in on the car, g*n out.)

(A car horn sounds - there's a car behind theirs, wanting to get past.)

(Kellerman gets down on the floor and checks under the car - nothing.)

[29. EXT. The Lexington. Day.]

(Nick reaches out and takes a cell phone from an unoccupied table top.)

Veronica: I saw that.

Nick: Just getting connected, that's all. There she is.

(They approach Leslie Steadman's table.)

Nick: Mrs Steadman? I'm Dick Sisler, this is my associate Francette Kelly. We're with the National Victim's Rights Association. We provide assistance for victims of violent crimes, gather support for tough-on-crime political candidates.

Mrs Steadman: Bravo. Look, if your organisation's looking for a hand-out young man, you can go through my business manager.

Nick: Ma'am, that is not why we're here, actually. May we sit down? We were hoping you could help us with one of our more public cases. The Lincoln Burrows case?

Veronica: As you know, he's making unfounded claims that he's innocent. That others had motive to m*rder your husband.

Mrs Steadman: I really don't have time for a long conversation.

Veronica: Mrs Steadman, it doesn't have to be a long conversation.

Mrs Steadman: If we talked about who had motive to k*ll Terrance, we'd be here all day.

Veronica: I'm sorry?

Mrs Steadman: Look around. Half the people in this place were shareholders in his company. Every one of them sat at my husband's memorial. And every one of them was thinking the same thing: "Thank God he's gone."

Nick: Why would they think that?

Mrs Steadman: Money. As soon as rumours of the indictment started, you should have seen them run for the exits.

Veronica: I wasn't aware of any indictment.

Mrs Steadman: It never came down. He died before it could.

Nick: It have anything to do with Ecofield?

Mrs Steadman: Do the math. CEO gets indicted for fraud, investors start losing money. Lots of money. If I didn't know for sure Burrows pulled that trigger, I'd say it was any one of these people in this restaurant. We're talking half a billion dollars, Mr Sisler. People have k*lled for a lot less.

[30. EXT. Prison yard. Day.]

(Tweener walks through the yard.)

Tweener: Hey, wassup? 'Sup?

(Two black inmates purposely shoulder-barge him as they pass. A white inmate does the same thing. Tweener walks over to the bench looking upset.)

T-Bag (sits next to him): Not a good position you find yourself in, is it? Whites don't want you. Blacks don't want you. You're just caught in the middle, aren't you? A regular 'tweener. We're different, you and me, lot of ways. But, you know, the funny thing is we're also a lot alike. Couple of dogs with runny noses that nobody loves. (He reaches out and puts his hand on Tweener's knee and rubs it.) How's that knee by the way?

Tweener (jumping up): What the hell are you doin'?

T-Bag: No, no, no, don't get me wrong, I'm just a friend.

Tweener: Yeah, a fruity friend. I don't need none of that.

T-Bag (warningly): Easy, now.

Tweener: No, no, you think you're gettin' up in this, you got another think comin', you h*m*.

T-Bag: You got a foul mouth, you know that?

Tweener: Yeah, I do. And you come near me again, I'm gonna k*ll you!

T-Bag (amused, in disbelief): Well, then, you're just gonna have to, little man.

(Tweener goes to walk away, T-Bag is laughing, very amused.)

[31. INT. Cells. Day.]

(The inmates are going inside.)

T-Bag: You sleep with one eye open, girlie!

Tweener: Bring it on, bitch.

T-Bag: Oh, I'm gonna. I'm gonna bring it on in spades.

Michael: Maybe you oughta leave that kid alone.

T-Bag (walking over to him): Maybe you are in no position to be telling me my business. Hm? (Michael says nothing.) That's what I thought.

[32. INT. Psychiatrist's Office. Day.]

(Close up of the name plaque on the door: Dr. David George Brighton, Clinical Psychiatrist.)

Dr. Brighton: I'm sure you can understand my reluctance to discuss past patients.

Sara: Absolutely. My understanding is that under HIPAA we're allowed to share information as long as it furthers the care of the patient. I'm not accustomed to make enquiries like this, but I, uh...I feel like I can get through to him. I can help him.

Dr. Brighton: I imagine he needs it in there.

Sara: What did you treat him for?

Dr. Brighton: Michael suffered from a couple of things. One was a condition called low latent inhibition.

Sara: Sorry, I'm not familiar with the term.

Dr. Brighton: Well, people who suffer from low latent inhibition see everyday things just like you or I do, like this lamp for instance. But where we just process the image of a lamp, they process everything. The stem, the bulb, the bolts, even the washers inside. Their brains are more open to the incoming stimuli in the surrounding environment.

CUT TO: Michael walking in the prison yard, close-up on the bench where he removed the bolt. Close-up sh*t of the bolt, and the numbers imprinted on it.

Dr. Brighton: Other people's brains - yours and mine - shut out the same information. We have to do it in order to keep our sanity.

CUT TO: Michael inside the prison walls, looking up at some wiring.

Dr: Brighton: If someone with a low IQ has low latent inhibition,  it almost always results in mental illness. But, if someone has a high IQ, it almost always results in creative genius.

CUT TO: Michael in his apartment at his computer, sh*ts of him standing in front of the wall where he planned out the whole escape.

Sara: Do you think Michael's a genius?

Dr: Brighton: Well, I think that word's been derogated in the media these days. But in the classic sense of the word, yes, I do.

Sara: You...you said there was something else you treated him for?

Dr. Brighton: He came to me with absolutely no sense of self-worth. The loss of both parents very often does that to a child. But with the low latent inhibition, something interesting happened to Michael. He became very attuned to all the suffering around him. He couldn't shut it out. He became a rescuer, one of those people who are more concerned with other people's welfare than their own.

Sara: I didn't know all this about him.

Dr. Brighton: Then maybe you don't know Michael Scofield.

Sara: Yeah.

[33. INT. Cells. Night.]

(Michael walks up to his cell door, looking down.)

T-Bag (singing): Oh, Tweener...I'm coming. Oh, Tweener...oh, Tweener, I'm a-coming for you...

CUT TO: T-Bag at the door of his cell, singing.

T-Bag (singing): I'm coming, coming...

(Camera pans across to Tweener's cell, next to T-Bag's. Tweener hugs a pillow and cries.)

T-Bag (o/s, singing): Is you ready? Are you ready? However you are, see, I'm here...I'm coming for you...

(Camera pans in to Tweener, crying.)

T-Bag (o/s, singing): Are you ready? Are you ready? I'm coming, I'm coming...I'm a-coming, I'm coming...

Cut to: Michael in his cell, watching the distressed Tweener.

[34. EXT. New Glarus. Night.]

(Nick pulls the car up in front of the cabin, and he and Veronica get out. Nick has his cell phone to his ear.)

Nick: I checked my voicemail at work. Lincoln's son LJ just left me a message. He's in trouble.

[35. EXT. In the city. Night.]

(LJ stops to rest, gasping for breath. His cell vibrates.)

LJ: Hello?

Veronica: LJ, it's Veronica. Where are you?

LJ: Oh, Veronica, I don't know. You gotta come get me.

Veronica: We can't, okay? We're not in Chicago. You have to come to us.

LJ: Oh. All right. Where's that?

(Kellerman's car pulls up close by. LJ spots it.)

LJ: Oh...oh...how the hell do they know where I am?

Veronica: What's going on?

LJ: How do they know where I am? How the hell do they know where I am? You don't understand...

(Camera zooms in on tracking system device in the car, showing LJ's location and they hear his voice through it.)

Veronica: LJ, LJ, I want you to listen to me...

LJ: Everywhere I go, they're there...

Veronica: I want you to listen to me, okay? I need you to come to us. We're in Lake Mercer.

LJ: Where's that?

Veronica: It's a small town, it's on the Iowa border. There's a bus station, I want you to buy a ticket, we'll meet you there.

CUT TO: Hale (in the car): They're still alive.

Kellerman: The bird in hand just became three.

CUT TO: LJ in the street

Veronica (o/s): Make sure you keep your cell phone open, okay?

Kellerman: Let's go.

Hale: But the kid's right...

Kellerman: Let's go.

LJ: Okay.

Veronica: Okay what?

(The agents drive away.)

LJ: Okay, I'll keep it open. They're leaving. They're leaving.

Veronica: LJ, I need to know that you hear me, okay? Lake Mercer.

LJ: Lake Mercer, okay. All right, bye.

[36. INT. Abruzzi's cell. Night.]

(Abruzzi takes the light bulb out of his lamp, and smashes the glass so a jagged edge remains.)

[37. INT. Abruzzi's cell. Night.]

(Camera shows Abruzzi's hand holding the broken light bulb, bringing it down slowly until it rests on Fiorello's eye.)

Fiorello (waking up): What the hell are you doing?

Abruzzi: Delivering yesterday's news.

(Camera shows the silent, empty cell block which is suddenly filled with Fiorello's screams.)

ACT 4.

[38. INT. Bus station. Night.]

Attendant: Your bus leaves from depot six in just a few minutes.

LJ: Thanks.

(He turns around and notices a guy asleep across a bench. He has a pair of shoes sticking out his rucksack. LJ takes them, then quickly leaves the ticket office.)

[39. EXT. Prison yard. Day.]

(Michael furtively drops some more concrete fragments. Then he looks over to where Tweener is being hassled by T-Bag and his buddies.)

Tweener: Yo, man, get off me, bitch!

T-Bag: Let's pants him.

(He pulls Tweener's pants halfway down, and Tweener throws a football at him before walking away. Michael stamps the fragment into the ground. Sara comes up behind him, on the other side of the fence.)

Sara: I, uh...I just wanted you to know that if you're looking for someone to talk to in here, you're not alone. It's part of my job to counsel inmates and help them with their problems.

Michael: I got things pretty well figured out.

Sara: I sort of backed into some information about you. I hope you don't mind, but you have to understand that there's a reason I became a doctor. It's in my nature to wanna help. From what I understand, it's in your nature too. You did a lot of good things before you were in here. A lot of community work, a lot of charity work. What happened?

Michael: The man you're talking about died the moment I stepped inside these walls.

Sara: All right. (She walks away.)

[40. EXT. Lake Mercer. Day.]

(The Lake Mercer bus pulls into the town, past a sign that reads "Welcome to Lake Mercer, have a nice day.)

(Camera pans over to show Agents Kellerman and Hale waiting in the car. They get out, g*n at the ready.)

CUT TO: Kellerman getting onto the bus, followed by Hale.

Kellerman: Ladies and Gentlemen. United States Secret Service. Please remain calm. Remain where you are.

(The pair of them move down the bus, towards the bathroom, g*n aimed. They kick open the door, and see LJ's cell phone on the side. Kellerman picks it up, flips it open and sees the photograph of himself after having just m*rder LJ's mother. He laughs in disbelief.)

[41. EXT. New Glarus. Day.]

(A bus pulls up. LJ gets off.)

Driver: Watch your step, son.

(LJ turns around as the bus pulls away, and walks over to where Veronica and Nick are waiting.)

Veronica: Hey. Come here. (She hugs him and he cries.) It's okay.

[Flashback:

LJ (on cell phone): They're leaving.

CUT TO: Veronica typing a text in the cabin.

CUT TO: LJ reading the text. "Dump the phone, they're tracking you. We're in New Glarus."]

Veronica: You're safe now, all right?

[42. INT. Lincoln's cell. Day.]

(Lincoln is pacing up and down, agitated. Then the door opens and two C.O.'s enter.)

Stolte: You received communication from your attorney. Please sign this document certifying that I inspected the communication for contraband, without at any time breaching attorney-client privilege by reading the materials enclosed herein.

(Lincoln nods, signs it, and they leave. Lincoln opens the envelope. He flips a few pages over, then finds one with a post-it note attached. The post-it reads: "notes from Mrs. Weatman's 6th grade biology class". Lincoln sits down and looks at the page of writing. Finally, he realises what the code is. Down the right hand side of the page, the last word of each sentence tells him what he wants to know. He runs his finger down them: 'It's LJ, I'm with Veronica. I'm okay. I love you.')

[43. EXT. Prison yard. Day.]

(Tweener files out with other inmates into the yard. Coming from the opposite direction is Michael and his PI crew. As he passes, Tweener glares at T-Bag in disgust, but T-Bag just grins at him.)

Sucre: What are you grinning about?

T-Bag: Oh, just the fact that I'm gonna be out in the real world here in a little bit. The fact that I'm gonna get me one fine piece of tail certainly don't hurt either. Nothing like tail, eh, Scofield? (He laughs.)

[44. INT. Break room. Day.]

(Michael picks up a tool from the box and hits T-Bag's shin with it, hard. T-Bag collapses on the floor with a scream of pain.)

T-Bag: Son of a bitch!

Michael: This ends right now.

T-Bag: Oh, you just screwed some major league pooch, Pretty. I'm gonna sing like a whole tree full of birds now. (Yelling) Badge!

Michael: You wanna sing, then sing. But you know what I think? You don't have the guts. You want out of here just as much as the rest of us.

(The door opens and a CO comes in.)

C.O.: We got a problem here?

T-Bag (after a pause): No. I, uh...I thought we was missing some tools here. My bad.

C.O.: Get back to work. (He leaves.)

Michael: Now. You and I may be stuck together in this little dance, but I call the sh*ts. First sh*t, that kid out there? You don't touch him. Ever. Do we understand each other?

T-Bag: We do.

(Bellick enters.)

Bellick (to Sucre): Out of the way, Julio. Abruzzi!

(He walks dangerously close to the hole, his feet making the carpet sink.)

Bellick: You and me, we're gonna have a conversation.

(Bellick walks practically over the hole, and out. Abruzzi follows.)

Lincoln: How come he didn't fall through?

(Michael bends down and pulls the carpet back, revealing the monthly awards plaque of C.O.'s photographs that Bellick pointed out to Sucre earlier is covering the hole. Michael looks up at Sucre, who winks at him.)

[45. EXT. Storage area. Day.]

Abruzzi: What?

Bellick: I warned you.

Abruzzi: I'll get it together. You gotta give me more time.

Bellick: You've had your time, John.

(He walks away, Abruzzi looks nervous.)

[46. EXT. Prison yard. Day.]

(T-Bag limps over the grass. Michael and Sucre, standing by the fence, watch him. Tweener is sitting on the bench, holding a football. T-Bag stops. Tweener looks nervous, but fronts him out.)

Tweener: You trippin' on somethin', Alice?

(Ominous music plays. T-Bag looks dangerous for a second. Michael watches him. Seconds tick past. Tweener looks apprehensive. Then T-Bag walks on, eyeing Michael angrily. Tweener relaxes at T-Bag's retreat.)

Tweener: Yeah, that's what I thought. Lamp it up in here again, I'll be fittin' to break some shop.

(Michael looks over at Lincoln in the segregated yard, and Lincoln smiles proudly.)

Sucre: Uh-oh. We got a problem.

(They both look over. A team of inmates dressed in PI gear and carrying tools are walking towards the storage room. Abruzzi notices too. All of them hurry over to the fence.)

Abruzzi: Bellick. Boss. Boss, what's happening? What are they doing?

Bellick: Fixing the break room.

Abruzzi: What are you talking about? What's PI! I run it!

(Michael and Sucre join him at the fence.)

Bellick: Not anymore you don't.

(The new PI crew walk on. One of them is Fiorello, who wears a bandage round his head and over one eye. Michael, Sucre and Abruzzi watch them walk into the old storage room, anxious whether their hole will be discovered.)

END CREDITS.
{"type": "series", "show": "Prison Break", "episode": "01x09 - Tweener"}