ACT 1.

Opening Scene

(Camera sh*t of Michael's back tattoos.)

Michael (v/o): Seventeen days from now, they strap my brother to an electric chair. Send 50,000 volts coursing through his body for a crime he didn't commit. I'm here to make sure that doesn't happen.

(Camera sh**t through the inside walls of the prison, showing the pipes system.)

Michael: I've been in Fox River nearly three weeks now. In that time I've managed to get out the back of my cell and into the old steam pipes that run beneath the prison.

(Camera shows Westmoreland's cat Marilyn inside the pipes system.)

Michael: Those pipes are our way out.

1. EXT. Prison yard. Day.

(Michael is sitting with Sucre and Abruzzi.)

Michael: Think of this place like it's a map of the US. Our cell over there, that's New York City. The infirmary, our exit, that's California. The pipes beneath our feet that connect the two -

Sucre: Route 66.

Michael: Route 66. Our ticket out of here.

Abruzzi: I assume we're doing this at night.

Abruzzi: We're locked up, Fish. And your boy is in solitary.

(Michael looks over at Lincoln, who is in his segregated yard.)

Abruzzi: How we just gonna fly out of our cages and right into your cell, right into New York City?

Michael: You're not. You're gonna meet me halfway, in St. Louis. Route 66 runs directly beneath that building. It's the only building sitting on top of those tunnels. All we gotta do is get in there, on PI, and dig ourselves an on-ramp. Shortly after, we h*t the infirmary. Then we'll be outside those walls.

Sucre: What's in there?

Michael: It's an old storage room. I figure John here can pull all the strings he needs.

(Camera shows the blueprints, focusing in on the storage room.)

Abruzzi: It's not that easy, Fish. That's a restricted area. I gotta be able to justify it to the bulls, you know, there's gotta be some actual work to be done in there for me to get in there, you follow?

Michael: Then you'd better figure it out. 'Cause if we don't get in that room, we're not getting out of here.

T-Bag: I'm feeling kind of left out. New York, California, St. Louis. What are we discussing?

Michael: We're talking baseball, actually.

T-Bag. Huh. Well that's a subject I just happen to know quite a bit about.

Abruzzi: What a shame. The conversation's over.

T-Bag: Really, now. That any way to treat a team-mate?

(Abruzzi just looks at him. They get up from the bench and start to walk away.)

T-Bag: I'm coming along on this endeavour whether you like it or not. 'Cause I got a hell of a singing voice otherwise.

(As they are lining up to go back inside, Abruzzi turns around to Michael.)

Abruzzi: I won't take that piece of crap along. I won't do it.

Sucre: Me neither.

Michael: We won't have to. He'll be out of the picture soon enough.

2. INT. Pope's office. Day.

(Warden Pope stands before Tyler Hudson's widow, Shauna. She tenderly strokes the photograph on his I.D. Bellick is also in the room.)

Pope: The state provides £25,000 insurance, plus donations from the Illinois Corrections Officers'

Shauna: That's the last thing on my mind right now, Warden. Do you know who k*lled him?

Pope: We have some leads. But I can promise you this. We are not gonna rest until we find out what happened.

Shauna: His pictures are missing. He had a photo of our daughter in here.

Pope: Not to worry. We'll find them.

(Shauna stands up and breaks down into tears.)

Shauna: I begged him not to take this job.

Pope: Shauna, I am so sorry.

Bellick: I'll walk you to your car.

Pope: Captain, I need to speak with you for a second.

Bellick (to Shauna): I'll meet you in the hallway.

(She goes out and he closes the door.)

Pope: I want the son of a bitch who did this. Now you do whatever you need to do to find him. You understand.

3. EXT. Outside Veronica's apartment block. Day.

(Nick unloads boxes from her car.)

Nick: We got five boxes; you wanna give me a hand?

(Veronica doesn't reply. She's looking around, nervously. Camera watches them from across the street, as if there is somebody there.)

Nick: Veronica. That phone call was textbook scare tactics. That's what they want. They want to scare us from doing what they know we can do.

Veronica: And what's that?

Nick: Expose them.

Lukasz: Is this guy bothering you again, Miss Donovan?

Veronica: No, Lukasz. The other night was my fault. It was a misunderstanding.

Lukasz: Okay. But if you need anything...

Veronica: Trust me. You'll be the first person I call.

(Nick goes to take out more boxes.)

Lukasz: Here, let me.

(Veronica and Nick smile at each other. Lukasz takes the trolley and pulls it towards the apartments.)

Nick (to Veronica): Those boxes contain seven years of criminal appellant work. If there's a precedent in there somewhere that can help us suspend Lincoln's execution we're gonna find it.

4. INT. Apartment corridor. Day.

Veronica: You can just leave those by the door Lukasz, I'll bring them in.

Lukasz: Oh, that's okay. I've got your key right here.

Nick: If I didn't know better I would say Lukasz was sweet on you.

Veronica: Very funny.

(Lukasz takes the key out and puts it in the lock. As soon as he opens the door, a b*mb explodes, knocking Nick and Veronica back off their feet.)

OPENING CREDITS

5. EXT. Prison yard. Day.

(Michael is by the fence, his hands on the mesh. Abruzzi walks up behind him.)

Abruzzi: f*re.

Michael: What?

Abruzzi: f*re. We burn the place down.

Michael: How's that gonna help us?

Abruzzi: A few years ago, the chapel burnt down and the DOC realised they had some toxic issues. You know, asbestos, lead paint, you name it. They couldn't find a contractor so they put the inmates on the job. We spent like five, six hours in there at a time. But the good news is, no guards came around almost at all.

Michael: Can you get us in there?

(Abruzzi starts to nod, when they are interrupted by T-Bag and Seth, who is holding his pocket. Michael and Abruzzi turn around.)

T-Bag: I've been doing a little thinking. (He slaps Seth's hand away, and walks closer) I'm gonna need a PI card, aren't I? I mean, that's where this whole thing is happening, isn't it?

Abruzzi: It's on its way.

T-Bag (laughs): You're slow-walking me, aren't you?

Abruzzi: Why would I do such a thing?

T-Bag: You think Bellick's gonna pop me for shanking that C.O., Bob. Maybe you'll take a little walk and tell him for yourself, right? And I'll be out of your hair for good. Well, I got news for you. If I go down for k*lling Bob, believe me I'm gonna take a little walk of my own. Tell 'em about that hole you got behind your toilet. So. How 'bout that PI card?

6. INT. Visiting room. Day.

LJ: I don't know if you remember, but that summer before fifth grade, when I stayed with you a couple weeks, and you thought I broke your glass coffee table?

Lincoln: Mm?

LJ: And when you came home, I denied it? But you told me you could care less about the coffee table, you just didn't want me lying to you? And you said I'd feel a lot better if I just told you the truth. And you promised not to be angry.

Lincoln: I remember.

LJ: Well, I broke it.

Lincoln: I know.

LJ: You know, if there's anything that you want to get off your chest, you can tell me. And I promise I won't get angry.

Lincoln: You want to know if I k*lled that guy.

(LJ looks at him. Lincoln sighs.)

Lincoln: I uh, went there planning to do something wrong. But I didn't k*ll that guy. Someone's working hard to make it look like I did. Anyway, there's a chance the execution may not happen.

LJ: What?

Lincoln: Veronica's working on my case, and I got a reporter coming today who actually believes I'm innocent. So I ain't d*ad yet. LJ, look at me. You gotta have faith, kid. Just have a little faith.

7. EXT. Veronica's apartment block. Day.

(The f*re service and police cars are dealing with the aftermath of the expl*si*n.)

(Kellerman and Hale's car drives up and stops. The cell in the car rings and he flips it open.)

Kellerman: Kellerman.

Caroline Reynolds: Well?

Kellerman: Taken care of.

Caroline: Good. Now move on to the second thing.

Hale: If you could see what we're lookin' at, believe me, Burrows is gonna get the message.

(Camera shows the EMT guys loading a body bag onto the ambulance.)

Caroline: Which is what you've assured me of before. Yet that message keeps getting returned to sender. Now move on the second thing and report back.

Kellerman: We're headed there now. (He flips the cell off.) You're thinking too much.

Hale: Yeah. God forbid.

8. INT. Prison cells. Day.

(Bellick is searching the cells on the opposite side of the block to Michael's. Sucre and Michael watch him from their locked cell.)

Sucre: He's gonna toss every cell in this block until he finds the k*ller. He tosses this one, he's gonna find the hole back there in a heartbeat.

Michael: I know.

Sucre: We gotta turn T-Bag in.

(They both look down at T-Bag's cell. He is holding a mirror up to see if the guards are coming, and looks up at them.)

Sucre: That's the only way it'll stop.

Michael: If we turn him in, he'll talk.

Sucre: So we're screwed either way, aren't we?

9. EXT. Storage room. Day.

(Abruzzi and his PI crew walk outside the old storage room, all carrying brand new packs of towels.)

Lincoln: Which one?

Michael: Right there. St. Louis.

(They file into the room and put the towels down. Michael looks at a door inside, the sign reads: 'No inmates beyond this point'. Sucre moves to guard the main door. Abruzzi nods. Michael opens the door. At once, several COs point their g*n at them.)

C.O.: What the hell are you doing in here?

Michael (raises hands): Cleanup detail. We thought this was storage.

(The inmates raise their hands.)

C.O.: Does it look like storage to you, you idiot? It's a restricted area, it's a CO break room. Now back it up.

(No-one moves. The C.O. cocks his g*n.)

C.O.: Back it up, now!

Abruzzi: Sorry, Officer. It won't happen again.

(They all leave, quickly.)

ACT 2.

10. INT. Storage area. Day.

Sucre: A freakin' break room? Are you kidding me?

Michael: They must have changed it since the retrofit.

Sucre: The bulls are camped out in there. They'll never leave.

Abruzzi: You got a back up plan?

Michael: There isn't one. It's the only room sitting on top of that pipe. It's the only way out, and we gotta get back in there.

Abruzzi: Impossible, Fish.

Lincoln (by the window): Maybe not. Check it out.

(They all look over; Westmoreland is leaving the guard's room carrying a tray.)

Sucre: I don't get it. How come they let him into the guard's room?

Lincoln: He's a trustee. One with the high security clearance.

Sucre: Why him?

Lincoln: He can be trusted.

Michael: How does one become a trustee?

Lincoln: Just have a spotless record for the last 30 years.

Sucre: Pretty much counts all of us out.

Michael: Which means we gotta get him on board.

Lincoln: Forget it. The guy's a boy scout.

11. EXT. Prison yard. Day.

Michael: Mr Westmoreland.

Westmoreland: Hey, Michael.

Michael: You found your cat yet?

Westmoreland: Still MIA.

Michael: You could always get another.

Westmoreland: I don't want another. Besides, it's a moot point. She was grandfathered. Once she's gone, no more pets.

Michael: Wouldn't be an issue if you were on the outside.

Westmoreland: Still tugging on that leash, eh?

Michael: Yup. And this is the part where I extend a formal invitation.

Westmoreland: 'Cause you still think I'm DB Cooper?

Michael: I don't think. I know. The way I see it, you're in here doing 60 to life for vehicular manslaughter. It would have been 20, but the car you were in was stolen. Felony m*rder rule cubes every sentence. And here you are. Hitting that woman was an accident. But the car? No-one accidentally steals a car. So the question is, why would Charles Westmoreland be in Arizona boosting a car ten states away from where he lived...

(Camera sh*t of a man breaking the window of a car. Michael's fingers tracing routes on a map, between pins that are stuck into it.)

Michael: ...and only ten miles from the Mexican border? And why, two days before that, would someone make a phone call to his wife from a motel in Portland...

(Camera sh*t: a newspaper with the headline 'D.B. Cooper Myth Still Alive Despite Conviction'. Michael pins a spot marked 'Phone call made.')

Michael: ...a stone's throw away from the airport, out of which, shortly after, flight 305 was hijacked by one DB Cooper? Seven hours after the hijacking, records show Charles Westmoreland was treated for a busted knee at a free clinic in Brigham City.

(Camera sh*t: a man in a wheelchair clutching his knee being rushed through the ER.)

Michael: Only way to get from Portland, Oregon, to Brigham City, Utah, in seven hours - is in a car breaking every land speed record known to man, or flying.

(Camera sh*t: Michael tracing the route from where the phone call was made to where he had his knee treated and joining the pins together.)

 It's public record DB Cooper jumped out of that 727 about an hour after takeoff. Taking a dive at 10,000 feet with 1.5 million in cash and a hastily packed parachute...

(Camera sh*t: a man parachuting out of a plane.)

Michael: ...might make for a pretty rough landing.

(Westmoreland rubs his knee.)

Michael: Rough enough to shatter some bones. Maybe even a left knee. DB Cooper would have had a car waiting for him when he landed. According to DMV records, in 1971, Charles Westmoreland was the proud owner of a '65 Chevy Nova. As it happens, a '65 Chevy Nova with the registration number scraped off was found abandoned with a blown gasket along the Arizona border.

(sh*t of a car with a smoking engine, and a limping man looking into it.)

Michael: A mile or two away from where you accidentally h*t that woman. With your stolen car.

Westmoreland: Interesting story.

Michael: Interesting man.

Westmoreland: But you didn't answer one thing.

Michael: What's that?

Westmoreland: Maybe I did hurt my knee. I did steal that car. And I did accidentally h*t that poor lady. But how could I have hijacked a plane in Portland on November 24th, when I was in Folsom finishing up a 30-day drunk and disorderly?

(Michael looks confused.)

Westmoreland: I hope you weren't hanging this whole escape on that money, 'cause I'm not the one in possession of it. (He stands and pats Michael on the shoulder.) Thanks for the invite though.

12. EXT. Somewhere in Chicago. Day.

(Nick tapes bandages to his burnt arms and winces. Veronica is standing at the roadside, away from the car.)

Nick: Veronica. Veronica, come on. We're okay.

Veronica: How is this okay, Nick? Somebody just tried to k*ll us.

Nick: I know. I was there.

Veronica: Then act like it. Okay? We just watched a man burn to death right in front of us! My God...Lukasz...my God...

Nick: It's okay. It's okay.

Veronica: We just left him there.

Nick: There was nothing we could do for him. He was d*ad as soon as he opened the door.

Veronica: I am trying so hard to understand all this, Nick. Who these people are, what they want. How we just walked away from there without even calling the police.

Nick: We did it because these people we're dealing with won't stop until we're d*ad. Now, if they think we're d*ad like they do right now, maybe we get a little breathing room. You know, we figure out what our next move is.

Veronica: No, we should go to the police.

Nick: I've been telling myself the same thing, but you know what? They're bigger than the police. We go to the authorities, it's broadcasting to them that we're still alive, and then we got that target right on our backs again.

Veronica: We can't hide forever.

Nick: No, no. Maybe not forever. But...I think I know a place we can, at least for a little while.

13. INT. Michael's cell. Day.

Sucre: We'll just have to go in there ourselves then.

Michael: Like I said, unless the old man's in, it's not possible. And even if it were, with the guards in there there's no way in hell they're just gonna sit back and watch us start a f*re.

Sucre: See, I already figured that part out. I've been thinking.

Michael: And?

Sucre: That thing you're doing in the Pope's office? You using rubber cement?

Michael: Yeah.

Sucre: Can you get some out of there?

Michael: Maybe, why?

Sucre: Look, there's a coffee maker in the guard's room, right? I got a hook up with one of my boys in the kitchen. If we can get rubber cement in the bottom of that coffee pot, when the burner goes on... (he lights a match and laughs).

Michael: It's a good idea. But without Westmoreland, we're never getting in that room.

Sucre: He doesn't want any part in the escape?

Michael: No.

Sucre: Then what does he want? He's gotta want something. Everybody wants something.

14. INT. Inside prison walls. Day.

(Michael approaches Marilyn the cat.)

Michael: Come on, kitty. Come on. Here, kitty, kitty, kitty. (he picks up the cat and it meows.) Yes, that's a good girl. Come on.

15. EXT. Prison yard. Day.

Westmoreland: I don't believe it. Thank you.

Michael: You're welcome.

Westmoreland: Where'd you find her?

Michael: In the yard, by the chapel.

Westmoreland: Why do I get the feeling there's a string attached to this?

Michael: Not a string. Just a favour.

Westmoreland: I'm not DB Cooper.

Michael: That's all right. 'Cause it's not gonna take DB Cooper to do what I need done.

Westmoreland: What's that?

Michael: All I want you to do is take a certain coffee pot into the guard room at a certain time, and turn the burner on.

Westmoreland: Why?

Michael: Let's just say it'd be in everyone's best interests if a f*re were to start in there.

Westmoreland: Marilyn, did you think he was the arsonist type?

Michael (laughs): I'm not. I'm the cleanup crew type. The type that gets access to all kinds of tools.

Westmoreland: Michael, I'm grateful for this. I really am. But I've made it a point to keep my nose clean ever since I walked into this place. 32 years without a blemish. If that parole board date ever comes, I want to be ready. I can't jeopardise that.

(Michael nods slowly, then turns away.)

Westmoreland: Michael. Thanks, though. Really.

16. INT. Infirmary. Day.

(Sara is giving Michael his sh*t.)

Michael: After what you went through in the riot, I thought you might take a day off.

Sara: I'm fine. I, uh...I couldn't find anybody to cover for me anyway.

Michael: I hope you don't feel like you owe me anything.

Sara: I do. I'm, uh...I really appreciate what you did for me.

Michael: But?

Sara: But you told me that you had been up in the crawlspace for PI, and PI was never assigned to go there.

(Michael looks at her for a few seconds.)

Michael: We're done here, right?

Sara: Michael, don't be like that. I just...I just want some answers.

Michael: Thanks for the sh*t, Doc.

17. INT. Visiting room. Day.

Sue: Sue Parsons, Headline Press.

Lincoln: Thanks for coming by.

Sue: I appreciate you taking the time.

Lincoln: I appreciate you looking at my case.

Sue: So, what can you tell me? From what I understand, you have numerous people working on your behalf as we speak.

Lincoln: Yeah, um...well, Veronica Donovan, she's my attorney, and Nick Savrinn. He works at Project Justice.

Sue: Savrinn. Okay. Have they gotten very far?

Lincoln: Nothing to go to court with. Not yet, anyway.

Sue: You ever think it's just time to let go? Accept what happened?

Lincoln: Let go, yeah. Accept what happened? Never. I mean, would you? If someone had set you up, destroyed your life?

Sue: I guess I'm thinking in terms of the pain and anguish it's caused your friends and loved ones.

Lincoln: People who care about me, they believe me. That's all that matters to me right now. That's all I got.

Sue: You have a son. Lincoln Junior. LJ.

Lincoln: Yeah, why?

Sue: I have a source that tells me if you accept what happened and stop fighting your execution, your son will be left out of this. If not, I hope you said goodbye to him when he left here this morning.

(They both stand.)

Lincoln: Who are you?

Sue: One Burrows is gonna die. Up to you which one.

(She walks away. Lincoln shouts after her.)

Lincoln: Who are you? Who are you?! Hey! Don't let her go, she thr*at my son! Please! No!

(Two guards take Lincoln away, still yelling.)

18. INT. LJ's house. Day.

(The doorbell rings. LJ, drinking from a bottle of drink, answers it.)

Hale: LJ Burrows?

LJ: Yeah.

Hale: I'm Officer Hale, Juvenile Court. We just need to do a quick survey of your residence to make sure your environment reflects the terms of your probation.

(He goes to walk inside but LJ doesn't move.)

Hale: Your parents home?

LJ: No. But they'll be home any minute.

Hale: Well, then. I'll get started.

(He walks past LJ into the house.)

19. EXT. LJ's house. Day.

(LJ's mother and stepfather unload groceries from the car.)

Adrian: LJ and his dad. You never said how it went this morning.

Lisa: It sounded fine. Of course, everything a 15-year-old boy tells his mother is fine.

20. INT. LJ's house. Day.

LJ: No offence, but can I see some kind of identification?

Hale: Sure (He goes in his inside jacket pocket.)

Lisa (in the next room): LJ, we're home.

(Hale pulls out his g*n, points it at LJ and puts a finger to his lips.)

Lisa: LJ, you here?

(She walks around the corner, holding her cell phone. She sees LJ first, then the g*n, and then Hale.)

Lisa: Oh my God.

Hale: Drop the phone, lady. This is the only warning I'm giving you. Drop it.

(He tries to keep his eyes on LJ, but Lisa doesn't drop the phone either. In  the end, he turns to point the g*n at Lisa. LJ immediately throws the drinks bottle towards him.)

LJ: RUN!

(The bottle smashes into a glass picture frame hanging on the wall, which also smashes.)

Lisa: No!

(LJ runs down the stairs to the basement level and over to the window. Lisa runs into the kitchen and hides behind the table: she dials on the phone.)

CUT TO: LJ, struggling with the window. He eventually gets it open.

CUT TO: Lisa, and the phone ringing.

Lisa: Pick up. Pick up, please. Please answer, come on.

(Camera pans up to show Hale is standing over her, pointing his g*n at her head.)

21. EXT. LJ's house. Day.

(LJ climbs out of the window and is about to run, but Kellerman speaks from behind him.)

Kellerman: LJ. We're not here to hurt you.

(LJ flips open the cell phone in his hand.)

Kellerman: Uh uh - 9, 1, 1...send. You really think you're gonna get to four buttons before I get to one?

(He opens his jacket to show LJ his g*n.)

Kellerman: Come on.

(Behind him, Adrian appears with a baseball bat. He hits him across the back with it, and Kellerman lands on the ground.)

Adrian: LJ, get out of here!

(Kellerman turns around and sh**t him once, in the chest. Adrian falls forward on top of him. Kellerman struggles to push him off and when he does, LJ is gone.)

CUT TO: LJ at the front of his house. The front door is open.

LJ: Mom?

(He stops short and gags, putting a hand over his mouth as he sees his mother slumped over the doorstep, covered in blood.)

CUT TO: Kellerman, round the back, standing over Adrian's d*ad body.

ACT 3.

22. EXT. Street. Day.

(LJ walks along the street, terrified. He is wearing no shoes as he was barefoot when he ran from the house. His cell phone rings, and he answers it.)

Kellerman: Where are you going, LJ?

LJ: What do you want from me?

Kellerman: Cooperation. That's all.

LJ: You want cooperation? I know what you look like, you son of a bitch! I'm going to the police.

Kellerman: Going to the police. I don't think that's such a good idea LJ, I mean, with your prints on the m*rder w*apon and all.

LJ: I didn't touch the m*rder w*apon.

(Kellerman is lifting LJ's prints and placing the tape on the g*n handle.)

Kellerman: Of course you didn't. I know that and you know that. I just don't think you're gonna have much luck convincing Ballistics of that.

LJ: Who the hell are you people?

Kellerman: Just concerned neighbours. Heard a bit of a ruckus at the Rix' house. Gosh, you know, I guess we should have seen it coming. All the signs were there. Drug use, decline in academic performance. But we didn't think he'd ever do something like this.

LJ: No-one's gonna believe that!

Kellerman: Yes they will. And when they catch you, and they will catch you LJ, they're gonna try you as an adult. You know what that means? We can help you, LJ. We're the only hope you got.

LJ: No you're not. (He hangs up and runs off.)

(Kellerman puts the g*n with LJ's prints on it next to his d*ad mother's body.)

Kellerman: She made that choice, not you.

Hale: Let's find the kid.

23. INT. Westmoreland's cell. Day.

(Westmoreland is reading on his bunk, holding his cat. Bellick appears in the cell doorway.)

Bellick: You got Marilyn back.

Westmoreland: Sure did.

Bellick: That's good. How long ago you quit smoking?

Westmoreland: Uh, a little over nine years now.

(Bellick takes out a cigarette.)

Bellick: You don't mind, do you?

(Westmoreland shrugs. Bellick lights up, and comes into the cell.)

Bellick: I feel a kinship with you, Charles. More than any other con here. And we've seen a lot. Haven't we?

Westmoreland: Sure have.

Bellick: Then correct me if I'm wrong. I've always treated you fair.

Westmoreland: I've always appreciated that fact.

Bellick: I've known Bob since he was 18 years old. I got him this job. (On the verge of tears.) You can imagine how responsible I feel.

Westmoreland: I can't help you with that, boss.

Bellick: I think you can. Word is he died in front of your cell. And you were right here when it happened.

(Camera sh*t of Bob's body falling over the railing and landing on the floor. Westmoreland shakes his head, looks up at T-Bag.)

Westmoreland: We've both been around long enough to know that when a con starts that snitching business, he's not long for this world. Don't put me in that position, boss.

(Bellick's face twitches.)

Bellick: If you don't tell me who k*lled Bob before I leave this cell, our friendship goes with it.

(Westmoreland stares at his book. Bellick stands up, and puts his hand lightly on the cat's head.)

Bellick: That's a nice cat.

24. INT. Cells. Day.

(Trokey stands outside his cell, talking to T-Bag.)

Trokey: Westmoreland knows. And his jaw ain't that strong.

(He walks off into his cell. T-Bag cracks his neck, and looks up to see Abruzzi staring at him. He pulls his pocket out, but Seth isn't looking. T-Bag slaps him round the head. Seth reluctantly takes hold of the pocket, and they walk into their cell.)

25. INT. Sara's office. Day.

(Sara looks at Michael's prison file, and photographs.)

Katie: What's this?

Sara: Nothing.

Katie: You stalker.

Sara: I am not a stalker. I just...I don't get it.

Katie: What is there to get?

Sara: He doesn't fit the profile. Right? The man's got a graduate degree. He lives in my neighbourhood. Guys like that hang out in Streetville, they drink single malt scotch, they pay $200 for Cubs tickets. They don't rob banks.

Katie: Maybe he couldn't afford season tickets. Maybe that's why he robbed the bank.

Sara: Thank you. I'm actually being serious.

Katie: Can I ask you something?

Sara: Yeah.

Katie: Why do you care so much?

Sara: 'Cause he lied to me.

Katie: They all lie to you.

Sara: Maybe because he's the one guy in here I can actually get to. The one guy I can make a difference with.

Katie: Go home, girl. You keep burning it at both ends like this, you're gonna drive yourself crazy.

Sara: Goodnight.

26. EXT. Prison yard. Day.

(Pope and Lincoln are in the yard, with two C.O.s)

Pope: I'm sorry, Burrows. Both of them were d*ad by the time the paramedics got there.

Lincoln: What about my son?

Pope: He's missing. Police are treating him as a fugitive.

Lincoln: Fugitive.

Pope: They found his prints on the m*rder w*apon.

Lincoln: That's impossible. I...I, uh...I need to call him.

Pope: No, no, you can't do that.

Lincoln: What do you mean 'you can't do that'? His life's in danger!

Pope: Look, Burrows. The police have instructed me that this is an ongoing investigation. And as such, any contact you make with your son could potentially aid and abet him as a fugitive. I'm sorry.

(He walks away.)

Lincoln: Warden, please!

Man (o/s): Front gate open!

(Lincoln looks over to the open gate where a van is driving through. He stares at the exit. Camera sh*t of two guards with g*n standing on a high ledge. The gate closes.)

Patterson: Let's go.

27. INT. Prison cells. Day.

(Inmates are looking into Westmoreland's cell.)

Inmate#1: That's messed up, man.

Inmate#2: Jeez. Does he even know?

Inmate#1: Don't think so.

Inmate#2: Man, here he is.

(They move away as Westmoreland approaches his cell, from the shower room. He stops at the door and sees his cat, Marilyn, lying d*ad on the lower bunk. He kneels in front of her, picks her up and cradles her.)

Bellick (o/s): Go ahead, toss 'em.

(Westmoreland looks up at Bellick on the second tier; their eyes meet.)

28. INT. Trokey's cell. Day.

(T-Bag stands outside the cell. Trokey sits up on his bunk and looks over.)

Trokey: What's up, T?

T-Bag: We're family, right?

Trokey: Hell yeah we are.

T-Bag: Well, I'm in a quandary and I need your help

Trokey: Name it.

T-Bag (leaning on the edge of the bunk): Bellick's squeezing tighter and tighter round here and you were right, eventually somebody's mouth is gonna start moving. Thing is, Trokey, if I get popped for this, what with my priors and predisposition to violent behaviour, I'll spend the rest of my life in the SHU. But if you come forward with only a drug conviction and a whole lotta remorse...

Trokey: I can't do that, T.

T-Bag: I ain't finished yet.

Trokey: No need. I ain't going down for m*rder no hack. I mean, you understand that, don't you? You ain't mad are you?

T-Bag: No, Trokey. I'm not mad.

(He leaves the cell. Trokey looks suspicious.)

29. INT. Break room. Day.

(Westmoreland walks into the break room and puts a coffee pot on the burner.)

(He walks over to Bellick's locker, and takes a cigarette out of the packet that's in there. He looks up at a wooden board on the wall, 'Fox River C.O.'s Of The Month'. Bellick's picture is the biggest and in the middle. Westmoreland flicks the lighter on.)

30. EXT. Outside storage room. Day.

Lincoln: I need out. I gotta find him.

Michael: You will. Both of us. Soon.

Lincoln: They're coming after my family, Michael.

Michael: You gotta trust me. We're gonna get this...

Lincoln (interrupting): "We're gonna get this done". How? Tell me, Michael. Tell me. You can't, can you? I gotta get out of here now. LJ's in trouble.

Patterson (o/s): Scofield. How about it?

Michael (to Lincoln): Just stick with me.

(Lincoln looks over at the front gate again. Another van is driving in. Patterson shouts to the driver and goes over when it slows down.)

Patterson: Yo, Bruce. Hey!

Bruce: What's up, man?

(Michael picks up another bag to carry over to Lincoln, and notices he is gone.)

31. EXT. Outside storage room. Day.

(Lincoln is waiting and hiding round the corner. He looks up at the guards with g*n on the wall ledge, then at the guards with g*n by the front gate. They are in conversation and not watching. Lincoln goes to make a run for it, but then Michael's hands grab his shoulders and pull him back.)

Michael: If you go out there they will g*n you down!

Lincoln: I don't care anymore.

Michael: Well, you'd better start thinking about what you're doing. 'Cause you can't help LJ if you're d*ad.

Patterson (o/s): What the hell's goin' on in here? Huh? We got a problem?

Michael (firmly): No.

Patterson: Well then, get on your feet. Let's go!

(Behind Patterson, black smoke is billowing from the break room. A f*re alarm sounds.)

Man (o/s): We got a f*re!

Patterson (looking round): Son of a... (He talks into his radio) What the hell's goin' on at building two? Come in.

PA: f*re in the CO break room

(Michael and Lincoln look at each other.)

ACT 4.

32. EXT. Prison yard. Day.

(A f*re truck comes round the corner, as some inmates watch it from behind the mesh fence. Westmoreland is one of them. He walks away, past Michael.)

Michael: Thanks.

Westmoreland: I didn't do it for you.

33. INT. Break room. Day.

f*re Officer: We found the source. Someone in here smoke these? Bilsons?

(He hands it to Pope.)

Pope: Bellick.

(Bellick looks stunned. Before he can reply, another CO enters the room.)

C.O.: Captain Bellick, I've got someone to see you.

(Bellick turns to see Seth.)

Bellick: What the hell do you want?

Seth: I know who k*lled Bob, sir.

34. INT. Prison cells. Day.

(Trokey and T-Bag are talking outside their cells. Trokey notices the C.O.s walking in first.)

Trokey: Uh-oh.

(They both turn around. Bellick walks closer, past T-Bag who looks relieved, and into Trokey's cell. He lifts up the mattress and takes something out. He moves over to Trokey and shows him the photograph of Bob's daughter.)

Trokey: I don't know how that got there.

(The guards grab him and drag him away.)

Trokey: It's a mock. It's a mock! You set me up!

T-Bag: Bad enough you k*lled a guard. Don't try to lay it off on somebody else now.

Trokey (yelling): You set me up! He set me up!

(T-Bag turns to Seth and ruffles his hair, then goes into his cell. Seth looks very upset.)

35. INT. New Glarus. Day.

(Veronica and Nick drive up to a deserted cabin.)

Veronica: Wow. Your father lived here?

Nick: Yeah. He wanted some place that was completely off the grid. A place the government didn't know existed. Tapped into the power lines. A well supplies the place with water. Last few years of his life he barely even left the property.

Veronica: It's...

Nick: Yeah. You spend so many years fighting cops, prosecutors, judges, trying to take your freedom for something you didn't do. You use every cent you had in attorney's fees and you wind up losing anyway...15 years of his life. Almost all of his son's childhood. I guess I can forgive him for wanting to hide away. Be left alone. We'll be safe here until we figure out our next move.

36. EXT. Prison yard. Day.

(The PI crew are walking down to the break room. T-Bag runs up to the fence.)

T-Bag: Hey, hold up here a minute. Hold up here. Seems to be a bit of confusion. I'm supposed to be on this detail.

(Abruzzi turns to Patterson.)

Abruzzi: I don't think so.

T-Bag: Oh, John. You can't be serious. Not after our long, illustrious history we shared together. All those nights in New York City. (Michael looks over at him.) In California. In St. Louis. (He puts his hands on the mesh fence.) They were good times, weren't they, John? Tell the badge here about 'em. 'Cause if you don't want to, I certainly could.

(Michael looks at Abruzzi, panicked.)

37. INT. Break room. Day.

(A C.O. escorts T-Bag, dressed in PI gear, into the room where the others are already standing.)

Bellick: I want this place gutted. The dry wall's gotta be torn out. The studs gotta be removed.

Abruzzi: Boss, we've got some toxic issues here. Asbestos to start with.

Bellick: Take it up with the union. All I'm saying is, this room's your only priority now. It better be brand spanking new when you're done.  If anybody's thinking about getting cute, trying to trunk one of these tools out here, Brady's got the outline of every single piece of hardware in here. And at the end of every day, every single piece better match up or you're all going to the hole.

(The COs walk out. The door closes.)

Michael: Let's go.

(They move the table and pull the carpet back to reveal a small drain.)

Michael: This goes down four feet. Connects to the main line below. All we've gotta do is widen it and we've got ourselves an on-ramp to Route 66.

(He hands out a sledgehammer to Lincoln.)

Lincoln: Whoa, whoa, whoa. They're gonna hear this, man.

Michael: They won't.

(He puts a large piece of cloth over the drain. He picks up another sledgehammer, is about to hand it to T-Bag but hesitates.)

T-Bag: Come on, Pretty. We're a team now.

(He throws it to him, then he and Abruzzi get one for themselves. They stand over the drain. Sucre stands at the door on guard.)

T-Bag: Best get crackin', eh?

Lincoln: You, shut up.

(Lincoln hits the floor with his sledgehammer.)

38. EXT. Chicago street. Night.

(LJ hides, looking at his cell phone.)

(Flashback: Kellerman: You really think you're gonna get to four buttons before I get to one?)

(Flashback: LJ's finger on one button. Close up of the cell phone's camera hole.)

(LJ looks at the picture he took of Kellerman, with his jacket open, revealing his g*n.)

39. INT. Caroline Reynolds's office. Night.

(Kellerman and Hale are standing before her.)

Caroline: I don't have my glasses. How about you read this for me? (She hands them a newspaper.) Tell me the news, the latest developments.

Kellerman: Evidently there was an expl*si*n in a Gold Coast apartment in Chicago yesterday, gas line. Everyone inside was k*lled.

Caroline: Shame. Anything else? How about that kid up in Oak Park, the one they say k*lled his parents.

Kellerman: Oh, they got him.

Caroline: They did?

Kellerman: He's in custody.

Caroline: Good. I imagine heads would have rolled if he hadn't been caught. Lives would have been lost. How about you hand that back to me? Now that it's yesterday's news, we can put it behind us, can't we? Move on to the next chapter of our lives.

(Camera moves to reveal that the woman talking is Caroline Reynolds, for the first time.)

Caroline: You're not just doing this for me, you know. Or my brother.

(There's a knock at the door and a man enters.)

Caroline: Yes?

Man: They're ready for you, Madam Vice President.

Caroline (to Kellerman): You're doing it for your country.

(She walks out to a podium and journalists begin calling out 'Madam Vice President, a question'...)

CUT TO: The PI crew are still banging the floor.

CUT TO: Caroline Reynolds, Madam Vice President, standing at the podium.

CUT TO: Lincoln hitting the floor hard with his sledgehammer.

END CREDITS.
{"type": "series", "show": "Prison Break", "episode": "01x08 - The Old Head"}