01x15 - By the Skin and the Teeth
Posted: 02/19/21 15:19
ACT 1.
Opening Scene.
[Camera shot of the clock on the wall: it reads 11:58pm.]
(Camera pans down to Bellick and Pope who are standing beneath it. They are watching a CO strap the belts around Lincoln's arms in the electric chair. Another straps on the headpiece. Lincoln's hands grip the chair tightly and he breathes deeply. Patterson puts the final bolt of the headpiece.)
(Camera shot of the clock: it now reads 11:59pm.)
(Warden Pope nods to Bellick, and Bellick opens the curtain to the viewing room. Michael and Veronica are seated: Veronica turns away momentarily, crying.)
Pope: Doctor, you can leave now.
(Sara leaves the room.)
(Lincoln scans the people in the visiting room. At the back, an older man removes his baseball cap, staring at him. Lincoln recognizes him.)
Lincoln: It's him. Michael...
(In the viewing room, Michael realizes his brother is trying to say something, but can't figure out what.)
Veronica (whispers): What's he saying?
Lincoln: Michael, turn around. It's him.
Veronica: What do you think he's saying?
Lincoln: Michael, turn around.
(The COs put a black hood over Lincoln's face and step away from the chair. Warden Pope checks his watch and looks up at the clock on the wall. The CO manning the electricity switch waits.)
(The telephone in the room rings. Without warning, the curtains close on the viewing room. Michael jumps to his feet.)
Michael: What's going on?
Veronica: I don't know.
Michael: What's happening? What the hell's going on in there?
(Camera shot of the Fox River Penitentiary wall. It's snowing heavily.)
[1. INT. Final Visitation Room. Night.]
(Michael and Veronica wait anxiously. The door opens and Warden Pope enters.)
Pope: I can't tell you how sorry I am that you've had to go through all of this.
(They suddenly hear the jingling of shackles and Lincoln is escorted into the room.)
Veronica: Lincoln.
(Veronica helps the CO bring Lincoln over to the table.)
Michael: What happened in there?
Pope: Judge Kessler called. The execution's been delayed.
Michael: What do you mean, delayed?
Pope: Apparently some new evidence has come to light.
Veronica: What evidence?
Michael: I don't understand. How long do we have? One day? Two days?
Pope: That's all the information I have at the moment. I'm sorry. I'll give you a minute.
Veronica (to Lincoln, stroking his cheek): You okay?
Michael: I need to know how much time we have.
Veronica: I'll go and see the judge and find out. (She kisses Lincoln's cheek) You're with Michael, you'll be okay.
(Veronica exits the room. Michael puts a hand on Lincoln's shoulder.)
Lincoln: Did you see him?
Michael: Who?
Lincoln: The guy in the viewing room.
Michael: No.
Lincoln: It was Dad.
(Dramatic music plays. Michael looks shocked.)
Lincoln (through gritted teeth): It was Dad.
[Opening Credits.]
[2. INT. Final Visitation Room. Night.]
Lincoln: It was him. I know it was.
Michael: That's not possible, Linc.
Lincoln: It is possible. I saw him.
Michael: I don't know how you could have. There were only half a dozen people in that room - me, Veronica and a bunch of reporters. He wasn't there.
Lincoln: You don't know that.
Michael: I do. I would have recognized him.
Lincoln: You don't remember what he looks like. I do.
Michael: This is a man who took off, what, 30 years ago? Why would he come back now, at the very last minute?
Lincoln: I don't know.
[3. INT. Vice President Caroline Reynolds' Office. Night.]
(Caroline sits at her desk facing Kellerman and Agent Brinker. Kellerman is standing but Brinker sits in a chair.)
Caroline: Why is he still alive?
Kellerman: It appears that some information was anonymously slipped to the judge.
Caroline: Anonymously? It was your fat little friend, Hale. If you had taken care of him sooner...
Kellerman: It wasn't Hale.
Samantha Brinker: How do you know that?
Kellerman: If Hale had given Veronica Donovan anything that could have gotten a stay of execution, I think she would have brought it up when she made her argument in court. It didn't come from him.
Brinker: Well, who else on your end knows?
Kellerman (defensive): Who else on your end knows? Why all the finger-pointing at us? Are you sure that the leak didn't come from your end, from The Company?
Caroline: Hey, we are all on the same team, remember.
Brinker: Absolutely.
Caroline: Just find the leak. And plug it.
Kellerman: Thank you ma'am.
(He walks to the door. Brinker follows.)
Caroline: One more thing.
(Brinker turns around.)
Caroline: The next time you're in my office, I expect you to stand when you're addressing me.
Brinker: Absolutely.
(She walks out, closing the door behind her.)
[Camera shot of a name plate on a door: Honorable Randall Kessler.]
[4. INT. Kessler's office. Night.]
(Kessler sits behind his desk in front of Veronica and the opposing counsel from the court room, Peter Tucci.)
Kessler: All I can tell is, I was working late in chambers, I left at 11, and there it was, right under my door.
(He hands a file to Veronica.)
Kessler: One is Terrance Steadman's autopsy report. In it, his appendix is noted as present and unremarkable. The other paper is an operative report from when Mr. Steadman was 12 years old. The procedure was an appendectomy.
Peter: That's impossible. Let me see this.
Veronica: I want the conviction overturned and Lincoln Burrows immediately released from custody.
Peter: Whoa, whoa, whoa. Not so fast. These records haven't even been certified.
Veronica: The hospital can tell you.
Kessler: The hospital does not keep records going back that far. I checked.
Peter: So as far as we know, these documents could be a hoax from some anti-death penalty advocate, or, dare I say it, defense counsel.
Veronica: Oh, please, you're preposterous.
Kessler: Let's just all take a deep breath here, okay? I don't know what these papers mean. And for that reason, I'd like to err on the side of caution. I'm going to delay the execution for two weeks. That should give us more than enough time to exhume the body.
Peter: Exhume the body? Your Honour, with all due respect, that is a drastic measure.
Kessler: It's also the only way we're going to know if that body in the ground is really Terrance Steadman.
[Camera shot of the watch tower at Fox River as the sky turns to light.]
[5. EXT. Prison yard. Day.]
(Michael stands at the telephone box, the yard is covered in snow.)
Michael (on the telephone): So that's not Steadman that was buried.
Veronica (v/o): We don't know. If it isn't, Lincoln's free. If it is, we're right back where we started. Take care of yourself, Michael.
[6. INT. Michael's cell. Day.]
(Michael uses the mirror to look out of the cell.)
Sucre: So that body. What if it's him?
Michael: I'm not gonna sit around hoping.
Sucre: What does that mean?
Michael: It means we get back to work.
Sucre: God, I was hoping you would say that.
[7. INT. Lincoln's cell. Day.]
Lincoln: They're digging up the body.
Pope: To be honest, I've never been in a situation like this before. If nothing else, you can be glad that you've got people who'll go to extreme lengths to get you out of here.
Lincoln: No kidding.
Pope: No.
Lincoln: Warden, um...at the execution, there was a man in the viewing room. Just wondering if you or anyone in the prison had spoken to him.
Pope: Well, according to this... (he looks down at his file)...those present were your brother, his attorney, and three reporters. Two women and a man.
Lincoln: The man. Who was he?
Pope: Um, he was from the Headline Press. William Prall. You know him?
Lincoln (confused): No.
Pope: Guard.
(A CO shuts the ADSEG cell door.)
[8. INT. Michael's cell. Day.]
(Sucre holds the mirror so Michael can see his tattoo.)
Michael: Hold it steady please.
Sucre: What exactly are you looking for in all that ink?
Michael: A new way out of here.
Sucre: You don't know all those plans by now?
Michael: No. Memorizing it would be like memorizing the phone book.
Sucre: Yeah, but why not just tat up Route 66?
Michael: Contingencies.
Sucre: Contingencies? You saying you found another way?
Michael: Maybe.
Sucre: What do you mean, maybe?
Michael: There's always been another way. But it's su1c1de.
(Camera pans over the prison yard. It's snowing.)
[9.EXT. Prison yard. Day.]
(The PI crew are at work.)
Sucre: Man, I'm so cold my hands are stinging.
C-Note: You know what they say about weather in the Midwest. If you don't like it, wait an hour.
Michael: We're still going out through the infirmary and we're still gonna do it from the guards' room. It's just the in-between that's gonna have to change.
C-Note: Wait a minute, why are you changing the plan, man? We're already through to that room beneath the infirmary. That's all we gotta do is get through that pipe and we're home free.
Michael: There's a reason they replace it with a 12-inch pipe, Darwin - people can't get through it. The only way we're getting into that infirmary is from beneath. We're gonna have to find another way.
Westmoreland: The psych ward?
(Camera shot of the "Fox River Asylum" sign across the way.)
Michael: It's the only building that shares a sub-surface line with the infirmary.
T-Bag: Are you telling me to get to the infirmary we gotta go through the whack shack?
Michael: Unless you got a better idea.
Westmoreland: And there's a sub-surface line that runs from the guards' room to the psych ward?
Michael: Sort of.
C-Note: Whoa, whoa, what do you mean 'sort of'?
Michael: We can go into that hole in the guards' room. About 40 yards up Route 66, there's a grate that'll get us halfway there.
C-Note: And what about the rest of the way?
Michael: We gotta do it above ground.
C-Note: So it's just a bunch of cons taking a stroll in the middle of the night for all the guards to see?
Michael: Yep.
Sucre: You're right. It is su1c1de.
Westmoreland: This grate you're talking about - it's hidden, right, partner? The COs can't see it?
Michael: Not exactly.
C-Note: Well, where is it?
Michael: You're standing on it.
(C-Note looks down at the grate in the yard by his feet.)
C-Note: Oh hell no. When we come up out of that ground there, that tower there...(he points to one)...that tower there...(he gestures to another)...and that tower behind us is going to see us. We'll be like ducks in a sh**ting range, you feel me?
(Two COs walk over.)
C.O.: Hurry it up, con!
C-Note (to Michael): Your plan sucks, snowflake.
ACT 2.
[Camera shot of Fox River entrance - day.]
[Camera shot the of the cell block - inmates file inside.]
[10. INT. Michael's cell. Day.]
Michael: I gotta go back into the walls tonight.
Sucre: Why?
Michael: I gotta get over to psych ward, familiarize myself with the pipes beneath, make sure we can get through.
Sucre: I don't know, Michael. C-Note's got a point. We come up in the middle of that yard, we're sitting ducks.
Michael: I know.
(Sucre looks across the cell block. Manche Sanchez is pushing a laundry trolley filled with inmates' clothing.)
Sucre: Hm. I might have an idea.
[11. INT. Press Conference. Day.]
(Vice President Caroline Reynolds is on the podium.)
Caroline: My family and I are more than dismayed by Judge Kessler's decision to allow the exhumation of my brother.
CUT TO: the badly rotted coffin being lifted out of the ground by a small crane. Nick and Veronica are standing nearby.
Caroline (v/o): This stunt, by Lincoln Burrows' defense counsel, is an affront and an insult to the memory of my brother, a good man who tried to make positive change in this country.
CUT TO: Caroline: This is being done in the name of trying to release a convicted k*ller from prison.
CUT TO: The coffin being put in the back of a funeral car.
Nick: Steadman asked for a green burial? No embalming, biodegradable coffin? It's very environmentally aware.
Veronica: Or smart if you don't want the body to be identified.
[Camera shot of the Fox River laundry room - exterior - day.]
[12. INT. Laundry room. Day.]
Manche: We haven't hung in months and now you want a favour? You know I love you, cuz. But that's a big ask. I gotta say no.
Sucre: You can't say no!
Manche: Whatever! If my mom - or worse, your mom - knows I did anything to get you in trouble, forget it.
Sucre: I'm in prison. How much trouble can I get into?
Manche: A lot! Damn.
Sucre: You owe me.
Manche: Like hell I do. It's your turn, not mine.
Sucre: Miss Mangene's broken window? The Terrado sisters? Your brother's 'lost' El Camino?
Manche: The church collection basket.
Sucre: The donkey!
(Manche looks up in shock.)
Manche: Yo. We took an oath, bro.
Sucre: Don't make me break it.
[13. INT. Lincoln's cell. Day.]
(Lincoln is asleep on his bed, and dreaming.)
[Lincoln's dream: he walks with his father as a young child.]
Aldo Burrows: Come on, Linc. We wanna catch batting practice. Let's hurry, take my hand.
(They hurry across to Wrigley Field - Home of Chicago Cubs.)
(In the stadium, Young Lincoln and his father watch the players.)
Aldo: Great seats, huh? See number 11 over there? Keep your eye on him. Watch him closely.
(Young Lincoln watches number 11 catch the ball in his glove.)
[Camera shot of Lincoln, still asleep in his cell.]
[14. INT. Michael's cell. Day.]
(Sucre is sitting on his bunk when Manche does his best to slide his large frame stealthily into the cell.)
Sucre: You got it?
(Manche nods, hands over his stomach.)
Sucre: Where is it?
(Manche glances at Michael.)
Sucre: Oh, he's cool.
(Manche slides out a suit wrapped in plastic from under his shirt.)
Manche: You get caught with this, they'll k*ll you! And I need this back by morning. They'll know something like that is missing. And cuz? Now you owe me.
(Michael slips the packet under his mattress and smiles at Sucre.)
[Camera shot of the prison yard.]
[15. INT. Break room. Day.]
(Michael paces around holding a crowbar. T-Bag opens the door to let C-Note and Westmoreland in. A postcard falls out of C-Note's pocket, reading 'Greetings from Iraq'.)
Westmoreland: Hey, you dropped something. Does that say Iraq?
C-Note (snatches it): Thanks.
[16. EXT. Storage area. Day.]
(Bellick comes round the corner. T-Bag, holding a clipboard and pen, walks over to the break room door and knocks on it with the clipboard.)
[17. INT. Break room. Day.]
Michael: Let's look busy.
(C-Note notices a small tear in the drywall and tears at it.)
C-Note: What the hell?
(That has just worsened the problem. The cement hidden in the walls from digging the hole begins to pour through the tear.)
C-Note: Oh, sh**t.
Sucre: Damn, bro. What did you do?
Westmoreland: It's the cement we dug up.
(The door opens. C-Note quickly stands by the door and jams his foot over the tear.)
(Bellick walks in, followed by T-Bag.)
Bellick: My God, you cons are slower than a spelling bee full of stutterers. You all think you can slow-walk this job, play grab-ass in here? Drag it out for months? Get to work!
(The inmates look at each other. Camera shows C-Note's foot against the wall, some cement on the floor beneath it.)
Westmoreland: You got it, boss.
(Bellick looks at C-Note.)
Bellick: How about it, eightball? Get to work.
(C-Note sh**t a panicked glance at Westmoreland.)
C-Note: Oh, boss, my leg...it's...fell asleep.
Bellick: You disobeying me, convict?
Westmoreland: Man said get to work!
(He pushes C-Note out of the way and puts his own leg in the way of the tear.)
C-Note: What the hell is your problem, old head!
Westmoreland: My problem is young con punks who don't know how things work around here.
(Bellick smiles.)
Westmoreland: Construction's a sweet gig. You wanna clean toilets? Be my guest. Otherwise, grab a hammer.
C-Note (meekly): All right.
Bellick: Still got some piss and vinegar in those old veins, huh, Charles? (he slaps him on the shoulder.) I like it.
(Bellick walks out, and T-Bag follows, closing the door after him.)
Westmoreland: Close one, huh?
(The inmates chuckle, but when Westmoreland moves his leg away from the wall the concrete comes pouring out.)
Westmoreland: Oh, man! What are we gonna do with this?
[18. EXT. Storage area. Day.]
(COs Stolte and Patterson walk down the block.)
Patterson: It was Ole Miss, right? Ole Miss?
Stolte: No, it was a Midwestern school.
Patterson: Iowa!
Stolte: Not Iowa. Hold on a sec.
(He turns to T-Bag, standing in the doorway with his clipboard. T-Bag quickly walks to the door and taps on it.)
Stolte: Hey, Bagwell.
[19. INT. Break room. Day.]
(The team are hurriedly shoving the concrete down the hole.)
Sucre: Come on, guys...
[20. INT. Storage room - outside break room door. Day.]
Stolte: Hey, do you know what school Art Schlichter played for?
T-Bag (nervously): Not really sure there, boss.
CUT TO: The team shoveling as fast as they can.
CUT TO: T-Bag: I really ain't much of a football guy, boss. Too much v*olence.
Stolte: Come on, you know the guy I'm talking about. Art Schlichter, the quarterback, got nailed for gambling.
T-Bag: No, doesn't really ring a bell.
Stolte: Bet if I asked you what his ass looked like you'd remember. Hey, maybe someone in the brain trust knows.
(He moves towards the break room door.)
Patterson: Come on, man, let's have some lunch.
(Stolte pulls the door open a crack. The PI team freeze.)
Stolte (looking back at Patterson): Hold on, I just wanna figure this out. It's driving me crazy. (He turns back to the door.)
T-Bag (blurts): Ohio State.
(Stolte looks back at him. Seconds pass.)
Stolte: That's right! He was a Buckeye!
(He closes the door. The inmates inside breath a sigh of relief.)
Stolte (to T-Bag): You're not completely worthless, after all!
[21. INT. Lincoln's cell. Day.]
(Sara is giving Lincoln a check up.)
Sara: How's your stomach? Any more vomiting?
Lincoln: Just nauseous. Must be the nerves.
Sara: That's understandable, considering. I can give you something for it.
Lincoln: No, it's fine.
Sara: All right. You let me know if there's anything you need.
Lincoln: Can I ask you a question, Doc?
Sara: Yeah. What?
Lincoln: With all that went down yesterday - head pounding, heart racing - could that cause me to see something that wasn't there?
Sara: Uh, yeah. Yeah, anxiety att*cks are often accompanied by flashes of light, black spots...
Lincoln: No, no, no. I saw someone in the viewing room.
Sara: There were people there.
Lincoln: This person couldn't have been there.
Sara: Yeah. Lincoln, you've heard of post-traumatic stress disorder, right?
Lincoln: Yeah.
Sara: I'm gonna call you a prime candidate. I don't think a lot of people have been through what you just did. So if you...if you thought you saw someone...it's possible that it was your subconscious giving you what you wanted. Whoever it was that you wanted to be there with you in that moment to comfort you. Who was it you thought you saw?
Lincoln (shakes his head): Thanks, Doc. Thank you.
Sara: Sure thing.
(She leaves, and a CO closes the door leaving Lincoln with head in hands.)
[22. INT. Break room. Day.]
(Michael and Sucre carry an industrial fan past Westmoreland and C-Note.)
Westmoreland: I've seen a lot of rackets in my time. But if you're doing what I think you're doing with those postcards, yours definitely takes the cake.
C-Note: How about saving the small talk, old head. 'Cause you and I ain't got nothing in common.
Westmoreland: What do you do? Write 'em here, then send 'em to a pal in Iraq and have him mail 'em your wife's way?
C-Note: Why don't you just shut your word hole? You don't know nothing about my racket.
Westmoreland: A con pretending he ain't in the hole to his family. I've seen that once or twice. But Iraq?
C-Note: Yeah. You're the one to talk.
Westmoreland: Dede, is that your wife or your kid?
C-Note: Now, you listen. I don't even want you to say her name in this prison. You feel me?
Westmoreland: A daughter. Definitely a daughter.
C-Note: Yeah, how would you know?
Westmoreland: 'Cause I got one myself. You know, after you break outside these walls, that's the first place they're gonna look for you - family.
C-Note: Now, why is it you think I'm that dumb that I would go directly there?
Westmoreland: 'Cause that's exactly the first place I'm gonna go.
(C-Note laughs lightly.)
Westmoreland: Turns out maybe we got something in common after all.
[Camera shot of the watch tower as the sky turns dark.]
[23. INT. Lincoln's cell. Night.]
(Lincoln is still asleep and dreaming.)
[Flashback: Lincoln dreams of himself as a young child with his father.]
Aldo Burrows: See number 11 over there? Keep your eye on him. Watch him closely. Mid-level reliever at best, but he's always working on it. That's why he's your old man's favorite player - work ethic.
(The baseball player turns around, showing the back of his jersey: Prall, 11.)
(Back in the cell, Lincoln's eyes snap open.)
[Flashback to this morning, Pope: William Prall. You know him?]
CUT TO: Image of the baseball jersey, Prall, 11.
[24. INT. Michael's cell. Night.]
(Sucre lies on his bunk. Michael is topless, standing with his back to the cell mirror and holding the smaller mirror in front of him.)
Michael: The pipe system beneath the psych ward is...well, it's complex. It'd be real easy to get lost.
Sucre: How complex can it be?
Michael: Very. When they built this place in 1858, the pipes were lead. A century later, they discovered lead was a health risk. So they went to copper.
(In the mirror behind him, the camera shows the pipe system being traced on Michael's tattoo.)
Michael: They never removed the lead pipes. Cost too much. There's thousands of yards of the stuff still down there. And then a few years ago they switched to industrial plastic.
(The mass of computer-generated pipes being traced on Michael's tattoo is now vast and complicated.)
Michael: Again, it was cheaper just to lay it over the old stuff. If I make a wrong turn down there tonight, I won't make it back by count.
Sucre: But you won't make the wrong turn, right?
[25. INT. Prison pipes system. Night.]
(Michael moves through the pipes until he looks up and sees his exit. He climbs the ladder attached to the vertical pipe wall, and pulls at the chain attached to the grate. It comes away after a bit of tugging. He climbs down again and opens the packet that was delivered by Manche.)
[Camera shot of the prison yard - night.]
[26. EXT. Prison yard. Night.]
(Michael's hand reaches up and slowly moves the grate over. He pulls himself out of the hole and replaces the grate. He is now wearing a guard's uniform, complete with baseball cap.)
ACT 3.
[27. EXT. Prison yard. Night.]
(Michael shivers in the snow. Suddenly a spotlight opens up from the watch tower, pointing straight at him. Michael feigns a guard's casual stance and waves towards the light. It shuts off. Michael walks over to psych ward.)
[28. INT. Psych ward. Night.]
(The psych ward orderly, Sklar, is sitting at the desk reading a magazine. Michael presses the buzzer outside. Sklar looks up surprised, and buzzes him in.)
Sklar: I don't believe my eyes. One of the blues actually coming in to psych ward.
Michael: I gotta hit the head and didn't wanna walk all the way back to A-wing. Mind if I use your facilities?
Sklar: Yeah, be my guest.
(He buzzes Michael in.)
Sklar: I don't know why you guys are so scared of the whack shack. I mean, between the K*llers and the crazies, I'll take the crazies. 'Cause if a crazy steps out of line, all I gotta do is sh**t him with 40ccs of 'shut your trap' and it's beddy-bye.
Michael: So, uh, which way is the bathroom?
Sklar: Down the hall, through the door, make a right.
(He buzzes Michael through another gate. Inmates can be heard shouting as Michael makes his way down the corridor. Sklar watches him go.)
[29. INT. Cell block. Night.]
(Sucre watches a guard doing count on the other side of the block. He checks his watch anxiously. He looks over at the toilet.)
[30. INT. Psych Ward. Night.]
(Michael stands at the top of a flight of stairs. He walks down them carefully. He hears a door close above him and stops, but nothing else happens. He continues down the stairs, clearly deviating from Sklar's directions.)
(He finds himself in the basement and creeps through the clutter and equipment. He tries one door but it's shut fast. He moves through another door and looks around, eventually finding a grate on the floor marked "Utility System Access". He pulls it up and looks down the hole.)
(An access buzzer sounds from above. Michael realizes Sklar is coming. He quickly replaces the grate and walks out of the second basement room, closing the door.)
Sklar: Hey, blue. What you doing down here?
Michael: Hey. Uh...I was just...looking for the bathroom.
Sklar: Down here?
Michael: Yeah, you said down the hall, through the door and to the left.
Sklar: No. I said through the door and make a right.
Michael: Ah. My bad. Have a good night.
(He walks past Sklar and out of the basement.)
Sklar: Blue! Hold up.
(Michael walks back into view.)
Sklar: Don'cha still gotta take a leak?
Michael: Yeah. Uh...which way was that again?
[31. INT. Forensic Laboratory. Night.]
Forensic Examiner: With decomposition this extensive, the most accurate identification tool is dental records. We made an imprint of the deceased's teeth and compared them to the dental records of Terrence Steadman.
(He holds up the two imprints.)
Nick: And?
Forensic Examiner: They were a perfect match.
Peter Tucci: Thank you, Doctor.
Veronica: That can't be Terrence Steadman.
Forensic Examiner: If you like, you can bring in a forensic examiner of your own choosing to examine the body. But I can tell you now, they'll come to the same conclusion that I have.
Nick: Thank you.
(He and Veronica go to leave. When they open the door, Caroline Reynolds is standing outside.)
Caroline: I hope you're proud of this. You've gotten your pound of flesh. Are you done now? Or would you like to hurt my family some more?
Nick (to Veronica): Come on.
(He leads her away.)
[Camera shot of the Fox River Asylum - exterior - night.]
[32. EXT. Prison yard. Night.]
(Michael quickly goes across the yard to the grate. He drops down into the hole.)
[33. INT. Michael's cell. Night.]
(Sucre taps the bunk nervously. He uses the mirror to look outside the cell: the guard is getting closer.)
[34. INT. Boiler room. Night.]
(Michael passes through the boiler room. Steam pours out of scalding hot pipes and exhausts.)
(He hears footsteps and pauses. C.O. Mack Andrews comes down the steps from above onto his level. Michael is right behind him.)
Andrews Radio (o/s): Hey Mack, are you there?
Andrews: Yeah.
Radio (o/s): What's your 20?
Andrews: I gotta step by Maintenance real quick. I'll be up in a minute.
(Andrews steps backwards, swigging from a vodka bottle. Michael is forced to back up even further, touching a steam pipe. He winces in agony, jamming a hand in his mouth as the steam burns his shoulder. Andrews finally walks onwards and Michael moves away from the steam.)
[35. INT. Michael's cell. Night.]
(Sucre has made up Michael's bunk to look like somebody is sleeping in it. Sucre feigns sleep on the top bunk. The guard passes, shining his torch on him, and moves on. Just as he passes, Sucre opens his eyes and hears tapping at the wall.)
(Sucre pulls the toilet away and Michael crawls in, sweating and burned.)
Sucre: You okay?
Michael: I'm burnt.
Sucre: Oh, God...
Michael: All right, help me take this off.
Sucre: No, no, it's like, burnt to your skin, bro!
Michael: Take it off!
Sucre: Are you kidding me? I can't! It's melted into your skin!
Michael: If the guards catch me wearing this, I'm a dead man.
Sucre: Bro, it's just not happen...
Michael: Do it! Please do it.
(He has opened the front of it, and prepares himself for Sucre to rip it off.)
Sucre: Ready? One, two...
(He rips off the jacket and Michael falls forward with a scream of agony.)
[36. INT. Infirmary. Day.]
(Michael regains consciousness in the infirmary. Sara goes over to him.)
Sara: Michael, it's Sara. How are you feeling?
Michael: Groggy.
Sara: That's the anesthesia.
Michael: Why did I have anesthesia?
Sara: We had to perform a procedure.
(Michael looks worried.)
[37. INT. Pope's Office. Day.]
(Pope sits behind his desk, Sucre in front of him. Bellick is interrogating him.)
Bellick (in Sucre's face): So you got sick of Scofield's smart mouth that you decided to deep-fry him, is that it?
Sucre: I didn't do anything to him, I swear!
Bellick: Let's review. A locked cell. Two inmates. One gets branded like a South Dakota steer. You think we should call Matlock in on this one?
Sucre: Who's Matlock?
Pope: Fernando. You're only gonna make things more difficult if you don't co-operate.
Sucre: I told you, I didn't burn him. I found him like that.
Bellick: You found him like that?
Sucre: He was acting kind of weird when we lined up for final count. He was sweating, you know? But he's not a big talker anyway, so I didn't think much of it. Middle of the night, I get up, you know, to shake hands with the president, and there he is, face down on the floor.
Bellick: My ass.
Sucre: Ask him yourself when the doc's done with him. I didn't touch him!
[38. INT. Infirmary. Day.]
Sara: Painkillers.
Michael (taking them): How bad is it?
Sara: Uh...I'd take the pills.
Michael: Do I get to see it?
Sara: No. Bandage stays on for now. Take your pills. Your cellmate do this to you?
Michael (amused): Sucre? No.
Sara: Who did?
Michael: This is the part where I don't answer you.
Sara: All right. I'll have you sent back to your cell.
(She walks out, past a CO.)
Sara (to C.O.): All yours.
(She walks into the next room and picks up the telephone. The CO escorts Michael away.)
Sara (on telephone): Hey, Katie, it's me. Listen, uh, can you come up to my office for a second? I got something I wanna show you.
[39. INT. Laundry room. Day.]
(Manche looks at the hole in the guard's uniform.)
Manche: What the hell am I gonna do now? I'm a dead man!
Sucre: I'm sorry, cuz. It was an accident.
Manche: Bull's gonna see this and flip his lid.
Geary: Hey, Slim. You got my uni ready?
Manche: Um...there's been a bit of a problem, boss.
Geary: What the hell is this?
Manche: I left the iron on it too long.
Geary: You are as stupid as you are fat, do you know that, D-Cups? My new shirt's coming out of your kick.
(He throws the damaged shirt at him and walks away. Manche throws the shirt at Sucre.)
Manche: You're gonna tell me right now.
Sucre: Tell you what?
Manche: What the hell you've got going on that's got you burning up guards' suits.
Sucre: Trust me, primo, the less you know the better.
[40. INT. Attorney-Client Room. Day.]
(Veronica is buzzed in to see Lincoln.)
Lincoln: Any news?
Veronica: No. No, not yet. Testing takes a couple of days.
Lincoln: What do you remember of Dad?
Veronica: Your dad? I didn't know him. Your mom said some pretty horrible stuff about him when we were growing up.
Lincoln: I think I saw him. When I was in the chair.
Veronica: Lincoln...
Lincoln: It was him. I know it was.
Veronica: How would you know? You haven't seen his face in 30 years.
Lincoln: A name that was used. Willie Prall.
Veronica: So?
Lincoln: It's the name of this guy who threw for Chicago back in the day. Dad and me were really into him, but I'd forgotten all about him. It's really weird, I've been having these dreams, memories, things I guess I suppressed when he left.
Veronica: This man who came to the execution, how do you know he used that name?
Lincoln: Pope told me.
Veronica: Was that before or after you had the dream?
(Lincoln looks disappointed.)
Veronica: Look, I'm sorry, okay? I don't mean to challenge what you're saying. But your dad's been MIA almost your entire life.
Lincoln: I know what I saw, V. I know what I saw.
[41. INT. Security camera office. Day.]
(Agents Brinker and Kellerman and a video technician are watching several CCTV camera screens.)
Brinker: This is the security camera footage of the courthouse from the night that Judge Kessler got those documents. Check out this guy. He is very skilled. He moves casually enough to avoid suspicious. You see how he shifts his hat when he turns corners to hide his face? He knows exactly where those cameras are.
(She studies the footage.)
Brinker: Wait, right there. See that reflection? Rewind it, rewind it.
(The technician plays with the image of the guy in the footage (Aldo Burrows) posting the file under Judge Kessler's door.)
Brinker: Right, can you blow that up?
(Brinker leans forward and looks at the reflection of the guy in the door frame.)
Brinker: Son of a b*tch.
Kellerman: What?
Brinker: I know that guy.
[42. INT. Infirmary. Day.]
(Sara removes a small dark piece of cloth from a pile of blooded cotton swabs with a pair of tweezers.)
Katie: What is it?
Sara: It was fused into Michael Scofield's skin. I removed it during the debridement procedure.
Katie: What about it?
Sara: Well, this fabric doesn't come from a standard issue prison uniform.
Katie: Where did it come from then?
Sara: As far as I can tell, a guard's uniform.
[43. INT. Prison cells block. Day.]
(Stolte escorts Michael back to his cell.)
Stolte: Open up 40!
Guard (o/s): Open.
(Michael walks in slowly.)
Stolte: Close 40!
Guard (o/s): 40 closed.
Sucre: How are you feeling?
(Michael strips off his sweater to reveal the gauze. He removes the gauze and the bandage and uses the small mirror to look at his back in the cell mirror. His face fills with panic.)
Sucre: What's wrong?
Michael: The blueprints. The ones we need to get from the psych ward to the infirmary. Our map out of here. They're gone.
[Camera shot of the burn on Michael's back in the cell mirror.]
END CREDITS.
Opening Scene.
[Camera shot of the clock on the wall: it reads 11:58pm.]
(Camera pans down to Bellick and Pope who are standing beneath it. They are watching a CO strap the belts around Lincoln's arms in the electric chair. Another straps on the headpiece. Lincoln's hands grip the chair tightly and he breathes deeply. Patterson puts the final bolt of the headpiece.)
(Camera shot of the clock: it now reads 11:59pm.)
(Warden Pope nods to Bellick, and Bellick opens the curtain to the viewing room. Michael and Veronica are seated: Veronica turns away momentarily, crying.)
Pope: Doctor, you can leave now.
(Sara leaves the room.)
(Lincoln scans the people in the visiting room. At the back, an older man removes his baseball cap, staring at him. Lincoln recognizes him.)
Lincoln: It's him. Michael...
(In the viewing room, Michael realizes his brother is trying to say something, but can't figure out what.)
Veronica (whispers): What's he saying?
Lincoln: Michael, turn around. It's him.
Veronica: What do you think he's saying?
Lincoln: Michael, turn around.
(The COs put a black hood over Lincoln's face and step away from the chair. Warden Pope checks his watch and looks up at the clock on the wall. The CO manning the electricity switch waits.)
(The telephone in the room rings. Without warning, the curtains close on the viewing room. Michael jumps to his feet.)
Michael: What's going on?
Veronica: I don't know.
Michael: What's happening? What the hell's going on in there?
(Camera shot of the Fox River Penitentiary wall. It's snowing heavily.)
[1. INT. Final Visitation Room. Night.]
(Michael and Veronica wait anxiously. The door opens and Warden Pope enters.)
Pope: I can't tell you how sorry I am that you've had to go through all of this.
(They suddenly hear the jingling of shackles and Lincoln is escorted into the room.)
Veronica: Lincoln.
(Veronica helps the CO bring Lincoln over to the table.)
Michael: What happened in there?
Pope: Judge Kessler called. The execution's been delayed.
Michael: What do you mean, delayed?
Pope: Apparently some new evidence has come to light.
Veronica: What evidence?
Michael: I don't understand. How long do we have? One day? Two days?
Pope: That's all the information I have at the moment. I'm sorry. I'll give you a minute.
Veronica (to Lincoln, stroking his cheek): You okay?
Michael: I need to know how much time we have.
Veronica: I'll go and see the judge and find out. (She kisses Lincoln's cheek) You're with Michael, you'll be okay.
(Veronica exits the room. Michael puts a hand on Lincoln's shoulder.)
Lincoln: Did you see him?
Michael: Who?
Lincoln: The guy in the viewing room.
Michael: No.
Lincoln: It was Dad.
(Dramatic music plays. Michael looks shocked.)
Lincoln (through gritted teeth): It was Dad.
[Opening Credits.]
[2. INT. Final Visitation Room. Night.]
Lincoln: It was him. I know it was.
Michael: That's not possible, Linc.
Lincoln: It is possible. I saw him.
Michael: I don't know how you could have. There were only half a dozen people in that room - me, Veronica and a bunch of reporters. He wasn't there.
Lincoln: You don't know that.
Michael: I do. I would have recognized him.
Lincoln: You don't remember what he looks like. I do.
Michael: This is a man who took off, what, 30 years ago? Why would he come back now, at the very last minute?
Lincoln: I don't know.
[3. INT. Vice President Caroline Reynolds' Office. Night.]
(Caroline sits at her desk facing Kellerman and Agent Brinker. Kellerman is standing but Brinker sits in a chair.)
Caroline: Why is he still alive?
Kellerman: It appears that some information was anonymously slipped to the judge.
Caroline: Anonymously? It was your fat little friend, Hale. If you had taken care of him sooner...
Kellerman: It wasn't Hale.
Samantha Brinker: How do you know that?
Kellerman: If Hale had given Veronica Donovan anything that could have gotten a stay of execution, I think she would have brought it up when she made her argument in court. It didn't come from him.
Brinker: Well, who else on your end knows?
Kellerman (defensive): Who else on your end knows? Why all the finger-pointing at us? Are you sure that the leak didn't come from your end, from The Company?
Caroline: Hey, we are all on the same team, remember.
Brinker: Absolutely.
Caroline: Just find the leak. And plug it.
Kellerman: Thank you ma'am.
(He walks to the door. Brinker follows.)
Caroline: One more thing.
(Brinker turns around.)
Caroline: The next time you're in my office, I expect you to stand when you're addressing me.
Brinker: Absolutely.
(She walks out, closing the door behind her.)
[Camera shot of a name plate on a door: Honorable Randall Kessler.]
[4. INT. Kessler's office. Night.]
(Kessler sits behind his desk in front of Veronica and the opposing counsel from the court room, Peter Tucci.)
Kessler: All I can tell is, I was working late in chambers, I left at 11, and there it was, right under my door.
(He hands a file to Veronica.)
Kessler: One is Terrance Steadman's autopsy report. In it, his appendix is noted as present and unremarkable. The other paper is an operative report from when Mr. Steadman was 12 years old. The procedure was an appendectomy.
Peter: That's impossible. Let me see this.
Veronica: I want the conviction overturned and Lincoln Burrows immediately released from custody.
Peter: Whoa, whoa, whoa. Not so fast. These records haven't even been certified.
Veronica: The hospital can tell you.
Kessler: The hospital does not keep records going back that far. I checked.
Peter: So as far as we know, these documents could be a hoax from some anti-death penalty advocate, or, dare I say it, defense counsel.
Veronica: Oh, please, you're preposterous.
Kessler: Let's just all take a deep breath here, okay? I don't know what these papers mean. And for that reason, I'd like to err on the side of caution. I'm going to delay the execution for two weeks. That should give us more than enough time to exhume the body.
Peter: Exhume the body? Your Honour, with all due respect, that is a drastic measure.
Kessler: It's also the only way we're going to know if that body in the ground is really Terrance Steadman.
[Camera shot of the watch tower at Fox River as the sky turns to light.]
[5. EXT. Prison yard. Day.]
(Michael stands at the telephone box, the yard is covered in snow.)
Michael (on the telephone): So that's not Steadman that was buried.
Veronica (v/o): We don't know. If it isn't, Lincoln's free. If it is, we're right back where we started. Take care of yourself, Michael.
[6. INT. Michael's cell. Day.]
(Michael uses the mirror to look out of the cell.)
Sucre: So that body. What if it's him?
Michael: I'm not gonna sit around hoping.
Sucre: What does that mean?
Michael: It means we get back to work.
Sucre: God, I was hoping you would say that.
[7. INT. Lincoln's cell. Day.]
Lincoln: They're digging up the body.
Pope: To be honest, I've never been in a situation like this before. If nothing else, you can be glad that you've got people who'll go to extreme lengths to get you out of here.
Lincoln: No kidding.
Pope: No.
Lincoln: Warden, um...at the execution, there was a man in the viewing room. Just wondering if you or anyone in the prison had spoken to him.
Pope: Well, according to this... (he looks down at his file)...those present were your brother, his attorney, and three reporters. Two women and a man.
Lincoln: The man. Who was he?
Pope: Um, he was from the Headline Press. William Prall. You know him?
Lincoln (confused): No.
Pope: Guard.
(A CO shuts the ADSEG cell door.)
[8. INT. Michael's cell. Day.]
(Sucre holds the mirror so Michael can see his tattoo.)
Michael: Hold it steady please.
Sucre: What exactly are you looking for in all that ink?
Michael: A new way out of here.
Sucre: You don't know all those plans by now?
Michael: No. Memorizing it would be like memorizing the phone book.
Sucre: Yeah, but why not just tat up Route 66?
Michael: Contingencies.
Sucre: Contingencies? You saying you found another way?
Michael: Maybe.
Sucre: What do you mean, maybe?
Michael: There's always been another way. But it's su1c1de.
(Camera pans over the prison yard. It's snowing.)
[9.EXT. Prison yard. Day.]
(The PI crew are at work.)
Sucre: Man, I'm so cold my hands are stinging.
C-Note: You know what they say about weather in the Midwest. If you don't like it, wait an hour.
Michael: We're still going out through the infirmary and we're still gonna do it from the guards' room. It's just the in-between that's gonna have to change.
C-Note: Wait a minute, why are you changing the plan, man? We're already through to that room beneath the infirmary. That's all we gotta do is get through that pipe and we're home free.
Michael: There's a reason they replace it with a 12-inch pipe, Darwin - people can't get through it. The only way we're getting into that infirmary is from beneath. We're gonna have to find another way.
Westmoreland: The psych ward?
(Camera shot of the "Fox River Asylum" sign across the way.)
Michael: It's the only building that shares a sub-surface line with the infirmary.
T-Bag: Are you telling me to get to the infirmary we gotta go through the whack shack?
Michael: Unless you got a better idea.
Westmoreland: And there's a sub-surface line that runs from the guards' room to the psych ward?
Michael: Sort of.
C-Note: Whoa, whoa, what do you mean 'sort of'?
Michael: We can go into that hole in the guards' room. About 40 yards up Route 66, there's a grate that'll get us halfway there.
C-Note: And what about the rest of the way?
Michael: We gotta do it above ground.
C-Note: So it's just a bunch of cons taking a stroll in the middle of the night for all the guards to see?
Michael: Yep.
Sucre: You're right. It is su1c1de.
Westmoreland: This grate you're talking about - it's hidden, right, partner? The COs can't see it?
Michael: Not exactly.
C-Note: Well, where is it?
Michael: You're standing on it.
(C-Note looks down at the grate in the yard by his feet.)
C-Note: Oh hell no. When we come up out of that ground there, that tower there...(he points to one)...that tower there...(he gestures to another)...and that tower behind us is going to see us. We'll be like ducks in a sh**ting range, you feel me?
(Two COs walk over.)
C.O.: Hurry it up, con!
C-Note (to Michael): Your plan sucks, snowflake.
ACT 2.
[Camera shot of Fox River entrance - day.]
[Camera shot the of the cell block - inmates file inside.]
[10. INT. Michael's cell. Day.]
Michael: I gotta go back into the walls tonight.
Sucre: Why?
Michael: I gotta get over to psych ward, familiarize myself with the pipes beneath, make sure we can get through.
Sucre: I don't know, Michael. C-Note's got a point. We come up in the middle of that yard, we're sitting ducks.
Michael: I know.
(Sucre looks across the cell block. Manche Sanchez is pushing a laundry trolley filled with inmates' clothing.)
Sucre: Hm. I might have an idea.
[11. INT. Press Conference. Day.]
(Vice President Caroline Reynolds is on the podium.)
Caroline: My family and I are more than dismayed by Judge Kessler's decision to allow the exhumation of my brother.
CUT TO: the badly rotted coffin being lifted out of the ground by a small crane. Nick and Veronica are standing nearby.
Caroline (v/o): This stunt, by Lincoln Burrows' defense counsel, is an affront and an insult to the memory of my brother, a good man who tried to make positive change in this country.
CUT TO: Caroline: This is being done in the name of trying to release a convicted k*ller from prison.
CUT TO: The coffin being put in the back of a funeral car.
Nick: Steadman asked for a green burial? No embalming, biodegradable coffin? It's very environmentally aware.
Veronica: Or smart if you don't want the body to be identified.
[Camera shot of the Fox River laundry room - exterior - day.]
[12. INT. Laundry room. Day.]
Manche: We haven't hung in months and now you want a favour? You know I love you, cuz. But that's a big ask. I gotta say no.
Sucre: You can't say no!
Manche: Whatever! If my mom - or worse, your mom - knows I did anything to get you in trouble, forget it.
Sucre: I'm in prison. How much trouble can I get into?
Manche: A lot! Damn.
Sucre: You owe me.
Manche: Like hell I do. It's your turn, not mine.
Sucre: Miss Mangene's broken window? The Terrado sisters? Your brother's 'lost' El Camino?
Manche: The church collection basket.
Sucre: The donkey!
(Manche looks up in shock.)
Manche: Yo. We took an oath, bro.
Sucre: Don't make me break it.
[13. INT. Lincoln's cell. Day.]
(Lincoln is asleep on his bed, and dreaming.)
[Lincoln's dream: he walks with his father as a young child.]
Aldo Burrows: Come on, Linc. We wanna catch batting practice. Let's hurry, take my hand.
(They hurry across to Wrigley Field - Home of Chicago Cubs.)
(In the stadium, Young Lincoln and his father watch the players.)
Aldo: Great seats, huh? See number 11 over there? Keep your eye on him. Watch him closely.
(Young Lincoln watches number 11 catch the ball in his glove.)
[Camera shot of Lincoln, still asleep in his cell.]
[14. INT. Michael's cell. Day.]
(Sucre is sitting on his bunk when Manche does his best to slide his large frame stealthily into the cell.)
Sucre: You got it?
(Manche nods, hands over his stomach.)
Sucre: Where is it?
(Manche glances at Michael.)
Sucre: Oh, he's cool.
(Manche slides out a suit wrapped in plastic from under his shirt.)
Manche: You get caught with this, they'll k*ll you! And I need this back by morning. They'll know something like that is missing. And cuz? Now you owe me.
(Michael slips the packet under his mattress and smiles at Sucre.)
[Camera shot of the prison yard.]
[15. INT. Break room. Day.]
(Michael paces around holding a crowbar. T-Bag opens the door to let C-Note and Westmoreland in. A postcard falls out of C-Note's pocket, reading 'Greetings from Iraq'.)
Westmoreland: Hey, you dropped something. Does that say Iraq?
C-Note (snatches it): Thanks.
[16. EXT. Storage area. Day.]
(Bellick comes round the corner. T-Bag, holding a clipboard and pen, walks over to the break room door and knocks on it with the clipboard.)
[17. INT. Break room. Day.]
Michael: Let's look busy.
(C-Note notices a small tear in the drywall and tears at it.)
C-Note: What the hell?
(That has just worsened the problem. The cement hidden in the walls from digging the hole begins to pour through the tear.)
C-Note: Oh, sh**t.
Sucre: Damn, bro. What did you do?
Westmoreland: It's the cement we dug up.
(The door opens. C-Note quickly stands by the door and jams his foot over the tear.)
(Bellick walks in, followed by T-Bag.)
Bellick: My God, you cons are slower than a spelling bee full of stutterers. You all think you can slow-walk this job, play grab-ass in here? Drag it out for months? Get to work!
(The inmates look at each other. Camera shows C-Note's foot against the wall, some cement on the floor beneath it.)
Westmoreland: You got it, boss.
(Bellick looks at C-Note.)
Bellick: How about it, eightball? Get to work.
(C-Note sh**t a panicked glance at Westmoreland.)
C-Note: Oh, boss, my leg...it's...fell asleep.
Bellick: You disobeying me, convict?
Westmoreland: Man said get to work!
(He pushes C-Note out of the way and puts his own leg in the way of the tear.)
C-Note: What the hell is your problem, old head!
Westmoreland: My problem is young con punks who don't know how things work around here.
(Bellick smiles.)
Westmoreland: Construction's a sweet gig. You wanna clean toilets? Be my guest. Otherwise, grab a hammer.
C-Note (meekly): All right.
Bellick: Still got some piss and vinegar in those old veins, huh, Charles? (he slaps him on the shoulder.) I like it.
(Bellick walks out, and T-Bag follows, closing the door after him.)
Westmoreland: Close one, huh?
(The inmates chuckle, but when Westmoreland moves his leg away from the wall the concrete comes pouring out.)
Westmoreland: Oh, man! What are we gonna do with this?
[18. EXT. Storage area. Day.]
(COs Stolte and Patterson walk down the block.)
Patterson: It was Ole Miss, right? Ole Miss?
Stolte: No, it was a Midwestern school.
Patterson: Iowa!
Stolte: Not Iowa. Hold on a sec.
(He turns to T-Bag, standing in the doorway with his clipboard. T-Bag quickly walks to the door and taps on it.)
Stolte: Hey, Bagwell.
[19. INT. Break room. Day.]
(The team are hurriedly shoving the concrete down the hole.)
Sucre: Come on, guys...
[20. INT. Storage room - outside break room door. Day.]
Stolte: Hey, do you know what school Art Schlichter played for?
T-Bag (nervously): Not really sure there, boss.
CUT TO: The team shoveling as fast as they can.
CUT TO: T-Bag: I really ain't much of a football guy, boss. Too much v*olence.
Stolte: Come on, you know the guy I'm talking about. Art Schlichter, the quarterback, got nailed for gambling.
T-Bag: No, doesn't really ring a bell.
Stolte: Bet if I asked you what his ass looked like you'd remember. Hey, maybe someone in the brain trust knows.
(He moves towards the break room door.)
Patterson: Come on, man, let's have some lunch.
(Stolte pulls the door open a crack. The PI team freeze.)
Stolte (looking back at Patterson): Hold on, I just wanna figure this out. It's driving me crazy. (He turns back to the door.)
T-Bag (blurts): Ohio State.
(Stolte looks back at him. Seconds pass.)
Stolte: That's right! He was a Buckeye!
(He closes the door. The inmates inside breath a sigh of relief.)
Stolte (to T-Bag): You're not completely worthless, after all!
[21. INT. Lincoln's cell. Day.]
(Sara is giving Lincoln a check up.)
Sara: How's your stomach? Any more vomiting?
Lincoln: Just nauseous. Must be the nerves.
Sara: That's understandable, considering. I can give you something for it.
Lincoln: No, it's fine.
Sara: All right. You let me know if there's anything you need.
Lincoln: Can I ask you a question, Doc?
Sara: Yeah. What?
Lincoln: With all that went down yesterday - head pounding, heart racing - could that cause me to see something that wasn't there?
Sara: Uh, yeah. Yeah, anxiety att*cks are often accompanied by flashes of light, black spots...
Lincoln: No, no, no. I saw someone in the viewing room.
Sara: There were people there.
Lincoln: This person couldn't have been there.
Sara: Yeah. Lincoln, you've heard of post-traumatic stress disorder, right?
Lincoln: Yeah.
Sara: I'm gonna call you a prime candidate. I don't think a lot of people have been through what you just did. So if you...if you thought you saw someone...it's possible that it was your subconscious giving you what you wanted. Whoever it was that you wanted to be there with you in that moment to comfort you. Who was it you thought you saw?
Lincoln (shakes his head): Thanks, Doc. Thank you.
Sara: Sure thing.
(She leaves, and a CO closes the door leaving Lincoln with head in hands.)
[22. INT. Break room. Day.]
(Michael and Sucre carry an industrial fan past Westmoreland and C-Note.)
Westmoreland: I've seen a lot of rackets in my time. But if you're doing what I think you're doing with those postcards, yours definitely takes the cake.
C-Note: How about saving the small talk, old head. 'Cause you and I ain't got nothing in common.
Westmoreland: What do you do? Write 'em here, then send 'em to a pal in Iraq and have him mail 'em your wife's way?
C-Note: Why don't you just shut your word hole? You don't know nothing about my racket.
Westmoreland: A con pretending he ain't in the hole to his family. I've seen that once or twice. But Iraq?
C-Note: Yeah. You're the one to talk.
Westmoreland: Dede, is that your wife or your kid?
C-Note: Now, you listen. I don't even want you to say her name in this prison. You feel me?
Westmoreland: A daughter. Definitely a daughter.
C-Note: Yeah, how would you know?
Westmoreland: 'Cause I got one myself. You know, after you break outside these walls, that's the first place they're gonna look for you - family.
C-Note: Now, why is it you think I'm that dumb that I would go directly there?
Westmoreland: 'Cause that's exactly the first place I'm gonna go.
(C-Note laughs lightly.)
Westmoreland: Turns out maybe we got something in common after all.
[Camera shot of the watch tower as the sky turns dark.]
[23. INT. Lincoln's cell. Night.]
(Lincoln is still asleep and dreaming.)
[Flashback: Lincoln dreams of himself as a young child with his father.]
Aldo Burrows: See number 11 over there? Keep your eye on him. Watch him closely. Mid-level reliever at best, but he's always working on it. That's why he's your old man's favorite player - work ethic.
(The baseball player turns around, showing the back of his jersey: Prall, 11.)
(Back in the cell, Lincoln's eyes snap open.)
[Flashback to this morning, Pope: William Prall. You know him?]
CUT TO: Image of the baseball jersey, Prall, 11.
[24. INT. Michael's cell. Night.]
(Sucre lies on his bunk. Michael is topless, standing with his back to the cell mirror and holding the smaller mirror in front of him.)
Michael: The pipe system beneath the psych ward is...well, it's complex. It'd be real easy to get lost.
Sucre: How complex can it be?
Michael: Very. When they built this place in 1858, the pipes were lead. A century later, they discovered lead was a health risk. So they went to copper.
(In the mirror behind him, the camera shows the pipe system being traced on Michael's tattoo.)
Michael: They never removed the lead pipes. Cost too much. There's thousands of yards of the stuff still down there. And then a few years ago they switched to industrial plastic.
(The mass of computer-generated pipes being traced on Michael's tattoo is now vast and complicated.)
Michael: Again, it was cheaper just to lay it over the old stuff. If I make a wrong turn down there tonight, I won't make it back by count.
Sucre: But you won't make the wrong turn, right?
[25. INT. Prison pipes system. Night.]
(Michael moves through the pipes until he looks up and sees his exit. He climbs the ladder attached to the vertical pipe wall, and pulls at the chain attached to the grate. It comes away after a bit of tugging. He climbs down again and opens the packet that was delivered by Manche.)
[Camera shot of the prison yard - night.]
[26. EXT. Prison yard. Night.]
(Michael's hand reaches up and slowly moves the grate over. He pulls himself out of the hole and replaces the grate. He is now wearing a guard's uniform, complete with baseball cap.)
ACT 3.
[27. EXT. Prison yard. Night.]
(Michael shivers in the snow. Suddenly a spotlight opens up from the watch tower, pointing straight at him. Michael feigns a guard's casual stance and waves towards the light. It shuts off. Michael walks over to psych ward.)
[28. INT. Psych ward. Night.]
(The psych ward orderly, Sklar, is sitting at the desk reading a magazine. Michael presses the buzzer outside. Sklar looks up surprised, and buzzes him in.)
Sklar: I don't believe my eyes. One of the blues actually coming in to psych ward.
Michael: I gotta hit the head and didn't wanna walk all the way back to A-wing. Mind if I use your facilities?
Sklar: Yeah, be my guest.
(He buzzes Michael in.)
Sklar: I don't know why you guys are so scared of the whack shack. I mean, between the K*llers and the crazies, I'll take the crazies. 'Cause if a crazy steps out of line, all I gotta do is sh**t him with 40ccs of 'shut your trap' and it's beddy-bye.
Michael: So, uh, which way is the bathroom?
Sklar: Down the hall, through the door, make a right.
(He buzzes Michael through another gate. Inmates can be heard shouting as Michael makes his way down the corridor. Sklar watches him go.)
[29. INT. Cell block. Night.]
(Sucre watches a guard doing count on the other side of the block. He checks his watch anxiously. He looks over at the toilet.)
[30. INT. Psych Ward. Night.]
(Michael stands at the top of a flight of stairs. He walks down them carefully. He hears a door close above him and stops, but nothing else happens. He continues down the stairs, clearly deviating from Sklar's directions.)
(He finds himself in the basement and creeps through the clutter and equipment. He tries one door but it's shut fast. He moves through another door and looks around, eventually finding a grate on the floor marked "Utility System Access". He pulls it up and looks down the hole.)
(An access buzzer sounds from above. Michael realizes Sklar is coming. He quickly replaces the grate and walks out of the second basement room, closing the door.)
Sklar: Hey, blue. What you doing down here?
Michael: Hey. Uh...I was just...looking for the bathroom.
Sklar: Down here?
Michael: Yeah, you said down the hall, through the door and to the left.
Sklar: No. I said through the door and make a right.
Michael: Ah. My bad. Have a good night.
(He walks past Sklar and out of the basement.)
Sklar: Blue! Hold up.
(Michael walks back into view.)
Sklar: Don'cha still gotta take a leak?
Michael: Yeah. Uh...which way was that again?
[31. INT. Forensic Laboratory. Night.]
Forensic Examiner: With decomposition this extensive, the most accurate identification tool is dental records. We made an imprint of the deceased's teeth and compared them to the dental records of Terrence Steadman.
(He holds up the two imprints.)
Nick: And?
Forensic Examiner: They were a perfect match.
Peter Tucci: Thank you, Doctor.
Veronica: That can't be Terrence Steadman.
Forensic Examiner: If you like, you can bring in a forensic examiner of your own choosing to examine the body. But I can tell you now, they'll come to the same conclusion that I have.
Nick: Thank you.
(He and Veronica go to leave. When they open the door, Caroline Reynolds is standing outside.)
Caroline: I hope you're proud of this. You've gotten your pound of flesh. Are you done now? Or would you like to hurt my family some more?
Nick (to Veronica): Come on.
(He leads her away.)
[Camera shot of the Fox River Asylum - exterior - night.]
[32. EXT. Prison yard. Night.]
(Michael quickly goes across the yard to the grate. He drops down into the hole.)
[33. INT. Michael's cell. Night.]
(Sucre taps the bunk nervously. He uses the mirror to look outside the cell: the guard is getting closer.)
[34. INT. Boiler room. Night.]
(Michael passes through the boiler room. Steam pours out of scalding hot pipes and exhausts.)
(He hears footsteps and pauses. C.O. Mack Andrews comes down the steps from above onto his level. Michael is right behind him.)
Andrews Radio (o/s): Hey Mack, are you there?
Andrews: Yeah.
Radio (o/s): What's your 20?
Andrews: I gotta step by Maintenance real quick. I'll be up in a minute.
(Andrews steps backwards, swigging from a vodka bottle. Michael is forced to back up even further, touching a steam pipe. He winces in agony, jamming a hand in his mouth as the steam burns his shoulder. Andrews finally walks onwards and Michael moves away from the steam.)
[35. INT. Michael's cell. Night.]
(Sucre has made up Michael's bunk to look like somebody is sleeping in it. Sucre feigns sleep on the top bunk. The guard passes, shining his torch on him, and moves on. Just as he passes, Sucre opens his eyes and hears tapping at the wall.)
(Sucre pulls the toilet away and Michael crawls in, sweating and burned.)
Sucre: You okay?
Michael: I'm burnt.
Sucre: Oh, God...
Michael: All right, help me take this off.
Sucre: No, no, it's like, burnt to your skin, bro!
Michael: Take it off!
Sucre: Are you kidding me? I can't! It's melted into your skin!
Michael: If the guards catch me wearing this, I'm a dead man.
Sucre: Bro, it's just not happen...
Michael: Do it! Please do it.
(He has opened the front of it, and prepares himself for Sucre to rip it off.)
Sucre: Ready? One, two...
(He rips off the jacket and Michael falls forward with a scream of agony.)
[36. INT. Infirmary. Day.]
(Michael regains consciousness in the infirmary. Sara goes over to him.)
Sara: Michael, it's Sara. How are you feeling?
Michael: Groggy.
Sara: That's the anesthesia.
Michael: Why did I have anesthesia?
Sara: We had to perform a procedure.
(Michael looks worried.)
[37. INT. Pope's Office. Day.]
(Pope sits behind his desk, Sucre in front of him. Bellick is interrogating him.)
Bellick (in Sucre's face): So you got sick of Scofield's smart mouth that you decided to deep-fry him, is that it?
Sucre: I didn't do anything to him, I swear!
Bellick: Let's review. A locked cell. Two inmates. One gets branded like a South Dakota steer. You think we should call Matlock in on this one?
Sucre: Who's Matlock?
Pope: Fernando. You're only gonna make things more difficult if you don't co-operate.
Sucre: I told you, I didn't burn him. I found him like that.
Bellick: You found him like that?
Sucre: He was acting kind of weird when we lined up for final count. He was sweating, you know? But he's not a big talker anyway, so I didn't think much of it. Middle of the night, I get up, you know, to shake hands with the president, and there he is, face down on the floor.
Bellick: My ass.
Sucre: Ask him yourself when the doc's done with him. I didn't touch him!
[38. INT. Infirmary. Day.]
Sara: Painkillers.
Michael (taking them): How bad is it?
Sara: Uh...I'd take the pills.
Michael: Do I get to see it?
Sara: No. Bandage stays on for now. Take your pills. Your cellmate do this to you?
Michael (amused): Sucre? No.
Sara: Who did?
Michael: This is the part where I don't answer you.
Sara: All right. I'll have you sent back to your cell.
(She walks out, past a CO.)
Sara (to C.O.): All yours.
(She walks into the next room and picks up the telephone. The CO escorts Michael away.)
Sara (on telephone): Hey, Katie, it's me. Listen, uh, can you come up to my office for a second? I got something I wanna show you.
[39. INT. Laundry room. Day.]
(Manche looks at the hole in the guard's uniform.)
Manche: What the hell am I gonna do now? I'm a dead man!
Sucre: I'm sorry, cuz. It was an accident.
Manche: Bull's gonna see this and flip his lid.
Geary: Hey, Slim. You got my uni ready?
Manche: Um...there's been a bit of a problem, boss.
Geary: What the hell is this?
Manche: I left the iron on it too long.
Geary: You are as stupid as you are fat, do you know that, D-Cups? My new shirt's coming out of your kick.
(He throws the damaged shirt at him and walks away. Manche throws the shirt at Sucre.)
Manche: You're gonna tell me right now.
Sucre: Tell you what?
Manche: What the hell you've got going on that's got you burning up guards' suits.
Sucre: Trust me, primo, the less you know the better.
[40. INT. Attorney-Client Room. Day.]
(Veronica is buzzed in to see Lincoln.)
Lincoln: Any news?
Veronica: No. No, not yet. Testing takes a couple of days.
Lincoln: What do you remember of Dad?
Veronica: Your dad? I didn't know him. Your mom said some pretty horrible stuff about him when we were growing up.
Lincoln: I think I saw him. When I was in the chair.
Veronica: Lincoln...
Lincoln: It was him. I know it was.
Veronica: How would you know? You haven't seen his face in 30 years.
Lincoln: A name that was used. Willie Prall.
Veronica: So?
Lincoln: It's the name of this guy who threw for Chicago back in the day. Dad and me were really into him, but I'd forgotten all about him. It's really weird, I've been having these dreams, memories, things I guess I suppressed when he left.
Veronica: This man who came to the execution, how do you know he used that name?
Lincoln: Pope told me.
Veronica: Was that before or after you had the dream?
(Lincoln looks disappointed.)
Veronica: Look, I'm sorry, okay? I don't mean to challenge what you're saying. But your dad's been MIA almost your entire life.
Lincoln: I know what I saw, V. I know what I saw.
[41. INT. Security camera office. Day.]
(Agents Brinker and Kellerman and a video technician are watching several CCTV camera screens.)
Brinker: This is the security camera footage of the courthouse from the night that Judge Kessler got those documents. Check out this guy. He is very skilled. He moves casually enough to avoid suspicious. You see how he shifts his hat when he turns corners to hide his face? He knows exactly where those cameras are.
(She studies the footage.)
Brinker: Wait, right there. See that reflection? Rewind it, rewind it.
(The technician plays with the image of the guy in the footage (Aldo Burrows) posting the file under Judge Kessler's door.)
Brinker: Right, can you blow that up?
(Brinker leans forward and looks at the reflection of the guy in the door frame.)
Brinker: Son of a b*tch.
Kellerman: What?
Brinker: I know that guy.
[42. INT. Infirmary. Day.]
(Sara removes a small dark piece of cloth from a pile of blooded cotton swabs with a pair of tweezers.)
Katie: What is it?
Sara: It was fused into Michael Scofield's skin. I removed it during the debridement procedure.
Katie: What about it?
Sara: Well, this fabric doesn't come from a standard issue prison uniform.
Katie: Where did it come from then?
Sara: As far as I can tell, a guard's uniform.
[43. INT. Prison cells block. Day.]
(Stolte escorts Michael back to his cell.)
Stolte: Open up 40!
Guard (o/s): Open.
(Michael walks in slowly.)
Stolte: Close 40!
Guard (o/s): 40 closed.
Sucre: How are you feeling?
(Michael strips off his sweater to reveal the gauze. He removes the gauze and the bandage and uses the small mirror to look at his back in the cell mirror. His face fills with panic.)
Sucre: What's wrong?
Michael: The blueprints. The ones we need to get from the psych ward to the infirmary. Our map out of here. They're gone.
[Camera shot of the burn on Michael's back in the cell mirror.]
END CREDITS.