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TRANSCRIPT:
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ACT 1.

Opening Scene.

[Camera fades in on smoke. Wreckage. Fades out.]

[Fade in on the truck on its side, battered and twisted. Lincoln lies on the ground, eyes closed, still. Fade out.]

(Lincoln breathes, opens his eyes. His breathing is labored and the camera shows he is seeing through blurred, fuzzy vision. He groans.)

(Up on the road, a car pulls up and stops. Lincoln watches a single figure get out and approach him. It's Kellerman.)

(Kellerman kneels next to him, pats his shoulder, then puts his hand on Lincoln's shackled ones.)

Kellerman: You know, I used to have a Great Dane. Big and loyal. When she was 12, she got cancer so we had to put her down.

(Camera shows Kellerman from Lincoln's point of view: he is blurry and Lincoln can't identify him.)

Kellerman: You'd think it would be this big dramatic event, but uh...

(He puts a leather glove over Lincoln's face, smothering him. Lincoln struggles.)

Kellerman: It was very peaceful. Shh-shh-shh. One minute she was breathing and the next she wasn't.

(Lincoln continues to struggle. Camera pans out to show a car coming from the opposite direction. It stops and a man in a baseball cap gets out. Kellerman looks over.)

Man: Hey! Everything okay? Need me to call 911?

(The man goes to his trunk and pulls out a mini fire extinguisher.)

Kellerman: No, no, no. I got it.

Man: That engine's smokin' pretty bad. Looks like it could go up any second.

(The man approaches them. Kellerman is forced to remove the glove from Lincoln's face. Fuming silently, Kellerman gets up, his hand behind him on the gun in his belt.)

Kellerman: I think we're okay actually.

Man: You think?

Kellerman: Yeah.

Man: All right, if you say so.

Kellerman: Fine. I think it's gonna be fine.

(Kellerman begins to draw his gun, but before he can, the man smashes Kellerman round the face with the fire extinguisher. The man begins to drag Lincoln away. Kellerman lies unconscious in the ditch.)

[1. EXT. Ad Seg gate. Day.]

(A gate is buzzed open to let Sucre through into the yard.)

PA: Fernando Sucre, released from Ad Seg.

[2. EXT. Prison yard. Day.]

(Sucre walks across the basketball court to the escape team. Manche embraces him excitedly.)

Manche: Cuz!

(Michael embraces him as well.)

Michael: You're out. It's good to see you, buddy.

T-Bag: Y'all can sign each other's yearbooks later. Where are we at?

Michael: The map is complete I got what I needed.

T-Bag: Then we're ready.

Michael: Almost. I know which pipes we need to take beneath psych ward now, which means our way to the infirmary is clear. With our new route, we're gonna come up on the far end of that building. Which means we gotta walk down 30 feet of hallway to get to the doctor's office. Our exit point.

[Camera shows the interior corridors, the route the guys will have to take.]

Michael: Which means there's only one thing left of this whole thing.

[Camera shows a hand reaching out to the infirmary door.]

Michael: The key to that room.

(The team disinterestedly watch a bus arriving at the Fox River entrance.)

C-Note: No sweat. That's all we gotta do is run a bump-and-grab on a CO like we did last time, grab the keys, make a copy.

Michael: It's not that easy. Only the medical staff have those keys.

T-Bag: How you fixin' on gettin' it then, Pretty?

Michael: Carefully.

C-Note: No more surprises this time, right?

Michael: Right.

(Westmoreland watches the new prisoners get off of the bus.)

Westmoreland (shocked): Jesus, Mary and Joseph...

[Camera pans over to the legs of the new prisoners, all wearing yellow jumpsuits. Camera pans up their legs. One of them is John Abruzzi.]

(Abruzzi walks in line, making eye contact with the escape crew. T-Bag's jaw drops, he suddenly looks very worried.)

OPENING CREDITS.

[Camera pans over Fox River - day.]

[3. INT. Chow room. Day.]

(Abruzzi sits alone, holding a cross. He prays quietly. Michael approaches him.)

Michael: Hello, John.

Abruzzi: Michael.

Michael: How are you?

(Abruzzi gets up and embraces Michael tightly. Michael is wary.)

Abruzzi: Any day above ground is a blessing. Thanks be to God.

(He sits again and gestures to a chair opposite.)

Abruzzi: You mind? Please.

Michael: Thank you.

(He sits. Abruzzi silently reads a bible.)

Michael: Lot of rumours going around.

Abruzzi: Yeah.

Michael: I'm glad you're back.

Abruzzi: I'm surprised you're still here. I thought you'd be gone by now.

Michael: Well, we had a few set backs.

Abruzzi: Still planning on it?

Michael: That depends. How does the idea of escaping sit with the new you?

Abruzzi: Oh, the old sinner who was confined to these walls, he's dead. The new soul deserves to be free.

Michael: Well, the old sinner was gonna have a jet ready for us. Is the new soul gonna be able to pull that off?

Abruzzi: Noah had his ark, did he not?

(Camera pans over to T-Bag, watching them nervously.)

Abruzzi: Let's pray.

(Michael puts his hands together.)

(T-Bag leans towards the rough-looking inmate he's eating with.)

T-Bag: I'm gonna need a blade. Pronto.

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

Pope: Hit and run?

Bellick: Yes, sir.

Pope: And Burrows is gone?

Bellick: That's right.

Pope: The officers?

Bellick: Two are dead, one is in critical.

Pope: Do you realise what the media is gonna say when they get ahold of this?

Bellick: We'll get him back, sir.

Pope: 40 years in corrections and this is how they're gonna remember me.

Bellick: This is Kane County. Sheriff Ballard's a good friend of mine. He hasn't said a word to anyone yet. Give us four or five hours. We'll find him.

Pope: If I don't report this to the DOC right now...

Bellick: They don't have to know. You've always been a by-the-book guy, boss, but this time the book's gonna get us all fired.

Pope: Find him.

[5. EXT. Junkyard. Day.]

(A black Mustang drives through a junkyard, to a secluded corner and pulls in, out of sight. The man in the baseball cap gets out and eases the still unconscious Lincoln out of the car.)

[6. INT. Nick's apartment. Day.]

Veronica: The records of every call made to and from every contact in Quinn's cell phone.

Nick: Well, we have our haystack. Any idea what the needle might look like? There must be...there must be thousands of calls here.

Veronica: But to who? To where?

Nick: You know, it's gonna take us forever to go through all of these. What if these have nothing to do with Lincoln and Steadman, huh? We're just burning time, and we're just that much closer to the execution.

Veronica: What's going on with you, Nick? I mean, it's almost like you want to quit.

Nick: I don't wanna quit.

Veronica: Well, let's get to it.

(She throws a stack of papers at him.)

[7. INT. Infirmary. Day.]

(Katie opens the door to let Michael into Sara's room.)

Katie: Dr. Tancredi will be right in.

(She holds the door open but when she walks away, Michael locks it from the inside, pushing it shut. Sara comes over.)

Sara: Morning.

Michael: Morning.

(Sara tries the door. Finding it locked, she takes out her keys and opens it. Michael takes note of which key she uses.)

Sara: How are you feeling today?

Michael: Better.

Sara: Good.

[8. EXT. Intersection. Day.]

(EMTs take a bodybag away on a gurney. Fire crews and police officers stand around the wreckage. Sheriff Ballard talks to Bellick.)

Sheriff Ballard: We got checkpoints up at 171 by Lemont, at Sage Bridge and at the river going towards Romeoville. According to our witness over there...

[Camera shot of Kellerman being treated for his head injury in the back of ambulance.]

Sheriff: ...this new perp was driving an '06 Mustang. Black, dark blue, maybe. We're not gonna be able to sit on this thing very long, Brad.

Bellick: This is me, Nate. I need this.

Sheriff: All right. You go back to Fox River. I'll be in constant contact.

Bellick: You mind if I...?

(He nods at Kellerman. The Sheriff agrees and walks away. Bellick walks over to Kellerman.)

Bellick: How you doin', Mr...?

Kellerman: Roy Hawkins. Hi.

(He gets up and begins to walk back to his car, holding the ice pack to his head.)

Bellick: Where are you goin'?

Kellerman: Uh, I'd like to get going if I could. I'm late for a meeting in, uh...Aurora.

Bellick: Where you comin' from?

Kellerman: Chicago.

Bellick: Kind of an indirect route to get to Aurora.

Kellerman: I'm not from around here.

(He passes Sheriff Ballard talking into his radio.)

Sheriff: 2006 Mustang, black, no ID on the plates...

(Kellerman gets into his car, throws the ice pack down and turns on his own radio, picking up the Sheriff's signal.)

Sheriff: If any of you get so much as a whiff of anything I wanna know about it immediately.

Kellerman: Makes two of us, pal.

(He drives away.)

[9. INT. Infirmary. Day.]

(Sara pulls the screen across. Michael looks at the key sticking out of her lab coat pocket. Sara begins to clean the burn wound on Michael's back. She turns and throws away the used gauze. As she turns back to Michael, their eyes meet. The moment is electric. Michael slowly leans in and kisses her tenderly. She doesn't pull away. She holds his face tenderly.)

Sara: What do you want from me, Michael?

Michael: Sara...

(He sighs, looking down at the key in her pocket.)

Michael: I need you to do something for me.

Sara: What?

(Michael looks down at the key again. Sara strokes his face gently.)

Michael: Wait for me. It won't always be like this. In this room. In this place.

Sara: Until then, I can't. We can't. Damn it. I can't.

(An orderly comes in, oblivious to Sara and Michael's encounter. Sara steadies herself, and walks out.)

[10. INT. Tweener's cell. Night.]

(Tweener slowly approaches his cell.)

C.O.: (o/s): Doors closing!

(The cell door begins to close and Tweener just manages to get in in time. He looks fearfully up at Avocado, who is sitting on the top bunk.)

Avocado: Hey, squirt.

Tweener: Avocado.

Avocado: How many times I gotta say it? You address me formal-like.

Tweener: Mr. Bolz-Johnson.

Avocado: That's better.

Tweener: I think maybe you and I can work somethin' out.

Avocado: Really.

Tweener: Check it. I got this homie on the outside. He could put a hundie into your commissary account each month.

Avocado: It's nice of you to think of me like that. But you only got one thing I need.

(He lets the sheet fall across the cell door. Tweener looks down the at floor, terrified.)

[11. EXT. Prison yard. Day.]

(Tweener sits by the wall, knees to his chest, very upset and distressed. Michael approaches him and squats next to him.)

Michael: I need you to get something for me. Do your bump-and-swipe thing.

Tweener: Like I did with the watch?

Michael: Exactly.

Tweener: Yeah, that did me a lotta good. When the guards found out, they stuck me in a cell with Avocado. So if you want somethin' glommed, you need to do somethin' for me.

(Tweener looks over at Avocado, who is lounging on the ground nearby staring at Tweener. Michael follows his gaze.)

Tweener: Kill that son of a bitch.

Michael: That's not something I can do.

(Tweener is on the verge of tears.)

Tweener: Screw Honus Wagner.

Michael: What was that?

Tweener: This kid in my neighborhood. His dad had a baseball card collection. So I figured, you know, I'd swipe it. I could get some party cash, you know? There was one card in there...a 1910 Honus Wagner. Doesn't mean nothin' to me, you know? Hoops is my sport. This card, it was worth $300,000 dollars. So they slapped me with grand larceny.

[Camera shot of Avocado, lounging, staring at Tweener.)

Tweener: That's why I'm here. That's why I'm sittin' on a nickel, gettin' turned out like a little bitch. A baseball card!

[12. INT. Junkyard garage. Day.]

(Lincoln regains consciousness. He looks across at the man in the baseball cap.)

Lincoln: Dad?

ACT 2.

[Camera pans over the junkyard - day.]

[13. INT. Junkyard garage. Day.]

Lincoln: What are you doin' here?

Aldo Burrows: As soon as I heard they granted you a visit with your son, I knew they'd make a move on you.

Lincoln: I mean what are you doing here?

Aldo: I got a car about 20 miles from here. We'll switch out. After that, gonna make sure you disappear. Then this business will just be between me and them. Can you move?

Lincoln: What are you talkin' about? They're after me, not you.

Aldo: It's not as simple as that, trust me. I worked for them.

Lincoln: You worked for 'em? You're an alcoholic.

Aldo: Is that what you remember? Or is that what you were told?

Lincoln: Why'd you leave?

Aldo: I took a position with a group of multinationals we called The Company. They call every shot this country takes. What laws to pass, what judges to appoint, what wars to fight. Thing is, if you wanted to rise in the ranks like I did, you had to commit to leaving everything you know behind. Because then you start to get access to the real information. Information people would do a lot of things to get their hands on. Like harm your family.

Lincoln: You expect me to believe that? Why didn't you reach out to us? Why didn't you call us?

Aldo: I've regretted it every day. But I didn't have a choice. Lincoln, the day I left The Company, I took all that information with me. That's why they're doing this to you. All of it. To stop me.

[14. EXT. Prison yard. Day.]

(Michael is on the yard phone.)

Michael: You have to trust me.

Nika (v/o): Then you have to tell me what's going on.

Michael: I can't do that.

CUT TO: Nika, getting out of a car on her cell phone.

Nika: Then I can't help. Look, I did what you ask. Green card for credit card, that was the deal.

Michael: Then we make a new deal.

Nika: Michael, if somebody find out...

Michael: Believe me, I'll be in more trouble than you will.

Nika: I know. And this is why I won't help you.

Michael: Look, Nika, I promise you...

Nika: Look, I don't know what's going on. I don't know why you're in there. But if there's one thing those guys that brought me here taught me, it's that if you fight, if you struggle, you only make things worse. Stop fighting, Michael.

(Michael lets his head fall onto the arm that's resting on the phone box.)

Michael: Just think about it, okay?

Nika: I'm sorry.

[15. INT. Nick's apartment. Day.]

Veronica: There it is again - a 406 number. It's on every listing.

Nick: 406...Yeah, there's...there's over 200 businesses, another hundred residences in 17 different countries.

Veronica: And they're all calling the same number.

Nick: 406.

Veronica: Montana.

Nick: Can you check the prefixes?

(Veronica searches on her laptop.)

Veronica: This doesn't make any sense. All these people from all over the world are calling this place in the middle of nowhere with a population of 42. Blackfoot, Montana.

[16. INT. Terrence's mansion. Day.]

(Terrence Steadman puts in a set of false teeth, picks up a phone and dials.)

[Camera shot of the Vice President's limo and its police escort driving along the road.]

[17. INT. Limo. Day.]

(Vice President Caroline Reynolds answers her cell phone.)

Caroline: I thought you understood, Terrence. If you want to talk, we set up a meeting at home, in person.

Terrence: I saw the latest tracking. Your polls are headed south. Maybe the Burrows thing's finally starting to gain some traction with the swings. It could hurt.

Caroline: Goodbye, Terrence.

Terrence: You said it was almost over!

Caroline: It is.

Terrence: Are we talking about Lincoln Burrows? Or your candidacy?

Caroline: The only reason that you are still alive is because I won't let them kill you.

Terrence: Yeah, I'm pretty clear on that. But the thing I can't quite figure is, with the crap storm this thing's become...why they haven't killed you.

(Vice President Reynolds waits a second before hanging up the phone. Terrence hangs up his phone, and replaces the false teeth in the mug.)

[18. EXT. Prison yard. Day.]

(Michael walks along the chain link fence. He spots Sara walking between buildings with Nurse Katie. She makes eye contact with Michael, then bashfully looks away.)

Sucre: Figure out how you're gonna get the key to the infirmary yet?

Michael: Not quite.

(He turns back to watch Sara.)

Sucre: You workin' a game on her, or what?

Michael: I don't know.

[19. INT. T-Bag's cell. Day.]

(T-Bag is shaving, looking in his cell mirror. Through the mirror he sees Abruzzi approach the cell door. He leans on the wall, one hand hidden behind his back.)

Abruzzi: I've had time to think.

(T-Bag turns around fearfully.)

Abruzzi: Not that you tried to kill me, but about how Jesus saved me.

(T-Bag doesn't answer, clearly wary.)

Abruzzi: I didn't come in here to inflict any more pain. Take my hand so we can put this behind us. Please.

T-Bag: Show me the palm of your other hand.

(Abruzzi comes forward into the cell; T-Bag stays at the back.)

Abruzzi: Don't insult me, after all you've done, the least I ask...is that you don't insult me.

(Slowly, T-Bag moves forward towards Abruzzi. Even more slowly he reaches out his hand. After a tense beat, they shake hands. The two men stare each other down.)

Abruzzi: Does not a warm hand feel better than a cold shank?

T-Bag: You got a point there, John.

Abruzzi: Yeah. (He chuckles and moves his other hand to rest on top of their joined hands.)

T-Bag: Truce?

Abruzzi: You got it. Truce.

(Abruzzi walks away, and T-Bag breathes a sigh of relief.)

[20. INT. Administration building. Day.]

(Warden Pope and Bellick storm down the stairs.)

Pope: Son of a bitch. Two and a half hours, and you're tellin' me that sheriff has got nothing?

Bellick: I'm telling you the roads are blocked off. That Mustang's gotta be somewhere within those ten square miles.

Pope: All right, listen. You've got two hours to find him. After that, I have got to talk to the press. There's an escaped killer outside our walls and there are some things that are more important than career. Now, you find him!

(Warden Pope storms off. Bellick puts on his hat and jacket.)

Stolte: Hey, Captain!

Bellick: I don't have time.

Stolte: He says he really needs to talk.

(Bellick spots Tweener waiting for him.)

Bellick: Do you have something for me, or do you need something? If it's the latter you just wasted my time.

Tweener (very upset): That cellie you stuck me with, Avocado...

Bellick: Do you have something, or do you need something? Last time I'm gonna ask.

Tweener: I'm askin' ya to just...please get me out of that cell.

(Bellick shoves Tweener aside and walks away.)

Tweener: Boss, please! Boss!

Stolte: Let's go.

[21. INT. Tweener's cell. Day.]

(Avocado is lying on the top bunk reading a magazine. Tweener is sitting on the bottom bunk, looking upwards, scared.)

(Avocado suddenly moves, sliding his bulky frame off the bunk and to the floor. Tweener backs against the wall. Avocado reaches in and puts an arm round him.)

Avocado: You need to start relaxin'. It'll hurt a lot less.

Tweener: Can we go on your bunk?

Avocado: Sure, squirt. Let me make it a wee bit more comfortable.

(He stands up to smooth the sheets. Out of Avocado's sight, Tweener reaches up and pulls a razor blade out from underneath the springs of the top bunk, then reaches out to Avocado.)

Avocado (with pleasure): Oh, now we're talkin'...

(Tweener clenches his jaw then slashes Avocado with the razorblade, attempting to castrate him. Avocado screams in pain.)

[Camera shot of Fox River - exterior - day. A flock of birds flies off the tower, as if frightened by something.]

[22. EXT. Parking lot. Day.]

(Sara hunts in her bag for her keys. She is approached by Nika.)

Nika: Are you the doctor from the prison?

Sara: Uh, yeah. Can I...

Nika: You know a prisoner named Michael Scofield?

Sara: I do. (She recognizes her.) You're his wife, right?

Nika: I need to talk to you. I think Michael has got himself in some trouble. And I think he's planning on doing something dangerous to get out of it.

ACT 3.

 

[23. INT. Coffee Shop. Day.]

(A waitress fills Sara's cup with coffee as she passes.)

Sara: Thanks. So what is it you...

Nika: Michael has a deep need to help people.

Sara: So I've come to understand.

Nika: It's actually how we met. There were these men that brought me here. Told me I'd have good job. But that was just a lie. They were going to sell me. And until they did I...Michael paid them off for my freedom. And not to keep me for himself like I've heard from other girls, but to give me an opportunity.

Sara: He's a good man.

Nika: Yes, he is.

Sara: Nika, I wanna do whatever I can to help Michael. To do that, I need you to tell me what it is you think he's mixed up in.

(Nika hesitates.)

Nika: I think this was a mistake.

Sara: No, it's not at all. If you just tell me what it is...

Nika: Please, just keep an eye on him.

(She gets up hurriedly, and knocks her bag off the table.)

Nika: God, I'm sorry...

(Sara reaches down to help her pick it up.)

Nika: Thanks.

Sara: Listen, could I just have a contact number for you in case I see something...

Nika: I don't think that's a good idea. Please don't tell him we met.

[A salvage truck pulls into the junkyard - day.]

[24. INT. Junkyard garage. Day.]

Lincoln: Somethin' I don't get. How could killin' me stop you?

Aldo: 'Cause I'm the one who leaked the information about EcoField. They could have covered up the scandal a thousand different ways, but they chose to fake Terrence Steadman's death. And they chose you...'cause they knew it would flush me out. They knew that any man with a son on death row who was innocent would have to come forward.

Lincoln: But you didn't.

Aldo: We had a cause, Linc. We have a cause. Their wars can be averted. Millions of lives can be saved.

Lincoln: So you were willing to sacrifice one.

Aldo: Yeah. At least, I thought. But I couldn't watch you die.

Lincoln: You know what you've done? The mother of my child is dead.

Aldo: I know.

Lincoln: Do you?! (He grunts with pain and doubles over.) Then I'm guessing you know Michael's in Fox River, and LJ's rotting in some jail.

Aldo: I know all of it.

Lincoln: If you think for a second...

Aldo: You don't have a choice right now.

Lincoln: This is all on you. All of it.

Aldo: Yeah, I know. That's why I'm here. 'Cause there's still a chance we can make it right.

[Outside the junkyard, one of the employees notices the black Mustang behind some plastic tarps.]

[25. INT. A-Wing cell block. Day.]

(Ominous music plays. T-Bag walks across the floor, passing close by another inmate who furtively slips him a shank. T-Bag hides it at his side, approaching Abruzzi's cell. Abruzzi is lounging on the bottom bunk. T-Bag waits for a second, then determinedly approaches the cell. He is suddenly stopped in his tracks by C-Note, who grabs his wrist.)

C-Note: That man in there is our transportation outta here. Which means, now, you go after him and it messes with my chances of me seein' my family so I ain't gonna let that happen. So why don't you just hand me that shank you're holding? Huh?

(T-Bag glares at him, but hands over the shank.)

C-Note: Good.

(T-Bag glances over his shoulder at Abruzzi, then walks away. Abruzzi slowly turns his head to look out of his cell.)

[26. INT. Infirmary. Day.]

(Sara stands outside her room, hunting through her bag.)

Ray the Orderly: Hey, Sara.

Sara: Hey, Ray.

Ray: You all right?

Sara: Yeah, I can't find my keys. Would you let me in?

Ray: Oh, sure.

(Sara looks confused.)

[27. INT. Prison visitation room. Day.]

(Michael sits at a table, opposite Nika.)

Michael: I'm surprised to see you here.

Nika: That makes both of us.

Michael: Look. You were right. And I'm sorry. I should never have gotten you involved in this.

Nika: It's okay.

Michael: No, it's not. If anyone knew what I asked...

(Nika reaches for his hand and presses Sara's keys into it. Michael looks up in surprise.)

Nika: I'm not even sure why I did it.

(Michael looks around, then slips the key into his sock.)

Michael: Thank you.

Nika: Now we're even.

Michael: You didn't owe me anything.

Nika: Yes, I did. I owed you everything. But that's over now. Goodbye.

(She kisses his cheek, then stands up.)

Nika: The lady doctor...she cares for you.

[28. INT. Administration building hallway. Day.]

(Bellick paces the floor. Then Patterson runs in with a radio.)

Patterson: Bellick! It's the Sheriff. He thinks he's got something.

Bellick (to radio): Go for Bellick.

CUT TO: Sheriff Ballard zooming in his squad car.

Sheriff: We just got a call from Steve Schimek up at the junk yard. Our Mustang is on the premises.

Bellick: He see Burrows?

CUT TO: Kellerman, listening to his own radio, smiling.

Sheriff (o/s): Yep. I got a couple of units five, ten minutes away, tops.

CUT TO: Bellick: Good. I'm right behind you.

(Kellerman speeds off in his car.)

[29. INT. Junkyard garage. Day.]

(Aldo hands Lincoln a map.)

Aldo: Here. You ready to travel?

Lincoln: The place is gonna be crawlin' with cops. You know that, right?

Aldo: There's an unimproved road down by the river. There's a chance they haven't blocked it off yet.

(A car approaches outside and stops sharply.)

Lincoln: We got trouble.

(Aldo looks out of the plastic tarps and sees Kellerman getting out of his car.)

Aldo: Come on. Through here.

[30. EXT. Junkyard. Day.]

(The two of them crouch behind cars, trying to keep an eye on Kellerman.)

(Kellerman moves through the cars, gun drawn.)

(Police cars flood the compound now. Lincoln and Aldo move another way. Kellerman hurriedly attaches a silencer to his gun.)

(Officers move through the cars. Bellick is one of them, his gun drawn.)

(Aldo leads Lincoln to a way out of the yard. Lincoln hesitates.)

Aldo: Come on!

(Kellerman turns the corner, gun raised.)

Kellerman: Hey!

(He slowly approaches Lincoln.)

Lincoln (whispers): Get outta here. Go.

Kellerman (to Lincoln): Turn around.

(Lincoln turns to face Kellerman. He sees Bellick and other officers on the other side of the fence.)

Lincoln: Bellick! Bellick, don't shoot! Don't shoot!

(Kellerman is forced to back off and hide. Bellick approaches Lincoln, then Lincoln walks towards Bellick, hands raised high.)

Officers (o/s): All right, on your knees! Right there, right there! On your knees, hands up! Let's see 'em! Put 'im down, put 'im down.

(Several officers bundle Lincoln to the ground, tying his hands together.)

Bellick: Thought you'd go for a little stroll, did you?

(Lincoln looks over the yard at his father, who hurries away from the scene after one last look at his son.)

ACT 4.

[Camera pans over Fox River prison - day.]

[31. INT. Michael's cell. Day.]

(Michael huddles over the desk, trying to melt the plastic handle of a toothbrush.)

Sucre: Did you hear about Avocado?

(He mimes a blade across his nether regions.)

Sucre: Phwiit! Got his salchicha sliced!

Michael: How?

Sucre: Tweener. But Avocado's saying it got cut on the frame while he was hopping down off his bunk. Yeah.

Michael: Why did he lie?

Sucre: He doesn't want Tweener to go to the SHU, 'cause he can't get him in there.

(Michael looks down at the mould he is trying to make of the key, using soap and the toothbrush.)

Sucre: All I have to say is, as soon as Avocado gets out of the infirmary, Tweener's a dead man. How's our key coming?

(Michael stares up at Sucre, worried for Tweener.)

[32. INT. Infirmary. Day.]

(Nurse Katie is helping Sara look for her keys.)

Katie: What about your car? I mean, sometimes I...

Sara: I just checked.

Katie: Uh...your apartment?

Sara: Uh...No, 'cause I had 'em this morning.

Katie: Then, they gotta be here. Retrace your steps. When did you first notice 'em gone?

Sara: When I came back from lunch.

[Flashback: Sara at the coffee bar with Nika. Nika's bag falling to the floor. Sara's bag is over her chair. Sara figures it out: Nika must have used her frantic exit to slip her hand into her bag and take her keys.]

[33. INT. Administration building. Day.]

(Sara walks past two COs.)

Sara: Hey, Kevin, I need to take a look at that visitation log.

(She goes over to the clipboard and scans down the names. She finds Michael's, then moves her finger across to the visitor's name: Nika Volek.)

Sara (to Kevin): Thanks.

(She walks away looking furious.)

[34. EXT. Prison yard. Day.]

(Abruzzi calls out to Michael.)

Abruzzi: Michael. I need to know where he is.

Michael: Who?

Abruzzi: Fibonacci. You see, my conversion requires that I not only seek forgiveness, but provide forgiveness even to my greatest transgressors.

(Michael looks disbelieving.)

Abruzzi: Don't look at me like that. Like I'm the same old man I used to be. I'm not. Trust me. I need to reach out to Fibonacci. So we can heal.

Michael: It's a good story. But the answer is no.

Abruzzi: I understand. I'll be patient.

(He walks away. Michael stares after him, distrustfully.)

[Camera shows a telephone ringing.]

[35. EXT. Prison yard. Day.]

(Abruzzi stands at the phone box.)

Man: Hello?

Abruzzi: Hey, you're officially now on stand by. Now you'll have her there. You understand?

(The camera pans out from the phone to show Abruzzi is talking to Nick Savrinn.)

Nick: I'll do my best.

Abruzzi: Hey, I said do you understand?

Nick (reluctantly): Yeah. Loud and clear.

Abruzzi: Good. Goose Park Airstrip. You can find it on the map. Soon as I call, you have that bitch there, ready and waiting.

[36. EXT. Prison yard. Day.]

(Tweener stands leaning against the bleachers. Michael joins him.)

Michael: Hey.

Tweener: You still want me to swipe that thing you were askin' about? 'Cause I'm havin' a goin-outta-business sale.

Michael: Why don't you get yourself to Ad Seg?

Tweener: For that to happen, I'd have to admit what I did to Avocado. That'd get me, what, 20 years? I'm dead, no matter what.

Michael: There may be another way outta here.

Tweener: Yeah. In a body bag.

Michael: I need to know if I can trust you.

Tweener: I'm straight up as they come, you know.

Michael: No, I mean really trust you.

(Tweener locks eyes with him, now aware that something bigger is going on.)

[37. INT. Infirmary. Day.]

(Michael sits in the consulting room and rolls up his sleeve. Sara enters carrying a tray.)

Michael: Hey.

Sara: Hi.

Michael: How are you?

Sara: I'm fine. You?

Michael: Fine.

(He looks confused, he can tell something has changed in Sara.)

Sara: Have your hand, please?

(Nurse Katie enters behind them.)

Katie: Here they are.

Sara: Here what are?

Katie: Your keys. They were right over there by your in-box.

(Sara stares at Michael. He doesn't look at her.)

Katie: You got a maintenance guy waitin' outside here, says you want him to change the locks. Want me to call him off?

(Michael looks over at Sara, carefully. She glares at him, looking for signs of a response.)

Sara: No, send him in.

(The maintenance guy lingers in the doorway.)

Maintenance Guy: Is it okay if I...?

Sara: Yeah. We're about done here.

(Michael swallows nervously.)

Sara: Is there something wrong?

Michael: No. Unless you want to talk about what happened this morning.

Sara: I think I have a pretty good idea. We're done here.

(Michael walks out of the room. He watches the maintenance guy drop the old door knob into his tool kit, and pick up the new one.)

[38. EXT. Prison yard. Day.]

(A battered and bloody Lincoln is led, shackled, up the path towards Warden Pope.)

Pope: I want him under 24-hour surveillance. He doesn't sneeze without my knowing it.

Lincoln: What the hell for? What'd I do? Someone tried to kill me.

Pope: Finding you in a junk yard eight miles from here makes me think different. Who was your accomplice?

Lincoln: What accomplice?

(Pope glares at him angrily.)

Pope: 24-hour surveillance.

(Bellick leads Lincoln back to Ad Seg.)

[Camera shot of the sky moving fast over Fox River, night turning to day again.]

[39. EXT. Prison yard. Day.]

(Bellick walks out into the yard holding a coffee cup and whistling a tune.)

(Camera pans to Tweener in the yard. Tweener goes over to the gate, checking behind him.)

Tweener (whispers): Boss.

Bellick: I heard Avocado cut his hose on your bunk. Must've been some serious gymnastics going on.

Tweener: No, I got somethin' for you this time, boss. But I want guaranteed protection Avocado. And I want time cut off my bid.

Bellick: Anything else? Couple of big-canned whores available to you 24/7?

Tweener: Believe me, what I got is worth it! So you gonna step up or what?

Bellick: This is your last chance, Tweener. Blow smoke again and they'll be scraping you off  the heel of my boot.

Tweener: Scofield and his whole PI crew...they're escaping.

[Camera shot of the Storage room.]

[40. INT. Break room. Day.]

(Bellick uses a sledgehammer to knock over the chairs and table. He bangs the sledgehammer over the floor until he hears a hollow thud. He tears up the carpet, then smashes the floor with the sledgehammer. Bits of concrete and plywood fly, until eventually, Bellick breaks through. His eyes open wide as he stares down at the hole in the floor.)

END CREDITS.

==========================
CAST: in credits order
==========================
Dominic Purcell (Lincoln Burrows)
Wentworth Miller (Michael Scofield)
Robin Tunney (Veronica Donovan)
Amaury Nolasco (Fernando Sucre)
Marshall Allman (LJ Burrows) (credit only)
Wade Williams (Captain Brad Bellick)
Paul Adelstein (Paul Kellerman)
Robert Knepper (Theodore 'T-Bag' Bagwell)
Rockmond Dunbar (Benjamin 'C-Note' Franklin)
Sarah Wayne Callies (Sara Tancredi)
Muse Watson (Charles Westmoreland/DB Cooper)
Peter Stormare (John Abruzzi)
Frank Grillo (Nick Savrinn)
Lane Garrison (David 'Tweener' Apolskis)
Holly Valance (Nika Volek)
Joseph Nunez (Manche Sanchez)
Tony Denison (Aldo Burrows)
John Billingsley (Terrence Steadman)
Patricia Wettig (Vice President Caroline Reynolds)
Stacy Keach (Warden Henry Pope)
Daniel Allar (Avocado)

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