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TRANSCRIPT:
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ACT 1.

Opening Scene.

[Continuing from the final scene in the previous episode, Sucre trains the gun on Michael. The camera flashes in and out several times, showing Sucre in his determination and the other men in their complete disbelief.]

C-Note: What the hell are you doing, man?

Michael: Sucre, whatever it is you want...

Sucre: I want the money! All of it.

C-Note: What, are you robbing us?

Sucre: The money was never yours to begin with. This is about business. Five million dollars worth of business.

Michael: So this is how it's gonna go down, huh? After everything. Once a thief, always a thief.

Sucre: You just figuring that out? The backpack. NOW!

(Michael reluctantly heaves the backpack over to Sucre.)

Michael: Don't do this, buddy.

C-Note: Yo, take a look around you, papi. There's three of us. There's one of you. You are outnumbered, man, and we will come after you.

Sucre: It'll be the last thing you do, my brother.

T-Bag: What, are you gonna shoot all of us?

Sucre: Probably not.

(He fires the gun at the ground near T-Bag's feet, and he jumps back.)

Sucre: But I will get two. Now, which two is it gonna be? (None of the other guys move.) That's what I thought. Adios, amigos.

(He leaves. Michael puts his head in his hands.)

C-Note: I don't believe this. We have come all this way, and done all of this work, man!

T-Bag: Thought you was compadres, Tattoo?

C-Note: So look, what are we gonna do now, man? The police are gonna be here any second!

T-Bag: Ain't no way I'm letting that dunderpate ride off with 5!

Michael: It's your choice.

(Michael walks into the dining room, where Jeanette and Ann are still tied up.)

Michael (to Jeanette and Ann): It's all right. (He goes to the drawer and gets out a butter knife) All right, I'm gonna give you this, and you should be able to cut yourself free in about an hour.

C-Note: Yo, so, what's the plan now?

Michael: Well, you can do what you want. I let that psychopath T-Bag loose once. I'm not gonna do it again.

C-Note: Make a nice little present for the police when they get here.

(They head back into the garage but it's empty.)

Michael: Where is he?

C-Note: I don't know, man. Look, I gotta...I gotta go, all right? Uh...good luck.

(He leaves out the garage door. Michael walks back into the kitchen and picks up the police radio.)

Ann: They're gonna get you.

(Michael leaves. Then T-Bag appears in the window, staring through at Jeanette.)

[1. INT. Sara's Apartment. Day.]

(Sara stares at the morphine and needles on the coffee table. A man walks out of another room behind her, dressed in a suit.)

Agent: Ms. Tancredi.

(Sara jumps and gasps, spinning round.)

Agent: Oh, I didn't mean to startle you.

Sara: What the hell are you doing in my house?

Agent: No need to be frightened. I used to work with your father. I'm so sorry for your loss.

(He walks towards her but she backs away.)

Agent: My father didn't commit suicide.

(She picks up a glass vase and smashes it on the floor.)

Agent: What are you doing?

(She picks up another ceramic ornament and smashes that.)

Sara: Making sure it doesn't look like I did it. People'll ask questions if the day the governor is found killing himself, his daughter is found dead in what looks like a struggle.

(She purposefully cuts her own arm with a piece of the broken ornament.)

Agent: Well, then. (He pulls out a gun.) What if they don't find her? In an apparent attempt to avoid jail time, the governor's daughter skips bail and disappears. We're talking about your last minutes, Ms. Tancredi.

Sara: Please - don't do this.

(She backs into the kitchen, the agent following her.)

Agent: That stuff on the table is premium. Grade A. Do yourself a favour: go out on a high.

Sara: Look, look, I'm begging you here.

Agent: One last ride.

(Sara grabs some bug killer off the side and sprays it in his eyes. The agent cries out in pain.)

Agent: Ahh! God!

(Sara hits him round the head with the spray can, knocking him to the floor. She shoves over a table, and pushes up the window, escaping onto the fire escape. The agent rubs at his eyes furiously and goes after her.)

[3. EXT. Fire Escape. Day.]

(Sara hurries down the steps, the agent following after her. She reaches the bottom and looks up, fearfully.)

[4. EXT. Woods. Day.]

(Michael runs through the woods. He hears a motorcycle engine running, and goes towards it. Sucre cuts the engine, and ducks down, looking at the bike. Michael walks up behind him. Sucre hears him and spins round, holding the gun up.)

Michael: "Adios, amigos", huh?

Sucre: What? Too much?

Michael: You were great.

(They both laugh and bump fists.)

Sucre: This thing is freaking heavy, dude.

(He heaves off the backpack.)

Michael: It won't be after we split it up.

Sucre: Three ways. Me, you and Linc.

Michael: Four. We gotta send a share to Charles' daughter. With her father's love, just like I promised.

Sucre: What about C-Note? Feel kinda bad about the whole thing.

Michael: No way to know if we could trust him. Once we get down to Panama, we'll send something out to his family. Make sure he's taken care of.

Sucre: Five million dollars! I can't believe I'm gonna...

(He stops, looks in the backpack. It's full of National Anthropology magazines.)

Sucre: Where the hell's the money? Where the hell is the money?!

[5. EXT. Road. Day.]

(Music: "Roll On Big Mama" by Joe Stampley. A beat up pick-up truck travels down a deserted road. Behind the wheel, T-Bag sits with a huge grin on his face.)

*FLASHBACK*

(Michael and the others dig in the hole while T-Bag sits to the side, stacking National Anthropology magazines - he stacks them in a backpack when the others aren't looking.)

*FLASHBACK*

Sucre: The backpack. NOW!

(T-Bag glances down at the backpack Michael hands Sucre - the camera pans down to show the real backpack, full of money, hidden behind a box.)

(T-Bag has his head in his hand, but when he glances up his face is full of deviousness.)

*FLASHBACK*

(A "For Sale By Owner" sign in the front of the beat-up truck. T-Bag hands the owner a wad of notes.)

*END FLASHBACKS*

(T-Bag laughs out loud as he looks across at the backpack full of money in the seat next to him.)

OPENING CREDITS.

[Title Card: Kingman, Arizona.]

[6. EXT. Street. Day.]

(A detention center van pulls up along the street. A guard gets out and opens the door for LJ.)

Guard: Here you go. Watch your head.

(LJ is about to walk away when he is called back by the Detention Center Official.)

Detention Center Official: Mr. Burrows. Merry Christmas from the state. Here's a list of options available to you. Places to stay...businesses that are more open to hiring men out of the correctional system.

CUT TO: Lincoln, watching them from across the street, hiding from the corner. Lincoln looks the other way, and notices a homeless guy - Tweaker - begging people for money. He's quite confrontational about it.

CUT TO: Official: Any questions you might have about your immediate future?

LJ: No.

(Lincoln watches and waits. A car drives down the street, two men in suits watching LJ.)

Official: Well, the number on there is toll free. If you encounter any problems, you can call that 24/7.

LJ: Thanks.

Official: Oh, wait a second, listen. You know what? (He grabs LJ's arm.) Why don't you tell me where you need to go, and I'll make sure you get there.

LJ: Uh, you know what, I think I'll be all right.

Official: Sure?

LJ: Yeah, thank you.

(He hurries away down the street. The official pulls out his cell phone.)

Official: Kid didn't bite. He's on foot.

Kellerman (v/o): All right.

CUT TO: Kellerman: Have your men follow him, and remember, it's the father we want.

[7. EXT. Woods. Day.]

(Michael crouches on the ground in frustration.)

Michael: We can't go back.

Sucre: You said, it, without the money we're screwed. We can't...

Michael: Just let me think...

Sucre: Maybe there's...

Michael: Just let me think, let me think...

Sucre: Maybe it's still back at the house.

Michael: The money's not back at the house, unless T-Bag is. He must've switched the packs. (He kicks the backpack in frustration.)

Sucre: What...what do we do...what do we do now?

Michael: We still got the five grand we took when we pocketed the money. It's not gonna be 5 million, but it might be enough to get us where we're going.

Police Radio: All units be advised, escaped convicts from Fox River have been positively ID'd at 1131 Monterey Lane. We have dogs being dispatched to the location. I want every road in or out of town blocked off.

CUT TO: Cop: I don't care if it's on wheels, rails or hooves. I want it stopped and searched.

[8. EXT. Woods. Day.]

(Sucre pushes the heavy motorcycle through the woods, Michael walks beside him.)

Sucre: Thought you said we would have a head start.

Michael: It was the gunshot, buddy. One of the neighbors must've heard. How fast can that thing go?

Sucre: I don't know. Both of us, it could probably, I don't know...

(Sirens wailing fills the air. A cop car zooms past on the road above the woods.)

Michael: We're never gonna get out of here on the roads. We need to find another way.

[Title Card: Chicago, Illinois. FBI Field Office.]

[9. INT. FBI Field Office. Day.]

Wheeler: He's in your office.

Mahone: Can't believe they're calling me back here. My escapees are out there. I wanna know who this guy is.

Wheeler: Said his name was Sullins.

Mahone (freezes): Son of a bitch. Let me know if anything breaks on the convicts.

[10. INT. Mahone's Office. Day.]

Sullins: Alex. Thanks for coming in.

Mahone: Wanna tell me why Internal Affairs is pulling me out of the field in the middle of a manhunt?

Sullins: It's been a while since we had a sit-down, hasn't it? Not since Shales' escape, right?

Mahone: Yeah, yeah. What's going on, Richard?

Sullins: Well, that's precisely what I'm here to find out. (He closes the door to the office.) You're not getting out of here until I do.

[Title Card: Lyman, Wyoming.]

[Camera shot of a halfway house cafe - day.]

[11. INT. Bar Cafe. Day.]

(Geary and Bellick enter.)

Geary: Oh, my God, civilization.

Bartender: What can I get for you, boys?

(Geary puts a crumpled note and a few coins on the bar.)

Geary: You tell me.

Bartender: Two waters then.

Bellick: And the use of your phone, if you'd be so kind.

(The bartender looks unsure.)

Bellick: Don't worry, it's a local call.

(When the bartender turns his back, Bellick picks up a shot from further along the bar and drinks it. down.)

Geary: First thing I do when we get home? Clean underwear.

Bellick: Then what?

Geary: Guess I'll go back to that liquor store and beg for my job back.

Bellick: We had it. We were so close. I can still taste that money right there in the back of my throat.

(The bartender brings over two waters and a phone.)

Geary: Well, nothing that a couple of Keystones, a Hungry-Man Salisbury steak dinner and a night in front of the TV won't take care of.

Bellick (on phone): Hey, Ma. It's Brad. Hey, listen, me and Roy, we ran into some car trouble and we're wondering if you can pick us up. Well, I don't know. (To the bartender.) What the hell town is this?

Bartender: Thought you said this was a local call.

Geary: Hey, Bradley, check this out.

(They turn to the TV, which is tuned to the news channel.)

Bellick (on phone): Just a minute, Ma.

Reporter (on TV): These individuals were reportedly the prisoners who escaped from the Fox River Penitentiary in Illinois just a couple of days ago. What were they doing all the way out here in Tooele, Utah?

(Bellick and Geary exchange a look.)

Reporter (on TV): Well, Jeanette Owens, whose garage they dug up, has her own theory.

Jeanette (on TV): They pretended that they were some kind of workers from the power company, and that they had made a mistake. That they would have to do some digging.

Bellick (on Phone): Hey, Ma, on second thought, can you wire us some extra scratch? Turns out we're not done yet.

[12. EXT. Street. Day.]

(Sara hurries down the street, fumbling in her handbag for some change. She goes to the payphone and dials.)

CUT TO: Bruce Bennett's office, his phone ringing. He answers it.

Bennett: Hello?

Sara (v/o): Bruce, I need your help.

Bennett: Sara?

CUT TO: Sara: Bruce, my father didn't commit suicide, okay?

Bennett: Okay, just calm down. Where are you?

Sara: He was looking into the Burrows case. He found something that they didn't want him to know. And now I think that they think that I know it too.

Bennett: All right, I want you to listen to me. I'm gonna send someone over to pick you up. I'll bring you back here and we'll sort all of this out, I promise. Just tell me where you are.

Sara: Uh...I don't know, I'm at a payphone. Uh...

(She looks across the street: camera zooms in on the street signs.)

Sara: Third and Harper.

Bennett: You have your cell in case I need to reach you?

Sara: I do, but I thought it would be tapped. I don't know.

Bennett: Someone's on their way. Just stay right where you are.

Sara: Thank you.

(She hangs up.)

[13. EXT. Street. Day.]

(Lincoln opens the trunk of Jeanette's car and finds some golf clubs.)

[14. INT. Pawn Shop. Day.]

Pawn Guy: I can give you eighty bucks for them.

Lincoln: Come on, man, they're worth...

Pawn Guy: Worth a lot more to the person they actually belong to. These are ladies clubs, doctor. I'm guessing they're hotter than a monkey's jockstrap. Eighty bucks.

Lincoln: Throw in the cooler and you got a deal.

[15. EXT. Woods. Day.]

(Michael and Sucre look out over the river.)

Michael: We gotta lose the bike.

Sucre: Uh-uh, no way.

Michael: The roads are sealed. It's the only way we're gonna make it out.

Sucre: I can't, bro! I promised Petey...

Michael: We're not getting that thing across the river...and every minute we spend trying is a minute we don't have, okay? I'm sorry, but we gotta move.

[16. EXT. River. Day.]

(Sucre leads the way, balancing on a fallen tree.)

Sucre: I heard about these kind of places. They got leeches, you know?

Michael: I'll take the leeches in here over the handcuffs back there.

Sucre: I don't know, papi. It depends where the leech leeches, you know...?

(Sucre suddenly loses his balance and wobbles.)

Michael: Stop kidding around.

(Sucre falls into the river below the water line. Michael dives in after him. Under the water, Sucre pulls at his leg but it's trapped beneath the tree. He surfaces, choking and spluttering.)

Michael: You all right, buddy?

Sucre: I can't...I can't move.

Michael: You feel like you broke anything?

Sucre: No, I don't think so. Can you get it...? Can you get it off of me?

Michael: I'll try.

(He pushes against the tree but it won't budge.)

Michael: This thing's not going anywhere. I'm gonna check your foot.

(Michael dives down below the water line again, but he can't pull Sucre's foot out. He returns to the surface.)

Michael: I'm sorry, buddy. It's stuck.

[17. EXT. Street. Day.]

(Sara hides around the corner, cleaning herself up. A brunette woman in business clothes walks by her, to the payphone and picks up the phone. A black SUV slowly drives down the street: the woman's back is turned to them. Sara turns the corner to see a passenger in the SUV fire a silenced machine gun, shooting the woman in the back twice. Sara is stunned.)

ACT 2.

[18. EXT. Street. Day.]

(Sara hurries over to the woman, who is gasping for breath and trying to shout for help but it comes out as a gargled whisper.)

Sara (to a passerby): I need you to call 911.

Man: Okay.

Sara: Take a deep breath for me. (She looks at the woman's ID.) Okay, Kelli, my name is Sara. I'm a doctor. You're gonna be okay. You're gonna be okay, can you hear me? You're gonna be all right.

(She tries to stem the bleeding.)

Sara: I just need you to take some deep breaths and I need you to hang in there for me. Oka...Kelli?

(It's too late, Kelli dies quickly. Sara checks for a pulse.)

Sara: Kelli?

(Her eyes fall on Kelli's ID.)

[19. EXT. River. Day.]

Sucre: It's gonna be okay, right? I mean, if you can get eight people out of prison, you can get my Puerto Rican ass out of this, right? Can't you?

(Michael picks up a large branch and tries to move the tree with it, but it just snaps in half.)

Michael: Damn it!

(The sound of a bell and a low horn echoes down the river.)

Michael: Did you hear that? I know that sound. There's a dam up river. It's a signal. It means they're opening the locks. That means the water level's gonna rise. When it does, the log will just float right off.

Sucre: Yeah?

(The radio on the bank cuts in.)

Cop (on radio): K-23, canine units at the scene have multiple scents and are spreading out into the field. These guys can't have gotten far.

CUT TO: Cops and dogs in the woods. A dog sniffs at the bag of National Anthropology magazines.

CUT TO: Michael: There were six cons back at that house. They'll be tracking us in every direction. It'll take them hours to make it over this far. By that time, the water level will rise and we'll be long gone.

Sucre: Are you sure?

Michael: Yeah, I'm sure. I'm sure.

(But he looks as he sounds: unconvincing.)

[20. INT. Mahone's Office. Day.]

Mahone: Ask any of the 20 cops there. John Abruzzi was armed. John Abruzzi drew his weapon.

Sullins: He never should have been allowed to get that far.

Mahone: Richard, let's be clear. If you knew how things needed to be handled on a manhunt, you'd be out there running one instead of hamstringing the men that are.

Sullins: The FBI's primary objective in investigating fugitive matters is to effect the swift location and capture of the fugitives. You have two dead bodies, Alex.

Mahone: I've got two dead felons, Richard. Now, maybe that doesn't play well from a public-relations standpoint, but from a public safety standpoint Abruzzi and Apolskis were by the book.

Sullins: The shooting of an unarmed kid at point-blank range is by the book? Come on. Incident report, David "Tweener" Apolskis. You know, I'm curious. Was he cuffed during transport?

Mahone: Yeah.

Sullins: It says in here he somehow managed to grab your primary weapon. You carry that in a shoulder holster?

Mahone: Hip.

Sullins: Left, right? Right, left?

Mahone: Left.

Sullins: Left. I'm sorry, I get confused sometimes. (He walks round the office, behind Mahone.) So, just so I've got this right, you were driving along alone with a cuffed prisoner, and somehow he reaches forward across your chest...

(Mahone grabs Sullins' wrist as he reaches across his chest.)

Sullins: ...and grabs your weapon. Huh. It's too bad you didn't react that quickly with Apolskis. Maybe he'd still be alive.

[Camera pans over Chicago - day.]

[21. EXT. Bridge. Day.]

(Sara sits in the darkness under a Chicago bridge, clutching Kelli's wallet. She puts it into her handbag, and brings out the three origami cranes.)

[She opens the first crane: "There's a plan to make all of this right" followed by a series of dots.]

[22. INT. Kim's Office. Day.]

Kim: What does an origami bird have to do with any of this?

Kellerman: Michael Scofield sent it to her. And since your brilliant plan to eliminate Sara Tancredi from the equation failed so completely...

Kim: I wouldn't say it failed completely.

Kellerman: There's a dead woman in a phone booth. A civilian. A certain number of bodies you can sweep under the rug. The president's rug is getting so full you can barely stand on it.

Kim: So, what do you suggest we should do?

Kellerman: Ever go fishing, Bill?

Kim: Just make your point.

Kellerman: There's two ways to catch a fish. You cast out a big net and hope you get what you're looking for. Or you choose the right bait, and guarantee that you do. It's a simple strategy. It plays across the board. LJ will lead us to Burrows, Sara will lead us to Scofield.

Kim: And how do you intend to follow Sara when the only lead you've got is an origami bird with an out-of-service phone number?

Kellerman: Maybe it's not a phone number.

[23. EXT. Street. Day.]

(LJ walks out of a bus stop and sits on a bench. At the roadside, two Feds in a car watch him. One of them picks up his cell phone.)

CUT TO: Kellerman (on phone): What do you have?

CUT TO: Fed (on phone): Junior's on the move, and still no sign of Burrows. Sir, the guy's in hiding. Maybe he doesn't even know his kid's out.

Kellerman: The cop that was held hostage in Utah has Burrows splitting off from the rest of the group just after word of LJ's release hit the wires. He knows. Now, if we wanna know for sure if he's there, we need to do something to draw him out.

[24. EXT. Street. Day.]

(Lincoln watches LJ from across the street on a rooftop. He keeps an eye on the agent's car. Tweaker - the homeless man Lincoln spotted earlier makes his way towards LJ, asking people for money.)

[25. EXT. Street. Day.]

(The homeless man approaches LJ.)

Tweaker: Hey, yo, man, spare some change?

LJ: No.

Tweaker: Come on, man.

LJ: No, I'm all tapped out.

Tweaker: I know you got something. I'll take whatever you got.

LJ: Seriously. I just got out of lockup. I would if I could.

[The agents in the car, and Lincoln, all watch them intently.]

LJ: Sorry. (He gets up to go.)

Tweaker: So you think you're better than me, huh?

LJ: I don't think I'm better than you.

Tweaker: Yo, where you running, little man?

LJ: I'm not running anywhere.

(Tweaker hauls off and punches LJ in the face. LJ hits him back and they fight. Lincoln watches them.)

[26. EXT. River. Day.]

Sucre: This isn't how it's supposed to go. The reason I went along with the break was to have a life with Maricruz and my baby. And now what? Get some two-bit job? Always be looking over my shoulder? What kind of life is that?

Michael: You can come with me and Linc to Panama. Start over.

Sucre: The longer you stay here, the more the chance there is you'll never make it to Panama.

(Dogs barking gets nearer. Michael looks over to the woods.)

Sucre: You got other people to think about. Your brother. Your nephew. Sara. She's meeting you down there, isn't she?

Michael: I don't know. We never talked about it.

Sucre: But you're hoping.

Michael: Give it a rest, will you?

Cop (on radio): Dogs locked in. We got two trails merging.

CUT TO: Cop in woods: They were definitely here. They’ve headed east towards Drucker Ranch. They've gone off-road. Any additional units...

Cop (on radio): ...we need to set up a one-mile perimeter and then start closing in.

Sucre: It's getting deeper.

Michael: Yeah, a little.

Sucre: So how come this freaking tree ain't moving yet?

Michael: Let me check. (He dives under the water, trying to pull Sucre's foot but it's stuck fast. They resurface.) You all right?

Sucre: Look, Michael...I understand if you have to keep going, you know?

Michael: Just shut up. I'm not going anywhere.

Sucre: No, no, look, just think about it...

Michael: No, if I leave, you drown.

Sucre: I know, but just...

Michael: The water level's getting higher, Sucre. How many seconds can you hold your breath? 45? 60? That's how long you've got to live if I take off.

Sucre: How long do you have if you stay? How long till the dogs lead the cops here?

Michael: What you're suggesting is not an option.

Sucre: Look, I ain't trying to be a hero or nothing. We both know there are only two things that can happen now. Leave me here...or we both get caught.

ACT 3.

[27. EXT. Chicago. Day.]

[Fade in on newspaper blowing in the wind underneath the Chicago bridge. Sara sits, looking at the origami cranes which she has unfolded to look at the messages. Her cell phone rings.]

Sara: Bruce?

CUT TO: Bennett: Sara. I know we said not to use this number but I just needed to know you were okay. My driver said he went to pick you up and the place was a crime scene.

CUT TO: Sara: Yeah, the woman that he saw, the woman by the payphone, that was supposed to be me. And I had to leave her there, I didn't know what to do. Bruce, who are these people? They knew exactly where I was gonna be standing, they knew exactly where I was gonna be...(She stops, realizing.)

Bruce (v/o): Sara? You there?

Sara: It was you.

Bruce (v/o): What are you talking about? I just need to know where you are.

Sara: Oh my God...

(She clicks off the call and takes the battery out, throwing it away. Her eyes move across the keypad. She suddenly has a thought and grabs for the origami papers. She looks at one set of numbers, then at the row of dots.)

["City Memorial Hospital" sign - day.]

[28. INT. Hospital. Day.]

(An agent approaches the reception desk.)

Agent: Excuse me, we'd like to check on a friend of ours, LJ Burrows.

Receptionist: He's getting some stitches.

Agent: We just wanna make sure he's all right.

Receptionist: And you can see him when he's through. It's policy.

(Two cops escort Tweaker down the corridor.)

Tweaker: Man, you just don't get it.

Cop: I get that that kid defended himself. You gonna tell us why you attacked him in the first place?

Tweaker: I told you, man!

Cop: I know, some guy paid you.

Tweaker: Some guy paid me to!

Cop: Yeah, of course he did.

Agent: FBI. What do you mean, somebody paid you?

Tweaker: What the hell's it sound like, man? Some dude gave me 50 bucks to give the kid a beat down.

(The Agent looks at his partner.)

Agent 2: It's Burrows! He's here!

(They head off down the corridor.)

[29. INT. Hospital Ward. Day.]

(LJ sits on the bed, facing away from the door. Lincoln walks in behind him, shutting the door. LJ looks round, panicked.)

Lincoln: How you feeling, slugger?

LJ: Dad? (He goes over and hugs him tightly.)

Lincoln: We gotta move.

CUT TO: Corridor. The agents hurry towards the ward.

Man (over tannoy): Hospital security, wing 3-G. Hospital security, wing 3-G.

(The agents open the door to the ward, guns drawn. It's empty.)

(Outside the window and down on the street, Jeanette's car screeches away fast.)

[30. EXT. Jeanette's House. Day.]

(Jeanette is talking to a neighbor. Bellick and Geary get out of their car.)

Jeanette: There's not much you can do.

Neighbor: Oh, boy.

Bellick (holding up a badge): Excuse me, ladies, I need to ask you a few questions. I'm on the follow-up investigation team. (To the neighbor.) Excuse me.

Neighbor: Gotta go. See you later.

Bellick: Uh, we were just curious. Uh...did you see if the convicts actually found what they were looking for?

Jeanette: No, but it sure sounded like they did. The Spaniard, he took off with one of my daughter's camping packs, and he left the other ones in a real tizzy. Sounded like he screwed them over something fierce.

Bellick: And they just let him leave?

Jeanette: Well, they weren't happy about it, but yeah. He took off on his motorbike. And then they left a few minutes later.

Geary: Together?

Jeanette: No, the pretty one and the black fellow, they left first. And then that dirty Southerner, he snuck out the back. But he was moving kind of slow, you know, with the weight of that backpack. And that disability that he has...

Bellick: Wait, wait, he had a backpack too?

Jeanette: Yes. He came back in, and slipped this into my brassiere on his way out. (She holds up a one-hundred dollar bill, hands it to Bellick.) He said it was to cover the damages.

Bellick: Well, we're gonna need to keep this as evidence. Thank you for your time. (To Geary.) Get in the car.

[31. EXT. Chicago. Day.]

(Sara is still studying the messages. She writes down the numbers as she begins to decode. She writes 736.)

[32. INT. Computer Room. Day.]

(Kellerman sits behind an IA lackey, who is using a computer to decode the numbers.)

Kellerman: Seven, three, six. Space. Three, three, nine - space. Eight, six, eight, seven.

IA Lackey: And what exactly are you looking for?

Kellerman: A pattern. A code. Anything.

CUT TO: Sara writing the corresponding letters from her cell phone key pad under the numbers.

CUT TO: The IA lackey watching as the data processes. The computer brings up a page of results - hundreds of possible code words mixed with numbers.

CUT TO: Sara tries to make a word from the letters.

Sara: What? What are you trying to tell me, Michael?

[33. EXT. River. Day.]

Sucre: They say people come into your life for a reason. Maybe my reason was to help you get out of Fox River, you know? To help you save your brother.

Michael: No.

(The dogs barking sound closer.)

Sucre: It's okay, papi. Let me go.

Cop (on radio): We're a quarter mile downriver below the dam.

(Michael tries desperately to hold Sucre's head above water.)

Sucre: It's now or never, Michael.

(Michael checks the bank. His eyes fall on some rope, tied on the tree to make a rope swing.)

Michael: I want you to hold your breath, okay?

Sucre: Why?

Michael: Just do it. I'll be right back, I promise.

(He climbs out of the water as Sucre goes under. Michael climbs onto the fallen tree and ties the rope around one of its' broken boughs. He jumps back in the water and lifts Sucre's head above water again.)

Sucre: What the hell are you doing?

Cop (on radio): All units, redirect to the river. I repeat...

Michael: I want you to go under and then stick your arm up above the water, high. All right?

Sucre: All right.

Michael: Then when you start running out of air, wave it back and forth so I can see it.

Sucre: Okay.

Michael: And then I'll come back and get you. Okay? All right, give me your hand.

(They clasp hands.)

Michael: One, two, three...

(Sucre disappears under the water, leaving his arm raised. Michael hurries to the bank.)

CUT TO: The cops and the dogs making their way towards the river.

[Michael gathers the rope and goes over to the motorcycle. The cops and dogs are getting closer. Sucre's hand is still. Michael ties the rope around the motorcycle. He tries to kickstart it but it won't catch.]

Michael: Come on. Come on!

[Finally the motorcycle roars to life. Sucre starts waving his arm. Michael revs the bike. The cops draw their weapons. Sucre's hand disappears under the water line: Michael hasn't seen it.]

ACT 4.

[34. EXT. River. Day.]

(Michael drives the park towards the river. The rope pulls tight, jerking on the fallen tree. Michael and the bike fall into the river. Michael resurfaces, swimming over to the fallen tree.)

Michael: Sucre? Sucre!

(After several agonizing seconds, Sucre emerges from the water, coughing and spluttering. Michael sighs in relief, but there's no time for anything else - the sirens sound very close. The two of them hurry across the river to the other side.)

[Camera pans upwards, across the woods - the cops have just reached the river.]

[35. INT. Computer Room. Day.]

Kellerman: Talk to me.

IA Lackey: Well, there is one possibility, but it's almost too rudimentary. We know we're not looking at a phone number, but maybe we're not looking at numbers at all. What's important are the letters that correspond to that number.

[Camera flashes of Sara looking at the row of dots, then at her cell phone keypad. Then onto the letters that Sara writes.]

Sara (v/o): Three dots, third letter: R. Two...D, E.

IA Lackey (v/o): Three possibilities per number. That's thousands of letter combinations.

[Camera flashes of the all the word possibilities.]

IA Lackey (v/o): But only one of them spells out a word.

(Sara writes out a word and underlines it: RENDEZVOUS.)

(Kellerman taps the word 'Rendezvous' with his pen.)

Kellerman: The question is...where?

(Sara looks at the second unfolded crane, and at the different number.)

[36. EXT. Local Car Dealership. Day.]

(Michael looks at the cars. A salesman approaches him.)

Salesman: Hey, what are you in the market for?

Michael: Four wheels and a gas pedal.

CUT TO: Sucre, using a payphone in the dealership yard.

Sucre (on phone): Hey, Petey, it's me. Uh...listen, I got something to tell you.

Petey: Yeah, I was wondering when you were gonna call.

Sucre: Yeah, um, a lot has come down since we last talked, and uh...

Petey: Yeah, I know. I heard. You ruined it.

Sucre: Yeah, um...you heard already?

Petey: Well, brother, everybody's heard, man. And let me tell you something, man. Hector is pissed.

Sucre: What does Hector have to do with it?

Petey: It was his wedding. Wait a minute, what are you talking about?

Sucre: Your bike. What are you talking about?

Petey: The wedding.

Sucre: What about the wedding?

Petey: Well, you know the part where you say "I do"? Maricruz said, "I don't".

Sucre: Sh...she did?

Petey: Left homeboy standing at the altar, holding his Spam in his hand, if you know what I'm saying. What were you telling me about my bike?

(Sucre hangs up and walks over to Michael.)

Salesman: All right. I'll go get your keys.

Michael (to Sucre): We got a couple of stops to make. First, there's this place called Blanding. Then we can meet up with Linc in a couple of days.

Sucre: I can't go. She said no, papi. Maricruz...Maricruz told that son of a...she told him no! Can you believe that?

Michael: That's great.

Sucre: I know. Now, I just...

Michael: No, go on. Get your girl.

Sucre: How about Panama? We said...

Michael: Some other time. Panama's not gonna go anywhere. And this is in case you run into trouble down the road.

(He hands Sucre a note.)

Sucre: The river. I told you to leave me behind.

Michael: Yeah, well, I tried, but, you know - I got tangled up in the rope, so...

(Sucre laughs and they hug. The salesman returns.)

Salesman: Okay, here you go.

Sucre: Thanks. And, uh...think we'll need another car.

[37. EXT. Highway. Day.]

Geary: Do you really think the diaper sniper got all of it?

Bellick: Only one way to find out. If you're Bagwell and you just got your hands on $5 million, where would you go?

[38. EXT. Rural Road. Day.]

(T-Bag continues to drive in his beat-up truck. He flips down the visor: there's a scrap of paper there with Susan Hollander's address on it.)

*FLASHBACK*

(Susan kisses T-Bag at her home.)

T-Bag (v/o): You think you're the only one that feels betrayed?

(T-Bag sits opposite Susan in a visitation booth at Fox River.)

T-Bag: I'm gonna get out of here someday.  And when I do, don't think I won't remember what your front steps look like.

(Susan spits on the screen in disgust and storms out.)

*END FLASHBACK*

(T-Bag drives on, determinedly.)

[39. EXT. Road. Day.]

(Lincoln and LJ are driving. LJ checks on his bruised eye in the visor.)

LJ: Let me get this straight. You paid that meth head to whup my ass?

Lincoln: Yeah. Feds were waiting for me to come get you. It was the only way. It worked, didn't it?

LJ: Yeah. It got me four stitches.

Lincoln: Adds character. Here, take that. (He hands over the cooler.) There's some ice in there. Put it on the eye. Keep the swelling down. I've been in a few fights in my day too. Too many.

[40. EXT. Chicago. Day.]

(Sara sits under the bridge, still decoding.)

Sara: Rendezvous, sundown, hot.

(She looks at the three folded down cranes, then suddenly remembers.)

*FLASHBACK*

(Sara checks through her mail at her apartment. She holds an envelope up to the light and sees the outline of an origami crane. She lets the mail fall to the floor, unopened.)

*END FLASHBACK*

Sara: There's one more bird.

[41. INT. Sara's Apartment. Day.]

(Kellerman walks into the apartment with two other agents.)

Kellerman: Clean it. Every surface, like she never came home. Go.

(He notices the mail on the floor and picks up the envelope from Michael. He holds it up to the light - sees the crane. He opens it.)

[42. INT. Mahone's Office. Day.]

Sullins: You know, waiting for a flight from Utah, we had a little extra time for due diligence. I decided to dig a little deeper on your history. Or rather, lack of one. Starts off simple enough. Poor family. Mom leaves, cites spousal abuse. Somehow, your dad holds on to custody and be the look of these pediatric meds, he beat you like a harp seal for the next four years. Big shock: poor abused kid, not a lot of options, he joins the military.

Mahone: Will there be any actual questions or is this just a show-and-tell?

Sullins: Okay, I got one. How does a guy go from infantry grunt with less than stellar marks to the Gulf 1 Special Ops to the Federal Bureau of Investigations leading the largest manhunt this country's ever seen? I have all these dots, and there's just no way to connect them.

Mahone: Looks like you need to work on your clearance level - Dick.

Sullins: Maybe I'll just work on you.

Mahone: You wanna do this?

Sullins: I will chain you to this desk until I get some answers I cannot fertilize my lawn with.

Mahone: You sure you wanna do this?

Sullins: I know what they tell you to do overseas, Alex, and let me make it perfectly clear. We do not do it on American soil!

Agent (opening the door): Sir, uh, there's a phone call for you.

Sullins: I'll take it later.

Agent: Uh, sir, you're gonna wanna take this now.

(Sullins walks out of the office and takes the call.)

Sullins (o/s): Yeah. Yes, sir. I, uh, I'm with him now. Yes, sir. Bye.

(Sullins re-enters the office and picks up his briefcase.)

Mahone (knowingly): Where you going? I thought we were really starting to get somewhere.

Sullins (to his team): Let's go.

[43. EXT. Chicago Street. Day.]

(Mahone walks across the street and gets into Kellerman's car.)

Kellerman: Alex.

Mahone: You got something for me?

Kellerman (holding up the crane): Open it. The numbers correlate to the letters on a phone. Only on this one, none of the possible combinations make sense. We think it's a location. A rendezvous point for Michael Scofield. You find it, you find him.

(Mahone looks at a sheet of paper with the possible combinations on.)

Mahone: You know, you could've gotten me out of there sooner.

Kellerman: You know, even we have to go through certain channels to make sure things appear on the up and up. You know all about that, don't you, Alex? Keeping up appearances. (Mahone doesn't reply.) Good. I'm just making sure that we're still clear on the directive of this manhunt.

Mahone: You know, I understand the, uh, reasoning behind Burrows and Scofield. But these other men, criminals that they may be, there's nothing in their profiles...

Kellerman: You've been hired to do a job. The reasoning does not concern you. You don't ask any questions about us, maybe we'll continue to make sure no one asks any questions about you. Are we clear?

(Pause. Mahone looks over at Kellerman.)

Mahone: They all die.

Kellerman: They all die.

END CREDITS.

==========================
CAST: in credits order
==========================
Dominic Purcell (Lincoln Burrows)
Wentworth Miller (Michael Scofield)
Amaury Nolasco (Fernando Sucre)
Marshall Allman (LJ Burrows)
Wade Williams (Brad Bellick)
Paul Adelstein (Paul Kellerman)
Robert Knepper (Theodore 'T-Bag' Bagwell)
Rockmond Dunbar (Benjamin Miles 'C-Note' Franklin)
Sarah Wayne Callies (Sara Tancredi)
William Fichtner (Alexander Mahone)
Matt DeCaro (Roy Geary)
Reggie Lee (Bill Kim)
Diana Scarwid (Jeanette Owens)
Alexandra Lydon (Ann Owens)
Jason Davis (FBI Agent Wheeler)
Wilbur Fitzgerald (Bruce Bennett)

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