This is the transcript from the episode Allen.
Season 1, Episode 2 - "Allen"
Written by: Paul Scheuring
Starring: Wentworth Miller, Dominic Purcell and Robin Tunney
[Courtyard, Michael and Westmoreland are playing checkers. Michael takes two of Westmoreland's checkers]
WESTMORELAND: You're anticipating every one of my moves three moves in advance. You're a hell of a strategist, Fish.
MICHAEL: You ever think about Boston?
MICHAEL: Think you'll ever see it again?
WESTMORELAND: I'm a 60 year old man with 60 years left on my ticket. What do you think?
MICHAEL: I'm thinking about going.
WESTMORELAND: Well, there's going and there's going. Which one do you mean?
MICHAEL: The one you think I mean.
WESTMORELAND: [Laughs] Three days inside and he's already thinking about turning rabbit. It'll pass. It always does. Bigger things to worry about at the moment. I've been in here long enough to know it when I see it. The calm before the storm. [We see a group of white and black people arguing and pushing each other by the bleachers] Whites and blacks would run in each other real soon here. Everybody chooses sides and a lot of guys bleed.
MICHAEL: There a reason?
WESTMORELAND: The same reason you don't put cats and dogs in the same cage. They don't get along.
[A-wing, two cellmates talk in their cell, a convict does push ups in another. Michael is sitting on his bunk, Sucre is urinating in the toilet. Michael uses a small mirror to decipher part of the tattoo on his forearm. Sucre starts singing in Spanish. Michael picks up a notepad and pencil and jots down the words 'SCHWEITZER', 'ALLEN' and the numbers '11121147'. Sucre tries to flush the toilet to find it doesn't work]
SUCRE: Toilet won't flush.
[A large buzzer sounds]
SUCRE: Means only one thing, Fish.
[Sucre rushes to the metal bars. Armored prison guards rush into the A-wing and the most of the convicts start yelling and throwing things from their cells]
PRISON GUARD: [Through a speaker] Take down, ladies and gents! All contraband will be confiscated!
SUCRE: [Rushing to the side of Michael's bunk] The DIRT shuts down the water so you can't flush your contraband.
MICHAEL: We got nothing to worry about.
[Sucre takes a sealable plastic bag from underneath Michael's mattress, presumably containing drugs]
SUCRE: Says you!
[Michael stands, pulls his sleeve down and looks out at the A-wing. The place is a mess, we see more armored prison guards and a sniffer dog]
SUCRE: Under the table, (Mexican nickname)!
[Michael feels around under the small table and finds a knife stuck underneath, he takes it out]
MICHAEL: What the hell is this?
SUCRE: It's insurance, white boy. Now, dump it!
[As Michael steps towards the metal bars, Bellick steps in front of him looking smug]
BELLICK: [To another C.O] Open it.
[We hear a buzzer sound and the metal bars slide across]
BELLICK: So... tooling up for the race riot, are we? Hand it over.
[Michael gives the shank to Bellick]
BELLICK: Wow... rughead and a billy. Now, which side are you on anyhow, Fish?
MICHAEL: That would be neither, boss.
BELLICK: Maybe you're gonna go extracurricular with it then, stick a C.O maybe. [Puts the shank near his own throat]
POPE: Is there a problem here, deputy?
BELLICK: Got a shank in here.
[Bellick hands the shank to Pope]
POPE: [To Michael] Is this yours?
[Michael stares at Pope without replying]
POPE: You're not a good liar. Come on, Sucre, you're going to the shoe.
[Sucre exits with a prison guard]
POPE: Move along, deputy.
BELLICK: I'm not done shaking his cell down yet.
POPE: I said move along.
BELLICK: In the old man's back pocket, are ya? Well, I've got news for you, Fish. He may run this place during the day but I run it during the night.
[The metals bars slide back across]
[Prison chapel, Lincoln is alone in the front row, Michael alone in the row directly behind Lincoln]
LINCOLN: What the hell were you thinking, Michael? How are we doing it?
MICHAEL: The infirmary.
LINCOLN: The infirmary?
[Michael leans forward]
MICHAEL: It's the weakest link in the security chain. As long I get that PUGNAc, I'll get all the access I need.
LINCOLN: The hell's a PUGNAc?
MICHAEL: It lowers my insulin levels to the point that I'm hypoglycemic. As long as the good doctor thinks I'm diabetic, I'll have plenty of time in there to do what I need to do.
LINCOLN: Which is?
MICHAEL: A little work. A little prep for your arrival. That's the idea anyway.
LINCOLN: The idea?
MICHAEL: There's a little hitch in getting the PUGNAc, that's all. They don't exactly stock it at the commissary.
LINCOLN: You're telling me this whole's thing's riding on a bunch of pills?
MICHAEL: [Leaning back and looking across the prison chapel] Someone's working on it as we speak.
[Lincoln turns to see who Michael is looking at, he sees C-Note looking back at Michael. Lincoln turns back]
LINCOLN: Now's not the time to be trusting a black inmate, Michael.
MICHAEL: Our relationship transcends race.
LINCOLN: Nothing transcends race in here. I can't let you do it. Good behaviour, you're out of here in 3 years.
MICHAEL: I'm gonna be a whole lot sooner than that.
LINCOLN: It can't be done.
[Lincoln stops talking abruptly as someone walks past]
LINCOLN: It can't be done, Michael, no one's ever broken out of Fox River.
[Michael leans forward again]
MICHAEL: Every single step's already been mapped out. Every contingency.
LINCOLN: Every contingency? You may have the blueprints to this place but there's one thing those plans can't show you: people. Guys like Abruzzi. You so much as look at these guys the wrong way, they'll cut you up.
[Michael looks at Abruzzi, who slowly looks back]
MICHAEL: Far as the rest of these guys are concerned, I'm just another con doing his time. Staying out of trouble.
LINCOLN: [Whispering] You don't go looking for trouble in here, it just finds you.
MICHAEL: And when it does, we'll be long gone.
LINCOLN: [Sighs] This is madness. You can't even get out of your cell.
MICHAEL: Not true.
LINCOLN: What? You got a key?
[We see Lincoln looking at Lincoln from across the chapel]
MICHAEL: Something like that.
[Michael files into the courtyard with some other convicts. He looks around and then makes his way over to the empty bleachers. As he walks past the bleachers, he feels around at certain points, examining the screws with his fingers. As he reaches the next set of bleachers, he feels a bolt and realises that this is the one he is looking for. The camera zooms inside of the bleachers to reveal that the numbers '11121147' are inscribed on the underside of the bolt. Flashback - Michael's apartment, Michael is looking through a manual, we see the words '7/16" x 6" Machine Screw' and an arrow pointing to a picture of a bolt. Then we see a diagram of some bleachers and where these bolts should go. Michael writes down the numbers '11121147' in red pen next to the picture of the bolt and circles it, then puts a bolt, presumably the one he'd just been researching, down on the manual. Back to Michael in the courtyard, he climbs over the bleachers and sits next to the bolt he needs, he begins unscrewing with a coin]
[Out of shot] Wrong piece of real estate, Fish. Belongs to T-Bag.
INMATE(?): You best speak with respect, Fish. Man kidnapped half a dozen boys and girls down in 'Bama. Raped and killed 'em. Wasn't always in that order either.
MICHAEL: Does T-Bag have a real name?
T-BAG: [Entering] That is my real name.
[T-Bag stands with another, younger inmate, MAYTAG, who his holding onto T-Bag's left trouser pocket, they step onto the bleachers]
T-BAG: No, no, no, please. Sit.
[We see Michael has stood up, he sits back down. T-Bag and his cronie sit next near him]
T-BAG: So you're the new one I've been hearing all the rave reviews about. [Whispering] Scofield. One thing's for sure, you're just as pretty as advertised. Prettier even.
[T-Bag chuckles and looks at over at the where most of the black convicts hang out]
T-BAG: Rugheads got you scared, did they?
T-BAG: I assume that's why you're over here. A few days on the inside, any God-fearing white man realises the correctional system's serious lean toward the African-American persuasion.
MICHAEL: I hadn't noticed.
T-BAG: [We see Michael still unscrewing the screw as T-Bag speaks] They got the numbers alright so they think they can do as they please. We got one thing they don't. [Whispering] Surprise. We gonna take the ball game to them real soon. It's gonna be nasty for a first-timer like you protect you. I'll protect you. All you gotta do is... [He yanks Maytag's hand off of his pocket and pushes it away] take this pocket right here. And your life be all peaches and cream.
[Maytag grabs hold of T-Bag's pocket again]
T-BAG: I walk, you walk with me. Keep you real close and no one up in here can hurt you.
[T-Bag pats Maytag's hand that's holding his pocket. Maytag is giving Michael bad looks]
MICHAEL: Looks to me you've already got a girlfriend.
[T-Bag smiles and stands up, pushing off Maytag's hand again as he does so]
T-BAG: [Pulling out his other pocket] I got a whole nother pocket over here.
MICHAEL: I'll pass.
[We see Michael is still unscrewing the bolt, nearly out. T-Bag smiles and leans in closer]
T-BAG: I don't protect you, them rugheads gonna gobble you up like a plate of black-eyed peas-
MICHAEL: I said no.
T-BAG: [Even closer] Then you best move then. Now.
[Michael stands up]
INMATE(?): [Out of shot] Yeah, watch your step.
[Michael steps down the bleachers and begins to walk away]
T-BAG: You come around these bleachers again, it's gonna be more than just words we're exchanging. Know what I'm saying?
[We see that Michael didn't finish unscrewing the bolt he needs]
[Entrance hall of a large courthouse, Veronica walks over to Tim Giles who is packing some things away]
VERONICA: Excuse me. Are you the Tim Giles that represented Lincoln Burrows?
TIM: If you're a reporter, I can't-
VERONICA: I'm not a reporter, I know the defendant personally.
[They begin to walk, Tim dragging a suitcase behind him]
TIM: Huh. You family?
VERONICA: Not exactly.
[They stop walking]
VERONICA: We were in a relationship a few years back.
TIM: Well, ma'am, I, er, I don't know what to tell you, I mean, the man was guilty. The prosecution's case was a slam dunk.
VERONICA: Because the victim was the vice president's brother?
[They begin walking again]
TIM: If you're suggesting that the federal government rammed this thing through, okay, I take offence to that 'cause I fought for that guy.
VERONICA: That's not what I meant.
[They stop walking again]
TIM: The evidence was there. Lincoln worked for Steadman's company. He gets into a public altercation with the guy, so he gets fired. Two weeks later, Steadman's shot dead, the murder weapon's found in Lincoln's house and the victim's blood found on his clothes. Trust me, there are cases you lose sleep over but this isn't one of 'em.
[Tim begins to walk away, Veronica stands for a second and then catches up with him]
VERONICA: What about Crab Simmons?
[They stop walking once again]
VERONICA: Lincoln said he could exon him, why didn't you put him on the stand?
TIM: The man's a five time felon. He had no credibility.
VERONICA: So you wouldn't mind if paid him a visit?
TIM: Be my guest. But I don't think it'll do you any good.
[Lincoln's cell, Lincoln is sat on the floor in a corner. Skips to Lincoln putting his hand out where there is light shining through onto one of the cell's walls. Skips to Lincoln looking up at where the light is coming from. Flashback- Lincoln is in a bed somewhere]
LINCOLN: Strange feeling. Don't know how to explain it.
[He turns over to over to face the person he is talking to, unrevealed as of yet]
LINCOLN: My whole life it's always been crazy, noisy, maddening, you know, in my head, but now it's quiet.
[He kisses the other person on the shoulder]
LINCOLN: It's perfect. I'm glad you came back.
[The woman turns over to face Lincoln, it's Veronica]
VERONICA: I thought about you the whole time.
LINCOLN: You know, I, er, made a lot of mistakes in my life but... I'm gonna make it right.
VERONICA: I know you will.
[They kiss, romantically. Lincoln then turns over to get something]
VERONICA: What are you doing?
LINCOLN: I want to remember this.
[We see he picked up a camera]
[Veronica pulls a pillow over hr face as Lincoln holds the camera up in the air, ready to take a picture of himself and Veronica]
LINCOLN: Oh, come on. Come on, V, please, just one.
[Veronica puts the pillow back]
[Lincoln takes a picture as Veronica kisses him on the cheek. Back to real time, Lincoln leans against the wall in his cell and slides to the floor]
[Courtyard, Michael, C-Note and Trumpets are walking]
C-NOTE: Easy, man.
[Trumpets stop walking, Michael and C-Note carry on]
MICHAEL: How we doing on the PUGNAc?
C-NOTE: Hey, I'm working on it.
MICHAEL: Well, work faster. I need that stuff tonight.
[C-Note stops and halts Michael]
C-NOTE: What's up there in that infirmary that you need so bad?
MICHAEL: You get me that PUGNAc and maybe I'll tell you.
[Courtyard, T-Bag and his cronies enter through the gate. Michael is sat on the bleachers, in the same place as before, unscrewing the bolt he needs. He is unaware of T-Bag and his cronies approaching]
T-BAG; [Shaking his head] Uh-uh-uh.
[Michael finally gets the bolt loose and pulls it out]
T-BAG: Oh, hell, I don't understand it. This here's for the family. We made it pretty clear you ain't blood. How 'bout you hand that over?
[Michael gives T-Bag a bad look, then gets down from the bleachers and hands over the bolt]
T-BAG: [Examining the bolt] Nice looking steel bit of work, you could do some serious damage with it. Question is, who it is you was planning on damaging. I seen you with the negros, you know. Well, maybe you're one of them milk chickens, all confused, like.
[A couple of T-Bag's cronies get up and surround Michael]
T-BAG: White on the outside, black as tar on the inside. Maybe we ought to take a look at them insides and find out, hm?
PATTERSON: [Entering, outside the courtyard with a gun] Girl scouts! Is there a problem over there?
[T-Bag pretends to yawn and stretch, shaking his head slightly. As he does this, he hands the bolt to Maytag]
T-BAG: [To Michael] I think we'll just hang on to this if that's okay with you.
PATTERSON: Hey! I'm not gonna ask you again, let's break up the party, ladies.
T-BAG: [To Michael] You heard the man, little doggy. Get along.
[Michael lingers shortly and exits]
[A-wing, Bellick walks past Michael's cell, all the cell doors are open, presumably because the inmates are in the courtyard, he stops and looks, then enters the cell and starts searching it, Sucre's bunk, Michael's bunk, he looks through the books on the desk, under the desk. Then he sees Michael's notepad, he gets out a pencil and shades over the top piece of paper, the indents on the paper revealing what had been written on the page before it. He stands reading the words 'SCHWEITZER', 'ALLEN' and the numbers '11121147']
[Courtyard, Michael eyes Abruzzi and the P.I crew doing work in the Yard Department. Skips to Michael approaching Abruzzi in the entrance to the Yard Department]
MICHAEL: What's it take to shakedown another inmate? Get something he's taken from you.
ABRUZZI: It would take Fibonacci.
MICHAEL: I'll give you Fibonacci. I promise you that. When the time is right.
ABRUZZI: The time is right now.
MICHAEL: No, the time is right when you and I are both standing outside those walls. You're sitting on life without parole. You're never gonna stand outside those walls again. Not unless you knew someone. Someone who knew a way out. What do you say, John?
ABRUZZI: I say I've heard nothing but blabber.
[They exchange a long look. Abruzzi exits]
[Visiting room, Abruzzi enters and walks up to a table at which two men in suits are sitting. Abruzzi stops at the table and looks a little stunned]
ABRUZZI: Philly Falzone. [Chuckles slightly] It's an honour. What are you doing here?
FALZONE: Well, I, um, thought we'd just, you know, fraternise.
SMALLHOUSE: He looks like it, doesn't he?
ABRUZZI: [Stepping forward] Like what?
SMALLHOUSE: Like everybody's been saying.
[Abruzzi sits down]
SMALLHOUSE: You've got no sack. You've been neutered.
ABRUZZI: [Laughs] You shouldn't talk to me like that. You used to pick up my laundry.
SMALLHOUSE: Not anymore, John.
FALZONE: John, word is there's someone in here that knows where Fibonacci is and you're not doing anything about it.
ABRUZZI: I'm working on it.
FALZONE: Well, you're not working on it fast enough. Apparently, Fibonacci's coming up for air again. Next month, a congressional hearing. Now, if he testifies in that hearing, a lot of people are going down. Including me. Now, I've known you a long time. Our wives are friends, our kids go to the same Catholic school. Now, it would be a shame if anything were to happen to your kids. I know my kids would miss them.
ABRUZZI: You don't need to do this.
FALZONE: I do.
ABRUZZI: I'll get this guy. We'll get Fibonacci.
FALZONE: Well, for everyone's sake, I hope you're right.
ABRUZZI: I am.
FALZONE: Be well, John.
ABRUZZI: Thank you.
[Falzone and Smallhouse exit]
[The Shoe, Sucre paces back and forth in the cell]
SUCRE: Yo, (name?)!
[Sucre bangs on the door]
SUCRE: I gotta used the phone!
[Stolte opens the window flap, rushes back to the door]
STOLTE: Sure, no problem, you want a pizza and a pedicure, too?
SUCRE: No, it's Monday, man, I gotta call my girl, she's expecting my call!
STOLTE: Put a sock in it, you got nothing coming.
[Stolte closes the window flap]
SUCRE: Oh, no, no, no, (Mexican name)!
[Sucre bangs on the door]
[Main reception, Bellick is holding a book/file open]
BELLICK: Hey. Pull up the manifest. Is there an Allen Schweitzer in gen pop?
[Rizzo types this with a keyboard]
BELLICK: How about the shoe?
[Rizzo searches this as well]
RIZZO: Nope. Why you asking?
BELLICK: Curious, that's all.
[Bellick exits, slamming a notepad down on the side on his way]
[We see one convict slide a shank to another convict in the chapel, skips to another convict passing the shank onto a different inmate out in the yard, skips to two inmates in a cell, one crafting a shank, the other holding a mirror out of the cell so he can see when any prison guards are coming, skips a shank being passed around on the bleachers, skips to Michael filing into the prison from the courtyard with Trumpets just behind him]
TRUMPETS: You hear the trumpets, Fish? I know you can. That's judgement day. It's coming. Real soon.
[Skips to A-wing, the convicts are all allowed out of their cells, we see C-Note doing sit ups in his cell, we then see Maytag talking to some other inmates]
T-BAG: [Out of shot] Yo, (name?)! Come on, Maytag!
[Maytag runs up the steps to another level. Michael sees this and enters T-Bag's cell, he starts starts searching around, looking under the top bunk mattress and under the table. T-Bag and Maytag enter]
T-BAG: What you doing in my cell.
[Michael approaches T-Bag]
MICHAEL: I want in.
[We see C-Note stop doing sit ups, he gets up and looks at what's happening down in T-Bag's cell, most of the inmates in the A-wing are looking]
T-BAG: I'm not quite sure I heard that, Fish, did you just say you're in?
MICHAEL: That's right.
T-BAG: You know the old saying, don't you? In for an inch, in for a mile.
MICHAEL: Whatever it takes. You want me to fight, I'll fight. The bolt from the bleachers, that's what it was for.
T-BAG: Well, you want to fight, I'll get you a chance. Next count,
T-BAG: Problem with that? 'Cause we going straight at 'em. Better catch them square, Fish.
[We see Trumpets join C-Note in watching these events]
T-BAG: We on demand in a big way.
MICHAEL: All I need's a weapon.
MAYTAG: You want a weapon, bitch?
[Maytag spins the bolt around in front of Michael, then takes out a smaller weapon and puts it in Michael's shirt pocket]
SECURITY GUARD: [Through speaker] All prisoners, return to your cells.
[We see C-Note go back into his cell. Michael goes to walk out but T-Bag puts his arm across him, blocking his way]
T-BAG: You're gonna have to prove yourself before we trust you with the heavy artillery, you know what I'm saying?
SECURITY GUARD: [Through speaker] Gates closing!
[Michael exits, T-Bag's cell gate closes, we see C-Note standing in his cell, he doesn't look happy]
[Veronica's office, Veronica is at her desk, her legal assistant knocks on the door and enters with him]
TIM: I wanted to apologise for being so short with you before.
VERONICA: No problem.
TIM: The closer it gets to an execution, the hard it becomes, so that's why I want to give you this.
[Tim hands a package over to Veronica]
TIM: It's the, er, surveillance tape of the garage that night. [Backing out of the office] It's a closed trial so no one outside of the courtroom saw it but... I thought we could help you out.
VERONICA: With what?
[Tim exits. Skips to Veronica alone in her office, she pulls the video tape out of the package and puts it into a video player. She then picks up a remote and turns on the television. The footage shows a car pulling into a parking space in a garage. Lincoln walks over to the car and shoots the person driving it before running away. Veronica looks horrified. Back to the footage, Lincoln returns, opens the passenger door and leans in but it's unclear as to what he does exactly, then flees]
[Courtyard, Michael is alone, leaning against a fence. It looks as though there are a group of black convicts slowly walking over to him. Bellick appears behind the fence he's leaning on]
BELLICK: Allen Schweitzer. That name mean anything to you?
MICHAEL: Should it?
BELLICK: I don't know, you tell me.
MICHAEL: Never heard of the guy.
BELLICK: Are you sure?
[Bellick exits. Michael only looks at him as he walks away, wondering how Bellick knows about these names]
[Changing room, C-Note approaches Michael from behind and taps in the shoulder. Michael turns around and C-Note holds up a little bottle of pills, smiles, and walks away, wanting Michael to follow. Michael makes sure the C.Os aren't looking and follows C-Note to where they will be out of sight]
C-NOTE: Ta, what's up, snowflake?
[They slap hands and as C-Note goes to shoulder bump Michael, he shoves Michael hard into the gate behind him, someone else runs out to hold Michael back, while another holds him by the neck and head from behind, through the metal bars]
C-NOTE: Do you think I'm a fool?
MICHAEL: What are you talking about?
C-NOTE: I see you up there with Ted (????). You know, I got a good mind to slash you open right now.
MICHAEL: It's not what you think. They've got something I need.
C-NOTE: [Smirks] I see, that's funny. Because I got something you need, too.
[He shakes the PUGNAc in front of Michael's face]
C-NOTE: Yeah, you want your PUGNAc, Fish? Huh?
[He pops the lid off the PUGNAc]
C-NOTE: [While pouring the PUGNAc into his hand] Hell, yeah, baby. It's all you.
[He drops the small, empty tub onto the floor]
C-NOTE: Listen, white boy, your luck just ran out. You chose the wrong side.
[One of the black cons pats Michael on the cheek, then they all let go and disperse. Michael looks at the empty bottle of PUGNAc, turns around and slams his hand on the gate in frustration]
[Visiting room, Lincoln is being led into the closed off section of the visiting room by security guards, he sees Veronica sitting opposite, smiles and sits down]
LINCOLN: Man... it's great to see your face. [Smiles]
[Veronica looks away as though she's annoyed, Lincoln stops smiling]
VERONICA: I think it's time you quit this charade, don't you?
VERONICA: It's starting to ruin people's lives.
[Lincoln shakes his head, he looks extremely confused]
VERONICA: Michael's in here because he thinks you're innocent.
LINCOLN: He told you.
VERONICA: He hasn't told me anything but I know, Lincoln. I know what he's planning. Call him off. If you love him, call him off.
[Lincoln just stares at Veronica, he looks like he's on another planet]
VERONICA: I saw the tape.
LINCOLN: [Shaking his head] What's on the tape's not how it went down.
VERONICA: I know what I saw.
LINCOLN: I know what I saw. I was there, remember? I got hight that night. I had to. It's the only way I could go through with it. [We see a flashback of him smoking a spliff behind a column in the garage, he then drops it and stubs it out with his foot. Then he begins walking over to the car, pulling a gun out in his way, but as he reaches the car, the person inside is already dead, so he lowers his gun] I never pulled the trigger. The guy was already dead.
VERONICA: For all I know, you told me a th-
LINCOLN: Then, listen! I was set up. I went there that night to clear a debt. Crab Simmons was on my ass for the 90 grand I owed him. He told me the mark was some scumbag drug dealer and if I took then we'd be clean. I never pulled the trigger, all I know is that somebody wanted me in the same garage as Terrance Steadman that night.
VERONICA: Why would somebody want to set you up?
[Lincoln stands up, he's getting extremely frustrated but is trying to control his anger]
LINCOLN: It wasn't about me, it was about him.
VERONICA: The guy was like a saint, all the charity work, the environmental progress his company was making. But the only person in this entire country who had motive to kill him was you.
LINCOLN: You came all the way down here to tell me how guilty I am?
VERONICA: I don't know why I came here.
[Lincoln sits back down]
LINCOLN: You have your life now, I know that. But if what we had before meant anything to you, you'd find out the truth.
VERONICA: [Welling up] Maybe all this is the truth. Maybe they got it right.
[Lincoln shakes his head, Veronica exits]
[Courtyard, a lot of the black inmates are using the weights or just hanging out by them, two white inmates walk over and before they can even get near the weights they're ridiculously outnumbered and being pushed and ushered away by the black inmates whil they shout various insults. When the white cons have finally gone, the black ones start clapping and jeering. Skips to the Shoe, Sucre is etching the ground with something chalk-like, he has written 'I LOVE MARI' so far, when he looks at his watch]
SUCRE: (Speaks Mexican)
[He rushes to the door and starts banging on it]
SUCRE: (Mexican?)! Open up!
[Stolte opens the window flap from the other side]
STOLTE: You talking again?
SUCRE: It's my girl's birthday.
STOLTE: Happy birthday to her.
SUCRE: Well, you got to let me call her, please, I'll give you a million dollars if you let me use the phone.
STOLTE: I've seen your kicks, Sucre, you've got something like 40 cents to your name.
[Stolte closes the window flap]
SUCRE: Please! No! [Banging on the door] No!
[He gives up, leans against the door and slides down it with his back, looking extremely miserable]
[A limousine pulls up outside a club, a man opens the back door, two young women climb out, followed by Maricruz, who hesitates and waits]
HECTOR: [Entering] Alright, Maricruz, what are you doing? Come on.
MARICRUZ: It's okay, Hector. You go ahead.
HECTOR: What are you talking about?
MARICRUZ: I think I'm just gonna take a cab.
HECTOR: What do you mean? Like, go home? I mean, we just got here. [Walking closer to the car] He didn't call you, did he?
[Maricruz shakes her head]
HECTOR: Look, I love Fernando to death but the guy's a deadbeat. You gotta move on with your life.
[Maricruz looks up at Hector]
[Courthouse, Tim is going through a security check, Kellerman is on the other side of it]
KELLERMAN: Mr Giles, I'd like to have a word with you if we could.
TIM: I really don't have time-
KELLERMAN: [Holding up a Secret Service badge] I'm afraid we're going to have to insist.
[Tim walks with Kellerman]
KELLERMAN: It's come to our attention that you made a foil request a couple of days ago on the Burrows case.
[They stop walking. Hale is there, holding out Tim's suitcase, Tim takes it]
TIM: Yeah, so?
KELLERMAN: Records show that you made a dupe of the surveillance tape?
TIM: That's right.
KELLERMAN: Mind us asking why?
TIM: It was for one Burrows' old girlfriends, man. She was under the impression that the guy was innocent, I figured it would, you know, help her with closure.
HALE: She's in possession of the tape now then?
TIM: Don't pull that card on me. It's the Freedom of Information Act. She's entitled to that tape as much as you or I-
KELLERMAN: Oh, no, no, no, no. By all means. By all means.
TIM: May I go now?
KELLERMAN: Just one more thing. This old girlfriend of his. What's her name?
[Veronica pulls up in her car on a road somewhere. A black woman comes down some stairs to get her post out of the letterbox, Veronica walks across the road to her]
VERONICA: Excuse me. Is this the Simmons residence?
MS. SIMMONS: I'm Miss Simmons.
VERONICA: I'm sorry, um, I'm Veronica Donovan.
[Veronica hands Ms. Simmons a picture]
VERONICA: I'm looking for Crab Simmons, are you related?
MS. SIMMONS: He's my son.
VERONICA: Is he around?
MS. SIMMONS: No.
[We see someone peeking out of a window at what's going on from a house next door]
VERONICA: Can you tell me where I can find him?
MS. SIMMONS: Lady, go away. I can't help you, can't you understand that?
VERONICA: I'm sorry, it's just... a man's life is at stake and maybe your son can help him.
MS. SIMMONS: Crab can't help nobody, lady. He's dead.
[Veronica looks shocked]
VERONICA: I'm sorry.
[Ms. Simmons exits. We see the woman in the window close her curtain]
[A-wing, Patterson enters the wing with another security guard, all the cons are in their cells]
PATTERSON: Heads up! Summon up, cons, stand your gate!
[All of the cell gates open. We see C-Note jump down from his bunk quickly and stand by his gate. Michael walks out of his cell and stands in line for count, as do all of the other convicts]
INMATE(?): About to jump off, Fish.
[Michael looks across at C-Note who is directly opposite, he looks mischievous. One of the convicts steps out of line]
PATTERSON: (Name), get back on your number!
[Westmoreland, holding his cat as always, steps back into his cell because he senses what is about to happen]
SECURITY GUARD: [Into walkie talkie] We need back up, send up A-wing.
PATTERSON: I said get back on your number, (Name)-
[Another prisoner screams and charges forward and suddenly there is a full blown riot. Most of the convicts start attacking each other, Michael gets thrown over the edge and falls down a level. Everywhere is carnage except for Westmoreland's cell where he sits and watches the events. A black con runs into a white con's cell, kicks him in the genitals and tackles him onto the bed, then we see C-Note punching someone in the stomach. As a black man walks past T-Bag's cell, T-Bag steps out, grabs him from behind and slits his throat with a shank. We then see Maytag attack Michael with the bolt that he needs, so Michael counters his attack and ends up holding him around the neck from behind and taking him to the floor. Michael and Maytag wrestle over the bolt but Michael comes out on top, then he looks up to see that C-Note watched the whole thing. Maytag gets up and starts to charge at Michael when a black inmate intervenes, presumably sent by C-Note, and starts stabbing Maytag in the chest with a shank before running away. Maytag stumbles forward, falls and clutches onto Michael who holds onto him]
MAYTAG: [Uttering] Help me.
[T-Bag gets up from most probably being in his own fight and sees what has happened]
[T-Bag is wide-eyed and in utter shock. Smoke canisters come flying in and an alarm sounds, Maytag lay squriming on the floor as Michael flees and the riot response squad move in. Michael gets back to his cell, he is coughing and has Maytag's blood over his shirt. T-Bag is on his knees by Maytag's side]
T-BAG: You're a dead man, Scofield! You hear me!? You're a dead man!
Michael wipes his hand on a towel and then jumps as two convicts run past his cell, pointing the bolt out in front of him for protection. The cell gate closes. He picks up his towel and wipes his blood-stained hands again before putting his head in his arms as he sits on the floor breathing heavily]
[A-wing, the convicts are in their cells. The Pope is in the centre of wing]
POPE: I really don't know what to say to you gentlemen. I try to give you the benefit of the doubt, I try to treat you with respect. You can't even respect yourselves. So, there's going to be a 48 hour lockdown. No mess, no showers, no visitation. And I strongly suggest that you all learn to get along. Otherwise, next time it's gonna be week and the time after that it's gonna be a month. Think about it.
[Pope exits. Michael starts scraping the end of the bolt on the floor. Skips to Fox Maytag lying dead on a table, T-Bag stood by his side looking down at his body. He looks up creepily as though he's contemplating something]
[Veronica's office, Veronica is writing at her desk, her legal assistant enters]
LEGAL ASSISTANT: Got a Leticia Barris on the line.
VERONICA: I don't know who that is, take a message.
LEGAL ASSISTANT: She says she used to date Crab Simmons.
[Veronica stops writing and picks up her office phone]
VERONICA: Leticia, thank you for calling.
LETICIA: You want to hear what I have to say? We meet in a public place where they can't get to us.
VERONICA: Whoa, whoa, whoa, where who can't get to us?
LETICIA: Do you want to hear what I have to say or not? 'Cause if you don't, I'm gonna hang up right now.
VERONICA: No, no, no, just name the time and the place.
[Veronica waiting in the middle of a town square for Leticia, who arrives and walks past]
LETICIA: Over here.
VERONICA: Hey, Leticia, thanks for coming-
[Leticia stops walking and turns to Veronica]
LETICIA: Go easy, lady. We don't know each other, you got that? Look, stay out here in the open where they can't get to us. Where they can't do what they do. Only reason why I'm talking to you 'cause they gonna kill your boy like they killed mine.
VERONICA: Coroner's report says smack killed your boyfriend, Leticia, it was an overdose.
LETICIA: No overdose.
VERONICA: What do you mean?
LETICIA: Crab didn't use. He had a bad heart. If he touched the stuff, it'd kill him. I mean, don't you think it's just the slightest bit of a coincidence he OD'd a week after your boyfriend's crime. They killed him 'cause he knew things. Things they didn't want to get out.
VERONICA: Like what?
LETICIA: Like who was really behind that hit that night. Listen, Crab is for damn sure, and it sure as hell wasn't Lincoln. Neither of them boys knew what they were getting into, they were just pawns in a big game.
[Leticia sees something and stops talking abruptly]
LETICIA: They're here.
VERONICA: Who's here, Leticia?
LETICIA: Don't try to follow me. Don't find me, I won't testify.
VERONICA: Slow down and talk to me.
LETICIA: I'd get as far away from here as you can, girl. 'Cause there ain't nobody they can't get to.
[Leticia runs away]
[We see Kellerman and Hale watching from a distance, Kellerman is eating]
[Kellerman's office, focus on the badge on Kellerman's jacket and the ring he's wearing he picks up the phone and presses two buttons. We see a large house in a beautiful setting, a lake, lots of forestry. Subtitles read 'Blackfoot, Montana'. Inside, a vice-president Caroline Reynolds is chopping some vegetables, she is wearing the same ring as Kellerman, the phone rings, she picks it up:
KELLERMAN: We have a small complication. There's a lawyer poking around.
CAROLINE: Veronica Donovan?
CAROLINE: You can handle a girl who graduated in the middle of her Baylor Law School class. At least, I'd like to think so, given the stakes of what we're dealing with here.
[Two kids run into the living room in front of Caroline, one picks up a DVD and they run over to the television. Caroline
CAROLINE: Anyone that's a threat to what we're doing is expendable. Anyone.
CAROLINE: Do what you need to do to make this go away.
[Caroling hangs up the phone, Kellerman puts the phone down and clicks his neck]
[Michael's cell, he's still carving into the floor with the bolt. We see T-Bag poking his head out of his own cell]
T-BAG: [Creepily] You there, pretty?
[Michael stops etching the floor for a moment, then carries on]
T-BAG: [Creepily] I know you're there.
[Michael stops etching once more]
T-BAG: I just want you to know I'm coming for you. You got nowhere to run. You're trapped in that little hole of yours. Trapped like a pig that I'm gonna slaughter.
[Michael begins etching the floor again. Skips to Michael scraping the bolt on the floor, he looks at it and blows any excess dust off of it. Flashback of Michael flicking through a manual. He moves his arm to reveal he's reading about East cell blocks in Fox River State Penitentiary, he then looks at how the toilet is constructed in the cell, then the camera focuses on the words 'Steel Angle Brackets with 1/4" Allen Bolts'. Back to Michael in his cell, examining the end of the bolt, he pulls up his sleeve and sees if the circumference of the end of the bolt now matches that of a particular circle on the tattoo on his forearm. We see the toilet, it has 'SCHWEITZER, Plumbing Appliances, Aurora, IL, 60504' and there is a screw just beneath this, Michael starts unscrewing it with the bolt. He gets it out and looks behind himself to make sure that no onw saw]
[Infirmary, Sara is sat in her chair, Katie is in there, too]
SARA: Who's my 1 o'clock?
KATIE: [Exiting] Er, Michael Scofield.
[Skips to courtyard, Michael meets C-Note]
C-NOTE: I was wrong about you, Scofield. [Dropping the PUGNAc into Michael's hand] Here's your PUGNAc.
MICHAEL: Little bit late.
C-NOTE: Better late than never, right?
[Stolte enters, outside the fences]
STOLTE: Scofield! Infirmary.
MICHAEL: We'll see about that.
[Michael walks away, C-Note does, too, then turns back around]
C-NOTE: I'm gonna find out, you know. What it is you're doing up there.
[Skips to infirmary, Sara his taking a blood sample from Michael's finger]
MICHAEL: How long does this take?
SARA: It used to take hours. They've come a long way with the new glucose kits, this'll take us about 10 seconds. Slide this drip into the meter and we're ready to go.
[She takes the drip with Michael's blood on it and slides it into a meter, then takes her gloves off. Michael looks at the meter saying 'PROCESSING...']
SARA: I'm sure you know this but average glucose for a non-diabetic is about a hundred milligrams per deciliter, so we see a number like that here and we know you've been misdiagnosed.
[Michael shifts in his seat]
SARA: You seem nervous.
MICHAEL: I do?
SARA: You're sweating.
MICHAEL: Must be the needles. Never really got used to 'em.
SARA: Somehow, with diabetes and that tattoo, I find that hard to believe.
[Michael pulls down his sleeve and Sara picks up the meter]
SARA: Huh. Bad news, I'm afraid. [Showing Michael the meter] 180 milligrams per deciliter, you're definitely diabetic.
MICHAEL: [Smiles] Do you need anything else from me?
SARA: Arm to stick a needle in.
SARA: I'll see you Wednesday.
SARA: Prisoner. I don't know, there's something strange about him.
KATIE: What do you mean?
SARA: I gave him the results of his blood test and there was this look on his face. It was, um... relief.
[Skips to Michael being led down the steps outside the infirmay by Stolte, they cross paths with Bellick at the bottom of the steps]
BELLICK: [To Stolte] It's alright, I got him, I'm headed over to A-wing anyhow.
[Bellick grabs Michael by the arm and leads him along, hot drink in the other hand, he whistles]
MICHAEL: You're positively beaming, boss.
BELLICK: Got up on the right side of bed this morning, I guess. [Stopping] Hold up. [Motioning to his drink] Sugar. Now, don't you move, Fishy.
[Three cons grab Michael an escort him down the side of a building]
MICHAEL: What are you doing?
INMATE(?): You're coming with us, Fish.
[They enter a building, Abruzzi sits on a table inside. We see Bellick come out, check that Michael has been taken and smirk]
ABRUZZI: This little porker you and I have been doing for a while, as of this moment... [he taps on the table next to him for Michael to sit] it's over.
[One of Abruzzi's cronies nudges Michael forward, then back onto the table, suddenly he is surrounded by the four of them]
ABRUZZI: Fibonacci. I want to know how you got to him and where he is right now.
MICHAEL: Not gonna happen, John.
[Abruzzi nods once, his cronies pin Michael down on the table, one of them takes his left shoe and sock off. One of them hold a pair of shears to Michael's little toe]
ABRUZZI: Now, I'm gonna count to 3... 1...
MICHAEL: I give you that information, I'm a dead man. You know it and I know it.
MICHAEL: I'll tell you the moment we're outside those walls, not a second before.
ABRUZZI: [Whispering] You tell me now.
MICHAEL: [Whispering] Not gonna happen, John.
ABRUZZI: [Whispering] Hey. I'm gonna give you one last chance.
[Michael and Abruzzi share a long, intense look]
[Michael squirms, the screen goes blank and we hear the shears cut throigh his toe]