Twentieth Century Fox
International Television
Prison Break
“Cell Test”
Season 1 – Ep. # 1AKJ02
As Broadcast
PRISON BREAK: “CELL TEST” #1AKJ02
1
PRISON BREAK
“CELL TEST”
TEASER
SERIES OF SCENES
Announcer:
(vo) Previously on Prison Break...
Lincoln:
I didn’t kill that man, Michael.
Michael:
The evidence says you did.
Lincoln:
I was set up.
SWAT Team Leader:
(os) Put down your weapon!
Judge:
(os) I find it incumbent (on
camera) that you see the inside of
a prison cell.
Michael:
(os) I’m lookin’ for someone.
guy (on camera) named Lincoln
Burrows.
Sucre:
(os) The man killed the Vice
President’s brother. (on camera)
Why you want to see Burrows so
bad, anyhow?
Michael:
(os) Because he’s my brother. (on
camera) I’m getting you out of
here.
Lincoln:
It’s impossible.
Michael:
Not if you designed the place, it
isn’t.
Lincoln:
Have you seen the blueprints?
Michael:
(os) Better than that. I’ve got
‘em on me. (on camera) You find
out who’s trying to bury him.
Veronica:
Nobody’s trying to bury him.
Michael:
The evidence was cooked.
Kellerman:
Got a lawyer poking around.
Garlic Cutter:
Anyone that’s (os) a threat is
expendable.
A
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
2
CONTINUED
T-Bag:
(os) You come around these
bleachers again, (on camera)
there’s gonna be more than just
words we’re exchangin’.
Maggio:
Someone found Fibanacci.
Abruzzi:
Who was this someone?
Fibanacci?
Michael:
I give you that information, I’m a
dead man.
Where is
INT. FOX RIVER - GARDEN SHED - DAY
(ABRUZZI’S CRONIES CUT OFF MICHAEL’S TOES.
A C.O. ENTERS)
C.O.#1:
Oh, my God. (os) Williamson, get
in here. What the hell happened?
Abruzzi:
An accident.
C.O.#1:
(os) Let me get in here.
Come on.
Hold on.
(THE C.O.S PICK MICHAEL UP AND CARRY HIM OUT AS ABRUZZI
PICKS UP THE SEVERED TOES. BELLICK ENTERS)
Bellick:
Get out.
(THE CRONIES EXIT)
Bellick: (Con’t)
I thought you said you were going
to have a conversation with him.
Abruzzi:
Yeah, I did.
escalated.
Things, uh,
INT. INFIRMARY - DAY
(THE C.O.S CARRY MICHAEL IN)
C.O.#1:
(os) We need some help here.
Sara:
Bring him on into three. Kathy,
I’m gonna need ten cc’s of
Xylocaine.
(THE C.O.’S PUT MICHAEL ONTO A GURNEY)
Sara:
(os) Thanks, guys. I’ll take it
from here. (on camera) I said
thank you. I’ll take it from
here.
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
3
CONTINUED
C.O.#1:
(os) Let’s go.
Sara:
(os) Okay, let’s take a look at
you. You’re okay, you’re okay.
(SHE UNWRAPS HIS FOOT AND SEES THE TOES GONE)
Sara: (Con’t)
What happened?
Michael:
Nothing.
Sara:
(os) This isn’t nothing, Michael.
(on camera) I need you to tell me
what happened.
Michael:
Don’t make me lie to you.
Please.
(IN THE HALLWAY, BELLICK IS TALKING TO THE OTHER C.O.S AS
SARA COMES OUT)
Sara:
(os) I think you better have I.A.
(on camera) start an
investigation.
Bellick:
Oh, there’s no need.
happened.
Sara:
Uh, perhaps you’d be good enough
to enlighten me.
Bellick:
There was a pair of gardening
shears left on the floor of the
shed. Evidently he stepped on
‘em.
Sara:
Blade went right through his boot,
huh?
Bellick:
Yeah.
Sara:
(os) So, uh, why (on camera)
wasn’t the boot still on his foot?
Bellick:
Like I said, Doc. We got it taken
care of. (os) Let’s go.
INT. MICHAEL’S CELL - NIGHT
(MICHAEL LIES THINKING)
We know what
PRISON BREAK: “CELL TEST” #1AKJ02
4
EXT. YARD - DAY
(LINCOLN STANDS IN THE SEG YARD ON THE OTHER SIDE OF THE
FENCE FROM MICHAEL)
Lincoln:
I’m gonna kill that scum.
Michael:
(os) You won’t. (on camera) You
kill him, you kill our express
ticket outta here.
Lincoln:
(os) Look what he did to you.
You’re not gonna last (on camera)
a second in this place unless I do
somethin’ about it.
Michael:
You ever hear of Top Flight
Charters?
Lincoln:
Yeah.
Michael:
They operate flights from small
airfields across the Midwest. (os)
Like the one ten miles from here.
They’re run by a shell corporation
Abruzzi owns. (on camera) We get
him on board, there’s going to be
a midnight flight waiting for us
the night we get outside those
walls.
Lincoln:
You’re willing to risk the entire
escape on a guy you don’t even
know?
Michael:
Preparation can only take you so
far. After that, (os) you gotta
take a few leaps of faith.
Lincoln:
Abruzzi’s a huge leap of faith,
Michael.
Michael:
(os) I’m not talking about
Abruzzi. There’s someone else who
(on camera) holds the key to this
entire thing. With him, it either
works, or it doesn’t. (os) Problem
is, I couldn’t know who that was
until he got in here.
(HE TURNS AND SEES TWO C.O.S BRINGING SUCRE OUT FROM THE
SHU)
Lincoln:
(os) Sucre? You can’t be serious.
(on camera) The guy is a thief,
Michael. He can’t be trusted.
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
5
CONTINUED
Michael:
(os) Gonna have to trust him, (on
camera) because he’s my cell mate.
Lincoln:
How well do you know him?
Michael:
(os) Not as well as a man can in a
week.
Lincoln:
(os) You tell him, he tells
everyone, (on camera) we’re done.
You know that, right?
Michael:
If we don’t get him on board,
there’s not gonna be any (os) any
digging in that cell. If there’s
no digging in that cell, then
there’s no escape.
OPENING CREDITS:
END OF TEASER
PRISON BREAK: “CELL TEST” #1AKJ02
6
ACT ONE
EXT. YARD - PAY PHONES - DAY
Answer Machine:
Thank you for calling. Please
leave a message after the tone.
Sucre:
(os) Maricruz. (on camera) It’s
me, baby. Are you there? (os)
Pick up if you’re there, mommy.
I’ve been in the SHU. (on camera)
I’ve been thinking about you...
INTERCUT WITH: INT. MARICRUZ’S HOUSE
Sucre: (Con’t)
(vo)...About your body. God, I’ve
been thinking about (on camera)
your body.
Maricruz’s Mother:
(os) Hello?
Sucre:
Uh, Mrs. Delgado. (vo) Hi. How
you’ doin’? (on camera) It’s me,
Fernando. (os) Uh, sorry to bother
you at home, but, uh, (on camera)
you know what’s up with Maricruz’s
cell phone? It just keeps going
(vo) straight to voice mail.
Maricruz’s Mother:
Maybe she has it turned off.
Sucre:
Any chance you know where she is?
Maricruz’s Mother:
(vo) I know exactly (on camera)
where she is.
Sucre:
And that would be?
Maricruz’s Mother:
(vo) With Hector.
Sucre:
Hector?
Maricruz’s Mother:
That’s right. (vo) They’re at the
mall, I think.
Sucre:
I don’t suppose next time you see
her you could have her turn her
phone back on? (vo) Mrs. Delgado,
I know (on camera) you don’t like
me. But I love your daughter, and
she loves me. We’re going to get
married, you know.
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
7
CONTINUED
Maricruz’s Mother:
If you were a decent man and you
really loved her, (vo) you’d let
her live her life.
Sucre:
What’s that supposed to mean?
Maricruz’s Mother:
I’ll tell her you called.
INT. MICHAEL & SUCRE’S CELL - DAY
(SUCRE LOOKS AT A PHOTO OF MARICRUZ. MICHAEL WORKS ON
SOMETHING IN HIS LAP. CAMERA PUSHES IN ON THE TATTOO, ON
THE COMPLEX IMAGES AND DESIGNS
FLASHBACK - MICHAEL'S CONDO - NIGHT
(THERE’S A PHOTO FLOW-CHART OF MIND-BOGGLING PROPORTION
WRITTEN ON THE WALL. MICHAEL’S THERE, HASTILY SCRIBBLING
COROLLARIES AND CONTINGENCIES ON THE WALL. CAMERA PUSHES
INTO ONE TACKED UP NOTE - “CELL TEST”)
RESUME PRESENT: INT. CELL
(MICHAEL IS HOLDING A CELL PHONE)
INT. MACHINE SHOP - DAY
(T-BAG COMES OVER TO AN ARYAN BROTHER WORKING ON A GRINDER)
T-Bag:
(os) I’m lookin’ to do some
damage.
Aryan Brother #1:
Well, you come to the right place.
T-Bag:
I want to do it slow. Inflict the
maximum amount of pain so the guy
wishes he’d just die, you know,
and get it over with, but just
can’t quite get there.
Aryan Brother #1:
(os) Oh, I got that. I got that.
Look at this right here, boss.
(HE RETRIEVES A BARBED SHANK FROM BENEATH A BENCH)
Aryan Brother #1:(Con’t) (os) I call it The Gutter. You
jam it up there in the stomach,
and these bits right here hook the
intestines. (on camera) You give
it a pull back, poor sucker’s guts
are hangin’ right out of his
stomach.
(more)
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
8
CONTINUED
Aryan Brother #1:(Con’t)(os) And he’ll get a real good look
at ‘em, ‘cause the wound’s not
fatal. (on camera) At least not
until the infection sets in.
(HE GIVES T-BAG THE SHANK)
T-Bag:
(sotto) You’re one sick puppy, you
know that?
Aryan Brother #1:
Thank you.
INT. VISITATION - DAY
(MICHAEL WALKS SLOWLY IN TO MEET VERONICA)
Veronica:
What happened?
Michael:
I’m okay.
Veronica:
They’ve gotten to you, haven’t
they? (os) The other prisoners.
My God, (on camera) Michael, this
place is gonna kill you.
Michael:
You said you talked to a woman.
What was her name?
Veronica:
Leticia.
Michael:
Leticia Barris.
Veronica:
How’d you know?
Michael:
A year ago, I was doing exactly
what you’re doing. Trying to find
out the truth. It’s a bottomless
pit, Veronica. They designed it
that way, so that by the time you
got to the bottom of it, Lincoln
would be dead.
Veronica:
Why didn’t you tell me you were
doin’ this?
Michael:
(os) Once the day was set, (on
camera) once that final appeal had
been rejected, he had sixty days
to live. (os) I figured I could
play (on camera) their game and
watch him die in the process, or I
could take matters into my own
hands.
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
9
CONTINUED
Veronica:
(os) You don’t have to (on camera)
do that. Leticia knows something.
If I can get out of her, (os)
maybe we can reopen Lincoln’s
case.
Michael:
What’d she tell you?
Veronica:
(os) She said somebody else (on
camera) was behind the killing of
the Vice President’s brother.
Michael:
Who?
Veronica:
(os) She got spooked. (on camera)
She took off before I could get
anything out of her. She’s holed
up in the Elysian Fields Project.
I’m going to go see her this
afternoon.
Michael:
That place is dangerous. You
should take someone with you.
Veronica:
(os) Who?
Michael:
Fiancee’d be a good place to
start.
Veronica:
(os) It think that’s probably the
(on camera) last thing in the
world Sebastian’d ever want to do.
Michael:
It’s good to see you.
Veronica:
You, too.
INT. PROBATION OFFICE - DAY
(L.J. AND LISA SIT WITH HIS PROBATION OFFICER)
Jenae:
No priors, a good student. Then
you get yourself arrested (os) for
intent to sell. (on camera) Good
life get a little boring?
L.J.:
It was stupid.
again.
It won’t happen
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
10
CONTINUED
Jenae:
Well, we’re all here to make sure
of that. (os) I took some time (on
camera) to speak to your mother
before you came in. She told me
that (on camera) there were some..
some extenuating circumstances in
your life right now.
L.J.:
Hey, if you’re talkin’ about that
guy at Fox River, he’s got nothin’
to do with this.
Lisa:
He refuses to call him his father.
L.J.:
The world will be a better place
without him.
Jenae:
Okay, it’s clear to me you’ve got
a lot of anger, young man.
Misdirected, it could land you in
the wrong place. (os) So to make
sure that doesn’t happen, you’re
going to (on camera) have to check
in with me once a week. (os)
Fridays. One hour. Your
attendance at school and your
grades need to be pristine.
L.J.:
Absolutely.
Jenae:
(os) And to give you (on camera) a
real good idea where that anger of
yours will get you if you don’t
rein it in, I’m signing you up for
the Scared Straight program at Fox
River. (os) You’ll have a mentor
who you’ll work with (on camera)
weekly. Give you a little
perspective.
L.J.:
A mentor?
Jenae:
Your father.
INT. PRISON LAUNDRY - DAY
(MICHAEL AND SUCRE ARE ON A WORK DETAIL.
HIS CELL PHONE AND WRAPS IT IN A CLOTH)
Sucre:
MICHAEL TAKES OUT
(os) Tell me that ain’t what I
think it is.
(MICHAEL SHOVES IT BEHIND A SWITCH PANEL)
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
11
CONTINUED
Michael:
It ain’t what you think it is.
Sucre:
Fish, a cell phone in here?
That’s cardinal sin number one.
(os) They can tack two years onto
you bid (on camera) automatic.
Michael:
If they catch you.
Sucre:
Hey, you know what kind of trouble
I can get for just knowin’ what I
know?
Michael:
Shh-shh-shh.
Sucre:
Now, that means you can make calls
whenever you want, right?
Michael:
I don’t like the look in your eye.
(os) What’s in there -- you never
saw it. (on camera) Got it?
INT. LINCOLN’S CELL - DAY
(POPE HANDS SOME PAPERWORK BACK TO LINCOLN)
Pope:
Why didn’t you include any names?
Lois:
Why would I want anyone to watch
me die?
Pope:
I’ve seen it happen a number of
ways. Some people (os) want to go
it alone. Others have grandiose
(on camera) statements they want
to make. But most want some
member of their family there (os)
before they leave this world.
Lincoln:
I’ll do it alone.
Pope:
Son, in my opinion, all inmates
who have made that choice have
deeply regretted it in their final
minutes. I’ll, uh...leave it
blank for now. (os) You have less
than four weeks now. You should
give it some thought.
PRISON BREAK: “CELL TEST” #1AKJ02
12
INT. ELYSIAN FIELDS PROJECT FOYER - DAY
(VERONICA MEETS A WOMAN AT THE DOOR)
Veronica:
Hi. I’m looking for Leticia
Barris.
Woman:
(os) Five.
Veronica:
Thank you.
(VERONICA FINDS THE DOOR TO APARTMENT FIVE OPEN, AND
ENTERS)
INT. APARTMENT - CONTINUOUS
(THERE’S AN OPEN SUITCASE WITH CLOTHES PILED IN)
Veronica:
Hello?
(LETICIA APPEARS FROM BEHIND THE DOOR, POINTING A PISTOL)
Leticia:
(os) Don’t you move (on camera) a
muscle.
END OF ACT ONE
PRISON BREAK: “CELL TEST” #1AKJ02
13
ACT TWO
INT. APARTMENT - DAY
Veronica:
Take it easy, Leticia.
Leticia:
You’re workin’ with
you? (os) You think
lady? (on camera) I
clicks on my phone.
cars out there (os)
Veronica:
I know you’re scared. I am, too.
But, please, put the gun down.
‘em, aren’t
I’m stupid,
hear the
I see the
on the street.
(VERONICA LOOKS DOWN AT THE SUITCASE)
Veronica: (Con’t)
Where you goin’?
Leticia:
Ireland.
make?
Veronica:
It makes all the difference.
Nobody’s ever gotten your
testimony.
Leticia:
(os) That’s exactly the reason (on
camera) I’m still breathin’.
Veronica:
(os) I’m not with them, Leticia.
(on camera) You have to believe
me.
Leticia:
(os) Oh, yeah? (on camera) Then
what you sneakin’ in here for?
Benita:
I thought maybe they’d gotten to
you.
Leticia:
Oh, yeah? (os) And why do you care
so much about my well-being all of
a sudden?
Veronica:
I don’t.
Leticia:
Finally, an honest answer.
Veronica:
(os) But maybe (on camera) you can
save Lincoln. And maybe you can
bring down the guys who killed
(os) your boyfriend in the
process. If somebody killed you,
(on camera) and Crab could’ve done
something to the guys who did it,
(os) you think he would’ve?
What difference does it
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
14
CONTINUED
Leticia:
I’m not as strong as he was. I
can’t take (os) those people on.
Veronica:
I’ll take ‘em on. (os) All you
have to do is come to my office
and (on camera) tell me what you
know. I’ll type it up. You can
sign the affidavit and split.
I’ll take you to the airport
myself.
INT. PRISON LAUNDRY - DAY
(SUCRE EYES THE SWITCH PANEL WHERE THE CELL PHONE IS
HIDDEN)
EXT. YARD - DAY
(LINCOLN STANDS IN HIS SEG CAGE, WATCHING SUCRE TALK WITH
OTHER LATINOS, OBVIOUSLY GESTURING THAT HE KNOWS ABOUT A
PHONE)
Sucre:
(in Spanish)
INT. HALLWAY OUTSIDE LINCOLN’S CELL - DAY
(A C.O. BRINGS LINCOLN IN AND TAKES OFF HIS SHACKLES)
Lincoln:
Bellick --
Bellick:
Hey, what’s up, Lincoln?
Lincoln:
I want some extra time outside in
the next couple of weeks.
Bellick:
(os) Heh-heh. Paint fumes in P.I.
(on camera) must be gettin’ to
you.
Lincoln:
Cell phones allowed in here?
Bellick:
Who?
Lincoln:
Extra time outside.
cigarettes.
A couple of
Bellick:
Half hour one week.
cigarette.
One
(LINCOLN NODS AND GOES INTO HIS CELL)
Lincoln:
Know a con named Sucre?
PRISON BREAK: “CELL TEST” #1AKJ02
15
INT. VISITATION - DAY
(FALZONE MEETS WITH ABRUZZI)
Falzone:
(os) This is what I don’t
understand, John. Otto Fibanacci
fingers you. He put you in prison
for life. (on camera) Yet you act
like you don’t even want to find
out where he is.
Abruzzi:
That’s not true, Philly.
Falzone:
Well, maybe it’s ‘cause you don’t
think you have anything to lose
(os) anymore. You know, you’re
already locked up. You..you know,
maybe you, um, (on camera) maybe
you like it here. (os) I mean, I
don’t know. But what I do know is
that if Fibanacci (on camera)
testifies next month, you and I
are going to be neighbors, and I
am not going to let that happen.
Abruzzi:
I don’t think you would fit in
here, Philly. Fancy suits, (os)
ties, shirts. Heh-heh.
Falzone:
(os) I think you’re right. So,
uh, (on camera) so let’s cut to
the chase. Did you break this
kid? (os) Did he tell you where
Fibanacci is?
(ABRUZZI TAKES OUT A SMALL BOX AND SLIDES IT OVER TO
FALZONE)
Falzone:
What is this?
Abruzzi:
(os) It’s a little gift from me to
you.
(FALZONE OPENS THE BOX)
Falzone:
Are these his?
Abruzzi:
Yeah.
Falzone:
Well, perhaps you should consider
using a different methodology
then, John. (os) From what I
gather, (on camera) there are far
worse threats in prison other than
bodily harm.
He won’t crack.
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
16
CONTINUED
Abruzzi:
What happened to the days when you
used to trust me, Philly, that I
would get things done?
Falzone:
Those were the days when you
actually did get things done,
John.
(SOMEONE OPENS THE DOOR AND BRINGS TWO LITTLE KIDS IN.
THEY RUN TO ABRUZZI)
Boy/Girl:
(os) Daddy, Daddy!
Girl:
(os) Did you hear the news?
Abruzzi:
(os) What.. (on camera) what..what
news?
Girl:
We’re going to stay with Uncle
Philly at the lake (os) for a few
weeks.
Falzone:
Yeah. We’re gonna have a good
time. (os) Heh-heh. You’re right,
John. Maybe you’re right. (on
camera) I do trust you. (os) Now,
you’re going to take care of that
(on camera) thing, aren’t you?
INT. PRISON OFFICE - DAY
(BELLICK SIGNS OFF SOME PAPERS)
Bellick:
How are those bone yard visits
goin’ with that girlfriend of
yours?
(HE OPENS A HOLDING CELL AND GOES IN)
Bellick: (Con’t)
I imagine pretty good, huh?
(SUCRE IS STANDING INSIDE)
Bellick: (Con’t)
You know, visitation rules
stipulate that (os) conjugals are
only for married couples.
Sucre:
We’re engaged. Besides, I got
that coming to me ‘cause I ain’t
caused no static in this place.
Please, don’t dead my conjugals.
Bellick:
I won’t.
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
17
CONTINUED
Sucre:
Thank you.
Bellick:
(os) But in exchange, you have to
tell me where that cell phone is.
Sucre:
Cell phone?
Bellick:
Don’t play stupid with me. I’m
giving you a chance to save your
precious conjugals. (os) You lie
to me, they’re gone, and they’re
never comin’ back. (on camera)
Now, where’s that cell phone?
INT. LAUNDRY - DAY
(LINCOLN AND MICHAEL ARE WORKING ON A PAINT DETAIL AS
BELLICK ENTERS WITH SUCRE AND WALKS OVER NEXT TO THE SWITCH
PANEL)
Bellick:
Turner, (os) your transfer came
in. They want you in
administration.
(BELLICK PATS SUCRE AND THE BACK AND EXITS WITH TURNER)
Lincoln:
He didn’t talk.
Sucre:
(to Michael) All I gotta say is, I
better get to make all the calls I
want.
Michael:
Gonna be kind of hard.
(HE HANDS SUCRE THE CELL PHONE. SUCRE LOOKS AT IT AND
SNAPS IT IN HALF. IT’S A PAINTED BAR OF SOAP)
Sucre:
Soap?
soap?
I lost my conjugals over
Michael:
You may have lost your conjugals,
but I can do you one better. I
can get you to her.
Sucre:
To Maricruz? (os) You can get me
to Maricruz?
Michael:
(os) That’s right.
Sucre:
Yeah?
Michael:
We’re breaking out of here.
Sucre:
How?
And how you gonna do that?
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
18
CONTINUED
Michael:
Starts in our cell.
Sucre:
(os) In our cell?
(LINCOLN PICKS UP THE SOAP CELL PHONE)
Michael:
(os) To tell you the truth, it’s
already started.
Sucre:
(os) Ah. (on camera) Are you
crazy? You think I want to break
out of here? Sixteen months from
now I’m at the gate. I’m getting
married, Papi, and I’m sure as
hell not doin’ it with no posse on
my ass. Man, I oughta beat you
six ways till Sunday! I lost my
conjugals, pindejo, all because of
your little bar of soap.
Michael:
I had to test you. See if you
could keep a secret.
Sucre:
You want a secret? I got a secret
for you, fish. (os) You dig in my
cell while I’m there, (on camera)
and I’m gonna split your wig. Yo
me intiendo?
(SUCRE STORMS OUT)
Lincoln:
That went well.
END OF ACT TWO
PRISON BREAK: “CELL TEST” #1AKJ02
19
ACT THREE
EXT. CHICAGO - DAY
Veronica:
(vo) Why don’t we start with
Lincoln’s relationship...
INT. VERONICA’S OFFICE - DAY
Veronica: (Con’t)
(on camera)..with your boyfriend?
Leticia:
(os) Real simple. (on camera) He
owed my man ninety thousand, and
he wasn’t gettin’ it done. Then
all of a sudden, it gets done.
Crab walks in with ninety K and a
big ass smile on his face.
Veronica:
Who paid him?
Leticia:
Not Lincoln.
marker.
Veronica:
Who’s they?
They paid his
(LETICIA GETS UP)
Veronica: (Con’t)
(os) It’s all right, Leticia. I
told you, (on camera) you’re safe
here.
Leticia:
Crab brought this guy home.
seen him before...
Never
FLASHBACK: INT. SIMMONS APARTMENT - DAY
(A GUY IN A WHITE CAP MEETS WITH CRAB)
Leticia: (Con’t)
(vo)...Crab did what he always did
when he was doin’ big business.
He told me to take a walk, so
that’s exactly what I did. There
was something about this guy,
though. He wasn’t the kind of
guy...
RESUME PRESENT: INT. VERONICA’S OFFICE
Leticia: (Con’t)
(on camera)...Crab usually dealt
with.
Veronica:
(os) What do you mean?
Leticia:
(os) Couldn’t put my finger on it
(on camera) till he went
outside...
PRISON BREAK: “CELL TEST” #1AKJ02
20
FLASHBACK: INT. SIMMONS APARTMENT
Leticia: (Con’t)
(vo)...Then I knew.
look.
He had that
Veronica:
(vo) What look?
Leticia:
(vo) You know. Like they own the
place. Like they’re untouchable.
Like they’re government.
(THE GUY IN THE WHITE CAP MEETS WITH KELLERMAN AND HALE ON
THE STREET BELOW)
Veronica:
(vo) So the government paid
Lincoln’s debt?
RESUME PRESENT: INT. VERONICA’S OFFICE
Veronica:
(os) Did Crab say what they wanted
in return?
Leticia:
Uh-uh.
Veronica:
All right. Just give me a moment
to type this up.
(LETICIA HEADS FOR THE DOOR)
Veronica: (Con’t)
Where are you going?
Leticia:
(os) I’m gonna have a smoke.
Veronica:
This is only going to take me a
minute.
Leticia:
So will the smoke.
INT. PRISON INFIRMARY - DAY
(SARA DRESSES MICHAEL’S FOOT)
Sara:
(os) No redness or swelling, so
there’s no sign of infection. (on
camera) I’m going to keep you on
antibiotics for the next ten days.
(os) You should be good. (on
camera) Michael, you understand by
law I’m obligated to file a report
if I feel there’s been prisoner
misconduct. (os) There’s no way
this injury happened by stepping
on a blade in a garden shed.
Michael:
If you file a report, things could
get a lot worse for me.
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
21
CONTINUED
Sara:
They’re not already?
Michael:
Not compared to what they could
be. I’ve made some enemies.
Sara:
Yeah. You scared? (a beat) Men.
Okay, (os) um, here’s what I
think. (on camera) I think you are
scared. And you wouldn’t be human
if you weren’t scared in a place
like this.
Michael:
When I was young, I couldn’t sleep
at night because I thought there
was a monster in the closet. (os)
But my brother told me there
wasn’t anything in the closet but
fear, (on camera) and fear wasn’t
real. He said it wasn’t made of
anything. It was just air. (os)
Not even that. (on camera) He said
you just have to face it. You
just have to open that door, and
the monster would disappear.
Sara:
Your brother sounds like a smart
man.
Michael:
He is. (os) In here, though, (on
camera) you face your fear, you
open that door, and there’s a
hundred more doors behind it. And
the monsters that are hiding
behind them are all real.
Sara:
If you want, I could recommend you
be sent to Ad-Seg.
Michael:
With the rape victims and the
snitches.
Sara:
It would keep you safe.
Michael:
Thanks. But I think I’d like to
face the monsters on my own.
INT. VERONICA’S OFFICE - DAY
(VERONICA HEARS SOMEONE ENTER)
Veronica:
Have a good smoke?
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
22
CONTINUED
Kellerman:
(os) I don’t smoke. (on camera)
Didn’t mean to startle you.
Special Agent Kellerman, (os)
Secret Service. We’ve been
informed (on camera) that you
obtained a copy of the
surveillance tape (os) entered as
evidence in the Lincoln Burrows
trial.
Veronica:
Is there a problem with that?
Kellerman:
We’re just following up.
Veronica:
(os) Has there been (on camera)
some amendment to the Freedom of
Information Act that I’m not aware
of?
Kellerman:
You know, when a prisoner gets
close to the end of this time on
Death Row, there’s a lot of last
minute --
Veronica:
(os) I’m sorry, (on camera) I
still don’t understand why this
would be a problem for the Secret
Service.
Kellerman:
It’s not. The prosecution made
its case far beyond any reasonable
doubt, and we know that we have
the right man. (os) That being
said, if you come across (on
camera) anything that could shed
some light on his innocence, (os)
I’m offering my help.
Veronica:
Sounds great. I really appreciate
you coming by.
(HE STANDS AND SHAKES HANDS)
Veronica: (Con’t)
Do you have a card, Agent
Kellerman?
Kellerman:
Of course.
call.
Veronica:
Thanks.
Don’t hesitate to
(KELLERMAN EXITS AND VERONICA LOOKS WORRIED)
Veronica:
Leticia...
PRISON BREAK: “CELL TEST” #1AKJ02
23
INT. OFFICE SMOKING LOUNGE - MOMENTS LATER
(VERONICA SEARCHES FOR LETICIA, BUT FINDS ONLY A SMOLDERING
CIGARETTE BUTT IN AN ASH TRAY)
EXT. VERONICA’S BUILDING - MOMENTS LATER
(VERONICA RUNS OUTSIDE AND SEES KELLERMAN LEAVING IN A CAR.
HER CELL PHONE RINGS. THE CALLER I.D. READS “SEBASTIAN”)
Veronica:
Sebastian, I’m so sorry.
I --
INTERCUT WITH: INT. WEDDING RECEPTION HALL
Sebastian:
Where are you?
Veronica:
I’m sor -- this just isn’t the
time. I’m sorry.
Sebastian:
(os) This is the time. (on camera)
I’m at the reception hall. (vo)
The coordinator’s here, the
vendors.
Veronica:
Look, I..I’m just..I’m sorry, I..I
can’t talk right now.
INT. CELL BLOCK - DAY
(ABRUZZI AND HIS CELL MATE WATCH MICHAEL FROM ABOVE)
Gus:
I say we take his whole foot.
Abruzzi:
(os) We could cut off all his
limbs, he still wouldn’t talk. (on
camera) Pain is not the answer
here. Maybe the Beatles were
right after all. Maybe all you
need is love.
INT. MICHAEL & SUCRE’S CELL - CONTINUOUS
(SUCRE IS THROWING HIS POSSESSIONS IN A PILLOW CASE AS
MICHAEL ENTERS)
Michael:
(os) What are you doing?
Sucre:
What does it look like I’m doing?
I’m rolling it up.
Michael:
You can’t do this.
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
24
CONTINUED
Sucre:
I’m done playing your reindeer
games, fish. (os) I’m going to
transfer to a nice quiet cell with
a normal cellie. (on camera) One
that doesn’t screw my entire life
up.
Michael:
Look, (os) I’m sorry about your
conjugals. (on camera) But if you
go now...
(HE LOOKS OUT AND SEES A C.O. NEARBY)
Michael: (Con’t)
Don’t do this, please.
Sucre:
Listen to me, fish. I got sixteen
months. (os) I got a fiancée to
think about. (on camera) I get
caught with a hole in my wall, I
don’t get to see the real world
for another five years.
C.O.#1:
Let’s go, Sucre.
Sucre:
I can’t do that.
Michael:
There’s always a solution.
work it out.
Sucre:
Sorry, fish.
We can
(SUCRE TAKES HIS THINGS AND EXITS)
Reverend Mailor:
(vo) Can I ask you something?
INT. LINCOLN’S CELL - DAY
Reverend Mailor: (Con’t) (os) Why have you denied any
family or loved ones to be there
for you in the end?
Lincoln:
Why would I let them watch me die?
I’ve caused them enough pain.
Reverend Mailor:
Maybe it’s not about them watching
you die.
Lincoln:
Maybe it’s about me watching them
live. That the final torture?
Reverend Mailor:
(os) No. It’s about how you want
to leave this world. (on camera)
What’s the last image you want to
take with you? A stranger?
PRISON BREAK: “CELL TEST” #1AKJ02
25
INT. MESS HALL - DAY
(T-BAG STARTS TO MOVE ON MICHAEL WITH HIS GUTTER KNIFE, BUT
ABRUZZI STOPS HIM)
Abruzzi:
Got an issue (os) with our little
friend over there?
T-Bag:
I don’t gotta come to you. You
don’t give the green light.
Abruzzi:
Everything in here runs through
me. You know that.
T-Bag:
(os) Maytag’s (on camera) in the
ground because of that piece of
detritus.
Abruzzi:
So now you want him.
T-Bag:
Every day for the rest of his bid.
Abruzzi:
Seems you and I have something in
common, then.
(AS MICHAEL MOVES THROUGH THE CHOW LINE, GUS SHOVES HIM
INTO A STOCK ROOM)
INT. MESS HALL STOCK ROOM - CONTINUOUS
(ABRUZZI AND TWO OTHER CRONIES ARE WAITING INSIDE)
Abruzzi:
(os) Easy now, fish. Don’t make
this any harder than it needs to
be. It’s time we came to an
arrangement, don’t you think?
(T-BAG IS THERE TOO)
END OF ACT THREE
PRISON BREAK: “CELL TEST” #1AKJ02
26
ACT FOUR
INT. MESS HALL STOCK ROOM - DAY
T-Bag:
You know, I was thinkin’ (os) I
was gonna gut you bow to stern as
soon as I laid eyes on you. (on
camera) But alackaday, you look so
pretty (os) when you’re scared,
don’t you? (on camera) Maybe we
oughta get the love out of the way
(os) before we move onto the hate.
What do you say to that, pretty?
(on camera) Hm? Yeah. Yeah,
maybe it’s time I lit up that
leather once and for all.
(T-BAG SETS THE GUTTER DOWN, AND ABRUZZI WHACKS HIM ACROSS
THE FACE. THE CRONIES PUMMEL HIM TO THE FLOOR)
Abruzzi:
(to Michael) Ah, he talks too
much. You and I need to have a
conversation.
INT. MESS HALL - CONTINUOUS
(ABRUZZI AND GUS BRING MICHAEL OUT)
Abruzzi:
What happened in there was my way
of saying I know I’ve been going
about this whole thing (os) the
wrong way.
Inmate:
(os) Got a man down!
Abruzzi:
I’m trying to make amends here.
Inmate:
(os) Come on, we need some help in
here!
Abruzzi:
Bygones be bygones.
Inmate:
(os) Need a doctor down here,
quick!
(HE OFFERS MICHAEL HIS HAND)
Michael:
You’re a mercurial man, John.
Abruzzi:
I prefer bold.
C.O.:
(os) Come on, just keep it moving,
guys. Come on.
PRISON BREAK: “CELL TEST” #1AKJ02
27
EXT. YARD - DAY
(MICHAEL WALKS WITH ABRUZZI)
Abruzzi:
(os) Tell me what you need from
me.
Michael:
(os) A trade. You get me a plane
(on camera) and I’ll get you
Fibanacci.
Abruzzi:
(os) What do you need a plane for?
Michael:
(os) I think you know.
Abruzzi:
(os) I’ll help you, my man.
know that, don’t you?
Michael:
(os) I do.
Abruzzi:
I just gotta know the exact date
and time.
Michael:
I’ll tell you soon enough.
Abruzzi:
Soon enough ain’t gonna cut it.
need to be outside these walls
before Fibanacci testifies.
Michael:
(os) You will be.
Abruzzi:
He testifies in one month.
Michael:
(os) Then you’ll be out in plenty
of time
Abruzzi:
If not, you’re a corpse. So you
better cut the crap and tell me
the exact date and time so I can
start making the arrangements.
Michael:
I don’t know if I can trust you
with that information yet.
Abruzzi:
Why not?
Michael:
Like I said, John, you’re a
mercurial man.
You
I
INT. HALLWAY OUTSIDE VISITATION - DAY
(A C.O. BRINGS LINCOLN IN WEARING SHACKLES)
Lincoln:
(os) Lewis, (on camera) take these
off.
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
28
CONTINUED
C.O.#2:
Sink, I can’t do that.
Lincoln:
(os) Come on, man, (on camera) I’m
in a cage. Ten minutes. Please.
It’s my kid.
INT. VISITATION - MOMENTS LATER
(LINCOLN COMES IN AND SITS OPPOSITE L.J.)
L.J.:
So, here we are.
Lincoln:
Yeah.
L.J.:
You know.
Lincoln:
How’s your mom?
L.J.:
She’s good.
Lincoln:
(os) I, uh, (on camera) been
talking to the chaplain, and
they’d like me to decide on who I
should, uh, have at the, uh... I
guess what I’m tryin’ to say is,
when you get to the end, you start
to realize what’s important to
you. (os) You know, who really
matters to you. And, uh, you
know, (on camera) that leaves you
and Mike. The only blood I got
left in this..this world.
L.J.:
Yeah, I..I gotta say, I’m not
really following what you’re
sayin’.
Lincoln:
(os) Well, uh, (on camera) in the
end, the only thing that matters
is love. Blood, family, you.
Um...
How you been?
In trouble.
(HE PLACES HIS HAND AGAINST THE SCREEN)
Lincoln: (Con’t)
(os) Give me your hand.
L.J.:
What are you doing?
Lincoln:
Give me your hand.
hand.
Give me your
(L.J. PLACES HIS HAND ON THE SCREEN)
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
29
CONTINUED
Lincoln: (Con’t)
(os) I want you to be there... (on
camera) I want you to be there the
day before I die. So I can see
you. So I can hold you.
(L.J. NODS)
Lincoln: (Con’t)
I, uh, love you.
you.
Always loved
L.J.:
This whole thing, uh...I don’t
know if I can take it.
Lincoln:
Me either.
You do.
I don’t have a choice.
EXT. OUTDOOR RESTAURANT - DAY
(VERONICA COMES TO MEET SEBASTIAN)
Veronica:
I am so sorry. I met with this
woman today, and she knew things
about Lincoln’s case. And then
she just disappeared. I think
something happened to her.
Sebastian:
Look, I’m going to make this real
easy for you. Do you want to get
married or not?
Veronica:
I don’t know.
Sebastian:
Wonderful.
Veronica:
Maybe we could postpone it. Okay,
I can’t do this right now. My
head’s not in it. It’s supposed
to be a celebration.
Sebastian:
(os) If you’re really telling me
(on camera) you want to postpone
this thing, then I want to cancel
it.
Veronica:
Sebastian, I’m sorry.
Sebastian:
I’ll come get my stuff tomorrow.
PRISON BREAK: “CELL TEST” #1AKJ02
30
INT. MICHAEL’S CELL - NIGHT
(MICHAEL TAKES THE ALLEN WRENCH FROM A CAVITY IN A BOOK
AND STARTS UNSCREWING ONE OF THE BOLTS ON THE TOILET
ASSEMBLY)
Bellick:
(os) Open on forty!
(MICHAEL HIDES THE WRENCH IN HIS POCKET)
Bellick:
Scofield. Found you a new cellie.
As luck would have it, I found him
in Psych Ward. (os) You were the
only guy with and empty tray,
so...
Michael:
Psych Ward?
Bellick:
You got a problem with that?
‘Cause if you do, please feel free
to drop it in my suggestion box
here.
(HE TAPS THE TOILET WITH HIS BATON, THEN STEPS OUTSIDE THE
DOOR)
Bellick: (Con’t)
(os) Haywire, get in here.
(HE BRINGS HAYWIRE PATOSHIK IN)
Bellick: (Con’t)
(os) Close it up on forty! (on
camera) Oh, and Scofield, (on
camera) just a heads up. (on
camera) Don’t make eye contact
with him.
EXT. YARD - DAY
(LINCOLN SHOOTS BASKETS INSIDE HIS SEG CAGE.
ALONG SIDE THE FENCE)
MICHAEL COMES
Michael:
Lincoln, we have a problem.
a new cell mate.
Lincoln:
Who?
I got
(MICHAEL GESTURES TOWARD HAYWIRE)
Lincoln:
(os) That’s a problem.
Michael:
(os) We’re just going to have to
(on camera) bring him on board.
Lincoln:
(os) You don’t bring a guy like
that on board.
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
31
CONTINUED
Michael:
Then I’ll work at night, when he’s
sleeping.
C.O.#3:
Ten feet, Scofield.
(MICHAEL AND LINCOLN MOVE APART)
Lincoln:
How far behind are we?
Michael:
Three days.
Lincoln:
Thought you said the margin of
error was zero days.
Michael:
I did.
(HAYWIRE STARES AT LINCOLN)
EXT. COUNTRY - DAY
(KELLERMAN AND HALE PULL UP IN THEIR CAR, PARK IT BEHIND A
TREE, AND GET OUT)
Kellerman:
Oh..nice out here. I got a buddy
who’s got a place way back up in
these woods. Come up here hunting
around this time of year. Man.
(HE OPENS THE TRUNK AND LETICIA, BOUND AND GAGGED, KICKS
OUT AT THEM)
Kellerman:
(os) Put her back in. (on camera)
Back in.
(HALE PUSHES HER BACK IN, THEN GETS A BETTER GRIP AND PULLS
HER OUT)
Kellerman: (Con’t)
(os) Here. Come here. (on camera)
Take her out there.
Hale:
She’s nothing. Nobody would
believe her if she talked anyway.
Kellerman:
Hundred yards or so should do it.
Do it. (os) Go!
EXT. WOODS - CONTINUOUS
(HALE DRAGS LETICIA INTO A CLEARING AND PUSHES HER DOWN)
Hale:
I’m sorry.
You gotta believe me.
(AS HE PULLS HIS GUN, A TRAIN WHISTLE DISTRACTS HIM.
LETICIA GETS UP AND RUNS)
CONTINUED
PRISON BREAK: “CELL TEST” #1AKJ02
32
CONTINUED
Hale:
(os) Dammit!
(HE FIRES A SHOT AND MISSES, THEN BRINGS HER DOWN WITH
ANOTHER SHOT TO THE LEG. SHE FALLS, HER MOUTH UNGAGGED)
Leticia:
Please! (os) Please. (on camera)
Please.
(KELLERMAN SHOOTS HER IN THE HEAD)
Kellerman:
Pick up the casings.
INT. MICHAEL’S CELL - NIGHT
(MICHAEL QUIETLY STARTS UNSCREWING THE TOILET BOLT, THEN
SEES HAYWIRE WATCHING HIM)
Michael:
What’s your problem?
Haywire:
I got a neuroanatomic lesion
affecting my reticular (os)
activating system.
Michael:
What does that mean?
Haywire:
It means I don’t sleep.
END OF EPISODE
At all.
PRISON BREAK: “CELL TEST” #1AKJ02
33
OPENING CREDITS
DOMINIC PURCELL
WENTWORTH MILLER
ROBIN TUNNEY
PETER STORMARE
AMAURY NOLASCO
MARSHALL ALLMAN
WADE WILLIAMS
PAUL ADELSTIEN
ROBERT KNEPPER
And
SARAH WAYNE CALLIES
“PRISON BREAK”
Created by
PAUL T. SCHEURING
Guest Starring
JESSALYN GILSIG
AL SAPIENZA
ANTHONY STARKE
ADINA PORTER
SILAS WEIR MITCHELL
DANNY MCCARTHY
And
STACY KEACH
Co-Producer
KARYN USHER
Producer
NICK SANTORA
Produced by
GARRY A. BROWN
Consulting Producer
MARTI NOXON
PRISON BREAK: “CELL TEST” #1AKJ02
Supervising Producer
ZACK ESTRIN
Co-Executive Producer
MICHAEL WATKINS
Executive Producer
MATT OLMSTEAD
Executive Producer
MIKE PAVONE
Executive Producer
PAUL T. SCHEURING
Executive Producers
MARTY ADELSTEIN
NEAL H. MORITZ
DAWN PAROUSE
Executive Producer
BRETT RATNER
Written By
MIKE PAVONE
Directed by
BRAD TURNER
34
PRISON BREAK: “CELL TEST” #1AKJ02
CLOSING CREDITS
ORIGINAL FILM
ADELSTEIN/PAROUSE
PRODUCTIONS
20th CENTURY FOX TELEVISION
a News Corporation Company
Associate Producer
AGATHA WARREN
Co-Starring
Wendy
ORA JONES
Smallhouse
GIANNI RUSSO
Aryan Brother
WESLEY WALKER
Gus
PETER HEINEMANN
Mrs. Delgado
SANDRA MARQUEZ
C.O. #1
MAC BRANDT
C.O. #2
PHILIP EDWARD VAN LEAR
C.O. #3
CHRISTIAN STOLTE
C.O. #4
MARK MORETTINI
Reverend Mailor
TOM MCELROY
Crab Simmons
TAB BAKER
Jenae Conlin
LINARA WASHINGTON
White Cop
JASON WELLS
Abruzzi Kid #1
LILLIAN ALMAGUER
35
PRISON BREAK: “CELL TEST” #1AKJ02
Abruzzi Kid #2
ELIJAH ROBERTS
Old African American Lady
TRACEY BONNER
Black Inmate #2
ANTHONY FLEMING
Director of Photography
ROBBIE GREENBERG, ASC
Production Designer
GARY FRUTKOFF
Edited by
SCOTT D. EILERS
Casting by
JUNIE LOWRY-JOHNSON, C.S.A.
And
SCOTT GENKINGER, C.S.A.
Chicago Casting by
CLAIRE SIMON
Unit Production Manager
FRANCIS J. CONWAY
First Assistant Director
NICK SATRIANO
Second Assistant Director
MICHAEL “JOCCO” PHILLIPS
Music by
RAMIN DJAWADI
Costume Designer
SUSAN KAUFMANN
Production Sound Mixer
SCOTT D. SMITH, C.A.S.
Set Decorator
LISA WOLFF-MANDZIARA
Leadman
BRYAN M. RAPEY
Property Master
TOMMY DAY
Construction Coordinator
TYLER OSMAN
Head Painter
HARRY N. HAASE
36
PRISON BREAK: “CELL TEST” #1AKJ02
Special Effects Coordinator
GUY CLAYTON
Gaffer
RICK THOMAS
Key Grip
CORTLAND BOYD
A Camera Operator
BILL NIELSEN JR.
Script Supervisor
MARY TALLMAN
Location Manager
PATRICK BRADY BREEN
Stunt Coordinator
RICK LEFEVOUR
Tattoo Designed by
TOM BERG
Production Coordinator
SHARI LYNN HIMES
Transportation Coordinator
WILLIAM T. HOGAN III
Key Hair
LINDA R. RIZZUTO
Key Make-up Artist
JAMIE WEISS
Accountant
ROBIN GINSBERG
Extras Casting
DARLENE R. HUNT
Assistant to Mr. Adelstein
HEATHER FOX
Assistant to Ms. Parouse
KELLI STEMBER
Assistant to Mr. Scheuring
CHRISTIAN TROKEY
Assistant to Mr. Olmstead
JEFF DRUSHAL
Post Production Supervisor
JAMES SODINI
37
PRISON BREAK: “CELL TEST” #1AKJ02
Assistant Editor
DINO DELORENZO
Music Editor
JASON RUDER
Music Supervisor
MICHELLE SILVERMAN
Sound Services Provided by
TODD AO/SOUNDFLUX
Supervising Sound Editor
DARREN KING
Re-Recording Mixers
JOE BARNETT, C.A.S.
MATT WATERS
Post Production Services
R!OT
Color Correction by (Part 2)
R!OT
Processing by
DELUXE
Main Title Design
PICTURE MILL
Copyright © 2005
Twentieth Century Fox Film Corporation
All Right Reserved
Twentieth Century Fox Film Corporation
is the author of this motion picture for the
purposes of copyright and other laws.
1AKJ02
The events and characters depicted
in this television series are fictitious.
Any similarity to actual persons,
living or dead, or to actual
events, is purely coincidental.
38