1 INT. CACT BEDROOM - CACT - MORNING

This room is in browns. The window is covered by deep brown curtains,
the carpet is deep brown, and the walls are two toned in eggshell and
brown. There is a small table in the corner, with two chairs, a
crayon and paper. PAN TO BED, also in browns. SUSAN wakes up, and
finds herself in a plain nightgown.

2 FRAME SUSAN

She pulls herself to a sitting position, and begins to look around in
wonderment. She grimaces, and puts her hands to her head, and her
pectoral muscle. There is a small bandaid where the dart hit her.
We hear A DELICATE CHIME, and Susan's looks towards the door.

3 FRAME DOOR

The door has a door handle, on the left, and a small black panel on
the right side of the door frame. The panel lights up with the words
"unlocking" in red, three small blue blocks (with LOW VOLUME TONES)
to "unlocked" in green (another DELICATE CHIME).

4 CLOSE UP OF SUSAN

She reacts to the door, not fully awake, with concern.

5 THE DOOR HANDLE

The door opens as we

FADE INTO:

6 OPENING CREDITS

CREDITS END

Over CREDITS END superimpose: BREAKOUT

FADE OUT.

END TEASER

ACT ONE

7 FADE IN:

INT. ZAND'S BEDROOM - ZAND'S HOUSE

It is obviously early morning, and morning blue light shines in from
the window. Leaning up against the wall is CHRISTINE, arms crossed,
very serious. ZAND sits at his meager desk, the right side of his
face is no longer as covered, but several patches of gauze are still
providing protection and antibacterial solution. They are both
looking at MARK. MARK is the boyfriend in Susan's picture from
episode one. He's a tall built man with close cropped brown hair.
And he's angry.

MARK
(exasperated)
And you didn't call the police?

ZAND
We can't.

CHRISTINE
Not without getting bigger
forces into the mix. And we
don't want that.

ZAND
If it wasn't for Susan, we
wouldn't even be talking right
now.

MARK
(annoyed)
Susan, Susan. Always Susan.
(angry)
Susan is MY concern!

CHRISTINE
(bluntly)
Then where is she?

We HEAR A PLAIN CHIRP. Zand turns to his computer. Mark takes an
angry step toward Zand, and Christine gently holds him back. The two
obviously don't like each other.

8 CLOSE ON ZAND

Zand looks into a monitor which says "SEARCH COMPLETE" and "ONE MATCH
FOUND." We HEAR THE CLACKING OF A KEYBOARD in which the screen
repaints itself, the text too small for us to see. Zand reads it for
us.

ZAND
The plate belongs to The La
Parita Center for Advanced
Cloning Technology. 50 miles
south of San Antonio. A good two
hours from here.

9 TWO SHOT OF CHRISTINE AND MARK

Both have become interested more in the screen than with each other.

MARK
Advanced Cloning Research? I
thought that stuff was banned.

CHRISTINE
Human cloning, yes, but not
animal cloning. They probably
do genetic manipulation, too.

MARK
Bigger pigs, bigger cows. What
does all this have to do with
Susan?

ZAND
I don't know.

10 MARK'S POV

He's looking down at Zand, still facing away from him. Zand's chair
swivels, and Zand looks right at him.

ZAND
Let's just get her out of there.

11 INT. CACT BEDROOM - CACT - MORNING

FRAME DOOR

The door opens and CARRIE, now wearing an all grey uniform walks
through the door, pulling a small tray covered by a silver dinner
cover.

12 TWO SHOT OF SUSAN AND CARRIE

Susan is still groggy, but a bit more alert. Carrie is doing her best
to be comforting, but we see that she is like a deer hearing prey, on
her guard as well.

CARRIE
(wary, but cheerful)
Good morning.

Susan simply stares at her.

CARRIE
After last night's escapades you
must be hungry, it's been over
twelve hours since you last ate.

Susan glowers.

13 THE DINNER TRAY

Carrie removes the dinner cover revealing a glass of milk in a small
goblet, a with two scambled eggs and an apple, cut into quarters.
Everything looks normal. A small roll holding her fork and napkin
lies to one side.

14 SUSAN'S POV

Carrie takes the food off the tray. PAN WITH HER As she places the
plates and milk on the table in the corner.

CARRIE
As our guest, please let me know
if there's anything I can get
you.

15 CLOSE UP ON SUSAN

Her poker face is breaking, she's showing her anger.

SUSAN
Guest?

16 SUSAN'S POV

Carrie makes her way back to the door, AS WE PAN WITH HER, always
facing Susan.

CARRIE
Yes...Guest. I'll be back with
your lunch, later today.

And with that, Carrie exits. We hear the door make THREE LOW TONES
then a DELICATE CHIME.

17 INT. COORIDOR - CACT

CLOSE ON CARRIE

Carrie is a bit annoyed.

CARRIE
(bitter)
From head of security to
consierge. I better be getting
a raise out of this.

18 CACT BEDROOM

Susan goes to the door and pulls on the knob a few times. The door
doesn't budge. She looks at the black panel on the side, and pokes it
a few times. She looks over to her breakfast.

19 INSERT SHOT

The food beckons to her.

20 CLOSE ON SUSAN AND HER WINDOW

Looking back from her food, she gos to a window, and pulls back the
curtains. She's on the first floor. She looks around for something
and finds it.

21 INSERT SHOT

Same as shot 19, but this time, we see a hand undo the little utensil
roll and take the napkin

22 CLOSE ON SUSAN AND HER WINDOW

Her hand is now wrapped in the napkin as she punches the window. It
vibrates, but doesn't break. She tried again, and again, it vibrates
but doesn't break. She shoulder rams it. Again a vibration, but
not a crack. She looks over at the food.

23 INSERT SHOT

The food beckons to her, yet again.

24 CLOSE ON SUSAN AND FOOD

Susan seats herself, back against the wall, facing the door, and takes
a sip of milk.

25