





EPISODE FIVE



FADE IN:



INT. LOBBY/OZ - DAY



EDDIE HOWELL rubs a leaf on plant, turns to Officer TOM

ROBINSON at counter, doing a crossword puzzle.



EDDIE

This thing rubber?



ROBINSON

I don't know. Feel like rubber?



EDDIE

Man, you'd think with all the

taxpayer cash getting pumped into

this dump, you guys could afford

the real deal.



ROBINSON

Yeah, well, I guess horticulture

isn't our primary concern.



ROBINSON returns to the crossword. Officer CLAIRE HOWELL

enters.



EDDIE

Hey. Clairzie.



HOWELL

What's going on? Shouldn't you --



EDDIE

Be at work? Yeah. If there was

work to be at.



HOWELL

What? Kentwell folded already?



EDDIE

First round o'lay-offs. Guess that

Degenhart bitch really was the

straw that broke our back.



HOWELL

Forget her, Eddie. Forget Kentwell

and telemarketing. Just focus on

you now. How much you got saved

up?



EDDIE

Zip. Beth's got a vacuum in my

wallet sucking out child support.



HOWELL

Alright, first things first: Go

down to the unemployment office --



EDDIE

Fuck that. I ain't living on

welfare. I'll eat my shit for

breakfast first.



HOWELL

And what about your little boy? He

supposed to eat your shit, too?



EDDIE

I wanna work in Oz. Be a CO.



HOWELL

Eddie, hold up --



EDDIE

I have a background in law

enforcement, remember?



HOWELL

You crashed your cruiser the first

month out o'the Academy and had to

quit for good.



EDDIE

So? I still got the training.



HOWELL

I just don't think Oz is the best

place for you right now. You have

enough pressure. Look for

something less stressful.



EDDIE

Claire, the economy's shit and my

sister has an in with the only

local industry that keeps growing.

You won't help me?

(off HOWELL)

I know what you're thinking: The

last time we worked together, I got

us fired. That was seven years

ago, Claire, painting houses. You

gonna tell me I haven't changed

since then?



HOWELL

No, Eddie, you've gone through some

rough times lately and I'm proud

o'you for the way you've held it

together. I'll speak with the

Warden.



EDDIE

By the way, is Degenhart around?

I'd like to take her to dinner in

the Hole for some cock fondue.



HOWELL eyes EDDIE: "Don't fuck around."



EDDIE (CONT.)

I'm kidding. Relax. Come on,

Clairzie, get psyched: We could be

Team Howell, mixin' up da shit.



As HOWELL walks off, not too thrilled at the thought,



CUT TO:



INT. GYM/OZ - NIGHT



Warden LEO GLYNN bench presses. HOWELL enters, dressed to go

home.



HOWELL

Hey, Warden... Sorry to bother you.



GLYNN

What do y'need?



HOWELL

My brother Eddie just lost his job.



GLYNN

Oh. That's too bad.



HOWELL

Eddie asked if there were any

openings here. Probably not,

right? Seems like we got a full

house these days.



GLYNN

Not necessarily. I fired Roger

Brese last week --



HOWELL

(bummer)

Oh, yeah.



GLYNN

Tell you what, I can't make any

promises, but I can meet your

brother. Have Floria set up an

appointment.



HOWELL

Alright. Thanks.



GLYNN lies back down on the bench. HOWELL doesn't move.



GLYNN

Is that it?



HOWELL

No hard feelings if it doesn't work

out, Warden. He'll find something.



GLYNN nods, resumes his workout. As HOWELL exits,



CUT TO:



INT. GLYNN'S OFFICE/OZ - DAY



EDDIE, in his Sunday best, sits across from GLYNN.



EDDIE

Claire and me, we didn't have much

in the way o'guidance growing up.

Our old man was as hard as the

rocks on our farm: Dropped dead

plowing the fields, closest he ever

came to a smile was that look on

his face when he croaked. And Mom,

well, she was troubled, to put it

nicely. We weren't surrounded by

role models.



GLYNN

Show me someone here who was.



EDDIE

Yeah, Warden, you know where I'm

coming from. So, as far as why I

wanna work in Oz, it's personal. I

know the timing makes it look like

I'm just reaching for any ol'job,

taking advantage o'my sister's

position, but I've thought long'n

hard about this. I learned a lot

in the Police Academy that I never

got to use: Order, oversight,

discipline.



GLYNN

Patrolling the hallways o'a prison

is even tougher than the streets.



GLYNN

Lotta the time it takes a couple

iron fists to get the job done.



EDDIE

Iron they are, sir, when that's

called for. Whether some psycho

with a shank or a dog pile in the

cafeteria, I'm the one doling it

out overtime.



GLYNN

And what about your sister? You

could keep your cool seeing her get

heckled and spit on?



EDDIE

I've been spitting on her since she

was born. No, seriously --

Claire's a big girl and work is

work.



GLYNN

Well, we'll have to wait and see

what happens --



EDDIE

Warden... I'm your guy. Am I your

guy or am I your guy? I mean, come

on, let's get this show on the

road. Right? You know I'm right.



As GLYNN laughs, the spell of EDDIE taking hold,



CUT TO:



INT. HALLWAY/OZ - DAY



HOWELL walks alongside EDDIE as he loosens his tie and

unbuttons his shirt.



EDDIE

I had him in the palm of my hand.



HOWELL

He said you could work here?



EDDIE

It was on the tip o'his tongue.



HOWELL

Eddie, don't get yer hopes up --



EDDIE

I put Chip Zelasko down as a

reference.



EDDIE

Gotta call him in case the Warden

does, tell Chip what to say. Later

on, sis.



He goes. On HOWELL, starting to have regrets,



FADE OUT.



EPISODE SIX



FADE IN:



INT. STAFF LOUNGE/OZ - DAY



Officer CLAIRE HOWELL checks her watch. EDDIE HOWELL enters

out of breath.



EDDIE

Phew. Made it.



HOWELL

Another five minutes, your first

day would've started with a pink

slip.



EDDIE

(pours coffee)

I need an alarm clock that reaches

out and bitch-slaps you.



He pours a gross amount of sugar into his coffee.



HOWELL

Sure you don't want a Coke there,

Eddie?



EDDIE

Just had one in the car.



HOWELL

Remember what I said: Don't be

afraid to call for help if you need

it. Heroes make the worst COs --



EDDIE

I know.



HOWELL

And ask whatever questions you got

-



EDDIE

Claire, I know.

(pops a pill)



HOWELL

What was that?



EDDIE

Easy, sis, it's aspirin. Oh, check

this out --



EDDIE rolls his sleeve up to reveal a tattoo on his bicep of

a large shark whose body is painted with the American flag.



EDDIE (CONT.)

The Great White, Red and Blue.



HOWELL

A little over the top, don'tcha

think?



EDDIE

Exactly. Show these fucks who's

boss.



HOWELL exits. As EDDIE downs his coffee in one big gulp,



CUT TO:



INT. HALLWAY/OZ - DAY



EDDIE whistles, reaches door to Telemarketing Room.



EDDIE

O'la.



He enters:



INT. TELEMARKETING ROOM/OZ - DAY



INMATES work, including SAMUEL GOUGEON. EDDIE approaches

Officer JOE MINEO.



EDDIE

Need a piss break?



MINEO

I'm alright.



EDDIE

Take one. You get a blood clot

standing around too long.



MINEO shrugs, goes. EDDIE observes the scene, mutters:



EDDIE (CONT.)

Unfuckingbelievable.



EDDIE positions himself in front of the light switch. And,

with his elbow, nudges it off. He lets the confusion linger.



EDDIE (CONT.)

Whoops. Sorry about that.



He turns on light. DONNA DEGENHART and BURR REDDING

approach.



DEGENHART

What just happened?



EDDIE

Nothing at all, Miz Degenhart. The

situation is under control. You

are Donna Degenhart, right?



DEGENHART looks to REDDING: "who is this guy?"



EDDIE (CONT.)

Could I have half a minute with

you?



EDDIE leads DEGENHART off as REDDING watches.



DEGENHART

Yes?



EDDIE

Hi. How are you?



DEGENHART

Do you need something?



EDDIE

Naw. But I think you might... I

overheard this guy at a bar in town

-- he worked for Kentwell

Communications, the firm you sunk

like a U-boat. Nice hit, by the

way. Real kind.

Anyway, he was pissed. Talking all

kinds o'things he was gonna do.

Revenge and whatnot.



DEGENHART blanches. REDDING approaches.



REDDING

Something wrong?



EDDIE

(eyefucks REDDING)

How's it feel, pop, putting

hardworking parents outta work?



REDDING

Huh?



EDDIE

Don't play dumb. It's the

dumbfucks who end up in the Hole.



EDDIE goes through the door as MINEO returns.



DEGENHART

Who is that?



MINEO

Claire Howell's brother. He just

started.



REDDING

Howell's brother? Christ-on-a

bicycle.



As DEGENHART and REDDING get back to work,



CUT TO:



INT. HALLWAY/OZ - DAY



EDDIE pulls out a book of matches, lights the pack, then

raises arm toward smoke alarm. On the alarm WAILING,



CUT BACK TO:



INT. TELEMARKETING ROOM/OZ - DAY



ALARM CONTINUES as INMATES, plugging their ears, rise from

their cubicles. REDDING spikes a pencil on his desk.



REDDING

Goddamnit.



MINEO

Alright, I need everyone to form

two single lines by the door.

Fast.



DEGENHART

What is going on here today?



GOUGEON and OTHERS line up, exit into:



INT. HALLWAY/OZ - DAY



ALARM CONTINUES, as the INMATES come out. As EDDIE turns a

corner, laughing, and downshifts into a walk, all business,



FADE OUT.



EPISODE SEVEN



FADE IN:



INT. STAFF ENTRANCE/OZ - DAY



Officer CLAIRE HOWELL enters to find Officer EDDIE HOWELL

punching in.



HOWELL

Eddie, I need to talk to you --



EDDIE

Same here: I just got a call from

Beth. Terry's been diagnosed with

oppositional defiant disorder.



HOWELL

Damn. Maybe you should take a few

days off, go to Little Rock, see

him.



EDDIE

I just started this job, I can't be

asking for days off. Besides, I

need the income to pay for this

special school he's gotta go to...



EDDIE checks his cubbyhole for mail, there is none.



EDDIE (CONT.) (CONT.)

I was making a shitload more at

Kentwell Communications. If it

wasn't for Burr Redding and Donna

Degenhart --



HOWELL

Listen, you have to let that go --



EDDIE

Yeah, yeah... I'm wondering if, um,

you could loan me some dough --



HOWELL

Eddie, I can't...



EDDIE

I know you have before and I

haven't paid any back -- but I

will, I swear, with interest.



HOWELL

I can't. I'm gonna need the money

myself -- Eddie, I'm pregnant.



EDDIE

What? But... Who's the father?

(off HOWELL)

One o'these fucks?



HOWELL nods. EDDIE stops, sees his sister in a new light.



EDDIE (CONT.)

You fucking pig --



HOWELL

Don't --



EDDIE

Look, I'm no angel, but screwing

these scumbags?



HOWELL

I need you to --

(reaches for his hand)



EDDIE

No. Jesus. You're crazier than

Ma.



EDDIE goes. On HOWELL, alone,



CUT TO:



INT. CAFETERIA/OZ - DAY



On stage, POET performs poem. EDDIE stands, looking at the

PRISONERS, including ALVAREZ, BEECHER, ARIF, BUSMALIS,

GUERRA, IDZIK, MEANEY, NEEMA, O'REILY, URBANO, PANCAMO,

BUKOWSKI, RAWLS, REBADOW, WHITE, SCHILLINGER, KELSCH, ROBSON,

KELLER, SEROY and ROSA. As he imagines each one with his

sister, his rage grows. BURR REDDING passes.



EDDIE

Redding --



REDDING

Yeah?



EDDIE

You ever fuck my sister?



REDDING

Wha --?



EDDIE SMACKS his hand down on REDDING's tray, causing the

food to fall to the floor.



EDDIE

Clean that up.



REDDING

Fuck, no.



EDDIE

You disobeying?



No response from REDDING.



EDDIE (CONT.)

You're going to the Hole.



EDDIE grabs REDDING, whose killer instincts come out -- He

bashes EDDIE, knocking him to the floor. COs grab REDDING,

cuff him. As EDDIE stares up at REDDING, nose bleeding,



CUT TO:



INT. THE HOLE/OZ - DAY



REDDING stands, naked.



EDDIE (O.C.)

Hey...



REDDING turns to see EDDIE, his face at the slot in the door.



EDDIE (CONT.)

This ain't over between us...



EDDIE shuts slot. On REDDING, defiant,



FADE OUT.



EPISODE EIGHT



FADE IN:



INT. GUARD BOOTH/OZ - DAY



Officer CLAIRE HOWELL sees Officer EDDIE HOWELL standing

guard at doorway.



HOWELL

Eddie, we have got to talk --



EDDIE

What'd'y'want me to say, huh? You

want a hug, a comforting arm around

your shoulder?



HOWELL

Yes.



EDDIE

I'll leave that to the daddy --



HOWELL

He's dead.



EDDIE

That's too fucking bad. But, I got

Beth hounding me for more child

support. I got a kid who's on self

destruct. My life is shit -- and

all because o'Burr the jizzball

Redding.



HOWELL

No. Your life was in the toilet a

long time ago, Eddie. And the

fault isn't Burr Redding's, it's

yours. Be a man, for once, and

carry that.



As HOWELL goes, leaving EDDIE fuming,



CUT TO:



INT. SORT GUN ROOM/OZ - DAY



Officer DAVID LEE sits cleaning gun, as EDDIE enters.



EDDIE

Hey, how are ya? I'm Eddie Howell,

started a few weeks ago --



LEE

Dave Lee. Nice to meet you.



EDDIE

You SORT guys, you got balls.

That's a sweet looking weapon.

(looks at gun case)

Y'got a whole fucking arsenal here.



LEE

We need to be ready at any moment,

for any situation.



EDDIE

Makes me sleep better, I'll tell ya

that.



Phone RINGS. LEE goes to answer it, his back to EDDIE. As

EDDIE steals a thirty-eight revolver,



CUT TO:



INT. TELEMARKETING ROOM/OZ - DAY



BURR REDDING walks around, supervising WORKERS, including

POET, REGGIE RAWLS and KENANIAH MAXWELL. EDDIE approaches.



EDDIE

Yo, Burr, can I see you a sec?



REDDING walks to EDDIE.



INT. HALLWAY/OZ - DAY



As they move outside, EDDIE closes door and pulls out gun.



REDDING

What the fuck --



EDDIE

Shut yer black trap.



HE shoves him into:



INT. STORAGE ROOM/OZ - DAY



REDDING stumbles inside, as EDDIE enters, locks door.



REDDING

The hell is wrong with you?



EDDIE

Have a seat.



REDDING

I ain't doing shit.



EDDIE cocks and points revolver at REDDING.



EDDIE

Have a motherfucking seat.



REDDING

Think I'm scared o'that?



EDDIE points gun at REDDING's head.



EDDIE

Yeah. I do. Oh, I know you've

faced bullets before -- in the

hood, in 'Nam. But down deep, you

don't want to die. Not today. So,

sit.



EDDIE motions with the gun to the chair and REDDING takes a

seat. EDDIE pulls up a chair and sits across from him.



EDDIE (CONT.)

We're gonna play a game. Russian

roulette.



EDDIE flips open the barrel of the gun, whirls it and with a

flick of the wrist SNAPS it back into place. He cocks it.



REDDING

Look --



Without hesitation, EDDIE points again at REDDING and fires --

CLICK. Nothing. REDDING tries to maintain composure.



REDDING (CONT.)

Stop that.



EDDIE

(cocks gun)

Y'know the difference between us?

Vermin like you do whatever it

takes to get ahead, fuck the other

guy. Now me, I believe we all

deserve a fair shot.



EDDIE places the gun against his own temple.



EDDIE (CONT.)

I figure you were put on this Earth

to drive honest Joes like me into

our graves. Well, I'm about to

make your day.



EDDIE pulls the trigger. CLICK. Nothing.



EDDIE (CONT.)

See that? Dreams never come

true...

(points gun at REDDING's

temple)

By the way, how's business?



EDDIE pulls the trigger. CLICK. Nothing.



EDDIE (CONT.)

Shit. Still here. And

motherfuckers like you always will

be. Let's see there are five

chambers in this gun and we already

know that three are empty. That

leaves two.

(points gun at his own

temple)

One.



He pulls trigger. CLICK. Nothing.



EDDIE (CONT.)

Two.



He points gun at REDDING's head. Long beat. He pulls

trigger. CLICK. Nothing. EDDIE starts to laugh.



EDDIE (CONT.)

Dumb ass. There were never any

bullets in the gun. I just wanted

you to know what it feels like to

have yer fate in someone else's

hand. Tastes like shit, huh?



REDDING

I'm in Oz. My life is always in

someone else's hands.



EDDIE

Me, too, goddammit.

(begins to sob)

Goddammit. Goddammit.



He cries, points revolver at his head, firing non-stop. As

REDDING gets the hell out of the room,



CUT TO:



INT. HALLWAY/OZ - DAY



HOWELL approaches Office of Psychiatric Evaluation.



HOWELL's POV -- Sister PETER MARIE REIMONDO talking to EDDIE,

who is in restraints.



RESUME HOWELL, who reaches door. REIMONDO signals her to

stop, then rises, exits.



HOWELL

What the fuck happened?



REIMONDO

Your brother's had a nervous

breakdown. We should move him to

the Connelly Institute, for a

complete psychiatric evaluation.



HOWELL

Okay. Will you arrange that?



REIMONDO nods. HOWELL exits into:



INT. OFFICE OF PSYCHIATRIC EVALUATION/OZ - DAY



As HOWELL steps inside, EDDIE turns, his eyes tortured.



EDDIE

Clairzie, do you remember that

swing out behind the barn?



HOWELL nods.



EDDIE (CONT.)

Summer days, after chores, we'd

swing -- higher'n higher?



HOWELL nods.



EDDIE (CONT.)

D'y'remember the time the rope

snapped and I fell to the ground?



HOWELL

You broke yer arm.



EDDIE

That's how I feel now. I was going

up'n up'n up into the air -- so

high, I could see the whole valley.

And then something snapped...



As HOWELL puts a comforting hand on her brother's shoulder,



CUT TO:



INT. HALLWAY/SOLITARY - DAY



HOWELL walks along, thinking. SHE stops at open, empty Cell.



INT. CELL/SOLITARY - DAY



HOWELL steps inside, looks around, then closes the door,

shutting herself in. She sits on the bed. HOWELL looks at

floor, sad and lost.



INT. HALLWAY/SOLITARY - DAY



On the empty Hallway,



FADE OUT.







