PB-E22 DISCUSS 072324 ===

Paul Adelstein: [00:00:00] Thank you everyone for being with us. This has been a ride.

Sarah Wayne Callies: It has been a ride. Um, I've even had all these emotions like after we've done the episodes, like I'll go for a walk and it'll be like rattling around in my head.

Paul Adelstein: Uh, I mean, it's a really good, it's a good season of television.

Sarah Wayne Callies: It's a good season of television.

Sarah Wayne Callies: I'm so proud to have been a part of it. I don't know if we've talked about this, but like, you know, I have this thing that you work as hard on a failure as you do on a success.

Paul Adelstein: Sure. And you, yes, of course.

Sarah Wayne Callies: And to do something where the vision that's on the page is the vision that ends up on the screen, uh, it's rare, right?

Sarah Wayne Callies: [00:01:00] There's so many places along the way where the wheels can fall off the bus.

Paul Adelstein: Yes. And, um, you don't know. You really don't know. I mean, we knew what, the thing that was cool about this. Sometimes you make an a movie, obviously in a vacuum, sometimes you make a show these days, if you're making a short run on a streamer in a vacuum.

Paul Adelstein: One of the things without anything airing, without anything airing is that we started getting that feedback. Right. We started, and then it becomes kind of a positive feedback loop.

Sarah Wayne Callies: Mm-Hmm. .

Paul Adelstein: Mm-Hmm. of, oh, we're making something. People are responding to, and then when you get a script, you know, ooh, they're gonna love this.

Paul Adelstein: And yeah, this, um, met its, met its promise, I think. People were really hooked in. And it's,

Sarah Wayne Callies: it's been cool to chat with writers, directors, and actors

Paul Adelstein: on the

Sarah Wayne Callies: show for whom it also meant so much.

Paul Adelstein: Yeah.

Sarah Wayne Callies: You know, that like, collectively looking back with so much gratitude.

Paul Adelstein: Yeah. [00:02:00]

Sarah Wayne Callies: Um, anyway. And the

Paul Adelstein: people had a good time doing it.

Paul Adelstein: Made friends and got to do stuff they hadn't gotten to do before and all the writers were so fond of one another and directors were fond of the cast and we all had a good time. I mean, it's, it's rare. It's a rare thing.

Sarah Wayne Callies: Yeah. And

Paul Adelstein: a hit, man. Just a good old Hollywood hit. Nothing like that feeling.

Sarah Wayne Callies: Yeah. I, man, I saw, um, I dug up a piece of memorabilia that I should post, um, not memorabilia, but it was the, we were on the cover.

Sarah Wayne Callies: of Entertainment Weekly.

Paul Adelstein: Oh, yeah.

Sarah Wayne Callies: When we came back for the season, for the, the second half of the season. Um, and I'd forgotten all about that. And I

Paul Adelstein: was like, holy cow. Was it you and went and dumb?

Sarah Wayne Callies: No, it was just went and dumb. It was just went and dumb. Um, but you know, I mean the cover of UW, you know, there's, there's not that many of them here.

Sarah Wayne Callies: Anyway, um, before [00:03:00] we get down any further on these little paths of ours.

Paul Adelstein: Yeah.

Sarah Wayne Callies: Uh, would you like to kick off our final Calestine Index of season one? Oh,

Paul Adelstein: I would. Here we go. The final episode of season one is entitled Flight, and as usual, that has several meanings. It was written by show creator Paul T.

Paul Adelstein: Schering and directed by our producing director Kevin Hooks. Flight first aired May 15, 2006, and drew an audience of 10. 24 million viewers. Highest rating since the mid season finale, which was 12. 18 million. Your time was a little different on Monday because Fox was carrying a live broadcast of a presidential address on immigration.

Paul Adelstein: It went until 8. 30, pushing most programming in the 8 o'clock hour by 30 minutes. So our competition ended up being a rerun of Grey's Anatomy on ABC, of course, King of Queens on CBS, and Deal or No Deal on NBC.

Sarah Wayne Callies: And you know what I'm realizing? When I wrote the script, I did not put a recap in it. Um, so I'm tempted to say the recap [00:04:00] is they get out of prison.

Paul Adelstein: They're out of prison and they're being chased.

Sarah Wayne Callies: And they're being chased. And the president is dead. So the vice president becomes the president.

Paul Adelstein: And someone, yeah, there's, there's a lot of machinations, including the cutting off of hands, the poisoning of heads of state, and The

Sarah Wayne Callies: putting on of bicycle helmets, and the overdosing.

Sarah Wayne Callies: The

Paul Adelstein: overdosing of Sarah and the almost inexplicable breaking into a Montana compound.

Sarah Wayne Callies: Yes. Okay, so there we are. That's, that is our recap of the episode we just watched. Um, moving on with the index. It was a turbulent week in the world with, uh, wildfires in Florida's Suncoast leading to 1, 200 homes being evacuated and 300 acres of forest burning.

Sarah Wayne Callies: Um, also ablaze was Texas where nearly 700, 000 acres of grasslands burned uncontained that week. Which gives you some sense of just how massive Texas is. Um, that same day [00:05:00] on May 15th, Mount Merapi, uh, I think I'm pronouncing that right. I apologize if I'm not, um, Mount Merapi erupted in Indonesia, which was just like a super chaotic time of the week.

Sarah Wayne Callies: Um, and a few days earlier on May 9th, President Bush signed the reauthorization of the Patriot Act, which had been set to expire and may account for all of the phone wiretapping in the season finale.

Paul Adelstein: In pop culture and entertainment news, May 10th through 12th was the 12th annual Electronic Entertainment Expo.

Paul Adelstein: Where Nintendo unveiled its Wii, and Steven Spielberg and Mario creator, uh, and Mario creator Shigeru Miyamoto played Wii Tennis together to show it off. I didn't realize Spielberg had anything to do with it, but I can tell you this.

Sarah Wayne Callies: Boop, boop, boop,

Paul Adelstein: boop,

Sarah Wayne Callies: boop, boop,

Paul Adelstein: boop, boop. The next day, on May 13th, The New Adventures of Old Christine premiered, starring Julia Louis Dreyfus being the funniest woman alive, Angelina Jolie and Brad Pitt traveled [00:06:00] to Namibia to give birth to their first child together.

Paul Adelstein: And Hells Angels sued a division of Disney for trademark infringement in its film, Wild Hogs, a comedy about middle aged bikers. And there's a joke in there somewhere.

Sarah Wayne Callies: I can't figure out what it is. There's a

Paul Adelstein: joke in and of itself.

Sarah Wayne Callies: But somewhere between Prison Break being rebooted by the writers of Mayans M.

Sarah Wayne Callies: C. Middlers. Yes. Like there's a

Paul Adelstein: Yes, there's something. Yeah. Some kind of synchronicity going on here.

Sarah Wayne Callies: Yeah. If anybody has a good one, feel free to DM us that joke. Yeah. Because it, it's in there somewhere. Anyway,

Paul Adelstein: any bikers out there Wanna sue Fox for the mines? They see reboot of prison break. I don't how it would work, but I'm sure you could find a lawyer that would do it.

Sarah Wayne Callies: Go back into the files and, and check out the, uh, the Disney. Mm-Hmm. . Long story. I had a friend who was actually, um, a, uh. An attorney for the, uh, Hells Angels for a spell. Um, moving on with that, uh, here is the [00:07:00] highlight reel from our watch party, a flight that we just did together. Um, the watch party, of course, you can join by subscribing on Patreon on the show page wherever you're listening right now.

Sarah Wayne Callies: Here we go. Like they're out of prison. It's called prison break. They're out. I like that kid. I hope that kid has a great career and is doing something amazing. Also, was that Timothy Chalabay?

Paul Adelstein: Yes, it was.

Sarah Wayne Callies: Also, what is this little girl doing in the middle of the night, alone in this garage? I think Haywire should be more afraid of her.

Sarah Wayne Callies: She's up to something.

Paul Adelstein: She's got a Veruca Salt vibe, for sure.

Sarah Wayne Callies: Dude, I gotta be honest, I thought that happened in Season 2. I did not think that happened right now. Ladies and gentlemen, that's what it takes to get a woman in the Oval Office. Ah! Series of felonies.

Paul Adelstein: Murders.

Sarah Wayne Callies: Oh my God, this episode must have been a monster to shoot.

Sarah Wayne Callies: They had to have had at least nine days. I mean, you've literally, you've got planes, you've got helicopters, you've got all the [00:08:00] police in the world.

Paul Adelstein: Whoa, okay. We certainly had a good time. Well, I hope our friends did too. Okay, we'll be right back to talk about the episode.

Paul Adelstein: All right, welcome back everyone.

Sarah Wayne Callies: Whoo. Okay. Woof, woof, woof.

Paul Adelstein: Where do we start? Where do we start? We have a whole lot of things.

Sarah Wayne Callies: There's planes. There's helicopters. There's, as I said in the rewatch, I think every cop car in the Chicago area.

Paul Adelstein: Yeah, it's like Blues Brothers.

Sarah Wayne Callies: There's horse trades, horse, no not horse trades, horse trailers.

Paul Adelstein: Planes train, no trains yet, but planes and automobiles and helicopters, and a lot of car action, and a van.

Sarah Wayne Callies: Every guest star potentially ever been on the show,

Paul Adelstein: from clips of And blood, and a severed hand. A

Sarah Wayne Callies: severed hand! I gotta say, I thought that severed hand, like right before it happened, I was about to [00:09:00] say.

Sarah Wayne Callies: If they shot this show now, they would cut this hand off right now instead of waiting for season two. And then literally Peter Stormari came at me with an axe and I was like, why did they cut this

Paul Adelstein: out? Um. Cut off a lot of appendages in season one. Um, I think it's really hand.

Sarah Wayne Callies: That was setting up season

Paul Adelstein: two.

Paul Adelstein: In a way, it's not set up at all.

Sarah Wayne Callies: You know you have haywire on a bicycle. So

Paul Adelstein: the thing I was going to say To look forward to. The things that you have. Like, there's basically, there's obviously the Sarah subplot. Mm, I

Sarah Wayne Callies: don't know if there's a Sarah

Paul Adelstein: subplot. Now, you're not, well, you don't know if she's dead, you don't know what the governor's gonna do about it.

Paul Adelstein: You, you, you know, she's found. It's a she man. She's

Sarah Wayne Callies: found, but that might be the end of it. It might be like, okay, so. It's

Paul Adelstein: a, all I mean is it's a cliffhanger.

Sarah Wayne Callies: Okay. Yeah, yeah, yeah.

Paul Adelstein: Obviously, the whole thing is a cliffhanger. But in terms of disparate [00:10:00] storylines, you have Haywire running one way.

Sarah Wayne Callies: Mm hmm. Mm hmm.

Sarah Wayne Callies: On a bicycle with nobody chasing him.

Paul Adelstein: You have, you have, uh, Tweener, with some horses running another way. And then you have Fox River.

Sarah Wayne Callies: We're down to five. Oh, and

Paul Adelstein: you have Teabag running a third way. Yes. Bleeding out. And then you have Fox River.

Sarah Wayne Callies: Yes.

Paul Adelstein: Just And,

Sarah Wayne Callies: you know, we have a mutual friend, Tony Phelan, who is a very accomplished showrunner.

Sarah Wayne Callies: Um, he created Fire Country, among other things, and I worked for him. Did you work for him on Greys?

Paul Adelstein: No, I just knew him through that whole

Sarah Wayne Callies: You just knew him, okay. I worked for him on Council Dads. Anyway, he was fond of saying that, um, I can't remember what show it was, but that there was a showrunner who had a cast that had gotten quite famous and ended the season with everybody looking into a grave.

Sarah Wayne Callies: And [00:11:00] they were like, who's grave is it? And he was like, that depends on who decides to behave

Paul Adelstein: themselves.

Sarah Wayne Callies: And there is something very interesting, I think, about basically saying to an entire cast with your season finale, any one of you could drop dead or have already dropped dead by episode one of season two.

Sarah Wayne Callies: Do you really

Paul Adelstein: get that sense at the end of this though?

Sarah Wayne Callies: Well, I mean, for, yes, because anybody could immediately be caught and thrown back in.

Paul Adelstein: Yeah, yeah, yeah. Sure.

Sarah Wayne Callies: Teabags on the brink of death. Haywire and Tweener are very, very much, uh, easily catchable.

Paul Adelstein: I've been associated with two shows that remain nameless, uh, where there was a long murder investigation, a big mystery, and where halfway through the season did not [00:12:00] know who

Sarah Wayne Callies: the murderer was.

Sarah Wayne Callies: Wait, the writers didn't know?

Paul Adelstein: Um, the cast certainly didn't know. Well, that's cool. I think the writers didn't know. I think that's very cool, actually. That might be a mystery for Offline. Um, yeah. But yes, and I also, there's a famous story that we've heard from, uh, I'm sure Matt Olmstead knows. I was gonna ask him when we had him on, but I forgot.

Paul Adelstein: And many other people who came from the Stephen Bochco camp, Stephen Bochco being Hill Street Blues and NYPD Blue, where he would have actors in his office, and he would open a drawer And slide them a page across the desk that was their death scene.

Sarah Wayne Callies: Oh, wow. And just say, I've got this at all times. And just

Paul Adelstein: say, like, it's in a drawer and it can, it's in your house.

Paul Adelstein: Like, it's on the stage. It's just like, wakes up in the morning and slips on soap. Or like, puts a gun in your head and kills himself. This can go into any script at any time.

Sarah Wayne Callies: Well, I can't remember [00:13:00] if I knew I was coming back. I mean, here's what I, here's what I, I mean, they hadn't like picked up anybody's options or anything.

Sarah Wayne Callies: Literally, we knew that the show was going to come back. And I remember being really excited because I loved Chicago and I was like, well, if I'm still alive,

Paul Adelstein: Chicago is

Sarah Wayne Callies: going to be fun. And then we went to, uh, we went, we were living in Brooklyn at the time, went home to New York. for the hiatus, which was short back then.

Sarah Wayne Callies: I mean, it was like 10 weeks. And it could not have been a month before we were going to go back to Chicago. When I got a phone, a phone call, and I remember what I was wearing. I sat down on a bench, um, on the street in Brooklyn. Was it a Dallas

Paul Adelstein: Mavericks jersey?

Sarah Wayne Callies: It was not a Dallas Mavericks jersey. Um, and although could I possibly be right that Tony Romo was their quarterback back then?

Paul Adelstein: She was.

Sarah Wayne Callies: Oh, that, uh, really?

Paul Adelstein: Yeah.

Sarah Wayne Callies: Dude, I just got a sports thing right. [00:14:00] Can we just take a minute? Congratulations. Okay, anyway. I sat down and, uh, it was our line producer, Gary Brown, being like, we're moving the show to Dallas. And I was like, duh, duh, duh, duh, duh, duh, duh, duh, duh, duh, duh, duh, duh, duh, duh, because I had bought an apartment in Chicago.

Sarah Wayne Callies: And so I remember, uh, And Wentworth had a bunch of stuff that he got to, he had to clean out of where he was living. He had a great apartment downtown. And we both separately from where we were, different places where we were, flew back, packed up our apartments and drove.

Paul Adelstein: Drove?

Sarah Wayne Callies: Our cars were both in Chicago and we both drove, if I'm, if I'm remembering this right, we both drove from Chicago to Dallas.

Sarah Wayne Callies: I remember I drove it. And I, he might have been driving from LA, but I remember we were on the phone every couple hours because we were like, dude, I don't want to land in Dallas and not have a [00:15:00] friend in town. So we kept being, I was like, where are you? Where are you? Where are you? And finally, I was going to spend a night because it's like 15 hours, but you know, I was in my twenties and I was like, no, nevermind.

Sarah Wayne Callies: No sleep till.

Paul Adelstein: I'm going to power through.

Sarah Wayne Callies: Made it all the way. But it, I mean, it was a crazy, it was like a little bit of a, a, a, an on set scandal because we were so close with our cast and with sorry with our crew and you know they found out like weeks before just kidding you don't have a job

Paul Adelstein: oh

Sarah Wayne Callies: um

Paul Adelstein: so brutal

Sarah Wayne Callies: most of them didn't come down uh brandon came down with us

Paul Adelstein: yeah we

Sarah Wayne Callies: love so much brandon props and jaco and we were going to talk about jaco phillips we made a note about this because jaco wasn't

Paul Adelstein: from chicago

Sarah Wayne Callies: he was no jaco was i mean i don't know where he was living out of But Jocko was from New Orleans, and if you were ever on a set with Jocko Phillips on a Friday, you knew he was from New Orleans, because he showed up in alligator [00:16:00] boots and a three piece suit and a colorful tie, and he was like, there is a way to dress on a Friday.

Sarah Wayne Callies: And I was like, you're my favorite person in the world. Amazing. That's great. But he was our second. Yeah, he became our first in season two. And I think he got promoted season

Paul Adelstein: two. to first cd you had a jaco phillips story i have a couple of them first of all he's he was i think second on boogie nights and i think he got his nickname jaco and he's in one of the dirk diggler porn slash kung fu movies he's the bad guy and he so he's in that and then my other favorite story is i can't remember the actor's name but there was somebody who came in season two and i don't remember the part they played but they had a goatee And like a shaved head and then got called back weeks later, the same character and showed [00:17:00] up on set and we were way out somewhere, not near the stages and he did not have a goatee.

Paul Adelstein: Oh, and the makeup department was like, we don't have any hair in here. It's on our truck back at the, like it was, it was a very small unit. Four

Sarah Wayne Callies: hours

Paul Adelstein: away. Yeah. Yeah. It was a nightmare, right? Jocker walks into the makeup trailer and shaves his head.

Sarah Wayne Callies: Oh my God. To give them the hair they needed to make their hair.

Sarah Wayne Callies: off

Paul Adelstein: his head and they blew it to the guy's face.

Sarah Wayne Callies: That's, that's Jocko. Like, he. And do you remember

Paul Adelstein: season two? All of a sudden he had

Sarah Wayne Callies: like, Gives everything. Like he'd shaved

Paul Adelstein: his head.

Sarah Wayne Callies: I don't. That was so good. Uh, because it was kind of chilly and we had a lot of like, Yeah, yeah. Hats on and stuff. Yeah. I, Jocko came on to, um, Colony, uh, years later.

Sarah Wayne Callies: And I walked by him in the hall in the production office and he goes, Hey, Sarah, it's great to see you. And I, I had no idea who he was. And he turned around and I was like, Sarah, it's, it's Jaco [00:18:00] from Prison Break.

Paul Adelstein: He lost like 200 pounds, right?

Sarah Wayne Callies: He had lost more than my body weight, um, and looked amazing. And he was like, I, you know, had to save my own life.

Sarah Wayne Callies: And so here I am, uh, still wear his three piece suits. Um, just a wonderful, wonderful, wonderful person.

Paul Adelstein: Um, all right, back to this episode.

Sarah Wayne Callies: Back to this episode.

Paul Adelstein: Let's talk about, there's a lot of twists and turns, obviously, but the thing that I think made us both gasp was right as Abruzzi's putting a gun to T Bag's head,

Paul Adelstein: he handcuffs himself to Michael, which is Handcuffs himself to Michael.

Sarah Wayne Callies: It was such a big shocker, and it, what was interesting about it is, when T Bag knocks that CO out,

Paul Adelstein: Uh huh.

Sarah Wayne Callies: My thought was, I feel like IRL T Bag just kills this guy. But you realize in that moment, he gets distracted by the handcuffs.

Sarah Wayne Callies: And [00:19:00] maybe that's part of why, that like, his brain starts going,

Paul Adelstein: you

Sarah Wayne Callies: know, you realize that like, T Bag has spent the last couple of weeks going, how do I prevent myself from getting killed the second round. Right, because you guys

Paul Adelstein: are going to kill me as soon as

Sarah Wayne Callies: we're out of here. Hundred percent. I mean, that's the other thing that we were talking about is what it's like to be handcuffed to another actor.

Sarah Wayne Callies: And I mean that in the literal sense. You're faking that. Being handcuffed on

Paul Adelstein: set is always a bummer. Just like always a love.

Sarah Wayne Callies: Um, this is also the episode where we get our first real good look at Terrence Steadman

Paul Adelstein: Uhhuh .

Sarah Wayne Callies: And that becomes crazy in some ways because when we see Terrence Steadman again next season, he will be played by a different actor

Paul Adelstein: like Jeff Perry, founder of Steppenwolf Theater Company, back to Paul, knowing everyone on a podcast, on a on the Scandal podcast I was on.

Paul Adelstein: And I, yeah, I had never gotten to work with Jeff Perry before and this was a huge thrill to me. And then today realized, oh no, I worked with him on prison. Right.

Sarah Wayne Callies: But you never had any scenes together. I [00:20:00] did have

Paul Adelstein: scenes with him. I did have scenes with him. Oh, did you? Because we have him at one point. Um, Michael Lincoln and Kellerman have him in a motel room at one point.

Sarah Wayne Callies: Oh. You get everyone in a motel room at some point. Um, by the way, that actually makes me feel better that you do that too. Sometimes forget that you've worked with people. Nothing makes me feel worse. I talked about this before. And

Paul Adelstein: one of my favorite actors and like a, and kind of a hero of mine and a mentor of mine to a certain degree.

Paul Adelstein: I've known him since I was 20.

Sarah Wayne Callies: But there's something about the intensity of working in certain scenes or just the career is long or we're old and dumb. I don't know. But I always feel terrible. Um, and, uh, and I'm grateful to know it's not just me. Um, but you said there were a few replaced actors.

Paul Adelstein: Well,

Sarah Wayne Callies: Mara Cruz.

Sarah Wayne Callies: Yes, although she was replaced before anything aired.

Paul Adelstein: Wait, really? Oh, I thought there were two. They never aired

Sarah Wayne Callies: any of the other stuff with the other actors. Camille is the only one that we, I think they went through and I, I [00:21:00] believe

Paul Adelstein: two. Oh, I thought it was,

Sarah Wayne Callies: um, the only one that anybody ever saw was I see Cam.

Sarah Wayne Callies: I see. And I have to say Camille's just so good at it.

Paul Adelstein: Oh, they're great together too.

Sarah Wayne Callies: They're, they're wonderful together. She's so fantastic. And from what I remember, 'cause I saw some of the cuts of the other, uh, people they cast, it was sort of like we're going in a different direction thing because the other ones were like, just incredibly sexy.

Paul Adelstein: Uh huh.

Sarah Wayne Callies: And there's something about Camille that's like, so, like she's beautiful and she's sexy, but she's also, like, her soul is in everything she says. Well,

Paul Adelstein: you know, there's, what is smart about that is that there is something about Sucre that's like that too.

Sarah Wayne Callies: Yes!

Paul Adelstein: Right. So he's this, he's, you know, he's obviously a criminal and he's made mistakes and he's a hothead and he has all these, you know, he can.

Paul Adelstein: We have a temper, but [00:22:00] there's this, he

Sarah Wayne Callies: forgets to check if there's an engine before he hotwires a car. There's a

Paul Adelstein: sweetness to him and a, and a, and a like real belief, a real romantic thing going on there. And the two of them together, it really works.

Sarah Wayne Callies: Well, it's not like, it's not, you get the sense that he doesn't have to get out to see his girlfriend.

Sarah Wayne Callies: He has to get out to see the love of his life. And the whole audience is like, no, no, no, no. in the history of the world. Yes, this is one of those couples that needs to be together.

Paul Adelstein: It feels like a, it feels like a, a great love, a hundred percent a great love.

Sarah Wayne Callies: Also, two just wonderful sets of dimples. Um, was there anyone else that was in place?

Paul Adelstein: I mean, on both of them, it's their child. They would, if they had a child, it would just, it would just be a dimple. It would just be the absence of space.

Sarah Wayne Callies: There's a hole for under one cheekbone that goes all the way to the tip

Paul Adelstein: of the cheekbone. Oh no.

Sarah Wayne Callies: Um. Okay, I actually, very shortly, want to take us to fan questions because we [00:23:00] always end with no time.

Paul Adelstein: Yeah. And we have good ones.

Sarah Wayne Callies: Well, um, Fish's folks and friends, we will be right back for an extended fan finale. on this final episode of season one. And we're back. Um, like I said, we're leaving lots of time to answer your questions together because we always run out of time. This is the finale, and you left some really, really great questions on our at prison break pod IG handle.

Sarah Wayne Callies: Um, P. S., some of the other questions that were posted there, we've answered at another time on the podcast, or we've already sort of covered it in various episodes, so that's why we didn't include them here, but we still appreciate them. Um, and, uh, Maybe let's start with this one, at prison break forever, uh, wrote, what was your favorite storyline other than your own?

Sarah Wayne Callies: Ooh. Paul, do you have a one of those?

Paul Adelstein: I think the haywire thing. I think the, the, um, the fact that [00:24:00] he can see the pattern of tattoos and then his, I don't sleep. I don't sleep as this, as an episode out was so great. And I love. where it took Michael. I love that it made Michael have to kind of figure this guy out, how it took Michael to the psych ward.

Paul Adelstein: Um, I love, I loved a lot of the wrenches that they threw in Michael's plans, but I think that one was my, my favorite. What about you?

Sarah Wayne Callies: I mean, I, the Sucre Marie Cruz of it, um, I, I love so much and I love it partly because of all of the intentional. pieces of the plan. Sucre was the wild card from the beginning.

Sarah Wayne Callies: And, uh, and he just, he feels like perennially the guy who's in the wrong place at the wrong time. Like, that's why he's in prison. And that's why his life took this turn. And so [00:25:00] cheering for him the whole time to like, get out, be with the love of his life. That said, I will say, you know, we mentioned this in the rewatch.

Sarah Wayne Callies: Um, The cut from nurse Katie's face to Sucre saying I just want to touch her belly was completely unintentionally creepy I was like, oh You're pregnant girlfriend, okay. All

Paul Adelstein: right. Can I have one of these that I want to ask?

Sarah Wayne Callies: Okay

Paul Adelstein: at Shannada 1013 Sarah do you think it was Sarah's intention to end her life into this episode?

Sarah Wayne Callies: That's such a good question, and I'm almost nervous to answer it because I wonder if it's answered in season two and I don't remember. Um, my initial response is yes, that I think she is looking down off the cliff. [00:26:00] Hmm. Of, of no good options. And I think once she takes the morphine, that level of self hatred of like, like all the monster voices come back.

Sarah Wayne Callies: The um, you know, your father knew you were too weak for this job. You don't have self control. You can't, you know, like all the voices of just the, the, the meanest parts of yourself that I can only imagine are amplified a million fold in addiction.

Paul Adelstein: Can I, can I ask a follow up question? Do you think that she, that part of it is regret for what she's done for Michael?

Paul Adelstein: Or is it just kind of, um, nihilism now at this point? Like, I don't even know what I stand for, kind of, it's all over. Yeah,

Sarah Wayne Callies: I don't think it's nihilism. [00:27:00] I think her problem is always that she cares too much. But I think some of it is the rewriting of Oh, you fucking moron, you thought he had feelings for you.

Sarah Wayne Callies: But of course, you were just a cog in this machine, which reinforces the like, you have no value. And in thinking you had value, you made the colossal mistake of putting him in, of giving him the opportunity to create this whole thing. I think Sarah's level of self hatred at this point is pretty massive.

Sarah Wayne Callies: There's also another question of like, When you're in that moment of going back to using after being clean for, you know, as long as she has been, are you even thinking about the future at all? Or is it just, I want

Paul Adelstein: this

Sarah Wayne Callies: pain to stop in this moment at any cost. Um, and I'm not, I'm not [00:28:00] sure. Um, but I, yeah, I think she's okay with her life ending, uh, if that's the thing.

Paul Adelstein: That's a very subtle way of putting it, and I don't, and I don't mean cagey, I mean, it's like it's not necessarily a choice to end it or not end it, it's just, if it ends, she's obviously okay with that. So be it. At that moment, yes. Okay.

Sarah Wayne Callies: Um, that takes us to, and I apologize in advance for this, I believe, Andrew's.

Sarah Wayne Callies: Gajuraj? I'm sure I blew that. O N D R U S K A J U R A J for Paul. I think you did well there. What did you think of your character morally? Like, do you think it's possible that they really do unspeakable things out of their belief in loyalty?

Paul Adelstein: Yes. I, I, I, I had, I made that choice very early. I mean, I even think, um, yeah, in episode one, um, that [00:29:00] this was a true believer and that he was a misguided patriot and that it wasn't my place to judge.

Paul Adelstein: Um, I'm a pretty liberal, uh, progressive person and this was at the kind of the height of the war on terror or the beginning of the war on terror and I really Right. wanted to think about people that serve people that wanted to go fight terrorism head on in that way in a military way and then and, and, and, um, which respect in a lot of ways.

Paul Adelstein: Um, but then as things started coming out about, Oh, well, this law, the corners were cut here, corner cut here, corners were cut here, but they were cut in order to preserve our safety. It obviously raises a very interesting

Sarah Wayne Callies: I mean, the Patriot Act was renewed. The week this aired.

Paul Adelstein: It was, I feel like we put that in a few calisthenics.

Paul Adelstein: I feel like it was up every four months or something.

Sarah Wayne Callies: [00:30:00] Yeah, maybe actually.

Paul Adelstein: And, um, I think that that fervor, um, when bred with a personal, when, when combined with a personal loyalty, like he has with Caroline Reynolds, really, yes, I think it absolutely, I think that he believes that he is doing absolutely the ethical thing to protect the country.

Paul Adelstein: Even killing the

Sarah Wayne Callies: president.

Paul Adelstein: For greater good. I think he believes that president is compromised by the company and that this will get her out from under the company. And I think that my belief in that, which is something I did talk to Shering and Olmsted about, not in general, but specifically when it would come up.

Paul Adelstein: I remember I asked them to add the line, uh, earlier in the episode. Mm-Hmm. Don, don't forget, I've always done this for you and your family and most importantly the United States of America.

Sarah Wayne Callies: Mm-Hmm. that

Paul Adelstein: I wanted him to. believe that, but also, you know, the, what is it, the last vestige of a scoundrel is patriotism, that they wrap [00:31:00] themselves in a flag, whatever that quote is, that there is a justification of this behavior, of these kinds of acts.

Paul Adelstein: Otherwise, I think it would make him a sociopath. Maybe he is. I don't know, but I would also, I never played, it never felt like I was portraying a sociopath. And I think that this bears out later in season two, when we get there, when he essentially switches sides. Because he decides what he's been duped.

Sarah Wayne Callies: He's sold it. That he sold to the wrong people.

Paul Adelstein: That he sold his, that he, yeah, so he's been dead in service of something either that he no longer believes in or something that has been corrupted. But also, maybe he's just on a personal vendetta at that point.

Sarah Wayne Callies: Well, and that's, okay, so that was my question is how much of the Michael and Sarah dynamic is a little bit at work between the vice president and Kellerman, meaning, is there an undercurrent of, [00:32:00] the line is blurred because I care so deeply personally about this.

Paul Adelstein: I think that that's where fervor, political fervor gets complicated, right?

Sarah Wayne Callies: But is it just political fervor or is it also a little bit of a

Paul Adelstein: like That's when it gets complicated is when you put real human, you have to give it real human emotion. And I remember reading Jarhead as prep for this just because I wanted to read as much as I could about modern military stuff that was well written.

Paul Adelstein: And the really interesting, one of the real interesting things that he talks about there is That why they don't take, um, people in the armed forces after a certain age. Because they need to bond them to one another. Right. Because when you're out there in battle, you're not really thinking about democracy.

Paul Adelstein: Right. You're thinking about the guy next to you. And what you've been through together already, right? [00:33:00] And so, yes, I think there is a trauma bond, is the wrong word, but he and Caroline Reynolds have supposedly come up since she was whatever woman or whatever it was. So yeah, the short answer is, I absolutely think he's doing, I absolutely think he thinks he's doing the right things.

Paul Adelstein: And one of the interesting things that happens in season two is that notion gets shattered. Mm.

Sarah Wayne Callies: Mm hmm. Mm hmm. That's cool. That's really cool. Um,

Paul Adelstein: I have one. Yeah, sorry. Go ahead.

Sarah Wayne Callies: Yeah. No, go for it.

Paul Adelstein: Um, Chiach012 asks, How was it for you and Wentworth to play such various range of emotions, feelings, etc. as your characters have gone through such a roller coaster together in season one?

Paul Adelstein: Um, in such a short time that you knew each other, was it hard to build that kind of trust and reliance on one another as actors?

Sarah Wayne Callies: That's a really interesting question. I think [00:34:00] In some ways, our journey got to be the journey of the characters. I don't mean romantically, obviously, but we met each other filming the pilot when Sarah and Michael met each other.

Sarah Wayne Callies: So it wasn't the kind of relationship where You know, like when Tom Scott and I did the Council of Dads pilot together, it was like, Hi, I'm Sarah. Hi, I'm Tom. In 48 hours, we have to be playing the parents of four children together. How do you build that kind of history? With Wentworth, we were able to, in some ways, get to know one another in real time.

Sarah Wayne Callies: Um.

Paul Adelstein: Oh, interesting. As the characters needed to, because they didn't know each other, and then they had this scene, and then this scene, and this scene.

Sarah Wayne Callies: Exactly. So it's okay to start as strangers.

Paul Adelstein: We're not seeing any interaction between them, by the way, that happens. Off camera. I mean, conceivably Right. He's coming every day for a shot and we're not seeing it,

Sarah Wayne Callies: but Right.

Sarah Wayne Callies: But most of what they,

Paul Adelstein: you don't have a history, certainly.

Sarah Wayne Callies: Right. Unlike you and, and [00:35:00] Caroline Reynolds. Um, I will say a couple things about this. One is, you know, we went to dinner while we were shooting the pilot. Before I shoot any of my stuff, shot any of my stuff,

Paul Adelstein: shoot it

Sarah Wayne Callies: and Joe shoot it.

Paul Adelstein: Where'd you go to dinner?

Paul Adelstein: I want to know. Do you remember?

Sarah Wayne Callies: I can't remember. It was not at Harrah's because I was like, I'm not eating in a casino. But we were in Joliet. We weren't in Chicago.

Paul Adelstein: Oh, you were in Joliet.

Sarah Wayne Callies: Okay, yeah. And so it was like a diner. And by the end of that meal, I was like, this is someone I could really be friends with.

Sarah Wayne Callies: Oh,

Paul Adelstein: that's great. He was

Sarah Wayne Callies: so intelligent. He was so sensitive. He was so, um, aware and humble, uh, that we really, like, there was a, there was a deep sense of relief. Um, because coming off of Tarzan, you know, my, my co star and I just had nothing in common. And so I was like, Oh, we can be colleagues, but we're never going to be friends.

Sarah Wayne Callies: Um, and then [00:36:00] because we were on location, we, you know, every weekend almost we would go have brunch or talk or whatever. Um, and the other thing that really kind of happened. I think in a lot of those infirmary scenes is we were both really interested in making ourselves better actors over the course of the season.

Sarah Wayne Callies: Like I think we were both new enough. We talked a lot about process and I remember having the conversation once about in an ideal world there's no way to tell the difference between when the camera is rolling and when the camera is not rolling. Because you're as honest and grounded and specific. in the lines you're given as you are in real life.

Sarah Wayne Callies: And we were really working on that together. And I think maybe part of what was interesting to him as somebody who had so many other [00:37:00] scenes besides the infirmary work is that when it was the two of us, A, we were, it was a safe space for us both to really like, you know, try stuff and, and see how it works because we were safe with each other.

Sarah Wayne Callies: Like I, neither of us were ever going to criticize the other one performance wise. But also, they were scenes with words. It was two pages of people talking back and forth. It wasn't, you know, run, run, run, run, run, do this action thing, run, run, run, run, do this action thing.

Paul Adelstein: It's such a cool thing, and it's actually more common than you would think, and I guess it makes sense, is that so many relationships on screen have a meta thing about them.

Paul Adelstein: I mean, well, for instance. Danny Hale, Danny McCarthy, right? Who, you know, I knew a little bit from the Chicago scene. He became my sub buddy, right? I mean, we had our scene together. He was I had done [00:38:00] more television than him, so I kind of was showing him the ropes a little bit, right? And he was my guy. I would go to work with Danny.

Paul Adelstein: We worked together almost all the time.

Sarah Wayne Callies: Yeah.

Paul Adelstein: And I had to kill him. It was his last day on set. Yeah, that's true. I knew that, you know, like, is the emotion the same? No. But is there something that actually reflects the arc of the movie? of a relationship between two people and one has to get rid of the other?

Paul Adelstein: Yeah. You know, and for Wentworth, you were a certain, um, those scenes were a certain kind of oasis or at least a different gear than he was playing in any other kind of scene. There was an intimacy, a softness, as you said, a naturalism that is not the same as when he's duck walking through The sewer or dealing with a broodsie or

Sarah Wayne Callies: you know,

Paul Adelstein: and so these things end up kind of there's an org There's something organic about that.

Paul Adelstein: That is really cool that happens

Sarah Wayne Callies: I like it [00:39:00] when the Venn diagram between the actor and the character overlaps enough that you can kind of live in that space, because it gives you something honest to connect to. Um, Living Correct wanted to know, have either of you been back to Joliet since filming? I

Paul Adelstein: want to say

Sarah Wayne Callies: yes.

Sarah Wayne Callies: Because, I mean, you've got family in Chicago, so it would make some sense.

Paul Adelstein: Yeah, but I'm not in Joliet. No, but.

Sarah Wayne Callies: Is there a casino there? No. No. Yeah, Harris.

Paul Adelstein: Oh, then yes, I have.

Sarah Wayne Callies: Okay.

Paul Adelstein: Yep. All right, there you are.

Sarah Wayne Callies: Yep. Do we have a gambling problem we need to talk about?

Paul Adelstein: No, we used to. We had certain traditions, like Thanksgiving night, we would go to the, anyway, like, or not, night before Thanksgiving.

Paul Adelstein: Um, years ago, yes. But yes. That's

Sarah Wayne Callies: amazing. Uh, I have in fact not been back to jail yet. I'm curious about this, at Kat underscore McCarthy asks, if either of you were given the chance to rewrite a particular scene or storyline, do you have somewhere in your head an alt ending for, [00:40:00] um, I have to say having just watched this episode and I, this, this is truly no shade to the writers who I think are absolute geniuses.

Sarah Wayne Callies: But you and I both had the instinct to shout at Veronica.

Paul Adelstein: Yeah, like, what are you doing? What are you doing? Yeah, yeah, yeah, yeah.

Sarah Wayne Callies: When she rolled up at Terrence Stedman's house with no plan and no backup and no safety.

Paul Adelstein: And and also a little, I was a little unclear, and this is probably just my weak watching.

Paul Adelstein: Did she already know that he was still alive or no?

Sarah Wayne Callies: I can't remember. Yeah. I can't remember. I don't know if she knew anything about the house, except that it was registered to, to

Paul Adelstein: Great. A bunch of

Sarah Wayne Callies: phone calls had come from there.

Paul Adelstein: And like you said, no shade at all. But it was one of the rare prison break moments where there wasn't, like, I thought that there was going to be a twist.

Sarah Wayne Callies: She actually

Paul Adelstein: had this planned. She knew she was [00:41:00] coming. They knew each other already. Like that there was going to be some kind of. She

Sarah Wayne Callies: owned the house. Sleight

Paul Adelstein: of hand. Yeah. That there was going to be some kind of trick there, narratively. Although that is quite a cliffhanger, like who knows what's gonna go on, are they gonna drink smoothies together?

Sarah Wayne Callies: I would also potentially, and this might be because I was uh, editing Jesslyn's episode or listening to it the other day, um, I would've loved to see a little more Lisa Ricks, like I think there's an interesting world where a scene I would've loved to have seen is between Veronica and Lisa. Wow. About like, I can't square this with the man I knew, can you?

Sarah Wayne Callies: Huh. Um. Or, you know, or some kind of like, what does LJ need in this moment? I just, there's the, the conversation between two exes who are both deeply invested in different ways. One who's like, I don't want him back in my life, but I'm raising his son. Another one who's like, [00:42:00] I can't seem to make these pieces make sense.

Sarah Wayne Callies: Right. Um, again, this is no shade, this is just like, ooh, if we'd had an extra episode or two with Lisa. Yeah. It would have been interesting to see how those two women would have, uh, connected with each other. Um, I have a question, I'm curious about this. I'm Awkward Aaron. Where were you when you found out you got the part?

Sarah Wayne Callies: Do you remember?

Paul Adelstein: Yeah, well, I've already told the story about getting the part but then not knowing if I was going to be able to do

Sarah Wayne Callies: the

Paul Adelstein: part after the pilot. I know exactly where I was.

Sarah Wayne Callies: Where were you? I was

Paul Adelstein: outside, uh, it's gone now, uh, it was called, it was called Vintage Guitars on Sunset Boulevard. Uh huh.

Paul Adelstein: And I had just bought this guitar very cheaply. And I was about to take it home, and I got a call saying I got that offer. And then I remember getting back on the phone with everybody when I got home. But yeah, that's when I got that call.

Sarah Wayne Callies: Did you, did [00:43:00] you go back in and were like, I want a more expensive guitar?

Sarah Wayne Callies: Because I just got a job. No,

Paul Adelstein: I was, I was a guest. Don't forget I was, you know. Yeah,

Sarah Wayne Callies: yeah, yeah.

Paul Adelstein: Yeah. I was not signing a serious regular deal of any kind.

Sarah Wayne Callies: Um, I Am Awkward Aaron also asks another question. What, what about you? What about you? I think I know. I have no idea.

Paul Adelstein: Oh, you have no idea?

Sarah Wayne Callies: I have, I have no memory of where I was when I found out.

Paul Adelstein: Living in Brooklyn. No, we were

Sarah Wayne Callies: living in, uh, no, we were living in LA. We had temporarily rented a place in LA. Home was Brooklyn. Okay. Um, but that was back when, like, it was really hard to get a good job in television from New York. Yeah. Yeah. Uh, that wasn't on, you know, a New York show, but they just, they cast him out of there.

Sarah Wayne Callies: Um, where did you live in L. A.? Uh, I was renting a place actually on Holloway Drive, which was funny because years later, Josh Holloway and I became friends. No relation. Um, okay, wait. I, I, Mac Roderan had another question. I think I know some of this [00:44:00] answer, but you know so many people. It said, did you know any of the cast prior to filming season one?

Sarah Wayne Callies: I feel like you knew

Paul Adelstein: everybody from

Sarah Wayne Callies: Chicago. The Chicago

Paul Adelstein: people. Not, not many people. And Wade. You and Wade

Sarah Wayne Callies: had done that Michael Mann movie.

Paul Adelstein: Me and my, I knew Wade the best because we had done a movie together. Um, yeah. I knew Danny a tiny bit, and, um, nobody else, I don't think. Um, oh, I knew, I'd met Robin in high school, but she was scary and beautiful, and I kept my distance.

Sarah Wayne Callies: And you were pretty sure she was in a witchcraft cult. Um,

Paul Adelstein: Before that, yeah.

Sarah Wayne Callies: Uh,

Paul Adelstein: You?

Sarah Wayne Callies: Yeah. I'm not a person. I didn't know anyone in Hollywood.

Paul Adelstein: Right. Did you know anybody? Any of the directors? Any of the writers? Nope. No. Nope. Nobody.

Sarah Wayne Callies: Yeah. This is my introduction

Paul Adelstein: to everybody. Single person. Just a reminder that Marty Adelstein, the producer of the show, no relation, didn't know him either.

Sarah Wayne Callies: He's, he's Paul's father, but you know, that's

Paul Adelstein: okay. No.

Sarah Wayne Callies: He doesn't want us to know.

Paul Adelstein: No. He's the

Sarah Wayne Callies: [00:45:00] one who almost named him P. Earl. He's not

Paul Adelstein: Harvey. Harvey. Uh, fine. Marty.

Sarah Wayne Callies: Your dad's name is Harvey?

Paul Adelstein: Harvey Martin. Yeah.

Sarah Wayne Callies: Oh,

Paul Adelstein: that's fantastic. Yeah.

Sarah Wayne Callies: I like that. Um, we should probably wrap this up soon, but we're getting

Paul Adelstein: through

Sarah Wayne Callies: the, we're getting, oh, this is interesting.

Sarah Wayne Callies: Um, at, no, man. Dangavrilove? Again, I apologize. At I D A N G A V R I E L O V. At which stage of season one did you know you were doing another season?

Paul Adelstein: No, I, I mean, as an actor or like that the show had gotten picked up?

Sarah Wayne Callies: I, well, let's, we've sort of answered it as actors, but about the show.

Paul Adelstein: No idea. I have no recollection of that.

Sarah Wayne Callies: I don't know, but I do know that by the time we wrapped season one, we knew there was going to be a second season. We knew

Paul Adelstein: pretty early. Like, the numbers

Sarah Wayne Callies: were high enough.

Paul Adelstein: We knew early. It was a hit.

Sarah Wayne Callies: Awards and stuff, but it was Which is interesting. [00:46:00]

Paul Adelstein: Because I didn't

Sarah Wayne Callies: realize later on that you could have a nail biter of leaving at the end of the first season and going, I have no idea if we're going to come back and do another season.

Sarah Wayne Callies: Right? Because I did Prison Break and then I did Walking Dead and it was like both of those shows, by halfway through probably season one, you're like, okay, this is going to go for a while.

Paul Adelstein: So when did we know, and when did we know that we were coming back as actors? I didn't, I mean, You raised it earlier in this podcast when they said when you got a script that said Sarah's Unconscious with vomit all over her and a needle.

Paul Adelstein: Will you like it's

Sarah Wayne Callies: dead.

Paul Adelstein: It says I checked

Sarah Wayne Callies: my script says

Paul Adelstein: dead I heard that the the EMT say likely DOA

Sarah Wayne Callies: No, it says debt here. I can

Paul Adelstein: were you you were a partial right? You weren't 22 out of 22 Contra no, I was

Sarah Wayne Callies: 1013.

Paul Adelstein: Yeah, there you go

Sarah Wayne Callies: I ended up in every episode, um, much to my [00:47:00] surprise, but, uh, I mean, the more interesting conversation for later is finding out between seasons two and three that I was not coming back to the show.

Sarah Wayne Callies: Right. But I don't, I don't remember. I really don't. Um, and I don't know that the writers necessarily knew because they probably hadn't broken season two to be like, Well, how do we keep her a part of this thing?

Paul Adelstein: Yeah, definitely not. Right.

Sarah Wayne Callies: Um, so yeah, sorry. We don't really have a good answer for you there, friend.

Sarah Wayne Callies: Uh, Joy Padron wants to know your favorite guest star from season one. You can't say yourself, because technically you said you were a guest star for some reason.

Paul Adelstein: Ooh, uh, I mean, I love Jon Hurd's work so much that I loved seeing Jon Hurd in there.

Sarah Wayne Callies: I, you know, for some reason, I can't remember her name, but the actor who played Letitia Barris, I, she impressed.

Sarah Wayne Callies: Oh, Idina.

Paul Adelstein: Um, I see her around. She's an amazing actor. She's an

Sarah Wayne Callies: amazing actor.

Paul Adelstein: She never stops working, and you see why. She's just a

Sarah Wayne Callies: great actress. She was astonishing. Yeah. She was really fantastic. Thank you. [00:48:00]

Paul Adelstein: She's wonderful. I

Sarah Wayne Callies: think we got through most of these. We should, uh, we should wrap this up.

Paul Adelstein: Oh, so fun.

Paul Adelstein: Glad we have many more seasons to do.

Sarah Wayne Callies: Um, same. Same. And I, you know, I know I've said it before, but I'm really glad that I'm, Doing this with you. Enough. Um, there is no call in this week. Um, so stay tuned in coming weeks for us to play your call in messages and respond to them.

Paul Adelstein: And also, important to note, that although this does conclude episodes for season one, we have a very special interview coming up that will be all dedicated to our series creator Paul T.

Paul Adelstein: Schering. So check that out too because that's going to be really cool.

Sarah Wayne Callies: Um, And again, if you want to catch up on Watch Party episodes, you can follow the Patreon link in the show page, wherever you're listening right now. Um, and just thank you guys. You're the best. Thank you for [00:49:00] calling in and Instagramming your questions and sending your fan art and listening to the show.

Sarah Wayne Callies: It's fucking beautiful. We love you guys. And Paul?

Paul Adelstein: Yep.

Sarah Wayne Callies: Your last meal on death row.

Paul Adelstein: Okay. If it

Sarah Wayne Callies: was today.

Paul Adelstein: I'm gonna go with some kind of big Italian meal.

Sarah Wayne Callies: Oh,

Paul Adelstein: like pini or penne with sausage and a big anti past and like Picatta for dessert and olive. Yeah, red and just a big butter and wine and just a kind of big meaty carby from Boca

Sarah Wayne Callies: de Peppo.

Sarah Wayne Callies: Right.

Paul Adelstein: From Bru de Peppo. Sure. Remember, folks, don't get sent to prison, but if you do get sent to prison, remember to

Sarah Wayne Callies: I never have a good answer to this. If you do get sent to prison, remember to make sure your father is the governor who can personally pardon you.

Paul Adelstein: Wow.

Sarah Wayne Callies: That's all I got. Do you have something better?

Paul Adelstein: No. You should have something [00:50:00] better. Well, I do have something better. We can save it for next time.

Sarah Wayne Callies: No. What if there's never a next time?

Paul Adelstein: What do you

Sarah Wayne Callies: mean? Carpe diem. Carpe dentum. Seize the teeth.

Paul Adelstein: That's funny. Let me know. You gotta Set me up.

Sarah Wayne Callies: Okay, Paul, don't get sent to prison, but if you do go to prison,

Paul Adelstein: be sure to have access to Prison Breaking, Sarah and Paul, so that you can make time serve you by listening to our podcast.

Sarah Wayne Callies: This is amazing. Prison Breaking with Sarah and Paul is a Caliber Studio production. Your hosts have been friends, but not besties. Sarah Wayne Callies and Paul Edelstein. Our prison warden has been producer Ben Haber. Our head of Jailhouse Rock is Paul Edelstein, who made the music for this podcast.

Sarah Wayne Callies: Keeping us slim and trim, the prison yard has been sound designer and editor, the great Jeff Schmidt. Keeping us up to date on the outside world is production assistant Drew Austin. Our prison artist, logo, and brand designer is John Nunziato and Little Big Brands. Check them out at www. littlebigbrands.

Sarah Wayne Callies: com. www. littlebrickbrands. [00:51:00] com. Follow us on Instagram at Prison Break Podcast. Email us at prisonbreaking at caliber studio. com and call us at 401 3P B R E A K. Prison Breaking with Sarah and Paul has been a Caliber Studio production. Thank you for listening.