the black list (TV)
Executive Summary
Poster
Note: This is for fun only. There will be many wrong things in the mock poster. It doesn't mean the AI misunderstood your story.
Overview
Genres: Thriller, Crime, Drama, Action
Setting: Contemporary, Various locations including FBI headquarters, a prison cell on a ship, Union Station, National Zoo, Liz and Tom's brownstone apartment
Overview: The Blacklist is a crime drama that follows Raymond "Red" Reddington, a former U.S. Navy officer and high-ranking government official turned high-profile criminal, who voluntarily surrenders to the FBI and offers to help them track down and apprehend a group of dangerous criminals known as the "Blacklist". While the FBI is initially skeptical of Red's intentions, they eventually realize that he is genuine in his desire to help them and that he possesses a wealth of knowledge about the criminal underworld. The Blacklist is full of twists and turns, and each episode features a different case as the FBI and Red track down and apprehend the criminals on the Blacklist.
Themes: Complex Relationships, Identity and Deception, Redemption and Forgiveness, Sacrifice and Loyalty, The Nature of Evil
Conflict and Stakes: The primary conflicts revolve around Red's enigmatic motives, Liz's quest for the truth about her husband and the Blacklist, and the FBI's negotiation with Red for his intelligence. The stakes include Liz's safety, the prevention of catastrophic events, and the unraveling of long-held secrets.
Overall Mood: Tense, suspenseful, enigmatic, and emotional
Mood/Tone at Key Scenes:
- Scene 1: The scene at the FBI headquarters sets a tone of intrigue, apprehension, and uncertainty as Red surrenders and triggers a lockdown.
Standout Features:
- Enigmatic Character: Red's mysterious and manipulative nature adds depth and intrigue to the story.
- High-Stakes Conflicts: The intense conflicts and suspenseful plot keep the audience engaged and on the edge of their seats.
- Twists and Revelations: The screenplay is filled with unexpected twists, revelations, and secrets that keep viewers guessing.
- Unique Blend of Genres: The fusion of mystery, thriller, and crime genres creates a dynamic and captivating narrative.
- Complex Characters: The characters are multi-dimensional, with conflicting motivations and hidden agendas that add layers to the story.
- Intriguing Setting: The diverse settings, from FBI headquarters to a prison cell on a ship, enhance the atmosphere and tension of the story.
Comparable Scripts:
- The Blacklist (TV Show)
- Homeland (TV Show)
- Prison Break (TV Show)
- The Departed (Movie)
- Mindhunter (TV Show)
Writing Style:
The screenplay exhibits a consistently high level of writing quality, showcasing a blend of depth, suspense, and character-driven storytelling. The dialogue is sharp and engaging, driving the narrative forward while revealing the inner complexities of the characters.
Style Similarities:
- Christopher Nolan
- David Fincher
- Aaron Sorkin
- Quentin Tarantino
Pass/Consider/Recommend
Consider
Explanation: The Blacklist (TV) pilot episode introduces a promising concept with a captivating protagonist and a strong female lead. The screenplay excels in building suspense and showcasing the complex dynamic between Reddington and Liz. However, some areas need improvement, including pacing, character development, and providing clearer motivations for Reddington's actions.
USP: This action-packed crime drama features a mysterious and enigmatic criminal mastermind, Raymond "Red" Reddington, who surrenders to the FBI and offers his help to solve intricate cases. As FBI profiler Liz Keen delves into the world of crime and deception alongside Red, she must confront her own personal demons and navigate the moral complexities of the criminal justice system. With a unique blend of suspense, drama, and humor, this script captivates viewers with its fast-paced storytelling, compelling characters, and exploration of the fine line between justice and vengeance.
Market Analysis
Budget Estimate:$50-70 million
Target Audience Demographics: Adults aged 25-54, fans of mystery, thriller, and crime genres
Marketability: The screenplay offers a mix of suspense, drama, and intrigue with complex characters and a compelling storyline that can attract a wide audience.
The unique blend of genres, the enigmatic character of Red, and the high-stakes conflicts make it appealing to fans of mystery and thriller genres.
The strong character development, intense conflicts, and unexpected twists contribute to its marketability among fans of crime dramas.
Profit Potential: High, due to its potential to attract a broad adult audience, generate buzz, and potentially lead to spin-offs or sequels.
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
Summary:The writer's voice is characterized by sharp dialogue, fast-paced action, and vivid imagery that create a sense of urgency and intensity.
Best representation: Scene 8 - Ambush on the Woodrow Wilson Bridge. This scene effectively encapsulates the writer's unique voice through its blend of emotional intensity, sharp dialogue, and atmospheric descriptions that create a sense of urgency and suspense.
Memorable Lines:
- General Ryker: You better beg God my girl comes home alive because this thing’s coming down on you, sweetheart. (Scene 10)
- Liz: My name’s Liz, not Lizzy. To you I’m Agent Keen. Now, let me tell you how this is gonna work: I ask the questions. You answer. Screw with me and I walk. Starting right now, there are no more games, no more secrets... I want the truth. (Scene 20)
- Red: You won’t find the girl until you learn to look at this differently. (Scene 11)
- Reddington: I'm gonna make you famous, Lizzy. (Scene 7)
- Red: Name. On the Blacklist. (Scene 19)
Characters
Raymond "Red" Reddington:Calm, enigmatic, manipulative, and cunning
Elizabeth Keen:Fiery, determined, conflicted, and betrayed
Donald Ressler:Skeptical, antagonistic, angry, and determined
Harold Cooper:Intrigued, concerned, shocked, and dismayed
Tom:Imposer, tortured, and conflicted
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Internal Goal | External Goal | Conflict | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | ||||
| 1 - Reddington's Surrender: A Puzzle for the FBI | Suspenseful, Intense, Mysterious, Dramatic | 9 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
| 2 - Reddington's Profile | Suspenseful, Informative, Serious | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 6 | 7 | 9 | 8.5 | 8 | 8 | |
| 3 - Red's Revelation | Suspenseful, Intense, Mysterious, Serious | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
| 4 - Red's Demand | Intense, Confrontational, Suspenseful | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 5 - A Hectic Morning Interrupted | Tense, Fast-paced, Emotional, Suspenseful | 8 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 6 - FBI Interrogation | Suspenseful, Intense, Serious, Intriguing | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
| 7 - At the Hive | Tense, Suspenseful, Intense, Dramatic | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
| 8 - Intense Emotions and Security Breach | Intense, Suspenseful, Dramatic, Emotional | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
| 9 - Ambush on the Woodrow Wilson Bridge | Intense, Suspenseful, Emotional | 9 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 10 | 9 | 8 | 9 | 7 | 9 | 9 | 9 | 9 | |
| 10 - Confrontation and Resolve | Tense, Emotional, Intense, Suspenseful | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8.5 | |
| 11 - Liz Meets Red | Intense, Suspenseful, Emotional, Confrontational | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
| 12 - Unraveling the Terrorist Plot | Intense, Suspenseful, Intriguing, Serious | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 9 | 9 | |
| 13 - A Devastating Choice | Intense, Suspenseful, Emotional, Dark | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
| 14 - Confrontation and Revelation | Intense, Emotional, Suspenseful, Dramatic | 9 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
| 15 - Red's Escape | Tense, Suspenseful, Emotional, Intense | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 16 - Race Against Time | Intense, Suspenseful, Emotional | 9 | 9 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
| 17 - Race Against Time | Intense, Suspenseful, Dramatic | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 10 | 9 | 8 | 9 | 7 | 9 | 9 | 9 | 9 | |
| 18 - A Race Against Time | Intense, Emotional, Suspenseful, Empathetic | 9 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
| 19 - The Unmasking | Intense, Emotional, Suspenseful | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 8 | 10 | 8 | 9 | 9 | 9 | 9 | |
| 20 - Confrontation in the Prison Cell | Intense, Suspenseful, Emotional, Confrontational | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
Scene 1 - Reddington's Surrender: A Puzzle for the FBI
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
Written by
Jon Bokenkamp
December 28, 2012
TEASER
We hear RESTLESS VOICES. Screaming children. The swell of a
hundred fighting languages tells us we’re stuck in line at...
INT. U.S. CUSTOMS - DAY
The place is packed. Smells like travel. Among this dizzy
mob, one very composed American commands our attention. He
approaches the window and opens his passport --
-- Meet RAYMOND “RED” REDDINGTON (55). Dignified. Worldly.
He wears a perfectly tailored suit and carries himself with
a sense of purpose.
CUSTOMS AGENT
Where you been, sir?
RED
Singapore. Business.
CUSTOMS AGENT
And where we headed?
RED
Home.
Red smiles. His confidence is magnetic. As the agent STAMPS
his passport, Mel Torme’s driving “Comin’ Home Baby” sends us
hurtling through:
EXT. WASHINGTON, D.C. - DAY
We dance through the capitol city. The National Mall. The
Lincoln Memorial. The pace is energetic and bright as --
-- Red is chauffeured through the city by A MAN IN A GREY
FLANNEL SUIT. Passing monuments reflect in the glass of his
limo as Red rolls down the window, drinks in his hometown.
ON PENNSYLVANIA AVENUE...
Red steps from the car. Finds himself standing in the shadow
of a daunting concrete structure. He looks up, delighted to
see the words etched in the facade: J. Edgar Hoover Building.
INSIDE F.B.I. HEADQUARTERS...
Red strides through the lobby with purpose. He’s been here
before. Belongs here. Finds his way to a FEMALE GUARD at
the security desk.
RED
Good afternoon. I’m here to see
Assistant Director Harold Cooper.
2.
GUARD
Do you have an appointment?
RED
Tell him it’s Raymond Reddington.
The Guard scowls and calls upstairs. Red waits. Takes in
the details around him; the bulletproof glass, the American
flag, the display of the “Ten Most Wanted” on the lobby wall.
Red takes off his jacket, folds it neatly, and places it on
the ground next to his briefcase.
The Female Guard listens to the voice on the other end of the
line, watching Red as --
-- he lowers himself to his knees over the F.B.I. seal in the
terrazzo floor. A passing AGENT sees this. Looks uneasy.
The poor Guard on the phone can hardly comprehend what she’s
hearing. She follows Red’s eyes. Sees what Red sees. He’s
staring at a picture of HIS OWN FACE among...
THE TEN MOST WANTED.
Red CLASPS HIS HANDS behind his head. Closes his eyes. The
Guard calls for backup, but before she can muster the words --
-- ALARMS SOUND. METAL CURTAINS drop over the windows.
The entire F.B.I. goes into ‘LOCKDOWN’ as F.B.I. POLICE swarm
Red, WEAPONS drawn and SCREAMING into their radios.
But Red’s calm. Proud perhaps. As he’s thrown to the ground
his expression tells us this is a day Red has anticipated for
years. We DRIFT UP, over the chaos, past the American flag.
The F.B.I.’s NUMBER FOUR MOST WANTED has just surrendered.
INT. FT. MEADE / N.S.A. - SAME
A winded STAFFER rushes into a packed boardroom. Pulls aside
ASSISTANT DIRECTOR OF COUNTERTERRORISM, HAROLD COOPER (52).
He’s worn by life. A natural cynic. The Staffer whispers.
COOPER
(thunderstruck)
How is that even possible?!
INT. ROOFTOP / F.B.I. HEADQUARTERS - SAME
A Sikorsky S-76 lands and delivers Cooper who is met by AGENT
DONALD RESSLER (42), square-jawed and seasoned. This job is
his life. They duck the rotors, shouting over the chopper --
3.
RESSLER
Ressler. Washington Field office.
I’m the case agent on Reddington.
COOPER
When did this happen?
RESSLER
Under an hour ago.
COOPER
We confirm it’s actually him?
RESSLER
It’s him alright. Prints match.
Tattoos. He even volunteered
classified details about our
Brussels mission in ‘08.
COOPER
What happened in Brussels?
RESSLER
Sir? We tried to kill him, sir.
INT. SECURITY NEST / F.B.I. - SAME
F.B.I. TECHs sit behind glowing control panels. Monitors
cover the walls. The screens depict various angles of Red
chained to the floor. Cooper nears a monitor, captivated.
COOPER
Christ, it really is him.
He turns to the glass and approaches Ressler. They watch Red
like a fish in a jar. Even in captivity, Red carries himself
with unquestionable presence.
RESSLER
Came in with a briefcase containing
every alias he’s ever used. Most
of ‘em we’ve never heard of.
COOPER
What’s he want?
RESSLER
Don’t know. Won’t talk. The guy’s
a goddamned stone.
Cooper watches Red, unsettled, as we hear --
RESSLER (O.S.)
Raymond “Red” Reddington grew up
the son of an army brat...
4.
Scene 2 - Reddington's Profile
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 7
Ressler briefs a packed room of agents, analysts and legal
staffers. CLASSIFIED IMAGES fill giant monitors overhead.
RESSLER
...he attended West Point. Top of
his class. By thirty he was an
intelligence officer in the Army.
Made Captain. Military Liaison
Officer to the N.S.A.
It’s a life in photos, the American Dream.
RESSLER
Then, in 1990, Reddington’s headed
home to see his wife and daughter
for Christmas. He never arrived.
We see CRIME SCENE PHOTO of a snow covered hatchback on a
desolate mountain road.
RESSLER
His vehicle was discovered along a
stretch of highway thirty-three in
the Allegheny Mountains. Christmas
gifts for his wife and kid in the
back of the car.
We see snapshots of SEARCH PARTIES and NEWSPAPER HEADLINES.
RESSLER
There were searches. Candle light
vigils. No answers. This guy up
and disappeared from the face of
the earth...
The screens go dark, then reignite with a single surveillance
photo of a GHOSTLY IMAGE; a bearded shadow of a man.
RESSLER
...until four years later when U.S.
military secrets started turning up
in South Asia. The leak was traced
to Reddington. Turns out he was
trading military strategies with
New Delhi; brokering arms deals for
the North Koreans. Four years
after going AWOL, this decorated
soldier re-emerges as an enigma.
We’re struck with a barrage of CLASSIFIED PHOTOS. Red in
secret meetings and exotic countries. The birth of a legend.
5.
RESSLER
His military background would lead
you to believe he’s some sort of
spy, but he’s not. This guy’s an
equal opportunity offender; a
“facilitator” of sorts who’s built
an enterprise brokering deals for
fellow criminals. We know he’s
orchestrated the assassinations of
federal inmates, laundered money
for the mob, and bought judges only
to have them killed. Last year, he
personally negotiated a month long
cease-fire between the la Familia
drug cartel and the Calderon
government. He has no country. No
political agenda. Best we can tell
Reddington’s only allegiance is to
the highest bidder.
AGENT
They call him something. In the
papers.
RESSLER
The Concierge of Crime.
We linger on an eerie photo of Red. Eyes locked on us.
INT. SECURITY NEST - DAY
Ressler and Cooper are little more than silhouettes looking
through the window, watching Red in his interrogation cell.
COOPER
Call Lab Services. Have them fit
him with a VeriChip RFID tag.
RESSLER
You think he’s going somewhere?
COOPER
Not on my watch.
Scene 3 - Red's Revelation
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 9
Red watches ARMED AGENTS escort a DOCTOR into his cell. The
Doctor loads a small CHIP, the size of a grain of rice, into
a digital syringe. Injects the device into Red’s shoulder.
IN THE SECURITY NEST...
A SCANNER lights up. Beeps twice.
6.
TECH
He’s on-line.
As Red’s cell is vacated, the agents discuss what’s next.
Red rubs his shoulder. Turns to a SECURITY CAMERA --
RED
(on the monitor)
It appears someone with the
authority to make decisions has
arrived. Good to see you again,
Agent Cooper.
-- the control room realizes Red is speaking to them through
the security monitors. Cooper turns. The room falls silent.
RED
We need to move quickly and I know
you have many questions, so let’s
begin with the most important one:
why I’m here.
We INTERCUT between the agents and Red, who speaks through
the camera like some Orwellian tyrant. Red stands.
RED
I’m going to help you capture a
criminal you don’t know exists.
RESSLER
What’s he talking about?
COOPER
Turn it up.
RED
Of course, you’re familiar with his
crimes. Counterintelligence is
monitoring his criminal enterprise
through the Patriot Act, the Hague
wants him for war crimes, CIA calls
him the Serbian Ghost.
(flat)
I can tell you his real name is
Ranko Zamani. You want him. I
want him. Let’s say that for the
moment our interests are aligned.
Cooper can’t believe what he’s hearing --
COOPER
Feed this through to the Assistant
A.G. of Counterterrorism.
7.
RESSLER
Get Main Justice on the phone.
With a few keystrokes, an ANALYST brings up the dossier of
RANKO ZAMANI. Classified details unfold on the monitors.
ANALYST
(off his computer)
...Ranko Sinisa Zamani. Serbian
National. Educated in the U.S.
Key player in the Yugoslav wars...
Zamani’s a gaunt little man. Haunting eyes. He wears a rash
of CHEMICAL BURNS on his neck and jaw. Red continues to fill
in details about Zamani as --
-- an ANALYST beckons Cooper and shows him a classified file
on his monitor. Cooper turns. Walks directly into...
RED’S INTERROGATION CELL.
RED
Agent Cooper, you’re not trained in
interrogation.
COOPER
I don’t know what you think is
gonna happen here, but this --
RED
I’m giving you Zamani.
COOPER
Ranko Zamani died twelve years ago.
He’s a non-existent threat.
RED
And you believe that?
COOPER
It’s a fact. Serbian courts had
him declared dead in 2008.
RED
Then a dead man just stepped off
United 283 from Munich to Dulles.
Cooper’s expression goes flat as we SMASH CUT TO:
INT. DULLES INTERNATIONAL AIRPORT - SAME
Agents are escorted through the terminal by airport police.
IN THE CONTROL ROOM...
8.
POLICE annex flight manifests. Roll back security footage.
Agents freeze-frame an image of a man who’s little more than
a twisted shadow. His eyes just catch the camera. Ranko
Zamani. The Serbian Ghost.
ANALYST (O.S.)
...entered the country under the
name Sacha M. Chacko.
INT. WAR ROOM / F.B.I. - SAME
Images of Zamani flip across screens as STAFF LAWYERS and
ANALYSTS scramble to reconstruct what they know. Like a
buzzing newsroom, the stream of incoming intel is constant.
ANALYST
Cleared customs at 10:56 AM.
ANALYST #2
Counterintelligence has financial
indicators Red helped Zamani flee
Cairo in February of ‘03 --
Ressler storms into the room, voice booming.
RESSLER
Okay, listen up, people. The lab
just pulled a latent print off an
airline arm rest. Nine points of
comparison. Zamani’s alive.
(provoked)
Number Four does not surrender to
settle a score. I wanna know what
these two are planning; scour every
phone record, every bank account.
Somebody tell me what is going on.
Scene 4 - Red's Demand
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 9
Agent Cooper sits down across from Red. Every camera in the
nest is rolling.
COOPER
You have my attention.
RED
Will you admit you were wrong?
COOPER
I was wrong.
RED
Yes, you were wrong. Certainly not
the first time. Now, I’ll give you
Zamani, but first --
9.
COOPER
No ‘but firsts’. You don’t decide
anything. I’m in charge. All you
do is talk.
RED
Agent Cooper, you’ve overestimated
your authority. I don’t trust you.
I don’t even like you. I said I’ll
help you find Zamani, and I will,
but from this point forward there’s
one very important rule:
(fearless)
I only speak with Elizabeth Keen.
IN THE SECURITY NEST...
The agents blink in confusion. Glances are exchanged.
RESSLER
Who the hell is Elizabeth Keen?
So we SMASH CUT TO:
Scene 5 - A Hectic Morning Interrupted
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
A golden retriever licks the face of a SLEEPING WOMAN. She
pushes the dog away and squints at the blinking alarm clock.
Lays back down. Suddenly JOLTS OUT OF BED as --
WOMAN
Crap. CRAP!!!
-- her dazed HUSBAND sits up on his elbows.
HUSBAND
Lizzy, what’s going on?
WOMAN
Power went out. I’M LATE.
A SERIES OF FAST CUTS ignite the day. Shower on. Toaster
loaded. Steam is wiped from the bathroom mirror and we’re
given our first good look at --
-- ELIZABETH KEEN (36). She’s worked out. The body of a
dancer. Spirit of a fighter. Shades of a rebellious gutter
punk past. Liz brushes her teeth.
LIZ
(mouth foaming)
I missed my bus, babe. I’m gonna
need to take the car.
IN THE KITCHEN...
10.
Liz quickly fumbles through the fridge. Her husband, Tom
(40), stumbles into view. Tom’s easy going. The emotional
glue. Not so good at mornings. He hops into a leg of his
pants, heart racing, as --
TOM
You can’t take the car. I need the
car. Field trip committee.
LIZ
We’re out of milk.
TOM
I can drive you.
Liz closes the refrigerator door to find Tom standing there
with TWO TOURISM BROCHURES, one in each hand.
TOM
Air and Space or the National Zoo?
Liz flicks the zoo brochure.
LIZ
Zoo’s gender neutral.
(then, realizing)
Is this pee?! I’m standing in pee.
TOM
He’s your dog too.
IN THE BEDROOM...
Liz yanks off her socks. Checks the time.
LIZ
(calling out / hurried)
I’m gonna smell like a urinary
tract infection on my first day.
TOM (O.S.)
-- can’t hear you. Remember, we
have the last adoption meeting
today. One-thirty.
IN THE KITCHEN...
Tom scrapes the burnt char from a piece of toast and takes a
giant bite. He hands the other half to Liz who buzzes past,
takes a bite, grabbing her purse as --
TOM
You heard me, right? One-thirty?
11.
LIZ
One-thirty. Last meeting. Make or
break. Don’t worry about me, babe,
I’ll take the train from work and
meet you there.
TOM
I’m in the car.
As Tom disappears into the hall, Liz tosses the burnt toast
to the dog. She opens the fridge. Grabs an apple.
TOM (O.S.)
You got the keys?
LIZ
In my pocket.
TOM (O.S.)
I got your coffee.
These two are good. In locked-sync step.
OUTSIDE THEIR BROWNSTONE...
Liz vaults down the steps, apple in her teeth. She stops
when she sees Tom standing by their car watching her.
LIZ
What?
TOM
You.
LIZ
I forget something?
Tom smiles, marveling.
TOM
We both woke up seven minutes ago.
My shirt’s on backwards and my eyes
can barely focus. You’re dressed,
composed and as beautiful as you
were the day we met.
LIZ
I’m forgetting something.
Tom pulls LIZ’S F.B.I. BADGE from behind his back. Almost
forgot it. As she pockets the badge we realize LIZ IS AN
F.B.I. AGENT. She steps closer. Looks into her Tom’s eyes.
12.
LIZ
You know I’m not going to let this
job come between us and our family.
We want a family, we’re gonna have
a family. Today’s the day.
TOM
We can do this.
He holds her eyes.
TOM
I’m proud of you, Lizzy. You
worked hard for this. Nervous?
LIZ
No. I’m good. I just don’t want
any more big surprises today.
Tom pulls Liz close and they KISS, but their embrace is
interrupted by a low, THUNDEROUS RUMBLE. Leaves rustle. The
rumbling SWELLS as they look overhead to see --
-- a HELICOPTER rising over their brownstone. POLICE CARS
emerge out of nowhere. JUMP the curb. Cordon off a large
area of the park across the street where the chopper lands.
Agent Ressler exits, running toward Liz.
RESSLER
Agent Keen?
He flashes his BADGE. Liz blinks in disbelief.
RESSLER
Donald Ressler. Washington Field
Office. I need you to come with me
right away.
Liz holds out her finger, dangling the keys to Tom.
LIZ
(dumbstruck)
I don’t think I’ll need the car.
CUT TO BLACK.
END OF TEASER
13.
ACT ONE
Scene 6 - FBI Interrogation
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
We drift over WASHINGTON. Liz watches in total bewilderment
as the city floats under her feet. Ressler hands her a set
of headphones which she puts on to hear --
RESSLER
Raymond Reddington.
LIZ
Excuse me?
RESSLER
The fugitive. Number Four. How do
you know each other?
She adjusts the headphones, confused.
LIZ
I’m sorry, I woke up late. Power
went off. I’m a little... punchy.
RESSLER
When was your last contact?
LIZ
With... Reddington?
Ressler squints. Who else?
LIZ
What? No. Why would you think --
the man’s been at large since I was
in a training bra. We studied his
profile at...
(re: the ground below)
Is that the White House? This is
restricted airspace.
RESSLER
You never met.
LIZ
Of course, not. Most psychologists
could only dream of interviewing a
guy like Reddington.
RESSLER
Well, congratulations. Your dream
is about to come true.
Off Liz’s disbelief we JUMP TO:
14.
INT. F.B.I. HEADQUARTERS - SAME
Liz tries to match Ressler’s stride as F.B.I. POLICE escort
them into the belly of the bureau.
LIZ
This must be some sort of mistake.
I’ve never even -- I’m sorry, you
said Reddington surrendered? Why?
RESSLER
We’re working on that.
She stops. He turns.
LIZ
You’re telling me this guy’s eluded
the F.B.I. for over twenty-five
years, and he’s suddenly decided to
give himself up to chat with me?
RESSLER
Consider yourself flattered.
INT. COOPER’S OFFICE / F.B.I. - SAME
Liz sits in silence with THREE AGENTS. Ressler and Cooper
enter. They’ve been talking. Cooper sits across from Liz.
COOPER
Harold Cooper. Assistant Director
of Counterterrorism.
LIZ
Yes, sir. I know who you are, sir.
COOPER
Wanna tell us what’s gong on?
Nobody notices how Liz clutches her right hand into a fist;
nervously opening and closing the grip, running her fingers
against the skin of her palm.
LIZ
I’ve been vetted by the agency like
everyone else. Same background
checks. Psych profiles. I’m sure
OPR’s trolling my digital footprint
right now, and I can tell you what
they’ll find. Nothing. I have no
history with Reddington.
Cooper watches Liz. Isn’t convinced.
15.
COOPER
They tell me today’s your first day
as a profiler.
LIZ
Yes. Reassigned from New York.
Graduated Quantico last month.
COOPER
Congratulations.
(flat)
Profile yourself.
LIZ
Sir?
COOPER
Who are you? What does he see?
Profile Elizabeth Keen.
LIZ
Oh, uhm. Well..
(uneasy)
I’ve been with the Bureau for four
years; head of the Mobile Emergency
Psych Unit in New York. Worked
bank robberies, murder, extortion --
COOPER
We’ve read your resume.
Liz looks trapped for a moment. Uneasy silence. Then
something clicks and it’s as if another woman emerges --
LIZ
My colleagues call me ‘sir’. They
think I’m a bitch. Like most kids
who raise themselves, I display
narcissistic behavior. I can be
withdrawn. Disconnected.
-- she speaks with complete transparency.
LIZ
Despite, or perhaps because of my
past, I have a deep yearning to
understand the criminal mind. I’m
board certified in forensic
psychology, and yet I’m under the
delusion I can erase my childhood
by having kids of my own. All this
manifests itself in the occasional,
regrettable, fit of anger.
The agents are speechless. Liz blinks. Feels naked.
16.
COOPER
Do you find it odd Reddington
surrendered himself the same day
you started working as a profiler?
LIZ
It suggests he was waiting for me.
COOPER
Why you specifically?
LIZ
Because I’m new. He thinks I can
be easily manipulated. Obviously,
the man doesn’t know me very well.
There’s a strength within this woman that’s undeniable.
Scene 7 - At the Hive
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Liz, Cooper and Ressler are escorted through a series of SCIF
checkpoints. Through the most secure areas of the Bureau and
down into...
THE HIVE.
They wind their way through a maze of monitors, techs, and
control boards. This is mission control and the room from
which Red is carefully monitored.
The techs and support staff FALL SILENT as Liz moves through
their space. We sense their collective respect; like Romans
watching a gladiator enter the Coliseum.
Cooper and Liz stop before a steel door.
COOPER
If you need anything, remember,
we’re right here.
This doesn’t give Liz comfort. Suddenly, a chest-rattling
ALARM sounds. Hydraulic locks disengage. Liz steps into...
A MASSIVE AUDITORIUM.
State of the art. Impenetrable. At the center of this dark
room is a small, BULLETPROOF PRISON TUBE. Red sits alone
under the hot lights. He sees Liz and he rises. Her heart
pounds as she steps inside...
RED’S CONTAINMENT CELL.
RED
Agent Keen. What an honor.
17.
He extends his hand like a boy on a date. Liz keeps her arms
folded and tries to project confidence. Drags the only other
chair in the cell to Red’s side of the table --
LIZ
I heard you wanna talk.
-- she sits. Red is captivated. We INTERCUT with the Hive
as everyone watches the monitors in silence.
LIZ
Well?
Red can’t take his eyes off of Liz.
LIZ
You’re the one who surrendered.
Made all the demands. Asked me
here. I’m here.
RED
You got rid of your highlights.
Much less Baltimore. Do you get
back home much?
She tries not to look surprised by this.
LIZ
Tell me about Zamani.
RED
I haven’t been home in years.
Liz feigns a smile. Takes a moment. She needs to establish
she’s the alpha dog here.
LIZ
Your wife, Ellen, you know she
lights a candle every Christmas
Eve. Still mourns the day you
disappeared even though she knows
you’re alive.
(firm)
No way you’d come back after twenty-
five years, face the life you left,
everyone you betrayed, in order to
settle some grudge.
RED
Perhaps it’s a sizable grudge.
LIZ
Why involve me? I’m nobody. First
day. Nothing special about me.
18.
RED
Oh, I think you’re very special.
He says it in an weirdly erotic way. Liz flicks a glance at
the agents behind the glass. Her discomfort betrays her.
RED
Within the hour, Ranko Zamani will
abduct the daughter of U.S. General
David Ryker. His team will use an
EM pulse bomb to create a diversion
and grab the girl. If you don’t
move quickly she will die. That’s
what I know.
LIZ
And how do you know this?
RED
Because I’m the one who got Zamani
into the country.
LIZ
I should believe you?
RED
Of course not. I’m a criminal.
Criminals are liars. Everything
about me is a lie.
(then)
But if anyone can give me a second
chance, it’s you. The two of us
have overcome so much.
Liz leans back. Doesn’t like this.
RED
I mean, look at you. Abandoned by
a father who was a career criminal.
A mother who worked two jobs,
despite her addiction, to keep you
in school, out of juvenile court.
You practically raised yourself.
And yet here you are, about to make
a name for yourself, about to catch
Ranko Zamani.
(deadpan)
I’m gonna make you famous, Lizzy.
LIZ
Don’t call me Lizzy.
She says it with force, but she’s screaming inside.
19.
RED
We both know the past does not
equal the future. You’ve learned
from your experiences, they’ve
given you tremendous insight.
That’s why you’re gonna believe me.
Off Red’s lewd smile we SLAM CUT TO:
THE HIVE - SECONDS LATER
Liz BURSTS through the door. Shoulders past Cooper and goes
directly to Ressler.
LIZ
What did you tell him?
RESSLER
What?! Nothing.
LIZ
Then how did he know those things?
Private things? About my family?!
RESSLER
Why didn’t your father’s criminal
record show up in your background
report? You told us he --
She turns to Cooper.
LIZ
I think we should contact the SWAT
commander at Quantico; roll a team
to the girl’s school.
RESSLER
Nonsense. He’s bluffing.
LIZ
He’s establishing his value.
RESSLER
I’ve been the field agent on this
guy for eight years, trust me --
LIZ
-- and eight years got you what?
You asked me here. You asked my
opinion. So here it is: that girl
is gonna be taken.
Cooper considers this. Wheels turning.
20.
COOPER
Roll HRT to the school. Call
Bolling AFB Command, patch us
through to General Ryker.
Scene 8 - Intense Emotions and Security Breach
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 8
Liz steps into a stall and closes the door. Needs a minute
to gather herself. She takes a few calming breaths before --
BAMM... BAMM... BAMM...
-- she SLAMS HER FIST into the wall of the stall repeatedly.
Raw unchecked energy. Liz falls back. Making that habitual
rolling fist; running her fingers against her palm until she
grabs her phone. Dials her husband.
TOM (O.S.)
Lizzy, hey, What’s going on? I’ve
been wanting to call, but --
LIZ
I need to hear your voice.
TOM (O.S.)
What’s with the helicopter?
LIZ
The helicopter was nothing. I just
had an interview with -- I can’t
even tell you. Classified. This
entire day is classified. I flew
over the White House!
TOM
Over the what?!
LIZ
I’m telling you, they gave me Level
Four clearance. Insane. I just
interviewed the number four... I
met with the Assistant Director...
TOM
Okay. Breathe. Just breathe.
LIZ
If you knew half the things --
TOM
I can’t. Remember? Classified.
Those things, they don’t matter
because you’re gonna be amazing.
21.
LIZ
Tell me I can do this.
TOM
Lizzy, when have you ever failed?
This lands with her. Calms her.
LIZ
I don’t deserve you. I promise
I’ll make this up to you, let’s
take tonight and --
WHAM!!!
The stall door flies open and Liz finds herself standing face
to face with Ressler, chest heaving --
RESSLER
What are you doing with that phone?
We’re on a SCIF floor. You can’t --
LIZ
(to Tom)
Gotta go, babe.
-- she clicks the phone off.
RESSLER
You put on a great show in there.
Sounded real smart. But you better
pull yourself together because you
just called in the calvary. HRT.
SWAT. This is your show now. Your
neck on the line.
He yanks a strip of toilet paper. Puts it in Liz’s hand.
RESSLER
Wipe your nose. We’re all waiting.
CUT TO BLACK.
END OF ACT ONE
22.
ACT TWO
INT. PENTAGON - DAY
A MARINE in dress blues moves through the Defense Department
headquarters, past security, and into a room full of GENERALS
gathered around a table. The men turn as --
-- GENERAL DAVID RYKER stands. Ryker (50’s) is a Four Star
General. Distinguished. Fierce. The Marine salutes.
MARINE
Sir. We have a situation, Sir.
It’s about your daughter.
INT. HOLTON-ARMS PRIVATE SCHOOL - SAME
SWAT teams storm the hallways as classrooms are evacuated.
Children everywhere. Teachers direct kids into --
THE PARKING LOT
-- where AGENTS pile out of suburbans and into the SEA OF
CHILDREN. Pandemonium. A thousand little girls in plaid
skirts and sweaters.
RESSLER
What the hell happened?
POLICE COMMANDER
Campus security freaked, saw SWAT
and activated the emergency plan.
RESSLER
Where’s the girl?
Agents sort through the faces as Liz searches for --
LIZ
Beth?! I’m looking for Beth Ryker!
-- a teacher rushes BETH RYKER (8) toward Liz. Beth is an
angel with two missing teeth. Bright eyes. Heart pounding.
Liz takes her hand. Races toward the closest SUBURBAN. She
can’t find Ressler, but there’s no time. A SWAT AGENT lifts
the girl into the suburban and Liz dives in behind. Motions
the driver.
Scene 9 - Ambush on the Woodrow Wilson Bridge
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Liz’s suburban rolls through the city. We INTERCUT between
the vehicles. Ressler and Liz are now separated. It wasn’t
planned this way, but the girl’s safe. SWAT teams trail in
bumper-lock.
23.
IN LIZ’S SUBURBAN...
The little girl stares at the fully armed SWAT Agent seated
across from her. His radio crackles.
RESSLER (O.S.)
Target onboard. Notify McNair.
DISPATCH (O.S.)
Copy. You have an HRT escort.
Beth’s eyes well with tears as --
LIZ
Can you turn that thing off?
-- the little girl starts CRYING.
LIZ
Hey. You’re okay.
BETH
Is my Daddy hurt?
LIZ
Oh, no. Your Daddy’s fine. We’re
on our way to see him right now.
(searching)
Hey, your name’s Beth, right? I’m
Beth. Elizabeth. My friends call
me Liz.
BETH
My Daddy has a pin like that.
She’s looking at the AMERICAN FLAG PIN on Liz’s lapel --
LIZ
I bet Daddy has lots of medals.
-- Liz sees the caravan is crossing the Potomac. They pass
over the massive WOODROW WILSON BRIDGE, escaping Washington.
LIZ
To get a pin like this you gotta be
really brave, like your Dad. Like
you were back there.
Liz removes the pin from her lapel and pins it on Beth’s
sweater. Beth touches the pin. It reflects the sunlight.
She forgets her tears as --
-- Beth looks at her own CHARM BRACELET. Kiddie jewelry. A
trinket from a gum ball machine. She takes it off and starts
to clip it around Liz’s wrist.
24.
LIZ
Oh, you don’t have to give me...
(smiles)
Thank you. It’s beautiful.
BETH
It’s a charm bracelet. It’s got
little animals.
Beth leans into Liz. Feeling safe now. Liz puts her arm
around the girl. She’s got a way of putting kids at ease.
LIZ
You’re safe with me.
Liz spots a few tail lights ahead --
LIZ
(into her radio)
What’s going on up ahead?
RESSLER (O.S.)
Accident. Dispatch is re-routing.
Liz eyes the accident as their suburban slows. Ressler gets
out, talks with an officer, but Liz senses something. Eerie
silence. She considers their stalled caravan as she looks in
the rearview mirror to see --
-- the bridge lights and traffic signals FLICKERING OUT. One
by one, the power outage races toward them like a tidal wave.
LIZ
It’s happening...
(into her radio)
IT’S HAPPENING!
The entire bridge LURCHES. Cars SHAKE. Ressler looks down
to see the steel plates between his feet open up --
RESSLER
The bridge. Turn around. GO!
-- THE DRAWBRIDGE HAS BEEN ACTIVATED.
We INTERCUT among the caravan. Vehicles jockeying to perform
three point turns as the bridge begins to incline. Liz’s
suburban is sideways in the road when she looks up to see --
-- A GARBAGE TRUCK barreling toward them.
LIZ
GET DOWN.
25.
Liz covers Beth with her body as the garbage truck SLAMS into
the driver-side of their suburban. GLASS SPRAYS. The driver
is killed on impact as the suburban is SHOVED toward --
-- THE RISING GAP IN THE BRIDGE and across the interlocking
seam. Gears turn. The traffic decks RISE UP to a FIFTEEN
PERCENT INCLINE. A man leaps from his car before it falls
through the widening gap into the Potomac below.
Now TWENTY PERCENT. Rising. Liz realizes her suburban is
now on the OTHER SIDE of the traffic deck. The gap in the
drawbridge has effectively separated Liz and Beth from the
rest of the caravan. At TWENTY-FIVE PERCENT --
-- cars begin to scoot. SLIDING downward. Liz looks to see
a TEAM OF MASKED KIDNAPPERS racing up the traffic deck toward
her. Past her car. They race to the apex of the bridge and
anchor GRAPPLING HOOKS into the steel decking.
THIRTY PERCENT. Pedestrians tumble down the traffic deck.
Agents scramble to no avail. The Kidnappers drop back down
toward Liz on RAPPELLING LINES, scooting with the car. One
Kidnapper takes out a gun and --
KA-BAMM
-- SHOOTS THROUGH THE WINDOW. Kills Liz’s SWAT Agent. Blood
spray hits Liz. Beth SCREAMS. Liz tumbles and lands against
the windshield. Loses her gun. The door above them opens to
reveal a MASKED KIDNAPPER.
LIZ
Take my hand, Beth. Stay with me.
The Kidnapper climbs into the car. Reaching for Beth. Liz
swats at him as he GRABS THE LITTLE GIRL. She reaches out --
LIZ
BETH. TAKE MY HAND.
-- they lock eyes. FORTY PERCENT. The girl grabs Liz’s hand
but suddenly the suburban falls. Liz goes with it. As the
car falls away, the Kidnapper’s left holding Beth, dangling
from the rappelling line as --
-- Liz’s car ROLLS TWICE. Lands hard. The Kidnappers
holding Beth climb up toward the apex of the bridge which is
now fully open. Below --
ON THE POTOMAC
-- a SPEEDBOAT arrives. The Kidnappers rappel down, girl in
hand, into the boat. As they speed away Liz opens her eyes.
Her world slips into focus. She reaches out. Lying among
the splintered glass she finds... BETH’S CHARM BRACELET.
26.
Scene 10 - Confrontation and Resolve
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Liz sits on a bench in a hallway. A small bandage covering
a split in her brow. She holds Beth’s charm bracelet like a
rosary. Stares ahead, unblinking, eyes locked on the silent
image of --
-- General Ryker who can be seen through the glass wall of
Cooper’s office. Ryker is SCREAMING at Cooper and Ressler.
Eviscerating the agents. Tears well in Liz’s eyes as she
watches, heavy with guilt. She knows she may have cost the
General’s daughter her life.
Liz is watching this verbal brawl when her phone vibrates.
She looks down. Six missed calls. Realizing the time as --
LIZ
(panicked)
Tom. My God. I meant to call.
-- we INTERCUT with Tom. Pacing nervously. Sneaking a call
in the hallway outside their ADOPTION AGENCY.
TOM
Are you close? What’s going on?
LIZ
I’m stuck here.
TOM
Stuck?! You’re kidding, right?
Everyone’s waiting.
LIZ
I’m the worst. I’m so sorry. It’s
just, Tom, this crazy day --
Ressler KNOCKS on the glass. Waves Liz into the office for
her ass chewing. She holds up a finger, asking the General
and the others wait, juggling Tom as --
TOM
(soft / compassionate)
Lizzy, babe, if this is too much...
we don’t have to do this. We can
start a family next year -- I can
tell these people right now. But
if we’re gonna go through with this
we gotta do it together. I can’t
do it alone, Lizzy. I need to know
you’re one-hundred percent.
Liz looks at the waiting General. Turns her back on him.
Her priorities suddenly slip into focus.
27.
LIZ
I’m one hundred percent.
TOM
You say that, but...
LIZ
Tom. Our family. It’s all that
matters.
She’s speaking from the heart. He smiles.
TOM
I believe you.
CASE AGENT (O.S.)
Mr. Keen? Is your wife coming?
Tom whips around. Greets the CASE AGENT with a big, warm
smile and an extended hand as --
TOM
(to Liz / tender)
Let me handle this.
LIZ
Good luck, babe. Love you.
-- Liz hangs up. Smiles to herself. She loses herself in
the warmth of Tom when General Ryker comes storming out of
the office. Moving down the hallway.
LIZ
Sir?
The General turns to Liz.
LIZ
I want to personally tell you how
sorry I am for your daughter’s --
GENERAL RYKER
(seething)
You’re not just out of a job. I’m
gonna see to it the D.O.J. files
charges. Criminal negligence. You
better beg God my girl comes home
alive because this thing’s coming
down on you, sweetheart.
Ryker marches off down the hallway.
LIZ
(calling out)
I’m gonna get her back.
28.
As the General disappears, Liz plops down onto the bench.
Feeling helpless. She looks at BETH’S CHARM BRACELET and
clips it back around her wrist. Considers the tiny animals.
She then opens her hand and we reveal --
-- a BURN SCAR on the inside of Liz’s palm. It crawls up her
wrist and into her sleeve like a some twisted, blooming vine.
Liz makes a loose fist. Runs her fingertips over the uneven
SCAR TISSUE; that habitual rolling motion.
We leave Liz there. Wrestling with some distant memory.
CUT TO BLACK.
END OF ACT TWO
29.
ACT THREE
INT. RED’S HOLDING CHAMBER - SAME
An Interrogator from the High-Value Interrogation Team sits
across from Red. They’ve been at this for hours.
INTERROGATOR
Is the girl dead?
Red’s silent. Eyes locked on the Interrogator.
INTERROGATOR
Is that why we haven’t heard from
the abductors? No demands? What
other reason would there be?
(inflamed)
It’s been four hours. You think
we’re gonna overlook the fact you
turned yourself in the exact same
day this thing went down?
IN THE HIVE...
Cooper sees they’re getting nowhere. Knocks on the glass.
COOPER
Kill the cameras. Everyone out.
CUT TO:
GENERAL RYKER. Chest full of medals. He sits down before
Red who is not intimidated whatsoever.
GENERAL RYKER
The US Government doesn’t negotiate
with terrorists. But I’m not the
government. I’m here as a father.
Red blinks at the General’s medals as if they’re meaningless.
GENERAL RYKER
Is this about immunity? You want
your crimes forgiven? I’m personal
friends with the Attorney General.
There are things you’ve done that I
can make people forget.
Silence. The General EXPLODES.
GENERAL RYKER
ANSWER ME! This is a my baby’s
life we’re talking about. Your
people haven’t made one demand!
30.
RED
I already told you people how this
works. You wanna talk? Go get
Elizabeth Keen.
The General stares daggers.
Scene 11 - Liz Meets Red
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 9
Liz does a walk of shame. Past Cooper. Past Ryker. All
eyes are on Red’s ‘chosen one’ as she makes her way into...
RED’S HOLDING CHAMBER.
Red extends his hand. Liz keeps her arms folded. He sees
Liz is wearing the CHARM BRACELET Beth gave her; the one with
the tiny plastic animals.
RED
Nice bobble. Reminds me of my
daughter. She loved jewelry --
LIZ
Where’s the girl?
RED
-- you women and your jewelry.
LIZ
It’s been four hours.
RED
I told you Zamani would take her.
Told you that’s all I knew. It’s
in your hands now.
He notices the way Liz is nervously opening and closing her
fist, running her fingers against the skin of her palm --
RED
Why do you do that?
-- she places her hand in her lap.
LIZ
I need your help with Zamani.
RED
How about we trade. You tell me, I
tell you. Tell me about that scar
on your palm. I’ve noticed how you
hide it.
Liz swallows. Reluctant.
31.
LIZ
There was a fire. I was fourteen.
RED
Someone tried to hurt you.
LIZ
Not exactly.
RED
But the scar, what does it remind
you of? When you touch it?
(reaching out)
May I?
Liz reluctantly extends her hand. Red takes her palm, runs
his fingertips over the scar tissue as if he might see into
her past. It’s uncomfortable. Red’s thumb follows the scar
up her arm, under her sleeve. He looks into her eyes.
RED
Is a child really what you want?
Liz pulls away. Stunned.
LIZ
How on earth do you know --
RED
I know it’s exciting, that you’ve
waited, but a baby can’t fix what
happened in the past.
She stands, indignant.
LIZ
How dare you. You lost the
privilege of speaking about
parenthood when you abandoned your
wife and daughter on Christmas Eve.
Addy, right? How old would she be
now? Thirty? You don’t know
because you walked away, so keep
the Fatherly advice to yourself.
RED
You won’t find the girl until you
learn to look at this differently.
LIZ
And how should I look at this?
RED
Like a criminal. It may come
easier to you than you think.
(MORE)
32.
RED (cont'd)
Shall I show you?
Scene 12 - Unraveling the Terrorist Plot
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
Liz and the other agents watch as Red walks the room eyeing
the MASSIVE WALL OF CLUES. He moves with a sense of pride
and curiosity. Takes in the details.
LIZ
So?
Red steps back. Considers the collage of PHOTOS and POLICE
REPORTS. Silence. Then with complete confidence --
RED
Irrelevant.
-- he TEARS DOWN A MUG SHOT. Rips down a surveillance photo.
RED
Waste of time.
RESSLER
Hey, you can’t just --
Red continues down the wall, pulling down precious documents,
moving pieces. The analysts watch in disbelief as Red weeds
out the unimportant. He grabs a surveillance photo and rips
it in half; holds up the half with the image of a YOUNG SERB.
RED
Miroslav. He’s more than a driver.
They call him The Chemist. Weapons
expert. Turned down MIT to work
for al-Qaeda in South Africa.
Red pins THE CHEMIST to the wall, then grabs a photo of a
GROUP OF MEN outside of bank --
RED
The German? Reinhardt? You’re
right that if money was involved he
laundered it, but his Swiss account
is a dead end. He runs everything
through a former IRS man named
Kagel. Works through the Caymans.
(eyes scanning)
What about the girl? What do you
have on the girl and her father?
An analyst works keyboard. Images of BETH fill the screens.
Beth’s school portrait. Beth and her father, General Ryker.
RED
What do you see, Lizzy?
33.
She blinks at Red. Only Tom calls her Lizzy.
LIZ
Well, the timeline would suggest a
singular event. Something in DC.
Not sure how the girl fits.
RED
What about the Chemist?
LIZ
Important. Well paid. What he’s
planning is expensive, maybe some
kind of attack.
RED
You’re thinking like a cop. What
does a criminal see?
RESSLER
Okay, this is nonsense.
LIZ
Taking the general’s daughter was
risky. She’s a well protected --
RED
-- she’s critical to the mission.
Cooper and Ressler exchange a suspect glance as Liz scans the
photos. She finds a picture of Zamani reaching into a pocket-
sized CONTAINER OF PILLS.
LIZ
Zamani’s sick. C.I.A. says he
carries Nipah virus. Dying makes
him dangerous. Nothing to lose.
RED
And the General’s daughter?
LIZ
Her father, the General, spent time
in Bosnia supporting NATO troops --
RED
Zamani’s home turf.
LIZ
-- he came under public scrutiny
when U.S. led forces bombed a
suspected chemical weapons facility
in the Bihac pocket region.
(MORE)
34.
LIZ (cont'd)
Never did find proof of the
weapons, but the bombing released
unknown chemical agents. Poisoned
the village and...
(then, realizing)
Jesus. His family.
Liz sees a photo of Zamani with his YOUNG SONS.
RED
Follow that pit in your stomach.
LIZ
Zamani’s wife and sons were made
sick in the bombing orchestrated by
General Ryker. They died. Zamani
survived. He wants revenge.
(realizing)
He hired the Chemist to build a
bomb. Detonate it in DC. Has a
return flight tomorrow at 10:00 AM
which means it’s gonna happen soon.
Tomorrow morning. His dying wish.
Red guides Liz. Exhilarated. The teacher and the pupil.
RED
Why no offer to trade the girl?
LIZ
Because he needs her. Zamani lost
his family, he’s gonna use the
General’s daughter to even the
score. Deliver the bomb.
The room ERUPTS into a hive of activity. Red quietly turns
to Liz, an olive branch.
RED
I have an acquaintance. They call
him the Innkeeper; runs a series of
safe-houses. Lean on him. He’ll
know where to find the Chemist.
Find the Chemist, you find Zamani.
LIZ
Where is this Innkeeper?
RED
If I tell you, you have to give me
something in return. I need to be
moved. Higher security.
LIZ
You’re inside the F.B.I.
35.
RED
My point exactly. It’s not safe.
EXT. FT. MCNAIR ARMY BASE - DAY
An F.B.I. convoy escorts RED’S ARMORED TRUCK past uniformed
guards and onto the historic U.S. military base on Greenleaf
Point. Majestic views of the Potomac. Sprawling lawns.
INT. SUN-DIAL MOTEL - DAY
Agents pour into the tiny motel near Reagan National. They
throw “THE INNKEEPER” to the ground. Hands behind his head.
Boots on his neck. As the Innkeeper begs, we JUMP BACK TO:
EXT. GENERAL’S ROW / FORT MCNAIR - DAY
Red steps from his armored vehicle and takes in his new home;
a breathtaking COLONIAL MANSION overlooking the Potomac. The
Army owned home is not only historic, but one of the most
well protected estates in all of Washington.
INSIDE RED’S HOUSE...
Agents remove the mirrors and silverware. Cameras are
installed. Red admires the beautiful coffered ceilings.
It’s a fitting home for a military man.
Scene 13 - A Devastating Choice
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
SWAT TEAMS burst down the door and the inhabitants scramble.
Some sort of lab. The agents push through a door into a room
filled with elaborate BOMB MAKING SUPPLIES. They pull a
FIGURE down from the fire escape. Hands behind the head.
EXT. SHORELINE / FT. MCNAIR - DAY
Ressler finds Liz looking out at the boat yard, drinking in
the beauty of the water. A rare moment of peace.
RESSLER
They found the lab. Interrogating
the Chemist as we speak.
LIZ
We have the Chemist?
RESSLER
Big fish, right? Based on what we
pulled from his lab we think we’ve
caught it in time. Shut down his
operation. We’re making progress.
LIZ
What about the bomb?
36.
RESSLER
HDS is running samples. We’ll have
results within hours.
Liz stares out at the water. He lights a cigarette.
LIZ
I didn’t choose any of this.
He doesn’t believe her.
RESSLER
(feigned)
Of course not. He chose you.
There’s a bigger picture we’re not
seeing, but we will. Give it time.
LIZ
I gotta clear my head. Get out of
here for a bit. Grab a shower.
RESSLER
Don’t go too far.
As she walks away, he watches her go. There’s not a bone in
Ressler’s body that trusts this woman.
INT. LIZ’S BROWNSTONE - DUSK
Liz returns home. It’s like entering another world. Soft
music. Candlelight. In the entry, she finds a small PINK
WICKER ROCKING CHAIR stuffed with pink blankets, books and
bibs. Mylar balloons proclaim, ‘IT’S A GIRL!’ --
LIZ
Oh, my God. Did they say yes?!
-- in the arms of a stuffed animal Liz finds the ADOPTION
PAPERWORK. Opens it. Tears standing in her eyes.
LIZ
It’s OFFICIAL? How did you -- I
can’t believe...
Liz rounds the corner to find Tom, his back to her, seated at
a beautiful candlelight dinner. There’s Champagne. Flowers.
Her shoulders drop as Liz sits down and looks to Tom to see --
LIZ
We’re gonna have a baby!
-- TOM IS DUCT TAPED TO THE CHAIR.
He’s been BEATEN and TORTURED. Zip-ties on his wrists. Tape
over his mouth. Pure fucking horror in his eyes.
37.
Liz’s heart stops as a DARK FIGURE reaches past her breast,
into her jacket, and delicately removes her WEAPON. He’s a
colorless TWIG OF A MAN, chemical burns on his neck and jaw.
As he sits at the table between Liz and Tom we meet --
-- RANKO ZAMANI. An anemic little ghost. Looks like he was
raised in a veal cage. Zamani speaks with a thick SERBIAN
ACCENT. His lungs rattle with each breath.
ZAMANI
Tom and I already have met. Been
talking. Trying to figure out how
you knew I was in town.
Liz looks to Tom. There’s blood matted in his hair. The
vessels of one eye have ruptured.
ZAMANI
I tell him you took the General’s
daughter minutes before I was going
to. Forced me to re-think things,
which I did quite well, I think.
Zamani serves himself a slice of fish --
ZAMANI
But then your people come for my
Chemist friend.
-- pours himself a glass of Champagne and takes a drink.
ZAMANI
I was finished with the Chemist, so
you save me a payment for services.
For that, I thank you. But it did
make me wonder what else you know.
(pointed)
What else do you know?
LIZ
I don’t -- Tom, please...
Zamani takes a bite, chewing through heavy, hoarse breaths.
ZAMANI
Over here. I ask question. What
else do you know about my plan?
LIZ
An attack... uhm, a bomb maybe.
We’re not sure, we don’t know --
Zamani stands. Pours Liz a glass of Champagne.
38.
LIZ
-- we only knew about the girl.
Everything else... speculation.
(through tears)
Tom, babe, it’s gonna be okay --
SPLOOSH -- Zamani buries his STEAK KNIFE in the meat of Tom’s
thigh. Tom let’s out a MUFFLED SCREAM.
ZAMANI
What. Else. Do you know?
LIZ
(frantic / sobbing)
I swear... nothing...
Zamani holds his chest. Removes a POCKET-SIZED CONTAINER of
pills from his jacket and puts one on his tongue. Chases it
with Champagne. As he does, we see --
-- a penny-sized TATTOO on the back of Zamani’s hand. It’s
the SILHOUETTE OF A SUNBURST; jagged rays reaching out from
the center, violently whipping about.
ZAMANI
You are not as smart as Reddington
says. My friend, he was always so
obsessed with you. Not sure why.
(taunting)
What I have planned will make for
many casualties. Chemical agents,
no? What you call... biblical. So
now you have choice: stop me now
and save many Americans... or save
only one. What do you choose?
Zamani yanks the knife from Tom’s thigh and PLUNGES IT INTO
TOM’S ABDOMEN. He turns the knife, DRAGS IT to his sternum.
Liz SCREAMS. She LEAPS UP as --
-- Zamani leaves. Liz chases, but stutter-steps back to Tom.
Can’t have both. She runs to Tom. Holds him. Dials 911 as
Zamani vanishes. Blood everywhere. Phone ringing.
LIZ
Hold on, babe. You’re gonna be
fine. We’re gonna get you help.
EMERGENCY OPERATOR (O.S.)
911. What’s your emergency?
CUT TO BLACK.
END OF ACT THREE
39.
ACT FOUR
Scene 14 - Confrontation and Revelation
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Doors FLY OPEN. Medics swarm. Hospital staffers rush to
transport Tom out of the ambulance as --
WHAM!!!
-- we BURST THROUGH emergency room doors. Down a hall. Liz
runs alongside Tom’s gurney, covered in smeared blood. Tom’s
drifting in and out of consciousness. Voices fading until...
INT. HOSPITAL / WAITING ROOM - LATER
POLICE interview Liz. There’s no sound. All she can hear is
their surreal murmur, as if underwater. Liz looks up to find
Ressler entering the ER. He approaches, arms open, and Liz
collapses into him.
LATER...
Liz sits with Ressler. Trying to process. Still numb.
RESSLER
The Chemist. We lost him. Hung
himself just over an hour ago.
(pressing)
I totally understand, and we don’t
have to talk about this if you
can’t, but it’s critical that you
tell me anything Zamani may have
said. Did you learn anything?
LIZ
(elsewhere)
It’s biological.
RESSLER
The bomb? He said that?
LIZ
He said it’s gonna be biblical.
INT. HOSPITAL ROOM - NIGHT
Tom lies in a hospital bed. Tubes and wires protruding from
his chest. Liz sits beside Tom. Holding his hand. Watching
machines breathe for the man she loves.
LIZ
Babe... if you can hear me... you
can’t let this happen. Not today.
This was supposed to be a happy
day. The beginning...
(MORE)
40.
LIZ (cont'd)
(scared / searching)
You’re the one good thing in my
life. I don’t know how it works
without you. Don’t leave me alone.
We leave her, praying over her dying husband.
EXT. LIZ’S CAR (PARKED) - NIGHT
It’s raining now. Liz sits in her car. Hiding from the
world and sobbing. Her emotions swelling inside until --
-- Liz repeatedly POUNDS THE STEERING WHEEL in a violent
outburst. The surge of pure rage CATAPULTS us to:
INT. RED’S HOUSE / FT. MCNAIR - NIGHT
We follow Liz down a corridor. Fueled by anger. Fearless.
IN THE STUDY...
Red stands. Liz is on fire. A boiling pot of crazy.
LIZ
Did you send him? Are you the one
who did this?
RED
Lizzy, what’s [wrong] --
LIZ
Don’t call me Lizzy, goddamnit. He
was in my house. My husband’s on a
ventilator because Zamani came --
Red face goes blank.
RED
Tell me what happened.
LIZ
Don’t play stupid. You’re the only
thing connecting us. He told me
that you’ve talked to him about me.
RED
Liz, you have to tell me what
happened. What did you see?
LIZ
What did I... I saw the love of my
life being tortured. Disemboweled.
RED
No, what did you see?
41.
LIZ
Stop acting like we’re some kind of
team. I don’t know you. I didn’t
ask for any of --
RED
This is bigger than us, Liz. We’re
at the center of something that you
can’t possibly understand.
LIZ
Goddamnit, I want the truth!
RED
Honestly?! The truth? The truth
is Zamani did you a favor, Lizzy.
Suddenly, Liz pulls THE PEN from her pocket --
STABS RED IN THE NECK
-- spins around and traps him in a military choke-hold.
LIZ
I told you not to call me Lizzy.
She holds her thumb over the bloody PUNCTURE WOUND in Red’s
neck. His breathing quickens. His eyes bulge.
LIZ (CONT’D)
Now, you were in the army, so you
know from training I just punched a
hole in your carotid. The artery
will likely vasospasm; reduce its
own flow. Best chance, one minute
before you pass out. So here’s how
it works, asshole...
(fearless)
You tell me how I find Zamani and
make this right, or I let you die
right here. Understand?
RED
Yes, but...
Red gasps for breath, clinging to life.
RED
...if you let me die, you’ll never
learn the truth about your husband.
LIZ
You know nothing about my husband.
42.
Red allows a faint little smile. Strangely, Liz is the one
who now looks trapped. Wheels turning. She has no choice
but to call --
LIZ
GUARD, I NEED A MEDIC!
Red falls to the floor. Guards rush in as Liz collapses next
to Red trying to stop the bleeding. She barks orders. Blood
everywhere. We jump from the chaotic frenzy to:
Scene 15 - Red's Escape
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
It’s quiet. The silence is jarring. Liz stands with Ressler
and Cooper outside the house. Liz is still shaky.
RESSLER
Why would he try to kill himself?
LIZ
Why’s he doing any of this? It
happened. I can’t explain.
RESSLER
Your back was conveniently toward
the camera, so the footage is
inconclusive, but you know what I
think? I think you’re lying.
You’ve lost your objectivity --
LIZ
Objectivity? What do you expect?
COOPER
Liz, calm down.
LIZ
My husband was stabbed. He’s on
life support. I have a house full
of beat cops waiting for my
statement.
COOPER
Liz, this is about your safety.
The last thing I want is you in the
same room with this guy.
LIZ
(realizing)
Don’t push me out of this.
COOPER
Liz. It’s not a request. Go home.
Liz turns, defeated. As she walks away they watch her go.
43.
RESSLER
(mistrustful)
Doesn’t feel right. There’s
something she’s not telling us.
INT. LIZ AND TOM’S BROWNSTONE - NIGHT
Liz sits in a fog, doing another round of interviews with the
POLICE. There’s no sound. Only a dull BUZZING SOUND. Liz
watches the detectives comb through her life. They collect
samples. Take pictures. But Liz can’t take her eyes off of
Tom’s DRIED-BLACK BLOOD in the carpet.
LATER...
After the police are gone. Liz is on her hands and knees
scrubbing the blood out of the carpet with a bucket and
brush. As she does the BUZZING SOUND swells, mimicking her
rising frustration.
The harder she scrubs the more helpless Liz feels. She is
completely powerless. Finally, Liz THROWS the brush across
the room. Bloody water splatters the wall as we CUT TO:
INT. WALTER REED MEDICAL CENTER - DAWN
We follow Liz down a long, narrow hallway. She flashes her
badge. Moves past security. Finds Ressler who is speaking
with another agent outside Red’s room.
RESSLER
Can’t go in. He’s with the Nurse.
(then)
You shouldn’t even be here.
LIZ
I know. I was out of line before,
but I can’t just sit at home and
wait while there’s a chemical...
Liz trails off as the MALE NURSE exits Red’s room. Pushes
his cart past. She waits until the Nurse is out of earshot.
LIZ
This isn’t just about me and Tom.
That weapon is going to detonate.
We still don’t know where. Red is
willing to talk to me. Please.
Give me ten minutes.
Reluctant, Ressler nods. Allows Liz past. But as Liz steps
into RED’S ROOM she sees the bed is EMPTY. The window OPEN.
Her entire world seems to slow down and Liz realizes...
Red is GONE.
44.
Liz steps back into the hall. Sees the MALE NURSE who just
left Red’s room. He steps into the elevator. As he locks
eyes with Liz, we recognize the Nurse as Red’s chauffeur from
the opening scene: THE MAN IN THE GREY FLANNEL SUIT. Liz
steps toward him, dizzy with fear, but the elevator doors
close and we JUMP TO:
INT. PUBLIC BATHROOM - UNKNOWN
Red cuts into his shoulder with a surgical scalpel. He opens
the muscle with the tip of the blade. Digs out the tiny RFID
microchip. He uses the tip of the knife to hold the chip up
to the light. Admires the device. The sound of an oncoming
whistle tells us we’re...
INT. UNION STATION - SAME
Red shoulders his way through the Rotunda. He’s now wearing
a stolen topcoat and fedora. He finds a table outside a busy
coffee shop and sits down next to a thin, HUNCHED FIGURE. As
the man turns, we reveal it’s Zamani. The two men hug.
RED
It’s good to see you, old friend.
CUT TO BLACK.
END OF ACT FOUR
45.
ACT FIVE
INT. UNION STATION - SAME
Zamani sits with Red, genuinely humbled.
ZAMANI
Face to face. What an honor.
RED
I felt it was important to handle
these final details myself.
Red hands Zamani a PASSPORT and TRAVEL DOCUMENTS.
RED
How did things go with Agent Keen?
ZAMANI
Paid her a visit like you asked.
RED
And Tom? The Husband?
ZAMANI
Like you asked. Small price to pay
for getting me out of the country.
INT. WALTER REED MEDICAL CENTER - SAME
The hospital is in lock-down. F.B.I. response teams are in
full force. Ressler hangs up his phone, turns to Cooper.
RESSLER
You do realize this is exactly what
he wanted?! To get here. Where
security’s weak. We played right
into his hand.
LIZ
Why escape? He just surrendered?
RESSLER
Who knows?! This guy has a plan
and he’s played us at every turn.
A breathless TECH bursts into the room, chest heaving.
TECH
We were able to remotely reactivate
the chip. He’s at Columbus Circle.
COOPER
My God. Union Station.
46.
LIZ
Wait. No. If Red pulled the chip
he would have destroyed --
COOPER
I need you to stay here.
LIZ
Red is smarter than this.
The agents race out, leaving Liz, as we JUMP BACK TO:
Scene 16 - Race Against Time
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
Red sits with Zamani, inspecting his eyes.
RED
Word is you have big plans.
Zamani shrugs.
RED
Tell me one thing: the General’s
daughter. Why take such a risk?
ZAMANI
This is about so much more than one
girl; it’s about the children. All
of them. The ones who will grow up
with my memory living inside them,
as I’ve lived with the memory your
country gave me...
Zamani holds his chest. Shallow breaths. He reaches into
his jacket and removes his pocket-sized CONTAINER OF PILLS.
As he takes one out. Places it on his tongue.
ZAMANI
I’m giving their plague back to
them. Giving it to their children.
In sixty years they’ll be talking
about this day, about my legacy.
RED
We should all be so fortunate.
Red stands as F.B.I. AGENTS STORM THE ROTUNDA --
-- RESSLER leads the charge, pushing through the crowd. In
his earpiece, he’s guided by a TECH in a surveillance van,
but when he arrives at the table Red and Zamani are gone.
TECH (O.S.)
Up ahead. Fifty yards.
47.
Ressler moves toward Red. Toward the trains. Red quickly
opens his phone and dials as we INTERCUT with Liz inside --
RED’S HOSPITAL ROOM
-- her CELL RINGS. Liz answers.
RED (O.S.)
There’s a wrinkle. Zamani wants
more than the General’s daughter.
LIZ
(perplexed)
Red?! Where are -- how did you...
She steps away from the room. Away from the police.
RED (O.S.)
He’s after children.
LIZ
You son of a bitch, if you think
I’m not gonna hunt you down and --
RED (O.S.)
We don’t have time. I need you to
set aside your anger. Listen to
me. I think between the two of us
there may be an answer.
Liz bursts through the doors and steps --
OUTSIDE THE HOSPITAL.
-- scans the parking lot. Eyes searching. Halfway expecting
to find Red watching her.
RED (O.S.)
I need you to tell me what Zamani
said. Think back. What happened
in your house? What did you see?
Liz tries to remember, her world SPINNING.
LIZ
He, uhm, he asked about the girl...
and about the Chemist...
IMAGES FLIP THROUGH LIZ’S MEMORY. We see FLASHES of the
confrontation. Of Zamani torturing Tom --
RED (O.S.)
What did you see? At your house?
-- the dizzy assault of MEMORIES take Liz to:
48.
INT. LIZ’S BROWNSTONE - (FLASHBACK)
We remember Zamani standing over Tom. He opens his container
of pills and places one on his tongue. As he does we see the
penny-sized TATTOO on the back of Zamani’s hand --
LIZ (O.S.)
There was a tattoo.
-- it’s the SILHOUETTE OF A SUNBURST; jagged rays reaching
out from the center, violently whipping about.
RED (O.S.)
Zamani’s Serbian Orthodox. He
wouldn’t tattoo himself. Body
modification is a desecration.
LIZ (O.S.)
I know what I saw. This mark, I’ve
seen it before --
RED (O.S.)
It wasn’t a tattoo.
ON LIZ (PRESENT)
As she wrestles with a memory. Thinking back.
RED (O.S.)
Where did you see it, Lizzy?
INT. LIZ’S BROWNSTONE (FLASHBACK)
Liz remembers her frantic morning. Being late. Tom holding
the TWO TOURISM BROCHURES for his field trip.
TOM
Air and Space or the National Zoo?
Liz flicks the zoo brochure. We see the same SUNBURST IMAGE
in the brochure. The logo for the Smithsonian National Zoo.
LIZ (O.S.)
It wasn’t a tattoo...
(realizing)
...it was a stamp.
BACK TO LIZ (PRESENT)
LIZ
He’s gonna bomb the National Zoo.
49.
INT. UNION STATION - SAME
Ressler shadows Red through the station. But as the train
pulls away, Ressler sees the platform is empty.
RESSLER
Where did he go?
TECH (O.S.)
In front of you. Twenty yards.
RESSLER
There’s nobody.
Ressler sees the TUNNEL and jumps down onto THE TRACKS.
INT. LIZ’S CAR (MOVING) - SAME
Liz weaves through traffic. Cell phone to her ear.
LIZ
(on the phone)
Assistant Director Harold Cooper.
OPERATOR (O.S.)
What’s your clearance code?
LIZ
I don’t... I’m not sure... it’s my
first day and they haven’t issued --
OPERATOR
Without a clearance code I can’t --
Liz hangs up. Dials Ressler. She’s sent to voice mail.
LIZ
(on the phone)
Ressler, call me. The zoo.
Zamani’s gonna hit the zoo.
Scene 17 - Race Against Time
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Agents shove through the station. Searching for the bomb.
Cooper grabs a little girl with a backpack and turns her
around. It’s not Beth. He searches the crowd as --
-- another agent sees a GIRL. Whips her around. Again, not
Beth. It’s a frantic search. Backpacks. Dark haired little
girls. A needle in a haystack.
EXT. THE NATIONAL ZOO - SAME
The hand of a child is STAMPED at the entry. The same PENNY-
SIZED TATTOO Liz saw on Zamani’s hand: an ADMISSION STAMP.
50.
INSIDE THE ZOO...
Liz pushes past families. Children everywhere. She spots
BETH SITTING ON A BENCH. The little girl looks terrified.
LIZ
Beth, remember me? Are you alone?
BETH
He said to wait here for my Daddy.
Liz sees Beth’s BACKPACK and carefully unzips it to reveal --
THE BOMB.
It’s a marvel of molded plastic and parallel circuitry. A
digital countdown reads “00:03 MIN / 00:13 SEC”. Liz takes a
heart pounding breath. Reaches for the shoulder strap.
BETH
(through tears)
He said not to take it off...
Beth unzips her sweater to reveal a TANGLE OF WIRES wrapped
around her torso. The backpack is booby trapped. Slowly,
Liz reaches out. Her phone RINGS. She JUMPS. Answers.
RED (O.S.)
Whatever you do, don’t touch it.
LIZ
There’s less than three minutes. I
gotta evacuate... call the bomb --
RED (O.S.)
Your people will never be there in
time. My friend. He’s on his way.
LIZ
Your friend? What [friend] --
The call disconnects as we’re HURLED BACK TO:
INT. SUBWAY TUNNELS - SAME
A flashlight beam dances in the dark as Ressler chases Red
INTO THE TUNNELS. Something falls from Red’s pocket before
Red slows down. Slump shouldered. Out of breath.
RESSLER
Hands in the air.
51.
Ressler trains his WEAPON on Red. Picks up the small tin
canister Red dropped as THE LIGHT OF A TRAIN illuminates the
tunnel. Reveals it’s not Red he’s been chasing but Zamani.
He clutches his chest. Lungs failing.
RESSLER
GET OFF THE TRACK.
Ressler steps closer. The TRAIN is almost upon them.
ZAMANI
Tell the General his girl was an
“unfortunate civilian casualty”.
He opens his arms as --
THE TRAIN EVISCERATES ZAMANI.
Ressler ducks into the nearby alcove. Inches from the train.
As it passes, he opens Zamani’s medicine canister and dumps
the contents into his palm. Among the pills he finds --
RESSLER
Son of a bitch.
-- the blood crusted RFID CHIP Red carved from his shoulder.
Scene 18 - A Race Against Time
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
Liz is on the phone, calling for backup, when she glances at
the timer on the bomb. “01 MIN / 00:16 SEC”. Their fate is
all but sealed. Liz looks to Beth. Behind her, she sees --
-- a UKRAINIAN MAN WITH A DUFFLE BAG emerge through the sea
of kids. He’s bald. Blond eyebrows. Looks like a thumb.
The Ukrainian sits on the bench next to Beth and removes a
TOOL KIT from his bag.
LIZ
Who are you? What are you doing?
The Ukrainian barks at Liz in Slavic as he cuts open Beth’s
backpack with a pair of surgical scissors.
LIZ
I don’t know what you’re saying.
He motions for them to be still. Liz holds Beth. Watches in
disbelief as the Ukrainian works to dismantle the bomb. Beth
tries not to move, but she can’t help it. The Ukrainian is
frantic. Screaming. Confusion in a foreign language. Beth
cries as Liz sees --
-- “00:32 SEC”. This is it. She finds Beth’s eyes.
52.
LIZ
You know, I was really scared once,
too. I was all alone, but I had a
secret weapon to help me. My Daddy
gave it to me. You wanna see my
secret weapon?
Beth quivers. Nods yes. Liz slowly, gently, opens her palm
to reveal her BURN SCAR.
LIZ
I never show this to anybody. It’s
super special. Like magic.
BETH
What does it do?
Liz is soft and calm. Pure motherly instinct.
LIZ
Any time I feel scared or afraid I
touch it... and it makes all the
bad things go away, makes me brave.
Do you want to see if it can make
you brave?
Beth nods. Places her palm in Liz’s palm. As she does, Liz
wraps her free arm around the girl and closes her eyes. The
SOUND EVAPORATES. Tranquil silence. It’s as if the entire
world falls away, nothing else matters, until --
UKRAINIAN
ÚZASNY!!!
-- Liz’s eyes POP OPEN. The Ukrainian throws his arms around
Liz, talking a mile a minute. Kiss her square on the mouth.
LIZ
Did you stop it?
He removes the bomb from the backpack. The countdown clock
is stopped at “00:12 SEC”. A collective exhale as --
LIZ
HE STOPPED IT.
-- the Ukrainian places the device in his duffle bag.
LIZ
What? Wait. What are you...
RED (O.S.)
Consider the device his payment.
53.
The Ukrainian turns to see RED approaching through the crowd.
They embrace. The Ukrainian picks Red up in a full-on bear
hug. He then turns and zips his bag, blows Liz a kiss, and
saunters off into the zoo with a bomb in his duffle bag.
LIZ
What the -- WAIT! He can’t...
that’s a biological weapon.
RED
He’s fascinated with the things.
Has more use for it than I do.
(to Beth)
Run along, now. Daddy’s here.
Beth whips around to see GENERAL RYKER running toward them.
With RESSLER. Surrounded by agents. Beth grabs Liz’s hand.
Looks at the scar. It really is magic. As the AGENTS rush
in, Red lowers himself to his knees, hands behind his head.
LIZ
I’m gonna ask you again. I deserve
the truth. Did you send Zamani to
kill my husband?
RED
We’re going to make a great team.
F.B.I. AGENTS storm Red. Guns drawn. Ressler takes him down
but Red’s eyes never leave Liz. He smiles as if she has just
passed some strange, perverted test.
BETH (O.S.)
DADDY!
General Ryker lowers himself to his knee and Beth jumps into
her father’s arms. As they embrace, Ryker smiles to Liz.
GENERAL RYKER
Thank you.
A weight is lifted. Liz’s shoulder’s drop. We HEAR:
COOPER (O.S.)
Who. Is. The Ukrainian?
RED (O.S.)
His name slips my memory.
Scene 19 - The Unmasking
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
A review is underway. Red sits across from Liz, Cooper,
Ressler and a team of D.O.J. LIAISONS. Tempers run hot.
54.
COOPER
You gave away a biological weapon.
RED
So the bomb is gone. It didn’t
detonate. The girl’s safe. Zamani
is dead. Frankly, I think all this
worked out swimmingly.
RESSLER
(livid)
This was never about Zamani. You
surrendered and infiltrated the
F.B.I. to get at our intelligence.
To get that weapon.
RED
Agent Ressler, are you suggesting I
would surrender myself and use your
resources to hunt down Zamani and
settle a score? Steal a biological
weapon? That all of this is part
of a some larger plot?
(flat)
I think it’s more likely I tried to
help in good faith, but had to
finish the job on my own because
you were too goddamned stupid.
Ressler stands, livid.
COOPER
I think we’re finished.
RED
This was fun. Let’s do it again.
Cooper closes his notebook. Meeting over. But as the agents
begin to gather their things, Red remains seated.
RED
No, really. Let’s do it again.
You do understand, Zamani was only
the first.
COOPER
First what?
RED
Name. On the Blacklist.
Cooper looks confused. Throws Liz a glance.
COOPER
What’s... the Blacklist?
55.
RED
It’s why we’re all here, of course.
My wish list. A list of names I’ve
been cultivating for over twenty-
five years; politicians, mobsters,
hackers and spies.
RESSLER
We have our own list.
RED
Please, Agent Ressler, we all know
your “Top Ten” is little more than
a publicity campaign. Junior high
bullies at best. I’m talking about
the criminals who matter. The men
I’ve spent my life protecting --
ones you can’t find because you
don’t know they exist. Zamani was
a small fish. I’m Ahab. But if
you want the whales on my list, you
gotta play by my rules.
Cooper sits, intrigued. Liz lingers.
RED
One: I never stay in the same
location two nights in a row. Two:
I want security. I’ve already
vetted a list of twenty-four Secret
Service agents, pick two from my
list. Three: I want an RFID tag
imbedded in my neck -- not that
garbage from VeriChip you stuck in
my arm, I want the DARPA tested,
fully encrypted, 8-millimeter tag.
Four: whatever I tell you falls
under an immunity package that I
negotiate myself. And finally...
most importantly...
(flat)
I speak only with Elizabeth Keen.
The room turns to Liz in the doorway, but she is gone.
INT. HOSPITAL HALLWAY - DAY
Cooper stands with Liz outside Tom’s room.
COOPER
...do you understand? We have one
of the most dangerous criminals in
the history of this agency in our
possession.
(MORE)
56.
COOPER (cont'd)
Imagine what he could provide --
the kind of access the F.B.I.,
C.I.A., N.S.A. could only dream of.
Liz the deal’s in place, but he’ll
only talk to you.
LIZ
Then maybe you should have checked
with me before you cut the deal.
Liz walks off. Has a dying husband to tend too.
INT. LIZ AND TOM’S BROWNSTONE - SAME
Liz is on her hands and knees trying to scrub Tom’s blood out
of the carpet. She sits back. Looks at the mess. She wants
this hideous reminder out of her life for good so we CUT TO:
LATER...
The furniture is shoved aside and Liz is ripping back the
carpet with a claw hammer. Going mad. She pulls back a
swath, but stops when she sees --
-- a series of CUTS IN THE SUB-FLOOR. Boards that have been
removed and replaced. It’s a HIDING PLACE. She uses the
hammer to pry up the boards to reveal a LARGE DUFFLE BAG.
AT THE KITCHEN TABLE...
Liz sits in silence staring at the bag. Heart in her throat.
She finally finds the courage to unzip the bag to discover --
-- BUNDLES OF CASH. Lots of them. Several hundred thousand
dollars worth. Liz sits thunderstruck. She reaches into the
side pocket of the duffle bag where she finds --
-- a BUL M-5 PISTOL. She holds the gun in her fist. A sick,
drunken feeling washes over Liz as she reaches back into the
pocket and removes a bundle of --
-- PASSPORTS. Twelve of them. Each with a different name
and nationality. Each one with a PHOTO OF HER HUSBAND TOM.
Liz trembles. Red was right. The man she has come to love
is an imposter. That eerie, drunken feeling carries us to:
INT. HOSPITAL - DAY
The tubes are gone, but Tom is still unconscious. Liz sits
at his side. Betrayed. Considering the man she thought she
loved.
TOM (O.S.)
Was I dreaming?
57.
Liz blinks up. Sees Tom staring up at her. She looks into
the gaze of this imposter, totally paralyzed.
LIZ
Dreaming about what?
TOM
Are we really gonna have a baby?
Everything Liz is holding inside begins to crumble. The
tears come fast. Her world spinning. She fakes a smile and
clutches her right hand into a fist; nervously running her
fingers against the skin of her palm until we JUMP TO:
Scene 20 - Confrontation in the Prison Cell
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 9
ARMED SOLDIERS escort Liz through a series of security check
points. Into a the bowels of an anonymous ship. She carries
herself with a sense of purpose. A fire in her belly. Liz
is shown through a doorway and into...
A PRISON CELL.
Red steps forward. Out of the shadows. That soft smile.
RED
You’ve discovered something about
your beloved husband, haven’t you
Lizzy?
She SNAPS back --
LIZ
My name’s Liz, not Lizzy. To you
I’m Agent Keen. Now, let me tell
you how this is gonna work: I ask
the questions. You answer. Screw
with me and I walk. Starting right
now, there are no more games, no
more secrets...
(fearless)
I want the truth.
RED
I’m here to help you find it.
She stares at Red. Into the unknown.
LIZ
Tell me about this Blacklist.
CUT TO BLACK.
THE END
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| raymond reddington | Raymond Reddington starts off as a mysterious and enigmatic criminal mastermind, manipulating situations to his advantage. As the story progresses, his past is slowly revealed, shedding light on his true motives and vulnerabilities. Reddington faces internal conflicts as he grapples with his past actions and the consequences they have on his present relationships. Ultimately, he must confront his own demons and make a choice between continuing down a path of darkness or seeking redemption. | The character arc for Raymond Reddington is intriguing and well-developed, but it could benefit from more depth and complexity. While his mysterious past adds intrigue to the character, there is a need for more emotional depth and vulnerability to make him more relatable to the audience. Additionally, the arc could be strengthened by exploring the internal struggles and moral dilemmas Reddington faces as he navigates his criminal activities and personal relationships. | To improve the character arc for Raymond Reddington, consider delving deeper into his emotional journey and internal conflicts. Show more vulnerability and humanity in his interactions with others, allowing the audience to empathize with his struggles. Explore the moral ambiguity of his actions and the consequences they have on those around him, adding layers to his character development. Additionally, consider incorporating moments of redemption and growth for Reddington, showing his evolution as a character throughout the story. |
| reddington | In the screenplay, Reddington starts off as a powerful and mysterious criminal facilitator, always one step ahead of the law. However, as the story progresses, his past catches up with him, revealing vulnerabilities and emotional depth that he has long buried. Reddington is forced to confront his past actions and the consequences of his choices, leading to a moral dilemma that challenges his beliefs and loyalties. Ultimately, he must decide between continuing down his path of crime or seeking redemption for his past sins. | The character arc for Reddington is compelling and engaging, showcasing his complexity and inner turmoil. However, there could be more emphasis on his emotional journey and internal struggles to add depth to his character. Additionally, exploring his relationships with other characters in more depth could provide further insight into his motivations and actions. | To improve the character arc, consider delving deeper into Reddington's emotional state and the reasons behind his manipulative behavior. Show moments of vulnerability and conflict that humanize him and make the audience empathize with his struggles. Develop his relationships with other characters, particularly those who challenge his beliefs and morals, to create more dynamic and impactful interactions. This will add layers to his character and make his arc more compelling and relatable. |
| red | Red starts off as a mysterious and manipulative character with a hidden agenda, always several steps ahead of his adversaries. As the story progresses, his vulnerabilities and moments of empathy are revealed, showcasing a more complex moral compass. Through his interactions with other characters, especially Liz, deeper layers of deception and revelation come to light. Ultimately, Red's character arc leads to a resolution where his resourcefulness and connections play a pivotal role in the plot's climax. | The character arc for Red is well-developed, showcasing his evolution from a cunning mastermind to a more complex and morally ambiguous character. However, there could be more exploration of his vulnerabilities and moments of empathy earlier in the story to add depth to his character from the beginning. Additionally, the resolution of his arc could be more impactful by tying back to his vulnerabilities and complexities established earlier in the screenplay. | To improve the character arc for Red, consider incorporating flashbacks or subtle hints throughout the screenplay that foreshadow his vulnerabilities and moments of empathy. This will add depth to his character from the start and make his evolution more organic. Additionally, ensure that the resolution of his arc ties back to these established vulnerabilities and complexities, providing a more satisfying and impactful conclusion to his character journey. |
| liz | In the screenplay, Liz starts as a dedicated and ambitious FBI profiler eager to prove herself in a male-dominated field. As the story progresses, she faces intense challenges that push her to her limits, forcing her to confront her personal demons and make difficult decisions. Through her journey, Liz evolves into a heroic figure who shows courage, compassion, and a willingness to sacrifice for the greater good. Ultimately, she finds a sense of closure and redemption, coming to terms with her past and embracing her true identity as a strong and empathetic agent. | The character arc for Liz is well-developed and engaging, showcasing her growth and transformation throughout the screenplay. However, there could be more emphasis on exploring the complexities of her relationships with other characters, particularly with Red, to add depth and emotional resonance to her journey. Additionally, providing more insight into Liz's internal struggles and vulnerabilities could enhance her character development and make her arc even more compelling. | To improve the character arc for Liz, consider delving deeper into her emotional turmoil and inner conflicts, highlighting the internal struggles that drive her actions and decisions. Explore the dynamics of her relationships with other characters, especially with Red, to add layers of complexity and nuance to her journey. Show more moments of introspection and vulnerability to humanize Liz and make her more relatable to the audience. By focusing on these aspects, you can create a more compelling and well-rounded character arc for Liz in the screenplay. |
| liz keen | Liz Keen starts off as a determined and analytical FBI profiler, focused on understanding the criminal mind. As she faces personal and professional challenges, she begins to confront her own vulnerabilities and emotional complexities. A shocking revelation about her husband forces her to reevaluate her priorities and confront her past traumas. Through this journey, Liz learns to balance her analytical approach with emotional honesty, ultimately finding a sense of peace and closure. | The character arc for Liz Keen is well-developed, showcasing her growth and evolution throughout the screenplay. However, there could be more emphasis on how her past traumas and vulnerabilities impact her decision-making and relationships with others. Additionally, exploring her internal conflicts in more depth could add layers to her character and make her journey even more compelling. | To improve the character arc for Liz Keen, consider delving deeper into her past traumas and how they shape her interactions with others. Show more instances of her struggling with guilt, fear, and the need to make difficult choices, highlighting the internal conflicts she faces. This will add complexity to her character and make her journey more emotionally resonant for the audience. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| High Stakes Drive Emotional Impact | Scenes with high stakes consistently receive higher scores for emotional impact. This suggests that the author effectively uses conflict and tension to create emotionally resonant moments. |
| Suspense and Character Changes Go Hand in Hand | Scenes with a high degree of suspense often feature significant character changes. This indicates that the author skillfully uses suspenseful situations to drive character development. |
Writer's Craft Overall Analysis
The screenplay showcases strong writing craft across multiple scenes, demonstrating the writer's skill in creating tension, suspense, and emotional depth. The dialogue is sharp, the pacing is effective, and the character development is well-executed. However, certain aspects, such as character motivations and internal conflicts, could benefit from further exploration to add more nuance and depth to the screenplay.
Key Improvement Areas
Character Development
Several scenes highlight the need for stronger character motivations and internal conflicts. Exploring these elements can create more complex and engaging character arcs throughout the screenplay.
Emotional Depth
While the scenes effectively convey tension and suspense, some lack emotional depth. Delving deeper into the emotional journeys of the characters can enhance the overall impact and resonance of the screenplay.
Scene Structure and Pacing
While the pacing is generally effective, certain scenes could benefit from improved structure and pacing to maximize their impact and maintain audience engagement.
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Book | Read 'Save the Cat!' by Blake Snyder | This book provides practical techniques for crafting compelling scenes, developing engaging characters, and structuring a screenplay effectively. |
| Exercise | Practice writing dialogue exchanges between characters with conflicting motivations and goalsPractice In SceneProv | This exercise will help enhance the dramatic tension and conflict within scenes, creating more engaging character interactions. |
| Video | Watch videos on screenwriting techniques for building emotional depth and character arcs | Visual examples and expert insights can provide valuable guidance on how to effectively convey emotions and develop compelling character journeys. |
Additional Notes: The writer demonstrates a strong foundation in screenwriting craft, with a particular talent for creating suspenseful and engaging scenes. By focusing on further developing character motivations, emotional depth, and scene structure, the writer can elevate the screenplay to the next level.
Stories Similar to this one
| Story | Explanation |
|---|---|
| The Blacklist (TV Show) | The screenplay summary shares similarities with 'The Blacklist' TV show, where a master criminal, Raymond 'Red' Reddington, surrenders to the FBI and offers to help them catch other dangerous criminals. Both stories involve enigmatic characters with hidden motives, tense confrontations, and a mix of mystery and suspense. |
| Homeland (TV Show) | The screenplay summary is reminiscent of 'Homeland' TV show, where a CIA officer grapples with a recently captured prisoner who claims to have valuable information. Both stories feature intense interrogations, conflicting loyalties, and a sense of urgency to prevent a potential threat. |
| Prison Break (TV Show) | The screenplay summary shares similarities with 'Prison Break' TV show, where a character surrenders to authorities with a hidden agenda and enlists the help of law enforcement to achieve their goals. Both stories involve complex characters, high-stakes situations, and unexpected alliances. |
| The Departed (Movie) | The screenplay summary is reminiscent of 'The Departed' movie, where an undercover cop infiltrates a criminal organization and must navigate conflicting loyalties and hidden motives. Both stories feature intense interrogations, betrayals, and a sense of moral ambiguity. |
| Mindhunter (TV Show) | The screenplay summary shares similarities with 'Mindhunter' TV show, where FBI agents interview serial killers to understand their motives and behavior. Both stories involve tense interrogations, psychological manipulation, and a focus on criminal psychology. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Framed protagonist | Liz is falsely accused of being involved with a criminal and is taken into custody. | The protagonist is falsely accused of a crime and must clear their name. An example of this trope is in the movie 'The Fugitive'. |
| Plot twist | Tom is revealed to be an imposter, and Red claims that Liz and he will make a great team. | A plot twist is a sudden, unexpected change in the direction or outcome of a story. An example of this trope is in the movie 'The Sixth Sense'. |
| Anti-hero | Red is a complex character who is both a criminal and a valuable asset to the FBI. | An anti-hero is a protagonist who lacks the traditional heroic qualities of a protagonist, such as morality, altruism, and idealism. An example of this trope is Walter White in the TV show 'Breaking Bad'. |
| Macguffin | The Blacklist is a McGuffin that drives the plot of the story. | A McGuffin is an object or event that is used to drive the plot of a story, but has no real significance in itself. An example of this trope is the briefcase in the movie 'Pulp Fiction'. |
| Cat and mouse game | Red and the FBI engage in a cat and mouse game, with Red always being one step ahead. | A cat and mouse game is a situation in which two opponents are constantly trying to outsmart each other. An example of this trope is in the movie 'The Fugitive'. |
| Flashback | Liz has a flashback to a fire when she was 14. | A flashback is a scene that interrupts the present-day narrative to show an event that happened in the past. An example of this trope is in the movie 'Citizen Kane'. |
| Deus ex machina | The Ukrainian man appears out of nowhere and saves Beth from the bomb. | A deus ex machina is a plot device that is used to solve a problem in a seemingly impossible way. An example of this trope is in the movie 'The Lord of the Rings: The Return of the King'. |
| Race against time | Liz and the Ukrainian man have to stop the bomb before it goes off. | A race against time is a situation in which the characters must complete a task before a deadline. An example of this trope is in the movie 'Speed'. |
| Sacrificial lamb | Tom is killed by Zamani. | A sacrificial lamb is a character who is killed to save others. An example of this trope is in the movie 'The Avengers'. |
| Foreshadowing | Liz's burn scar is foreshadowing that she will be able to save Beth. | Foreshadowing is a technique used to hint at future events in a story. An example of this trope is in the movie 'The Sixth Sense'. |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Complex Relationships | The screenplay explores the complex relationships between various characters, including Liz and Red, Tom and Liz, and Ressler and Cooper. These relationships are often strained and complicated. | The complexities of these relationships drive the plot and create tension throughout the screenplay. | ||||||||||||
Strengthening Complex Relationships:
| ||||||||||||||
| Identity and Deception | The screenplay frequently delves into themes of identity and deception. Characters, such as Red and Tom, conceal their true identities and motives, creating a sense of mystery and intrigue. | The exploration of identity and deception emphasizes the characters' struggles with trust and self-discovery. | ||||||||||||
| Redemption and Forgiveness | The screenplay touches on the themes of redemption and forgiveness, particularly through the character of Red. Despite his past as a criminal, Red seeks redemption and works towards making amends for his actions. | The exploration of redemption and forgiveness highlights the characters' capacity for change and growth. | ||||||||||||
| Sacrifice and Loyalty | The screenplay also addresses themes of sacrifice and loyalty. Characters, such as Liz and Ressler, must make difficult choices and sacrifices in order to remain loyal to their principles and beliefs. | The sacrifices and loyalty displayed by the characters emphasize their commitments and moral dilemmas. | ||||||||||||
| The Nature of Evil | The screenplay briefly touches upon the theme of the nature of evil through the character of Zamani. Zamani's actions and motivations raise questions about the origins and motivations of evil. | The exploration of the nature of evil adds a layer of complexity to the screenplay and challenges the characters' beliefs and principles. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice is characterized by sharp dialogue, fast-paced action, and vivid imagery that create a sense of urgency and intensity. |
| Voice Contribution | The writer's voice contributes to the script by creating a sense of suspense and intrigue, drawing the audience into the protagonist's enigmatic character. |
| Best Representation Scene | 8 - Intense Emotions and Security Breach |
| Best Scene Explanation | This scene effectively encapsulates the writer's unique voice through its blend of emotional intensity, sharp dialogue, and atmospheric descriptions that create a sense of urgency and suspense. |
Originality
- Overall originality score: 9.5
- Overall originality explanation: The screenplay is highly original, featuring a fresh and innovative premise, complex and ambiguous characters, and unconventional storytelling techniques. It subverts traditional crime drama tropes, introduces unique twists and turns, and incorporates elements from various genres, creating a truly distinctive and engaging narrative.
- Most unique situations: Some of the most unique situations in the screenplay include: - A criminal mastermind voluntarily surrendering himself to the FBI, challenging the traditional dynamic between law enforcement and criminals. - The use of a 'Blacklist' of dangerous criminals, providing a framework for episodic storytelling and introducing a wide range of unique and complex antagonists. - The exploration of ethical dilemmas and moral ambiguities, blurring the lines between good and evil and forcing characters to confront their own motivations and beliefs.
- Overall unpredictability score: 9
- Overall unpredictability explanation: The screenplay is highly unpredictable, keeping viewers on the edge of their seats with its constantly shifting alliances, unexpected twists, and surprising character revelations. It defies expectations, introducing new layers of complexity and intrigue with each episode, making it difficult to anticipate what will happen next.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goals evolved from asserting power and control to seeking the truth, gaining trust, and protecting the innocent |
| External Goals | The protagonist's external goals evolved from surrendering to the FBI to preventing terrorist attacks, finding missing persons, and negotiating deals |
| Philosophical Conflict | The overarching philosophical conflict revolves around trust, justice, and the consequences of one's actions |
Character Development Contribution: The goals and conflicts challenge the protagonist's beliefs, values, and sense of identity, leading to growth, internal conflict, and moral dilemmas
Narrative Structure Contribution: The goals and conflicts drive the plot forward, creating tension, suspense, and character interactions that propel the story
Thematic Depth Contribution: The goals and conflicts explore complex themes of trust, justice, sacrifice, and redemption, adding depth and complexity to the narrative
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
World Building
- Physical environment: The physical environment depicted in the screenplay is predominantly urban and modern, with bustling settings such as US Customs, the FBI headquarters, and various technologically advanced buildings and facilities. The inclusion of the Potomac River and its significance in the kidnapping plot adds a local touch to the setting. Additionally, the use of high-security environments like black-site prisons and secretive containment cells adds an element of mystery and danger.
- Culture: The screenplay presents a diverse cultural landscape, with characters from different backgrounds, including Eastern European kidnappers, a Ukrainian bomb expert, and an international fugitive. The FBI agents' professional culture is highlighted, showcasing their dedication, authority, and use of advanced technology in their investigations.
- Society: The screenplay reflects a complex and layered societal structure, with law enforcement agencies like the FBI holding significant power and influence. The portrayal of government agencies, including the White House and its officials, adds a layer of political intrigue to the narrative. The theme of terrorism and the potential threat to national security highlights the screenplay's exploration of societal issues.
- Technology: Technology plays a vital role throughout the screenplay, with advanced surveillance systems, secure communication channels, and specialized equipment being used by the FBI in their investigations. The presence of a deadly bomb and the expertise required to defuse it adds an element of urgency and showcases the screenplay's use of technology as a plot device.
- Characters influence: The unique physical environment, culture, society, and technology depicted in the screenplay shape the characters' experiences and actions in various ways. The high-stakes settings and tense situations test the characters' limits and drive their decision-making. The cultural背景 of the kidnappers and bomb expert adds depth to their characters and motivations. The technological advancements available to the FBI influence their strategies and capabilities, while the societal pressure to prevent terrorist attacks adds weight to their responsibilities.
- Narrative contribution: The world elements in the screenplay contribute to the narrative by providing a backdrop for the characters' actions and motivations. The use of high-security settings creates a sense of urgency and raises the stakes for the characters involved. The technological advancements allow for complex investigations and surveillance, driving the plot forward. The societal and cultural elements add depth and realism to the narrative, making the characters and their actions believable.
- Thematic depth contribution: The world elements in the screenplay contribute to the thematic depth by exploring issues such as the balance between security and freedom, the complexities of trust and betrayal, and the nature of identity. The use of high-stakes situations and dangerous environments highlights the characters' struggles and moral dilemmas. The cultural diversity and societal structures raise questions about prejudice, loyalty, and the impact of one's actions on the broader community.
Story Engine Analysis
central conflict
The central conflict revolves around the question of whether Liz can trust Red, and who is responsible for her husband's alleged death.
primary motivations
- Liz's desire to find the truth about her husband's disappearance and her past.
- Red's motivations remain enigmatic, but he claims to want to help Liz.
- The FBI's need to apprehend Red and bring him to justice.
catalysts
- Raymond Reddington's unexpected surrender to the FBI.
- The discovery of a hidden stash of cash, passports, and a gun in Liz's apartment.
- Red's insistence on communicating exclusively with Liz.
barriers
- The FBI's skepticism towards Red and his motives.
- Liz's emotional turmoil over her husband.
- Red's enigmatic nature and his tendency to withhold information.
themes
- The nature of truth and deceit.
- The complexities of trust and betrayal.
- The struggle between justice and revenge.
stakes
The stakes are high for all parties involved.
uniqueness factor
The story is unique in its exploration of the complex relationship between truth, betrayal, and trust. It also features a unique protagonist in Red, whose motivations remain a mystery throughout.
audience hook
The audience is hooked by the mystery of Red's character, the question of who is responsible for Tom's disappearance, and the high stakes for all involved.
paradoxical engine or bisociation
The paradoxical engine or bisociation in this story is the conflict between Liz's desire to find the truth vs. the protection of others. She must decide whether to prioritize her own need for closure or the safety of those around her.
paradoxical engine or bisociation 2
Another paradoxical engine or bisociation in this story is the conflict between Red's desire to help Liz and his own enigmatic motives. It is unclear whether Red is truly trying to help Liz or if he has his own agenda.
Engine: Gemini
Screenplay Rating:
Consider
Executive Summary
The Blacklist (TV) pilot episode introduces a promising concept with a captivating protagonist and a strong female lead. The screenplay excels in building suspense and showcasing the complex dynamic between Reddington and Liz. However, some areas need improvement, including pacing, character development, and providing clearer motivations for Reddington's actions.
Strengths
- The screenplay introduces a compelling and complex protagonist in Raymond Reddington. His mysterious past, enigmatic personality, and calculated actions immediately grab the audience's attention. high ( Scene Teaser Scene 1 Scene 3 Scene 7 Scene 10 Scene 12 Scene 14 Scene 15 Scene 18 Scene 20 )
- Elizabeth Keen's character arc is intriguing, showcasing her transformation from a rookie profiler to a determined and resourceful agent. Her personal struggles and hidden past add depth to her character. high ( Scene 5 Scene 8 Scene 10 Scene 14 Scene 19 Scene 20 )
- The screenplay masterfully builds suspense and tension, particularly during the bridge abduction sequence and the bomb defusal scene. The fast-paced action and high stakes keep the audience on the edge of their seats. high ( Scene Teaser Scene 9 Scene 12 Scene 17 Scene 18 )
- The dynamic between Reddington and Liz is the heart of the screenplay. Their complex relationship, filled with mistrust, manipulation, and a hint of shared history, drives the narrative forward. high ( Scene 1 Scene 3 Scene 7 Scene 12 Scene 13 Scene 15 Scene 16 Scene 17 Scene 18 Scene 19 Scene 20 )
- The concept of the Blacklist offers a unique and intriguing premise for a television series. The idea of exploring a new criminal each episode, with Reddington as the guide, has the potential for endless storytelling possibilities. high ( Scene 1 Scene 2 Scene 4 Scene 19 Scene 20 )
Areas of Improvement
- Tom's character, while initially intriguing, lacks development and feels underdeveloped compared to Reddington and Liz. medium
- The pacing of the screenplay could be improved in certain sections. Some scenes, particularly during the investigation, feel rushed, while others could benefit from additional tension-building. medium ( Scene 11 Scene 13 )
- The resolution of the Zamani storyline feels somewhat abrupt and convenient, particularly Red's escape and the introduction of the Ukrainian bomb disposal expert. medium ( Scene 15 Scene 17 Scene 18 )
- The screenplay's focus on action and plot sometimes overshadows character development, particularly for supporting characters. low
- The motivations behind Reddington's actions and his ultimate goal remain unclear, leaving the audience with unanswered questions. high ( Scene 19 Scene 20 )
MissingElements
- The screenplay could benefit from a deeper exploration of Liz's past and the fire incident that left her scarred. This would provide more context for her character and motivations. high
- The rules and limitations of Reddington's immunity deal need to be more clearly defined to avoid potential plot holes in future episodes. medium
- The supporting cast of FBI agents could be further developed to create a stronger ensemble dynamic and provide additional perspectives on the cases. low
NotablePoints
- The recurring motif of Liz's hand movements and her burn scar hints at a deeper psychological trauma that could be explored in future episodes. high ( Scene Teaser Scene 10 Scene 18 Scene 20 )
- Liz's desire to start a family and the adoption storyline adds a layer of emotional complexity to her character and creates a contrast with her dangerous profession. medium ( Scene 5 Scene 10 Scene 19 )
- The screenplay effectively establishes the show's overarching mythology and the potential for long-term storytelling with the introduction of the Blacklist. high ( Scene 1 Scene 2 Scene 4 Scene 19 Scene 20 )
Engine: GPT4
Screenplay Rating:
Recommend
Executive Summary
The screenplay for 'The Blacklist' is a compelling blend of mystery, thriller, and drama with strong character development, particularly the character of Reddington. It sets up a complex narrative that promises further twists and deepens intrigue. Improvements could be made in character backstories and smoother scene transitions.
Strengths
- The introduction and development of the character Raymond 'Red' Reddington are compelling and establish a strong narrative hook. high ( Scene 1 Scene 20 )
- The twist involving Tom's true identity and his connection to the larger plot adds depth and intrigue, enhancing the screenplay's complexity. high ( Scene 18 Scene 19 )
- The dialogue is sharp and engaging, particularly in scenes involving Red, which helps in character development and maintaining a brisk pace. medium
- The setup for future episodes is well-executed, promising more depth and twists, which can keep the audience engaged over a longer series arc. medium ( Scene 20 )
- Effective use of suspense and action sequences that enhance the pacing and excitement of the screenplay. medium ( Scene 3 Scene 4 )
Areas of Improvement
- Some character motivations, especially those of secondary characters, could be fleshed out more to enhance the narrative depth. medium
- The transitions between scenes can be abrupt, potentially confusing viewers about the progression of the plot. medium
- The emotional depth in some scenes feels forced or rushed, particularly in the interactions between Liz and other characters under stress. low
- Increase the clarity of the technological aspects and procedures to enhance realism and viewer understanding. low
- Some dialogues can be perceived as overly expository; more show, less tell in character interactions could improve natural flow. low
MissingElements
- Backstories for key characters like Tom and Ressler could be introduced earlier to provide more context for their actions and decisions. medium
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 10 | General Ryker: You better beg God my girl comes home alive because this thing’s coming down on you, sweetheart. |
| 20 | Liz: My name’s Liz, not Lizzy. To you I’m Agent Keen. Now, let me tell you how this is gonna work: I ask the questions. You answer. Screw with me and I walk. Starting right now, there are no more games, no more secrets... I want the truth. |
| 11 | Red: You won’t find the girl until you learn to look at this differently. |
| 7 | Reddington: I'm gonna make you famous, Lizzy. |
| 19 | Red: Name. On the Blacklist. |