Narcos Pilot
Executive Summary
Poster
Overview
Genres: Crime, Drama, Thriller, Action, Comedy, Medical
Setting: 1980s to early 1990s, Colombia and Miami, primarily in Medellín, Bogotá, and Miami
Overview: The pilot episode of 'Narcos' introduces the rise of the Colombian drug trade in the late 1980s, focusing on the DEA's efforts to combat powerful narco-traffickers like Pablo Escobar. The story begins with DEA agent Steve Murphy reflecting on the surveillance capabilities of the U.S. government and the stark contrast with Colombia's communication landscape. As Murphy navigates his responsibilities, he becomes embroiled in a violent world where drug dealers like 'Poison' operate with impunity. The narrative unfolds through a series of tense operations, showcasing the complexities of the drug trade, the moral ambiguities faced by law enforcement, and the brutal realities of addiction and violence. The episode culminates in a chaotic confrontation that highlights the escalating conflict between the DEA and the narco-traffickers, setting the stage for the larger war on drugs.
Themes: The Rise and Fall of the Cocaine Trade in the 1980s, Moral Ambiguity and the War on Drugs, Addiction and the Power of Cocaine, Power and Corruption, Survival and Resilience
Conflict and Stakes: The ongoing battle between DEA agents and drug traffickers, particularly Pablo Escobar, with high stakes involving violence, betrayal, and moral dilemmas.
Overall Mood: Dark and tense, reflecting the violent and chaotic nature of the drug trade.
Mood/Tone at Key Scenes:
- Scene 1: The opening scene sets a foreboding tone, hinting at the dark journey of men involved in narco-trafficking.
Standout Features:
- Unique Hook: The screenplay offers a gritty, realistic portrayal of the drug trade, focusing on both the traffickers and law enforcement.
- Major Twist: The betrayal of key characters, such as Cockroach selling out Pablo, adds layers of intrigue and tension.
- Distinctive Setting: The contrasting environments of Colombia's jungles and Miami's urban landscape highlight the global nature of the drug trade.
- Innovative Ideas: The screenplay intertwines personal stories with the broader narrative of drug trafficking, emphasizing the human cost.
- Unique Characters: Complex characters like Pablo Escobar and Steve Murphy provide depth and relatability, making the story more engaging.
Comparable Scripts:
Writing Style:
The screenplay exhibits a predominantly gritty and realistic style, often focusing on crime, law enforcement, and moral ambiguity within high-stakes situations. There's a strong emphasis on sharp dialogue, complex characters, and tense interactions, frequently incorporating elements of suspense and unpredictable plot developments. While there are moments of dark humor and intense action, the overall tone leans towards a serious and morally complex exploration of human nature.
Style Similarities:
- David Simon
- Quentin Tarantino
- Vince Gilligan
Pass/Consider/Recommend
Highly Recommend
Explanation: The 'Narcos' pilot screenplay is a highly compelling and well-crafted piece of writing. Its unique blend of fast-paced action, intricate plotting, and morally ambiguous characters creates a gripping narrative that successfully establishes a rich world and compelling central conflict. While minor improvements could enhance character development and pacing in certain sections, the overall strength of the script, including its unique voice and cinematic approach, makes it highly recommendable for production.
USP: The screenplay for "Narcos Pilot" stands out for its ambitious exploration of the rise of the Colombian drug trade and the conflict between law enforcement and the powerful narco-traffickers. By blending historical events with fictional characters, the script creates a cinematic and immersive narrative that is both entertaining and thought-provoking. The unique perspective of the DEA agent, Steve Murphy, adds a personal dimension to the story, allowing the audience to connect with the human cost of the drug war. The screenplay's focus on the moral ambiguities and complexities of the conflict sets it apart from more conventional crime dramas, making it a compelling and unique offering for its target audience.
Market Analysis
Budget Estimate:$30-50 million
Target Audience Demographics: Adults aged 18-54, particularly those interested in crime dramas, thrillers, and real-life stories about drug trafficking.
Marketability: The screenplay's focus on the infamous drug trade and its historical context appeals to a broad audience, with potential for high viewership and critical acclaim.
The combination of intense action, complex characters, and moral ambiguity resonates with fans of crime dramas and thrillers.
The real-life basis of the story, along with its exploration of the drug trade's impact on society, provides a compelling narrative that can attract diverse audiences.
Profit Potential: High, due to the popularity of crime dramas and the potential for international sales, streaming rights, and merchandise.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is gritty, realistic, and intensely suspenseful, blending dark humor with unflinching portrayals of violence and moral ambiguity in the world of drug trafficking and espionage. The narrative is driven by a cynical yet insightful first-person perspective, punctuated by sharp, concise dialogue and vivid, often cinematic descriptions. The direction is action-packed and visually arresting, emphasizing the contrast between the glamorous facades and the brutal realities of the criminal underworld.
Best representation: Scene 4 - Operation Poison: Eavesdropping in the Dark. Scene 4 best encapsulates the writer's unique voice because it perfectly integrates all three elements: dialogue, narrative, and direction. The dialogue is sharp and laced with irony, foreshadowing the impending violence. The narrative description paints a vivid picture of the setting and atmosphere, creating a palpable sense of tension. The direction is visually dynamic and suggestive, highlighting the contrast between Poison's oblivious confidence and the impending danger. This scene establishes the central themes of power, deception, and impending violence that permeate the entire screenplay while showcasing the writer's skill in creating a gripping and suspenseful narrative.
Memorable Lines:
- Pablo Escobar: I am Pablo Fucking Escobar. My eyes are everywhere. You can't do a goddamn thing in Antioquia without me knowing about it. I'm going to be President of Colombia one day. (Scene 20)
- Murphy: Good and bad are relative concepts. (Scene 12)
- Murphy: They say when a nuclear holocaust destroys the world, only the cockroaches will survive. (Scene 15)
- Murphy: Whatever it was, the businessmen came at just the right time. The Berlin Wall was about to fall. The Soviet Union was dissolving. It was time for America to suit up against a new enemy. (Scene 55)
- MURPHY: From `79 through `84, there were 3245 murders in Miami. (Scene 53)
Characters
Pablo Escobar:The notorious drug lord and central antagonist, known for his ruthless tactics and immense wealth from cocaine trafficking.
Steve Murphy:A DEA agent determined to combat drug trafficking, balancing his professional duties with personal challenges.
Connie:Murphy's partner and love interest, who works as a nurse and faces the harsh realities of the drug epidemic.
Horatio Carillo:A Colombian police officer involved in the fight against drug trafficking, navigating the complexities of law enforcement.
Gustavo:Pablo's associate, involved in the logistics of drug smuggling and production, often caught between ambition and morality.
La Quica:A hitman for Pablo Escobar, known for his violent methods and loyalty to the drug lord.
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 | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - Introduction to Darkness | Urgent, Complex, Fast-paced, Hard-hitting, Epic | 8 | 9 | 7 | 9 | 6 | 5 | 8 | 7 | 6 | 8 | 7 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
2 - Operation Centra Spike: Aerial Tension | Urgent, Intense, Mysterious | 8 | 9 | 8 | 8 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 7 | 8 | 9 | 9 | 9 | 9 | |
3 - Surveillance and Inequality: A Night in Bogota | Dark, Intense, Cynical | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 7 | 7 | 8 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
4 - Control in the Shadows | Suspense, Dark, Intense | 8 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
5 - Operation Poison: Eavesdropping in the Dark | Suspense, Intense, Technological | 8 | 8 | 8 | 9 | 7 | 5 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 6 | 7 | 9 | 9 | 8 | 8 | |
6 - The Calm Before the Confrontation | Suspenseful, Intense, Mysterious | 8 | 8 | 8 | 8 | 7 | 5 | 8 | 9 | 8 | 8 | 9 | 9 | 7 | 6 | 7 | 9 | 9 | 9 | 9 | |
7 - Divided Loyalties | Suspenseful, Intense, Serious | 8 | 8 | 8 | 7 | 7 | 6 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 7 | 8 | 8 | 8 | 9 | 9 | |
8 - Balancing Acts | Tense, Suspenseful, Personal | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 7 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | |
9 - From Laughter to Danger | Suspense, Tension, Dark humor | 8 | 8 | 8 | 9 | 9 | 7 | 8 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | |
10 - Chaos in the Zona Rosa | Tense, Violent, Suspenseful, Dark | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
11 - Aftermath of Violence | Tense, Action-packed, Investigative, Serious | 8 | 8 | 8 | 8 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | |
12 - Shadows of Consequence | Dark, Intense, Reflective | 8 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
13 - Invasion of the Jungle Lab | Tense, Suspenseful, Dark, Action-packed | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
14 - Execution in the Jungle | Tense, Dark, Suspenseful, Shocking | 8 | 8 | 8 | 8 | 7 | 6 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 8 | 6 | 9 | 9 | 8 | 8 | |
15 - Survival Among the Dead | Tense, Dark, Suspenseful, Gritty | 8 | 9 | 8 | 8 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | |
16 - Desperate Revelations | Tense, Dark, Suspenseful | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
17 - Addiction's Parallel | Dark, Intense, Scientific | 8 | 8 | 7 | 8 | 6 | 4 | 8 | 7 | 5 | 7 | 6 | 6 | 7 | 7 | 5 | 9 | 8 | 8 | 8 | |
18 - Crossing Borders: The Smuggler's Dilemma | Tense, Suspenseful, Serious, Reflective | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
19 - Show of Wealth and Power | Tense, Suspenseful, Informative, Reflective | 8 | 9 | 8 | 9 | 9 | 7 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 9 | 8.5 | 8 | 8 | |
20 - Power Play at the Checkpoint | Tense, Violent, Intense, Suspenseful, Dark | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | |
21 - The Temptation of Easy Money | Intense, Dark, Suspenseful | 8 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
22 - Surfing the Law | Serious, Action-packed, Tense, Somber | 8 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 7 | 7 | 7 | 9 | 9 | 9 | 9 | |
23 - The Prank at the Bar | Light-hearted, Tense, Sarcastic, Playful | 8 | 7 | 7 | 8 | 9 | 5 | 8 | 7.5 | 4 | 8 | 3 | 5 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
24 - Connections and Obsessions | Suspense, Dramatic, Humorous | 8 | 8 | 8 | 8 | 9 | 7 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 7 | 8 | 9 | 9 | 9 | 9 | |
25 - Negotiating the Paste | Tense, Suspenseful, Dramatic | 8 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 9 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
26 - The Smuggling Deal | Tense, Calculating, Ambitious | 8 | 9 | 8 | 8 | 8 | 6 | 8 | 7 | 7 | 7 | 9 | 9 | 7 | 6 | 8 | 9 | 9 | 8 | 8 | |
27 - Profits in the Mountains | Tense, Violent, Suspenseful, Dark | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
28 - Illuminating the Process | Tense, Dark, Informative | 8 | 8 | 8 | 8 | 7 | 6 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 6 | 8 | 9 | 8 | 9 | 9 | |
29 - Shadows of Indifference | Intense, Suspenseful, Dark | 8 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 7 | 8 | 9 | 8 | 9 | 9 | |
30 - The Smuggler's Jacket | Suspense, Dark, Intense | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 9 | 7 | 8 | 8 | 8 | 8 | 6 | 8 | 9 | 9 | 9 | 9 | |
31 - A Warm Welcome at Miami Airport | Suspenseful, Dark, Intense | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
32 - Tension in the Cadillac | Dark, Intense, Suspenseful | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
33 - The Lion's Route: Smuggling Secrets | Suspenseful, Informative, Intense | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 6 | 6 | 9 | 8 | 8 | 8 | |
34 - Smuggling Lessons in Belen | Dark, Intense, Cynical | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 7 | 6 | 9 | 8 | 8 | 8 | |
35 - The Rise of Cocaine Smuggling | Suspenseful, Informative, Dark | 8 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 9 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
36 - Negotiating the Route | Intense, Suspenseful, Dark, Informative | 8 | 9 | 8 | 8 | 7 | 6 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 7 | 7 | 9 | 8.5 | 8 | 8 | |
37 - Jungle Tensions | Intense, Tense, Confrontational | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
38 - Potato Profits and Cautious Alliances | Serious, Businesslike, Tense | 8 | 8 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 6 | 9 | 9 | 9 | 9 | 9 | |
39 - Shadows of the Port | Suspenseful, Intense, Dark | 8 | 9 | 8 | 9 | 7 | 5 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 6 | 6 | 9 | 8 | 8 | 8 | |
40 - Reflections on a Drug Bust | Intense, Suspenseful, Serious | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 6 | 9 | 9 | 9 | 9 | |
41 - Underwater Dealings | Dark, Intense, Suspenseful | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 7 | 6 | 9 | 8 | 8 | 8 | |
42 - The Cost of Violence | Intense, Dark, Violent, Reflective | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
43 - Aftermath of Chaos | Guilt, Desperation, Conflict, Tension | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
44 - Desperate Measures | Frantic, Intense, Tragic | 9 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 10 | 9 | 7 | 10 | 7 | 9 | 9 | 9 | 9 | |
45 - Tragic Consequences | Shocking, Numb, Grim, Intense | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 8 | 8 | 10 | 7 | 9 | 8 | 8 | 8 | |
46 - Tensions at Hacienda Napoles | Serious, Tense, Confrontational | 8 | 8 | 8 | 8 | 9 | 7 | 8 | 7.5 | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
47 - Confrontation at the Police Headquarters | Tense, Confrontational, Serious | 8 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
48 - The Infamous Mugshot | Tense, Suspenseful, Dramatic | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
49 - Betrayal in the Interrogation Room | Intense, Suspenseful, Confrontational | 9 | 8 | 9 | 8 | 9 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
50 - Betrayal at the Port | Suspense, Drama, Action | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 7 | 9 | 9 | 9 | 9 | |
51 - The Surrender at the Port | Intense, Suspenseful, Dramatic | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | |
52 - Justice on Shaky Ground | Tense, Dramatic, Suspenseful | 8 | 8 | 8 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
53 - Reflections on Violence and Indifference | Gritty, Intense, Reflective | 8 | 8 | 8 | 8 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
54 - Businessmen's Dilemma: The Narco-Economy Threat | Tense, Serious, Cynical, Reflective | 8 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
55 - A Meeting of Influence | Serious, Tense, Reflective | 8 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
56 - A Stark Message: The Reagans on Drugs | Tense, Dramatic, Serious | 9 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
57 - Survival in Chaos | Tense, Dark, Violent | 8 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
58 - Echoes of Violence | Dark, Intense, Suspenseful | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
59 - Departure of Duty | Serious, Reflective, Determined | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 7 | 7 | 8 | 8 | 8 | 7 | 6 | 9 | 8 | 8 | 8 | |
60 - Vengeance Unleashed | Tense, Dark, Intense | 9 | 9 | 9 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 |
Scene 1 - Introduction to Darkness
Executive Producer: Eric Newman
Executive Producer: Jose Padilha
!
!
!
"Descenso"
Episode #101
Written by
Chris Brancato
Directed by
Jose Padilha
May 13, 2014
Cold Mountain Productions
Grand Electric
Note to the reader:
The assumption is that you've seen our director Jose Padilha's
"Elite Squad" films and that it has painted a picture for
you of what a modernist and masculine Latin American cinematic
approach feels like: urgent, complex, fast-paced, hard-hitting
and epic. And since you get it, you will also get that the
voice over you are about to read should not be experienced
like anything typical to Hollywood. The level at which the
images will confront you visually while Murphy's voice is in
your head are the full journey that guides you through this
descent from the birth of narco-trafficking into the darkness
of what men will do to WIN.
FADE UP ON:
Ratings
Scene 2 - Operation Centra Spike: Aerial Tension
CAMERA SWOOPS over lush inland jungles, snow-capped volcanoes,
lush valleys, and alpine lakes.
OPERATOR #1 (O.S.)
Centra Spike is a go, we've reached
twenty thousand feet.
A small BEECHCRAFT AIRPLANE flies into FRAME.
OPERATOR #2 (O.S.)
Commencing intercept operations, we
are at zero-four-two-nine.
OPERATOR #1 (O.S.)
Encryption units, stand-by. Let's
crawl into some heads.
Ratings
Scene 3 - Surveillance and Inequality: A Night in Bogota
The city twinkles, bounded by the eastern cordillera of the
Andes Mountain Range.
MURPHY (V.O.)
Nowadays, the U.S. government can
listen to anything you say. They
know where you are, they know who
you're talking to, they probably
know who you're fucking. Turn on a
cell phone and you're doomed.
A chyron appears: "Bogota, Colombia 1989"
MURPHY (V.O.) (CONT'D)
But in Colombia in 1989, it wasn't
that easy. The only people who had
satellite phones were the filthy
rich. The landowners. The
politicians.
Ratings
Scene 4 - Control in the Shadows
CASH is stacked like cordwood.
MURPHY (V.O.)
Lucky for us, the Narcos were richer
than them all.
NARCOS Ep. 101 "Descenso" 5/13/14 2.
A couple of Makarov machine pistols lay on the table along
with a satellite phone. A HAND comes into FRAME.
MURPHY (V.O.) (CONT'D)
Okay, good. He picked up the phone.
WIDENING, to reveal a mustachioed NARCO ("POISON") dialing a
number on his phone. A CONFEDERATE counts the cash.
POISON
(in Spanish)
Hello, Blackie? It's Poison. We're
going out tonight.
MURPHY (V.O.)
Now we owned him. And he didn't
even know it.
Ratings
Scene 5 - Operation Poison: Eavesdropping in the Dark
Inside, we SEE a fifty-million-dollar spy plane crammed with
state-of-the-art electronic eavesdropping equipment. Two
MALE OPERATORS monitor calls on laptops.
MURPHY (V.O.)
We had software that identified the
specific voices of our targets.
When they talked, we listened.
AN ONBOARD COMPUTER
Providing instantaneous calculations. We HEAR the chatter
of intercepted phone calls in Spanish.
OPERATOR #1
We got Poison at 1400 to 1700
megahertz, gentlemen.
He scribbles notes on a pad: "POISON."
OPERATOR #2
Ground units, begin trilateration.
Ratings
Scene 6 - The Calm Before the Confrontation
Packed with surveillance gear. A TECHNICIAN in the back of
the van (American) checks his laptop.
TECHNICIAN
He's in the Zona Rosa.
NARCOS Ep. 101 "Descenso" 5/13/14 3.
OPERATOR #2 (O.S.)
Can you be more specific? Police
units are standing by.
INT. FINCA - BOGOTA - NIGHT
Poison knocks back an aguardiente.
POISON
(in Spanish)
La Dispensaria. I have a table
outside. Midnight.
Ratings
Scene 7 - Divided Loyalties
OPERATOR #1
Never mind. Negative on the ground
assault. This fuckwad just told us
where he's going.
MURPHY (V.O.)
Poison didn't know it, but he'd made
himself a date.
Operator #1 removes his headset.
OPERATOR #1
Who do we give this to? DEA?
OPERATOR #2
Yeah. Let's give it to Javier Peña.
OPERATOR #1
Peña's an asshole. I'm gonna give
it to the other guy.
Ratings
Scene 8 - Balancing Acts
STEVE MURPHY, 30s, stands amidst domestic chaos: a baby cries
loudly, the phone rings off the hook. He has the physicality
and charm of a West Virginia upbringing.
MURPHY (V.O.)
By the "other guy," he meant me. My
name is Steve Murphy. I'm DEA and
as you can see, I'm deeply embedded
in Colombia.
He receives into his arms a beautiful, crying COLOMBIAN BABY,
handed to him by CONNIE MURPHY, 30s.
NARCOS Ep. 101 "Descenso" 5/13/14 4.
CONNIE
Honey, can you change her?
Connie is effortlessly sexy, a former ER nurse. She moves
off to answer the phone. Murphy places the baby on the
changing table as though handling a live hand grenade.
CONNIE (O.S.) (CONT'D)
It's for you!
He grabs the phone, cradles it under his neck.
MURPHY
Hello?
(listens)
Okay. Hold on. Gimme a sec.
He puts the baby in her crib, and grabs a pen and scribbles
"Poison" and "La Dispensaria, 12AM" on a notepad.
MURPHY (CONT'D)
Got it, thanks.
The baby starts to cry.
MURPHY (CONT'D)
Hold on, sweetpea. Daddy's coming.
He dials another number.
MURPHY (CONT'D)
(on phone)
Poison will be at La Dispensaria at
around midnight with his crew.
Murphy grabs a new diaper from a stack.
MURPHY (V.O.) (CONT'D)
I would've loved to go after Poison
myself, but DEA is restricted in a
foreign country.
Murphy fumbles some talcum into the diaper. He lifts the
BABY'S TINY BOTTOM to put it on.
MURPHY (V.O.) (CONT'D)
We're not supposed to do ground
operations. Our role's to "inform"
and "advise." So I did just what
you would do. I called the cops.
NARCOS Ep. 101 "Descenso" 5/13/14 5.
Ratings
Scene 9 - From Laughter to Danger
HORATIO CARILLO, 30s, a well-dressed Colombian with a cheery
demeanor, talks on a clunky cell phone.
CARILLO
La Dispensaria. Copy that.
He clicks off, smiles at his dinner companion.
CARILLO (CONT'D)
Guess who that was? Your partner.
We see JAVIER PEÑA, 30s, Mexican-American, enjoying his
scotch. He's casual in a collared shirt and jeans.
CARILLO (CONT'D)
(rising)
Gotta go.
PEÑA
Gonna stick me with the bill, huh?
CARILLO
I have to get the gift your partner
just delivered.
PEÑA
No kidding. Who?
CARILLO
Poison.
He starts off, turns back.
CARILLO (CONT'D)
Does your buddy know how I'm gonna
package it?
PEÑA
Oh yeah. He's no fool. I'll get
the bill, you cheap sonofabitch.
Carillo turns and walks toward CAMERA.
MURPHY (V.O.)
Colonel Carillo was one of the leaders
of "Search Bloc," a unit we helped
create to capture the bad guys.
(MORE)
NARCOS Ep. 101 "Descenso" 5/13/14 6.
MURPHY (V.O.) (CONT'D)
But at heart he was like any Colombian
police officer. He didn't have a
lot of love for the Narcos.
CUT TO:
CHA-CHUCK. A SHOTGUN is cocked.
CARILLO
(in Spanish)
We're on, fellas.
Ratings
Scene 10 - Chaos in the Zona Rosa
Carillo addresses six MEN IN BODY ARMOR. The van's an armory:
Browning rifles, H&K small machine guns, etc. The men pull
on ski masks.
MURPHY (V.O.)
Midnight in the Zona Rosa. Party
time.
EXT. LA DISPENSARIA - NIGHT
The Zona Rosa is alive with music, revelers, excitement.
SEVEN TOUGH MEN are seated at an outdoor table. Poison is
packing his Makarov in a fancy leather holster.
POISON
(in Spanish)
Come join us, beautiful!
He's propositioning a DOE-EYED COLOMBIAN GIRL walking down
the street. His men make catcalls.
ANGLE - THE DOE-EYED COLOMBIAN GIRL
She smiles, pretends she's interested. She knows better
than to ignore these men.
WIDE SHOT - LA DISPENSARIA
The restaurant. The beautiful girl. The dealers.
SURE SHOT
(in Spanish)
Hey, Beauty Queen! We're ugly but
we're rich!
BAM! His head blows off. Everyone goes for their weapons.
NARCOS Ep. 101 "Descenso" 5/13/14 7.
CAMERA WHIP PANS
The Men in Body Armor advance, guns blazing as we--
FREEZE FRAME
FADE TO BLACK.
A long beat. Dead silence.
FADE UP ON:
Ratings
Scene 11 - Aftermath of Violence
A SHUTTER clicks, a photo taken. Bodies lay splayed across
the outdoor cafe. A bloodbath.
MURPHY (O.S.)
Javi, we hit a home run.
REVERSING, to find Steve Murphy with a camera and a phone.
He steps into a cordoned crime scene, with EIGHT CORPSES and
a dozen COLOMBIAN NATIONAL POLICE.
MURPHY (O.S.) (CONT'D)
Got "Poison." We got "Bad Mouth."
We got "Blackie." Three or four of
them I can't ID.
Colonel Carillo squats over one of the corpses. He turns
his face TOWARDS CAMERA.
CARILLO
(in Spanish)
Murphy, you won't believe this.
He gestures to a dead body. Face half blown off.
MURPHY
Javier, we got a bonus. "Sure Shot"
has met his maker.
(another look)
At least I think it's "Sure Shot."
INTERCUT WITH:
CLOSE - ON JAVIER PEÑA
PEÑA
No shit! He was there?! Great.
NARCOS Ep. 101 "Descenso" 5/13/14 8.
Ratings
Scene 12 - Shadows of Consequence
Peña stands in the DEA offices of the Embassy, beside a "tree
chart" of numerous traffickers and sicarios (hit men).
MURPHY (V.O.)
Peña had wanted that motherfucker
off the tree for months.
PEÑA
I'm so happy I'll even forgive those
assholes at Centra Spike for giving
the intel to you.
MURPHY (O.S.)
Hell, I'm prettier than you are.
Peña removes a MUGSHOT of Juan Corrales Botero, aka "Sure
Shot," from the trafficker tree. He thinks of something,
stops yanking pictures--
PEÑA
Any humans involved?
MURPHY
Yeah. A bystander caught a stray.
ON MURPHY, walking toward a sprawled body.
CLOSE - ON THE DOE-EYED COLOMBIAN GIRL.
She lays face up, eyes glassy in death, a clean bullet hole
in her temple. Murphy's VOICE carries over--
MURPHY (V.O.) (CONT'D)
I wouldn't blame you if you held me
responsible for this bloodbath.
CLICK. REVERSING, to find MURPHY, peering through his camera.
MURPHY (V.O.) (CONT'D)
Yeah, I pushed the buttons. But
don't call me a bad guy just yet.
He lowers the camera as we --
FREEZE FRAME: MURPHY
MURPHY (V.O.) (CONT'D)
Good and bad are relative concepts.
CUT TO:
NARCOS Ep. 101 "Descenso" 5/13/14 9.
PRESIDENT NIXON, giving a speech. (ARCHIVAL FOOTAGE)
PRESIDENT NIXON
The more you stay in this kind of
job, the more you realize that a
public figure, a major public figure,
is a lonely man.
MURPHY (V.O.)
Take Richard Nixon, for instance.
People forget, but 47 million
Americans voted for Nixon. We thought
he was one of the good guys.
GENERAL PINOCHET, the dictator of Chile. (ARCHIVAL FOOTAGE)
GENERAL PINOCHET
The rich people are those who create
wealth, and you have to treat them
well so they continue to give wealth.
MURPHY (V.O.)
And Nixon thought Chilean General
Augusto Pinochet was a good guy `cause
he hated the commies. So we helped
Pinochet seize power.
CHILEAN DEATH SQUADS, slaughter and civilian protest, the
March of the Disappeared. (ARCHIVAL FOOTAGE)
MURPHY (V.O.) (CONT'D)
Then Pinochet turned around and killed
thousands of people. Maybe not such
a good guy after all.
Ratings
Scene 13 - Invasion of the Jungle Lab
Thick, forested northern Chile.
MURPHY (V.O.)
But sometimes bad guys do good things.
To kiss Nixon's ass, Pinochet went
after the cocaine labs.
EXT. DEEP JUNGLE LAB - CHILE - DAY
A tented jungle lab with white-smocked WORKERS.
MURPHY (V.O.)
Nobody knows this, but back in `73
Chile was on its way to being the
(MORE)
NARCOS Ep. 101 "Descenso" 5/13/14 10.
MURPHY (V.O.) (CONT'D)
world's biggest cocaine processing
and exporting center. They had
jungles to hide the labs and miles
of unpatrolled coastline to send the
product north.
CUT TO:
CHILEAN SOLDIERS crash through the forest.
MURPHY (V.O.) (CONT'D)
But Pinochet spoiled the party. He
shut down 33 labs and arrested 346
drug dealers.
The SOLDIERS invade the lab. DRUG WORKERS quickly give
themselves up, lacing hands behind their heads. One of them
is MATEO MORENO, a low-level manager.
Ratings
Scene 14 - Execution in the Jungle
A bunch of DEALERS, hands tied behind them, are lined up in
front of a firing squad.
MURPHY (V.O.)
And then-- being Pinochet-- he had
them all killed.
Moreno is scared shitless. His body quivers.
CHILEAN SOLDIER
(in Spanish)
Ready. Aim. Fire.
A FUSILLADE OF GUNFIRE. The dealers collapse.
Ratings
Scene 15 - Survival Among the Dead
SOLDIERS toss the bodies in a mass grave.
MURPHY (V.O.)
They say when a nuclear holocaust
destroys the world, only the
cockroaches will survive.
CLOSE - ON A MASS GRAVE
Beneath the corpses, there is movement. A solitary man fights
his way out of the grave, frantically pushing aside the bodies
to emerge, covered in blood.
NARCOS Ep. 101 "Descenso" 5/13/14 11.
MURPHY (V.O.) (CONT'D)
I guess they were right.
CLOSE - MATEO MORENO, wild-eyed.
MURPHY (V.O.) (CONT'D)
The bullets missed Mateo Moreno, aka
"Cockroach," and he was smart enough
to play dead. He wasn't killed on
that day...
Ratings
Scene 16 - Desperate Revelations
Cockroach bursts through the door.
MURPHY (V.O.)
Instead, he won the damn lottery.
His WIFE approaches, horrified.
COCKROACH
Start packing. We have to leave the
country. Pinochet wants to kill me.
COCKROACH'S WIFE
You're a communist?!
COCKROACH
No, I'm a fucking drug dealer!
CLOSE: ON A DRAWER
Cockroach slides it open to reveal a KILO OF COKE.
MURPHY (V.O.)
Cockroach had been stealing from his
bosses for months. Now he was left
alone in the world with the perfect
product. A product whose offer
creates its own demand.
CUT TO:
OVERHEAD SHOT - A MAZE
A RAT scurries through the maze at lightning speed.
MURPHY (V.O.)
Back then, we were just finding out
about the effects of cocaine on the
human brain. We didn't know much,
but we knew it was powerful shit.
NARCOS Ep. 101 "Descenso" 5/13/14 12.
Ratings
Scene 17 - Addiction's Parallel
The rat reaches the end of the maze and hits a lever.
WIDER, to reveal a PROFESSOR instructing a STUDENT.
PROFESSOR
Make sure the retractable levers are
extended into the box.
MURPHY (V.O.)
Cocaine hijacks pleasure centers in
the brain. A rat will choose cocaine
over food and water.
PROFESSOR
Record locomotor activity after the
subject self-administers.
CLOSE - ON THE RAT
It hits the LEVER again and again.
MURPHY (V.O.)
It will choose cocaine over sleep,
over sex, over life itself.
WIDER, as the Professor walks out--
PROFESSOR
Make sure you refill the Merck
containers as needed. Let's see if
self-administration leads to
starvation.
He exits. The Student examines the vial of flaky-pink Merck
cocaine, pours some on the counter.
MURPHY (V.O.)
The human brain isn't quite the same
as a rodent's...
The Student SNORTS a line of coke.
MURPHY (V.O.) (CONT'D)
Unless we're talking about cocaine.
Ratings
Scene 18 - Crossing Borders: The Smuggler's Dilemma
Cockroach's Renault pulls to a checkpoint. His wife sits in
the passenger seat.
NARCOS Ep. 101 "Descenso" 5/13/14 13.
MURPHY (V.O.)
Cockroach knew he had the perfect
product. He just needed to smuggle
it to the right markets. And the
best smugglers in the world were in
Colombia.
The sign above the border patrol says: "COLOMBIA."
CUT TO:
A QUARTER HORSE, doing "dainty-steps" in a ring.
MURPHY (V.O.) (CONT'D)
Like Goldilocks, he had three options.
And pay attention, because all three
are important to this story.
Ratings
Scene 19 - Show of Wealth and Power
A horse show. FABIO OCHOA rides a "dainty-step" quarter
horse as its hooves blur with mincing, cartoon-like speed.
MURPHY (V.O.)
The Ochoa Brothers: Jorge, Juan David,
and that's Fabio. The typical
Colombian smuggling family: they
made a fortune from contraband.
Brothers JUAN DAVID and JORGE, wearing Polo shirts next to
their beautiful GIRLFRIENDS, applaud.
MURPHY (V.O.) (CONT'D)
They were smart and handsome, but
Cockroach felt the high life had
made them soft...
The horse is so steady that Fabio balances a teacup on his
head without dropping it.
CUT TO:
CLOSE - JOSE RODRIGUEZ GACHA
Steps into FRAME, wearing a sombrero and holding a carbine.
MURPHY (V.O.) (CONT'D)
There was Jose Rodriguez Gacha -
nicknamed "The Mexican" for his love
of tequila and sombreros. He
dominated the emerald smuggling
routes.
NARCOS Ep. 101 "Descenso" 5/13/14 14.
Ratings
Scene 20 - Power Play at the Checkpoint
REVERSING, to find a sophisticated cocktail party.
MURPHY (V.O.)
Emeralds were a pretty rough trade
even by Colombian standards. If you
make it to the top, it means you've
killed your enemies and...
GACHA'S PARTNER
Hey partner, what are you doing here?
Gacha and two GUNMEN mow down the party guests with their
machine guns. Smokey, horrible carnage.
MURPHY (V.O.)
Cockroach worried that the emerald
trade had made Gacha too hard...
Gacha and his men exit the party.
MURPHY (V.O.) (CONT'D)
So he zeroed in on his third option.
A man who Cockroach knew would be
"just right..."
TIGHT: ON PABLO ESCOBAR
MURPHY (V.O.) (CONT'D)
Yeah. You guessed it. Pablo Escobar.
The man who would change my life
forever.
Pablo calmly pops a Chiclet in his mouth. He's driving in
the front seat of a jeep.
CAMERA PULLING BACK
To reveal his cousin GUSTAVO, late 20s, as passenger.
CAMERA RISES HIGHER
There's a FOUR-AXLE TRUCK driving behind the jeep.
RISING STILL HIGHER - OVERHEAD SHOT
Thirty TRUCKS behind the jeep, passing through FRAME.
NARCOS Ep. 101 "Descenso" 5/13/14 15.
MURPHY (V.O.) (CONT'D)
Pablo was making a killing in the
smuggling business. Stolen goods,
cigarettes, alcohol, marijuana, you
name it. If there was a market,
Pablo would supply it.
CUT TO:
OVER THE SHOULDER: A COP
A police checkpoint. Pablo pulls to a stop. There are ten
heavily armed DAS AGENTS.
MURPHY (V.O.)
At that time, Pablo owned every
policeman in Medellín. But DAS was
Colombia's version of the FBI. They
didn't play by the same rules.
A DAS AGENT steps up to the jeep.
PABLO
Good day.
DAS AGENT
Are you Pablo Escobar?
PABLO
Yes. Where's Felipo?
DAS AGENT
He's been arrested.
DAS Agent gestures. Felipo's being dragged to an unmarked
sedan in handcuffs. He's been beaten to a pulp.
PABLO
Hey, this is bullshit, man. Felipo
works for me.
DAS AGENT
He used to work for you. Now he's
going to jail.
GUSTAVO
Do you know who you're talking to?
DAS AGENT
Shut the fuck up.
NARCOS Ep. 101 "Descenso" 5/13/14 16.
PABLO
Please, Gustavo. Show respect. Let
Mr. Herrera speak.
DAS AGENT
How do you know my name?
PABLO
(pointing)
You're Colonel Jose Luis Herrera.
That's Nacho Ibarra. There's Garcia.
Lopez. Pinella. Esperanza.
The DAS AGENTS are stunned. How does he know their names?
HERRERA
Open the fucking trucks.
CUT TO:
A TRUCK PANEL DOOR ROLLS OPEN.
Pablo and Herrera stand by the truck. Other DAS AGENTS
inspect the contents: crates of Johnny Walker, Marlboros,
television sets and toys.
HERRERA
Who the fuck do you think you are?
You don't even bother to hide your
contraband?
PABLO
I pay for the privilege.
NACHO IBARRA peers down at Pablo from inside the truck.
IBARRA
Where are your import papers? You
need the papers for these TV sets.
PABLO
Take the television.
IBARRA
Sorry, Escobar. We're not Medellín
cops making fifty pesos a week.
PABLO
It's not for you. It's for Carlito.
Your son. Wouldn't he like a TV in
his room?
NARCOS Ep. 101 "Descenso" 5/13/14 17.
Ibarra is shocked. But Pablo's turned his attention to
another agent on the truck.
PABLO (CONT'D)
Hey, Pinella. Your daughter just
got her driver's license, right?
Pioneer makes a nice car stereo.
He turns to yet another guy.
PABLO (CONT'D)
Lopez. Your wife is beautiful.
What's she doing with a guy like
you? I think she deserves some
jewelry. Should I get a couple of
my guys to drop it off?
The DAS Agents, at first so tough and sure of themselves,
are now soft as jello.
PABLO (CONT'D)
(calmly)
Gentlemen, let me tell you who I am.
I am Pablo Fucking Escobar. My eyes
are everywhere. You can't do a
goddamn thing in Antioquia without
me knowing about it. I'm going to
be President of Colombia one day.
The DAS Agents are transfixed.
PABLO (CONT'D)
I make deals for a living. You can
accept my deal or accept the
consequences for not taking it.
From each of the thirty truck cabs, DRIVERS emerge with tire
irons, guns, clubs. One of them we recognize as--
POISON
AR-15 assault rifle propped on his arm.
PABLO
pulls a wad of cash.
PABLO (CONT'D)
Silver or lead. Your choice. Now
why don't we negotiate a bit and we
can all leave happy. Deal?
NARCOS Ep. 101 "Descenso" 5/13/14 18.
Over this, the sounds of merriment...
CUT TO:
Ratings
Scene 21 - The Temptation of Easy Money
Pablo and Gustavo are drinking beer in a raucous bar filled
with pretty girls. They're drunk and happy.
PABLO
It's an interesting proposal.
REVERSING, we see Cockroach. His leather bag rests on the
table with the KILO OF COKE clearly visible.
COCKROACH
If you're with me, I can take you to
Peru. Show you where I buy the paste.
You smuggle it here, I teach you how
to turn it into powder. Then we
sell it all over Colombia.
GUSTAVO
How much does it cost?
COCKROACH
In Chile, we sold it for ten dollars
a gram.
PABLO
You sell it by the gram?
Cockroach dumps a line onto the table.
COCKROACH
This much keeps a person flying for
twenty minutes. When the effect
wears off, you want more.
He sniffs the line with a rolled-up bill. Pablo and Gustavo
share a glance.
GUSTAVO
(to Pablo)
If this shit is so good, we could
find room on our trucks.
COCKROACH
We move it to all the major cities:
Bogota, Cartegna, Baranquilla. We'll
make a fortune.
NARCOS Ep. 101 "Descenso" 5/13/14 19.
PABLO
You think small, my friend.
(then)
If it costs ten dollars a gram here,
how much do you think it will cost
in Miami?
CUT TO:
Ratings
Scene 22 - Surfing the Law
A wide expanse of white sand beach and pearl blue ocean.
MURPHY (V.O.)
Back then, Miami was a paradise.
I'd signed up for the sand, surf and
women.
A chyron appears:
"Miami, 1979."
MURPHY (V.O.) (CONT'D)
In `79, the bad guys I was chasing
wore flip-flops--
CLOSE: ON FLIP-FLOPS
Slapping across the pavement. TILT UP to reveal TWO SURFERS
(one with a backpack) racing PAST CAMERA.
MURPHY (V.O.) (CONT'D)
I was a young DEA agent, partnered
with my buddy Kevin Samms.
MURPHY (CONT'D)
Stop, DEA!
Murphy sprints past CAMERA.
MURPHY (V.O.) (CONT'D)
Kevin had a few pounds to lose.
NEW ANGLE: KEVIN SAMMS
Overweight, huffing for breath.
WIDER
Murphy (younger) and Kevin, 20s, chase the Surfers down on
the promenade. One of the Surfers trips over his flip-flops,
smashes to the ground.
NARCOS Ep. 101 "Descenso" 5/13/14 20.
The other Surfer tumbles over the prone body of his friend.
CLOSE - ON MURPHY
Gun out, ultra-serious, pouncing on the Surfers.
MURPHY (CONT'D)
Face down. Gimme hands!
Murphy cuffs the Surfer. Kevin arrives, huffing.
KEVIN
He told you to stop, you sonsabitches!
He grabs the backpack off the ground.
MURPHY
What do we got?
Kevin opens the backpack and extracts a large pillow of
MARIJUANA wrapped in plastic.
KEVIN
We got ourselves a promotion, my
man. Let's celebrate.
CUT TO:
Ratings
Scene 23 - The Prank at the Bar
Thumping music, filled with partyers. Kevin sits with other
DEA GUYS, celebrating their bust. In the background, Murphy
is getting another pitcher at the bar.
DEA #1
Who do we pick?
DEA #2
How about her?
DEA #2 points to a BLONDE GIRL at another table.
KEVIN
No, no. Let's fuck him up.
DEA GUY #1
Let's mess with his head.
KEVIN
Yeah, let's go for her.
THEIR P.O.V. - CONNIE
NARCOS Ep. 101 "Descenso" 5/13/14 21.
Connie - seen at the top of the script - sits at the bar
with a FRIEND.
DEA #1 (O.S.)
She's hot.
MURPHY
returns with a cold pitcher of beer. Unaware that he's about
to be the subject of a prank.
KEVIN
Hey, Murph, Sparrow 3 o'clock,
checking you out.
Kevin chin nods to Connie. Murphy steals a glance.
DEA #1
You were walking back from the bar,
she was checking out your ass.
MURPHY
Get the fuck outta here.
KEVIN
She wasn't checking out your ass,
but she eye-fucked you all the way
back to the table. I'm not kidding,
man. For real.
MURPHY
The tan one?
KEVIN
She had eyes on you, man.
The DEA GUYS egg him on: Go for it/C'mon, Pussy/Man up!
MURPHY
You serious?
KEVIN
If I'm lying, I'm dying.
MURPHY
(a beat)
Fuck it. I'm going in...
DEA GUYS
Murph's flying in/Get another pitcher
while you're up there.
NARCOS Ep. 101 "Descenso" 5/13/14 22.
AT THE BAR - CONNIE AND HER PRETTY FRIEND
They're watching the Miami/Florida State game on the
television. Murphy approaches with a smile.
MURPHY
Hey, how are you?
CONNIE
(barely a glance)
Busy.
He looks back at his table.
HIS P.O.V. - THE DEA GUYS
They're busting a gut laughing. Gotcha sucker!
MURPHY
starts back toward his table.
MURPHY (V.O.)
Those bastards got me. But I couldn't
let it end like that.
He turns and goes back to Connie and her friend.
MURPHY (CONT'D)
Listen. I'm sorry. See those guys
over there? They're fucking with
me. They said you were checking out
my ass. Who checks out a cop's ass?
CONNIE
You're a cop? Strike two.
MURPHY
Not a cop, actually. I'm D-E-A.
CONNIE
A narc. Strike three.
Connie's Pretty Friend chimes in--
PRETTY FRIEND
Drug Enforcement? So you're the one
making pot more expensive.
MURPHY
(lightly)
It's against the law, ma'am.
NARCOS Ep. 101 "Descenso" 5/13/14 23.
CONNIE
(laughing)
Be careful. He'll arrest you.
MURPHY
Help me out here. I wanna show those
assholes up. C'mon. Give me your
phone number.
CONNIE
How about a fake phone number?
MURPHY
That'll work.
Connie digs a pen and a scrap of paper from her purse. She
scrawls "Connie" and a phone number.
MURPHY (CONT'D)
Sorry for the bother.
AT THE TABLE
Murphy returns, flapping the scrap of paper.
MURPHY
Read it and weep, assholes.
The DEA Guys are suitably impressed.
Ratings
Scene 24 - Connections and Obsessions
Murphy sits on his bed in a messy bachelor apartment. He
stares at the scrap of paper.
MURPHY (V.O.)
I figured what the hell. Worst that
could happen was I'd wake up some
grandmother in Boca.
He dials the number.
INTERCUT WITH:
INT. ANOTHER APARTMENT - MIAMI - NIGHT
Someone grabs the ringing phone off the receiver.
CONNIE
Hello?
NARCOS Ep. 101 "Descenso" 5/13/14 24.
MURPHY (O.S.)
So it wasn't a fake.
CONNIE
Thought you might figure it out.
After all, you're D-E-A.
Murphy smiles.
MURPHY (V.O.)
And just like that, she had me.
CUT TO:
PABLO ESCOBAR
eyes shining.
MURPHY (V.O.) (CONT'D)
The minute Pablo laid his eyes on
the paste-processing lab in Peru,
cocaine had him.
Ratings
Scene 25 - Negotiating the Paste
Thickly forested. A half dozen WORKERS (men and children)
trample coca leaves in a large plastic-lined VAT filled with
water and bleach.
COCKROACH, PABLO AND GUSTAVO
are shown around by the LAB MANAGER. He gestures to another
large VAT being filled with KEROSENE.
LAB MANAGER
The kerosene separates the drug from
the leaf.
A worker scoops a PLASTIC BUCKET of the brownish kerosene
mixture and adds Ammonium from a bottle. The liquid in the
bucket blooms WHITE like cream in coffee.
GUSTAVO
Look at that.
LAB MANAGER
Ammonium is added to make the paste.
CLOSE - ON THE BUCKET
Now containing a gummy, yellowish solid. The solid is dumped
onto a bed sheet.
NARCOS Ep. 101 "Descenso" 5/13/14 25.
WIDER, as a WORKER squeezes the bed sheet to remove the excess
kerosene, leaving a one-kilo chunk of paste.
GUSTAVO
We'll take a kilo.
LAB MANAGER
A whole kilo. Great.
PABLO
No.
LAB MANAGER
(to Cockroach)
You said one kilo.
PABLO
We'll take five.
COCKROACH
How do we get five across the border?
PABLO
Gustavo will figure it out. Always
does.
CUT TO:
Ratings
Scene 26 - The Smuggling Deal
Gustavo shows Pablo and Cockroach a yellow Renault 4S.
GUSTAVO
Check the wheel-well. It's huge.
A CAR SALESMAN approaches them.
CAR SALESMAN
It's a great choice. 22.5 horsepower.
More than the Citroen 2CV. It's
comfortable and the gasoline
consumption --
PABLO
(to Salesman)
Is it easy to remove the wheel?
The Salesman never heard that one.
CAR SALESMAN
What?
NARCOS Ep. 101 "Descenso" 5/13/14 26.
GUSTAVO
(to Pablo)
We only have to do it once. Trust
me - I can fit 5K in there.
PABLO
Ok. I will take it. Three cars,
please.
The Salesman can’t believe his ears.
SALESMAN
Did you say three?
GUSTAVO
(to Cockroach)
I guess we're going back to the lab...
COCKROACH
Why?
GUSTAVO
(to Cockroach)
Five kilos per wheel-well, equals
twenty kilos per car. Three cars,
sixty kilos.
Pablo claps Cockroach on the back.
PABLO
At nine dollars profit per gram...
Ratings
Scene 27 - Profits in the Mountains
The beautiful panorama of the lush Peruvian mountains.
MURPHY (V.O.)
That's five hundred thousand dollars
per trip - using the same smuggling
routes he always used.
A paved road cuts a ribbon through the dense foliage. THREE
RENAULT R4S appear from FRAME LEFT, snaking through the pass.
LOW ANGLE
Pablo drives the one up front.
MURPHY (V.O.)
Easiest money he ever made.
CUT TO:
NARCOS Ep. 101 "Descenso" 5/13/14 27.
Ratings
Scene 28 - Illuminating the Process
A cramped kitchen with three COOKS in smocks. Cockroach
teaches Pablo and Gustavo the next part of the process.
COCKROACH
The hydrochloric acid turns the base
into crystal.
GUSTAVO
It smells in here.
COCKROACH
That's the acetone.
Cockroach presses a button. A DOZEN LAMPS light up on top
of the damp cocaine crystals.
PABLO
And what’s with all those lights?
COCKROACH
Drying.
Ratings
Scene 29 - Shadows of Indifference
Light floods from the windows, illuminating the house like a
Christmas tree. Pablo and Gustavo watch PAINTERS close the
windows and start to apply a black coat of paint to the glass.
Sulfurous smoke pours from the window cracks.
GUSTAVO
Isn't this going to suffocate the
workers?
PABLO
Let’s build a chimney.
CUT TO:
A WOMAN'S HANDS, with a sewing needle.
MURPHY (V.O.)
Like her son, Pablo's mother Hermilda
was very resourceful.
Ratings
Scene 30 - The Smuggler's Jacket
HERMILDA ESCOBAR, 50s, places down the needle and holds up
what she's been sewing.
A JACKET
NARCOS Ep. 101 "Descenso" 5/13/14 28.
Lined with secret compartments.
PABLO
Mama, I love it. How much do you
think I can fit in there?
Hermilda inspects the jacket.
MURPHY (V.O.)
In Colombia, even the women have a
tradition of smuggling.
HERMILDA
I guess about 5 kilos. Just make
sure someone else is wearing it.
CUT TO:
THE LION, a regal Colombian with a healthy mane of hair.
MURPHY (V.O.)
That someone would be "The Lion," a
friend of Pablo's who'd spent his
childhood in the United States.
INT. EL DORADO INTERNATIONAL AIRPORT - BOGOTA - DAY
WIDENING, as the Lion (wearing Hermilda's jacket) walks toward
a line that reads "Customs." Lion easily passes through the
customs line.
Ratings
Scene 31 - A Warm Welcome at Miami Airport
Lion emerges from the arrival gate, behind someone in a
Dolphins jersey. He looks around.
A VOICE (O.S.)
Yo man, what's up?!
Lion grins.
REVERSING, to find CARLOS LEHDER, 30s, a deep tan, a "John
Lennon" t-shirt, and a swastika tattooed on his arm.
MURPHY (V.O.)
And that's Carlos Lehder. Half
Colombian, half German, one hundred
percent playboy. Big fan of John
Lennon and Adolf Hitler. Go figure.
The two men hug. Lehder eyes Lion.
NARCOS Ep. 101 "Descenso" 5/13/14 29.
LEHDER
It's hot man. Why the fuck are you
wearing a jacket?
MURPHY (V.O.)
Back in '79 Lehder was flying bales
of grass up from Colombia on a fleet
of small planes.
Ratings
Scene 32 - Tension in the Cadillac
Lehder sits behind the wheel of a boat Cadillac. Lion pulls
a bag of COCAINE from inside his "secret" jacket.
LION
It's the perfect product.
LEHDER
I did a bit in jail, remember? I
saw this stuff. It's poison.
LION
Pablo thinks the gringos will love
it.
LEHDER
It will fuck their brains up - that’s
for sure.
The Lion opens the car door and steps outside.
LEHDER (CONT'D)
Where are you going?
Lion shows Lehder a plane ticket.
LION
Back home. Pick me up tomorrow.
Ratings
Scene 33 - The Lion's Route: Smuggling Secrets
A PLANE takes off.
MURPHY (V.O.)
The Lion made more than twenty flights
between Medellín and Miami - drugs
in, cash out. And the rich and famous
in Miami snorted every single gram
of it. In no time, Pablo had to
replace his cars with trucks...
NARCOS Ep. 101 "Descenso" 5/13/14 30.
EXT. PERUVIAN MOUNTAIN ROAD - AERIAL VIEW - SUNRISE
A paved road cuts a ribbon through the forest.
MURPHY (V.O.)
Gustavo had the trucks filled to the
brim with potatoes, the major item
Colombia imported from Peru. Didn't
even have to bribe the cops.
Several TRUCKS filled to the brim with potatoes appear from
FRAME LEFT, snaking their way through the pass.
MURPHY (V.O.) (CONT'D)
The coke paste was hidden in the
spare tires. Each tire could fit
about 20 kilos. Ten trucks, twenty
kilos each, going back and forth
everyday. You do the math. It's
more money than you can imagine. No
way the Lion could transport it all.
LOW ANGLE
One of the trucks passes by Colombian customs, a spare tire
attached to it.
MURPHY (V.O.)
Pretty soon, the Lion had to come up
with new ways to smuggle the drug to
Miami.
Ratings
Scene 34 - Smuggling Lessons in Belen
The Lion teaches several YOUNG WOMEN how to eat condoms filled
up with cocaine. Three of them are pregnant.
LION
Wait a second - we got a problem
here. You three, step this way.
The three PREGNANT WOMEN step to the right. They're
disappointed they can't share in this bonanza.
LION (CONT'D)
U.S. Customs doesn't search pregnant
women. I think you can swallow sixty
pellets instead of fifty.
The women nod.
NARCOS Ep. 101 "Descenso" 5/13/14 31.
INT. COCAINE KITCHEN - BELEN, COLOMBIA - LATER
The Lion teaches a COMMERCIAL PILOT and a STEWARD how to
hide cocaine in their luggage.
MURPHY (V.O.)
During the early 80s most AVIANCA
flights out of Bogota had several
mules on them - they didn't even
know about each other.
Ratings
Scene 35 - The Rise of Cocaine Smuggling
COMMERCIAL AIRPLANE PILOTS, YOUNG WOMEN and STEWARDS walk
right through the U.S. CUSTOMS.
MURPHY (V.O.)
And you know what? Getting in was
easy, because nobody was worried
about cocaine in America. All we
cared about was grass.
Everyone walks right in.
MONTAGE: VARIOUS LOCATIONS (PER PRODUCTION)
FISHERMEN put COCAINE bags inside fish and take to the sea.
COCAINE bags are inserted into OLIVE OIL cans and coffee
packages.
MURPHY (V.O.) (CONT'D)
Pretty soon cocaine was hidden in
almost every legit Colombian export.
Fish, coffee, olive oil, rubber
hoses... You name it. But even that
didn't do it. The real game-changer
was filling Lehder's planes with
coke instead of weed.
Ratings
Scene 36 - Negotiating the Route
Pablo and Gustavo negotiate with Carlos Lehder in front of a
KING AIR airplane.
GUSTAVO
How much weight can you carry?
LEHDER
Where to?
GUSTAVO
Miami.
NARCOS Ep. 101 "Descenso" 5/13/14 32.
LEHDER
About a thousand kilos, including
the fuel.
GUSTAVO
What if we take out all the seats,
and leave room just for the pilot?
Lehder stares at Gustavo, puzzled.
MURPHY (V.O.)
Six months after meeting with
Cockroach, Pablo was establishing
the first dedicated Narco route from
Colombia to America.
AERIAL SHOT - a KING AIR plane flies really low over the
ocean, approaching the Bahamas. (ARCHIVAL FOOTAGE)
MURPHY (V.O.) (CONT'D)
A real milestone in the story of
narcotics.
INSIDE THE PLANE - Lehder flies the plane. Behind him,
several loads of coke.
MURPHY (V.O.) (CONT'D)
Then Pablo closed the kitchen and
started opening cocaine labs in the
middle of the jungle -
Ratings
Scene 37 - Jungle Tensions
A tented jungle lab with white-smocked WORKERS. Ten times
bigger than the one Cockroach managed in Chile.
MURPHY (V.O.)
Under the canopy cover of the
Colombian rainforest, he could expand
his production capacity indefinitely
without anyone noticing it.
Cockroach trains the workers in the arts and sciences of
cocaine production - he's sweating, mosquitoes all over his
face as a CESSNA AIRPLANE lands in an airstrip next to the
lab - Gustavo and Pablo step outside - followed by two
beautiful HOOKERS.
Cockroach approaches them.
GUSTAVO
Hello, Moreno.
NARCOS Ep. 101 "Descenso" 5/13/14 33.
PABLO
(re: hookers)
We brought you a gift. Brazilians -
best asses in the world.
Cockroach eyes the women.
COCKROACH
How come you guys are flying about
in planes and I am stuck here in the
fucking jungle - living in a fucking
shack - among fucking mosquitoes and
cobras?
Gustavo notices the shacks where the workers live.
GUSTAVO
You are right, Moreno. I’m sorry.
PABLO
From now on I'll build a big air-
conditioned house in all my labs -
just for you.
Cockroach looks at Pablo, pissed.
COCKROACH
Those are my labs, Pablo. My labs.
GUSTAVO
Of course they are, partner.
(tapping Cockroach)
Now show us what you got.
Ratings
Scene 38 - Potato Profits and Cautious Alliances
It's a huge party. UNIFORMED WAITERS walk around with food
and beverages. BEAUTIFUL WOMEN everywhere. Cockroach is
alone in a corner - drinking by himself.
MURPHY (V.O.)
Pablo couldn't hide his success from
his friends. They were violent,
crazy and filthy rich. Guys used to
getting what they want, one way or
another.
Pablo, Gustavo, Gacha and Jorge Ochoa are drinking at a table.
GACHA
I heard the potato business is very
profitable these days.
NARCOS Ep. 101 "Descenso" 5/13/14 34.
Gacha picks up a French fry.
GACHA (CONT'D)
Who would think you could make so
much money off this? I am asking
myself if I should invest in it.
What do you think, Pablo?
JORGE OCHOA
I took a good look at the market.
Importing potatoes from Peru is easy.
Old smuggling routes.
GUSTAVO
If everyone starts buying potatoes
at one time, the Peruvians will raise
the price. Our margins will go down.
GACHA
They also grow potatoes in Bolivia.
We can reduce the cost of the refining
process if we buy together.
GUSTAVO
The hard part is getting the
merchandise to Miami. You need a
lot of creativity for that.
GACHA
How much would you charge to help us
be creative?
PABLO
You deliver the product to me,
labeled. I take it to Miami, and
deliver to your contact there. I
charge 35% of the sales value. But
I insure the safety of your load up
to 50% of the value.
(then)
Deal?
JORGE OCHOA
Deal.
GACHA
I will create my own routes and stop
using your services as soon as
possible. That okay with you?
Pablo stares at Gacha.
NARCOS Ep. 101 "Descenso" 5/13/14 35.
GUSTAVO
We expect nothing less.
Gacha extends his glass for a toast--
GACHA
Partners?
For a beat, no one moves.
PABLO
We know your policy toward partners.
Let's just call us... "friendly
associates."
The men laugh and toast.
GACHA
To Miami...
CUT TO:
Ratings
Scene 39 - Shadows of the Port
Colorful cargo crates line the port. Shipments of everything
from everywhere in the world.
MURPHY (V.O.)
When I started, a one-kilo grass
bust was cause for celebration.
INT. CARGO CONTAINER - DAY
Kevin holds up a crate of ORCHIDS with a false bottom. There
are KILOS packed beneath the flowers.
MURPHY (V.O.)
Before long, we were seizing sixty
kilos of coke a day.
Ratings
Scene 40 - Reflections on a Drug Bust
SIXTY KILOS of cocaine are removed from the ship on a dolly,
along with the handcuffed Crew.
MURPHY (V.O.)
We thought we were making a huge
difference.
Murphy and the agents clear FRAME as we--
CUT TO:
NARCOS Ep. 101 "Descenso" 5/13/14 36.
A SCUBA DIVER
drops into the water beside a CARGO BOAT.
Ratings
Scene 41 - Underwater Dealings
UNDERWATER
The Diver swims to the hull of the boat, where four metal
pipes are magnetically attached.
MURPHY (V.O.)
Truth is, we weren't even making a
dent...
CUT TO:
THE METAL PIPES - ON THE DOCK
Now unsealed at one end. A WORKER dumps a HUNDRED KILOS
from the pipe onto the ground.
CLOSE - ON CARLOS LEHDER, smiling...
MURPHY (V.O.)
They let us have sixty, so they could
bring in six hundred.
CUT TO:
A WHITE LAB RAT
scurrying at a frantic pace past CAMERA.
MURPHY (V.O.)
Pablo's coke flooded in.
Ratings
Scene 42 - The Cost of Violence
CAMERA TRACKS the RAT as it races through the alley.
MURPHY (V.O.)
It didn't take long for Miami to get
addicted. And I mean that.
The RAT stops. Nose wriggling.
LOW ANGLE - A STREET CORNER DRUG DEAL
A handoff between dealer and client.
NARCOS Ep. 101 "Descenso" 5/13/14 37.
MURPHY (V.O.) (CONT'D)
It was like the whole city was running
around to get this shit. And with
the money, came the violence.
The RAT charges past--
A FOOT, as we TILT UP to reveal Murphy.
MURPHY (V.O.) (CONT'D)
The surfers had been replaced by
Colombians. And these guys didn't
wear flip-flops.
HIS P.O.V. - TWO COLOMBIANS
Armed with Mac-10s. Their guns spit fire--
MURPHY AND KEVIN
dive for cover. They peek from behind a dumpster. One
Colombian flees. Murphy sees the other Colombian running
behind a car from left to right.
MURPHY FIRES THROUGH THE CAR. No one comes out from the
other side.
MURPHY (V.O.) (CONT'D)
The Miami Coroner said Colombians
were like Dixie Cups. Use `em once,
then throw `em away.
MURPHY AND KEVIN
advance on the sprawled body behind the car. Kevin kneels
beside the dead shooter, turns back to Murphy.
KEVIN
Dude, he's just a kid.
The dead COLOMBIAN is about seventeen.
TIGHT - ON MURPHY
Stunned. And upset.
MURPHY (V.O.)
That was the first person I ever
shot. A teenager not old enough to
buy a six-pack.
CUT TO:
NARCOS Ep. 101 "Descenso" 5/13/14 38.
EXT. MIAMI STREET/ALLEY - LATER
PARAMEDICS load the Colombian teen's corpse onto a
refrigerated truck. Murphy stands nearby.
MURPHY (V.O.)
The Dade County morgue couldn't fit
all the bodies from the drug war.
They had to rent a refrigerated truck
from a local company to hold all the
extra corpses.
PULLING BACK to see the logo: "BURGER KING."
CUT TO:
Ratings
Scene 43 - Aftermath of Chaos
Murphy swings open the door. He's exhausted, crestfallen,
and strangely guilty. Connie rises from the couch.
CONNIE
It was self-defense.
MURPHY
How'd you know?
CONNIE
Kevin called. He's worried about
you.
MURPHY
The kid was seventeen.
CONNIE
He sells drugs, right?
MURPHY
Yeah.
CONNIE
Then fuck him.
MURPHY
What?
CONNIE
Do you know what's going on here?
This city's upside down.
NARCOS Ep. 101 "Descenso" 5/13/14 39.
Murphy looks at her in surprise. It's only now he realizes
her mascara's streaked.
CUT TO:
A GURNEY
Rolls past with an unconscious PREGNANT WOMAN. She's one of
the Colombian girls we saw with Lion.
CONNIE (O.S.)
I was about to finish my shift when
we got hit with lights and sirens.
Ratings
Scene 44 - Desperate Measures
Connie quickly evaluates the unconscious GIRL.
CONNIE (O.S.)
Paramedics said she collapsed after
she got off her flight. By the time
she got to us, she was barely
breathing.
Everything in this sequence is frantic--
CONNIE (CONT'D)
Tachycardia! We need an EKG, stat!
Connie coils a blood pressure cuff on her arm at lightning
speed. NURSE #2 clips on a pulse oximeter.
CONNIE (O.S.) (CONT'D)
Dilated pupils, rapid pulse. I knew
she'd overdosed on cocaine.
Connie and NURSE #2 put the GIRL on her left side.
CONNIE (CONT'D)
180cc of benzodiazepine! She's going
into arrest!
CONNIE (O.S.) (CONT'D)
But she had no residue on her
nostrils, no injection marks.
The girl's convulsing. Connie grabs the defibrillators and
administers three high-voltage shocks.
CONNIE (O.S.) (CONT'D)
We did everything we could. She
died in the ER.
NARCOS Ep. 101 "Descenso" 5/13/14 40.
CONNIE (CONT'D)
(checking clock)
TOD, eleven hundred and twenty-two
minutes.
Connie puts a stethoscope to the girl's abdomen.
CONNIE (CONT'D)
The baby's still alive. I need a
surgeon for an emergency C-section!
Get a prenatal unit down here now!
Ratings
Scene 45 - Tragic Consequences
Murphy stares at Connie, shocked.
MURPHY
What happened?
CONNIE
The baby died in my hands.
MURPHY
I'm sorry.
CLOSE - ON THE X-RAY
It's the pregnant woman, post-mortem. We SEE her ribs, spine,
and fifty-five condoms of coke on the X-ray.
CONNIE (O.S.)
She was body-packing eleven ounces
of cocaine. Two of the pellets split
open.
INT. MIAMI GENERAL - HALLWAY - DAY
Connie, splattered with blood, stands numbly in front of a
light board, looking at the X-ray.
CONNIE (O.S.)
Twelve grams in her bloodstream.
INT. MURPHY'S APARTMENT - MIAMI - NIGHT
WIDER, ON CONNIE and MURPHY
CONNIE
No one survives that.
CUT TO:
NARCOS Ep. 101 "Descenso" 5/13/14 41.
Ratings
Scene 46 - Tensions at Hacienda Napoles
A HIPPOPOTAMUS wanders through FRAME. One of the many animals
who roam the luxurious grounds of Napoles. Gustavo stands
out in the yard with Cockroach. He indicates Cockroach's
gold-plated Mercedes.
GUSTAVO
You're ten times richer than you
ever thought you could be.
COCKROACH
I just want my fair cut. If it wasn't
for me, you two would still be
smuggling cigarettes.
Gustavo goes stone-cold serious.
GUSTAVO
Let me give you a piece of advice.
Don't talk like this to Pablo. He's
not as forgiving as I am.
CUT TO:
OVERHEAD SHOT
Thirty TRUCKS behind the jeep, passing through FRAME (same
as earlier shot in the script).
MURPHY (V.O.)
Cockroach should have listened to
Gustavo. Instead, he found another
way to get his fair share.
OVER THE SHOULDER: A COP
A police checkpoint. The LEAD TRUCK pulls to a stop. The
DRIVER rolls down his window to find Colonel Herrera and a
group of other DAS Agents, seen earlier.
HERRERA
What's in those spare tires?
CUT TO:
Ratings
Scene 47 - Confrontation at the Police Headquarters
GUSTAVO hangs up the phone and approaches PABLO, who watches
a soccer game on television.
NARCOS Ep. 101 "Descenso" 5/13/14 42.
GUSTAVO
390 kilos. We lost it.
PABLO
What do you mean we lost it?
GUSTAVO
What I said. We lost it.
PABLO
It just disappeared? Into thin air?
GUSTAVO
Don't bust my balls. Cops must've
followed them from Ipsalia.
PABLO
We've paid every cop from here to
Ipsalia. How'd we lose a load?
GUSTAVO
Somewhere in Colombia there exists
an honest cop.
PABLO
How much is he asking for?
GUSTAVO
Too much.
PABLO
I'm going down there.
Gustavo knows Pablo too well.
GUSTAVO
Why risk it? It's only 390 keys.
CUT TO:
INT. POLICE HEADQUARTERS - MEDELLÍN - DAY
Pablo strolls in to find Colonel Herrera and Nacho Ibarra.
PABLO
What's going on?
HERRERA
We need to renegotiate.
PABLO
Fuck you.
NARCOS Ep. 101 "Descenso" 5/13/14 43.
Ratings
Scene 48 - The Infamous Mugshot
Now handcuffed, Pablo stands with an ID placard with the day
and date of his arrest.
TWO SHOT - HERRERA AND IBARRA
Through the one-way glass, they watch a photographer preparing
to take the mugshot of Pablo.
IBARRA
Are you sure about this? He hasn't
said a word since you arrested him.
HERRERA
We're DAS. What's he gonna do about
it?
CUT TO:
OVER THE SHOULDER: THE POLICE PHOTOGRAPHER
Pablo smiles for the camera. CLICK.
MATCH CUT TO:
PABLO'S MUGSHOT (ARCHIVAL FOOTAGE)
The famous one. Inmate Number: 128482
MURPHY (V.O.)
Pablo didn't know it then, but this
mugshot was gonna cause him a lotta
grief down the line.
CUT TO:
Ratings
Scene 49 - Betrayal in the Interrogation Room
Pablo sits calmly at a table. Herrera enters with Ibarra.
HERRERA
We count over three hundred kilos on
those trucks. That's a street value
of over four million in American
currency. But you only pay us a
hundred fifty thousand.
PABLO
That's what we agreed on.
NARCOS Ep. 101 "Descenso" 5/13/14 44.
HERRERA
(enjoying this)
I make deals for a living. You can
accept my deal or accept the
consequences for not taking it. Now
why don't we renegotiate a bit and
we can all leave happy.
Pablo mulls this, then--
PABLO
I'll give you a million dollars,
U.S., on one condition.
HERRERA
What's that?
PABLO
Somebody in my organization told you
the street price of my cocaine.
Otherwise how would you know? Tell
me who it is and you won't have to
split the money with him.
CUT TO:
Ratings
Scene 50 - Betrayal at the Port
A PLUMBING VAN drives past the cargo crates.
MURPHY (V.O.)
It turns out Cockroach was a real
cockroach. Not only did he sell
Pablo to the authorities, he was
stealing from him all along and
selling coke in Miami, too.
The VAN pulls up to a MERCEDES. GERMAN ZAPATA, 40s, sleek
as a greyhound, gets out. He's accompanied by TWO BODYGUARDS.
MURPHY (V.O.) (CONT'D)
Cockroach's dealer was German Zapata,
a Colombian with a plumbing business
that served as a front for his cocaine
operation. He had twelve hundred
keys in the van. And guess who was
buying the load?
THE MERCEDES DOORS OPEN
Murphy and Kevin get out, wearing guayabera shirts.
NARCOS Ep. 101 "Descenso" 5/13/14 45.
ZAPATA
Gentlemen.
MURPHY
Mr. Zapata. A pleasure.
Kevin walks to the back of the Mercedes and opens--
THE TRUNK
It's packed with two duffel bags of CASH.
MURPHY, KEVIN AND ZAPATA
walk to the back of the plumbing van.
MURPHY (V.O.) (CONT'D)
The plan was to trade vehicles and
Zapata would be arrested once he
left the Port.
Zapata opens the back to reveal--
A HUGE AMOUNT OF COCAINE
MURPHY (V.O.) (CONT'D)
Twelve hundred kilos - that would
get us on the cover of the Miami
Herald.
Murphy exchanges car keys with Zapata.
MURPHY (V.O.) (CONT'D)
Everything was going perfect, except
that Pablo was onto Cockroach.
Ratings
Scene 51 - The Surrender at the Port
CAMERA FOLLOWS over the shoulder of two ASSASSINS on a
Kawasaki, heading into the long term parking. On the back
of the cycle is--
LA QUICA, a hitman who works for Pablo.
He pulls out his Mac-10 and fires.
BOOM! - ZAPATA AND KEVIN
drop like stones.
ZAPATA'S BODYGUARD
NARCOS Ep. 101 "Descenso" 5/13/14 46.
returns fire.
The DRIVER gets blown off the cycle. It spins out on the
concrete pavement.
LA QUICA
scrambles to his feet, raising his Mac-10.
MURPHY
steps forward, about to fire--
LA QUICA
drops his Mac-10 and raises his hands.
LA QUICA
(accented)
I give up! Arrest me.
Hands high, he drops to his knees.
MURPHY
lowers his weapon as--
A SWARM OF DEA AGENTS
arrive to arrest La Quica.
CLOSE - ON KEVIN
Dead from a bullet wound to the skull.
CUT TO:
AN AMERICAN FLAG
Flapping in the wind above the Miami-Dade Courthouse.
MURPHY (V.O.)
I got to the courthouse early on the
day of La Quica's trial.
Ratings
Scene 52 - Justice on Shaky Ground
Murphy climbs the steps to enter the courthouse.
MURPHY (V.O.)
My testimony was gonna put that
bastard on death row.
NARCOS Ep. 101 "Descenso" 5/13/14 47.
He's buttonholed by a U.S. PROSECUTOR.
MURPHY (V.O.) (CONT'D)
The U.S. District Attorney caught me
on the courthouse steps, said La
Quica met his bail of two million
dollars, paid by a wire transfer
from-- well, why don't you take a
guess?
CUT TO:
BOARDING GATE - "MEDELLÍN, COLOMBIA"
Ratings
Scene 53 - Reflections on Violence and Indifference
La Quica walks onto a plane.
MURPHY (V.O.)
La Quica boarded and was back in
Medellín by midnight.
INT. MURPHY'S APARTMENT - BEDROOM - MIAMI - NIGHT
Connie sleeps in Murphy's arms. He stares at the ceiling.
MURPHY (V.O.)
From `79 through `84, there were
3245 murders in Miami.
MONTAGE: MIAMI AND MEDELLÍN (ARCHIVAL FOOTAGE)
This sequence will be built from archival footage: Murders,
mayhem, boat-lifts and coke seizures.
MURPHY (V.O.) (CONT'D)
But outside of the Florida Tourist
Bureau and the cops, no one much
cared about that.
Ratings
Scene 54 - Businessmen's Dilemma: The Narco-Economy Threat
Establishing.
MURPHY (V.O.)
What got the U.S. government to take
notice was the money. Billions of
dollars a year, all of it flowing
from the U.S. to Colombia. And that,
America could not take.
NARCOS Ep. 101 "Descenso" 5/13/14 48.
INT. OVAL OFFICE ANTEROOM - DAY
FOUR BUSINESSMEN are seated on a couch.
MURPHY (V.O.)
See these guys? That's Gerald Ottman
from General Electric. Jack Rogers
from Miami National Bank. Paul
Griggs, Goldman Sachs. And Bill
Taub from the City Workers Pension
Fund. They were terrified the narco-
economy would sink the real economy
of Miami.
A SECRETARY enters the room.
SECRETARY
The President will see you now.
MURPHY (V.O.)
Or maybe they were pissed off they
weren't getting a cut.
Inside the Oval Office, a Reaganesque figure can be seen
sitting behind his desk (not identifiable).
Ratings
Scene 55 - A Meeting of Influence
The Businessmen enter. The President stands and shakes hands
with his guests.
BUSINESS
Mr. President. Thank you for having
us.
MURPHY (V.O.)
Whatever it was, the businessmen
came at just the right time. The
Berlin Wall was about to fall. The
Soviet Union was dissolving. It was
time for America to suit up against
a new enemy.
Ratings
Scene 56 - A Stark Message: The Reagans on Drugs
RONALD and NANCY REAGAN sit on the couch.
RONALD REAGAN
Tonight, from our family to yours,
from our home to yours.
CLOSE - ON RONALD REAGAN
NARCOS Ep. 101 "Descenso" 5/13/14 49.
RONALD REAGAN (CONT'D)
Drugs are menacing our society.
They're threatening our values and
undercutting our institutions.
(then)
They're killing our children.
MURPHY (V.O.)
It was classic Reagan. Folksy,
direct, and tough. He vowed to go
after drugs at the source. But it
was Nancy who stole the show.
CLOSE - ON NANCY REAGAN
NANCY REAGAN
So to my young friends out there,
life can be great. But not when you
can't see it. So open your eyes to
life, to see it in the vivid colors
that God gave us as a precious gift
to His children. Say yes to your
life. And when it comes to drugs
and alcohol, just say no.
CUT TO:
TIGHT - ON COCKROACH: BEATEN AND BLOODY
COCKROACH
No, no, no!!!
A BULLET blasts him in the forehead.
Ratings
Scene 57 - Survival in Chaos
Cockroach topples to the ground.
MURPHY (V.O.)
They say when a nuclear holocaust
comes, only the cockroaches will
survive.
CAMERA SWIVELS to find Pablo. Gun outstretched.
MURPHY (V.O.) (CONT'D)
I guess they were wrong.
Pablo turns to Poison.
PABLO
Clean this up.
NARCOS Ep. 101 "Descenso" 5/13/14 50.
Ratings
Scene 58 - Echoes of Violence
Misty night.
MURPHY (V.O.)
Over his career, Pablo would kill
over a thousand cops. But I wouldn't
learn that till later.
WIDE SHOT - COLONEL HERRERA AND NACHO IBARRA
The DAS Agents lie sprawled on the ground. They've been
tortured and shot in the head.
CUT TO:
PEOPLE CROSS THROUGH FRAME
Revealing airport departing gates.
MURPHY (V.O.) (CONT'D)
My dad volunteered to fight in World
War II because of Pearl Harbor.
Ratings
Scene 59 - Departure of Duty
The international departure terminal.
MURPHY (V.O.)
But you think he knew anybody in
Hawaii? No way.
WIDE SHOT
Two tiny figures walk toward CAMERA.
MURPHY (V.O.) (CONT'D)
He was a West Virginia farmboy. But
these fuckers stepped on our soil.
The figures get closer.
MURPHY (V.O.) (CONT'D)
So he laced up his Army boots and
went to fight. It was his duty.
It's Murphy and Connie, walking into a TWO SHOT.
MURPHY (V.O.) (CONT'D)
Cocaine in Miami? Powder from
Colombia? This was my war.
NARCOS Ep. 101 "Descenso" 5/13/14 51.
REVERSING, OVER SHOULDER as they board a plane. TILT UP to
see the departure sign: "Bogota, Colombia."
EXT. MIAMI INTERNATIONAL AIRPORT - DAY
The PLANE races down the runway.
MURPHY (V.O.)
This was my duty. And I was ready
to fight.
The airplane lifts off into the sky.
Ratings
Scene 60 - Vengeance Unleashed
La Quica reports to Pablo.
PABLO
They killed Poison? Where?
LA QUICA
La Dispensaria.
PABLO
Who did it?
LA QUICA
I think it was Carillo. He got there
early the next day. But that DEA
guy was there taking pictures.
Pablo smolders for a beat.
PABLO
Raise the bounty.
LA QUICA
On Carillo?
PABLO
No. I'll pay half a million for the
head of a DEA agent.
(then)
Fucking gringos.
Off Pablo--
FADE OUT.
(TO BE CONTINUED)
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
murphy | Murphy's character arc follows his journey from a dedicated and determined DEA agent, driven by a strong sense of justice, to a conflicted individual grappling with the moral implications of his actions in the drug war. Initially, he approaches his work with a sense of urgency and authority, focused on taking down criminals and making a difference. However, as the story progresses, he encounters increasingly violent and tragic events that challenge his beliefs and sense of duty. The turning point occurs when he faces the consequences of his actions, particularly after the death of a pregnant woman, leading him to question the effectiveness of his methods and the true cost of the drug trade. By the end of the feature, Murphy emerges as a more reflective and introspective character, still committed to his mission but now burdened by the weight of his experiences and the moral dilemmas he faces. | Murphy's character arc is compelling and rich with potential, but it could benefit from more explicit moments of transformation and self-discovery. While his internal struggles are evident, the screenplay could further explore the catalysts that lead to his change in perspective. Additionally, the balance between his humorous side and his darker experiences could be better integrated to create a more nuanced portrayal. The arc may feel somewhat linear, and incorporating more dynamic interactions with other characters could enhance his development and provide contrasting viewpoints that challenge his beliefs. | To improve Murphy's character arc, consider introducing key relationships that serve as mirrors or foils to his character, allowing for deeper exploration of his moral dilemmas. For instance, a mentor figure who embodies a more idealistic approach to law enforcement could challenge Murphy's cynicism, prompting him to reevaluate his methods. Additionally, incorporating flashbacks or moments of reflection that reveal his past motivations and experiences could add depth to his internal conflict. Finally, creating pivotal scenes where Murphy must make difficult choices that directly impact his personal life and relationships would heighten the stakes and emphasize the emotional weight of his journey. |
operator #1 | Throughout the screenplay, Operator #1 undergoes a significant transformation. Initially, he is portrayed as a rigid and solitary figure, deeply entrenched in his technical role and resistant to collaboration. As the narrative progresses, he faces challenges that force him to confront the limitations of his approach. A pivotal moment occurs when he must rely on the insights of a less experienced team member, leading him to recognize the value of teamwork and adaptability. By the climax, Operator #1 evolves into a more open-minded leader, embracing collaboration and understanding that success in surveillance operations requires not just technical skill but also interpersonal connections. This growth culminates in a decisive moment where he effectively integrates his team's diverse strengths to achieve a critical objective. | While Operator #1's character arc is compelling, it risks being overshadowed by the technical aspects of the screenplay. His initial rigidity and eventual growth are well-defined, but the emotional depth of his transformation could be further explored. The screenplay may benefit from additional scenes that delve into his backstory, revealing the motivations behind his no-nonsense attitude and the personal stakes involved in his work. This would create a more relatable character and enhance audience investment in his journey. | To improve Operator #1's character arc, consider incorporating flashbacks or dialogue that reveals his past experiences, particularly those that shaped his current mindset. Introducing a personal conflict or a relationship that challenges his views on teamwork could add emotional weight to his transformation. Additionally, moments of vulnerability or doubt could humanize him, making his eventual acceptance of collaboration more impactful. Finally, ensure that his growth is reflected in the dynamics of the team, showcasing how his leadership style evolves and positively influences those around him. |
operator #2 | Throughout the feature, OPERATOR #2 evolves from a supportive background figure to a key decision-maker in the operation. Initially, he is primarily focused on providing updates and coordinating with OPERATOR #1, but as the mission progresses and challenges arise, he begins to take more initiative. He faces a critical moment where he must step up and make a decisive call that impacts the outcome of the operation. This moment of growth not only showcases his strategic thinking but also highlights his ability to lead under pressure, ultimately transforming him into a more assertive and confident operator by the end of the feature. | While OPERATOR #2's calm demeanor and supportive nature are well-established, his character arc could benefit from deeper emotional exploration. The transition from a background operator to a decisive leader feels somewhat abrupt and lacks sufficient buildup. Additionally, the screenplay could further explore his motivations and personal stakes in the mission, which would add depth to his character and make his evolution more impactful. | To improve OPERATOR #2's character arc, consider incorporating flashbacks or dialogue that reveal his past experiences and motivations for being involved in surveillance operations. This could help the audience understand his initial hesitance to take charge and provide a more compelling reason for his eventual transformation. Additionally, introducing a mentor-mentee relationship with OPERATOR #1 could create a dynamic that allows for more organic growth, as OPERATOR #2 learns to balance support with leadership. Finally, including a moment of personal conflict or doubt during the mission could heighten the stakes and make his eventual decision to lead more resonant. |
poison | Throughout the screenplay, Poison begins as a dominant figure in the narco world, feared and respected by many. However, as the story progresses, he faces increasing challenges from rival factions and law enforcement, forcing him to confront the consequences of his ruthless actions. This leads to a gradual unraveling of his control, as he becomes more desperate and erratic in his decision-making. Ultimately, Poison's arc culminates in a moment of reckoning where he must choose between maintaining his power through violence or seeking redemption by protecting those he has wronged. This choice marks a significant transformation, as he grapples with the legacy of his past and the possibility of a different future. | While Poison's character is compelling and multifaceted, his arc may feel somewhat predictable, following a classic rise-and-fall narrative. The transition from a powerful narco to a desperate figure could benefit from deeper emotional exploration. The motivations behind his ruthless behavior and the internal conflicts he faces could be more pronounced, allowing the audience to empathize with him despite his villainous actions. Additionally, the resolution of his arc may come across as rushed if not adequately developed throughout the screenplay. | To enhance Poison's character arc, consider incorporating flashbacks that reveal his past and the events that shaped his ruthless nature. This could provide context for his actions and create a more nuanced portrayal. Additionally, introducing a personal relationship or a moral dilemma that challenges his worldview could add depth to his character. Allowing moments of vulnerability or doubt could make his eventual choice between power and redemption more impactful. Finally, ensure that the pacing of his transformation is gradual, with clear stakes and consequences that resonate throughout the narrative. |
connie | Connie's character arc begins with her as a supportive and nurturing wife, providing a calming influence on Murphy as he grapples with the challenges of his job. As the story progresses, she faces her own emotional turmoil stemming from the tragedies she witnesses in her medical career. This leads her to become more assertive and outspoken about the realities of their lives, challenging Murphy's idealism and pushing him to confront his own fears and insecurities. By the climax, Connie emerges as a strong-willed and pragmatic figure, advocating for both her own needs and those of her patients. In the resolution, she finds a balance between her professional responsibilities and her personal life, ultimately reinforcing her bond with Murphy and showcasing her growth as a character. | While Connie's character is well-developed and serves as a strong counterpoint to Murphy, her arc could benefit from deeper exploration of her internal struggles. The screenplay presents her as a supportive figure, but it may risk reducing her complexity if her own challenges and growth are not fully addressed. Additionally, her transition from a nurturing presence to a more assertive character could be more gradual, allowing the audience to witness her evolution in a more nuanced way. | To improve Connie's character arc, consider incorporating more scenes that delve into her personal struggles and the emotional toll of her profession. This could include flashbacks to pivotal moments in her nursing career or interactions with patients that haunt her. Additionally, allow her to have moments of vulnerability where she expresses her fears and desires, making her more relatable. Gradually build her assertiveness through small victories in her professional life, leading to a climactic moment where she stands up for herself and her beliefs. This will create a more satisfying and believable character journey, enhancing her role in the narrative. |
steve murphy | Throughout the screenplay, Steve Murphy's character arc follows his journey from a rigid, justice-driven agent to a more nuanced individual who recognizes the complexities of morality in his line of work. Initially, he is portrayed as a man who believes in clear-cut right and wrong, but as he encounters the harsh realities of drug trafficking and its impact on families, including his own, he begins to question his black-and-white worldview. By the end of the feature, Steve learns to balance his commitment to justice with a deeper understanding of the human condition, ultimately becoming a more empathetic figure who seeks to make a difference not just through enforcement but also through understanding and compassion. | While Steve Murphy's character arc is compelling, it risks becoming predictable if not handled with care. The transition from a rigid moral stance to a more nuanced understanding of justice can feel clichéd if not supported by significant character development and external challenges. Additionally, the screenplay should ensure that his internal conflicts are adequately explored, as this will enhance the emotional depth of his character. | To improve Steve Murphy's character arc, consider introducing more complex relationships with other characters that challenge his beliefs and force him to confront his moral dilemmas. Incorporating moments of vulnerability, such as personal sacrifices or failures, can deepen his character and make his transformation more impactful. Additionally, weaving in subplots that highlight the consequences of his actions on his family and the communities he serves can provide a richer context for his evolution. Finally, ensure that his introspection is balanced with action, allowing the audience to see how his changing perspective influences his decisions in high-stakes situations. |
cockroach | Cockroach begins as a desperate and cunning drug dealer, willing to take risks to survive and protect his interests. As the story progresses, he becomes more ambitious, seeking to expand his operations and assert his authority within the drug trade. His journey is marked by a series of calculated decisions that reflect his resourcefulness and opportunism. However, his ambition blinds him to the dangers of his environment, leading to a confrontation with those in power. Ultimately, Cockroach's arc concludes with his brutal demise, serving as a cautionary tale about the perils of betrayal and the ruthless nature of the drug trade. | While Cockroach's character arc effectively illustrates the rise and fall of a drug dealer, it may benefit from deeper emotional exploration. His motivations, fears, and vulnerabilities could be more fleshed out to create a more relatable and complex character. The transition from a cunning opportunist to a fearful subordinate feels abrupt, and the audience may struggle to connect with his ultimate fate without a clearer understanding of his internal struggles. | To improve Cockroach's character arc, consider incorporating flashbacks or moments of introspection that reveal his backstory and the events that shaped his ambition and cunning nature. This could help the audience empathize with his plight and understand the stakes involved in his decisions. Additionally, introducing a mentor or a significant relationship that influences his choices could add depth to his character. Finally, allowing for a moment of redemption or a choice that reflects his internal conflict before his demise could create a more impactful and resonant conclusion to his arc. |
pablo escobar | Pablo Escobar's character arc follows his rise from a determined and ambitious drug lord to a powerful figure in the criminal underworld, marked by strategic expansion and ruthless tactics. As he gains influence and wealth, he becomes increasingly isolated, facing challenges from law enforcement and rival factions. His initial confidence begins to wane as the consequences of his violent actions catch up with him, leading to moments of introspection and vulnerability. Ultimately, his relentless pursuit of power leads to his downfall, as he grapples with the internal turmoil of his choices and the impact on his family and associates. The arc culminates in a tragic realization of the cost of his ambition, leaving him to confront the emptiness of his achievements. | While Pablo Escobar's character arc effectively captures the rise and fall of a criminal mastermind, it risks becoming one-dimensional if not balanced with deeper emotional exploration. The portrayal of his vulnerability is a strong point, but it could be further developed to create a more nuanced character. The screenplay should ensure that his motivations are clear and relatable, allowing the audience to empathize with his struggles, even as they condemn his actions. Additionally, the transition from a confident leader to a more introspective figure could benefit from more gradual development, showcasing the internal conflicts that lead to his eventual downfall. | To improve Pablo Escobar's character arc, consider incorporating more scenes that highlight his relationships with family and associates, showcasing how his ambition affects those around him. This could create a more profound emotional impact and provide insight into his motivations. Additionally, introducing moments of doubt or moral conflict earlier in the screenplay could help establish a more gradual decline in his confidence, making his eventual downfall feel more earned. Finally, exploring the consequences of his actions on a personal level, such as the impact on his family dynamics, could add depth to his character and enhance the audience's emotional engagement. |
gustavo | Throughout the screenplay, Gustavo's character arc evolves from a loyal and supportive cousin to a more conflicted individual grappling with the moral implications of their criminal activities. Initially, he is fully committed to Pablo's vision, providing logistical support and strategic insights. However, as the consequences of their actions become increasingly severe, Gustavo begins to question the sustainability of their operations and the impact on their community and environment. This internal conflict culminates in a pivotal moment where he must choose between his loyalty to Pablo and his growing awareness of the harm they are causing. Ultimately, Gustavo's arc concludes with him taking a stand against Pablo, advocating for a more cautious and responsible approach, which leads to a rift in their relationship but allows him to reclaim his sense of morality. | Gustavo's character arc is compelling as it introduces a moral conflict that adds depth to his character. However, the transition from unwavering loyalty to conflict could benefit from more gradual development. The screenplay may risk portraying Gustavo as too passive in the early stages, which could undermine the impact of his eventual transformation. Additionally, the stakes of his internal struggle could be heightened to create a more dramatic tension between his loyalty to Pablo and his ethical concerns. | To improve Gustavo's character arc, consider incorporating earlier moments that hint at his internal conflict, such as subtle disagreements with Pablo or witnessing the negative consequences of their actions on innocent people. This would create a more nuanced portrayal of his loyalty and set the stage for his eventual moral awakening. Additionally, introducing a subplot that highlights Gustavo's personal life or relationships outside of his partnership with Pablo could provide further context for his internal struggle and make his eventual decision more impactful. Finally, ensure that the climax of his arc is emotionally charged, perhaps by placing him in a situation where he must directly confront Pablo about the consequences of their actions, thereby solidifying his transformation. |
kevin | Throughout the screenplay, Kevin undergoes a significant character arc. Initially, he is portrayed as a carefree prankster who uses humor to cope with the harsh realities of his job. As the story progresses, he is confronted with the human cost of the drug war, which challenges his light-hearted approach. This leads to moments of introspection where he grapples with the moral implications of their actions. By the climax, Kevin transforms from a mere comic relief character into a more grounded individual who recognizes the weight of their responsibilities. He becomes a crucial support for Murphy, helping him navigate the emotional turmoil of their mission. In the resolution, Kevin emerges as a more mature and empathetic agent, having learned to balance his humor with a deeper understanding of the consequences of their work. | While Kevin's character arc is engaging, it risks being overshadowed by Murphy's more intense storyline. His transformation from a light-hearted prankster to a more serious character could benefit from clearer moments of conflict and growth. Additionally, the balance between his comedic elements and the darker themes of the screenplay may feel uneven at times, potentially undermining the emotional weight of his journey. | To improve Kevin's character arc, consider incorporating more pivotal moments that force him to confront the realities of the drug war earlier in the story. This could include a personal loss or a close call that directly impacts him, prompting a shift in his perspective. Additionally, weaving in more scenes that highlight his internal struggle between humor and the gravity of their work could create a more nuanced portrayal. Finally, ensuring that his growth is paralleled with Murphy's journey will help solidify his role as an essential character rather than just comic relief. |
pablo |
|
Pablo's character arc presents a compelling journey of ambition and power, but it risks becoming one-dimensional if he remains solely focused on profit and control. The internal conflict could be more pronounced, allowing for deeper exploration of his motivations and the impact of his choices on his relationships and moral compass. | To improve Pablo's character arc, consider introducing a personal relationship or a mentor figure that challenges his worldview and forces him to confront the consequences of his actions. This could create a more nuanced internal struggle, allowing for moments of vulnerability and growth. Additionally, incorporating flashbacks or moments of reflection could provide insight into his past, enriching his character and making his eventual choices more impactful. |
lion | Lion begins as a confident and ambitious smuggler, driven solely by profit and success. As the story progresses, he faces increasing challenges that force him to confront the moral implications of his actions, particularly in relation to the vulnerable individuals he exploits. This internal conflict leads him to question his values and the cost of his ambition. By the climax, Lion must make a pivotal choice between continuing his ruthless ways or seeking redemption by protecting those he once exploited. The resolution sees him either embracing a new path of integrity or doubling down on his criminal lifestyle, ultimately shaping his character's future. | While Lion's character arc presents a compelling journey from ambition to potential redemption, it risks falling into predictable tropes of the anti-hero. His initial portrayal as a ruthless smuggler may alienate some audiences if not balanced with moments of vulnerability or relatability. Additionally, the transition from a purely profit-driven mindset to a more morally complex character could benefit from clearer motivations and emotional stakes. | To improve Lion's character arc, consider incorporating flashbacks or moments that reveal his backstory, showcasing experiences that shaped his current worldview. This could create empathy and understanding for his choices. Additionally, introduce a secondary character who challenges Lion's beliefs and serves as a moral compass, pushing him towards introspection. Finally, ensure that his ultimate choice at the climax is not only impactful but also reflects a genuine transformation, allowing for a more nuanced resolution that resonates with the audience. |
lehder | Lehder begins as a powerful and feared figure in the drug trade, reveling in his control and influence. As the story progresses, he faces increasing challenges that force him to confront the consequences of his actions and the impact of his ruthless behavior on those around him. This journey leads him to a moment of reckoning where he must choose between continuing down a path of destruction or seeking redemption. Ultimately, Lehder's arc culminates in a transformation where he grapples with his identity and the legacy he wishes to leave behind, leading to a climactic decision that could either solidify his power or dismantle it entirely. | While Lehder's character is compelling and multifaceted, his arc may benefit from clearer motivations and emotional stakes. The transition from a ruthless drug lord to a figure seeking redemption can feel abrupt without sufficient buildup. Additionally, the internal conflict should be more pronounced to enhance audience engagement and empathy. As it stands, Lehder's character risks becoming a stereotype of the 'bad guy' without deeper exploration of his vulnerabilities and moral dilemmas. | To improve Lehder's character arc, consider incorporating flashbacks or moments of vulnerability that reveal his past and the reasons behind his choices. This could help humanize him and provide context for his cynicism and ruthlessness. Additionally, introducing a personal relationship or a pivotal event that challenges his worldview could create a more relatable and emotionally resonant journey. Finally, ensure that his transformation is gradual, allowing the audience to witness his internal struggle and the consequences of his decisions, ultimately leading to a more satisfying and believable resolution. |
carlos lehder | Carlos Lehder begins as a charismatic and confident drug trafficker, reveling in his playboy lifestyle and the power he wields in the drug trade. As the story progresses, he faces increasing challenges from law enforcement and rival traffickers, forcing him to confront the consequences of his actions. His initial charm and bravado begin to erode as he experiences betrayal and loss, leading to a moment of introspection where he questions his choices and the cost of his ambition. Ultimately, Lehder's arc culminates in a tragic realization of the emptiness of his pursuits, resulting in a fall from grace that leaves him isolated and vulnerable, reflecting the destructive nature of his lifestyle. | While Carlos Lehder's character is compelling and multifaceted, his arc could benefit from deeper emotional exploration. The transition from a confident trafficker to a more introspective figure feels somewhat abrupt and could be better developed to enhance audience connection. Additionally, the motivations behind his charm and ruthlessness could be more clearly defined to provide a stronger foundation for his character's evolution. | To improve Carlos Lehder's character arc, consider incorporating flashbacks or moments of vulnerability that reveal his backstory and the formative experiences that shaped his personality. This could help the audience understand his motivations and the internal conflicts he faces. Additionally, introducing a significant relationship or mentor figure could provide a contrasting perspective that challenges his worldview, allowing for a more gradual and impactful transformation. Finally, ensuring that his downfall is not only a result of external pressures but also a consequence of his internal struggles would create a more nuanced and relatable character journey. |
la quica | Throughout the screenplay, La Quica's character arc evolves from a ruthless enforcer who blindly follows orders to a more complex figure who grapples with the consequences of his violent lifestyle. Initially, he is depicted as a loyal hitman, quick to resort to violence without question. However, as the story progresses and he faces overwhelming force and the fallout of his actions, he begins to question his loyalty to Escobar and the morality of his choices. This internal conflict leads him to moments of vulnerability, ultimately culminating in a decision that could either solidify his loyalty or lead him to seek redemption. | While La Quica's character is compelling as a ruthless hitman, his arc could benefit from deeper exploration of his internal struggles and motivations. The transition from a one-dimensional enforcer to a more nuanced character is present but could be fleshed out further. The screenplay risks falling into the trap of portraying him solely as a villain without giving the audience insight into his personal conflicts or the reasons behind his loyalty to Escobar. | To improve La Quica's character arc, consider incorporating flashbacks or moments of reflection that reveal his past and the experiences that shaped him into the man he is. This could include glimpses of his life before becoming a hitman, relationships that have influenced him, or moments of doubt that challenge his loyalty to Escobar. Additionally, introducing a pivotal event that forces him to confront the consequences of his actions could provide a more dramatic turning point in his arc, allowing for a more profound transformation and a potential path toward redemption. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
High Overall Grade Correlation with Tone and Emotional Impact | Scenes with high overall grades (8-9) consistently feature intense, suspenseful, dark, or tense tones. These high-grade scenes also tend to have high emotional impact scores (8-9), suggesting a strong connection between the chosen tone, the emotional response elicited, and the overall perceived quality of the scene. This indicates a skillful use of tone to create compelling emotional experiences for the reader. |
Dialogue's Impact on Overall Grade | While many high-scoring scenes have strong emotional impact, there's a noticeable variation in dialogue scores. Some high-scoring scenes achieve this success despite having relatively lower dialogue scores (6-7). This suggests the strength of other elements (plot, concept, character work, emotional impact, or conflict) can compensate for less impactful dialogue, highlighting the importance of balancing the various aspects of scene writing. Consider if dialogue could be improved in high-scoring scenes with lower dialogue scores. |
Character Development and High-Stakes Scenes | Scenes with lower 'Character Changes' scores tend to also have lower 'High Stakes' scores, especially scene 17. This suggests that moments of significant character development often coincide with moments of higher stakes. Consider whether intentionally increasing the stakes in scenes aiming for significant character arc could be beneficial, especially scenes such as 17 and 39. |
Inconsistent Plot and Concept Scores in High-Grade Scenes | Many scenes have high overall grades but show some variation in Concept and Plot scores. This suggests that even with a strong overall scene, you might benefit from reviewing plot and concept elements for potential improvements to enhance their impact. In some cases, perhaps the conflict is driving the emotional impact and overall success more than the plot itself. Look at scenes scoring highly in emotional impact and conflict but lower in plot or concept and analyze how that dynamic plays out. |
Scene 23: An Outlier | Scene 23 is a significant outlier. Its light-hearted tone starkly contrasts with the prevalent dark, intense, and suspenseful tones of the majority of the screenplay. The significantly lower emotional impact and conflict scores indicate a noticeable shift in the screenplay’s overall mood. Assess whether the purpose of this scene is adequately served within the context of the larger narrative. It's worth analyzing whether this change of pace serves a specific purpose and if it is well integrated into the overall narrative arc. |
Late-Screenplay Momentum | The final scenes (56-60) show consistently high scores across multiple elements, including concept, plot, and character development. This suggests that the narrative momentum builds significantly towards the climax, resulting in a powerful and impactful conclusion. While this is a positive indicator, this also suggests that the earlier scenes could benefit from incorporating some of the elements (especially plot and concept) found to be more successful in the later acts. |
Dialogue and Emotional Impact | A strong correlation exists between high dialogue scores and high emotional impact scores. When dialogue shines, so does the emotional connection. This suggests that focusing on crafting compelling and impactful dialogue is crucial for creating emotionally resonant scenes. Review scenes with lower dialogue scores and see if improvements to this element could enhance the overall impact. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong grasp of creating tension, suspense, and morally complex scenarios, particularly within the crime drama genre. Many scenes effectively establish settings, characters, and conflicts, showcasing a talent for immersive storytelling. However, there's a recurring need for deeper character development, particularly in exploring internal conflicts and motivations beyond surface-level actions. Dialogue, while often sharp and engaging, could benefit from further refinement to reveal more about character personalities and inner lives. Pacing and structure are generally well-handled, but could be strengthened in some instances.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | 'Save the Cat! Writes a Novel' by Jessica Brody | This book provides a comprehensive guide to character development, plot structure, and creating compelling narratives, addressing the need for deeper character exploration and richer thematic depth. |
Screenplay | Analyze and study the screenplays of 'Goodfellas,' 'No Country for Old Men,' and 'Traffic'. | These screenplays exemplify strong character development, complex moral dilemmas, and effective pacing within the crime genre, directly addressing multiple identified improvement areas. |
Video | Watch masterclasses or interviews with renowned screenwriters such as Aaron Sorkin, Quentin Tarantino, and the Coen Brothers. | Learning from established screenwriters' creative processes and insights into dialogue, character development, and storytelling techniques will provide valuable learning opportunities. |
Exercise | Character Backstory Exercise: For each main character, write a detailed backstory exploring their childhood, significant life events, motivations, and internal conflicts. This will provide a rich foundation for more nuanced portrayals.Practice In SceneProv | This exercise directly tackles the frequent criticism of underdeveloped character motivations, providing a deeper understanding of each character's actions and choices. |
Exercise | Dialogue-Driven Scene Exercise: Choose a key scene and rewrite it focusing solely on dialogue to reveal character motivations, conflicts, and inner thoughts through their words. Explore subtext and unspoken tension.Practice In SceneProv | This exercise specifically addresses the need for more effective and revealing dialogue, enriching character interactions and plot development. |
Exercise | Moral Dilemma Exploration: Select a scene and rewrite it from the perspective of a different character involved, highlighting their own moral conflicts and justifications for their actions. Explore the ripple effect of choices.Practice In SceneProv | This exercise strengthens the exploration of moral ambiguity and thematic depth, adding layers of complexity to the narrative and character interactions. |
Stories Similar to this one
Story | Explanation |
---|---|
Narcos | This Netflix series chronicles the rise and fall of drug kingpins in Colombia, particularly focusing on Pablo Escobar. Like 'Descenso,' it employs a modernist narrative style, voice-over narration, and explores the complexities of the drug trade, law enforcement, and the moral ambiguities faced by those involved. |
Scarface | This classic film tells the story of Tony Montana, a Cuban immigrant who rises to power in the Miami drug trade. Similar to 'Descenso,' it showcases the violent and chaotic world of drug trafficking, emphasizing themes of ambition, power, and the consequences of a life of crime. |
Blow | Based on the life of drug dealer George Jung, this film explores the rise of cocaine trafficking in the United States. It shares thematic elements with 'Descenso,' such as the allure of the drug trade, the personal costs of involvement, and the impact on family and relationships. |
The Wire | This critically acclaimed series delves into the drug trade in Baltimore, Maryland, examining the lives of both law enforcement and drug dealers. Its realistic portrayal of the complexities of the drug war and the moral dilemmas faced by characters resonates with the narrative style and themes present in 'Descenso.' |
American Gangster | This film tells the story of Frank Lucas, a heroin dealer in Harlem during the 1970s. It parallels 'Descenso' in its exploration of the drug trade, the interplay between law enforcement and criminals, and the personal sacrifices made in the pursuit of power and wealth. |
El Chapo | This series chronicles the life of Joaquín 'El Chapo' Guzmán, one of the most notorious drug lords in history. Similar to 'Descenso,' it highlights the rise of narco-trafficking, the intricacies of law enforcement efforts, and the violent consequences of the drug trade. |
Queen of the South | This series follows Teresa Mendoza, who rises to power in the drug trade after her boyfriend is murdered. It shares thematic elements with 'Descenso,' including the struggles of women in a male-dominated world, the complexities of the drug trade, and the moral dilemmas faced by those involved. |
Sicario | This film explores the dark and violent world of drug cartels along the U.S.-Mexico border. Its intense atmosphere, moral ambiguity, and focus on law enforcement's struggle against powerful drug lords resonate with the themes and tone of 'Descenso.' |
Traffic | This film presents multiple interconnected stories about the drug trade, showcasing the perspectives of law enforcement, drug traffickers, and users. Its complex narrative structure and exploration of the drug war's impact on society align closely with the themes presented in 'Descenso.' |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Voiceover Narration | The narrative is driven by Murphy's voiceover, providing context and insight into the characters and events. | Voiceover narration is a common storytelling device used to convey a character's thoughts or provide background information. An example is in 'The Shawshank Redemption,' where Morgan Freeman's character narrates the story, giving viewers deeper insight into the plot and characters. |
The Anti-Hero | Murphy, while a DEA agent, struggles with moral ambiguity and the consequences of his actions. | The anti-hero is a central character who lacks conventional heroic qualities, often engaging in morally questionable actions. An example is Walter White from 'Breaking Bad,' who transforms from a high school teacher to a drug kingpin, blurring the lines between good and evil. |
Covert Operations | The scene depicts high-stakes covert operations involving surveillance and intelligence gathering. | Covert operations are secret missions often conducted by government agencies. A notable example is in 'Zero Dark Thirty,' which follows the CIA's covert efforts to locate Osama bin Laden. |
The Drug Lord | Pablo Escobar is portrayed as a powerful and ruthless figure in the drug trade. | The drug lord trope features a character who controls a significant drug trafficking operation, often depicted as charismatic yet violent. An example is Tony Montana in 'Scarface,' who rises to power in the drug trade through ruthless tactics. |
The Sidekick | Murphy's partner, Kevin, serves as a comedic relief and support character. | The sidekick is a character who assists the protagonist, often providing humor or contrasting perspectives. An example is Robin to Batman, who offers support and a different viewpoint in their crime-fighting endeavors. |
The Femme Fatale | Connie, who initially appears as a romantic interest, embodies traits of a femme fatale. | The femme fatale is a seductive woman who leads men into dangerous situations. An example is Catherine Tramell in 'Basic Instinct,' who uses her allure to manipulate those around her. |
The Corrupt Authority | Law enforcement officials are depicted as being compromised or corrupt. | The corrupt authority trope features characters in power who abuse their position for personal gain. An example is the police in 'The Wire,' who often engage in unethical practices. |
The Tragic Backstory | Characters like Cockroach have traumatic pasts that influence their current actions. | The tragic backstory trope provides characters with a history of suffering that shapes their motivations. An example is Batman, whose parents' murder drives him to fight crime. |
The Chase Scene | The screenplay includes intense moments of pursuit and escape, particularly in drug-related contexts. | Chase scenes create tension and excitement, often involving characters fleeing from danger. An example is the iconic car chase in 'The French Connection,' which is renowned for its intensity. |
Theme | Theme Details | Themee Explanation | ||||||||||||
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The Rise and Fall of the Cocaine Trade in the 1980s | The screenplay traces the evolution of the cocaine trade from small-scale operations to a vast, international enterprise, highlighting key players like Pablo Escobar and Carlos Lehder, the establishment of smuggling routes, and the increasing sophistication of trafficking methods. The narrative spans from initial smuggling attempts to the large-scale operations and the eventual consequences. | This is the central narrative arc of the screenplay. It explores the historical context, the economic drivers, the violence associated with it, and the eventual impact on both Colombia and the United States. | ||||||||||||
Strengthening The Rise and Fall of the Cocaine Trade in the 1980s:
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Moral Ambiguity and the War on Drugs | The screenplay presents a morally grey area, showcasing the actions of DEA agents, Colombian police, and drug traffickers. The voiceover commentary by Murphy constantly questions the effectiveness and ethical implications of the war on drugs, referencing controversial historical figures like Nixon and Pinochet. | This theme explores the complexities of the conflict, questioning whether the methods used to combat the drug trade are justified, highlighting the unintended consequences and the human cost on both sides of the conflict. It challenges the audience to consider the larger picture of power and violence. | ||||||||||||
Addiction and the Power of Cocaine | The addictive nature of cocaine is illustrated through the rat experiment in a Stanford lab, the actions of the characters, and the devastating consequences of addiction shown in deaths and overdoses. The screenplay highlights the physiological effects of cocaine and how it drives human behavior. | This theme underscores the destructive power of the drug and its impact on individuals and societies. It shows how the allure of wealth and power can lead to violence and death. | ||||||||||||
Power and Corruption | The screenplay depicts the abuse of power by drug lords like Pablo Escobar, who use intimidation, bribery, and violence to control territories and manipulate authorities. The involvement of corrupt police officers and the potential for corruption within governmental institutions are also suggested. | This theme explores how the immense wealth generated by the drug trade corrupts individuals and institutions, leading to violence and lawlessness. | ||||||||||||
Survival and Resilience | The character of Cockroach's survival after a massacre in the jungle and his subsequent attempts to navigate the dangerous world of drug trafficking demonstrates resilience in the face of violence and adversity. | This theme offers a counterpoint to the overwhelming violence, showing the ability of certain individuals to adapt and survive in extreme circumstances. |
Screenwriting Resources on Themes
Articles
Site | Description |
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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 |
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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 | |
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Summary: | The writer's voice is gritty, realistic, and intensely suspenseful, blending dark humor with unflinching portrayals of violence and moral ambiguity in the world of drug trafficking and espionage. The narrative is driven by a cynical yet insightful first-person perspective, punctuated by sharp, concise dialogue and vivid, often cinematic descriptions. The direction is action-packed and visually arresting, emphasizing the contrast between the glamorous facades and the brutal realities of the criminal underworld. |
Voice Contribution | The writer's voice contributes to the script by creating a compelling and immersive atmosphere that keeps the audience engaged. The blend of realism and dark humor adds depth and complexity to the characters, making them both believable and intriguing, even when morally reprehensible. The first-person perspective from Murphy provides a cynical and engaging commentary that adds thematic depth to the exploration of power, corruption, and the human cost of the drug war. The fast-paced action and visually striking descriptions enhance the suspense and maintain a high level of intensity throughout the screenplay. |
Best Representation Scene | 4 - Control in the Shadows |
Best Scene Explanation | Scene 4 best encapsulates the writer's unique voice because it perfectly integrates all three elements: dialogue, narrative, and direction. The dialogue is sharp and laced with irony, foreshadowing the impending violence. The narrative description paints a vivid picture of the setting and atmosphere, creating a palpable sense of tension. The direction is visually dynamic and suggestive, highlighting the contrast between Poison's oblivious confidence and the impending danger. This scene establishes the central themes of power, deception, and impending violence that permeate the entire screenplay while showcasing the writer's skill in creating a gripping and suspenseful narrative. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay demonstrates a high level of originality through its nuanced exploration of the drug trade, intertwining personal stories with broader socio-political themes. The use of authentic dialogue, unique character dynamics, and fresh perspectives on familiar tropes in the crime genre contribute to its originality. The incorporation of historical context and moral dilemmas faced by characters adds depth, making the narrative feel both fresh and relevant.
- Most unique situations: The most unique situations in the screenplay are the portrayal of the internal struggles of characters involved in drug trafficking, such as the moral dilemmas faced by Murphy as a DEA agent and the complex motivations of figures like Pablo Escobar and Cockroach. Additionally, the innovative use of high-tech surveillance juxtaposed with the natural beauty of locations like the Andes Mountains creates a striking contrast that enhances the narrative's originality.
- Overall unpredictability score: 7
- Overall unpredictability explanation: The screenplay maintains a moderate level of unpredictability, as it navigates the intricate web of alliances, betrayals, and the violent repercussions of the drug trade. While certain plot points may follow familiar patterns within the genre, the depth of character development and the intertwining of personal and political stakes create unexpected twists. The evolving dynamics between characters, particularly in response to violence and betrayal, contribute to a sense of unpredictability throughout the narrative.
Goals and Philosophical Conflict | |
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internal Goals | The protagonist's internal goals evolve from initially seeking competence and control in the world of drug trafficking to grappling with moral dilemmas, understanding personal flaws, and ultimately striving for redemption in the face of violence and corruption. |
External Goals | The protagonist's external goals progress from executing operations against drug traffickers to overcoming the corruption within law enforcement and ultimately seeking to dismantle the narco-empire while maintaining personal safety and justice. |
Philosophical Conflict | The overarching philosophical conflict centers on the struggle between morality and survival within the context of drug trafficking, where characters are often forced to navigate the treachery of their environment while questioning their values and choices. |
Character Development Contribution: The interplay of internal and external goals drives the protagonist's character development, showcasing their evolution from a morally ambiguous figure to one seeking redemption amidst chaos and recognizing the impact of their choices.
Narrative Structure Contribution: The structure of the screenplay, marked by escalating stakes and complex relationships, supports the protagonist's multifaceted goals while creating tension and intrigue as they seek justice in a corrupt environment.
Thematic Depth Contribution: These elements contribute to the thematic depth by exploring the nuances of morality, power dynamics, and the human cost of drug trafficking, urging a critical examination of justice and responsibility.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
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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 |
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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? |
- Physical environment: The screenplay depicts a diverse range of physical environments, from the majestic Andes Mountains and lush jungles of Colombia and Chile to the bustling cities of Bogotá and Medellín, the beaches of Miami, and the sterile settings of a Stanford University lab and the White House. Specific locations include clandestine cocaine processing labs in the jungle, opulent fincas, gritty bars and apartment buildings, a U.S. Embassy, and the Miami International Airport. The environments range from natural beauty juxtaposed with violence to the stark realities of urban decay and high-tech surveillance.
- Culture: The dominant culture is that of Colombia in the late 1970s and 1980s, characterized by a complex interplay of traditional Latin American society and the burgeoning narco-culture. This is shown through language (Spanish), customs, social interactions, and the pervasive influence of drug cartels. American culture, particularly in Miami, is also present, contrasting the carefree beach culture with the dark underbelly of drug trafficking and violence. The cultural clash between these two worlds is a central element.
- Society: The societal structure is deeply affected by the drug trade. A complex hierarchy exists within the cartels, with powerful figures like Pablo Escobar at the top and numerous layers of operatives, smugglers, and enforcers beneath. There's also a corrupt element within law enforcement, with some officers complicit in the drug trade. American society is portrayed as largely unaware of the full extent of the drug trade initially, though concern rises within government circles. The screenplay illustrates the brutality and violence inherent in this criminal underworld, and the desperation of those caught in it. The contrast between the lavish lifestyles of the cartel members and the poverty of many involved is also highlighted.
- Technology: Technological elements range from rudimentary (clunky cell phones, basic firearms of the era) to sophisticated (satellite phones, advanced surveillance equipment in spy planes and vans, cocaine processing techniques). The juxtaposition of advanced surveillance technology with the relatively low-tech methods of drug production and smuggling is significant. The contrast highlights the imbalance of power and the cat-and-mouse game between law enforcement and the cartels.
- Characters influence: The environment significantly influences character actions. The characters' experiences within the violent and corrupt societies of Colombia and Miami shape their choices, alliances, and moral compromises. The technology available (or lack thereof) dictates how characters communicate, operate, and evade authorities. The disparity in wealth and power directly impacts the characters' choices, leading to alliances, betrayals, and violence. The physical environments – be it the jungle lab or a luxurious finca – reflect the stakes involved and create tension.
- Narrative contribution: The world-building elements drive the narrative forward. The geographical locations serve as settings for crucial events, shaping the plot's progression. The cultural and societal aspects provide context and motivation for character actions, generating conflict and suspense. The technological elements raise the stakes, adding elements of espionage and intrigue. The contrast between locations (e.g., Miami beach vs. a jungle lab) creates dramatic tension and underscores the scope of the drug trade's impact.
- Thematic depth contribution: The interplay of these world-building elements contributes to the thematic depth by exploring moral ambiguity, the consequences of violence and greed, and the complex relationships between power, corruption, and justice. The contrast between the natural beauty of the Andes and the brutality of the drug trade underscores the inherent conflict. The exploration of technology and its role in both facilitating and combating the drug trade provides further thematic complexity. The characters' moral struggles within this context add layers of nuance and humanize even the most ruthless characters.
central conflict
The central conflict revolves around the violent and complex world of narco-trafficking in Latin America, particularly the power struggle between drug lords and law enforcement agencies.
primary motivations
- The pursuit of wealth and power by drug traffickers like Pablo Escobar and his associates.
- The desire of law enforcement, particularly the DEA, to combat drug trafficking and restore order.
- Survival instincts of individuals involved in the drug trade, such as Mateo Moreno (Cockroach), who navigate dangerous circumstances.
catalysts
- The introduction of advanced surveillance technology by U.S. operators to track drug traffickers.
- The violent incidents that escalate the conflict, such as the massacre at La Dispensaria.
- The betrayal of characters like Cockroach, which shifts power dynamics within the drug trade.
barriers
- The pervasive corruption within law enforcement that allows drug traffickers to operate with impunity.
- The technological and resource disparities between the DEA and the narco-traffickers.
- The moral ambiguity faced by characters, complicating their decisions and actions.
themes
- The moral complexities of good versus evil in the context of drug trafficking.
- The impact of addiction on society and individuals.
- The interplay of power, violence, and survival in a lawless environment.
stakes
The stakes include the lives of individuals caught in the drug trade, the safety of communities affected by violence, and the broader implications for U.S.-Latin American relations.
uniqueness factor
The series uniquely blends a modernist cinematic approach with a deep exploration of the socio-political landscape of narco-trafficking, emphasizing both personal and systemic conflicts.
audience hook
The intense and gritty portrayal of the drug trade, combined with complex characters and moral dilemmas, keeps viewers engaged and invested in the outcome.
paradoxical engine or bisociation
The paradoxical engine lies in the simultaneous pursuit of wealth and the inherent risks of violence and betrayal that come with the drug trade, creating a cycle of conflict and survival.
paradoxical engine or bisociation 2
Another aspect of bisociation is the contrast between the glamorous lifestyle associated with drug trafficking and the brutal reality of violence and loss, highlighting the duality of the characters' experiences.
Engine: Gemini
Highly Recommend
Executive Summary
The 'Narcos' pilot screenplay is a highly compelling and well-crafted piece of writing. Its unique blend of fast-paced action, intricate plotting, and morally ambiguous characters creates a gripping narrative that successfully establishes a rich world and compelling central conflict. While minor improvements could enhance character development and pacing in certain sections, the overall strength of the script, including its unique voice and cinematic approach, makes it highly recommendable for production.
- The use of a first-person, unreliable narrator (Murphy) anchors the narrative and establishes a complex perspective on the morally ambiguous world of the drug trade. This stylistic choice simultaneously immerses the audience and invites critical engagement with the events unfolding. The clever use of historical footage reinforces its claim as a realistic depiction. high ( Scene 3 Scene 12 )
- The screenplay skillfully utilizes a fast-paced, cinematic style, employing dynamic camera work and action sequences to enhance the narrative's tension and urgency. The visual storytelling complements the complex narrative and keeps the audience engaged. high ( Scene 10 Scene 41 )
- The central conflict – the rise of Pablo Escobar and the war on drugs – is clearly established and drives the narrative forward. The complex relationships between various players, including Murphy, Escobar, and other significant characters, add depth to the plot and create ample opportunities for future conflict and character development. high ( Scene 21 Scene 37 Scene 47 )
- The screenplay effectively uses symbolism and thematic elements to convey the destructive nature of cocaine addiction and the consequences of the drug war. The rat in the maze and the body-packer's tragic fate visually represent the addictive nature of cocaine and the human cost of the drug trade. medium ( Scene 17 Scene 44 )
- The introduction of Connie Murphy provides a relatable, human element to counterbalance the often brutal violence and moral ambiguities. Their relationship provides an emotional anchor and suggests a deeper character arc for Murphy beyond just a DEA agent. medium ( Scene 23 Scene 43 )
- While the introduction of various cartel members is effective in establishing the context, some could benefit from more nuanced characterization to enhance their memorability and later impact on the narrative. A more gradual reveal of their personalities and motivations might prove more effective. medium ( Scene 18 Scene 19 )
- The montage in sequence 35, while visually interesting, feels slightly rushed. A more measured pacing or more specific scenes within the montage could increase its impact and clarify the scope of the cocaine smuggling. low ( Scene 35 )
- The final act could benefit from a more suspenseful build-up to the climax. While the action is well-executed, the transitions between key plot points could be smoother and more strategically paced to create a greater sense of anticipation. low ( Scene 41 )
- The pilot could benefit from slightly more detailed exploration of the political and social landscape of Colombia during the time. Although touched upon, greater detail about the political instability, corruption, and the societal impact of the drug trade would enrich the setting. medium
- The pilot's recurring theme of moral ambiguity is a notable point. The script challenges the audience to question the lines between good and evil, highlighting the complex realities of the war on drugs. high ( Scene 12 Scene 56 )
- The opening note to the reader sets a distinctive tone and cinematic approach that successfully guides the viewer's expectations and establishes a clear stylistic direction. high ( Scene 1 )
- The introduction of Connie Murphy and Murphy's comedic interaction with his DEA colleagues shows the balance between serious themes and levity, and offers an unexpected glimpse of the lighter side of their lives. medium ( Scene 22 Scene 23 )
- Underrepresentation of Colombian perspectives While the screenplay portrays the drug trade's impact, it primarily focuses on the American perspective. More nuanced portrayals of Colombian citizens' lives affected by the drug trade and the complexities of Colombian society would add greater depth and balance to the narrative. The focus often remains on the conflict's impact on Americans rather than on the Colombian people who bear the brunt of the violence. medium
Engine: GPT4
Highly Recommend
Executive Summary
The 'Narcos Pilot' screenplay presents a gripping and intense narrative that effectively captures the rise of Pablo Escobar and the complexities of the drug trade in Colombia. The screenplay excels in character development, particularly in the portrayal of Steve Murphy and Pablo Escobar, showcasing their contrasting motivations and moral dilemmas. The pacing is generally strong, though some scenes could benefit from tighter editing. Overall, the screenplay is a compelling blend of action, drama, and historical context, making it a standout piece in the crime drama genre.
- The screenplay effectively uses voice-over narration to provide insight into the characters' thoughts and motivations, enhancing the audience's understanding of the complex world of narco-trafficking. high ( Scene Sequence number 3 (3) Scene Sequence number 11 (11) )
- Character development is a significant strength, particularly in the portrayal of Steve Murphy and Pablo Escobar, whose arcs are well-defined and compelling. high ( Scene Sequence number 8 (8) Scene Sequence number 12 (12) )
- The screenplay maintains a strong sense of tension and urgency throughout, particularly during action sequences, which keeps the audience engaged. high ( Scene Sequence number 10 (10) Scene Sequence number 20 (20) )
- The use of vivid imagery and detailed descriptions creates a strong sense of place, immersing the audience in the Colombian landscape and the drug trade's gritty reality. medium ( Scene Sequence number 4 (4) Scene Sequence number 19 (19) )
- The screenplay effectively balances personal and political narratives, showcasing the broader implications of the drug trade on society while focusing on individual stories. medium ( Scene Sequence number 22 (22) Scene Sequence number 39 (39) )
- Some scenes could benefit from tighter editing to improve pacing, particularly those that feel overly drawn out or repetitive. medium ( Scene Sequence number 6 (6) Scene Sequence number 46 (46) )
- While the screenplay is rich in detail, there are moments where exposition could be streamlined to maintain momentum and avoid information overload. medium ( Scene Sequence number 14 (14) Scene Sequence number 28 (28) )
- The emotional stakes could be heightened in certain scenes to create a deeper connection with the audience, particularly during pivotal character moments. medium ( Scene Sequence number 45 (45) Scene Sequence number 57 (57) )
- Some character motivations could be further clarified to enhance audience understanding of their actions and decisions. low ( Scene Sequence number 38 (38) Scene Sequence number 49 (49) )
- The resolution of certain plot threads could be more satisfying, as some character arcs feel incomplete by the end of the pilot. low ( Scene Sequence number 52 (52) Scene Sequence number 60 (60) )
- A deeper exploration of the socio-political context of Colombia during the time could enhance the narrative's depth and relevance. high ( Scene Sequence number 1 (1) Scene Sequence number 22 (22) )
- More background on secondary characters would enrich the story and provide a fuller picture of the narco-trafficking landscape. medium ( Scene Sequence number 3 (3) Scene Sequence number 12 (12) )
- The screenplay could benefit from additional scenes that showcase the impact of the drug trade on everyday Colombians, providing a more balanced perspective. medium ( Scene Sequence number 10 (10) Scene Sequence number 20 (20) )
- A clearer depiction of the consequences of drug use and trafficking on families and communities would add emotional weight to the narrative. low ( Scene Sequence number 28 (28) Scene Sequence number 39 (39) )
- The motivations behind law enforcement actions could be more thoroughly explored to provide a nuanced view of their challenges and ethical dilemmas. low ( Scene Sequence number 44 (44) Scene Sequence number 46 (46) )
- The screenplay's use of historical context and real events adds authenticity and weight to the narrative, making it resonate with audiences. high ( Scene Sequence number 11 (11) Scene Sequence number 57 (57) )
- The juxtaposition of personal stories against the backdrop of a larger societal issue creates a compelling narrative structure. high ( Scene Sequence number 22 (22) Scene Sequence number 39 (39) )
- The screenplay's exploration of moral ambiguity, particularly in the characters of Murphy and Escobar, invites the audience to question their own perceptions of good and evil. medium ( Scene Sequence number 3 (3) Scene Sequence number 12 (12) )
- The action sequences are well-crafted, providing a thrilling experience that keeps the audience on the edge of their seats. medium ( Scene Sequence number 10 (10) Scene Sequence number 20 (20) )
- The screenplay's ability to blend humor with dark themes adds a unique flavor, making it more engaging and relatable. low ( Scene Sequence number 38 (38) Scene Sequence number 46 (46) )
- Character Depth While the main characters are well-developed, some secondary characters lack depth and motivation, making them feel one-dimensional. For example, the motivations of certain law enforcement officials could be explored further to enhance their roles in the narrative. medium
- Overly Detailed Exposition Certain scenes contain excessive exposition that could be streamlined for better pacing. For instance, the detailed descriptions of drug production processes may overwhelm the audience and detract from character-driven moments. medium
Engine: Claude
Consider
Executive Summary
The screenplay for "Narcos Pilot" is a well-crafted and ambitious crime drama that showcases the rise of Pablo Escobar and the Colombian drug trade in the 1980s. The narrative is sweeping in scope, blending historical events with fictional characters to create a compelling and immersive story. The screenplay's strengths lie in its rich characterizations, dynamic pacing, and the cinematic execution of the action sequences. However, the screenplay could benefit from further development in certain areas, such as tightening the narrative structure, enhancing the emotional depth of the characters, and providing a more nuanced exploration of the moral complexities inherent in the war on drugs. Overall, "Narcos Pilot" is a promising foundation that, with continued refinement, could result in a gripping and thought-provoking television series.
- The screenplay excels in its rich characterizations, particularly in the development of the DEA agents Steve Murphy and Javier Peña. Their interactions and the contrast between their approaches to the drug war add depth and nuance to the narrative. high ( Scene 9 Scene 11 )
- The screenplay showcases impressive cinematic execution, particularly in the action sequences and visual storytelling. The descriptions of the settings, the choreography of the violence, and the use of camera angles and framing effectively immerse the audience in the world of the narco-traffickers. high ( Scene 10 Scene 20 Scene 36 )
- The screenplay demonstrates a strong understanding of the historical context and the social and political forces shaping the rise of the drug trade in Colombia. The inclusion of archival footage and the exploration of the connections between the U.S. government and Latin American dictatorships add depth and credibility to the narrative. medium ( Scene 12 Scene 19 Scene 25 )
- The narrative structure could be tightened to provide a more cohesive and streamlined flow. While the screenplay effectively juggles multiple storylines and timelines, there are moments where the pacing feels uneven or where certain plot points could be more efficiently integrated. medium ( Scene )
- The emotional depth and development of the characters could be further explored, particularly in the aftermath of traumatic events. The screenplay could benefit from more nuanced and impactful portrayals of the personal toll of the drug war on the protagonists. medium ( Scene 43 Scene 44 )
- The screenplay could provide a more balanced and complex exploration of the moral ambiguities inherent in the war on drugs. While the narrative touches on these themes, a deeper dive into the ethical dilemmas faced by the characters could heighten the thematic impact and make the story more thought-provoking. medium ( Scene )
- The screenplay could benefit from a more overt exploration of the sociopolitical and economic factors that contributed to the rise of the drug trade in Colombia. While these elements are present, a more explicit examination of the systemic issues and their impact on the characters and the overall narrative could deepen the thematic resonance. medium ( Scene )
- The screenplay could potentially benefit from the inclusion of additional female characters and the exploration of their perspectives and experiences in the male-dominated world of the drug trade. Providing a more diverse range of voices and narratives could enhance the screenplay's representation and appeal to a broader audience. low ( Scene )
- The screenplay's incorporation of archival footage and historical references effectively grounds the narrative in the real-world events and dynamics that shaped the rise of the Colombian drug trade. This approach lends credibility and authenticity to the storytelling. high ( Scene 12 Scene 19 Scene 54 )
- The screenplay's exploration of the human cost and personal impact of the drug war, particularly on the DEA agents and their loved ones, is a notable strength that adds emotional resonance to the narrative. medium ( Scene 24 Scene 43 Scene 44 )
- The screenplay's depiction of the escalating violence and ruthlessness of the drug lords, culminating in the brutal elimination of Cockroach, is a powerful and impactful moment that underscores the high stakes and the merciless nature of the drug trade. high ( Scene 56 Scene 57 )
- Lack of Diverse Perspectives The screenplay could benefit from the inclusion of a more diverse range of characters and perspectives, particularly in terms of gender and ethnicity. While the narrative does feature some female characters, such as Connie Murphy, their roles are relatively limited, and the overall focus is on the male characters and their experiences. Expanding the range of perspectives and narratives could enhance the screenplay's representation and appeal to a broader audience. medium
- Uneven Pacing The screenplay occasionally struggles with maintaining a consistent and engaging pace, with some sections feeling either overly rushed or drawn out. This can be observed in the transition between certain storylines or the handling of some plot points. Tightening the narrative structure and ensuring a more seamless flow between scenes and sequences could help address this issue. medium
- Underdeveloped Emotional Arcs While the screenplay effectively captures the high-stakes world of the drug trade and the moral complexities inherent in the war on drugs, it could benefit from a deeper exploration of the emotional journeys and personal impacts on the characters. Scenes like the aftermath of the pregnant woman's death (Sequence 43-44) could be further developed to heighten the emotional resonance and create a more impactful and nuanced portrayal of the characters' experiences. medium
Memorable lines in the script:
Scene Number | Line |
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20 | Pablo Escobar: I am Pablo Fucking Escobar. My eyes are everywhere. You can't do a goddamn thing in Antioquia without me knowing about it. I'm going to be President of Colombia one day. |
12 | Murphy: Good and bad are relative concepts. |
15 | Murphy: They say when a nuclear holocaust destroys the world, only the cockroaches will survive. |
55 | Murphy: Whatever it was, the businessmen came at just the right time. The Berlin Wall was about to fall. The Soviet Union was dissolving. It was time for America to suit up against a new enemy. |
53 | MURPHY: From `79 through `84, there were 3245 murders in Miami. |