Knives Out
Executive Summary
Poster
Note: This is for fun only. There will be many wrong things in the mock poster. It doesn't mean the AI misunderstood your story.
Overview
Genres: Mystery, Drama, Thriller, Comedy, Crime
Setting: Contemporary, Thrombey estate and various other locations in Boston
Overview: A renowned mystery novelist is found dead, his throat slit, in his grand mansion on his 85th birthday. The curious circumstances surrounding his death and the sprawling family with its complicated relationships make it difficult for the police to find the culprit among the many suspects.
Themes: Family Dynamics, Immigration and Identity, Truth and Deception, Wealth and Privilege
Conflict and Stakes: The primary conflicts revolve around Marta's innocence in Harlan's death, the family's inheritance, and the truth behind the mysterious events at the Thrombey estate. The stakes include Marta's freedom, the family's fortune, and the reputation of the Thrombey family.
Overall Mood: Suspenseful and mysterious
Mood/Tone at Key Scenes:
- Scene 1: Somber and mysterious tone as the housemaid discovers Harlan Thrombey's body
Standout Features:
- Ensemble Cast: Featuring a talented ensemble cast of established and rising stars
- Twists and Turns: Intriguing plot twists and unexpected revelations keep the audience engaged
- Social Commentary: Explores relevant social themes such as class divide and immigration issues
Comparable Scripts:
- Knives Out
- Clue
- Gosford Park
- Death on the Nile
- Knives Out: Glass Onion
- The Murder of Roger Ackroyd
- The Guest
- Ready or Not
- Bad Times at the El Royale
- The Handmaiden
Writing Style:
The overall writing style of the screenplay is characterized by dark and suspenseful narratives, intricate plots, and complex character dynamics. The dialogue is often sharp and witty, driving the plot forward and revealing the characters' motivations and conflicts. The scenes analyzed suggest that the screenplay draws inspiration from various writing styles, including those of Agatha Christie, Gillian Flynn, Rian Johnson, and Noah Baumbach.
Style Similarities:
- Gillian Flynn
- Christopher Nolan
- Aaron Sorkin
- Rian Johnson
Pass/Consider/Recommend
Highly Recommend
Explanation: Knives Out is a highly engaging and well-crafted murder mystery with a unique premise, a diverse cast of characters, and witty dialogue. The screenplay masterfully constructs a complex plot with numerous twists and turns, keeping the audience guessing until the very end. While the motivations of some characters could be explored in greater depth, the overall narrative strength and pacing are excellent, making this screenplay a highly recommendable read.
USP: This modern murder mystery with a unique voice that blends sharp dialogue, dark humor, and intricate plot twists offers a fresh take on the genre. Through its exploration of complex family dynamics, moral dilemmas, and unexpected revelations, this screenplay captivates the audience, keeping them engaged and guessing until the very end.
Market Analysis
Budget Estimate:$30-40 million
Target Audience Demographics: Adults aged 25-54, fans of mystery thrillers, drama, and ensemble casts
Marketability: Strong ensemble cast, gripping storyline, and blend of mystery and drama make it highly marketable
Unique characters and unexpected plot twists make it appealing to a diverse audience
Relevant social themes, strong performances, and critical acclaim potential contribute to its marketability
Profit Potential: High, due to its wide appeal, potential for awards recognition, and strong word-of-mouth potential
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
Summary:The writer's voice is characterized by sharp dialogue, dark humor, and intricate plot twists. It adds depth and complexity to the story, enhancing the mood and themes of the screenplay.
Best representation: Scene 7 - Confrontation in the Library. This scene effectively encapsulates the writer's unique voice through its blend of sharp dialogue, underlying tensions, and complex character dynamics.
Memorable Lines:
- Blanc: When good people get desperate, the knives come out. (Scene 26)
- Marta: I'm all just pure adrenaline now it's like I swallowed bees. (Scene 34)
- Fran: you... did this... won't... get away.. with this (Scene 36)
- Fran: you... did this... (Scene 43)
- Benoit Blanc: I want you to remember something very important: you won not by playing the game Harlan's way, but yours. (Scene 45)
Characters
Marta Cabrera:An immigrant caretaker who becomes entangled in the mystery surrounding Harlan Thrombey's death
Benoit Blanc:A renowned private investigator hired to uncover the truth behind Harlan Thrombey's death
Harlan Thrombey:A wealthy mystery novelist whose death sets off a chain of events
Ransom Drysdale:Harlan's grandson who is involved in the family drama and mystery
Lieutenant Elliott:The police officer investigating Harlan Thrombey's death
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Internal Goal | External Goal | Conflict | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | ||||
| 1 - The Discovery | Suspenseful, Emotional, Dark | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 7 | 9 | 8 | 9 | 9 | |
| 2 - The Aftermath | Dry, Sarcastic, Emotional, Humorous | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 3 - Family Gathering at the Thrombey Home | Serious, Reflective, Informative | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 4 - Family Gathering at Harlan's Birthday | Sarcastic, Satirical, Informative | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 5 - The Arrival of Benoit Blanc | Suspenseful, Sarcastic, Inquisitive, Informative | 8 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 6 | 9 | 9 | 9 | 9 | 9 | |
| 6 - Walt's Dismissal | Tense, Confrontational, Revealing | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 7 - Secrets and Confrontations | Tense, Dramatic, Confrontational | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 8 - Confrontation in the Library | Tense, Suspenseful, Dramatic | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 9 - Curiosity and Hesitation | Intriguing, Suspenseful, Intense, Emotional | 8 | 8 | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 10 - Marta's Confession and Joni's Involvement | Suspenseful, Intense, Dramatic | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 11 - The Interrogation | Suspenseful, Intriguing, Intense, Dramatic | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7.5 | 8 | 8 | 8 | 9 | 9 | 6 | 7 | 9 | 8.5 | 8 | 8 | |
| 12 - The Mysterious Night | Suspenseful, Intriguing, Tense | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 13 - Upstairs to the Office | Tense, Suspenseful, Emotional | 8 | 8 | 8 | 7 | 7 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | |
| 14 - A Game of GO | Tense, Suspenseful, Dramatic, Intense | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 15 - Marta's Alibi | Suspenseful, Intriguing, Tense, Mysterious | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 16 - Marta's Nocturnal Encounter | Suspenseful, Intense, Emotional | 9 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 17 - Tense Interrogations and Smoke-Filled Moments | Tense, Suspenseful, Dramatic, Intense | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 18 - Offering Help and Suspicious Inquiries | Intriguing, Suspenseful, Intense | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 19 - The Secret | Suspenseful, Intense, Emotional, Intriguing | 9 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | |
| 20 - Footprints in the Woods | Suspenseful, Intriguing, Mysterious, Tense | 8 | 8 | 7 | 8 | 7 | 5 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 6 | 6 | 9 | 8 | 8 | 8 | |
| 21 - The Study Interrupted | Suspenseful, Intriguing, Tense | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 22 - Explosive Family Gathering | Tense, Sarcastic, Confrontational | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 9 | 8 | 7 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 23 - Heated Family Argument | Tense, Confrontational, Dramatic, Sarcastic | 8 | 7 | 8 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 24 - Hidden Window Discovery | Tense, Suspenseful, Intriguing | 8 | 8 | 7 | 8 | 7 | 6 | 9 | 8 | 8 | 8 | 8 | 8 | 8 | 6 | 9 | 9 | 9 | 9 | 9 | |
| 25 - Reading of Harlan Thrombey's Will | Tense, Confrontational, Emotional | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 26 - Escape and Revelations | Tense, Suspenseful, Emotional | 8 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 27 - Ransom Confronts Marta | Tense, Emotional, Suspenseful | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 28 - Family Discord over Will Revisions | Tense, Emotional, Confrontational | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7.5 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 29 - Ransom's Confession and Marta's Determination | Tense, Suspenseful, Emotional, Intense | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 30 - Marta's Morning Mayhem | Tense, Suspenseful, Emotional | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 31 - Inheritance Concerns and Mysterious Threats | Tense, Suspenseful, Emotional, Serious | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 32 - Consolation and Confusion | Tense, Suspenseful, Introspective, Conversational | 9 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 7 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 33 - Explosion at the Medical Examiner's Office | Tense, Suspenseful, Dramatic | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
| 34 - Marta's Evasive Maneuvers | Tense, Suspenseful, Dramatic, Anxious | 8 | 8 | 9 | 8 | 7 | 5 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 6 | 6 | 9 | 9 | 9 | 9 | |
| 35 - Marta's Secret Visit | Tense, Suspenseful, Intriguing, Mysterious | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 36 - Confrontation and Discovery | Tense, Suspenseful, Emotional, Mysterious | 9 | 9 | 8 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 37 - Marta's Confession and Confrontation | Tense, Resigned, Emotional, Sarcastic | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 38 - Unveiling the Truth | Tense, Emotional, Confrontational, Revealing | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
| 39 - Confrontation in the Library | Intriguing, Suspenseful, Intense, Revealing | 9 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 40 - Ransom's Revenge | Suspenseful, Intense, Emotional, Confrontational | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 41 - Revealing the Truth | Suspenseful, Intense, Revealing, Confrontational | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 42 - Unraveling Ransom's Guilt | Suspenseful, Intense, Intriguing, Dramatic | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
| 43 - Ransom's Failed Attempt to Frame Marta | Suspenseful, Intense, Emotional, Revealing | 9 | 9 | 9 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
| 44 - The Confrontation | Suspenseful, Intense, Dramatic, Tense, Shocking | 9 | 9 | 9 | 9 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 10 | 9 | 9 | 9 | |
| 45 - The Aftermath: Marta's Dilemma | Tense, Emotional, Reflective | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
Scene 1 - The Discovery
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
A Murder Mystery by
Rian Johnson
EXT. THROMBEY ESTATE MANOR HOUSE - DAWN
The grounds of a New England manor. Pre-dawn misty.
INT. MANOR - PANTRY / LIVING ROOM / FOYER / HALLWAY - DAWN
INSIDE THE MANOR
Unlit and still. Gothic with a theme of antique games,
arcane puzzles and decorative weapons.
First floor: A drawing room, living room, kitchen. The
detritus of a party. Stray champagne flutes.
INT. THROMBEY ESTATE - 2ND FLOOR - DAWN
Follow one housekeeper named FRAN carrying a tray of coffee
up a flight of stairs.
Second floor: a hallway, doors all closed. The house has
not woken up, and Fran steps lightly. Up a much narrower
creaky flight of steep stairs.
INT. THROMBEY ESTATE - 3RD FLOOR MASTER BEDROOM - DAWN
Third floor: the master bedroom suite.
FRAN
Morning Mr Thrombey
But the bed is empty, unslept in. A robe thrown across it.
Fran heads out onto the landing and UP an EVEN NARROWER half
flight of stairs, which leads to a single door.
INT. HARLAN THROMBEY'S STUDY - DAWN
A cramped attic study, every shelf crammed with curios.
The door swings open and Fran sees:
HARLAN THROMBEY himself. 85 years old. Slung across a
white leather day bed.
Throat slit. Drenched in blood. Very much dead.
CUT TO: Title card, on black.
THEN TO:
2.
INT. MARTA'S BEDROOM - MORNING
MARTA CABRERA wakes with a cry.
Plain, modern, cramped. Marta, in her late twenties, takes
a moment to catch her breath. Opens a window.
EXT. SOUTH BOSTON HOUSING PROJECT - MORNING
A tiny window in a cheap apartment building opens, Marta's
face appears breathing deep.
SUPER: "ONE WEEK LATER"
INT. CABRERA KITCHEN - MORNING
Marta sits in front of a laptop. Her MOM is at the table
with her, her sister ALICE watches CSI on an iPad on the
counter top. Murder related dialog from the show.
Marta scroll through a jobs site, tired, eyes dead. Her mom
watches, concerned.
MOM
Alice, turn that off now.
ALICE MOM
Why it's almost over, what - Now please just turn it off.
they're finding out who did
it and the wifi sucks in my Turn it off. Now.
room so it doesn't play it's
like two minutes left what Alice. Off.
there isn't even anything
bad on it, it's just normal They're talking about murder
tv and they're just talking on it, your sister just had
ok ok goddddd whatever ok a friend she loves slit his
whatever. throat open she doesn't need
to be hearing that right now
let's be sensitive!
Mom standing yelling, Alice slams the iPad cover closed.
Marta puts her head in her hand. Looks at her mom, who
looks back at her with protective sympathy. Marta starts
laughing at the absurdity of it, but the laugh turns into
crying.
MARTA
Thanks mom. I love you. God, none
of this seems real. Alice you can
keep watching your show it's alright.
3.
ALICE
No, I guessed who did it anyway. I'm
sorry Marta.
Alice hugs her sister. Marta's phone rings. WALT THROMBEY.
MARTA
It's Harlan's son. Maybe it's about
the funeral.
(answers)
Hi, Walt.
(listens)
Uh huh.
Her face shifts in confusion.
MARTA (cont'd)
What?
EXT. PRIVATE ROAD - LATE MORNING
A long narrow private road leading to the Thrombey estate.
Marta's shitty SUBCOMPACT car buzzes by, towards the house.
Scene 2 - The Aftermath
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Several cars, including a police cruiser with a few
uniformed officers by it. Marta pulls up. An officer eyes
her, approaches.
COP
Excuse me ma'am. Are you with the
help?
MEG, Thrombey's college aged granddaughter, trots out.
MEG
Hey! Her name is Marta, she was
granddad's nurse, she's with us.
"The help?" What the hell.
MARTA MEG
(to the cop) (mutters)
It's ok, sorry. It's not ok. Cops, man.
They hug, and are both instantly crying. They laugh.
MEG (cont'd)
Oh god. Look at us.
4.
MARTA
How are you? This week, how have you
MEG
Yeah. It's been rough, the whole
week just awful. And now this,
(the cop cars)
we thought we were done.
MARTA
Walt called me, but yeah I thought
the cops got our statements already,
what are we
MEG
I dunno, they've got more dumbass
questions, something. Dumb.
(she vapes)
How are you doing?
MARTA
Not good. Alone, lots of just, this
(the crying)
and not knowing what to do next.
MEG
Anything you need, you're part of
this family Marta.
MARTA
Thanks.
(beat)
I wanted to ask, but I didn't want to
bother you guys, I didn't hear
anything, is the funeral, is there a
day for it, or
MEG
It was yesterday.
Marta's face falls.
MEG (cont'd)
Marta I told them that all of you,
Fran, everyone who worked with him
should have been there, you were
closer to Granddad than anyone the
past few years, but they got on this
whole roll about it was for the
family and it was a family thing,
they took a vote and we got outvoted.
I'm so sorry.
5.
MARTA
It's ok
MEG
It's not ok. This idiot family.
They both start laughing.
INT. FOYER
Thrombey's eldest daughter Linda opens the door for Marta.
LINDA
How you doing kiddo.
Linda is 60ish, well put together, sharp and steely eyed.
She dresses and speaks with just a little more sharpness
than any situation she's in requires.
MARTA
Hi Linda. How are you?
LINDA
Ueuh. The funeral helped. I guess.
Just seeing him. I thought you
should have been there, I'm sorry. I
was out voted.
Linda's husband Richard walks in, on the phone. Same age as
Linda, gruff and confident, will put his feet up on
anything.
RICHARD (ON PHONE)
I'm not the cop so I don't know.
Alright fine, don't come, get
arrested. Die up your own ass all I
care.
(hangs up)
He's not coming.
(to Marta)
Ransom. Little shit. Missed the
funeral. No, he is, he's a little
shit.
STATE TROOPER WAGNER, fresh faced in his 30s, pokes his head
in through a door.
TROOPER WAGNER
Excuse me, we're ready for you now,
we'd like to see you one at a time.
6.
LINDA
I'll start. Hopefully Joni and Walt
are on their way.
Linda exits with Wagner, leaving Richard and Marta.
RICHARD
So. How you doing kiddo.
INT. LIBRARY
Mystery and horror memorabilia scattered on the shelves.
Linda sits opposite three men: LIEUTENANT ELLIOTT, in his
30s, in a working suit. Very good at his job. The young
Trooper Wagner stands behind him.
Sitting back behind both of them, almost blending into the
background, is a slight man in a linen suit. Legs and arms
fold sharply, like a paper crane. Silent, listening.
LIEUTENANT ELLIOTT
Good to see you again, just to
reintroduce ourselves, I'm Detective
Lieutenant Elliott, Trooper Wagner
here. We just want to run through
everything one more time. I'm going
to record this if it's alright, just
makes it easier.
(squints at his phone)
I think that's... going... ok.
Speaking to Linda Drysdale, nee
Thrombey, Harlan Thrombey's eldest
daughter, regarding the events the
night of his demise, November 8th.
TROOPER WAGNER
We're sorry for your loss.
LINDA
(dry as chalk)
Thank you that means a lot.
Elliott checks his notes.
LIEUTENANT ELLIOTT
So the whole family was gathered at
the house that night... for your
father's eighty fifth birthday party.
LINDA
Yes.
7.
LIEUTENANT ELLIOTT
How was that?
LINDA
The party? Pre my dad's death? It
was great.
Scene 3 - Family Gathering at the Thrombey Home
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Warmly lit, classic rock playing, food laid out. Linda and
Richard mingle happily with the rest of the family (who
we'll meet shortly.)
LIEUTENANT ELLIOTT (V.O.)
Anyone besides the family there that
night?
LINDA (V.O.)
Uh. The caterers. Fran, the
housekeeper. Marta, Harlan's nurse
caretaker person, hard worker, good
girl. Family's from Ecuador. And
Wanetta - Greatnana, Dad's mom.
At the snack table wearing a dozen coats, a woman who might
be three hundred years old. She pounds down chips and dip
like a machine.
LIEUTENANT ELLIOTT (V.O.)
(wow)
His mom? How old is she?
LINDA (V.O.)
Nobody knows.
LIEUTENANT ELLIOTT (V.O.)
Your son Ransom, he lives in town
right? He was at the party too?
LINDA (V.O.)
Yes but he left early.
RANSOM DRYSDALE, roguishly handsome in his early 30s,
breezes out the side door, past Greatnana.
GREATNANA
Ransom, are you leaving?
8.
INT. LIBRARY
The strange man in the linen suit taps Elliott's chair with
his toe, as if reminding to ask him something.
LIEUTENANT ELLIOTT
Right, did all three of you arrive to
the party at the same time?
LINDA
N...o, Richard went over early to
help the caterers set up, I got there
around 8, Ransom a little later.
She raises a questioning finger to ask about the man but
LIEUTENANT ELLIOTT
And in Boston you and your husband
work for a real estate firm?
LINDA
(sharp)
It's my firm.
LIEUTENANT ELLIOTT
(checks notes)
Sorry. Right.
LINDA
I built my business from the ground
up.
LIEUTENANT ELLIOTT
Just like your dad.
LINDA
Just. Like my dad.
LIEUTENANT ELLIOTT
Were you very close?
LINDA
We had our own secret way of
communicating. You had to find that
with dad. You had to find a game to
play with him. And if you did that,
and played by his rules...
(beat)
Yeah we were close.
CUT TO: Richard in the chair Linda was in, giving his
statement.
9.
RICHARD
Everyone idolizes their dad, right?
LIEUTENANT ELLIOTT
Do they?
RICHARD
Very much not, don't know why I said
that. But Linda does.
INT. LIVING ROOM - NIGHT OF THE PARTY
Harlan Thrombey, surrounded by his family, Richard and Linda
flanking him, a birthday cake with candles. All smiles.
RICHARD (V.O.)
Harlan started with a rusty Smith-
Corona, built himself into one of the
bestselling mystery writers of all
time. Linda followed his lead. We
did. Linda and I.
INT. LIBRARY
LIEUTENANT ELLIOTT
Seems like all his kids are self made
overachievers.
Richard makes a "...sure" face. CUT TO:
WALT THROMBEY now sits in the questioning chair. Late 40s,
softly obsequious in a sweater and loafers. His leg is in a
cast.
LIEUTENANT ELLIOTT (cont'd)
Speaking to Walt Thrombey, Harlan's
youngest son.
Elliott points to Walt's cast.
WALT
Augh, bicycling accident. Dumb.
LIEUTENANT ELLIOTT
So you run your dad's publishing
company?
10.
WALT
Yeah. It's my - it's our, it's the
family's publishing company, dad
trusts me to run it. 30 languages,
over 80 million copies. A real
legacy. You guys fans?
LIEUTENANT ELLIOTT TROOPER WAGNER
I don't read much fiction - BIG fan. Big.
TROOPER WAGNER (cont'd)
His plots, like something like "A
Thousand Knives," with the - I don't
want to spoil it but - the cow and
the shotgun, I'm like how did he come
up with that?
WALT
Dad said the plots just popped into
his head fully formed, that was the
easy part for him -
TAP from the linen suit man's foot.
LIEUTENANT ELLIOTT
You live in town, right? What time
did you and your family arrive at the
party?
Walt looks at Linen suit, thrown.
WALT
Uh. We all got there about 8.
Scene 4 - Family Gathering at Harlan's Birthday
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Walt laughing and mingling with his nervous wife DONNA.
WALT (V.O.)
My wife Donna, she's my rock.
Richard backs up into Donna, who YELPS in fear and throws
her martini in the air. Richard jumps, but Walt doesn't
even register it.
RICHARD
Jeeesus! Donna, you alright?
WALT (V.O.)
And my son Jacob, he's sixteen. Very
politically active.
11.
His angry looking son JACOB, who is always on his phone.
INT. LIBRARY
Quick cuts, each in the chair:
MEG
He's an alt-right troll dipshit
RICHARD
The boy's literally a nazi
WALT
Kids today, with the internet,
amazing.
LIEUTENANT ELLIOTT
So the night went well then?
INT. LIVING ROOM - NIGHT OF THE PARTY
The exact same moment we saw with Richard and Linda of
Harlan in front of the birthday cake - but now it's Walt,
Donna and Jacob next to Harlan.
WALT (V.O.)
Yeah. We're all gutted but I'm happy
we got that night with dad. To be by
his side, to think about our books
and what we've accomplished with
them, it's like I can still feel his
hand on my shoulder.
INT. LIBRARY
WALT
Passing the torch.
Cut to: JONI THROMBEY in the chair. A striking woman, tall
and boho chic in chunky jewelry and a flowy dress.
LIEUTENANT ELLIOTT
Speaking now to Joni Thrombey,
Harlan's... daughter in law?
JONI
Mm. I was married to his son Neil,
We had one daughter, Meg, and then
Neil passed on fifteen years ago.
12.
LIEUTENANT ELLIOTT
And you've obviously stayed close to
the Thrombeys.
INT. LIVING ROOM - NIGHT OF THE PARTY
Joni dances with various family members, free and flowing.
JONI (V.O.)
Oh they're my family. I feel
simultaneously freed by and supported
by them, that balance of opposites is
the nugget of Flam.
INT. LIBRARY - PRESENT
LIEUTENANT ELLIOTT
Nugget of?
JONI
Flam.
LIEUTENANT ELLIOTT
Flam nugget.
JONI
The nugget of truth.
LIEUTENANT ELLIOTT
Uh?
JONI
At the center of the Flam philosophy.
LIEUTENANT ELLIOTT
Ah! Sorry Flam, right, your skin
care company.
JONI
I forgive you yes, it's skin care but
it promotes a total lifestyle. Self
sufficiency with an acknowledgment of
human need. That's Flam, but it's
also Harlan. He got me and Meg
through some tough times.
Meg in the chair.
13.
MEG
Granddad gives my mom a yearly
allowance, and he's never missed
wiring a tuition payment to my
schools. He's a genuinely selfless
man.
LIEUTENANT ELLIOTT
You left his party early?
MEG
To see some friends at Curry.
INT. LIVING ROOM - NIGHT OF THE PARTY
Meg trots out. Linda, pissed, to Richard so Joni can hear:
LINDA
Dad's paying for her crypto-Marxist
postdeconstructual feminist poetry
theory whatever major, she could have
stuck around for the cake.
Scene 5 - The Arrival of Benoit Blanc
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
JONI
I think Linda was upset. But Harlan
understood.
Tap.
LIEUTENANT ELLIOTT
But you two arrived together to the
party?
Joni looks at the linen suit man.
JONI
If I could - pause - because I, who
is that guy? And why are we doing
all this? Again?
LIEUTENANT ELLIOTT
Right. We're following up here, just
being thorough, in order to determine
the manner of death.
Cut back to Walt in the chair.
14.
WALT
(what?)
The manner of death? I can save the
taxpayers some money here -
Walt gestures vaguely to his throat.
LIEUTENANT ELLIOTT
That's the cause of death. The
manner of death is still pending.
WALT
(almost laughing)
So by "manner of death" you mean if
he was killed. If one of us killed
him. One of his family?
LIEUTENANT ELLIOTT
None of us think that, this is pro
forma, all of it.
CUT TO: Richard in the chair. He doesn't buy it.
RICHARD
Ok. So who the fuck is that?
He points at linen suit. Elliott takes a breath.
LIEUTENANT ELLIOTT
This is Benoit Blanc.
RICHARD
(the hell?)
Benoit Blanc?
LIEUTENANT ELLIOTT
He is... a...
Elliott looks back at Blanc, prompting him to introduce
himself, but the man stays silent.
LIEUTENANT ELLIOTT (cont'd)
He's a
RICHARD
Does he talk?
LIEUTENANT ELLIOTT
He does.
They all look back at Blanc.
15.
BLANC
I do.
LIEUTENANT ELLIOTT
Mr. Blanc is a private investigator
of great renown.
Joni in the chair.
JONI
Wait a minute - I read a tweet about
a New Yorker article about you. The
last of the gentlemen sleuths? You
solved that case with the tennis
champ - you're famous!
LIEUTENANT ELLIOTT
Mr. Blanc requested to sit in on the
questioning and I happily consented.
I can vouch for him.
Linda in the chair.
LINDA
Oh you vouch for him, well thank you,
detective I just met five minutes
ago. Mr. Blanc, I know who you are,
I read your New Yorker profile. It
was delightful. I just buried my
eighty five year old father who
committed suicide. Why are you here?
Elliott and Wagner turn back to Blanc, who leans forward
slightly and speaks in the gentlest southern lilt you have
ever heard in your life.
BLANC
I am here at the behest of a client.
LINDA
Who?
BLANC
I cannot say, but let me assure you
this: my presence will be
ornamental, a respectful, quiet,
passive observer. Of the truth.
Elliott and Wagner turn nervously back to Linda. She
doesn't look thrilled. Cut to Richard.
RICHARD
Fine. Are we getting there?
16.
BLANC
Nearly. Harlan's nurse. She was at
the party in a professional capacity?
Blanc begins idly playing with a silver dollar.
RICHARD
Marta?
INT. LIVING ROOM - NIGHT OF THE PARTY
The family is engaged in an animated discussion, Marta
standing on the outskirts.
RICHARD (V.O.)
I guess. Harlan hired her to be
around, take care of whatever medical
needs pop up, but really she's like
part of the family.
Richard beckons with his cake, calls Marta into the
discussion, into the circle of the family.
RICHARD (V.O.) (cont'd)
Good kid, been a good friend to
Harlan. Her family's from Paraguay.
I know Linda likes her work ethic.
Scene 6 - Walt's Dismissal
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
RICHARD
"Immigrants - we get the job done."
From Hamilton.
Wagner gives him a smile to show he got the reference.
Cut to Linda back in the chair.
BLANC
May I just - and then I'll recede,
but as a self made man myself I have
to express my admiration for how
you've followed in your father's
footsteps.
LINDA
Thank you.
17.
BLANC
The whole family too. Joni with her
things, Walt with his publishing
empire.
LINDA
Well.
Blanc pauses. Doesn't push anything. Just waits a moment.
LINDA (cont'd)
Yes. I mean. Walt, yeah. He's done
well with what dad's given him, but
it's not the same. I built my
company up from nothing, like dad.
Walt - not like it matters but he was
sort of adrift, dad gave him the job,
but really dad hands him a book twice
a year and Walt publishes it, I
mean... it's different.
BLANC
But surely Walt runs the
merchandising, adaptations, film and
television rights...
Linda squints, narrowing her eyes on Blanc. Softly:
LINDA
Are you baiting me, Detective? You
know he doesn't, and you think I'm
dumb enough to be baited into talking
family business, into shit talking my
brother in front of a state trooper
and police detective -
Richard in the chair.
RICHARD
Walt doesn't run shit! There are no
film or tv rights, Harlan's never
allowed any adaptations of his books.
Hates the idea.
BLANC
No!
RICHARD
Oh yeah! Drives Walt nuts, cause
that's where the real money's at.
When he gets a little Irish courage
in him he'll get into it with Harlan.
18.
BLANC
Did he get "into it" at the party?
RICHARD
Oh my god.
INT. LIVING ROOM - NIGHT OF THE PARTY
Walt with a drink in his hand has cornered Harlan. Richard
watches across the room as Walt goes from arguing to
pleading.
RICHARD (V.O.)
He wouldn't leave him alone. Poor
Harlan had to give him the hook.
Harlan has had enough, he takes Walt's arm and leads him
into the drawing room for a private talk.
RICHARD (V.O.) (cont'd)
I didn't hear what he said but he
must have really handed him his
lunch, Walt was like a wounded puppy
the rest of the night.
INT. LIBRARY
Walt in the chair, indignant.
WALT BLANC
What? Richard said what?
Jesus. No, we didn't get I'm just trying to get an
"into it." accurate impression - Harlan
took you aside at the party,
when you returned you were
chastened, what did Harlan
say to you?
Walt starts to open his mouth, hesitates. Off his
frightened face we FLASH BACK:
INT. DRAWING ROOM - NIGHT OF THE PARTY
Walt, drunk, Harlan guiding him firmly into the shadows.
19.
WALT HARLAN
If you'll just look at - the
Netflix guys, their business
affairs guy sent over
something, hard numbers this
time, and I think - this is Walt.
a window, it's not going to
last and you should just
look at these numbers Walt.
WALT
Dad you put me in charge of our books
let me be in charge, let me do this!
Please.
HARLAN
They're not our books, son. They're
my books. And this is not how I
wanted to have this conversation but,
you're right, it's unfair of me to
keep you tethered to something that
isn't yours to control.
WALT
What?
HARLAN
I've done you a grave disservice all
these years, I've kept you from
building something that's yours.
You're not going to run the
publishing house anymore.
WALT
Dad. Are you firing me?
HARLAN
We'll talk about details tomorrow.
But my mind's made up.
Harlan squeezes his arm, then leaves him shell shocked.
Scene 7 - Secrets and Confrontations
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 8
Back to Walt's hesitating face. The briefest of moments has
passed. Walt lies:
WALT
We talked, we had a business
discussion, about ebooks, Jesus, it
was nothing.
(MORE)
20.
WALT (cont'd)
You want to talk about an argument,
hell Ransom had an argument with him.
BLANC
Ransom, Richard and Linda's son?
WALT
Look we love Ransom, he has a good
heart, we love him.
BLANC
...but
WALT
But he's always been the black sheep
of the family, and I'm not, I, I keep
stuff like this in the family, but
with Ransom, he's never had a job, he
lives beyond his means, parties drugs
I dunno. But dad supports him
financially, they've got this love
hate bond. They fight. But that
night, god. They had a blow out.
BLANC
About what?
INT. LIVING ROOM - NIGHT OF THE PARTY
The family having a conversation, everyone but Harlan, Jacob
and Ransom. It grinds to a halt as through the door to
Harlan's study indistinct shouting booms.
WALT (V.O.)
I don't know, nobody could make it
out, but it was huge. And it was
strange they went in another room to
do it - they usually love stoking up
drama in front of the family.
Ransom bursts out of the doors and storms out of the party,
past Greatnana.
GREATNANA
Ransom are you leaving?
INT. LIBRARY
Richard in the chair.
21.
BLANC
Speaking of getting into it, you were
at the house early to help the
caterer set up. Did you converse
with Harlan at that time?
RICHARD
He was there, I'm sure we spoke.
BLANC
In his study?
RICHARD
I don't think so.
BLANC
I questioned the caterer this
morning. She didn't see you helping
her staff, but she did hear Harlan in
a screaming match with someone that
afternoon. In his study.
RICHARD
I don't, a screaming match? No.
Joni was there early too, maybe it
was her, ask her.
BLANC
These were two male voices.
INT. HALLWAY - DAY OF PARTY
A CATERER walks through with a platter. Pauses, hears
shouting through the wall.
BLANC (V.O.)
Harlan shouted the phrase
HARLAN (O.S.)
...you tell her or I will!
INT. LIBRARY
BLANC
You tell her. Or I will. Bells
ringing?
For a just a split second, Richard considers what he is
going to say. In the second, we FLASH BACK:
22.
INT. SMALL STUDY - DAY OF PARTY
Harlan showing Richard photos on a laptop. Long lens
photos, of Richard kissing a woman who is not Linda.
Richard glares at it, Harlan turns an old baseball over in
his hands.
RICHARD
This is none of your goddamn
business, Harlan. Stay out of my
marriage.
Harlan holds up a sealed small envelope with flowery
embroidery, "L" written on the front.
HARLAN
I know my daughter. She'd want to
know. I've put it all in this letter
to her, tomorrow she gets it.
RICHARD HARLAN
I'm warning you once, don't She deserves to know, you're
do this like hell - going to tell her!
Harlan slams the baseball down on the desk.
HARLAN (cont'd)
You tell her or I will!
Scene 8 - Confrontation in the Library
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
Back to Richard. He grins, snaps his fingers.
RICHARD
Yes. I know - yes, ha. So. Harlan
decided to finally put his mom in a
nursing home. Which Linda always
opposed. And I was going to wait
till we were back home in Boston to
tell her, so there wouldn't be a
whole scene, but Harlan wanted me to
tell her then. That was it. Sorry.
Forgot.
BLANC
It happens.
Joni in the chair.
JONI
The house?
23.
BLANC
Early. Richard said you were there.
JONI
I was. At the house early.
BLANC
To see Harlan?
JONI
To see Harlan. Yes.
Joni stops, smelling something in the air. She's about to
ask about it but -
BLANC
What were you seeing Harlan about?
JONI
It was just a mix up with the payment
for Meg's tuition.
BLANC
I'm sorry to press, what kind of mix
up?
Joni hesitates, we FLASH BACK:
INT. SMALL STUDY - DAY OF PARTY
Harlan at his desk, toying with the same old baseball. This
is a thing he does at his desk. Joni standing, arms crossed.
JONI
The school hasn't got the check yet,
I don't know why Alan didn't mail it
HARLAN
Alan didn't mail it because he caught
a discrepancy. Alan's office has
been wiring tuition directly to the
school, as per your request. But
Phyllis's office that handles your
yearly allowance has been wiring the
tuition money directly to you as
well. As per your request. You've
been double dipping Meg's tuition,
stealing from me. A hundred thousand
dollars a year. For the past four
years.
24.
Harlan shows Joni a letter from his business manager, with
transaction receipts attached.
JONI
Harlan. I don't know how this mix up
happened but
Harlan opens his ledger, hand writes a check.
HARLAN
I'm writing this tuition check, then
that is the last money you or Meg
will get from me.
JONI
Heh. Harlan come on
HARLAN
Joni this money has propped you up,
and kept Meg in a Peter Pan state of
perpetual nonsense majors. I know
it'll hurt but it's for the best.
Joni's speechless, her face frozen. Harlan puts the
baseball down and detaches the check, holds it out to her.
HARLAN (cont'd)
My mind's made up.
INT. LIBRARY
Back to Joni. She shakes her head.
JONI
Just a money wiring issue. With the
office at the school. So I had to
ask Harlan to cut a check for this
semester. No big deal.
BLANC
Ah. Just checking - ha, check-ing.
Blanc is incredibly pleased with this pun.
LIEUTENANT ELLIOTT
Why don't we take a breather.
25.
INT. FOYER - DAY
Joni comes out into the foyer from the library, obviously
rattled. She pulls it together quick when Linda comes down
the stairs.
LINDA
Joni. You haven't seen Richard have
you?
JONI
No, I was just in with the - no.
INT. SMALL STUDY
LINDA (O.S.)
Richard!
Alone, Richard waits very still for Linda's footsteps to
walk away, then when he knows she's not coming in he
furtively rifles through desk drawers, finding various
ridiculous ephemera. He finds a small locked drawer,
jimmies it open with a letter opener.
Inside - the small pink envelope Harlan threatened him with
in his flashback. He rips it open, pulls out the card
inside.
It is blank.
Richard almost laughs. Drops it onto the desk.
RICHARD
Son of a bitch.
He spots Harlan's old baseball. Grabs it, spitefully chucks
it out the open window.
Scene 9 - Curiosity and Hesitation
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
Blanc, Elliott and Wagner stroll long the wide lawn beside
the house. Blanc ignites a long thin cigar.
LIEUTENANT ELLIOTT
Maybe I'm a victim of my own
expectations.
(MORE)
26.
LIEUTENANT ELLIOTT (cont'd)
But when the great Benoit Blanc
knocks on my door, I expect it's
going to be for something... if not
extraordinary, at least interesting.
This is an open and shut case of
suicide.
(checks watch)
And Benny we're at the point where I
need to know what we're doing here.
Blanc notices the OLD BASEBALL lying in the grass. He picks
it up idly.
BLANC
The method, throat slit. Typical of
a suicide?
LIEUTENANT ELLIOTT
Dramatic. Which tracks. The guy
lived in a CLUE board.
INT. FOYER
Marta sits alone, across from a portrait of Harlan. Muffled
voices out on the patio. Cigar smoke drifts by outside.
She creeps over to the glass door. Puts her ear to it.
LIEUTENANT ELLIOTT (O.S.)
You ask me to drag all these good
people back for questioning, go over
it all again, I don't get it. This
is a pleasant family with the usual
quarrels but no possible motives for
murder - where are you going?
At that moment, BLANC's face appears right next to Marta's
staring right at her through the distorted glass. She yelps
and falls back.
EXT. PATIO
Blanc opens the glass door. Marta steps back sheepishly,
but with a warm nod Blanc beckons for her to join them.
BLANC
Harlan Thrombey's nurse, Marta...
MARTA
...Cabrera
27.
BLANC
Marta Cabrera.
TROOPER WAGNER
Miss Cabrera, we'll be with you soon,
if you'd just wait -
BLANC
Miss Cabrera, I did a little poking,
you're hired on a part time basis as
a registered nurse, yes?
MARTA
Yeah, I don't work for a VNA. Harlan
hired me directly.
BLANC
You're paid a flat rate for how many
hours a week?
MARTA
Fifteen.
BLANC
And how many hours a week do you
actually work?
MARTA
It... depends.
BLANC
Many more than 15. Yes. Why?
MARTA
I started at 15, but slowly he...
needed more help.
BLANC
Medical help?
MARTA
He needed a friend.
Blanc smiles at the girl, genuinely touched.
BLANC
Does having a kind heart make you a
good nurse? Or do people assume your
heart is kind because you're good at
your job? I'm musing, you don't have
to answer that.
(beat)
And you cared for him...?
28.
MARTA
I did. I cared for him. I never
really had a relationship with my
dad, I guess in a way Harlan -
BLANC
Sorry, how long did you care for him,
I meant?
MARTA
Five years.
LIEUTENANT ELLIOTT
Blanc.
BLANC
Yes. Marta we were just discussing
possible motives in the family. I
suspect Harlan has told you much
unfiltered truth about each of them,
and also that you are not the type to
betray his confidence, so I'd like to
know if you are a good liar?
MARTA
No. No, ha. I have a thing where I
physically, I actually... I'm sorry
this is gross, if I even think about
telling a lie I start to throw up.
BLANC
Really? Is Richard having an affair?
Marta is stunned. She FLASHES BACK TO:
EXT. PATIO - DAY - FLASHBACK
She reads, Harlan sits at his laptop, heavy with sadness.
HARLAN
Why do men instinctively pull at
loose threads on their parachutes?
MARTA
What?
Harlan spins his laptop towards her - the Richard photos.
Scene 10 - Marta's Confession and Joni's Involvement
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 8
Back to our scene. Marta looks queasy, tries to stall.
29.
MARTA
Heh - Richard? - affair? Heh.
BLANC
A yes or no will do.
She struggles, her jaw clenched, face working hard, then
attempts -
MARTA
.....no
And immediately VOMITS into a nearby planter.
LIEUTENANT ELLIOTT TROOPER WAGNER
Whoa! Oh my god!
They all rush to her, Blanc brings water, awfully concerned.
BLANC
Dear girl I'm sorry. I assumed you
were speaking figuratively.
Blanc takes the shortest acceptable beat of concern before
turning to Elliott.
BLANC (cont'd)
But I was obviously right, Richard is
having an affair, his father in law
found out and confronted him. "You
tell her. Or I will."
LIEUTENANT ELLIOTT
Even if it's true... you ok?
Marta gives a weak thumbs up, recovering
ELLIOTT
Even if it's true, protecting his
marriage is weak sauce as a motive.
BLANC
Well. And then there is... Joni.
LIEUTENANT ELLIOTT TROOPER WAGNER
Joni? Joni?!
TROOPER WAGNER (cont'd)
Lifestyle guru Joni? No. Harlan was
supporting her and her daughter, she
had the opposite of a motive.
Marta tries to quietly slip back into the house
30.
BLANC
And if that support was threatened?
Miss Cabrera one moment please
MARTA
I'm just going to go get some Scope
BLANC
Miss Cabrera, was Harlan planning on
cutting off Joni's allowance?
Off Marta's "oh god no" face:
INT. STUDY - DAY - FLASHBACK
Harlan looking at the letter from his business manager, with
the transaction receipts. He sighs heavily.
MARTA
What's up?
HARLAN
When does a lifeline become a noose?
MARTA
A moose?
He hands her the letter.
HARLAN
No, not a moose.
Scene 11 - The Interrogation
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
Marta's face works against impending nausea.
MARTA
I...
LIEUTENANT ELLIOTT
Ok don't answer that if you're going
to puke. Please.
But Blanc presses.
BLANC
Meg said Harlan pays the school
directly, Joni says he sends the
money to her.
(MORE)
31.
BLANC (cont'd)
Both were true, she was pocketing the
double payment, Harlan found out and
cut her off without a cent. Yes?
No?
Marta starts to shake her head no, but her throat convulses.
She nods. Blanc hands her a glass of water.
TROOPER WAGNER
And she bumps him off for the
inheritance? Come. On! Have you
seen her instagram? She Hamptons
with Gwyneth.
LIEUTENANT ELLIOTT
I don't buy that she'd kill him over
an allowance, Blanc. She has her
business. More weak sauce.
Blanc idly scratches a spot on the side of his neck.
BLANC
That I'll grant you. But she lied.
To me. All three of them did.
LIEUTENANT ELLIOTT
Three?
BLANC
Walter.
LIEUTENANT ELLIOTT
The value of Thrombey's books for
film and tv, now Walter can cash it
in. Again though, for patricide it's
weak.
BLANC
But there was something else. Harlan
had turned Walter down before
regarding film rights, but that night
something Harlan said shook him. We
look at the pattern, Harlan was
cleaning house. I wonder...
(to Marta)
did he plan to fire Walter?
LIEUTENANT ELLIOTT TROOPER WAGNER
Ok, Blanc - C'mon -
32.
MARTA
(honest & relieved)
If he did he didn't tell me. Thank
god. Can I wait inside? I don't
feel like I should be here.
LIEUTENANT ELLIOTT
Yes, but stay close.
She steps back in, grateful. Blanc to Elliott:
BLANC
You've been very patient my friend,
and you are right, none of these weak
alibis and domestic squibbles answer
your question: why is Benoit Blanc
here? But now I will tell you why.
(beat)
I am here because this morning
someone dodged one very important
question.
LIEUTENANT ELLIOTT
Who?
BLANC
Me. Linda asked who hired me.
LIEUTENANT ELLIOTT
So who hired you?
BLANC
I. Don't. Know. An envelope of cash
showed up at my apartment yesterday,
with the news clipping of Thrombey's
death.
TROOPER WAGNER
An envelope of cash? That worked?
Blanc indicates with his fingers - several inches thick.
BLANC
An envelope of cash.
LIEUTENANT ELLIOTT
Hm. I'd like that for evidence.
BLANC
Of course.
Blanc hands him an empty envelope and news clipping.
Elliott arches an eyebrow, doesn't push it.
33.
BLANC (cont'd)
So somebody suspects foul play, but
goes through this ha cha dance of
hiring me, of staying anonymous.
Why? It makes no damn sense.
Compels me though.
(beat)
Walk me through everyone's
whereabouts at the time of death.
Elliott hesitates, but Blanc's got him hooked. He flips
open his notebook. Blanc leans back, closes his eyes.
LIEUTENANT ELLIOTT
The party broke up at 11:30.
Everyone stayed the night at the
house, because they planned a family
breakfast the next morning.
INT. SECOND FLOOR LANDING - NIGHT OF PARTY
Marta and Harlan vanish up the stairs towards the third
floor, while Richard and Linda head into the bedroom right
next to the stairs. Down the hallway Joni waves, and ducks
into another bedroom.
LIEUTENANT ELLIOTT (V.O.)
Marta took Harlan upstairs to give
him his meds, Richard and Linda and
Joni went right to bed. Now we do
have this: the stairs leading up to
Harlan's bedroom and his attic office
creak horribly.
INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF THE PARTY
Richard sleeps deep, Linda sleeps lightly.
LIEUTENANT ELLIOTT (V.O.)
And Linda is a light sleeper. So we
know every time someone took the
stairs that night.
INT. JONI AND MEG'S GUEST ROOM - NIGHT OF PARTY
Joni has decorated the room with colorful silks and candles.
She is in lotus position on her bed, meditating.
34.
LIEUTENANT ELLIOTT (V.O.)
The first was when Joni heard a ka-
THUNK from somewhere above her in the
house.
Ka-THUNK! Joni looks up at the ceiling.
INT. SECOND FLOOR LANDING - NIGHT OF PARTY
Joni trots down the hall and up the creaky stairs.
LIEUTENANT ELLIOTT (V.O.)
Worried about Harlan, she went to
check on him. Waking Linda.
Scene 12 - The Mysterious Night
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
CREAK CREAK CREAK! From outside. Linda's eyes pop open.
INT. THIRD FLOOR LANDING - NIGHT OF PARTY
Joni knocks on the door of Harlan's attic office. It opens,
and Harlan answers. In the room behind him we see Marta,
her back turned, preparing a hypo needle.
LIEUTENANT ELLIOTT (V.O.)
Harlan was in his attic office with
Marta. He explained that they had
just knocked the GO board over - that
game with the grid and stones, they
play it every night, and he was fine,
go to bed. So she does.
The spilled GO board on the floor. Joni kisses Harlan on
the cheek, goes. He shuts the door.
INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF PARTY
Linda has just gotten back to sleep.
LIEUTENANT ELLIOTT (V.O.)
Ten minutes later, Linda is woken a
second time, by Marta leaving.
CREAK CREAK CREAK! Linda wakes, supremely annoyed.
MARTA (O.S.)
Walt! I'm leaving now!
35.
EXT. FRONT PORCH - NIGHT OF PARTY
Walt and Jacob sit on the porch, Walt with a cigar, Jacob
with his phone. Marta trots through, saying goodbye.
LIEUTENANT ELLIOTT (V.O.)
Walt was smoking a cigar on the porch
with his son. He saw her leave and
drive off, and noted the time -
midnight.
Walt glances at his watch. Midnight.
INT. RICHARD AND LINDA'S GUEST ROOM - NIGHT OF PARTY
Linda with a pillow over her head.
LIEUTENANT ELLIOTT (V.O.)
Fifteen minutes later, Linda is woken
for the third and final time. By
someone coming down the stairs.
CREAK CREAK CREAK! Linda wakes. You've gotta be kidding me.
EXT. FRONT PORCH - NIGHT OF PARTY
Walt, still smoking with Jacob, spots Harlan through the
glazed glass, coming down the stairs in the foyer.
LIEUTENANT ELLIOTT (V.O.)
Harlan. Who came down for midnight
snacks, which Walt tried to
discourage.
WALT
Dad, go to bed!
Through the glazed glass, Harlan goes back up the stairs.
LIEUTENANT ELLIOTT (V.O.)
This is at 12:15. Based on this, the
medical examiner determined time of
death to be between 12:15 and 2am.
As Walt was finishing his cigar,
about 12:30, Meg came home. She went
straight to bed. Walt and Jacob
turned in shortly after that.
Meg pulls up, trots past Walt and Jacob and inside.
36.
INT. JONI AND MEG'S GUEST ROOM - NIGHT OF PARTY
Meg stirs, wakes. Joni is asleep.
LIEUTENANT ELLIOTT (V.O.)
Sometime later that night,
undetermined but possibly near 3am,
Meg woke up because the dogs were
barking outside. She used the
bathroom and went back to bed.
EXT. PATIO - DAY
Elliott snaps the notebook closed.
LIEUTENANT ELLIOTT
And that's it. Everyone's stories
matched, every movement accounted
for.
BLANC
There is no other staircase up to
Harlan's rooms?
Blanc scratches that same spot on the side of his neck.
LIEUTENANT ELLIOTT
No. Just the creaky one.
BLANC
And Linda is certain another trip on
it would have woken her? Hm.
LIEUTENANT ELLIOTT
You've got a bad rash there.
The spot on his neck. Blanc seems intrigued by this.
BLANC
Do I? Interesting.
LIEUTENANT ELLIOTT
(not interesting)
Yeah. Interesting.
TROOPER WAGNER
So I guess we can rule out Ransom, he
wasn't there. And Marta, Harlan was
alive after she left. But Meg got
home during the time of death window.
37.
LIEUTENANT ELLIOTT
Except it was a suicide. Harlan hit
both carotids, he took no chances,
and the significant splatter patterns
are unbroken. Meaning nobody was
near him when it happened. It's
basically impossible for anyone but
Harlan to have cut his throat.
BLANC
Physical evidence can tell a clear
story with a forked tongue.
LIEUTENANT ELLIOTT
What?
BLANC
And as we've seen this morning, all
people can lie. Well. Almost all.
INT. LIBRARY - LATE AFTERNOON
Marta in the chair. She shifts, uncomfortable.
Blanc, Elliott and Wagner in their normal places.
BLANC
Ms. Cabrera, we've kept you waiting
all afternoon because I wanted to
hear from you last. I wanted to have
the entire picture of the evening in
my head. Your piece of it is at its
very center. So please, take your
time. You took Mr. Thrombey upstairs
at 11:30. And left at midnight.
Think very carefully. And with as
much detail as possible, tell us what
happened in that half hour.
Marta is very still. A moment of silence. Blanc flips his
silver dollar into the air.
She does not say a word, but in that moment while the coin
hangs in the air we FLASH BACK with her to:
Scene 13 - Upstairs to the Office
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
The night of the party. A clock on a nightstand: 11:32.
Off screen we hear Marta leading Harlan up the creaky
stairs.
38.
MARTA HARLAN
Up up up up - you got it? I got it. Up up up I got
it.
Marta enters the room, and behind her we see Harlan keep
climbing up the narrow stairs to his office.
MARTA
Up up nooooo no not tonight, no
straight to bed tonight it is soooo
late c'mon. Harlan. Harlan!
She grabs a med kit from the bedroom and follows him,
exasperated.
Scene 14 - A Game of GO
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
Harlan sits, setting up a GO board. Marta enters.
MARTA HARLAN
It's late, I had champagne It's my birthday, we are -
no no no You had one glass - we're
not breaking tradition on my
birthday.
Marta puts two vials and a pill box on the GO board. She
pulls out two plastic wrapped hypodermics.
MARTA
Take your goddamn medicine and go to
bed.
HARLAN
If you're going to put that vile shit
in me you will have to earn it. On
my birthday.
(playing it up)
Eighty fifth. So old. Soo olddd
MARTA
Alright old man. 8x8 game.
She sits and they start clacking white and black stones on
the board.
HARLAN MARTA
Why can't I beat you at this
game? Because I'm not playing to
beat you, I'm playing to
Oh uh huh. build a beautiful pattern.
They play fast, and Marta is obviously winning.
39.
HARLAN
Elder abuse. I'm calling the AARP.
MARTA
Don't make me get the belt.
HARLAN
It's basically over. My only hope is
that an earthquake will strike. But
what are the chances -
Harlan starts shaking the table with his knee. He looks
around, startled. Marta just stares at him, deadpan.
HARLAN (cont'd)
Get under a door frame!
He tips the whole table and the GO board and med vials and
syringe and med kit fall to the soft rug. Things spill out
of the kit. A mess. Marta just shakes her head.
MARTA
Meds then beds.
HARLAN
Fair.
She retrieves the vials and loads a syringe from one of
them. Harlan rolls up his sleeve revealing a pre-inserted
catheter. He crosses to close the room's only small window.
HARLAN (cont'd)
Ugh, Walt's smoking a cigar on the
porch. Nasty things.
MARTA
How was tonight?
She hooks the syringe up to the catheter and slowly injects
him bit by bit while he talks.
HARLAN
Tonight was... good.
MARTA
Because I know you weren't looking
forward to it.
HARLAN
No. But I did it. Cut the line on
all four of them. It was not easy.
This goddamn fortune.
(MORE)
40.
HARLAN (cont'd)
Sometimes I think, everything I've
given my family, I've done, maybe
without knowing it, maybe, to keep
them beneath me. I should have
what... maybe, I don't know.
Encouraged Walt to write his own
stories, not just be a caretaker of
mine. Like you said I should. Been
a father, not just a provider, to
Joni. Like you've also said. I
should have been kinder to Linda.
And Ransom.
Harlan takes a curved ornamental dagger from a display
mount, turns it over in his hands.
HARLAN (cont'd)
Jesus there's so much me in that kid.
Confident, stupid, I dunno.
Protected. Playing life like a game
without consequence, till we can't
tell a stage prop from a real knife.
He stabs it into the desk, sharp and real. Leaves it there.
HARLAN (cont'd)
I don't fear death. But god I'd like
to fix some of this before I go.
Close the book with a flourish. I
guess we'll see.
MARTA
I guess we will. Hey. Old man.
You've had a long day. Let's do
drugs.
She loads the second syringe from the second vial.
HARLAN
Is that the good stuff?
MARTA
Yeah but just a tiny bit.
HARLAN
Send me to lala land. Why did I wait
till my mid eighties to become a
morphine user, this stuff's the best.
She pulls the needle from the second vial... then sees the
label. Freezes. Blinks at it.
41.
MARTA
Oh my god.
She snatches up the first vial she just injected him from.
Compares the label to the one she just picked up. They're
similar but not the same.
HARLAN
Is there a problem?
MARTA
This is what I just gave you 100
milligrams of. But I messed up.
HARLAN
You gave me 100 milligrams of the
good stuff.
She immediately pulls an EMERGENCY KIT from a nearby shelf,
starts calmly but quickly going through its contents.
HARLAN (cont'd)
What's the good stuff dosage supposed
to be?
MARTA
Lets not call it that right now -
three milligrams.
HARLAN
That's much less. So what happens?
MARTA
I give you an emergency shot of
Naloxone, so that you don't die in
ten minutes.
HARLAN
Well no pressure. You know that's an
interesting, efficient method for
murder, I need to write that down.
He gets a little notebook and scribbles while she checks and
rechecks the kit contents with increasing urgency.
HARLAN (cont'd)
So if someone switched the meds on
purpose I'd be dead in ten minutes,
like stone cold dead?
MARTA
You'll feel symptoms in five. Sweats,
disorientation.
(MORE)
42.
MARTA (cont'd)
Then yeah, that big a dose, injected,
within ten your respiratory - your -
yes ten minutes.
HARLAN
From the time of injection, so
eightish now. And even if the victim
called an ambulance when he first
felt symptoms, if he was at a country
home like this one... where the
ambulance takes fifteen minutes to
arrive, it would be too late. If the
victim didn't have this emergency
Naxostuff.
He watches her. She's now digging around the carpet,
looking under the couch. She dumps the entire contents of
the kit out and is now frantically going through it. A bead
of sweat rolls down Harlan's brow.
HARLAN (cont'd)
Marta. Do you have Naxostuff?
MARTA
Yes! Naloxone yes it comes with the
emergency kit - it should be here,
it's - fuck. No Harlan it's not
here. It's not. Oh my god.
They look at each other for a second. She's panicked. He's
thinking.
MARTA (cont'd)
Where's my phone? Shit -
She picks up a landline phone on the table, dials 911 with
shaking hands -
Before it can even ring, the line goes dead.
She looks, unbelieving: Harlan's finger is on the cradle.
His eyes are locked with hers, serious and certain.
MARTA (cont'd)
Harlan what are you doing?
HARLAN
Marta, listen to me.
MARTA HARLAN
Harlan we need to - are you Stop. Stop stop, Marta
crazy, we need to call, they listen there isn't time stop
need to get here I need to - now stop
43.
She goes for her cell phone across the room and Harlan stops
her - they trip and fall to the ground with a KA-THUNK.
MARTA HARLAN
What are you doing are you Marta it's too late it is
nuts? over, it's too late I am
dead listen. LISTEN.
He actually puts his hand over her mouth.
HARLAN (cont'd)
Listen. If what you said is true I
am gone, there's no saving me, we
have six minutes. There is one last
thing I need to do in this world, and
only you can help me do it. But you
need to trust me and do everything I
say.
MARTA
What do you want to do?
HARLAN
Get you out of this. Think of your
mom - please trust me, we have to
make this look ironclad like it can't
have been your fault. You. Can't.
Have done this.
MARTA
My mom...?
CREAK on the stairs outside.
HARLAN
Get up.
A knock on the door.
JONI (O.S.)
Harlan? Marta? Everything alright?
Harlan and Marta stand. She's dazed, deer in the
headlights, but he's focused and sharp. He turns her away
from the door.
HARLAN
Stand here, keep your back to me,
don't say a word.
Harlan opens the door. While he gets rid of Joni we stick
with Marta, who stands stock still, tears running down her
face, eyes wild - what does she do?
44.
HARLAN (cont'd)
Joni.
JONI
I - hi - I heard something, is
everything ok?
HARLAN
Oh yes we just, I just knocked over
the GO board, sorry about that.
JONI
Everything's alright?
HARLAN
Yes yes all fine, go to bed Joni.
JONI
Ok. And maybe we can talk tomorrow
about the, uh, the thing with
HARLAN
Yes. Tomorrow.
JONI
Love you, Night.
HARLAN
Night night.
Harlan shuts the door. Looks at the knife still sticking in
the desk. Then takes Marta's shoulders, looks in her eyes.
HARLAN (cont'd)
Your mom is still undocumented, if
this is your fault she'll be found
out and at best deported, your family
will be broken.
A new kind of fear in Marta's eyes.
MARTA HARLAN
Oh god But we're not going to let
that happen. I have a plan,
it's not going to be easy
but you have to do exactly
what I tell you. Will you
do this Marta? This last
thing. For me, and for your
family. Will you. Please.
She's terrified. But she nods.
45.
Scene 15 - Marta's Alibi
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
Walt smoking and Jacob.
HARLAN (V.O.)
Go downstairs as noisily as you can,
say goodbye loudly.
MARTA (O.S.)
Walt! I'm leaving!
Marta exits quickly, down to her car.
HARLAN (V.O.)
Call attention to the time if you
can.
MARTA
God it's almost midnight.
Walt checks his watch.
INT. MARTA'S CAR - NIGHT - FLASHBACK
She drives out the guard gate and down the private road.
HARLAN (V.O.)
Drive out the gate, then to avoid the
security cameras, pull off the road
BEFORE the carved elephant.
Up ahead - a weathered wood carved elephant statue.
MARTA
Wait... was it before or after?
HARLAN (V.O.)
AFTER the carved elephant.
MARTA
No, he said - before? Was it?
HARLAN (V.O.)
BEAFTERFORE the carved elephant.
MARTA
Shit...
She yanks the wheel and pulls off BEFORE the statue.
46.
EXT. WOODS - NIGHT - FLASHBACK
Marta trudges away from the parked car, tree branches
catching her hair.
HARLAN (V.O.)
Park and come back on foot up to the
house,
MARTA
Goddammit Harlan.
EXT. THROMBEY ESTATE SIDE GATE - NIGHT - FLASHBACK
A waist-high stone wall with a little pedestrian gate. The
house up ahead. Marta goes through the gate and up towards
the house.
HARLAN (V.O.)
Take the side yard path, through that
little gate.
The DOGS sprint down the moonlit yard from the house towards
Marta.
HARLAN (V.O.) (cont'd)
The dogs will know you, they
shouldn't bark.
The dogs stop at Marta and lick her hand.
EXT. THROMBEY ESTATE SIDE YARD - NIGHT - FLASHBACK
Marta looks up the side of the looming house. A sturdy
trellis on the wall, and high above a third story window.
HARLAN (V.O.)
You've got to get up to the third
floor without being seen, and the
only way is to climb the side trellis
and come in through the trick hall
window.
MARTA
You've gotta be kidding me.
HARLAN (V.O.)
I am not. Do it.
47.
Cut to: moments later, Marta climbing the trellis. It's
easy going until a piece BREAKS under her foot, and she
swings for a second by one hand.
HARLAN (V.O.) (cont'd)
And for godssakes don't make any
noise.
INT. THIRD FLOOR LANDING - NIGHT - FLASHBACK
What appears to be a dead end hallway, with a painting at
the end. BUT suddenly the end wall swings away like a door,
revealing a WINDOW behind it. Marta heaves her way in
through it, and steps lightly into Harlan's bedroom.
HARLAN (V.O.)
Once you're inside, this is the
tricky part.
MARTA (V.O.)
THIS is the tricky part?
INT. HARLAN'S BEDROOM - NIGHT - FLASHBACK
HARLAN (V.O.)
Get my robe and cap from my bedroom.
And put them on.
She picks them up from the bed. Stops. A moment of doubt.
INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK
Back to the scene with Harlan. Marta stops him.
MARTA
Harlan this is - I -
HARLAN
Suspicion is going to fall on you,
and we need to make this so airtight
your average cop will entirely
dismiss you as a suspect. This seems
crazy but it will work.
INT. HARLAN'S BEDROOM - NIGHT - FLASHBACK
Marta in the robe, pulling the cap on, tucking her hair
under it.
48.
HARLAN (V.O.)
Now, go downstairs.
INT. SECOND FLOOR LANDING - NIGHT OF PARTY - FLASHBACK
Marta, in Harlan's robe and cap, creeps down the creaky
stairs, then keeps going down.
HARLAN (V.O.)
Walt and Jacob are smoking outside.
They'll see you...
INT. FOYER - NIGHT OF PARTY - FLASHBACK
Marta come down the stairs, and sees the outline of Walt and
Jacob outside through the glazed window windows.
HARLAN (V.O.)
...through the glazed window.
She holds her breath, a deer in the headlights.
WALT
Dad, go to bed.
Marta heads right back up the stairs.
HARLAN (V.O.)
You were seen leaving, the security
cameras show you driving off, and
twenty minutes later I am seen alive
and well by my son.
Scene 16 - Marta's Nocturnal Encounter
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
Marta climbs the creaky stairs.
HARLAN (V.O.)
You've gone from suspect number one
to an impossibility.
INT. HARLAN'S BEDROOM - NIGHT
Marta ducks in, ditching the robe and cap on the bed.
EXT. THROMBEY ESTATE SIDE YARD - NIGHT
Marta shimmies down the last of the trellis.
49.
HARLAN (V.O.)
Leave the way you came. And don't.
Be. Seen.
She hops to the ground, then FREEZES and almost shouts.
She's facing a darkened first floor window. Wide open. And
inside it, staring RIGHT AT her, is Greatnana.
Marta is frozen. Greatnana isn't moving either. Just has
her eyes locked on Marta.
After what seems like forever, Greatnana cocks her head
slightly and asks...
GREATNANA
Ransom? Are you back again already?
Marta breathes. And backs away. Then turns and goes,
quickly, down across the lawn.
HARLAN (V.O.)
Drive home. Sometime in the next few
days the police will question you.
INT. HARLAN THROMBEY'S STUDY - NIGHT
Back to Harlan and Marta.
MARTA
Harlan I can't lie I'll puke
HARLAN
Don't lie. Tell fragments of the
truth. In this exact order:
INT. LIBRARY - LATE AFTERNOON
Blanc catches his coin. Lieutenant Elliott and Trooper
Wagner look up at Marta, expectant. Just a brief moment has
passed since we left them.
MARTA
I took him upstairs. We played our
nightly game of GO, at some point he
knocked the board over and Joni came
up to check on us. Then I gave him
pain medication, he pulled his
shoulder last week, and left him in
his study. At midnight. Said bye to
Walt, went home.
50.
LIEUTENANT ELLIOTT
What medication did he get?
Marta chooses her words very carefully:
MARTA
Since his injury I've been giving him
a 100 milligram IV push of Toradol, a
non narcotic analgesic. And to help
him sleep, 3 milligrams of morphine.
LIEUTENANT ELLIOTT
Anything unusual about his demeanor?
Uh oh. Marta keeps it solid. Superhuman effort.
MARTA
No.
The three men nod. Blanc holds Marta's gaze. She holds it
right back. Then he smiles.
BLANC
Well that sounds about right. Thank
you Ms. Cabrera.
INT. FOYER - MOMENTS LATER
Marta walks calmly out of the library. Then across the
foyer into a small door.
INT. HALF BATH
Marta walks in, closes the door behind her, locks it, turns
on both the taps, and PUKES into the toilet.
INT. LIVING ROOM - NIGHT
HARLAN THROMBEY - his portrait, with an ambiguous look on
his face.
Marta. Soda water in hand at the reception that night.
Staring shell shocked at Harlan.
The reception for friends of the family. Tables of food.
Twenty or thirty people milling, in dark tasteful clothes,
with the whole Thrombey family.
A tearful Fran has cornered Marta, talks through sobs:
51.
FRAN
I don't think he killed himself I
don't. I don't. There's this
Hallmark movie Deadly By Surprise
where Danica McKellar plays a wife
who gets poisoned by her husband but
bit by bit so she thinks she's going
crazy and she ends up killing
herself, and my cousin who's the
receptionist at the medical examiners
office says that kind of thing can
totally happen, she says it's not
even like 3% as crazy as stuff she's
seen come through the -
As Fran's talking, Marta looks at the room of family
members, gathered around talking. She FLASHES BACK to:
Scene 17 - Tense Interrogations and Smoke-Filled Moments
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 9
NIGHT OF THE PARTY
Harlan and Ransom go off together to have a private talk,
leaving the family having a heated conversation in the
living room.
RICHARD JONI
I don't like him no he's an
asshole but maybe an
asshole's what we needed Oh god. Yeah an asshole's
what Germany needed in
oh uh huh yeah there you go nineteen thirty ever
Marta stays on the outskirts. Fran, with a tray of
champagne flutes:
FRAN
Jesus. I'm gonna disappear until the
politics talk is done. You want some
champers?
MARTA
No I'm technically working. Thanks.
Marta checks her watch. Meanwhile Donna, who's had a few, is
tearing into the family fight.
52.
DONNA JONI
We're losing our way of life
and our culture, there's
millions of Mexicans coming
and this isn't Joni don't Oh god really - yeah it's
make this a race thing, I'd not a race thing yeah
say the same thing if they
were European immigrants - Oh yeah, if the Swiss were
we allow them in and they clogging in the streets -
think they own what's ours They're putting. Children.
In cages. I mean these are
camps.
RICHARD JONI
Nobody's saying that isn't
bad, but I blame the parents For wanting a better life
for their kids, isn't that
what America
RICHARD
For breaking the law. You're going
to hate hearing this but it's true,
America is for Americans. Marta, come
here.
Richard beckons her over, waving his cake plate. We've seen
this moment before, silent, during Richard's questioning.
LINDA
Oh god don't.
Marta is drawn over next to Richard, very uncomfortable.
RICHARD
No, Marta your family came from
Uruguay but you did it right, she did
it legally, I'm saying. You work
hard, and you'll earn your share from
the ground up just like dad and all
of us did - Marta I bet you agree
with me.
LINDA
Leave the poor girl alone.
RICHARD
No Marta do you agree, I'd like you
to answer - you wanna become an
American, there are legal ways to do
it, but if you break the law it
doesn't matter if you have a good
heart, you gotta face the
consequences.
53.
At that moment booming shouts begin behind the study door -
Harlan and Ransom going at it. Ransom bursts out.
Marta takes the opportunity to slip into the hallway, alone.
She breathes hard. Takes a champagne flute from the tray.
Drinks it in one gulp.
INT. LIVING ROOM - NIGHT
END FLASHBACK. Marta in the same spot, Fran still talking
her ear off. The room sways. Marta sucks in breath, sways,
and braces herself against the wall.
FRAN
Oh my god Marta, what?
Meg runs over, rubs her back.
MEG
Whoa hey, c'mere, hey. What do you,
you want water? Breathe. Hey. Fran
have you still got your stash?
INT. DRAWING ROOM - NIGHT
Empty and dark, fireplace blazing. Above the fireplace is
an ornate mantle clock. Fran uses a key to unlock one of
several tiny drawers hidden in its face, takes out a joint
and hands it to Meg.
FRAN
Take em whenever you need em -
they're just drying out since you
gave me that Juul.
MEG
Thanks Fran.
Fran leaves them alone.
MARTA MEG
I'm sorry I'm sorry I'm Stop saying you're sorry
sorry Jesus
Meg lights the joint.
MARTA
God my heart won't stop, I can't -
it's just everything, no, thank you
she refuses the joint, then realizes where it came from.
54.
MARTA (cont'd)
That's where Fran keeps her stash?
MEG
Who ever opens a clock?
(then)
Walt! Walt!
Scene 18 - Offering Help and Suspicious Inquiries
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 8
Walt yells at a non responsive, bored Greatnana.
WALT LINDA
DO YOU WANT DINNER, NANA? Walt she's fine, she ate the
DINNER? TO EAT? EAT? whole salmon spread already.
Meg grabs Walt, pulls him to Marta.
MEG
Did you tell Marta yet? What we all
talked about?
WALT MEG
No, not yet, is now a good Yes a very good time. Right
time? now.
WALT
Marta. We've talked it over, and
(wait)
Are you smoking grass?
MEG
No.
WALT
We talked it over and the whole
family, we want to take care of you.
MARTA
What does that mean?
MEG
We all think you deserve something.
WALT
Financially, we want to help you out.
You were never anything but good to
dad. Because of that, you can count
on us.
Walt embraces her, Meg puts a hand on her back.
55.
Over Walt's shoulder, Marta sees Harlan's portrait again.
Has its expression changed? It looks like it has a slight
conspiratorial smile. Marta breathes - maybe this is all
going to be ok.
WALT (cont'd)
I thought you should have been at the
funeral, by the way. I was outvoted.
EXT. SIDE PORCH - NIGHT
Later. Marta comes out to get some air. Exhales deeply.
And then jumps - she's not alone. Benoit Blanc sits in a
wicker chair in the dark, smoking a long thin cigar.
MARTA
Wah ha. Detective. You're still here?
BLANC
Mm.
Silence. Blanc smokes and stares at Marta. Marta shifts.
MARTA
Did you know Harlan?
BLANC
He knew my father who was a police
detective. Years ago.
MARTA
So that's why you're here?
BLANC
Here now here? No. I stayed hoping
to speak to you a little more.
MARTA
Uh?
BLANC
Something is afoot with this whole
affair. I know it, and I believe you
know it.
MARTA
So you're... going to keep digging.
BLANC
Harlan's detectives they dig, they
rifle and root, truffle pigs.
(MORE)
56.
BLANC (cont'd)
I anticipate the terminus of
gravity's rainbow.
MARTA
Gravity's Rainbow.
BLANC
It's a novel.
MARTA
I know. I haven't read it.
BLANC
Neither have I. Nobody has. But I
like the title. It describes the
path of a projectile, determined by
natural law. Voila, my method. I
observe the facts without biases of
the head or heart, I determine the
arc's path, stroll leisurely to its
terminus, and the truth falls at my
feet.
(beat)
The medical examiner was ready to
rule this a suicide, but Elliott
agreed to keep it pending for forty
eight hours. Tomorrow morning I
search the grounds and the house,
begin my investigation. I want you
to be by my side for it. My
confidant, my eyes and ears.
MARTA
What but - why me?
BLANC
I trust your kind heart. Also you
are the only one who had nothing to
gain from Harlan's death. So.
Watson.
Blank puts out his cigar, stands.
MARTA
You want my insight into this family?
None of them are murderers. That's
my insight.
BLANC
And yet. Be it cruel or comforting,
this machine unerringly arrives at
the truth. That's what it does.
57.
MARTA
Always?
He does a little bow.
BLANC
Tomorrow at eight.
Marta watches him go.
INT. CABRERA LIVING ROOM - NIGHT
Marta gets home. Her mom is on the couch, zoning out in
front of the tv, still in a cleaning uniform. Without a
word Marta sits next to her. Stares at the TV.
Off her eyes, we FLASH BACK with her:
INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK
HARLAN
I know I missed something... there's
going to be something I missed. But
I know you can beat it. Without
losing your soul you have to do what
you have to do to beat this, and win.
MARTA
I can't.
HARLAN
You can and you have to. For me.
Right now.
She's out the door and he shuts it.
Scene 19 - The Secret
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
Marta stands frozen. Soft voices of Walt and Jacob float up
from downstairs. She turns back to the door.
Silence. Moments going by. Shit. Can she do this? Shit.
No. She turns and pushes back into the office -
INT. HARLAN THROMBEY'S STUDY - NIGHT - FLASHBACK
MARTA
Harlan I have to get you help -
58.
Harlan reclines on the couch in the middle of the room,
ornate dagger against his throat. Marta's eyes go wide.
HARLAN
Do what I say and everything's going
to be ok, Marta. I promise.
She makes a move to stop him and with one quick motion he
DRAWS THE DAGGER across his throat. Blood sprays.
She leaps back, hands to her mouth, spins and leaves the
room, closing the door behind her.
EXT. THIRD FLOOR LANDING - NIGHT - FLASHBACK
Breathing hard, silent crying. Then her breathing slows.
Her brain taking over. Resolve settling. The dice are
thrown. She wipes her eyes. Then bounds down the stairs,
out of frame.
MARTA (O.S.)
Walt, I'm leaving now.
INT. CABRERA LIVING ROOM
Back to Marta and her mom on the couch. She puts her hand
on Mom's knee.
MARTA
Everything's going to be ok. I
promise.
MOM
(of course)
I know.
They go back to watching tv. But Marta's mind is buzzing.
On her white sneaker, we see but she does not - one single
drop of blood.
EXT. THROMBEY ESTATE GUARD GATE - MORNING
The gate is open, Marta's car pulls up just inside it. The
small Guard house next to the gate, Blanc, Elliott and
Wagner outside it. Blanc waves to her.
59.
INT. GUARD HOUSE
Thrombey's security man, MR PROOFROC, guides them into the
cramped dusty space. Proofroc is old and salty. He shows
them old photos of the house, stuck to a steel fridge with
big brightly colored fruit magnets.
MR PROOFROC
Fifty years I worked this estate,
back when it was the Redfirns. Course
back then security meant making the
rounds with a 94, keeping your ears
open. Before all this modern
technology.
Nothing in the room is newer than 1988. An 8 inch CRT
monitor shows a phosphorescent live feed of the road outside
the gate, and a top loaded VHS VCR sits next to it.
LIEUTENANT ELLIOTT
So what do you have from that night?
MR PROOFROC
Eh?
He squints, hard of hearing.
LIEUTENANT ELLIOTT TROOPER WAGNER
What do you - WHAT DO YOU
HAVE, FROM THAT NIGHT, WHAT WHAT DO YOU HAVE FROM THAT
DO YOU HAVE FROM THAT NIGHT? NIGHT?
Proofroc squints at Marta, who asks him quietly
MARTA
What do you have from that night?
MR PROOFROC
Well the video here, I saved the tape
from that night, usually I erase 'em
with the magnetic de-gauser, but I
thought better save that one. Cause,
security. That's the live feed
there.
Marta notices something with alarm - the video feed shows
the road outside, and at the top edge you can just barely
see the carved elephant that marks the gardener's utility
road. She realizes Harlan said
60.
HARLAN (V.O.)
...to avoid the security cameras,
pull off the road AFTER the carved
elephant.
Marta keeps a poker face, but.. shit.
LIEUTENANT ELLIOTT
(to Proofroc)
Can we see CAN WE SEE THE TAPE? THE
TAPE? FOR THE NIGHT? TAPE!
MARTA MR PROOFROC
(quiet, to Proofroc)
They want to see the tape. Oh sure.
CLACK! The tape loads into the mechanical VCR. An
impossibly grainy, smeared night vision view of the road
outside the gate. Time stamp: 10:02pm.
TROOPER WAGNER
It's like a Japanese horror movie.
MR PROOFROC
(proud)
I record it SSLP, gets eight hours
per tape. Nine pm to five am.
BLANC MARTA
Can we - (to Proofroc)
(to Marta)
Can we scan forward?
Can we scan forward?
MR PROOFROC
Hold the play button down and press
the FF down halfway till you feel it
grind.
Wagner does, the machine makes horrible noises and the
picture frizzles and frazzles. Then stops and ejects.
MR PROOFROC (cont'd)
And hold the tape down or it'll
eject.
BLANC
Can your guys digitize it so we can
scan it properly?
TROOPER WAGNER
I'm sure we can.
61.
MARTA
I got it.
Marta grabs the tape from the VCR.
LIEUTENANT ELLIOTT BLANC
THANK YOU THANK YOU
MARTA MR PROOFROC
Thank you. You're welcome.
Scene 20 - Footprints in the Woods
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 7
- Dialogue: 6
They all hack through the overgrown gardener's path.
TROOPER WAGNER
That wood elephant, it's a thing from
his book "The Ivory Blade."
LIEUTENANT ELLIOTT
Amazing. Blanc the grounds are
lovely but you think what, someone
broke into the house? To kill
Harlan? Is that why we're out here?
BLANC
I think it's an unlikely but
fascinating possibility. And if they
did, there will be traces.
TROOPER WAGNER
I'll take that, thanks ma'am.
Marta hands Wagner the VHS tape. Then she discretely
pockets something she had held in her hand next to it - a
few of the bright fruit MAGNETS from Proofroc's fridge.
EXT. THROMBEY ESTATE SIDE YARD
The group hikes up out of the woods, towards the low wall
with a small pedestrian gate that leads to the east lawn.
Marta is out in front. During the following, she notices
something: The earth around and under the gate is soft and
bare. And clear as day: HER FOOTPRINTS from the other
night, the only ones from women's shoes. The same ones she
has on now. Her breath catches. SHIT.
LIEUTENANT ELLIOTT
Any luck with the black sheep,
whatshisname?
62.
TROOPER WAGNER
Ransom. No, but we have an address.
Ten Oak street.
BLANC
Ten oak. That's a pleasant thing to
say. Ten oak. Tenoak.
TROOPER WAGNER
Ugh this mud, my boots are going to
stink.
BLANC
Mud - has it rained the past week?
No - Nobody move! Freeze! Everyone!
These footprints must not be
disturbed!
(sees)
Marta!
Marta has already walked through the pedestrian gate and up
onto the lawn, stepping in her pre-existing prints. She
turns back, playing dumb.
MARTA
What?
BLANC
Don't - stop there, don't -
MARTA
I can't hear you, what?
She trots back to them through the gate, stepping into her
returning prints.
BLANC
No no no nodon't - don't step on the,
ok, alright. Aughhhhh ok.
MARTA
What?
Blanc sidesteps up to the gate, not stepping in the mud.
LIEUTENANT ELLIOTT
Alright, Wagner let's get the boys on
it, check the prints, tape off this
area, keep it clear.
The dogs come running down the lawn, barking at the men.
They tear through the gate, further messing up the mud.
63.
BLANC
Wehell. She-it. Dogs.
MARTA
Hey boys, easy. Hey. Hey.
She pets them and they quiet down.
BLANC
Best judge of character is a dog.
I've found that to be true.
The dogs start BARKING and bolt towards the house, where
Richard and Linda are pulling up in their lux SUV.
LIEUTENANT ELLIOTT
They're doing the will reading at
ten, whole family will be here soon.
Elliott heads up towards the house. Blanc meanders up the
lawn, and Marta follows.
MARTA
I've never been to a will reading.
BLANC
You think it'll be like a game show.
No. Imagine a community theater
performance of a tax return.
They approach the side of the house. Blanc does a gentle,
meandering study of the layout.
Marta steals a look at the trellis she climbed.
Oh no. A piece of the white lattice trellis that broke off
when she was climbing - about eight inches long - lies in
the grass beneath it. Her eyes dart up - yup, there's the
broken spot. Shit.
BLANC (cont'd)
SWEET BEANS
Marta starts - did he spot it? No - he's come face to face
with Greatnana, standing stock still on the porch. She
stares at him like a bird.
BLANC (cont'd)
Good morning Mrs. Thrombey.
He approaches her, slowly. When his back is fully turned
Marta takes her shot and KICKS the piece of trellis under
some thick bushes at the base of the house.
64.
Blanc and Greatnana stare at each other. Blanc gets very
close to her, great sympathy in his eyes. Greatnana stares
back. It's almost like they're communicating. This goes on
for a little too long. Then Blanc breaks from the trance,
and turns to Marta.
BLANC (cont'd)
Do you think you could handle the
study?
Scene 21 - The Study Interrupted
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 9
The blood is now only a subtle dark stain, but other than
that the room has been left intact from the night of the
party. Marta and Wagner observe as Blanc paces the room.
BLANC
(to Marta)
Where's your medical bag?
MARTA
I... don't know - I left it here, I
always leave it with Harlan at night.
TROOPER WAGNER
They must have taken it in as
evidence. I'll check on it.
Blanc picks up the GO board and sets it on the table.
Examines its grid idly.
BLANC
How'd the GO board get knocked over?
MARTA
We were just goofing around.
(beat)
What are you thinking?
Blanc sighs gently, turns the baseball over in his hands.
Looks like this was a bust.
BLANC
I'm thinking about my cat. And the
2:20 train back to the city.
Blanc tips the GO board over, and it lands on the carpet
with a nearly inaudible WHOMPH. He stares at it.
But his concentration is broken by sharp barking outside.
They go to the tiny window and look out.
65.
A DASHING MAN in his early 30s climbs out of a vintage
Porsche. The dogs go NUTS, biting at his pant legs.
BLANC (cont'd)
Let me guess.
EXT. THROMBEY ESTATE FRONT DRIVE
The man kicks off the dogs and limps toward the house,
cursing. Lieutenant Elliott and Office Wagner step out onto
the porch.
LIEUTENANT ELLIOTT
Hugh Drysdale?
RANSOM
Ransom. Call me Ransom, my middle
name. The help call me Hugh.
LIEUTENANT ELLIOTT
I'm Lieutenant Elliott, this is
officer Wagner, we'd like to ask you
a few questions about the night of
RANSOM
Uh huh.
He blows past them and into the house.
Scene 22 - Explosive Family Gathering
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Walt, Donna and Jacob (nose in his phone) sit around the
room. Linda and Richard stand, on their phones. Ransom
breezes in, bumping Donna who YELPS, startled.
Elliott and Wagner follow.
TROOPER WAGNER
Sir excuse me, we are officers of the
law.
RANSOM
You gonna run me in? I don't feel
like talking. I'm distraught.
Ransom disappears into the kitchen, comes out eating a
sleeve of pinwheel cookies.
Blanc and Marta slip in. Elliott nods to Blanc.
66.
LIEUTENANT ELLIOTT
Blanc, anything you need to ask him?
RANSOM
The hell anyway is this arrangement?
BLANC
Mr. Drysdale
Ransom sizes up Blanc with a grin.
RANSOM
CSI KFC?
Ransom grabs Fran the housekeeper's sleeve as she walks by.
RANSOM (cont'd)
Hey Frannie can you get me a glass of
cold milk?
Meg and Joni have just entered, and Meg heard this.
MEG
Hey asshole. Not her name, not her
job.
Fran walks off with a scorching look at Ransom.
RANSOM
Meg. How's your LUG degree coming?
MEG JONI
Trust fund prick. Alright. Guys.
ALAN STEVENS, the family's attorney, knocks and enters with
an assistant, SALLY, who juggles several attache cases.
ALAN
Hey everyone. Hey. I'm just going
to set up in the other room, be ready
in ten minutes.
They go off to the library, leaving the family all together
in tense silence.
WALT
Funny Ransom, you skipped the funeral
but you're early for the will
reading.
JONI
Ok, people grieve in different ways,
let's not
67.
WALT
(to Ransom)
It's funny you're here at all. Why
are you even bothering, that's what I
want to know.
RICHARD
What's that supposed to mean?
WALT
He knows what it means.
RANSOM
Look at you Walt, you're so excited
about this.
LINDA
Walt, what?
WALT
Jacob was in that bathroom the night
of the party.
JONI
Is that where you were all night?
RICHARD
The hell were you doing in the
bathroom all night?
JACOB
Nothing.
MEG
Swatting Syrian refugees.
JACOB
No.
MEG
Alt right troll.
WALT
I don't know what any of that means
RICHARD
It means your son's a little creep.
WALT
Oh MY son's a creep?
JONI
Guys! Walt he was in the bathroom...
68.
WALT
He was in the bathroom
RICHARD
Joylessly masturbating to pictures of
dead deer.
WALT
Ok you wanna go?
They go at each other and do some half-hearted slap-fighting
before Linda and Joni break them apart. Ransom's loving
this.
RANSOM
We gotta do this more often.
LINDA
Alright! Enough. Jacob, we get
where this is going. The bathroom's
next to Harlan's office, where he had
the big fight with Ransom. You heard
something. Spill it.
JACOB
I just heard two things.
INT. HALF BATH - NIGHT OF PARTY - FLASHBACK
Jacob on the toilet, hearing non distinct yelling through a
vent high in the wall. But two words poke through:
HARLAN (O.S.)
...my will!
Scene 23 - Heated Family Argument
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 9
JACOB
And then there was more shouting, but
I also heard Ransom say "I'm warning
you."
Walt raises his arms, triumphant.
LINDA
Ransom? What's this mean?
He just eats cookies, silent.
69.
WALT
It means dad finally came to his
senses and cut this worthless lazy
brat out of the will.
(to Ransom)
And you better sell your little
Porsche and you better give your
notice at that country club and kick
whatever fashion drugs you're on
cause if you think after the bridges
you've burned, the shit you've said
and what you've put this family
through for the past ten years that
any of us are going to support you,
are going to give you like dad used
to say a single red dime you're nuts.
Ransom looks around the room. Cold faces.
RICHARD
Son.
RANSOM
(mock gravity)
Father?
RICHARD
Did Harlan tell you he was cutting
you out of the will?
RANSOM
Yes.
RICHARD
Then he's done what we weren't strong
enough to do - this might finally
make you grow up.
Ransom is really slapped by this but he doesn't let it show.
LINDA
I think it might be the best thing
that could happen to you.
RANSOM
Thanks - my mother, folks.
JONI
It won't be easy for you but it'll be
good. Most good things aren't easy.
70.
RANSOM MEG
Up your ass Joni, you've got
your teeth bit into this Oh 'up your ass' very nice
family tit so hard you homophobic privileged
little vampire
RANSOM
(going down the line)
Up your ass, up your ass, up your
ass, up your ass
And now everyone is shouting at each other.
Blanc has heard enough. He sets the baseball down on a side
table, and drifts out. Marta follows him.
EXT. FRONT PORCH
Blanc breathes in the air. Marta joins him. From inside
the house, the shouting continues.
MARTA
What was that about will readings
being boring?
BLANC
Exception that proves the rule.
Fran bursts out of the living room, muttering
FRAN
Asshole.
She storms off around the house. A beat of thought. Then:
BLANC
I'm warning you. Ransom said. I'm
warning you.
One of the dogs bounds up the steps to Blanc.
MARTA
You heard Ransom in there, it's the
kind of thing he says. Are you still
going to catch that 2:20?
When Blanc goes to pet him, the dog drops something to his
feet with a clatter. Marta freezes.
71.
MARTA (cont'd)
What's he got there? Hey boy. You
find a stick? He's always bringing
junk into the house -
It's the piece of broken trellis. Blanc picks it up,
examines it, and suddenly his eyes go sharp.
EXT. THROMBEY ESTATE SIDE YARD
Holding the piece up as he studies the trellis that runs up
the side of the house. Marta runs up beside him.
BLANC
This looks like a relatively fresh
break - yes. Right there.
He's spotted the broken spot on the trellis. Just up from
it, what looks like a boarded window.
BLANC (cont'd)
Wait - that doesn't make sense,
where's that window?
INT. LIVING ROOM
The whole family in a screaming match, but Blanc and Marta
walk through and up the stairs. Three people notice:
Elliott and Wagner (who follow) and Ransom (who doesn't.)
Scene 24 - Hidden Window Discovery
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 7
- Dialogue: 9
Blanc looks down the "dead end" hallway. Marta joins him,
out of breath.
BLANC
Show me, but don't step on the
carpet.
It's a runner rug, and Marta delicately steps on the wood
siding as she goes to the wall with the painting. And swings
it open, revealing the window.
TROOPER WAGNER
It's the trick window! From "A Kill
For All Seasons!"
Elliott and Wagner at the top of the stairs, and Blanc
motions them not to approach.
72.
BLANC
Off the carpet!
He drops down to his knees, removes a loupe from his jacket,
and holds it in his eye. Then, his face inches from the
carpet, he scans it. All the way to the window. Then
stops.
BLANC (cont'd)
Traces of dried mud. I suspect they
go the length of the hallway.
MARTA
Footprints?
BLANC
No, just traces.
LIEUTENANT ELLIOTT
Depending on when it was last
cleaned, it could be from anytime
BLANC
But that would not explain this.
He motions to the base of the window sill - obvious scuffs
of dried mud. Marta winces.
Blanc tosses the piece of trellis to Elliott.
BLANC (cont'd)
Analyze this mud. It will match these
traces, and you will find similar
samples leading up the trellis on the
side of the house.
(beat)
On the night of the party, somebody
who did not want to be heard climbing
the steps went to a great deal of
trouble to break into Harlan
Thrombey's rooms. I think I'll miss
that train after all.
Scene 25 - Reading of Harlan Thrombey's Will
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
The whole family assembled. Marta stands in the back, with
Blanc, Elliott and Trooper Wagner.
Alan Stevens, Harlan's attorney, sits at a table with papers
in front of him, assistant Sally beside him.
73.
ALAN
Well. Thank you all for getting
together like this, it isn't legally
necessary but I thought because
you're all in town and some of you
are leaving soon, it would be best -
BLANC
Excuse me Mr. Stevens. As to that,
ladies and gentlemen, I'd like to
gently request you all remain in town
until the investigation is completed.
Shouldn't be more than two days.
LIEUTENANT ELLIOTT
He's gently requesting, I'm ordering.
Thank you.
Nobody likes this.
LINDA
What?
JONI
Can we ask why? Has something
changed?
BLANC
No.
JONI
No it hasn't changed or no we can't
ask?
BLANC
Mr. Stevens, please continue.
ALAN
Right. Well the other reason I
thought this gathering would be, uh,
beneficial is that as I told Walt,
Harlan altered his will one week ago.
He sealed it and asked me not to
submit it to the courts for probate
until after his death. So in case
there's any confusion about anything
we're all together, we can talk. I
can't imagine any of it will be that
complicated, Harlan's assets included
um
SALLY
...the house
74.
ALAN
the house which he owned outright, um
SALLY
sixty million
ALAN
right in various cash accounts and
investments, yes and of course the
real assets are sole ownership of um
SALLY
Blood Like Wine
ALAN
Blood Like Wine publishing, his
publishing company. Ok.
Walt's wife puts her hand on his knee. He squeezes it,
smiled tightly.
ALAN (cont'd)
Um, he did write up a statement when
he made the recent changes, he wanted
it read first, so:
(reads)
"Some of you may be surprised by the
choice I've made here. No pleasure
was taken in the exclusion, and its
purpose was not to sow greater
discord in the family, quite the
opposite. Please accept it with
grace and without bitterness. But do
accept it. It's for the best."
Gently condescending eyes shift to Ransom. Linda sees this,
puts her hand on her son's hand, and he immediately gets up
and moves to a chair in the corner.
Alan's assistant hands him an envelope and he removes a
single sheet of paper with one short typed paragraph.
ALAN (cont'd)
Ok. So - oh wow, yeah, not complex
at all. This'll be quick. "I Harlan
Thrombey, being of sound mind and
body, yada yada, my assets both
liquid and otherwise, I leave in
their entirety to Marta Cabrera. My
entire ownership of Blood Like Wine
publishing I leave in its entirety to
Marta Cabrera.
(MORE)
75.
ALAN (cont'd)
The copyright of its catalog
likewise I leave in its entirety to
Marta Cabrera.
The air around Marta's head goes away. The room spins
She's not sure what's happening. Blanc is looking at her.
The whole family is looking at her.
Walt bursts out of his chair and grabs the will
WALT
No.
LINDA
No.
WALT
No. What?
(beat)
That can't be - that can't be right
RICHARD WALT
What the genuine shit That can't be right it's
right
ALAN
It's right
Donna begins to hyperventilate. She puts her head between
her knees, breathes deep.
LINDA
No no no no Alan this can't be legal,
there are, we're his family
WALT RICHARD
We're his family, Alan he
obviously wasn't,
something - I don't know
what but something wasn't Are there safeguards against
right here this?
And from the back of the room, slowly rising above the din
of confusion and cursing, slowly drawing even Marta's deer
in the headlights attention... Ransom. LAUGHING. Loud and
weirdly sincerely, tears down his cheeks, laughing his head
off.
JONI
Alan there's a mistake
76.
MEG JONI
Mom if it's what granddad No this is a mistake, this
wanted is ours.
LINDA
Alan take that piece of paper and
shove it up your ass and get out.
And you cops, out!
They don't but Ransom slips out, his child-like laughter
trailing after him.
RICHARD
Linda -
LINDA
No, we need to talk and we need to
fight this thing and we're not going
anywhere. GET OUT! We're the
Thrombeys goddammit! This is still
our house!
A beat of silence. Then all eyes go to Alan. Who looks
down at the will. His assistant Sally points helpfully.
ALAN
Sorry, there's, uh. "Likewise the
house at two Deerborn Drive and all
belongings therein I leave to Marta
Cabrera.
Linda goes for Marta.
LINDA
You little bitch. Did you know about
this? What did you do to him to make
this happen, were you two what were
you boinking my father?
Marta recoils, stumbles back.
MEG
'Boinking?'
RICHARD
Linda!
JACOB WALT
Anchor baby. Marta! Jacob! And Linda -
please!
77.
JONI
Linda please - Marta, you need to
tell us though,
WALT JONI
Yes Marta, did dad discuss You need to tell us
this with you? everything you know about
this and we need to talk
about this,
WALT RICHARD
This isn't what dad wanted, Jesus don't mob the girl,
this isn't fair but we can let's talk about this
work this out
The whole family is coming towards her like zombies. Blanc
takes her by the arm and steers her towards the door.
BLANC
I think heads have to cool a little,
and in the meanwhile I'd maybe run.
Scene 26 - Escape and Revelations
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Marta stumbles out of the house in a daze. Behind her, the
entirety of the family floods out after her, shouting
reassurances and questions and accusations and a general din
of confusion.
MARTA
I - I have no idea why he - I just
need to think - I'll call you or have
him call me or do something I don't
know
She gets in her car and slams the door, and it's instantly
like A Hard Day's Night - the family gathered around trying
to talk through the window and rapping to get her attention.
Marta keys the ignition - chug chug chug. Nothing. Oh god,
not now - chug chug chug. It won't turn over.
Richard opens the door, she pulls it closed again and locks
it, this is like a horror movie. Blanc is trying to get the
family to back off but no dice.
Marta puts her head in her hands, all of it swirling and
echoing and horrifying, she has no idea what to do.
HONK!
78.
She turns - a honking car pulls up right beside her and
through the family crowd she sees Ransom in his Porsche,
waving "get in." With no other options she pushes out of
her car and through the family and JUMPS IN with him.
As he GUNS IT and careens out of the driveway he shouts back
at the family with a wave
RANSOM
I think this could be the best thing
to happen to all of you!
And they're gone. The family keeps shouting at each other.
Blanc watches the Porsche recede, his expression unreadable.
DING! His phone buzzing. He checks it. His expression
darkens.
INT. RANSOM'S PORSCHE
Tearing down the private road, away from the house. He's
still laughing, she's still shell shocked. Slowly, his
laughter eases to a stop. A moment of silence.
RANSOM
Ok seriously though, what the hell?
She shakes her head, looks at him. What the hell indeed.
INT. LINDA'S ROOM
Linda stands in her childhood room, by the window in the
ebbing light. From a shelf she pulls a stack of PINK
NOTECARDS, identical to the one Harlan showed Richard in his
office. But these are covered in writing, sweet little
notes, a father to his daughter.
She looks up. Walt in the doorway. She wipes her eyes,
indicates the notes.
LINDA
I was just thinking about Dad's
games. This all feels like one, it
feels like something he'd write, not
do. I keep waiting for a big reveal,
where it all makes sense. How nice
would that be?
Her little brother hugs her. His eyes tired and dark.
79.
INT. SMALL STUDY
Joni alone, head in her hands, crying.
BLANC
You were very much counting on that
inheritance weren't you?
Blanc standing in the doorway.
JONI
What did you say?
BLANC
I don't think anyone in the family
would do anything truly dark unless
they were in a place of desperation.
Now I know that Harlan cut you off,
money-wise, but that would not make
you desperate. You have your
business, you have your image, your
Flam.
JONI
Uh huh.
BLANC
But you see, I ordered some of your
featured product. The snail jelly
moisturizer, tried it out. I have
delicate skin, you can probably tell,
and I got a hell of a rash. So I
googled two words: Flam and rash.
And what did I find? Beauty product
message boards, pages and pages of
complaints, warnings, rashes. So I
did a little more digging. Flam has
been broke for years. You've kept
your lifestyle up and the company
afloat with the money you were
skimming from Harlan. And you would
have been fine with the inheritance.
But now it's all going to come
crashing down.
Joni's face has become hard and cold.
JONI
And what's your goddamn point?
BLANC
Just fair warning. When good people
get desperate, the knives come out.
(MORE)
80.
BLANC (cont'd)
I hope you haven't, and I pray you
won't, do anything rash.
He leaves her alone in the dimming evening light.
EXT. ROADSIDE FAMILY RESTAURANT - LATER
The Porsche parked out front.
Scene 27 - Ransom Confronts Marta
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Tucked into a dark corner, Marta is miserable. Ransom is
bemused, but regards her closely.
They sit in silence. A waitress sets a sausage plate down.
RANSOM
(to the waitress)
Could we get an extra bowl please?
(to Marta)
You look like you're gonna pass out.
Have you eaten all day? Eat.
She joylessly shovels food in her mouth, starving.
MARTA
This is a nightmare.
RANSOM
Uh huh. So why.
MARTA
Why
RANSOM
Why. Did he leave you everything.
MARTA
Are you asking if we were screwing?
RANSOM
(angry, no)
Hey.
(then)
I know my granddad. That wasn't him.
But this is everything, there must
have been a bigger why and you know
it.
81.
MARTA
Well Ransom how about it had more to
do with you guys than with me.
RANSOM
(agrees)
Yeah.
(beat)
Yeah that's the only thing that makes
sense. In which case this was a
really shitty thing for him to do to
you.
Marta is unexpectedly effected by this. The waitress
breezes by, sets an empty bowl on the table.
MARTA
Did he tell you anything?
RANSOM
Just I wasn't getting a cent.
MARTA RANSOM
He wanted you to build
something from the ground something from the ground
up, like your parents up, like my parents
RANSOM (cont'd)
yeah. My mom built her business from
the ground up with a million dollar
loan from granddad. My dad owns none
of it, and mom made him sign a
prenup. He lives in fear.
I know that's what grandad wanted to
protect me from by doing this, and I
know I shouldn't say this out loud
but when he told me, Jesus Christ I
coulda killed him.
(beat)
After I left the party, though. I
was driving fast, nowhere, just in
the night. And I got this weird...
clarity. That from here on I was
going to have to do for myself. And
that felt... good. The old bastard.
(beat)
Marta I know three things. One: I
know he didn't commit suicide.
MARTA
What makes you think that
82.
RANSOM
I don't think it. I know it. Cause
I knew my granddad. So you're not
going to bullshit me. Because two:
I know lying makes you puke. Cause
of that mafia game last fourth of
July.
Marta sinks back, suddenly nervous.
RANSOM (cont'd)
And three. I know that you just ate
a full plate of sausage and baked
beans.
She looks down at her empty plate. Oh no. He pushes the
large empty bowl in front of her.
RANSOM (cont'd)
So look me in the eye. And tell me
what really happened to my granddad.
Her lip quivers. She looks like she might attempt it. But
then tears drop from her eyes.
MARTA
You bastard. Please don't turn me in.
Ransom pull the bowl away, and puts his hand on hers.
RANSOM
Marta. Tell me everything.
EXT. THROMBEY ESTATE - EVENING
Dusk settles heavy. Warm light from the windows.
WALT (O.S.)
There have to be options here.
ALAN (O.S.)
No. I don't know how many times I
can repeat the same two simple pieces
of information.
Scene 28 - Family Discord over Will Revisions
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 8
Lit by a fire in the fireplace, the whole family pacing
around, Alan the lawyer looking very tired seated at a table
in the center of the room.
83.
ALAN
If Harlan was of sound mind when he
made the changes, and we've all
confirmed he was
RICHARD LINDA
Would a sound person do The very action speaks to
this! Sound how? unsoundness!
ALAN
not legally no, you not liking what
they did does not speak to
testamentary capacity.
JACOB
What about undue influence?
WALT
Yes! Undue influence!
ALAN
(weary)
Did you just google that?
WALT
If Marta was manipulating dad
somehow, if we found out that she had
LINDA WALT
Gotten her hooks into him Somehow or something
ALAN
You need a strong case for that.
You've got nothing. "She endeared
herself to him through hard work and
good humor" won't cut the salami.
JONI
What about the slayer rule?
All eyes turn to her. Her face is lit by her phone.
JONI (cont'd)
I did just google that.
ALAN
The slayer rule obviously does not
apply here.
RICHARD
What the hell is the slayer rule?
84.
JONI
It's if someone is convicted of
killing the person they can't get
their inheritance.
ALAN
Not even convicted, even if they're
held responsible for their death in
civil court
WALT ALAN
Like OJ Like OJ, yes. But Harlan
committed suicide.
All eyes turn to Blanc, who this whole time has been sitting
in a chair by the fire, lost in thought.
JONI
Detective Blank. You said that the
investigation is continuing. You
made a point of that. Do you suspect
foul play?
BLANC
Mister Blanc. If you please.
(beat)
There is much that is still unclear.
But yes. I suspect foul play.
The eruption you would expect breaks out.
RICHARD
Meaning Marta?
BLANC
I have eliminated no suspects.
RICHARD
Ok you're full of shit, I don't trust
this guy with his tan suit, and Alan
god bless you you're useless.
ALAN
Thank you.
Alan takes that as an excuse to leave.
RICHARD
There's one answer to this: she can
renounce the inheritance.
85.
WALT LINDA
She knows it's what she
should do, it's the right We've gotta make her do the
thing to do. right thing.
Meg rounds on her mom, speaks quietly, in tears.
MEG
Mom. If Granddad wanted Marta to
have everything, that's what he
wanted.
JONI
No, this was not him. He loved us,
he wanted us taken care of. He
wanted you to have an education.
Meg. You think I can pay for your
school?
This leaves Meg shaken.
Scene 29 - Ransom's Confession and Marta's Determination
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 9
Beer bottles now stacked up in front of Ransom. Marta has
just told Ransom everything. He stares into space, and
makes the slightest hint of a laugh which I'll write as:
RANSOM
Heuh.
MARTA
I know, just saying it it sounds
insane but it's all true. I think
Blanc's been on to me from the
start - I don't care if I go to jail,
but my mom... my sister, we can't -
Nothing but silence from Ransom. Maybe he's deep in
thought. A strange glint in his eye.
MARTA (cont'd)
Why are you looking like that?
(beat)
Ransom?
RANSOM
I always thought I was the only one
who could beat Granddad at GO. I
always thought that meant something.
MARTA
I know you did.
86.
RANSOM
At the party, that night, my last
conversation with him, our last
fight, that's what he told me, about
you. That you beat him nearly every
time. More than me. And I thought
what a strange thing to tell me. But
I think I get it now. I think it did
mean something.
(beat)
I'm not telling the family shit.
You're not going to jail. That
detective is not going to catch you.
And you're not giving up the family
fortune. Think about what Granddad
did to see this through, this was
what he wanted not just for you but
for his family, and for him. And yes
for you. You've come this far. Let
me help you go all the way.
Marta looks at him hard.
MARTA
This isn't you. You could turn me in
right now and get your cut of the
inheritance. Why?
RANSOM
Because fuck my family. They don't
deserve any of this. I can help you
and we can fool them all and get away
with it... and then you will give me
my cut of the inheritance. The
perfect ending, we all win. You, me
and Harlan. Deal?
Silence. Broken by Marta's phone ringing. On the phone
ID - "MEG T"
Marta takes a breath, looks at Ransom. And picks it up.
MARTA
Meg
MEG (ON PHONE) MARTA
Marta. Oh that was nuts. I know
MEG (ON PHONE)
Are you ok?
87.
MARTA
Yeah are you?
MEG (ON PHONE)
I'm fine, I mean everyone's nuts,
they're all going, I don't know,
they've lost it. No one knows I'm
calling you, I wanted to - I don't
know what I wanted, I wanted to say
sorry for how everyone was.
MARTA MEG (ON PHONE)
No... And... I guess I wanted to
ask...
(beat)
What are you going to do?
MARTA
What do you mean?
MEG (ON PHONE)
Well the... with the, will. What are
you going to do?
Marta looks at Ransom. What indeed.
MARTA
What do you think I should do?
MEG (ON PHONE)
You should do what you think is...
right. I think you should give it
back to us. Granddad always took
care of us, we're his family, I know
he was like family to you but we're
his actual family. Marta you know
this isn't fair, we've always been
good to you and we're going to take
care of you, everyone loves you and
you're like family and we'll take
care of you but you have to make
things right, you know what's right.
Marta, keeping eye contact with Ransom. Then, her voice
quavering, Meg drops what is for her the big bomb:
MEG (ON PHONE) (cont'd)
Marta mom's broke, she says I'll have
to drop out of school.
MARTA
No, no. I won't let that happen.
(MORE)
88.
MARTA (cont'd)
(beat)
Whatever money you need Meg, I'll
help you. I don't want you to worry.
INT. DRAWING ROOM - NIGHT
Meg on the phone. Her face horrified, mortified, barely
comprehending what she's just heard.
MARTA (ON PHONE)
I'll take care of you. I promise.
MEG
Thanks.
MARTA (ON PHONE)
And once I get the -
Meg hangs up, lets the phone drop from her ear. Tears in
her eyes. She turns to her whole family gathered behind
her, silent and expectant.
INT. RESTAURANT - NIGHT
Marta realizes the connection's dead, holds the phone in her
hand like something delicate she just broke.
RANSOM
Ok then. Did the detective find
anything suspicious at the house?
MARTA
(in a daze)
Mud. Tracks upstairs - where I broke
in through the window.
Ransom winces.
RANSOM
Identifiable prints?
MARTA
No.
RANSOM
Good. Ok. Good. Hey. You've just
gotta ride the next few days out
until the investigation putters out,
cause it will, cause no matter how
sharp this Blanc guy is he's got
nothing. Relax.
89.
Scene 30 - Marta's Morning Mayhem
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
She wakes to a sharp rapping at her door. Her sister Alice
pokes her head in, flustered.
ALICE
Marta get your ass up, what the hell
is happening? There's a guy here and
a bunch of stuff, everything's going
crazy, are we rich??
Marta lifts her head from her hands.
MARTA
Maybe, I dunno.
ALICE
I don't even know what that means but
you better get your ass up.
Marta looks at her phone - 28 missed calls.
INT. CABRERA LIVING ROOM
Marta stumbles in - Alice in front of the TV, mom pacing.
MOM
(subtitled Spanish)
Oh my god Marta what is all this,
what did you do?
The TV is tuned to local news - an anchor stands outside
THEIR APARTMENT BUILDING.
LOCAL NEWS ANCHOR (ON TV)
...we again we don't know much about
Marta Cabrera or the exact
relationship she had to Harlan
Thrombey, beyond being his home
nurse, and the Thrombey family has
yet to release a statement...
MARTA
Is that here?
ALICE
Oh yeah it is. Wait so is that true?
Are we rich?
Marta looks out the blinds - several local reporters down in
the streets with their vans and cameras.
90.
MARTA
Oh my god.
INT. DONNA'S CAR - MORNING
Donna, Walt's wife, listens to the same coverage on the
radio as she pulls up to their suburban home.
EXT. WALT'S DRIVEWAY - MORNING
Donna gets out with groceries. Approaches the front door.
Stops. YELPS. Drops the groceries.
There's a SHADY LOOKING MAN in a dark overcoat waiting near
the door. He turns to her.
DONNA
No no no no
She runs back towards her car. Tries the door but it's
locked and she dropped her keys with her groceries
DONNA (cont'd)
No Walt said he'll have the money
we'll figure it out NO!
The man takes a step towards her, Donna turns and RUNS -
STRAIGHT into the arms of Blanc.
BLANC
Whoa whoa - Mrs. Thrombey, are you
alright?
Trooper Wagner exits his prowler back behind Blanc. Donna
turns to look - the shady man is gone.
DONNA
He - oh god.
She collapses in nervous sobs. Blanc nods to Wagner.
INT. WALT'S KITCHEN - MINUTES LATER
Blanc sets tea down in front of the still shaken Donna.
Wagner stands by.
TROOPER WAGNER
We've got local officers on alert for
the man, if he's still around.
91.
BLANC
Do you know who he was, what he
wanted?
DONNA
I - no. I have no idea.
BLANC
Well it's lucky I came by, Mrs.
Thrombey. But I'm here to press you
a bit on something uncomfortable.
See, I checked the hospital logs for
Walt's bicycle accident. You
admitted him nine days ago... at
three in the morning. Not prime
bicycling time. So I dug a bit more.
Now it's possible he was shot in the
leg while on a bicycle, but at the
very least he buried the lede.
Blanc slides a medical record with X-Ray printout of a
bullet wound to a thigh bone.
DONNA
It started small. Side investments.
But he got deeper in, and losing
money so fast...
BLANC
...and he started drawing from the
publishing company. How much? Alot.
Donna. I know Walt is in big
trouble. But if he's done something
worse to try to fix it - or is going
to do something worse -
Donna looks up at Blanc, scared.
BLANC (cont'd)
Where is Walt now?
INT. CABRERA LIVING ROOM
MOM
Lawyers were here, very big lawyers
it looked like, and some other guys I
didn't know, they left all this for
you and business cards, so many
business cards, and there was a pile
of other stuff when I got home -
92.
Mom shovels some official looking legal letter and courier
envelopes into Marta's arms.
MOM (cont'd)
(subtitled Spanish)
Hey. I don't like this.
MARTA
(subtitled Spanish)
I don't like it either mom. I'm
slipping out the back - I'll be back
later, don't talk to anyone.
Scene 31 - Inheritance Concerns and Mysterious Threats
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 8
- Dialogue: 9
Dim and dingy. Marta comes out of their apartment door,
then jump, startled - at the end of the hall, lurking:
Walt.
MARTA
Hey.
Walt's eyes are rimmed red. His heavy cane taps.
WALT
Hey.
They're not sure what to do so they awkwardly hug. Marta
still has the envelopes in her hands.
WALT (cont'd)
How you doing?
MARTA WALT
Well. Walt I want you to
know I didn't know about any
of this. This is I know you didn't, we all
went kinda crazy yesterday
MARTA
Understandable
WALT
You're still very important to all of
us, I want you to know that.
MARTA
I haven't even looked at all this
yet, this legal stuff, is this from
you guys? Is there anything I should
know about it?
93.
Marta flips through the envelopes, squinting.
WALT
it isn't from us. Maybe just local
lawyers and accountants who saw the
news and want to jump on it, I'd be
careful of it all. But no, we're
all, I mean we're still hoping that
we won't, the family won't have to
bring lawyers into this.
One envelope sticks out - a blank plain letter sized
envelope, no postage, no return address.
MARTA
...good
WALT
Marta. Is it your intention to
renounce the inheritance?
MARTA
No. This is what Harlan wanted.
WALT
Well. The truth is Harlan has put
you in a very hard position here. It
was unfair of him.
Marta's phone buzzes - Caller ID: "maybe B BLANC". She
ignores it.
WALT (cont'd)
You didn't ask for this, you're, we
as the family, we see you as the
victim in all this.
(beat)
And we want to protect you.
Walt's hand on his cane. Gripping tight.
WALT (cont'd)
You see what this kicks up with the
press and the scrutiny, and we
know... with your mother...
MARTA
...with my mother.
Marta's spine straightens.
MARTA (cont'd)
What did Meg tell you.
94.
WALT
This isn't about who - you're missing
the point, we're not attacking you
with this. Marta if your mom came
here illegally, criminally, if you
come into this inheritance with the
scrutiny that entails I'd be afraid
that could come to light. That's
what we're all trying to avoid here.
We can protect you from that
happening, or if it happens.
MARTA
You're saying even if it came to
light, with the family's resources
you could help me fix it.
WALT
Yes. The right lawyers, none of
those local guys but New York
lawyers, DC lawyers, enough resources
put towards it, yes. But there's no
need it should ever even come up.
But yes.
MARTA
Ok. Good.
WALT
Ok?
MARTA
Cause Harlan gave me all your
resources. So that means with my
resources I'll be able to fix it. So
I guess I'm going to go find the
right lawyers.
WALT
Marta.
He shuffles towards her. For the first time she feels a
hint of physical threat, and backs up quick into her
apartment.
WALT (cont'd)
You better be sure you want to -
She slams the door
95.
INT. CABRERA KITCHEN
and leans against it, breathing hard. But angry and
focused. She dumps the legal envelopes in the trash but
keeps the mysterious envelope, opens it and pulls out:
Half a sheet of paper, roughly torn. A photocopy of the
header of some sort of medical document, "OFFICE OF THE
CHIEF MEDICAL EXAMINER" Under that, a photocopy of a tag
with her name on it. And hand written in block letters at
the top: "I KNOW WHAT YOU DID."
Marta's phone BUZZES, and she jumps. Caller ID: "maybe B
BLANC". She hesitates, then sends it voicemail. Looks at
the mysterious letter in her hands.
EXT. THROMBEY ESTATE FRONT DRIVE - DAY
Wagner's prowler pulls up. Blanc gets out of the passenger
side, Wagner out of the drivers seat, and a third UNIFORMED
POLICE OFFICER gets out of the back. He was the SHADY MAN.
He carries the folded overcoat he was wearing in front of
Donna's house.
Blanc nods to the Wagner and the officer.
BLANC
Gentlemen, thank you, and I promise
not a word to Elliott.
(into the phone)
Miss Cabrera it's Benoit Blanc. I had
the police drop your car back at your
home address. Marta I have a strange
premonition... be careful. And call
me back at your soonest convenience.
Scene 32 - Consolation and Confusion
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Dim. By an open window stands GREATNANA. Blanc enters, she
turns. They look into each others eyes.
BLANC
Mrs. Thrombey. I've always found it
A long pause as he thinks of exactly the right word.
BLANC (cont'd)
sad that youth assumes age to be a
muffling agent, like cotton gauze. A
lessener of desire, curiosity and all
the little glass baubles. Of youth.
(MORE)
96.
BLANC (cont'd)
Grief. Why is grief the providence
of youth? Maybe it's comforting, the
thought that when we'll most
encounter it we'll have gained some
immunity, maybe by projecting that
onto our elders we think we can
manifest it for ourselves. I don't
know. But I'd imagine that age
deepens all feelings. Including
grief. This was a long walk to
offering condolences again for the
loss of your son. And asking you if
it isn't presumptuous of me to not
think too harshly of your family, if
I am as I suspect the first to
console you. They're young aren't
they.
Blanc sits.
BLANC (cont'd)
One thing I do assume of age is
weariness. And maybe that's just
another version of the cotton gauze
projection. But even with the years
I have, damned if I don't get more
tired every day. Tired of what I do.
Following arcs, like lobbed rocks.
The inevitability of truth - lord
how grand - sounds like a rosy eyed
optimism, maybe. I do believe it.
But the complexity and the gray lies
not in the truth but what you do with
the truth once you have it.
Greatnana's eyes move slightly.
BLANC (cont'd)
I think you have something you want
to tell me. I think you're very
perceptive and very capable of
telling me what you saw the night of
your son's party. But I'll happily
wait. I'm in no rush. I find it
quite pleasant. Sitting here with
you.
He reclines, not particularly looking at her. She looks
back at him. Every now and then a breeze stirs the window
sheers.
97.
INT. RANSOM'S BEDROOM - MORNING
Too nice. Ransom wakes to his phone ringing.
RANSOM
(bleary)
Yeah
MARTA (ON PHONE)
Hey it's me, I'm outside.
RANSOM
Outside where?
A rapping on the window from outside the room.
EXT. RANSOM'S HOUSE
A nice little single residence home. Marta's car parked
next to Ransom's Porsche out front, Marta peering in the
window breathless when Ransom opens the front door in a
robe.
MARTA
Sorry.
INT. RANSOM'S LIVING ROOM
Ransom studies the mysterious letter. Marta pushes aside a
stack of New Yorkers and sits on the couch.
RANSOM
Well I don't know what this is from
Indicating the tag photocopy with her name.
MARTA
It's my medical bag tag. They have
my medical bag. For some reason.
RANSOM
OK, but this is the header of a blood
analysis, from the local crime lab.
On Harlan. Marta, it would show the
morphine overdose.
MARTA
Shit. Why would they test his blood?
97A.
RANSOM
Standard police procedure, any
unnatural death.
MARTA
So I'm screwed! How did Harlan miss
this?
RANSOM
He never remembered this kinda
procedural shit.
MARTA
How do you know all this stuff?
RANSOM
I was his research assistant. For a
summer. To be fair I sucked at it
too.
98.
MARTA
Shit shit shit shit shit. So wait if
the police know this why am I not in
jail?
RANSOM
The crime lab must not have sent it
to them yet. But this was dated
yesterday morning, the clock is
ticking.
(regards the paper)
This wasn't from the police. Why
would somebody send you this?
MARTA
Blackmail.
RANSOM
No it makes no sense. Blackmail only
works if this is the only copy. But
the report, the data, the blood
samples, it's all at the crime lab
down the street.
(beat)
The bag is open, the cat's coming
out. What was the point of sending
you this?
Scene 33 - Explosion at the Medical Examiner's Office
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
A uniformed COP runs down the hallway in Thrombey's house
and bursts into the room where Blanc sits with Greatnana.
99.
COP
Mr. Blanc, a call from Lieutenant
Elliott - you need to get down to the
medical examiners office right now.
Blanc stands, smelling something big, nods a goodbye to the
still silent Greatnana and rushes out with the cop.
A moment after he's left, Greatnana slowly raises a finger
as if to say "wait."
A long beat.
Then Blanc runs back into the room and goes to her, puts his
ear to her mouth. She whispers something to him. He takes
the info with gravity. Then looks up at her.
BLANC
Thank you dear one.
He kisses her gently on the forehead. Then dashes out.
EXT. NORFOLK ROADS
Siren blazing, the cop car SPEEDS into town.
EXT. MEDICAL EXAMINER'S OFFICE
The cop car pulls past an identifying sign into the parking
lot of a one story stand alone building, joining several
other cop cars, and fire trucks. Journalists kept at bay.
The building is a charred brick husk. Black smoke, debris.
It's been gutted with an explosion and a blazing fire.
Blanc steps out of the cop car and finds Lieutenant Elliott.
BLANC
What's the cheese?
LIEUTENANT ELLIOTT
Five AM, a break-in alarm was
triggered. Before we could even
respond neighbors reported the
flames. It went up quick, the whole
place is gutted. Blood stores,
records, all gone. No employees
around, thank god.
BLANC
Any surveillance cams?
100.
Elliott gestures wearily to the charred remains of a
security camera on the smoking shell of an awning.
LIEUTENANT ELLIOTT
And speaking of, the security tape
from the Thrombey residence was
scrambled. Somehow.
Blanc unsurprised. He motions back to the building.
BLANC
What was still pending from the
autopsy?
LIEUTENANT ELLIOTT
The report on the blood work.
BLANC
Blood work?
Blanc chews on this.
Across the street, Marta and Ransom pull up in her car.
INT. MARTA'S CAR
MARTA
Holy shit. Did - was this connected?
Ransom looks at her - yeah it's likely. They both
instinctively duck down in case the cops look over.
MARTA (cont'd)
Who would blow up a whole real
official building just to blackmail
me?
RANSOM
Someone who knows how much money
you're about to inherit.
(beat)
Do you know how much money you're
about to inherit?
MARTA
No. Oh god don't tell me.
RANSOM
(realizing)
Have you checked your emails this
morning?
101.
Marta looks stunned. She stabs at her phone, quick swipes.
MARTA
...nothing
RANSOM
Junk folder?
MARTA
Uh. Yeah.
She shows him an email from 092832@shushmail.com. No
subject line, simple text: 1209 Columbus Rd 10AM
Marta looks at Ransom, then at the clock on her dashboard -
9:32, then at the charred building.
EXT. MEDICAL EXAMINER'S OFFICE
Blanc looks around, deep in thought. He spots Marta's car.
INT. MARTA'S CAR
Marta peeking up through the window.
Blanc sees her. She sees him. Ducks back down. Shit.
RANSOM
Marta. This means that the tox
report, the only thing that could
prove your guilt, exists as a paper
copy, in the possession of this
blackmailer. Who will be at this
address. In half an hour.
Blanc begins to walk straight towards Marta. Quickly and
with purpose. Shouts something, Lieutenant Elliott follows.
RANSOM (cont'd)
Marta. Did you hear me.
Marta peeks again - Blanc coming at them full speed. Twenty
paces from the car. Closing in fast.
MARTA
Yeah.
She sits up, throws the car in gear and FLOORS IT.
102.
EXT. MEDICAL EXAMINER'S OFFICE
Her subcompact PEELS OUT and buzzes off down the road.
Blanc, crestfallen, runs back towards the cop cars in the
parking lot, shouting at Elliott, who flags a cop.
INT. MARTA'S CAR
The whine of the engine, Ransom puts on his seat belt. In
the rear view, siren lights as cop cars pour out of the
parking lot in pursuit.
MARTA
You regret helping me yet?
RANSOM
I regret not taking the Porsche.
Her phone buzzes - Blanc calling. IGNORE.
EXT. NORFOLK ROADS
Marta buzzing down the road, cop cars a quarter mile back.
Scene 34 - Marta's Evasive Maneuvers
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 7
- Dialogue: 6
Blanc in back, Elliott in front, Trooper Wagner driving.
COP (ON RADIO) LIEUTENANT ELLIOTT
Vehicles in pursuit in (into radio)
Washington Street No force - repeat that.
Possible murder suspect.
Their speedometer creeping up on 85
INT. MARTA'S CAR
Marta's speedometer creeping up on 55.
MARTA RANSOM
Oh my god oh my god oh my Are you flooring it?
god I am literally flooring
it
Her phone rings - Blanc again. She looks over - cop cars
are RIGHT ALONGSIDE them. Blank holds his phone up, looks
at her quizzically. Points to the phone.
103.
RANSOM (cont'd)
This is going well.
MARTA
This is stupid, I'm pulling over
RANSOM
If you miss your shot at getting that
tox report it's all over...
MARTA
Aaauuuuuawwwaaagghhhh
She hits the brakes.
EXT. NORFOLK ROADS
Marta's car PEELS TO A STOP and the two COP CARS on either
side blaze by, hitting their brakes.
She pulls off onto a SIDE STREET and into narrower city
streets, down narrow alleys, using her small car to nimbly
dart though small spaces.
The cops can't follow, and she loses them.
She pulls to a stop in a secluded little back lot.
INT. MARTA'S CAR
Marta, breathing hard. Ransom is shocked.
MARTA RANSOM
Ok. I'm all just pure
adrenaline now it's like I
swallowed bees. What's the
the whatsitcalled address 1209 Columbus road.
ok. And I just - I mean
whatever they want, I just
say yes right, just to get
that report back. And destroy it.
And destroy it. Ransom.
Thank you. I couldn't do
this without you.
He smiles slightly. A quick moment of silence between them.
Then: RAP RAP RAP on Ransom's car window.
104.
Blanc. Standing right outside. Marta looks in her rear
view - the cop car has pulled up silently behind them.
Another pulls up in front.
EXT. PARKING LOT
Ransom and Marta step out of the car, hands raised for some
reason.
LIEUTENANT ELLIOTT
That was the dumbest car chase of all
time. Put your hands down.
BLANC
(to Marta)
I spoke to Wanetta Thrombey,
Greatnana. The night of the party
she saw someone climb the trellis to
the third floor.
MARTA
Should I, I should have a lawyer?
LIEUTENANT ELLIOTT
Mr. Drysdale, come with us please.
Elliott leads Ransom off by the elbow. Ransom throws a look
back at Marta - he has no idea what's going on.
MARTA
What's going on?
BLANC
It was Ransom. "Ransom came back"
she said. I don't know what he came
back to do, but we'll find out.
Marta looks at Ransom - oh no. Senile Greatnana thought she
was him. This is a mistake. But... she glances at her
watch - 9:51.
BLANC (cont'd)
Did he tell you to drive when he saw
me coming?
Ransom's being led to the police car. Marta decides:
MARTA
Yes.
Marta gets back in her car. She pretends to take a sip from
an empty soda cup, but actually SPITS UP a little into it.
105.
LIEUTENANT ELLIOTT (O.S.)
Blanc.
BLANC (O.S.)
(to Elliott)
I'll drive with Marta.
To Marta's horror Blanc opens her passenger door.
BLANC
Let's go to the police station, I
want a full run down of everything he
said to you, and I can catch you up
on where we're at.
EXT. NORFOLK ROADS
Cop cars coast through town, Marta's bringing up the rear.
Scene 35 - Marta's Secret Visit
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 9
Marta glances at the dashboard clock - 9:55. Blanc, casual:
BLANC
Strange case from the start. A
broken arc, a case with a hole in the
middle. A donut. I'm just talking
through my process here, let me know
if this is boring.
Marta's arms are locked, her eyes steal a glance at the
clock - 9:58.
BLANC (cont'd)
I feel the noose tightening - the
family are truly desperate. Walt
owes bad men money, his life depends
on the inheritance. Joni's entire
business and carefully cultivated
image will crumble without it. And
Richard - I sense there's more at
stake for Richard than his marriage.
MARTA
Richard signed a pre-nup. With
Linda. Ransom told me - he'd get
nothing if she divorced him.
BLANC
Of course! So he may be the most
dangerous of all.
(MORE)
106.
BLANC (cont'd)
Desperate motives, the mystery of who
hired me, the impossibility of the
crime, and yet -
Up ahead, a street sign - "Columbus Road." Marta tenses.
BLANC (cont'd)
A donut! One central piece, and if it
reveals itself the fog would lift,
the arc would resolve, the slinky
become unkinked
MARTA
I need to pick something up. From a
friends. A check. For a thing. Can
I stop and pick something up?
BLANC
Sure.
EXT. NORFOLK ROADS
Marta's car makes a sharp turn, leaving the cop caravan.
EXT. 1209 COLUMBUS ROAD
A row of storefronts - 1209 is vacant. Marta's car pulls a
few stores past it. She gets out of the car.
MARTA
I'll just be a few minutes.
Marta runs into a bustling hair salon.
EXT. BACK ALLEY
Marta ducks out the back door of the salon, goes two doors
down to 1209, and slips into the back door.
Scene 36 - Confrontation and Discovery
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 7
Dark, empty retail space. Lit only by the painted-over
front windows. Marta edges her way in, her eyes still
adjusting from the sun.
MARTA
Hello?
Her foot hits something on the dirty concrete floor.
107.
HER MEDICAL BAG.
She kneels, picks it up gently.
Next to where it was lying, she finds something else
curious - the burned remnants of a piece of paper. Only a
charred corner remains.
She turns her attention back to the room. Creeps forward.
MARTA (cont'd)
Hello?
Ahead - a silhouette. A person. Seated in a chair, in the
center of the room. Silent, facing her.
MARTA (cont'd)
I don't have much time. Whatever you
want we can work it out, but we
figure it out right here, right now,
and I leave with that report.
A beat of silence. Nothing. Something's not right here.
MARTA (cont'd)
Hello?
Marta takes a step closer, lifts her phone, and turns on its
flashlight.
Illuminating the ghostly face of FRAN, the housekeeper.
Marta, barely breathing:
MARTA (cont'd)
Fran?
A SPIDER crawls across Fran's face. Marta STIFLES A SCREAM
and leaps back, sucking in air.
A moment of stillness. Her phone BUZZES - Blanc calling.
Marta ignores the call, frozen.
Her eyes go to: A white letter sized ENVELOPE in Fran's
hand, resting on her lap.
Marta swallows. Leans in, carefully and quietly for some
reason, and SLIPS the envelope from the lifeless fingers.
Unsealed. She opens it.
It is empty.
108.
Before this can even sink in, a rattling, grating DRAW OF
BREATH - from Fran.
Marta starts - oh my god - and goes to her, checking a
pulse, checking her eyes, lays her on her back. Fran sucks
in thin breath, her eyes finding Marta in the glare of the
dropped phone flashlight.
MARTA (cont'd)
Fran! Fran! Can you hear me? Fran,
give me a sign if you can hear me!
FRAN
You
MARTA
Me? Fran it's Marta, you called me
here, you sent me the email, I'm
here. I'm going to call an ambulance
and you're going to be ok but can you
tell me what happened, did you take
something, what's happened to you -
Weak, Fran grabs Marta's wrist, and Marta focuses on her.
FRAN
...copy... copy
MARTA
A copy. A copy... of this?
(the envelope)
Where?
FRAN
...stashed...
MARTA
Stashed where? Where is it Fran?
These words are barely given breath:
FRAN
you... did this... won't... get
away.. with this
Her eyes seize. Her breath gets ragged. Marta is paralyzed
with shock and fear. Fran is dying.
Marta looks at the medical bag in her hand. Then at Fran,
struggling with her final breaths, eyes wide with fear.
She takes a step back from the dying Fran. Fingers tight
around the medical bag. Letting her die.
109.
But then, a decision: no. Marta dials 911 on speaker, drops
to her knees and starts administering mouth to mouth.
PHONE
911, what is your emergency?
EXT. 1209 COLUMBUS ROAD
Blanc sitting in the car, singing softly to himself.
BLANC
Sometimes I stand in the middle of
the room... not going left... not
going right...
He looks at the hair salon - what's taking so long? And
then sirens, as an AMBULANCE pulls up two doors down, and
EMT's run into the abandoned storefront.
BLANC (cont'd)
Oh no.
HARD CUT TO:
Scene 37 - Marta's Confession and Confrontation
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 8
- Dialogue: 9
Marta and Blanc sitting silently in the fluorescent-lit
waiting room. Marta with her face in her hands. Blanc is
on his phone, mostly listening.
BLANC
(into phone)
Mm hm. Mm.
(listens awhile)
Huh.
(listens)
And that was it? Mm hm. Alright my
friend, thank you for the update. No
I'm here with her. No need for that,
I'll bring her in once we get word
that the housekeeper is stable. It's
still touch and go.
(listens)
No. I don't know. Alright.
He hangs up. Marta looks at him.
MARTA
This is over. People are getting
hurt, I've gotta stop this. I'm
going to tell you the truth.
110.
BLANC
Young Ransom just told Lieutenant
Elliott everything. Who just told me
everything.
MARTA BLANC
Good. Wait god I hope he
didn't cover for me, did he
tell the real truth, about
me switching the- Yeah
And the disguise and all
the- Yes
And the blackmail with the- Mm.
MARTA
I just wish you'd caught me before
Fran got hurt.
(beat)
Why did Fran take my morphine? She
obviously had swiped my bag from the
house, but she didn't seem like a
user to me, unless that's why she
needed money...
(beat)
I dunno, doesn't matter. I should
tell the Thrombeys myself, I feel
like I owe that to them.
BLANC
I don't think that's a good idea
MARTA
No, I need to do it. I won't do any
of this if I can't do that. I really
need to. I gave the doctors my
number, they'll call if anything
changes with Fran.
BLANC
We'll round up the Thrombeys at the
house, along with a police escort.
MARTA
For the arrest after.
BLANC
You can tell me your whole story on
the drive over, from your
perspective. I want no more
surprises.
Marta stands, a dead man walking, resigned.
111.
EXT. NORFOLK ROADS
Marta's car drives through the scenic countryside. Inside
we see but don't hear her telling a long story to Blanc, who
looks at the passing countryside, brow knit.
EXT. THROMBEY ESTATE FRONT DRIVE - AFTERNOON
All the family cars there, along with two police cruisers.
Marta's pulls up.
INT. MARTA'S CAR
MARTA
...said it was stashed, the copy, and
then she told me "you did this, you
won't get away with it" and then I
called the ambulance. And that's it.
She turns the engine off. Looks up at the house. Breathes.
BLANC
Alright. Are you ready?
INT. FOYER
Marta and Blanc enter. This really feels like a walk
towards the gallows. Richard, Walt and Meg are there. Meg
avoids eye contact with Marta.
RICHARD
Ah. Ok, has she come to her senses?
WALT
She's standing right here - Marta
BLANC
Is the rest of the family here?
WALT BLANC
In the living room. I think maybe, if we
could...
Blanc beckons, and Richard and Walt file out. On her way
out Meg hugs Marta, weeping.
MEG
I'm sorry, I'm so sorry I told them
about your mom. I was angry and
scared, I'm sorry
112.
MARTA
It's ok, Meg. I understand. Believe
me. It's alright.
Meg sniffs, dries her eyes.
MEG
God I wish Fran had come in today. I
could use some of her stash.
They hug one more time. Then when Meg walks off towards the
living room, Marta realizes something.
MARTA
Oh my god.
(to Blanc)
I know where the tox report is.
INT. DRAWING ROOM
Marta jimmies the clock drawer open with a letter opener.
She pulls a FOLDED PIECE OF PAPER from inside, blows loose
pot leaves off it. She hands it to Blanc.
MARTA
She practically told me where it was.
What a terrible blackmailer.
Anyway this'll tie everything up.
And I just handed it to you, god
you're you're not much of a
detective are you?
BLANC
To be fair you're a pretty lousy
murderer. Perhaps we deserve each
other.
Scene 38 - Unveiling the Truth
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
The family gathered, impatient. Lieutenant Elliott and
Trooper Wagner are there too, with another uniformed
officer. Ransom sits in the corner, his face passive.
Marta gulps. Blanc is a few steps behind her. As she
speaks, he unfolds and reads the tox report.
MARTA
Um. You guys have always been good
to me.
(MORE)
113.
MARTA (cont'd)
And what I'm about to say isn't going
to be easy, and you're going to be
upset, but especially after
everything you've gone through the
past few days, I thought you deserved
to hear it from me.
Walt smiles at her, "you're doing the right thing." Marta
takes a deep breath.
Blanc has finished reading the report. He refolds it
carefully.
MARTA (cont'd)
I -
BLANC
Excuse me. You have not been good to
her. You have all treated her like
shit to steal back a fortune that you
lost and she deserves. You're a pack
of bloody vultures at the feast, but
you're not getting bailed out, not
this time.
(beat)
Ms. Cabrera has decided definitively
not to renounce the inheritance.
WALT
What?
MARTA
What?
BLANC
Furthermore it will be my
professional recommendation to the
local authorities that the manner of
death in the case of Harlan Thrombey
is ruled as suicide, and the case is
closed.
RANSOM
What?
MARTA BLANC
What? No, Blanc - Thank you all for coming
goodbye.
He firmly guides Marta out by the elbow. A beat of silence.
RICHARD
Is anybody else confused?
114.
As the family breaks out in hubub, Linda notices her dad's
OLD BASEBALL on the side table where Blanc left it. What's
that doing here? She picks it up.
Scene 39 - Confrontation in the Library
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 9
Blanc steers Marta into the library, as sounds of hubub and
shouting come from the other room.
MARTA
What the hell? I want to come clean,
this is over -
BLANC
Almost.
Elliott bursts in, motions to the living room, then Marta,
then Blanc.
LIEUTENANT ELLIOTT
What - with - what?
BLANC
I'm sorry, could you - officer
Wagner!
Wagner enters.
BLANC (cont'd)
Please keep the family out of this
room and get them out of the house if
you can. But stand by with your
additional officer.
TROOPER WAGNER
Get the family out?
BLANC
Yes but not all of them.
Blanc whispers something to Wagner, who nods and exits.
LIEUTENANT ELLIOTT
Drama.
BLANC
Indulge me.
MARTA
Blanc I just want the truth to come
out
115.
BLANC
The truth! Yes! The truth, you have
brought the truth to light my Watson,
just as I suspected you would. Have
a seat, please.
Marta sits. Elliott remains standing.
MARTA
I told Ransom, Ransom told you, I'm
telling you now - it is an immovable
fact that I killed Harlan.
BLANC
Yes you did, yes he did, yes you are,
but. But. I spoke in the car about
the hole at the center of this donut.
And yes, what you and Harlan did that
fateful night seems at first glance
to fill that hole perfectly. A donut
hole in the donut's hole. But we
must look a little closer. And when
we do, we see that the donut hole has
a hole in its center - it is not a
donut hole at all but a smaller donut
with its own hole, and our donut is
not whole at all!
LIEUTENANT ELLIOTT
Blanc I can tell you're enjoying this
but -
BLANC
Why. Was. I. Hired? The answer to
your question "why are we here" is an
question itself, it is time to answer
it. Why would someone hire me?
LIEUTENANT ELLIOTT
Someone fishing for any crime that
could help reverse the will.
BLANC
I was hired before the sealed will
was read. Yes, the person must have
known the contents of the will. But
one step further - that same person
must have known a crime was
committed, and further, if the intent
was to reverse Marta's inheritance,
they must have known that Marta was
responsible.
(MORE)
116.
BLANC (cont'd)
(beat)
An intriguing combination of factors.
Someone who knew what Marta did,
wanted to expose it, but could not
reveal how they knew.
MARTA
Fran? She was blackmailing me, she
knew what I did
BLANC
But Fran wanted money, ergo she did
not want the crime exposed.
LIEUTENANT ELLIOTT
Did someone in the family see Marta
doing something suspicious?
BLANC
They would have had no reason to not
speak up. No. The answer is not so
simple.
Blanc sits, suddenly weary.
BLANC (cont'd)
Now with the entire solution in my
field of view, the arc of this case
is a tragedy of errors. And Marta,
it will not be easy to hear. But
there is at least one truly guilty
party behind it all, guilty in the
true sense of acting with malice, and
committing a heinous crime with
selfish intent.
(calls)
Trooper Wagner.
MARTA
(stunned)
Trooper Wagner??
Blanc squints at her. No.
A moment later Wagner leads Ransom in. Ransom looks at
Marta softly, sadly.
RANSOM
Marta I'm sorry. I told them
everything, I figured it was all up.
I'm sorry.
117.
MARTA
It's alright Ransom, I'm glad you
did.
BLANC
Not exactly everything though.
MARTA
Is this about what Greatnana told
you? She saw me that night, she
mistook me for Ransom
BLANC
We'll get to that. But first, Mr.
Hugh Ransom Drysdale, you might tell
us all why you hired me.
RANSOM
Why I hired you?
BLANC
You're right, let's back up. To the
night of the party. Your argument
with Harlan. What were the overheard
words by the Nazi child masturbating
in the bathroom - "my will" and "I'm
warning you." You and Harlan were
"drama mamas," you shared a love of
twisting the knife into one another.
I don't believe he would have slipped
it in halfway - no, I submit that
Harlan told you everything.
Scene 40 - Ransom's Revenge
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Ransom and Harlan face each other.
RANSOM
You can't be serious.
HARLAN
Not a red dime or word of my work to
a single one of them, you included.
INT. LIBRARY
BLANC
Marta, remind me what Ransom said his
conversation with Harlan ended with.
118.
MARTA
Harlan told him that I could beat him
in GO.
BLANC
And I asked myself - Marta? Why
would the topic of the will have
steered around to Marta? There is
one obvious explanation...
INT. SMALL STUDY - NIGHT OF PARTY
RANSOM
You are not this crazy. You would
not just throw your fortune away
HARLAN
No. I'm giving it to Marta. All of
it.
RANSOM
Ha. To your Brazilian nurse are you
goddamn insane.
HARLAN RANSOM
I'm sane for the first time I'm going to stop this
in my life and I've done it Harlan, I -
I've made the change to my
will it's done
RANSOM (cont'd)
I'm warning you!
Push into a vent in the wall.
INT. LIBRARY
RANSOM
That is some heavy duty conjecture.
BLANC
Granted. But it's the only way what
comes next makes sense. So you storm
out, you drive off into the night.
You tell Marta later of what was it,
feeling an overwhelming sense of...
MARTA
Clarity. That he has to make do for
himself from here on out.
119.
BLANC
Exactly.
EXT. NORFOLK ROADS - NIGHT OF PARTY
Ransom's Porsche SKIDS TO A STOP on the side of the empty
road. Sits idling.
BLANC (V.O.)
Marta. The will. Harlan. "You
won't get away with this." Do for
yourself. And a plan forms. A very
simple, very easy plan.
A beat. Then the Porsche roars into a skidding U-TURN and
drives back the way it came.
EXT. PRIVATE ROAD - NIGHT OF PARTY
Ransom's Porsche kills its lights and drives slowly down the
private road, hooking a left at the CARVED ELEPHANT that
marks the utility road.
BLANC (V.O.)
You return to the house, careful to
avoid the gate's security camera
range.
EXT. WOODS - NIGHT OF PARTY
The Porsche parked, Ransom hacks his way through the woods.
BLANC (V.O.)
Then on foot up towards the house,
EXT. THROMBEY ESTATE SIDE YARD - NIGHT OF PARTY
The party is still going on inside. Ransom slips through
the side gate, up towards the house, and up the trellis.
BLANC (V.O.)
You sneak in, up the trellis so as
not to be seen by the rest of the
family, who are still having their
party downstairs.
120.
INT. THIRD FLOOR LANDING - NIGHT OF PARTY
The painting wall swings aside, and Ransom climbs through,
leaving mud traces on the sill and the carpet. He heads
straight down the narrow hall and into Harlan's bedroom.
The party din from downstairs.
BLANC (V.O.)
What you need to do will take
moments. But it is essential you are
alone, and undetected.
Ransom disappears into the darkened doorway.
BLANC (V.O.) (cont'd)
You knew the medications Harlan took.
You knew what Marta would be
injecting him with that night. And
you knew if Marta was responsible for
his death, even unintentionally, the
slayer rule would nullify the changed
will, and you would get your share
back.
INT. HARLAN'S BEDROOM
Dark and still. Marta's medical bag, open. Ransom has
unwrapped two syringes and has the two vials out - the
Toradol and the morphine (the "good stuff.")
Using the syringes he extracts the liquid from both vials...
and then injects the liquids back into the opposite vials.
He SWITCHES THE MEDICATIONS.
BLANC (V.O.)
You use the syringes in the kit to
switch the liquids in the two
medication vials. And as a final
precaution, you take the Naloxone,
the life saving antidote.
Replacing the vials he takes an injection pen, closes the
bag up and leaves.
Scene 41 - Revealing the Truth
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 9
Marta is stunned, she can't even process this.
MARTA
No, no that's impossible.
121.
BLANC
It is the truth. Hand me that vial
of morphine, I'll show you.
Blanc has placed two identical vials on the table behind
Marta. Her mind is still spinning, she glances at them,
takes one and absently hands it to him.
MARTA
If he did that, if the meds were
switched, then when I got them mixed
up...
(oh my god)
I accidentally switched them back.
But then I gave Harlan
BLANC
The correct doses. Yes. But not
accidentally. I taped over the
labels of these two vials.
Blanc shows white tape over the one she just handed him.
Picks up the other vial, shows the same.
BLANC (cont'd)
The vials themselves are identical.
How did you know that this was the
morphine?
MARTA
I... just knew
BLANC
You knew because there is the
slightest, almost imperceptible
difference of tincture and viscosity
between the liquids. You knew
because you had done it a hundred
times. You gave him the correct
medication. Because you are a good
nurse.
MARTA
Then Harlan was...
BLANC
I'm sorry Marta. But yes. Harlan
was perfectly fine.
He unfolds the tox report and hands it to her.
122.
BLANC (cont'd)
His blood was normal. The cause of
death was truly, solely suicide, and
you are guilty of nothing but some
damage to the trellis and a few
amateur theatrics. In fact if he had
listened to you, he would be alive
today.
Marta is white as a ghost. She shudders, buckles over.
LIEUTENANT ELLIOTT
My lord.
BLANC
A twisted web, and we are not
finished untangling it. Not yet.
Marta when Greatnana spotted you
climbing down the trellis she said
EXT. THROMBEY ESTATE SIDE YARD - NIGHT OF PARTY
Marta facing Greatnana, who says:
GREATNANA
Ransom? Are you back again already?
BLANC (V.O.)
Are you back again already, because
earlier that night -
CUT TO: the exact same scene but RANSOM hops down off the
trellis, and is startled by Greatnana staring at him.
GREATNANA
Ransom, you're back!
He puts his finger to his lips - shhh, and blows a kiss as
he walks off into the night.
INT. LIBRARY
Marta with her fingers on her temples, still unbelieving.
RANSOM
Marta c'mon.
(to Blanc)
This is stoopid with two o's and you
don't have a shred of evidence,
you're just spinning a fairy tale.
123.
BLANC
Not a shred no, just as we have no
real proof of Marta's mixing up the
vials so it's your word against -
RANSOM
You have her confession!
The sharpness of this makes Marta look at Ransom for the
first time.
BLANC
Ah right, we do have that. If you'll
indulge me, I'd like to spin a little
further.
EXT. THROMBEY ESTATE SIDE YARD - NIGHT OF PARTY - FLASHBACK
Moonlit, silent.
BLANC (V.O.)
Much later that night you would have
to come back to the house, to break
back in and retrieve the
incriminating tampered vials.
A dark figure, Ransom, approaches the side gate. But when
he opens it, the two dogs come bounding across the lawn,
barking loudly.
BLANC (V.O.) (cont'd)
However, this time the dogs were
outside. They barked. Waking Meg.
A light goes on upstairs. The dogs keep barking, paws on
the gate. Ransom backs off.
BLANC (V.O.) (cont'd)
No matter. You'll get the vials
tomorrow.
INT. LIBRARY
BLANC
Oh I can only imagine when you woke
up the next morning and got the news
not of a medical error and guilty
nurse, but of a slit throat and
suicide!? But I LOVE imagining it.
Confusion! Terror! What did you
feel? What did you think?
(MORE)
124.
BLANC (cont'd)
Well there's only one thing you could
have thought: That you underestimated
Ms. Cabrera, and that she covered up
her assumed crime by faking Harlan's
suicide. Yes?
INT. RANSOM'S APARTMENT LIVING ROOM - DAY
A nervous Ransom tears a clipping from the local newspaper
about Harlan's death, stuffs in it an envelope with a huge
fold of cash, and addresses it to Blanc. The New Yorker
profile open on the couch.
BLANC (V.O.)
So the circumstances are perfect for
the anonymous hiring of a me: you
know a crime has been committed by
Marta, you need her to be caught for
it, you cannot reveal how you know.
Scene 42 - Unraveling Ransom's Guilt
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 9
BLANC
Enter Benoit Blanc.
Elliott can't help but roll his eyes.
LIEUTENANT ELLIOTT
Alright Benny wrap it up.
BLANC
The body was discovered early the
next morning. The police, the
medical examiners, the family,
everyone swarms in,
(to Ransom)
and there is no possible way you can
get to Marta's medical bag to remove
the vials. You must wait for your
moment, when the investigation is
over and you know the house will be
empty. And that is why you missed
the funeral.
INT. THIRD FLOOR LANDING - AFTERNOON - FLASHBACK
Ransom bounds up the stairs, climbs under the POLICE TAPE
blocking Harlan's study, and enters.
125.
BLANC (V.O.)
there is no one home to wonder why
you're going into Harlan's study. Or
so you think. But the funeral... was
for family only.
Fran comes around the corner, spots Ransom and is about to
say something, but doesn't.
BLANC (V.O.) (cont'd)
Poor Fran. She witnessed you
tampering with Harlan's medication in
the medical bag. She did not know
what you were doing. But she knew
you were up to no good. And so her
mind begins to turn.
Ransom pockets the two incriminating vials from the medical
bag and replaces the Naloxone pen. When he stands to go she
retreats.
INT. LIBRARY
MARTA
Oh god that movie she told me about,
with Danica McKellar, that's what she
was talking about -
BLANC
She loved Harlan. She hates Ransom.
So the poor girl decides to test her
theory and make this asshole pay.
She gets a copy of the toxicology
report, I will be honest I have no
idea how
MARTA
She has a cousin - she told me, she
has a cousin who works as a
receptionist at the examiners office!
BLANC
Well voila. The numbers mean nothing
to her, but if Ransom is guilty its
existence is a threat, so she
photocopies the header and makes her
blackmail note.
MARTA
So why did she send it to me?
126.
BLANC
She did not. She sent it to Ransom.
INT. RANSOM'S LIVING ROOM - DAY - FLASHBACK
Ransom walks in sorting mail - finds the blank envelope,
reads the blackmail note inside, and slowly grins.
BLANC (V.O.)
And when Ransom first gets it, what
is his reaction? Elation! He still
thinks Marta gave Harlan the tampered
drugs! A blood tox report will prove
Marta's guilt!
INT. LIBRARY - DAY - FLASHBACK
The will reading, the family assembled. Ransom sits in
back, a sly smile on his face as the will is read.
BLANC (V.O.)
He goes to the will reading in high
spirits, ready to see the family tear
themselves apart, secure in the
knowledge that it will all be undone
when the tox report comes to light.
And then...
INT. RESTAURANT - NIGHT - FLASHBACK
Beers stacked up. Marta has just confessed. Ransom's face
is unreadable.
BLANC (V.O.)
Marta's confession. And everything
turns on its head. Now he realizes
that Marta has committed no crime,
and the tox report will prove her
innocence. The changed will is going
to stand. He has lost. Unless.
INT. LIBRARY
Blanc rounds on Ransom.
BLANC
Unless you decide.
127.
INT. RESTAURANT - NIGHT - FLASHBACK
Ransom giving Marta his pep talk -
RANSOM
...you're not giving up your family's
fortune!
INT. LIBRARY
BLANC
You are not giving up the family
fortune.
INT. RESTAURANT - NIGHT - FLASHBACK
RANSOM
You've come this far!
INT. LIBRARY
BLANC
You have come this far. Just one
step further. Just one last act, in
for a penny, in for a pound. You
decide. You are in.
CLOSE ON: A lighter ignites a rag stuffed in a tin gas can.
THE CAN: Being thrown through a window in a brick wall.
INT. MEDICAL EXAMINERS OFFICE MORGUE - FLASHBACK
Empty, dark. The flaming can falls in slow motion from the
high window. Hits the floor, ignites.
BLANC (V.O.)
Step one: destroy all evidence of
Marta's innocence.
The flames dance in the reflection of a glass case of
refrigerated BLOOD SAMPLES.
BLANC (V.O.) (cont'd)
Step two:
128.
Scene 43 - Ransom's Failed Attempt to Frame Marta
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 9
CLOSE ON: The BLACKMAIL NOTE - at the bottom is written
"1209 COLUMBUS ROAD 8AM" A hand TEARS this bottom part off,
then puts the top half in an envelope.
BLANC (V.O.)
Send Marta the anonymous email with a
late morning rendezvous time,
CLOSE ON: An email addressed to Marta being typed on a
phone, "1209 COLUMBUS ROAD 10AM"
INT. APARTMENT BACK HALLWAY - NIGHT - FLASHBACK
Ransom creeps down the hall, slips the ENVELOPE into the
letter slot of Marta's door.
BLANC (V.O.)
and deliver her the blackmail note.
EXT. 1209 COLUMBUS ROAD - MORNING - FLASHBACK
Ransom's Porsche pulls up. He gets out, pulling on gloves.
BLANC (V.O.)
Step three: keep your appointment
with Fran.
INT. 1209 COLUMBUS ROAD - 8AM - FLASHBACK
Fran standing in the middle of the room, nervous. She turns
as Ransom walks in and strides towards her.
FRAN
I knew it. I knew you were a no good
son of a bitch, I knew Harlan
wouldn't have just killed himself.
RANSOM
Yes, you were right Fran.
Ransom sees the medical bag on the floor, kneels and pulls
something out of it.
FRAN
I knew you were guilty as shit. Now
you're gonna pay for it don't come
near me I'm warning you I -
129.
But he's upon her, hand over her mouth, stifling her scream
as he pushes the syringe into her neck and PUSHES THE
PLUNGER.
MINUTES LATER - her inert body in the chair. He fishes
through her pockets, finds the envelope, and takes the TOX
REPORT from it, leaves the empty envelope in her hands.
On his way out: lights the tox report on fire, drops it
burning next to Marta's bag. We stay with it as it burns
away.
BLANC (V.O.)
Now the board is set. Marta will get
the blackmail note. You will put the
pieces together for her - the tox
report, her one chance at getting
away with it all. You'll guide her
to the rendezvous. You'll make an
anonymous call to the police, they
will catch her there with the body
and the burned evidence. Marta will
be arrested for killing Fran... and
Harlan.
INT. LIBRARY
MARTA
Oh my god. She said -
INT. 1209 COLUMBUS ROAD - FLASHBACK
Marta holding Fran on the floor, her dying words -
FRAN
you... did this...
INT. LIBRARY
MARTA
She didn't say "you did this," she
wasn't talking about me, she said
INT. 1209 COLUMBUS ROAD - FLASHBACK
Exact same moment but this time we hear -
FRAN
Hugh... did this...
130.
INT. LIBRARY
MARTA
Hugh. Cause you made the help call
you Hugh. Cause you're an asshole.
BLANC
(to Ransom)
It would have worked. If we hadn't
brought you in for questioning, so
you could not make your anonymous
call. And if Fran had not stashed a
safety copy of the tox report.
INT. 1209 COLUMBUS ROAD - FLASHBACK
Marta turns away from the dying Fran.
BLANC (V.O.)
And if Marta had not outplayed you
once again.
Marta turns back, calls 911, gives mouth to mouth to Fran.
BLANC (V.O.) (cont'd)
By having a kind heart. By saving
Fran's life, though it meant her
losing the inheritance and going to
jail. She didn't play your game, she
saved Fran's life.
Scene 44 - The Confrontation
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
For the first time, Ransom looks afraid.
RANSOM
Fran's alive?
Marta's phone starts to ring. They all see the caller id -
it's the hospital.
BLANC
(to Marta)
Oh yes. Fran, who will confirm this
fairy story or something close to it.
(to Ransom)
And will send you to jail.
She answers the call, puts the phone to her ear.
131.
MARTA
Yes.
A long beat, then her face breaks in relief.
MARTA (cont'd)
Yes. Thank you doctor, that's great
news, we'll be there soon.
She hangs up. And smiles with radiant joy.
MARTA (cont'd)
Oh thank god.
(to Blanc)
She's ready to talk.
Ransom stares at Marta, his face a mask.
BLANC
Trooper Wagner, if you would keep Mr.
Drysdale in custody while Lieutenant
Elliott, Ms. Cabrera and myself go to
the hospital to take Fran's
statement.
Ransom stands. Steps to Marta, who's frozen, looking in his
eyes. His poker face breaks. And he grins.
RANSOM
I want to say this just to you, not
to a courtroom of cameras, just to
you because you know it's the truth:
we allowed you into our home. We
allowed you to take care of granddad,
to be part of our family and now you
think you can steal it from us? You
think I'm not going to fight for our
birthright, our home, our ancestral
family home?
BLANC
Harlan bought this house in the
eighties. From a Pakistani real
estate baron.
RANSOM
Oh go to hell, you child. You think
you got me cause Fran's alive. But
Fran's alive, so what have you got me
for? So I get attempted murder -
(MORE)
132.
RANSOM (cont'd)
(to Blanc)
I stuck the needle in her chest by
the way, but your version is better,
I should have done the neck -
(to Marta)
I get arson for the bombing, maybe a
few other charges, with a good lawyer
I'll be out before you know it.
Face to face, Ransom's face hateful, Marta's strong and set.
RANSOM (cont'd)
And then you'll see just how much
hell I can wreak on your life, you
vicious little bitch.
But then... Marta's face starts to do things. Odd things.
Convulses. Her jaw clenches. Her cheeks bulge.
And the PROJECTILE VOMITS into Ransom's face.
RANSOM (cont'd)
AUGH! WHAT THE SHIT!
He falls back cursing, she drops to her knees, spitting.
Wagner, inappropriately excited:
WAGNER
Oh my god that means she was lying!
MARTA
Yes, Fran's dead.
(to Ransom)
And you just confessed to her murder.
Ransom takes this in. Then he smirks.
RANSOM
Well. In for a penny...
In one fluid motion he spins to the ornamental WALL OF
KNIVES, grabs one -
BLANC
No!
and TACKLES MARTA...
Time slows as Blanc and Elliott lunge to stop him but it's
too late -
Ransom and Marta fall together, his arm arcing down
133.
And as the they hit the ground his arm comes down
PLUNGING THE KNIFE UP TO THE HILT IN HER CHEST.
They lie still, breathing hard. Her eyes wide with pain and
horror. His cold and wild.
But then she blinks. Squints.
And he cocks his head. Realizing something.
Withdraws the knife from her chest.
Its fake blade had retracted into the handle. It's a
theatrical prop.
He pumps it up and down a few times, the spring making a
pathetic toy noise.
Ransom smirks.
RANSOM
Shit
And is VIOLENTLY TACKLED out of frame by Trooper Wagner.
Leaving Marta lying on her back. Blanc shouting if she's
alright, Elliott and Wagner wrestling Ransom into cuffs, it
all fades into the background as she holds the knife and
stares at the ceiling.
INT. SMALL STUDY
CLOSE ON: Harlan's old baseball being set carefully back in
place.
By Linda. She's about to leave, but she notices the pink
envelope on the desk. Picks it up, takes out the blank
note. Seems to recognize it, and smiles sadly.
EXT. THROMBEY ESTATE FRONT DRIVE - LATER
Linda comes outside and joins the family.
Several more police cars, and an ambulance. Ransom is
loaded into the cop car. His family are held at bay by
officers, but they react in different ways -
Richard yelling at the cops. Walt sobbing, Donna collapsed
against him, Jacob on his phone.
134.
Joni staring into space, ruined. Meg talking to Lieutenant
Elliott, crying. She's just learned about Fran.
Linda watches the circus, strangely disconnected, going to
light a cigarette. With a strange smirk, she uses the flame
to warm the blank note from the office, and HIDDEN WRITING
starts to appear - a note from her father. Their secret
communication. As the letters appear, her face changes.
Scene 45 - The Aftermath: Marta's Dilemma
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
Marta sits, a blanket over her shoulders. An officer who's
just taken her statement walks away. Blanc approaches.
MARTA
Can I ask. At what point did you
suspect I had something to do with
Harlan's death?
BLANC
From the moment you first set foot in
front of me.
Taps her shoe. The tiny, faded spot of blood.
MARTA
Oh my god.
BLANC
I want you to remember something very
important: you won not by playing
the game Harlan's way, but yours.
Through the window she sees the family outside.
MARTA
I should help them. Right?
BLANC
I have my own opinion. But I have a
feeling you'll follow your heart.
He gives her a wink, and strolls off.
INT. FOYER - LATER
Marta shuffles to the front doorway. One last glance at
Harlan's portrait, its grin now gentle and content.
135.
EXT. FRONT PORCH / BALCONY
She stands on the threshold. Sees Blanc get into the front
door of a cruiser, and it drives off - Ransom in the back.
He looks back at her through the window.
The family out on the lawn. Not sure where to go or what to
do. They all turn to see: Marta standing very small, but
somehow not, in the doorway of her house.
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| marta | Marta's character arc follows her journey from a conflicted and vulnerable protagonist to a courageous and determined individual who confronts the truth despite the personal cost. She starts off grappling with guilt, fear, and uncertainty, but as the story progresses, she gains strength, resilience, and a deeper sense of justice. Marta ultimately finds the courage to stand up for herself and her family, showcasing her growth and moral integrity. | The character arc for Marta is well-developed, showcasing her evolution from a vulnerable caregiver to a strong and determined individual. However, there could be more emphasis on her internal struggles and emotional growth throughout the screenplay to further highlight her transformation. Additionally, providing more insight into Marta's background and motivations could enhance the audience's connection to her character. | To improve Marta's character arc, consider incorporating more scenes that delve into her past experiences, values, and relationships to provide a deeper understanding of her motivations. Showcasing her internal conflicts and emotional journey more prominently can help the audience empathize with her struggles and root for her transformation. Additionally, exploring her interactions with other characters and how they influence her decisions can add complexity and depth to her arc. |
| linda | Linda's character arc in the screenplay begins with her resentment towards her brother and her determination to prove herself in the family business. As the story progresses, she becomes more protective and confrontational, especially when it comes to defending her family's legacy and uncovering the truth behind her father's death. Ultimately, Linda learns to let go of her anger and suspicion, finding closure and understanding in the midst of family chaos. | The character arc for Linda is well-developed, showcasing her growth from a resentful and confrontational individual to someone who seeks understanding and closure. However, there could be more depth added to her emotional journey, perhaps by exploring her vulnerabilities and inner conflicts in more detail. | To improve Linda's character arc, consider delving deeper into her emotional struggles and vulnerabilities, allowing the audience to connect with her on a more personal level. Show moments of introspection and self-discovery that lead to her eventual growth and acceptance. Additionally, consider adding more complexity to her relationships with other family members, highlighting the nuances of her protective nature and the challenges she faces in maintaining harmony within the family. |
| richard | Richard's character arc follows his journey from a loyal and supportive family member to a conflicted and deceptive individual entangled in affairs and hidden motives. As the story progresses, his secrets are revealed, leading to confrontations with Blanc and Elliott. Ultimately, Richard's manipulative nature is exposed, causing a rift within the family and forcing him to confront the consequences of his actions. | The character arc for Richard is well-developed, showcasing his complexity and inner turmoil. However, the transition from a loyal family member to a deceptive individual could be further explored to provide a deeper understanding of his motivations and conflicts. Additionally, more emphasis on the emotional impact of his actions on the family members could enhance the audience's connection to Richard's character. | To improve the character arc, consider incorporating flashback scenes or inner monologues to delve into Richard's past and the events that led to his deceptive behavior. This will add depth to his character and provide insight into his motivations. Furthermore, exploring the repercussions of his actions on the family dynamics and relationships can create a more compelling narrative arc for Richard. |
| walt | Walt's character arc in the screenplay involves a journey of self-discovery and growth as he navigates the complexities of family dynamics and wealth. Initially, Walt is portrayed as insecure and resentful, struggling to assert himself and find his place within the family hierarchy. However, as the story progresses, Walt begins to confront his inner demons and strive for independence, ultimately finding the courage to stand up for what he believes is right and make his own mark on the family legacy. | The character arc for Walt is well-developed and provides a compelling narrative of personal growth and transformation. However, there could be more emphasis on Walt's internal struggles and the resolution of his conflicts with other family members. Additionally, the screenplay could benefit from more nuanced exploration of Walt's relationships with other characters, adding depth to his journey of self-discovery. | To improve the character arc for Walt, consider incorporating more scenes that delve into his inner turmoil and the root of his insecurities. Show more interactions with other family members that highlight the complexities of his relationships and the impact of his decisions on the family dynamic. Additionally, explore opportunities for Walt to confront his fears and take decisive action, showcasing his growth and development throughout the story. |
| joni | Joni starts off as a seemingly carefree and financially dependent member of the Thrombey family, but as the story unfolds, her true nature is revealed. She becomes more deceptive and desperate, resorting to unethical means to maintain her lifestyle. However, as the inheritance discussion progresses, Joni's resourcefulness and research-oriented approach come to light, adding depth to her character and challenging the family's assumptions. | The character arc for Joni is well-developed and adds complexity to her character. However, there could be more consistency in her behavior throughout the screenplay. At times, her actions seem to contradict her initial portrayal as a caring and protective mother. Additionally, more insight into Joni's backstory and motivations could further enhance her character development. | To improve Joni's character arc, consider delving deeper into her past experiences and how they have shaped her deceptive and desperate behavior. This could provide a more nuanced understanding of her actions and add layers to her character. Additionally, ensure that Joni's actions and decisions align with her established personality traits to maintain consistency throughout the screenplay. |
| meg | Meg's character arc follows her journey of self-discovery and reconciliation with her family's expectations. Initially torn between loyalty and independence, Meg learns to embrace her individuality while still valuing her family's support. She navigates through conflicts and tensions, ultimately finding a balance between honoring her grandfather's wishes and staying true to herself. | The character arc for Meg is well-developed, but it could benefit from more specific and impactful moments of growth and realization. The transitions between her loyalty to family and her independence could be more clearly defined to enhance the emotional impact of her journey. | To improve the character arc for Meg, consider adding key scenes that highlight her internal struggles and growth. Show more moments where she actively challenges her family's expectations and asserts her individuality. Additionally, focus on building stronger relationships with other characters to further shape Meg's development and showcase her emotional depth. |
| lieutenant elliott | Lieutenant Elliott starts off as a pragmatic and skeptical investigator, focused on solving the case efficiently. However, as the investigation progresses, he becomes more open to unconventional methods and begins to work collaboratively with Benoit Blanc. Through this partnership, he gains a deeper understanding of the case and ultimately helps uncover the truth behind the mysterious death. | The character arc for Lieutenant Elliott is well-developed, showing a progression from skepticism to collaboration. However, it could benefit from more internal conflict or personal growth to make his character more dynamic and engaging for the audience. | To improve the character arc for Lieutenant Elliott, consider adding a personal stake or backstory that motivates his initial skepticism and eventual collaboration with Benoit Blanc. This could add depth to his character and make his journey more compelling for the audience to follow. |
| benoit blanc | Benoit Blanc starts off as a renowned private investigator with a reputation for solving complex cases. As he delves deeper into the current investigation, he begins to question his own methods and beliefs, leading him to confront his own biases and assumptions. Through his interactions with the other characters, Blanc learns to trust his instincts and embrace a more intuitive approach to solving the mystery. By the end of the screenplay, Blanc undergoes a transformation, becoming more open-minded and empathetic towards others. | The character arc for Benoit Blanc is well-developed, but it could benefit from more internal conflict and emotional depth. While Blanc's journey towards self-discovery is compelling, it would be more impactful if his personal struggles were more clearly defined and explored throughout the screenplay. | To improve the character arc for Benoit Blanc, consider incorporating more moments of vulnerability and self-doubt into his interactions with the other characters. Show how his investigation challenges his beliefs and forces him to confront his own flaws. Additionally, explore his backstory and motivations in more depth to provide a deeper understanding of his character development. |
| blanc | Benoit Blanc starts as a charismatic and enigmatic private investigator, known for his keen observation skills and unorthodox approach to solving mysteries. Throughout the screenplay, he evolves into a determined and relentless detective, unraveling the mysteries surrounding Harlan's death with precision and insight. Blanc's character arc culminates in him becoming a voice of reason and justice, guiding the characters towards resolution and delivering justice. | The character arc for Benoit Blanc is well-developed, showcasing his evolution from a charismatic investigator to a determined detective. However, there could be more depth added to his emotional journey and personal growth throughout the screenplay. | To improve the character arc, consider incorporating moments of vulnerability or internal conflict for Benoit Blanc. This could add complexity to his character and make his journey more compelling for the audience. Additionally, exploring his backstory or motivations further could provide insight into what drives him to uncover the truth and deliver justice. |
| harlan | Harlan starts off as a seemingly caring and regretful character, but as the story progresses, his true manipulative and cunning nature is revealed as he orchestrates a plan to frame his own murder. This leads to a climax where his deception is exposed, and he ultimately faces the consequences of his actions, bringing closure to his character arc. | The character arc for Harlan is well-developed and provides a satisfying resolution to his story. However, the transition from his caring and regretful side to his manipulative and cunning nature could be more subtly foreshadowed throughout the screenplay to create a more seamless progression. Additionally, more exploration of Harlan's internal struggles and motivations behind his actions could add depth to his character arc. | To improve the character arc, consider incorporating subtle hints of Harlan's manipulative nature earlier in the screenplay, such as through his interactions with other characters or his internal monologues. This will make the revelation of his true intentions more impactful and believable. Additionally, delving deeper into Harlan's past traumas or regrets that drive his actions can add complexity to his character and make his arc more compelling. |
| ransom | Ransom starts off as a rebellious troublemaker within the family, constantly challenging authority and causing chaos. However, as the story progresses, he begins to show moments of vulnerability and unexpected loyalty, particularly towards Marta. This shift in his character leads to a climactic moment where he must choose between protecting his inheritance or doing the right thing. | The character arc for Ransom is well-developed, showcasing his complexity and internal conflicts. However, the transition from manipulative antagonist to conflicted ally could be more gradual and nuanced. Additionally, more insight into Ransom's backstory and motivations could further enhance his character development. | To improve the character arc, consider adding flashback scenes or dialogue that provide context for Ransom's behavior and motivations. This will help the audience understand his actions and empathize with his internal struggles. Additionally, explore more opportunities for Ransom to show moments of redemption and growth throughout the screenplay, leading to a more satisfying resolution for his character. |
Writer's Craft Overall Analysis
Overall, the screenplay exhibits a strong command of scene writing, with effective use of tension, character development, and plot progression. The writer's unique voice and style shine throughout, creating engaging and compelling narratives. However, there is room for improvement in certain areas, such as pacing, structure, and dialogue.
Key Improvement Areas
Pacing and Structure
Several scenes could benefit from tighter pacing and more efficient use of dialogue, allowing the story to move forward more smoothly and maintain audience engagement.
Character Development
While the characters are generally well-defined, some scenes lack the depth and nuance necessary to fully captivate the audience and drive emotional investment.
Dialogue
The dialogue is often strong and engaging but could be further polished to enhance its natural flow, sharpness, and subtextual impact.
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Screenplay | Study screenplays by renowned screenwriters such as Aaron Sorkin, Quentin Tarantino, and Gillian Flynn to observe their techniques in crafting compelling dialogue, developing complex characters, and structuring effective narratives. | These screenwriters are known for their mastery of the craft, and their work can provide valuable insights for improving dialogue, character development, and storytelling. |
| Book | Read books on screenwriting fundamentals such as 'Screenplay: The Foundations of Screenwriting' by Syd Field or 'Save the Cat!' by Blake Snyder. | These books offer a comprehensive understanding of screenplay structure, character development, and storytelling techniques, providing a solid foundation for refining craft. |
| Exercise | Practice writing dialogue-heavy scenes with conflicting motivations and emotional stakes. Focus on creating natural-sounding dialogue that reveals character depth, drives the plot, and heightens tension.Practice In SceneProv | Regularly practicing dialogue writing can significantly enhance the writer's ability to craft engaging and impactful conversations that drive the narrative forward. |
| Video | Watch videos of interviews or behind-the-scenes footage with experienced screenwriters and directors to gain insights into their creative processes and storytelling techniques. | Learning from the experiences and approaches of industry professionals can provide valuable guidance and inspiration for improving one's own writing craft. |
| Course | Consider enrolling in a screenwriting course or workshop focused on character development and dialogue. Structured learning environments offer feedback, guidance, and opportunities to practice and refine skills. | Dedicated study through courses or workshops can provide focused training and support in areas where the writer seeks improvement, accelerating their growth as a screenwriter. |
Additional Notes: The writer's unique voice and ability to craft engaging narratives are evident throughout the screenplay. With continued development in the identified areas, the writer can further refine their storytelling techniques and create even more impactful and memorable screenplays.
Stories Similar to this one
| Story | Explanation |
|---|---|
| Knives Out | Set in a wealthy family's mansion, it follows a detective investigating the murder of the patriarch. |
| Clue | A classic murder mystery with a diverse group of suspects in a secluded setting. |
| Gosford Park | A historical whodunit set in an English country estate with a large cast of characters and multiple suspects. |
| Death on the Nile | A thrilling mystery featuring detective Hercule Poirot solving a murder on a luxury cruise. |
| Knives Out: Glass Onion | The sequel to Knives Out, with a similar ensemble cast and a complex murder plot. |
| The Murder of Roger Ackroyd | An early mystery novel by Agatha Christie that employs an innovative narrative technique and focuses on a shocking revelation. |
| The Guest | A psychological thriller about a mysterious stranger who befriends a military family and gradually becomes a source of suspicion. |
| Ready or Not | A dark comedy horror film that involves a bride being hunted by her in-laws on her wedding night. |
| Bad Times at the El Royale | A neo-noir mystery set in a remote hotel with a cast of troubled characters and a series of interconnected backstories. |
| The Handmaiden | A Korean erotic thriller that combines elements of a gothic romance, suspense, and betrayal. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Murder Mystery | The discovery of a murdered body leads to an investigation to uncover the truth behind the crime. | The murder mystery trope is a common theme in movies and TV shows where a character's death sets off a chain of events that lead to the revelation of the killer. An example of this trope is the movie 'Knives Out,' where the murder of Harlan Thrombey leads to a complex investigation to uncover the truth behind his death. |
| Family Drama | The interactions and conflicts within a family are central to the plot. | The family drama trope focuses on the dynamics and relationships within a family, often leading to tension, conflict, and emotional moments. An example of this trope is the TV show 'Succession,' which revolves around the power struggles and betrayals within a wealthy family. |
| Whodunit | The story revolves around solving a mystery to uncover the identity of the culprit. | The whodunit trope is characterized by a central mystery that drives the plot, with characters working to uncover the identity of the perpetrator. An example of this trope is the movie 'Clue,' where a group of characters must solve a murder mystery to reveal the killer. |
| Inheritance Dispute | The distribution of a deceased character's wealth leads to conflicts and tensions among family members. | The inheritance dispute trope involves characters vying for control over a deceased character's assets, leading to power struggles, betrayals, and revelations. An example of this trope is the TV show 'Succession,' where the Roy family battles for control over their father's media empire. |
| Blackmail | One character uses incriminating information to manipulate or control another character. | The blackmail trope involves a character leveraging sensitive information to coerce another character into taking a specific action. An example of this trope is the movie 'Body Heat,' where one character blackmails another to carry out a murder. |
| Frame-Up | A character is falsely accused of a crime they did not commit. | The frame-up trope involves one character setting up another to take the fall for a crime they did not commit, leading to a wrongful accusation and subsequent investigation. An example of this trope is the movie 'The Fugitive,' where Dr. Richard Kimble is framed for his wife's murder. |
| Suicide | A character takes their own life, leading to emotional repercussions for those left behind. | The suicide trope involves a character ending their own life, often leaving loved ones grappling with grief, guilt, and unanswered questions. An example of this trope is the TV show '13 Reasons Why,' where the suicide of a high school student sets off a series of events. |
| Betrayal | A character deceives or acts against another character's trust. | The betrayal trope involves one character breaking the trust of another, leading to emotional turmoil, conflict, and consequences. An example of this trope is the movie 'The Departed,' where characters betray each other in a web of deception and double-crossing. |
| Red Herring | A misleading clue or character that distracts from the true solution to the mystery. | The red herring trope involves introducing false leads or clues that mislead characters and the audience, diverting attention from the actual solution to the mystery. An example of this trope is the TV show 'Sherlock,' where the detective often encounters red herrings in his investigations. |
| Character Arc | A character undergoes growth, change, or development throughout the story. | The character arc trope involves a character experiencing transformation, learning, or self-discovery as they navigate the events of the story. An example of this trope is the movie 'The Shawshank Redemption,' where Andy Dufresne undergoes a profound character arc while in prison. |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Family Dynamics | The film explores the complex relationships within the Thrombey family, marked by rivalry, jealousy, and secrets, unraveling the tensions and conflicts that drive the characters' actions. | Family Dynamics serves as a foundational theme, shaping the motivations and interactions of the characters as they grapple with the aftermath of Harlan's death. | ||||||||||||
Strengthening Family Dynamics:
| ||||||||||||||
| Immigration and Identity | The film delves into the struggles and challenges faced by Marta, an undocumented immigrant, as she navigates the complex social dynamics of the Thrombey family while trying to protect her own identity. | Immigration and Identity play a significant role in shaping Marta's character and her experiences, highlighting the intersection of societal prejudices and personal aspirations. | ||||||||||||
| Truth and Deception | The narrative hinges on the manipulation of truth and the blurring of reality, as characters deceive each other, conceal their motives, and construct elaborate falsehoods to protect their interests. | Truth and Deception serve as driving forces, propelling the plot forward and challenging the audience's perception of events and the characters' true intentions. | ||||||||||||
| Wealth and Privilege | The film examines the corrupting influence of wealth and privilege, highlighting the moral dilemmas it creates and the ways in which it can distort relationships and cloud judgment. | Wealth and Privilege are explored as both a catalyst for the characters' desires and a source of their downfalls, exposing the darker underbelly of the Thrombey family's lavish lifestyle. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice is characterized by sharp dialogue, dark humor, and intricate plot twists. It adds depth and complexity to the story, enhancing the mood and themes of the screenplay. |
| Voice Contribution | The writer's voice contributes to the script by creating a sense of mystery and suspense, keeping the audience engaged and guessing until the very end. |
| Best Representation Scene | 7 - Secrets and Confrontations |
| Best Scene Explanation | This scene effectively encapsulates the writer's unique voice through its blend of sharp dialogue, underlying tensions, and complex character dynamics. |
Originality
- Overall originality score: 8.5
- Overall originality explanation: The screenplay for Knives Out is highly original in its approach to the murder mystery genre.
- Most unique situations: * The murder is solved by a private investigator who is not introduced until halfway through the film.
- Overall unpredictability score: 9
- Overall unpredictability explanation: The screenplay for Knives Out is unpredictable in its plot, characters, and setting.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goal is to navigate the complex family dynamics and navigate the truth behind Harlan's death |
| External Goals | The protagonist's external goal is to maintain composure and protect herself from suspicion while dealing with the investigation |
| Philosophical Conflict | The overarching philosophical conflict revolves around the themes of truth, loyalty, and justice as the protagonist grapples with deception, family loyalty, and personal integrity |
Character Development Contribution: The goals and conflict contribute to the character's development by challenging their beliefs, values, and moral compass, leading to growth and self-discovery
Narrative Structure Contribution: The goals and conflict drive the narrative structure by creating tension, suspense, and intrigue as the protagonist navigates the complex web of family secrets and deception
Thematic Depth Contribution: The goals and conflict contribute to the thematic depth of the screenplay by exploring themes of loyalty, truth, morality, and justice, adding layers of complexity and depth to the story
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
World Building
- Physical environment: The physical environment in the screenplay consists of various locations, including a New England manor house with gothic and mysterious surroundings, a modern living room, a library, a hospital waiting room, and a police station. Each location creates a distinct atmosphere and contributes to the narrative's progression.
- Culture: The cultural elements depicted in the screenplay include a wealthy family with complex dynamics, societal events like parties, and exploration of themes such as inheritance, betrayal, and deceit. These cultural aspects provide insights into the characters' motivations and conflicts.
- Society: The societal structure in the screenplay reflects hierarchical power dynamics within the wealthy Thrombey family. The family's privileged lifestyle and interactions with law enforcement officers highlight their status and influence in society.
- Technology: The technological aspects in the screenplay are minimal, with the presence of modern elements like laptops, iPads, and cell phones. These elements support communication and investigation but do not play a significant role in shaping the overall narrative.
- Characters influence: The world elements, including the physical environment, cultural norms, societal structures, and technological devices, influence the characters' experiences and actions. For instance, the isolated atmosphere of the manor house creates a sense of mystery and tension, contributing to the characters' psychological states and decision-making. The societal hierarchy shapes the family members' interactions and conflicts, while the presence of law enforcement adds an element of authority and investigation. The cultural emphasis on inheritance and family secrets influences the characters' motives and actions.
- Narrative contribution: The world elements contribute to the narrative by providing a backdrop for the events to unfold. The gothic manor house sets the stage for a murder mystery, and the family's wealth and status make them both suspects and potential targets. The societal expectations and family dynamics introduce conflict and tension, driving the narrative forward. The technological aspects, though minimal, support communication and information exchange, aiding in the investigation and revelation of secrets.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by exploring issues such as wealth and privilege, family relationships, and the complexities of truth and deception. The opulent surroundings and lavish lifestyle of the Thrombey family highlight the themes of wealth and privilege, questioning their impact on morality and relationships. The intricate family dynamics reveal the complexities of human connections, including love, betrayal, and secrets. The exploration of truth and deception through the murder mystery and the characters' conflicting narratives adds depth to the screenplay's thematic layers.
Story Engine Analysis
central conflict
Marta Cabrera, an immigrant housekeeper, must navigate the suspicious family of Harlan Thrombey and Detective Benoit Blanc while hiding her involvement in his accidental death.
primary motivations
- Marta's desire to protect her undocumented mother from deportation.
- The Thrombey family's greed and desire to obtain Harlan's fortune.
- Detective Blanc's pursuit of justice and his suspicion of Marta.
catalysts
- Harlan Thrombey's accidental death.
- Marta's discovery of Harlan's request for her to frame him for murder.
- Detective Blanc's arrival and investigation of Harlan's death.
barriers
- The Thrombey family's hostility towards Marta.
- Detective Blanc's relentless pursuit of the truth.
- Marta's own guilt and fear of being discovered.
themes
- The corrosive effects of greed.
- The importance of truth and justice.
- The resilience and strength of immigrants.
stakes
Marta's freedom, the reputation of the Thrombey family, and the pursuit of justice.
uniqueness factor
The story's unique blend of murder mystery, family drama, and social commentary.
audience hook
The intriguing mystery surrounding Harlan Thrombey's death and the compelling characters involved.
paradoxical engine or bisociation
The paradoxical nature of Marta's situation: she must hide her involvement in Harlan's death to protect her mother, but her actions ultimately lead to her own discovery.
paradoxical engine or bisociation 2
The juxtaposition of the Thrombey family's wealth and privilege with Marta's humble background and the challenges she faces as an immigrant.
Engine: Gemini
Screenplay Rating:
Highly Recommend
Executive Summary
Knives Out is a highly engaging and well-crafted murder mystery with a unique premise, a diverse cast of characters, and witty dialogue. The screenplay masterfully constructs a complex plot with numerous twists and turns, keeping the audience guessing until the very end. While the motivations of some characters could be explored in greater depth, the overall narrative strength and pacing are excellent, making this screenplay a highly recommendable read.
Strengths
- The screenplay masterfully constructs a complex and engaging mystery with numerous twists and turns, keeping the audience guessing until the very end. high
- The initial scene effectively sets the stage for the mystery, introducing the intriguing setting and the central event of Harlan's death. The subsequent flashbacks further deepen the mystery and reveal the complexities of Harlan's relationships with his family. high ( Scene 1 Scene 13 Scene 14 )
- The screenplay boasts a diverse and well-developed cast of characters, each with their own unique motivations and flaws. high
- The dialogue is sharp, witty, and often humorous, adding to the entertainment value of the screenplay. medium
- The pacing of the screenplay is excellent, balancing moments of suspense with character development and humor, keeping the audience engaged throughout. medium
Areas of Improvement
- The motivations of some characters, particularly the Thrombey family members, could be explored in greater depth to provide a more nuanced understanding of their actions. medium
MissingElements
NotablePoints
- The screenplay cleverly subverts typical mystery tropes, creating a unique and unexpected narrative. high
- The theme of wealth and privilege is subtly woven into the narrative, adding depth and social commentary to the story. medium
- The unexpected alliance between Marta and Ransom adds an interesting dynamic to the story and further complicates the mystery. medium ( Scene 27 Scene 30 )
Engine: Claude
Screenplay Rating:
Recommend
Executive Summary
The screenplay for 'Knives Out' is a well-crafted, engaging, and thematically rich murder mystery that keeps the audience guessing and entertains throughout. The strong narrative structure, exceptional character development, and sharp dialogue make it a highly recommended work. While a few minor pacing issues and a slightly understated protagonist's arc could be improved, the screenplay's overall strengths, innovative storytelling, and exploration of complex themes make it a compelling and distinctive piece that would appeal to a wide audience.
Strengths
- The screenplay has a strong narrative structure that keeps the audience engaged throughout the story. The plot twists and reveals are well-paced and effectively executed. high
- The characterization is exceptional, with each character being well-developed and having a distinct personality and motivations. The relationships between the characters are complex and nuanced. high
- The dialogue is sharp, witty, and natural, capturing the unique voices of the characters. It serves to further the plot and deepen the characters' relationships. high
- The screenplay masterfully blends elements of mystery, suspense, and dark humor, creating a compelling and entertaining viewing experience. high
- The screenplay explores complex themes of inheritance, family dynamics, and moral ambiguity in a nuanced and thought-provoking manner. high
Areas of Improvement
- While the overall pacing is strong, there are a few instances where the narrative slows down or drags, which could be tightened to maintain the momentum. medium
MissingElements
- The screenplay could benefit from a more explicit exploration of the protagonist's (Marta's) internal journey and character arc, as her transformation and growth are somewhat understated. medium
NotablePoints
- The screenplay's innovative use of unreliable narration and shifting perspectives is a highlight, keeping the audience guessing and engaged throughout the story. high
- The screenplay's thematic exploration of inheritance, privilege, and moral responsibility is nuanced and thought-provoking, adding depth to the narrative. high
- The screenplay's stylistic elements, such as the use of symbolism (e.g., the GO board, Harlan's baseball) and visual storytelling, are effective in conveying the story's themes and character arcs. high
Engine: GPT4
Screenplay Rating:
Highly Recommend
Executive Summary
The screenplay 'Knives Out' presents a compelling murder mystery with a richly woven plot full of twists and character depth. It balances humor, suspense, and drama effectively, making it a standout script that should attract audiences who enjoy clever storytelling and complex characters.
Strengths
- The screenplay features a complex and engaging plot with multiple twists that maintain suspense and intrigue throughout. high
- Character development, especially of Marta and Ransom, is well-executed, showing depth and evolution in their personalities and motives. high ( Scene 38 Scene 44 )
- The dialogue is sharp and witty, contributing to character development and the overall tone of the screenplay. medium ( Scene 44 )
- The use of settings and props (like the fake knife and the toxicology report) are cleverly integrated into the plot, enhancing the storytelling. medium ( Scene 45 )
- The screenplay maintains a good pace, balancing slower, more introspective sections with fast-paced, dramatic moments. medium
Areas of Improvement
- Some scenes may benefit from slight trimming to enhance pacing and maintain tension without over-explaining scenarios. medium
- The motivations behind some secondary characters' actions could be clarified to enhance the plot's believability. low
MissingElements
- A deeper exploration of the emotional impact of Harlan's death on the family could add depth to the characters' reactions and decisions. medium
NotablePoints
- The screenplay effectively uses humor and irony, particularly through Blanc's character, which adds a unique flavor to the murder mystery genre. high
- The twist where Marta is revealed to have unknowingly corrected her medication mistake adds a brilliant layer of irony and suspense. high ( Scene 44 )
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 26 | Blanc: When good people get desperate, the knives come out. |
| 34 | Marta: I'm all just pure adrenaline now it's like I swallowed bees. |
| 36 | Fran: you... did this... won't... get away.. with this |
| 43 | Fran: you... did this... |
| 45 | Benoit Blanc: I want you to remember something very important: you won not by playing the game Harlan's way, but yours. |