Chernobyl pilot
Executive Summary
Poster

Overview
Genres: Drama, Thriller, Historical
Setting: 1986-1988, during and after the Chernobyl disaster, Chernobyl Nuclear Power Plant and surrounding areas, including Pripyat, Moscow, and various locations in the Soviet Union
Overview: The story begins with Valery Legasov, a weary scientist, reflecting on the catastrophic Chernobyl disaster and the systemic failures that led to it. As the narrative unfolds, we witness the chaos and panic in the control room of Reactor #4, where Deputy Chief Engineer Anatoly Dyatlov struggles to maintain order amidst the unfolding crisis. The middle of the story captures the immediate aftermath of the explosion, showcasing the bravery of firefighters and plant workers as they confront the dangers of radiation and fire. As the characters grapple with their responsibilities and the weight of their decisions, the narrative explores themes of truth, accountability, and the human cost of systemic failure. The story culminates in a poignant reflection on the consequences of lies and the importance of confronting uncomfortable truths, leaving the audience with a sense of the enduring impact of the disaster.
Themes: Systemic Failure and Suppression of Truth, Individual Responsibility vs. Systemic Pressure, The Corrosive Nature of Lies and the Power of Truth, Human Resilience and Courage in the Face of Disaster
Conflict and Stakes: The struggle for truth and justice in the aftermath of the Chernobyl disaster, with personal and societal consequences at stake.
Overall Mood: Tense and foreboding, with moments of despair and urgency.
Mood/Tone at Key Scenes:
- Scene 1: Introspective and somber, setting the tone for the exploration of truth and deception.
Standout Features:
- Unique Hook: The real-life events surrounding the Chernobyl disaster provide a gripping backdrop that captivates audiences.
- Major Twist: The gradual revelation of the extent of the disaster and the failures of those in charge creates a shocking narrative arc.
- Innovative Ideas: The screenplay explores the psychological and emotional impacts of a nuclear disaster on individuals and society.
- Distinctive Settings: The contrast between the serene life in Pripyat and the chaos of the nuclear disaster highlights the tragedy of the event.
Comparable Scripts:
- Chernobyl (TV Miniseries)
- The Lives of Others (Film)
- The Constant Gardener (Novel/Film)
- The Trial (Play by Franz Kafka)
- Silkwood (Film)
- The Handmaid's Tale (Novel/TV Series)
- The Road (Novel/Film)
- The Insider (Film)
- The Fountainhead (Novel)
Writing Style:
The screenplay exhibits a predominantly suspenseful and dialogue-driven style, characterized by a focus on complex characters facing high-stakes moral dilemmas. There's a strong emphasis on building atmospheric tension, often through visual and auditory cues as well as impactful dialogue. While action sequences are present, the focus remains primarily on the internal struggles and psychological complexities of the characters within intense, often crisis-driven situations. The narrative structure sometimes incorporates non-linear elements and philosophical themes.
Style Similarities:
- Christopher Nolan
- Aaron Sorkin
- David Mamet
Pass/Consider/Recommend
Highly Recommend
Explanation: The Chernobyl pilot script is a masterclass in suspenseful storytelling, effectively blending historical accuracy with compelling character development. Its strengths lie in its gripping pacing, nuanced portrayal of human fallibility under immense pressure, and its exploration of profound moral and ethical dilemmas. While minor improvements to certain character arcs could enhance emotional resonance, the script's overall narrative power and unique stylistic choices make it a highly marketable and captivating piece of television.
USP: This screenplay stands out for its intense focus on the human experience amidst a historical catastrophe, blending factual events with deep emotional and ethical questions. It appeals to audiences interested in both historical accuracy and character-driven storytelling, making it a compelling piece that resonates with contemporary themes of truth and accountability.
Market Analysis
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 25-54, fans of historical dramas, thrillers, and those interested in real-life disasters.
Marketability: The screenplay has the potential to attract a wide audience due to its historical significance and dramatic storytelling, appealing to both drama enthusiasts and those interested in real-life events.
The unique blend of historical drama and thriller elements, combined with strong character arcs, makes it appealing to a diverse audience.
The compelling themes of truth and accountability resonate with contemporary audiences, though the heavy subject matter may limit broader appeal.
Profit Potential: High, due to strong appeal to a wide adult audience, potential for critical acclaim, and opportunities for awards recognition.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is stark, realistic, and intensely atmospheric. It prioritizes showing over telling, utilizing sensory details and subtle actions to convey emotion and build suspense. Dialogue is often terse and impactful, reflecting the high-stakes situations and the characters' internal struggles. The narrative voice maintains a detached, almost observational quality, allowing the events to unfold with a sense of grim inevitability.
Best representation: Scene 4 - A Somber Prelude. This scene best encapsulates the writer's voice because it masterfully combines atmospheric tension, subtle actions, and a shocking reveal without relying on exposition or lengthy dialogue. The sensory details (footsteps, chair moving, startling noise) build suspense gradually, culminating in a cliffhanger that leaves the audience deeply unsettled. This exemplifies the writer's preference for showing, not telling, and their ability to create a powerful emotional response through suggestive imagery and carefully crafted pacing. The INTJ personality type (often associated with the INTP) is known for its appreciation of indirect communication, and this scene avoids explicit exposition; instead it uses a cinematic technique to heighten suspense and intrigue the viewer. The scene’s power lies in its minimalism and impactful implication.
Memorable Lines:
- : What is the cost of lies? (Scene 1)
- RECORDED VOICE: It's not that we'll mistake them for the truth. The real danger is that if we hear enough lies, then we no longer recognize the truth at all. (Scene 2)
- VASILY: Go to sleep. It'll be over before you wake. (Scene 10)
- YUVCHENKO: I don't think there are control rods. I don't think there's a core. (Scene 15)
- DYATLOV: Did you lower the control rods or not? (Scene 21)
Characters
Valery Legasov:A scientist and key figure in the investigation of the Chernobyl disaster, grappling with the truth and the consequences of the incident.
Anatoly Dyatlov:The deputy chief engineer at Reactor #4, whose authoritative demeanor clashes with the chaos following the explosion.
Vasily Ignatenko:A firefighter who responds to the disaster, facing the immediate dangers of radiation and fire.
Lyudmilla Ignatenko:Vasily's wife, who experiences the emotional toll of the disaster and the uncertainty of her husband's safety.
Boris Shcherbina:A government official tasked with managing the crisis, representing the bureaucratic response to the disaster.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - The Cost of Lies | Philosophical, Reflective | 9.2 | 10 | 9 | 9 | 8 | 0 | 8 | 7 | 2 | 7 | 3 | 7 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
2 - Echoes of Truth | Reflective, Melancholic, Introspective | 9.2 | 10 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | |
3 - A Night of Secrecy | Suspenseful, Reflective, Intriguing | 8.5 | 9 | 8 | 7 | 9 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 8 | 8 | 8 | 8 | 9 | 9 | |
4 - A Tense Prelude | Tense, Suspenseful, Melancholic | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
5 - A Somber Prelude | Reflective, Tense, Suspenseful | 8.5 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
6 - A Night of Catastrophe | Tense, Mysterious, Horrifying | 9.2 | 9 | 9 | 9 | 9 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
7 - Chaos in the Control Room | Tense, Suspenseful, Foreboding | 8.7 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
8 - Calm Amidst Chaos | Tense, Cold, Calm | 8.5 | 9 | 8 | 7 | 9 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
9 - Crisis at Chernobyl: The Immediate Aftermath | Tense, Foreboding, Chaotic, Emergency | 9.2 | 9 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
10 - A Night of Uncertainty | Tense, Suspenseful, Foreboding, Intimate | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
11 - Descent into Chaos | Tense, Suspenseful, Grim | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 10 | 9 | 8 | 10 | 9 | 9 | 9 | 8 | 8 | |
12 - Crisis in Control Room 4 | Tense, Serious, Urgent | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
13 - Descent into Danger | Tense, Foreboding, Urgent, Mysterious | 8.5 | 8 | 9 | 8.5 | 8 | 7 | 8 | 7.5 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
14 - Aftermath of Crisis | Tense, Suspenseful, Dramatic | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 9 | 8 | |
15 - Descent into Despair | Tense, Suspenseful, Foreboding | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
16 - Into the Inferno | Tense, Suspenseful, Urgent | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
17 - Reactor's Ruin | Shocking, Tense, Nauseating | 9.2 | 10 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 10 | 10 | 8 | 10 | 8 | 9 | 9 | 9 | 9 | |
18 - Desperation in the Reactor | Tense, Chaotic, Horror | 9.2 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 10 | 9 | 8 | 10 | 8 | 9 | 9 | 9 | 9 | |
19 - Inferno at Reactor #4 | Tense, Grim, Intense | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 9 | 8 | 10 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | |
20 - Eerie Glow of Dread | Tension, Concern, Fear, Hope | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 8 | 8 | 9 | 8 | 8 | 9 | 8 | 8.5 | 8.5 | 8 | 8 | |
21 - Tension in the Control Room | Tense, Cold, Stoic, Authoritative | 8.5 | 8 | 9 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
22 - Silent Alarm | Tense, Serious, Inquisitive | 8.5 | 8 | 8 | 9 | 8 | 7 | 8 | 7.5 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 8.5 | 8 | 8 | 8 | |
23 - Midnight Alarm | Tense, Urgent, Anxious | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | |
24 - Desperate Conversations | Tense, Foreboding, Intense | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
25 - Urgent Descent | Tense, Urgent, Foreboding | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
26 - Into the Silence | Tense, Eerie, Urgent | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 8 | 8 | 8 | 8 | 9 | 9 | |
27 - Crisis in the Bunker | Tense, Serious, Intense | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
28 - Spectacle and Safety | Tense, Eerie, Calm | 8.5 | 8 | 8 | 8 | 8 | 6 | 8 | 7.5 | 5 | 8 | 6 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
29 - Acceptance in the Ashes | Tense, Surreal, Eerie, Intense | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
30 - Into the Inferno | Intense, Suspenseful, Chaotic | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
31 - Descent into Desperation | Tense, Desperate, Serious | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
32 - Chaos at the Plant | Tense, Urgent, Suspenseful | 8.5 | 8 | 9 | 8.5 | 8 | 7 | 8 | 7.5 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
33 - The Illusion of Control | Serious, Authoritative, Reverent | 9.2 | 10 | 9 | 9 | 9 | 9 | 9 | 8 | 10 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
34 - Tension Behind Applause | Tense, Serious, Urgent, Chaotic | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
35 - Descent into Chaos | Tense, Serious, Confrontational, Shocking | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
36 - Tension in the Depths | Tense, Serious, Urgent, Reflective | 8.7 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
37 - Edge of Despair | Tense, Emotional, Reflective | 9.2 | 9 | 9 | 9 | 10 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 10 | 8 | 9 | 9 | 9 | 9 | |
38 - Aftermath of Chaos | Tense, Chaotic, Reflective, Surreal | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
39 - Dawn of Crisis | Tense, Serious, Urgent | 8.5 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 9 | 8 | 7 | 9 | 9 | 9 | 9 | 9 | |
40 - Desperate Measures | Tense, Reflective, Surreal | 8.5 | 8 | 9 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 7 | 9 | 9 | 9 | 9 | |
41 - Innocence Amidst Desolation | Tense, Reflective, Surreal | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 |
Scene 1 - The Cost of Lies
Episode 1 - "1:23:45"
Written by
Craig Mazin
August 15, 2018
Copyright© 2018 Home Box Office, Inc. ALL RIGHTS RESERVED
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101 OVER BLACK 101
A man's voice, tinny, over audio cassette hiss.
RECORDED VOICE
What is the cost of lies?
Ratings
Scene 2 - Echoes of Truth
A CIGARETTE - slowly burns in an ashtray.
RECORDED VOICE
It's not that we'll mistake them for
the truth. The real danger is that
if we hear enough lies, then we no
longer recognize the truth at all.
What can we do then? What else is
left but to abandon even the hope of
truth, and content ourselves
instead... with stories.
The apartment is cramped. Bookshelves. Stacks of scientific
journals. Soviet-era furniture. Nicotine wallpaper.
RECORDED VOICE
In these stories, it doesn't matter
who the heroes are. All we want to
know is: who is to blame? Well. In
this story, it was Anatoly Dyatlov.
And he was the best choice. An
arrogant, unpleasant man, he ran the
room that night, he gave the
orders... and no friends. Or at
least not important ones.
A CAT pads softly over a TYPEWRITER on a wooden desk.
Through an open archway, we see a MAN sitting at a kitchen
table. Takes the cigarette from the ashtray. Smokes.
RECORDED VOICE
And now Dyatlov will spend the next
ten years in a prison labour camp.
IN THE KITCHEN - the soft tick-tick-tick of a small CLOCK
on the kitchen table. It's a little past 1:00 AM.
TITLE: MOSCOW - APRIL 26, 1988
Next to the clock: a cup of tea, the ashtray, and a chunky
Soviet-era AUDIO CASSETTE RECORDER. Tape playing.
RECORDED VOICE
Of course that sentence is doubly
unfair. There were far greater
criminals than him at work.
The listening man is: VALERY LEGASOV, 52. Glasses. Pale
skin, a bit papery. His hair is thinning in odd patches.
RECORDED VOICE
And as for what Dyatlov did do, the
man doesn't deserve prison.
Legasov takes a drag on his cigarette. Listening calmly to
his own voice playing back through the recorder.
RECORDED VOICE
He deserves death.
Legasov presses STOP on the recorder. Picks up a small
microphone wired to the cassette player. Hits PLAY/RECORD.
LEGASOV
But instead, ten years for "criminal
mismanagement". What does that mean?
No one knows and it doesn't matter.
What does matter is that to them,
justice was done. Because you see? A
just world is a sane world.
(beat)
There is nothing sane about
Chernobyl. What happened there, what
happened after... even the good we
did... all of it... all of it...
(beat)
Madness.
He removes his glasses. Rubs his eyes. Exhausted.
LEGASOV
I've given you everything I know.
They'll try to deny it, the way they
always do. Will you prevail? I do not
know. I only know you'll do your best
to try.
Legasov presses STOP. Then REWIND. As the tape spins, we
see: FIVE OTHER TAPES on the table, each numbered.
Legasov crosses to a WINDOW. Moves the curtain slightly to
the side and peeks down at:
HIS POV - a CAR parked across the street. The interior
LIGHT is on. It's always on. Someone's always there.
Ratings
Scene 3 - A Night of Secrecy
Moscow is dead quiet. Legasov carefully steps outside,
remaing in shadow, holding his COAT closed with his hands.
There's a slight bulge. Across the street - THE PARKED CAR.
A MAN sits in the car. Dome light on. He's pouring coffee
from a thermos into a cup, and while he's distracted,
Legasov quickly PASSES through the BEAM of a streetlamp to:
A DARK ALLEY next to his building. Back in shadows. He
moves past the rubbish bins and into a small garden area.
Then removes the PACKAGE from inside his coat, and stashes
it in a small air vent, well out of view.
Now, only one final task remains. He checks his watch.
1:19. Nearly time. He removes a single cigarette from a
nearly full pack. Tosses the rest of the pack away.
Ratings
Scene 4 - A Tense Prelude
The cat is now on the kitchen table. It raises its head at
the sound of the door opening and closing.
Legasov enters. Removes his jacket. Moves quickly to the
window and checks once again.
HIS POV: the car light is still on. But no one's gotten
out. He was unseen.
Legasov lights his one cigarette. A long draw. Checks his
watch again. Another draw. He's rushing now.
He places four small bowls on the floor in a row. Fills
each with scraps of boiled chicken from a plate.
Walks back to the table. Another drag of the cigarette.
Looks at the clock. It's now 1:23. Okay. Rests the
cigarette back in the ashtray. Walks out of frame.
We stay with the CAT and the CLOCK. We HEAR: a closet door
opening... something jangles.
The second hand ticks. It's 1:23 and 20 seconds.
SOUND: footsteps
1:23 and 30 seconds.
SOUND: a chair is moved
1:23 and 40 seconds
...now silence as the cat lowers its head, bored. Tick tick
tick tick. 1:23:41, 42, 43, 44 --
SOUND: a chair toppling and a sharp SNAP.
The cat lifts its head. Startled.
REVERSE TO REVEAL - Legasov's legs, hanging in mid-air,
slightly turning, out of focus in the background.
The cigarette still burns. Smoke curls.
DISSOLVE TO:
Ratings
Scene 5 - A Somber Prelude
VIEW THROUGH GLASS - a small city of 50,000 people, mostly
living in large block apartment buildings.
Beyond that, LIGHTS clustered in the distance, perhaps two
or three miles away. Some white, some red, some blinking.
The Chernobyl Nuclear Power Plant.
TITLE: PRIPYAT, UKRAINE - USSR
TWO YEARS AND ONE MINUTE EARLIER
We PULL BACK to see we're:
Ratings
Scene 6 - A Night of Catastrophe
Looking out at the blinking lights of the nearby power
plant through a WINDOW. This apartment is simple. Sparse.
Flat, powder blue walls. Tiny kitchenette.
ON THE WALL - a PHOTO of a young man holding a woman off
the ground. She's laughing. Scared. In love. Next to the
photo, a calendar. The year is 1986.
We hear: a woman RETCHING off-screen. A toilet flushing.
LYUDMILLA IGNATENKO, 23, emerges from the bathroom.
Catching her breath. Sick. But happy. Something beautiful.
She peers in to her bedroom, where her husband VASILY, 25,
sleeps soundly. Good. She'll tell him later.
Oh. Her cigarette in the ashtray. No more smoking. She
quickly stubs it out. A growing HISS. Lyudmilla crosses out
of frame. We hear tea being poured.
THROUGH THE WINDOW - we see but do not hear a small
EXPLOSION at the power plant, followed almost instantly by
a MASSIVE EXPLOSION that turns night into day. And still,
no sound. A mute apocalypse.
One second goes by. Lyudmilla re-enters frame. Oblivious.
Two seconds. She sits down.
Three seconds - SHOCKWAVE - like a massive fist SLAMMING
into the side of the building... and she jolts back.
The BEDROOM DOOR flings open, and Vasily emerges.
Sleeveless undershirt, pyjama bottoms. Confused. The noise.
He joins Lyudmilla at the window. Sees...
FIRES ringing a terrible crimson-red GLOW at the power
plant, as if the building has opened a gate to hell.
And rising out of the inferno-- an unnatural, glowing,
BRIGHT BLUE COLUMN OF LIGHT, like a beacon shooting
straight up into the sky... seemingly to the stars.
Dogs begin barking. Apartment lights turn on. Pripyat
awakens. It's 1:24 AM.
Ratings
Scene 7 - Chaos in the Control Room
No sound except distant hissing noises.
All we see is SWIRLING WHITE DUST, illuminated by emergency
BACKUP LIGHTS. And now we make out:
MEN - the control room operators, dressed identically in
white uniforms. White paper hats covering their heads. All
in the same position. Cowering.
Except for one man, who stands. 55 years old, gray
mustache, white hair swept back on his head. This is
ANATOLY DYATLOV.
CLOSE ON DYATLOV - SLOW MOTION - the white dust swirls
eerily around his face. He's bewildered. Shell-shocked.
We hear a voice echoing as if from far away:
VOICE (O.S.)
Comrade Dyatlov? Comrade Dyatlov?
Time SNAPS BACK into rhythm, and Dyatlov registers:
ALEXANDR AKIMOV, 33, black mustache, glasses. Staring at
him - saying his name.
AKIMOV
Comrade Dyatlov?
DYATLOV
What just happened?
AKIMOV
I don't know.
BRAZHNIK, 20's, enters the control room in a panic.
BRAZHNIK
There's a fire in the turbine hall.
Something blew up...
Dyatlov pauses. Lost in thought? His face is unreadable.
Agonizing seconds tick by. Then he turns coldly to Akimov.
DYATLOV
The turbine hall. The control system
tank. Hydrogen. You and Toptunov--
you morons blew the tank.
LEONID TOPTUNOV, 25, blond, thin, terrified. His boyish
moustache is a struggling, wispy version of Akimov's.
TOPTUNOV
No, that's not--
Akimov signals Toptunov not to argue.
DYATLOV
(to the room)
This is an emergency. Everyone stay
calm. Our first priority is--
PEREVOZCHENKO, 30's, bursts in. Panting. Frantic.
PEREVOZCHENKO
It exploded.
DYATLOV
We know. Akimov-- are we cooling the
reactor core?
AKIMOV
We shut it down.
(MORE)
AKIMOV (cont'd)
(checks the panel)
But the control rods are still--
they're not all the way in-- I
disengaged the clutch. I don't--
Perevozchenko watches Akimov and Dyatlov talking about the
reactor.. are they out of their minds?
DYATLOV
Alright. I'll disconnect the servos
from the standby console. You two!
ACROSS THE ROOM: BORIS STOLYARCHUK and IGOR KIRSCHENBAUM,
late 20's, sit together at a control panel. Shell-shocked.
DYATLOV
Get the backup pumps running. We
need water moving through the core.
That's all that matters.
As Dyatlov heads for the door--
PEREVOZCHENKO
There is no core.
Dyatlov stops. Turns. Everyone in the room stares. Two
TRAINEES, PROSKURYAKOV and KUDRYAVTSEV, both 30, look at
each other. For the first time, real fear.
PEREVOZCHENKO
It exploded. The core exploded.
A beat, then Dyatlov shakes his head in disgust.
DYATLOV
He's in shock. Get him out of here.
PEREVOZCHENKO
The lid is off. The stack is
burning. I saw it.
DYATLOV
(calmly)
You're confused. RBMK reactor cores
don't explode. Akimov...
Akimov hesitates. Stares at the control panel. A plastic
cover is lifted up over a large black switch labeled AZ-5.
Then he looks at young, frightened Toptunov.
AKIMOV
Don't worry, Leonid. We did
everything right. Something--
something strange has happened.
Toptunov grabs Akimov's arm. Whispers to him.
TOPTUNOV
Do you taste metal?
DYATLOV
Akimov.
Akimov tastes the metal in his mouth. Then:
AKIMOV
Comrade Perevozschenko, what you're
saying is physically impossible. A
core can't explode. It has to be the
tank.
Perevozchenko looks at Akimov in disbelief.
DYATLOV
We're wasting time. LET'S GO. Get
the hydrogen out of the generators,
and pump water into the core.
As Dyatlov turns to exit--
BRAZHNIK
What about the fire?
Dyatlov looks back at him. Annoyed.
DYATLOV
Call the fire brigade.
Dyaltov EXITS.
Ratings
Scene 8 - Calm Amidst Chaos
Battery-powered emergency lights shine into swirls of dust.
We hear a distant ALARM blaring. Someone's shouting.
DYATLOV - strides with purpose. No emotion. Stone cold.
Then stops. Feels the COLD AIR on his face. Turns to:
A SMALL LANDING with a WINDOW. The glass has been BLOWN IN,
and shards litter the floor. Dyatlov walks slowly across
the broken glass to the window...
He walks up to the open window. Looks at the grounds below.
Chunks of DEBRIS litter the ground. Hard to tell in the
moonlight just what it is. But some of it is BURNING.
Dyatlov stares at the debris for a moment. Then calmly
turns and continues down the hall.
Ratings
Scene 9 - Crisis at Chernobyl: The Immediate Aftermath
THE BURNING RUBBLE - thick black chunks of GRAPHITE, with
smooth channels carved through them.
We lift up from the rubble... and now we see:
REACTOR BUILDING #4 - and the massive GAPING HOLE in its
side - tons of steel and graphite and plaster and
cinderblock vomited out from the blast...
FIRES burn in scattered pockets where red-hot graphite has
ignited the tar-covered roof. Pouring out from somewhere
inside the building, BLACK SMOKE. And still, the awful
scarlet glow. And still, the impossible BEACON of BLUE
LIGHT spiring up...
We hear: crackling static - and a strange, repeating audio
tone.
CUT TO BLACK
110 OVER BLACK 110
The tone stops as a new audio signal is connected. Then -
voices over a phone or perhaps a radio, speaking Russian.
This is a recording of the actual call made that night.
Translation only is SUBTITLED over black:
PRIPYAT EMERGENCY DISPATCH
Hello, is this Military Fire Station
2?
MILITARY FIRE STATION 2
Yes.
PRIPYAT EMERGENCY DISPATCH
What's happening with the accident?
MILITARY FIRE STATION 2
Explosion in the main building
between third and fourth blocks.
PRIPYAT EMERGENCY DISPATCH
Are there people there?
MILITARY FIRE STATION 2
Yes.
(We hear another voice on the military fire station end)
OTHER VOICE
Wake up the bosses. Call them.
MILITARY FIRE STATION 2
I already called mine.
OTHER VOICE
Wake them up, wake them all up. Wake
up the entire officer's block.
AUDIO TONE - then a new call
FIRE DEPARTMENT
Fire Department.
PRIPYAT EMERGENCY DISPATCH
Hello, Ivankov?
FIRE DEPARTMENT
Yes. Yes?
PRIPYAT FIRE DISPATCH
You've been called to Pripyat.
Hello?
FIRE DEPARTMENT
Yes. Yes I can hear you.
PRIPYAT FIRE DISPATCH
At the nuclear plant over there, in
the third and fourth blocks. The
roof is on fire.
AUDIO TONE - call ends
The black is WIPED OPEN into light, and we're:
Ratings
Scene 10 - A Night of Uncertainty
--in a CLOSET, looking out at VASILY, in a t-shirt and
uniform pants. He grabs his boots.
Lyudmilla watches him nervously.
LYUDMILLA
You're not on call tonight.
He hustles to get his boots on.
VASILY
They're bringing everyone in. Military
and civil. Pripyat, Polesskoe. Even
Kiev. It's a big one.
LYUDMILLA
It doesn't look right. The color.
VASILY
Pravik thinks they're shining
floodlights or something.
LYUDMILLA
But are there chemicals?
He pulls on his jacket.
VASILY
Chemicals? No, the problem's the
roof. It's covered in tar. It's
going to burn all night and stink
like hell. But that's the worst of
it.
She opens her mouth to say something, but he takes her face
in his hands. Gives her a kiss.
VASILY
Go to sleep. It'll be over before
you wake.
112 OMITTED 112
113 OMITTED 113
Ratings
Scene 11 - Descent into Chaos
Dark hallway. Smoke. Sparks shower down from severed
electric lines arcing into flooding water. Steam hissing.
PEREVOZCHENKO lurches into view.
We LEAD him through the twisted, mangled maze. A disaster
area of debris, collapsed ceilings, spurting steam...
But he pushes through until he gets to an OPEN DOOR - and
we follow him in to:
DOSIMETRY - NIKOLAI GORBACHENKO is cowering under his desk.
SPARKS exploding down from a hole in the ceiling.
GORBACHENKO
Is it war?
Perevozchenko searches frantically through the debris.
PEREVOZCHENKO
Where's the dosimeter?
GORBACHENKO
Here... here...
Gorbachenko crawls out and hands Perevozchenko a brown
leather case with the DOSIMETER. We hear something heavy
COLLAPSING above them. Gorbachenko flinches.
GORBACHENKO
Are they bombing?
Perevozchenko doesn't answer. Just stares at the dosimeter
in disbelief.
PEREVOZCHENKO
What the fuck is this? 3.6 roentgen?
GORBACHENKO
That's as high as it goes. The good
one's locked in a safe. I don't have
the key--
(sees)
Valera-- your face...
Perevozchenko's face has DARKENED. A reddish brown TAN. He
doesn't know. Doesn't care.
He throws the useless dosimeter aside and grabs
Gorbachenko, lifting him to his feet.
PEREVOZCHENKO
I'm going to find Khodemchuk. You
get Shashenok. He's in 604. Go. Go!
Perevozchenko wanders DOWN A TUNNEL away from us and we
swing around to Gorbachenko, who is terrified.
Now WE FOLLOW GORBACHENKO as he heads up a steep staircase
into DARKNESS - coming around on him so we're leading him,
watching his face as it's illuminated by sparks and the
orange flicker of SPOT FIRES...
A MAN LURCHES OUT OF THE DARKNESS into Gorbachenko and
VOMITS BLOOD in a violent ejection, spattering
Gorbachenko's white uniform with red.
GORBACHENKO
Shit!
The man stumbles away from us, and we WHIP around to
PROSKURYAKOV and KUDRYAVTSEV, the trainees, running down
the stairs at us.
PROSKURYAKOV
We need to get to the reactor hall.
The lift's destroyed.
GORBACHENKO
(points)
Across to the stairs. That way.
The trainees run off in that direction. Gorbachenko yells
after them...
GORBACHENKO
Why are you going there?
No answer. They're gone. Then he sees: a METAL DOOR ahead.
The number 604 stencilled in the concrete beside it.
We follow him in to the DEVASTATED ROOM - debris
everywhere, and in a puddle of water, under a fallen BEAM--
Oh god. SHASHENOK - pinned. Bloody foam bubbling from his
mouth. But breathing.
A FIGURE STUMBLES BY in the doorway. Gorbachenko sees.
GORBACHENKO
HEY!
A BUILDING 4 WORKER STUMBLES BACK - trickle of blood down
the side of his face. DUST in his hair.
GORBACHENKO
Help me.
The Building 4 Worker joins Gorbachenko. They ROLL the beam
off Shashenok, then PULL HIM UP by his arms...
They support him from under each armpit, his arms around
their necks. Gorbachenko presses Shashenok's RIGHT HAND
tight to his chest to keep him steady, and as they MOVE:
--we LEAVE THEM and DROP DOWN through a HOLE in the floor,
past a cross-section of torn up plumbing and wires, and
arrive one floor below in the complex to find:
PEREVOZCHENKO - his face even DARKER now - skin beginning
to swell - wading through more floodwater and debris,
including CHUNKS of BLACK MATERIAL...
From somewhere, the steady sound of BANG, BANG, BANG -
metal on metal...
Perevozchenko climbs upstairs out of the water and:
BANG - a bent metal DOOR pops open, and a new face -
YUVCHENKO, emerges holding a fire extinguisher.
PEREVOZCHENKO
Have you seen Khodemchuk?
YUVCHENKO
No-- where's Viktor?
Perevozchenko starts to shake his head "I don't know" -
then vomit cascades out from his mouth, his nose. Yuvchenko
backs away in fright, drops the extinguisher and--
--now WE FOLLOW YUVCHENKO, 25 years-old, 6'5", powerful and
athletic, as he RUNS deeper into the complex, jumping over
LIVE WIRES and debris, as fast as he can... until he sees--
YUVCHENKO
VIKTOR? VIKTOR?
--a body next to a large PUMP. Yuvchenko runs over to:
VIKTOR DEGTYARENKO, 31 - burned and covered in blood... we
can barely make out a face at all beyond the whites of his
eyes.
He's trembling. Seizing.
YUVCHENKO
Can you stand?
VIKTOR
Kh-- dem-ch-- Khdem--
Viktor stops trying to make his mouth work. His eyes roll
to the left - toward a BLASTED OPEN WALL.
Yuvchenko stands up, and we FOLLOW as he walks slowly
through the opening into:
THE PUMP ROOM - in ruins. Massive chunks of concrete
embedded in the enormous machinery.
From underneath one massive column, a steady trickle of
blood. We can't see Khodemchuk under there.
But we know he's dead.
One section of wall - three foot thick concrete and rebar -
rocks back and forth as if it were rubber.
We follow Yuvchenko's eyes to: A PUDDLE OF WATER on the
ground, coming from a broken pipe.
In the reflection of the shimmering water - strange WHITE
DOTS...
We come up and around on Yuvchenko and look down on him as
he lifts his head - stunned beyond words--
And we TURN to see what he sees. An enormous, impossible
hole in the ceiling of the building.
And the stars shining down.
Ratings
Scene 12 - Crisis in Control Room 4
CLOSE ON - DYATLOV - walking back toward Control Room 4.
His face as stoic as ever. Granite jaw. Unblinking eyes.
He stops at the sound of SIRENS approaching from outside...
a lot of them... and growing louder...
Then he resumes walking. No change in expression.
116 INT. CONTROL ROOM - REACTOR #4 116
Akimov is at the panel. Toptunov is dialing a phone.
TOPTUNOV
No answer. The internal lines are
down.
AKIMOV
Keep trying. Try all of them.
Dyatlov enters.
DYATLOV
I dropped the control rods from the
other panel.
AKIMOV
They're still up.
DYATLOV
What?
AKIMOV
They're only a third in, I don't
know why-- I already sent the
trainees to the reactor hall to
lower them by hand.
DYATLOV
(frustrated)
What about the pumps?
TOPTUNOV
I can't get through to Khodemchuk.
The phones are down.
DYATLOV
Fuck the phones and fuck Khodemchuk.
Are the pumps on or not?
AKIMOV
Stolyarchuk?
STOLYARCHUK, looks up like a deer in the headlights.
Doesn't want Dyatlov's eyes on him.
STOLYARCHUK
My panel's not working. I tried
calling for the electricians but--
DYATLOV
I don't give a shit about the panel!
I need water in my reactor core. Get
down there and make sure those pumps
are on.
Stolyarchuk looks at Akimov, but Akimov won't look back. No
one will challenge this. Kirschenbaum wants to say
something, but the words stick in his throat.
DYATLOV
Now.
Cowed, Stolyarchuk scurries out of the control room.
Dyatlov turns back to Akimov.
DYATLOV
What does the dosimeter say?
AKIMOV
3.6 roentgen. But that's as high as
the meter--
Dyatlov waves him off.
DYATLOV
3.6 -- not great, not terrible.
Toptunov looks at Akimov. Scared. And once again, Akimov
comforts him... his mantra...
AKIMOV
We did everything right.
Ratings
Scene 13 - Descent into Danger
SIRENS BLARE.
POV through the windshield of a fire engine as it
approaches the reactor building. A few fire engines are
already there, lights flashing.
Firefighters are rushing... connecting fire engines to the
power plant water supply...
We follow VASILY out of the truck. He and his fellow
firefighters are dressed the same. Boots and jackets and
helmets... but no gloves. And underneath the jackets...
white t-shirts.
He looks at the building. From here, he can see the spot
fires up on the roof. But there's a MASSIVE plume of smoke
billowing up from somewhere inside the building.
And fainter now, but still there, the trace of that
impossible blue light...
Now that he's close to it, Vasily realizes this is much
bigger, and much worse, than it seemed from afar.
MISHA (O.S.)
Vasily...
Vasily looks over at MISHA, 23, another firefighter. Misha
is standing next to a pile of the BLACK RUBBLE. There are
strange SMOOTH GROOVES running through it. It almost looks
like bits of SCULPTURE.
MISHA
What is this?
Misha picks up a piece of the rubble with his bare hand.
MISHA
It's warm.
VASILY
I don't know. Don't fuck around with
it. Let's just get these hooked up.
Misha tosses the rubble aside.
Vasily begins pulling connection hoses from the side of the
engine. As he pulls, the smoke wafts by him, and he SPITS.
VASILY
You taste metal?
MISHA
Yeah. What is that?
VASILY
(worried)
I don't know. The valves, Misha!
Let's go!
As Vasily pulls the hoses, MISHA starts opening a water
supply valve with a wrench.
Misha takes his hand off the wrench-- the hand he held the
warm rubble with-- and SHAKES it in the air.
It hurts.
It hurts more than it should.
Ratings
Scene 14 - Aftermath of Crisis
Gorbachenko and the Building 4 Worker emerge from smoke,
stumbling ahead as best they can, still carrying SHASHENOK
around their shoulders.
GORBACHENKO
Someone!
Another PLANT WORKER heads over to sub in for Gorbachenko.
Relieved of his burden, Gorbachenko immediately falls to
his hands and knees and begins VOMITING.
As he wretches, he winces in pain... his right hand hurts.
And his chest. He pulls his uniform shirt open to reveal:
ON GORBACHENKO'S CHEST, there's a strip of FAINT RED, and
then below in BRIGHT RED, a round shape and four smaller
RED OVALS.
An arm. A palm. Fingertips.
A BURN MARK in the shape of Shashenok's HAND.
Ratings
Scene 15 - Descent into Despair
PROSKURYAKOV and KUDRYAVTSEV enter a long corridor. As they
move down the seemingly endless hallway, they see:
A FIGURE in the distance, moving slowly toward them,
carrying something large over his shoulder.
They walk toward each other, meeting in the middle of this
strange purgatory, and now Proskuryakov and Kudryavtsev see
the figure is YUVCHENKO. And he has a limp, bloody VIKTOR
slung over his shoulder. Oh god. They stare, unsure of what
to say. Finally:
YUVCHENKO
What do you need?
Oh. Right.
PROSKURYAKOV
We have to get into the reactor hall
to lower the control rods. But the
door is jammed in.
YUVCHENKO
I don't think there are control
rods. I don't think there's a core.
PROSKURYAKOV
No, you're mistaken. Akimov said.
Yuvchenko considers. Then lowers Viktor to the ground.
Rests him against the wall.
PROSKURYAKOV
Does he need a doctor?
YUVCHENKO
No.
Ratings
Scene 16 - Into the Inferno
Yuvchenko leads the two trainees down a dark, SPARKING
hall. They're SWEATING. Tremendous heat up here. Smoke.
They're close to the fire.
PROSKURYAKOV
Up there.
Ahead: a LARGE METAL DOOR, covered in DUST, bent slightly
toward them, as if punched by a huge fist.
Yuvchenko turns to the trainees.
YUVCHENKO
Are you sure?
PROSKURYAKOV
Akimov--
Yuvchenko puts his hand up. Doesn't matter. If they're
right, they need to go in. And if they're wrong...
YUVCHENKO
I'll hold it open. Move quickly.
They nod. Yuvchenko tests the door. It barely gives.
Yuvchenko presses the side of his body against the door,
plants his powerful legs, and with a grunt:
PUSHES the door open - just wide enough for the trainees to
pass through.
The door's weight is pushing back... Yuvchenko's brute
strength is the only thing keeping it propped open.
YUVCHENKO
Go go go--
The trainees SQUEEZE through into:
Ratings
Scene 17 - Reactor's Ruin
The trainees enter the UPPER LEVEL of the hall, on a
catwalk high above the reactor pit.
They stare in utter shock at:
THE UPPER BIOLOGICAL SHIELD - a massive 1,000 ton, 45 foot
diameter STEEL circle.
It's the cover of the reactor core. Except it's not
covering the core anymore. It's been blown nearly UPRIGHT,
like the lifted-up top of a soup can.
And spidering out from its exposed underside, hundreds of
TWISTED FUEL CHANNELS, like bristles on the end of a brush.
And underneath that, like a bomb crater in the floor:
THE OPEN REACTOR PIT - burning graphite, torn fuel rods.
Their minds cannot comprehend.
They are staring into a wide-open nuclear reactor.
One of them finally gasps in a breath. Already feeling a
wave of nausea. He looks at the other trainee. The man's
face is dark brown. An instant nuclear tan.
And the way the other trainee is staring back at him, he
knows he looks the same.
They STUMBLE BACKWARD...
Ratings
Scene 18 - Desperation in the Reactor
Yuvchenko grits his teeth... digging in... and then:
THE TRAINEES run back out of the room. They don't stop.
They just run.
Yuvchenko lets the door finally CLOSE. Shouts after them.
YUVCHENKO
Hey!
No answer. And then: pain. Intense, searing pain.
He lifts his uniform shirt. His shoulder... bright red.
He lowers the waist of his trousers. His hip, BURNED to the
flesh below the skin. The movement of the cloth against it
nearly makes him pass out...
He looks back at the door.
IN THE DUST - the pattern of where his body had been
pressed against the door.
Shoulder. Hip. Lower leg.
He backs away in horror, then HOBBLES off, his burnt leg
barely working... shouting into the dark after the
trainees-- as if they could help him now.
YUVCHENKO
HEY!
Ratings
Scene 19 - Inferno at Reactor #4
The night is lit up by the flashing lights of emergency
vehicles. Dozens of firefighters are already at work
getting water on the fire they can see.
FROM O.S. - a man SCREAMS in agony. Vasily stops and turns
to see:
MISHA - on the ground, screaming, held in place by their
commanding officer, PRAVIK, 24.
A MEDIC has begun to slowly REMOVE the GLOVE from Misha's
hand. With every inch, Misha howls in pain.
Pravik sees Vasily.
PRAVIK
Ignatenko! Get on his hose!
Vasily runs a few feet to the pump truck Misha was
stationed on. He picks the hose up from the ground. He's
joined by a truck pump operator, TITENOK, 24--
--who quickly opens the valves on the truck. Vasily begins
spraying a BLAST of water into a burning pile of rubble.
ANOTHER SCREAM, as the medic finally pulls the GLOVE OFF of
Misha, and now Vasily sees:
Misha's HAND is burnt beyond recognition. Strips of skin
hanging off of it.
Pravik and the medic stare at it, stunned.
Vasily sees the BLACK RUBBLE Misha held. Just feet away
from him.
He takes one step back from it.
And keeps spraying.
Ratings
Scene 20 - Eerie Glow of Dread
Lyudmilla stands outside along with other people from the
building, looking up at the sky, which reflects the unseen
fire with an eerie glow.
No one seems nervous. No one except her.
OKSANA (O.S.)
Lyudmilla!
OKSANA, 30, walks with a CROWD of people from the building
next door. Men, women, children... about fifteen of them.
Some of the women carry infants. Some, like Oksana, push
BABY PRAMS.
OKSANA
You want to come with us?
LYUDMILLA
Come where?
OKSANA
We're going to the railroad bridge
to get a better look. It's not like
anyone can sleep with all the
sirens.
LYUDMILLA
I don't think you should. It could
be dangerous.
Oksana's husband, MIKHAIL, scoffs.
MIKHAIL
What do you mean dangerous? It's a
fire. It's over there, we're over
here.
Oksana gives Mikhail an angry whack on the arm.
MIKHAIL
What?
(realizes)
Oh.
Oksana crosses to Lyudmilla. Puts a comforting hand on her.
OKSANA
Is Vasily-- ?
Lyudmilla nods.
OKSANA
Did he say it was bad?
LYUDMILLA
No. He said it was just the roof.
There. You see?
OKSANA
He's never gotten hurt before. None
of the boys have. Yes? He'll be
fine. Get some rest.
Oskana gives her a hug, and then rejoins the rest of the
group on their way to the railroad bridge.
Small children skip along, laughing, excited to be out in
the middle of the night.
Lyudmilla looks out at the distant glow.
She couldn't say why or how she knows. She just does.
Something's wrong.
Ratings
Scene 21 - Tension in the Control Room
CLOSE ON: Dyatlov. Standing with his back against the wall.
Palms together in front of his mouth. Tapping his fingers.
Thinking. Then:
DYATLOV
The tank. It's big enough.
Akimov and Toptunov turn to look at him.
DYATLOV
This kind of explosion. The control
tank on 71, it's 100 cubic meters.
AKIMOV
110.
DYATLOV
(see?)
110. It could do this. Definitely.
He's nodding to himself. As if someone else is convincing
him of this fact. Then:
The door OPENS. And before we can see what they see,
Toptunov covers his mouth with his hand. Jesus...
It's PROSKURYAKOV. His face is now DARK BROWN. Eyes nearly
swollen shut.
PROSKURYAKOV
It's gone. I looked right into it. I
looked into the core.
Akimov stares in shock at Dyatlov. Panic rising inside him.
But Dyatlov doesn't even flinch.
DYATLOV
Did you lower the control rods or
not?
Proskuryakov turns to him in confusion.
Then begins RETCHING.
DYATLOV
(disgusted)
Take him to the infirmary.
(beat)
Toptunov! Take him!
Toptunov rushes over to the trainee, and as he helps him
out of the room--
TOPTUNOV
Where's Kudryavtsev?
PROSKURYAKOV
He fell...
Toptunov exits with Proskuryakov, shouting:
TOPTUNOV (O.S.)
I need a medic! Anyone?!
Dyatlov resumes leaning against the wall. Fingers back in
front of his mouth. Then he feels Akimov's eyes on him.
DYATLOV
He's delusional.
AKIMOV
His face.
DYATLOV
(waves it off)
Ruptured condenser lines. The
feedwater is mildly contaminated.
He'll be fine. I've seen worse.
Akimov looks down. That can't be true. But the alternative
is unthinkable.
DYATLOV
Do we still have a phone line to the
outside?
(beat)
Akimov?
Akimov looks back up. Nods.
DYATLOV
Call in the day shift.
Oh god.
AKIMOV
But... if--
DYATLOV
We have to keep water flowing
through the core. We need
electricians, mechanics-- we need
bodies. How many times do I have to
say it?
Akimov still hesitates.
Dyatlov deliberately walks toward Akimov. Unblinking. Cold.
DYATLOV
I'm going to the Administration
Building now. To call Bryukhanov.
And Fomin. They're going to want a
full report. I don't know if I can
make things better for you. But I
can certainly make them worse.
He stops just inches from Akimov's face.
DYATLOV
Call in the day shift, Comrade
Akimov.
Akimov swallows. Then:
AKIMOV
Yes. Comrade Dyatlov.
Dyatlov stares into Akimov's eyes a beat too long. Then
nods, satisfied... and exits.
Ratings
Scene 22 - Silent Alarm
Near silence. Barely crickets. We're in front of PRIPYAT
HOSPITAL - five interconnected buildings, each six storeys
tall.
The buildings are oddly generic. Soviet cookie-cutters,
made of concrete and institutional white tiling.
There are large letters on the roof. We'll translate.
SUBTITLE: HEALTH OF THE PEOPLE - RICHES OF THE COUNTRY
127 INT. HOSPITAL - MATERNITY LABOUR WARD - CONTINUOUS 127
Off-screen, we hear a woman is GROANING and STRAINING in
pain. But we're looking at:
SVETLANA ZINCHENKO, 25, wearing a doctor's jacket. She's
staring out the window at the distant fire.
OLD MAN'S VOICE (O.S.)
You're doing fine. Raise her up. A
little more.
Behind her: THE LABOUR WARD. A large, open space. Bare
walls - white tile halfway up, sickly mint-green the rest.
Electrical lines are routed up the surface of the walls.
The floor is brown tile, with drains set in every ten feet.
There are a SIX delivery gurneys... simple steel frame cots
with thin mattress pads and crude gynecological stirrups.
Bright fluorescents beat down on: TWO WOMEN on the cots,
each in labour. Hairnets on, hospital gown covering their
tops, nude from the waist down, in stirrups.
Nurses attend to them, along with AN OLD DOCTOR, likely in
his 70's.
It may be 1986, but in here, it seems more like 1886.
A nurse HAND-CRANKS a cot to help raise a woman's head.
OLD DOCTOR
Good. There. Okay.
He points to the patients as he instructs the nurse.
OLD DOCTOR
This one, maybe an hour. The other
two, not until morning.
He talks a bit too loudly. Hard of hearing.
OLD DOCTOR
And how is it downstairs, Doctor
Zinchenko?
ZINCHENKO
Quiet.
He removes his gloves. Throughout their conversation, one
of the women in labour continues to GROAN in pain.
OLD DOCTOR
Always is. Nothing at this hour but
babies. You know I once went two
days without sleep? Ten women went
into labour at the same time-- did I
ever tell you this story?
Zinchenko's still staring out the window. Distracted.
ZINCHENKO
Yes.
The old doctor is a bit hurt by that.
OLD DOCTOR
Well, I won't need you in here for a
while. If you want, get some rest in
the break room.
He opens one of the patient's charts. Begins making
handwritten notations. Zinchenko finally turns to him.
ZINCHENKO
They haven't brought anyone in from
the fire.
OLD DOCTOR
What fire?
ZINCHENKO
The power plant.
OLD DOCTOR
Oh? Then it must not be too bad.
ZINCHENKO
Do we stock iodine?
He didn't hear that over the woman's groaning.
OLD DOCTOR
Hmm?
ZINCHENKO
(louder)
Iodine.
He looks up from his chart.
OLD DOCTOR
You mean disinfectant?
ZINCHENKO
No. Pills. Does the hospital stock
iodine pills?
OLD DOCTOR
Iodine pills...
(confused)
Why would we have iodine pills?
Off her face, we hear the shrill RING of:
Ratings
Scene 23 - Midnight Alarm
--a bedside TELEPHONE. One ring. Two. Three. VIKTOR
BRYUKHANOV-- 50, wavy dark hair, pockmarked cheeks-- slowly
wakes. Fumbles for the light. Answers the phone.
BRYUKHANOV
Hel--
His voice catches on a wad of phlegm that had settled in
while he slept. He clears his throat.
BRYUKHANOV
Hello?
He listens for a second, then sits straight up. Behind him
in bed, his wife rolls over. Now awake. A beat, then:
BRYUKHANOV
Who else knows this? Have you called
Fomin?
(MORE)
BRYUKHANOV (cont'd)
(beat)
Of course I want you to call him. If
I'm up, he's up.
Bryukhanov slams the phone down. Gets out of bed.
BRYUKHANOV
Shit!
Ratings
Scene 24 - Desperate Conversations
NIKOLAI FOMIN, 50, balding, glasses, bad suit, stands
waiting by the administration building. He watches as:
A boxy GAZ Volga drives right up to him. Bryukhanov
emerges. Also in a suit. He looks down toward the far end
of the plant, past the firetrucks and flashing lights, to
see where Reactor Building 4 very much on fire.
And in an instant, Bryukhanov can envision a very likely
fate for himself. An inquiry. An arrest. A trial. A bullet.
FOMIN
Whatever the cause, the important
thing is neither you nor I--
Bryukhanov walks away from Fomin mid-sentence, striding
toward the Administration Building.
Fomin checks to see if anyone saw that small humiliation.
Then hustles to keep up.
Ratings
Scene 25 - Urgent Descent
Bryukhanov enters, striding quickly past guards. A distant
alarm sound can be heard in this simple lobby area, as well
as the occasional blast of firetruck sirens from outside.
He makes a sharp turn past the reception desk toward a
GUARD, who is holding open a METAL DOOR.
131 INT. NARROW STAIRWELL - SECONDS LATER 131
Bryukhanov moves down the stairs with purpose. Fomin still
trying to keep up.
They arrive at: a small, bare anteroom. In front of them,
two large, STEEL BLAST DOORS - the kind you might see on a
bank vault.
A guard cranks a metal WHEEL on the left door, then PULLS
THE DOOR OPEN.
Ratings
Scene 26 - Into the Silence
Bryukhanov and Fomin pass through as the blast door CLANGS
behind them with a heavy thud.
We can no longer hear the alarms or sirens. No sound from
the outside world in here at all.
Just the heavy CLACK of their shoes as they walk across the
shiny, polished concrete floor.
The bunker contains many rooms... it could almost pass for
an office center but for the too-low ceilings, exposed
ductwork and repetitive, white-washed cinderblock walls.
Bryukhanov and Fomin enter:
Ratings
Scene 27 - Crisis in the Bunker
A simple room with a large oval conference table. Eighteen
chairs. A few phones. On the walls, maps, schematics and
emergency procedure posters.
Bryukhanov sees Dyatlov waiting for them in the room.
BRYUKHANOV
(pissed off)
I take it the safety test was a
failure?
Bryukhanov sits at the head of the table. Fomin takes a
chair next to him-- his sidekick-- and scowls at Dyatlov.
DYATLOV
We have the situation under control.
FOMIN
Under control? It doesn't look--
BRYUKHANOV
Shut up, Fomin.
(miserable)
I have to tell the Central Committee
about this. Do you realize that? I
have to get on a phone and tell
Maryin, or god forbid Frolyshev, my
power plant is on fire?
DYATLOV
No one can blame you for this,
Director Bryukhanov.
BRYUKHANOV
Well of course no one can blame me
for this. How can I be responsible?
I was sleeping!
Bryukhanov pulls out a pen and notepad from his jacket
pocket.
BRYUKHANOV
Tell me what happened. Quickly.
DYATLOV
We ran the test exactly as Chief
Engineer Fomin approved.
Fomin sees what Dyatlov just did there. Motherfucker.
DYATLOV
Unit Shift Chief Akimov and Engineer
Toptunov encountered technical
difficulties, leading to an
accumulation of hydrogen in the
control system tank. It regrettably
ignited, damaging the plant and
setting the roof on fire.
Bryukhanov glances at Fomin. Does that sound right?
FOMIN
The tank is quite large. It's the
only logical explanation. And of
course, Deputy Chief Engineer
Dyatlov was directly supervising the
test--
Dyatlov registers the return fire. Touché.
FOMIN
--so he would know best.
BRYUKHANOV
(taking notes)
--hydrogen tank, fire. And the
reactor?
DYATLOV
We're taking measures to ensure a
steady flow of water through the
core.
BRYUKHANOV
What about radiation?
Dyatlov hesitates for a brief moment. Then:
DYATLOV
Obviously down here it's nothing.
But in the reactor building I'm
being told 3.6 roentgen per hour.
BRYUKHANOV
That's not great. But it's not
horrifying.
FOMIN
Not at all. From the feedwater, I
assume?
Dyatlov nods.
FOMIN
We'll have to limit shifts to six
hours at a time. But otherwise--
BRYUKHANOV
The dosimetrists should be checking
regularly. Have them use the good
meter. From the safe.
Dyatlov blinks at that. But otherwise... no reaction.
Bryukhanov pulls a phone closer to him.
BRYUKHANOV
Right. I'll call Maryin.
(to Fomin)
Wake up the local Executive
Committee. There'll be orders coming
down.
Bryukhanov takes a short breath... steels himself... then
picks up the phone.
Ratings
Scene 28 - Spectacle and Safety
A simple, paved bridge passing 20 feet above the railroad
lines.
The CROWD we saw before-- two dozen people-- has gathered
here to watch the fire. Some share vodka. Some smoke. A few
of the men have their small children up on their shoulders.
The fire occasionally shifts colors... like a rainbow.
Mikhail stands with Oksana. She jiggles her pram slightly
to keep her baby calm. Her four-year old son is pulling on
her dress. He's tired.
FOUR-YEAR OLD
Mama--
OKSANA
Sshh. Here.
She gives the boy a cracker. Then, to her husband--
OKSANA
What do you think makes the colours?
MIKHAIL
Oh, it's the fuel for sure.
OKSANA
"Oh it's the fuel for sure"? What do
you know about it? You clean floors
at the train station.
MIKHAIL
(defensive)
My friend Yuri works in the plant.
He says it runs cool. No fire, no
gas. Just... whatever it is.
OKSANA
They should tell us whatever it is.
Mikhail looks at her. Oh come on...
OKSANA
We live near it.
MIKHAIL
It's atoms. Yuri says the only thing
is-- you can't walk right up to the
fuel. But if you do--
(vodka)
One glass per hour for four hours.
OKSANA
Isn't Yuri a plumber?
MIKHAIL
(yes, but)
At the nuclear power plant.
His point well-made, Mikhail clinks his vodka cup to one of
his mate's.
Oksana shakes her head. Boys. Then she nestles into Mikhail
for warmth. They all watch the fire. Calm. Peaceful, even.
OKSANA
It is beautiful...
The wind picks up, breezing through their hair. And with
it, swirls of soot in the air, like tiny bits of paper.
SLOW MOTION - as the particles swirl around them. The
people stand there on the bridge, just a mile from the
burning power plant, laughing, drinking...
Children laugh and run in circles, trying to grab the black
snowflakes of floating soot from the air.
Mikhail, watches excitedly, his baby now in his arms. The
infant stares calmly at the distant light.
Ratings
Scene 29 - Acceptance in the Ashes
STOLYARCHUK wanders through the torn open warzone of the
reactor building.
Doesn't seem real. A dreamscape of billowing steam drifting
across ripped metal and ruptured concrete.
As the steam dissipates, he sees:
A MAN, sitting on a piece of damaged equipment. All alone.
Breathing slowly, but heavily. Like a dying animal.
Stolyarchuk walks toward him. Nervous.
The man turns to him. It's YUVCHENKO-- the one who held the
reactor hall door open for the trainees.
YUVCHENKO
Do you have a cigarette?
Stolyarchuk fishes a pack from his pocket, and hands
Yuvchenko a cigarette. The big man reaches for it with his
left arm, as if that's the only part of his body working.
Stolyarchuk lights the cigarette for him. Yuvchenko takes a
drag...
SPARKS sprinkle around them, illuminating the steam. It's
beautiful in its own way. Yuvchenko nods with his head--
come sit with me...
Stolyarchuk walks around to the right of Yuvchenko and sits
on the equipment next to him.
And that's when he sees: BLOOD, seeping through Yuvchenko's
shirt in three patches: shoulder, hip, lower leg.
It's wet. These aren't wounds that slowly close. These are
wounds that slowly open.
Finally, Stolyarchuk finds his voice.
STOLYARCHUK
Do you need help?
Yuvchenko takes a drag. Savoring every moment. Then:
YUVCHENKO
It's over.
And now the sound of: WATER from outside, being SPRAYED by
firehoses. It's penetrating the building from the floor
above and begins SPRINKLING DOWN on them... like rain.
Stolyarchuk raises his face to the rain. The world's gone
mad. The sound of the water rises, and we're:
Ratings
Scene 30 - Into the Inferno
Firefighters battle the blaze. VASILY mans a hose. He
glances back at the ladder... the one Kolya went up.
There's no one there.
A firefighter is on all fours nearby. Vomiting.
Pravik emerges from the darkness. Face darkened with soot.
Or something else...
PRAVIK
We've done all we can from the
perimeter. We have to start making
our way to the roof.
Vasily glances again at the sick firefighter. Then back to
the Chief. Scared.
PRAVIK
There's a fire, Vasily. It has to be
put out.
Do you understand?
Yes. The job.
Vasily shuts his hose off and drags it over toward a
brigade of men who are heading for the gaping HOLE in the
side of the building.
FROM INSIDE THE HOLE - LOOKING OUT THROUGH FLAMES - Vasily,
Pravik, Tishchura, and Titenok are climbing up the rubble,
their images distorted by the heat.
They open their nozzles as they advance...
From BEHIND THEM - we rise up to see:
They're heading straight toward the exposed REACTOR HALL -
and the roaring fire belching out from the OPEN CORE...
ON VASILY - gritting his teeth - the heat is tremendous...
but there's something else - a pain he shouldn't be
feeling... pins and needles...
And in his visor, a reflection of the fire--
--and strange BLUE FLASHES OF LIGHT...
137 OMITTED 137
Ratings
Scene 31 - Descent into Desperation
Akimov stands by the control panel. Toptunov next to him.
They're silent.
REVERSE TO REVEAL: Stolyarchuk. Looking at them. Also
silent.
Behind him, Kirschenbaum. Everyone looks ashen. Then:
AKIMOV
What about the auxiliary-- ?
Stolyarchuk shakes his head. No.
STOLYARCHUK
The pumps are gone. Electrical is
gone.
TOPTUNOV
The core?
STOLYARCHUK
I didn't go there. And I won't.
(beat)
I think it's time we faced--
AKIMOV
(not interested)
No. We need water in the core or
there's a risk of meltdown. We have
to open the valves.
STOLYARCHUK
Sasha--
AKIMOV
What is it you want, Boris? If it's
true, then we're all dead. A million
people are dead. Is that what you
need to hear?
More shocked silence. Then Akimov turns to Toptunov.
AKIMOV
We'll open the valves by hand.
STOLYARCHUK
By hand? The number of valves, the
amount of time to turn them-- you're
talking about hours in there...!
AKIMOV
Then help us.
STOLYARCHUK
Help you do what? Pump water into a
ditch? THERE'S NOTHING THERE.
(to Toptunov)
Leonid-- I'm begging you.
Toptunov is terrified. But Akimov is his boss. His mentor.
He averts his eyes. He has no choice.
Akimov gestures to Kirschenbaum.
AKIMOV
Watch the panel while we're gone.
KIRSCHENBAUM
It's not working.
AKIMOV
Just watch it!
He leaves. Toptunov doesn't look back at anyone. Just
follows Akimov out. Stolyarchuk watches them go. Knows
he'll never see them again.
Ratings
Scene 32 - Chaos at the Plant
DOZENS of WORKERS are assembled in a line. Shuffling into
the building.
SITNIKOV, 46, waits. Looks nervously at the glow of the
SPOT FIRES on the roof at the other end of the plant.
DAY SHIFT WORKER
Guess we know why they called us in
early.
SITNIKOV
Is anyone saying what happened?
DAY SHIFT WORKER
They were running the safety test on
the turbines and blew the control
system tank.
Sitnikov looks at the man. Control system tank? That?
DAY SHIFT WORKER
Doesn't make sense to me either.
(quieter)
What about sabotage? A bomb?
NIGHT SHIFT WORKER (O.S.)
Sitnikov!
Sitnikov turns to see a frantic worker running up to him.
NIGHT SHIFT WORKER
Bryukhanov wants us to use the good
dosimeter, but it's in the safe, and
we can't find the key.
SITNIKOV
It's in Building 2. No one's-- ?
Sitnikov steps out of line. Can't believe the incompetence.
SITNIKOV
(snaps)
Follow me.
As he strides off to Building 2...
Ratings
Scene 33 - The Illusion of Control
Bryukhanov, Fomin and Dyatlov are waiting-- then Bryukhanov
rises as: THE PRIPYAT COMMUNIST PARTY EXECUTIVE COMMITTEE
enters. Twelve men, ages varying from 30 to 60.
BRYUKHANOV
Gentlemen, welcome. Please, find a
seat, there's plenty of room--
The COMMITTEE MEMBERS take their chairs around the conference
table. A guard helps an ELDERLY MAN WITH A CANE - 85 years
old - over to a single, nicer chair in the corner of the room.
BRYUKHANOV
I apologize for the lateness of the
hour. And rest assured, we're all
very safe down here. We built this
shelter to withstand a nuclear
attack by the Americans, so I think
we'll be fine.
Some of the Members smile. Most do not. The Old Man in the
corner has his hands folded over his cane. Eyes closed.
Possibly already asleep.
BRYUKHANOV
As you can see, we have experienced an
accident. A large control tank
malfunctioned, damaging reactor
building #4 and starting a fire. I
have spoken directly to Deputy
Secretary Maryin. Maryin spoke to
Deputy Chief Frolyshev, Frolyshev to
Central Committee member Dolghikh, and
Dolghikh to General Secretary
Gorbachev.
An impressive murmur in the room. This is big time.
BRYUKHANOV
Because the Central Committee has the
greatest respect for the work of the
Pripyat Executive Committee, they
have asked me to brief you on matters
as they stand. First, the accident is
well under control.
Most of the Members express relief.
BRYUKHANOV
Second, because the efforts of the
Soviet nuclear industry are
considered key state secrets, it is
important that we ensure this
incident has no adverse consequences.
The Members glance at each other. Here it comes.
BRYUKHANOV
To prevent a panic, the Central
Committee has ordered a detachment
of military police to Pripyat.
And there it is. PETROV, 30, displeased, speaks up.
PETROV
How large of a detachment?
BRYUKHANOV
(uncomfortable)
Between two and four thousand men.
Whispers. Quiet crosstalk. Four thousand? Martial law? Why
so many police?
PETROV
What's really going on here? How
dangerous is this?
FOMIN
There's mild radiation, but it's
limited to the plant itself.
PETROV
No it isn't.
FOMIN
Excuse me?
PETROV
(stands)
I said no it isn't. Who do you think
you're talking to? Some country
idiot? I went to university. And I
have eyes in my head.
(to the Committee)
You saw men outside vomiting. You
saw men with burns. There's more
radiation than they're saying. We
have wives here. We have children. I
say we evacuate the town.
More whispers. Evacuate? To where? No, he's right-- no,
he's insane, an alarmist!
BRYUKHANOV
Gentlemen, please! My wife is here.
Do you think I would keep her in
Pripyat if it weren't safe?
PETROV
Bryukhanov-- the fucking air is glowing!
More crosstalk. Voices rising now. Bryukhanov has lost
control of the room. Dyatlov tries to step in.
DYATLOV
The Cherenkov effect-- it's a
completely normal phenomenon, it can
happen with minimal radiation--
No one listens to him. Loudly arguing with each other now.
And then: tap tap tap ... TAP TAP TAP
They turn to: THE OLD MAN in the corner. Tapping his cane
on the floor. Everyone quiets down.
The old man is ZHARKOV. He makes a motion to stand. The
guard comes over quickly to help him up, but Zharkov waves
him off. He can do it on his own. He rises slowly, then:
ZHARKOV
I wonder-- how many of you know the
name of this place? We all call it
"Chernobyl" of course, but what is
its proper name?
They look at each other. No clue. Until:
BRYUKHANOV
The Vladimir I. Lenin Nuclear Power
Station.
ZHARKOV
Exactly. Vladimir I. Lenin. And how
proud he would be of you tonight--
(to Petrov)
--especially you, young man... and
the passion you have for the people.
For is that not the sole purpose of
the apparatus of the State?
Zharkov looks at them, his old eyes twinkling with memories
of great days... of great men...
ZHARKOV
From the Central Committee all the
way down to each of us in this
room-- we represent the perfect
expression of the collective will of
the Soviet proletariat.
The Members take this in. Sobered. But proud.
ZHARKOV
Sometimes, we forget. Sometimes, we
fall prey to fear. But our faith in
Soviet socialism will always be
rewarded. Always. The State tells us
the situation is not dangerous. Have
faith. The State tells us they do
not want a panic. Listen well.
Zharkov turns to Petrov once again.
ZHARKOV
True, when the people see police,
they will be scared. But it is my
experience that when the people ask
questions that are not in their own
best interest, they should simply be
told to keep their minds on their
labour-- and to leave matters of the
State to the State.
Zharkov scans the room. Has them in the palm of his hand.
ZHARKOV
We seal off the city. No one leaves.
And cut the phone lines. Contain the
spread of misinformation. That is
how you keep the people from
undermining the fruits of their own
labour. That is how your names
become inscribed in the hallways of
the Kremlin.
The men in the room look back at him in reverence. Dreaming
of promotions. Certificates. Maybe even medals.
ZHARKOV
Yes, comrades. We will all be
rewarded for what we do here
tonight.
(beat)
This is our moment to shine.
A beat-- then: APPLAUSE. The Committee Members rise to
their feet. Wonderful! Wonderful! Bryukhanov, Fomin and
Dyatlov stand and applaud as well. The system is working.
All will be fine.
Petrov looks across the table at another younger Committee
Member. They both seem to understand that reason has lost.
There's no choice but to clap along with everyone else.
Applause for delusion. Applause for death.
Applause for the Vladimir I. Lenin Nuclear Power Station.
Ratings
Scene 34 - Tension Behind Applause
SITNIKOV listens to the applause coming from behind the
door of the command room. He's sweaty. Nervous.
The door to the conference room opens, and Bryukhanov sees
the Pripyat ministers out. Shaking their hands. Smiling.
But once the ministers are out of sight, the smile drops.
Back to business. He sees Sitnikov waiting. What's this guy
doing here? A guard whispers to Bryukhanov.
Ah. Fine. Bryukhanov signals for Sitnikov to enter.
Ratings
Scene 35 - Descent into Chaos
Sitnikov enters. Sees Fomin and Dyatlov there.
BRYUKHANOV
Well?
SITNIKOV
I sent my dosimetrists into the
reactor building. The large
dosimeter from the safe, the one
with the thousand roentgen capac--
DYATLOV
(snaps)
What was the number?
SITNIKOV
There was none. The meter burned out
the second it was turned on.
Dyatlov shrugs. Suddenly calm.
DYATLOV
Typical.
BRYUKHANOV
See? This is what Moscow does. They
send us shit equipment, and they
wonder why things go wrong.
SITNIKOV
We found another dosimeter.
Dyatlov tenses again.
SITNIKOV
From the military fire department.
It only goes to 200 roentgen, but
it's better than the small ones.
FOMIN
And?
Sitnikov hesitates. All his life, he's been warned not to
be the bearer of bad news.
SITNIKOV
It maxed out. Two hundred roentgen.
Fomin, Bryukhanov and Dyatlov register shock. Then:
FOMIN
What game are you playing?
SITNIKOV
No-- I asked him, he took multiple
measurements, my best man--
BRYUKHANOV
It's another faulty meter. You're
wasting our time.
SITNIKOV
I checked the meter against a
control--
DYATLOV
What's wrong with you? How do you
get that number from feedwater
leaking from a blown tank?
SITNIKOV
You don't.
DYATLOV
Then what the fuck are you talking
about?
A long silence. Then:
SITNIKOV
I walked around the exterior of
building 4. I think there's
graphite. In the rubble.
Bryukhanov looks at Fomin and Dyatlov, who scoff.
DYATLOV
You didn't see graphite.
SITNIKOV
I did.
DYATLOV
You didn't. YOU DIDN'T. Because it's
NOT THERE.
Fomin steps in. A calmer voice.
FOMIN
Are you suggesting the core-- what?
Exploded?
SITNIKOV
Yes.
FOMIN
Sitnikov. You're a nuclear engineer.
So am I. Please tell me how an RBMK
reactor core "explodes". Not a
meltdown-- an explosion. I'd love to
know.
SITNIKOV
I can't.
FOMIN
Are you stupid?
SITNIKOV
No.
FOMIN
Then why can't you?
SITNIKOV
I don't-- I don't see how it could
explode.
Fomin throws up his arms. Looks at Bryukhanov. See? Not
possible.
SITNIKOV
But it did.
Dyatlov slams his fist down on the table.
DYATLOV
Enough!
They all turn to him. Startled.
DYATLOV
I'll go up to the vent block roof.
From there, you can look right down
into Reactor Building 4. I'll see it
with my own eyes.
He stops. An odd look on his face. Then:
He VOMITS violently. The others move back in shock.
Dyatlov stares at the vomit on the floor. In a daze.
DYATLOV
I apologize.
He tries to lean on the table for support, but misses
completely and COLLAPSES to the ground.
BRYUKHANOV
Guards!
Three guards run in.
BRYUKHANOV
Take him to the medic. Or the
hospital. Whatever he needs.
Two of the guards lift Dyatlov off the floor. Begin helping
him walk out. Dyatlov has a strange look on his face.
We've seen it before. Right after the explosion.
Bewildered.
FOMIN
(to Bryukhanov)
It's the feedwater. He's been around
it all night.
Bryukhanov nods. Then Fomin glances at Sitnikov.
FOMIN
You go then.
SITNIKOV
What?
FOMIN
Go to the vent block roof and report
back what you see.
SITNIKOV
No. No, I won't do that.
Fomin and Bryukhanov stare at him. Did he just say "no"?
BRYUKHANOV
Of course you will.
Bryukhanov looks to the remaining guard. Gives him a "make
sure he does it" nod.
Sitnikov turns pale. No way out of this.
FOMIN
You'll be fine. You'll see...
No he won't. Sitnikov turns, looks at the guard... then
walks out. Like a man going to the gallows.
The guard follows him.
Ratings
Scene 36 - Tension in the Depths
AKIMOV and TOPTUNOV, sloshing through water and debris up
to their knees. They stop and see:
REVEAL - STANDPIPES - dozens of them in a convoluted array,
with more VALVES than we could ever count.
AKIMOV
Okay. Let's begin.
He moves ahead. Toptunov doesn't.
AKIMOV
Leonid.
Toptunov nods. Right. He joins Akimov at the standpipes.
Each takes a valve. Begins turning.
The valves are TIGHT. They're straining to make them move
at all.
AKIMOV
All the way, okay? All the way open.
No sound but that awful, distant hissing, and the sharp
metal squeal of the valves. Then:
TOPTUNOV
I'm sorry.
AKIMOV
There's nothing to be sorry for. I
told you-- we did nothing wrong.
TOPTUNOV
But we did.
Akimov stops turning his valve. Doesn't answer. Doesn't
look at Toptunov.
Just stands quietly for a second.
Then puts his hands back on the valve and resumes turning.
Ratings
Scene 37 - Edge of Despair
A metal utility door opens. Sitnikov steps out on to the
tar paper and gravel roof. Takes a few steps, then looks
back at:
THE GUARD - who waits back - no expression. Just a blank
face and an AK-47 slung by a strap over his shoulder.
Sitnikov turns away - looks out at the sky. The horizon is
just starting to lighten.
From up here, he can see the flashing of emergency vehicles
below. And ahead of him:
THE EDGE OF THE ROOF - and beyond it, coming up from
underneath... SMOKE and the glow of FLAMES.
Beyond the edge of that roof is the viewpoint down into
Reactor Building 4.
And either it is or is not open to the air.
And either he is or is not about to die.
He looks at his watch. 6 AM.
He starts walking. Slowly. Forcing each step. The crunch of
his shoes in gravel. The feeling of his heart in his chest.
THE EDGE - looms closer
Fifteen feet away. Ten feet. Five feet.
He stops.
Closes his eyes. A prayer-- or a memory-- or a goodbye.
Then he opens his eyes, and--
BEHIND SITNIKOV - we watch as he walks to the edge.
He looks over.
Just for a second.
Then lifts his head, turns, and starts walking back.
The guard is watching.
Sitnikov has begun to cry.
And the sound of the world fades away...
Ratings
Scene 38 - Aftermath of Chaos
DYATLOV is helped out of the building, stumbling, his arm
around an emergency worker. He looks and sees:
Firefighters on the ground. Their friends screaming for
help. A female SECURITY GUARD is on her hands and knees.
Dazed. Blood streaming from her nose. The left side of her
face is red and blistered.
Dyatlov sees VASILY and Titenok carrying Pravik on a
stretcher. But Vasily passes out and FALLS... vomiting...
Pravik is dumped to the ground... crying out in pain...
Dyatlov looks out toward the damaged end of the plant, the
cascade of rubble...
It doesn't make sense. What happened?
SITNIKOV, nuclear tan on his face from that brief moment of
exposure, sits in the bunker command room. Bryukhanov and
Fomin are yelling at him. Threatening him. Gesturing in
disbelief and contempt.
Sitnikov isn't listening. Doesn't care if they believe him
or not. He's thinking about what he's lost. Who he's lost.
ZINCHENKO, the young doctor, is ASLEEP in a small exam room
by the reception lobby. Nurses are RUNNING in the hallway
in the foreground.
Zinchenko wakens, and walks out into the lobby-- toward the
main entrance-- and sees through the open doors:
FLASHING LIGHTS - ambulances and fire engines streaming
toward the hospital. More than she ever wanted to see
heading her way...
And now, the sound of: A PHONE RINGING
Ratings
Scene 39 - Dawn of Crisis
The cat lifts its head. Awakened by the sound.
LEGASOV wakes up. It's two years before we first met him,
but he looks much younger. Full head of hair. More weight
in his face. Healthy color.
He gets out of bed, crosses out of his room, makes his way
into the kitchen, and answers the phone.
LEGASOV
Hello?
SHCHERBINA (PHONE)
Valery Legasov?
LEGASOV
Yes?
SHCHERBINA (PHONE)
You are the Legasov who is the First
Deputy Director of the Kurchatov
Institute of Atomic Energy?
Legasov feels his pajama shirt pocket for his glasses. But
left them back in the bedroom.
LEGASOV
Yes. That's--
He picks up the table clock to get it closer to his eyes.
It's 7:00.
LEGASOV
Who am I spea-- ?
SHCHERBINA (PHONE)
This is Boris Shcherbina, Deputy
Chairman of the Council of Ministers
and head of the Bureau for Fuel and
Energy. There's been an accident at
the Chernobyl Nuclear Power Plant.
Legasov is immediately alert.
LEGASOV
How bad is it?
SHCHERBINA (PHONE)
No need to panic. There was a fire.
It's mostly put out. The system
control tank exploded.
LEGASOV
Control system tank. Is the core-- ?
SHCHERBINA (PHONE)
We've ordered them to continuously
pump water.
LEGASOV
I see. And contamination?
SHCHERBINA (PHONE)
Mild. The plant manager, Bryukhanov,
is reporting 3.6 roentgen per hour.
LEGASOV
Well, no, that's-- that's actually
quite significant. The surrounding
areas should be evacuated--
SHCHERBINA (PHONE)
(cuts him off)
You're an expert on RBMK reactors,
correct?
LEGASOV
Yes, I've studied--
SHCHERBINA (PHONE)
General Secretary Gorbachev has
appointed a committee to manage the
accident. You're on it. We'll
convene at two this afternoon.
LEGASOV
(concerned)
That late? I'm sorry, but I think
given the radiation you're
reporting, it might be best to--
SHCHERBINA (PHONE)
Legasov. You're on this committee to
answer direct questions about the
function of an RBMK reactor if they
should happen to arise. Nothing
else. Certainly not policy. Do you
understand?
LEGASOV
Yes. Of course. I didn't mean to--
Click. Shcherbina has hung up. Legasov hangs up as well and
rises. Gears already spinning. 3.6 roentgen... ? A strange
number. The control system tank? It makes no sense.
He moves to his window. Opens the curtains to the SUNRISE.
MATCH TO:
Ratings
Scene 40 - Desperate Measures
The SUN, brightening to a glare. BOOM DOWN to find:
The torn-open reactor building, even more horrifying in the
daylight.
148 INT. REACTOR #4 BUILDING - CONTINUOUS 148
We move low and slow through a strange MIST - water vapour
hovering thick - flooding and debris have almost turned the
facility into a swamp...
We turn a corner and as the mist dissipates, we see:
AKIMOV AND TOPTUNOV, still by the valves. Both weak from
radiation sickness. Faces swelling. Hands trembling and
reddened.
They've been here for hours. Each of them barely conscious.
Hardly enough strength to turn the valves.
But still, they try.
We FOLLOW the maze of standpipes, bending around and
climbing up damaged concrete walls until at last:
THE END of the pipes. Torn open.
Water gurgling out of them in small spurts. Not cooling a
reactor core. Not doing anything at all.
Just puddling into broken concrete, and then spilling down
a METAL DRAIN GRATE.
Ratings
Scene 41 - Innocence Amidst Desolation
The roof fires are out. But the fire within the core rages,
unseen. Smoke plumes out, moving in the wind...
OVER THE FOREST BETWEEN THE REACTOR AND PRIPYAT - we can
see the path the deadly wind has been taking, because a
wide swath of the trees have turned a terrible RUST ORANGE
color.
THE HOSPITAL, surrounded by a parking lot of emergency
vehicles...
THE STREETS, as concerned shopkeepers open up for the day's
business. We see MILITARY VEHICLES passing by in the B.G...
And a line of CHILDREN, 7-years old, in their uniforms and
book bags, holding hands and laughing as they walk to
school.
Move in and low to the ground now... until we're just
looking at the children's shoes as they pass by.
A moment or two, and they're out of frame.
Then a BIRD drops to the ground in front of us, hitting the
cement with a sickening sound. It twitches for a moment,
then goes utterly still.
END OF EPISODE ONE
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
dyatlov | Dyatlov's character arc begins with him as a cold and authoritative leader, exuding confidence and control in the face of disaster. As the crisis unfolds, his stoicism is challenged, leading to moments of vulnerability and self-doubt. He grapples with the consequences of his decisions, transitioning from a dismissive figure to one who reflects on his actions and their impact on others. By the end of the feature, Dyatlov emerges as a more complex individual, having faced the emotional and moral ramifications of the disaster, ultimately leading to a transformation in his leadership style and personal outlook. | While Dyatlov's character arc effectively showcases his transformation from a cold leader to a more reflective individual, it may benefit from a clearer emotional journey. The initial portrayal of his stoicism could be more nuanced, allowing for subtle hints of his internal conflict earlier in the screenplay. Additionally, the transition from arrogance to vulnerability could be more gradual, providing the audience with a deeper understanding of his motivations and fears. This would enhance the emotional stakes of his character and create a more compelling narrative. | To improve Dyatlov's character arc, consider incorporating flashbacks or moments of introspection that reveal his past experiences and motivations, providing context for his cold demeanor. Introduce interactions with other characters that challenge his authority and force him to confront his decisions earlier in the story. This could create a more gradual build-up to his breakdown, allowing the audience to empathize with his struggles. Additionally, showcasing moments of compassion or doubt amidst his authoritative facade could add layers to his character, making his eventual transformation more impactful. |
akimov | Akimov's character arc begins with him as a panicked and overwhelmed operator, struggling to comprehend the unfolding disaster. As the narrative progresses, he transitions into a more competent and authoritative figure, showcasing his leadership qualities and commitment to his duties. His internal conflict deepens as he grapples with the consequences of his decisions and the emotional toll of the crisis. By the climax, Akimov emerges as a resilient individual who, despite facing radiation sickness and the failed cooling system, remains steadfast in his dedication to his role. His journey culminates in a moment of clarity where he fully understands the weight of his responsibilities, ultimately transforming him into a more seasoned and resolute leader by the end of the feature. | While Akimov's character arc effectively captures the evolution of a dedicated operator facing an unprecedented crisis, it could benefit from deeper emotional exploration. The transition from panic to authority feels somewhat abrupt, and the internal conflict could be more pronounced to enhance audience connection. Additionally, the impact of his decisions on his personal life and relationships could be further explored to add depth to his character. | To improve Akimov's character arc, consider incorporating flashbacks or moments of introspection that reveal his motivations and fears, allowing the audience to connect with him on a more personal level. Introducing scenes that highlight his relationships with family or colleagues could provide additional stakes and emotional weight to his decisions. Furthermore, allowing for moments of vulnerability amidst his authoritative demeanor could create a more nuanced portrayal, making his eventual transformation more impactful. |
vasily | Vasily begins as a confident and pragmatic leader, focused solely on his responsibilities as a firefighter. As the crisis unfolds, he faces escalating challenges that test his resolve and leadership. Throughout the screenplay, he evolves from a figure of calm authority to one who grapples with fear and vulnerability, ultimately emerging as a more compassionate and emotionally aware individual. By the end, Vasily learns to balance his duty with the emotional weight of his experiences, fostering deeper connections with his team and embracing the importance of vulnerability in leadership. | While Vasily's character arc demonstrates a compelling journey from confidence to vulnerability, it may benefit from more nuanced development. His initial portrayal as a calm and pragmatic leader could be further explored through flashbacks or interactions that reveal his motivations and fears. Additionally, the moments of fear and pain he experiences could be more pronounced, allowing the audience to connect with his internal struggles on a deeper level. The transition from a solely duty-driven character to one who embraces emotional awareness could be more gradual, providing a clearer sense of growth. | To improve Vasily's character arc, consider incorporating scenes that delve into his backstory, showcasing past experiences that shaped his pragmatic nature. Introduce conflicts that challenge his leadership style, forcing him to confront his fears and insecurities. Allow for moments of reflection where he can express his emotions, perhaps through conversations with Lyudmilla or other team members. This will create a more relatable and multi-dimensional character. Additionally, ensure that his growth is mirrored in the dynamics of the team, highlighting how his evolution impacts their relationships and morale. |
toptunov | Toptunov begins as a fearful and anxious character, heavily reliant on Akimov for guidance. As the crisis escalates, he experiences a profound internal struggle, torn between his loyalty to his mentor and the realization of the dire consequences of their actions. This conflict leads him to confront his own fears and doubts, ultimately pushing him towards a path of self-discovery. By the climax, Toptunov evolves into a more assertive individual, taking responsibility for his actions and advocating for necessary changes to prevent further disaster. His journey culminates in a moment of bravery where he stands up to authority, signaling his growth from a passive follower to a proactive agent of change. | While Toptunov's character arc effectively captures the essence of a young worker facing a crisis, it could benefit from more distinct moments of transformation. His internal conflict is compelling, but the screenplay may lack sufficient external challenges that force him to confront his fears head-on. Additionally, the resolution of his arc could feel rushed if not given enough screen time to develop his newfound assertiveness. | To improve Toptunov's character arc, consider incorporating key scenes that showcase his gradual transformation. For instance, introduce moments where he must make difficult decisions that test his loyalty and courage, allowing the audience to witness his growth in real-time. Additionally, provide opportunities for him to interact with other characters who challenge his perspective, further enriching his internal struggle. Finally, ensure that his climactic moment of bravery is built up throughout the screenplay, allowing for a more satisfying and believable resolution to his character arc. |
yuvchenko | Yuvchenko begins as a conflicted individual, grappling with the uncertainty of the disaster and the weight of leadership. As the story progresses, he evolves into a decisive leader, showcasing bravery and quick thinking in critical moments. His journey is marked by a gradual acceptance of the chaos around him, ultimately leading to a stoic acceptance of his injuries and the emotional toll of the disaster. By the end of the feature, Yuvchenko emerges as a resilient figure who has not only guided others through the crisis but has also come to terms with his own vulnerabilities, finding strength in his acceptance of the situation. | While Yuvchenko's character arc is compelling, it may benefit from deeper emotional exploration. His transformation from a conflicted leader to a stoic figure is clear, but the screenplay could delve more into his internal struggles and the impact of the disaster on his psyche. This would create a more nuanced portrayal and allow the audience to connect with his journey on a deeper level. | To enhance Yuvchenko's character arc, consider incorporating flashbacks or moments of introspection that reveal his past experiences and how they shape his responses to the crisis. Additionally, introducing a personal relationship or a mentor figure could provide emotional stakes and highlight his vulnerabilities. This would not only enrich his character but also create opportunities for growth and conflict, making his eventual acceptance of the situation more impactful. |
bryukhanov | Bryukhanov's character arc begins with him as a confident and authoritative figure, embodying the bureaucratic ideals of leadership. As the crisis unfolds, he faces increasing pressure and the consequences of his decisions, leading to moments of vulnerability and doubt. His journey reflects a transformation from a leader focused solely on state interests to one who grapples with the moral implications of his actions. By the climax, he must confront the reality of his choices, ultimately leading to a moment of reckoning where he must choose between self-preservation and accountability. The arc concludes with Bryukhanov emerging as a more introspective leader, having learned the importance of integrity and the human cost of his decisions. | While Bryukhanov's character arc effectively captures the complexities of leadership in a crisis, it risks becoming somewhat predictable. His transformation from a confident bureaucrat to a vulnerable leader is compelling, but the screenplay could benefit from deeper exploration of his internal conflicts and motivations. The character's initial portrayal as a smiling diplomat feels somewhat superficial, and there is an opportunity to delve into his backstory to provide context for his actions and decisions. Additionally, the arc could be strengthened by incorporating moments of personal sacrifice or moral dilemmas that challenge his values more profoundly. | To improve Bryukhanov's character arc, consider adding layers to his backstory that reveal his motivations and the pressures he faces from higher authorities. Introduce personal stakes that connect his professional responsibilities to his personal life, such as family or past experiences that haunt him. This would create a more nuanced character who is not only driven by duty but also by personal fears and regrets. Additionally, incorporating pivotal moments where Bryukhanov must make difficult choices that challenge his values could enhance the emotional weight of his journey. Finally, allowing for moments of vulnerability where he seeks counsel or support from trusted colleagues could humanize him further and provide a richer character experience. |
fomin | Fomin begins as a supportive figure, trying to maintain order and calm during the reactor crisis. As the situation escalates, he becomes increasingly frustrated with the decisions made by his superiors, particularly Dyatlov. This frustration leads him to assert his own beliefs more strongly, ultimately positioning himself as a critical voice in the decision-making process. By the climax of the screenplay, Fomin transforms from a passive supporter to an active participant in advocating for safety and rationality, culminating in a pivotal moment where he challenges Bryukhanov to reconsider their approach. In the resolution, Fomin emerges as a more confident leader, having learned the importance of standing up for his convictions in the face of crisis. | While Fomin's character arc is compelling, it could benefit from deeper emotional exploration. His transition from a supportive figure to a more assertive leader feels somewhat abrupt and could be enhanced by showcasing more internal conflict. The screenplay could delve into his personal stakes in the crisis, such as family or professional repercussions, to create a stronger emotional connection with the audience. Additionally, Fomin's relationships with other characters, particularly Bryukhanov and Dyatlov, could be further developed to highlight the impact of the crisis on his character growth. | To improve Fomin's character arc, consider incorporating flashbacks or moments of introspection that reveal his motivations and fears. This could help the audience understand his initial reluctance to challenge authority and the personal stakes involved. Additionally, introducing a subplot that involves Fomin's family or personal life could add depth to his character and provide a more relatable context for his actions. Finally, enhancing his interactions with Bryukhanov and Dyatlov to include more emotional stakes could create a more dynamic and engaging character journey. |
sitnikov | Sitnikov begins as a competent worker, frustrated by the incompetence of those around him. As the disaster escalates, he faces increasing anxiety and fear, struggling to communicate the gravity of the situation. His journey takes him through moments of reflection and acceptance, where he confronts his own vulnerabilities and the weight of responsibility. By the end of the feature, Sitnikov emerges as a more resilient and emotionally aware individual, having transformed his fear into determination and resolve, ultimately becoming a voice of reason amidst the chaos. | While Sitnikov's character arc is compelling, it risks becoming somewhat predictable as he transitions from frustration to resilience. The emotional depth is present, but the arc could benefit from more distinct turning points that challenge his beliefs and force him to confront his fears in unexpected ways. Additionally, the internal struggle could be more vividly illustrated through interactions with other characters, which would enhance the stakes and provide opportunities for growth. | To improve Sitnikov's character arc, consider introducing a mentor or a foil character who challenges his views and forces him to confront his assumptions about competence and leadership. This could create more dynamic interactions and highlight his internal conflict. Additionally, incorporating a pivotal moment where Sitnikov must make a morally ambiguous decision could add complexity to his character and deepen the audience's investment in his journey. Finally, ensure that his emotional evolution is mirrored in the external events of the screenplay, allowing for a more cohesive and impactful narrative. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
Consistent High Tone Scores, but Varied Emotional Impact | Nearly all scenes receive a high score (9 or 10) for Tone, suggesting a consistently strong atmosphere is established throughout the script. However, the Emotional Impact scores fluctuate more significantly. While many scenes achieve high scores in this category, others are lower, creating a somewhat uneven emotional arc. Consider revisiting scenes with lower Emotional Impact scores (e.g., scenes 8, 28) to amplify their emotional resonance. Your strong tone foundation is a great asset; improving the emotional consistency will heighten the overall impact. This is especially important for a professional-level writer; the consistency should match the high level of tone. |
Tense Tone Dominates, Opportunities for Diversification | The overwhelming majority of scenes employ a 'Tense' tone. While suspense is clearly a central element, consider strategically incorporating other tones to provide contrast and prevent the narrative from becoming monotonous. For instance, the reflective moments in scenes 1 and 2 could be expanded to create more varied emotional pauses that give the audience time to process. This will add depth and nuance to the story and prevent the audience from becoming too desensitized to the suspense. As an INTP, you might be interested in the theoretical balance of tone, and this points directly to that. |
High Plot and Concept Scores, Balanced Character Development | The scores for Plot and Concept are consistently strong, indicating a well-structured narrative with a compelling central idea. Character scores are also generally high, though not as uniformly high as Plot and Concept. The scenes with lower character scores might benefit from subtle enhancements to solidify character arcs or motivations. This balance between plot and character development is already quite strong, as expected from a professional script writer. |
Dialogue's Impact on Emotional Impact and Overall Grade | There's a noticeable correlation between Dialogue scores and Emotional Impact. Scenes with higher Dialogue scores tend to have higher Emotional Impact scores and generally higher overall grades. This suggests that your dialogue is crucial in conveying emotion. Focusing on sharpening dialogue in scenes where both Emotional Impact and the Overall Grade are slightly lower could significantly improve those scenes' effectiveness. This is common to many screenplays, but highlighting it for you ensures your awareness and allows for adjustments. |
High Stakes and Movement of Story Forward - Room for Refinement | The screenplay consistently maintains high scores in 'High Stakes' and 'Move Story Forward,' meaning the narrative successfully builds tension and progresses. However, there may be subtle opportunities to heighten the sense of stakes in a few scenes, further amplifying the dramatic effect, even with such strong results. The relationship between these metrics may point to places where you may increase engagement. |
Character Changes - Underutilized Tool? | The 'Character Changes' scores are generally low, with a few exceptions. Consider strategically incorporating more significant character developments throughout the screenplay, especially during the climax. This will enhance the audience's engagement with character arcs and increase emotional impact. Given your professional skill level, revisiting this aspect will add layers to the storytelling which may be a detail you have chosen to not fully emphasize at this stage of revision. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong foundation in creating tense, atmospheric scenes with compelling characters and high stakes. The writer shows proficiency in conveying urgency, emotion, and conflict, particularly in high-pressure situations. However, the feedback consistently points to opportunities to refine structure, pacing, and dialogue to maximize the impact of already strong scenes. Given the writer's self-identified 'pro' skill level and INTJ personality type, the feedback focuses on high-level structural and thematic considerations rather than basic mechanics.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | Story: Substance, Structure, Style, and the Principles of Screenwriting by Robert McKee | McKee's book offers a deep dive into narrative structure and character development, aligning with the INTJ preference for theoretical understanding and addressing the need for structural refinement and character complexity. |
Screenplay | Analyze several screenplays of high-stakes dramas (e.g., 'Chernobyl', 'The Social Network', 'No Country for Old Men', 'All the President's Men'), focusing on how they handle dialogue, tension, and character arcs in crucial scenes. | By studying successful examples, the writer can gain practical insights into crafting compelling narratives with a focus on sophisticated structural techniques and impactful dialogue within high-stress environments. |
Book | 'Save the Cat! Writes a Novel' by Jessica Brody (even though it's a novel writing guide) | While the primary recommendations reference 'Save the Cat!', this novel-writing guide offers valuable insights into character arc construction and plot pacing, which is applicable to the screenplay and directly addresses multiple scene analysis feedback on character development and scene structure. |
Course | Advanced Screenwriting Workshop focusing on dialogue and scene construction. | A focused workshop can provide valuable feedback, expert instruction, and peer review to help refine dialogue skills and scene-crafting techniques within the context of high-stakes narratives. |
Stories Similar to this one
Story | Explanation |
---|---|
Chernobyl (TV Miniseries) | This HBO miniseries dramatizes the events surrounding the Chernobyl disaster, focusing on the human and systemic failures that led to the catastrophe. It shares a similar tone of tension and despair, exploring themes of truth, lies, and the consequences of negligence, much like the screenplay summary. |
The Lives of Others (Film) | This film explores themes of surveillance, truth, and the moral complexities of living under a repressive regime. The protagonist's internal struggle with the truth and the consequences of lies parallels Valery Legasov's experiences in the screenplay. |
The Constant Gardener (Novel/Film) | Both the novel and film deal with the themes of corruption, the pursuit of truth, and the personal cost of uncovering lies. The protagonist's journey to expose the truth about a corporate conspiracy resonates with Legasov's quest for justice in the aftermath of Chernobyl. |
The Trial (Play by Franz Kafka) | Kafka's play delves into themes of bureaucracy, injustice, and the absurdity of the legal system. The sense of helplessness and the struggle against an opaque system in the screenplay mirrors the existential dread present in Kafka's work. |
Silkwood (Film) | This film tells the true story of Karen Silkwood, who exposed unsafe working conditions at a plutonium processing plant. It shares a similar narrative arc of an individual confronting systemic corruption and the personal risks involved in seeking the truth. |
The Handmaid's Tale (Novel/TV Series) | Both the novel and series explore themes of oppression, surveillance, and the manipulation of truth within a totalitarian regime. The psychological tension and moral dilemmas faced by the characters resonate with the struggles depicted in the screenplay. |
The Road (Novel/Film) | This post-apocalyptic story explores themes of survival, despair, and the human condition in the face of catastrophic events. The bleak atmosphere and the focus on the consequences of a disaster parallel the emotional weight of the Chernobyl narrative. |
The Insider (Film) | This film tells the true story of Jeffrey Wigand, who exposed the tobacco industry's secrets. It shares a similar structure of an individual battling against powerful institutions and the personal toll of revealing uncomfortable truths. |
The Fountainhead (Novel) | Ayn Rand's novel explores the conflict between individualism and collectivism, focusing on the struggles of an architect against societal norms. The themes of truth, integrity, and the cost of standing up against a corrupt system resonate with Legasov's journey. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
The Cost of Lies | The narrative begins with a recorded voice questioning the cost of lies, setting a contemplative tone. | This trope explores the moral implications of dishonesty and the consequences that arise from it. An example can be found in 'The Usual Suspects,' where the protagonist's lies lead to devastating outcomes. |
The Weary Mentor | Valery Legasov is portrayed as a weary man, reflecting on the madness surrounding the Chernobyl incident. | This trope features a seasoned character who has experienced too much and often serves as a guide for younger characters. An example is Gandalf in 'The Lord of the Rings,' who carries the weight of his past experiences. |
The Watchful Eye | Legasov feels he is being watched, creating a sense of paranoia. | This trope involves a character who is under surveillance, heightening tension and suspense. A notable example is in 'The Lives of Others,' where characters are constantly aware of being monitored. |
The Calm Before the Storm | Scenes depict normal life before the catastrophic explosion at the power plant. | This trope highlights the contrast between peaceful moments and impending disaster, as seen in 'Jaws' before the shark attacks. |
The Unreliable Narrator | The recorded voice reflects on the events, suggesting a subjective interpretation of truth. | This trope involves a narrator whose credibility is compromised, as seen in 'Fight Club,' where the protagonist's perspective is skewed. |
The Hero's Journey | Legasov's journey through the chaos of the disaster reflects a classic hero's arc. | This trope follows a protagonist who undergoes significant personal growth through trials. An example is Frodo in 'The Lord of the Rings.' |
The Tragic Flaw | Characters like Dyatlov exhibit hubris, leading to disastrous decisions. | This trope involves a character's inherent flaw that leads to their downfall, as seen with Macbeth in 'Macbeth.' |
The Ticking Clock | The urgency of the situation is emphasized by the ticking clock and the need for immediate action. | This trope creates tension by imposing a time limit on characters' actions, as seen in '24,' where each episode represents an hour. |
The Ordinary World | The initial scenes depict the mundane lives of characters before the disaster strikes. | This trope establishes a baseline for characters' lives, making the subsequent chaos more impactful, as seen in 'The Walking Dead' before the outbreak. |
The Sacrificial Hero | Characters like Vasily demonstrate bravery and sacrifice in the face of danger. | This trope involves a character who risks their life for others, as seen with Iron Man in 'Avengers: Endgame.' |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Systemic Failure and Suppression of Truth | The Chernobyl disaster is depicted not just as an accident, but as the result of systemic failures in design, safety protocols, and communication, compounded by the Soviet regime's inclination to cover up mistakes and suppress information. This is shown through the initial response to the disaster, the bureaucratic cover-up, and the delayed and inadequate emergency response. | This theme explores how organizational flaws, coupled with a culture of secrecy and denial, can lead to catastrophic consequences. It underscores the importance of transparency, accountability, and a willingness to learn from mistakes. | ||||||||||||
Strengthening Systemic Failure and Suppression of Truth:
| ||||||||||||||
Individual Responsibility vs. Systemic Pressure | The characters grapple with their individual responsibilities amidst overwhelming systemic pressure. Dyatlov, while partly responsible for the disaster, is also shown caught within a system that prioritized production over safety. Other characters struggle with moral dilemmas, facing pressure to prioritize loyalty to the State over truth and safety. | This theme explores the conflict between personal ethics and the demands of a powerful, oppressive system. It examines the moral complexities of individuals acting within flawed structures. | ||||||||||||
The Corrosive Nature of Lies and the Power of Truth | Legasov's recording acts as a counterpoint to the official narrative, highlighting the importance of truth and the devastating consequences of deception. The systemic cover-up and the characters' attempts to conceal the full extent of the disaster emphasize the destructive power of lies. | This theme explores the moral implications of truth versus falsehood, and how the suppression of truth can compound disaster and prevent learning from mistakes. | ||||||||||||
Human Resilience and Courage in the Face of Disaster | Despite the overwhelming scale of the disaster, individuals show remarkable resilience and courage. Firefighters, plant workers, and medical personnel demonstrate extraordinary bravery in the face of immense danger. | This theme offers a glimmer of hope amidst despair, highlighting the human capacity to endure and act selflessly in the face of adversity. |
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 stark, realistic, and intensely atmospheric. It prioritizes showing over telling, utilizing sensory details and subtle actions to convey emotion and build suspense. Dialogue is often terse and impactful, reflecting the high-stakes situations and the characters' internal struggles. The narrative voice maintains a detached, almost observational quality, allowing the events to unfold with a sense of grim inevitability. |
Voice Contribution | The writer's voice contributes to the script by creating a palpable sense of tension and dread throughout. The focus on sensory details and atmospheric descriptions immerses the reader in the chaotic and dangerous world of Chernobyl, while the sparse dialogue and subtle actions heighten the emotional impact of the events. This approach underscores the themes of human resilience in the face of disaster, the fallibility of authority, and the enduring consequences of catastrophic events. The detached narrative voice allows the audience to experience the tragedy without overt manipulation, fostering a more profound and lasting impact. |
Best Representation Scene | 4 - A Tense Prelude |
Best Scene Explanation | This scene best encapsulates the writer's voice because it masterfully combines atmospheric tension, subtle actions, and a shocking reveal without relying on exposition or lengthy dialogue. The sensory details (footsteps, chair moving, startling noise) build suspense gradually, culminating in a cliffhanger that leaves the audience deeply unsettled. This exemplifies the writer's preference for showing, not telling, and their ability to create a powerful emotional response through suggestive imagery and carefully crafted pacing. The INTJ personality type (often associated with the INTP) is known for its appreciation of indirect communication, and this scene avoids explicit exposition; instead it uses a cinematic technique to heighten suspense and intrigue the viewer. The scene’s power lies in its minimalism and impactful implication. |
- Overall originality score: 9
- Overall originality explanation: The screenplay presents a highly original take on the Chernobyl disaster, blending historical events with deep philosophical questions about truth, morality, and human resilience. Each scene introduces unique character dynamics and emotional depth, moving beyond typical disaster narratives to explore the psychological and emotional impacts of the catastrophe. The authenticity of the characters' actions and dialogue further enhances the originality, making the screenplay stand out in its portrayal of a real-life tragedy.
- Most unique situations: The most unique situations in the screenplay are the intimate moments shared between characters amidst chaos, such as the emotional struggles of firefighters confronting the disaster, the philosophical reflections of Valery Legasov on truth and lies, and the poignant depiction of children's innocence juxtaposed with the looming threat of radiation. Additionally, the portrayal of characters grappling with their mortality and the moral dilemmas they face adds layers of complexity that are rarely explored in disaster narratives.
- Overall unpredictability score: 8.5
- Overall unpredictability explanation: The screenplay maintains a high level of unpredictability through its focus on character-driven narratives and the unfolding chaos of the disaster. While the historical context provides a framework, the emotional arcs and internal conflicts of the characters lead to unexpected developments, such as the breakdown of authority figures and the personal sacrifices made by individuals. The intertwining of personal stories with the larger narrative of the disaster keeps the audience engaged and uncertain about the characters' fates, enhancing the overall unpredictability of the screenplay.
Goals and Philosophical Conflict | |
---|---|
internal Goals | The protagonist's internal goals evolve from a quest for truth in the face of disaster to grappling with guilt, fear of failure, and a desire for redemption. These goals reflect their moral struggles amidst the chaos of the Chernobyl disaster, leading to a deeper understanding of their role in both the tragedy and the pursuit of accountability. |
External Goals | The protagonist's external goals shift from immediate responses to manage the crisis at Chernobyl to a broader ambition of ensuring accountability and raising public awareness about the truth behind the disaster. This transition highlights the urgency of immediate survival evolving into the pursuit of justice. |
Philosophical Conflict | The overarching philosophical conflict is centered on truth versus deception. The protagonist's dedication to uncovering the truth stands in stark contrast to the bureaucratic machinery that prioritizes maintaining authority and control through deception. |
Character Development Contribution: The interplay between the protagonist’s internal and external goals drives their character development, showcasing their transformation from a passive figure obeying authority to an active advocate for truth and justice.
Narrative Structure Contribution: These goals contribute to the narrative structure by creating escalating tension—not only through the immediate crisis of the disaster but also through the protagonist's evolving arc as they confront the implications of truth and responsibility.
Thematic Depth Contribution: The intersection of internal and external goals, alongside the philosophical conflict of truth, deepens the screenplay’s themes regarding the moral implications of knowledge, the responsibilities of authority, and the human cost of technological disaster.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
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Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
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How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay depicts a range of environments, primarily centered around Chernobyl and Pripyat, Ukraine, before and after the 1986 nuclear disaster. Locations include cramped Moscow apartments reflecting Soviet-era living, the imposing Chernobyl Nuclear Power Plant, the desolate and eerie abandoned city of Pripyat, the chaotic and destructive reactor building #4, a Soviet-era hospital, and the stark, isolated bunker command center. The physical descriptions effectively shift between the mundane (apartments, a nighttime street) and the extraordinary (the exploding reactor, the post-disaster landscape).
- Culture: The cultural setting is firmly rooted in the Soviet Union of the late 1980s. Elements include the pervasive atmosphere of secrecy and surveillance, the hierarchical societal structure, the everyday realities of Soviet life (cramped apartments, limited resources), smoking as a common habit, and the cultural response to a massive state-orchestrated disaster, including the official attempts to control information and suppress dissent. The cultural context underscores the characters' actions and reactions, influencing their communication, behavior, and decisions.
- Society: The screenplay depicts a hierarchical society with strong emphasis on authority and obedience. The Soviet system, characterized by state control, bureaucratic inertia, and a lack of transparency, directly impacts the events and characters' responses to the crisis. The chain of command is clearly shown within the power plant, the government, and even the hospital. The disaster exposes both the strengths (initial response, attempts at containment) and weaknesses (secrecy, denial, the prioritization of image over human lives) of this societal structure.
- Technology: The technology of the time plays a crucial role. The RBMK reactor itself is presented as a powerful but flawed technology, a key element driving the narrative. The screenplay contrasts this advanced but unsafe technology with the relatively simpler technologies of everyday life (telephones, cars, dosimeters). The contrast highlights the limitations and failures of the technology, specifically the design flaws of the reactor, the lack of adequate safety systems, and the breakdown of communication technology during the crisis.
- Characters influence: The physical environment shapes characters' actions, forcing them to react to the immediate dangers of radiation, fire, and structural collapse. The cultural and societal context influences their choices, leading to hesitation in reporting problems, deference to authority, and suppression of dissenting opinions. The technological limitations both hinder effective response and reveal the technological flaws that caused the disaster. Characters' reactions are a direct consequence of their interactions with this world.
- Narrative contribution: The world-building drives the narrative forward. The contrast between the mundane and the extraordinary creates suspense and tension. The setting’s gradual shift from normalcy to chaos, heightened by the detailed physical descriptions, builds the narrative tension and underscores the catastrophe's impact. The gradual reveal of the disaster's unfolding through multiple perspectives allows for a gripping narrative that unfolds in real time.
- Thematic depth contribution: The world-building significantly enhances the thematic depth. It explores themes of truth and lies (Legasov's recording), the consequences of technological hubris and disregard for safety, the complexities of human nature under pressure (fear, courage, heroism, self-preservation), the limitations and failures of bureaucratic systems, and the lasting impact of a major disaster on individuals, communities, and nations. The meticulous detail adds to the realism and emotional resonance of the narrative, enriching the exploration of these complex themes.
central conflict
The central conflict revolves around the catastrophic Chernobyl disaster, the struggle for truth amidst lies, and the fight for accountability in the face of systemic failures.
primary motivations
- Valery Legasov's desire to uncover the truth about the disaster and prevent further loss of life.
- Anatoly Dyatlov's need to maintain control and avoid blame for the incident.
- Lyudmilla Ignatenko's concern for her husband Vasily and the safety of their community.
catalysts
- The explosion at Reactor #4 serves as the immediate catalyst that triggers the unfolding events.
- Legasov's involvement in the investigation and his recordings highlight the urgency of addressing the disaster.
- The arrival of emergency responders and the subsequent chaos push characters into action.
barriers
- Institutional denial and cover-up efforts hinder the truth from emerging.
- Radiation exposure and physical danger prevent characters from effectively managing the crisis.
- Personal fears and the bureaucratic system obstruct timely decision-making.
themes
- The cost of lies and the abandonment of truth.
- The fragility of human life in the face of technological failure.
- The struggle for accountability and justice in a flawed system.
stakes
The stakes include the safety of the population surrounding Chernobyl, the reputations and lives of the individuals involved, and the potential for a larger nuclear catastrophe.
uniqueness factor
The story uniquely intertwines personal narratives with a historical disaster, providing a human perspective on the broader implications of the Chernobyl incident.
audience hook
The tension and urgency of the unfolding disaster, combined with the moral dilemmas faced by the characters, keep viewers engaged.
paradoxical engine or bisociation
The juxtaposition of the mundane lives of the residents with the extraordinary disaster creates a paradox that highlights the fragility of normalcy.
paradoxical engine or bisociation 2
The contrast between the bureaucratic indifference of officials and the immediate human suffering of the victims illustrates the disconnect between power and responsibility.
Pass / Consider / Recommend Analysis
Gemini
Executive Summary
- The opening sequence immediately establishes the overarching theme of lies and the erosion of truth, setting a compelling and morally ambiguous tone for the entire series. The framing device of Legasov's recorded testimony adds suspense and layers of complexity to the narrative. high ( Scene 1 Scene 2 )
- The script masterfully builds tension and suspense throughout the pilot. The contrast between the mundane life in Pripyat before the explosion and the ensuing chaos is brilliantly executed. The detailed depiction of the reactor building's aftermath and the physical and psychological effects of radiation creates a visceral and immersive experience for the audience. The pacing, especially in scenes depicting the immediate aftermath of the explosion, is perfect. high ( Scene 6 Scene 7 Scene 11 Scene 17 )
- The script's narrative strength lies in its ability to create a sense of dread and impending doom, particularly through its portrayal of the officials' responses to the disaster. Their initial denial and attempts to downplay the gravity of the situation create a compelling conflict, while the detailed portrayal of events within the reactor building heightens the sense of urgency and danger. high ( Scene 12 Scene 15 Scene 25 )
- The character development is remarkable, particularly in its portrayal of the plant workers. The script vividly captures their fear, confusion, and determination amidst the escalating crisis. The script shows their humanity and heroism while not shying away from showing their flaws and mistakes. high ( Scene 11 Scene 17 Scene 37 )
- The script offers a profound critique of the Soviet system's prioritization of secrecy and control over transparency and accountability. The scenes within the bunker command room effectively showcase the conflict between truth and ideology, highlighting the devastating consequences of suppressing information and prioritizing appearances over reality. high ( Scene 33 Scene 35 )
- While the scene on the railroad bridge effectively establishes the obliviousness of the Pripyat residents, it could be strengthened by further development of individual character arcs within the crowd. Showing more of their individual reactions and concerns would add depth and enhance the emotional impact of the scene. medium ( Scene 20 )
- The character arc of Dyatlov, while compelling, could benefit from a deeper exploration of his internal conflict. Adding moments of self-doubt or regret would enhance the audience's understanding of his motivations and actions. medium ( Scene 27 )
- While the pilot masterfully sets the stage, it could benefit from a more explicit setup for the overarching narrative arc of the series. A brief scene hinting at Legasov's future testimony and its implications for the characters could add a powerful hook and enhance anticipation for future episodes. low
- The inclusion of actual audio recordings from the night of the disaster adds an immense layer of authenticity and emotional weight to the narrative. This technique enhances the script's realism and underscores the tragic human element of the event. high ( Scene 109 Scene 110 )
- The opening scene's use of a cat and a clock is a subtle yet effective way to enhance the sense of dread and impending doom. These seemingly inconsequential details add to the overall tension. medium ( Scene 4 )
- Emotional Distance from Certain Characters While the script excels in depicting the larger picture and the overarching themes, some secondary characters (e.g., those in the crowd watching the fire from the bridge) could benefit from more emotional depth to foster stronger audience connection and empathy. Their responses seem somewhat generic. More specific reactions, inner monologues, or brief character beats could improve this. medium
GPT4
Executive Summary
- The opening scenes effectively set the tone and theme of the screenplay, introducing the philosophical question of truth and lies, which resonates throughout the narrative. high ( Scene 101 (101) Scene 102 (102) )
- The character development of Valery Legasov is profound, showcasing his internal conflict and moral dilemmas as he navigates the aftermath of the disaster. high ( Scene 106 (106) Scene 107 (107) )
- The pacing is well-executed, particularly in the buildup to the disaster, maintaining tension and urgency that keeps the audience engaged. high ( Scene 125 (125) )
- The screenplay effectively captures the bureaucratic response to the disaster, highlighting the themes of denial and miscommunication that exacerbated the crisis. medium ( Scene 140 (140) )
- The closing montage powerfully encapsulates the aftermath of the disaster, leaving a lasting emotional impact on the audience. high ( Scene 149 (149) )
- Secondary characters, such as Lyudmilla and Vasily, could benefit from deeper exploration to enhance their emotional stakes and connection to the main narrative. medium ( Scene 111 (111) )
- Some technical explanations regarding the reactor's operation could be simplified for clarity, ensuring that all audience members can follow the narrative without confusion. medium ( Scene 138 (138) )
- The transition between scenes could be smoother in some instances, particularly when shifting from personal to bureaucratic perspectives. low ( Scene 140 (140) )
- While the pacing is generally strong, certain moments could be expanded to allow for more character reflection and emotional depth. medium ( Scene 125 (125) )
- The final scenes could provide a clearer resolution for some character arcs, particularly for those who are less central to the narrative. medium ( Scene 146 (146) )
- A more detailed exploration of the community's response to the disaster could enhance the narrative's emotional weight and provide a broader perspective. medium ( Scene 106 (106) )
- Additional context regarding the political climate of the time could enrich the narrative and provide deeper stakes for the characters' actions. medium ( Scene 125 (125) )
- The screenplay could benefit from more moments of levity or human connection amidst the tension to balance the emotional tone. low ( Scene 140 (140) )
- A clearer depiction of the personal lives of the characters before the disaster could enhance audience investment in their fates. medium ( Scene 111 (111) )
- The aftermath of the disaster could be explored in more detail, particularly the long-term effects on the survivors and the environment. medium ( Scene 149 (149) )
- The use of recorded voiceovers adds a unique narrative layer, providing insight into the characters' thoughts and the overarching themes. high ( Scene 101 (101) )
- The juxtaposition of personal moments with the unfolding disaster creates a poignant contrast that heightens emotional stakes. high ( Scene 106 (106) )
- The screenplay's ability to maintain tension through dialogue and action is commendable, keeping the audience engaged throughout. high ( Scene 125 (125) )
- The portrayal of bureaucratic indifference and denial serves as a powerful commentary on systemic failures in crisis management. high ( Scene 140 (140) )
- The final imagery of the bird falling serves as a haunting metaphor for the unseen consequences of the disaster, leaving a lasting impression. high ( Scene 149 (149) )
- Technical Clarity The screenplay occasionally delves into technical jargon that may confuse audiences unfamiliar with nuclear science, particularly in scenes discussing reactor operations. Simplifying these explanations could enhance understanding without sacrificing authenticity. medium
- Overly Complex Dialogue Some dialogue, particularly in technical discussions, feels overly complex and may come off as unrealistic for the characters. Ensuring that characters speak in a way that reflects their backgrounds and emotional states would enhance authenticity. medium
Claude
Executive Summary
- The screenplay effectively establishes the sense of impending disaster through the juxtaposition of the calm, domestic scene in Pripyat and the rapidly unfolding chaos in the Chernobyl control room. This creates a strong sense of tension and foreboding, drawing the reader into the unfolding events. high ( Scene 5 (106) Scene 6 (107) )
- The characterization of Anatoly Dyatlov is a standout strength of the screenplay. His arrogance, stubbornness, and refusal to acknowledge the severity of the situation create a complex and multi-dimensional antagonist, whose actions have profound consequences. high ( Scene 7 (107) Scene 19 (125) )
- The introduction of Valery Legasov and the foreshadowing of his future role in the events of Chernobyl is a well-executed narrative hook that piques the reader's interest and sets the stage for a deeper exploration of the disaster's aftermath. medium ( Scene 39 (146) )
- The pacing of the screenplay could be improved, particularly in the transition from the chaotic events at the reactor to the bureaucratic response in the bunker. Some scenes feel rushed or lack sufficient development, which could diminish the overall impact of the narrative. medium ( Scene 31 (138) Scene 32 (139) )
- The thematic exploration of the disaster's wider impact could be strengthened. While the screenplay effectively depicts the immediate aftermath, it could benefit from a more nuanced examination of the societal, political, and environmental consequences of the Chernobyl accident. medium ( Scene 40 (147) Scene 41 (149) )
- The character arcs of some secondary characters, such as Petrov and Zharkov, could be further developed to provide a more well-rounded perspective on the decision-making process and the conflicting priorities at play during the crisis. medium ( Scene 33 (140) )
- The screenplay could benefit from a more explicit exploration of the long-term consequences of the Chernobyl disaster, particularly the impact on the local population and the environment. Incorporating scenes or narrative elements that address these broader implications could strengthen the overall thematic impact. medium ( Scene 41 (149) )
- The screenplay could include more moments of reflection or introspection for the key characters, particularly Bryukhanov, Fomin, and Dyatlov, to provide a deeper understanding of their motivations, fears, and the personal toll of the disaster. medium ( Scene 33 (140) Scene 34 (141) )
- The visceral and harrowing depictions of the physical impact of the disaster, particularly the scenes involving the radiation exposure and the devastation within the reactor building, are standout moments that effectively convey the scale and severity of the Chernobyl accident. high ( Scene 11 (114) Scene 17 (121) )
- The inclusion of the Pripyat Communist Party Executive Committee and the character of Zharkov provides an intriguing exploration of the political and ideological factors that influenced the response to the Chernobyl disaster, adding depth and complexity to the narrative. medium ( Scene 33 (140) )
- Character Development While the screenplay excels at developing the key characters of Dyatlov, Akimov, and Toptunov, some of the secondary characters could benefit from more in-depth exploration. For example, the arcs of Petrov and Zharkov, while important, could be further fleshed out to provide a more nuanced understanding of the political and ideological factors at play during the crisis. medium
- Pacing The pacing of the screenplay could be improved in certain sections, particularly the transition from the chaotic events at the reactor to the bureaucratic response in the bunker. Some scenes feel rushed or lack sufficient development, which could diminish the overall impact of the narrative. medium
Memorable lines in the script:
Scene Number | Line |
---|---|
2 | RECORDED VOICE: It's not that we'll mistake them for the truth. The real danger is that if we hear enough lies, then we no longer recognize the truth at all. |
10 | VASILY: Go to sleep. It'll be over before you wake. |
15 | YUVCHENKO: I don't think there are control rods. I don't think there's a core. |
21 | DYATLOV: Did you lower the control rods or not? |