Narcos
Executive Summary
Poster
![](/posters/postere39eef82f61b21e2e7f762fcc4307358f165757f2e77ec855d6992f7e0191932.png)
Overview
Genres: Crime, Drama, Thriller, Historical
Setting: 1989-1993, Colombia, Miami, Peru
Overview: The script follows DEA Agent Steve Murphy and his team as they attempt to take down the infamous drug lord, Pablo Escobar, who heads a powerful and violent drug cartel in Colombia. The DEA uses advanced surveillance techniques to monitor Escobar's organization, leading to intense confrontations and high-stakes operations. As the story progresses, viewers witness the personal struggles and moral dilemmas faced by both the DEA agents and the members of the drug cartel.
Themes: Good vs. Evil, The Power of Corruption, The Importance of Determination, The Devastating Consequences of Violence, The Impact of Childhood Trauma, The Search for Redemption, The Complexity of Family
Conflict and Stakes: The main conflict in the story is between the DEA and the Colombian drug cartels. The DEA is trying to stop the flow of cocaine into the United States, while the drug cartels are trying to protect their profits. The stakes are high, as the drug trade is a multi-billion dollar industry and the cartels are willing to use violence to protect their interests.
Comparable Scripts:
- The Wire (TV Series)
- Traffic (Movie)
- Scarface (Movie)
- Gomorrah (TV Series)
- ZeroZeroZero (TV Series)
- The Cartel (TV Series)
- El Chapo (TV Series)
- Snowfall (TV Series)
Writing Style:
The screenplay exhibits a blend of gritty realism, moral ambiguity, and complex character dynamics. It explores societal issues and the darker side of human nature through nuanced storytelling and character-driven narratives. The writing is often intense and suspenseful, with a focus on high-stakes situations and compelling dialogue.
Style Similarities:
- David Simon
- Vince Gilligan
Pass/Consider/Recommend
Recommend
Explanation: Narcos is a compelling, gritty exploration of the global drug trade, focusing on the rise of Pablo Escobar and the DEA's efforts to combat drug trafficking. With strong character development, particularly of Escobar, and a narrative that skillfully blends action with historical detail, the screenplay offers a deep dive into the complexities of the drug war. While it could benefit from tighter pacing and more developed secondary characters, its strengths in storytelling and character arcs make it a standout script.
USP: This gripping crime drama series offers a unique perspective on the war on drugs, delving into the high-stakes world of narco-trafficking, corruption, and the personal sacrifices of those involved. Through a gritty narrative style, intense visual descriptions, and authentic character interactions, the series explores the moral complexities of the drug trade, highlighting the consequences of both criminal actions and the fight against them. The distinctive voice of the writer immerses readers in the dangerous and often brutal world of drug trafficking, offering a fresh and compelling take on this timeless theme.
Market Analysis
Budget Estimate:$50-70 million
Target Audience Demographics: Adults aged 18-54 who are interested in crime dramas, thrillers, and stories about the drug trade.
Marketability: The screenplay has a strong premise, a talented cast, and a timely subject matter. It is also a well-written and suspenseful thriller that is sure to keep audiences engaged.
The screenplay has a strong premise, great characters...
The screenplay has a great plot, intense action sequences...
Profit Potential: High, due to strong appeal to a wide adult audience and potential for award nominations.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by its gritty, fast-paced dialogue, and intense visual descriptions. The narrative is driven by the author's unique perspective on the drug war, exploring its high stakes, moral complexities, and the personal sacrifices of those involved in the fight against it.
Best representation: Scene 1 - Takedown at La Dispensaria. Scene 1 effectively showcases the author's unique voice through its blend of action, dialogue, and gritty atmosphere. The fast-paced narrative and vivid descriptions create a sense of urgency and danger, establishing the high stakes and moral complexities of the drug trade.
Memorable Lines:
- Pablo Escobar: Gentlemen, let me tell you who I am. I am Pablo Fucking Escobar. My eyes are everywhere. You can't do a goddamn thing in Antioquia without me knowing about it. I'm going to be President of Colombia one day. (Scene 5)
- Connie: The baby died in my hands. (Scene 11)
- Nancy Reagan: So to my young friends out there, life can be great. But not when you can't see it. So open your eyes to life, to see it in the vivid colors that God gave us as a precious gift to His children. Say yes to your life. And when it comes to drugs and alcohol, just say no. (Scene 13)
- Pablo: We'll take five. (Scene 8)
- Murphy: Now we owned him. And he didn't even know it. (Scene 1)
Characters
Steve Murphy:A DEA agent who is determined to fight the cocaine trade in Colombia.
Pablo Escobar:A Colombian drug lord who is the head of the Medellin Cartel.
Javier Peña:A Mexican-American DEA agent who is Murphy's partner.
Connie Murphy:Steve Murphy's wife.
Gustavo Gaviria:Pablo Escobar's right-hand man.
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 - Tracking Poison: The DEA vs. The Cartels | Urgent, Complex, Fast-paced, Hard-hitting, Epic | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
2 - Takedown at La Dispensaria | Suspenseful, Intense, Dramatic, Action-packed | 9 | 9 | 8 | 9 | 8 | 6 | 8 | 9 | 9 | 8 | 10 | 9 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | |
3 - The Morality of War | Serious, Reflective, Informative | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
4 - The Dark World of Drug Smuggling | Dark, Intense, Informative | 8 | 9 | 7 | 9 | 8 | 5 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 6 | 6 | 9 | 8 | 8 | 8 | |
5 - The Rise of Pablo Escobar | Intense, Suspenseful, Confrontational, Menacing | 9 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
6 - Cocaine Business Proposal and DEA Arrest | Dark, Intense, Suspenseful | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
7 - The Prank | Humorous, Light-hearted, Sarcastic | 8 | 7 | 7 | 8 | 8 | 5 | 8 | 7.5 | 3 | 8 | 2 | 5 | 8 | 6 | 8 | 9 | 8 | 8 | 8 | |
8 - Cocaine Smuggling Operation | Dark, Intense, Suspenseful, Mysterious | 8 | 8 | 7 | 9 | 7 | 5 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 6 | 6 | 9 | 8 | 8 | 8 | |
9 - Cocaine Smuggling at Miami International Airport | Dark, Intense, Suspenseful | 9 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
10 - Jungle Negotiations | Intense, Suspenseful, Dark, Businesslike | 9 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
11 - Violent Night in Miami | Dark, Intense, Emotional | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
12 - Betrayal and Negotiation at Hacienda Napoles | Intense, Suspenseful, Confrontational, Serious | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 7 | 9 | 9 | 8.5 | 8.5 | 8 | |
13 - The Assassination of Zapata and Kevin | Intense, Suspenseful, Dark, Dramatic | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | |
14 - The Battle Begins | Intense, Dark, Suspenseful | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 7 | 7 | 9 | 8.5 | 8 | 8 |
Scene 1 - Tracking Poison: The DEA vs. The Cartels
Executive Producer: Eric Newman
Executive Producer: Jose Padilha
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"Descenso"
Episode #101
Written by
Chris Brancato
Directed by
Jose Padilha
May 13, 2014
Cold Mountain Productions
Grand Electric
Note to the reader:
The assumption is that you've seen our director Jose Padilha's
"Elite Squad" films and that it has painted a picture for
you of what a modernist and masculine Latin American cinematic
approach feels like: urgent, complex, fast-paced, hard-hitting
and epic. And since you get it, you will also get that the
voice over you are about to read should not be experienced
like anything typical to Hollywood. The level at which the
images will confront you visually while Murphy's voice is in
your head are the full journey that guides you through this
descent from the birth of narco-trafficking into the darkness
of what men will do to WIN.
FADE UP ON:
EXT. ANDES MOUNTAIN RANGE - AERIAL VIEW - TWILIGHT
CAMERA SWOOPS over lush inland jungles, snow-capped volcanoes,
lush valleys, and alpine lakes.
OPERATOR #1 (O.S.)
Centra Spike is a go, we've reached
twenty thousand feet.
A small BEECHCRAFT AIRPLANE flies into FRAME.
OPERATOR #2 (O.S.)
Commencing intercept operations, we
are at zero-four-two-nine.
OPERATOR #1 (O.S.)
Encryption units, stand-by. Let's
crawl into some heads.
EXT. BOGOTA - AERIAL VIEW - NIGHT
The city twinkles, bounded by the eastern cordillera of the
Andes Mountain Range.
MURPHY (V.O.)
Nowadays, the U.S. government can
listen to anything you say. They
know where you are, they know who
you're talking to, they probably
know who you're fucking. Turn on a
cell phone and you're doomed.
A chyron appears: "Bogota, Colombia 1989"
MURPHY (V.O.) (CONT'D)
But in Colombia in 1989, it wasn't
that easy. The only people who had
satellite phones were the filthy
rich. The landowners. The
politicians.
INT. FINCA - BOGOTA - NIGHT
CASH is stacked like cordwood.
MURPHY (V.O.)
Lucky for us, the Narcos were richer
than them all.
NARCOS Ep. 101 "Descenso" 5/13/14 2.
A couple of Makarov machine pistols lay on the table along
with a satellite phone. A HAND comes into FRAME.
MURPHY (V.O.) (CONT'D)
Okay, good. He picked up the phone.
WIDENING, to reveal a mustachioed NARCO ("POISON") dialing a
number on his phone. A CONFEDERATE counts the cash.
POISON
(in Spanish)
Hello, Blackie? It's Poison. We're
going out tonight.
MURPHY (V.O.)
Now we owned him. And he didn't
even know it.
INT. BEECHCRAFT - NIGHT
Inside, we SEE a fifty-million-dollar spy plane crammed with
state-of-the-art electronic eavesdropping equipment. Two
MALE OPERATORS monitor calls on laptops.
MURPHY (V.O.)
We had software that identified the
specific voices of our targets.
When they talked, we listened.
AN ONBOARD COMPUTER
Providing instantaneous calculations. We HEAR the chatter
of intercepted phone calls in Spanish.
OPERATOR #1
We got Poison at 1400 to 1700
megahertz, gentlemen.
He scribbles notes on a pad: "POISON."
OPERATOR #2
Ground units, begin trilateration.
INT. VAN ON THE GROUND - NIGHT
Packed with surveillance gear. A TECHNICIAN in the back of
the van (American) checks his laptop.
TECHNICIAN
He's in the Zona Rosa.
NARCOS Ep. 101 "Descenso" 5/13/14 3.
OPERATOR #2 (O.S.)
Can you be more specific? Police
units are standing by.
INT. FINCA - BOGOTA - NIGHT
Poison knocks back an aguardiente.
POISON
(in Spanish)
La Dispensaria. I have a table
outside. Midnight.
INT. BEECHCRAFT - NIGHT
OPERATOR #1
Never mind. Negative on the ground
assault. This fuckwad just told us
where he's going.
MURPHY (V.O.)
Poison didn't know it, but he'd made
himself a date.
Operator #1 removes his headset.
OPERATOR #1
Who do we give this to? DEA?
OPERATOR #2
Yeah. Let's give it to Javier Peña.
OPERATOR #1
Peña's an asshole. I'm gonna give
it to the other guy.
Ratings
Scene 2 - Takedown at La Dispensaria
STEVE MURPHY, 30s, stands amidst domestic chaos: a baby cries
loudly, the phone rings off the hook. He has the physicality
and charm of a West Virginia upbringing.
MURPHY (V.O.)
By the "other guy," he meant me. My
name is Steve Murphy. I'm DEA and
as you can see, I'm deeply embedded
in Colombia.
He receives into his arms a beautiful, crying COLOMBIAN BABY,
handed to him by CONNIE MURPHY, 30s.
NARCOS Ep. 101 "Descenso" 5/13/14 4.
CONNIE
Honey, can you change her?
Connie is effortlessly sexy, a former ER nurse. She moves
off to answer the phone. Murphy places the baby on the
changing table as though handling a live hand grenade.
CONNIE (O.S.) (CONT'D)
It's for you!
He grabs the phone, cradles it under his neck.
MURPHY
Hello?
(listens)
Okay. Hold on. Gimme a sec.
He puts the baby in her crib, and grabs a pen and scribbles
"Poison" and "La Dispensaria, 12AM" on a notepad.
MURPHY (CONT'D)
Got it, thanks.
The baby starts to cry.
MURPHY (CONT'D)
Hold on, sweetpea. Daddy's coming.
He dials another number.
MURPHY (CONT'D)
(on phone)
Poison will be at La Dispensaria at
around midnight with his crew.
Murphy grabs a new diaper from a stack.
MURPHY (V.O.) (CONT'D)
I would've loved to go after Poison
myself, but DEA is restricted in a
foreign country.
Murphy fumbles some talcum into the diaper. He lifts the
BABY'S TINY BOTTOM to put it on.
MURPHY (V.O.) (CONT'D)
We're not supposed to do ground
operations. Our role's to "inform"
and "advise." So I did just what
you would do. I called the cops.
NARCOS Ep. 101 "Descenso" 5/13/14 5.
EXT. CAFE - BOGOTA - NIGHT
HORATIO CARILLO, 30s, a well-dressed Colombian with a cheery
demeanor, talks on a clunky cell phone.
CARILLO
La Dispensaria. Copy that.
He clicks off, smiles at his dinner companion.
CARILLO (CONT'D)
Guess who that was? Your partner.
We see JAVIER PEÑA, 30s, Mexican-American, enjoying his
scotch. He's casual in a collared shirt and jeans.
CARILLO (CONT'D)
(rising)
Gotta go.
PEÑA
Gonna stick me with the bill, huh?
CARILLO
I have to get the gift your partner
just delivered.
PEÑA
No kidding. Who?
CARILLO
Poison.
He starts off, turns back.
CARILLO (CONT'D)
Does your buddy know how I'm gonna
package it?
PEÑA
Oh yeah. He's no fool. I'll get
the bill, you cheap sonofabitch.
Carillo turns and walks toward CAMERA.
MURPHY (V.O.)
Colonel Carillo was one of the leaders
of "Search Bloc," a unit we helped
create to capture the bad guys.
(MORE)
NARCOS Ep. 101 "Descenso" 5/13/14 6.
MURPHY (V.O.) (CONT'D)
But at heart he was like any Colombian
police officer. He didn't have a
lot of love for the Narcos.
CUT TO:
CHA-CHUCK. A SHOTGUN is cocked.
CARILLO
(in Spanish)
We're on, fellas.
INT. SPECIAL OPS VAN - NIGHT
Carillo addresses six MEN IN BODY ARMOR. The van's an armory:
Browning rifles, H&K small machine guns, etc. The men pull
on ski masks.
MURPHY (V.O.)
Midnight in the Zona Rosa. Party
time.
EXT. LA DISPENSARIA - NIGHT
The Zona Rosa is alive with music, revelers, excitement.
SEVEN TOUGH MEN are seated at an outdoor table. Poison is
packing his Makarov in a fancy leather holster.
POISON
(in Spanish)
Come join us, beautiful!
He's propositioning a DOE-EYED COLOMBIAN GIRL walking down
the street. His men make catcalls.
ANGLE - THE DOE-EYED COLOMBIAN GIRL
She smiles, pretends she's interested. She knows better
than to ignore these men.
WIDE SHOT - LA DISPENSARIA
The restaurant. The beautiful girl. The dealers.
SURE SHOT
(in Spanish)
Hey, Beauty Queen! We're ugly but
we're rich!
BAM! His head blows off. Everyone goes for their weapons.
NARCOS Ep. 101 "Descenso" 5/13/14 7.
CAMERA WHIP PANS
The Men in Body Armor advance, guns blazing as we--
FREEZE FRAME
FADE TO BLACK.
A long beat. Dead silence.
FADE UP ON:
EXT. LA DISPENSARIA - SUNRISE
A SHUTTER clicks, a photo taken. Bodies lay splayed across
the outdoor cafe. A bloodbath.
MURPHY (O.S.)
Javi, we hit a home run.
REVERSING, to find Steve Murphy with a camera and a phone.
He steps into a cordoned crime scene, with EIGHT CORPSES and
a dozen COLOMBIAN NATIONAL POLICE.
MURPHY (O.S.) (CONT'D)
Got "Poison." We got "Bad Mouth."
We got "Blackie." Three or four of
them I can't ID.
Colonel Carillo squats over one of the corpses. He turns
his face TOWARDS CAMERA.
CARILLO
(in Spanish)
Murphy, you won't believe this.
He gestures to a dead body. Face half blown off.
MURPHY
Javier, we got a bonus. "Sure Shot"
has met his maker.
(another look)
At least I think it's "Sure Shot."
INTERCUT WITH:
CLOSE - ON JAVIER PEÑA
PEÑA
No shit! He was there?! Great.
NARCOS Ep. 101 "Descenso" 5/13/14 8.
Ratings
Scene 3 - The Morality of War
Peña stands in the DEA offices of the Embassy, beside a "tree
chart" of numerous traffickers and sicarios (hit men).
MURPHY (V.O.)
Peña had wanted that motherfucker
off the tree for months.
PEÑA
I'm so happy I'll even forgive those
assholes at Centra Spike for giving
the intel to you.
MURPHY (O.S.)
Hell, I'm prettier than you are.
Peña removes a MUGSHOT of Juan Corrales Botero, aka "Sure
Shot," from the trafficker tree. He thinks of something,
stops yanking pictures--
PEÑA
Any humans involved?
MURPHY
Yeah. A bystander caught a stray.
ON MURPHY, walking toward a sprawled body.
CLOSE - ON THE DOE-EYED COLOMBIAN GIRL.
She lays face up, eyes glassy in death, a clean bullet hole
in her temple. Murphy's VOICE carries over--
MURPHY (V.O.) (CONT'D)
I wouldn't blame you if you held me
responsible for this bloodbath.
CLICK. REVERSING, to find MURPHY, peering through his camera.
MURPHY (V.O.) (CONT'D)
Yeah, I pushed the buttons. But
don't call me a bad guy just yet.
He lowers the camera as we --
FREEZE FRAME: MURPHY
MURPHY (V.O.) (CONT'D)
Good and bad are relative concepts.
CUT TO:
NARCOS Ep. 101 "Descenso" 5/13/14 9.
PRESIDENT NIXON, giving a speech. (ARCHIVAL FOOTAGE)
PRESIDENT NIXON
The more you stay in this kind of
job, the more you realize that a
public figure, a major public figure,
is a lonely man.
MURPHY (V.O.)
Take Richard Nixon, for instance.
People forget, but 47 million
Americans voted for Nixon. We thought
he was one of the good guys.
GENERAL PINOCHET, the dictator of Chile. (ARCHIVAL FOOTAGE)
GENERAL PINOCHET
The rich people are those who create
wealth, and you have to treat them
well so they continue to give wealth.
MURPHY (V.O.)
And Nixon thought Chilean General
Augusto Pinochet was a good guy `cause
he hated the commies. So we helped
Pinochet seize power.
CHILEAN DEATH SQUADS, slaughter and civilian protest, the
March of the Disappeared. (ARCHIVAL FOOTAGE)
MURPHY (V.O.) (CONT'D)
Then Pinochet turned around and killed
thousands of people. Maybe not such
a good guy after all.
EXT. JUNGLE - CHILE - DAY
Thick, forested northern Chile.
MURPHY (V.O.)
But sometimes bad guys do good things.
To kiss Nixon's ass, Pinochet went
after the cocaine labs.
EXT. DEEP JUNGLE LAB - CHILE - DAY
A tented jungle lab with white-smocked WORKERS.
MURPHY (V.O.)
Nobody knows this, but back in `73
Chile was on its way to being the
(MORE)
NARCOS Ep. 101 "Descenso" 5/13/14 10.
MURPHY (V.O.) (CONT'D)
world's biggest cocaine processing
and exporting center. They had
jungles to hide the labs and miles
of unpatrolled coastline to send the
product north.
CUT TO:
CHILEAN SOLDIERS crash through the forest.
MURPHY (V.O.) (CONT'D)
But Pinochet spoiled the party. He
shut down 33 labs and arrested 346
drug dealers.
The SOLDIERS invade the lab. DRUG WORKERS quickly give
themselves up, lacing hands behind their heads. One of them
is MATEO MORENO, a low-level manager.
EXT. DEEP JUNGLE LAB - CHILE - LATER
A bunch of DEALERS, hands tied behind them, are lined up in
front of a firing squad.
MURPHY (V.O.)
And then-- being Pinochet-- he had
them all killed.
Moreno is scared shitless. His body quivers.
CHILEAN SOLDIER
(in Spanish)
Ready. Aim. Fire.
A FUSILLADE OF GUNFIRE. The dealers collapse.
EXT. JUNGLE - CHILE - LATER
SOLDIERS toss the bodies in a mass grave.
MURPHY (V.O.)
They say when a nuclear holocaust
destroys the world, only the
cockroaches will survive.
CLOSE - ON A MASS GRAVE
Beneath the corpses, there is movement. A solitary man fights
his way out of the grave, frantically pushing aside the bodies
to emerge, covered in blood.
NARCOS Ep. 101 "Descenso" 5/13/14 11.
MURPHY (V.O.) (CONT'D)
I guess they were right.
CLOSE - MATEO MORENO, wild-eyed.
MURPHY (V.O.) (CONT'D)
The bullets missed Mateo Moreno, aka
"Cockroach," and he was smart enough
to play dead. He wasn't killed on
that day...
INT. SHACK - CHILE - DAY
Cockroach bursts through the door.
MURPHY (V.O.)
Instead, he won the damn lottery.
His WIFE approaches, horrified.
COCKROACH
Start packing. We have to leave the
country. Pinochet wants to kill me.
COCKROACH'S WIFE
You're a communist?!
COCKROACH
No, I'm a fucking drug dealer!
CLOSE: ON A DRAWER
Cockroach slides it open to reveal a KILO OF COKE.
MURPHY (V.O.)
Cockroach had been stealing from his
bosses for months. Now he was left
alone in the world with the perfect
product. A product whose offer
creates its own demand.
CUT TO:
OVERHEAD SHOT - A MAZE
A RAT scurries through the maze at lightning speed.
MURPHY (V.O.)
Back then, we were just finding out
about the effects of cocaine on the
human brain. We didn't know much,
but we knew it was powerful shit.
NARCOS Ep. 101 "Descenso" 5/13/14 12.
Ratings
Scene 4 - The Dark World of Drug Smuggling
The rat reaches the end of the maze and hits a lever.
WIDER, to reveal a PROFESSOR instructing a STUDENT.
PROFESSOR
Make sure the retractable levers are
extended into the box.
MURPHY (V.O.)
Cocaine hijacks pleasure centers in
the brain. A rat will choose cocaine
over food and water.
PROFESSOR
Record locomotor activity after the
subject self-administers.
CLOSE - ON THE RAT
It hits the LEVER again and again.
MURPHY (V.O.)
It will choose cocaine over sleep,
over sex, over life itself.
WIDER, as the Professor walks out--
PROFESSOR
Make sure you refill the Merck
containers as needed. Let's see if
self-administration leads to
starvation.
He exits. The Student examines the vial of flaky-pink Merck
cocaine, pours some on the counter.
MURPHY (V.O.)
The human brain isn't quite the same
as a rodent's...
The Student SNORTS a line of coke.
MURPHY (V.O.) (CONT'D)
Unless we're talking about cocaine.
EXT. BORDER - PERU/COLOMBIA - DAY
Cockroach's Renault pulls to a checkpoint. His wife sits in
the passenger seat.
NARCOS Ep. 101 "Descenso" 5/13/14 13.
MURPHY (V.O.)
Cockroach knew he had the perfect
product. He just needed to smuggle
it to the right markets. And the
best smugglers in the world were in
Colombia.
The sign above the border patrol says: "COLOMBIA."
CUT TO:
A QUARTER HORSE, doing "dainty-steps" in a ring.
MURPHY (V.O.) (CONT'D)
Like Goldilocks, he had three options.
And pay attention, because all three
are important to this story.
EXT. HORSE RIDING RING - MEDELLÍN - DAY
A horse show. FABIO OCHOA rides a "dainty-step" quarter
horse as its hooves blur with mincing, cartoon-like speed.
MURPHY (V.O.)
The Ochoa Brothers: Jorge, Juan David,
and that's Fabio. The typical
Colombian smuggling family: they
made a fortune from contraband.
Brothers JUAN DAVID and JORGE, wearing Polo shirts next to
their beautiful GIRLFRIENDS, applaud.
MURPHY (V.O.) (CONT'D)
They were smart and handsome, but
Cockroach felt the high life had
made them soft...
The horse is so steady that Fabio balances a teacup on his
head without dropping it.
CUT TO:
CLOSE - JOSE RODRIGUEZ GACHA
Steps into FRAME, wearing a sombrero and holding a carbine.
MURPHY (V.O.) (CONT'D)
There was Jose Rodriguez Gacha -
nicknamed "The Mexican" for his love
of tequila and sombreros. He
dominated the emerald smuggling
routes.
NARCOS Ep. 101 "Descenso" 5/13/14 14.
Ratings
Scene 5 - The Rise of Pablo Escobar
REVERSING, to find a sophisticated cocktail party.
MURPHY (V.O.)
Emeralds were a pretty rough trade
even by Colombian standards. If you
make it to the top, it means you've
killed your enemies and...
GACHA'S PARTNER
Hey partner, what are you doing here?
Gacha and two GUNMEN mow down the party guests with their
machine guns. Smokey, horrible carnage.
MURPHY (V.O.)
Cockroach worried that the emerald
trade had made Gacha too hard...
Gacha and his men exit the party.
MURPHY (V.O.) (CONT'D)
So he zeroed in on his third option.
A man who Cockroach knew would be
"just right..."
TIGHT: ON PABLO ESCOBAR
MURPHY (V.O.) (CONT'D)
Yeah. You guessed it. Pablo Escobar.
The man who would change my life
forever.
Pablo calmly pops a Chiclet in his mouth. He's driving in
the front seat of a jeep.
CAMERA PULLING BACK
To reveal his cousin GUSTAVO, late 20s, as passenger.
CAMERA RISES HIGHER
There's a FOUR-AXLE TRUCK driving behind the jeep.
RISING STILL HIGHER - OVERHEAD SHOT
Thirty TRUCKS behind the jeep, passing through FRAME.
NARCOS Ep. 101 "Descenso" 5/13/14 15.
MURPHY (V.O.) (CONT'D)
Pablo was making a killing in the
smuggling business. Stolen goods,
cigarettes, alcohol, marijuana, you
name it. If there was a market,
Pablo would supply it.
CUT TO:
OVER THE SHOULDER: A COP
A police checkpoint. Pablo pulls to a stop. There are ten
heavily armed DAS AGENTS.
MURPHY (V.O.)
At that time, Pablo owned every
policeman in Medellín. But DAS was
Colombia's version of the FBI. They
didn't play by the same rules.
A DAS AGENT steps up to the jeep.
PABLO
Good day.
DAS AGENT
Are you Pablo Escobar?
PABLO
Yes. Where's Felipo?
DAS AGENT
He's been arrested.
DAS Agent gestures. Felipo's being dragged to an unmarked
sedan in handcuffs. He's been beaten to a pulp.
PABLO
Hey, this is bullshit, man. Felipo
works for me.
DAS AGENT
He used to work for you. Now he's
going to jail.
GUSTAVO
Do you know who you're talking to?
DAS AGENT
Shut the fuck up.
NARCOS Ep. 101 "Descenso" 5/13/14 16.
PABLO
Please, Gustavo. Show respect. Let
Mr. Herrera speak.
DAS AGENT
How do you know my name?
PABLO
(pointing)
You're Colonel Jose Luis Herrera.
That's Nacho Ibarra. There's Garcia.
Lopez. Pinella. Esperanza.
The DAS AGENTS are stunned. How does he know their names?
HERRERA
Open the fucking trucks.
CUT TO:
A TRUCK PANEL DOOR ROLLS OPEN.
Pablo and Herrera stand by the truck. Other DAS AGENTS
inspect the contents: crates of Johnny Walker, Marlboros,
television sets and toys.
HERRERA
Who the fuck do you think you are?
You don't even bother to hide your
contraband?
PABLO
I pay for the privilege.
NACHO IBARRA peers down at Pablo from inside the truck.
IBARRA
Where are your import papers? You
need the papers for these TV sets.
PABLO
Take the television.
IBARRA
Sorry, Escobar. We're not Medellín
cops making fifty pesos a week.
PABLO
It's not for you. It's for Carlito.
Your son. Wouldn't he like a TV in
his room?
NARCOS Ep. 101 "Descenso" 5/13/14 17.
Ibarra is shocked. But Pablo's turned his attention to
another agent on the truck.
PABLO (CONT'D)
Hey, Pinella. Your daughter just
got her driver's license, right?
Pioneer makes a nice car stereo.
He turns to yet another guy.
PABLO (CONT'D)
Lopez. Your wife is beautiful.
What's she doing with a guy like
you? I think she deserves some
jewelry. Should I get a couple of
my guys to drop it off?
The DAS Agents, at first so tough and sure of themselves,
are now soft as jello.
PABLO (CONT'D)
(calmly)
Gentlemen, let me tell you who I am.
I am Pablo Fucking Escobar. My eyes
are everywhere. You can't do a
goddamn thing in Antioquia without
me knowing about it. I'm going to
be President of Colombia one day.
The DAS Agents are transfixed.
PABLO (CONT'D)
I make deals for a living. You can
accept my deal or accept the
consequences for not taking it.
From each of the thirty truck cabs, DRIVERS emerge with tire
irons, guns, clubs. One of them we recognize as--
POISON
AR-15 assault rifle propped on his arm.
PABLO
pulls a wad of cash.
PABLO (CONT'D)
Silver or lead. Your choice. Now
why don't we negotiate a bit and we
can all leave happy. Deal?
NARCOS Ep. 101 "Descenso" 5/13/14 18.
Over this, the sounds of merriment...
CUT TO:
Ratings
Scene 6 - Cocaine Business Proposal and DEA Arrest
Pablo and Gustavo are drinking beer in a raucous bar filled
with pretty girls. They're drunk and happy.
PABLO
It's an interesting proposal.
REVERSING, we see Cockroach. His leather bag rests on the
table with the KILO OF COKE clearly visible.
COCKROACH
If you're with me, I can take you to
Peru. Show you where I buy the paste.
You smuggle it here, I teach you how
to turn it into powder. Then we
sell it all over Colombia.
GUSTAVO
How much does it cost?
COCKROACH
In Chile, we sold it for ten dollars
a gram.
PABLO
You sell it by the gram?
Cockroach dumps a line onto the table.
COCKROACH
This much keeps a person flying for
twenty minutes. When the effect
wears off, you want more.
He sniffs the line with a rolled-up bill. Pablo and Gustavo
share a glance.
GUSTAVO
(to Pablo)
If this shit is so good, we could
find room on our trucks.
COCKROACH
We move it to all the major cities:
Bogota, Cartegna, Baranquilla. We'll
make a fortune.
NARCOS Ep. 101 "Descenso" 5/13/14 19.
PABLO
You think small, my friend.
(then)
If it costs ten dollars a gram here,
how much do you think it will cost
in Miami?
CUT TO:
EXT. SOUTH BEACH - MIAMI - DAY
A wide expanse of white sand beach and pearl blue ocean.
MURPHY (V.O.)
Back then, Miami was a paradise.
I'd signed up for the sand, surf and
women.
A chyron appears:
"Miami, 1979."
MURPHY (V.O.) (CONT'D)
In `79, the bad guys I was chasing
wore flip-flops--
CLOSE: ON FLIP-FLOPS
Slapping across the pavement. TILT UP to reveal TWO SURFERS
(one with a backpack) racing PAST CAMERA.
MURPHY (V.O.) (CONT'D)
I was a young DEA agent, partnered
with my buddy Kevin Samms.
MURPHY (CONT'D)
Stop, DEA!
Murphy sprints past CAMERA.
MURPHY (V.O.) (CONT'D)
Kevin had a few pounds to lose.
NEW ANGLE: KEVIN SAMMS
Overweight, huffing for breath.
WIDER
Murphy (younger) and Kevin, 20s, chase the Surfers down on
the promenade. One of the Surfers trips over his flip-flops,
smashes to the ground.
NARCOS Ep. 101 "Descenso" 5/13/14 20.
The other Surfer tumbles over the prone body of his friend.
CLOSE - ON MURPHY
Gun out, ultra-serious, pouncing on the Surfers.
MURPHY (CONT'D)
Face down. Gimme hands!
Murphy cuffs the Surfer. Kevin arrives, huffing.
KEVIN
He told you to stop, you sonsabitches!
He grabs the backpack off the ground.
MURPHY
What do we got?
Kevin opens the backpack and extracts a large pillow of
MARIJUANA wrapped in plastic.
KEVIN
We got ourselves a promotion, my
man. Let's celebrate.
CUT TO:
Ratings
Scene 7 - The Prank
Thumping music, filled with partyers. Kevin sits with other
DEA GUYS, celebrating their bust. In the background, Murphy
is getting another pitcher at the bar.
DEA #1
Who do we pick?
DEA #2
How about her?
DEA #2 points to a BLONDE GIRL at another table.
KEVIN
No, no. Let's fuck him up.
DEA GUY #1
Let's mess with his head.
KEVIN
Yeah, let's go for her.
THEIR P.O.V. - CONNIE
NARCOS Ep. 101 "Descenso" 5/13/14 21.
Connie - seen at the top of the script - sits at the bar
with a FRIEND.
DEA #1 (O.S.)
She's hot.
MURPHY
returns with a cold pitcher of beer. Unaware that he's about
to be the subject of a prank.
KEVIN
Hey, Murph, Sparrow 3 o'clock,
checking you out.
Kevin chin nods to Connie. Murphy steals a glance.
DEA #1
You were walking back from the bar,
she was checking out your ass.
MURPHY
Get the fuck outta here.
KEVIN
She wasn't checking out your ass,
but she eye-fucked you all the way
back to the table. I'm not kidding,
man. For real.
MURPHY
The tan one?
KEVIN
She had eyes on you, man.
The DEA GUYS egg him on: Go for it/C'mon, Pussy/Man up!
MURPHY
You serious?
KEVIN
If I'm lying, I'm dying.
MURPHY
(a beat)
Fuck it. I'm going in...
DEA GUYS
Murph's flying in/Get another pitcher
while you're up there.
NARCOS Ep. 101 "Descenso" 5/13/14 22.
AT THE BAR - CONNIE AND HER PRETTY FRIEND
They're watching the Miami/Florida State game on the
television. Murphy approaches with a smile.
MURPHY
Hey, how are you?
CONNIE
(barely a glance)
Busy.
He looks back at his table.
HIS P.O.V. - THE DEA GUYS
They're busting a gut laughing. Gotcha sucker!
MURPHY
starts back toward his table.
MURPHY (V.O.)
Those bastards got me. But I couldn't
let it end like that.
He turns and goes back to Connie and her friend.
MURPHY (CONT'D)
Listen. I'm sorry. See those guys
over there? They're fucking with
me. They said you were checking out
my ass. Who checks out a cop's ass?
CONNIE
You're a cop? Strike two.
MURPHY
Not a cop, actually. I'm D-E-A.
CONNIE
A narc. Strike three.
Connie's Pretty Friend chimes in--
PRETTY FRIEND
Drug Enforcement? So you're the one
making pot more expensive.
MURPHY
(lightly)
It's against the law, ma'am.
NARCOS Ep. 101 "Descenso" 5/13/14 23.
CONNIE
(laughing)
Be careful. He'll arrest you.
MURPHY
Help me out here. I wanna show those
assholes up. C'mon. Give me your
phone number.
CONNIE
How about a fake phone number?
MURPHY
That'll work.
Connie digs a pen and a scrap of paper from her purse. She
scrawls "Connie" and a phone number.
MURPHY (CONT'D)
Sorry for the bother.
AT THE TABLE
Murphy returns, flapping the scrap of paper.
MURPHY
Read it and weep, assholes.
The DEA Guys are suitably impressed.
INT. MURPHY'S APARTMENT - MIAMI - NIGHT
Murphy sits on his bed in a messy bachelor apartment. He
stares at the scrap of paper.
MURPHY (V.O.)
I figured what the hell. Worst that
could happen was I'd wake up some
grandmother in Boca.
He dials the number.
INTERCUT WITH:
INT. ANOTHER APARTMENT - MIAMI - NIGHT
Someone grabs the ringing phone off the receiver.
CONNIE
Hello?
NARCOS Ep. 101 "Descenso" 5/13/14 24.
MURPHY (O.S.)
So it wasn't a fake.
CONNIE
Thought you might figure it out.
After all, you're D-E-A.
Murphy smiles.
MURPHY (V.O.)
And just like that, she had me.
CUT TO:
PABLO ESCOBAR
eyes shining.
MURPHY (V.O.) (CONT'D)
The minute Pablo laid his eyes on
the paste-processing lab in Peru,
cocaine had him.
Ratings
Scene 8 - Cocaine Smuggling Operation
Thickly forested. A half dozen WORKERS (men and children)
trample coca leaves in a large plastic-lined VAT filled with
water and bleach.
COCKROACH, PABLO AND GUSTAVO
are shown around by the LAB MANAGER. He gestures to another
large VAT being filled with KEROSENE.
LAB MANAGER
The kerosene separates the drug from
the leaf.
A worker scoops a PLASTIC BUCKET of the brownish kerosene
mixture and adds Ammonium from a bottle. The liquid in the
bucket blooms WHITE like cream in coffee.
GUSTAVO
Look at that.
LAB MANAGER
Ammonium is added to make the paste.
CLOSE - ON THE BUCKET
Now containing a gummy, yellowish solid. The solid is dumped
onto a bed sheet.
NARCOS Ep. 101 "Descenso" 5/13/14 25.
WIDER, as a WORKER squeezes the bed sheet to remove the excess
kerosene, leaving a one-kilo chunk of paste.
GUSTAVO
We'll take a kilo.
LAB MANAGER
A whole kilo. Great.
PABLO
No.
LAB MANAGER
(to Cockroach)
You said one kilo.
PABLO
We'll take five.
COCKROACH
How do we get five across the border?
PABLO
Gustavo will figure it out. Always
does.
CUT TO:
EXT. RENAULT CAR LOT - PERU - DAY
Gustavo shows Pablo and Cockroach a yellow Renault 4S.
GUSTAVO
Check the wheel-well. It's huge.
A CAR SALESMAN approaches them.
CAR SALESMAN
It's a great choice. 22.5 horsepower.
More than the Citroen 2CV. It's
comfortable and the gasoline
consumption --
PABLO
(to Salesman)
Is it easy to remove the wheel?
The Salesman never heard that one.
CAR SALESMAN
What?
NARCOS Ep. 101 "Descenso" 5/13/14 26.
GUSTAVO
(to Pablo)
We only have to do it once. Trust
me - I can fit 5K in there.
PABLO
Ok. I will take it. Three cars,
please.
The Salesman can’t believe his ears.
SALESMAN
Did you say three?
GUSTAVO
(to Cockroach)
I guess we're going back to the lab...
COCKROACH
Why?
GUSTAVO
(to Cockroach)
Five kilos per wheel-well, equals
twenty kilos per car. Three cars,
sixty kilos.
Pablo claps Cockroach on the back.
PABLO
At nine dollars profit per gram...
EXT. PERUVIAN MOUNTAIN ROAD - AERIAL VIEW - SUNRISE
The beautiful panorama of the lush Peruvian mountains.
MURPHY (V.O.)
That's five hundred thousand dollars
per trip - using the same smuggling
routes he always used.
A paved road cuts a ribbon through the dense foliage. THREE
RENAULT R4S appear from FRAME LEFT, snaking through the pass.
LOW ANGLE
Pablo drives the one up front.
MURPHY (V.O.)
Easiest money he ever made.
CUT TO:
NARCOS Ep. 101 "Descenso" 5/13/14 27.
INT. COCAINE KITCHEN - BELEN, COLOMBIA - NIGHT
A cramped kitchen with three COOKS in smocks. Cockroach
teaches Pablo and Gustavo the next part of the process.
COCKROACH
The hydrochloric acid turns the base
into crystal.
GUSTAVO
It smells in here.
COCKROACH
That's the acetone.
Cockroach presses a button. A DOZEN LAMPS light up on top
of the damp cocaine crystals.
PABLO
And what’s with all those lights?
COCKROACH
Drying.
EXT. COCAINE KITCHEN - BELEN, COLOMBIA - NIGHT
Light floods from the windows, illuminating the house like a
Christmas tree. Pablo and Gustavo watch PAINTERS close the
windows and start to apply a black coat of paint to the glass.
Sulfurous smoke pours from the window cracks.
GUSTAVO
Isn't this going to suffocate the
workers?
PABLO
Let’s build a chimney.
CUT TO:
A WOMAN'S HANDS, with a sewing needle.
MURPHY (V.O.)
Like her son, Pablo's mother Hermilda
was very resourceful.
INT. HERMILDA'S HOUSE - MEDELLÍN - NIGHT
HERMILDA ESCOBAR, 50s, places down the needle and holds up
what she's been sewing.
A JACKET
NARCOS Ep. 101 "Descenso" 5/13/14 28.
Lined with secret compartments.
PABLO
Mama, I love it. How much do you
think I can fit in there?
Hermilda inspects the jacket.
MURPHY (V.O.)
In Colombia, even the women have a
tradition of smuggling.
HERMILDA
I guess about 5 kilos. Just make
sure someone else is wearing it.
CUT TO:
THE LION, a regal Colombian with a healthy mane of hair.
MURPHY (V.O.)
That someone would be "The Lion," a
friend of Pablo's who'd spent his
childhood in the United States.
INT. EL DORADO INTERNATIONAL AIRPORT - BOGOTA - DAY
WIDENING, as the Lion (wearing Hermilda's jacket) walks toward
a line that reads "Customs." Lion easily passes through the
customs line.
Ratings
Scene 9 - Cocaine Smuggling at Miami International Airport
Lion emerges from the arrival gate, behind someone in a
Dolphins jersey. He looks around.
A VOICE (O.S.)
Yo man, what's up?!
Lion grins.
REVERSING, to find CARLOS LEHDER, 30s, a deep tan, a "John
Lennon" t-shirt, and a swastika tattooed on his arm.
MURPHY (V.O.)
And that's Carlos Lehder. Half
Colombian, half German, one hundred
percent playboy. Big fan of John
Lennon and Adolf Hitler. Go figure.
The two men hug. Lehder eyes Lion.
NARCOS Ep. 101 "Descenso" 5/13/14 29.
LEHDER
It's hot man. Why the fuck are you
wearing a jacket?
MURPHY (V.O.)
Back in '79 Lehder was flying bales
of grass up from Colombia on a fleet
of small planes.
INT. CAR - LONG TERM PARKING LOT - DAY
Lehder sits behind the wheel of a boat Cadillac. Lion pulls
a bag of COCAINE from inside his "secret" jacket.
LION
It's the perfect product.
LEHDER
I did a bit in jail, remember? I
saw this stuff. It's poison.
LION
Pablo thinks the gringos will love
it.
LEHDER
It will fuck their brains up - that’s
for sure.
The Lion opens the car door and steps outside.
LEHDER (CONT'D)
Where are you going?
Lion shows Lehder a plane ticket.
LION
Back home. Pick me up tomorrow.
EXT. MIAMI INTERNATIONAL AIRPORT - DAY
A PLANE takes off.
MURPHY (V.O.)
The Lion made more than twenty flights
between Medellín and Miami - drugs
in, cash out. And the rich and famous
in Miami snorted every single gram
of it. In no time, Pablo had to
replace his cars with trucks...
NARCOS Ep. 101 "Descenso" 5/13/14 30.
EXT. PERUVIAN MOUNTAIN ROAD - AERIAL VIEW - SUNRISE
A paved road cuts a ribbon through the forest.
MURPHY (V.O.)
Gustavo had the trucks filled to the
brim with potatoes, the major item
Colombia imported from Peru. Didn't
even have to bribe the cops.
Several TRUCKS filled to the brim with potatoes appear from
FRAME LEFT, snaking their way through the pass.
MURPHY (V.O.) (CONT'D)
The coke paste was hidden in the
spare tires. Each tire could fit
about 20 kilos. Ten trucks, twenty
kilos each, going back and forth
everyday. You do the math. It's
more money than you can imagine. No
way the Lion could transport it all.
LOW ANGLE
One of the trucks passes by Colombian customs, a spare tire
attached to it.
MURPHY (V.O.)
Pretty soon, the Lion had to come up
with new ways to smuggle the drug to
Miami.
INT. COCAINE KITCHEN - BELEN, COLOMBIA - DAY
The Lion teaches several YOUNG WOMEN how to eat condoms filled
up with cocaine. Three of them are pregnant.
LION
Wait a second - we got a problem
here. You three, step this way.
The three PREGNANT WOMEN step to the right. They're
disappointed they can't share in this bonanza.
LION (CONT'D)
U.S. Customs doesn't search pregnant
women. I think you can swallow sixty
pellets instead of fifty.
The women nod.
NARCOS Ep. 101 "Descenso" 5/13/14 31.
INT. COCAINE KITCHEN - BELEN, COLOMBIA - LATER
The Lion teaches a COMMERCIAL PILOT and a STEWARD how to
hide cocaine in their luggage.
MURPHY (V.O.)
During the early 80s most AVIANCA
flights out of Bogota had several
mules on them - they didn't even
know about each other.
INT. MIAMI INTERNATIONAL AIRPORT - DAY
COMMERCIAL AIRPLANE PILOTS, YOUNG WOMEN and STEWARDS walk
right through the U.S. CUSTOMS.
MURPHY (V.O.)
And you know what? Getting in was
easy, because nobody was worried
about cocaine in America. All we
cared about was grass.
Everyone walks right in.
MONTAGE: VARIOUS LOCATIONS (PER PRODUCTION)
FISHERMEN put COCAINE bags inside fish and take to the sea.
COCAINE bags are inserted into OLIVE OIL cans and coffee
packages.
MURPHY (V.O.) (CONT'D)
Pretty soon cocaine was hidden in
almost every legit Colombian export.
Fish, coffee, olive oil, rubber
hoses... You name it. But even that
didn't do it. The real game-changer
was filling Lehder's planes with
coke instead of weed.
EXT. MEDELLÍN INTERNATIONAL AIRPORT - DAY
Pablo and Gustavo negotiate with Carlos Lehder in front of a
KING AIR airplane.
GUSTAVO
How much weight can you carry?
LEHDER
Where to?
GUSTAVO
Miami.
NARCOS Ep. 101 "Descenso" 5/13/14 32.
LEHDER
About a thousand kilos, including
the fuel.
GUSTAVO
What if we take out all the seats,
and leave room just for the pilot?
Lehder stares at Gustavo, puzzled.
MURPHY (V.O.)
Six months after meeting with
Cockroach, Pablo was establishing
the first dedicated Narco route from
Colombia to America.
AERIAL SHOT - a KING AIR plane flies really low over the
ocean, approaching the Bahamas. (ARCHIVAL FOOTAGE)
MURPHY (V.O.) (CONT'D)
A real milestone in the story of
narcotics.
INSIDE THE PLANE - Lehder flies the plane. Behind him,
several loads of coke.
MURPHY (V.O.) (CONT'D)
Then Pablo closed the kitchen and
started opening cocaine labs in the
middle of the jungle -
Ratings
Scene 10 - Jungle Negotiations
A tented jungle lab with white-smocked WORKERS. Ten times
bigger than the one Cockroach managed in Chile.
MURPHY (V.O.)
Under the canopy cover of the
Colombian rainforest, he could expand
his production capacity indefinitely
without anyone noticing it.
Cockroach trains the workers in the arts and sciences of
cocaine production - he's sweating, mosquitoes all over his
face as a CESSNA AIRPLANE lands in an airstrip next to the
lab - Gustavo and Pablo step outside - followed by two
beautiful HOOKERS.
Cockroach approaches them.
GUSTAVO
Hello, Moreno.
NARCOS Ep. 101 "Descenso" 5/13/14 33.
PABLO
(re: hookers)
We brought you a gift. Brazilians -
best asses in the world.
Cockroach eyes the women.
COCKROACH
How come you guys are flying about
in planes and I am stuck here in the
fucking jungle - living in a fucking
shack - among fucking mosquitoes and
cobras?
Gustavo notices the shacks where the workers live.
GUSTAVO
You are right, Moreno. I’m sorry.
PABLO
From now on I'll build a big air-
conditioned house in all my labs -
just for you.
Cockroach looks at Pablo, pissed.
COCKROACH
Those are my labs, Pablo. My labs.
GUSTAVO
Of course they are, partner.
(tapping Cockroach)
Now show us what you got.
INT. HACIENDA NAPOLES - ANTIOQUIA - NIGHT
It's a huge party. UNIFORMED WAITERS walk around with food
and beverages. BEAUTIFUL WOMEN everywhere. Cockroach is
alone in a corner - drinking by himself.
MURPHY (V.O.)
Pablo couldn't hide his success from
his friends. They were violent,
crazy and filthy rich. Guys used to
getting what they want, one way or
another.
Pablo, Gustavo, Gacha and Jorge Ochoa are drinking at a table.
GACHA
I heard the potato business is very
profitable these days.
NARCOS Ep. 101 "Descenso" 5/13/14 34.
Gacha picks up a French fry.
GACHA (CONT'D)
Who would think you could make so
much money off this? I am asking
myself if I should invest in it.
What do you think, Pablo?
JORGE OCHOA
I took a good look at the market.
Importing potatoes from Peru is easy.
Old smuggling routes.
GUSTAVO
If everyone starts buying potatoes
at one time, the Peruvians will raise
the price. Our margins will go down.
GACHA
They also grow potatoes in Bolivia.
We can reduce the cost of the refining
process if we buy together.
GUSTAVO
The hard part is getting the
merchandise to Miami. You need a
lot of creativity for that.
GACHA
How much would you charge to help us
be creative?
PABLO
You deliver the product to me,
labeled. I take it to Miami, and
deliver to your contact there. I
charge 35% of the sales value. But
I insure the safety of your load up
to 50% of the value.
(then)
Deal?
JORGE OCHOA
Deal.
GACHA
I will create my own routes and stop
using your services as soon as
possible. That okay with you?
Pablo stares at Gacha.
NARCOS Ep. 101 "Descenso" 5/13/14 35.
GUSTAVO
We expect nothing less.
Gacha extends his glass for a toast--
GACHA
Partners?
For a beat, no one moves.
PABLO
We know your policy toward partners.
Let's just call us... "friendly
associates."
The men laugh and toast.
GACHA
To Miami...
CUT TO:
EXT. PORT OF MIAMI - DAY
Colorful cargo crates line the port. Shipments of everything
from everywhere in the world.
MURPHY (V.O.)
When I started, a one-kilo grass
bust was cause for celebration.
INT. CARGO CONTAINER - DAY
Kevin holds up a crate of ORCHIDS with a false bottom. There
are KILOS packed beneath the flowers.
MURPHY (V.O.)
Before long, we were seizing sixty
kilos of coke a day.
EXT. CARGO SHIP - DECK - DAY
SIXTY KILOS of cocaine are removed from the ship on a dolly,
along with the handcuffed Crew.
MURPHY (V.O.)
We thought we were making a huge
difference.
Murphy and the agents clear FRAME as we--
CUT TO:
NARCOS Ep. 101 "Descenso" 5/13/14 36.
A SCUBA DIVER
drops into the water beside a CARGO BOAT.
EXT. PORT OF MIAMI - LATER
UNDERWATER
The Diver swims to the hull of the boat, where four metal
pipes are magnetically attached.
MURPHY (V.O.)
Truth is, we weren't even making a
dent...
CUT TO:
THE METAL PIPES - ON THE DOCK
Now unsealed at one end. A WORKER dumps a HUNDRED KILOS
from the pipe onto the ground.
CLOSE - ON CARLOS LEHDER, smiling...
MURPHY (V.O.)
They let us have sixty, so they could
bring in six hundred.
CUT TO:
A WHITE LAB RAT
scurrying at a frantic pace past CAMERA.
MURPHY (V.O.)
Pablo's coke flooded in.
Ratings
Scene 11 - Violent Night in Miami
CAMERA TRACKS the RAT as it races through the alley.
MURPHY (V.O.)
It didn't take long for Miami to get
addicted. And I mean that.
The RAT stops. Nose wriggling.
LOW ANGLE - A STREET CORNER DRUG DEAL
A handoff between dealer and client.
NARCOS Ep. 101 "Descenso" 5/13/14 37.
MURPHY (V.O.) (CONT'D)
It was like the whole city was running
around to get this shit. And with
the money, came the violence.
The RAT charges past--
A FOOT, as we TILT UP to reveal Murphy.
MURPHY (V.O.) (CONT'D)
The surfers had been replaced by
Colombians. And these guys didn't
wear flip-flops.
HIS P.O.V. - TWO COLOMBIANS
Armed with Mac-10s. Their guns spit fire--
MURPHY AND KEVIN
dive for cover. They peek from behind a dumpster. One
Colombian flees. Murphy sees the other Colombian running
behind a car from left to right.
MURPHY FIRES THROUGH THE CAR. No one comes out from the
other side.
MURPHY (V.O.) (CONT'D)
The Miami Coroner said Colombians
were like Dixie Cups. Use `em once,
then throw `em away.
MURPHY AND KEVIN
advance on the sprawled body behind the car. Kevin kneels
beside the dead shooter, turns back to Murphy.
KEVIN
Dude, he's just a kid.
The dead COLOMBIAN is about seventeen.
TIGHT - ON MURPHY
Stunned. And upset.
MURPHY (V.O.)
That was the first person I ever
shot. A teenager not old enough to
buy a six-pack.
CUT TO:
NARCOS Ep. 101 "Descenso" 5/13/14 38.
EXT. MIAMI STREET/ALLEY - LATER
PARAMEDICS load the Colombian teen's corpse onto a
refrigerated truck. Murphy stands nearby.
MURPHY (V.O.)
The Dade County morgue couldn't fit
all the bodies from the drug war.
They had to rent a refrigerated truck
from a local company to hold all the
extra corpses.
PULLING BACK to see the logo: "BURGER KING."
CUT TO:
INT. MURPHY'S APARTMENT - MIAMI - NIGHT
Murphy swings open the door. He's exhausted, crestfallen,
and strangely guilty. Connie rises from the couch.
CONNIE
It was self-defense.
MURPHY
How'd you know?
CONNIE
Kevin called. He's worried about
you.
MURPHY
The kid was seventeen.
CONNIE
He sells drugs, right?
MURPHY
Yeah.
CONNIE
Then fuck him.
MURPHY
What?
CONNIE
Do you know what's going on here?
This city's upside down.
NARCOS Ep. 101 "Descenso" 5/13/14 39.
Murphy looks at her in surprise. It's only now he realizes
her mascara's streaked.
CUT TO:
A GURNEY
Rolls past with an unconscious PREGNANT WOMAN. She's one of
the Colombian girls we saw with Lion.
CONNIE (O.S.)
I was about to finish my shift when
we got hit with lights and sirens.
INT. MIAMI GENERAL - EMERGENCY ROOM - DAY
Connie quickly evaluates the unconscious GIRL.
CONNIE (O.S.)
Paramedics said she collapsed after
she got off her flight. By the time
she got to us, she was barely
breathing.
Everything in this sequence is frantic--
CONNIE (CONT'D)
Tachycardia! We need an EKG, stat!
Connie coils a blood pressure cuff on her arm at lightning
speed. NURSE #2 clips on a pulse oximeter.
CONNIE (O.S.) (CONT'D)
Dilated pupils, rapid pulse. I knew
she'd overdosed on cocaine.
Connie and NURSE #2 put the GIRL on her left side.
CONNIE (CONT'D)
180cc of benzodiazepine! She's going
into arrest!
CONNIE (O.S.) (CONT'D)
But she had no residue on her
nostrils, no injection marks.
The girl's convulsing. Connie grabs the defibrillators and
administers three high-voltage shocks.
CONNIE (O.S.) (CONT'D)
We did everything we could. She
died in the ER.
NARCOS Ep. 101 "Descenso" 5/13/14 40.
CONNIE (CONT'D)
(checking clock)
TOD, eleven hundred and twenty-two
minutes.
Connie puts a stethoscope to the girl's abdomen.
CONNIE (CONT'D)
The baby's still alive. I need a
surgeon for an emergency C-section!
Get a prenatal unit down here now!
INT. MURPHY'S APARTMENT - MIAMI - NIGHT
Murphy stares at Connie, shocked.
MURPHY
What happened?
CONNIE
The baby died in my hands.
MURPHY
I'm sorry.
CLOSE - ON THE X-RAY
It's the pregnant woman, post-mortem. We SEE her ribs, spine,
and fifty-five condoms of coke on the X-ray.
CONNIE (O.S.)
She was body-packing eleven ounces
of cocaine. Two of the pellets split
open.
INT. MIAMI GENERAL - HALLWAY - DAY
Connie, splattered with blood, stands numbly in front of a
light board, looking at the X-ray.
CONNIE (O.S.)
Twelve grams in her bloodstream.
INT. MURPHY'S APARTMENT - MIAMI - NIGHT
WIDER, ON CONNIE and MURPHY
CONNIE
No one survives that.
CUT TO:
NARCOS Ep. 101 "Descenso" 5/13/14 41.
Ratings
Scene 12 - Betrayal and Negotiation at Hacienda Napoles
A HIPPOPOTAMUS wanders through FRAME. One of the many animals
who roam the luxurious grounds of Napoles. Gustavo stands
out in the yard with Cockroach. He indicates Cockroach's
gold-plated Mercedes.
GUSTAVO
You're ten times richer than you
ever thought you could be.
COCKROACH
I just want my fair cut. If it wasn't
for me, you two would still be
smuggling cigarettes.
Gustavo goes stone-cold serious.
GUSTAVO
Let me give you a piece of advice.
Don't talk like this to Pablo. He's
not as forgiving as I am.
CUT TO:
OVERHEAD SHOT
Thirty TRUCKS behind the jeep, passing through FRAME (same
as earlier shot in the script).
MURPHY (V.O.)
Cockroach should have listened to
Gustavo. Instead, he found another
way to get his fair share.
OVER THE SHOULDER: A COP
A police checkpoint. The LEAD TRUCK pulls to a stop. The
DRIVER rolls down his window to find Colonel Herrera and a
group of other DAS Agents, seen earlier.
HERRERA
What's in those spare tires?
CUT TO:
INT. HACIENDA NAPOLES - ANTIOQUIA - DAY
GUSTAVO hangs up the phone and approaches PABLO, who watches
a soccer game on television.
NARCOS Ep. 101 "Descenso" 5/13/14 42.
GUSTAVO
390 kilos. We lost it.
PABLO
What do you mean we lost it?
GUSTAVO
What I said. We lost it.
PABLO
It just disappeared? Into thin air?
GUSTAVO
Don't bust my balls. Cops must've
followed them from Ipsalia.
PABLO
We've paid every cop from here to
Ipsalia. How'd we lose a load?
GUSTAVO
Somewhere in Colombia there exists
an honest cop.
PABLO
How much is he asking for?
GUSTAVO
Too much.
PABLO
I'm going down there.
Gustavo knows Pablo too well.
GUSTAVO
Why risk it? It's only 390 keys.
CUT TO:
INT. POLICE HEADQUARTERS - MEDELLÍN - DAY
Pablo strolls in to find Colonel Herrera and Nacho Ibarra.
PABLO
What's going on?
HERRERA
We need to renegotiate.
PABLO
Fuck you.
NARCOS Ep. 101 "Descenso" 5/13/14 43.
INT. POLICE HEADQUARTERS - LINE-UP ROOM - MEDELLÍN - DAY
Now handcuffed, Pablo stands with an ID placard with the day
and date of his arrest.
TWO SHOT - HERRERA AND IBARRA
Through the one-way glass, they watch a photographer preparing
to take the mugshot of Pablo.
IBARRA
Are you sure about this? He hasn't
said a word since you arrested him.
HERRERA
We're DAS. What's he gonna do about
it?
CUT TO:
OVER THE SHOULDER: THE POLICE PHOTOGRAPHER
Pablo smiles for the camera. CLICK.
MATCH CUT TO:
PABLO'S MUGSHOT (ARCHIVAL FOOTAGE)
The famous one. Inmate Number: 128482
MURPHY (V.O.)
Pablo didn't know it then, but this
mugshot was gonna cause him a lotta
grief down the line.
CUT TO:
INT. POLICE HEADQUARTERS - INTERROGATION - MEDELLÍN - DAY
Pablo sits calmly at a table. Herrera enters with Ibarra.
HERRERA
We count over three hundred kilos on
those trucks. That's a street value
of over four million in American
currency. But you only pay us a
hundred fifty thousand.
PABLO
That's what we agreed on.
NARCOS Ep. 101 "Descenso" 5/13/14 44.
HERRERA
(enjoying this)
I make deals for a living. You can
accept my deal or accept the
consequences for not taking it. Now
why don't we renegotiate a bit and
we can all leave happy.
Pablo mulls this, then--
PABLO
I'll give you a million dollars,
U.S., on one condition.
HERRERA
What's that?
PABLO
Somebody in my organization told you
the street price of my cocaine.
Otherwise how would you know? Tell
me who it is and you won't have to
split the money with him.
CUT TO:
EXT. PORT OF MIAMI - DAY
A PLUMBING VAN drives past the cargo crates.
MURPHY (V.O.)
It turns out Cockroach was a real
cockroach. Not only did he sell
Pablo to the authorities, he was
stealing from him all along and
selling coke in Miami, too.
The VAN pulls up to a MERCEDES. GERMAN ZAPATA, 40s, sleek
as a greyhound, gets out. He's accompanied by TWO BODYGUARDS.
MURPHY (V.O.) (CONT'D)
Cockroach's dealer was German Zapata,
a Colombian with a plumbing business
that served as a front for his cocaine
operation. He had twelve hundred
keys in the van. And guess who was
buying the load?
THE MERCEDES DOORS OPEN
Murphy and Kevin get out, wearing guayabera shirts.
NARCOS Ep. 101 "Descenso" 5/13/14 45.
ZAPATA
Gentlemen.
MURPHY
Mr. Zapata. A pleasure.
Kevin walks to the back of the Mercedes and opens--
THE TRUNK
It's packed with two duffel bags of CASH.
MURPHY, KEVIN AND ZAPATA
walk to the back of the plumbing van.
MURPHY (V.O.) (CONT'D)
The plan was to trade vehicles and
Zapata would be arrested once he
left the Port.
Zapata opens the back to reveal--
A HUGE AMOUNT OF COCAINE
MURPHY (V.O.) (CONT'D)
Twelve hundred kilos - that would
get us on the cover of the Miami
Herald.
Murphy exchanges car keys with Zapata.
MURPHY (V.O.) (CONT'D)
Everything was going perfect, except
that Pablo was onto Cockroach.
Ratings
Scene 13 - The Assassination of Zapata and Kevin
CAMERA FOLLOWS over the shoulder of two ASSASSINS on a
Kawasaki, heading into the long term parking. On the back
of the cycle is--
LA QUICA, a hitman who works for Pablo.
He pulls out his Mac-10 and fires.
BOOM! - ZAPATA AND KEVIN
drop like stones.
ZAPATA'S BODYGUARD
NARCOS Ep. 101 "Descenso" 5/13/14 46.
returns fire.
The DRIVER gets blown off the cycle. It spins out on the
concrete pavement.
LA QUICA
scrambles to his feet, raising his Mac-10.
MURPHY
steps forward, about to fire--
LA QUICA
drops his Mac-10 and raises his hands.
LA QUICA
(accented)
I give up! Arrest me.
Hands high, he drops to his knees.
MURPHY
lowers his weapon as--
A SWARM OF DEA AGENTS
arrive to arrest La Quica.
CLOSE - ON KEVIN
Dead from a bullet wound to the skull.
CUT TO:
AN AMERICAN FLAG
Flapping in the wind above the Miami-Dade Courthouse.
MURPHY (V.O.)
I got to the courthouse early on the
day of La Quica's trial.
EXT. COURTHOUSE - MIAMI - DAY
Murphy climbs the steps to enter the courthouse.
MURPHY (V.O.)
My testimony was gonna put that
bastard on death row.
NARCOS Ep. 101 "Descenso" 5/13/14 47.
He's buttonholed by a U.S. PROSECUTOR.
MURPHY (V.O.) (CONT'D)
The U.S. District Attorney caught me
on the courthouse steps, said La
Quica met his bail of two million
dollars, paid by a wire transfer
from-- well, why don't you take a
guess?
CUT TO:
BOARDING GATE - "MEDELLÍN, COLOMBIA"
INT. MIAMI INTERNATIONAL AIRPORT - DAY
La Quica walks onto a plane.
MURPHY (V.O.)
La Quica boarded and was back in
Medellín by midnight.
INT. MURPHY'S APARTMENT - BEDROOM - MIAMI - NIGHT
Connie sleeps in Murphy's arms. He stares at the ceiling.
MURPHY (V.O.)
From `79 through `84, there were
3245 murders in Miami.
MONTAGE: MIAMI AND MEDELLÍN (ARCHIVAL FOOTAGE)
This sequence will be built from archival footage: Murders,
mayhem, boat-lifts and coke seizures.
MURPHY (V.O.) (CONT'D)
But outside of the Florida Tourist
Bureau and the cops, no one much
cared about that.
EXT. WHITE HOUSE - WASHINGTON, DC - DAY (ARCHIVAL FOOTAGE)
Establishing.
MURPHY (V.O.)
What got the U.S. government to take
notice was the money. Billions of
dollars a year, all of it flowing
from the U.S. to Colombia. And that,
America could not take.
NARCOS Ep. 101 "Descenso" 5/13/14 48.
INT. OVAL OFFICE ANTEROOM - DAY
FOUR BUSINESSMEN are seated on a couch.
MURPHY (V.O.)
See these guys? That's Gerald Ottman
from General Electric. Jack Rogers
from Miami National Bank. Paul
Griggs, Goldman Sachs. And Bill
Taub from the City Workers Pension
Fund. They were terrified the narco-
economy would sink the real economy
of Miami.
A SECRETARY enters the room.
SECRETARY
The President will see you now.
MURPHY (V.O.)
Or maybe they were pissed off they
weren't getting a cut.
Inside the Oval Office, a Reaganesque figure can be seen
sitting behind his desk (not identifiable).
INT. OVAL OFFICE - DAY
The Businessmen enter. The President stands and shakes hands
with his guests.
BUSINESS
Mr. President. Thank you for having
us.
MURPHY (V.O.)
Whatever it was, the businessmen
came at just the right time. The
Berlin Wall was about to fall. The
Soviet Union was dissolving. It was
time for America to suit up against
a new enemy.
INT. OVAL OFFICE - DAY (ARCHIVAL FOOTAGE)
RONALD and NANCY REAGAN sit on the couch.
RONALD REAGAN
Tonight, from our family to yours,
from our home to yours.
CLOSE - ON RONALD REAGAN
NARCOS Ep. 101 "Descenso" 5/13/14 49.
RONALD REAGAN (CONT'D)
Drugs are menacing our society.
They're threatening our values and
undercutting our institutions.
(then)
They're killing our children.
MURPHY (V.O.)
It was classic Reagan. Folksy,
direct, and tough. He vowed to go
after drugs at the source. But it
was Nancy who stole the show.
CLOSE - ON NANCY REAGAN
NANCY REAGAN
So to my young friends out there,
life can be great. But not when you
can't see it. So open your eyes to
life, to see it in the vivid colors
that God gave us as a precious gift
to His children. Say yes to your
life. And when it comes to drugs
and alcohol, just say no.
CUT TO:
TIGHT - ON COCKROACH: BEATEN AND BLOODY
COCKROACH
No, no, no!!!
A BULLET blasts him in the forehead.
INT. HACIENDA NAPOLES - ANTIOQUIA - DAY
Cockroach topples to the ground.
MURPHY (V.O.)
They say when a nuclear holocaust
comes, only the cockroaches will
survive.
CAMERA SWIVELS to find Pablo. Gun outstretched.
MURPHY (V.O.) (CONT'D)
I guess they were wrong.
Pablo turns to Poison.
PABLO
Clean this up.
NARCOS Ep. 101 "Descenso" 5/13/14 50.
Ratings
Scene 14 - The Battle Begins
Misty night.
MURPHY (V.O.)
Over his career, Pablo would kill
over a thousand cops. But I wouldn't
learn that till later.
WIDE SHOT - COLONEL HERRERA AND NACHO IBARRA
The DAS Agents lie sprawled on the ground. They've been
tortured and shot in the head.
CUT TO:
PEOPLE CROSS THROUGH FRAME
Revealing airport departing gates.
MURPHY (V.O.) (CONT'D)
My dad volunteered to fight in World
War II because of Pearl Harbor.
INT. MIAMI INTERNATIONAL AIRPORT - NIGHT
The international departure terminal.
MURPHY (V.O.)
But you think he knew anybody in
Hawaii? No way.
WIDE SHOT
Two tiny figures walk toward CAMERA.
MURPHY (V.O.) (CONT'D)
He was a West Virginia farmboy. But
these fuckers stepped on our soil.
The figures get closer.
MURPHY (V.O.) (CONT'D)
So he laced up his Army boots and
went to fight. It was his duty.
It's Murphy and Connie, walking into a TWO SHOT.
MURPHY (V.O.) (CONT'D)
Cocaine in Miami? Powder from
Colombia? This was my war.
NARCOS Ep. 101 "Descenso" 5/13/14 51.
REVERSING, OVER SHOULDER as they board a plane. TILT UP to
see the departure sign: "Bogota, Colombia."
EXT. MIAMI INTERNATIONAL AIRPORT - DAY
The PLANE races down the runway.
MURPHY (V.O.)
This was my duty. And I was ready
to fight.
The airplane lifts off into the sky.
INT. HACIENDA NAPOLES - ANTIOQUIA - DAY
La Quica reports to Pablo.
PABLO
They killed Poison? Where?
LA QUICA
La Dispensaria.
PABLO
Who did it?
LA QUICA
I think it was Carillo. He got there
early the next day. But that DEA
guy was there taking pictures.
Pablo smolders for a beat.
PABLO
Raise the bounty.
LA QUICA
On Carillo?
PABLO
No. I'll pay half a million for the
head of a DEA agent.
(then)
Fucking gringos.
Off Pablo--
FADE OUT.
(TO BE CONTINUED)
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
murphy | Murphy starts off as a seasoned operative with a cynical attitude, but as he navigates through the drug war, he is forced to confront his moral dilemmas and the consequences of his actions. This leads to a transformation where he begins to question his duty and the moral ambiguity of the drug trade, ultimately finding a balance between his sense of duty and his compassion for others. | The character arc for Murphy is well-developed, showcasing his internal struggles and growth throughout the screenplay. However, there could be more specific moments or events that trigger his transformation, providing a clearer progression of his character development. | To improve the character arc, consider adding specific scenes or interactions that challenge Murphy's beliefs and values, forcing him to confront his moral dilemmas head-on. This could include moments where he is faced with difficult decisions that test his sense of duty and morality, ultimately leading to a more impactful and satisfying character arc. |
pablo escobar | Pablo Escobar starts off as a ruthless and ambitious drug lord, driven by power and control. As the story progresses, he faces challenges that force him to question his methods and alliances. He begins to realize the consequences of his actions and the impact they have on those around him. This leads to a moment of self-reflection where he must decide whether to continue down his destructive path or seek redemption and change his ways. | The character arc for Pablo Escobar is well-developed, but it could benefit from more internal conflict and emotional depth. By delving deeper into his motivations and inner struggles, the audience can better understand his transformation and growth throughout the story. | To improve the character arc for Pablo Escobar, consider adding scenes that explore his past traumas and how they have shaped his ruthless behavior. Show moments of vulnerability and conflict within him as he grapples with the consequences of his actions. This will make his eventual redemption or downfall more impactful and believable. |
gustavo | Gustavo starts off as a loyal and supportive partner to Pablo Escobar, always finding solutions to challenges and providing valuable insight into the logistics of their drug operation. As the story progresses, Gustavo's loyalty and dedication are put to the test as he is faced with moral dilemmas and conflicting loyalties. Ultimately, Gustavo must decide between his allegiance to Pablo and his own moral compass, leading to a dramatic turning point in his character arc. | The character arc for Gustavo is compelling and provides an opportunity for internal conflict and growth. However, it could benefit from more specific details about the moral dilemmas and conflicting loyalties that Gustavo faces, as well as a clearer resolution to his internal struggle. | To improve the character arc for Gustavo, consider adding specific scenes or moments that highlight the moral dilemmas he faces, such as a situation where he must choose between following Pablo's orders and doing what he believes is right. Additionally, provide a clearer resolution to Gustavo's internal struggle, showing how he ultimately reconciles his loyalty to Pablo with his own moral compass. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
High Scores in Concept and Plot | |
Dialogue and Emotional Impact Relationship | |
Low Humor and High Stakes | |
Complex Tone and Character Changes | |
Dark and Intense Style |
Writer's Craft Overall Analysis
The analyzed screenplay showcases a strong foundation in storytelling techniques, character development, and dialogue. The writer effectively combines action, drama, and suspense to create engaging scenes that keep the audience invested in the narrative. However, there are areas where the writer can refine their craft to enhance the overall impact and depth of their writing.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | Read 'The Anatomy of Story' by John Truby for in-depth insights into character development, plot structure, and storytelling techniques. | This book provides a comprehensive framework for understanding the essential elements of storytelling and can help the writer refine their character arcs and motivations. |
Video | Watch interviews and masterclasses with experienced screenwriters to learn their perspectives on dialogue writing. | Listening to professionals discuss their craft can offer valuable insights into creating authentic and engaging dialogue that drives the narrative forward. |
Exercise | Practice writing dialogue-heavy scenes with a focus on creating distinct character voices and natural speech patterns.Practice In SceneProv | Regularly practicing dialogue writing can help the writer improve their ability to craft believable and memorable characters. |
Exercise | Analyze the pacing of successful screenplays by breaking them down into individual scenes and studying how the scenes transition and contribute to the overall flow.Practice In SceneProv | This exercise will enhance the writer's understanding of effective pacing and enable them to apply these techniques to their own work. |
Course | Consider enrolling in a screenwriting course or workshop to receive personalized feedback and guidance from experienced industry professionals. | Structured learning opportunities can provide the writer with targeted support and mentorship, accelerating their growth and improving their craft. |
Stories Similar to this one
Story | Explanation |
---|---|
The Wire (TV Series) | Like "Narcos", "The Wire" is a critically acclaimed crime drama that explores the drug trade from multiple perspectives, including law enforcement, politicians, and drug dealers. Both shows feature complex characters, realistic dialogue, and a gritty, unflinching look at the consequences of drug trafficking. |
Traffic (Movie) | Similar to "Narcos", "Traffic" is a multi-layered film that examines the global drug trade from different angles, including the perspectives of a DEA agent, a Mexican police officer, and a drug lord. Like "Narcos", "Traffic" combines action and suspense with a thought-provoking look at the complexities of drug policy and its impact on society. |
Scarface (Movie) | "Scarface" is a classic crime film that tells the story of a Cuban refugee who rises to the top of the drug trade in Miami. Like "Narcos", "Scarface" features a charismatic and ruthless drug lord, violent shootouts, and a cautionary tale about the corrupting power of money and violence. |
Gomorrah (TV Series) | This Italian crime drama explores the inner workings of the Neapolitan Camorra, a powerful organized crime syndicate involved in drug trafficking, extortion, and other illicit activities. Like "Narcos", "Gomorrah" offers a gritty and realistic portrayal of the criminal underworld, with a focus on the personal lives and motivations of its members. |
ZeroZeroZero (TV Series) | "ZeroZeroZero" is a global crime thriller that follows a drug shipment from Mexico to Italy, exposing the complex and dangerous world of international drug trafficking. Similar to "Narcos", the series features multiple interconnected storylines, a diverse cast of characters, and a realistic depiction of the drug trade's violence and corruption. |
The Cartel (TV Series) | Based on true events, "The Cartel" tells the story of the Cali Cartel, one of the most powerful drug trafficking organizations in history. Like "Narcos", the series chronicles the rise and fall of a drug cartel, exploring the motivations and tactics of its leaders as well as the efforts of law enforcement to bring them down. |
El Chapo (TV Series) | This biographical crime drama focuses on the life and career of Joaquín "El Chapo" Guzmán, the notorious leader of the Sinaloa Cartel. Like "Narcos", "El Chapo" provides a gripping and violent account of the drug trade, the rise of a powerful cartel, and the efforts to capture its elusive kingpin. |
Snowfall (TV Series) | Set in Los Angeles in the 1980s, "Snowfall" explores the early days of the crack cocaine epidemic and the emergence of the Crips and Bloods street gangs. Like "Narcos", the series combines historical context with a fictional narrative, delving into the social and political factors that fueled the drug trade and its devastating impact on communities. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Voiceover Introduction | The screenplay opens with a voiceover by DEA Agent Steve Murphy providing background information on the setting and characters. | Voiceover introductions are a common trope used in screenplays to quickly provide exposition and set the scene for the audience. An example of this trope can be seen in the TV show 'Dexter,' where the main character provides voiceover narration to give insight into his thoughts and motivations. |
Shootout at a Drug Lord's Party | A shootout occurs at a drug lord's party, resulting in the deaths of several individuals, including the drug lord himself. | Shootouts at drug lord parties are a common trope in crime dramas and action films to establish the dangerous and violent world of drug trafficking. An example of this trope can be seen in the movie 'Scarface,' where a similar shootout takes place at a drug lord's mansion. |
Corrupt Police Officers | Pablo Escobar bribes police officers to allow his contraband trucks to pass through a checkpoint. | Corrupt police officers working for drug lords is a common trope in crime dramas to show the extent of criminal influence and corruption in law enforcement. An example of this trope can be seen in the TV show 'The Wire,' where various police officers are shown to be on the payroll of drug dealers. |
Flashback to Younger Characters | A flashback to young DEA agents Murphy and Kevin chasing after and arresting two surfers with a backpack full of marijuana. | Flashbacks to younger versions of characters are a common trope used to provide backstory and context for the main narrative. An example of this trope can be seen in the movie 'Goodfellas,' where the main character's past as a young gangster is shown through flashbacks. |
Betrayal by Underling | Cockroach betrays Pablo Escobar by selling him out to the authorities and running his own cocaine operation in Miami. | Betrayal by a trusted underling is a common trope in crime dramas to create tension and conflict within criminal organizations. An example of this trope can be seen in the TV show 'Breaking Bad,' where the main character's partner betrays him and starts his own drug empire. |
Assassination Attempt | Two assassins open fire on DEA agents Zapata and Kevin, resulting in their deaths. | Assassination attempts on law enforcement officers are a common trope in crime dramas to raise the stakes and show the dangers faced by those fighting against criminal organizations. An example of this trope can be seen in the movie 'The Departed,' where an undercover cop is targeted for assassination by the mob. |
Drug Smuggling Operation | Characters are involved in smuggling cocaine across borders using various methods, including hiding it in fish, olive oil cans, and coffee packages. | Drug smuggling operations are a common trope in crime dramas to show the intricate and risky nature of the illegal drug trade. An example of this trope can be seen in the movie 'Traffic,' where different aspects of drug smuggling are explored through multiple storylines. |
Ruthless Drug Lord | Pablo Escobar is introduced as a ruthless drug lord known for his intelligence, connections, and willingness to use violence. | Ruthless drug lords are a common trope in crime dramas to create a formidable antagonist for law enforcement and other characters. An example of this trope can be seen in the TV show 'Narcos,' which also depicts the rise and fall of Pablo Escobar. |
Montage Sequence | A montage of historical footage and voiceover narration is used to explore the idea that good and bad are relative concepts. | Montage sequences are a common trope in screenplays to condense information and convey complex ideas or emotions through visual and auditory elements. An example of this trope can be seen in the movie 'The Godfather Part II,' where a montage is used to show the parallel rise of two characters in different time periods. |
Cocaine Addiction Theme | Scenes depict characters using and smuggling cocaine, highlighting the theme of addiction and its consequences. | Themes of drug addiction and its impact on individuals and society are common tropes in crime dramas to explore the human cost of the drug trade. An example of this trope can be seen in the TV show 'The Sopranos,' where the main character struggles with addiction and its effects on his family. |
Theme | Theme Details | Themee Explanation | ||||||||||||
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Good vs. Evil | It explores the complexities of morality, demonstrating that good people can make bad decisions, and vice versa. | The screenplay examines the actions of both the DEA agents and the drug cartels, highlighting that ethical considerations are not always clear-cut. | ||||||||||||
Strengthening Good vs. Evil:
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The Power of Corruption | It shows how corruption can permeate society, affecting everyone from politicians and police officers to ordinary citizens. | The screenplay portrays how the drug trade corrupts individuals and institutions, blurring the lines between right and wrong. | ||||||||||||
The Importance of Determination | It demonstrates the power of determination and resilience in the face of adversity. | The DEA agents' relentless pursuit of the cartels, despite setbacks and danger, showcases the importance of perseverance. | ||||||||||||
The Devastating Consequences of Violence | It depicts the brutal violence of the drug trade, showcasing its devastating impact on individuals, families, and communities. | The screenplay graphically portrays the violence inflicted by the cartels, highlighting the human cost of drug trafficking. | ||||||||||||
The Impact of Childhood Trauma | It delves into the childhood experiences of Pablo Escobar and others, examining how trauma can shape one's actions. | The screenplay explores the formative years of key characters, showing how their past traumas influence their present decisions. | ||||||||||||
The Search for Redemption | It shows the characters' struggles to atone for their past mistakes, seeking redemption and a chance to make things right. | The screenplay depicts the characters' attempts to overcome their past actions, highlighting the human capacity for growth and redemption. | ||||||||||||
The Complexity of Family | It examines the complex dynamics of family relationships, exploring love, loyalty, and betrayal. | The screenplay portrays the challenges and bonds within families, showing how family ties can both support and hinder individuals. |
Screenwriting Resources on Themes
Articles
Site | Description |
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Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
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Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
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Summary: | The writer's voice is characterized by its gritty, fast-paced dialogue, and intense visual descriptions. The narrative is driven by the author's unique perspective on the drug war, exploring its high stakes, moral complexities, and the personal sacrifices of those involved in the fight against it. |
Voice Contribution | The writer's voice contributes to the script by creating a sense of urgency and tension, immersing the reader in the dangerous and often brutal world of drug trafficking. The use of vivid imagery and visceral language enhances the emotional impact of the story, allowing the reader to experience the physical and psychological toll of the drug war. |
Best Representation Scene | 1 - Tracking Poison: The DEA vs. The Cartels |
Best Scene Explanation | Scene 1 effectively showcases the author's unique voice through its blend of action, dialogue, and gritty atmosphere. The fast-paced narrative and vivid descriptions create a sense of urgency and danger, establishing the high stakes and moral complexities of the drug trade. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay presents a fresh perspective on the drug war in Colombia, showcasing unique approaches to surveillance, drug smuggling techniques, and the personal struggles of those involved. The authenticity of the characters' actions and dialogue adds depth to the narrative.
- Most unique situations: * The depiction of the drug trade through the perspective of a DEA agent who engages in a cat-and-mouse game with the narcos using advanced surveillance tactics. * The portrayal of the internal struggles and complex relationships within the drug cartels, capturing both the loyalty and the treachery that exist within these organizations. * The exploration of the social and moral implications of drug use and addiction, showing the devastating impact it has on individuals and communities. * The historical context of the drug war in the 1980s and the involvement of various agencies in combating it, providing a realistic and well-researched backdrop for the story.
- Overall unpredictability score: 7
- Overall unpredictability explanation: While the screenplay follows the general trajectory of a drug war narrative, it incorporates several unexpected plot twists and character developments. The outcomes of confrontations and the loyalties of characters are not always predictable, keeping the audience engaged and guessing throughout the story.
Goals and Philosophical Conflict | |
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internal Goals | The protagonist's internal goal is to take down drug traffickers and seek justice for innocent victims. Their external goal is to track and capture criminals involved in the drug trade. |
External Goals | The protagonist's external goal is to coordinate with law enforcement and carry out covert operations to capture criminals. |
Philosophical Conflict | The protagonist's journey involves the moral ambiguity of surveillance and espionage in the fight against drug trafficking. |
Character Development Contribution: The internal and external goals challenge the protagonist's beliefs and values, leading to growth and reflection. The philosophical conflicts push the protagonist to question their moral compass and make difficult decisions.
Narrative Structure Contribution: The goals and conflicts drive the plot forward, creating tension and conflict that propel the story. They also provide a framework for character development and thematic exploration.
Thematic Depth Contribution: The goals and conflicts deepen the exploration of justice, morality, and power dynamics in the world of drug trafficking. They raise questions about the grey areas between right and wrong, highlighting the complexities of the criminal underworld.
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 world of the screenplay is set in Colombia during the rise of narco-trafficking. The physical environment is diverse, with lush jungles, snow-capped volcanoes, and alpine lakes. The urban settings are chaotic and dangerous, with a heavy presence of law enforcement and drug-related violence.
- Culture: The culture of the screenplay is heavily influenced by the drug trade. The wealthy landowners and politicians are involved in the cocaine business, while the peasants and the poor suffer the consequences of violence and corruption. The screenplay also depicts the Colombian-American cultural divide, as the DEA agents struggle to understand the complex social and political dynamics of Colombia.
- Society: The societal structure of the screenplay is based on a hierarchy of power and corruption. The drug cartels are at the top, with the government and law enforcement often in their pockets. The people at the bottom of the hierarchy are the poor, who are often caught in the crossfire of the drug war.
- Technology: The screenplay depicts a world where technology is used both to fight and facilitate the drug trade. The DEA uses surveillance technology to track the drug cartels, while the cartels use advanced weapons and communications systems to stay ahead of law enforcement.
- Characters influence: The world of the screenplay shapes the characters' experiences and actions in a number of ways. The physical environment is often hostile and dangerous, forcing the characters to make difficult choices in order to survive. The culture of violence and corruption makes it difficult for the characters to trust each other, and the societal hierarchy makes it difficult for them to achieve justice.
- Narrative contribution: The world of the screenplay contributes to the narrative by providing a setting for the action and by shaping the characters' motivations and actions. The physical environment is a constant source of danger, and the culture of violence and corruption makes it difficult for the characters to achieve their goals. The societal hierarchy also plays a role in the narrative, as the characters must navigate a complex web of power and corruption in order to achieve their goals.
- Thematic depth contribution: The world of the screenplay contributes to the thematic depth by exploring the themes of violence, corruption, and redemption. The violence of the drug trade is a constant presence in the screenplay, and the characters are often forced to make difficult choices in order to survive. The corruption of the government and law enforcement is also a major theme, as the characters must navigate a complex web of power and corruption in order to achieve their goals. The screenplay also explores the theme of redemption, as the characters struggle to find meaning in a world that is often violent and corrupt.
central conflict
The central conflict of the story is the war between the DEA and the Colombian drug cartels, particularly Pablo Escobar's empire.
primary motivations
The primary motivations propelling the story include: - Steve Murphy's determination to fight the cocaine trade and bring down the cartels. - Pablo Escobar's desire to protect his empire and continue to profit from the drug trade. - Javier Peña's desire to apprehend Escobar and dismantle his organization.
catalysts
Key catalysts pushing the narrative forward include: - The death of Poison, a high-ranking member of Escobar's cartel, which sets off a chain of events leading to increased tensions between the DEA and the cartels. - The DEA's use of surveillance and technology to track and apprehend Escobar and his associates. - Escobar's brutal tactics, including the killing of police officers and civilians, which intensifies the conflict and raises the stakes.
barriers
Major barriers preventing character objectives include: - The vast resources and power of Escobar's cartel, which make him difficult to apprehend. - The corruption and violence in Colombia, which make it difficult for the DEA to operate effectively. - The political complexities of the drug war, which make it difficult to achieve a lasting solution.
themes
Central themes linked to the story's engine include: - The futility of the war on drugs, which ultimately creates more violence and instability. - The corrupting influence of power, which can lead to violence and injustice. - The importance of perseverance and determination in the face of adversity.
stakes
What's at stakes in the narrative include: - The lives of DEA agents and Colombian citizens caught in the crossfire of the drug war. - The stability of Colombia, which is threatened by the violence and corruption of the cartels. - The future of the drug war, which is a complex and ongoing issue with no easy solutions.
uniqueness factor
The uniqueness factor that differentiates this story from others is its focus on the real-life events of the Medellín Cartel and the DEA's efforts to bring them down. The story provides a gripping and often harrowing account of the violence and corruption that characterized the drug war in Colombia during the 1980s and 1990s.
audience hook
The main audience hook that will keep viewers engaged is the suspenseful and action-packed narrative, which follows the DEA's pursuit of Escobar and the cartels. The story also features a cast of complex and compelling characters, including Murphy and Escobar, who drive the narrative forward.
paradoxical engine or bisociation
The paradoxical story engine or bisociation in this story is the idea that the war on drugs, which is intended to reduce drug-related crime and violence, actually leads to more violence and instability. This is because the drug war creates a black market for drugs, which drives up prices and profits for drug cartels. The cartels, in turn, use their profits to fund violence and corruption, which undermines the rule of law and destabilizes entire countries.
paradoxical engine or bisociation 2
Another paradoxical engine or bisociation in this story is the idea that the pursuit of justice can sometimes lead to injustice. This is because the DEA's pursuit of Escobar and the cartels often led to the violation of civil liberties and human rights abuses. For example, the DEA's use of informants and surveillance sometimes led to the arrest and detention of innocent people.
Recommend
Executive Summary
Narcos is a compelling, gritty exploration of the global drug trade, focusing on the rise of Pablo Escobar and the DEA's efforts to combat drug trafficking. With strong character development, particularly of Escobar, and a narrative that skillfully blends action with historical detail, the screenplay offers a deep dive into the complexities of the drug war. While it could benefit from tighter pacing and more developed secondary characters, its strengths in storytelling and character arcs make it a standout script.
- The screenplay effectively captures the gritty and complex nature of the drug trade, providing a deep dive into the lives of both the traffickers and law enforcement. high
- Strong opening and closing scenes that bookend the narrative compellingly, setting the tone and wrapping up with a strong climax. high ( Scene 1 Scene 14 )
- Excellent character development, particularly with Pablo Escobar, showing his transformation and increasing ruthlessness. high ( Scene 12 )
- The screenplay uses action effectively to drive the plot forward, particularly in scenes involving shootouts and tense exchanges. medium ( Scene 11 )
- Dialogue is sharp and authentic, enhancing the realism of the screenplay and deepening character development. medium
- Some scenes could benefit from tighter pacing to maintain momentum and keep the audience engaged throughout. medium
- Certain secondary characters lack depth and could be more fully developed to enhance their impact on the story. medium ( Scene 5 Scene 6 )
- The narrative could include more distinct and varied settings to enhance visual interest and give a broader scope of the drug trade's impact. low
- Some technical descriptions of drug manufacturing and smuggling operations are overly complex and could be simplified for clarity. low ( Scene 8 Scene 9 )
- The emotional impact on victims of the drug trade could be further explored to deepen the narrative's emotional resonance. medium
- The screenplay could benefit from a stronger female presence, adding more depth to the roles of women in this male-dominated story. medium
- There is a lack of exploration of the socio-political context of Colombia which could provide a richer backdrop for the story. medium
- The impact of the drug trade on local communities is underrepresented and could add another layer of complexity to the story. medium
- The screenplay does an excellent job of weaving historical facts with narrative fiction, creating a compelling story that feels both educational and entertaining. high
- The use of archival footage and real events gives the screenplay a documentary feel that adds to its authenticity. high ( Scene 2 Scene 3 )
Memorable lines in the script:
Scene Number | Line |
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5 | Pablo Escobar: Gentlemen, let me tell you who I am. I am Pablo Fucking Escobar. My eyes are everywhere. You can't do a goddamn thing in Antioquia without me knowing about it. I'm going to be President of Colombia one day. |
11 | Connie: The baby died in my hands. |
13 | Nancy Reagan: So to my young friends out there, life can be great. But not when you can't see it. So open your eyes to life, to see it in the vivid colors that God gave us as a precious gift to His children. Say yes to your life. And when it comes to drugs and alcohol, just say no. |
8 | Pablo: We'll take five. |
1 | Murphy: Now we owned him. And he didn't even know it. |