🔴 Script 7:1 Louis T Steinhil

LizzieB90

6 years ago

🔴 Script 7:1 Louis T Steinhil (№ 27)

NBC’s series The Blacklist starring James Spader and Megan Boone
Series created by: Jon Bokenkamp
Program air date: 10/4/2019 in the US (7pm Central/Chicago Time)
Permalink: https://wp.me/pDKwi-9Rj
Entertainment Weekly Recap: http://bit.ly/32Xpd34
🎹 Tunefind for Episode: http://bit.ly/31MdZOx
IMDb (Internet Movie Database): http://imdb.to/33wd4lZ
Source: Raw Script from Springfield: http://bit.ly/2nnZ7XS [ dump of captioning ]

STATUS: ⭕ Pending ⭕ Rough ⭕ Preliminary 🔴 FINAL
STATUS: 🚫 Pending 🌒 Rough 🌓 Preliminary  Final
Last updated: 10/7/2019 at 2:15am CT [ Central/Chicago time ]

༺✦ ♤ ✦༻

Directed by: Bill Roe
Written by: John Eisendrath, Jon Bokenkamp

SERIES STARS:

Raymond ‘Red’ Reddington – James Spader
Elizabeth Keen – Megan Boone
Donald Ressler – Diego Klattenhoff
Harold Cooper – Harry Lennix
Aram Mojtabai – Amir Arison
Dembe Zuma – Hisham Tawfiq

GUEST STARS:

Berdy – Peter Bradbury
Dr Busson – Jean Brassard
Joubert – Evan Hall
René Oban – David Meunier
Abigail – Kelley Rae O’Donnell
Mila LaPorte – Natalie Paul
Katarina Rostova – Laila Robins
Michael Hansen – Benjamin Thys

Note: Springfield’s in the UK provides a raw version of each script. These typically are available by noon the next day, but can be delayed by a day or more. I add the speakers, formatting, and descriptive material when called for. Red’s lines are bolded. Sound effects from the screen caps in ALL CAPS and my added action notes are in [ square brackets ]. I am sure there are mistakes.

🅾️ Jump to Episode ♫ Songs ♫
🅾️ Jump to Episode Photos

🔴 Script 7:1 Louis T Steinhil (№ 27)

Brief (Where we’re at): Red has been abducted – by Katarina Rostova, Liz’s mother and notorious KGB/Cabal operative and femme fatale. Having found out that Ressler had stirred up Russian interest in her by his search for her, Red reached out to a friend (“mystery man”) who located Katarina living in Paris. Red found her walking alone along a dark Parisian street on a rainy night and called her name. She turned and recognized him, “Raymond.” She walked up to him and kissed him, deeply. “Are they watching?” she asked. “It’s not safe. You’re not safe,” he answered, followed by another deep kiss. Then she took out a hypodermic needle and jabbed him in the gut with it. He looked at the needle, then collapsed. A car drove up, two men got out of it, loaded Red into it and drove off. Katarina picked up his fedora and, twiddling it, walked on, smiling slightly.

Red has been friends with the mystery man since childhood. Not only did the mystery man cast doubt on the story Dom told to Liz about Ilya Koslov’s past with Katarina, he looks a little like an older Ilya himself. Not only do both he and Red know Dom, both refer to Liz as “Masha,” and both agree it was concerning that Dom told Liz “that story.” According to Dom’s account to Liz, Red was in fact Ilya Koslov before taking on the identity of Raymond Reddington. The reason Red gives for Dom’s story was that Dom wanted Liz to be able “to move on.” And in fact Liz has moved on, with her daughter Agnes, now about four, coming back home to live.

The Season 6 “plot against America” uncovered by former MI6 agent Christopher Miles turned out not to be a plot to assassinate the President at all but rather a plot by the President to assassinate the First Lady, who wanted him to come clean about a drunken car accident four years earlier that had killed a woman and her son. Liz and Ressler interrupted the shooting just in time to throw off Mr Sandquist’s shot, but Sandquist turned the tables and accused them of being the assassins, so they were arrested. (They had just earlier escaped from the Post Office along with Aram and Cooper in a break-out masterminded by Liz.) Red intervened by ramming the police wagon they were in and, after a shootout, Anna McMahon was just about to execute Red when Dembe(!) appeared and shot McMahon. So Dembe is back! “I said I needed to follow my own path. I did. It led me back to you.” But more trouble is in store. Dembe tells Red “Our friend in Miami says the Townsend Directive is in play,” so it’s possible being held captive by Katarina Rostova may not be the worst of Red’s problems.

For S7 Episode 7:1 Louis T Steinhil 🎯 EW recap ¤ 🌅 Photo Gallery ¤ 🎹 Music Videos ¤ 📒 Script link: https://wp.me/pDKwi-9Rj [ “you are here” ]

༺✦ ♤ ✦༻

[ Paris, France ]
[ Three young thugs are in an apartment drinking beer and watching a soccer game on tv. In the kitchen a woman runs currency through a machine which creates packets of bills ]
[ ANNOUNCER SPEAKING FRENCH ]
Joubert: Allez, allez. Passe. Passe! Vas-y, vas-y, vas-y! (tr Come on. Pass. Pass! Go ahead, go ahead, go!)
[ Thugs SHOUTING IN FRENCH, cheering and jeering ] [ KNOCK ON DOOR ]
Thug: N’importe quoi. (tr “Whatever”)
— Hey, hey.
[ TV MUTES ]
Joubert: Shh, shh, shh, shh! — [Fr.] Hear that?
Thug: [Fr.] Hear what?
[ Joubert motions to the Thug, who draws a gun and approaches the door and looks through the spy hole. He sees nothing ]
Thug: [Fr.] Idiots, it’s nothing. [ LAUGHS ]
Joubert: [ EXHALES DEEPLY ] My God, man.
[ Remote BUTTON CLICKS ] [ ANNOUNCER SPEAKING FRENCH ]
[ Suddenly, the DOOR THUDS open. It’s Dembe, shooting ] [ GUNSHOTS 💥💥💥💥 ] [ He shoots the Thugs, but sparing Joubert ]
[ GROANING ] [ TV ANNOUNCER CONTINUES ]
[ Dembe points his gun at Joubert ]
Dembe: Where is he?
Joubert: What? I don’t–
Dembe: Reddington! Where is he?!
Joubert: Okay, okay! Arrête. Stop. Put down the gun, eh?
[ GUNSHOT💥 ] [ Dembe shoots the Thug again ]
— Aah!
Dembe: You run the network, Joubert. If Reddington was smuggled out of Paris, you’d know.
Joubert: Smuggled?
Dembe: Who got him out?
Joubert: Reddington is impossible to track. He’s like a ghost.
Dembe: What about the strike team?
Joubert: What strike team?! Hey, hey, if Reddington was in France, I would know, and I would tell you. I would.
Wounded thug: [ EXHALES SHARPLY ] [ GROANING ] [ PANTING ]
Dembe: Take this phone, Joubert, and call me if you hear something.
Joubert: What do you mean, smuggled out of Paris? Is Reddington in trouble? Is he? What happened to Reddington?!

[ A hospital room ] [ MONITOR BEEPING ] [ OMINOUS MUSIC PLAYS ] [ WOMAN SPEAKING FRENCH OVER P.A. ]
[ Red is strapped to a hospital bed, his head and body immobilized ]
Red: [ MUTTERS ]
[ As Red begins to wake, his vital signs rise on the monitors ] [ BEEPING QUICKENS ]
Red: [ GRUNTS ]
[ DOOR OPENS ]
Red: [ GRUNTS ]
[ A nurse, Mila LaPorte, enters ]
Mila LaPorte: Il est reveille. Il est– He, appelle Docteur Busson. Dis lui qu’il reveille! (tr. He is awake. He is– [ To another nurse ] Call Dr. Busson. Tell him he’s waking up!)
Red: Where- Where am I?
Orderly: Il lutte contre les sangles. Il ne peux pas bouger. Dis lui qu’il do it rester immobile. (tr. He fights against the straps. He can not move. Tell him he must stay still.)
Red: What happened?
Mila LaPorte: Mr. Reddington, please be calm. You are in a hospital. You’re in Paris.
[ BEEPING CONTINUES ]
Red: I can’t feel anything. Why can’t I move? Why can’t I feel anything? [ MONITOR BEEPING ]

Dr Busson: Do you recall the incident? How about the rescue? Mr. Reddington, I’m sure you have many questions, and, uh, a great many police waiting to speak with you. But my only job is to care for your physical health, and I’m concerned you may also have cognitive damage. So I need you to tell me what, if anything, you remember about the incident. Do you know who did this to you?

Flashback:
Red: Katarina.
[ Katarina kisses Red ]
[ Katarina jabs Red with a needle ] Red: [ GRUNTS ]
[ Red falls ]
[ ⚡️TIRES SCREECH⚡️ ]
[ CAR DOOR CLOSES, VEHICLE DEPARTS ]

[ MONITOR BEEPING ]
Red: I don’t.
Dr Busson: Police had a local gang under surveillance when they saw you being pulled from a van.
Red: So they caught them – the people who did this.
Dr Busson: Well, the inspectors intervened, but they got away. You’d been drugged and beaten within an inch of your life.
Red: Why can’t I feel my legs?
Dr Busson: Look, the people who did this to you, they shattered your spine L-two, three, and four. The neurosurgeons performed an emergency surgery – a laminectomy. They removed the shattered bone, fused your spine.
Red: But I can’t walk. [ INHALES DEEPLY ]
Dr Busson: Tell me when you feel this.
[ The doctor taps up the side of Red’s leg up to his waist ]
Red: There.
[ WOMAN SPEAKING FRENCH OVER P.A. ]
Red: I can’t walk.
Dr Busson: There are tests to perform, work to be done, but time will be the only real judge of what functions you will eventually recover.
Red: Why am in this thing?
Dr Busson: Patients living with the challenges of immobility–
Red: So I’m paralyzed.
Dr Busson: People in your condition–
Red: I’m paralyzed.
Dr Busson: You’re immobile. And while you are immobile, you’re prone to both pulmonary complications and pressure-related injuries. By moving you up and down, this will help you avoid an embolism and pressure ulcers.
Red: Will I ever walk again?
Dr Busson: Mr. Reddington, you’re lucky to be alive.

[ Liz’s apartment ]
Aram: Okay, so, I ran background checks on all the applicants.
Liz: Yeah? Who is your top choice? Mrs. Doubtfire, right?
Aram: Would be, if she weren’t three months behind on her rent.
Liz: What about “Hand That Rocks the Cradle”?
Aram: Two stints in rehab.
Liz: “The Manny”?
Aram: 17 unpaid parking tickets.
Liz: Well– I have more than that.
Aram: One scofflaw in the family is enough.
Liz: [ SIGHING ] Are they all bad?
Agnes: Bad? No. Just, uh, not good enough to be Agnes’ nanny.
Liz: Is it just me, or does it seem like everyone has a skeleton in the closet? [ CLICKS TONGUE ]
Aram: You know, after Samar left, I spent six months drowning my sorrows in kielbasa and Ingmar Bergman movies. Then Ressler insisted I sign on to a dating app. When I refused, he signed up for me. I swear, he is more of a yenta than my own yenta. First three names he swipes right on their background checks – bankruptcy, credit-card fraud, and a restraining order for slashing their ex-boyfriend’s tires. Now we are both eating Polish sausage and playing chess with Death.
Liz: Well, I need to keep looking. Mrs. Williams is helping me out as a favor. I need someone who’s permanent.
[ CELLPHONE VIBRATING ] [ VIBRATING CONTINUES ] [ CELLPHONE BEEPS ]
Liz: This is Keen.
Dembe: Elizabeth. Raymond’s gone.
Liz: Gone where?
Dembe: Taken.
Liz: Tell me what you know.
Dembe: We came to Paris.
Liz: When?
Dembe: Six days ago, for a meeting.
Liz: With who?
Dembe: Someone – I don’t know. Someone he trusted.
Liz: How do you know you can trust him if you don’t know who he is?
Dembe: Because he insisted on going alone.
Liz: He went without you? Why would he do that?
Dembe: I don’t know. He’s in trouble, Elizabeth. I need your help to get him out of it.

[ The hospital ]
[ ELEVATOR BELL DINGS ] [ An inspector with the French internal security service DGSI , René Oban, gets off the elevator and walks past hospital personnel to Red’s room] [ DISTORTED, INDISTINCT CONVERSATIONS ]
⋘⋙
[ MONITOR BEEPING ] [ DOOR SLAMS ]
Red: Who’s there?
Inspector René Oban: [ FRENCH ACCENT ] I was beginning to think that you didn’t exist. And yet, voilá here you are. René Oban. Chief Inspector, DGSI. I’ve been hunting you for years.
Red: Well, this must be very exciting for you.
Oban: Mm. It was. Like chasing an illusion. Reality is much less interesting. Welcome to yours.
Red: A Frenchman who states the obvious – how unusual. Like a Swiss who argues. Or an Italian who doesn’t.
Oban: I have been hunting you and Katarina Rostova.
Red: Fun.
Oban: We know that she is in Paris. And at the risk of stating the obvious, it cannot be a coincidence that you are here, as well.
Red: 202-555-0100.
[ BED WHIRRING ]
Oban: Tell me about Rostova.
Red: Call the number.
Oban: We know about the Townsend Directive. We know that it is a standing order to kill Rostova and that it is very much in play. I want you to tell me who is coming for her and where she is so I can get to her before they do. She has some intel that I want, and obviously I cannot get it from her if she’s dead.
Red: You said you prefer illusion to reality.
Oban: Mm. More than you can possibly imagine.
Red: I may have seemed like an illusion, but she is one someone you can never find. 202-555-0100.
Oban: I am not interested in talking to your lawyer.
Red: Then you must not be interested in talking to me, because you can’t do one without the other.
Oban: What’s his name?
Red: Marvin Gerard. Sounds French.

[ Katarina Rostova sits in the back seat of a small black SUV. Berdy, the driver, sits in front ]
Katarina: What’s the status?
Berdy: Reddington is being interrogated as we speak.
Katarina: And Annapolis knows we’re coming?
Berdy: Yes, everything is on schedule.
[ Joubert gets into the back seat with Katarina ] [ VEHICLE DOOR CLOSES ]
Katarina: So. Joubert. Problem?
Joubert: Uh, one of Reddington’s men found me.
Katarina: That was to be expected.
Joubert: He shot two of my men!
Katarina: And he’ll shoot more unless you tell him where Reddington’s being held.
Joubert: No, no, I-I would never do that, ever. I just think that you should know that they are close, and they are getting closer.
Katarina: Thank you, Joubert. [ She touches his face softly ] For your concern and kindness.
[ Berdy swiftly turns around and shoots Joubert in the forehead ] [ SILENCED GUNSHOT (💥) ]
Katarina: How I wish we lived in a world where kindness wasn’t a liability.
Berdy: I have intel on Keen. Should I act on it?
Katarina: Not yet. I’m hoping we won’t have to. [ SIGHING ] Clean this up and meet me in Annapolis.
Katarina: And, Berdy –
[ Katarina opens the door and gets out ]
Berdy: Yes, boss?
Katarina: Say a kind word over his grave.
[ Door thuds shut. Katarina walks away along a sidewalk ]

[ The Post Office ]
Cooper: [ On phone ] Yes, the Raymond Reddington. Positively I.D.’d in Paris.
⋘⋙
Liz: [ On phone ] I talked to Morgan. He hasn’t heard from him. Can you reach out to Chuck?
⋘⋙
Aram: Okay, so, I reviewed all the CCTV footage from the Paris neighborhoods that Dembe thought Mr. Reddington might have gone to. Nothing. Wherever he went, he didn’t want to be seen.
[ Ressler enters ]
Ressler: French police are on line one.
Cooper: I’m on with French police.
Ressler: The secret police. They called the 0100 number.
Aram: I didn’t know we had an 0100 number.
Liz: We don’t.
Cooper: I’ll have to call you back.
[ CELLPHONE BEEPS ] [ TELEPHONE BEEPS ]
Cooper: Harold Cooper.
Inspector Oban: [ On phone ] Yes, this is René Oban with the DGSI calling for Marvin Gerard.
Cooper: He’s not available right now.
Oban: Mm, well, he will be when you tell him I have Raymond Reddington in custody.
Cooper: Inspector Oban, this is the Assistant Director of the FBI, Harold Cooper. We have arrested Marvin Gerard and have a tap on his lines in the hopes that we might find Raymond Reddington. Apparently, we have.
Aram: [ Whispers ] Is any of this true?
Ressler: [ Whispers ] No, but he doesn’t know that.
Cooper: If you have Reddington, we need to meet. If you have him. I’ll need verification. Yes, understood. But since I am in Paris and you are in Washington, uh, might I suggest a meeting at our embassy between you and our attaché?
Cooper: Fine. Make the arrangements.
Oban: You’re quite lucky, tapping the number Reddington gave me to call.
Cooper: Luck had nothing to do with it.
Oban: Oh, no, I don’t suppose it did. Hm. [ CELLPHONE BEEPS, TELEPHONE BEEPS ]

Ressler: Think he suspects?
Aram: Suspects what? What- What was all that?
Cooper: 0100 is a dedicated line, a way for Reddington to let us know if he’s been arrested.
Ressler: He demands to speak to his lawyer, and we pretend like we just arrested him.
Cooper: This Inspector Oban, I want a full rundown on him.
Aram: Hang on, hang on. Mr. Reddington goes 30 years without getting caught, and now he’s been caught twice within the last year.
Liz: He wasn’t caught last year.
Aram: Wasn’t caught? He was nearly executed.
Liz: He was arrested, but he wasn’t caught.
Cooper: What’s the difference?
Liz: I turned him in.
Cooper: You what?!
Aram: Why would you do that?!
Liz: So he couldn’t get in the way of me trying to find out his real identity.
Cooper: Whose real identity?!
Ressler: Reddington’s.
Aram: Wait. Wh- [ LAUGHING ] What? And you knew about this?
Ressler: Yeah. And I promised Reddington I’d keep it to myself.
Liz: They deserve to know.
Cooper: Know what?!
Liz: That the real Raymond Reddington died in 1991 and the man you know as Reddington was once a KGB agent named Ilya Koslov.
Cooper: That’s impossible. I knew Reddington. I served with him.
Liz: It’s a long story. And I’ll tell it to you after we get him back.
Aram: Reddington, who you say is dead.
Liz: It doesn’t matter who he was. I thought it did, but it doesn’t. And once you hear the story, I don’t think it’ll matter to you. The only thing that matters is that Reddington – our Reddington – is in French custody, and we have to get him back.
Cooper: Ressler, Aram, run a check on this René Oban. Keen, circle back to Dembe and press him on who Reddington may have been meeting with. I’ll reach out to Main Justice and explain the situation.
Aram: Which one?
Cooper: The one about getting him back. Once we do that, we can figure out the rest. Or try to.

[ Security Attaché Patrick Briaux greets Cooper on the steps of the French Embassy ]
Patrick Briaux: Ah, pardon. [ HORN HONKS ] Director Cooper! Patrick Briaux, Homeland Security Attaché. Ici, s’il vous plait. (tr. Here, please)
Cooper: Where we going?
Briaux: To have a private conversation. Surely you know we can’t do that in the embassy, since all the listening devices were installed by your government.

[ A nearby park, on a stone bridge ]
Cooper: I share your desire for caution. Mine concerns René Oban. He was with the DGSI until three years ago. After that, there’s no record of him.
Briaux: Does the FBI have a record of you after six years ago? If they do, I couldn’t find it.
Cooper: Fair enough. But before I say anything, I need proof that you have him.
[ Briaux shows Cooper a photo of Red in his immobilized state ]
Briaux: He was picked up near the Seine, badly beaten and unable to walk.
Cooper: We expect your full cooperation in returning him to our custody.
Briaux: You’re a mystery – an agent who doesn’t exist. And yet, when we call Reddington’s lawyer, you pick up and demand his return. I wonder – Is that because he’s your fugitive or because you work for him? A friend in high places.
Cooper: Do you have Reddington or not? This photo tells me nothing.
[ Briaux’s CELLPHONE SPEED-DIALING ]
Briaux: I have Cooper. Put him on.
Oban: Nothing will come from this.
Red: [ On phone ] Yes?
Cooper: 30 years ago, Raymond Reddington heard classified testimony in connection with a U.S. intelligence officer killed in Kuwait. What was the soldier’s name?
Red: Daniel Hutton.
Cooper: So it is you.
Red: Were you expecting someone else?
Cooper: I wasn’t sure. Now I am. Is it true about your injuries?
Red: It is. But I’ve been paralyzed before. The spine of a blowfish pierced my wet suit off Pit–
Oban: Satisfied?
Cooper: Not remotely. An extradition request will be made within the hour.
[ CELLPHONE BEEPS ]

Red: Cheer up. I’m a man of my word. You did as I asked, so I’ll tell you what you’re dying to know.
Oban: About Rostova?
Red: The blowfish. I was stung off Pitcairn Island during a brief assignation I had with a rapturous descendant of Fletcher Christian.
[ Oban walks out before Red is finished speaking ]
⋘⋙
[ Oban talks loudly as he walks down the hospital corridor ]
Oban: [Fr.] No one sees him unless I say so. Including the doctors.

[ Oban gets into an elevator. The doors close ]
Oban: [ American accent ] Okay, I’m clear.
[ The side of the elevator opens into a large ad hoc work area, with people scurrying about ]
Abigail: [ Also speaking with American accent ] Jiro wants to know if you want him to intercede with the extradition.
[ She hands him a file ]
Oban: No, tell his people to hold. Is this the updated Cooper file?
Abigail: It is, but Werner says it’s a work in progress. The DOJ files are understandably difficult to access.
[ The work area is open to street. Racks of clothing come into view ]
Oban: Okay. How’s our patient?
Abigail: He’s stable. Respiratory rate and O2 saturation are good. Last dose was at 10:00.
Oban: What are the levels?
Abigail: He’s fine above L2.
Oban: Is our client here?
Abigail: Yes.
[ They walk up to a video screen. It is a from a live cam in Red’s room ]
Oban: Dose him again.

[ DOOR CREAKS ] [ HORN HONKS IN DISTANCE ] [ A door on the roof of the building opens. Oban descends several steps and walks over to a woman looking out at the city. The woman is Katarina Rostova ]
Oban: Cooper made contact.
Katarina: And?
Oban: Still a mystery. As is whether he has a connection to Reddington. It’s a work in progress.
[ Katarina opens the file on Cooper ]
Katarina: And Reddington?
Oban: Still thinks he’s in Paris. But if he thinks he can wait for the FBI’s extradition order, he’s gonna be less inclined to talk.
Katarina: Then use that to your advantage.
Oban: How? We’re up against a clock. We need a plan B. It’s not gonna take them long to find out what’s happening here.
Katarina: Yes, well, if you’re any good at your job, this will all be done by the time they do.

[ Red’s hospital room ] [ DOOR OPENS ]
Nurse Mila LaPorte: Good news. I’m told you’re going to get into a chair soon.
Red: Right now, I’m a little less concerned with what I can’t feel than by what I can – an insufferable itch on my cheek that I’m unable to scratch. Would you be so kind, Nikola?
Nikola (Orderly): Tell me where.
Red: Uh, the right cheek. Yeah, that’s right. A little higher.
[ Nikola’s cell phone glows through the pocket of his lab coat. Red tries to reach it ]
Red: Oh, no, a little higher than A-Almost–
[ Oban enters ]
Oban: [ French accent ] I don’t know whether to be impressed or disgusted. It appears your American friends, they are more fond of you than I had anticipated. They’ve asked my government to proceed with extradition proceedings. Now, sadly for you, that will not be considered by the French government unless I sign off. And I will not consider that until after you have told me about Katarina Rostova.
Mila: We need to change his dressing to avoid infection.
Oban: Ah, you see another incentive for you to tell me what I want to know. Sepsis. [ To the others in the room ] Could you give us a moment? Wait outside.
[ They leave. DOOR CLOSES ]
[ Katarina watches the live feed ]
Red: I may not have told you what you want, but I told you all you need. You’ll never find Rostova.
Oban: Ah, yes, yes, yes, because she’s an illusion. What does that mean?
Red: She’s a figment – of the collective imagination.
Oban: I don’t believe you. In fact I am thinking that she did this to you.
Red: Did she?
Oban: Why are you protecting her?
Red: Some people in this world are soul mates. Katarina Rostova and I shared one. Betraying her would be like betraying myself.

[ The Post Office ]
[ Elevator DOOR OPENING ] [ DOOR THUMPS ] [ Dembe gets out ]
Dembe: What have you found?
Ressler: Reddington’s in French custody. Cooper’s working on extradition.
Dembe: Then we’ll get him back.
Ressler: Well, we hope so, but, uh, his physical condition–
Dembe: What about it?
Ressler: It’s not good.
Dembe: Tell me.

Aram: Let me get this straight. Raymond Reddington is your father.
Liz: The real one.
Aram: But he’s dead because you shot and killed him.
Liz: When I was 4, yeah.
Aram: And after he dies, your mother, Katarina Rostova, puts you in foster care and escapes from the KGB, FBI, and the Cabal with the help of her oldest friend, Ilya Koslov, who nips and tucks his way into becoming Mr. Reddington in order to access the millions that the real Reddington didn’t even know he had, in order to finance her disappearance. Is that it?
Liz: Pretty much.
Aram: You’re definitely gonna need therapy. And now that you’ve told me, so am I.
[ Cooper walks over ]
Cooper: Listen up. I just got off the phone with Panabaker. The French are denying everything.
Aram: But, uh, you went to the embassy and spoke to the attaché.
Ressler: Maybe they’re gonna wait until they can bleed Reddington of all the intel they can and then hand him over.
Cooper: Whatever their motivation, the French know this is a priority for us, and they will use that to their advantage in negotiating extradition.
Liz: But the attaché, Briaux, you said he was cooperative.
Cooper: He was, which is why I’m going back to the embassy personally to deliver the extradition paperwork.

[ Red’s hospital room ]
Red: Ah, Mila, my dear! You are a sight for sore eyes.
Mila: You did not eat a bite.
Red: My God, no. Eating even a swallow of that gruel with all the bread and cheese, chocolate and wine on the other side of these walls? That’s more torture than a man can brave.
Mila: Well, at least you’ll be able to get out of this bed.
[ Dr Busson enters with an orderly pushing a wheelchair ]
Red: Ah! My chariot arrives.
Dr Busson: Mr. Reddington, let’s get you moving around, shall we?
Red: I’ve been on the run half my life. I suppose now I’ll be on a walk. Or a roll.
[ The orderly lifts Red into the wheelchair ]
Mila: You’re a very dark man.
Red: Yes, well, walking or rolling, I intend to show my gratitude by sharing with you the finest night of drinking and dining one can possibly imagine.
Dr Busson: Are you comfortable?
Red: Quite.
[ The orderly cuffs Red’s left hand to the arm of the wheelchair with a chained cuff ]
Red: That ought to keep me from running.

[ The French Embassy ]
Cooper: Harold Cooper, FBI, here to see Patrick Briaux.
Doorman: Yes, sir. Go right ahead.
[ Cooper enter the embassy ]

[ Red’s hospital room ] [ Red is alone. He wheels his wheelchair so it is directly under the surveillance camera. The cellphone he took earlier is tucked under his right leg. He takes it out. The lock screen on the phone shows a man and boy dressed in the uniforms of a U.S. sports team. The phone requires a passcode. Red *clicks* his tongue ]

[ French Embassy ]
Receptionist: Monsieur Briaux. Harold Cooper to see you, sir.
Briaux (the real one): Mr. Cooper. What can I do for you?
Cooper: Patrick Briaux?
Briaux: Yes. Something wrong?
⋘⋙
[ CELLPHONE RINGS, BEEPS ]
Liz: Keen.
Cooper: [ On phone ] Elizabeth, it’s me.
Liz: Did you talk to Briaux?
Cooper: Yes, I’m- I’m with him right now. We have a situation.

[ SUSPENSEFUL MUSIC PLAYS ] [ Red continues to take in his surroundings. The building outside may be familiar to him. It looks like a government or embassy building ]

[ The Post Office ]
Ressler: I got something. Take a look at this. So, these are the surveillance feeds from inside the embassy, which show Briaux waiting in line to request a visa application. But once he gets it, he leaves. Never filled it out.
Liz: He was just lingering outside, chatting up the guards, waiting for you to arrive.
Aram: I’ll issue a BOLO, circulating the image with MPD and surrounding jurisdictions.
Cooper: The real Briaux insists that Reddington is not in French custody and regrets the misunderstanding.
Liz: Well, if Reddington isn’t being held by the French police, who is holding him?
Ressler: Maybe the person he met with. You have no idea who that was?
Dembe: I only know it was someone Raymond felt safe with. And Raymond never feels safe with anyone.
Liz: Whoever it was must’ve known we were in the dark and reached out anyway, had Briaux come to meet you. Why? What were they hoping to gain?
Cooper: Maybe confirmation that he’s our informant. He has a lot of enemies. Now one of them may suspect he’s working with us, and if that’s the truth, we may have just signed Reddington’s death warrant. Briaux, or whatever the hell his name actually is, he’s our only lead. Let’s find him.

[ Red’s hospital room ] [ Sunlight is streaming into Red’s room ]
[ Le Petit Orchestre De Cafe Paris’ ♫ “La Danse de Nuit” plays ]
[ ⬇ Go to Full Lyrics ] or [ ♪ Tap square below to play ♪ ]

[ Red adjusts the reflective flat surface of the radio to capture the sunlight and direct it at the surveillance camera, blinding it ]

♪ Sous les etoiles on danse avec la lumiere de la lune
Nous deux ensemble somme aussi leger comme une plume

⋘⋙
[ Surveillance site ]
[ MOUSE CLICKING RAPIDLY, THUMPING ]

.
♪ Quelle joli soir et tout le monde a but un verre ou deux

Tech: What the?
[ INDISTINCT CONVERSATIONS ]
Tech: Liam. Hey, the hell’s this? Something’s wrong with the picture. Do me a favor. Get Colton.
Liam: I’m on it.

♪ Et chaque fois que tu me prends dans tes bras

[ Nurse Mila LaFonte enters Red’s room ]
Mila: Good evening, Mr. Reddington. Time to change your dressing.
Red: Yes, Mila, please, do come in.

♪ C’est magique danser dans la nuit!

Red: Let me ask you something. Do I frighten you, Mila, with all the police and the guards, the handcuffs?
Mila: No. To me, you seem like, uh- I don’t know the word. [ SIGHS ] You seem like a nice man.
[ MUSIC ENDS ]
Red: I’m glad.
[ A new song begins ]
[ Francoise Hardy’s ♫ “Tu Peu Bien” plays ]
[ ⬇ Go to Full Lyrics ] or [ ♪ Tap square below to play ♪ ]

Red: Ah! Would you mind turning up the music? I love this song.

♪ Tu peux bien te perdre
Et tu peux, demain

[ VOLUME INCREASES ]
Red: Mila, please, just a little more.

♪ Sans rien me dire, disparaître, je sais bien

Red: I remember hearing this wafting across the courtyard and through the window of my apartment on Rue Jacob.
Mila: It could have been my mother. She loved this record.
[ Mila comes near Red with the syringe for his Injection. Suddenly, he grabs her, wrests the syringe from her and holds the needle to her neck ]
Mila: [ GRUNTS ]
[ OBJECTS CLATTER ]
Mila: [ GRUNTS ] Aah! Ohh!
Red: Unless you want whatever is in here, I suggest you be still.
Mila: [ PANTING ] [ AMERICAN ACCENT ] Please. No.
Red: Who are you working for?
Mila: A-A woman. I don’t know her name.
Red: Katarina?
Mila: Maybe. She’s Russian.
Red: And the beating?
Mila: Don’t, please. I’m begging you –
Red: Tell me about the beating.
Mila: It was a story.
Red: Like Inspector Oban and the doctor.
Mila: They’ll be here any moment.
⋘⋙
[ The surveillance control site ][ MUSIC CONTINUES ]
[ The lead tech Colton arrives ]
Tech: I can’t hear anything with the music, and I’ve got no video.
⋘⋙
Red: There was no surgery.
Mila: No.
Red: And we’re not in Paris.
Mila: No.
Red: Then why the chair? Why can’t I feel my legs? Answer me.
Mila: [ GASPS ] The surgical drain in your back, i-it’s not to collect fluids. It’s an epidural. When we change your dressing, we’re pushing sensory and motor blockades [ INHALES DEEPLY ] tetracaine and bupivacaine.
Red: And what happens if I don’t get the scheduled dose?
Mila: If you don’t, then – you walk.
[ Mila tries to get away. The syringe goes flying. Mila runs, Red grabs her by the lab coat, is pulled off the wheelchair, which collapses, still connected to Red’s wrist ]

♪ je rêve de me perdre
si c’est me perdre avec toi, toi

[ Mila gets to cabinet, opens it, with Red hanging on. He grabs her leg, pulling her down ]
[ GRUNTING ] Aah! [ BOTH GRUNTING ]

♪ et je cours à ma perte
si tu n’as rien d’autre pour moi, que çà

[ The surveillance center ]
Colton: Signal looks fine. It might be the camera, some internal glitch.
[ Katarina comes over ]
Katarina: Whatever’s happening, it’s no accident. Get in there.

[ Red’s room ] [ Red continues to wrestle on the floor with Mila, who got a gun from the cabinet ]
[ OBJECTS CLATTERING ]

♪ plus tu gagnes et plus je perds à t’aimer

[ The fight now is for the gun ]
[ BOTH GRUNTING ]

♪ où lassée de tout perdre
je saurais partir loin de toi, toi
et par peur de me perdre

[ BOTH GRUNTING ] [ Red gets the gun and points it at her ]
Red: You make a sound, I’ll kill you.

♪ tu croiras que tu veux de moi

[ Two men walk down the corridor to Red’s room. When they enter, all seems normal. Red is again seated in his wheelchair while Mila works busily in the corner ]
[ MUSIC STOPS ] [ SPEAKING FRENCH ]
Orderly: [Fr.] What’s going on?
Mila: [Fr.] Finished changing his dressing. Just trying to make him comfortable. Do you need something?
Orderly: [Fr.] They’re requesting you in 305 for a discharge.
Mila: [Fr.] Can you ask Celeste? I’m going to be a few minutes.
[ An orderly adjusts the radio to no longer throw light blinding out the video feed ]
Red: [ Politely ) I’m sorry. Uh, my French is really only good enough for restaurants and little old ladies. Do you speak English?
Orderly: [ FRENCH ACCENT ] Some, yes.
Red: Ah. Lovely. In that case, may I ask a favor?
⋘⋙
[ Katarina and Oban are watching the surveillance feed ]
⋘⋙
Red: I-Inspector Oban the one with the crooked little grin would you please tell him I’d like to speak with him? There’s an important matter I’d like to discuss.
[ The orderly nods and leaves. DOOR CLOSES ]
[ The gun is tucked under Red’s leg ]

[ The Post Office, Cooper’s office ]
Cooper: She killed her father. I can’t imagine the burden that carries.
Aram: If we tell Justice who Mr. Reddington really is, will they shut us down?
Cooper: Rather than stay in business with a KGB agent? I would.
[ Ressler enters ]
Ressler: MPD just found Briaux’s visa application in the trash outside the embassy. They lifted a print.
Cooper: Tell me we have an I.D.

[ Reading from screen ]
Liz: Briaux’s real name is Michael Hansen. Lives off Vermont and North Crescent. High-end grifter who stings anyone from Vegas big shots to tech VCs.
Cooper: And gullible FBI agents.
Ressler: Well, he’s one of the best, which means that whoever has Reddington is even better.
Aram: As soon as we pull a warrant, we can get Hansen to tell us who that is.
Dembe: How long will that take?
Cooper: An hour, maybe less.
Dembe: Definitely less.
[ Dembe walks away ]
Aram: I’m guessing he’s not waiting for a warrant.
Liz: No, he isn’t. Neither am I.
[ Liz begins to follow Dembe, but Cooper grabs her arm ]
Cooper: I understand crossing lines for your father, but now who are you crossing the line for?
Liz: [ Jauntily ] A man I’ve grown to like.
[ Liz walks away ]

[ DOOR THUDS OPEN ]
Liz: FBI!
[ Michael Hansen (aka “Briaux”) runs to a dresser and tries to get a gun out of the bottom drawer, but Dembe kicks the drawer shut, crushing Hansen’s hands ]
Hansen: [ GROANS ]
Liz: Where’s Reddington?!
Hansen: I don’t know! [ GROANS ] Aah!
[ BONES CRUNCH ]
Liz: Then you’re gonna tell us who does.
Hansen: [ GROANS ]

[ Michael Hansen’s living room. His bloody hand is wrapped in a towel ]
Liz: Louis T. Steinhil?
Hansen: That’s what they call him.
Liz: That name’s what, an alias?
Hansen: It’s an anagram. The letters spell “The Illusionist.” [ GROANS ]
Liz: How does he operate?
Hansen: I get a call, a character to create, a script to follow, and a boatload of money.
Dembe: And you do what he says, no questions asked?
Hansen: In my world, everyone wants to work with Steinhil. The man has an incredible reputation.
Liz: Tell us about it, this reputation.
Hansen: [ SCOFFS ] The thieves who set fire to the Vasa Museum and took three Dutch masters? They weren’t thieves, and they didn’t steal the paintings. They worked for Steinhil, who posed as a fireman, cleared the building, and took the masterpieces himself. I’m telling you, The Illusionist is everywhere and nowhere – a fireman, a casino boss.
Liz: A French cop.
Hansen: Sure, if the illusion calls for it, yeah. Listen, it was just a job. I don’t know who he is or what he’s done with Reddington.
Liz: You said he pays well.
Hansen: [ EXHALES SHARPLY ] Very.
Liz: How? Cash? Wire transfer?

[ Louis T Steinhil (aka “Inspector René Oban”) enters Red’s hospital room with a ‘police officer’ ]
Steinhil/Oban: [ FRENCH ACCENT ] You asked to see me.
Red: Yes, I did. There’s something you should know. It’s an urgent but [ SIGHS ] private matter.
Steinhil: Mm. [ SPEAKING FRENCH, to ‘officer’ ] Please. Leave us. Clear the hall.
[ Only Red, Steinhil and Mila remain in the room ] [ Mila closes the door and rolls a medical cart in front of it. She begins to prepare an injection ]
[ Red takes out the gun and points it at Steinhil ] [ Mila turns off the live feed ]
Red: Please. Take off your coat. Have a seat.
⋘⋙
[ The surveillance control room ]
Tech: Something’s wrong. Tell Colton we got an emergency. We lost the feed again.
⋘⋙
Red: Oh! Ha-ha! The keys.
[ Steinhil/Oban takes out his keys ] [ KEYS JINGLE ] [ Mila unlocks Red’s chained hand cuff ]
Red: I asked you here, Inspector Oban, or whoever you are, to tell you how much I admire your plan. And I do or I did. The paralytic agent – that was your pitfall. The medications wear off when not administered every four hours. I’m overdue for my next dose, so –
[ CHAIR CREAKING ] [ Red stands up, slowly ] [ GRUNTS ]
Red: The next time you want to convince me I’ve broken my spine, you damn well better break my spine.
[ Mila prepares to inject Steinhil ]
Steinhil: Hey, put that down. Don’t touch me.
Red: It’s either a bullet in the head or a needle in the arm. I’d take the needle.
Steinhil: What is it?
Red: Ketamine. The same tonic used to knock me out on the street. For a man your height and weight, 150 milligrams should do the trick and give you the most wonderful dreams. Or it might kill you. I’m pretty sure it’s the dreams. But I’m no doctor, and you’re no cop. Either way, I suppose pharma-karma’s a bitch.
[ Mila injects Steinhil ]

[ Police enter Red’s room, but he’s gone ]
Mila: He has a gun.

[ Gun in hand, Red tries to make his way out of the building, dodging police and hospital personnel ~ whether they are real or part of the “Illusion” is unclear ]
[ BREATHING HEAVILY ] [ SUSPENSEFUL MUSIC PLAYS ] [ 🚨ALARM BLARING🚨 ] [ INDISTINCT SHOUTING ]

[ Liz’s office. Cooper appears at the door ]
Cooper: Where are we?
Liz: Hansen couldn’t lead us to The Illusionist, but there’s a chance his money can. Aram’s tracing it now, and I’m hunting for childcare. Turns out Steinhil isn’t the only one who isn’t who he appears to be.
Cooper: I’m beginning to think no one is.
Liz: I’m sorry I didn’t tell you before.
Cooper: Why didn’t you?
[ KNOCK ON DOOR ]
Aram: Hey. So, um, I was able to trace the payment Hansen received to an account in Paris. Now, the account’s in the name of a shell corporation, so the I.D. trail is a dead end, but and I am 74% confident there is something to this I found several other payments out of the Paris account, one of which was used to rent a small warehouse in Annapolis.
Cooper: So?
Aram: So, three other payments were made to rent medical equipment that, according to the rental company, were sent to that same warehouse.
Liz: You think that’s where they’re holding Reddington.
Aram: I know we think he’s in Paris, but maybe that’s just another illusion.
Cooper: Get Ressler. Tell him we may have located Reddington.
Aram: Got it.
[ Aram leaves ]
Liz: I do have an answer to your question, by the way.
Cooper: When this is over, I look forward to hearing it.

[ SUSPENSEFUL MUSIC PLAYS ]
[ Red has evaded his suitors and finds an exit to a back street ]

[ The FBI parking ramp ]
Liz: [ On phone ] Aram, text me that address and notify the FBI in Annapolis.
Aram: What about local authorities?
Liz: Not yet. I don’t want to scramble units that might expose Reddington until we know what we’re dealing with.
[ Liz gets in a vehicle with Ressler ]
Aram: Understood. Address is on its way.
[ TIRES SQUEAL ] [ TIRES SCREECH ]

[ Red tries to walk away on the back street but a black van appears. He turns around, but other vehicles block him ]
— Stop! Stop!
— Don’t move!
[ TIRES SCREECHING ]
[ A 💥💥💥 gunfight 💥💥💥 rages 💥💥💥 until Red is out of ammunition ] [ GUN CLICKS ]
— Drop the gun!
— Turn around!
— Hands on the wall!
[ Red obeys ] [ Katarina Rostova walks up ]
Katarina: Good to see you again, Raymond. Get him in the van.

[ Liz and Ressler arrive at what was Red’s hospital room ]
[ SUSPENSEFUL MUSIC PLAYS ] [ THUMP ECHOES ]
Liz: We’re too late.

[ A large bleak room ]
Katarina: What happened?
Berdy: Nurse says he got to one of the contingency weapons.
Katarina: Our exposure?
[ Berdy produces the cell phone Red was carrying ]
Berdy: Well, we found it on him. Doesn’t look like any calls went out, but we’re taking precautions.
Katarina: What about the Elizabeth Keen intel? Is it solid?
Berdy: 100%.
Katarina: Give it to the Movers, just in case.
[ Red is rolled in on a gurney. He is trying to lift his head ]
— He’s coming to!
Katarina: Dose him again. The nurse, the one who let this happen. Bring her to me.

[ Interrogation room ]
Liz: We know you all worked for Steinhil.
Aram: What we want to know is who he worked for.
Ressler: The employer. We want a name.
Liz: We know the hospital is fake.
Aram: We assume the injuries were, too.
Hansen: So?
Liz: So Reddington isn’t paralyzed.
Hansen: He’s been on the run 30 years.
Abigail: If we could make him think he couldn’t run anymore–
“Dr Busson”: She thought he’d talk.
Ressler: She?
Hansen: I don’t have a name.
Aram: A description, then.
Abigail: Nobody knows who she is.
Liz: But you know what she wanted Reddington to talk about?
Hansen: Yes.
Ressler: Which was what?
“Dr Busson”: Not what. Who.
Abigail: Some woman.
Liz: Do you know her name?
Hansen: I know she’s dangerous.
“Dr Busson”: A Russian.
Abigail: A Russian.
Hansen: Russian.
Liz: [ Whispers ] Katarina Rostova.

[ Michael Kiwanuka’s ♫ “Solid Ground” plays (unreleased; see 🔘 note) ]
[ Liz sits at the bottom of the yellow metal staircase at The Post Office, holding the photo of herself as a child with her mother, Katarina Rostova, on a swing. In the photo, her mother’s face is obscured by sunlight. Cooper walks over ]
Liz: This is who my mother is to me – an aura that surrounds me. For better or for worse, I don’t know.

♪ How does it feel when it’s quiet and calm?

Liz: They’re in there asking them about her.

♪ And will I be denied?

Liz: Whoever took him, it’s because of her.

♪ How will it feel when it’s time to move on?

Cooper: He’ll be okay.
Liz: You don’t know that.

♪ Mother says kneel and pray

Cooper: Apparently, Reddington died 30 years ago. He rose from the grave once. I’m pretty sure he will again.

♪ When it gets hard, I will roll those sleeves
Life can be so unkind

Liz: I didn’t tell you because you’re honest. You’d want to report Reddington’s misrepresentation to Main Justice. And I don’t think you should.

♪ I will be found on the edge of the world

Cooper: What makes you say that?

♪ Where there will be no one around

Liz: Because he’s not my father.
Cooper: I don’t understand.

♪ Oh, solid ground

Liz: When I thought he was my father, I hated him for abandoning me.

♪ Solid ground

Liz: I thought he shirked responsibility. But now I know he takes it on even when he doesn’t have to.

♪ Solid ground

Liz: I was nobody to him. The illegitimate daughter of a childhood friend.

♪ Solid ground

Liz: And he devoted half his life to me. Do you know anyone else who does that?

♪ How does it feel to be on your own?

Liz: Because I don’t.

♪ No one to understand
I know I’m here and I don’t belong

[ In a dark cavernous room, Red is trussed on a framework, his arms outstretched, his head dropping ]
[ Berdy and Steinhil stand in the shadows ]
Berdy: Feeling okay?
Steinhil: I’ll be fine.

♪ I’m on my knees today

[ ⚡️ELECTRICITY⚡️CRACKLING⚡️ ]

♪ When it gets dark, I will know no fear

[ Katarina Rostova walks up to Red ]
Katarina: I don’t like this, Raymond.

♪ Life can be so unkind

Katarina: The whole ordeal pains me. Surely you understand that.
[ Mila rolls a medical cart over next to Red ] [ WHEELS ROLLING ]

♪ Hanging around on the edge of the world

Katarina: I went to great lengths to pretend to hurt you.

♪ Finally no one around

Katarina: We’re past that now, Raymond. Oh – This is very real.

♪ Would you help me? I don’t understand

Katarina: I can assure you that, before we’re finished –

♪ Is it over?

Katarina: – You’re going to tell me everything I want to know.

♪ Am I losing solid ground?

Katarina: Miss? Shall we begin?
[ Mila begins an IV from Red’s neck ]

♪ Solid ground Solid ground Solid ground
Solid ground Solid ground Solid ground

[ Blood flows down the clear plastic tubing and pools in a vinyl collection bag ]

♪ Solid ground Solid ground Solid ground
Solid ground Solid ground Solid ground
Solid ground Solid ground Solid ground

⬆ go to top

❌❌❌ 7:1 End Louis Steinhil

For S7 Episode 7:1 Louis T Steinhil 🎯 EW recap ¤ 🌅 Photo Gallery ¤ 🎹 Music Videos ¤ 📒 Script link: https://wp.me/pDKwi-9Rj [ “you are here” ]

༺✦ ♤ ✦༻

🔴 Episode Songs

🎹 ⋙ Check Tunefind for any additional music for this episode

♫ La Danse de Nuit
By Le Petit Orchestre De Cafe Paris

♪ ⋙ (Lyrics unavailable as of 10/6/2019)

🎹 Return to where this song occurs in script above
Lyrics and Credits: [ Unavailable ]
YouTube: https://youtu.be/7j_jAAUpaUg

♫ Tu Peu Bien
By Francoise Hardy

♪ tu peux bien te perdre
et tu peux, demain
sans rien me dire, disparaître, je sais bien
que tu peux nous perdre
toi qui ne veux pas
que sur ton chemin, on s’arrête mais tu vois

♪ je rêve de me perdre
si c’est me perdre avec toi, toi
et je cours à ma perte
si tu n’as rien d’autre pour moi, que çà

♪ tu peux tout faire
pour nous séparer
plus tu gagnes et plus je perds à t’aimer
moi je veux, peut-être, ce que je n’ai pas
je te laisserais peut-être, ce jour là

♪ où lassée de tout perdre
je saurais partir loin de toi, toi
et par peur de me perdre
tu croiras que tu veux de moi

🎹 Return to where this song occurs in script above
Lyrics and Credits: http://bit.ly/2MnQd5g
YouTube: https://youtu.be/qvCkn14P6os

♫ Solid Ground
By Michael Kiwanuka

♪ (Not yet released as of 10/5/2019)

UDiscoverMusic.cm: Michael Kiwanuka Details His Third Album ‘KIWANUKA’ http://bit.ly/354NLJb //➔ Solid Ground is listed with the songs on this unreleased album
// 8/13/2019; UK soul singer Michael Kiwanuka announces his third album, ‘KIWANUKA’, set for release on 25 October and featuring the new single, ‘You Ain’t The Problem’.

🎹 Return to where this song occurs in script above
Lyrics and Credits:
YouTube: