LOCATION UNKNOWN
Someone working with cardboard, colored paper, glue, dollhouse furniture and clay is constructing a diorama. The style is childlike, but the scene is not. It depicts a woman lying face down in a pool of water
KEEN'S APPARTMENT
Liz pours coffee
LIZ : I hate to leave you here with all this.
TOM : No. I’m kind of looking forward to it. Me and Agnes hanging out in our new place, listen to some tunes, unpack a few boxes. Maybe even eat some strained pears.
LIZ : Everything’s coming together for us.
TOM : Yeah.
LIZ : We’ve got Agnes back. We’ve got each other. I’m an agent again.
TOM : Yeah, we got out of Reddington’s safe house. No more bodyguards. We have windows that we can look out of and actually see the sky. Not bad. It’s a new beginning.
Tom opens a package with his dozen or so fake passports
LIZ : It’s a lot to give up.
TOM : No.
Tom tosses the passports in the trash
TOM :Believe me, it’s not.
Agnes giggling
TOM : Oh, sounds like someone’s ready to get her groove on. You know, I think we’re gonna go old school. I’m thinkin’… The Romantics.
LIZ : Oh! Okay, now I’m jealous.
Liz grabs her coat and opens the front door then halts. On the floor is a diorama of a woman face down in a pool of water. A sign on a small piece of white paper on the diorama reads “PLEASE SAVE HER”
LIZ : Tom.
SWIMMING POOL
A middle-aged woman drinking a green health concoction walks to the side of a swimming pool. She is alone. She puts down her drink, takes off her robe, and dives into the pool. She swims about half way across the pool, then she seizes up. Gasping, she struggles for air, clenching her chest. She is unable to gain control and drowns, face down in the pool
POST OFFICE
Liz arrives at work with the diorama
ARAM : Oh, oh. Agent Keen, that is so cool. I had no idea you were so artsy-craftsy.
LIZ : I just found this outside my front door.
ARAM : What? Like a gift?
LIZ : No, like a warning– or a cry for help.
ARAM : This is ghoulish. A drowning superwoman?
LIZ : That’s not a cape. That’s a judge’s robe. Federal Judge Trisha Culpepper drowned in her country club pool this morning. The guard at the club saw her enter around 8 AM and then, 30 minutes later, 9-1-1 received a call from an employee saying she drowned.
COOPER : Someone made this diorama after learning about what happened and put it on your doorstep?
LIZ : No, the guard saw her at 8 AM. I found this around 7 AM– an hour before she drowned.
SAMAR : Or was murdered by a killer who left this at your doorstep.
RESSLER : Well, do you think it might be somebody from your days at the Mobile Psych Unit?
LIZ : I already contacted the New York field office. They’re sending me my files now.
COOPER : Get this to the lab for processing. Maybe we’ll get trace evidence or a print. Ressler, Navabi, get to the crime scene. Agent Keen, talk to Reddington. See if he can shed some light on this.
WHITE APARTMENT
Pamela, a real estate agent is showing Red around an apartment. The apartment is decorated in white – rugs, furniture, walls. A bowl of cream-colored roses is on the white marble-topped table and the pieces of a white – all white – zigsaw puzzle are spread out
PAMELA : Everything’s included. The last tenant left the furnishings behind. Just disappeared.
RED : I’d have to stick to champagnes and white Burgundies. One spill of a red varietal and this heavenly sanctuary would look like a crime scene.
PAMELA : White wines are good. I drink white.
RED : But would I be capable? Let’s say somebody stops by with a Domaine de la Romanée-Conti, and it’s a ’78!
Lowered voice, to Dembe
PAMELA : Couldn’t he just drink it in the kitchen?
RED : I just had a revelation. I could drink it in the kitchen!
PAMELA : So I’ll draw up the paperwork. Month to month, right, Mr. Homan?
Knock on door. Liz enters
RED : Thank you, Pamela.
Pamela leaves
LIZ : I don’t want to know how you did it or what it says about the fate of our country that you were able to, but I wanna thank you for getting the President of the United States to pardon me.
RED : As my grandmother used to say, it’s good to have friends in low places. When Dembe said you had a case, I thought, how quaint. It’s not.
LIZ : You looked at the photos I sent.
RED : Yes. Judge Culpepper was above reproach, which means many people would like her dead, but none I could connect to you in any way.
LIZ : I’ve looked at every case file from my time at the Mobile Psych Unit, and no suspect’s an obvious match.
RED : Any leads off the diorama?
LIZ : A partial print, but inconclusive.
RED : I’ll have a team outside your apartment within the hour.
LIZ : No, that’s not necessary. Whoever’s doing this does not want to hurt me. They wanna match wits with me, see if I can catch them.
RED : Do not take this lightly. This is your next Blacklister.
LIZ : But you don’t even know who this is.
RED : He’s killed a federal judge, which means he goes after high profile targets. He left clues at your doorstep, which means it’s a game to him, one he’ll keep playing until you stop him. You’re being baited, Elizabeth, taunted by a killer who knows where you live.
KEEN'S APARTMENT
Tom is unpacking, while Agnes giggles and wiggles in her bouncer swing
Tom sings along, pretending a broom is a standing mic
TOM : Oh, come on. You don’t think I can sing? I see you laughing at me.
Tom sees shadows and hears a rustling outside the door. He grabs a box cutter and opens the door. There is another diorama on the floor with a sign “PLEASE STOP THIS.” This diorama shows a man in a park slain by someone on a cycle. Tom hears a door close and runs down the stairs of the building and out onto the street
Tom glimpses a figure in a hoodie hurrying away. He runs after the figure
TOM : Hey! Stop! Stop!
Rather than pursue the person further, Tom turns around and rushes back inside the apartment building
Agnes, alone, whining
TOM : Hey. Hi. Hi! What you doin’? Hi! Come here, come here, come here.
Agnes fussing
Tom picks her up
TOM : I know. I got you. I got you.
WAR ROOM
SAMAR : We’ve been going through the judge’s docket. Six months back, six months ahead. There’s a total of 53 cases.
RESSLER : Seems like revenge killing, retaliation for a ruling. The next one could be a witness, a lawyer.
SAMAR : First a drowning, then a shooting. What’s the pattern? The victims can’t be random.
ARAM : The clock tower. I’ve been thinking about it. It’s, uh, it’s familiar. And then I realized I remembered it from Mr. Mathiesen’s seventh grade civics class. We studied all the great DC buildings in that class–
COOPER : Aram, the building.
ARAM : I think it’s the old Post Office tower.
RESSLER : Well, this clock (in the diorama) says 12:30. If that’s PM, we’re in trouble.
COOPER : Alert the MPD. Tell them we have actionable intel that a homicide is about to be attempted.
RESSLER : Right, I’ll mobilize surveillance. We’re gonna take this guy down. [ To Liz: ] He’s not getting anywhere near your place this time.
WHITE APARTMENT
Red receives a visitor
RED : Geoffroy! Thank you for coming.
GEOFFROY KEINO : I was surprised you called me, Mr. Reddington. What can I do for you?
RED : Tell me about cobalt.
GEOFFROY KEINO : Every cellphone battery requires at least 3 grams of it. Laptops, even more.
RED : I’m told Iniko’s investing in cobalt mines. I want in.
GEOFFROY KEINO : You’re gonna have to talk to Iniko about that. Shall I set a meeting?
RED : Do you recognize this apartment?
GEOFFROY KEINO : No. Should I?
RED : Belonged to a dear friend of mine, a former acquaintance of Iniko’s. I say “former” because Iniko had him killed right where you’re standing. Imagine all that blood on this very carpet. Amazing. It’s like it never happened, as if he never existed.
GEOFFROY KEINO : Why are you telling me this?
RED : I’m interested in the mines, but not in doing business with Iniko.
GEOFFROY KEINO : You’re asking me to betray my boss.
RED : Yes, I’m prepared to make a substantial contribution to the venture.
GEOFFROY KEINO : He would kill me if he found out.
RED : If he were still alive.
GEOFFROY KEINO : Look, Mr. Reddington, I don’t know what you’re suggesting–
RED : I’m suggesting that this is your moment if you’re smart enough to seize it. Iniko’s loyal only to himself. He suffers you because your uncle has the ear of the President. You’re a patronage hire who buys Iniko good will with the powers that be. But when they go, and they will, you’ll go. Like my dear friend who bled all over this white carpet.
PARK
In the park by the old Post Office tower, Aram is seated on a park bench with his laptop. Ressler, Samar and Liz scan the crowd and traffic. A grey-haired square-jawed businessman walks hurriedly through the park
ARAM : All right, I’m tapped into every camera in the area, and I am not seeing anything.
RESSLER : I hate bikes.
SAMAR : They’re good for the environment.
RESSLER : Well, there’s no way to tell which one’s our perp.
LIZ : I just got word from the lab. They were able to pull a print from a handrail outside my apartment. It matches a partial we pulled from the first model. Suspect’s name is Fiona Driscoll.
Clock tower chimes 12:30
ARAM : Uh, guys? We’re looking for a guy on a bike, right?
Motorcycle engine revs
ARAM : I think that bike might be a motorcycle.
The motorcycle hones in on the businessman
Liz tackles the businessman to the ground and covers him
LIZ : Down! Get down!
The motorcyclist fires off several shots but misses
The motorcycle’s engine revs and it speeds away
LIZ : You okay?
BUSINESSMAN : Yeah. Who the hell are you?
LIZ : FBI.
RESTAURANT
Iniko is enjoying lunch in a restaurant. Red sits down
RED : Iniko. I understand you’re in town to bribe a congressman. Tell me, what’s the going rate to get someone to ignore rape, slave labor, child soldiers, child brides?
INIKO : I was told you had a business proposition, not a lecture.
RED : The cobalt mines. I want in.
INIKO : Not interested.
RED : So lecture then. You’ve been betrayed by a trusted employee. I recently experienced a similar betrayal. So I know that it’s a bitter pill, especially since in our line of work, betrayal requires swift and decisive retribution.
INIKO : And you will give me the name in exchange for a cut of the mines.
RED : Twenty-five percent. Assuming you can verify what I tell you is true.
INIKO : Twenty.
RED : Geoffroy Keino. He approached me about investing in the mines if I agreed to kill you. His terms were very generous, so you can imagine how tempted I was. But as I mentioned, I have recently felt the sting of duplicity. And I simply couldn’t bring myself to facilitate such a betrayal of someone else, even someone so loathsome.
INIKO : And people say there is no honor among thieves. Stay. Have some foie gras.
RED : No, thank you. I find it difficult to enjoy foie gras. All those poor geese, all those painfully engorged livers.
INIKO : In my opinion, some lives are inconsequential, and delicious.
RED : We’ll be in touch with any further developments.
Red and Dembe leave
DEMBE : You shouldn’t use her like that.
RED : Not here.
DEMBE : As a story to get what you want. It’s disrespectful. Kate doesn’t deserve that.
GARAGE, LOCATION UNKNOWN
Cellphone beeps, speed dials
On phone
MOTORCYCLIST : Hey, it’s me. We have a problem. It’s about Milch. The feds were waiting when I got there. I don’t know how, but they knew it was gonna happen.
OLDER MAN : All right, calm down. Don’t talk to anybody. I’ll call my source downtown, see what he knows.
POST OFFICE
INTERROGATION ROOM
LIZ : Hello, Ms. Driscoll.
FIONA DRISCOLL : Agent Keen, I think there’s been a terrible mistake.
LIZ : We have your fingerprints on the renderings of crime scenes you left outside my home.
FIONA DRISCOLL : I know what you must be thinking. I know how this looks.
RESSLER : Well, it looks like you were taunting Agent Keen, giving her details of the murders you were about to commit, seeing if she could stop you.
LIZ : We found traces of aconitine in the judge’s system. You poisoned her and then tried to murder Marlon Milch.
FIONA DRISCOLL : Marlon Milch? Is that his name?
RESSLER : Come on. You’re trying to say that you don’t know the name of the man that you tried to kill?
FIONA DRISCOLL : You’ve got it all wrong. I wasn’t trying to kill these people. I was trying to save them. I left the models for you because I wasn’t sure what else to do.
LIZ : Models of crime scenes made before the crimes were committed.
RESSLER : So how do you explain that? Unless you’re the killer.
FIONA DRISCOLL : They’re premonitions.
RESSLER : All right, tell us about the victims. A respected judge, a controversial businessman. Why target them? Why are they connected?
FIONA DRISCOLL : I only know what I see in the dioramas.
LIZ : Why haven’t you taken these premonitions to the police?
FIONA DRISCOLL : I have. They looked at me like I’m crazy. That’s why I came to you, Agent Keen. I saw you at the grocery store, recognized you from the news. I followed you home because I thought you’d understand. The pardon. You know what it’s like to be judged harshly, how it feels not to be believed.
LIZ : When did these premonitions start?
FIONA DRISCOLL : Just over two years ago.
LIZ : So there are more dioramas.
DRISCOLL’S APARTMENT
A key unlocks a padlock on a door
FIONA DRISCOLL : At first, it was butterflies with glitter, and things like that. Then they turned into… these.
In the room there are shelves and shelves of dioramas
FIONA DRISCOLL : There are 42 in all, each forecasting some horrible tragedy– murders, accidents, catastrophes. This is Flight 361. It crashed in the Andes last year. Sometimes they come with vivid detail. Others are more… impressionistic.
LIZ : How do you get these visions?
FIONA DRISCOLL : Oh, no. They’re not mine. I don’t see them. Her name’s Maggie. She’s 9.
Fiona opens a door
MAGGIE'S BEDROOM
FIONA DRISCOLL : Maggie’s mind is… different.
DRISCOLL’S KITCHEN
FIONA DRISCOLL : She suffers from what doctors call a constellation of birth defects, the result of fetal rubella. Heart problems, hearing impairment, any number of developmental issues. But I feel like she understands more than they think. Just because she can’t talk doesn’t mean she has nothing to say.
LIZ : Maggie’s visions, when did they start?
FIONA DRISCOLL : February, two years ago. She drew me a picture, this terrible image. A train and a bus crashing. Bodies everywhere. The next day, a bus was struck by a train in the Ukraine. 13 people were killed, another 6 injured, and she knew. Somehow, Maggie knew.
LIZ: Were they any changes in your life at the time? Had you moved? Did she change schools?
FIONA DRISCOLL : No. Nothing. We’ve always been around the same close circle of friends. Our world is very small.
LIZ : What is she working on now?
FIONA DRISCOLL : The next one.
WAR ROOM
ARAM : I cross-checked the dioramas against verifiable incidents, and in each case, the incident and the diorama were a match. This July, a sailboat washes ashore south of Naples. Both the owner and his wife are lost a sea. Two months earlier, a Jaipur factory fire kills 18. A bus accident in Miami. A mass shooting in Madrid.
LIZ : These aren’t just crimes, these are catastrophic events happening all around the world.
COOPER : You say the mother claims the child predicted all this?
RESSLER : That’s what she says.
COOPER : I don’t believe in premonitions. So prior knowledge of these events has to have come from somewhere.
SAMAR : We’re running down a list of everyone who interacts with the child, but the list is not promising.
COOPER : You said she can’t speak.
LIZ : Her mother says she has an undiagnosed cognitive disorder.
COOPER : Pull her medical file. I want to know exactly what we can and cannot expect her to be able to tell us about these premonitions.
Cellphone vibrates
LIZ : Tom.
TOM : Hey. Is everything okay? Three agents from the Bureau are camped outside.
LIZ : Cooper insisted, but the person who delivered the dioramas wasn’t the killer. It was a mom whose daughter somehow knows about crimes that haven’t been committed yet.
TOM : Okay, well, that’s a little weird.
Agnes fussing
TOM : And creepy. And if the mom knows where we live, maybe the killer does, too.
LIZ : Tell me about Agnes.
TOM : She is blissfully unaware that her parents are talking about a serial killer. Liz, what can I do? How can I help?
LIZ : You are helping.
TOM : You know what I mean.
LIZ : I do. And I appreciate that. But for now, we’re good. I’ll call you if anything changes.
TOM : Sure. Okay. Go– go do your thing.
WHITE APARTMENT
GEOFFROY KEINO : The mining deal is closed.
RED : You sound surprised. And you look scared.
GEOFFROY KEINO : Iniko completed financing without consulting me. And now he’s not returning my calls.
RED : Perhaps he has a new acolyte. Or grew wary of your ambition.
GEOFFROY KEINO : I’ve given him no reason to be.
RED : Others might have. People hoping to gain his trust by betraying you.
GEOFFROY KEINO : I haven’t done anything.
RED : But you’re here. So you want to.
GEOFFROY KEINO : If he suspects me…
RED : Oh, please. Spare me the wide-eyed innocence. You’re the top aide to a man who pays your salary with the lives of women and children. You’re every bit as responsible for committing atrocities as he is. Cheer up, Geoffroy. This isn’t the end. It’s the beginning. Your beginning. One you need to announce loudly enough to scare off other pretenders to the throne. Might I suggest something in broad daylight? Perhaps a nice car bombing. A cliché, I know, but clichés work. That’s how they get to be clichés.
COOPER'S OFFICE
ARAM : Hey. I think we found something in Maggie Driscoll’s medical records.
COOPER : A way for us to communicate?
ARAM : Us? Maybe. Or a killer. She wears a hearing aid, a very tiny high-frequency model.
COOPER : So? –
ARAM : We’ve run down everyone she knows, no suspects. So maybe the killer or killers are people she doesn’t know.
ARAM : I think the hearing aid might be picking up nearby conversations via radio frequency interference.
COOPER : Conversations?
SAMAR : Phone calls transmitted over a frequency that bleeds onto the one her hearing aid operates on.
ARAM : Which means at least one of our suspects is close. A neighboring building, uh, someone in the apartment complex.
COOPER : Get there. Interview everyone in the building.
RESSLER : There could be hundreds of people.
COOPER : You have a better idea?
ARAM : Actually, yeah, I might. I think I can get us a step closer yet.
DRISCOLL’S APARTMENT
Cartoon music playing on TV
ARAM : I’m still getting interference.
RESSLER : Is this really gonna help?
ARAM : We, uh, we need to unplug anything that might cause RF interference– lights, appliances… Sorry. Okay. Uh, cellphones. And, uh, turn off your coms. We gotta go with walkies.
RESSLER : Aram, we listening for bad guys or are we holding a séance?
ARAM : That is… not funny. When I was in college, Matt Skrdell had a Ouija board, and we actually made contact with my pet rabbit, Dash, God rest her soul, and it turns out she did not escape from her cage like I was told.
Static hissing, adjusting levels
Distorted voices
Man speaking indistinctly
MAN : That should solve it.
Distorted voices
MOTORCYCLE MAN : Hey, it’s me. We have a problem.
Man speaks indistinctly
Distorted conversation continues
OLDER MAN : …has to happen sooner… in the tower as discussed.
LIZ : Aram, where are they?
MOTORCYCLE MAN : We couldn’t finish Milch, and you’re talking about the next job? What have you found out?
OLDER MAN : I said I’d get back to you when I know more. Stick to the plan.
RESSLER : Did we lose them?
ARAM : For now. But they’re out there, very close. The next time they call, we’re gonna find them.
Later
FIONA DRISCOLL : I don’t know whether to be relieved or terrified. Thanks to you, I know how it’s happening, but it’s only happening because these people, these killers live nearby.
LIZ : How much of it do you think she actually understands?
FIONA DRISCOLL : Too much, I’m afraid. That’s why she does it. She knows they have to be stopped.
APARTMENT NEARBY
On phone, the suspects
MOTORCYCLE MAN : …a kid? That’s ridiculous.
DRISCOLL’S APARTMENT
ARAM : We’re live.
APARTMENT NEARBY
MOTORCYCLE MAN : Not according to my source downtown. Her mother told the cops about us six months ago.
OLDER MAN : They ignored her, so she must’ve gone to the FBI. That little kid was able to give them the time and the location of the Milch assignment.
MOTORCYCLE MAN : You’re saying she’s listening, watching. How is that possible?
OLDER MAN : I don’t know. The investors are upset. If we lose another offer– Look, she’s a threat that needs to be dealt with. Signal strength is S3. We are very close.
MOTORCYCLE MAN : Get me a name. I’ll handle the kid.
DRISCOLL’S APARTMENT
Liz looks out the window and sees a man on the phone.
Motorcycle Man sees he is being watched through the blinds.
LIZ : Fifth floor, fourth apartment from the end. The east wing.
SUSPECT'S APARTMENT / DRISCOLL’S APARTMENT
Ressler and Liz head out
Motorcycle Man disconnects his computers, grabs some papers from wall, puts his cell phone in the microwave, turns it on and leaves
The microwave smokes and flares
Aram to Maggie
ARAM : It’s okay. It’s okay. You are gonna be okay, all right? Officers are gonna be here any minute.
Ressler and Liz enter Motorcycle Man’s apartment
RESSLER : FBI! Clear.
LIZ : How did we miss him?
Motorcycle Man climbs a staircase, exits through the door at the top. Door creaks
RESSLER : Aram, issue an alert. White male, dark hair, about 5’10”. We need units covering every way in and out of this building. Aram?
Ressler looks through window at Fiona’s and Maggie’s apartment. Aram is stretched out on the floor. Motorcycle Man is in the apartment
RESSLER : Aram’s down! We’re gonna need an ambulance!
WOMAN OVER RADIO : All units, please be advised, we have a federal agent down at the fol–
Armed police storm Motocycle Man’s building. He encounters two officers in the hallway
Gunshots – Policemen fall
WHITE APARTMENT
Geoffroy arrives at the white apartment
DEMBE : I had to disarm him.
GEOFFROY KEINO : Are you playing me? Is this some kind of sick joke to you?
RED : Okay, calm down and tell me what happened.
GEOFFROY KEINO : He found it. The car bomb. It was as if his security detail knew where to look.
RED : And you think I told him?
GEOFFROY KEINO : No one else knew.
RED : Except the munitions expert who made the bomb, the mechanic who installed it. You were sloppy, and you’re looking for someone to blame. Blame yourself.
GEOFFROY KEINO : If I go home, I’m a dead man.
RED : Then don’t go home. Iniko may not be taking your calls, but he will certainly take mine.
GEOFFROY KEINO : I told you, the deal on the mine is closed.
RED : There’s always another deal. I have one in mind that I know he will find especially hard to resist. Relax. Have a drink. Help me finish this infuriating puzzle. And when Iniko does come, you’ll be waiting with a magic bullet.
OUTSIDE DRISCOLL’S APARTMENT
Ressler and Liz on radio with Aram
RESSLER : Aram, talk to me. Are you sure you didn’t see which way they went?
Aram received a superficial wound on the side of his neck. Maggie is gone. A female officer is calming Fiona
ARAM : I didn’t, no. But MPD says we had two officers down in the building. One was stripped, missing his gun, his badge.
RESSLER : The guy’s in uniform. Great.
Motorcycle Man is outside in crowd with Maggie, dressed in the officer’s MPD uniform. They get into a parked school bus
RESSLER : Well, she’s gotta be close.
LIZ : We could call out to her if she could only hear us.
ARAM : Maybe she can.
LIZ : How?
ARAM : Police radios operate on an RF frequency just like Maggie’s hearing device, which can cause interference. All right, go to frequency 154.400 and turn it up. Turn it all the way up.
Static crackles loudly
Maggie groans
They exit parked bus. Maggie is agitated; she falls to her knees and flings her head back and forth
MOTORCYCLE MAN : What is wrong with you? Get up!
Maggie screams
Motorcycle Man panics and leaves her
Ressler and Liz follow the sound of Maggie’s screaming and find her
Liz to Aram
LIZ : Turn it down.
Ressler to the crowd
RESSLER : The officer that was with her, has anybody seen him?
OUTSIDE THE WHITE APARTMENT
Geoffroy breathes unevenly. He and Dembe are outside the white apartment
GEOFFROY KEINO : I can hear. He’s in there.
Dembe gives Geoffroy a handgun with a silencer
DEMBE : Use this. It’s untraceable.
GEOFFROY KEINO : Would you ever do this? Betray your own boss?
DEMBE : I don’t know.
WHITE APARTMENT
Geoffroy and Dembe enter the white apartment
INIKO : Geoffroy, what are you doing here?
RED : Unfinished business, I’m afraid.
Geoffroy points his gun at Iniko and pulls the trigger. Trigger clicking
GEOFFROY KEINO : What the hell? You set me up. Reddington– it was his idea.
INIKO : Actually, it was ours.
Silenced gunshots , Geoffroy falls. Blood is splattered on the white wall and carpet
Iniko on phone
INIKO : I’m texting you an address.
To Red
INIKO : My clean-up crew.
RED : I once bankrolled a diamond mine outside Tshikapa. One day, a man showed up alone, unarmed, started to talk to me about the mine. I had guns and guards and an enterprise worth… I don’t know, $50, $150 million dollars. He had nothing but a story about greed driving atrocities and conflict, about armed groups using mass rape and mutilation as a means to control people in the villages around the mines. I had bullets, he had words. But when he was done talking,
for the first time, I truly understood which of those was more powerful. I abandoned the mine, agreed to finance his campaign of protection and protest, and did so until two months ago when you had him murdered.
INIKO : Cyrus Choi.
RED : Yeah.
Red walks over and picks up the gun Dembe gave Geoffoy. The empty clip thuds
RED : He was a good man… and my friend.
A full clip clicks into place, gun cocks
RED : And somehow, your cleaners removed even the memory of his blood from this carpet.
INIKO : They are the best in the business.
RED : They better be. They’re gonna have a lot to clean up.
BENJAMIN CHARNQUIST'S (motorcycle man) APARTMENT
Ressler, Liz and Aram are in Motorcycle Man’s apartment, going through the evidence left behind
RESSLER : The girl’s with the paramedics now. She’s gonna be fine. What do we know about our runner?
WAR ROOM
Cooper and Samar talk to the others over speaker phone
SAMAR : Benjamin Allen Charnquist, 35. He went to Berkeley. He was kicked out his junior year after being convicted of rape. He was shipped off to San Quentin.
LIZ : When did he get out?
COOPER : 2002. He’s been off the radar ever since. Now we know why.
Aram is looking though a bunch of papers
ARAM : Guys, um, check this out. We couldn’t see it from Maggie’s dioramas, but, uh, there is a pattern. All right, the factory fire in Jaipur, it tanked the stock of the Zardozi Imports company. The man and his wife, who vanished off the coast of Naples in their sailboat, he was the CEO of a Silicon Valley tech firm. The company lost a quarter of its value after he disappeared. Judge Culpepper was set to rule against OJN Global in a patent infringement case. And Marlon Milch is the CEO of a Fortune 500 company. Each of these catastrophes involved someone who was invaluable to the company they worked for, and their deaths dramatically affected the stock prices of those companies.
COOPER : So maybe the motive is profit. Maybe Charnquist was shorting the stocks.
LIZ : He’s a college dropout with a felony record. I doubt he came up with this on his own.
RESSLER : The partner, the guy he was talking to?
SAMAR : At his parole hearing, three people testified on his behalf – his parents, and the CEO of the private equities firm he interned at in college. Chris Farnsworth. CEO of Jasek Financial.
COOPER : Just because Farnsworth testified at Charnquist’s parole hearing, what makes you think he was involved?
SAMAR : According to SEC filings, Farnsworth’s company made a fortune after each and every one of the people Aram mentioned were murdered. Once or twice is luck. This many times is a conspiracy.
COOPER : Get a tact team to Jasek Financial now.
RESSLER : Look, we heard them talking about pulling another job, but we don’t know where and we don’t know when.
LIZ : No, but we know someone who does.
CHARNQUIST'S CAR
Benjamin Charnquist on phone
BENJAMIN CHARNQUIST : They know everything. I’ve got feds swarming my place.
CHRIS FARNSWORTH (older man): Calm down. Stick to the plan.
BENJAMIN CHARNQUIST : Calm down? They have my files, every trade. I’m going to jail.
CHRIS FARNSWORTH : Ben, you and I have forecasted how many transactions? We knew this day would eventually come, that it would eventually end. Now the plan is–
BENJAMIN CHARNQUIST : They have the girl.
CHRIS FARNSWORTH : Yes, and they know about you. How long before they connect us, the company? When they do, my face will be on every network and screen within the hour, shares of Jasek Financial will crater and we’ll have our golden parachute. It’s the escape we’ve discussed since day one.
BENJAMIN CHARNQUIST : And Beckner?
CHRIS FARNSWORTH : Beckner is the only loose end. I just hung up with him. He placed the short against Jasek through the shell 20 minutes ago. We’ve got to see this through.
BENJAMIN CHARNQUIST : Why don’t we just put a bullet in Beckner’s head?
CHRIS FARNSWORTH : Because a bullet brings unwanted attention, ends up with FinCEN looking through each and every one of Beckner’s transactions, which could point to us. No. It has to look like an accident. He’s the only one who knows where our funds are routed. If he’s dead, we’re ghosts– rich ghosts. Finish him, and I’ll see you at the plane.
JASEK FINANCIAL’S OFFICES
The tact team enters Jasek Financial’s Offices
WOMAN : Wait! You can’t go in there.
Farnsworth leaves, a wheeled overnight bag trailing behind
DRISCOLL’S APARTMENT
FIONA DRISCOLL : No. No, no, you can’t ask for her help. Not after what happened.
RESSLER : I wish we didn’t have to.
FIONA DRISCOLL : This is exactly what I wanted to avoid. I brought you her dioramas anonymously to prevent her being involved.
RESSLER : Look, if we’re gonna catch the person that did this, we’re gonna need Maggie’s help.
FIONA DRISCOLL : Just because she can’t express her feelings doesn’t mean she doesn’t have them. She’s terrified.
Maggie gets up and sits down at her art table
LIZ : And determined.
WHITE APARTMENT
INIKO : Cobalt. Cassiterite. Wolframite. They are the diamonds of tomorrow. Let me go, and you can have a piece of all of them.
RED : A piece of the mines.
INIKO : Think of the money you will make.
RED : On the backs of children. Given enough money to eat, but not enough to ever leave. Cyrus would be disappointed.
INIKO : I worked in the mines. I got out.
RED : And instead of helping those who suffer as you once did, you profit off them. I’m a bad man, Iniko, but not that bad.
Knock on door
RED : Ah, your cleaners. What are their names?
INIKO : Sakiya and Fudo. Why?
RED : I want to hire them.
INIKO : They work for me.
RED : Not anymore.
Silenced gunshot, Red kills Iniko – more blood splatters across the white room
DEMBE : That’s what this was all about, replacing Kate.
RED : Kate is irreplaceable.
DEMBE: To me, she is.
Knock on door. Dembe opens it. Iniko’s cleaners are there
SAKIYA: We’re meeting Iniko.
RED : Iniko just met his maker.
SAKIYA: You done did him?
RED : I did done… do.
SAKIYA: Sweet. Guy was a straight up tool.
FUDO : This place looks familiar.
RED : It should. You cleaned it two months ago. Friend of mine, shot six times, 5 liters of his blood on this carpet. After you were done, not a drop.
SAKIYA: You’re Raymond Reddington.
RED : Yes. And this is my associate Dembe Zuma.
FUDO : Well, aren’t you a tall drink of chocolate milk?
RED : I’d like you to work for me. Whatever Iniko was paying you, I’ll double it.
SAKIYA: So you know, we only moonlight.
RED : A day job. How old-fashioned.
SAKIYA: Not really. We’re crime scene cleaners for Metro PD.
RED : Well, won’t this be fun.
DRISCOLL’S APARTMENT
Maggie is working on her latest diorama. It features a building with a crashed elevator. She writes “Jasek” on a paper sign
RESSLER : “Jasek.” Keen.
FIONA DRISCOLL : What’s that? What does that mean? Jasek?
RESSLER : I think we know what his next target’s gonna be. Aram, Farnsworth’s gonna hit his own company.
Maggie’s eye darts
STREET
DAVID BECKNER: Yes, the trade was clear. Funds will be wired to the Panama account.
WAR ROOM /DRISCOLL’S APARTMENT
ARAM : Agent Ressler, I think I have something, a way Charnquist may be planning to access the building. Surveillance imagery shows an engine room on the roof, and it is connected to a–
RESSLER : An elevator.
ARAM : How’d you know that?
RESSLER : Because of the girl. Her diorama’s focused on how the crime’s going to be committed. This one featured an elevator.
Maggie sits at her table. Her diorama shows a crashed elevator. She is placing crumpled pieces of aluminum foil at the base of the elevator shaft
ARAM : Okay, the one in this building is a Westbrook freight built in 1922. That’s before pneumatic fail-safes.
RESSLER : They’re gonna crash the elevator.
SAMAR : I’ve got him.
JASEK FINANCIAL’S OFFICES
BOBBY : Security. This is Bobby.
COOPER : This is FBI Assistant Director Cooper. We have credible intel that one of your employees in the building may be in danger. I need you to shut down everything. Nobody in or out. Metro PD and FBI agents are on our way to you now.
Charnquist enters the room Bobby is in and shoots him
COOPER : Hello? Hello? Charnquist is in the building. Get Con Ed on the line. Cut the power, lock up that elevator.
Charnquist begins sawing through the elevator cables
WAR ROOM /JASEK FINANCIAL’S OFFICES
ARAM : Sir, I know have a lot of bad news today, but the security system in the building shows there’s a backup generator.
Becker gets on the elevator in the building
Maggie adds a man lying on his back at the base of the elevator shaft to her diorama
FBI and MPD vehicles arrive at Jasek
Saw whirring
Ressler and Liz exit their vehicle. Liz goes into the Jasek building. Ressler heads across the street, enters a building and runs up the stairs
Man shouts indistinctly
COOPER : What the hell is goin’ on? Get Ressler on the horn now.
SAMAR : He’s not answering.
Saw continues whirring
Ressler gets Charnquist in his sights from across the street and shoots him
The final cable Charnquist failed to cut snaps and the elevator begins to plummet
Uselessly, Becker tries to push the elevator buttons
LIZ : The stop! Where’s the emergency stop?
Liz finds the crank and pulls it back. The elevator stops. Becker falls to the elevator floor, but is unhurt
Maggie has completed her diorama
WHITE APARTMENT
Red is examining the cleaners’ work with a small flashlight
Red, from across the room
RED : Incredible. Truly incredible.
FUDO : What happened to your last cleaner?
DEMBE : She was murdered.
FUDO : I’m so sorry. Were you close?
DEMBE : Yes.
RED : Not a speck to be found.
FUDO : Have you caught the killer?
DEMBE : No.
RED : Clean as a whistle. Clean as a whistle.
FUDO : Do you know who he is?
DEMBE : Yes, I do.
FUDO : That’s good. Then it’s only a matter of time.
RED : Well, this seems like a good fit.
SAKIYA : For now. Last two years haven’t been kind to people we work for.
FUDO : You take care… .. or we’ll be mopping you up with club soda.
RED : So you do use club soda. Fascinating.
Liz enters
LIZ : Uh, what was that about?
RED : I spoke with Harold. He tells me you’ve had a… pyrrhic victory.
LIZ : We lost one of the killers.
RED : Chris Farnsworth.
LIZ : Who were those two?
RED : For years, colleagues have crowed about his rates of return, urging me to invest with them. Called him “The Forecaster.” But as I don’t believe in investing in anything I can’t control, I declined.
LIZ : I know you’ve been concerned about me, about a killer knowing where I live. I just wanted you to know you’ve got nothing to worry about anymore.
RED : May I see your new apartment?
LIZ : Not yet.
Red is disappointed
LIZ : Maybe someday.
Red snaps the final white piece into the white puzzle
KEEN'S APARTMENT
Lighter clicks as Tom lights a candle
LIZ : I’ve been working on this, so let me know what you think.
TOM : Yeah? Smells pretty good.
LIZ : All right, bon appétit.
Tom hands Liz a small bundle
LIZ : What is this?
Liz opens the bundle. It’s Tom’s fake passports
TOM : It’s a promise. I lied when I said it wasn’t a lot to give up.
LIZ : Yeah. It wasn’t a lie, it was a hope.
TOM : Yeah, I… I want this to work.
LIZ : And wondering whether or not that’s possible is totally natural.
TOM : Right. But what isn’t natural for me, anyway, is talking about that, so… it’s my promise, to share this doubt with you.
LIZ : Thank you.
TOM : I threw those out this morning, yet here they are.
LIZ : Good. This is exactly where they belong. David… Lucas, and… Kaya. I used to be scared of those guys. Not anymore.
TOM : You got it?
Knock on door
LIZ : We could use a little peace and quiet in our lives. Dembe. Is everything okay?
DEMBE : No.
LIZ : Please come in.
Dembe signals that he wants to speak privately with Liz
DEMBE : I’m worried about Raymond. I don’t think he cares about anything or anyone in the world right now other than you or Agnes. I don’t recognize him. I can’t reach him.
LIZ : And you think I can.
DEMBE : The people at the apartment…
LIZ : He wouldn’t tell me who they were.
DEMBE : They’re cleaners.
LIZ : Cleaners? What about Mr. Kaplan? It’s because she helped me fake my death, isn’t it? He’s punishing her.
DEMBE : He saw it as a betrayal.
LIZ : So he’s replacing her.
DEMBE : No. He didn’t replace Kate. He killed her.
Adapté du site «The Blacklist Classified», mise en page par mnoandco
