🔴 Easy-Search S7 Scripts ⬅️


🔴 Easy-Search Season 7 Scripts

Permalink: https://wp.me/pDKwi-9MZ

NBC’s series The Blacklist created by: Jon Bokenkamp


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

This is all one “page” meaning you can use your browser’s page search to find a quote you remember from Season 7 without knowing which episode it’s in. I use this a lot. Also includes full lyrics to main songs (at end of each episode). To find beginning of major songs, search for ♫.

⭕ For Season 1 Easy-Search scripts, follow this link: http://wp.me/pDKwi-16b
⭕ For Season 2 Easy-Search scripts, follow this link: http://wp.me/pDKwi-1m8
⭕ For Season 3 Easy-Search scripts, follow this link: http://wp.me/pDKwi-1Tj
⭕ For Season 4 Easy-Search scripts, follow this link: http://wp.me/pDKwi-3lZ
⭕ For Season 5 Easy-Search scripts, follow this link: http://wp.me/pDKwi-5Ey
⭕ For Season 6 Easy-Search scripts, follow this link: https://wp.me/pDKwi-8Mi
⭕ For Season 7 Easy-Search scripts, you are here—: https://wp.me/pDKwi-9MZ

⭕ For For All Scripts listed individually, with added features (photos, music links and embedded videos, complete navigation, notes, etc), follow this link: http://wp.me/PDKwi-14P

You can use your browser’s navigation ~
or use the blue arrow ⬆ to return to the top of each episode
or use the blue double-arrow ⏫ to return to the very top. Enjoy!


༺✦ ♤ ✦༻
༺ ✿⊰ ♤ ⊱✿༻


🔴 Script 7:1 Louis T Steinhil (№ 27)

Program air date: 10/4/2019 in the US
Permalink: https://wp.me/pDKwi-9Rj
Entertainment Weekly Recap: http://bit.ly/32Xpd34

༺✦ ♤ ✦༻
Director: Bill Roe
Written by: John Eisendrath, Jon Bokenkamp



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.


⭕ Script 7:1 Louis T Steinhil (№ 27)

[ 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 ]
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.
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.
[ Suddenly, the DOOR THUDS open. It’s Dembe, shooting ] [ GUNSHOTS 💥💥💥💥 ] [ He shoots the Thugs, but sparing Joubert ]
[ 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.
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?!

[ 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 ]
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.
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?

Red: Katarina.
[ Katarina kisses Red ]
[ Katarina jabs Red with a needle ] Red: [ GRUNTS ]
[ Red falls ]

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.
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.
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 ]
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.
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.
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: 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.

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?
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 ]
[ 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 ]

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

Tech: What the?
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.
Red: I’m glad.
[ A new song begins ]
[ Francoise Hardy’s ♫ “Tu Peu Bien” plays ]
Red: Ah! Would you mind turning up the music? I love this song.

♪ Tu peux bien te perdre
Et tu peux, demain

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 ]
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 ]

♪ 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 ]

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

[ The fight now is for the gun ]

♪ 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 ]
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 ]

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!
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 ]

[ 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?
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.

[ 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.

[ 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!
[ 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 ]
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 ]
[ 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


♪ 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 start of 7:1 Louis T Steinhil
⏫ go to top

༺✦ ♤ ✦༻


Episode Songs


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

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

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

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)

Lyrics and Credits: [ Unavailable ]
YouTube: [ To be released 10/25/2019 ]

⬆️ go to start of 7:1 Louis T Steinhil
⏫ go to top

❌❌❌ End 7:1 Louis Steinhil


༺ ✿⊰ ♤ ⊱✿༻


🔴 Script 7:2 Louis T Steinhil, Pt 2 (№ 27)

Program air date: 10/11/2019 in the US
Permalink: https://wp.me/pDKwi-9VO
Entertainment Weekly Recap: http://bit.ly/2IKMXzF

༺✦ ♤ ✦༻
Directed by: Cort Hessler
Written by: Lukas Reiter



Brief (Where we’re at): Katarina Rostova has captured Red. First she tried to extract information from him by having The Illusionist, Louis T Steinhil (Blacklister #27) make him think he was in a hospital in Paris, paralyzed after being beaten by a gang in Paris. But Red still remembered glimpses of being kissed and then stabbed with an injection by Katarina. He gives the French inspector a phone number to his lawyer, Marvin Gerard, but the call goes to Cooper instead. Cooper tries to arrange extradition, but the French authorities are part of the illusion, as the Task Force is able to determine by ID’ing an imposter attaché and tracing his contacts.

After extracting the truth of his situation from a nurse, Red manages to escape from the ‘hospital,’ only to be re-captured by Katarina, who is determined to extract from him “everything I want to know.” She starts by having a nurse begin draining Red’s blood from an IV in his neck.

Meanwhile, Liz has confided to Cooper and Aram what she had previously only shared with Ressler, that Red is not her father, the real Raymond Reddington, but rather a former childhood friend of Katarina’s, Ilya Koslov, who like her had become a KGB agent and later was entangled with the Cabal. This raises issues regarding whether the Task Force can go on protecting Red:

Cooper: I understand crossing lines for your father, but now who are you crossing the line for?
Liz: [ Jauntily, walking off ] A man I’ve grown to like.


⭕ Script 7:2 Louis T Steinhil, Pt 2 (№ 27)

[ Katarina Rostova has Red captive in a darkened warehouse, his arms outstretched and a vinyl tube draining blood from his neck. She is assisted by a nurse named Mila Laporte ]
Katarina: 6,000 milliliters. That’s how much blood an adult male of your size has in his body. It’s a little more than a gallon of milk.
Mila LaPorte: 76 over 54.
Katarina: They say a man can lose up to 40% of his blood, but not much more. You’ve lost 20%. That’s why you’re feeling the palpitations. Your heart can’t fill with blood before it contracts. It’s the beginning stage of what doctors refer to as exsanguination. Raymond, please, I don’t want to hurt you. This isn’t easy for me.
Red: Sorry you’re having a hard time.
Katarina: You can help me.
Red: I’ve always helped you.
Katarina: No. You pretended to help me. You were never on my side.
Red: I came to Paris to warn you.
Katarina: You came to Paris to control me, to keep feeding me your narrative. But I’m done hiding. I won’t do it anymore. I can’t. Not with Elizabeth asking questions and telling ghost stories.
Red: Nobody knows you’re alive.
Katarina: They’re asking the questions. That’s enough.
Red: I never betrayed you.
Katarina: The Townsend Directive is my death sentence. Even with your help, I can’t outrun them. There’s only one way to survive. I have to give them what they want. Tell me how.
Red: I have nothing to tell you.
Katarina: [ Quietly ] We’ll see. If you think those secrets of yours are worth dying for? ~ Prove it.

[ The Post Office ]
Cooper: What do we know?
Liz: We questioned everyone who worked the con.
Ressler: Steinhil used doctors, nurses, ex-cops, intel agents. Smart group.
Aram: But not as smart as Steinhil, who kept everything need-to-know. None of them know the name of the woman who hired him to con Mr. Reddington.
Liz: Just why she did it to ask what he knows about my mother.
Cooper: I’m less interested in the why than in the where. If Steinhil employed all these people to create the illusion that Reddington was in a French hospital, where the hell was he when we got there?
Ressler: Apparently, he escaped. Or tried to. He got less than a block. But the hospital gag was blown, so they moved him somewhere else, but we don’t know where.
Cooper: Let’s start at the beginning. Paris.
Aram: Mr. Reddington went to meet with someone he felt safe enough with that he didn’t bring Dembe.
Ressler: Or he went alone to keep a secret.
Aram: From Dembe? That must be some secret.
Cooper: What else? He was abducted in Paris, then flown to Annapolis. Why?
Ressler: Could be there’s something there that they needed Reddington’s help to find.
Liz: Something or someone. Katarina Rostova.
Cooper: I thought your mother was dead.
Liz: Maybe that’s what she wanted us to think.
Cooper: Even you?
Liz: Apparently, she’s not the maternal type.
Cooper: So far, I’m hearing a lot of maybe’s and could be’s, a lot of theory, almost no fact.
Ressler: Here’s a fact – creating a French hospital in Annapolis takes planning. All the doctors, nurses, police, they all were sent to the same location to get fitted for their wardrobe.
Cooper: You have a location?
Ressler: Textile warehouse in Anne Arundel County.
Cooper: Get there. If they couldn’t con Reddington into telling them what they wanted to know, they’re probably trying to beat it out of him.
[ Ressler leaves and Aram steps away ]
Cooper: Agent Keen?
Liz: I brought Agnes home thinking my mother wasn’t a threat. Now I’m not sure.

[ The warehouse. Some distance from Red, Katarina talks with Louis T Steinfil (the name is an anagram for “The Illusionist”). He creates illusions – convincing alternate realities – using actors, disguises and crafted environments, including the “French hospital” in which Red was convinced that he was paralyzed – a trick pulled off by anesthetizing him. Red detected the ruse and threatened nurse Lila first with a syringe and then a gun that he wrested from her to get a confession from her. He attempted to escape but the attempt was foiled and he was recaptured ]
Katarina: He’s a tough old bird.
Louis T Steinfil: He’ll give you what you want.
Katarina: I don’t want this.
Steinfil: It’s the best of a bad situation.
Katarina: I wouldn’t be in this situation if you’d done your job.
Steinfil: I told you I needed three months to create the illusion you were looking for. You gave me three days.
Katarina:The FBI, have they released anyone?
Steinfil: I spoke with Abigail.
Katarina: How much do they know?
Steinfil: About me? Very little. About you? Absolutely nothing.
Katarina: I never planned on killing him.
Steinfil: He’d find you if you didn’t. It’s better this way.
Katarina: Better. To kill a man.
Steinfil: This man. Once you’ve bled him for what you need.
Katarina: The nurse was with him when he escaped.
Steinfil: I trust her.
Katarina: Then the only question left is, should I trust you?

[ Red is alone with the nurse, Mila LaPorte ]
Red: How long do I have?
Mila: Half an hour.
Red: [ GRUNTS ]
Mila: Maybe less.
Red: I’ve met my share of killers. I know who has the capacity to take a human life. I know the
[ GRUNTS ] the look in their eyes. You don’t have it.
Mila: It wasn’t my decision.
Red: But it is. If you help her – if you do nothing to stop her, you’re responsible.
Mila: You almost escaped.
[ FOOTSTEPS approach ]
Mila: [ Whispers ] She blames me for that.
Red: Shh.
Mila: I can’t take the risk. I’m sorry.
[ Katarina walks over ]
Katarina: I’m afraid hypoxia has set in. The drip, drip of your blood taking with it the oxygen your organs so desperately need. I’m told hypoxia can be quite uncomfortable.
[ She places her hand on his chest ]
Katarina: I know a little something about pain.
Red: Belgrade.
Katarina: Everything I cared about died that day.
Red: I didn’t want that.
Katarina: I’d made a life for myself, a family. You blew all that up.
Red: I didn’t know.
Katarina: Dom promised me no one would get hurt. Said he loved his child and just wanted her to be safe. Do I seem safe to you? Hunted, chased into the shadows!
Red: I- [ GASPS WEAKLY ] I can’t give you what you want.
Katarina: [ VOICE BREAKING ] What I want – is my family back. No one can give me that back. Least of all you. You can’t give me what I want. But you can give me what I need. You want me to believe you had nothing to do with Belgrade.
Red: I didn’t.
Katarina: That you care about me.
Red: Yes.
Katarina: Then prove it. Who’s coming for me? How many? And most importantly, the truth.
Red: I can’t.
Katarina: [ Yelling ] What is it?! [ ~ CRYING ~ ] Very well. Dom then. That’s right. I found him. I know it’s cruel to go after the old man, but you leave me no choice. Something tells me he won’t hold up nearly as well.
Red: Leave him alone.
Katarina: Gladly. If you give me what I need.
Katarina: Goodbye, Raymond.
[ Katarina turns and leaves ]

[ Mila and Red have been left alone. Red wakes up from his stupor. Mila is busily working around him ]
Red: [ GROANS ]
Mila: Shh. Be quiet.
Red: [ SLURRING ] What are you doing?
Mila: Shh!
[ Mila disconnects Red from the rack and helps him into a wheelchair. She gathers supplies, including some of the plastic flasks of Red’s blood and stuffs them into a satchel. Then she pushes the wheelchair through the dark building ]
[ DISTANT CLANK ] [ Mila ducks with Red behind a pillar as someone walks by ]

[ Mila pushes the wheelchair up to a car ]
Mila: I can’t do this alone. I need you to get in the car.
[ She helps Red into the back seat of a white automobile ]
[ A guard appears ]
Guard: Hey, stop! I said stop!
[ Mila pulls out a gun. So does the guard ]
Mila: Don’t. Please. Please. I don’t want to hurt you.
[ Mila shoots💥first. The guard falls ]

[ Ressler and Liz enter an extravagant costume store. They show their badges ]
Ressler: Excuse me. Agents Ressler and Keen FBI.
[ The Receptionist turns around. Her face appears as though someone has slashed it. She smiles ]
Receptionist: How can I help you?
Liz: We, um– That is, are you okay?
Receptionist: Oh, this? No, no, no. It’s just- It’s- It’s-
[ She picks at the side of the “scar” to show it’s fake ]
Receptionist: The Kennedy Center’s doing Phantom. We’re doing the effects.
Ressler: We thought you were a wardrobe house.
Receptionist: Wardrobe, effects whatever a production needs.
Liz: We’re here to see Margaret Teague.
Receptionist: I’ll let her know you’re here.
[ Liz and Ressler walk through the store ]
Liz: Illusions. Cons. People pretending to be something they’re not.
Ressler: Just like Reddington.
Liz: Or my mother.
Ressler: Look, Keen, you did the right thing by bringing Agnes home.
Liz: But if she isn’t who I thought she was, if she’s a threat–
Ressler: Then we’ll deal with it.
Liz: We?
Ressler: Don’t think Cooper, Aram, and I haven’t talked about this. You’ve put your life on hold long enough. It’s past time you start living it, and I–
Margaret Teague: I’m Margaret Teague.
Liz: Agents Keen and Ressler. We’re looking for Louis Steinhil.
Teague: I’m not familiar with that name.
Ressler: He’s a con man, sets up elaborate illusions–
Teague: If you think I had anything to do with–
Ressler: –the last one being a French hospital in an Annapolis warehouse. See, their doctors, nurses, and cops who worked that con, you outfitted them.
Teague: I’m a supplier. What people do with my supplies, I’m sure I don’t know.
Liz: I don’t care if you know or not. I’m looking for someone I care about, and in order to find that person, I got to find Steinhil. So lets cut to the chase. What you provide, does he pick up, or do you deliver?
Teague: I’ve never met the man.
Ressler: So you deliver.
Teague: Yes.
Liz: To where?

[ The white car with Red and Mila drives along a road in the country ]
Mila: Oh, my God. I just shot that guard. I didn’t know what else to do.
Red: [ WEAKLY ] I need your phone.
Mila: If he dies– [ HYPERVENTILATING ]
Red: Mila. Mila, your phone.
Dembe: Raymond. You’re alive.
Red: Barely.
Dembe: I thought– It’s been a week. I was going to enact The Protocol. Where are you?
Red: You have to get to Dom. She’s going after him. He doesn’t know he’s in danger.
Dembe: She?
Red: Bring the cooler. I need platelets, frozen plasma – eight units.
Dembe: Raymond, you sound bad.
Red: Come alone.
Dembe: If you won’t make it to Dom’s, you need to get to a hospital.
Red: If I don’t make it, you you know what to do.
Dembe: Raymond. Be safe. I’ll be there.
[ Phone beeps ]
Mila: Who’s Dom?
Red: [ GASPS ] You need to get us to the highway.
Mila: You need a doctor.
Red: No, no, no, no doctors. Just the highway.
Mila: You are not okay, all right? You’re not gonna make it. You’re sick. If you don’t make it to a hospital
Red: [ GROANS ]
[ Red passes out ]

[ Mila pulls off the road alongside a delapidated farm building. She gets out the satchel and sets up a makeshift transfusion. Red moans and stirs ]
Red [ Mumbling ] What are you doing?
Mila: Give me your arm.
Red: We need to get to Dom.
Mila: Listen to me. If we don’t do this right now, you’re gonna be dead before we get to wherever you think we’re going to. I didn’t save you to watch you die in my car.
Red: [ GROANS ] If we don’t keep moving, they’ll find us.
Mila: They already have. Hold still.
Red: W-What?
Mila: Don’t move.
Red: What do you mean they already have?
Mila: You have to trust me.
[ Mila takes out a scalpel and expertly removes the tracking chip from Red’s neck ]
Red: Why did you help me?
Mila: Like you said, I’m not a killer. And I have terrible judgement when it comes to men.

[ TIRES SCREECH ] [ The white car arrives at Dom’s place in the country ]
[ Mila goes to the door and knocks. She breaks the glass pane ] [ GLASS SHATTERS ] [ Mila reaches through the broken pane for the door handle and opens the door ]
Mila: Hello? Anyone here?
[ GUN COCKS ] [ The barrel of a shotgun appears ]
Dom: Morning. You’d better have a damn good excuse, darling.
Mila: Are you Dom?

[ Outside, Dom and Mila are by the car ]
Dom: [ SPEAKING RUSSIAN, muttering ] Lord in Heaven.
[ Red, inside the car, is motionless ]
Dom: Is he dead?

[ Inside Dom’s house, Dembe has arrived. Red is receiving plasma and looks better ]
Dom: Tell me what she said. Not your interpretation, her exact words.
Red: I’m not interpreting anything. She’s coming for you, and she made it very clear she’s closing in.
Dom: Nonsense. I’m off the grid.
Dembe: Elizabeth found you.
Dom: You mind your own business.
Red: There’s no reason to risk it, Dom. This is your house. I know it won’t be easy to go, but there’s nothing heroic about dying when you don’t have to. This isn’t “Rio Bravo.”
Dom: For your information, going out with a fight, standing your your ground, dying on your own terms, that sounds pretty good to a man 81.
Red: 81. Are you 81?
Dom: Secondly, nothing about this situation resembles the plot of “Rio Bravo.”
Red: She knows you tried to kill her, Dom. She wants answers, but she also wants revenge. You set her up, betrayed her–
[ Mila has opened a notebook with a child’s writing inside: “Katarina” ]
Mila: Whose is this?
Dom: My daughter’s.
Mila: Katarina. That’s your daughter? Katarina Rostova?
Dom: Put it away, please.
Mila: Your own daughter wants to kill you because you betrayed her?
Red: It’s complicated.
Dom: I never betrayed Katarina. She betrayed me!
Red: Oh, come on. Enough.
Dom: Not just me. Our country, our our values, our entire way of life.
Red: The truth is, Mila, you’ve stumbled headlong into a family squabble. And the Rostov family can be rather eccentric.
Dom: She broke my heart. Made choices I couldn’t understand. What was my response?
Red: [ CHUCKLING ] Wait, what did Tolstoy say about unhappy families?
Dom: Despite all my anger, my frustration, I did what I thought was necessary–
Red: “Happy families are all alike, but every unhappy family is unhappy in its own way.”
Dom: Did I make mistakes? Yes. Do I deserve to die for them? Eh, maybe. If I die, at least I will go to my grave knowing that I did what I did to protect my own.

Steinhil: We found him.
Katarina: Where?
Steinhil: A farmhouse a few hours north.
Katarina: So I was right to trust you.
Steinhil: Will he give you what you want?
Katarina: No. Just what I need. I’ll talk to my halawadar. The balance due will be paid by this time tomorrow.
Steinhil: He means a great deal to you.
Katarina: He did. Once.
Steinhil: If the situation were reversed, would he show you mercy?
Katarina: [ SCOFFS ] No.
Steinhil: Then you can’t show him any.

[ Dembe walks with Mila to the white car ]
Dembe: Thank you.
Mila: For what?
Dembe: It’s my job to protect him. I couldn’t do that. You did.
Mila: He was supposed to be a bad man, a criminal, a fugitive, the worst of the worst. That’s why I signed up. Not to protect him. But to take down the Most Wanted.
Dembe: In my experience, who people are supposed to be is rarely who they are.
[ Dembe hands Mila a business card ]
Mila: [ Reading ] Steven Biel. Contractor?
Dembe: Call him. Tell him Raymond sent you.
Mila: Why?
Dembe: Raymond takes care of the people who take care of him.
Mila: [ SIGHS ] I didn’t do this for the money.
Dembe: No. You did it because it’s the right thing to do.
Mila: You give me too much credit.
Dembe: Take the card. It’s not just money. It’s protection.
Mila: You think she’ll come for me. Please thank him for me.
Dembe: No thanks are necessary.
Mila: He seems so decent. How is that possible?
Dembe: Because he is decent.
Mila: I should go.
[ Mila walks around the car and opens the driver’s side door, then pauses and calls to Dembe who looks back ]
Mila: He said I’m not a killer, Reddington. He said he could tell just by looking at me.
Dembe: Then you’re not.
Mila: He knows nothing about me.
Dembe: He knows enough.
[ Dembe turns and walks toward the house. Mila gets in the car and pulls the door shut ]

[ At the warehouse, an FBI SWAT raid starts with percussion grenades and flares 💥💥 ]
— Cover!
[ 💥💥 Gunshots 💥💥 ]
Steinhil: What was that?
— I don’t know.
— Show me your hands!
— Police!
— You go.
[ 💥💥💥 Gunshots 💥💥💥 ]

[ They search the premises. Liz comes across the spot where Red was tortured. A piece of the vinyl tubing, still blood-filled, is curled on the floor ]
Liz: He was here.
SWAT Agent: [ Calls out ] I need help here! I’ve got something. Someone inside. It’s locked.
Abigail (Steinfil’s assistant, hands up): It’s Steinhil. He’s alone.
Ressler: FBI. Open the door!
[ Ressler bangs on the door ]
Ressler: Steinhil, I said open the door!
[ Ressler forces the door open. Steinhil lies face down on the floor, blood glistening in streaks on his temple and face ]

Dom: Damn it! I could’ve sworn I had another box of shells in here.
Red: Dom, we can help you. We’ll take what we can.
Dom: I’m too old to run.
Red: But too young to die.
Dom: Wh- Where would I go?
Red: To the beach, the mountains. How about the Tetons?
Dom: You really think she’s close.
Red: I think we have the day.
[ Mila appears ]
Mila: You don’t.
Red: What do you mean, “don’t”?
Mila: You don’t have the day. You don’t even have the hour. She knows where you are. She’s been tracking us since we left the safe house.
Dembe: How? You took the chip out of Raymond’s neck.
Red: Yes, out of my neck, but not out of her own. We didn’t escape, did we, Mila?
Mila: No. She ordered me to help you.
Red: Hoping I’d lead her here, to Dom. How much time do we have? Mila. How much time?
Mila: She’ll be here in 20, 30 minutes. I didn’t have a choice. She said she would kill me.
Red: Dom, I suggest we find that extra box of shells.

[ They lift up a rug to reveal a trap door ]
Red: [ To Mila ] Who are you? You’ve thrown your lot in with me. I should at least know your name.
Mila: Francesca Campbell. People call me Frankie.
Red: Tell me, Francesca. How is it that you turned out to be my guardian angel?
Francesca/Mila: That is not what I am.
Red: Are you really a nurse?
Francesca/Mila: I’m a former combat medic. That’s why Steinhil picked me.
Red: Steinhil.
Francesca/Mila: He created the illusion. Was part of it, too. “Inspector Oban.”
Red: Tell me about it – the con.
Francesca/Mila: They’ll be here any minute.
Red: Tell me.
Francesca/Mila: All I know is Katarina Rostova hired him because she thinks people are trying to kill her and that you might know how to stop them. The plan was to con you, not kill you – to get you to tell Inspector Oban who the assassins are and what they, or you, might know about her sources and safe houses.

[ Dembe goes through Dom’s collection of weapons ]
Dembe: You don’t believe in assault rifles?
Dom: Open that.
Red: Steinhil’s smart. He knew I’d be overconfident after figuring out the hospital wasn’t real–
Dom: Carefully, carefully.
Red: –that I’d think I’d solved the puzzle when I’d only gotten one piece.
Dom: I believe in plastic explosives.
Red: He knew I wouldn’t see his fingerprints all over the escape.
Francesca/Mila: Everything was planned, down to the last detail – leaving you alone to die, the car parked outside.
Red: You shot the guard.
Francesca/Mila: No, I didn’t.
[ Flashback showing this too was staged ]
Red: All that and the chip in my neck. Inspired. When this is over, I must see about putting this Steinhil on retainer. So – you’re not a nurse who’s afraid of her own shadow. You’re a soldier.
Francesca: That’s right. And I’m not leading you or anyone else into an ambush.
[ Dembe and Dom enter bearing firearms ]
Dembe: Four shotguns – two pump action, two lever. Three bolt-action rifles all single shot.
Dom: And a few souvenirs from home.
Francesca: Let me help you.
Dom: Your help is what got us into this mess.
Francesca: She’ll kill me, too. When she realizes that you knew she was coming, she’ll know I warned you.
Dembe: Raymond, we could use an extra gun.
Dom: Not if it’s pointed at the back of our heads!
Red: What do they call a combat medic in the army?
Francesca: 68 whiskey.
Red: Dembe, give the woman a shotgun.

[ The warehouse ]
[ A body bag is zipped shut ] [ ZIPPER ZIPPING ]
Ressler: I want a full autopsy. No one accesses that body until I get a solid I.D. You got that?
[ Liz has a laptop used for the deception ]
Liz: They tricked him, made him think he escaped.
Ressler: Reddington escaped, but he didn’t?
Liz: He was being tracked. They both were.
Ressler: Both? What do you mean both?
Liz: One of the security guards said there was a nurse on site who befriended him, made Reddington think she was on his side. She orchestrated the escape.
Ressler: So they could track him. Why? Where Where did they think he was gonna go?
Liz: My grandfather’s house.
Ressler: Your grandfather?
Liz: Whoever took Reddington was trying to find out about Katarina Rostova. If he wouldn’t tell them, maybe they think Dom will. And if they do to him what they did to Reddington–
Ressler: We’re not gonna let that happen.
Liz: They may already be there.
Ressler: Keen. It’s not gonna happen.

[ Algiers’ ♪ “Death March” plays ]
[ Katarina arrives with her henchmen in two black SUVs. Francesca comes out the front door to meet them. Red watches from around the side of the house ]
Katarina: They’re both here?
Francesca: Reddington’s recovering in the downstairs bedroom. He’s not mobile. The old man’s working at the back of the house.
Katarina: Anyone else?
Francesca: No. Did everything you said. It went all as planned.
Katarina: [ To her people ] You three, inside with her. Find Reddington and kill him. Berdy, tell the others to go around the back. Bring me Dominic. I want him alive.

♪ It all falls apart
Constant fear of explosion
Crypto-fascist contagion

♪ Oh, yeah
Oh, yeah, yeah, yeah
They took no time to unwind it all
Manufactured suggestion
Wag the dog and then drown him

[ Two Henchmen enter the House ]
Dembe: Don’t move.
Henchman: [ To Francesca ] You didn’t tell us there was anyone else in the house.
[ Francesca grabs a gun and points it at the Henchman ]
Dembe: Drop your guns. Do it now.
Francesca: He said drop ’em!
[ 💥💥 GUNFIRE 💥💥 ]
[ Both Henchmen fall. Outside Katarina and crew hear the gunfire ]
[ 💥💥💥 💥💥💥 GUNFIGHT RAGES 💥💥💥 💥💥💥 ]
[ Dom shoots a shotgun through a window 💥 💥 💥 ]

♪ Oh, no
Oh, no, no, no
This can’t be how it all whimpers out

[ Red presses a button ] [ BEEP ]
[ Plastic explosives blow up a car 🔥‼️💥‼️🔥]

Live to die in the gutter
Empty ivory towers

♪ Oh, yeah
Oh, yeah, yeah, yeah
They pay no mind just to wind you up
Informed auto-suggestion
State-sanctioned assassination

[ 💥💥💥 💥💥💥 GUNFIGHT RAGES 💥💥💥 💥💥💥 ]
[ Henchmen fall but none get in the house. Still, Red and crew are vastly outnumbered ]

♪ How hate keeps passing on
This is how the hate keeps passing on

[ Dom is shot 💥 in the chest, above the heart ]
Dom: Aah!

♪ How the hate keeps passing on
This is how the hate keeps passing on

[ Red goes to Dom ]
Red: Dembe! Dom’s hit!
[ 💥💥💥 GUNFIRE 💥💥💥 ]
[ Together, Dembe and Red maneuver Dom into the underground cellar while Francesca fires at the interlopers 💥 💥 💥 💥 ]
Red: Okay. One more step.

[ Francesca pulls the cellar door shut ]
Red: That’s it. All right, sit.
Red: Something for his head.
Red: There you go.
[ Francesca crouches over Dom ]
Francesca: Single round to the chest. Please tell me he has a hemostat.
Dom: How bad?
Francesca; Some Quick Clot powder? Celox?
Dembe: I don’t see any.
Francesca: Gauze?
Dom: [ GROANS ]
Francesca: Oh, the- the plastic. Give me the package, too.
Red: All right. Get him up.
Dom: [ GROANS ] How bad is it? How bad?! [ GROANS ]
[ Francesca presses the package against Dom’s wound ]
Red: That’s it.

Dembe: They’re here.
Katarina: Gentlemen, it’s over!
Dom: Go to hell!
Katarina: Seems you may get there first. Raymond, I told you I want answers, which means I need him alive. Send him out, and I’ll have no choice but to save his life.
Red: We open it, she’ll kill the three of us and eventually kill him.
Francesca: He may not make it anyway.
Dembe: Then we fight.
Katarina: Open the door, Raymond, or my men shoot their way to you. Raymond, this is my last warning!
[ A young scout walks up to Katarina and whispers something to her. She takes in what he said ~ ]

[ The front door slams⚡️open and an FBI SWAT team bursts in ]
— Move up, move up!
— Clear!
— Clear!
Liz: Ressler, in here! Dom? Dom, it’s Elizabeth Keen. Are you okay?
Red: Elizabeth! It’s us! Is it clear?
Liz: It’s clear!
[ Ressler opens the cellar trap door ]
Red: Dom’s hit. We need to get him help now.
[ They begin to move Dom to the steps ]
Red: That’s it.

Cooper: [ On phone ] You have Reddington?
Ressler: [ In police carr, lights flashing ] Yeah. Been through hell, but he’s okay. Better than Rostova.
Cooper: Katarina?
Ressler: No. Dominic her father, Keen’s grandfather. This, everything, it was about getting information on Katarina and the people hunting her.
Cooper: Getting information for who? Are we any closer to finding out who hired Steinhil?
Ressler: No, they were gone by the time we got there. And by the looks of things, they came in guns blazing.

[ Dembe is driving as Liz, Red and Francesca tend to Dom is the back of a van ]
Liz: The nearest hospital’s in the opposite direction.
Red: Yes, it is.
Liz: Then why are we going the wrong way?
Red: Because we’re not going to the hospital.
Liz: What? What? I’m sorry, but who are you?
Francesca: He needs an operating room, a surgeon.
Red: Yes, and I intend to get him the best one available.
Liz: What if he dies before then?
Red: He’s a Rostov, Elizabeth. If we take him to an emergency room, questions will be asked, questions he’s not prepared to answer.
Liz: [ Whispers ] Please don’t tell me she’s the nurse from the French hospital.
Red: She was very convincing.
Liz: She was in on the con.
Red: Yes, and now she’s the best hope your grandfather has to survive.
Dembe: [ Calling back to the others ] Dr. Stein and his team have been alerted. They’re en route.
Red: Called Dembe on my way to Dom’s, and given my condition, he felt it prudent to assemble one of our triage cubes.
Dom: [ GASPS ]
Red: Turns out, it was.
Liz: What’s happening?!
Francesca: Tension pneumothorax. Air’s leaking out of the hole into his pleural cavity. We need to remove the seal, or else the pressure’s gonna collapse his lungs.
Dom: [ GASPING ]
[ Francesca removes the covering from the wound ]
Dom: [ SIGHS ]
Francesca: [ Agitated ] It’s not just air. He’s bleeding into his chest cavity. We’re losing him. How far out?!
Dembe: Three minutes.
Red: We’re almost there.
Dom: [ COUGHING ] So much to say.
Red: And a lifetime left to say it.

[ The van pulls in to the garage of the mobile hospital site, which is in a lumberyard ]
Francesca: GSW! White male, 80. Sat-level 76 and dropping.
Nurse: Got it.
Francesca: Hemopneumothorax. His lungs are drowning. Which one of you is the surgeon? Nurse: Doc’s still in transit.
Francesca: ETA?
Francesca: Six minutes.
Francesca: He’ll be dead in six minutes! If we don’t put a chest tube in him in the next two, both of his lungs will collapse.
Red: Then you do it.
Francesca: Me? I’m a field medic.
Red: I don’t care what you are. Do you know how to do it?
Francesca: I’ve never done it before.
Red: Do you know how to do it?! Just do it! These people can help you with whatever you need. Do it!
Man’s voice: [ Faint ] CO2 number.

[ Charlie Cunningham’s ♪ “Force of Habit” plays ]

♪ If they pull you under, you’re buried alive

[ The surgery begins ]
Francesca: Knife. Doesn’t matter which one. Just pick one.

♪ Don’t wait for an answer ’cause no one survived

Nurse: Seventh intercostal.
Francesca: Give me the smallest ET tube you’ve got.

♪ It’s force of habit
Take something from it

[ Francesca makes an incision into Dom’s lung and inserts a tube ]
Francesca: Okay.
[ Liz and Red peer in from behind the plastic sheeting ]

♪ You called, it came
It’s here to stay

Male Nurse: Critical.
[ Blood is suctioned out of Dom’s lung ]
Male Nurse: Stabilizing.

♪ These wounds don’t heal
But they won’t show


♪ They’ve already been out there
They’ve been walking for miles

Liz: [ Whispering ] Those questions you don’t want asked, well, I’m gonna ask them anyway. Why don’t we start with who did this.
Red: Not now, Elizabeth.
Liz: [ Urgent whisper ] Yes, now. Someone out there thinks Katarina Rostova is still alive, and clearly they think you know more than you’re saying.
Red: That isn’t a question.
Liz: Who grabbed you in Paris? Who tortured you? Why is my grandfather dying in a lumberyard? My question is, what the hell happened?
Red: You did. You and Agent Ressler.
Liz: Excuse me?
Red: [ Low but angry voice ] How many times have I told you? Leave it alone. I warned you. Even saying the name Katarina Rostova has consequences, and now you see. Now you see what that name will make others do. These questions of yours have gotten their attention, and now they will crawl out of whatever hole they were in, and they will hurt whomever they must – just on the chance, just on the notion that she might still be alive. “What happened?!” Elizabeth. You raised an old ghost, and that’s why your grandfather is dying in a lumberyard.

[ The Post Office ]
Cooper: Reddington blamed you?
Liz: He’s not wrong.
Cooper: Of course he is.
Liz: None of this would’ve happened if Ressler and I hadn’t started asking a lot of questions he told us not to ask.
Cooper: You wouldn’t have had to ask them if he’d been honest with you, if he’d told you his real identity.
Liz: Have you decided whether to tell Main Justice?
Cooper: Not yet. But telling them Reddington is really a former KGB agent whose name is Ilya Koslov will cause a firestorm I have no interest in dealing with. What I am interested in is you and making sure you know that none of this is your fault.
Liz: Reddington wouldn’t tell us who abducted him. And it’s not like we can ask Steinhil or whatever his real name was.
Cooper: Aram’s following up with the M.E. If we can identify the body, maybe we can work backward from there. In the meantime, I’ve assigned a security detail to your apartment.
Liz: You think that’s really necessary?
Cooper: We don’t know who took Reddington, but she’s asking about your mother and has shown that she’s willing to go after anyone who may know about her, so, yes, I think it’s necessary.
Liz: I’m sorry my family is so — messy.
Cooper: Katarina Rostova is your relative. We’re your family. And we’re not gonna let anything happen to you.
[ Liz smiles ]

[ The driver gets out of a van marked OCME ~ “Office of the Chief Medical Examiner” ~ and walks around to the back ]
[ Cooper’s Office. Aram appears ]
Aram: Sir.
Cooper: Agent Mojtabai. Something wrong?
Aram: Definitely. I did what you said and followed up with the Medical Examiner’s Office, and they didn’t know what I was talking about.
[ The OCME driver and another man open the van’s back doors ]
Aram: They don’t have Steinhil. I mean, they never even got him. Apparently, the call we made requesting they respond to the scene was canceled.
[ Out of the back of the OCME van pops Louis T Steinhil – peeling the fake blood from his face ]
Cooper: Canceled by who?
Aram: Well, the log says by Special Agent Gerald Host. G. Host, as in —
Cooper: Ghost.

[ Red sits in the back seat of his parked Mercedes with Francesca ]
Red: [ Solemnly ] I’ve been trying to decide what to do about you. I suppose by warning us, you saved our lives, but you’re also a large part of the reason our lives needed saving. The things you’ve done – I’ve killed others for less. I appreciate what you did for Dom. It’s the reason you’re still alive. But to be clear, it does not make us even.
Francesca: Why didn’t the FBI arrest you?
Red: I intend to find the woman who did this.
Francesca: You’re number one on their list, and they just let you go.
Red: Perhaps you can help me find her. Perhaps not. Time will tell. But until we are even, you’re not going anywhere.
Francesca: If you don’t mind me asking – how’s he doing?
Red: We don’t know if his brain was deprived of oxygen, and if so, for how long. If he ever does wake up, he may not be himself anymore.

[ Dom’s bedside ] [ MONITOR BEEPING ] [ Dom remains unconscious ] [ Red is there; Liz enters ]
Liz: I didn’t realize you two were close.
Red: Ahh. I’ve known Dom a long time. Most of it’s been – unpleasant. Still, something happens when you’ve when you’ve known someone that long, when, after all of life’s twists and turns you look over and there they are, still in it with you, still yours.
Liz: I’m sorry my questions caused all this. But they are questions I deserve answers to. Maybe not now. Now it’s too dangerous. But someday I’m going to insist on answers. And you’re going to have to give them to me.
Red: When he gets better, you should bring Agnes to meet him.

[ Liz’s apartment. Liz and Agnes get ready for the day ]
Liz: Shoes, shoes, shoes! If we don’t leave here in two minutes, Agnes, you’re definitely gonna be late for the bell.
Agnes: Wait! My headband!
[ COFFEE POT RATTLES ] [ Liz holds up two headbands, one with kitten ears ]
Liz: Ears or no ears?
Agnes: Ears!
[ Liz locks the apartment door ] [ KEYS JINGLING ]
[ A woman is exiting the next apartment. The woman is Katarina Rostova ]
Agnes: Mom, that’s not Mrs. Monzewski, right?
Katarina: Oh, my goodness! I love those ears!
Liz: Uh, hello. I’m Liz. This is Agnes.
Katarina: Maddy Tolliver. Your new neighbor.
Liz: It’s funny. Mrs. Monzewski’s lived there forever. I didn’t know she was thinking of moving.
Katarina: She didn’t. I’m just subletting. It all happened very quickly. The woman who showed me the apartment said something about her going to Pittsburgh for a while to be closer to her grandson.
Agnes: You’re pretty.
Katarina:Thank you, sweetie! So are you! You remind me of my granddaughter.
Liz: We have to run, but it was nice meeting you.
Katarina: So nice to meet you both. I’m sure we’ll be seeing more of each other.

⬆️ go to start of 7:2 Louis Steinhil, Pt 2
⏫ go to top

༺✦ ♤ ✦༻


Episode Songs


♫ Death March
By Algiers

♪ Oh no
On no, no, no
This can’t be how it all falls apart
Constant fear of explosion
Crypto-fascist contagion

♪ Oh yeah
Oh yeah, yeah, yeah
They took no time to unwind it all
Manufactured suggestion
Wag the dog and then drown him

♪ How hate keeps passing on
This is how the hate keeps passing on

♪ Oh no
On no, no, no
This can’t be how it all whimpers out
Live to die in the gutter
Empty ivory towers

♪ Oh yeah
Oh yeah, yeah, yeah
They pay no mind just to wind you up
Informed autosuggestion
State-sanctioned assassination

♪ How hate keeps passing on
This is how the hate keeps passing on

♪ How hate keeps passing on
This is how the hate keeps passing on

Lyrics and Credits: http://bit.ly/32armII
YouTube: https://youtu.be/5EZ3ci-r0yk


♫ Force of Habit
By Charlie Cunningham

♪ It they pull you under, you’re buried alive
Don’t wait for an answer cos no-one survived

♪ If you now that it’s a force of habit
Take something from it
You called, it came
It’s here to stay

♪ These wounds don’t heel but the won’t show

♪ They’ve already been out there
They been walking for miles
There’s nobody out there
So don’t waste your time

♪ It’s over a choice that you made
It’s taken you nowhere
You called, they came
They’re here to stay

♪ I’ve seen it form your side but
Still takes a moment to realise
These situations they often arise

♪ They say it’s impossible to know but I know, keep my head low
Decide on it once and for all, so now you know
They say it’s impossible to grow, but I grown, read the head stone
Confides in it once and for all

♪ You know that it’s a force of habit
Take something from it
You called, they came
They’re here to stay

♪ I’m seeing it from both sides but
I need the moment to understand why these situations always arise

♪ I’ve seen it with my own eyes but
Still takes a moment to realise why
These situations they often arise

♪ Been bitten, still too shy or
One thing or another but no one ask why
These complications get me tied

♪ I’ve seen it with my own eyes but
Still takes a moment to realise why
These situations they often arise

♪ Been bitten twice as shy or
One thing or another that no-one ask why
These complications get me tied

♪ I’ve seen it all with my own eyes but
Still takes a moment to realise why
These situations they often arise

Lyrics and Credits: http://bit.ly/2M7c1Ty
YouTube: https://youtu.be/gHlsQPrQ-xM

⬆️ go to start of 7:2 Louis Steinhil, Pt 2
⏫ go to top

❌❌❌ End 7:2 Louis Steinhil 2


༺ ✿⊰ ♤ ⊱✿༻




༺ ♤ ⊰ 🔴 ⊱ ♤ ༻

♤ A Blog about the NBC Series

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