The Blacklist Declassified

🔴 Script 7:11 Victoria Fenberg (№ 137)

 
NBC’s series The Blacklist starring James Spader and Megan Boone
Series created by: Jon Bokenkamp
Program air date: 3/20/2020 in the US (7pm Central/Chicago Time)
Permalink: https://wp.me/pDKwi-alQ
Entertainment Weekly Recap: http://bit.ly/2J0Xzds
🎹 Tunefind for Episode: http://bit.ly/2UbgTLk
IMDb (Internet Movie Database): http://imdb.to/2U8hUnK
Source: Raw Script from OurBoard: http://bit.ly/2vBh1ua [ dump of captioning ]

STATUS: ⭕ Pending ⭕ Rough ⭕ Preliminary 🔴 FINAL
STATUS: 🚫 Pending 🌒 Rough 🌓 Preliminary  Final
Last updated: 6/19/2020 at 4:20pm CT [ Central/Chicago time ]

 
SERIES STARS:
 
Raymond ‘Red’ Reddington – James Spader
Elizabeth Keen – Megan Boone
Donald Ressler – Diego Klattenhoff
Harold Cooper – Harry Lennix
Aram Mojtabai – Amir Arison
Dembe Zuma – Hisham Tawfiq
 
GUEST STARS:
 
Victoria Fenberg – Gillian Alexy
Antony Eagleton – Brian Batt
Elodie Radcliffe – Elizabeth Bogush
Cynthia Mallet – Kate Bornstein
Art Collector – Maria Cellario
Brimley – Teddy Coluca
Mr Fenberg – Jack Gilpin
Saul Bittman – John Hickok
Mrs Sue Fenberg – Anna Holbrook
Vasyl – Kushtrim Hoxha
Richard Vitaris – Albert Jones
Sakiya – Sue Jean Kim
Head Waiter (Joseph) – Tim McGeever
Officer Sharp – Denise Pillott
Fudo – Jimmy Salto
Agent Alina Park – Laura Sohn
Croft Thornberry – Don Stephenson
Sadiq Asmal – Harold Surratt

🔴 Script 7:11 Victoria Fenberg (№ 137)

Brief ~ (Where we’re at): Before Episode 7:11 ~ Liz has a secret: Katarina is alive. Red witnessed Katarina being gunned down by two thugs, the Kazanjian brothers, and her body dragged away to collect a bounty on her life, the Townsend Directive. But Katarina had hired the brothers to stage the attack as Red watched. Red told Liz about her death, but he doesn’t know that Liz knows that the “woman from Paris” is her mother. Or that Liz would soonafter be called by Katarina to explain what had happened.

Katarina won Liz over when she told her that the story Dom had told Liz – that Red was really Ilya Koslov, a friend of Katarina’s and Soviet operative and embassy employee – was untrue, and she proved it by showing Liz Ilya himself, whom she had captured and was submitting to forced therapy by a memory extractor named Victor Skovic. Katarina also told Liz what she had learned or confirmed from Ilya’s confessions – that in 1991, her own father had planned to assassinate her in a car bomb. She escaped but the explosion killed her husband Pyotr. Dom’s purpose for killing Katarina? To protect the one person Dom loved most, his granddaughter Masha (Liz’s Russian name). Katarina disappeared after that, ending up living quietly in Paris until Liz and Ressler’s search for her raised the antennae of her enemies, resulting in the revival of the long-dormant Townsend Directive.

But if Red isn’t Ilya Koslov, then who is he? Ilya, even under Skovic’s therapy and torture, refused to say. Then the Task Force put 2+2 together and closed in on Liz’s building, where they figured out the “woman from Paris” had moved in across the hall from Liz. Liz offered to help Katarina and the others escape which they did through tunnels to get past the police perimeter.

Liz returned to join the Task Force, while Katarina broke into a car and drove past Red and Dembe who followed her to the site of her staged execution by the Kazanjian brothers. Only Cooper knows that Liz found out that the “woman from Paris” is Liz’s mother, which he got her to admit, before she went to Dom’s bedside, where he remains comatose, after being shot by a sniper in a shootout with Katarina’s goons.

Liz: [ To Dom ] I met my mother. I know you didn’t want me to. But I did. She told me you lied to me about who Reddington really is. I don’t understand why you did that or why you’d try to have her killed to protect me. You tried to kill your own child. What kind of person would do something like that?
I can’t figure it out. But maybe she can. Maybe she can find out everything you’re trying to hide from me.

 
For S7 Episode 7:11 Victoria Fenberg 🎯 EW recap ¤ 🌅 Photo Gallery ¤ 🎹 Music Videos ¤ 📒 Script link: https://wp.me/pDKwi-alQ [ “you are here” ]

 

[ Friends are gathered for Dembe’s birthday party. They include Dembe’s spiritual advisor Sadiq Asmal, Red’s torture guy Mr Brimley, Red’s cleaners Fudo and Sakiya, and, of course, Red ]
Brimley: Happy birthday.
Dembe: Thank you. Ah, lift tickets.
Brimley: [ Laughs ] To Whistler’s Blackcomb.
Fudo: Blackcomb’s supposed to be the sickest snowboarding on Earth.
Brimley: So says the Internet.
Sakiya: And we got him a bath caddy?
Fudo: He said no gifts. You said no gifts, right?
Dembe: I know, I–
Sadiq: The presence of friends is a gift.
Dembe: Indeed. Thank you, Teddy. I can’t wait.
Brimley: You’re welcome.
Red: Open this next.
Dembe: You really didn’t need to, Raymond.
Red: Ah, come on, come on.
[ Dembe opens the box and takes out a woven shawl ]
Dembe: No.
Red: [ Laughs ] Yessiree!
Dembe: This is the one we saw in the village outside Lusail.
Red: The same. You knew, right?
Dembe: But you got it?
Red: You didn’t know?
Dembe: I had no idea. I went back to buy it, and she said it was sold.
Red: Because of the guy in the jacket.
Dembe: The one you said was following us?
Red: He wasn’t fo– I had to say something to get rid of you. I smuggled the damned thing onto the jet in my hat like some “B”-movie drug runner.
[ All chuckle ]
Dembe: Ahh. Thank you, Raymond. It’s perfect.
Red: Happy birthday, my friend.
Dembe: [ Chuckles ]
[ Cell phone ringing ]
Dembe: [ Sighs ] Hello? Excuse me? I’m sorry. Say that again.
[ Dembe holds out phone to Red ]
Dembe: Mr. Orville.
⋘⋙
[ Red takes phone and steps aside ]
Red: Hello?
Orville: The nesting casket. You have it?
Red: I do.
Orville: Good. She has a potential buyer.
Red: No. For all six?
Orville: Yes. The entire set. The team is gathering. She wants everyone to bring their caskets to the island. Spend the weekend. Meet the buyer. 7:00 p.m. Friday. Come alone.
Red: No, that’s nowhere near enough time.
Orville: Friday. 7:00 p.m. There will be no extensions. Don’t let the others down.
⋘⋙
[ Red returns to the table ]
Red: Looks like we’ll have to eat our cake and ice cream on the jet. You and I are going to Artemivsk.
⋘⋙
[ They get their coats ]
Dembe: We can’t. It’s too dangerous.
Red: We have to get that casket.
Dembe: Things are different now. The entire neighborhood is controlled by separatists. They know you supply arms to the Ukrainian army.
Red: Well, they have Russia for their guns. They don’t care.
Dembe: They want your head.
Red: This is bigger than me. I have an obligation to the others. If she has a buyer for the entire set, the profit would not only be obscene but flagrant. We have to go to the vault, get that casket. Time is precious.
Dembe: I can go for you.
Red: Only my print opens the locks.
Dembe: How do you suggest we get you behind enemy lines?
Red: I don’t know. If they want me dead, maybe we should just give them what they want.

 
[ Artemivsk, Ukraine ] [ Indistinct conversations in foreign language ]
[ Dembe leads a horse through a crowded street. The horse is drawing a cart with a body covered in a blanket. They arrive at a tall wooden gate ] [ Knock on door ] [ Horse snorts ]
[ The gate opens ]
Vasyl: Bring him around back.
[ Once inside, Red pushes back the blanket and sits up ]
Red: Good Lord, that was rejuvenating. I slept like a vampire.
Vasyl: Raymond.
Red: [ Laughs ] Good to see you, Vasyl. [ Hug ] Oh. You look well. Are these your guys?
Vasyl: Yes. They know only of the job but not who the job is for.
Red: Well, let’s be quick about it. There’s a mob’s worth of separatists who want my head on a stick.
[ They go to a vault which Red enters with his fingerprint. Inside, there are crates with artwork. He also opens a safe with his print. Inside is a small velvet bag and inside that, a golden rectangular hinged box ]
Red: Look at that.
Vasyl: What is it?
Red: It’s one of six. They descend in size from largest to smallest, each one fitting inside another.
Vasyl: Like Russian dolls.
Red: Same idea, but the Matryoshkas didn’t appear until the late 1800s. This is Byzantine, 12th century, found in Turkey. Simply put, they weren’t even supposed to exist, not at that time, not in that part of the world. Once joined with its five partners, this little box will be more valuable than all the treasure in this vault and more.
[ Suddenly, Vasyl runs toward the door ]
Dembe: Raymond.
[ Vasyl slams the door shut but Dembe shoves it open ]
[ Dembe points his gun. Vasyl raises his hands ]
Dembe: Not another step.
Red: Anything you care to share?
Vasyl: Oksana. They took her. They threatened to kill her if I didn’t–
Red: When were they called?
Vasyl: Soon after you arrived.
Red: So they’re almost here.
Vasyl: Raymond, I’m sorry. I didn’t–
Red: Do they know?
Vasyl: They know nothing. They’re here to get you out like we planned. But, Raymond, the rebels–
Red: Dembe, let’s move.

 
[ Shouting in Russian ] [ The separatists search for Red, but he’s gone, riding on a horse alongside Dembe ]
[ Speaking Russian ]

 
[ Cynthia Mallet’s shop ]
Cynthia: Look what the cat dragged in.
Reddington: I’ve missed you, Cynthia.
Cynthia: [ Double kisses ] Mwah. Mwah. Ah, Dembe.
Dembe: Cynthia.
Red: In anticipation of a sale, I need you to appraise an item. Shouldn’t take more than a moment.
Cynthia: This can’t be what I– I had heard rumors, and I never dared believe them.
[ She brings a tray and magnifying glass ]
Cynthia: Here, here, here. Oh.
Red: I’m in a bit of a rush, my love. What do you think it’s worth?
[ She looks up at Red ]
Cynthia: About as much as a politician’s word. It’s a fake.
Red: No, that’s impossible.
Cynthia: The etchings were made with modern tools. This is no more authentic than the Cardiff Giant.
Red: [ To Dembe ] Were there any signs of a break-in at the vault, anything missing?
Dembe: No, nothing.
Red: Whatever thief is responsible for this must’ve forged and replaced the caskets before we ever got our hands on them. We stole a bunch of counterfeits. [ Laughing ] Oh, my God. This is unbelievable.
[ Chuckling ]
Cynthia: You’re taking this better than I might’ve expected.
Red: The others are gonna show up at our meeting and have no idea the entire thing is a hoax.
A big, fat bungle. Six marks, six cons. [ Seriously ] Oh, my goodness. Cynthia, thank you for your expertise. I am terribly embarrassed.
Cynthia: Better luck next time.
Red: You said it. Cheerio.
Cynthia: Ta-ta.

 
[ Outside the shop ]
Red: You know, it occurs to me, if we can find the counterfeiter who created this, we might be able to recover the entire set of original nesting caskets for ourselves.
Dembe: And make a flagrant profit.
Red: [ Laughs ] That’s the spirit. Lemons to lemonade, Dembe. Lemons to lemonade.

 
[ Aram is in bed with Elodie Radcliffe, his risk-loving girlfriend whose husband is in a coma ]
Elodie: You brought down the President of the United States.
Aram: I wouldn’t say that exactly.
Elodie: You found out he was gonna kill the First Lady, stopped him from doing it, and then he resigned.
Aram: Well, when you put it that way–
Elodie: So you do that and deal with people who weaponize beetles?
Aram: Okay, um, what we do is full service – And classified.
Elodie: And the beetles eat their victims from the inside out?
Aram: Why do you wanna know all this?
Elodie: Who comes up with all the nicknames? General Shiro. The Pharmacist. The Apothecary.
[ Laughs ]
Aram: Okay, all right, now you’re actually scaring me.
Elodie: What can I say? I love a bad boy.
[ Kiss ]
[ ⚡️Monitor alarm beeping⚡️ ]
[ Elodie jumps up and grabs for her clothes ]

 
[ Elodie runs down the stairs. Charles Radcliffe’s nurse is doing CPR ]
Nurse: He’s gone into A-Fib. Call 911.
[ Cell phone dialing ]
Elodie: Hello? Yes. My husband’s having a heart attack.
[ Aram slowly comes down the stairs ]
Elodie: My name? Mrs. Elodie Radcliffe.

 
[ Liz sits in her office, embroidering. Ressler comes in ]
Ressler: Hey.
Liz: Hey.
Ressler: I owe you an apology.
Liz: Ohh, boy. What’d you do this time?
Ressler: I killed your mother. I didn’t shoot her, but she’s dead because of me.
Liz: Ressler–
Ressler: I went looking for her after you asked me not to and–
Liz: Ressler. She isn’t dead.
Ressler: But you– I mean, you– You told Cooper that Reddington saw her gunned down on the street.
Liz: She staged that for Reddington’s benefit.
Ressler: [ Exhales ] So Reddington would tell everyone she’s dead and the dogs would be called off.
Liz: But they’re gonna come back unless she finds another way to protect herself. And until she does, we can’t tell anyone she’s alive.
Ressler: Did Reddington admit that it was her?
Liz: Not to me, and I don’t want to admit it to him. He must know it’s what I’m thinking.
Ressler: So play dumb. I mean, ask if it was her, he’ll say no, and then it’s done.
Liz: [ Sighing ] I don’t know.
Ressler: What’s the munchkin dancing in?
Liz: Sleeping Beauty. She’s a lilac fairy.
Ressler: Impressive. I was in the chorus.
Liz: You danced? In tights?
[ Ressler nods ]
Liz: Well, that’s an image I’ll never be able to forget.
Ressler: You’re welcome.
[ Liz’s cell phone vibrating ]
Ressler: [ Leaving ] Play dumb. Smart move.

 
[ Red is in his plane ]
Liz: [ Answers phone ] Hi.
Red: What do you know about antique nesting caskets?
Liz: Can I ask you a question?
Red: Some years ago, five colleagues and I acquired a complete set.
Liz: Was the woman from Paris my mother?
Red: A kindly woman comes into your life and takes an interest in you and your child. It’s only natural for you to make that wish.
Liz: Was it her?
Red: I know you don’t want it to be true, Elizabeth, but your mother is gone.
Liz: Tell me about the caskets.
Red: Mine is a forgery.
Liz: The casket you stole had already been stolen?
Red: The irony is rich. As is the forger. If they fooled me, they’ve fooled others.
Liz: So you want us to find whoever’s responsible so you can get your casket back.
Red: Forged or stolen art and antiquities represent up to 10% of an art market valued at over $50 billion. That’s $5 billion. And, yes, I have a stake in your finding this forger, but if they’re as good as I believe them to be, I’m giving you the tip of an enormous iceberg.

 
[ The Post Office. Liz brief the task force ]
Liz: Reddington actually underestimated the problem here. It turns out that up to 20% of the art-and-antiquities market is made up of forgeries. That’s almost $10 billion worth of counterfeits being passed off as real to governments, museums, and individuals.
Agent Alina Park: $10 billion’s a lot of fakes. Can it be that easy to do? These are great pieces of art.
Aram: Forgers don’t have to be great artists, just great engineers.
Cooper: What do you mean?
Aram: No matter how good a forger is, he’s basically copying, right? And there are technical ways of doing that, like camera obscura.
⋘⋙
[ Victoria Fenberg copies a painting using a camera obscura method ]
⋘⋙
Aram: By using mirrors, you can project an image onto a canvas, and if you project that image in small sections, you can essentially do a paint-by-numbers masterpiece.
⋘⋙
[ Door opens. A young black man, Richard Vitaris, enters ]
Richard Vitaris: Hey, Victoria, you here? It’s time.
⋘⋙
Liz: Reddington and his pals lifted the caskets from the Olympian Gallery.
Agent Park: So he’s an art thief now.
Liz: He thinks that if the person we’re looking for was able to forge one piece of art there, he forged others.
Ressler: Yeah, but there’s thousands of pieces in the museum. Where would we start?
Liz: With a self-portrait by Judith Leyster. He thinks it’s a fake.
Cooper: Contact the museum and see if he’s right. But before you do, Agent Ressler told me you’ve been hiding something from us.
Liz: He did?
Cooper: Yes, something very important. Agnes is in Sleeping Beauty.
Aram: Wait, Agnes is in Sleeping Beauty?
Liz: That’s what he, uh– He told you about Agnes’ ballet.
Park: And how great he looks in tights.
Ressler: What can I say? It’s a gift.
Cooper: We want tickets.
Liz: All right.

 
[ An office in a glass-sided office building ] [ Knock on door ] [ Victoria Fenberg enters ]
Saul Bittman: Ah, Victoria, it’s been too long.
Victoria: You screwed me, Saul, and I want to know why.
⋘⋙
[ Richard Vitaris pushes a janitor’s cart into the boiler room of the building ]
⋘⋙
Ressler: We had the Olympian Gallery test the Leyster. Reddington’s right. It is a forgery.
Liz: Using a spectrometer, they were able to detect trace amounts of a synthetic pigment that was invented centuries after Leyster died.
Cooper: Did they test the painting when it was donated to the museum?
Liz: Yes, and the painting was everything it should be.
⋘⋙
[ Richard releases steam from pipes in the boiler room ]
⋘⋙
Cooper: So when they hung the portrait, it was the original, and now it’s not. Any idea how they pulled that off?
⋘⋙
Victoria: The trust is separate from the company.
Saul: But the company funds it, and now the funds are needed elsewhere.
Victoria: To pay for the lawsuits to defend the indefensible.
Saul: Your father doesn’t see it that way.
Victoria: My father doesn’t see it at all.

[ 🛎 Alarm dinging 🛎 ]
Automated voice: Smoke level zero.

Saul: I don’t know what’s going on, but protocol is we should evacuate.

Automated voice: 🛎 Please exit the building immediately 🛎

Victoria: I’m not going anywhere until I get the answers I’m looking for.
Saul: Uh, it’s probably a false alarm. You sit tight. I’ll go check it out.

Automated voice: 🛎 Smoke level zero. 🛎 Please exit the building immediately 🛎

[ Once Saul leaves, Victoria heads out in the opposite direction ]
⋘⋙
Ressler: Curator says that a year after they acquired the painting, they had a gas-line explosion in the parking structure. Took out their security system for the afternoon.
Liz: As far as we can tell, that’s the only time they were blind.
Cooper: Did you pull the feeds?
Liz: From before and after. Park is reviewing them now.
⋘⋙
[ The building’s control room ]
Man: Yeah, shut down the elevators just in case.

[ 🛎 Alarm continues dinging 🛎 ]

[ Victoria hurries to a room with an art collection, including a Fabergé egg. The display has a key pad lock. She enters the numbers ] [ Beeping ] [ She replaces the egg with one in her purse ]

Automated voice: 🛎 Please exit the building immediately 🛎

Biltman: Victoria? What are you doing?
Victoria: I was looking for the bathroom. I must’ve got turned around.
Bittman: Well, the boiler overheated. Looks worse than it is, but we need to evacuate.

Automated voice: 🛎 Please exit the building immediately 🛎

Biltman: I hope this doesn’t damage any of the collection.
Victoria: Yes, that would be a real shame.
Bittman: [ Coughs ]

 
[ A restaurant ] [ Indistinct conversations ]
Head Waiter (Joseph): Mr. Thornberry, your guest is waiting at your usual table.
Croft Thornberry: My guest? I don’t have a guest.
[ Red waves ]
Head Waiter: Your wife’s ex-husband.
Thornberry: My wife doesn’t have an ex.
Head Waiter: He said you’d say that. He said you’d want to be discreet.
[ Thornberry walks to the table ]
Red: Croft, I can’t tell you how happy I am to see you.
Thornberry: Who the hell are you? And why are you telling the wait staff my wife has an ex-husband?
Red: No, no, no. No, I– You understand. I had to tell them something. The truth would’ve been so uncomfortable for everyone involved. Ex-husband just popped into my head. I don’t even know if you have a wife. Do you?
Thornberry: —
Red: Don’t answer that. Doesn’t matter. Please, have a seat. I took the liberty of ordering us a few martinis and the seafood tower. You’re not allergic, are you?
Thornberry: I’m calling security. [ To the Head Waited ] Joseph.
Red: I thought we could crack some claws, get to know each other, see what hobbies we have in common, like, I don’t know, say, art theft.
[ Red takes a drink from his martini ]
Red: Mm. Don’t fret.
[ Thornberry sits ]
Red: I’m not the police, and I’m certainly not here to arrest you for buying a painting you [ whispers ] knew was stolen.
Thornberry: Then why are you here?
Red: To tell you that I happen to know that the FBI are aware of the painting, aware of the theft [ Looks around ] of the painting, aware of the sale of the stolen painting. But not yet your whole part in it.
Thornberry: That’s it? That’s why you’re here?
Red: Yes. Well, and for a name – [ Whispers ] Of the person who sold you the painting.
Thornberry: And if I refuse?
Red: Well, that would just leave you and the FBI – and the painting. Very awkward. [ Chuckles ] Very awkward.
[ The Head Waiter rolls over the seafood tower ]
Head Waiter: Gentlemen, your seafood tower.
Red: Ah, magnificent. Perhaps a couple of bibs for the gentleman and me.

 
[ The Post Office ] [ Aram is chewing on the end of a pencil when Liz enters ]
Liz: You know, there are easier ways to get more fiber in your diet.
Aram: Sorry? Oh, uh, sorry. Um, Elodie’s husband had a heart attack this morning and was rushed to the hospital. I’m waiting to hear how he’s doing.
Liz: I’m so sorry. That’s terrible.
Aram: Can I ask you something? Um, do you think it’s natural when someone is suffering as much as he is to want them to find some peace?
Liz: Yes, of course.
Aram: Do you think it’s natural to want that when you’re in the next room sleeping with his wife?
Liz: Aram, we’ve talked about this. It’s a very complicated situation.
Aram: Not for Elodie. If you’d seen her this morning, you’d know that all she wants is what’s best for him.
[ Ressler enters ]
Ressler: We got the footage from the museum.

 
Agent Park: This is from the day the gas line erupted. Check it out.
[ They look at the surveillance video ]
Park: Once the explosion occurs, all the surveillance goes black.
Cooper: Giving the forger time to swap out the painting.
Liz: Yeah, we already knew that.
Park: Yes, but what we didn’t know was that there was a car parked right next to the gas line, and we hadn’t seen this. The gas-line rupture didn’t cause the car to explode. It was the car exploding that ruptured the gas line.
Cooper: Can we see it again?
Park: Mm-hmm.
Cooper: The license plate’s blocked out by the column.
Aram: There’s no video after the explosion, but, uh, what about before? How far back can you go?
Cooper: There. Run the plate.
[ A man appears on the video ]
Ressler: Hello. Now, who might you be?
Aram: Okay, the car’s registered to a Richard Vitaris. I’ve got a Maryland address.
Cooper: Park, Ressler, roll out. Keen, Aram, see what you can dig up on Vitaris. I wanna know if he’s the trigger man, the forger, or both.

 
[ Baltimore MD ] [ Victoria works on her painting, using the camera obscura ]
[ Knock on door, door opens ] [ Richard Vitaris enters ] [ A man is in the next room ]
Richard: Sorry to interrupt. Eagleton’s appraisal is done.
[ Victoria and Richard go to greet the man, Anthony Eagleton. He’s holding the stolen Fabergé egg ]
Anthony Eagleton: It’s exquisite. Wouldn’t be surprised if Anastasia herself looked upon it in wonder.
Victoria: So we have a deal, then.
Eagleton: If we can agree upon a price. I’ll give you 900.
Richard: 900? Its market price is 3.2.
Eagleton: On the open market. But on the black market, Faberge eggs sell at a discount.
Victoria: I’ll take 1.2.
Richard: Victoria.
Eagleton: I shouldn’t. But for you, my dear, I’ll happily overpay.
[ He picks up his cell ] [ Cell phone chimes ] [ The money comes across ]
Richard: The money’s been wired.
Eagleton: Until next time.
[ Eagleton leaves ]
⋘⋙
Richard: It’s not enough.
Victoria: I know.
Richard: I talked to Kathryn. She’s buried in discovery. She’s had to hire three more lawyers, and that’s before she’s taken a single deposition. The other side’s pouring millions into its defense.
Victoria: And when my next piece is finished, we’ll be able to pour millions into ours, too. I promise.
Richard: I’m sorry. You’re the last person I should be complaining to.
Victoria: You have nothing to apologize for, not after what you’ve lost.
Richard: You know how much I appreciate what you’re doing.
Victoria: I haven’t done enough. Not yet. But that’s about to change.

 
[ A raid takes place at Richard’s apartment ]
[ Men shouting indistinctly ]
Ressler: Richard Vitaris. FBI.
[ No one is home ] [ Ressler and Agent Park check out the apartment ]
Park: Mechanical drawings for gas and electrical at the Olympian Gallery.
Ressler: I got a ferry schedule for an island off the coast of Maine here. Architectural drawings for an estate there.
Park: So he hits museums and private residences.
Ressler: And law firms, apparently.
[ Cell phone rings ]
Ressler: We have proof it’s Vitaris.
Liz: And we have motive.
Aram: Vitaris is the lead plaintiff in a class-action lawsuit against a pharmaceutical company owned by the Fenbergs. Now, if the lawsuit is to be believed, then they are as bad as the Sacklers 🔘 [See Note] – Misleading the public and the FDA on how addictive their drugs are.
Park: Did Vitaris get addicted?
Ressler: No, his son did.
Aram: That’s right. After a football injury, he was prescribed painkillers, got hooked, overdosed a year later.
Cooper: What does any of this have to do with the forgeries?
Liz: The counterfeit Leyster? The real one belonged to the Fenbergs. So did Red’s nesting casket.
Cooper: We need to warn the Fenberg family they and their art are being targeted. Keen, Aram, get to the Fenberg estate. Ressler, Park, bring in the evidence so that we can start digging into Vitaris’ plans, past and future.

 
[ The Fenberg estate ]
Mr Fenberg: First, Vitaris slanders me in court, and now you’re telling me he’s stealing from me, as well?
Aram: It appears so, yes.
Mr Fenberg: All right, I’ve asked my family to be here for this, because they are every bit the victims that I am. This is my wife, Sue, and our daughter, Victoria.
Mrs Sue Fenberg: Have you identified the thief?
Aram: We’ve identified a suspect, but we’re not sure what role he played or if he was acting alone. We believe that he may have an accomplice.
Victoria: Have you identified him?
Liz: Not yet, but we will.
Victoria: You sound awfully confident.
Liz: Yes, we are.
Mrs Fenberg: Well, please, come in. Tell us what you know.

 
[ A living room ]
Victoria: Counterfeits? That’s impossible.
Mr Fenberg: Victoria manages our family collection. She knows her work.
Victoria: Every piece in our collection has been authenticated.
Liz: The work you acquired was real. The forgeries came later.
Aram: The Leyster was taken three months after you loaned it to the Olympian Gallery.
Mrs Fenberg: But you can get it back. The suspect must know where it is.
Liz: He may, but we don’t know where he is.
Mrs Fenberg: Well, how hard can he be to find? He’s the lead plaintiff in the lawsuit against us.
Mr Fenberg: You’d think trying to destroy us in court would be enough.
Victoria: He lost his son. I don’t think he thinks anything would be enough.
Mr Fenberg: So you’re saying we’re responsible for his loss? You’re taking his side?
Mrs Fenberg: No, of course she’s not taking his side. Are you, sweetheart?
Victoria: I’m just saying it’s a stressful time, for all of us. Tell us how we can help.
Aram: One thing you can do is to go through your entire collection. Now, I know that is a logistical nightmare, but if you have pieces on loan, get them back, and authenticate everything.
Mr Fenberg: All right, you’ve told us what we can do. Now I’m gonna tell you what you’re gonna do – Find Vitaris. And if he has an accomplice, find him. And when you do, despite my daughter’s misplaced sympathies, I’m gonna use my considerable power to make sure they pay for what they’ve done.

 
[ Richard is looking at a painting in Victoria’s studio when she walks in ]
Victoria: You got my text?
Richard: This– It’s brilliant. It’ll be our biggest take yet.
Victoria: The FBI came to our home. To warn us about you. They searched your property. It’s– It’s over.
Richard: Okay, hang on. We need that money to keep the suit going.
Victoria: They’re looking for you. You’re going to be arrested. Forget about the case. At this moment, art handlers are starting the process of re-authenticating my family’s entire collection. They’re crating it up. They’re putting it in secure storage. There’s no way we can make the swap now.
Richard: Hear me out. What if there was a distraction at the house? Could you substitute the painting then?

 
[ The Post Office ] [ Aram’s cell phone vibrating ]
Aram: Elodie, hey. Uh, what’d the doctor say?
Elodie: [ On phone ] Looks like another blood clot was blocking one of the arteries in his lungs. He– He went without oxygen for a while, but, um– But he’ll live, so–
Aram: So that’s good, right?
Elodie: I don’t know. What do you think?
Aram: What do you mean, what do I think?
Elodie: It’s okay. If it makes you feel any better, I was thinking it, too.
Aram: Thinking what exactly?
Elodie: That it would be better if, you know, the outcome were different, if Charles had just passed.
Aram: No, that is not what I was thinking at all. Why would– Why would you say that?
Elodie: Aram, if we’re gonna be together–
[ Cooper beckons to Aram ]
Aram: Um, look, I’m so sorry. I’m gonna have to call you back. I have, uh, work.
[ Cell phone beeps ]

 
[ In the main room (war room) of the Post Office ]
Cooper: Anything specific?
Agent Park: I just can’t tell what’s been completed and what’s planned. There are no dates on any of this.
Liz: Bank statements show Vitaris is deep in debt. He’s gonna need to make another score soon.
Ressler: But what’s the next target?
Aram: Wait. I have a lead on that. Okay, so, looking at the previous forgeries from the Fenberg collection, it seems that the counterfeiter specializes in replicating pieces from the 19th century or before. Now, according to the Fenbergs’ portfolio, the only painting left in their collection that matches that description is a Hoogstraten worth $24 million.
Liz: That painting is hanging in their house. We just saw it.
Park: So, based on everything we know, it’s safe to assume that Vitaris is going after the Hoogstraten.
Cooper: If Vitaris knows we’re after him, he may get desperate and change his MO, skip the paintings and go after Mr. Fenberg himself.

 
[ Mr Anthony Eagleton, a middle-aged man, is taking a bath when Red and Dembe enter. Dembe is carrying an electric waffle-maker ]
Red: Mr. Eagleton. I’m sorry to interrupt your ablutions. Looks delightful. But I’m in a bit of a rush and have some pressing questions that can’t wait for your contemplative soak.
Eagleton: Who the hell are you? What are you doing in my bathroom?
[ Red holds out the crafted casket ]
Red: Who did you buy this from?
Eagleton: I’ve never seen that thing before in my life.
Red: Maybe the bubbles have addled your brain.
Eagleton: What are you doing here? Get– You can’t be here. Get out of my bathroom.
Red: I love a good bath as much as the next man, but does it ever get into your head the idea that you’re simply soaking in your own juices like a brining turkey?
Eagleton: What?
Red: I digress. Doesn’t matter. Please, take a closer look at the piece. I know you’ve been fencing items on behalf of a counterfeiter who steals art from the Fenberg family. Well, that same counterfeiter is responsible for this breathtaking forgery. And while I admire the accomplishment, I prefer the original. So the counterfeiter’s name – I need it now.
Eagleton: That would be suicide.
Red: How apt.
[ Dembe puts the waffle-maker on the floor and goes to plug it in ]
Red: Just give us a second. It’s the damn GFCIs.
[ Red picks up the waffle-maker ]
Red: This might tickle a little.
Eagleton: Okay, okay. Wait, wait, wait, wait.
Red: Might even make your toes curl. Or not. What the hell do I know? Let’s find out.
[ Red holds the waffle-maker over the bath water ]
Eagleton: No, no, no. No, please. Stop.
Red: The name.
Eagleton: Fenberg. Victoria Fenberg.
Red: You see? There it is. That wasn’t so hard, was it? Antony, let me ask you a question. Are you hungry? I’m hungry. Dembe, you hungry?
[ Red hands Dembe the waffle-maker and picks up a towel, holding it out to Eagleton ]
Red: Okay. Hop out. Let’s get cooking.

 
[ Men speaking indistinctly ] [ Mr Fenberg looks out the window as the family art collection is being crated and loaded to be inspected for forgeries. Victoria enters carrying a briefcase ]
Mr Fenberg: This is a violation.
Victoria: It’s only a precaution.
Mr Fenberg: A precaution? Do you see what’s happening? This Vitaris character is dismantling our lives.
Victoria: You sound surprised.
Mr Fenberg: Don’t start, Victoria.
Victoria: His son died. He’s angry.
Mr Fenberg: Then he can settle it legally in a courtroom, but this is–
Victoria: He can’t afford that.
Mr Fenberg: How is it that you think any of this is our fault? We did not kill that boy.
[ Cell phone rings ]
Mr Fenberg: And attacking us isn’t going to bring him back.
Victoria: Hello?
[ Liz is in a vehicle with Ressler ]
Liz: Ms. Fenberg, this is Agent Keen. I’m calling to let you know we’re sending units to your house.
Victoria: Why? What’s wrong?
Liz: It’s Vitaris. He’s still at large, but items in his home indicate that he might be targeting you and your family directly.
Victoria: Targeting us? Do you mean physically?
Liz: We’re not sure. That’s why we’re sending units. All we know is Vitaris is angry and has a vendetta, and we don’t want him to act on it. We’ll be there soon. We’ll talk more when we’re on-site.
Mr Fenberg: So I assume they’re here to protect us.
Victoria: I’ll get Mother.

 
[ Victoria calls Richard Vitaris from the kitchen ]
Victoria: We have to call it off. They know.
Richard: Who knows?
Victoria: The FBI. They’re on their way here. They think you’re targeting the family.
Richard: We have a plan.
Victoria: Did you hear me? The police are here. There’s no way we can get near the–
[ Victoria’s mother enters the kitchen ]
Mrs Sue Fenberg: The police? What’s going on?
Victoria: It’s okay. They’re here for our protection.
Mrs Fenberg: Where’s your father? Uh, downstairs.
Victoria: Go, go. I’m right behind you.
[ Mrs Fenberg leaves ]
Victoria: [ To Richard on the phone ] You have to get out while you can.
Richard: We can do this.
Victoria: No.
Richard: Victoria, listen, that painting, it’s our future.
Victoria: You have to go.
Richard: The plan remains the same – Get the painting, sell the painting, fund the lawsuit.
Victoria: We can’t.
Richard: We can. You have the forgery?
Victoria: Yes. If they see you, they’ll arrest you.
Richard: Exactly.
Victoria: Richard, you’ll go to jail.
Richard: How else do you think this ends? With me going home to my son? He’s gone. The only way to make sure others don’t die like him is to see this through, and to do that, you’re gonna make the swap.
Victoria: Okay.
Richard: And, Victoria, thank you.
[ Cell phone beeps ]

 
[ Police radio chatter ] [ Ressler and Liz arrive at the Fenberg estate ] [ Richard is among the workers moving boxes ]
Ressler: Agents Ressler, Keen, FBI.
Officer Sharp: Trooper Sharp. Mr. Fenberg says his wife and daughter are on the property along with four house staff members.
Ressler: Show me.
[ Ressler leaves with Mr Fenberg ]
Liz: Help me gather these movers. The Art Crimes Unit is en route. I don’t want any of this leaving here without them cataloguing it.
[ Victoria enters a room where one painting remains uncrated. Workmen are looking out the window ]
Victoria: Hey, what’s going on? Why isn’t this crated?
Mover: Uh, you got police everywhere. Is everything okay?
Victoria: No, everything is not okay. The police want everyone downstairs. Right now. Go.
[ They leave. Victoria looks out of the window at the workers and agents below ]
[ Battle Tapes’ ♫ “Starts Right Here” (feat. Valerie Broussard) plays ]
[ ⬇ Go to Full Lyrics ] or [ ♪ Tap square below to play ♪ ]

♪ You heard what they say ♪
♪ That I got lightning in my fingers ♪
♪ I got gold inside my veins ♪
♪ Believe what you see ♪

[ Richard, dressed as a worker, jumps out of a truck and bumps into Liz ]
Richard: Sorry, ma’am. Sorry. Sorry.
[ Richard tries time walk away, but Liz recognizes him and follows ]
Liz: Hey. You. Vitaris.
[ Richard runs ]
Liz: Ressler!
[ Richard grabs a gun from an officer’s holster ]
Officer: Gun, gun!
Liz: Hey! Stop!

♪ Get ready for the revolution ♪

[ Inside Victoria takes down the painting from the wall ]
⋘⋙
Liz: Stop! Stop.
Ressler: Put the gun down!

♪ Oh, oh, oh, oh, oh, oh ♪
♪ Oh, oh, oh, oh, oh, oh ♪

[ Victoria exchanges the painting in the frame for the forged on in her briefcase ]
⋘⋙
Richard: I’m not here to hurt anyone.
Liz: Then put the gun down, Richard.

♪ ‘Cause it starts right here, starts right here ♪
♪ Oh, oh, oh, oh, oh, oh ♪

Liz: It’s over. You’re under arrest.
Richard: Why don’t you go arrest the real criminals, the white-collar monsters inside that mansion who profited from the death of my son?
Ressler: We’ll talk about it after you put the gun down.

♪ Ain’t scared to fight alone ♪

Richard: My son’s gone. They murdered him.
Liz: We know, Richard. We’re sorry. But hurting someone else isn’t gonna bring him back. Put the gun down.

♪ Get behind me ♪
♪ No more lying in the shadows ♪
♪ No more hiding underneath ♪
♪ Tell the world get ready for the revolution

[ Victoria looks out of the window at Richard. He sees her. An officer behind Richard takes the gun from him ]
[ Victoria joins her father on the front steps ]
Mr Fenberg: You okay?
Victoria: No.
[ Ressler comes over to them ]
Mr Fenberg: Do you know what he was after?

♪ Oh, oh, oh, oh, oh, oh ♪

[ They run upstairs where a framed painting still hangs on the wall ]
Mr Fenberg: Thank God it’s still here.
Ressler: [ On comms ] Keen, send the Art Theft Unit to the living room. We got it.
Mr Fenberg: [ To Ressler ] Don’t you dare let that painting out of your sight.

♪ Starts right here ♪

[ Victoria watches as Richard gets into a police car. Her father comes up behind her ]
[ Car doors shut ]
Mr Fenberg: I know you don’t understand, darling, but it’s better this way. It had to end this way.
Victoria: I know, Daddy.

[ Loudly: ]
♪ Get ready for the revolution ♪
♪ Revolution ♪

[ Victoria grabs her briefcase and walks away ]

 
[ The Post Office ]
Cooper: He stole the paintings to finance his lawsuit against the Fenbergs.
Park: Says he did the forgeries, too. Insists he worked alone.
Ressler: He gave himself up as a distraction so someone else could swap out the Hoogstraten.
Cooper: If someone else did. Do we have confirmation yet?
Ressler: The painting’s being authenticated now, but if he has a partner, we have no idea who it is. We searched everyone at the house – Wait staff, security, every box, bag, briefcase, or purse. Nothing.
Park: We offered him a deal. He wouldn’t budge. Guy’s a true believer.
Cooper: Send him to lockup. When he sees what his future holds if he doesn’t cooperate, maybe he’ll talk, tell us who he’s protecting.

 
[ Victoria Fenberg walks down a stairs with Antony Eagleton ]
Victoria: Prepare to be amazed. I am bringing you a masterpiece. But this time, no discounts.
[ They enter the kitchen. Red and Dembe are there ]
Red: Ms. Fenberg, please join us. A waffle? They’re buckwheat.
Victoria: What is this?
Eagleton: Just– Just hear him out.
Red: Please, sit.
[ They sit across a table from Red ]
Red: Have a waffle. I love a juicy family drama. Greed, resentment, betrayal, secrets. [ Chuckling ] And your secret? Oh, my. Using the spoils of your father’s avarice to bankroll his destruction. The tragedy is positively Grecian.
Victoria: Who are you?
Red: A man on a quest.
[ Red places the small metal casket on the table ]
Red: Does this look familiar?
Eagleton: He knows, Vicky. Just– Just tell him.
Victoria: It’s from my family’s collection.
Red: Yes, but it’s part of a larger set. I came to acquire this one some years ago. Imagine my surprise when I learned it was a counterfeit. But tell me, did you make forgeries of all six boxes?
Victoria: No, just the one. It was my first test. I wanted to see if I could fool people.
Red: Well, you certainly fooled me.
Dembe: Would you like syrup, berries, or both?
Victoria: I’m sorry. I’m totally confused.
Red: Both, then.
Victoria: No– No, not about– What is it that you want?
Red: The original casket. I want the name of the person who has it. Mr. Eagleton says that’s the one item of yours he didn’t fence.
Victoria: That’s all you want? A name?
Red: Your father is a drug dealer. The fact that he deals a legal drug is no consolation to the addicts he’s created. He’s the villain in this story. Your efforts to bring him to justice, however convoluted, are, as I’ve said, admirably Oedipal. Not only do I have no intention of stopping you, I believe we may find occasion to work together in the future. I am nothing if not an avid patron of the arts. So, please, a name.

 
[ An elegant home ] [ A stylishly dressed older woman leads Red into a living room with a large glass cabinet ]
Art Collector: Vicky tells me that you’re a collector.
Red: Oh, just a dabbler. I told Victoria I didn’t want to impose.
Art Collector: Oh, nonsense. I love showing people my collection.
[ Inside the cabinet, Red sees the original casket ]
Red: Oh. I’m sorry, but before we start, might I trouble you for a glass of water?
Art Collector: Of course. No trouble at all.
Red: Thank you so much.
[ She leaves to get the water ] [ Red peers inside the glass cabinet ]
⋘⋙
[ Several minutes later, the Art Collector returns with the water. Red is looking at the casket inside the case ]
Art Collector: You have a good eye. That’s my prized possession.
Red: Is it? Who would’ve guessed?
[ Red lifts the glass of water ]
Red: Cheers.

 
[ The Post Office ] [ Victoria talks with Richard Vitaris in an interrogation room ]
Victoria: You confessed?
Richard: They don’t know about you.
Victoria: Then I’ll tell them.
Richard: You can’t do that.
Victoria: I can’t let you take responsibility for what I’ve done.
Richard: What you’ve done is give me hope, and you need to keep doing that. My only purpose in life is avenging Justin’s death. The only chance of that happening is if you continue what we started.

 
[ Buzzer, door opens ] [ Victoria leaves the interrogation room ]
Ressler: Visiting the enemy?
Victoria: Yes. I want to know where the art is that he stole.
Ressler: And you thought he’d tell you?
Victoria: I don’t know what I thought. I just know I wanted to look the person who did this to my family in the eye.
Ressler: The authentication came back on the Hoogstraten. It’s a forgery.
Victoria: Ah, I can’t say I’m surprised. But you were there. You must have some idea who took it, who his accomplice is.
Ressler: I didn’t at first. I mean, we inspected everybody, bags and boxes, cars, trucks. No one we checked could’ve possibly taken it. And then it hit me. See, there were three people we didn’t check – Your father, your mother, and you.
Victoria: You think we stole from ourselves?
Ressler: No, no. I think you did. The distraction he caused, I think it was for you.
Victoria: Don’t be ridiculous.
Ressler: To give you a moment alone in the living room to put the real painting inside your briefcase, the only one we didn’t check.
Victoria: I think we’re through, Detective.
Ressler: It’s Special Agent. And, yeah, we’re through. For now. But you wanna look the person who did this to your family in the eye, you and I both know all you gotta do is look in the mirror. I’ll be in touch.

 
[ Liz is riding with Red in the back of his Mercedes. Red admires the small casket ]
Red: It really is exquisite in its way.
Liz: It’s exquisite because of what you know about it, where it came from, who made it. It’s intellectual. I like art that’s more emotional.
Red: The forger certainly played on our emotions.
Liz: The forger – The one you found and won’t turn over to us.
Red: The counterfeits are nearly flawless, which is enough, because our desire for them to be real obscures any imperfection, much like your desire for the woman in Paris to be your mother blinded you to the fact that she wasn’t.
Liz: It wasn’t just my desire.
Red: So she told you she was Katarina?
Liz: She did. And it’s difficult for me to believe she wasn’t.
Red: I was convinced my casket was authentic. It was nearly impossible for me to believe it wasn’t. But it was a fake. And she was, too.
Liz: Is that why you gave us this case? To show me how easy it is to mistake something that’s fake for something that’s real?
Red: No, I gave you the case so I could get my hands on the casket and sell it for an obscene amount of money.
Liz: You got it just so you could sell it?
Red: Yes. And the buyer is apparently very impatient. Is there somewhere we can drop you? We’re wheels-up in one hour.
Liz: Uh, you can just let me out here at the end of the block. Uh, wherever you’re going, I’d like you to be back in time–
Red: We’ll be back for the ballet.
Liz: Harold told you?
Red: Harold thought I’d like to know. He was right.

 
[ Elodie Radcliffe opens her front door. Aram is there ]
Aram: You’re amazing.
Elodie: O-kay. [ Chuckles ] So are you.
Aram: Well, not really. But – you think so. We think so about each other, which is, well– Amazing.
Elodie: Great. Now that that’s settled, do you want to come in?
Aram: No. I want to break up.
[ Elodie looks stunned ]
Aram: I don’t want to. I mean, it’s the last thing I want. It’s just, we should. That is, we have to.
Elodie: I don’t understand.
Aram: What do we do when we’re together? We trespass. We– We crash weddings. We break the law.
Elodie: We made love in the Gemini capsule John Glenn took into space.
Aram: Exactly, yes, which I still can’t believe how small it was, right? Scratch that. That’s off-topic. Okay. My point, such that I have one, is this. Making love in a rocket ship is one thing, one– One amazing thing, but, Elodie, hoping your husband dies, there is nothing amazing about that. How is he?
Elodie: He’s on a ventilator.
Aram: I am so sorry.
Elodie: So am I.
[ They exchange heartfelt looks ]
Aram: This is a really bad idea.
⋘⋙
[ Aram and Elodie are in bed. Elodie has fallen asleep, her arms around Aram ]
[ Aram stares into space ]
[ Monitor beeping, ventilator hissing ]

 
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❌❌❌ 7:11 End Victoria Fenberg

 
For S7 Episode 7:11 Victoria Fenberg 🎯 EW recap ¤ 🌅 Photo Gallery ¤ 🎹 Music Videos ¤ 📒 Script link: https://wp.me/pDKwi-alQ [ “you are here” ]

For a family with its name on a wing of one of the world’s most famous museums and a school at a prestigious university, members of the Sackler clan have done a remarkable job of vanishing from public life.

The family owns OxyContin maker Purdue Pharma, which filed for bankruptcy this week as part of an effort to settle some 2,600 lawsuits accusing it of helping spark the national opioid crisis that has killed more than 400,000 people in the U.S. in the last two decades.

Any settlement deal is likely to take a cut of their future income, and some states have sought to go after the Sacklers’ wealth, much of which has moved through a complex chain of companies and trusts in offshore tax havens. In a filing Wednesday, Purdue asked a bankruptcy court to halt all litigation against family members as well as the company.

🔘 [Return]

🔴 Episode Songs

 
🎹 ⋙ Check Tunefind for any additional music for this episode

♫ Starts Right Here
By Battle Tapes (feat. Valerie Broussard)

♪ You heard what they say
that I got lightning in my fingers
I got gold in my veins
believe what you say
I got fire in my eyes
the desire in my sights
tell the world –
get ready for the revolution –
‘cause it
starts right here!

Chorus:
♪ ooh, ooh
‘cause it starts right here
starts right here
[x2]

♪ It’s getting violent
head first into the battle
I’m an army of my own
get behind me –
no more lying in the shadows,
no more hidin’ underneath
tell the world –
get ready for the revolution –
‘cause it starts right here,
starts right here!

Chorus:
♪ ooh, ooh
‘cause it starts right here
starts right here!
[x2]

[bridge]
♪ Get ready for the revolution, revolution [x4]
[bridge]

Chorus:
♪ ooh, ooh
‘cause it starts right here
starts right here!
[x4]

♪ yeah, I’m ready for the revolution

🎹 Return to where this song occurs in script above
Lyrics: c/o Angie Allen (via comment at ⇊ YouTube link)
YouTube: https://youtu.be/2RY9JSiPnAo

🔴 General

 
⭕ Script 7:11 Victoria Fenberg https://wp.me/pDKwi-alQ Status: FINAL[at last!] @NBCBlacklist #TheBlacklist My site: BlacklistDCd.com https://twitter.com/BlacklistDCd/status/1274094556506738688?s=20/photo/1

⭕ Easy-Search Scripts updated thru Episode 7:11 Victoria Fenberg https://wp.me/pDKwi-9MZ#fenberg #TheBlacklist @NBCBlacklist https://twitter.com/BlacklistDCd/status/1274095442691796995?s=20/photo/1

🔴 Episode Photos

 
⭕ Gallery Photos
 

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