The Blacklist s05e08 Episode Script

Ian Garvey

1 I'm sure you're fine and I'm overreacting.
And you just can't answer your phone, because for some reason that we'll both be laughing about this time tomorrow, but something is wrong.
And something VOICEMAIL: If you're satisfied with your message, - please press 1.
- What is it? - If you would like to record ‭ - Tom.
He's missing.
I'm sorry.
[DOOR OPENS.]
She didn't even know anything.
- Neither did he.
- GARVEY: He had the bones.
She was looking for them.
They knew enough.
The question is, what you know.
Reddington sent you after the suitcase.
Did he tell you why? - He didn't tell me anything.
- No, I don't think he did.
The last thing he'd want is for you to ID these bones.
But you couldn't resist, could you, Tom? So you and your friends ran a DNA search through CODIS.
Thank you for that, by the way.
Curiosity killed these cats, but for me, it's a gift that's gonna keep on giving.
Whatever you imagine the answer might be, it's better than that.
Reddington's power is legendary.
With this, I control that power.
You're going to set up a meeting between us so I can tell him the good news.
But in case you've had a change of heart [MACHINE WHIRRING.]
[MACHINE WHIRRING.]
[WHIRRING CONTINUES.]
Yeah, I have eyes.
- How many? - ‭Five hostiles, maybe more.
Tom and the others? Status unknown.
- But - ‭But what? Raymond.
It's not good.
We're 20 minutes away.
I want an update in 10.
- [CELLPHONE BEEPS.]
- We should have backup.
Too many people know about this situation already.
This needs to end now.
[CELLPHONE RINGS.]
[CELLPHONE BEEPS.]
Yes? It's me.
I did what you hired me to do.
I got the package.
Any problems? Nope.
Piece of cake.
Where are you now? Motel in Stone Ridge, 546 Roscoe Lane, Room 16.
I can be there in half-an-hour.
You three with me.
The rest, deal with him.
Hey, what about this? That stays.
The last thing I want is that thing anywhere near Reddington.
I did what you asked, now let me go.
Plastic stays, too.
Any trouble, he joins his pals.
Hey, it's Tom.
Leave a message.
I will call you back.
[BEEP.]
Me again.
And again and again.
VOICEMAIL: This mailbox is full and cannot accept messages at this time.
We issued a BOLO.
Sent a message to every field office.
I'm sorry to put you guys through this.
I'm sure I'm overreacting.
Don't take this the wrong way, but are you sure you know everything Tom is up to? I thought I did.
I don't know.
[CELLPHONE BEEPS.]
[CELLPHONE RINGING.]
Reddington, anything? I just spoke to you 20 minutes ago.
You said you had a lead.
On Nik Korpal's death.
But you think the two are related? Elizabeth, I'm doing what I can.
- I'm sure Harold is, as well.
‭ - I know.
I'm trying to convince myself everything's fine, but I'm doing a terrible job.
Tom is capable of getting himself both into and out of trouble.
If he's in harm's way, I am quite certain he's put in motion an escape plan, about which the people holding him are completely unaware.
But who would be holding him and why? Did he take a job he didn't tell me about? It appears so.
I'm sorry.
I know that's not the answer you want to hear.
Well, call me if you find anything out.
Got a hit on Tom's car.
Impound lot towed it in last night.
Towed from where? [BELL RINGS.]
[SOFT MUSIC PLAYS ON RADIO.]
Agents Ressler and Keen, FBI.
We have reason to believe this man was here last night.
Have you seen him? Can't say.
His car was impounded outside Room 11.
Don't know anything about that.
The old "can't say, don't know," huh? I mind my own business.
- Room 11.
Can we get the key? - Sure.
Soon as you get a warrant.
You know what? Forget the key.
We don't know Tom was here.
His car was parked outside! - All right, he came to the motel.
- In front of this room! Maybe this was the only space, Liz.
I've called Tom so many times, his mailbox is full.
It's pointless.
But hearing his voice is the only thing that calms me down.
I'm gonna call CSI.
If Tom was here, they'll know.
[CELLPHONE RINGING.]
[CELLPHONE RINGING.]
[CELLPHONE RINGING.]
Hey, mind if I sit? Knock yourself out.
Yeah, well, can I get a hand? [LAUGHS.]
[SIGHS.]
Gosh, anything else I can do for you? Yeah, you could give me your gun.
[LAUGHS.]
Looks like we've got ourselves a comedian.
Not that funny, is it? [CELLPHONE RINGS.]
[GUNSHOTS IN DISTANCE.]
GARVEY: What? He got away.
The suitcase? [GUNFIRE.]
You need to get it back.
NAVARRO: What about Reddington? Reddington's not coming.
He was never coming.
[GUNSHOTS.]
[GUNSHOTS.]
[PANTING, GRUNTING.]
[GUNFIRE.]
[TIRES SCREECH.]
Get in! Tom! [GUNSHOT.]
Ah, hell.
[TIRES SQUEAL, ENGINE REVS.]
[GUNSHOTS.]
I warned you about this damn suitcase.
Now look at you.
TOM: [GROANS.]
DEMBE: They hit the radiator and oil pan.
RED: They'll be here soon.
Who will? Who are they? I was hoping you could tell us.
Nik had a friend, took DNA off the bones, ran a match, and got killed for his trouble, so did Nik.
And Lena? How do you know about her? Aah! We have to move.
I warned you and your friends.
My friends.
The guy who threatened Lena, told her to stop looking, he worked for you.
You need to keep that compressed.
DEMBE: Which way? Away from the road.
West.
Can you walk? Guess we'll find out.
[GROANS.]
RESSLER: According to this manager, Room 11 was rented to a Steven Smith.
But the license he used was a fake, and he paid cash for the room.
Any surveillance video? CCTV? The manager won't give it to us without a warrant.
It's a work-in-progress.
There was a struggle.
Did anyone hear anything? We interviewed guests, neighbors, the cleaning crew.
Nothing.
I don't know where Tom went after the motel, but I do know where he was before he went there.
A gas station on Highway 211, - east of Warrenton.
- How do you know that? I hacked the navigation system on his car.
Uh, so, now it may be a coincidence, but based on the time log, it looks as if he was there at the same time the station was being vandalized.
Ressler, Keen, get to the scene, talk to the station owner.
Whatever Tom is doing, I'm sure he's got a good reason for doing it.
Ah, maybe you were right.
If I'd left well enough alone, none of this would've happened.
Please spare me your regret.
Ah.
I only did it, because you lied.
We need water, first aid.
Stay here.
I'll see if it's safe.
- Come on.
- ‭Ah! [HORSE WHINNIES IN DISTANCE.]
[TAPS SUITCASE.]
This is a secret, not a lie.
A secret you've been keeping from Liz, like you always do.
Like you have from the very beginning.
The assignment's deep cover.
No timeline, no price tag.
This may seem like a cake walk, but it's the kind of assignment that makes me nervous.
Our contractor has deep pockets.
Demands the best, insists on anonymity.
She's cute.
That's one more thing he insists on.
Your job's to be the friend of a friend, get to know this Milhoan, not to get involved with her.
Just be a friend of a friend.
You got that? You couldn't leave well enough alone.
Not then, not now.
You hired me to spy on Liz.
I hired you to protect her.
DEMBE: No one is home.
We go in, get fixed up, and get out.
They can't be far behind.
GARVEY: They wouldn't backtrack towards the compound.
The highway runs north and south, too risky.
Notify the others.
They're headed west.
Between 4:30 and 5:00, a man and a woman entered the store.
The woman distracted the clerk while her accomplice went into the back room unnoticed.
Have you identified either suspect? Got a surveillance shot of the woman, ID'd as Lena Mercer.
RESSLER: Any address or, uh, place of work? ‭Both.
But she moved out of her apartment on leave from her job.
- And her accomplice? - Caucasian, 30s.
To be honest with you, since nothing was taken, we're not looking real hard.
You mind telling me why you are? You said he went in the back.
Why? Employee on duty says he was looking at surveillance tapes.
Police report said Tom pulled surveillance off two cameras.
Station manager's best guess is he was looking at this.
Okay.
And the other camera? There.
Stop the tape.
Can you zoom in on that car? What is that, a hotel key? The Red Birch.
That must be Steve Smith.
Tom and this Lena, clearly they came here looking for this guy.
They see the room key, and go to the motel where there's a fight, and the three of them are now in the wind.
They're on the run.
But why? Well, we have her name and the VIN number on his car, so let's circulate both, put a BOLO out, and we'll find them.
And when we find them, we find Tom.
[WATER RUNNING.]
[WATER SHUTS OFF.]
[ENGINE SPUTTERS.]
Your curiosity is understandable.
A mysterious suitcase bequeathed to you by a dying woman who insists that Elizabeth must be apprised of its contents.
But what if instead of happiness or closure, giving it to her has the opposite effect? It won't.
How can you be so sure? Because you don't want her to know about it.
TOM: [INHALES SHARPLY.]
[GROANS LIGHTLY.]
RED: You've always seen my relationship with Elizabeth as a zero-sum game.
You think what's good for me is bad for her and what's good for her is bad for me.
Only when it comes to things she cares about.
Like you? Ah, you made it clear from the beginning how you felt about me.
THE MAJOR: The contractor is livid.
You weren't supposed to get involved with the mark.
Her name is Elizabeth.
I don't care if she's Queen Elizabeth and screwing her made you king.
Get out.
He will kill you if you don't.
RED: You'll need clothes.
Ah, admit it, ‭you're kind of enjoying this.
It would've been so much easier if the bullet had hit you just another foot to the northeast.
We stayed too long.
Put it back.
- You can trust me.
- No, I can't.
I hired you to do a job.
The rules were explicit.
and you violated them.
Let it go already.
You're unreliable.
Yeah, well, I fell in love.
That's no excuse.
I wasn't making one.
Shh.
If we're not surrounded, we will be soon.
We got a match on the VIN number from Mr.
Smith's car.
His real name is Peter Alan McGee, resident of Largo, Maryland.
- His prints were in the system? - ‭Yes, and not because of priors, which he has, but because he's wanted for questioning in the murder of one Nik Korpal.
Wanted, why? Well, according to police records, McGee received a call from Nik on the night of his death, just two hours before his body was found.
And he's been MIA ever since.
LIZ: That's was Tom was up to.
He was trying to find out who killed Nik.
COOPER: Ressler, reach out to MPDC.
If McGee's a person of interest, they'll have a current file, a list of contacts.
Navabi, get in touch with the D.
C.
field office, let 'em know this is a priority.
I want Bureau-wise resources digging into McGee's life.
Financials, cell records.
I want to know everything there is to know about this kid.
Check the property! They're here.
[GARAGE DOOR OPENS.]
[GUNSHOTS.]
[ENGINE STARTS, REVS.]
[TIRES SQUEAL.]
[GRUNTS.]
[GUNSHOT.]
[GUNSHOT, GLASS SHATTERS.]
[ENGINE REVS.]
[MAN SCREAMS.]
[GUNSHOTS.]
[GUNSHOTS.]
[GUNSHOT.]
[GUNSHOTS.]
Well, that was fun.
Oh, man.
If you don't trust me by now, this whole father-in-law hates his son-in-law thing, it's cliche.
Could we just put a stake in it? You go first.
Who's in the suitcase? I was in the Andes when I heard you and Elizabeth were engaged.
Agents in the Columbian government had solicited my help negotiating the release of soldiers being held by FARC rebels.
At the time, I was a rare intermediary having brokered sales of arms and equipment to both sides of the conflict.
I was unable to return until the day of your wedding.
Seeing her that day Wait a minute.
You were at our wedding? she was incandescent.
I'd come out of the mountains, blinded by rage, flown 2,300 miles, absolutely certain that you must die.
And then I saw Elizabeth.
I'm a violent man, a terrible, powerful, violent man.
But the way she looked at you, the way she loves you I'm powerless against that.
You're not gonna tell me who's in the suitcase, or are you? I'll say this for you, you've always believed that you were acting in her best interest.
Selling me out to Berlin, faking her death you always thought you were helping her.
I appreciate you saying that.
I should change.
You make her happy.
What? You're always telling me to make peace, I've made peace.
You're still lying to him and to Elizabeth.
Until you stop lying, there will be no peace.
Hey, we got a hit.
The detectives investigating McGee were just called to a site with multiple homicides.
Absolutely horrific scene, but they were able to confirm one of the victims, Peter Alan McGee.
And the others? Well, they didn't, um, uh [KNOCK ON DOOR.]
Text me when you get an address.
Call me when you know more.
Ressler, let's go.
[POLICE RADIO CHATTER.]
[CAMERA SHUTTERS CLICKING.]
[POLICE RADIO CHATTER.]
[CAMERA SHUTTERS CLICKING.]
It's okay, Keen.
He's okay.
Where is he? Look, Tom's a big boy.
But whoever he's mixed up is capable of this - [CRYING.]
- Keen, Keen, come here.
- [CRYING.]
I can't.
- ‭Shh.
- Ressler, I can't.
- It's okay.
It's gonna be okay.
[SOBS.]
WOMAN: Attention, please.
This is a boarding call for train MARC 310 to Baltimore with intermediary stops at Carrollton, Seabrook, Bowie State, Odenton MARC, and BWI Airport.
If you're a passenger, stay on the train to Baltimore.
Passengers should be cautious of the gap between the platform and the train pulling into the main station.
Thank you for choosing to ride the MARC 310 today.
[COINS CLINKING.]
[CELLPHONE VIBRATES.]
Keen.
TOM: Liz.
Oh, my God, Tom.
I've been worried sick about you.
Please tell me you're okay? - I'm okay.
- ‭What's going on? Where are you? Liz, I need to see you right now.
- Tom, what's wrong? - Listen to me, okay? I need you to do exactly what I say.
Do not tell anyone that we spoke or that you even know I'm okay.
What are you talking about? I've got half the FBI looking for you.
I need to see you alone, all right? Have Rosa take Agnes, go to the house, and make sure that nobody follows you.
Tom, tell me what's going on.
I figured it out, the whole thing.
Why Nik was killed, all of it.
- Tom, you're scaring me.
- Just go to the house.
Meet me there, and when it's safe, babe, I'm gonna explain everything.
[CELLPHONE BEEPS.]
[CELLPHONE RINGS.]
- [CELLPHONE BEEPS.]
- Mr.
Reddington? Aram, have you spoken to Elizabeth? No.
Why? I believe Tom Keen is once again entangled in some nasty business, and I worry he may be involving Elizabeth.
Might explain why she's missing.
What do you mean, "missing"? She was with Agent Ressler at a crime scene following up on a lead, looking for Tom when she she just vanished.
Have you tried to reach her? Yes.
She's not picking up.
Her cell is going straight to voicemail.
Um, in fact, I think she may have shut off the GPS signal in her phone, because when I tried to track her, it's gone.
Do you have any other way of contacting her? We're looking.
When I couldn't get a trace, I pulled the call log from her service provider.
It appears that the last call she received was just under 12 minutes ago from a pay phone at Union Station.
Tom.
He's at Union Station.
[INDISTINCT CONVERSATIONS.]
[GROANS.]
[WATER RUNNING.]
[GROANS.]
WOMAN: Tom Keen, please pick up a red courtesy.
Mr.
Tom Keen, please pick up a red courtesy phone.
RED: This is a horrible mistake.
Whatever you're doing, whatever it is you think you're going to tell Elizabeth, this is a mistake.
Walk away from this, Tom.
You know I can't do that.
And why is that? Because I know the truth.
TOM: I know everything.
And now Liz is gonna know, too.
Tom! Oh, my God! ‭I have no idea what's going [GASPS.]
- LIZ: [GRUNTS.]
- You must be the wife.
What's your name, darling? Get her in a chair! LIZ: No! No! [GRUNTS.]
You sure are a little spitfire, aren't you? Found it! In the kid's room.
It's all here.
No, please! What do you want? Please! GARVEY: I like to think I'm the kind of man who'd politely ask you to stop this, to let this end here, but I can tell you're the kind of guy who won't get the message and stop.
So we're gonna need to make sure you stop.
So Sorry about this.
LIZ: No! No! - TOM: [GRUNTS.]
- ‭No!! [GROANS.]
No!! [GROANS WEAKLY.]
What makes you think they're at the house? He's in trouble, he's desperate.
But he won't leave ‭without Elizabeth and Agnes.
- You haven't asked my opinion.
- ‭No, I haven't.
Why can't you be honest with her? I don't know.
I don't know.
Even after everything that's happened? All that's been lost? How far until the damn house? GARVEY: I'm gonna ask you one more time, Tom.
I need you to call Reddington for me.
Tom? Can you hear me, Tom? Tom, I said I need you to call Reddington for me.
TOM: [COUGHING.]
[WEAKLY.]
I don't think I'm gonna do that.
So we're gonna go at it again with the blade? Okay.
[GRUNTING.]
[GROANS.]
Aah.
[COUGHING.]
We got what we came for.
Finish 'em off.
Clean up the bodies.
Let's have some fun.
Ooh, ooh Ooh-ooh, ooh, ooh Got out of town on a boat Goin' to Southern Islands Sailing a reach Before a followin' sea She was makin' for the trades On the outside And the downhill run To Papeete And you know it will [GUN COCKS.]
When you see the Southern Cross For the first time You understand now why you came this way 'Cause the truth you might be runnin' from Is so small But it's as big as the promise The promise of a comin' day So I'm sailing for tomorrow My dreams are a-dyin' And my love is an anchor tied to you Tied with a silver chain I have my ship And all her flags are a-flyin' She is all that I have left And music is her name Think about Think about how many times I have fallen Spirits are using me Larger voices callin' What Heaven brought you and me Cannot be forgotten I've been around the world I have been around the world Lookin' Lookin' for that woman girl Who knows love can endure And you know it will We got 80 feet of the waterline Nicely making way In a noisy bar in Avalon I tried to call you But on a midnight watch, I realized Why twice you ran away Think about Think about how many times I have fallen Spirits are using me Larger voices callin' What Heaven brought you and me Cannot be forgotten He's lost a lot of blood.
Call Harold.
Tell him we're going to the hospital.
Raymond, they're not going to make it.
Call him.
Hello, darkness, my old friend I've come to talk with you again Because a vision softly creeping SOD, ‭this is Agent Samar Navabi.
We have an agent down.
We're requesting emergency escort.
Roads blocked from Sixth and Florida to D.
C.
General.
This is a life and death situation.
And the vision That was planted in my brain Still remains [BREATHING SHALLOWLY.]
[WEAKLY.]
Hey.
You are so beautiful.
You're the most beautiful.
In restless dreams I walked alone Liz? Narrow streets of cobblestone My Liz.
[SIRENS WAILING.]
- 'Neath the halo of a street lamp - [WEAKLY.]
Tom? Liz.
Promise me.
I turned my collar - To the cold and damp - Promise[STAMMERS.]
tell Agnes about me.
When my eyes were stabbed I don't have to.
Look at me.
By the flash of a neon light Liz, stay with me, babe, please.
- That split the night - Please.
Lizzy, please.
- And touched the sound - Please.
Babe, please.
Of silence How long? DEMBE: Two minutes, maybe less.
- 'Neath the halo of a street lamp - You hear that? We're almost here.
I turned my collar - To the cold and damp - Hey? Hey? You're gonna make it.
- When my eyes were stabbed ‭ - Liz? By the flash of a neon light Please, you have to make it.
That split the night - And touched the sound - I can't live without you.
- Of silence - Liz? Please, God, stay.
And in the naked light I saw Ten thousand people, maybe more People talking without speaking People hearing without listening People writing songs That voices never share And no one dared - Disturb the sound - Endoscope? ET Tube.
- Of silence - Let's get her to CAT scan, stat.
I want to rule out subdural.
Fools, said I, you do not know Stay with me.
Can you hear me? - BP 60 palp.
- I'm gonna tap his belly, stat.
- Silence like a cancer grows - Where the hell is the neurosurgeon? If we don't open up her skull in the next 10 minutes, - she dies.
- They're pulling him out of the OR.
Four minutes.
‭He's in V-Fib.
- Hear my words - CHIEF RESIDENT: Charging! Clear! Take my arms that I might reach you Amp of Epi.
But my words Like silent raindrops fell And echoed in the wells Of silence - And the people bowed and prayed - [FLATLINE.]
To the neon god they made And the sign flashed out its warning [PADDLES CHARGING.]
In the words that it was forming And the sign said, the words of the prophets Are written on the subway walls And tenement halls And whispered In the sound Of silence RED: I thank whatever gods may be for my unconquerable soul.
In the fell clutch of circumstance, I have not winced nor cried aloud.
Under the bludgeonings of chance, my head is bloody, but unbowed.
Beyond this place of wrath and tears, Looms but the Horror of the shade, And yet the menace of the years finds, and shall find me, unafraid.
It matters not how strait the gate, how charged with punishments the scroll, I am the master of my fate.
I am the captain of my soul.
[MONITOR BEEPING.]
[MONITOR BEEPING.]
Oh, my God.
Oh, my God.
Elizabeth.
Agnes will be so excited.
[SIGHS.]
[EXHALES DEEPLY.]
What? Oh, yes.
Of course.
Elizabeth.
It's been nearly a year.
10 months.
Tom is dead.
[WHIMPERS.]
[EXHALES SHARPLY.]
[SOBBING.]