Get Happy Mp3 Song Ted Rosenthal Lyrics

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January 10, 2018

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Get Happy

Get Happy Mp3 Song, Download Get Happy, Get Happy Mp3 DownloadThe "Get Happy", track in Jazz track List "Sensitive To The Touch" was launched in year 2001.The music track was originally composed by Jay Leonhart on the other side it was nicely sung by Grady Tate, Ken Peplowski, Jay Leonhart and Ted Rosenthal.It swiftly get up on youtube in 2011, and is seen by 97.64 thousand audience.LRC Ltd Groove Merchant Records, produced this soundtrack after broadcasting "Devil The Deep Blue Sea" track performed by Jay Leonhart, Ken Peplowski, Ted Rosenthal & Grady Tate.It is Grady Tate, Ken Peplowski, Jay Leonhart, Ted Rosenthal`s 6th track, Out of 11 in total till now. Lyrics for the soundtrack was created by .Main vocalist Jay Leonhart played role in two jobs, participated as singers and composer.This soundtrack was made live 17 years before, moving to be pleasant by English listeners.Jay Leonhart experienced respect and love for delightful rendition of a Jazz soundtrack.Average profit to LRC Ltd Groove Merchant Records from this track is $1184.Music track is to hand on itunes store for only $0.99 or full album only for $9.99.

Info You Must Know

Song Name Get Happy
CategoriesEnglish.
AlbumSensitive To The Touch.
ComposerJay Leonhart.
GenreJazz.
LabelLRC Ltd Groove Merchant Records.
SingerGrady Tate, Jay Leonhart, Ken Peplowski, and Ted Rosenthal.
Duration 04:35
Record on January 10, 2018
Album Price $9.99
Song Price $0.99
Buy on iTune Purchase

Get Happy Lyrics




PREVIOUSLY ON THE BLACKLIST

This episode starts with a brief recap of the last one; it shows Red on the phone with the mysterious man, following with the scene in which Raymond asks Aram to trace a call. This recap then goes to the scene in which Red and the Director are talking about the Fulcrum also showing Hobbs plea for Red to prove he has it and then the scene when Liz reveals she has it. The final moments of this recap show the shooting that took place at the very last moments of Episode 18, when Red gets shot.

IN A RED-LIT ROOM

Leonard Caul, a surveillance expert, is working in a red-lit room with photographs of Red, Liz and Tom which cover the recent events in the series. At the same time he is listening to recordings of such events.

LIZ (IN THE RECORDING): What you’re asking me to do – I appreciate that you turned yourself in. You came back for me.

TOM (IN THE RECORDING): Liz, I’m in danger. I need the passports.

LIZ (IN THE RECORDING): I can’t. I just can’t.

TOM (IN THE RECORDING): Liz, please!

LIZ (IN THE RECORDING): They’re not just passports. You hid them in a box under the floor in our home! They represent everything I’m trying to forget.

TOM (IN THE RECORDING): I know. I wouldn’t ask you unless it was important.

LIZ (IN THE RECORDING): They’re locked up in Evidence.

TOM (IN THE RECORDING): That’s exactly why they should still be clean.

LIZ (IN THE RECORDING): I’m not gonna walk into Evidence and steal them for you – Why would I do that?

TOM (IN THE RECORDING): You want me gone? Do this, and you’ll never see me again.Static

LIZ (IN THE RECORDING): You need to leave. Go. Now.
We hear a beep and the sound switches to Police Chatter with Leonard Caul listening in real-time

DISPATCHER (IN THE POLICE CHATTER): All units, shots fired at Euclid and Drake.

OFFICER (IN THE POLICE CHATTER): Echo 23 en route.

OFFICER #2 (IN THE POLICE CHATTER): Echo 28 en route. Copy. FBI-issued plate – 7-4-3-6-Uniform-Sierra – under fire. Possible officer involved in shooting.

DISPATCHER (IN THE POLICE CHATTER): One male confirmed down. Repeat – plate 7-4-3-6-Uniform-Sierra. Officer under fire.

IN THE STREET

We’re back in the street where Red was shot. Liz and Dembe are engaged in a gunfight with multiple shooters. It’s possible to hear several gunshots.

DEMBE: Stay down!

LIZ: You have eyes?

DEMBE: Fourth floor. East side.

The gunshots continue. Behind Liz, Dembe sees a man approaching on the sidewalk.

DEMBE: Look out! Down. He shoots the man that was coming for them.

LIZ: We’ve got to get him out of here.

Dembe starts dragging Red to put him inside the car while Liz continues the gunfight, covering their moves. She grabs the bag that holds the Fulcrum and continues to shoot. Once the view from the scene changes to a sniper target while Dembe opens the car door to get Red in; when that happens, the shot that follows is dangerously close to Reddington. It’s a miss though.

LIZ: Get in!

Dembe gets Red into the car. He is conscious but coughing and choking on blood. Liz opens the passenger’s side door and throws the bag inside with one hand while still shooting with the other. After a last shot she gets in the can and closes the door. The view changes once more to a sniper target and its shot hits the back window. Meanwhile Dembe starts up the car and gets out of there.


IN THE CAR

Inside the car, we see Dembe driving and Red still in very bad shape, coughing up blood. Liz gets the phone.

LIZ (ON THE PHONE): Cooper, this is Keen. Reddington is down. I repeat, he is down – shot and critical.

Whenever Cooper answers we can see him and Aram at the Taskforce’s HQ; Cooper is at the phone with Liz as Aram is on his computer.

COOPER (ON THE PHONE): Shot? Where? Where are you?

LIZ (ON THE PHONE): Euclid and Drake, headed southwest.

RED: Lizzy, don’t.

LIZ: to Red:Reddington, stay still. on the phone, to Cooper:He’s shot in the chest. I’m gonna lose him if I don’t get him to an ER.

COOPER (TO ARAM): Reddington’s shot – Euclid and Drake. Providence?

ARAM: University.

COOPER (ON THE PHONE): University.

ARAM: I’m trying to ping Agent Keen’s phone now.

COOPER (ON THE PHONE): Are you secure? Unfriendlies?

LIZ (ON THE PHONE): Unknown, but I’m gonna need an escort and backup.

Dembe grabs her phone and throws it out of the window, disconnecting the call.

LIZ: What are you doing?

COOPER (ON THE PHONE): Keen? Agent Keen?

At the HQ we see Aram’s monitor beeping and signaling that the call was disconnected and couldn’t trace it.

DEMBE: Dial “star, seven, seven.”

LIZ: What?

DEMBE: Star, seven, seven.

Red coughs

We see Mr. Kaplan walking down a street and picking up the phone.

MR KAPLAN (ON THE PHONE): Seven seven, what is your location?

LIZ (ON THE PHONE): Who is this?

MR KAPLAN (ON THE PHONE): She stops walking What is your location?

LIZ(ON THE PHONE): Mr. Kaplan?

MR KAPLAN (ON THE PHONE): What is your location?

LIZ (ON THE PHONE): Capitol and M. Mr. Kaplan disconnects immediately; scene gets back to the car; she speaks to Dembe. I don’t know what Mr Kaplan has planned, but we need to get him to a hospital right away.

DEMBE: No hospitals.

LIZ: I’m sorry, but we don’t have a choice. I’m not gonna let him die, and it can’t wait.

On cue, Red starts coughing and wheezing. The cellphone rings.

LIZ (ON THE PHONE): Mr. Kaplan?

MR KAPLAN (ON THE PHONE): There’s a warehouse 5312 Mass Avenue. Say it back.

LIZ (ON THE PHONE): 5312 Mass Avenue.

MR. KAPLAN (ON THE PHONE): Get there now. We’ll be waiting. She disconnects.

LIZ (ON THE PHONE): Who will?

Red exhales sharply; Liz turns around from the front seat and applies pressure on Red’s wound with her hand.

LIZ: Hold on. Please. Just hold on.

In the background we hear Hanni El Khatib’s “Save Me” playing, as we see Mr. Kaplan sending multiple messages (that read ‘CODE 77 – 5312 MASS AVE.’ ) making various medical experts - doctors, nurses, technicians - drop whatever they’re doing and deploy to what turns out to be a makeshift hospital in the warehouse mentioned before. There, she scan every single one before they can start working. It’s also possible to see various medical equipments and blood bags arriving.

IN THE DIRECTOR’S OFFICE

We see The Director and one of his assistants entering the office.

ASSISTANT: One of our men on Euclid is dead.

THE DIRECTOR: And the target?

ASSISTANT: Hit. Wounded. Still in play.

THE DIRECTOR: They’ll want to take our man to the ME. That cannot happen.

The assistant nods and leaves. The Director picks up his phone and makes a call.

THE DIRECTOR (ON THE PHONE): Still alive. I want eyes on any and all medical resources he has. Get someone to the crime scene and find out how he got away and where he is hiding.

The scene shifts to the street where the gunfight happened; we see the crime scene is isolated and people are being asked. Leonard Caul – the man that was hearing the recordings in the beginning of the episode – is also at the scene, at first just looking at the forensics team do their job. He starts to look around; checking what street surveillance cameras point to the scene. He finds one and then starts walking towards his car. He gets inside.
Once inside, he fetches a box on the backseat and opens it, taking a laptop from the inside. He turns it on and after what seems to be a type of logon screen for a specific program, he types a license plate number – turns out to be Red’s car. He pulls up the street cameras’ footage of the vehicle. When the vehicle stops, he looks for the address of that place: It is 5312 Mass Avenue.
After he gets the info he needs he magnetically destroys the laptop, closes it and throws it back on the backseat. He then starts the car.


IN THE WAREHOUSE


All the time since it started, the music hasn’t stopped playing on the background of the episode; it only stops now. Red’s car arrives and Dembe steps out.

DEMBE: He’s shot in the chest, right side.

The medical crew swarms around the car; Keen steps out of the vehicle. The paramedics manage to take red out of the car and put him in a mobile hospital bed. A paramedic opens up Red’s shirt.

PARAMEDIC: Entered the intercostal in the eighth rib. Absent breath sound in the right lung.

NURSE: BP is 60 over palp. Pulse is thready.

The bed is taken to a makeshift room, where all the equipment is.

DOCTOR: Abdomen’s distended. I need six units now. X-rays now. Give me a tube. Give me a scope.

Dembe and Liz start walking towards the room, while the medical crew is working as fast as they can.

DOCTOR: He dropped a lung – stat chest tube.

We see the nurse prep the blood bags. Red starts gagging. He opens his left arm and calls for Liz with his hand. Liz comes and leans close to Red.

RED: You need - heavy breath - you need to find Leonard Caul.

LIZ: Caul?

RED: Leonard Caul. T-t-talk to Dembe. Red groans You need to find him, Lizzy. Liz holds his left hand with her two. Red continues to gag and cough, visibly in a terrible shape.

DOCTOR (IN THE BACKGROUND): Get that line in. Quick. Stay with us.

A doctor and a nurse approach and the latter puts Red in an oxygen mask.


IN COOPER’S OFFICE


We see Reven Wright in a chair, talking to Cooper.


WRIGHT: Gone? What do you mean, gone?

COOPER: We instructed Keen to go to the ER at University. Our people cleared the floor. They never showed.

WRIGHT: There’s been an attempted assassination in broad daylight. You know Reddington was hit and yet he and Keen have disappeared?

The office door opens, Connolly walks in.

CONNOLLY: Well, that was certainly trial by fire.

WRIGHT: Mr. Attorney General.

CONNOLLY: Not for another week. Not ever, if the press has anything to say about it. I’m up there spinning gold about all the great things Justice will do under my leadership when I’ve got an aide whispering in my ear about–

COOPER: We just found out ourselves.

CONNOLLY: Harold, I was caught with my pants down, and as three ex-wives can attest to, it’s not a pretty sight.

WRIGHT: Keen’s gone AWOL.

CONNOLLY: Why were they meeting in the first place? Were they working a case?

COOPER: I’m not aware of the nature of the meeting.

CONNOLLY: Harold, I don’t need to tell you what’s at stake here. You need to contain this. Whatever it takes, whatever you need. The full resources of my office are at your disposal.

COOPER: Cooper’s cellphone rings. Thanks, Tom. Excuse me for a moment.

Cooper walks out of the office into the hallway and goes for the stairs to be on the ground floor of the Taskforce’s HQ. Meanwhile, he picks up his phone.
Whenever cooper is speaking we have a view of the Taskforce HQ; whenever Keen speaks, we see the warehouse, unless otherwise stated.

COOPER (ON THE PHONE): Cooper.

LIZ (ON THE PHONE): Reddington’s in surgery.

COOPER (ON THE PHONE): Surgery? Where? We’ve checked every ER in the city. puts the phone on loudspeaker so all agents can hear.

LIZ (ON THE PHONE): We’re in a warehouse – 5312 Mass Avenue. He has some sort of mobile crash team.

COOPER (TO RESSLER): Dispatch units now.

LIZ (ON THE PHONE): Reddington gave me a name.

SAMAR NAVABI (ON THE PHONE): Who?

We can see Cooper, Ressler, Aram and Samar NAVABI are gathered around a table. Aram is in his laptop.

LIZ (ON THE PHONE): Leonard Caul.

COOPER (ON THE PHONE): Who is Leonard Caul?

LIZ (ON THE PHONE): He must know something about the people who organized the hit.

RESSLER (ON THE PHONE): So Reddington knows who’s behind this.

LIZ (ON THE PHONE): Whoever they are came after Reddington because they thought he had this device, the Fulcrum. It’s a blackmail file on a group, this Cabal. He told them he had it, and he didn’t. And they finally called his bluff and tried to kill him, and they will not stop until they do.

COOPER (ON THE PHONE): Unless we find Leonard Caul.

ARAM: There’s nothing on him in the system.His screen is shown; he’s been looking for ‘Leonard Caul’ in all criminal agency databases, but there’s no match.

LIZ (ON THE PHONE): According to Dembe, before Fitch died, he told Reddington to find Caul, that he would have information about the Fulcrum, the Cabal. Reddington asked Aram to trace a call to an apartment everybody looks at Aram, that looks uncomfortable. , but when they got there, Caul was gone. All they found was blood, no body.

ARAM (ON THE PHONE): Well, he didn’t tell me what it was for, and I, uh, definitely didn’t ask, but I could probably still pull up the location.

COOPER (ON THE PHONE): All right, Keen. We got a team on the way. Stay safe for 15 minutes, and you’re home. He disconnects the call.

Cooper starts walking away but shots one last look to Aram. The latter also looks at Cooper, but then turns around to his computers to start working.



IN THE WAREHOUSE


Keen disconnects the call as well, we see her reflection in the panels that surround the makeshift surgery room that Red is in. Then, the scene changes to inside this very room, where the doctors are working.


DOCTOR: We need to find the tear. What are his vitals?

NURSE: BP is 90 over 60, pulse 140. I’m giving pressors and more fluids. I need another unit of blood.

We hear the monitors beeping and see Dembe’s and Keen’s worried faces as they follow the procedures.



IN THE TASKFORCE HQ


Ressler, Cooper, Aram, NAVABI and various other FBI agents are there.

RESSLER (TO COOPER): So, Aram traced that call to an apartment at 3130 Sheridan Road. The two man are walking towards the table where agent NAVABI is.

SAMAR: The name on the lease was an alias, but there was a police report filed by the apartment manager who found blood in the home.

RESSLER: So we pulled the admission logs at the nearby ERs.

SAMAR: Three gunshot wounds, six cases of domestic violence–

RESSLER: And one guy who comes in with his two fingers in a ziplock bag.

COOPER: Leonard Caul?

SAMAR: He didn’t leave a name. There were cops in the ER, and when he saw them, he left. She points to a laptop screen. Cooper walks around her to get a better look at it.

COOPER: How can you be sure it’s the man we’re looking for?

SAMAR: We can’t. But he left his fingers behind.

COOPER: To Ressler I want any surveillance from that ER. Interview the doctors on call. To NAVABI Contact Metro PD, see if they ran the prints.

NAVABI picks up her desk’s phone and starts making a call.


IN THE WAREHOUSE


The doctors are in the middle of Red’s surgery. Keen, Dembe and Mr. Kaplan are outside, watching everything apprehensively. One of their people opens the warehouse door.

MAN: We’ve got company!


Liz and Dembe start walking towards the door.

LIZ (TO DEMBE): Protective detail.

Once they reach the door and go out, the scene perspective changes; we see it all like we’re taking pics of it and it is possible to hear the camera shutter three times. Then, we see it’s Leonard Caul inside a car, taking the pictures. Two men in uniform enter the warehouse.


UNIFORMED MAN: We’ve got units securing the perimeter and a chopper inbound to evac the patient.

LIZ: No, we’re not –

One of the Uniformed Men draws a gun and shoots. As the other man is about to take his gun, Mr. Kaplan shoots both men dead. Dembe and Liz take cover behind a couple of pillars. After the shots, Liz is the first to go towards the scene.

LIZ: What the hell?!

MR KAPLAN: walking towards the fallen men The Bureau issues Glocks or Sigs. Whoever these gentlemen are, they’re not FBI. She kicks one of the guns away from the bodies on the floor.

DEMBE: There will be more.

He goes for the door; Keen runs to the operating room and Mr. Kaplan finds a cellphone on the floor, near the bodies.
The phone is receiving messages from an unknown number. One says ‘target on site?’ and the other one says ‘confirm?’.

Liz enters the makeshift operating room. The main surgeon is on the floor, dead of a gunshot wound caused by the only bullet the first Uniformed Man was capable of shooting before dying.

LIZ: How long before we can– she sees the doctor on the floor. What’s his status?

NURSE: What?

LIZ: His status, what is it? Can he be moved?

NURSE: No. M-maybe. I don’t know.

LIZ: I need a definitive answer. We have to go now.

MALE OR NURSE : Go? We can’t go: If we move him, he’ll bleed to death.We just now found the compromised artery. We still have to cauterize it before we can close him.

LIZ: So do it.

MALE OR NURSE : That was his job. Indicating dead surgeon on floor.

LIZ: Does anyone here have surgical training?

FEMALE MEDICAL: Two years, Fresno State.

LIZ: You’re up, Fresno.

Mr Kaplan enters, shows Liz the screen of one of the Uniformed Men cell phone.

LIZ: They’re coming.

MR KAPLAN: Yes, I responded to their message, but we don’t have more than 15 or 20 minutes.

DOCTOR: 20? No, even he would need at least 30 minutes to close this tear.

LIZ: You have 15. Liz leaves the room.

We see a doctor in a phone call somewhere in a hospital.

NICK (ON THE PHONE): No. Absolutely not.

We see the paramedics dragging the fallen surgeon out of the operation room as Liz walks around talking on her cell.

LIZ (ON THE PHONE): Nick, please.

NICK (ON THE PHONE): Liz, I haven’t heard from you for three years.

LIZ (ON THE PHONE): I wouldn’t ask if I had any other choice.

NICK (ON THE PHONE): Find another doctor.

LIZ (ON THE PHONE): I had another doctor.

NICK (ON THE PHONE): Great. Use him.

LIZ (ON THE PHONE): I can’t.

NICK (ON THE PHONE): Why? Did you turn down his marriage proposal, too?

LIZ (ON THE PHONE): Listen to me– a man is going to die if you don’t help us. I’m begging you.

There’s a brief moment of silence.

NICK (ON THE PHONE): Where do you want me to go?


AT TOM’S WAREHOUSE


After an overview of Tom’s warehouse, we see it’s door opening and Liz entering with her gun in hand. She looks around for people. When she turns a corner, Tom appears, his gun also in hand.


LIZ: her jaw drops What are you doing here?

TOM: I live here. he puts his gun down

LIZ: walking towards him I didn’t know where else to go.

Mr. Kaplan enters the room closely followed by the gurney with Red on it and all the medical staff. Kaplan and Liz look at Tom.

TOM: Over here. pointing to his right.

MEDICAL WOMAN (ON THE BACKGROUND) : BP is 70 palp. Pulse is critical but stable.

TOM: This is for you, Liz, not for him.

Tom and Liz share a long look.


IN THE TASKFORCE HQ


Navabi is on the phone; as Cooper arrives she starts talking to him as she kills the call.

NAVABI: The protective detail is at the warehouse. There’s no sign of Keen or Reddington.

Aram walks towards the two from the other end of the room.

ARAM: The shooter at the first crime scene, the EMTs who were taking him to the ME, they never showed.

NAVABI: There were three bodies found at the warehouse – two men posing as FBI and Dr. Mark Child, Chief of Surgery at Georgetown.

Cooper’s cellphone starts ringing. He picks it up on loudspeaker and puts it on a desk.

COOPER: Agent Keen. Are you safe?

We can see Liz on the phone at Tom’s warehouse, she passes by a man cocking his gun and several others talking to each other.

LIZ: Who’s with you?

COOPER: Just us – Ressler, Navabi, Mojtabai.

LIZ: And who dispatched the detail?

COOPER: The DC field office.

LIZ: That must be where the leak came from.

COOPER: Where are you?

LIZ: A safe house.

COOPER: Give me an address. We’ll send our own men now.

LIZ: Reddington’s team is here. We’re secure.

NAVABI: How is he?

LIZ: He’s– I don’t know for sure, but it’s bad.

COOPER: What do you need? Tell us, and we’ll do it.

LIZ: I need you to find Leonard Caul.


AT TOM’S WAREHOUSE

She disconnects. When she turns around, she sees Tom looking into the new makeshift operating room.


LIZ: I thought you’d be gone.

Tom turns around to talk to Liz.

TOM: That was the plan. Then I thought maybe if I stayed, I’d have a shot at a normal life. Does Nick have any idea what you’ve gotten him into?

LIZ: He’s not a part of this. He’s just a doctor.

TOM: Reddington’s a bad man, Liz. He’s bad for anyone who comes in contact with him. He’s bad for you. His world, this right here, unless you get out, this will devour you.

LIZ: It doesn’t matter if he’s bad. What matters is he has answers about me, and I’m staying until I get them.

TOM: Well, maybe I could help you get those answers.

LIZ: I doubt that.

TOM: Liz, I know a lot more about Reddington than you think.

Making a considerable amount of noise, Nick comes out of the Operation Room and as he takes off his gloves, Liz walks towards him.

NICK: The bullet nicked the right lung. Tom also approaches. I was able to reinflate it with a chest tube, and we’ll start him on a prophylactic antibiotic.

LIZ: What about the bullet?

NICK: That’s the problem. It has a percussion cap, which causes it to essentially explode. By some miracle, it didn’t. If I try to remove it, if I touch it the wrong way… It’s like there’s a land mine inside him and you’re asking me to dig it up.

LIZ: Can you do it or not?

NICK: He looks to Tom. We were never formally introduced. I believe the only time we met you were in her kitchen, making coffee in your underwear.

TOM: Well, if it’s any consolation, she dumped me, too.

LIZ: Can you do it?

NICK: You may not remember, but I worked my way through school– nights, weekends, and I still had to take out loans. I busted my hump, and I am still $376,422 in debt. Can I do it? It’s possible to see Mr. Kaplan behind a pillar listening to the conversation. Absolutely. For $376,422. I know who he is. I don’t why he’s here or what you have to do with him, but I know.

Liz and Nick share a long look, until Mr. Kaplan shows up with a silver suitcase. She stops and puts the suitcase on a table as she speaks..

MR KAPLAN [ Opens suitcase to reveal: ] $500,000– unmarked, untraceable. Mr. Reddington insists on being prepared for all contingencies. She opens it up, showing the bills. She turns around to face the trio. Shall we continue?

They all look at Nick, that only looks at Liz. After a moment, he walks back into the operation room.

IN THE TASKFORCE HQ

The four main agents are gathered in the room; Aram is behind his computer.


NAVABI: We checked with NCIC. The prints they ran on our eight-fingered mystery man were a dead end.

RESSLER: No criminal record, no background check.

ARAM: He wasn’t in their system.

NAVABI: But he was in Mossad’s. Leonard Caul’s real name is Joseph McCray. He’s former CIA.

ARAM: Last-known photograph dates back to 1981. Aram’s monitor is shown; there’s a black-and-white picture of Leonard Caul/Joseph McCray.

RESSLER: He was part of Operation Harwood, a covert surveillance unit run out of Managua to keep tabs on the Sandinistas.

NAVABI: The Agency knows who he is, but they won’t say. Classified.

RESSLER: We can’t find him because his job is to blend in. He’s basically eyes and ears – nothing else.

ARAM: He may as well have been a ghost.

COOPER: Harwood was run by a woman named Helen Jubal. Senate Intelligence Committee shut it down in the wake of Iran-Contra. Tom Connolly was legal counsel.

RESSLER: You think Connolly can get her to talk?

COOPER: I’ll ask him. We’ve been trading a few favors lately.


IN COOPER’S OFFICE

At first we can only see an elderly lady – Helen Jubal .


HELEN JUBAL: I could be arrested for even acknowledging Mr. McCray exists.

COOPER: Cooper sits down in his own chair in front of Jubal, giving her a slight smile. As luck would have it, I know a few people in law enforcement.

JUBAL: Chuckles Tommy said you were a smooth operator.

COOPER: He says you can help me find Leonard Caul, or the man you know as Mr. McCray.

JUBAL: Haven’t spoken to him in years.

COOPER: Is that a fact?

JUBAL: Well, the unit broke up. He didn’t take it well, became–

COOPER: Ms. Jubal, let’s cut to it, shall we? McCray was an agent of yours. He’s in trouble, on the run. The next Attorney General has given me carte blanche to inquire as to his whereabouts. Anyone obstructing that inquiry will have to answer to him.

JUBAL: He came to me recently, said he’d gotten himself wrapped up in some kind of business with Raymond Reddington.

Cooper starts a nod and looks like someone who finally realized something.

JUBAL: Hmm. Smile That’s what this is about– your hunt for Reddington.

COOPER: Ms. Jubal, tell me where he is.

JUBAL: He’s scared, hurt, had no place to go– I’m assuming because of Reddington. Cooper nods If I tell you where he is, do you promise to use that information only as a means to find Reddington?

COOPER: You have my word.

Ms. Jubal exhales sharply.


AT TOM’S WAREHOUSE

Liz is looking at the operation room from the outside. It’s possible to hear the monitor beeping. The medical team is working; after some moments, Nick removes the bullet from Red. Again, we see Liz looking at the OR.

DEMBE: Elizabeth. Liz looks away from the room, behind her Dembe is approaching. She walks towards him. In Bethesda, there’s a small second-story flat. In the flat, you will find a desk. The middle drawer has a false front. Remove it, and you will find a silver case along with a key.

LIZ: This is about the Fulcrum.

DEMBE: Yes. You still have it.

LIZ: I do. This case, the key –

DEMBE: I need you to bring them here to Raymond, to Leonard Caul.

LIZ: That’s why Reddington wanted us to find Caul, because he can decipher the Fulcrum.

Once more the focus shifts to the Operation Room. Dembe looks to Red and seems to be very worried.

LIZ: He’s gonna be okay…

DEMBE: This flat– Raymond can never know you were there. Do you understand, Elizabeth? She nods. Then, the scene focus changes; Dembe is still speaking, but we can already see Liz entering the flat. We hear a lock disengaging. I would go if I could, but I can’t. I can’t leave him alone. Raymond must never know you were there.


AT RED’S BETHESDA FLAT

Liz is shown entering a modest, old-fashioned flat very carefully. She closes the door and then turns on the lights. She stays there, looking at the flat’s living room for a while.


AT COOPER’S OFFICE

Cooper is seated at his table. Raven is in a chair and Connolly is standing up.

CONNOLLY: Where are we with this thing?

COOPER: According to Agent Keen, Reddington is in surgery. It’s touch and go.

WRIGHT: In surgery? Where? What’s their location?

COOPER: I’m not at liberty to say.

WRIGHT: I suggest you take the liberty.

COOPER: Looking at Connolly We have a lead on Leonard Caul. Helen Jubal tipped us to a safe house in Alexandria. My people are looking into it. Connolly looks suspicious.

WRIGHT: That’s not what I asked. I asked for the location of Reddington.

CONNOLLY: He’s right to keep us out of the loop, Reven. You know the protocol. If there’s even the slightest suspicion of a leak, information is need-to-know. Connolly seats down in a second chair in front of Cooper’s desk, next to Raven Wright.

COOPER: I trust Agent Keen.

WRIGHT: After the Harbormaster? She lifts her brows, looking exasperated. I’m beginning to regret sweeping that under the rug. She kept this Fulcrum secret, a blackmail file on some nefarious group, and then she gave this file to Reddington?

COOPER: I don’t know that she gave it to him.

CONNOLLY: I appreciate your loyalty to Agent Keen, Harold, but you have to admit there’s a possibility she’s being completely manipulated by Reddington. Liz is shown at the flat, following Dembe’s instructions: she goes to a wooden desk, removes a false front from a drawer and finds a small silver suitcase. The scene focus returns to Connolly. What if the reason he chose her in the first place is because he wanted to get his hands on this thing? What if that’s the real reason he turned himself in?

COOPER: I don’t believe that.

CONNOLLY: Once again, scene shows Liz while Connolly speaks. She is putting the suitcase on top of the desk. She then puts her hand on the drawer again and gets an antique key – looking a lot like a skeleton key - that was on the side of it.All this talk about some personal connection between Reddington and Keen, why he chose her, some shared history– What if Reddington doesn’t care about Agent Keen and it’s all been a manipulation?


AT RED’S BETHESDA FLAT


Liz is at the desk examining the key. Then, a cat meows. Liz gasps, then seeing it’s only a cat, she sighs, relieved. She walks in the cat’s direction.

LIZ: Hey, sweetheart. Hi, kitty.

Liz scratches the cat’s head. It meows and purrs. Then, it leaves. Liz turns her attention to the paintings on the walls and various photographs on top of a fireplace.
She finds a picture of a girl wearing a blue graduation gown; she looks just like Agent Keen would growing up. Then, she finds a picture of a girl in a swing, with a woman behind her, the latter’s face mostly hidden by sun glare. Keen takes her cell and takes a picture of it. Then, she examines the photograph better, and seemingly surprised, puts it back down.


AT TOM’S WAREHOUSE

In the Operation Room, we see a nurse adjusting the saline bag next to Red. She leaves. Dembe is shown nest to Red’s bed.


DEMBE: The doctor says you did well.

RED: Elizabeth?

DEMBE: She’s fine.

RED: You need to go to my flat.

DEMBE: I’m taking care of it.

RED: You were right, Dembe. I should’ve told her.

DEMBE: I understand why you didn’t.

RED: No, you don’t. Chuckles The blessing of an honest man.

DEMBE: She still hasn’t found Caul.

RED: She won’t. But if she looks for him, he’ll find her.



AT RED’S BETHESDA FLAT

Liz collects the things she came for and prepares to leave. With a last look to the photos, she goes to the door. When she opens it up, Leonard Caul stands there, pointing a gun to her chest.

LEONARD CAUL: Hello, Agent Keen. Why don’t we go back inside and have a little chat?

Door closes.


AT TOM’S WAREHOUSE

Nick checks the inside of briefcase with the untraceable money, shown earlier by Mr. Kaplan. He closes it.

TOM: Don’t take it. Nick stops looking at the briefcase and looks back to focus on Tom. You take that money, and he’ll have his hooks in you. Trust me, it’s the last thing you want.

NICK: I’m not a criminal. He takes the briefcase from the table and starts walking. I’ve never even gotten a speeding ticket.

TOM: Don’t take it.

NICK: When I heard you two were getting married, I was happy for her. People said you were okay, a teacher. Tom looks down and smiles. Later on, they told me you were planning to adopt a child and start a family. Guess you two decided to go another route.

Nick ends the conversation and goes away. Tom stays leaning against a wall, thinking.


AT RED’S BETHESDA FLAT

Liz is sitting down at a small coffee table. Caul is standing up, still pointing the gun to her.


LIZ: I won’t take you to Reddington.

CAUL: Yes, you will.

LIZ: You tried to kill him in the street today, at the warehouse.

CAUL: The Cabal tried to kill him. It’s what they do – eliminate their enemies.
With the other hand, he shows her a bandage covering a big wound on his neck.

LIZ: You’re Leonard Caul.

CAUL: Reddington sent you to find me.

LIZ: What’s your connection to Reddington?

CAUL: Alan Fitch. I believe he wanted us to meet. Shortly after Reddington contacted me, there was an attempt on my life. That’s when I knew I could trust him.

LIZ: When someone tried to kill you?

CAUL: Yes, the Cabal ; to keep us apart. I’ve been in hiding ever since, watching, waiting for a signal from Reddington that it was safe to meet. He sent word earlier today.

LIZ: He was shot earlier today.

CAUL: I know. He sent word after – through you.

LIZ: He knew you’d be watching.

CAUL: I don’t like having the FBI running my prints, accessing my covert files, talking with my former CO. When I saw that happening, I knew it meant one of two things. You either want to arrest me or talk to me. he places the gun down on the table. Which is it, Agent Keen?

LIZ: Sighs and sits a bit more relaxed in her chair Tell me what you know about the Fulcrum.

CAUL looking at the the silver briefcase Dembe sent Keen to get Is that the Interface? Keen brings it closer and looks to Caul You don’t know how it works. she shakes her head. If you trust him, Agent Keen, you will show it to me. It’s what he wants.

The latches click. Liz opens case to reveal a very complex apparatus, knobs, counters, various switches a keyboard with transparent buttons.

CAUL: He gave you a key.

Liz hands him the key. It is the same key Pepper gives Reddington in a past episode, which is the antique key she had retrieved from the drawer earlier. Caul picks it from her hand an removes the bottom part; he plugs it into the device and a red light turns on.



AT TOM’S WAREHOUSE

Red is in his bed, awake. Tom is next to his bed. Dembe is also in the room, but a little farther.

TOM : You know, that day at the hospital, the day Sam died, I think about that day a lot. I worked for you two years– we never met. You were always this shadow, moving from place to place, talked about, but never seen. And then there you were. To see you sitting there after I’d betrayed your trust, gone to work for Berlin, I was terrified. I sat there listening to you threaten me, threaten anyone who could hurt Liz. And all I could think was you– You are the one who hurts Liz the most. She’s here in this right now because of you. And I know I played a part in that, and I’m not saying I didn’t, but– Trying to fix that. So I told her the truth about us. I’m telling you this because I don’t want you to be confused about my part in any of this– you, Liz sighs All of it. I’m out. I’m done.
Tom walks out the OR. Dembe and Red stare at each other.

AT RED’S BETHESDA FLAT

Liz is sitting down at a small coffee table. Caul is sitting across her. The device is between them.

CAUL: There’s a device – it’s called a “bubble module.” It’s the size of a quarter.

We hear rustling and looks as if Liz is taking something out of her pocket. Then, she hands Caul the little box called ‘The Fulcrum’.

LIZ: Smartest person I know couldn’t figure out how to read this.

CAUL: That’s because he didn’t have the ciphertext. he plugs the Fulcrum in the interface.

LIZ: How did you get it? It’s possible to hear Caul typing in the interface.

CAUL: I didn’t get it. I wrote it.

Caul presses one last button and apparently it works. A projector in one of the sides of the interface lights up with a blue light. It projects the Fulcrum information in one of the walls, and Liz stares at it looking astonished.


IN A CAR

Liz and Caul are in a car; the latter is driving. Liz looks lost in her own thoughts; she has the interface in her lap. Caul briefly takes his eyes out of the road at looks at her.

CAUL: First time I saw it, I was speechless, too.

LIZ: Some of the names on that list, people, they’re CEOs, Defense contractors, intelligence officers from China, India, all over the world.

CAUL: Those names you saw, those are just the beginning.

LIZ: You worked for Fitch, he was part of it.

CAUL: He’d been cut out of the loop. Director didn’t trust him. That’s why Fitch reached out to me.

LIZ: The Director?

CAUL: Yes. Clandestine Services.

LIZ: Wait– are you telling me the director of Clandestine Serv–

CAUL: Yes.

Liz looks out of the window; they’ve reached Tom’s warehouse. However, she notices several men in dark clothing working outside.

LIZ: Keep driving.

CAUL: But we’re here.

LIZ: Keep driving.

CAUL: We’re compromised.

’Exxus’ by Glass Animals starts playing in the background. Liz picks up her cellphone and dials.


LIZ (ON THE PHONE): You’re surrounded. We see Tom inside, walking down a hallway.

TOM: Where are you?

LIZ: We’re close. I don’t know how many, but they’re coming, and you need to be ready. Reddington– what’s his condition?

TOM. He’s better. But he’s gonna get us all killed.

LIZ: I’m calling for backup. Tom and Liz kill the call.


IN TOM’S WAREHOUSE

Some of Red’s men and Mr. Kaplan are gathered.

RED’S GUY: I got hostiles at Crescent to the north, more to the west.

TOM: to Red’s guy Give me a gun. You don’t want the help, I’m happy to leave.

DEMBE: to Red’s guy It’s okay.

The men cocks a gun and throws it to Tom. They leave in opposite directions. Mr. Kaplan is looking at her own gun

IN THE CAR

Back to the car where Liz is with Caul. She’s on the phone.

COOPER (ON THE PHONE): Keen, where the hell are you?

LIZ (ON THE PHONE): 3295 Thompson.

COOPER (ON THE PHONE) : Talk to me. What’s going on? We see Cooper at the taskforce HQ, approaching Ressler, who’s in his desk.

LIZ (ON THE PHONE): Our site’s been compromised. I don’t know by who, and right now I don’t care, but Reddington’s inside, and he can’t be moved. I need you to send units now.

COOPER: Agent Ressler, notify HRT. I want Hopkins and his team only.

RESSLER: Copy that. Ressler grabs his desk’s phone.

LIZ: To Caul We need to go back.

CAUL: You’re outnumbered.

LIZ: We have to go back and help.

CAUL: There’s nothing you can do.

LIZ: They’re going to kill Reddington. They’re gonna kill everyone. I-I can’t just walk away.

CAUL: Yes, you can, and if you know what’s good, you’re going to keep walking.

LIZ: What does that mean?

CAUL: The Director never believed that Reddington had the Fulcrum. The moment Fitch died, it was only a matter of time before the Director called his bluff.

LIZ: That’s it. Liz looks like she had a sudden realization of extreme importance. She remains silent.

CAUL: What? Agent Keen, what are you thinking?

Liz looks out of the window again, without answering.



AT CIA HEADQUARTERS

The Director is in his office, by the window.

DIRECTOR (ON THE PHONE): Make it quick. I’ve got the National Security Council waiting. How much resistance? I don’t care what it takes. I want the target eliminated.

AT TOM’S WAREHOUSE

We see Red resting in the OR, and hear his monitor beeping. Then, after approaching footsteps, Mr. Kaplan enters. Red looks at her.

MR KAPLAN: to a nurse inside the OR Go.

The nurse leaves. She looks at Red.

MR KAPLAN: We have a situation.

We see Red’s men taking positions near the door and all over the warehouse to defend it. Tom is among them. A few seconds later, the power goes off. Mr. Kaplan leans against a table in the OR near Red; arms folded, one of the hands holding her gun.

RED: What are you doing, Kate?

MR. KAPLAN: Keeping you alive.

RED: There’s nothing you can do here.

MR KAPLAN: I’m not leaving you, Raymond.

RED: You need to go. Mr. Kaplan shakes her head Find a way out. I’ll be fine. And if I’m not, you know what to do. But you won’t be able to do it unless you leave.

Mr Kaplan seems to understand Red’s point. Reluctantly, she kisses Red sweetly on his forehead, places her gun in his hand and leaves after a quick nod.
The invasion starts. The warehouse door opens and a small grenade is launched inside. After the explosion, several heavily armed men – the ones Agent keen saw outside earlier – enter the place. A gunfight starts. We see several casualties on both sides; the men in black are trying to get to Red. Dembe and Tom are also trying to keep the men in black away. Red is shown quickly getting rid of his several tubes, monitors and intravenous. Meanwhile the fight continues. Tom is shown shooting; he runs out of ammo. He defeats one of the men with some punches and gets his gun. Red gets the OR light and turns it on in the maximum directed to the door, in an effort to create a blinding glare. Red gets ready to shoot, pointing his gun at the door. The two men that were guarding his door fall; the black men start to come in. Red shoots four times – two at each – and they also fall. From a side door, a third man appears; Red also shoots him down. After these, he runs out of ammo. He looks at the gun, puts it down and reflects on things.

AT CIA HEADQUARTERS

The Director is in his office, having a meeting. His assistant comes in.

MAN: President approved it, as well.

THE DIRECTOR: Yes, I-I understand that. Looks at his assistant as he comes in. Excuse me.

ASSISTANT: he whispers in the Director’s ear I’m sorry, but there’s an agent here to see you.

THE DIRECTOR: Oh, not now. shaking his head

ASSISTANT: still whispering It’s Elizabeth Keen. She says she has information about something called the Fulcrum.

THE DIRECTOR: to his assistant Thank you. to the men in his office We are going to have to postpone.

MAN: The President is expecting us to get back –

THE DIRECTOR: The President will have to wait.♤ If you’ll excuse us. The people on the office get ready to leave. As they pass the door, Liz comes in, carrying the interface. She passes the Director and puts the suitcase on top of a table. That will be all. The assistant leaves closing the door behind him.



THE DIRECTOR: I admire your nerve, Agent Keen, While he talks, Liz gets the Interface on and ready to play the Fulcrum. barging in here like this. But I’m afraid it’s too late.

LIZ: Well, then you’re gonna have to read about this in tomorrow’s New York Times. The device starts to work, and the images are projected in a wall.


LIZ: The Fulcrum. You didn’t think Reddington had it. Well, here it is, and it tells quite a story – political assassinations, terrorism. We see the images – an assortment of newspaper pages, documents, reports, messages – being projected as she speaks.

Before she continues her line, the scene goes back to the warehouse. Red got out of bed and is trying to take the gun out of one of the men he shot earlier, so he can continue to defend himself. However, more men are coming in and he seems too weak to do it.

LIZ: We know who you are, what you’ve done.♤ You called Reddington’s bluff, and you lost. Call it off.

THE DIRECTOR: I told you it’s too late.

LIZ: Pick up the phone right now and call it off.

Again back in the warehouse, Red is trying his hardest to get the gun from the dead guy. When he finally manages to do it, he looks up and sees he is surrounded by the men in black. The one closer to him points his gun to Red’s head. Another guy appears, talking on a cellphone. He says something in the ear of the man that’s pointing the gun at Red. Then, the men leave, one by one. The operation was called off. Red looks around, still suspicious of what’s happening.

THE DIRECTOR: You have no idea the enemies you just made.

LIZ: I’m afraid I do. You can keep that. She puts the Fulcrum next to the interface on the Director’s table. We have copies. She turns to leave.

THE DIRECTOR: I never saw it before.

LIZ: She was almost at the door; she stops and looks at the Director. Saw what?

THE DIRECTOR: How much you look like your mother.

Liz leaves. The Director stays inside examining the Interface,the Key and the Fulcrum.


AT TOM’S WAREHOUSE

Liz arrives and the FBI team is already there. She sees a lot of men injured and looking down. She then arrives at Red’s bedside.

RED: Lizzy.

LIZ: We’ve cleared a wing at Sibley Memorial for you and your medical team. Cooper will oversee your security personally. She turns around to leave.

RED: Lizzy. Liz stops and looks at Red. When I hired Tom Keen–

LIZ: Don’t. There’s nothing you can say. She tries to leave once more.

RED: Red persists and Liz stops to listen When I hired Tom Keen, it was at a time of profound transition in your life. You’d already left behind the relative safety and innocence of youth. Sam’s care as a father had served you well, but you’d outgrown him. A-and I knew that He inhales sharply eventually my life would jeopardize yours. So, in an admittedly presumptuous and ultimately futile effort to keep you safe, I hired Tom simply to be there as a friend of a friend to look after you from an arm’s length. When I learned that your relationship had become intimate, I fired him. I should’ve removed him, but you were already in love with him. And Tom, he shifted his allegiance to Berlin in part to protect himself from me, but also because it allowed for an inextricable intimacy and commitment to you. And so you were married. And I couldn’t stay away any longer. A confluence of peril had entered your life, and I wanted to be within reach, to have influence. I turned myself in to the FBI to point you toward a truth that inevitably you would have to discover for yourself.

LIZ: She has tears in her eyes, and her voice falters Is that all of it?

RED: Some of it.

LIZ: She closes her eyes Why couldn’t you just have said yes? her eyes reopen It wouldn’t kill you to lie just once to make someone feel good. She leaves.


AT THE DIRECTOR’S OFFICE

We see the director pouring drinks, with his back to his guest, while he speaks.

DIRECTOR: I understand you’re conflicted. Lives were lost today. But the work we do is important. We help provide peace, stability. Children can go to school, families to church without fear – or certainly with less of it because of us. And you wanted to be a part of that. It’s a solemn responsibility and, on days like today, a heavy one. And few people are capable of honoring that responsibility. He walks around his table, now facing his guest. You are– we know that, and we believe in you. He stops walking. We also know that we asked you to betray a friend. He offers one of the drinks. We see the guest’s hand accepting it. The camera follows the hand to reveal the mysterious guest is soon-to-be Attorney General Tommy Connolly Well, you want a seat at the table. The Director sits down Now you have one. Connolly and him stare at each other.


IN A STREET

Liz is sitting down on a bench looking at her cellphone screen, that shows the picture she took of the photo she found on Red’s flat – the one that has a child on a swing and a woman hidden by sun glare. She looks overwhelmed. She notices that Tom is coming and puts her phone away.

TOM KEEN: Came as soon as I could. He sits next to her.

LIZ: She looks at Tom but is speechless; she breathes in deeply I think you’re right. Reddington her voice breaks – What happened today I think it’s gonna devour me.

TOM: What I said– What I meant was that it would devour most people. It’s not gonna devour you. They are both staring at the front, not at each other.

LIZ: You said you could help me find answers.

TOM: He nods slowly./ Yeah. I think I can.

LIZ: She looks at him. Tell me what you know about Reddington.



Did You Know?


Jay explains why it's hard to sing and play the bass to Les 7/18/05 Iridium Lespaul.org

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