All About Interrogation Scenes
Interrogation scenes can be exceptionally powerful in our stories. They can be tense, adding to cause and effect, escalating the story towards the showdown.
They can also be the moment one character – on either side of the table! – can move from one state of being to another (whatever that means for the story).
When writers hear the word “interrogation”, most of us immediately think of police procedurals. Detectives sitting under fluorescent lights trying to get a suspect to crack.
Yet interrogation scenes crop up in virtually every genre and type of story imaginable! Such as …
- Fantasy novels when a hero confronts a traitor
- Horror movies when characters try to work out who’s telling the truth
- Romances when one lover demands answers from another
- Courtroom dramas where a lawyer cross-examines a witness
- Also thrillers, action movies, mysteries, even literary fiction!
In its simplest form, an interrogation scene is just this …
One character is trying to get information from another character who doesn’t want to give it.
The Problem With Interrogation Scenes
I read A LOT of interrogation scenes, especially in spec screenplays. They’re contained and potentially low budget, so it’s an obvious choice for many filmmakers (and obvious doesn’t *have* to mean ‘bad’). But as mentioned, interrogation scenes can turn up in any medium, genre or type of story.
The #1 problem with interrogation scenes is that most writers approach these scenes as mere information exchanges.
One character asks a question. The other character answers it. Then another question follows. Then another answer.
Before long, the scene feels static and boring. Yawn! The reader or audience starts looking for the nearest exit.
One of the biggest misconceptions writers have about plotting is that story equals more locations, more characters and more subplots. But interrogation scenes show this does not have to be the case.
So, how can we make sure OUR story’s interrogations hit the mark? Let’s look at one of the best ever written!
About The Box (B99, s5, ep14)
Brooklyn Nine-Nine’s Season 5 episode, The Box, is widely considered to be its best episode EVER. Beyond that, it’s also thought to be one of the best examples of an interrogation scene ever written.
Starring Sterling K. Brown as Philip Davidson, a murderous dentist, the episode is a three-hander (barring a brief appearance from Chelsea Peretti as receptionist Gina Linetti and Davidson’s lawyer).
Captain Holt (Andre Braugher) sacrifices an evening at the opera to help Detective Jake Peralta (Andy Samberg) carry out an interrogation in the hope of getting a confession from a stubborn suspect.
The Box is a masterclass in dramatic construction because it strips everything away. There are no cutaways to the rest of the squad. No B-plot involving Terry. No comic C-story with Boyle. No romantic subplot.
Instead, almost the entire episode takes place in a single interrogation room. Yet somehow it remains gripping, funny and emotionally satisfying for the entire running time. Let’s break down why.
The Premise
Jake Peralta and Captain Holt are convinced dentist Philip Davidson murdered his business partner.
The problem? They can’t prove it. They have one night to get a confession before Philip walks free.
On the surface, that’s the entire story. But underneath it are actually two stories running simultaneously.
A Story: ‘Get The Confession’
The external plot is simple: Jake’s objective is to get Philip Davidson to confess to murder. Every scene revolves around this goal.
Act One
Jake believes the case is straightforward. As far as he’s concerned, Philip is guilty. Captain Holt even agrees.
They decide to interrogate Philip and pressure him until he slips up.
Yet Philip is no ordinary perp. He has an answer for EVERYTHING. He counters every single accusation. Worse, he can explain every single piece of evidence.
Philip Davidson is the ultimate antagonist. Right may be on Holt and Peralta’s side, but they can’t get him the usual ways. Ack!
Act Two
Jake and Holt begin cycling through interrogation strategies. They end up playing various roles that unravel into ‘Smart Cop’ (Holt) and ‘Dumb Cop’ (Peralta).
However, Philip finally appears to make a mistake when he reveals information to Peralta he should not know.
Jake thinks they’ve won. He’s delighted …But then comes the midpoint reversal. Philip has an explanation for that too!!!
Suddenly both detectives realise they don’t have him at all. Now what?!?
Act Three
Jake becomes increasingly desperate. He and Holt try a variety of tactics that get more and more crazy (it is a comedy, after all!). But every tactic fails.
Philip continues to stay one step ahead. Holt counsels Peralta that sometimes interrogations fail. But Jake can’t accept Philip walking free when it’s so obvious to him that Davidson is guilty.
Then Jake has an ‘Aha!’ moment when he notices a detail that could unlock everything. He crashes back into the interrogation room and does his iconic, ‘I’m about to monologue, son!’ speech.
It’s the break Peralta and Holt need. Philip is finally triggered by the speech, revealing EXACTLY how he did the murder.
The confession lands. Jake has exploited Philip’s major weakness. When Philip loses control, not only has the B99 squad won, it’s Jake – not Holt – who is the true victor. Case solved.
B Story: ‘Jake Wants Holt’s Approval’
This is where the episode becomes special. The emotional story is not about Philip, but Jake and his need for Captain Holt’s approval.
At the start of the episode, Jake is excited to work a major case alongside his mentor. He wants Holt to recognise him as a great detective. Instead, the opposite happens.
Holt Becomes The Obstacle
Normally, Holt is Jake’s ally. They have a father-son dynamic throughout the series – which is why Jake wants his approval. Yet in this episode, Holt functions as an antagonist within the emotional story.
Not because Holt is a villain, but because he keeps getting in Jake’s way …
- Holt dismisses Jake’s ideas
- He thinks Jake is not authorative enough
- Worse, he delegates him as ‘Dumb Cop’
- He blocks Jake’s preferred tactics
- And ultimately, sets Jake up to fail again and again
Meanwhile, Jake feels increasingly undermined and hurt.
The Emotional Midpoint
The external story midpoint is: ‘We don’t have him.’ That’s Jake and Holt, together.
But the emotional midpoint is Jake’s. Here, he feels: ‘Holt doesn’t trust me.’
Because he loves and looks up to Holt, Jake’s confidence begins to crumble. He becomes increasingly reckless, acting out and even screwing up badly over a key piece of information.
Jake’s desire for approval begins damaging the investigation.
Emotional Climax
The key moment comes when Holt confronts Jake about lying to the suspect. Holt assumes Jake is motivated by ego: ‘Did you want everyone to know what a great detective you are?’
Then Jake finally admits the truth: ‘No. I wanted you to know.’
For the first time, Jake openly acknowledges how much Holt’s opinion matters to him. This is the emotional heart of the episode.
Resolution
It’s this emotional heart that actively leads TO Jake’s ‘Aha!’ moment. He crashes back into the room and does that ‘monologue, son’ speech which unlocks everything. He solves the case.
This leads to that iconic moment Jake set up earlier when Holt explodes with ‘Oh, DAMN!’ three times, just like Jake said he wanted. But that’s not all. As they leave the interrogation, Holt says the words Jake has been craving: ‘I’m proud of you, Peralta.’
The emotional arc is complete. BANG!
Why There Is No C Story
Most sitcoms run multiple plots simultaneously. Most often – and as noted in multiple B2W case studies – they appear as A/B/C stories concurrently.
But The Box does something unusual: it eliminates them. Instead of dividing attention between multiple storylines, every scene serves both the plot and character arc:
- The interrogation advances the murder investigation
- At exactly the same time, it advances Jake and Holt’s relationship
This creates incredible efficiency, because nothing is wasted. Every beat of the plot does double duty and every single line of dialogue matters. It is plot and character, hand-in-hand.
The Big Lesson For Writers
Many writers think subplots make stories stronger … and sometimes they do.
But The Box proves that FOCUS can be even more powerful (and memorable). The episode succeeds because every scene asks two dramatic questions:
- Will Jake get the confession?
- Will Jake earn Holt’s approval?
The genius is that both questions are answered in the same moment:
- Jake catches the killer
- Jake earns Holt’s respect
One climax resolves both stories simultaneously. Talk about elegant storytelling!
B2W Takeaway
If you’re struggling with plot, don’t automatically add more storylines. Instead, ask yourself:
How many jobs is each scene doing?
Because the best scenes don’t just move the plot forward. They reveal character, too.
Grab Your Free Breakdown Of The Box
I’ve created a new resource, using the B2W Plotting Worksheet.
Click on the pic below to grab it as a PDF.
Alternatively, CLICK HERE.
Give it a watch as you check it out. You will thank yourself for it!
Want Even More On Interrogation Scenes?
If you’re writing a screenplay – of any genre – learning more about interrogations can be incredibly helpful. They can be brilliant for plot and character. I have several more case studies of such scenes in my book, Writing & Selling Thriller Screenplays.
Updated with a second edition for its tenth anniversary in 2023, there’s now 100 more pages with LOADS more case studies like Stranger Things, The Rookie, The Hunger Games, The Mentalist and Iron Man.
I’ve also updated the industry information for the 2020s.
But even if you’re writing a novel, learning more about screenwriting techniques can really help. I use them all the time in my own novels under both my own name and as Lizzie Fry.
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