Fargo Pilot
Executive Summary
Poster
Overview
Genres: Drama, Crime, Thriller, Mystery, Dark Comedy, Comedy, Slice of Life
Setting: Contemporary, Saint Cloud, Minnesota, and rural Minnesota
Overview: In the pilot of Fargo, a blizzard sets the stage for a series of violent and unexpected events in rural Minnesota. Lorne Malvo, a mysterious drifter, crosses paths with Lester Nygaard, a meek insurance salesman trapped in a stagnant life. After a chance encounter leads to a violent confrontation with a former bully, Lester's life spirals out of control, culminating in a shocking act of domestic violence. As law enforcement, led by Deputy Molly Solverson and Police Chief Vern Thurman, begins to unravel the chaos, the intertwining fates of the characters reveal the fragility of morality and the unpredictable nature of violence.
Themes: Nature of Violence, Identity and Self-Perception, The Unseen Forces of Fate, Masculinity and Power, The Power of Silence and Deception, The Fragility of Family, The Role of Law Enforcement
Conflict and Stakes: The primary conflict revolves around Lester's moral decline and the violent consequences of his actions, with stakes including his life, freedom, and the safety of those around him.
Overall Mood: Tense and foreboding, with moments of dark humor.
Mood/Tone at Key Scenes:
- Scene 1: The mood is tense and bleak as Malvo's indifference to violence is established.
Standout Features:
- Unique Hook: The transformation of a meek man into a morally ambiguous character through violent circumstances.
- Plot Twist: The unexpected murder of Sam Hess, which catalyzes the main events of the story.
- Distinctive Setting: The snowy, rural Minnesota landscape serves as a stark backdrop for the unfolding drama.
- Innovative Ideas: The screenplay blends dark comedy with crime thriller elements, creating a unique tone.
- Unique Characters: Complex characters like Malvo and Lester, who challenge traditional moral boundaries.
Comparable Scripts:
- Fargo (1996)
- No Country for Old Men (2007)
- Breaking Bad (TV Series, 2008-2013)
- The Talented Mr. Ripley (1999)
- The Snowman (2017)
- The Killing (TV Series, 2011-2014)
- Prisoners (2013)
- The Coen Brothers' A Serious Man (2009)
- Gone Girl (2014)
Writing Style:
The screenplay exhibits a versatile and eclectic writing style, drawing inspiration from a diverse range of acclaimed screenwriters and authors. It blends elements of dark humor, suspense, complex character dynamics, and morally ambiguous situations, creating a captivating and unpredictable narrative.
Style Similarities:
- Coen Brothers
- Quentin Tarantino
- Noah Hawley
Pass/Consider/Recommend
Recommend
Explanation: The 'Fargo' TV pilot screenplay is a well-crafted, character-driven story that effectively establishes the series' tone and themes. With strong performances, captivating visuals, and a compelling narrative, the pilot sets the stage for a gripping and sophisticated crime drama. While there are a few areas for improvement, the screenplay's strengths, including its complex character arcs, intriguing mystery, and thematic depth, make it a standout work that will likely resonate with both critics and audiences.
USP: The screenplay stands out due to its unique blend of dark comedy and crime thriller elements, reminiscent of the Coen Brothers' original film. Its character-driven narrative, particularly the transformation of Lester Nygaard from a meek insurance salesman to a morally ambiguous figure, offers a compelling exploration of human nature and the consequences of choices. The setting in rural Minnesota adds an authentic and atmospheric backdrop that enhances the storytelling.
Market Analysis
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 25-54, fans of dark comedies, crime dramas, and psychological thrillers.
Marketability: The screenplay has a strong narrative with complex characters and moral dilemmas, appealing to a broad audience and potential for critical acclaim.
The unique blend of dark humor and crime drama, along with a strong female lead, can attract diverse viewers.
The story's exploration of human nature and moral ambiguity resonates with contemporary societal issues, making it relevant.
Profit Potential: High, due to its appeal to a wide adult audience, potential for awards, and strong character-driven narrative.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is a blend of dark humor, sharp dialogue, and a focus on the everyday struggles of seemingly ordinary people. They have a knack for creating suspense and tension through understated descriptions, sparse dialogue, and a keen understanding of human nature's darker aspects. The voice is often quiet, contemplative, and unsettling, drawing the audience into a world where small-town normalcy can quickly give way to violence and moral ambiguity.
Best representation: Scene 2 - Trapped in Sales. This scene effectively encapsulates the writer's voice because it balances mundane dialogue with subtle tension and foreboding. The conversation between Lester and Pearl is a typical, albeit somewhat tense, interaction between a married couple. However, the strange noise from the basement and Lester's decision to investigate it creates an undercurrent of unease. This scene, more than any other, sets the tone for the entire script, highlighting the ordinary lives of people on the brink of extraordinary chaos.
Memorable Lines:
- MALVO: Your problem is, you lived your whole life thinking there are rules. There aren’t. We used to be gorillas. All we ever had was what we could take and defend. (Scene 28)
- Malvo: Because some roads you shouldn’t go down. Because maps used to say there be dragons here. And now they don’t. But that don’t mean the dragons aren’t there. (Scene 40)
- Lester Nygaard: The morgue is full of guys thought they didn’t need life insurance. (Scene 3)
- Pearl: Guess I married the wrong Nygaard. That’s what I said. We had a good laugh. (Scene 2)
- Lester Nygaard: What did you do? You killed her. You killed her. (Scene 34)
Characters
Lorne Malvo:A mysterious and manipulative figure who embodies chaos and violence.
Lester Nygaard:A meek insurance salesman who undergoes a dark transformation after a series of violent events.
Molly Solverson:A determined deputy sheriff who seeks to uncover the truth behind the unfolding chaos.
Vern Thurman:The police chief who is supportive of Molly but ultimately falls victim to the violence.
Sam Hess:A bully from Lester's past whose death sets off a chain of events.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - The Indifference of Suffering | Suspenseful, Dark, Intense | 9 | 9 | 9 | 9 | 9 | 7 | 8 | 7 | 9 | 7 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
2 - The Sound Beneath | Exasperated, Resigned, Tense | 8 | 8 | 7 | 8 | 9 | 6 | 8 | 7 | 6 | 7 | 5 | 6 | 6 | 7 | 8 | 9 | 8 | 8 | 8 | |
3 - Trapped in Sales | Tense, Creepy, Awkward | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
4 - Humiliation at the Appliance Shop | Dark, Humorous, Intense | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
5 - Confronting Shadows | Tense, Intense, Suspenseful, Confrontational | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
6 - Cold Discoveries | Suspense, Mystery, Dark | 8 | 8 | 8 | 9 | 7 | 4 | 8 | 7 | 6 | 7 | 7 | 8 | 8 | 5 | 6 | 9 | 8 | 9 | 8 | |
7 - Chilling Discovery | Tense, Dark, Mysterious | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 7 | 7 | 8 | 9 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
8 - Anticipation at Home | Tense, Dark, Intimate | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 5 | 7 | 8 | 6 | 7 | 8 | 7 | 8 | 8 | 8 | |
9 - Dinner Conversations: Dark Humor and Nursery Dreams | Tense, Intimate, Reflective | 8 | 8 | 7 | 8 | 9 | 5 | 8 | 7 | 4 | 6 | 3 | 5 | 6 | 7 | 8 | 7 | 8 | 8 | 8 | |
10 - Tension in the Garage | Tense, Intimidating, Dark, Unsettling, Sarcastic | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7.5 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 9 | 8.5 | 8 | 8 | |
11 - Tension at the Doorstep | Tense, Awkward, Light-hearted | 8 | 7 | 7 | 8 | 8 | 6 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 7 | 7 | 8 | 8 | 9 | 9 | |
12 - Sibling Rivalry in the Kitchen | Light-hearted, Awkward, Familial | 8 | 7 | 7 | 9 | 9 | 4 | 8 | 7 | 5 | 7 | 4 | 6 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
13 - Fractured Bonds | Tense, Dark, Intense, Confrontational | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
14 - Tension in the Night | Tense, Unsettling, Awkward, Dark | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 9 | 8 | 9 | 9 | |
15 - Detour of Deception | Suspenseful, Dark, Intense | 8 | 8 | 8 | 8 | 7 | 5 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 6 | 7 | 9 | 9 | 9 | 9 | |
16 - A Fatal Encounter | Dark, Tense, Suspenseful, Morbid, Comedic | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
17 - Midnight Conversations at the Thurman House | Dark, Tense, Mysterious | 8 | 8 | 7 | 8 | 7 | 6 | 8 | 7 | 9 | 7 | 9 | 8 | 7 | 8 | 6 | 8 | 8 | 9 | 9 | |
18 - A Deadly Discovery | Intriguing, Dark, Mysterious | 8 | 8 | 8 | 8 | 7 | 6 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 6 | 8 | 9 | 8 | 9 | 9 | |
19 - The Peculiar Pet Policy | Sarcastic, Deadpan, Tense | 8 | 8 | 7 | 9 | 9 | 3 | 8 | 7 | 5 | 8 | 3 | 6 | 7 | 4 | 9 | 9 | 8 | 8 | 8 | |
20 - A Dark Counsel | Dark, Humorous, Suspenseful | 8 | 8 | 8 | 8 | 9 | 6 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 7 | 9 | 8 | 8 | 9 | 9 | |
21 - A Comedic Confrontation | Dark, Humorous, Suspenseful | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 6 | 7 | 9 | 9 | 8 | 8 | |
22 - Coffee Shop Investigations | Serious, Investigative, Informative, Casual | 8 | 8 | 7 | 8 | 9 | 4 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 5 | 8 | 9 | 8 | 8 | 8 | |
23 - Emotional Turmoil in the Living Room | Dark, Humorous, Mysterious | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7.5 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 9 | 8.5 | 8 | 8 | |
24 - Disinheritance and Toenails | Tense, Dark, Sarcastic, Humorous | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
25 - Chaos Unleashed | Tense, Dark, Suspenseful, Violent, Mysterious | 9 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | |
26 - Silent Tensions | Suspenseful, Dark, Intense, Mysterious | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
27 - A Dark Revelation | Terror, Elation, Suspense | 8 | 8 | 9 | 8 | 7 | 6 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 7 | 7 | 8 | 9 | 9 | 9 | |
28 - Confrontation at Arby's | Tense, Dark, Intense, Suspenseful | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
29 - A Lead in the Emergency Room | Suspenseful, Investigative, Informative | 8 | 8 | 8 | 9 | 7 | 4 | 8 | 7 | 6 | 7 | 6 | 9 | 8 | 5 | 9 | 9 | 8 | 8 | 8 | |
30 - Excited Expectations | Tense, Emotional, Reflective | 8 | 8 | 7 | 8 | 9 | 6 | 8 | 7 | 3 | 6 | 4 | 5 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
31 - Connections in the Night | Tense, Intriguing, Serious | 8 | 8 | 8 | 8 | 7 | 6 | 8 | 7.5 | 7 | 8 | 8 | 9 | 8 | 6 | 9 | 9 | 8.5 | 8 | 8 | |
32 - Shattered Masculinity | Tense, Dark, Intense, Disturbing | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
33 - Desperate Call | Tense, Suspenseful, Dramatic | 8 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
34 - Tension in the Shadows | Tense, Nervous, Suspenseful, Intriguing | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
35 - Betrayal in the Shadows | Tense, Shocking, Intense, Suspenseful | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
36 - Trapped in Chaos | Tense, Suspenseful, Dark, Emotional | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 9 | 9 | 9 | |
37 - A Tense Discovery | Tense, Suspenseful, Emotional | 9 | 8 | 9 | 7 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
38 - Descent into Darkness | Tense, Suspenseful, Dark | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
39 - Duty and Connection | Tense, Suspenseful, Dramatic, Mysterious | 8 | 8 | 7 | 8 | 7 | 5 | 8 | 7 | 6 | 7 | 7 | 8 | 6 | 6 | 6 | 8 | 9 | 9 | 9 | |
40 - The Encounter on the Highway | Tense, Dark, Suspenseful, Intense | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
41 - Aftermath of Loss | Tense, Shocking, Suspenseful, Emotional | 8 | 8 | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 7 | 8 | 8 | 9 | 9 | |
42 - A Fork in the Road | Tense, Reflective, Emotional | 8 | 8 | 7 | 8 | 9 | 6 | 8 | 7 | 4 | 7 | 3 | 5 | 7 | 9 | 8 | 8 | 8 | 9 | 9 |
Scene 1 - The Indifference of Suffering
The white becomes snowfall, a blizzard. Through it we can
make out a two lane road. A car emerges from the snow --
rust-spotted, chains on the tires -- coming towards us.
CUT TO:
INT. CAR (TRAVELING) - DAY
LORNE MALVO, age unknown, birth place unknown, sits behind
the wheel, his breath white with frost. If he minds he
doesn’t show it.
As he drives we become aware of THUMPING coming from inside
the trunk. As if someone is in there who doesn’t want to be.
Malvo ignores it.
A DEER
appears in the road ahead of him. Malvo turns too late, HITS
it. The CAR SKIDS off the road, ROLLS twice -- the trunk
popping open -- before coming to rest on its wheels.
Beat. A MAN emerges from the trunk wearing only underwear.
He is stunned from the crash, but sound enough of mind to
know this is his chance. As we watch he LOPES off through
waist-deep snow, making for the tree line.
Beat. The driver’s door opens. Slowly, Malvo climbs out.
His head is bleeding where it hit the windshield. He stands
unsteadily in the snow, getting his bearings.
ANGLE ON THE OTHER MAN
Loping off through the snow. Malvo could catch him if he
tried, but he makes no attempt. Instead he walks into the
center of the road where the deer lays on its side,
struggling to get up. Three of its four legs are broken, but
still it fights for life. Malvo stands over the wounded
animal, looking down.
2.
CLOSE UP ON THE DEER
It’s eyes wild, blood bubbles foaming from its nose and
mouth, mortally wounded.
CLOSE UP ON MALVO
Studying it’s eyes. What does he see in there?
We begin to hear a strange throbbing, churning sound, half
animal, half machine.
CUT TO:
Ratings
Scene 2 - The Sound Beneath
LESTER NYGAARD, 40, home for lunch, sits at the kitchen
table. Lester is the kind of guy who apologizes when you
step on his foot. His wife, PEARL, 39, is heating up a can
of soup at the stove. We get the sense she has been talking
nonstop since Lester walked in the door.
PEARL
-- Saturday. I said we’d bring a
Jello salad, but Kitty said
meatloaf, so --
The surging, churning sound is louder now, coming from under
the floor. Nygaard listens to it, both fascinated and
slightly disturbed.
PEARL (CONT’D)
(exasperated)
Hon?
LESTER NYGAARD
(snaps out of it)
What’s that, hon?
Pearl brings the pot over, ladles tomato soup into his bowl.
PEARL
(exasperated)
I said it’s Scotty’s birthday
Saturday. We’re supposed ta be at
your brother’s at one. With
meatloaf.
LESTER NYGAARD
(beat, listening)
It sounds different today, don’t ya
think? Angry.
3.
PEARL
I’m washing towels. That’s the
towel sound.
She sits. They eat.
PEARL (CONT’D)
Kitty says they just got one of
those fancy European all in ones.
Says it washes and dries. One
machine. Can you believe that?
LESTER NYGAARD
I bet that set them back a penny.
PEARL
He can afford it, your brother.
Kitty said he just got a big
promotion. After only working
there a year.
We can tell his brother is a touchy subject for Lester.
PEARL (CONT’D)
Kitty said they got one of those
new surround-sound systems too.
(Lester eats)
Guess I married the wrong Nygaard.
That’s what I said. We had a good
laugh.
LESTER NYGAARD
It’s just slow now. At the shop.
PEARL
Oh, hon. That’s what you always
say. Slow.
Beat. They eat. Lester wipes his mouth, stands.
LESTER NYGAARD
Well, better get back to it.
PEARL
You make your own wins. That’s
what Kitty said Ron told her.
Salesmen make their own wins. You
gotta try harder, hon. Smile, for
Pete sake. Maybe wear a nicer tie.
LESTER NYGAARD
(looks down)
You gave me this tie.
4.
PEARL
Well, if you were a better
salesman, I’da bought you a nicer
tie.
The sound of the washing machine takes on a new urgency.
PEARL (CONT’D)
At least take a look. I keep
thinking maybe it’s the settings.
Kitty said Ron fixes things around
the house all the time. Says he
took the toaster apart over the
weekend. Good as new now. Browns
to beat the band.
Lester’s jaw is tight. He opens the door to the basement.
CUT TO:
Ratings
Scene 3 - Trapped in Sales
Lester stands at the bottom of the stairs. The washing
machine is acting like a caged animal, roaring and bucking.
Lester stares at it, hypnotized. We get the sense he’s
looking at his own trapped heart.
CUT TO:
INT. INSURANCE AGENCY. SAINT CLOUD, MINNESOTA - DAY
Lester Nygaard sits across from a YOUNG COUPLE.
LESTER NYGAARD
So, that’s -- like I said, there’s
two kinds of policies you should be
thinking about. You got your Whole
Life and your Whole Life Plus.
Which is -- has all the benefits of
Whole Life -- plus a heck of a lot
more.
YOUNG MAN
We just came in to get Charline on
my health care.
YOUNG WOMAN
On account of I’m having a baby.
YOUNG MAN
Ya. A boy we’re hoping.
YOUNG WOMAN
Or a little girl.
5.
YOUNG MAN
But definitely one or the other.
YOUNG WOMAN
Ya. I’d just about hug the pants
off a little girl.
LESTER NYGAARD
Oh ya? Even more reason to -- all
the more --
He digs through his desk, pulls out a brochure.
LESTER NYGAARD (CONT’D)
-- because, I mean, what happens if
you have an accident at your job?
YOUNG MAN
I work at the library.
LESTER NYGAARD
Well, what if you’re in a car crash
and you go out the windshield? Or
say you’re on a ladder cleaning out
the gutters and fall off the darn
thing and break your neck. These
things happen every day. People
fall asleep smoking in bed and burn
ta death. What I’m saying is the
morgue is full of guys thought they
didn’t need life insurance.
The young couple stares at him, horrified.
LESTER NYGAARD (CONT’D)
(losing steam)
-- for peace of mind, I’m saying.
To know that your little boy --
YOUNG MAN
Or girl.
LESTER NYGAARD
Right. Or little girl is taken
care of.
YOUNG WOMAN
(beat, creeped out)
We’re supposed to be at my mom’s by
four.
YOUNG MAN
Ya, so we’re gonna --
6.
They stand, head for the door.
LESTER NYGAARD
Oh. Okay, well -- at least let me
give you a brochure. Or I got
these nifty pens. Look at that.
Black and red ink. You just click
the -- Okay, well, come on back if
you --
The couple exits. Nygaard sits for a moment.
LESTER NYGAARD (CONT’D)
Well, heck.
CUT TO:
Ratings
Scene 4 - Humiliation at the Appliance Shop
Lester stands outside the store, staring in through the plate
glass window at a brand new washer dryer set. He’s wearing a
puffy orange coat and a wool hat with ear flaps.
An SUV pulls up down the block. SAM HESS, 40, climbs out
with his TWIN SONS, MICKEY and MOE, 15. Hess is a big guy,
intimidating. His boys look like two identical blocking
sleds.
SAM HESS
(to the driver)
Circle for a bit. I’m gonna feed
the boys.
The SUV pulls away. Hess and sons walk towards Lester.
MOE
Dad said I could get pie for lunch.
MICKEY
(snickers)
Ya. Hair pie.
Sam WACKS Mickey in the back of the head. Moe cracks up.
Oblivious, Lester stares at the washer dryer. Walking by,
Hess recognizes him.
SAM HESS
(stopping)
Will ya look at that. It’s Lester
Niggered.
Lester turns, sees Hess. It takes a moment for him to
recognize him, but when he does he looks nervous.
7.
LESTER NYGAARD
Come on now, Sam. It’s -- well,
it’s Nygaard. Same as in high
school.
MICKEY
You went to high school with Lester
Niggered, dad?
MOE
Ya, dad, did you --
SAM HESS
Shut up. How you been, Lester?
LESTER NYGAARD
Oh, can’t complain.
SAM HESS
You look like a damn pumpkin. You
turn into a pumpkin at midnight?
You got stepsisters?
MICKEY
Stepsisters were evil, dad. They
weren’t fairies.
SAM HESS
Shutup.
LESTER NYGAARD
Um, uh. You look good, Sam.
SAM HESS
Why wouldn’t I? Got my own
trucking company now. Hess and
Sons. These are the sons. God help
me.
MICKEY
Yeah, we’re the ...
SAM HESS
Shutup. Got rigs all over the
Great Lakes.
(to his sons)
Hey, you remember I told you the
story of the boy I put in the oil
drum and rolled onto the highway?
MICKEY
Is that him, dad?
8.
MOE
Ya, dad. Is that him?
SAM HESS
Oh you betcha. Good old Lester
pencil dick. Say, Lester. What
was the name of that girl you went
with in high school? The curvy
one?
LESTER NYGAARD
Pearl.
SAM HESS
Ya, Pearl. What a rack on that
girl.
MOE
(to Mickey)
Dad’s saying she had big titties.
MICKEY
I know what rack means, ya fairy.
Hess smacks both boys in the back of the head.
MICKEY (CONT’D)
Ow.
MOE
Ya, dad. Ow.
SAM HESS
(to Lester)
You know she gave me a tug once.
Homecoming, senior year. Had these
nice fat hands. Real soft. Let me
feel up her tits while she did it.
LESTER NYGAARD
We’re married now. Going on
eighteen years.
Sam is taken off guard by this. The kids crack up.
MICKEY
Oh, dad. That’s embarrassing.
MOE
Ya, dad. Super embarrassing.
Hess’s eyes narrow. His face is burning and he doesn’t like
the feeling.
9.
SAM HESS
Eighteen years, huh? That’s
something.
(beat)
Never knew what she saw in you,
really.
LESTER NYGAARD
Oh, well --
SAM HESS
I mean, help me out. No looks. Or
brains. Or money.
Lester can tell he’s in danger.
LESTER NYGAARD
Ya. Well. I should get back to it.
But Hess moves in front of Lester.
SAM HESS
A little guy like you.
MICKEY
He’s real small dad.
MOE
A real pee wee.
LESTER NYGAARD
Ha. Ya. Real good seeing you, Sam.
Real good. And meeting your boys.
But Hess won’t let him go
SAM HESS
(to his sons)
Did I ever tell you how I used to
beat this little guy up in high
school? I’d write my name on my
fist in Sharpie fore I punched him,
so everyone would know who did it.
MICKEY
That’s a good one, dad.
MOE
Ya, dad. A real good one.
Hess lifts his fist, shows Lester.
SAM HESS
Remember?
10.
LESTER NYGAARD
Ha. Ya. That was -- a long time
ago.
Slowly, Hess moves his fist right in front of Lester’s face,
enjoying his fear. Lester stands there, humiliated, not
knowing what to do. Hating his helplessness, his base
cowardice.
Then Hess drops his fist and smiles to show it’s all just a
big joke. Lester starts to relax. Then HESS FAKES A PUNCH.
Lester panics, turns and RUNS FACE FIRST into the PLATE GLASS
WINDOW of the appliance store -- CRACK! He falls to the
ground, lays on his back.
MICKEY
Geez, dad. His face is pretty
messed up.
MOE
Ya, dad. It’s real messed up.
CLOSE UP OF LESTER’S FACE
As he lays there, his nose broken and bleeding, staring up at
the sky. Beat. We PULL OUT and discover we are now in ...
Ratings
Scene 5 - Confronting Shadows
Lester, now sitting, lifts an ice pack to his nose. He is on
a bench in the emergency room. And just as we realize this,
we see that sitting next to him is LORNE MALVO, a nasty
bruise and cut on his forehead from the car crash.
Lester lowers the ice pack. Beat.
LESTER NYGAARD
What a day.
(to a passing nurse)
Excuse me, miss. Do ya think --
will it be much longer? This thing
hurts like the dickens.
NURSE
We’ll call your name.
LESTER NYGAARD
Ya, but I been here an hour
already.
NURSE
We’ll call your name.
11.
She walks away. Lester opens a soda, tries to drink, but it
hurts too much. He puts the soda down.
MALVO
Could I have a sip?
Lester turns. Malvo is looking at him.
LESTER NYGAARD
Heck, take the whole can. I can’t
drink the darn thing without a
straw.
He hands Malvo the soda. Malvo tips it back and drains it.
Lester tries not to stare at Malvo’s head injury.
MALVO
Obliged.
(puts down the can)
What happened to your nose?
LESTER NYGAARD
Oh, well. That was just -- a
misunderstanding.
MALVO
Is that you misunderstanding the
other fella, or him
misunderstanding you?
LESTER NYGAARD
Pardon?
MALVO
Who misunderstood whom?
LESTER NYGAARD
No. What I’m saying is -- it’s not
good to dwell on these things.
MALVO
Why?
LESTER NYGAARD
Pardon?
MALVO
Why is not good to dwell on things?
Especially things that put you in
the hospital.
Beat. Lester doesn’t know what to say. Malvo watches him.
12.
LESTER NYGAARD
It was -- I was outnumbered if you
wanna know the truth. Three to
one. Big guys too. Well, one of
them. The other two were just
kids. But big fer their age.
(beat, getting worked up)
Ya know -- if I was any kind of man
-- I’da shown that Sam what’s what.
MALVO
Sam?
LESTER NYGAARD
Hess. He was a bully in high
school and he’s a bully now.
MALVO
So why didn’t you?
(off Lester)
Show him what’s what.
LESTER NYGAARD
Well, his, uh, he had his sons with
him, and --
MALVO
So you let a man beat you in front
of his children. To send them a
message.
LESTER NYGAARD
No. That’s not --
(frustrated)
Heck. Just -- heck.
MALVO
In my experience, you let a man
break your nose, next time he’ll
try to break your spine.
LESTER NYGAARD
Sam? No way. I mean, I don’t think.
It’s just -- I guess I embarrassed
him in front of his boys.
MALVO
You embarrassed him.
LESTER NYGAARD
By -- he was telling me about a
time when he and my wife -- see,
they --
(gesturing)
(MORE)
13.
LESTER NYGAARD (CONT'D)
-- but he didn’t know she was my
wife, is the thing. And when I
told him --
MALVO
A man slept with your wife, and
you’re worried you embarrassed him.
LESTER NYGAARD
Not slept with -- they didn’t -- he
said it was just -- she has soft
hands, see? -- and I --
MALVO
Mister, we’re not friends. Maybe
one day we will be. But I gotta
say, if that was me -- in your
position -- I woulda killed that
man.
LESTER NYGAARD
Well, now. Hold on.
MALVO
You said he bullied you in high
school?
LESTER NYGAARD
(reluctantly)
Four years. Gave me an ulcer.
(humiliated)
One time he put me in an oil barrel
and rolled me in the road.
MALVO
Seriously?
(Lester nods)
And now he tells you he had
relations with your wife. Then
bullies you again in front of his
children. Friend, this is not a
man who deserves to draw breath.
Beat. All the humiliation and pain Lester has suffered
threatens to bubble up.
LESTER NYGAARD
Ya. Okay. But here’s the thing --
MALVO
No. That is the thing.
14.
LESTER NYGAARD
(beat)
Well -- heck -- I mean, okay.
Okay. But what am I supposed ta do?
(beat)
Heck, you’re so sure about it,
maybe you should just kill him for
me.
MALVO
(beat)
Are you asking me to kill this man?
LESTER NYGAARD
No. That was -- I was joking.
The nurse walks up.
NURSE
Mr. Nygaard.
Lester looks at Malvo.
LESTER NYGAARD
Ya, that’s -- just a second.
(to Malvo)
We’re just two fellas talking,
right? Just blowing off steam?
Malvo studies him.
NURSE
Sir, it’s real busy --
LESTER NYGAARD
Ya, like I said -- just a second.
MALVO
Sam. Hess.
LESTER NYGAARD
No. Now wait just a second --
that’s not --
NURSE
Sir!
But Lester is focused on Malvo, like a mouse hypnotised by a
snake.
MALVO
One word. Yes. Or no.
15.
Lester looks at him, feeling a strange tickle down his spine.
All he has to do is say no, but he doesn’t.
NURSE
Sir, I’m gonna give your spot to --
LESTER NYGAARD
(stands)
Ya, I’m -- I’m coming for Pete
sake.
He shares one last moment of eye contact with Malvo, then
grabs his coat and hat, follows the nurse to an exam room.
Malvo watches him go.
CUT TO:
Ratings
Scene 6 - Cold Discoveries
The site of Malvo’s accident. The car is still there, its
trunk now closed. TWO POLICE CARS are parked nearby, lights
flashing. DEPUTY MOLLY SOLVERSON, 29 stands behind the
wreck, kicking her feet to stay warm.
A THIRD CAR pulls up. Police Chief VERN THURMAN (40s) gets
out. Molly comes over to greet him.
MOLLY
Cold enough for ya, chief?
VERN
Supposed to get down to negative
ten later.
MOLLY
Heard that. Don’t much like the
sound of negative.
VERN
Thought I might strip down to my
shorts. Work on my tan.
(nods)
So what’s this here then?
Molly shows him the scene.
MOLLY
Chief, I arrived on the scene at
thirteen hundred hours, found this
late model Ford. Looks like she
rolled a few times. I found a set
of footprints leading away from the
car.
(MORE)
16.
MOLLY (CONT'D)
Possible our driver, injured, got
confused, wandered into the woods.
I was about to investigate.
Vern circles the car, crouches at the front grill.
VERN
Blood here. Hair too.
MOLLY
Saw that. I was thinkin’ maybe a
deer, but couldn’t find the
evidence.
Vern walks out into the road, looking for something. Fresh
snow covers everything. Vern does some mental calculations,
picks a spot and kicks the snow away.
VERN
Here it is.
Molly looks down, sees the underlayer of snow is pink with
blood.
MOLLY
Son of a gun.
Vern walks back to the car. The driver’s door is open.
VERN
(leans in)
Windshield’s cracked. Blood there
too. Driver musta hit his head
MOLLY
Or her head.
Vern hears something, straightens. It comes again louder.
THUMPING. From the trunk.
VERN
You check the trunk?
MOLLY
No, sir.
The thumping continues. Vern and Molly approach the trunk.
ANGLE ON THE TRUNK
Something is inside, banging.
17.
VERN
Thinks about opening it, the pros and cons.
MOLLY (CONT’D)
Should I unholster my sidearm?
VERN
Not unless you think there’s a
ninja inside.
He reaches down and pops the trunk. It swings open,
revealing:
THE DEER
Still alive, flailing weakly.
VERN AND MOLLY
Look at the deer.
MOLLY
Huh.
Vern takes out his gun, puts the deer out of its misery. They
stand for a moment in silence, breath misty.
MOLLY (CONT’D)
(beat)
So -- wanna take a look at those
footprints then?
VERN
Sounds good.
CUT TO:
Ratings
Scene 7 - Chilling Discovery
Vern and Molly, flashlights on, trudge through the deep snow.
MOLLY
(beat, walking)
How’s Ida?
VERN
Any day now.
MOLLY
You got a name picked out?
18.
VERN
I can’t even get that woman to
decide what color to paint the
nursery.
MOLLY
(beat, walking)
Can’t believe I missed that deer in
the trunk.
VERN
Don’t be. I been doin this a long
time. Never checked for a deer in
the trunk. (Beat) Or any wildlife.
Molly sees something.
MOLLY
Chief.
He looks where her flashlight is pointed. There, sitting in
the snow, is A MAN IN HIS UNDERWEAR, frozen to death.
VERN
(beat)
Okay.
CUT TO:
Ratings
Scene 8 - Anticipation at Home
Vern comes home. He hangs his heavy coat on the wall.
VERN
Hiya, hon.
IDA (O.S.)
In the kitchen.
CUT TO:
INT. KITCHEN. THURMAN HOUSE - CONTINUOUS
Vern enters, kisses his wife. IDA (30s) is eight months
pregnant.
VERN
Something smells good.
IDA
(touches her belly)
Your boy wanted a hamburger.
19.
VERN
Sounds like my boy.
Vern goes into the
BEDROOM
Takes off his holster, locks his gun in the safe. Heading
back to the kitchen, Vern stops outside the BABY’S ROOM. All
the furniture -- crib, changing table, etc -- has been pushed
to the center. We see a tarp, paint trays and clean rollers
on the floor.
CUT TO:
Ratings
Scene 9 - Dinner Conversations: Dark Humor and Nursery Dreams
Vern and Ida eat dinner.
VERN
(beat)
Molly found a wreck out one
thirteen. Looks like the driver
tried ta head out on foot, but got
lost, froze ta death in the woods.
IDA
Oh my.
VERN
Ya. Funny thing is, the fella was
just wearing underpants.
IDA
That so?
VERN
Ya. No ID. Nothin. Couldn’t find
his clothes anywhere.
IDA
Maybe he ate ‘em.
Vern nods like that’s a real possibility, then smiles. They
eat for a bit.
IDA (CONT’D)
I was thinking maybe blue. For the
nursery.
VERN
Ya?
20.
IDA
Earlier. I was thinking maybe
blue, but then I changed my mind.
VERN
Blue’s nice.
IDA
Maybe green.
Vern nods. We can tell they’ve been having this conversation
for months.
VERN
Green’s possible.
(beat)
Well, I’m ready to get painting.
Soon as you decide.
IDA
You’re a good man, Vern Thurman.
My sister was crazy telling me not
to marry you.
VERN
(beat, chews)
Your sister is crazy.
They eat for a while in comfortable silence.
CUT TO:
Ratings
Scene 10 - Tension in the Garage
A large garage housing a raised DISPATCH OFFICE. Through the
office window we see Sam talking to BRUCE GOLD (40s). Gold is
Sam’s lawyer. TWO BIG GUYS sit with them.
In the main garage there is a big rig parked along the far
wall. The logo on the trailer reads NARCOL. Sam Hess’s
truck is parked next to it.
Boxes of INFLATABLE WOMEN are stacked against the wall.
Mickey and Moe have one of them open. Mickey is using a high
pressure air hose to fill up one of the women. She gets
fatter and fatter, then explodes. They crack up.
MOE
Dad said we should take turns.
MICKEY
Dad told me he thinks you’re
retarded.
21.
Moe attacks him. They wrestle. Mickey gets Moe in a
headlock. Lorne Malvo enters the garage, watches them.
MALVO
You’re doing it wrong. You wanna
press your forearm against the back
of his neck, then grab your elbow
with the other hand. Choke him
right out.
The two boys separate, unsettled.
MICKEY
Whatcha want, mister?
MOE
Ya, mister. Whatcha want?
MALVO
Sign outside says Hess and Sons.
Malvo studies them, Tweedle Dum and Dumber.
MALVO (CONT’D)
Which is the older boy?
MICKEY
Me. Mickey. So that means I’m in
charge when dad’s gone.
MOE
Are not. Mom said --
MICKEY
Mom’s got nothing ta do with it,
faggot.
Upstairs, Sam sees his boys talking to Malvo, comes out of
the office.
SAM HESS
Help you with something?
Malvo sizes him up, ignoring the hired muscle.
MALVO
You Hess?
Hess and the two big guys come down the stairs. It’s clear
they don’t like strangers coming around, asking questions.
SAM HESS
Who wants ta know?
22.
Malvo checks to see if there’s another guy behind him asking
questions.
MALVO
Me.
He nods to the big rig.
MALVO (CONT’D)
See you do work for Narcol. You
know Romo?
SAM HESS
You know Romo?
MALVO
(beat)
Never heard of him.
Hess looks at his guys to see if they’re hearing this.
SAM HESS
Is he serious?
Hess closes on him.
SAM HESS (CONT’D)
Only two reasons to come to my
shop, friend. Either you need a
truck. Or you drive a truck. You a
truck driver?
Malvo is unintimidated.
MALVO
I was just talking to your boys. I
think the younger one’s a little
dim.
SAM HESS
What did you say?
MALVO
His IQ seems low, I’m saying. Have
you had him tested?
The two heavies close around Malvo.
MICKEY
Hit him, dad.
MOE
Ya, dad. Hit him.
23.
Bruce Gold clears his throat. Hess looks at him. Gold
shakes his head.
SAM HESS
I’m gonna restrain myself -- on
accounta you got an obvious head
injury -- and not beat you with you
to death with a tire iron. But I’m
gonna` ask you again. What the heck
do ya want?
MALVO
Just wanted to get a look at you.
Malvo gives Sam a slow once over.
MALVO (CONT’D)
Okay. That’ll do it.
Malvo walks out. Off Hess: what the fuck was that about?
CUT TO:
Ratings
Scene 11 - Tension at the Doorstep
An expensive two story home. Lester and Pearl stand on the
threshold with a meatloaf. Lester’s broken nose is taped,
his eyes black.
PEARL
How does a grown man fall over his
own feet?
LESTER NYGAARD
It was ice. I slipped on ice.
(feels his nose)
We should have cancelled.
PEARL
Don’t be a baby.
Unhappy, Lester rings the bell. SCOTTY, 9, opens the door.
LESTER NYGAARD
(animated)
We’re here.
The boy SLAMS the door in their face. Beat. Lester rings
the bell again. KITTY NYGAARD, 32, opens the door. She’s
pretty, well appointed.
LESTER NYGAARD (CONT’D)
(tries again)
We’re here.
24.
KITTY
Come on in. Ron’s working the ham.
CUT TO:
Ratings
Scene 12 - Sibling Rivalry in the Kitchen
RONALD NYGAARD (30s) stands at the kitchen counter. It’s
clear he got all the looks and charm in the family. Lester
holds a can of beer with a straw in it. Ron massages honey
into a ham with his bare hands.
Behind them, Kitty and Pearl set the table. Scotty watches
TV in the other room.
RON
-- took the whole team down to
Duluth Tuesday. Big spread at the
Marriot.
PEAL
Ooh. I’ve always wanted ta stay
there.
RON
Ya. It’s real sweet. King sized
bed. View of the lake. You name it.
Boss took me out for dinner.
KITTY
Just the two of them.
RON
Steak big as a catcher’s mitt.
Said, Ronny, you’re going places in
this world.
KITTY
Gave him a raise and a corner
office.
PEARL
Hear that, Lester? A corner
office. Where two walls meet.
LESTER NYGAARD
Ya. Real good.
PEARL
And him your younger brother.
LESTER NYGAARD
Ya. I said I heard.
25.
KITTY
Vice President Sales, Midwest
Region.
Ron massages the ham.
RON
Bought the surround sound to
celebrate. Pretty sweet, huh?
Lester sips beer through a straw, watches his brother work
the meat.
LESTER NYGAARD
You may have ta marry that ham, you
get any more familiar with it.
RON
Saw it on Rachel Ray. She says
massaging breaks the muscle down.
Makes the meat juicier.
PEARL
Lester never wants to try new
things.
LESTER NYGAARD
Now hold on -- that’s not --
KITTY
Oh, we make Scotty try stuff all
the time. Ron says we hafta open
his horizons.
RON
Broaden his horizons. It’s a big
world, ya now. There’s more to
life than just Minnesota.
Lester sips gingerly from his can of beer.
RON (CONT’D)
Took a real tumble, huh?
LESTER NYGAARD
There’s a spot over by the fire
station. Always icy. Don’t know
what the heck I was thinkin’.
Ron washes his hands.
26.
RON
(to Lester)
Come out ta the garage. Help me
get some more beer.
CUT TO:
Ratings
Scene 13 - Fractured Bonds
A sweet setup with tools hanging on the wall. Ron opens a
mini-fridge, hands Lester a beer.
RON
We took Scotty to a specialist last
month. Think he might have the
autism. Won’t stop drawin’ on the
walls. Also, Kitty found a mason
jar in his closet. I guess he pees
in it at night. What’s that about?
Hey. Wanna see something cool?
He goes over to a locked footlocker, opens the padlock with a
key.
RON (CONT’D)
Take a look at this baby.
Lester comes over.
ANGLE ON THE FOOTLOCKER
Inside is a large automatic weapon, gleaming and deadly.
LESTER NYGAARD
Geez. What is it?
RON
That there is your M-249 SAW light
machine gun. Sometimes referred to
as ‘the piglet.’
LESTER NYGAARD
Are you allowed to -- can you even
have that?
RON
Is it legal? Technically no way.
But I got a buddy works supply over
Camp Ripley. And heck, I’m an
American. I pay my taxes. Take a
look. It’s gas operated, air
cooled. Shoots seven-hundred-twenty-
five rounds per minute.
27.
He takes the machine gun out of the box, hefts it, then hands
it to Lester, who, unprepared for the weight, DROPS IT on the
concrete floor.
LESTER NYGAARD
Aw geez.
Ron bends down. The machine gun is clearly damaged.
LESTER NYGAARD (CONT’D)
You shoulda told me it was so
heavy. Is it okay?
RON
No, Lester. It’s not okay. You
bent the darn --
(sighs)
Why are you such a G.D. screw up?
LESTER NYGAARD
Hey, now --
RON
Ever since you were -- And now
Kitty said she talked to Pearl last
week. And she’s had it. Your wife.
Said yer acting just plain weird.
Mopin’ around. Said she caught you
standing in the bathroom with yer
toothbrush in yer hand just looking
in the mirror. Said foam was
comin’ outta yer mouth like a rabid
dog.
LESTER NYGAARD
That’s -- come on -- that’s not --
how I may -- or may not -- be
feeling. And fer yer information I
was -- I hadn’t had a lotta sleep
the night before. So the
toothpaste -- that was just --
RON
Did you really trip on the ice and
break yer nose?
LESTER NYGAARD
Ya. Yes. I told ya. Outside the
fire station. Ya know they run the
hoses and wash the trucks and the
ground gets all wet. Real slippery.
Ron shakes his head.
28.
RON
Guys at work. They talk about how
they look up to their brothers.
Their older brothers.
(beat)
Sometimes I tell people you’re
dead.
LESTER NYGAARD
You --
RON
I mean, heck, Lester. You’re forty
years old. When are you gonna get
yer act together?
Beat. Lester stares at him, ire rising.
CUT TO:
Ratings
Scene 14 - Tension in the Night
Lester drives. Pearl sits next to him, fuming.
PEARL
Yer own brother. You didn’t haveta
hit him. I mean, seriously. What
is the matter with you?
Lester drives, jaw clenched. The world is pressing down.
CUT TO:
INT. OFFICE. ST. LOUIS, MS - NIGHT
A MAN sits alone in an office. This is MR. RUNDLE. Outside
his window is the skyline of a mid-western city. His
furniture is bland. No decorations on the wall. The man is
similarly forgettable. His phone rings.
MR. RUNDLE
(answering)
Claims and Adjustments.
INTERCUT WITH:
Ratings
Scene 15 - Detour of Deception
Lorne Malvo drives in a newly stolen car, on his phone. We
see an SUV in front of him.
MALVO
It’s me.
29.
MR. RUNDLE
Mr. Malvo. Your call was expected
yesterday.
MALVO
I got delayed.
MR. RUNDLE
Problems?
MALVO
Car trouble. Fixed now.
MR. RUNDLE
But you finished the assignment?
MALVO
Of course.
MR. RUNDLE
And when can they expect you in
Duluth? The new client is anxious
to begin.
MALVO
Soon. I took a detour.
MR. RUNDLE
And the nature of this detour.
The SUV ahead of Malvo pulls into THE LUCKY PENNY, a strip
club. Malvo follows.
MALVO
Personal. Shouldn’t be more than a
day or two.
MR. RUNDLE
I’ll let Duluth know.
Malvo hangs up. He watches Sam Hess get out of the SUV with
his two guys, walk to the front door.
CUT TO:
Ratings
Scene 16 - A Fatal Encounter
Sam Hess is giving it to a HOOKER, who couldn’t look more
bored, a cigarette dangling from her lips.
HOOKER
Oh, yeah, big fella. Oh, yeah.
30.
Hess works towards his big finish, huffing and puffing. Then
suddenly, he STOPS. BLOOD pours from his mouth. The hooker
screams as Hess falls on top of her, revealing: LORNE MALVO,
who has just stuck a KNIFE into the back of Hess’s head.
Hess blocks the hooker’s view.
CUT TO:
INT. BEDROOM. THURMAN HOUSE. SAINT CLOUD, MINNESOTA - NIGHT
Vern is sleeping next to his wife. The phone rings.
VERN
Ya?
(beat, listening)
Aw geez. Where?
(beat, listening)
Okay. Pick me up, huh?
He sits up, scratches. Ida is half awake.
IDA
Gotta go?
VERN
Homicide. Molly’s coming ta get me.
Go back to sleep, hon.
She throws her arm over him, sleepily.
IDA
Love ya.
VERN
Love ya too.
CUT TO:
Ratings
Scene 17 - Midnight Conversations at the Thurman House
Molly pulls up in her prowler. Vern comes out, climbs in.
Molly hands him a coffee.
VERN
Thanks.
Molly drives.
MOLLY
Ida sleeping?
VERN
Ya.
31.
MOLLY
Bill’s over the Lucky Penny. Says
it’s a real mess.
VERN
Bar fight?
MOLLY
Nope. Ya know those back rooms
they got for hanky panky? Well,
sounds like a customer was givin’
it to one of the girls. Got
himself stabbed in the head.
VERN
The girl stabbed him?
MOLLY
Bill says no. Says it was an
assassination type deal.
VERN
(thinks about that)
Huh.
CUT TO:
Ratings
Scene 18 - A Deadly Discovery
Sam Hess lays face down on the bed, the knife still sticking
out of the back of his head. Vern and Molly stand by the bed
looking down at him.
MOLLY
Whatcha want me to write for cause
of death?
VERN
Put self-explanatory.
Vern crouches, examines Hess’s profile.
VERN (CONT’D)
Well, heck. That’s Sam Hess.
MOLLY
Hess that owns the trucking
company?
VERN
Ya. With the two boys, both dumb
as a dog’s foot.
Molly looks around. A thought hits her.
32.
MOLLY
Hold on. Isn’t Hess tied to that
syndicate of fellas outta Fargo?
Gun runners and such.
VERN
So they say.
MOLLY
Geez. Ya think this was, like, an
organized crime thing? A hit or
the like?
VERN
(straightens)
Don’t know what I think yet.
Except that I was warm in bed a
half hour ago.
CUT TO: