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:
Ratings
Scene 19 - The Peculiar Pet Policy
The owner, a heavyset WOMAN, is yelling at a sullen TEEN.
Malvo enters.
WOMAN
How many times I gotta tell ya?
You can’t just take dirty sheets
offa one bed and put ‘em on
another. It’s unsanitory.
TEEN
I shake ‘em out first.
WOMAN
You don’t have the sense God gave a
clam, do you? Go shovel the walk.
The sullen teen exits.
MALVO
I need a room.
WOMAN
Just you?
MALVO
Pardon?
WOMAN
Is it just for you? The room.
33.
MALVO
What difference does that make?
WOMAN
Different rate for two. And if ya
got pets -- dog, cat -- that’s an
extra ten bucks.
MALVO
What about a fish?
WOMAN
Excuse me?
MALVO
Would a fish cost me ten dollars?
WOMAN
Well --
MALVO
Or say I kept spiders. Or mice.
What if I had bacteria?
WOMAN
Sir, bacteria are not pets.
MALVO
Could be.
WOMAN
Sir, perhaps you’d be happier in a
different motel.
MALVO
I just want to know the policy.
I’m a student of institutions.
WOMAN
(exasperated)
Sir, do ya have a pet or not?
MALVO
Nope. Just me.
CUT TO:
Ratings
Scene 20 - A Dark Counsel
Malvo approaches his room. The teen is shoveling snow
nearby.
34.
MALVO
Why do you let her talk to you like
that?
TEEN
Aw, she’s not that bad.
MALVO
Son, she compared you to a clam.
The teen thinks about it. The woman is kind of a bitch.
TEEN
Well, what should I do?
MALVO
Guy insulted me once. I pissed in
his gas tank. Car never drove
straight again.
The teen smiles, puts down the shovel. He walks over to the
woman’s car. Malvo lets himself into his room.
Ratings
Scene 21 - A Comedic Confrontation
Malvo goes to the phone, dials the front desk. He looks out
through the curtain. We can see the Teen with his pants
undone, pissing into the gas tank.
WOMAN
Farmdale motel.
MALVO
Yeah, I’m looking out my window and
there’s a young fella urinating
into the gas tank of a red Miata.
WOMAN
Son of a --
Malvo hangs up, watches as the woman comes out of the office
with a shotgun. She YELLS at the teen, who panics and
stumbles away, his pants falling down.
Malvo closes the curtain.
CUT TO:
Ratings
Scene 22 - Coffee Shop Investigations
A family place. Molly Solverson sits at a table, going over a
case file. LOU SOLVERSON (60) limps over with a pot of
coffee.
35.
LOU
Warm ya up, hon?
MOLLY
Thanks, dad.
LOU
Whatcha lookin’ at?
MOLLY
Murder file.
LOU
Oh ya?
MOLLY
Ya. Sam Hess got himself killed
last night over The Lucky Penny.
LOU
Ya don’t say.
MOLLY
Ya. Knife in the head. But ya
didn’t hear that from me.
Vern Thurman comes in, sees Molly, comes over.
VERN
Hey there, Molly. Lou.
LOU
Coffee? Eggs over medium.
VERN
Won’t say no. How’s the leg?
LOU
Goes from my ass to the ground,
same as the other. Thinking of
doin’ some ice fishin’ this
weekend.
VERN
Sorry to hear it.
LOU
Interested?
VERN
No. Only thing I ever caught
fishin’ in winter was a cold.
Lou goes back behind the counter.
36.
MOLLY
Say, Chief. I been thinkin’. That
fella in the snow. With the
underpants. Somethin’ odd about
that.
VERN
Yer sayin’ other than the fact he
was just wearin’ panties.
MOLLY
Ya. See, we know from the wreck
that whoever was driving the
vehicle cracked their head on the
windshield. But the fella in the
snow --
VERN
No head injury.
MOLLY
Right. So, ya see --
VERN
That’s some good police work there,
deputy.
MOLLY
(smiles)
Thanks.
VERN
But if he’s not the driver -- I
guess we gotta ask -- who is he?
MOLLY
I ran his prints. Nothin’. Plus,
turns out the car was stolen.
VERN
Oh ya?
MOLLY
Ya. Over in Grand Forks. I called
the local PD. Waiting for a call
back.
VERN
(nods to Hess file)
Any thoughts there?
37.
MOLLY
Not as such. The lady Hess was
with didn’t get a good look at the
fella killed him on account of all
the blood in her eyes. But we’re
checkin’ the knife fer prints.
Also Bill’s goin’ around to the
stores, see if the knife was maybe
bought here in Saint Cloud.
Vern studies her.
VERN
You’ll make a good chief one day.
MOLLY
(surprised)
Me? What about Bill? He’s got
seniority.
VERN
Bill cleans his gun with bubble
bath. No. It’ll be you. If you
want.
Molly nods. She does.
CUT TO:
Ratings
Scene 23 - Emotional Turmoil in the Living Room
Mickey and Moe, wearing black suits too short in the arms and
legs, sit on the sofa, looking bored. Their mother, GINA
HESS (30s) sits in a chair, wearing red. She’s not from
around here. Bruce Gold, Hess’s consigliere, is there,
drinking coffee. As are the TWO HEAVIES we saw at the
garage.
BRUCE GOLD
When you talk to the police just
keep it simple. Thanks but no
thanks in other words. I’ve
already talked to Fargo and they
want to deal with this themselves.
They’re sending guys.
GINA HESS
Deal with what? He was in a
whorehouse. I’m glad he’s dead.
MICKEY
Ma, don’t talk like that.
38.
MOE
Ya, mom. Don’t talk like that.
Through the living room WINDOW we see Vern’s prowler pull up.
Vern and Molly get out.
GINA HESS
Makes me live in the god damn north
pole and then he has the nerve to --
I’m not kidding. I’m gonna sing at
his funeral.
She breaks into tears, inconsolable. The men of Minnesota
watch her cry, mystified by her emotional range.
A MAID comes in.
MAID
Mr. Mickey. You have a phone call.
Mickey and Moe stand together.
MICKEY
She said me, doofus.
MOE
Can’t I come?
MICKEY
No. Geez. Stay here with ma.
Mickey follows the maid into the ...
KITCHEN
He picks up the phone.
MICKEY
Hello?
INTERCUT WITH:
Ratings
Scene 24 - Disinheritance and Toenails
Lorne Malvo sits on his bed, clipping his toe nails.
MALVO
Mickey, it’s Lewis Grossman. Your
dad’s estate attorney. First let
me say how sorry I am for your
loss.
MICKEY
Ok.
39.
MALVO
Next thing is, I’m responsible for
overseeing the dispersal of your
dad’s vast estate.
MICKEY
(brightening)
You mean the money?
MALVO
Right. Money, real estate
holdings, automobiles. And --
well, there’s no delicate way to
put this -- the will is very clear.
Your dad decided to leave
everything to your younger brother,
Moe.
MICKEY
Are you fucking kidding me?
MALVO
I know it’s hard to hear. But the
will is very specific. Quote, I
leave the entirety of my vast
estate to my second born -- and
favorite -- son, Moe. That’s
sweet. He musta really loved that
boy. Anyway, that’s it. Again,
sorry for your loss. If you have
any questions please don’t hesitate
to call.
Malvo hangs up, finishes clipping his toe nails.
CUT TO:
Ratings
Scene 25 - Chaos Unleashed
Vern and Molly have come in while Mickey was on the phone.
They stand talking to Gina, Moe and Bruce Gold.
VERN
Well, like I said, Mrs. Hess, we’re
checking some things on our end.
But anything you could tell us --
about yer husband’s business, or --
BRUCE GOLD
Appreciate the visit, Vern. But
Mrs. Hess had no kind of
involvement in Sam’s business.
Frankly, she’s mystified.
(MORE)
40.
BRUCE GOLD (CONT'D)
Her husband being a pillar of the
community and all. I mean, heck,
voted Saint Cloud Businessman of
the Year, 1996 and 98.
VERN
Ya. Like I said, it’s a puzzler.
But if you or these big fellas have
any information --
Mickey comes back from the kitchen, stands in the doorway.
MOE
(mouths)
Who was it?
Mickey waves Moe over (come outside and I’ll tell ya). The
two go to the front door.
VERN
-- about enemies Mr. Hess mighta
made or --
There is a HOCKEY STICK resting against the wall. Mickey
GRABS it on his way out.
VERN (CONT’D)
-- you know, differences he mighta
had with certain individuals, well,
we’d appreciate the sharing of such
information.
GINA HESS
When do I get the fat bastard’s
body back?
BRUCE GOLD
Gina.
Vern and Molly exchange a look. Through the LIVING ROOM
WINDOW we see Mickey and Moe walk out into the front yard,
Mickey holding the hockey stick.
VERN
Well, there’ll be an autopsy today.
And they’re real delicate with
that. I wanna reassure you. You
won’t be able to tell a thing.
MOLLY
Ya. It’s amazin’ what those fellas
can do. My aunt had a stroke in
the bathtub. Just real bloated
when they found her.
41.
Outside, MICKEY CLOBBERS MOE with a hockey stick. Moe
staggers. Mickey hits him again.
MOLLY (CONT’D)
Puffed up like a fish. But -- what
do ya know? -- we had an open
casket.
Moe goes down. Mickey BEATS him mercilessly.
GINA HESS
(stares at Molly)
What the hell are you talking
about?
MOLLY
-- just, they do nice work is --
Molly glances out the window, sees Moe on the ground, taking
a beating.
MOLLY (CONT’D)
Chief! 217! 217!
She sprints for the door and out into the yard. We watch
through the window as she TACKLES Mickey.
CUT TO:
Ratings
Scene 26 - Silent Tensions
Mickey sits in back, handcuffed. Molly drives. Vern is in
the passenger seat.
MOLLY
I don’t understand. Why would ya
do a thing like that? And to yer
own brother.
Mickey says nothing. They drive in silence.
CUT TO:
INT. LESTER’S CAR. SAINT CLOUD, MINNESOTA - DAY
Lester is driving to work. As he passes the Farmdale Motel,
he sees Lorne Malvo exit his room. Lester slows, watches
Malvo go into the Arby’s next door.
LESTER NYGAARD
What the heck?
CUT TO:
42.
Ratings
Scene 27 - A Dark Revelation
Lester Nygaard arrives for work. He takes off his puffy
coat, hangs it on the coat rack. His boss, BO MUNK (50s)
comes over.
BO
Heya, Lester.
LESTER NYGAARD
Oh, hiya, Bo.
BO
What happened to yer face there?
LESTER NYGAARD
Ya know that spot near the fire
station?
BO
Where they wash the trucks?
LESTER NYGAARD
Yah, slipped on the ice.
BO
Ouch. Say, Lester. I needya ta
pull the policy for Sam Hess.
LESTER NYGAARD
(beat)
For -- who now?
BO
Sam Hess, owns the truck depot over
on Winslow. You know. Big fella.
Well, he’s dead.
The color goes out of Lester’s face.
LESTER NYGAARD
Oh ya?
BO
Ya. Shame. That’s a big policy.
(lowers his voice)
Murder, they’re sayin’. Stabbed ta
death is what I heard.
(off Lester)
You okay there, Lester?
LESTER NYGAARD
Oh sure. I, uh -- you know I went
ta high school with him.
43.
BO
Ya don’t say. Well, anyway. I need
ya ta pull the policy. Gotta get
on the phone with his wife later.
Bo walks away. Lester stands there, feeling both terror and
a peculiar elation.
CUT TO:
Ratings
Scene 28 - Confrontation at Arby's
Lorne Malvo sits at a formica table, finishing his meal.
Lester comes in, hat on, agitated. Malvo recognizes him.
MALVO
Lester.
Lester comes over.
LESTER NYGAARD
Did you -- geez.
(leans in)
Did you really kill him?
(almost can’t say it)
Sam.
MALVO
Oh my god. Is Sam dead?
(off Lester)
How do you feel about that?
LESTER NYGAARD
I mean, of course. It’s -- ya
know, tragic --
MALVO
Then why’d you kill him?
LESTER NYGAARD
(too loud)
Now hold on a second.
Lester looks around, sits.
LESTER NYGAARD (CONT’D)
(quiet)
I never --
MALVO
You did actually. Remember? Yes or
no.
44.
LESTER NYGAARD
(hisses)
I never said yes.
MALVO
Well, you didn’t say no.
Beat. Lester is tied up in knots.
LESTER NYGAARD
Now, that’s not -- that won’t -- in
a court a law -- that won’t --
MALVO
(dangerous)
Who said anything about a court of
law?
LESTER NYGAARD
No. I just mean -- Aw geez. He had
a wife. And those boys.
MALVO
He put you in a barrel and rolled
you in the road. 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. The truth is, you’re more
of a man today than you were
yesterday.
LESTER NYGAARD
How do ya figure?
MALVO
It’s a red tide, Lester. This life
of ours. The shit they make us
eat. Day after day -- the boss,
the wife, etcetera -- wearin’ us
down. If you don’t stand up to it -
- show ‘em you’re still an ape
deep down where it counts -- you’re
just gonna get washed away.
Off Lester: this resonates.
CUT TO:
Ratings
Scene 29 - A Lead in the Emergency Room
Molly enters, approaches the nurse’s station. SUE ROUNDTREE
(30s), the same nurse from earlier, is working.
45.
MOLLY
Slow day.
SUE ROUNDTREE
Bars just opened. Wait an hour.
Molly takes off her gloves and hat.
MOLLY
How’s the Hess boy?
SUE ROUNDTREE
The which now?
MOLLY
Brother attacked him with a hockey
stick.
SUE ROUNDTREE
Oh, Sure. Outta surgery. Doctor
had to drill holes in his head, on
account of the swelling. May have
some brain damage is what I heard.
MOLLY
That’s a shame. With their dad
dead and all.
SUE ROUNDTREE
Family.
MOLLY
Ya.
Beat. Small talk over, Molly gets to the real reason she
came.
MOLLY (CONT’D)
Say, while I’m here -- we found a
car wreck out by Moose Lake
yesterday morning.
SUE ROUNDTREE
Icy out there.
MOLLY
Sure is. Here’s the thing though.
The windshield was cracked. There
was blood and all, but no driver.
So I’m wondering -- you see any
head injuries in the last day or
so, coulda been caused by those
circumstances.
46.
SUE ROUNDTREE
There was this one fella.
MOLLY
Oh ya?
SUE ROUNDTREE
Ya. Looked like he banged his head
real bad, but wouldn’t give ID. So
we couldn’t treat him.
MOLLY
Can you describe him?
SUE ROUNDTREE
Real intense. Average height.
Brown pants, if that helps.
Molly takes out her notepad, writes.
MOLLY
Brown pants. Anything else?
SUE ROUNDTREE
Just real intense. His eyes, ya
know?
(beat)
Oh, and he was talkin’ ta this
other fella.
MOLLY
Other fella.
SUE ROUNDTREE
Ya. Here for a broken nose. Looked
like they were maybe havin’ an
argument.
MOLLY
Ya don’t say.
Sue looks through her files.
SUE ROUNDTREE
Lester Nygaard. He was here around
four in the P.M.
MOLLY
You remember what they were arguing
about?
47.
SUE ROUNDTREE
Well, ya know, it’s funny, but I
wanna say they were arguing about
that dead fella.
MOLLY
Who?
SUE ROUNDTREE
Hess.
MOLLY
(that’s interesting)
Really.
SUE ROUNDTREE
(nodding)
Ya. Heard ‘em say his name. Is
that, like, a lead?
MOLLY
Oh ya.
Molly nods absently for a moment, thinking jackpot.
CUT TO:
Ratings
Scene 30 - Excited Expectations
Vern sits in his office, eating take out. DEPUTY BILL OLSEN
knocks.
BILL
Phone call, chief. It’s the wife.
Vern picks up the phone.
VERN
Hey hon.
INTERCUT WITH:
INT. THURMAN HOUSE. SAINT CLOUD, MINNESOTA - SAME TIME
Ida is in the kitchen.
IDA
White.
VERN
White what?
48.
IDA
I decided. We’re gonna paint the
nursery white.
VERN
It’s already white.
IDA
White on purpose.
VERN
New coat.
IDA
Yah.
VERN
Any particular shade?
IDA
What do ya mean?
VERN
Well, ya got yer bright white, yer
snow white.
BILL
(hasn’t left)
Eggshell.
VERN
Right. There’s eggshell.
IDA
Oh. Hadn’t thoughta those.
Vern realizes he’s opened a whole other can of worms.
VERN
Tell ya what. Why don’t I stop at
the Home Depot, pick up some
different shades and we’ll figure
it out tonight?
IDA
We’re havin’ a baby, Vern.
VERN
That’s true.
IDA
No. I mean, it’s finally sinkin’
in. We’re gonna have a baby.
49.
VERN
(beat, happy)
I can’t wait. See ya soon.
He hangs up.
CUT TO:
Ratings
Scene 31 - Connections in the Night
Vern pulls into the Home Depot parking lot. His radio
squawks.
MOLLY
Come in, Chief.
Vern picks up the handset.
VERN
This is Vern, go ahead.
INTERCUT WITH:
EXT. HOSPITAL. ST. CLOUD, MN - SAME TIME
Molly stands beside her prowler outside the hospital.
MOLLY
Chief, I’m over at the hospital. I
was checkin on the Hess boy and --
VERN
How is he?
MOLLY
Uh, he’s, uh -- you know, there
could be some brain damage.
VERN
That’s a shame.
MOLLY
Ya. Hey, so I got ta talkin to Sue
Roundtree, and I asked her if
they’d had any head injuries lately
-- ya know my theory about the
driver in that wreck -- and Sue
says they did yesterday. A
peculiar fella, she says. Real
intense. And here’s where it gets
interesting. Cause she says the
fella with the head injury was
talkin to another fella. About Sam
Hess.
50.
VERN
Oh yeah?
MOLLY
Yessir. Says the two was thick as
thieves. So suddenly I’m thinking,
maybe these two cases, maybe
they’re connected, huh?
VERN
(impressed)
Could be. She say who the other
fella was?
MOLLY
(looks in her pad)
Lester Nygaard.
VERN
Really.
MOLLY
You know him.
VERN
Sure. I know Lester. Sells
insurance over at Bo’s shop.
MOLLY
Ya. I called over. They’re closed.
So I was gonna go by Lester’s
place.
VERN
No. I know Lester. I’ll do it.
You call it a day. Good work.
CUT TO:
Ratings
Scene 32 - Shattered Masculinity
Pearl comes home, sees Lester’s coat.
PEARL
Lester?
LESTER NYGAARD (O.S.)
(calling)
In the basement.
CUT TO:
51.
INT. BASEMENT. NYGAARD HOUSE. SAINT CLOUD, MINNESOTA - NIGHT
Pearl comes downstairs. Lester has his tool kit out. He’s
trying to fix the washing machine.
PEARL
Whatcha doin’, hon?
LESTER NYGAARD
Trying ta fix the darn thing.
Looks like the motor mount broke.
PEARL
Ya sure ya know what yer doin’?
LESTER NYGAARD
Seems pretty straight forward.
He puts the screwdriver down.
LESTER NYGAARD (CONT’D)
Okay. Give that a try.
PEARL
But there’s nothing in it.
LESTER NYGAARD
I’m sayin’ just fer a test.
Pearl turns the machine on. Beat. It fills with water, then
the agitator kicks in. A harsh shriek fills the air.
LESTER NYGAARD (CONT’D)
(panicked)
Turn it off.
Pearl tries to turn it off. The shriek worsens. SMOKE
starts to pour out of the back of the washing machine.
Lester finally pulls the plug. The shriek fades slowly, as
the engine cycles down.
They stare at the now dead washing machine.
LESTER NYGAARD (CONT’D)
Well --
PEARL
You killed it.
LESTER NYGAARD
I, uh --
PEARL
You killed my washing machine.
52.
LESTER NYGAARD
It’s -- I was -- ya know, the tide.
I was standing up to the -- I was
bein’ a man.
PEARL
But yer not a man, Lester. Yer not
even half a man.
Lester stares at her, his nuts cut once again.
PEARL (CONT’D)
Honestly. I don’t know what got
into me, marrying you. My mom
said, don’t do it, Pearl. She
said, he’s the kind of boy who
loses all the time. And you know
what those boys grow up ta be,
don’t ya? Losers.
LESTER
Looks at his tools.
ANGLE ON A CLAW HAMMER
Resting on top of the tool box.
LESTER NYGAARD
Take it back.
PEARL
Or what? What are you gonna do?
Ya can’t even face me when we’re
having sex.
LESTER NYGAARD
What? It’s you not facin’ me.
PEARL
Well, yah. So I can picture a real
man.
LESTER NYGAARD
Now that’s not very nice.
PEARL
Loser.
Lester picks up the claw hammer. He walks towards Pearl.
PEARL (CONT’D)
What are you doon? You gonna hit
me with a hammer? That’s a laugh.
53.
The first blow catches her by surprise. The pain of it, the
blood that runs down her face. The moment hangs there. Then
Lester BEATS HER TO DEATH with the hammer. Each blow is a
release. Eventually, he stops. Stands there panting.
Slowly the red haze lifts. He looks down at his blood
spattered clothes.
LESTER NYGAARD
Aw geez.
He is about to panic, when he looks up.
CLOSE UP ON AN INSPIRATIONAL POSTER
taped to a bare concrete wall. On it a school of yellow fish
all face the same direction, except one. The poster reads
There’s Always One. Be the One.
LESTER
Stares at it. As he does, an idea hits him. A brilliant,
dangerous plan. Could he really do it? As we watch, Lester
strips off his clothes, shoves them in a garbage bag.
Carefully Lester wipes the handle of the claw hammer to
remove his finger prints. Over this we hear:
LESTER NYGAARD (O.S.) (CONT’D)
(pre-lap, distraught)
Ya, it’s me. I -- you need ta -- I
need help.
CUT TO:
Ratings
Scene 33 - Desperate Call
Lester, dressed in new clothing, stands with his back to us.
We move towards him as he practices for his phone call.
LESTER NYGAARD
Ya, it’s me. I can’t talk long.
She’s -- I did something --
(beat)
Ya, it’s -- there’s been an
accident and I --
Beat. He picks up the phone, dials.
INTERCUT WITH:
INT. FARMDALE MOTEL. SAINT CLOUD, MN - SAME TIME
Malvo sits on his bed, watching tv. The phone rings, which
is strange, because no one has this number.
54.
MALVO
(answers)
Yes?
LESTER NYGAARD
(worked up)
Ya, it’s me -- Lester -- she’s --
my wife, she’s -- aw hell -- she’s
in the basement, and --
MALVO
How did you get this number?
LESTER NYGAARD
What? I was -- I saw you this
morning on my way ta -- look, I’m
freakin’ out here -- I don’t know
what ta do.
MALVO
Lester, have you been a bad boy?
LESTER NYGAARD
Aw geez. I just -- can you come
over? It’s -- I’m on Willow Creek
Drive. Number six thirteen.
MALVO
(beat, thinking)
Sure, Lester. I’ll be right there.
Lester hangs up. Beat. He thinks about his next step.
CUT TO:
Ratings
Scene 34 - Tension in the Shadows
Lester pulls a chair over to the armoire. He climbs up,
roots around on top, pulls down a SHOTGUN. He finds some
shells, loads it. Malvo will be here soon and Lester plans
to kill him and frame him for his wife’s murder.
CUT TO:
INT. FRONT HALLWAY. NYGAARD HOUSE - NIGHT
Lester holds the gun in one hand. Practices opening the door
with the other, raising the gun. It’s too clunky. Plus he
needs to lure Malvo inside the house before he shoots him.
LESTER NYGAARD
(practicing)
What did you do? You killed her.
You killed her.
55.
Lester looks around. He decides to hide the shotgun against
the LIVING ROOM WALL, just on the other side of the doorway.
Looking around, Lester loses his nerve a little. But no. He
has a plan. This will work. He sets the shotgun in its
hiding place, looks around. Has he forgotten anything?
THERE IS A KNOCK ON THE FRONT DOOR
Lester panics, tries to calm down.
LESTER NYGAARD (CONT’D)
(under his breath)
You killed her. You killed her.
Lester goes to the front door, takes a deep breath, opens it.
VERN THURMAN stands outside.
VERN
Evenin’, Lester.
LESTER NYGAARD
(nervous)
What -- what do ya want?
VERN
Well, I suppose first I’d like ta
come in.
Lester looks behind him.
LESTER NYGAARD
Uh, ya. Well -- it’s just -- now’s
not a good --
VERN
Just take a second.
Vern steps forward and Lester, by instinct, steps back. Now
Vern is in the house. He takes off his gloves and hat.
VERN (CONT’D)
Supposed ta get down to negative
ten tonight, I hear.
Lester is a mass of nerves. Vern steps towards the kitchen.
VERN (CONT’D)
Pearl home?
Lester moves to block him, putting his back to the kitchen
doorway.
56.
LESTER NYGAARD
Uh -- no -- she’s, uh -- at my
brother’s.
VERN
Okay then. How’s the nose?
LESTER NYGAARD
Huh? Oh, hurts.
VERN
How’d that happen anyway?
LESTER NYGAARD
Slipped. Over at the fire station.
VERN
Ouch. Go to the hospital?
LESTER NYGAARD
Ya. They, uh, set it.
VERN
Talk to anyone while you were
there?
LESTER NYGAARD
What do ya mean?
VERN
Well, the reason I’m here -- not
sure if ya heard -- but Sam Hess
got himself killed last night over
at the Lucky Penny. Nasty business.
And, well, I heard you were talkin’
to another fella about Hess before
he died. Over at the hospital.
LESTER NYGAARD
(pale)
No. I don’t think --
VERN
What was his name again? The other
fella?
Lester tries to decide what to say. Then the cuckoo clock
chimes from the living room. 8 o’clock. Lester jumps,
startled.
VERN (CONT’D)
Ya okay there, Lester? Ya seem a
bit jumpy.
57.
LESTER NYGAARD
Ya, I’m, uh -- it’s just Pearl’s
gonna be home soon and --
Looking past Lester, Vern sees the basement door is open. He
Ratings
Scene 35 - Betrayal in the Shadows
Alarmed, Vern DRAWS HIS GUN.
VERN
Lester. Listen to me very
carefully. I need ya to get down
on the ground.
LESTER NYGAARD
No. Wait. Just -- listen to me --
it’s not what it --
VERN
Lester. On the ground. Now.
Gun on Lester, Vern backs into the kitchen.
LESTER NYGAARD
No. Now hold on. Hold on. Don’t -
- there’s nothin’ down there --
Vern glances down the basement stairs.
ANGLE ON PEARL’S FEET
Visible at the bottom of the stairs.
LESTER NYGAARD (CONT’D)
-- That’s not -- I didn’t do
nothin’ -- I just got home. I just
got home and --
CLOSE UP ON VERN
Trying to catch up to events. He keeps the gun on Lester,
reenters the front hall. With his free hand, he keys his
radio handset
VERN
This is Chief Thurman. I’m at six
one three Willow Creek Drive.
Requesting --
A SHOTGUN BLAST catches VERN in the BACK, spins him around.
REVEAL: LORNE MALVO holds LESTER’S SHOTGUN. It’s 8 PM, and
Malvo has come in through the back door. He FIRES AGAIN, the
spray catching Vern in the chest and throat. Vern falls.
58.
MALVO
Any more?
Lester is in shock, white as a sheet.
MALVO (CONT’D)
Lester. Are there any more cops?
Lester shakes his head. Malvo kicks Vern’s gun away, looks
down.
ANGLE ON VERN
Eyes wild, like the deer in the opening. He is mortally
wounded, blood bubbles coming out of his mouth as he
struggles for air.
CLOSE UP ON MALVO
Struck by the synchronicity of this. He studies the dying
man’s eyes.
MALVO (CONT’D)
What did you tell him?
LESTER NYGAARD
Nothing -- I, uh -- he asked about
Sam.
MALVO
You got any more shells for this?
Lester shakes his head. Malvo lays the shotgun on the table.
MALVO (CONT’D)
Where’s the basement?
Lester points. Malvo enters the kitchen, goes down the
stairs.
ANGLE ON LESTER
He pulls two shotgun shells out of his pocket, eyes the
shotgun. How long to grab it and reload?
He reaches out his other hand, then realizes it’s bleeding.
There’s a shotgun pellet buried in the meat of his thumb.
Then Lester becomes aware that his injured hand is now lit by
flashing red and blue lights. Another police car has just
pulled up outside.
CUT TO:
59.
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Scene 36 - Trapped in Chaos
Pulling up to Nygaard’s house, Molly sees Vern’s prowler.
She CLIMBS OUT of the car, approaches the door.
CUT TO:
INT. KITCHEN. NYGAARD HOUSE. SAINT CLOUD, MINNESOTA - SAME
TIME
Lester hurries over to the basement door.
LESTER NYGAARD
They’re here. The police.
No response. Lester starts down the stairs into ...
THE BASEMENT
LESTER NYGAARD
I said the police are here. What
do we ...
But Malvo is gone. Vanished like a ghost. Pearl lays alone
on the floor, a bloody mess. The hammer next to her.
Off Lester: trapped.
CUT TO:
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Scene 37 - A Tense Discovery
Molly pounds on the door.
MOLLY
Saint Cloud Police. Open up.
Nothing. She looks in the nearest window, sees Vern laying
dead on the hall floor.
MOLLY (CONT’D)
(upset)
Oh. Oh.
She keys her handset.
MOLLY (CONT’D)
Officer -- officer down! Send help.
She pulls her weapon, starts kicking the front door.
CUT TO:
60.
INT. BASEMENT. NYGAARD HOUSE - SAME TIME
Nygaard hears the front door CRASH OPEN upstairs. He is
trapped. He looks around. No exit. Can he hide? No. They’ll
find him. Then his eyes hit the inspirational poster on the
wall. There’s only one way out. Lester, knowing he will be
found at any moment, RUNS towards the wall, his head down.
Crack. He knocks himself out.
CUT TO:
INT. FRONT HALLWAY. NYGAARD HOUSE - SAME TIME
Molly kneels next to Vern, checks his pulse. But her mentor
and friend is dead. Struggling to stay professional, she
straightens, her gun up.
MOLLY
Saint Cloud Police! If there’s
someone in the house, come out with
yer hands up.
Nothing. Cautiously, Molly goes room to room, searching. We
know Malvo could still be in the house. Each blind corner
and dark space offers certain death. We can tell Molly is
afraid, out of her league, but she keeps her wits.
CUT TO:
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Scene 38 - Descent into Darkness
Slowly, Molly comes down the stairs, gun drawn. She sees
Pearl and Lester, laying face down. The basement looks like
the scene of a massacre. From upstairs she hears ...
BILL (O.S.)
Molly?
MOLLY
Down here!
Molly assesses the situation. Pearl is clearly dead. Molly
holsters her weapon, kneels next to Lester, takes his pulse.
MOLLY (CONT’D)
Husband’s alive!
She looks up. There on the poster she sees A BLOODY HUMAN
FACE PRINT with what appears to be a HALO over it.
There’s always one. Be the one.
61.
Off Molly: what does it mean?
CUT TO:
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Scene 39 - Duty and Connection
A state police car is parked on the blind side of an
overpass. Nearby a sign reads Duluth 10 miles.
CUT TO:
INT. STATE POLICE CAR - NIGHT
Patrolman GUS GRIMLY (30s) sits behind the wheel, sipping a
cup of coffee. His walkie talkie crackles.
KURT GRIMLY (O.S.)
Dad. Come in, dad. Over.
Gus picks up the walkie talkie.
GUS GRIMLY
Dad here. Come back.
KURT GRIMLY
Vikings up by thirteen. Over.
GUS GRIMLY
What happened? Over.
KURT GRIMLY
Walsh kicked another field gold.
Over.
GUS GRIMLY
Sweet. Did you brush your teeth?
Over.
KURT GRIMLY
Yes. Over.
GUS GRIMLY
Homework? Over.
KURT GRIMLY
Did my math and science. Still
have to do English. Over.
GUS GRIMLY
Okay, well. As soon as the game’s
over. Over.
A CAR SPEEDS PAST.
62.
Gus hits his siren, pulls out onto the road. We stay with
him as he follows the speeding car, it’s tail lights visible
through the front windshield.
The car in front of him pulls over. Gus pulls in behind it.
Beat. He writes down the license plate number, notes the
time. Then climbs out of the car.
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Scene 40 - The Encounter on the Highway
Gus approaches the driver’s side, flashlight out. The inside
of the car is dark, ominous. We can’t see the driver.
Then the driver’s side window rolls down. Now we see the
driver is Lorne Malvo.
MALVO
Evening, officer.
GUS GRIMLY
License and registration please.
MALVO
Well, we could do it that way. You
ask me for my papers and I tell you
it’s not my car. That I borrowed
it. And see where things go from
there. We could do that. Or, you
could just get back in your car and
drive away.
GUS GRIMLY
Why would I do that?
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.
From the prowler, we hear Kurt’s walkie talkie.
KURT GRIMLY (O.S.)
Dad. Come in, dad. Over.
GUS GRIMLY
Step out of the car, please.
MALVO
How old is your son?
Gus puts his hand on his revolver.
63.
GUS GRIMLY
I said step out of the car.
KURT GRIMLY (O.S.)
Dad. Come in, dad. Over.
MALVO
Let me tell you what’s going to
happen, Officer Grimly. I’m gonna
roll up my window. And then I’m
gonna drive away. And you’re gonna
go home to your son. And every few
years you’re gonna look at his face
and know that you’re alive because
you chose not to go down a certain
road on a certain night. Because
you chose to walk into the light,
instead of into darkness. Do you
understand?
GUS GRIMLY
Sir.
MALVO
I’m rolling up my window.
The window rolls up. Gus stands there, knowing he should
pull his gun. That he should order Malvo out of the car, but
something stops him. The feeling the rabbit gets in the
presence of the wolf.
So he stands there as Malvo’s car pulls away.
KURT GRIMLY (O.S.)
Dad. Come in, dad. Over.
Gus walks back to the car, climbs in, closes the door. Beat.
He picks up the walkie talkie.
GUS GRIMLY
Dad here. Over.
KURT GRIMLY
Detroit just got a touchdown. Over.
(beat)
Dad? Are you there? Over.
Beat. Gus sits, shaken.
GUS GRIMLY
I hear ya. We’ll get ‘em in the
fourth. And hey, don’t forget ta do
yer English homework, okay? I love
you.
64.
A long silence.
KURT GRIMLY
Ya didn’t say over. Over.
GUS GRIMLY
(smiles)
Over and out.
Beat. Gus sits in his warm car, while outside the
temperature drops. Then he picks up his note pad, examines
Malvo’s license plate number.
CUT TO:
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Scene 41 - Aftermath of Loss
It’s really snowing now. Every police car in town is there,
along with fire trucks and an ambulance. Patrolmen go in and
out of the house. Molly sits on a planter by the front door,
in shock.
Inside the lobby we can see Vern’s body covered with a
blanket. After a moment, Molly gets to her feet and walks
down the driveway.
She passes Vern’s prowler. Something inside catches her eye.
ANGLE ON TWO CANS OF HOUSE PAINT
In the back seat.
MOLLY
Stands looking in at them, and all they represent.
CUT TO:
EXT. VERN’S HOUSE. SAINT CLOUD, MN - NIGHT
Molly’s car pulls up. She gets out, grabs the paint cans,
starts for the house. There are responsibilities she will
take on now, unspoken promises that must be kept.
The front door opens. Ida comes out. She knows from Molly’s
face that the worst has happened.
CUT TO:
INT. HOSPITAL ROOM. ST. CLOUD, MN - DAY
Lester is in bed, unconscious. His head is bandaged. He
looks terrible. Outside, snow falls. He wakes up.
65.
Gets his bearings. He is in the hospital. Not dead. Better
still, he is not handcuffed to the bed. There are no cops.
Could it be? Could he have gotten away with it? He lifts
his right hand to get some water, sees the BANDAGE.
He examines the spot where the shotgun pellet caught him. On
his face is a hint of uncertainty.
CUT TO:
Ratings
Scene 42 - A Fork in the Road
Molly’s dad, Lou, unpacks fishing gear from the back of his
Suburban. Molly, in civilian clothes, sits on the tailgate,
looking out at the snow. Her prowler is parked nearby.
LOU
I got two kinds of sandwiches.
Tuna and turkey.
(beat, off her)
Tuna’s for the fish. Unless ya
think they’d think that’s
cannibalism.
Molly doesn’t answer. Lou offloads a cooler.
LOU (CONT’D)
Nice service yesterday, I thought.
Simple.
Beat. Molly is lost in thought.
LOU (CONT’D)
Ya know, I been looking for some
more help at the restaurant.
Someone to seat customers. Answer
the phones.
MOLLY
(absently)
A hostess.
LOU
That what they call it? Anyway,
not sure if that was somethin’ you
might be interested in.
MOLLY
(this gets a look)
I’m a police officer, dad.
66.
LOU
Well, sure. I know that. I also
know that people in this world are
less inclined to shoot a hostess,
than, say, an officer of the law.
MOLLY
(beat)
That’s true.
He kicks snow off his boots.
LOU
So, does that mean you’re gonna
help yer old man out?
MOLLY
No. But maybe you could put that
in the ad.
Molly jumps down from the tailgate.
MOLLY (CONT’D)
On second thought, I’m gonna head
in ta work. Coroner’s report should
be in. Rain check on the fishin’?
He nods. She kisses his cheek.
MOLLY (CONT’D)
Love ya, dad.
LOU
Love ya too, hon.
Molly walks to her cruiser. Her father watches as we ...
FADE TO WHITE:
END OF PILOT
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
lorne malvo | Throughout the pilot, Lorne Malvo's character arc revolves around his role as a manipulative force in the lives of those he encounters, particularly Lester Nygaard. Initially, Malvo appears as a confident outsider who disrupts the status quo, subtly pushing Lester towards a more assertive and aggressive stance. As the story progresses, Malvo's true nature as a ruthless hitman is revealed, showcasing his capability for extreme violence and manipulation. His philosophical dialogues serve to challenge the beliefs of characters like Gus Grimly, ultimately positioning him as a catalyst for chaos. By the end of the pilot, Malvo's enigmatic persona leaves a lasting impact on the characters and sets the stage for further conflict and exploration of morality in subsequent episodes. | While Lorne Malvo's character is compelling and multifaceted, the pilot could benefit from deeper exploration of his motivations and backstory. Currently, he serves primarily as a manipulative antagonist, but providing glimpses into his past or the reasons behind his philosophical outlook could add layers to his character. Additionally, the balance between his menacing presence and moments of vulnerability could enhance audience engagement, making him more relatable despite his dark nature. | To improve Lorne Malvo's character arc, consider incorporating flashbacks or dialogue that reveals key moments from his past that shaped his worldview. This could help the audience understand his motivations and create a more nuanced portrayal. Additionally, introducing moments where Malvo's confidence is challenged or where he faces unexpected consequences for his actions could add depth to his character. Finally, exploring his relationships with other characters beyond manipulation—such as moments of genuine connection or conflict—could provide a richer narrative and enhance viewer investment in his journey. |
lester nygaard | Lester Nygaard's character arc in the pilot begins with him as a passive and insecure individual, overshadowed by his brother and trapped in a stagnant marriage. As he faces bullying and humiliation, he reaches a breaking point that catalyzes his transformation. The murder of Sam Hess serves as a pivotal moment, pushing Lester into a world of manipulation and violence. Throughout the pilot, he oscillates between fear and cunning, ultimately embracing a darker persona as he navigates the consequences of his actions. By the end of the pilot, Lester has transitioned from a timid man seeking approval to a more assertive and dangerous individual, setting the stage for further moral dilemmas and conflicts in subsequent episodes. | While Lester's character arc is compelling, it risks becoming predictable if not handled with nuance. The transition from meekness to manipulation could benefit from more gradual development, allowing viewers to witness the internal struggle and moral decay in a more layered manner. Additionally, the pilot may lean too heavily on the trope of the 'everyman turned villain,' which could detract from the uniqueness of Lester's journey if not explored with depth. | To improve Lester's character arc, consider incorporating more moments of vulnerability that showcase his internal conflict, allowing the audience to empathize with his struggles. Introduce secondary characters who challenge his worldview and force him to confront his insecurities, creating opportunities for growth and reflection. Additionally, explore the consequences of his actions in a way that complicates his motivations, perhaps by introducing moral dilemmas that force him to choose between self-preservation and ethical considerations. This could add depth to his transformation and keep the audience engaged with his journey. |
pearl nygaard | Throughout the pilot, Pearl's character arc revolves around her journey from being a domineering and critical wife to a more understanding and supportive partner. Initially, she is focused on her dissatisfaction with Lester, which creates a rift in their relationship. As the story progresses, Pearl begins to confront her own insecurities and the realization that her approach may be pushing Lester further away. By the end of the pilot, she starts to recognize the importance of empathy and communication, leading to a tentative reconciliation with Lester as they both acknowledge their struggles and aspirations. | Pearl's character arc, while compelling, risks becoming one-dimensional if her growth is not adequately explored. The initial portrayal of her as merely critical and domineering may alienate viewers who could find it hard to empathize with her. Additionally, her motivations and backstory could be further developed to provide depth and context to her behavior, making her transformation more impactful. | To improve Pearl's character arc, consider incorporating flashbacks or dialogue that reveal her past experiences and the pressures she faces, which could explain her critical nature. Introducing moments of vulnerability where she expresses her fears and desires could help the audience connect with her on a deeper level. Additionally, showcasing her gradual realization of the consequences of her actions on Lester could create a more nuanced portrayal of her character. Finally, including scenes where she actively seeks to understand Lester's perspective would enhance her growth and make her eventual transformation more believable and relatable. |
sam hess |
|
While Sam Hess is established as a strong antagonist with a clear personality, his character arc lacks depth and complexity. The initial portrayal of him as a one-dimensional bully may not engage viewers in the long term. The transition from a purely aggressive figure to one that shows vulnerability is a good start, but it needs more nuance to resonate with the audience. | To improve Sam's character arc, consider introducing moments that reveal his backstory or motivations for his behavior. This could include flashbacks or interactions that showcase his past experiences, making him more relatable. Additionally, incorporating a mentor or rival character who challenges his worldview could create opportunities for growth and conflict. Allowing Sam to experience moments of doubt or moral conflict can add layers to his character, making his journey more compelling. |
molly solverson | Throughout the pilot, Molly Solverson begins as a dedicated but somewhat underestimated deputy, often overlooked by her male counterparts. As the investigation unfolds, she faces various challenges that test her resolve and skills. Initially, she struggles with self-doubt and the pressure to prove herself in a male-dominated environment. However, as she uncovers critical evidence and connects the dots that others miss, she gains confidence and earns the respect of her peers. By the end of the pilot, Molly emerges as a formidable detective, having not only solved the case but also established her place within the department, setting the stage for her continued growth and challenges in future episodes. | Molly's character arc is compelling, showcasing her growth from an underestimated deputy to a respected detective. However, the arc could benefit from deeper emotional stakes and personal challenges that resonate with the audience. While her professional journey is well-defined, her personal life and motivations could be explored further to create a more rounded character. Additionally, the pilot could introduce a significant antagonist or obstacle that directly challenges her beliefs or methods, adding tension and complexity to her journey. | To improve Molly's character arc, consider incorporating a subplot that delves into her personal life, such as a strained relationship with a family member or a past trauma that influences her approach to justice. This would provide emotional depth and make her more relatable to the audience. Additionally, introducing a mentor or a rival within the department could create dynamic interactions that challenge her views and push her to grow. Finally, including moments of vulnerability where she questions her abilities or decisions could enhance her character development and make her triumphs more impactful. |
vern thurman | Throughout the pilot, Vern Thurman begins as a respected and authoritative police chief who is confident in his abilities and the support of his team. As the investigation unfolds, he faces increasing pressure from both the community and his superiors, which challenges his calm demeanor and tested his leadership skills. Vern's commitment to uncovering the truth leads him to confront difficult moral dilemmas, forcing him to question his methods and the impact of his decisions on those around him. By the end of the pilot, Vern emerges as a more introspective leader, having learned the importance of collaboration and adaptability in the face of adversity, setting the stage for further character development in subsequent episodes. | Vern's character arc is compelling, but it could benefit from more emotional depth and personal stakes. While he is portrayed as a dedicated police chief, the pilot could explore his vulnerabilities and the toll that the job takes on his personal life, particularly his relationship with Ida. This would create a more relatable character and allow the audience to connect with his struggles on a deeper level. Additionally, the arc could be enhanced by introducing a specific antagonist or a personal conflict that directly challenges Vern's values and beliefs, providing a clearer narrative drive. | To improve Vern's character arc, consider incorporating flashbacks or moments of reflection that reveal his past experiences and how they shape his current decisions. This could include a pivotal moment in his career that haunts him or a personal loss that influences his approach to law enforcement. Additionally, introducing a subplot involving his relationship with Ida could add emotional stakes, showcasing how the pressures of his job impact their marriage. Finally, creating a specific antagonist or a moral dilemma that Vern must navigate would provide a clearer conflict and enhance the overall tension of the pilot. |
vern | Throughout the pilot, Vern experiences a journey of balancing his dedication to the police force with his responsibilities as a soon-to-be father. Initially, he is portrayed as a stoic figure, focused solely on his job. However, as the story unfolds, he begins to confront the emotional challenges of impending fatherhood, leading him to reassess his priorities. By the end of the pilot, Vern learns to embrace vulnerability, allowing himself to express his fears and hopes about becoming a father, ultimately strengthening his relationships both at home and at work. | Vern's character arc is compelling as it explores the duality of his professional and personal life. However, the transition from a gruff, no-nonsense police chief to a more emotionally open individual could benefit from more gradual development. The pilot may risk portraying Vern as too one-dimensional if his emotional growth is not adequately explored. Additionally, the stakes of his professional life should be more closely tied to his personal journey to create a stronger narrative connection. | To improve Vern's character arc, consider incorporating specific moments that challenge his no-nonsense approach, such as a case that resonates with his fears about fatherhood or a personal crisis that forces him to confront his vulnerabilities. Introducing a mentor or a colleague who embodies a more balanced approach to work and family could provide Vern with a contrasting perspective, facilitating his growth. Additionally, weaving in flashbacks or moments of introspection could deepen the audience's understanding of Vern's motivations and fears, making his eventual transformation more impactful. |
molly |
|
Molly's character arc is compelling, showcasing her growth from a dedicated officer to a more balanced individual who understands the complexities of her role. However, the arc could benefit from clearer stakes and more personal conflicts that resonate with the audience. While her professional challenges are evident, her personal life and relationships could be explored further to create a more rounded character. | To improve Molly's character arc, consider introducing a subplot that delves into her personal life, such as strained relationships with family or friends due to her job. This could add depth to her character and provide additional motivation for her actions. Additionally, incorporating a mentor or a rival within the police force could create tension and highlight her growth as she navigates her professional and personal challenges. |
ida | Throughout the pilot, Ida evolves from a primarily supportive figure focused on the practical aspects of preparing for motherhood to a more complex character who confronts her own anxieties and fears about Vern's safety and their future as a family. Initially, she channels her energy into creating a nurturing environment for their child, but as the story progresses, she begins to grapple with the emotional weight of Vern's job and the potential risks it poses. This culminates in a pivotal moment where she must assert her needs and concerns, leading to a deeper understanding of her own strength and resilience. By the end of the pilot, Ida emerges as a more empowered individual, ready to face the challenges of motherhood and partnership with Vern. | Ida's character arc is compelling, but it could benefit from more explicit moments of conflict and growth. While her nurturing qualities are well-established, the pilot could explore her internal struggles more deeply, particularly regarding her fears about Vern's safety and her own anxieties about becoming a mother. Additionally, her relationship with Vern could be further developed to showcase how they navigate these challenges together, allowing for a richer emotional landscape. | To improve Ida's character arc, consider incorporating scenes that highlight her internal conflicts, such as moments of doubt or fear that challenge her nurturing persona. This could involve her having candid conversations with Vern about her worries, leading to a more dynamic relationship. Additionally, introducing a subplot that tests her resolve—such as a situation that directly threatens Vern or their family—could provide a catalyst for her growth. Finally, showcasing her strengths in unexpected ways, perhaps through her decision-making or problem-solving skills in a crisis, would add depth to her character and reinforce her evolution throughout the pilot. |
malvo |
|
While Malvo's character is compelling and multifaceted, the pilot could benefit from deeper exploration of his motivations. Currently, he appears as a purely manipulative antagonist without a clear backstory or emotional depth. This lack of depth may make it difficult for the audience to fully engage with his character beyond his immediate actions. | To improve Malvo's character arc, consider incorporating flashbacks or dialogue that hints at his past experiences and motivations. This could provide context for his manipulative behavior and dark humor, making him a more relatable and complex character. Additionally, introducing a character who challenges Malvo's worldview or poses a moral dilemma could add layers to his arc, allowing for potential growth or change as the series progresses. |
mickey | Throughout the pilot, Mickey's journey revolves around his internal conflict between loyalty to his family and his desire for personal freedom. Initially, he reacts to his father's will with anger and impulsiveness, leading to confrontations with family members and a series of reckless decisions. As the story progresses, Mickey begins to confront the root of his anger and resentment, leading to moments of introspection and vulnerability. By the end of the pilot, he starts to recognize the destructive patterns in his behavior and takes the first steps toward seeking redemption and healing, setting the stage for further character development in future episodes. | Mickey's character arc is compelling, as it captures the complexity of his emotions and the impact of familial relationships on his behavior. However, the pilot may benefit from a clearer motivation for his anger and a more gradual exploration of his vulnerability. While his volatility is engaging, it risks alienating the audience if not balanced with relatable moments that allow viewers to empathize with his struggles. | To improve Mickey's character arc, consider incorporating flashbacks or dialogue that reveal key moments from his past that contribute to his anger and resentment. This backstory can help the audience understand his motivations better. Additionally, introducing a mentor or a supportive character who challenges Mickey's destructive behavior could provide a contrasting perspective and facilitate his growth. Finally, ensure that moments of vulnerability are interspersed throughout the pilot, allowing the audience to connect with Mickey on a deeper emotional level. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
High Stakes and Emotional Impact | Scenes with high stakes tend to have a stronger emotional impact. This suggests that the author successfully creates tension and emotional resonance by raising the stakes. |
Dialogue and Character Changes | Scenes with strong dialogue often see significant character changes. This indicates that dialogue drives character development and reveals their inner struggles or motivations. |
Suspenseful Tone and Plot Advancement | Scenes with a suspenseful tone generally contribute effectively to moving the story forward. The author successfully uses suspense to propel the narrative and keep the audience engaged. |
Dark Tone and Character Depth | Scenes with a dark tone often focus on character development, suggesting that the author uses darker themes to explore characters' inner complexities and motivations. |
Humorous Tone and Conflict | Scenes with a humorous tone often incorporate conflict, suggesting that the author uses humor to create tension and add depth to the story. |
Tense Tone and Character Interactions | Scenes with a tense tone often feature compelling character interactions. This indicates that tension drives character relationships and creates opportunities for conflict or intimacy. |
Intimate Tone and Emotional Vulnerability | Scenes with an intimate tone often showcase emotional vulnerability, suggesting that the author uses intimate moments to explore characters' emotional landscapes and build connections with the audience. |
Reflective Tone and Emotional Impact | Scenes with a reflective tone often have a lower emotional impact, possibly indicating that these scenes are designed for introspection and character development rather than immediate emotional engagement. |
Confrontational Tone and Character Changes | Scenes with a confrontational tone often trigger significant character changes. This suggests that conflict is a key driver of character growth and transformation. |
Suspenseful Tone and Overall Grade | Scenes with a suspenseful tone tend to receive higher overall grades. This suggests that the author successfully utilizes suspense to enhance the quality and impact of their scenes. |
Writer's Craft Overall Analysis
The screenplay demonstrates strong writing craft in creating engaging characters, crafting suspenseful scenes, and using dialogue effectively to build tension and reveal character motivations. You have a talent for creating distinct voices for your characters and weaving compelling narratives. You also show skill in blending genres and themes, with scenes that often blend humor, drama, mystery, and suspense. Your ability to create tension through dialogue and visual cues is particularly strong.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | 'Screenplay: The Foundations of Screenwriting' by Syd Field | This book will help you understand the core principles of screenwriting, including structure, pacing, character development, and dialogue. It will provide valuable insights into crafting compelling scenes and narratives that resonate with audiences. |
Book | 'Save the Cat!' by Blake Snyder | This book offers a practical and engaging guide to screenwriting structure and storytelling techniques. It will help you improve the pacing and structure of your scenes, making them more impactful and engaging for the audience. |
Screenplay | Read various screenplays in genres that interest you, paying close attention to dialogue and character development | Reading well-crafted screenplays will expose you to different writing styles and approaches to storytelling. It will also help you identify specific techniques for crafting engaging dialogue, building tension, and developing compelling characters. |
Screenplay | 'Fargo' by the Coen Brothers | This screenplay is a masterclass in blending dark humor, crime drama, and emotional depth, and will provide valuable insights into balancing tone and genre in your own work. |
Screenplay | 'Chinatown' by Robert Towne | This screenplay will help you study how to create compelling mysteries and intricate plotlines, with a focus on character-driven narratives and complex motivations. |
Screenplay | 'No Country for Old Men' by Cormac McCarthy | This screenplay will provide valuable insights into crafting tense and suspenseful narratives with moral ambiguity and existential themes. |
Stories Similar to this one
Story | Explanation |
---|---|
Fargo (1996) | Both the screenplay and the film 'Fargo' share a similar setting in rural Minnesota and feature dark humor intertwined with crime. The characters in both stories navigate moral ambiguity, with ordinary individuals becoming embroiled in violent situations. The tone is a blend of suspense and absurdity, highlighting the stark contrast between the mundane and the horrific. |
No Country for Old Men (2007) | This film features a relentless antagonist, Anton Chigurh, similar to Lorne Malvo, who embodies chaos and moral nihilism. Both stories explore themes of fate, choice, and the impact of violence on ordinary lives, set against a bleak, rural backdrop. The tension builds through character interactions that reveal deeper psychological struggles. |
Breaking Bad (TV Series, 2008-2013) | The transformation of Lester Nygaard mirrors Walter White's descent into criminality. Both characters start as seemingly ordinary individuals who become increasingly embroiled in a world of crime and moral decay. The series explores themes of identity, power, and the consequences of one's choices, paralleling Lester's journey. |
The Talented Mr. Ripley (1999) | Both stories feature a protagonist who feels trapped in their mundane life and resorts to deception and violence to escape. The psychological tension and moral ambiguity present in both narratives highlight the lengths to which individuals will go to reinvent themselves and the dark consequences that follow. |
The Snowman (2017) | Set against a snowy backdrop, this film involves a detective investigating a series of murders linked to a mysterious figure. The themes of isolation, the impact of the environment on the characters, and the interplay between personal and criminal lives resonate with the screenplay's narrative. |
The Killing (TV Series, 2011-2014) | This series features a complex murder investigation that unfolds over multiple episodes, similar to the investigative elements in the screenplay. The character dynamics, particularly the tension between law enforcement and the criminal underworld, echo the interactions between Molly, Vern, and Malvo. |
Prisoners (2013) | Both stories delve into the moral dilemmas faced by characters in the wake of crime. The tension between law enforcement and the pursuit of justice, as well as the psychological toll on the characters involved, creates a similar atmosphere of suspense and desperation. |
The Coen Brothers' A Serious Man (2009) | This film explores themes of existential crisis and moral ambiguity, much like the struggles faced by Lester Nygaard. The Coen Brothers' signature blend of dark humor and tragedy is evident in both narratives, highlighting the absurdity of life and the unpredictability of fate. |
Gone Girl (2014) | Both narratives involve a character who manipulates situations to their advantage, leading to a web of deceit and violence. The psychological tension and exploration of identity and perception in 'Gone Girl' parallel Lester's transformation and the chaos that ensues from his actions. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
The Reluctant Anti-Hero | ||
The Mentor with a Dark Side | ||
The Small Town with Big Secrets | ||
The Unlikely Friendship | ||
The Femme Fatale | ||
The Innocent Victim | ||
The Cop on the Case | ||
The Tragic Flaw | ||
The Cold Open |
Theme | Theme Details | Themee Explanation | ||||||||||||
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Nature of Violence | The screenplay explores violence in various forms, from the brutal killing of Sam Hess to the domestic violence committed by Lester, and the unexpected death of Vern Thurman. The violence often seems random and senseless, highlighting the fragility of life and the unpredictable nature of human behavior. | The screenplay portrays violence as a powerful force that can be both destructive and transformative. It explores the motivations behind violence, the consequences of violence, and the psychological impact of violence on individuals and society. | ||||||||||||
Strengthening Nature of Violence:
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Identity and Self-Perception | Characters like Lester, Malvo, and even Vern grapple with their sense of self and their place in the world. Lester struggles with feelings of inadequacy and resentment, Malvo embraces a nihilistic worldview, and Vern navigates the transition to fatherhood. Their internal struggles manifest in their interactions with others, often leading to destructive choices. | The screenplay examines how individuals define themselves and how their perceptions of themselves influence their actions. It highlights the tension between the idealized self and the real self, and the consequences of hiding from or embracing one's true nature. | ||||||||||||
The Unseen Forces of Fate | Throughout the screenplay, events unfold in unexpected ways, often guided by chance encounters and unpredictable twists of fate. Malvo's arrival in the town, Lester's violent outburst, and the fatal accident all contribute to a sense that the characters are pawns in a larger game they do not fully comprehend. | The screenplay explores the idea that life is often governed by forces beyond human control. It suggests that even the most carefully crafted plans can be derailed by unpredictable events, and that the consequences of our actions can be far-reaching and unforeseen. | ||||||||||||
Masculinity and Power | The screenplay portrays a range of male characters struggling with traditional notions of masculinity and power. Lester feels inadequate and seeks validation, Malvo embodies a dangerous form of masculinity, and Vern grapples with his responsibilities as a father and law enforcement officer. These struggles often lead to conflict and violence. | The screenplay examines the pressures and expectations placed on men in society, and how these pressures can lead to destructive behavior. It explores the complexities of masculinity, and the ways in which power dynamics can influence relationships and lead to conflict. | ||||||||||||
The Power of Silence and Deception | Many of the characters, including Lester, Malvo, and even Molly, rely on silence and deception to navigate their lives. Lester hides his true self, Malvo manipulates others, and Molly struggles to uncover the truth. The screenplay highlights how these strategies can be used to gain power and control, but also how they can lead to isolation and alienation. | The screenplay suggests that silence and deception can be powerful tools for survival and manipulation. However, it also highlights the potential consequences of these tactics, which can erode trust, create suspicion, and lead to disastrous outcomes. | ||||||||||||
The Fragility of Family | The screenplay explores the complexities of family relationships, highlighting both the love and the conflict that can exist within families. The Nygaard family is marked by resentment and dysfunction, the Hess family is torn apart by violence and betrayal, and the Thurman family navigates the challenges of parenthood. These relationships are often strained by the events that unfold, exposing the vulnerability of family bonds. | The screenplay examines the ways in which family relationships can be both a source of strength and a source of pain. It highlights the importance of communication, trust, and understanding in maintaining healthy family dynamics. | ||||||||||||
The Role of Law Enforcement | The screenplay showcases the challenges faced by law enforcement officers in a world where violence and deception are prevalent. Molly Solverson is a dedicated officer trying to navigate a complex case, while Vern Thurman struggles with the moral dilemmas of his job. The screenplay explores the complexities of law enforcement, highlighting the need for justice and the difficulty of upholding the law in a world where darkness often prevails. | The screenplay raises questions about the effectiveness of law enforcement in a society where violence and corruption are prevalent. It highlights the personal sacrifices that law enforcement officers make, and the moral dilemmas they face in their pursuit of justice. |
Screenwriting Resources on Themes
Articles
Site | Description |
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Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
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Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
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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. |
Voice Contribution | The writer's voice contributes to the script by establishing a unique atmosphere of tension and uncertainty. The dialogue, while often realistic and mundane, reveals underlying power dynamics, internal struggles, and the dark truths that lie beneath the surface of everyday life. The sparse descriptions and focus on visual storytelling create a sense of immediacy and suspense, drawing the audience into the characters' inner worlds and allowing for their own interpretation of events. |
Best Representation Scene | 2 - The Sound Beneath |
Best Scene Explanation | 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. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay demonstrates a high level of originality through its unique character dynamics, dark humor, and fresh takes on familiar themes such as power, control, and family dynamics. Each scene introduces innovative approaches to storytelling, blending elements of crime, mystery, and domestic life in a way that feels authentic and engaging. The use of unexpected character interactions and philosophical dialogues adds depth, making the screenplay stand out in its genre.
- Most unique situations: The most unique situations in the screenplay are the juxtaposition of mundane domestic life with sudden violence, such as Lester's transformation from a meek insurance salesman to a murderer, and Malvo's philosophical musings on morality and revenge that influence other characters. Additionally, the darkly comedic moments, such as the absurdity of a man urinating into a gas tank and the casual discussions about death amidst family dynamics, contribute to the screenplay's originality.
- Overall unpredictability score: 9
- Overall unpredictability explanation: The screenplay is highly unpredictable, with numerous twists and turns that keep the audience engaged. The characters' actions often defy expectations, such as Lester's violent outburst against Pearl and Malvo's manipulative influence over others. The intertwining of various character arcs and the unexpected consequences of their decisions create a narrative that is both surprising and compelling, ensuring that viewers remain on edge throughout the story.
Goals and Philosophical Conflict | |
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internal Goals | Lester's internal goals evolve from a desire for validation and acceptance in his mundane existence to an overwhelming need for control and dominance following his violent transformation. Initially, he longs for acknowledgment in his personal and professional life but becomes increasingly preoccupied with asserting power over others, culminating in a drastic moral decline. |
External Goals | Lester's external goals progress from mundane tasks, like selling insurance and managing familial relationships, to navigating the criminal underworld and concealing his violent acts. As he becomes embroiled in increasingly high-stakes situations, his external pursuits reflect his internal chaos and deeper ambitions. |
Philosophical Conflict | The overarching philosophical conflict centers on the duality of morality versus survival, where characters grapple with their ethical compasses in a world that often rewards ruthlessness. Lester's journey embodies this struggle as he shifts from a victim of circumstance to a calculated predator, challenging traditional values of integrity and accountability. |
Character Development Contribution: These goals and conflicts significantly influence Lester's character development, showcasing his transformation from a passive, insecure individual to an active agent of chaos. His initial struggles with self-worth evolve into a dangerous quest for power, leading to a moral and ethical decay that redefines his identity.
Narrative Structure Contribution: Lester's evolving goals and the philosophical conflicts intertwine to create a nonlinear narrative structure that heightens tension and unpredictability. The contrast between characters' external actions and their internal struggles adds complexity to the plot, escalating consequential conflicts that drive the story forward.
Thematic Depth Contribution: The interplay of goals and conflicts deepens the screenplay's thematic exploration of human nature, morality, and the fragility of societal norms. As Lester navigates through his violent choices, the themes of ambition, identity, and the consequences of one's actions resonate throughout the narrative, inviting viewers to reflect on ethical dilemmas within a morally ambiguous world.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
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Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
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How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay is set in a rural and suburban Minnesota, characterized by vast snow-covered landscapes, icy roads, cozy homes, small-town establishments, and a gritty motel. The harsh winter weather is a recurring element, adding to the sense of isolation and danger.
- Culture: The cultural elements in the screenplay include Midwestern values, such as politeness, reserved behavior, and a strong sense of community. There is also a hint of small-town gossip and a darker underbelly, with organized crime and violence lurking beneath the surface.
- Society: The societal structure in the screenplay reflects a hierarchical system, with law enforcement officials, business owners, and family members wielding different levels of power and influence. The screenplay also highlights the dynamics of small-town life, where everyone knows each other's business and actions have consequences.
- Technology: Technology plays a minimal role in the screenplay, with the primary focus on traditional communication methods like phones, walkie-talkies, and cars. The lack of advanced technology underscores the sense of isolation and limited resources in this small-town world.
- Characters influence: The world elements shape the characters' experiences and actions by creating a sense of claustrophobia, isolation, and tension. The harsh winter weather, small-town dynamics, and the presence of violence and crime influence their choices and motivations.
- Narrative contribution: The world elements contribute to the narrative by establishing a sense of mystery and suspense, setting the stage for the unfolding events and influencing the characters' actions. The isolated environment and small-town dynamics create a sense of vulnerability and make the characters more susceptible to external forces.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by highlighting themes of isolation, morality, power, and the fragility of human relationships. The contrast between the seemingly ordinary small-town life and the dark undercurrents of violence and crime raises questions about the nature of good and evil, and the consequences of choices made in a world where survival can be a difficult struggle.
central conflict
The central conflict revolves around Lester Nygaard's struggle with his own identity and morality, as he becomes entangled with the manipulative and violent Lorne Malvo, leading to a series of escalating events that challenge his sense of self and societal norms.
primary motivations
- Lester seeks to escape his mundane life and assert his masculinity.
- Lorne Malvo is motivated by chaos and manipulation, seeking to exploit others for his own amusement.
- Molly Solverson is driven by a desire for justice and to uncover the truth behind the murders.
catalysts
- Lester's encounter with Malvo, which ignites his transformation.
- The murder of Sam Hess, which sets off a chain reaction of violence and investigation.
- Lester's violent outburst against Pearl, leading to his deeper involvement in crime.
barriers
- Lester's own insecurities and fear of confrontation.
- The law enforcement's investigation, particularly by Molly and Vern, which complicates Lester's plans.
- Malvo's unpredictable nature and his own violent tendencies.
themes
- The duality of human nature and the struggle between good and evil.
- The impact of bullying and the quest for power.
- The consequences of moral compromise and the descent into violence.
stakes
The stakes include Lester's freedom and life, the safety of those around him, and the integrity of law enforcement as they seek to solve the murders and prevent further chaos.
uniqueness factor
The story uniquely blends dark humor with a crime thriller narrative, exploring the psychological transformation of its protagonist in a rural, snowy setting that enhances the atmosphere of isolation and danger.
audience hook
The main audience hook lies in the tension between Lester's transformation and Malvo's manipulative influence, keeping viewers engaged with the moral dilemmas and unexpected twists.
paradoxical engine or bisociation
The paradoxical engine is the juxtaposition of mundane suburban life against the backdrop of escalating violence and chaos, highlighting how ordinary individuals can be drawn into extraordinary circumstances.
paradoxical engine or bisociation 2
Another aspect of bisociation is the contrast between the seemingly innocuous setting of rural Minnesota and the dark, violent actions of the characters, creating a dissonance that captivates the audience.
Engine: Claude
Recommend
Executive Summary
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.
- The opening sequence effectively establishes the tone and visual style of the series, with its stark, atmospheric depiction of the snowy Minnesota landscape and the mysterious, ominous presence of Lorne Malvo. high ( Scene 1 (EXT. TWO LANE HIGHWAY. RURAL MINNESOTA - DAY) )
- The interaction between Lester and Malvo in the hospital waiting room is a standout scene, as it reveals the former's vulnerability and the latter's manipulative nature, while also hinting at the potential for a deeper connection between the two characters. high ( Scene 5 (INT. WAITING ROOM. HOSPITAL. SAINT CLOUD, MN - DAY) )
- The climactic sequence in the Nygaard basement, in which Lester brutally murders his wife, is a powerful and disturbing moment that showcases the character's transformation and the screenplay's thematic exploration of the human capacity for violence. high ( Scene 32 (INT. BASEMENT. NYGAARD HOUSE. SAINT CLOUD, MINNESOTA - NIGHT) )
- The interaction between Gus Grimly and Malvo on the highway is a tense and suspenseful moment that highlights the screenplay's nuanced exploration of morality, as Grimly wrestles with the decision to pursue or ignore the potential threat. high ( Scene 40 (EXT. TWO LANE HIGHWAY. RURAL MINNESOTA - CONTINUOUS) )
- The overall character development, particularly the arcs of Lester and Molly, is a strength of the screenplay. Their journeys are complex and compelling, and the way their stories intersect and diverge creates a rich, multilayered narrative. high
- The scenes at Lester's brother's house, while providing important character and thematic context, could be tightened and streamlined to maintain the overall pacing of the screenplay. medium ( Scene 11 (INT. BROTHER'S HOUSE - DAY) )
- The scenes involving the Hess family and their associates, while necessary for the plot, occasionally feel like they interrupt the narrative flow and could benefit from more seamless integration. medium ( Scene 23 (INT. HESS HOUSE. SAINT CLOUD, MINNESOTA - DAY) )
- While the overall pacing of the screenplay is strong, there are a few moments, particularly in the middle act, where the narrative slows down slightly. Tightening the editing and maintaining a more consistent sense of momentum could further enhance the screenplay's impact. medium
- The screenplay could potentially benefit from a more overt exploration of the relationship between Lester and his brother Ron, as their rivalry and dynamic is hinted at but not fully developed. medium
- While the screenplay effectively establishes the world of 'Fargo' and its characters, some additional worldbuilding elements, such as more detailed exploration of the region's culture and history, could further enrich the narrative and provide a deeper sense of place. low
- The inspirational poster in Lester's basement, with its message of being 'the one' who stands out, is a powerful symbol that resonates with the character's transformation and the screenplay's exploration of the human capacity for both good and evil. high ( Scene 32 (INT. BASEMENT. NYGAARD HOUSE. SAINT CLOUD, MINNESOTA - NIGHT) )
- The interaction between Gus Grimly and Malvo on the highway is a standout moment that demonstrates the screenplay's nuanced approach to morality, as Grimly wrestles with the decision to pursue or ignore the potential threat, ultimately choosing to let Malvo go. high ( Scene 40 (EXT. TWO LANE HIGHWAY. RURAL MINNESOTA - CONTINUOUS) )
- The screenplay's exploration of the consequences of violence, both physical and emotional, is a notable strength that sets it apart from more conventional crime stories. The way it examines the impact of violence on the characters and their relationships is a key component of the narrative's depth and complexity. high
- Lack of Diverse Perspectives The screenplay primarily focuses on the perspectives of white, middle-class characters, with limited representation of diverse backgrounds and experiences. While the central characters are well-developed, the lack of cultural and ethnic diversity in the supporting cast may limit the screenplay's ability to authentically reflect the full range of experiences in the Fargo region. medium
- Overreliance on Coincidence In a few instances, the screenplay relies on coincidence to advance the plot, such as Lester's chance encounter with Malvo at the hospital and the convenience of the washing machine malfunctioning at a critical moment. While these plot devices serve the narrative, they could benefit from more organic integration to avoid feeling contrived. low
Engine: GPT4
Highly Recommend
Executive Summary
The 'Fargo Pilot' screenplay masterfully intertwines dark humor with a gripping narrative, showcasing complex character arcs and a unique blend of crime and drama. The pilot effectively sets the stage for a compelling series, introducing intriguing characters and a chilling atmosphere that captivates the audience from the outset.
- The opening scene effectively establishes the tone and atmosphere of the series, introducing the enigmatic character of Lorne Malvo and setting up the central conflict. high ( Scene 1 (Opening scene with Lorne Malvo) Scene 5 (Lester meets Malvo in the hospital) )
- Lester's character arc is compelling, showcasing his transformation from a submissive husband to a man willing to commit murder, which drives the narrative forward. high ( Scene 32 (Lester's transformation) )
- The introduction of Molly Solverson as a strong female lead adds depth to the narrative, providing a counterbalance to the male characters and showcasing her determination and intelligence. high ( Scene 6 (Molly Solverson's investigation) )
- The tension in Gus Grimly's encounter with Malvo highlights the psychological aspects of the story, emphasizing the danger posed by Malvo and the moral dilemmas faced by the characters. high ( Scene 40 (Gus Grimly's encounter with Malvo) )
- Molly's emotional response to Vern's death adds a layer of personal stakes to the narrative, making the consequences of the unfolding events feel more impactful. high ( Scene 41 (Molly's reaction to Vern's death) )
- The scene could benefit from more tension-building elements to enhance the impact of Lester's humiliation and the subsequent transformation. medium ( Scene 4 (Lester's encounter with Sam Hess) )
- The introduction of secondary characters could be more streamlined to avoid confusion and maintain focus on the main narrative. medium ( Scene 10 (Hess Trucking Company) )
- The dialogue in this scene could be tightened to enhance the pacing and maintain the audience's engagement. medium ( Scene 22 (Molly at the coffee shop) )
- While the scene adds depth to Vern's character, it could be shortened to maintain narrative momentum. medium ( Scene 30 (Vern's phone call with Ida) )
- The pacing in this scene could be improved to heighten the emotional impact of the discovery. medium ( Scene 38 (Molly discovers the aftermath) )
- A deeper exploration of Lester's internal conflict during his time in the basement could enhance character development. high ( Scene 3 (Lester in the basement) )
- More background on Malvo's motivations and past could provide a richer understanding of his character. medium ( Scene 19 (Malvo at the motel) )
- The family dynamics could be further developed to enhance the emotional stakes for Lester. medium ( Scene 12 (Family dinner at the brother's house) )
- Additional context on the police investigation process could add realism and depth to the narrative. medium ( Scene 29 (Molly's investigation) )
- A more detailed exploration of Molly's emotional state following Vern's death could enhance the narrative's emotional weight. medium ( Scene 41 (Molly's reaction to Vern's death) )
- The opening scene sets a strong tone for the series, establishing the dark and foreboding atmosphere that permeates the narrative. high ( Scene 1 (Opening scene with Lorne Malvo) )
- The tension between Lester and Pearl effectively foreshadows Lester's eventual violent actions. high ( Scene 14 (Lester and Pearl in the car) )
- Lester's meticulous planning showcases his transformation and the lengths he is willing to go to escape his previous life. high ( Scene 34 (Lester prepares for Malvo) )
- Molly's determination and resourcefulness highlight her as a strong protagonist, setting her up as a key player in the unfolding drama. high ( Scene 37 (Molly's investigation) )
- Molly's reaction to the events emphasizes the personal stakes involved, making the narrative more relatable and impactful. high ( Scene 41 (Molly's emotional state) )
- Character Motivation Some character motivations, particularly for secondary characters, could be more clearly defined. For example, the motivations behind Sam Hess's actions and his relationship with Lester could be explored further to enhance the narrative's depth. medium
- Dialogue Length Some dialogue exchanges are overly lengthy and could be tightened for better pacing. For instance, certain conversations between Lester and Malvo could be more concise to maintain tension and engagement. medium
Memorable lines in the script:
Scene Number | Line |
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28 | 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. |
40 | 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. |
3 | Lester Nygaard: The morgue is full of guys thought they didn’t need life insurance. |
2 | Pearl: Guess I married the wrong Nygaard. That’s what I said. We had a good laugh. |
34 | Lester Nygaard: What did you do? You killed her. You killed her. |