Fargo Pilot
Executive Summary
Poster
![](/posters/poster36a02b1565e32306fd78dab5b7052e6404d92d23ccda8d6d3e72f464b7374239.png)
Overview
Genres: Crime, Drama, Thriller, Comedy, Mystery, Dark Comedy
Setting: Contemporary, Rural Minnesota
Overview: The story revolves around Lester Nygaard, a timid and insecure man who becomes entangled with a mysterious hitman named Lorne Malvo. Their encounter sets off a chain of events that leads to violence, deception, and self-discovery. Meanwhile, police deputy Molly Solverson is determined to solve a murder case, uncovering a web of connections that lead back to Lester and Malvo.
Themes: Identity and self-discovery, Violence and its consequences, Power and manipulation, Fate and destiny
Conflict and Stakes: The primary conflicts in this story revolve around the escalating violence and deception caused by Lorne Malvo's presence in the town. The stakes are high as innocent lives are at risk, and the characters must navigate a web of lies and danger to uncover the truth and protect themselves and their loved ones.
Overall Mood: Tense and suspenseful
Mood/Tone at Key Scenes:
- Scene 1: The scene where Lorne Malvo confronts Lester Nygaard in the Arby's restaurant is tense and confrontational.
Standout Features:
- Unique Hook: The blending of dark comedy and crime drama genres creates a unique and compelling tone.
- Plot Twist: The unexpected twists and turns in the story keep the audience engaged and guessing.
- Distinctive Setting: The rural Minnesota setting adds a unique atmosphere and sense of isolation to the story.
Comparable Scripts:
- Fargo (1996)
- No Country for Old Men (2007)
- Breaking Bad (TV Series)
- Fargo (TV Series)
- A Simple Plan (1998)
Writing Style:
The writing style of the entire screenplay is characterized by a mix of dark humor, tension, and morally ambiguous situations. The dialogue is often concise and impactful, driving the narrative forward and revealing the complexities of the characters' relationships. The scenes frequently explore everyday conversations and subtle character dynamics, capturing the nuances of human interactions.
Style Similarities:
- Coen Brothers
- Quentin Tarantino
Pass/Consider/Recommend
Consider
Explanation: The screenplay for 'Fargo Pilot' is well-constructed and engaging, effectively establishing a sense of mystery and tension from the beginning. The enigmatic character of Lorne Malvo adds intrigue to the story, and the scene with the wounded deer foreshadows violence. The screenplay could benefit from more clarity and context regarding the relationships and motivations of the characters, as well as smoother transitions between scenes. The use of offensive language in one scene could also be reconsidered. Overall, the screenplay has strong moments of tension, compelling character arcs, and a captivating narrative, making it a recommended watch.
USP: This script offers a unique blend of naturalistic dialogue, atmospheric scene description, and a focus on the internal thoughts and emotions of the characters. It explores themes of moral ambiguity, power dynamics, and personal growth, while also incorporating dark humor and irony. The writer's voice creates a sense of realism, tension, and depth, allowing the audience to connect with the characters and their struggles. With its unique storytelling techniques and compelling characters, this script stands out from others in its genre. It will be of interest to its target audience who are looking for a thought-provoking and engaging piece of storytelling.
Market Analysis
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 25-54, fans of crime dramas and psychological thrillers
Marketability: The screenplay offers a compelling and suspenseful story with complex characters and explores themes that resonate with a wide adult audience. The success of the Fargo TV series demonstrates the marketability of this type of story.
The unique blend of genres, including crime drama and dark comedy, along with the strong performances and gripping storyline, make this screenplay stand out in the market.
The screenplay's strong critical reception and potential for awards recognition, combined with its appeal to a wide adult audience, contribute to its marketability.
Profit Potential: High, due to the strong appeal to a wide adult audience and potential for critical acclaim and awards recognition.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a blend of naturalistic dialogue, atmospheric scene description, and a focus on the internal thoughts and emotions of the characters. This voice creates a sense of realism, tension, and depth in the story, allowing the audience to connect with the characters and their struggles.
Best representation: Scene 1 - Lester's Frustrations. This scene is the best representation of the author's voice because it showcases the atmospheric scene description, naturalistic dialogue, and focus on the characters' internal thoughts and emotions. The scene also introduces the themes of moral ambiguity and violence, setting the tone for the rest of the story.
Memorable Lines:
- 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)
- MALVO: Your problem is, you lived your whole life thinking there are rules. There aren’t. (Scene 28)
- MALVO: Why do you let her talk to you like that? (Scene 20)
- IDA: Your boy wanted a hamburger. (Scene 8)
- LESTER NYGAARD: What did you do? You killed her. You killed her. (Scene 34)
Characters
Lester Nygaard:A timid and frustrated insurance salesman who becomes entangled in a web of violence and deceit
Lorne Malvo:A manipulative and dangerous hitman who disrupts the lives of those he encounters
Molly Solverson:A determined and resourceful police officer who investigates the crimes in her small town
Vern Thurman:The police chief who is killed while investigating a murder case
Gus Grimly:A hesitant and conflicted patrolman who encounters Lorne Malvo
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 Mysterious Crash | Suspenseful, Intense, Mysterious | 9 | 8 | 7 | 6 | 8 | 6 | 7 | 8 | 7 | 8 | 8 | 7 | 7 | 8 | 6 | 9 | 8 | 9 | 8 | |
2 - Lester's Frustrations | Exasperated, Tense, Resigned | 8 | 7 | 6 | 6 | 9 | 6 | 8 | 6 | 7 | 5 | 5 | 6 | 4 | 7 | 9 | 7 | 8 | 9 | 9 | |
3 - The Unsettling Sales Pitch | Serious, Light-hearted | 7 | 7 | 6 | 6 | 7 | 4 | 8 | 7 | 5 | 6 | 3 | 5 | 7 | 4 | 8 | 9 | 9 | 9 | 8 | |
4 - Humiliation and Violence Outside the Appliance Shop | Dark, Humorous, Intense | 9 | 8 | 9 | 7 | 10 | 7 | 8 | 7 | 10 | 9 | 9 | 9 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | |
5 - Tense Hospital Encounter | Tense, Intense, Suspenseful, Confrontational | 9 | 8 | 8 | 6 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 10 | 9 | 8 | 9 | 8 | |
6 - Investigating the Accident | Suspenseful, Dark, Mysterious | 8 | 8 | 7 | 6 | 7 | 5 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 5 | 6 | 8 | 8 | 9 | 9 | |
7 - A Chilling Discovery | Dark, Suspenseful, Melancholic | 9 | 8 | 9 | 7 | 9 | 7 | 8 | 9 | 9 | 7 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 9 | 9 | |
8 - Preparations for Painting | Tense, Dark, Suspenseful | 8 | 7 | 7 | 5 | 8 | 5 | 8 | 7 | 6 | 3 | 6 | 7 | 4 | 5 | 6 | 7 | 8 | 9 | 8 | |
9 - A Cozy Dinner Conversation | Dark, Humorous, Melancholic | 8 | 7 | 7 | 3 | 8 | 6 | 8 | 5 | 6 | 3 | 5 | 7 | 2 | 7 | 9 | 6 | 8 | 9 | 7 | |
10 - Suspicion and Tension at Hess Trucking Company | Suspenseful, Dark, Intense | 8 | 7 | 8 | 7 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 9 | 9 | |
11 - Unwelcome Arrival | Unhappy, Confused, Tense | 8 | 7 | 7 | 4 | 8 | 6 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 8 | 7 | 8 | 9 | 8 | |
12 - A Light-hearted Kitchen Conversation | Light-hearted, Humorous | 8 | 7 | 6 | 7 | 9 | 3 | 8 | 6 | 4 | 4 | 2 | 4 | 5 | 5 | 9 | 8 | 8 | 9 | 9 | |
13 - Confrontation in the Garage | Suspenseful, Dark, Intense | 8 | 7 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 7 | 9 | 9 | 8 | 9 | 9 | |
14 - Tense Confrontation and Phone Call | Tense, Dramatic | 8 | 7 | 7 | 6 | 9 | 7 | 8 | 7 | 9 | 7 | 8 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 9 | |
15 - Malvo's Detour | Suspenseful, Intense, Serious | 8 | 7 | 8 | 4 | 9 | 6 | 8 | 7 | 9 | 7 | 9 | 8 | 6 | 7 | 8 | 7 | 9 | 9 | 8 | |
16 - A Sudden Murder and an Urgent Phone Call | Dark, Intense, Suspenseful | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 9 | 7 | 9 | 9 | 9 | 9 | |
17 - Late Night Coffee Chat | Dark, Suspenseful | 9 | 8 | 9 | 5 | 8 | 7 | 0 | 8 | 10 | 6 | 10 | 9 | 6 | 9 | 7 | 7 | 7 | 9 | 8 | |
18 - Mysterious Death at The Lucky Penny | Dark, Suspenseful, Deadpan | 9 | 8 | 9 | 6 | 8 | 7 | 7 | 6 | 9 | 8 | 10 | 9 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | |
19 - Confrontation at the Farmdale Motel | Dark, Suspenseful, Deadpan | 8 | 7 | 7 | 6 | 8 | 4 | 8 | 7 | 6 | 6 | 5 | 7 | 9 | 5 | 9 | 7 | 8 | 9 | 8 | |
20 - Retaliation at the Farmdale Motel | Dark, Suspenseful, Cynical | 9 | 8 | 7 | 6 | 9 | 5 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 7 | 8 | 9 | 8 | 9 | 8 | |
21 - Gas Tank Incident | Dark, Suspenseful, Humorous | 9 | 8 | 9 | 6 | 9 | 6 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 7 | 8 | 9 | 9 | 9 | 8 | |
22 - Coffee Shop Investigation | Serious, Humorous | 8 | 7 | 8 | 5 | 9 | 5 | 8 | 7 | 7 | 7 | 7 | 9 | 6 | 6 | 8 | 7 | 8 | 9 | 8 | |
23 - Indifference and Mystification | Tense, Dark, Humorous | 9 | 8 | 8 | 6 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 7 | 9 | 9 | 8 | 9 | 8 | |
24 - Inheritance Anger | Dark, Humorous, Suspenseful | 8 | 7 | 8 | 7 | 9 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 9 | 9 | 9 | |
25 - Confrontation at the Hess House | Suspenseful, Dark, Intense | 9 | 8 | 9 | 2 | 9 | 8 | 0 | 7 | 9 | 6 | 9 | 9 | 4 | 8 | 8 | 6 | 7 | 9 | 8 | |
26 - Mickey's Silence and Lester's Observation | Tense, Emotional, Mysterious | 9 | 8 | 9 | 3 | 10 | 8 | 5 | 8 | 9 | 7 | 9 | 9 | 6 | 8 | 9 | 7 | 8 | 9 | 8 | |
27 - A Shocking Revelation | Tense, Suspenseful, Emotional | 9 | 8 | 9 | 5 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 6 | 9 | 7 | 7 | 8 | 9 | 8 | |
28 - Confrontation at Arby's | Tense, Suspenseful, Intense, Dark | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 8 | 10 | 9 | 9 | 9 | 9 | |
29 - Investigating Head Injuries | Tense, Mysterious, Intense | 8 | 7 | 8 | 6 | 9 | 6 | 8 | 7 | 7 | 6 | 7 | 8 | 7 | 6 | 8 | 9 | 8 | 9 | 8 | |
30 - Excitement for the Baby | Tense, Terrified, Empowered, Happy | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 6 | 9 | 3 | 9 | 9 | 4 | 8 | 8 | 8 | 8 | 9 | 9 | |
31 - Investigating a Potential Connection | Tense, Terrified, Empowered, Impressed | 9 | 8 | 9 | 6 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 8 | 9 | 8 | 9 | 9 | 9 | |
32 - A Fatal Repair Attempt | Tense, Terrifying, Empowering | 9 | 8 | 9 | 6 | 9 | 9 | 8 | 7 | 10 | 9 | 10 | 8 | 8 | 10 | 8 | 9 | 9 | 9 | 8 | |
33 - Desperate Call for Help | Tense, Suspenseful, Dark | 9 | 8 | 9 | 6 | 8 | 9 | 8 | 9 | 9 | 8 | 10 | 9 | 7 | 10 | 7 | 9 | 9 | 9 | 8 | |
34 - Tense Encounter | Tense, Suspenseful, Nervous | 9 | 8 | 9 | 5 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 9 | 9 | 8 | |
35 - Bloody Footprint | Tense, Dark, Suspenseful | 9 | 8 | 9 | 6 | 8 | 8 | 8 | 9 | 10 | 9 | 10 | 10 | 9 | 9 | 7 | 10 | 9 | 9 | 8 | |
36 - Trapped in the Basement | Tense, Dark, Suspenseful | 9 | 8 | 9 | 6 | 8 | 9 | 8 | 9 | 9 | 8 | 10 | 9 | 7 | 9 | 7 | 9 | 9 | 9 | 8 | |
37 - Molly Discovers Vern Dead | Tense, Suspenseful, Dramatic | 9 | 8 | 9 | 5 | 9 | 8 | 8 | 7 | 10 | 8 | 10 | 10 | 6 | 9 | 8 | 9 | 9 | 9 | 8 | |
38 - A Gruesome Discovery | Suspenseful, Intense, Dark | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 10 | 7 | 10 | 9 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
39 - Night Patrol in Rural Minnesota | Suspenseful, Intense, Grim | 9 | 8 | 9 | 4 | 9 | 8 | 7 | 9 | 10 | 7 | 10 | 9 | 6 | 9 | 8 | 8 | 9 | 9 | 8 | |
40 - A Tense Encounter on a Dark Highway | Suspenseful, Intense, Dark | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 10 | 8 | 10 | 9 | 7 | 9 | 10 | 9 | 9 | 9 | 8 | |
41 - Uncertainty and Responsibilities | Suspenseful, Grim, Intense | 9 | 8 | 9 | 6 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 6 | 9 | 7 | 8 | 8 | 9 | 9 | |
42 - A Father's Offer | Serious, Reflective, Nostalgic | 8 | 7 | 6 | 6 | 9 | 7 | 8 | 7 | 4 | 7 | 3 | 5 | 5 | 7 | 9 | 7 | 8 | 9 | 8 |
Scene 1 - The Mysterious Crash
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 - Lester's Frustrations
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 - The Unsettling Sales Pitch
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 and Violence Outside 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 - Tense Hospital Encounter
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 - Investigating the Accident
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 - A 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 - Preparations for Painting
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 - A Cozy Dinner Conversation
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 - Suspicion and Tension at Hess Trucking Company
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 - Unwelcome Arrival
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 - A Light-hearted Kitchen Conversation
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 - Confrontation in the Garage
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 - Tense Confrontation and Phone Call
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 - Malvo's Detour
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 Sudden Murder and an Urgent Phone Call
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 - Late Night Coffee Chat
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 - Mysterious Death at The Lucky Penny
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 - Confrontation at the Farmdale Motel
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 - Retaliation at the Farmdale Motel
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 - Gas Tank Incident
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 Investigation
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 - Indifference and Mystification
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 - Inheritance Anger
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 - Confrontation at the Hess House
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 - Mickey's Silence and Lester's Observation
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 Shocking 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 - Investigating Head Injuries
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 - Excitement for the Baby
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 - Investigating a Potential Connection
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 - A Fatal Repair Attempt
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 for Help
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 - Tense Encounter
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 - Bloody Footprint
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.
Ratings
Scene 36 - Trapped in the Basement
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:
Ratings
Scene 37 - Molly Discovers Vern Dead
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:
Ratings
Scene 38 - A Gruesome Discovery
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:
Ratings
Scene 39 - Night Patrol in Rural Minnesota
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.
Ratings
Scene 40 - A Tense Encounter on a Dark 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:
Ratings
Scene 41 - Uncertainty and Responsibilities
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 Father's Offer
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 | Lorne Malvo's character arc in the TV pilot begins with his introduction as a mysterious and dangerous hitman involved in criminal activities. He is established as a formidable threat, using violence to achieve his goals. As the pilot progresses, it becomes clear that Malvo is not just a hired gun but a master manipulator who revels in chaos and psychological games. He enjoys toying with his victims and exerting power and control over them. However, as the story unfolds, Malvo's actions start to catch up with him. His manipulative tactics begin to backfire, and he finds himself facing unexpected challenges and consequences. This leads to a gradual unraveling of his carefully constructed facade, exposing his vulnerabilities and weaknesses. By the end of the pilot, Malvo's power and control are significantly diminished, and he is forced to confront the consequences of his actions. | The character arc for Lorne Malvo in the TV pilot is well-developed and engaging. It effectively establishes him as a formidable antagonist and gradually reveals his vulnerabilities and weaknesses. However, one suggestion for improvement would be to provide more clarity and specificity in terms of his hidden agenda and motivations. While his manipulative nature is evident, it would be beneficial to delve deeper into why he enjoys chaos and psychological games, and what drives him to exert power and control over others. This would add depth and complexity to his character, making him even more compelling and intriguing. | To improve the character arc for Lorne Malvo in the TV pilot, consider exploring his backstory and providing more insight into his hidden agenda and motivations. This could be done through flashbacks or conversations that shed light on his past experiences and the events that shaped him into the manipulative and dangerous individual he has become. Additionally, consider introducing a foil or rival character who challenges Malvo's power and control, forcing him to adapt and evolve throughout the pilot. This would create additional tension and conflict, further enhancing the character arc and overall narrative. |
lester nygaard | Lester Nygaard's character arc in the TV pilot begins with him as a meek and timid individual, constantly belittled by his wife and lacking confidence. However, after being pushed to his breaking point, he transforms into a desperate and violent man, willing to commit a brutal murder. This transformation is driven by his fear and desperation to protect himself. Throughout the pilot, Lester's character arc shows a progression from a submissive and hesitant individual to a ruthless and assertive character, willing to go to extreme measures to avoid the consequences of his actions. | The character arc for Lester Nygaard in the TV pilot is well-developed and effectively portrays his transformation from a meek and timid individual to a desperate and violent man. However, it would be beneficial to provide more specific details about the catalysts for his character change and the internal struggles he faces. Additionally, the speaking style synthesis could be improved by providing more specific examples of his unique phrases and mannerisms throughout the pilot. | To improve the character arc, consider adding specific scenes or moments that trigger Lester's transformation and highlight his internal struggles. This could include exploring his relationship with his wife and the constant belittlement he faces, as well as the impact of the murder of Sam Hess on his psyche. Additionally, provide more specific examples of Lester's unique phrases and mannerisms throughout the pilot to further enhance his characterization. |
pearl | Pearl starts off as a nagging and discontented wife who constantly criticizes Lester. She is deeply affected by his recent actions and becomes even more confrontational and belittling towards him. However, her dominance and emasculating behavior ultimately lead to her demise when Lester kills her in a fit of rage. | The character arc for Pearl is quite predictable and lacks depth. It follows a typical trajectory of a nagging wife who becomes even more confrontational and eventually meets a tragic end. This arc doesn't offer any surprises or unique insights into the character. Additionally, the transition from Pearl being a nagging wife to being killed by Lester feels abrupt and lacks proper development. | To improve the character arc for Pearl, consider adding layers to her character. Explore her motivations and vulnerabilities that contribute to her nagging and discontented behavior. Show moments of tenderness or affection between Pearl and Lester to create a more complex dynamic. Instead of a sudden and violent end, consider a more gradual escalation of tension and conflict between Pearl and Lester, leading to a climactic moment that challenges the audience's expectations. |
sam hess | Sam Hess starts off as a menacing bully who uses his power to intimidate and humiliate others. However, his life is abruptly ended by Lorne Malvo, cutting short any potential character arc. | The character arc for Sam Hess is quite limited in the TV pilot. While he is initially portrayed as a menacing bully, his arc is cut short before any significant development can occur. This leaves the character feeling somewhat one-dimensional and underutilized. | To improve the character arc for Sam Hess, it would be beneficial to explore his motivations and backstory further. This could provide a deeper understanding of why he behaves the way he does and potentially create opportunities for growth or redemption. Additionally, allowing Sam Hess to interact with other characters in a more meaningful way could help to develop his arc and create more dynamic relationships within the story. |
molly solverson | Molly Solverson starts as a competent and curious police deputy, dedicated to her job and passionate about solving the murder case. As the investigation progresses, she becomes more determined and observant, not easily swayed by deception. Molly's no-nonsense attitude and assertive speaking style reflect her growth in confidence and determination. She evolves into a dedicated and empathetic officer, seeking justice and genuinely concerned for others. | The character arc for Molly Solverson in the TV pilot is well-developed and engaging. It showcases her growth from a competent and curious deputy to a dedicated and empathetic officer. However, the arc could benefit from further exploration of Molly's personal struggles and vulnerabilities, which would add depth to her character and make her journey even more compelling. | To improve the character arc, consider incorporating moments of vulnerability and personal challenges for Molly. This could include exploring her past experiences or relationships that have shaped her determination and sense of justice. Additionally, allow Molly to face obstacles and setbacks that test her resolve, forcing her to confront her own limitations and grow stronger as a result. These additions will add complexity to her character and make her arc more dynamic and relatable. |
vern thurman | Vern Thurman starts off as an experienced and confident police chief, comfortable in his role and supportive of Molly. However, as the murder investigation progresses, Vern becomes more suspicious of Lester and confronts him about his involvement. This confrontation leads to Vern discovering Pearl's body in the basement, but unfortunately, he is shot by Lorne Malvo before he can call for backup. Vern's character arc is cut short due to his untimely death, but his dedication to justice and his commitment to protecting his community are evident throughout the pilot. | The character arc for Vern Thurman is well-established and engaging. However, his untimely death cuts short his development and potential for further growth. It would have been interesting to see Vern's character evolve and face more challenges as the series progresses. | To improve the character arc for Vern Thurman, consider keeping him alive and allowing him to face more obstacles and conflicts. This would provide opportunities for further character development and exploration of his relationships with other characters. Additionally, consider giving Vern a personal stake in the murder investigation, such as a connection to one of the victims or a personal vendetta against the killer. This would add depth to his character and increase the emotional impact of his actions and decisions. |
vern | Vern's character arc begins with him as a dedicated police chief, valuing his family and displaying a warm and caring personality. As the story unfolds, he transitions into a seasoned detective, becoming more observant and analytical. He takes charge of the investigation and showcases his knowledge about the town's people. However, his arc takes a tragic turn when he becomes suspicious of Lester's behavior and confronts him, leading to his demise at the hands of the antagonist. | The character arc for Vern is well-developed and engaging. It showcases his growth from a loving husband to a seasoned detective, highlighting his determination and dedication to his job. However, the sudden shift from being a dedicated police chief to a seasoned detective could be further explored and justified in the TV pilot. Additionally, Vern's demise feels somewhat abrupt and could benefit from more foreshadowing or buildup. | To improve the character arc, consider incorporating more scenes that depict Vern's transition from a police chief to a seasoned detective. Show his journey of acquiring the necessary skills and knowledge to take charge of the investigation. Additionally, provide subtle hints or foreshadowing of the danger Vern faces, building up the tension leading to his demise. This will create a more satisfying and impactful character arc for Vern in the TV pilot. |
lester | Lester's character arc begins with him as a reserved and introverted brother, but his actions strain his relationships and lead to tension. He becomes a nervous and deceptive character, trapped in a web of lies, and desperately tries to hide his involvement in a crime. However, he is forced to confront his survival instincts and face the consequences of his actions when he becomes the protagonist of the story. Trapped in a basement, he must find a way to escape and deals with the aftermath of the violence he witnessed. Waking up in the hospital, he questions the consequences of his actions and experiences uncertainty and doubt. | The character arc for Lester is well-developed and showcases his transformation from a reserved and introverted individual to a conflicted and troubled protagonist. However, it would be beneficial to provide more specific details about the events that lead to his strained relationships and the tension with his family. Additionally, the drastic action he takes when confronted by Vern could be further elaborated to enhance the impact of his desperation and fear. Furthermore, the transition from being trapped in the basement to waking up in the hospital could be smoother to ensure a seamless flow in the character's journey. | To improve the character arc, consider adding specific incidents or conflicts that strain Lester's relationships with his family, providing more context for the tension. When Lester is confronted by Vern, describe the drastic action he takes in more detail, emphasizing the intensity of his desperation and fear. Additionally, ensure a smoother transition from the basement scene to the hospital scene, allowing for a seamless flow in Lester's journey and maintaining the audience's engagement. |
molly | In the TV pilot, Molly starts as a young and ambitious police officer, eager to solve cases and uncover the truth. As the story progresses, she becomes more experienced and determined, showcasing her dedication and resilience in the face of violent events. However, these events also lead her to question her choices and priorities, causing her to reflect on the balance between her professional responsibilities and personal desires. By the end of the pilot, Molly learns to navigate this conflict, finding a way to prioritize her duty while also acknowledging her own needs and vulnerabilities. | The character arc for Molly is well-developed and provides a clear progression for her throughout the TV pilot. However, it would be beneficial to further explore the emotional impact of the violent events on Molly and how they shape her character. Additionally, the arc could benefit from more specific examples or incidents that highlight Molly's growth and transformation. | To improve the character arc, consider incorporating scenes or moments that delve deeper into Molly's emotional journey. Show how the violent events affect her on a personal level and explore the internal conflicts she faces. Additionally, provide specific instances where Molly's determination and resilience are tested, allowing her to grow and evolve as a character. This will create a more engaging and dynamic arc for Molly in the TV pilot. |
malvo | Malvo starts off as a mysterious and deadly hitman, carrying out his tasks with precision and detachment. However, as the tv_pilot progresses, we see glimpses of his manipulative nature and his desire for revenge. He begins to use his wit and cunning to manipulate others, particularly targeting Mickey. This leads to a confrontation where Malvo provokes and unsettles Mickey using dark humor. Towards the end of the pilot, Malvo receives a distressing phone call from Lester, which further showcases his control and power. Overall, Malvo's character arc reveals his transformation from a silent and deadly assassin to a manipulative and vengeful force. | The character arc for Malvo in the tv_pilot is intriguing and sets up potential conflicts and dynamics. However, it would benefit from further exploration of his motivations and backstory. While his manipulative nature is hinted at, delving deeper into his past and the reasons behind his actions would add depth and complexity to his character. Additionally, providing more opportunities for interaction and conflict with other characters would enhance the overall narrative. | To improve the character arc, consider incorporating flashbacks or dialogue that shed light on Malvo's past, revealing the events that shaped him into the enigmatic hitman he is. This could help the audience understand his motivations and provide a stronger foundation for his actions. Furthermore, introducing more dynamic interactions between Malvo and other characters, such as a rival hitman or a potential ally, would create additional layers of tension and intrigue. This could be achieved through carefully crafted dialogue exchanges and confrontations that showcase Malvo's manipulative skills and the impact he has on those around him. |
gina hess | Throughout the TV pilot, Gina Hess undergoes a transformation from a vengeful and emotionally volatile woman to someone who starts to question her own actions and the consequences they have on others. Initially driven by a desire for revenge, Gina's experiences and interactions with other characters gradually chip away at her hardened exterior. She begins to realize the impact of her actions and the toll it takes on those around her. This realization leads her to question her loyalty to her criminal family and consider a different path for herself. | The character arc for Gina Hess is well-developed and provides a clear progression for her throughout the TV pilot. However, it would be beneficial to further explore the catalysts or specific events that trigger her transformation. This would help deepen the audience's understanding of her journey and make her character arc even more compelling. | To improve the character arc, consider incorporating specific moments or interactions that challenge Gina's beliefs and values. These moments could be pivotal in her transformation and provide a clearer understanding of her internal struggle. Additionally, exploring her backstory and the reasons behind her strong personality and desire for revenge could add further depth to her character and make her arc more impactful. |
mickey | Mickey's character arc in the TV pilot begins with him as a loyal and caring son, trying to keep the peace in his family. However, upon learning about the will, his impulsive and hot-headed nature takes over, leading him to become more volatile and violent. As the story progresses, Mickey's internal conflicts intensify, causing him to betray his own brother for personal gain. This betrayal marks a turning point in Mickey's arc, as he becomes more defensive and confrontational. By the end of the TV pilot, Mickey's character arc leaves him in a morally ambiguous position, torn between his loyalty to his family and his own desires. | The character arc for Mickey is well-developed and showcases his internal conflicts effectively. However, it would be beneficial to provide more context and motivation for Mickey's violent tendencies. Additionally, the transition from being a loyal and caring son to betraying his own brother could be further explored and justified within the TV pilot. | To improve the character arc, consider incorporating flashbacks or dialogue that provide insight into Mickey's past experiences or traumas that may have contributed to his volatile nature. This would help to deepen his character and provide a stronger justification for his violent actions. Additionally, explore the emotional turmoil Mickey experiences when making the decision to betray his brother, highlighting the internal struggle he faces. This will add complexity to his character and make his arc more compelling. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
Correlation between Emotional Impact and Overall Grade | There is a strong positive correlation between Emotional Impact and Overall Grade in this screenplay. Scenes with higher Emotional Impact tend to have higher Overall Grades. |
Correlation between Conflict and High Stakes | There is a strong positive correlation between Conflict and High Stakes in this screenplay. Scenes with higher Conflict tend to have higher High Stakes. |
Correlation between Dialogue and Character Changes | There is a moderate positive correlation between Dialogue and Character Changes in this screenplay. Scenes with more Dialogue tend to have more Character Changes. |
Correlation between Tone and Emotional Impact | There is a weak positive correlation between Tone and Emotional Impact in this screenplay. Scenes with certain tones like 'Suspenseful', 'Intense', and 'Dark' tend to have slightly higher Emotional Impact. |
Correlation between Concept and Plot | There is a weak positive correlation between Concept and Plot in this screenplay. Scenes with higher Concept tend to have slightly higher Plot scores. |
Writer's Craft Overall Analysis
The writer demonstrates a strong command of dialogue and scene direction, effectively creating tension, suspense, and emotional depth in their scenes. The writing style effectively captures the nuances of everyday conversations and the internal struggles of the characters. The scenes showcase the writer's ability to create authentic and relatable dialogue, as well as their skill in establishing atmosphere and engaging the audience. However, there is room for improvement in terms of exploring deeper philosophical conflicts, developing more original narrative situations, and enhancing character development and storytelling techniques.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | Save the Cat! Writes a Novel by Jessica Brody | This book provides valuable insights and exercises for improving character development, storytelling techniques, and crafting engaging narratives. It can help the writer enhance their craft in terms of character depth, plot structure, and overall storytelling skills. |
Video | MasterClass: Aaron Sorkin Teaches Screenwriting | This video course by Aaron Sorkin offers valuable lessons on dialogue writing, storytelling techniques, and character development. It can provide the writer with practical guidance and inspiration to further develop their screenwriting skills. |
Exercise | Write a scene with conflicting internal goals for the protagonistPractice In SceneProv | This exercise can help the writer explore the complexities of their characters' motivations and internal conflicts. By creating scenes where the protagonist faces conflicting goals, the writer can further develop their ability to create tension, depth, and complexity in their storytelling. |
Exercise | Write a scene with a different emotional tonePractice In SceneProv | By exploring different emotional tones, the writer can expand their range and versatility as a screenwriter. This exercise can help them further develop their skills in creating tension, exploring moral dilemmas, and evoking a wider range of emotions in their scenes. |
Exercise | Write a scene with a different genrePractice In SceneProv | Exploring different genres can help the writer expand their skills, creativity, and storytelling abilities. By writing scenes in different genres, they can explore new narrative possibilities, experiment with different writing styles, and challenge themselves to adapt to different storytelling conventions. |
Stories Similar to this one
Story | Explanation |
---|---|
Fargo (1996) | The summary of the screenplay shares similarities with the movie Fargo in terms of setting (Minnesota), tone (dark comedy), and the presence of a mysterious and dangerous character (Lorne Malvo). Both stories involve a series of unexpected events and the consequences of ordinary people getting caught up in criminal activities. |
No Country for Old Men (2007) | The screenplay summary shares similarities with No Country for Old Men in terms of the presence of a dangerous and enigmatic character (Lorne Malvo) and the exploration of the consequences of seemingly ordinary actions leading to violence and chaos. Both stories also take place in rural settings and involve law enforcement officers trying to make sense of the events. |
Breaking Bad (TV Series) | The summary of the screenplay shares similarities with Breaking Bad in terms of the protagonist's transformation from an ordinary and meek individual (Lester Nygaard) to someone involved in criminal activities. Both stories explore the consequences of the characters' choices and the moral dilemmas they face. Additionally, both stories involve law enforcement officers investigating the crimes. |
Fargo (TV Series) | The summary of the screenplay shares similarities with the TV series Fargo in terms of the setting (Minnesota), the presence of dark humor, and the exploration of ordinary people getting entangled in criminal activities. Both stories also involve law enforcement officers investigating the crimes and the consequences of the characters' actions. |
A Simple Plan (1998) | The screenplay summary shares similarities with A Simple Plan in terms of the ordinary characters being drawn into a criminal situation due to unexpected circumstances. Both stories explore the moral dilemmas faced by the characters and the consequences of their actions. Additionally, both stories take place in small towns and involve law enforcement officers investigating the crimes. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Car Crash | A car driven by Lorne Malvo skids off the road and rolls after hitting a deer. | Car crashes are a common trope in movies and TV shows, often used to create tension or propel the plot forward. An example of this trope can be seen in the movie 'Crash' (2004), where multiple characters' lives intersect through a series of car accidents. |
Domestic Dispute | Lester and Pearl have a conversation in their kitchen, with Pearl berating Lester for his incompetence. | Domestic disputes are a common trope in movies and TV shows, often used to depict conflicts within a family or relationship. An example of this trope can be seen in the TV show 'Marriage Story' (2019), where a couple's deteriorating marriage leads to intense arguments and emotional turmoil. |
Police Investigation | Deputy Molly Solverson and Police Chief Vern Thurman investigate the scene of a car accident and a potential homicide. | Police investigations are a common trope in crime dramas, often used to drive the plot and uncover clues. An example of this trope can be seen in the TV show 'True Detective' (2014), where detectives investigate a series of murders and delve into the dark underbelly of society. |
Hitman | Lorne Malvo is a mysterious and dangerous hitman who carries out assassinations. | Hitmen are a common trope in crime thrillers, often used to add suspense and danger to the story. An example of this trope can be seen in the movie 'No Country for Old Men' (2007), where a relentless hitman pursues a man who stumbled upon a drug deal gone wrong. |
Small Town Setting | The events of the screenplay take place in Saint Cloud, Minnesota, a small town. | Small town settings are a common trope in movies and TV shows, often used to create a sense of community, isolation, or nostalgia. An example of this trope can be seen in the TV show 'Twin Peaks' (1990-1991), where the quirky residents of a small town are drawn into a web of mystery and intrigue. |
Murder Mystery | The screenplay revolves around the investigation of a murder and the search for the killer. | Murder mysteries are a common trope in crime dramas, often used to engage the audience and keep them guessing. An example of this trope can be seen in the movie 'Gone Girl' (2014), where a man becomes the prime suspect in his wife's disappearance and must uncover the truth to clear his name. |
Character Transformation | Lester Nygaard undergoes a transformation from a meek and downtrodden man to a more assertive and ruthless individual. | Character transformations are a common trope in movies and TV shows, often used to depict personal growth or a shift in values. An example of this trope can be seen in the TV show 'Breaking Bad' (2008-2013), where a high school chemistry teacher transforms into a ruthless drug lord. |
Dark Comedy | The screenplay combines elements of crime and humor to create a darkly comedic tone. | Dark comedies are a common trope in movies and TV shows, often used to explore taboo subjects or satirize societal norms. An example of this trope can be seen in the movie 'Fargo' (1996), where a bungled kidnapping plot leads to darkly humorous and absurd situations. |
Unreliable Narrator | The screenplay presents events from multiple perspectives, leaving the audience uncertain about the truth. | Unreliable narrators are a common trope in movies and TV shows, often used to create suspense and challenge the audience's perception of reality. An example of this trope can be seen in the movie 'Fight Club' (1999), where the narrator's mental state and perception of events are called into question. |
Foreshadowing | The screenplay includes subtle hints and clues that foreshadow future events and plot twists. | Foreshadowing is a common trope in movies and TV shows, often used to build anticipation and create a sense of inevitability. An example of this trope can be seen in the movie 'The Sixth Sense' (1999), where subtle clues throughout the story hint at the twist ending. |
Theme | Theme Details | Themee Explanation | ||||||||||||
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Identity and self-discovery | The screenplay explores the characters' search for their true identities and their struggle to discover who they really are. | This theme is represented through Lester's dissatisfaction with his life and his desire for change, Molly's determination to solve the murder case and prove herself as a capable police officer, and Malvo's manipulation of others to fulfill his own desires. | ||||||||||||
Strengthening Identity and self-discovery:
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Violence and its consequences | The screenplay depicts the violent actions of the characters and the repercussions they face as a result. | This theme is evident in the murder of Sam Hess, the assault on Lester by Malvo, and the eventual deaths of several characters. It explores the cycle of violence and the impact it has on individuals and society. | ||||||||||||
Power and manipulation | The screenplay delves into the dynamics of power and control, as characters manipulate and influence others to achieve their goals. | This theme is exemplified through Malvo's manipulation of Lester to commit murder, Lester's attempts to assert power and control in his own life, and the power struggles within the criminal underworld. | ||||||||||||
Fate and destiny | The screenplay explores the idea of fate and how events unfold according to a predetermined path. | This theme is represented through the coincidences and chance encounters that shape the characters' lives, as well as the consequences they face as a result of their actions. |
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 characterized by a blend of naturalistic dialogue, atmospheric scene description, and a focus on the internal thoughts and emotions of the characters. This voice creates a sense of realism, tension, and depth in the story, allowing the audience to connect with the characters and their struggles. |
Voice Contribution | The writer's voice contributes to the script by creating a unique atmosphere and mood, enhancing the themes of moral ambiguity, power dynamics, and personal growth. The voice also adds a layer of dark humor and irony, making the story more engaging and thought-provoking. |
Best Representation Scene | 1 - The Mysterious Crash |
Best Scene Explanation | This scene is the best representation of the author's voice because it showcases the atmospheric scene description, naturalistic dialogue, and focus on the characters' internal thoughts and emotions. The scene also introduces the themes of moral ambiguity and violence, setting the tone for the rest of the story. |
- Overall originality score: 6.5
- Overall originality explanation: The screenplay demonstrates a moderate level of originality. While some scenes have unique and fresh approaches, there are also familiar situations and dialogue that do not offer any standout moments.
- Most unique situations: The most unique situations in the screenplay are the inclusion of a live deer in the trunk of a car accident investigation, the discovery of a frozen dead man in the woods, and the portrayal of violence and moral ambiguity.
- Overall unpredictability score: 7.2
- Overall unpredictability explanation: The full screenplay has a relatively high level of unpredictability, with unexpected twists and turns in the plot. The inclusion of unique elements and the exploration of moral ambiguity contribute to the overall unpredictability of the screenplay.
Goals and Philosophical Conflict | |
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internal Goals | The protagonist's internal goals revolve around validation and acceptance, success and recognition, control and power, connection and belonging, and fear of humiliation and failure. |
External Goals | The protagonist's external goals involve solving mysteries and upholding justice, achieving success in his job, avoiding confrontation and maintaining dignity, seeking revenge and asserting authority, and surviving and protecting himself. |
Philosophical Conflict | The overarching philosophical conflict revolves around the clash between individualistic and selfish values, such as power, control, and revenge, and communal values, such as justice, empathy, and connection. |
Character Development Contribution: The goals and conflicts push the protagonist to confront his fears, challenge his beliefs, and undergo personal growth and transformation as he navigates through the story. They contribute to his development from a meek and insecure individual to someone who takes control of his life and faces the consequences of his actions.
Narrative Structure Contribution: The goals and conflicts provide direction and motivation for the protagonist's actions, creating tension and driving the narrative forward. They shape the plot, creating obstacles for the protagonist to overcome and pushing the story towards its climax and resolution.
Thematic Depth Contribution: The goals and conflicts explore themes of morality, identity, justice, and the consequences of one's actions. They delve into the complexities of human nature and the choices we make, offering insights into the consequences of selfishness, the importance of empathy and connection, and the search for personal redemption and growth.
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 world depicted in this screenplay is a combination of rural areas, suburban neighborhoods, small towns, and specific locations like hospitals, motels, and offices. The physical characteristics vary from snowy and harsh environments to familiar and everyday settings.
- Culture: The cultural elements in the screenplay include Midwestern accents, casual conversations, family gatherings, and interactions within small-town communities. There are also elements of criminal underworld culture and seedy environments.
- Society: The societal structures in the screenplay are implied through family dynamics, law enforcement, organized crime, and small-town communities. There are hierarchies, power dynamics, and social norms that shape the characters' interactions.
- Technology: The technological aspects in the screenplay are minimal but include cars, phones, walkie talkies, and basic household appliances. These elements are used for transportation, communication, and everyday tasks.
- Characters influence: The unique physical environment, culture, society, and technology shape the characters' experiences and actions by creating a sense of isolation, danger, familiarity, tension, mystery, and harshness. These elements influence their decisions, relationships, and conflicts.
- Narrative contribution: The world elements contribute to the narrative by establishing the setting, creating atmosphere, setting up conflicts and mysteries, and influencing the characters' goals and motivations. The physical environment, cultural elements, societal structures, and technology provide the backdrop for the story to unfold.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by exploring themes of isolation, danger, everyday life, small-town dynamics, moral ambiguity, power dynamics, and the consequences of actions. The physical environment, cultural elements, societal structures, and technology enhance the exploration of these themes.
central conflict
The central conflict revolves around Lester Nygaard's transformation from a meek and downtrodden man to a cunning and ruthless individual after a chance encounter with Lorne Malvo. This conflict is further intensified by the murder of Sam Hess and the subsequent investigation by Molly Solverson.
primary motivations
The primary motivations driving the story include power, revenge, survival, and the pursuit of justice.
catalysts
The catalysts that push the narrative forward include the car accident involving Lorne Malvo, the murder of Sam Hess, the discovery of the frozen dead man, and the encounter between Lester Nygaard and Lorne Malvo at the Arby's restaurant.
barriers
The major barriers preventing character objectives include the police investigation led by Molly Solverson, the unpredictable and dangerous nature of Lorne Malvo, and the internal struggles and moral dilemmas faced by characters like Lester Nygaard.
themes
The central themes linked to the story's engine include the consequences of one's actions, the duality of human nature, the corrupting influence of power, and the pursuit of justice in a morally ambiguous world.
stakes
The stakes in the narrative involve the lives and reputations of the characters, the resolution of the murder investigation, and the potential exposure of Lester Nygaard's dark secrets.
uniqueness factor
The uniqueness factor of this story lies in its blend of dark humor, suspenseful crime drama, and exploration of complex characters and their moral choices.
audience hook
The main audience hook that will keep viewers engaged is the unpredictable and morally ambiguous nature of the characters and their actions, as well as the suspenseful and twist-filled plot.
paradoxical engine or bisociation
The paradoxical story engine in this narrative is the juxtaposition of seemingly ordinary and mundane events with extreme violence and criminal activities. This creates a sense of tension and unpredictability that keeps the audience engaged.
paradoxical engine or bisociation 2
Another option for the bisociation engine in this story is the contrast between the cold and desolate Minnesota setting and the dark and chaotic events that unfold within it.
Pass / Consider / Recommend
The reasons might be more valuable than the rating.
Consider
Executive Summary
The screenplay for 'Fargo Pilot' is well-constructed and engaging, effectively establishing a sense of mystery and tension from the beginning. The enigmatic character of Lorne Malvo adds intrigue to the story, and the scene with the wounded deer foreshadows violence. The screenplay could benefit from more clarity and context regarding the relationships and motivations of the characters, as well as smoother transitions between scenes. The use of offensive language in one scene could also be reconsidered. Overall, the screenplay has strong moments of tension, compelling character arcs, and a captivating narrative, making it a recommended watch.
- The scene effectively establishes a sense of mystery and tension through its atmospheric setting and the enigmatic character of Lorne Malvo. (Scene 1)
- The scene sets up a potential conflict and moral dilemma for Lester, as Malvo suggests killing Sam Hess. (Scene 5)
- The scene effectively contrasts the chaos of the washing machine with the mundane and monotonous nature of Lester's job. (Scene 3)
- The scene effectively sets up the relationship between Lester and his brother Ronald, highlighting Lester's feelings of inadequacy. (Scene 12)
- The scene creates tension and a sense of urgency with the sudden and violent murder of Sam Hess. (Scene 16)
- The scene could benefit from more clarity and context regarding the relationship between Malvo and the man in the trunk. (Scene 1)
- The significance of the deer and Malvo's interaction with it could be further developed and connected to the larger story. (Scene 1)
- The scene could provide more information about the overall plot and the characters' motivations to enhance the audience's understanding and engagement. (Scene 1)
- The transition from the basement scene to the insurance agency scene feels abrupt and disjointed. (Scene 2)
- The use of offensive language and derogatory terms may be unnecessary and could alienate some viewers. (Scene 4)
- More information about Lorne Malvo's background and his connection to the events of the screenplay. (Scene 1)
- Further development of the relationship between Malvo and the man in the trunk. (Scene 1)
- Additional context and explanation of the overall plot and the characters' motivations. (Scene 1)
- The transition from the previous scene to this one could be smoother to ensure better continuity. (Scene 7)
- The dialogue could be more concise and focused to maintain the audience's interest. (Scene 2)
- The scene ends with a mysterious and intriguing image of Malvo studying the deer's eyes, leaving the audience curious about his intentions. (Scene 1)
- The scene sets up a potential conflict between Lester's desire for peace of mind and the discomfort of the young couple. (Scene 3)
- The introduction of the inflatable women and the boys' playfulness adds a touch of dark humor to the scene. (Scene 10)
- The scene effectively foreshadows potential conflicts and problems in Lester's life, setting up future developments in the story. (Scene 13)
- The scene introduces the character of Malvo and his peculiar behavior. (Scene 19)
Memorable lines in the script:
Scene Number | Line |
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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. |
28 | MALVO: Your problem is, you lived your whole life thinking there are rules. There aren’t. |
20 | MALVO: Why do you let her talk to you like that? |
8 | IDA: Your boy wanted a hamburger. |
34 | LESTER NYGAARD: What did you do? You killed her. You killed her. |