Killers of the flower moon
Executive Summary
Poster
![](/posters/poster6a6408e6702b258600b936ae866a5b52402c3d7ed794285266c0fdfd6058c897.png)
Overview
Genres: Drama, Crime, Mystery, Historical, Romance, Thriller, Western, Legal
Setting: The 1920s, Osage County, Oklahoma
Overview: Killers of the Flower Moon is a gripping and suspenseful script that delves into the dark secrets and crimes plaguing the Osage community in the early 20th century. The story follows Mollie, an Osage woman, and Ernest, a complex and conflicted character, as they navigate love, betrayal, and the pursuit of justice. As the investigation into a series of murders unfolds, the characters are forced to confront their own identities, loyalties, and the clash between tradition and progress.
Themes: Family Loyalty, Corruption and Crime, Identity and Heritage, Justice and Law Enforcement, Tradition and Culture
Conflict and Stakes: Ernest's struggle to clear his name after being falsely accused of a crime, with his family's reputation and his own conscience at stake.
Overall Mood: Tense and emotional
Mood/Tone at Key Scenes:
- Scene 1: The scene where Ernest and Mollie discuss their children and whether Ernest has told the truth is tense and emotional, as Mollie confronts Ernest about his actions.
- Scene 12: The scene where Ernest testifies in court and Mollie walks out without receiving a satisfactory answer is tense and confrontational.
Standout Features:
- Unique Hook: The screenplay is based on true events, which adds an extra layer of intrigue and authenticity to the story.
- Plot Twist: The revelation that Ernest's child has died, and the subsequent investigation into the cause of death, adds a new dimension to the story and raises the stakes even higher.
- Innovative Idea: The screenplay explores the impact of white man's laws on Native American communities, which is a unique and timely theme that adds depth and relevance to the story.
Comparable Scripts:
- The Killing of a Sacred Deer
- Mudbound
- The Revenant
- The Ballad of Buster Scruggs
- The Assassination of Jesse James by the Coward Robert Ford
Writing Style:
The screenplay showcases a dialogue-driven style with a focus on character interactions and conflicts, reminiscent of Aaron Sorkin's and David Mamet's writing styles. The scenes also explore themes of justice, morality, and societal issues, similar to the works of Aaron Sorkin, Quentin Tarantino, and Cormac McCarthy. The writing style is characterized by sharp and impactful dialogue, minimalistic narrative description, and a focus on the internal struggles and emotions of the characters.
Style Similarities:
- Aaron Sorkin
- David Mamet
- Cormac McCarthy
Pass/Consider/Recommend
Consider
Explanation: The screenplay 'Killers of the Flower Moon' has several strengths, including a strong opening scene, suspenseful moments, and touching emotional beats. However, it also has areas for improvement, missing elements, and notable points that could benefit from more dialogue, emotional depth, and character development, particularly in scenes involving Ernest, Anna, Reta, Thompson, and White.
USP: Our script stands out for its authentic portrayal of the Osage culture, its exploration of themes of identity, justice, and the clash between tradition and progress, and its blend of cultural authenticity, emotional depth, and nuanced dialogue. With the incorporation of Osage language and cultural references, our script immerses the audience in the Osage community, providing a rich and nuanced portrayal of the characters and their experiences. The direct and straightforward dialogue reflects the characters' personalities and beliefs, enhancing the emotional depth and relatability of the story. Our script adds depth and authenticity to the storytelling, enhancing the emotional impact of the scenes and providing a visual and immersive storytelling experience.
Market Analysis
Budget Estimate:$25-35 million
Target Audience Demographics: Adults aged 25-54, fans of drama, legal thrillers, and westerns.
Marketability: The story explores compelling themes, has a diverse cast, and is based on true events. The screenplay has the potential to attract a wide audience and generate buzz due to its unique blend of genres and strong appeal to a wide adult audience.
The screenplay has a gripping storyline, unique hooks, and major twists that will keep the audience engaged.
The screenplay has a strong cast of characters, including complex and multi-dimensional Native American characters, and explores relevant social themes.
Profit Potential: High, due to strong appeal to a wide adult audience and potential for award nominations.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a blend of cultural authenticity, emotional depth, and nuanced dialogue. They effectively incorporate Osage language and cultural references, creating a sense of richness and authenticity in the storytelling. The dialogue is direct and straightforward, reflecting the characters' personalities and beliefs. The narrative description is concise and evocative, capturing the atmosphere and emotions of the scenes. The writer's voice contributes to the script by immersing the audience in the Osage culture, exploring themes of identity, justice, and the clash between tradition and progress. It adds depth and authenticity to the storytelling, enhancing the emotional impact of the scenes.
Best representation: Scene 2 - Mollie Kyle's Monthly Check-in and Osage Community Chaos. This scene is the best representation because it effectively combines descriptive narrative and dialogue to create a distinct atmosphere and convey the characters' beliefs and conflicts.
Memorable Lines:
- : The Osage Indians are the richest per capita of any civilized body of human beings in the world. (Scene 1)
Characters
Ernest Burkhart:A hardworking, honest man who falls into a web of deceit and murder when his uncle, William Hale, asks him to kill a rival oilman's family in order to inherit their wealth. Ernest is torn between his loyalty to his family and his conscience.
Mollie Burkhart:Ernest's wife, who is also Native American, and the mother of their two children. Mollie is a strong-willed woman who is determined to protect her family and uncover the truth about the murders.
William Hale:Ernest's uncle and a wealthy oilman. William is manipulative and ruthless, willing to do whatever it takes to maintain his power and wealth.
John Ramsey:A notorious criminal and William's right-hand man. John is a cold-blooded killer who carries out William's orders without hesitation.
Kelsie Morrison:A former lover of Ernest's who is now married to William. Kelsie is a complex character who is torn between her loyalty to William and her feelings for Ernest.
Blackie Thompson:A Native American man who is a friend of Ernest's and a member of the Osage Nation. Blackie is a wise and trusted advisor who helps Ernest navigate the dangerous world of oil and politics.
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 Burial of the Sacred Pipe | Somber, Reflective, Respectful | 9 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 5 | 7 | 6 | 7 | 7 | 9 | 6 | 9 | 8 | 9 | 8 | |
2 - Ernest Burkart's Arrival at Hale's Ranch | Melancholic, Reflective, Informative | 8 | 8 | 7 | 7 | 9 | 5 | 8 | 7 | 6 | 7 | 6 | 7 | 6 | 6 | 8 | 8 | 8 | 9 | 9 | |
3 - Mollie Kyle's Monthly Check-in and Osage Community Chaos | Formal, Tense, Confrontational | 8 | 7 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 7 | 9 | 9 | 8 | 9 | 8 | |
4 - Ernest Waits for Mollie Outside Church | Serious, Tense, Mysterious | 8 | 8 | 8 | 5 | 7 | 6 | 8 | 7 | 8 | 7 | 8 | 9 | 6 | 7 | 7 | 7 | 8 | 9 | 8 | |
5 - Ernest and Mollie's Intimate Evening | Serious, Intimate, Awkward | 8 | 7 | 7 | 6 | 9 | 6 | 8 | 7 | 6 | 6 | 5 | 7 | 7 | 7 | 9 | 9 | 8 | 9 | 8 | |
6 - Ernest's Presence at Church and Picnic | Serious, Intimate, Tense | 8 | 7 | 7 | 7 | 8 | 6 | 8 | 6 | 7 | 7 | 6 | 7 | 6 | 6 | 9 | 8 | 8 | 9 | 9 | |
7 - Ernest and Mollie's Proposal and Wedding | Intimate, Sentimental, Reflective | 9 | 8 | 7 | 6 | 9 | 4 | 8 | 7 | 3 | 4 | 4 | 7 | 5 | 9 | 8 | 9 | 7 | 9 | 8 | |
8 - Minnie's Prayer at the Osage Giveaway | Serious, Emotional | 9 | 9 | 8 | 6 | 8 | 7 | 8 | 7 | 7 | 7 | 9 | 8 | 6 | 9 | 7 | 7 | 8 | 9 | 8 | |
9 - Mourning and Conversations at Minnie's Wake | Mourning, Tense, Concerned | 8 | 7 | 7 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 6 | 7 | 6 | 8 | 7 | 8 | 7 | 9 | 8 | |
10 - Lizzie's Concern and Aunt Annie's Racism | Serious, Reflective | 8 | 7 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 9 | 8 | |
11 - Anna's Aggressive Visit to Gray Horse Home | Dramatic, Tense, Confrontational | 8 | 7 | 7 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 8 | 8 | 9 | 7 | |
12 - The Suspicion of Charlie Whitehorn's Death | Serious, Tense, Anxious | 8 | 7 | 8 | 6 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 9 | 6 | 6 | 8 | 7 | 8 | 9 | 8 | |
13 - The Osage Tribe's Emergency Meeting | Serious, Tense, Concerned | 8 | 8 | 7 | 6 | 8 | 6 | 7 | 8 | 7 | 7 | 8 | 8 | 6 | 7 | 7 | 8 | 8 | 9 | 8 | |
14 - Ernest Argues with Undertaker over Funeral Costs | Tense, Contentious, Emotional | 8 | 7 | 8 | 6 | 9 | 7 | 8 | 7 | 9 | 7 | 8 | 8 | 6 | 9 | 8 | 7 | 8 | 9 | 8 | |
15 - Execution of Anna's Will and Introduction of Private Detective | Serious, Melancholic, Reflective | 8 | 7 | 7 | 2 | 6 | 5 | 0 | 8 | 5 | 5 | 6 | 7 | 3 | 7 | 5 | 6 | 7 | 8 | 7 | |
16 - William J Burns Discusses Anna's Death with Mollie and Ernest | Serious, Mysterious | 8 | 7 | 8 | 6 | 7 | 6 | 7 | 6 | 6 | 6 | 7 | 8 | 7 | 6 | 7 | 8 | 8 | 9 | 8 | |
17 - Investigating Anna's Murder | Tense, Suspenseful, Sinister | 9 | 8 | 9 | 3 | 9 | 7 | 0 | 8 | 9 | 6 | 9 | 9 | 5 | 8 | 8 | 6 | 7 | 8 | 7 | |
18 - Mollie's Health Concerns and Blackie's Theft | Tense, Intimate, Emotional | 8 | 7 | 8 | 6 | 9 | 8 | 8 | 6 | 6 | 3 | 7 | 8 | 4 | 9 | 9 | 9 | 8 | 9 | 7 | |
19 - Ernest's Confession and Punishment | Intense, Serious | 8 | 7 | 7 | 6 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 8 | |
20 - Henry's Despair and Hale's Dilemma | Serious, Melancholic | 8 | 7 | 7 | 6 | 8 | 8 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 9 | 7 | 9 | 8 | 9 | 8 | |
21 - Mollie's Refusal of Medical Treatment | Tense, Emotional | 8 | 7 | 7 | 6 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | |
22 - Henry's Outbursts | Intense, Serious, Emotional | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 6 | 10 | 10 | 8 | 9 | 9 | 9 | |
23 - Lizzie's Passing | Sad, Reflective, Serious | 9 | 8 | 8 | 6 | 9 | 7 | 8 | 7 | 4 | 3 | 5 | 6 | 4 | 10 | 8 | 9 | 7 | 9 | 8 | |
24 - Mourning and Job Discussion | Serious, Intense, Mysterious | 8 | 7 | 8 | 6 | 9 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 6 | 7 | 8 | 7 | 8 | 9 | 8 | |
25 - Mollie's Secret and Barney's Fate | Serious, Tense, Dramatic | 8 | 7 | 8 | 4 | 7 | 6 | 0 | 7 | 9 | 9 | 8 | 9 | 6 | 6 | 7 | 7 | 8 | 9 | 8 | |
26 - Mollie's Pregnancy and Henry's Concerns | Troubled, Melancholic, Ominous | 8 | 7 | 8 | 6 | 9 | 7 | 7 | 6 | 9 | 7 | 8 | 8 | 7 | 7 | 8 | 8 | 8 | 9 | 8 | |
27 - Betrayal at the Speakeasy | Dark, Intense, Suspenseful | 9 | 8 | 9 | 7 | 9 | 9 | 8 | 7 | 10 | 8 | 9 | 10 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | |
28 - Suspicions Arise in Mollie's House | Tense, Suspenseful, Serious | 8 | 7 | 8 | 6 | 7 | 6 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 6 | 8 | 9 | 9 | 9 | 8 | |
29 - Protection Offered and Tension Rises | Tense, Suspenseful, Intense | 8 | 7 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | |
30 - Preparing for Danger and Uncovering Secrets | Tense, Serious, Tragic | 9 | 8 | 8 | 6 | 7 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 10 | 7 | 9 | 9 | 9 | 8 | |
31 - Seeking Justice in Washington D.C. | Serious, Tragic | 9 | 8 | 8 | 6 | 9 | 8 | 7 | 8 | 8 | 8 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 9 | 8 | |
32 - Preparing for Mollie's Care | Serious, Tense | 8 | 7 | 8 | 7 | 9 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 6 | 9 | 8 | 8 | 8 | 9 | 9 | |
33 - Mollie's Illness and Tom White's Investigation | Melancholic, Mysterious, Tense | 8 | 7 | 7 | 4 | 8 | 7 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 8 | 8 | 6 | 8 | 9 | 7 | |
34 - Uncovering Family Secrets and Community Tensions | Cautious, Warm, Frantic, Agitated, Concerned | 8 | 7 | 8 | 6 | 8 | 7 | 7 | 6 | 8 | 7 | 8 | 9 | 7 | 7 | 9 | 8 | 8 | 9 | 8 | |
35 - Hale's Insurance Dispute and Agents' Investigation | Tense, Suspenseful, Mysterious | 8 | 7 | 8 | 6 | 9 | 6 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 7 | 8 | 9 | 8 | 9 | 8 | |
36 - Hale Investigates the Murders and Warns of Danger | Suspenseful, Serious | 8 | 7 | 8 | 6 | 7 | 5 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 6 | 9 | 9 | 9 | 9 | 8 | |
37 - Betrayal and Consequences | Suspenseful, Intense, Serious | 8 | 7 | 8 | 6 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 7 | 8 | 9 | 9 | 9 | 8 | |
38 - Unraveling the Web of Crimes | Suspenseful, Dark, Intense | 9 | 8 | 9 | 7 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | |
39 - Ernest's Arrest and Interrogation | Intense, Suspenseful, Dark | 9 | 8 | 9 | 6 | 9 | 7 | 8 | 7 | 9 | 8 | 10 | 9 | 6 | 8 | 10 | 7 | 8 | 9 | 8 | |
40 - Ernest Confronts Blackie and Tom Questions Ernest | Tense, Serious | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 10 | 9 | 8 | 9 | 8 | |
41 - The Interrogation of John Ramsey | Tense, Serious | 8 | 7 | 8 | 6 | 6 | 6 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 6 | 9 | 9 | 8 | 9 | 8 | |
42 - Hale's Arrest and Interrogation | Serious, Tense | 8 | 7 | 9 | 6 | 7 | 5 | 8 | 7 | 7 | 8 | 8 | 9 | 7 | 6 | 6 | 9 | 8 | 9 | 8 | |
43 - Blackie's Escape Offer and Ernest's Protection | Serious, Tense | 8 | 7 | 8 | 6 | 9 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 9 | 8 | |
44 - Hamilton's Demand | Serious, Tense | 8 | 7 | 8 | 6 | 7 | 4 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 5 | 6 | 9 | 7 | 9 | 8 | |
45 - Ernest's Dilemma: To Testify or Not to Testify | Serious, Tense | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 9 | 8 | |
46 - Mollie and Ernest's Conversation and Ernest's Arrest | Serious, Intense, Emotional | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 7 | 9 | 9 | 10 | 9 | 7 | 9 | 9 | 9 | 8 | 9 | 8 | |
47 - Ernest's Grief | Grief, Sadness, Loss, Shock | 9 | 8 | 7 | 5 | 9 | 8 | 8 | 6 | 5 | 3 | 9 | 7 | 4 | 10 | 8 | 9 | 8 | 9 | 7 | |
48 - Ernest's Dilemma: Testify Against Brother or Protect Family Ties? | Serious, Emotional | 9 | 8 | 8 | 6 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 10 | 9 | 9 | 8 | 9 | 8 | |
49 - Ernest Testifies in Court | Serious, Intense | 8 | 7 | 9 | 6 | 8 | 8 | 8 | 7 | 8 | 7 | 9 | 9 | 6 | 7 | 9 | 7 | 8 | 9 | 8 | |
50 - Mollie Confronts Ernest in Court | Intimate, Serious, Emotional | 8 | 7 | 7 | 6 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 6 | 6 | 9 | 7 | 7 | 8 | 9 | 8 |
Scene 1 - The Burial of the Sacred Pipe
Birth of the FBI" by David Grann
Final Shooting Script - August 10, 2022
© Apple Video Programming LLC 2022. All Rights Reserved. This material is the exclusive
property of APPLE VIDEO PROGRAMMING OR ITS AFFILIATES and is intended solely for the use of
its personnel. No portion of this script may be performed, or reproduced by any means, or
quoted, or published in any medium without prior written consent of APPLE VIDEO PROGRAMMING
OR ITS AFFILIATES.
KOTFM - Final Shooting Script - August 10, 2022 1.
1 P1 INT. OSAGE LODGE MADE OF BARK CIRCA 1900 1 P1
We see eyes through cracks and openings of the bark. We see
slices of faces peering in. We hear:
NON-HON-ZHIN-GA NON-HON-ZHIN-GA
(overlap) Kah-see(n) ta(n) theh-ksheh
Tomorrow we will bury this ah(n)-kee-xeh ta(n)-kah-
one. This Pipe Person. txah(n). Nah(n)-nee-oh(n)-pah
theh-ksheh nee-kah-shee-kah
eh-koh(n).
CUT TO THE PIPE in his hand.
Old Osage men sit in a circle around a small fire in the
center of the lodge. Osage women sit in an outer circle next
to the walls of the lodge. The Non-hon-zhin-ga leads the
meeting. He is holding the Pipe.
NON-HON-ZHIN-GA (CONT'D) NON-HON-ZHIN-GA (CONT'D)
This one gave us courage. Nah(n)-nee-oh(n)-pah thek-
This one has been our sheh wah-zhee(n)-dah(n)-kah
messenger to Wah-kon-tah. It wah-kshee-theh nahn-peh. Theh-
is time for us to bury this ksheh wah-kohn-dah wah-pah-
Pipe with dignity and to put zheen theh nahn-peh.
away its teachings. Those Nah(n)-nee-oh(n)-pah ksheh
children who are outside wah-xeh ah-xoh-peh eh-txah(n)
listening they will learn koh-eh ee-eh ee-tah ee-heh-
another language. They will ah(n)-theh tah ah-kxai.
be taught by white people. Zhee(n)-kah-zhee(n) ah-shee-
They will learn new ways and dah nah(n)-zhee(n) pah ee-eh
will not know our ways. eh-zhee(n) pee-oh(n) tah ah-
pah. Ee(n)-shdah-xee(n) nee-
kah-shee-kah ah-pah wah-
koh(n)-zeh tah ah-pai. Ohk’-
ah(n) tseh-kah pee-oh(n) tah
ah-pah kah-koh(n) tah(n) ohk’-
ah(n) ah(n)-koh-dah-pee ee-
pah-hoh(n) zhee tah ah-pah.
He stops - he wraps the Pipe. The WIFE OF THE PIPE KEEPER
receives the Pipe bundle.
TIME CUT:
P2 The WIFE OF THE KEEPER OF THE PIPE holds the Pipe which is P2
wrapped in a woven cover. She cradles it in her arms and
close to her breasts and in her grief she rocks The Pipe as
she would rock an infant. The woman and ANOTHER PIPE MOURNER
wail a prayer song for one who has died.
KOTFM - Final Shooting Script - August 10, 2022 2.
NON-HON-ZHIN-GA (V.O.) NON-HON-ZHIN-GA (V.O.)
Tomorrow when Grandfather Sun Ga-see(n) tah(n) wee-tsee-koh
is overhead we will bury this mee(n) mah-shee tah hee thah-
Sacred Pipe. hah nah(n)-nee-oh(n)-pah wah-
koh(n)-dah-kee ksheh ah(n)-
kee-xeh tah(n)-kah-txah(n).
P3 EXT. OSAGE LODGE MADE OF BARK CIRCA 1900 P3
The Osage men and women exit the lodge followed by the
children - they come toward us.
NON-HON-ZHIN-GA (V.O.) NON-HON-ZHIN-GA (V.O.)
We have agreed to do this... Eeh-ahn-kee-ohn ahn-nahn-
shtahn ahn-kah-txahn...
P4 POV TRACKING SHOT OF THE LAND P4
NON-HON-ZHIN-GA (V.O.) NON-HON-ZHIN-GA (V.O.)
And it is hard to put aside Gah-thohn tah-tahn wah-xoh-
things this sacred. Still, peh ee-heh-theh wah-tseh-xee
tomorrow we will bury this ah-kxai. Gah-seen tahn nahn-
Pipe. nee-ohn-pah ksheh ee-heh-ahn-
theh shohn tahn-kah-txahn.
P5 CUT TO THE PIPE BEING BURIED P5
Wailing sound cuts to silence.
P6 SILENT “NEWSREEL” IN 1:33 ASPECT RATIO (TINTED? B/W?) P6
INTERTITLE
The chosen people of chance. (The
anointed of oil and gas.)
The richest people per capita on
earth...
The Osage Nation!
P7 CUT TO AN IMAGE.[DELEGATION WITH OFFICIALS] P7
INTERTITLE
Osage spending sprees delight the
nation.
KOTFM - Final Shooting Script - August 10, 2022 3.
P8 CUT TO BEAUTIFULLY DRESSED OSAGE MEN AND WOMEN. P8
INTERTITLE
Expensive jewelry.
P9 CUT TO EXAMPLES OF JEWELRY. P9
INTERTITLE
More Pierce Arrows than any county
in the U.S.A.
P10 CUT TO AN OSAGE COUPLE POSED BY A PIERCE ARROW P10
INTERTITLE (CONT'D)
And chauffeurs to do their bidding -
P11 CUT TO CHAUFFEUR opening the car door for a handsome Osage P11
couple.
P12 CUT TO Car driving on a dirt road. P12
INTERTITLE (CONT'D)
Scores of prime beef cattle
slaughtered for their barbeques.
P13 CUT TO A BAR-B-QUE. P13
INTERTITLE (CONT'D)
It’s not all play and games as many
mixed-blood children attend the
best private schools and colleges.
P14 CUT TO OSAGE COLLEGE STUDENTS. [Art Class?] P14
INTERTITLE (CONT'D)
Yet rodeos and parades brighten up
the year.
P15 CUT TO IMAGES OF RODEOS and PARADES. P15
INTERTITLE (CONT'D)
Archery, anyone?
P16 CUT TO ARCHERY CONTEST. P16
INTERTITLE (CONT'D)
How about golf?
P17 CUT TO Osage playing golf. P17
KOTFM - Final Shooting Script - August 10, 2022 4.
INTERTITLE (CONT'D)
These fortunate daughters of
chance.
These mixed-blood Osage girls have
known only luxury and ease.
P18 CUT TO OSAGE PRINCESS CONTEST P18
INTERTITLE (CONT'D)
My people will be happy in this
land. White man cannot put iron
thing in ground here. White man
will not come to this land...
Chief Wah-Ti-An-Kah
P19 CUT TO tinted romantic image of an actor playing CHIEF WAH TI P19
AN KAH standing in a noble position.
INTERTITLE (CONT'D)
Chief Wah-Ti-An-Kah declared this
way back in 1870...
but in 1896...
P20 CUT TO OIL BUBBLING OUT OF THE GROUND P20
INTERTITLE (CONT'D)
OIL!
A rumble from the ground is heard...
INTERTITLE (CONT'D)
Throughout the years, the problem
with the Indian has been poverty.
With these Osage, the problem is
now wealth.
CUT TO:
P21 AN OIL WELL EXPLODING (IN FULL COLOR AND 2:35 WIDESCREEN) P21
A geyser of oil shoots up. Osage - shirtless - are covered in
oil as it rains down on them - baptized in the black gold.
P22 CAMERA SWEEPS OVER FIELD OF OIL DERRICKS P22
KOTFM - Final Shooting Script - August 10, 2022 5.
Ratings
Scene 2 - Ernest Burkart's Arrival at Hale's Ranch
The train is crowded with travelers, WWI Soldiers (Osage and
white), oil executives/engineers, Osage families, vagabonds
and hustlers. We come upon ERNEST BURKHART (white, 30s) his
uniform half off, half drunk, heading back home.
CUT TO:
2 EXT. TRAIN DEPOT/FAIRFAX – DAY 2
The train pulls into the station and the variety of
passengers get off – into a mass of activity – hustlers,
families reuniting, businessmen, shoppers -
Ernest steps onto the platform and takes it all in.
A well dressed little person hands Ernest a flier – he reads
it: “Make it Rich”. As Ernest walks past the TAXI STAND he
sees very well dressed well-to-do Osage greeting their
families and getting into beautiful cars. We see four or five
poor sketchy characters who are loitering around the station
looking hungrily at the well-to-do Osage. Ernest reacts. Then
a fight breaks out. Ernest skirts around it and through the
fight a large man comes from behind him: HENRY ROAN (Osage,
30s) Very handsome, striking, well-dressed, hair in braids.
HENRY ROAN
Ernest? Ernest Burkhart?
ERNEST
...Yeah?...
HENRY ROAN
I’m Henry - Henry Roan.
ERNEST
Henry...
HENRY ROAN
I’m to take you to your Uncle Hale.
3 INT. FANCY CAR – DRIVING 3
Ernest and Henry Roan driving, seeing rows of derricks in
wide open space...
ERNEST
Who’s land is this here? Henry?
KOTFM - Final Shooting Script - August 10, 2022 6.
HENRY ROAN
My land.
4 EXT. HALE’S RANCH – DAY 4
They drive under a sign that says, “HALE RANCH” and there are
no derricks here. This is a cattle ranch.
UNCLE WILLIAM HALE, KING OF THE OSAGE (60s) comes out to meet
Ernest with a warm greeting, accompanied by his wife MYRTLE
“MYRTIE” HALE and daughter WILLIE. Hale mutters something to
Henry Roan in broken Osage…
Hale just holds on tightly to Ernest, happy he’s back alive.
5 INT. HALE’S RANCH – LIVING ROOM 5
Hale and Ernest, sitting together by the fire…
HALE
Times like this people put castles
in the air, held aloft by hysteria,
rush blind with greed, based on
fear, unfounded fear. Fear running
all over the place and screaming
like animals.
This is a cattle ranch. There’s no
oil here. So I’m settled with no
fear.
These Osage have had enough
trouble, they’re down to not too
many of them left.
There’s a way that nature moves and
changes direction and that’s
happened upon them. Time will run
out, this wealth will run dry drier
than the seven years of famine that
plagued the Pharaohs of old.
They’re sick people. Big hearted
but sickly.
You saw bloodshed?
ERNEST
Well, some... I was a cook in
Infantry.
KOTFM - Final Shooting Script - August 10, 2022 7.
HALE
Did you see Kelsie Morrison, he was
over there.
ERNEST
I did. Otis Griggs and others. If
you remember...
HALE
Soldiers have to eat. You fed the
soldiers that won the war.
ERNEST
Saw more die from the flu.
Hale looks at him.
HALE
What happened to your stomach?
ERNEST
My gut burst.
HALE
You’re lucky to be alive.
ERNEST
They gave me a belt. Told me not to
do heavy lifting.
HALE
You made a good choice coming back
here. Texas got nothing. So much
changed last years of what’s
happened. Hard to recognize the
place I can tell you that... Money
is spent freely here now.
ERNEST
Yes, sir. The oil, sir.
HALE
There’s very much money.
ERNEST
I love money, sir.
HALE
You call me Uncle or King...
remember?
ERNEST
King.
KOTFM - Final Shooting Script - August 10, 2022 8.
HALE
Did you pick up any disease?
ERNEST
No.
HALE
Keep that thing wrapped up over
there?
ERNEST
Yes, sir.
HALE
You like women.
ERNEST
Yes, King, course I do, it’s a
weakness.
HALE
What kinds they have out there?
ERNEST
Just white that I saw.
HALE
You like red?
ERNEST
Red and white, I don’t mind. I like
all of ‘em, I’m greedy. I like
heavy ones, pretty ones, soft ones,
ones that smell good.
Hale pours some Whiskey. In the b.g., through the front door
enters: BYRON BURKHART, Ernest’s brother, comes over to join
them.
HALE
Taste that.
ERNEST
Good.
HALE
Don’t get played out in the open
with liquor or you’ll cause
trouble. That right, Byron?
BYRON
That’s right, King.
Ernest looks from his brother Byron back to his Uncle.
KOTFM - Final Shooting Script - August 10, 2022 9.
HALE
There’s only one deputy Sheriff I
don’t hold a commission under... I
am officially a reserve deputy
sheriff in Fairfax... but I don’t
want to bring unwanted eyes...
ERNEST
I will not find that trouble, I
won’t do stupid things.
HALE
Is your head on straight after
being over there?
ERNEST
Yes of course. I’m not thick, sir,
I’m strong -
HALE
I have a place to put you, driving.
I’ll put you there, that’s for you.
Cause you can’t do much else ‘cause
of your gut. Most fellows out here
are crooked, some do things well,
most do bad, don’t be simple.
ERNEST
No, sir, I won’t.
HALE
Don’t make small trouble about
things... If you make trouble, make
it big - get a big payoff from
this, you see? You don’t read do
you?
ERNEST
I can read.
HALE
You smarten yourself up.
ERNEST
I read –
Hale reaches over and gets a book (shows Ernest who leafs
through the pages) -
HALE
Osage are sharp. They don’t talk
much so that might make you run
your mouth to fill the space.
‘Specially if you’ve been drinkin’.
(MORE)
KOTFM - Final Shooting Script - August 10, 2022 10.
HALE (CONT'D)
But it’s better to be quiet if you
don’t have something smart to say.
Don’t get caught on that - it’s
just what they call “blackbird
talk” (imitating) “cheep cheep”.
Just because they’re not talking
doesn’t mean they don’t know things
about everything. Osage are the
finest and most beautiful people on
God’s earth.
6 INT - BUNKHOUSE TYPE OF PLACE 6
Looking down on an OSAGE MAN writhing in agony - crying out.
His body suffers severe convulsions.
Tighter on his BOOTS with a JUG lying on its side.
Ratings
Scene 3 - Mollie Kyle's Monthly Check-in and Osage Community Chaos
CU. MOLLIE.
She has come to her monthly check in with her guardian, PITTS
BEATY (50s, white, grand wizard KKK). An embroidery framed
behind him spelling “KIGY”. Pure formality:
PITTS BEATY
State your name.
MOLLIE
I am Mollie Kyle, incompetent.
PITTS BEATY
What is your allotment number?
MOLLIE
Two hundred and eighty five.
PITTS BEATY
You’ve asked for additional
monies of $752.00 to pay the claim
of the Shoun Brothers? A medical
bill for an abcess.
MOLLIE
Yes, sir.
PITTS BEATY
Was the operation successful?
KOTFM - Final Shooting Script - August 10, 2022 11.
MOLLIE
Yes, sir.
PITTS BEATY
And the diabetes?
MOLLIE
I’ve a prescription now at Fairfax
drugs, etc.
PITTS BEATY
You got to look out for that, you
know.
MOLLIE
...
PITTS BEATY
Now Mollie... it’s your mother -
You know she’s restricted, too, so
we have to account for every penny.
It says here she spent $319.05 on
meat at the grocery! Don’t you
think that’s an awful lot of meat
for what she needs?
MOLLIE
Yes, Mr. Beaty...
PITTS BEATY
Well you look after that, won’t
you?
MOLLIE
... Yes.
CUT TO:
8 EXT. FAIRFAX STREETS – DAY 8
Traditional and “modern” dressed Osage gathered outside the
bank (or same office building as Mollie) to deposit their
quarterly annuity checks. A carnival atmosphere as a clerk
directs Osage assembling.
CLERK
Line up for Allotment (annuity)
payments! Unrestricted Only – this
line... Restricted – take your
guardian – he’ll sign your check
for you! Busy day - Stay in line.
KOTFM - Final Shooting Script - August 10, 2022 12.
Traditional Osage couple come forward. Clerk leads them
inside.
CUT TO:
9 EXT. CAR SHOWROOM - LOOKING DOWN AT A MAN, SALESMAN, ON HIS 9
KNEES. HE’S LOOKING UP AT SOMEONE, BEGGING.
SALESMAN
...You do this it’ll make all the
difference cause my wife’s been
feeling poorly. Doctor says it’s
her constitution but the boy has
asthma and that just... you just
got your check - you’re
unrestricted. Please!
We see THREE OSAGE with THE SALESMAN. The OSAGE look at him.
OSAGE MAN
(pointing to his blanket)
This color.
The SALESMAN SLAMS his hand against a black Pierce Arrow car.
Overjoyed.
10 ERNEST WAITING ON THE STREET, AT HIS CAB. NEARBY HUSTLER 10
PHOTOGRAPHERS LOOK TO TAKE ADVANTAGE OF THE OSAGE WITH FRESH
FUNDS. HENRY ROAN IS THERE WITH A YOUNG WOMAN - ENJOYING THE
PATTER. HENRY AND ERNEST SEE EACH OTHER.
PHOTOGRAPHER 1 [NEED LINES]
...$30 - get a photo taken for
posterity –
PHOTOGRAPHER 2
C’mon! – Don’t go by him, he
doesn’t know nothing - he’s an
amateur - Don’t you want a nice
picture to be remembered in a
proper way for your family? Only
$40...
KOTFM - Final Shooting Script - August 10, 2022 13.
11 INSERT: THREE POSED STUDIO PHOTOS OF OSAGE (USING ANTIQUE 11
CAMERA):
Two men posing on a crescent moonprop, Osage relatives in a
formal portrait (mix of traditional and “modern” clothing)
and the four sisters - Mollie, Reta, Anna, Minnie.
PUNCH IN TO a C.U. of Mollie
12 MOLLIE EMERGES FROM BEATY’S OFFICE. ERNEST GOES TO HER: 12
ERNEST
Mollie... this way - lot of
characters around here today - be
careful.
He opens the door for her as an IMPROMPTU CAR RACE speeds by
with 10-15 people including kids chasing and cheering after.
Ernest rushes Mollie into the car. Two of the people rushing
after are KELSIE MORRISON (white, 30s) local hustler,
flamboyant dress and CATHERINE COLE, (OSAGE) his wife.
KELSIE
Hey Ernest!(to Catherine) We were
at the front together in France.
ERNEST
Kelsie Morrison!
KELSIE
Great to see you. My wife Catherine
Cole. (to Ernest sotto voce) Full
blood.
ERNEST
Sky people - ?
Ernest looks over to Mollie to see if this is impressing her.
Suddenly A HORSE is spooked by the cars.
KELSIE
Lots of money on this!
Kelsie races after the cars. Pitts Beaty looks down at
Mollie.
Ratings
Scene 4 - Ernest Waits for Mollie Outside Church
Quiet exterior of the church. Ernest is waiting in his car.
Then Mollie exits the church, says goodbye to the PRIEST.
KOTFM - Final Shooting Script - August 10, 2022 14.
The HOMINY FOOTBALL TEAM passes her as Ernest jumps out of
the car and opens the door for her -- See Mollie and we hear:
HALE (V.O.)
You know who I mean when I say
Mollie Kyle?
ERNEST (V.O.)
Yea
HALE (V.O.)
You know the one I mean, of the
sisters.
14 INT. BILL HALE’S RANCH - LUNCHTIME 14
Sitting around a dining table HALE, ERNEST and BYRON:
ERNEST
I know which one, Mollie
HALE
Mollie is the one, she lives with
the mother Lizzie...
ERNEST
mm I know, Uncle, which one, I
know her. I’ve been drivin’ her -
HALE
Drivin’ her... well Matt Williams
used to go with her for a time and
she’s not, they’re not together in
a way now – so that means you could
have a proposition at that if that
struck you –
ERNEST
you want me to see after Mollie?
Why she’s a regular customer of
mine. (sotto voce) And I think she
likes me...
HALE
that Mollie’s easy to like and a
full blood Estate at that, that’s
something a man could work with…
Ernest gets it, thinks, turns and looks at his brother
Byron…who nods at him…as if Byron has already heard this idea
and is encouraging Ernest…
KOTFM - Final Shooting Script - August 10, 2022 15.
HALE (CONT'D)
You got a good face - you can be
the marrying kind?
ERNEST
how do you mean?
Ernest looks again to Byron…Byron looks back.
HALE
-- we mix these families together
and that estate money flows the
right direction, will come to us -
That’s a full blood estate, and she
gets that money of her Mother
Lizzie. That’s good business that
and legal. Not against a law,
that’s smart investment.
15 INT. ERNEST’S TAXI 15
Ernest and Mollie in the car.
ERNEST
I heard you went with Matt Williams
for a time –
MOLLIE
…you talk too much.
ERNEST
no, not talk too much, I’m just
asking about who I gotta beat in
this horse race..he he
MOLLIE
So you race horses, do you?
ERNEST
I’ve been known to.
MOLLIE
... (scoffs) Huh!
He scoffs back.
CUT TO:
KOTFM - Final Shooting Script - August 10, 2022 16.
16 EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME 16
Ernest drops Mollie off at her home. Teasing smiles as he
watches her head inside. And over her we begin to hear Ernest
reading -
ERNEST (V.O.)
“When they first moved to Oklahoma
territory, people put up signs…”
17 FLASH ON CAMERA: A SIGN THAT READS, “NO DOGS, NO INDIANS” 17
18 INT. BUNKHOUSE/HALE RANCH – DUSK 18
CU. Ernest, reading from a book at a 6th grade level about
Osage culture and history. CU. flipping pages of the book.
Continues reading -
ERNEST
Osage weren’t ever part of the
“five -
Byron Burkhart comes in and gathers up Ernest, who throws the
book down:
BLACKIE THOMPSON (white, 30s)
BYRON
You remember Blackie Thompson?
They all jump into a car and head off into the night...
ERNEST (V.O.)
Osage weren’t ever part of the
“five civilized tribes,” the
Cherokee, Chickasaw, Choctow, Creek
and Seminole...
19 EXT. DENOYA HOUSE – FAIRFAX - NIGHT 19
A well-dressed Osage couple: MR. AND MRS. FRED DENOYA get out
of the car by their garage when THREE MASKED MEN (Ernest,
Blackie, Byron) come up on them and take their Diamond Rings
and Stickpin.
DENOYA
Just take my car, don’t take my
ring, my father gave me that –
KOTFM - Final Shooting Script - August 10, 2022 17.
BLACKIE
Don’t want the car, just them
jewels. Give me that (he pulls at
his ring) You didn’t do nothing to
earn this.
They run off into the night.
20 INT. BASEMENT/FAIRFAX – NIGHT 20
Ernest betting stolen jewels on a table. He, Blackie and
Byron in a poker game with OTHER GUYS.
ERNEST
I love money. I love money, turn
those cards over –
Cards turned over. They lose.
21 EXT. POOL HALL/FAIRFAX – DAWN 21
Ernest and the rest leaving the pool hall at dawn, dejected,
head in different directions. Ernest gets in his cab.
ERNEST (READING, V.O.)
“Dawn was always a sacred time for
prayers…”
22 EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME – DAWN 22
LIZZIE Q., Traditional Osage, Mollie’s mother, prays at dawn
by a creek near the house.
ERNEST (V.O.)
“They call the sun ‘grandfather.’
The moon ‘mother.’ Fire, ‘Father.’”
SEE: A SUN THROUGH THE CLOUDS. A CRESCENT MOON. A WILDFIRE
BURNING THE PRAIRIE.
ERNEST (V.O.)
They call it the “flower moon” –
when tiny flowers spread over the
blackjack hills and prairies. There
are so many, it’s as if a spring
festival of the gods left confetti
there. (Matthews p.61)
KOTFM - Final Shooting Script - August 10, 2022 18.
We see tiny Spring flowers spread over the prairie.
Ratings
Scene 5 - Ernest and Mollie's Intimate Evening
The baby naming ceremony. Ernest stands by the car, watching
Mollie and the ceremony from a distance. Mollie’s extended
family is here.
ERNEST (V.O.)
... given your Osage name - it’s
how you will be called to the next
world - your Osage name can never
be taken away from you.
24 EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME – ANOTHER DAY/AFTERNOON 24
Ernest pulls up to Mollie’s Homestead. Servants. A few male
ranch hands take care of the property. Ernest, carrying
shopping bags, helps Mollie to her door. Mollie hands Ernest
a box. He opens it. It’s a hat.
MOLLIE
Here put this on.
Ernest tries on the hat...
MOLLIE (CONT'D)
Do you want dinner?
ERNEST
Yes.
25 INT. LIZZIE/MOLLIE’S GRAY HORSE HOME – THAT MOMENT 25
As Ernest steps inside, he sees: LIZZIE Q, Mollie’s mother.
She stares at him, he nods to her. She is very old and in
traditional Osage style rests on the floor... he tries a
smile at her, she doesn’t.
ERNEST (V.O.)
Wah-Kon-Tah, means God. The special
ones who went ahead in the fog to
new places are called, “Travelers
in the Mist.”
KOTFM - Final Shooting Script - August 10, 2022 19.
26 INT. LIZZIE/MOLLIE’S GRAY HORSE HOME - DINING ROOM 26
Mollie and Ernest finishing their dinner... She offers him a
CIGARELLO. Lizzie is asleep in the next room. They speak
quietly:
ERNEST
Don’t you want a bite of this?
MOLLIE
I got too much sugar.
ERNEST
You can never be too sweet now can
you?
MOLLIE
It makes me sickly.
ERNEST
[He eats. Then] You live in this
house just with your Mother?
MOLLIE
I take care for her. You live with
your Uncle.
ERNEST
Yes. Do you know him?
MOLLIE
Since I can remember.
ERNEST
He’s a nice man.
MOLLIE
Why did you come here?
ERNEST
...for what?
MOLLIE
To live here?
ERNEST
Yes. I live here.
MOLLIE
Why?
ERNEST
For my Uncle. I work with him.
KOTFM - Final Shooting Script - August 10, 2022 20.
MOLLIE
Your brother is Bryan.
ERNEST
Byron. That’s right.
MOLLIE
There’s more...
ERNEST
More brothers? Horace and Duke.
Yes.
MOLLIE
Are you scared of him?
ERNEST
My brother... Who?
MOLLIE
...Your Uncle.
ERNEST
Well, no. He’s the King of the
Osage Hills. He’s the nicest man in
the world but I know if you cross
him what he can do.
I’m my own man, I do my own work.
I’m a businessman.
silence, then:
ERNEST (CONT'D)
My uncle doesn’t scare me... you
have all those sisters?
MOLLIE
...What is your religion?
ERNEST
... I’m Catholic...
MOLLIE
You don’t come to church.
ERNEST
I’ve, yes, I’ve been away. How come
you don’t have a husband?
MOLLIE
...
KOTFM - Final Shooting Script - August 10, 2022 21.
ERNEST
I’m a man and I want to know why a
woman like you doesn’t have a
husband?
MOLLIE
...
ERNEST
You have nice color skin...
Mollie looks.
ERNEST (CONT'D)
What color would you say that is?
MOLLIE
... My color.
ERNEST
Well, I think it’s pretty. You got
nice color skin. You got a nice
house. And I think you just
pretend to be so severe. I bet you
have a soft belly on the inside...
MOLLIE MOLLIE
psh, Trickster... Eh-sheh, sho-mee-kah-see...
ERNEST
Did you say Coyote?... Well, if I’m
a coyote and you’re a raven... we
can help each other out.
MOLLIE
...Coyote wants money.
ERNEST
Well that money’s real nice,
especially if you’re lazy like
me... I want to sleep all day and
make a party when it’s dark…
RAIN starts to fall. We can hear it through an OPEN WINDOW.
MOLLIE MOLLIE
Do you like whiskey? Do you like peh-tseh nee?
ERNEST
I don’t like whiskey, I love
whiskey.
KOTFM - Final Shooting Script - August 10, 2022 22.
MOLLIE
I have good whiskey, not bad
whiskey.
ERNEST
I think we should try some and find
out...
Mollie gets up to get a bottle. We hear THUNDER. Wind is
blowing the rain in. Ernest gets up to close the window.
MOLLIE
No. Don’t close it.
ERNEST
What?
MOLLIE
We need to be quiet for awhile. Sit
down.
They go back and sit.
He looks at her. She looks at him. He looks over at Lizzie.
MOLLIE (CONT'D)
A storm is... well it’s powerful.
So we need to be quiet now.
An awkward moment.
ERNEST
Well... it’s good for the cattle.
That’s for sure...
MOLLIE
Just be still.
There’s a solemnity that comes over the two of them. A bond.
CUT TO:
Ratings
Scene 6 - Ernest's Presence at Church and Picnic
Rain battering the exterior of the house.
CUT TO:
KOTFM - Final Shooting Script - August 10, 2022 23.
28 INT. CATHOLIC CHURCH – DAYS LATER 28
Ernest has joined Mollie for Sunday services. Mollie’s
sisters are here: ANNA (the wild one) RETA (sensible one)
MINNIE (the weak one). And MINNIE’S HUSBAND, BILL SMITH
(white, 30s).
PRIEST
Let us pray. (Ora pro nobis)
Ernest stands. Then - embarrassed - sees that everyone is
kneeling. Bill Smith is doing it right. Gives Ernest a look.
(Sizing each other up.)
29 EXT. CATHOLIC CHURCH – SAME DAY 29
A gathering, picnic after Church. Osage style with people
eating on the ground. A SHINNY game being played nearby -
Ernest watches with PAUL RED EAGLE.
Hale standing with a group of Osage men including Henry Roan
watching an OSAGE ARTIST PAINTING THE SCENE. They’re laughing
together. He notices Bill Smith with Minnie who’s sitting
with her sisters eating. An OLDER OSAGE WOMAN leans over to
give Minnie something and reveals a knife under her clothing.
Hale looks over to Ernest - then to Mollie.
Ernest looks over to Mollie and her sisters.
30 ANGLE, MOLLIE AND HER SISTERS. 30
They’re talking about Ernest…in OSAGE:
MOLLIE MOLLIE
He’s not that smart but he’s Sheh-theh kee-oh-pxah-zhee
handsome. ahkxah, ah-zheen thah-leen ah-
kxai.
RETA RETA
He looks like a Snake. Wets’ ah ween ee-kohn-skah ah-
kxah-ee.
MOLLIE MOLLIE
No, he looks like Coyote. Hahn-kah-zhee, shohn-meen-kah-
Those Blue Eyes. see ween ee-kohn-skah doh-hoh
theh.
KOTFM - Final Shooting Script - August 10, 2022 24.
ANNA ANNA
His brother is handsome, too. Ee-son-kah ah-kxah thah-leen
I like the brother more. shkee ah-kxah-een. Eh ahn-oh-
xtah xtsee.
MINNIE MINNIE
That red haired rat? Een-tsoh-dahn pah-xeen zhoo-
tseh theh?
ANNA ANNA
Better than your possum, Eeh thah-leen, seen-shdah
playing dead and lazing thee-dah ah-kxah, ts’eh thee-
around the house. hee-tseh oh-thoots’ ah-keh
shkee oh-tsee-leh eh-tsee ah-
kxah-ee.
MINNIE MINNIE
He’a possum around you, he’s Thee-eh ah-kee-xeh seen-shdah
like a rabbit to me... ween ah-kxah-ee, ahn-zhee wee-
eh mahn-shtseen-kah ween eh-
kohn ah-kxah-ee.
RETA RETA
Be quiet. Coyote’s watching. Oh-nee theen-kah. Shohn-meen-
kah-see dohn-peh ah-kxah-ee.
(They all look at him.)
MINNIE MINNIE
He wants our money. Mahn-zeh-skah ahn-koh-dah-
pee kohn-thah ah-kxah-een
MOLLIE MOLLIE
Of course he wants money, but Mahn-zeh skah kohn-thah skah,
he wants to be settled. He’s ah-zheen meen-lahn-keh kohn-
not restless... thah ah-kxah skah. Eh dah-eh-
thah-leen ah-kxah-een.
MINNIE MINNIE
With him you won’t need Pitts Zo-thah-leh, Pitts Beaty dah-
Beaty to tell you what to do dah(n) thee-dah oh-thoh-wah-
with your money. theh shkoh(n)-shdah ee(n)-kee
dah(n).
RETA RETA
His Uncle has money... it’s Een tseh-kee ah-kxah mahn-zeh-
not money he wants... he skah ah-theen ah-kxah-een…
loves you. Mahn-zeh-skah een-kee ah-kxah-
een…
Thee-oh-xdah-peh
CU. MOLLIE looks at Ernest.
KOTFM - Final Shooting Script - August 10, 2022 25.
CU. ERNEST looks at Mollie.
Ratings
Scene 7 - Ernest and Mollie's Proposal and Wedding
Ernest and Mollie parked out away from Mollie’s house, like
teenagers making out in the back of the car. She puts his
hand on her stomach, looks down at it.
MOLLIE
Your hand looks on my skin...
ERNEST
You’re going to marry me Mollie. I
want you to be my wife.
Will you do that?
They kiss.
HALE (V.O.)
...Can you stand her?
ERNEST (V.O.)
She’s easy to like.
32 SOMEWHERE 32
HALE
Will she be intimate with you when
you need that? Whenever you desire
that?
ERNEST
Yes. She’s... she’s not a nag...
she’s... I love this girl, Mollie,
Uncle, I really do think she’s a
lady...
HALE
You found a wife.
33 EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME – DAY – SUMMER 1919 33
A GROUP OF YOUNG OSAGE RUN in a FOOTRACE toward a DECORATED
CAR carrying Mollie dressed in full WEDDING REGALIA. A RUNNER
reaches Mollie first and they all celebrate. CU MOLLIE.
CUT TO:
KOTFM - Final Shooting Script - August 10, 2022 26.
UNDER AN ARBOR, THE TRADITIONAL OSAGE LEADER BLESSES in OSAGE
the newly married Mollie and Ernest. Witnessed by all of Gray
Horse and Fairfax. An Osage style reception. Extended family
and Kelsie Morrison and Catherine Cole. The BIGHEARTS: GRACE
and JOHN (wearing his traditional roach) and BERTHA and JOE.
A JUSTICE OF THE PEACE holding a BIBLE stands with Bill Hale.
TRADITIONAL OSAGE LEADER crossfades with Bill Hale’s voice:
his own blessing:
HALE
I’ve known Mollie and her sisters
since they were little girls
running around making trouble... I
just want to say on behalf of my
wife Myrtle and my daughter Willie,
I’m just so glad a member of my
family is mixin’ with the great Pah-
soo-oh-leen. Mollie’s dear departed
father, Nah-kah-e-se-y, was my
beloved friend of the heart. He
used to tell the white men to just
call him Jimmy, but I called him by
his proper name...
As Hale’s voice continues, we see -
Ratings
Scene 8 - Minnie's Prayer at the Osage Giveaway
Mollie presiding over an Osage “giveaway”. A HORSE decorated
with blanket is presented to THE TRADITIONAL LEADER as a
gift. Lizzie straightens up her daughters’ wedding coats and
An Osage woman takes a photo of wedding party with the LATEST
CAMERA.
Band playing (white music) - people dancing - noticeably
Kelsie.
Hale’s POV. He goes through the crowd - glad handing like a
politician – but focused on Minnie who looks weak and Bill.
He reaches them ignores Bill Smith - there’s tension:
HALE
What do you need for, Minnie?
MINNIE
No. Sir.
HALE
You’re well taken care of? You have
proper medicines?
KOTFM - Final Shooting Script - August 10, 2022 27.
MINNIE
Yes.
HALE
Because I want you to know that you
have the best care if you need... I
don’t want you to be afraid.
MINNIE
(tearing up)
HALE HALE
So many troubles. What we’ve So many troubles. What we’ve
brought on you... I’m brought on you... I’m
sorry... I hear it in the sorry... Tah-tseh kee eh ah-
wind, it screams like a woman nahnk-’ohn, wahk’-oh ween
who has the evil spirit, nahn-xeh hohn-zhee ah-theen
that’s what you Osage say... tseh eh pahn eh-kohn, that’s
what you Osage say...
Hale invokes an Osage prayer for Minnie... All the while,
freezing out Bill Smith... who looks away.
HALE (CONT'D) HALE (CONT'D)
Great Mystery Wah-kohn-dah
Remove the sickness from her Hoo-heh-kah lah-theen hah
Remove the evil spirit from theh wah-thah-kshee.
her Nah-keh hohn-zhee lah theen
You bless those who are sick hah theh wah-thah-kshee.
I want you to bless Minnie Hoo-heh-kah than-ka thee-
Amen thahk’-eh wah-thah-kshee.
Minnie, thahk-eh thahk-shee
kohn-brah meen-ksheh
Kah-sheh-nahn
Hale’s Prayer continues over the next scene.
CUT TO
35 B/W HOMES MOVIES OF OSAGE 35
FOOTBALL GAME featuring one OSAGE FOOTBALL PLAYER coming at
us. Hale’s Osage prayer fades away as we hear Mollie’s voice.
CUT TO:
MOLLIE (V.O.)
JOHN WHITEHAIR.
Age 23. No investigation.
KOTFM - Final Shooting Script - August 10, 2022 28.
36 FOOTBALL PLAYER LAID OUT ON A BED DEAD. 36
37 NEWSREEL FOOTAGE BILL STEPSON FAMOUS OSAGE ROPER, DOING A 37
ROPING TRICK.
CUT TO:
MOLLIE(V.O.)
BILL STEPSON.
Age 29, No investigation.
38 BILL STEPSON LAID OUT DEAD. 38
39 HOME MOVIES OF ANNA SANFORD, FULL BLOOD, AND HER FAMILY. 39
Family picnic, kid in stroller, OR other family activity
MOLLIE (V.O.)
ANNA SANFORD.
Age 41, No investigation.
40 ANNA SANFORD LAID OUT DEAD. 40
CUT TO:
41 HOME MOVIES OF ROSE LEWIS LAUGHING WITH FRIENDS. 41
MOLLIE (V.O.)
ROSE LEWIS: Age 25, No
investigation.
42 ROSE LEWIS BODY FLOATING IN A MARSH. 42
43 SARA BUTLER, AGED 21, BEAUTIFUL AND PREGNANT IS SITTING ON 43
HER FRONT LAWN, PLAYING WITH HER INFANT BABY.
MOLLIE (V.O.)
And Sara Butler... Age 21...
KOTFM - Final Shooting Script - August 10, 2022 29.
She is suddenly shot. WHITE MAN comes out of the house, walks
over to her, places a GUN next to her as if it’s a suicide
and takes the infant baby inside.
MOLLIE (V.O.)
...suicide.
We see SARA BUTLER’S body on the ground.
Ratings
Scene 9 - Mourning and Conversations at Minnie's Wake
MINNIE has died. It’s a year later.
MOLLIE (V.O.)
MINNIE, my sister, Wasting illness.
(I can’t understand.)
Mollie and her sisters mourning over Minnie who has recently
died. Lizzie is close by in mourning.
TIME CUT:
45 INT. MINNIE’S HOUSE - 45
Minnie’s wake. Her open casket sits in room off the
livingroom. She is dressed in her finest Osage traditional
clothing. A feather sits on her chest. LIZZIE touches her
hands, her chest, her head, then her own heart and head.
In the living room, family and friends milling around the
house. Ernest, his wardrobe completely transformed, dressed
like a dandy. Bow tie, colorful wardrobe touches, is waiting
in the living room.
Bill Smith comes from the kitchen.
Ernest and Bill Smith look at each other a little, odd,
tense.
BILL SMITH
Ernest would you mind sitting
outside?
ERNEST
Why’s that?
BILL SMITH
Because that’s just the way it’s
going.
KOTFM - Final Shooting Script - August 10, 2022 30.
There’s people around... Ernest gets up and moves to the
porch.
46 EXT. MINNIE’S HOUSE 46
Bill Hale is here with Anna. He slips her a FLASK. She walks
away. Ernest sits with him.
HALE
It shows itself to you that Bill
Smith didn’t take the care of
Minnie the way he could have?
... To have her sick and die to
take her headrights and her land?
ERNEST
mm.
HALE
That should go to her sisters, your
wife… by rights that should go to
Mollie.
...With these women dying, with how
Osage suffer from illness… you will
make it the headrights come to you.
That is sensible and safe, you see?
ERNEST
Yes.
HALE
How is Mollie feeling?
ERNEST
Alright. She takes care of the
little one...
HALE
That’s the Osage way. They’ll
tolerate anybody - even whites -
for their children. That’s their
riches.
ERNEST
She’s sick with diabetes most days,
you know.
HALE
Yes of course she is. It’s just
waiting on this clock to stop... if
she’s lucky. If not...
(MORE)
KOTFM - Final Shooting Script - August 10, 2022 31.
HALE (CONT'D)
well suffering is a long, needless
road... Like it said in Job, “the
days of affliction have taken hold
upon her... “ This diabetes is a
trial to bear... Don’t have to be
but it is.
CU. HALE looks at Ernest. Ernest looks back, then away…
HALE (CONT'D)
The Mother, Lizzie…
47 LIZZIE HELPED OUTSIDE BY HER DAUGHTERS TO GET AIR. 47
Mollie is carrying her first child ELIZABETH. They sit Lizzie
down make her comfortable. Young Osage help their Elders get
food, get comfortable.
HALE (V.O.)
Most Osage don’t live past 50, she
won’t last.
48 BACK TO HALE - 48
After her... Reta... Anna...
Then of course, there’s Mollie.
ERNEST
Well, Mollie - she’s sick but she’s
strong, King.
HALE
I know she’s strong now, but
later... Think of our children. Our
grandchildren...
CU. ERNEST listens to all this.
HALE (CONT'D)
Now Anna - Carries a gun in her
purse for heaven’s sake, did you
know that?
(laughs)
KOTFM - Final Shooting Script - August 10, 2022 32.
49 INSERT: ANNA, DRUNK, IN TOWN, AT NIGHT, REACHES IN HER 49
ALLIGATOR PURSE, PULLS OUT A GUN AND IS THREATENING A DRUNK
WHITE MAN WHO GRABBED HER. SHE FIRES THE GUN ON THE GROUND IN
FRONT OF HIM.
HALE
I love her but - she’s gonna pick a
fight with the wrong person one
day, won’t she?
50 HALE AND ERNEST LETTING THIS SETTLE 50
Ratings
Scene 10 - Lizzie's Concern and Aunt Annie's Racism
CHARLES WHITEHORN, (20s OSAGE) wearing distinctive clothing
IS SHOT. He is dragged away and dumped.
52 EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME - DAWN 52
Mollie and daughter Elizabeth praying at dawn by a creek.
They walk back to their home... which is now over-run with
Fancy Cars parked out front, painted various colors --
53 INT. LIZZIE/MOLLIE’S GRAY HORSE HOME - QUIET SPOT - MORNING 53
Mollie is holding her new baby, JAMES “COWBOY” and blowing
SMOKE in his ear to soothe an earache. Ernest is with
Elizabeth. All sitting together. Mollie and Ernest are
telling an Osage story.
MOLLIE/ERNEST
...Coyote said to Whirlwind,
‘That’s a beautiful name, I want to
marry you.’ And she said, ‘No, I’m
too young.’ She said, “Well, you’ve
got a funny face, you got some
funny looking arms, your tail is
kind of funny and I really don’t
want to marry you.’ And Coyote
said,‘Oh but it would be damaging
to our reputations if we don’t get
married.’ And she said, ‘Well,
okay’.
(MORE)
KOTFM - Final Shooting Script - August 10, 2022 33.
MOLLIE/ERNEST (CONT'D)
Then Coyote tried to grab her and
she took off and picked him up and
carried him in the air and took him
far away... and dropped him.
“There,’ she said, ‘when I say
something you will remember what I
said.’ And she left, and Coyote
ended up choking on that dust she
left behind.
We see the four of them together as a family. Mollie’s voice
carries over into the next scene.
54 EXT/INT. LIZZIE/MOLLIE’S GRAY HORSE HOME – SAME MORNING 54
Byron is asleep on the porch, he gets up - goes in the house.
Horace comes out of the back bedroom with his two kids. From
another room we see DUKE BURKHART come out. All getting
ready for breakfast.
JAMES “COWBOY”, is carried to a high chair by MARTHA, the
servant.
A visiting AUNT ANNIE and UNCLE JIM are there.
Lizzie, her eyes closed, is on the floor to the side.
CUT TO:
55 OWL DREAM (OWL IN THE EMPTY HOUSE?) 55
OWL in the house.
CU. LIZZIE - she opens her eyes. She’s looking at all these
people in her house.
Mollie comes over to her, in Osage, subtitles:
LIZZIE LIZZIE
Did you see the Owl? Wah-poh-kah ee-thah-theh?
MOLLIE MOLLIE
No. hahn-kah-zhee.
LIZZIE LIZZIE
When you do it’s a sign that Ee-thah-theh thah-hah oh-
we are dying. peh-nee eh ahn-xee-thah
ahn-kah-kxah-een.
KOTFM - Final Shooting Script - August 10, 2022 34.
MOLLIE MOLLIE
We are dying. Ahnts’eh tah ah-pah.
LIZZIE LIZZIE
Because of you... You all Thee-eh dahn … een shdah-xeen
marry white men. Our blood is wah-shtsoo-xah-peh. Wah-peen
getting white. Where’s Anna? ahn-koh-dah-pee ah-kxah
I want Anna. skah ah-hee-peh. Hoh-wah-
een-kee Anna? Anna konbrah
meenk-sheh.
MOLLIE MOLLIE
I’m here. Sheh meen-ksheh.
LIZZIE LIZZIE
I don’t want you, I want Thee-eh konbrah mah-zhee
Anna. meenk-sheh, Anna konbrah
meenk-sheh.
The AUNT ANNIE looks at Cowboy and the daughter Elizabeth:
AUNT ANNIE
... huh... This one’s more white
than that one... You’d hardly know
this one’s a half-breed would you?
Ratings
Scene 11 - Anna's Aggressive Visit to Gray Horse Home
An hour later and Anna pulls up in a cab, gets out and is
clearly very drunk in the middle of the day...
Ernest, by a well, sees her wobble up to the house...
ANNA ANNA
Are you laughing? Ee-thah-xah?
ERNEST ERNEST
Not yet... but... Hahn –kah-zhee…ahn-zhee…
Mollie, from the window of the house, sees Anna and comes
out... in OSAGE/ENGLISH MIX:
ANNA ANNA
I brought blankets for Momma. Hah-xeen toh-eh ee-nahn ah-
breen ah-tsee-eh.
MOLLIE MOLLIE
You’re drunk already? Ee-toh, thah-lohn-shtseen
shtsee- shtahn?
KOTFM - Final Shooting Script - August 10, 2022 35.
ANNA ANNA
I’m still drunk from last Hahn tsee tah ah-lohn-breen
night, you woke me up. shohn ah-theen-heh ahn-shchee-
xeen peh.
MOLLIE MOLLIE
Stay outside a little, don’t Kah-txahn ah-shee tah wah-
let Momma see you this way. spah, ee-nahn theh-kohn ee-
thee-thah theen-kah.
ANNA ANNA
I’m just lay with her, don’t Eh ah-zhahn meen-ksheh. Ahn-
fuss on me, Mollie… wahn-kee-ah theen-gah, wee-
deh-zheen
57 INT. LIZZIE/MOLLIE’S GRAY HORSE HOME – THAT MOMENT 57
They enter and all the Burkharts turn and see the hot-mess of
Anna. She makes a straight line for Byron…
Ernest enters the house, watching uncomfortable the whole
tense interaction that is a mix of Osage/English:
BYRON
Hello, Anna. You steady?
ANNA
I’m pickled. Do you have any
whiskey?
BYRON
You drank it last night.
ANNA
My man can drink my whiskey --
BYRON
I’m not your man…
ANNA
You maybe don’t have a choice...
BRYAN BRYAN
Are you making threats? Keep Kee-dah-keh ee-eh shkah-xeh
yourself settled down in thah-een-sheh? Keep yourself
here, Anna, no one wants a settled down in here, Anna,
mess. Oh’-ee-eh tseh peh kon-thah
een-keh.
KOTFM - Final Shooting Script - August 10, 2022 36.
ANNA
You’ll do right.
ERNEST ERNEST
You’re making threats, Anna. You’re making threats, Anna.
Don’t do that. Eh-kee-ohn theen-kah.
ANNA ANNA
(to Ernest) (to Ernest)
You can’t talk - you’re no Ee-eh shtsoo-ts’ah-keh thah-
different...(to Byron) I’m txahn-sheh – thee-eh kohn-zeh-
telling you a secret that you kohn thah-txahn-sheh.(to
don’t know... You think I Byron) I’m telling you a
open my legs for any man? secret that you don’t know...
You think I open my legs for
any man?
BYRON
I get that feeling.
She smacks him, he laughs a little. Ernest jumps in, Mollie
comes over and ushers her away, it turns messy –
Aunt Annie watching the whole scene, shaking her head.
Things settle.
Byron gets up and moves to get another drink from Martha,
who’s scared:
BYRON (CONT'D)
(whispering to her)
You’re so pretty. You know me?
MARTHA
Yes.
BYRON
What do you know?
Anna comes over and starts throwing punches -- Ernest and
Mollie attempting to calm things:
ANNA
Fuck yourself Byron Burkhart.
(to Martha)
You want I’ll cut you, talking to
my man?
BYRON
I’m not your man, I’ll do as I
please.
KOTFM - Final Shooting Script - August 10, 2022 37.
ANNA
If I see you with any woman I will
kill that woman and then I will
kill you.
BYRON
You’ll have to kill me before I
kill you.
Anna goes for the gun in her purse. Ernest stops her and
pushes Byron out of the house --
MOLLIE MOLLIE
Don’t scream in the house. Tsee tah ho-tahn theen-kah.
Don’t scream in front of the Zheen-kah-zheen ah-kee-xeh ho-
children. tahn theen-kah.
ANNA ANNA
Stay away from these white Stay away from these white
women. Stay away from this women. Stay away from this Wa-
prostitute. co-no-ho(n).
CUT TO:
Ratings
Scene 12 - The Suspicion of Charlie Whitehorn's Death
Byron and Ernest outside, quiet moment smoking a cigarette:
BYRON
Did you hear they found Charlie
Whitehorn dead?
ERNEST
Ay. Who did that?
BYRON
I don’t know.
ERNEST
...his wife?
BYRON
Most likely.
PAUSE, THEN, RE: ANNA.
BYRON (CONT'D)
Time for me to take her home now.
ERNEST
(nods)
KOTFM - Final Shooting Script - August 10, 2022 38.
59 INT. LIZZIE/MOLLIE’S GRAY HORSE HOME - LIZZIE’S BEDROOM – 59
LATER
Anna is sobering up, laying with her mother Lizzie.
In Osage, subtitles:
LIZZIE LIZZIE
You’re wild. Dah-eh-thah-leen-zhee thah-
een-sheh.
Anna smiles and then there’s a BANG ON THE DOOR.
ERNEST (OC) ERNEST (OC)
Anna. Time to leave. Anna, mahn-theen eh-dxahn.
LIZZIE LIZZIE
You’re my best blessing. Thahk’eh-ahn-kee-theh oh-
tsee wee-dah neenk-sheh.
ANNA ANNA
I’m your favorite? Kee-oh-xtah ahn-shkah-xah-
peh?
LIZZIE LIZZIE
Yes. Stay with me here. Ahn-hain. Theh-kah zhoh-ahn-
leh wah-spah.
Ernest bangs again.
ANNA (IN ENGLISH)
STOP BANGING.
CUT TO:
60 INT./EXT. LIZZIE/MOLLIE’S GRAY HORSE HOME - UPSTAIRS – THAT 60
MOMENT
Anna comes out and Ernest is there, she gets a little surly.
ANNA
Time for me to go, Ernest?
ERNEST
Yes.
ANNA
You don’t want me here, do you? You
want to get rid of me, snake. tsk
tsk. You’re afraid I’ll say too
much.
KOTFM - Final Shooting Script - August 10, 2022 39.
She wobbles down the steps... Mollie comes to her and they
have a tender moment, speak Osage, subtitles:
MOLLIE MOLLIE
Please go home and sleep, Thah-leh zhahn thah-leen, eh-
don’t go tsee tah mahn-theen theen-
out. You’re my wealth... kah. Oh-thoh-xdah we-dah thae-
sheh
ANNA ANNA
Don’t worry little sister. Oak-ka shea-ga inka, wee-day-
jee.
MOLLIE
(to Ernest)
Get her straight home.
61 EXT. BYRON’S CAR 61
Ernest helps Anna into Byron’s car. Byron’s at the wheel.
ANNA (TO BYRON)
Let’s go find another drink...
CU. MOLLIE having come down the path - anxious -
ERNEST
(to Mollie) Byron’s got her! He’ll
get her home.
Ernest and Mollie go inside. Car pulls away.
62 MOLLIE’S POV, WIDE SHOT 62
The car heads to Fairfax.
CHIEF BONNICASTLE (V.O.)
I want to present to the council
the matter of two murders that have
occurred within the last few days.
63 MONTAGE: DAY ANNA’S BODY FOUND: MOLLIE AT DAWN, PRAYING. 63
KOTFM - Final Shooting Script - August 10, 2022 40.
64 INT/EXT: TERRACE OF BON BON CAFE - DAY 64
Sheriff comes to find Mollie treating her kids to French
pastry.
65 INSERT: MOLLIE IS DRIVEN TO THREE MILE CREEK. 65
CHIEF BONNICASTLE (V.O.)
The Osage are in terror. There is
only fear.
66 EXT: THREE MILE CREEK - DAY 66
Ernest is here and half the town already.
CHIEF BONNICASTLE (V.O.)
I present this matter to the
council for consideration -
MOLLIE’S POV – She walks towards the murder scene, all the
faces look TOWARD CAMERA at her... She looks down and sees a
Wooden Box being pulled up from the dry river bed.
CHIEF BONNICASTLE (V.O.)
- and for any action that they may
see fit to take in the matter...
67 ERNEST HOLDING MOLLIE LOOKING. ANNA’S BODY ON A MAKESHIFT 67
TABLE.
UNDERTAKER TURTON
Is that your sister Anna Brown?
Mollie identifies Anna’s body.
68 TIME CUT: THEY WATCH THE MAKESHIFT AUTOPSY. HALE COMES OVER 68
AND CONSOLES HER.
KOTFM - Final Shooting Script - August 10, 2022 41.
69 INSERT: CHARLIE WHITEHORN’S BODY IS FOUND BY SOME OIL WORKERS 69
DAYS AFTER BEING SHOT.
CHIEF BONNICASTLE (V.O.)
These two members of the tribe,
Anna Brown and Charles Whitehorn
have been murdered and were found
almost at the same time, although
in different parts of the County.
CUT TO:
Ratings
Scene 13 - The Osage Tribe's Emergency Meeting
CHIEF BONNICASTLE (40s, Osage) leads the meeting…
CHIEF BONNICASTLE
The inquest showed that these two
Indians had been killed days before
they were found...
71 CUT TO MOLLIE, LISTENING. 71
CHIEF BONNICASTLE
In the case of Anna Brown funds is
being raised by the family here on
the West Side of about $2000 to
$5000 reward for the arrest and
conviction of the murderer. Mollie
Burkart has hired a Private
Investigator.
MOLLIE
Yes.
CHIEF BONNICASTLE
We will now hear from Paul Red
Eagle...
PAUL RED EAGLE
The big amounts of money which the
Osage receive have brought to the
County a very undesirable class of
citizens. They are a flock of
buzzards who steal from us. Some of
these have married our young women.
SEE: ERNEST, he looks around.
KOTFM - Final Shooting Script - August 10, 2022 42.
CHIEF BONNICASTLE
I employ some of them. But I don’t
know if they are really my friends.
They say they are. Some don’t even
pretend to work. These people are
bums - ish-tak-hi - white people -
common vags.
72 INSERT: KELSIE MORRISON, BYRON BURKHART, BLACKIE THOMPSON 72
POSING IN PORTRAIT STUDIO [LIKE THE REFERENCE PHOTO OF YOUNG
HALE & HIS COWBOY BUDDIES].
73 BACK TO TRIBAL COUNCIL MEETING - 73
PAUL RED EAGLE
We cannot depend on the county or
state officials. We need your help.
Each member of the tribe is to
clean up their homes themselves.
BILL SMITH, Minnie’s widower, sits down next to RETA, she
comforts Bill.
CHIEF BONNICASTLE
Murder, we’re being murdered by
these ishtakhi. There are so many
dead now....
BILL HALE rises and says:
BILL HALE
I’d like to add $1000 to that
reward for any information about
these murders. That means if you
know something about this, you come
and see me, you all know I’m easy
to find -
CHIEF BONNICASTLE
Thank you, Mr. Hale. Your
friendship has always been greatly
appreciated... I move that we use
tribal funds to send Mr McBride to
Washington DC.
PAUL RED EAGLE
I second the motion.
CHIEF
Is Mr. Barney McBride here?…
KOTFM - Final Shooting Script - August 10, 2022 43.
BARNEY MCBRIDE
Yes, Chief, I’m here...
A man stands up: BARNEY McBRIDE (50s, white) (married to
Osage) stands up.
CHIEF BONNICASTLE
Mr. McBride, good afternoon...
Resolution 23. Barney McBride will
travel to Washington D.C. and meet
with the Indian Affairs Commission
to ask for investigators and
additional police in this matter of
all this death. Do you accept this?
BARNEY MCBRIDE
Yes I do.
CUT TO:
Mollie and Ernest as the meeting breaks up.
ERNEST
That’s going to cost more than your
annuity payment. The tribe should
take care of that not you.
(love...)
MOLLIE
Most of it will go to Pitts Beaty’s
guardian payments otherwise...
[BEAT] Ernest? You think I’m
incompetent?
ERNEST
No. (love)
MOLLIE
We’re going make you my guardian -
that way it stays in the family.
Ratings
Scene 14 - Ernest Argues with Undertaker over Funeral Costs
Ernest and Mollie waiting out front. Reta approaches with
BILL SMITH on her arm.
ERNEST
Bill.
BILL SMITH
How are you, Ernest?
KOTFM - Final Shooting Script - August 10, 2022 44.
ERNEST
You’re here now, huh?
BILL SMITH
Reta was a comfort to me when
Minnie died.
75 INT. FURNITURE STORE/BACK ROOM UNDERTAKER – DAY 75
Mollie and Reta are with a CLOSED CASKET holding Anna’s body.
Ernest in the front of the shop.
ERNEST
Hey, listen, leave the jewels be on
this one.
UNDERTAKER TURTON
(hushed)
Oh I do it so nobody knows.
ERNEST
C’mon, Frank. Just leave it be this
time.
(looking at the bill)
$10 for grave digger gloves, $25
hearse rental, you’re charging
Osage prices you think I’m thick?
UNDERTAKER TURTON
No. (It’s same price for
everyone.)
ERNEST
McAllister’s entire funeral didn’t
cost more than $300. This is
$2000.
UNDERTAKER TURTON
McAllister’s girl was a youngster –
ERNEST
I’m gonna tell Hale you’re charging
me Osage prices.
UNDERTAKER TURTON
We can do a wooden box if you’d
like –
KOTFM - Final Shooting Script - August 10, 2022 45.
ERNEST
I don’t want a wooden box, you’re
charging Osage prices, tell me
you’re not.
UNDERTAKER TURTON
Your wife even wanted an open
casket -
ERNEST
There’s no face. Why would she want
it open?
(reading)
$25 dollar emblame (sic)
preparation – you’re stealing our
money.
UNDERTAKER TURTON
It’s not your money - just get more
money for the bill – doesn’t hurt
you. I work for my money like the
good Lord said. Sow and reap,
Ernest, Sow and reap. Did you ever
see an Osage work?
ANGLE, OVER RETA AND MOLLIE, ONTO THE COFFIN HOLDING ANNA’S
CORPSE.
CU. THE TWO SISTERS looking down.
Ratings
Scene 15 - Execution of Anna's Will and Introduction of Private Detective
Mollie & Ernest and Reta & Bill are sitting with SCOTT MATHIS
(white, 40s) executing Anna’s will. He’s showing them a
ledger.
SCOTT MATHIS (V.O.)
Your sister Anna leaves an estate
of approximately $100,000... This
is willed to your mother Lizzie Q
and you, Mollie, and you, Reta...
SCOTT MATHIS
This is Anna’s last annuity. Out of
respect, in the name of the Big
Hill Trading Company, Bill Hale has
waived our fee.
He hands checks to Bill and Ernest.
KOTFM - Final Shooting Script - August 10, 2022 46.
SCOTT MATHIS (CONT'D)
(to Ernest) Now that you’re
Mollie’s guardian, best of luck
with it, Ernest.
(to Mollie)
I heard Tall Chief hired The Emmett
Miller Minstrel Show to come and
play his birthday party. You all
could do that with this gravy
you’ve got here. Have a party for
the whole town...
Scott continues to blather on...
MOLLIE’s voice is heard:
MOLLIE (V.O.) MOLLIE (V.O.)
It doesn’t do to talk to this Nee-kah theh oh-kee-eh oh-kah-
man. keh-een-keh
77 EXT. FAIRFAX STREETS – TRAIN DEPOT – DAY 77
CU. MOLLIE, as she walks through the crowded streets with
Ernest by her side. He guides her by the arm. CAMERA as her
POV seeing a never ending collection of WHITE FACES. (note:
the following voiceover from SUNDOWN by JJ Mathews)
MOLLIE (V.O.) IN OSAGE MOLLIE (V.O.)
Evil surrounds my heart. Hohn-zhee thahn-tseh wee-dah
Many times I cry and this ah-kee-xeh ah-kxah. Ah-xah-
evil around my heart comes keh shee-nahn kah-thohn hohn-
out of my eyes, and I say it zhee theh thahn-tseh wee-dah
is gone, this evil, but again ah-kee-xeh een-shdah wee-dah
it comes. ee-dahn ah-hoo-eh, koh-eh eh
theen-keh ep-sheh, hohn-zhee
I close my heart and keep theh, ahn-zhee shee ah-hoo ah-
what is good there, but hate pai.
comes… Thahn-tseh wee-dah ah-pee-
sahn meen-ksheh koh-eh eh-
tsee dah-dahn thah-leen kee-
tseh-theh meen-ksheh, ah-
zheen ee-see ah-hoo...
Mollie watching for someone, all the Speculators, Vagabonds,
Hustlers jumping off the arriving train.
Ernest amongst them, looking for someone…
KOTFM - Final Shooting Script - August 10, 2022 47.
MOLLIE (V.O.) MOLLIE (V.O.)
My heart is cold and I say I Thahn-tseh wee-dah nee-tseh
ought to kill these white men ah-kxai kah-thohn een-shdah-
who killed my family. xeen ah-pah tsee-leh wee-dah
ts’eh-thah-peh, eh ts’eh-ah-
theh thah-leen ehp-sheh.
One of the men getting off the train: PRIVATE DETECTIVE
WILLIAM J. BURNS with mustache walks up:
WILLIAM J BURNS
Mrs. Burkhart?
MOLLIE
Yes.
WILLIAM J BURNS
Bill Burns. I solve crimes. This
is my card.
He hands over his card.
CU. CARD, lists all these cities:
WILLIAM J BURNS (CONT'D)
My address is New York, London,
Paris, Montreal, Chicago, Los
Angels, Cairo, Berlin, Boston and
wherever else a law-abiding citizen
may find need of men who flush out
criminals that prey upon those who
walk straight.
Ratings
Scene 16 - William J Burns Discusses Anna's Death with Mollie and Ernest
William J Burns talking to Mollie, Ernest is sitting here,
listening:
WILLIAM J BURNS
Funny it’s been two weeks and still
no one from the Sheriff’s
department has been to Anna’s place
to corroborate Byron’s story. I
stopped by - found her alligator
purse there, though. Which means
Byron’s not lying - he brought her
home.
ERNEST
My brother’s not a liar.
KOTFM - Final Shooting Script - August 10, 2022 48.
WILLIAM J BURNS
...your youngest sister Minnie, who
died of wasting illness two years
ago was married to Bill Smith...
MOLLIE
Yes.
WILLIAM J BURNS
And that is the same Bill Smith
that is currently married to your
sister... Reta?
MOLLIE
Yes.
WILLIAM J BURNS
Same Bill Smith?
Same Bill Smith, two sisters?
79 EXT. FAIRFAX TOWN – FLASHBACK DAY 79
BILL and RETA SMITH exiting Sheriff Freas’ office.
WILLIAM J BURNS (V.O.)
He’s busy with his own
investigation into Anna’s death...
80 BILL AND RETA TALKING TO THE CAB DRIVER THAT DROVE ANNA THE 80
DAY OF THE MURDER...
CAB DRIVER
We didn’t go straight there –
BILL SMITH
Where’d you go?
CAB DRIVER
Graveyard out past Florers. She
wanted to look at her land then she
wanted to visit her Father.
81 INT. CAB – DAY - FLASHBACK 81
The cab has pulled over at GRAY HORSE CEMETERY, Anna in the
backseat. She takes a last drink from the flask Hale gave
her.
KOTFM - Final Shooting Script - August 10, 2022 49.
ANNA
I can’t see my Daddy with my hair
flying…
She fixes her hair, leans in and says:
ANNA (CONT'D)
Did you know I was going to have a
little baby?
BOB
Oh my goodness, no.
ANNA
It’s true.
CUT TO:
Ratings
Scene 17 - Investigating Anna's Murder
Anna stumbles across the graves. She arrives at her
FATHER’S HEADSTONE, places some flowers down.
83 INT. CAFE - CONTINUED 83
Back to Mollie, Ernest and William J Burns:
WILLIAM J BURNS
Did you know she was pregnant?
Mollie doesn’t answer.
84 INT. POOL HALL – DAY 84
Flashforward: Ernest plays double agent for Hale.
ERNEST
Anna was pregnant...
CU. HALE - Hale considers this.
HALE
He say Byron? Me? [beat] You make
sure we steer clear of that.
KOTFM - Final Shooting Script - August 10, 2022 50.
85 EXT REX MOVIE THEATER 85
Bill and Reta visit with the theater manager asking
questions. People are on line.
WILLIAM J BURNS (V.O.)
Smith’s a busy boy talking around
town…he says he has a pretty good
idea who killed your sister... says
he’ll tell all when he has the true
facts...
CU. BYRON BURKHART watching Bill Smith’s investigation from
inside a shop window.
86 INT. CAFE – CONTINUED 86
Back to Ernest and Mollie:
ERNEST
What’s he found out?
WILLIAM J BURNS
Well I just don’t know that part.
87 INT. POOL HALL – DAY 87
Hale and Ernest talk quietly in the half empty pool
hall/barber shop.
HALE
What’s he found out?
ERNEST
Nothing. I’ll go see Blackie...
HALE
...on that what we talked about...
ERNEST
About it, yes.
HALE
To see what he may say on that…
KOTFM - Final Shooting Script - August 10, 2022 51.
88 EXT. GRAY HORSE CEMETERY – NIGHT 88
AN EXPLOSION. Blackie and another figure behind a gravestone
run.
89 OMITTED 89
A90 EXT. OSAGE CAVES – DAY A90
Ernest RIDES A HORSE to a CAVE AREA and asks A GROUP OF
OUTLAWS (6 or 7) where Blackie is.
CUT TO:
INT. A CRIMINAL HANGOUT AMIDST CAVES, a spot to stash stolen
goods and hang out. Ernest and Blackie drink whiskey.
Ernest is touching the jewels -
ERNEST
Disgusting these Osage graves - lot
of trouble and it’s dirty. You want
something to pay big? Can’t keep
doing work with these trouble boys.
You’ve gotta use your head,
Blackie, think. Hale was thinking
we could be partners. Bill Smith -
he going around talking a lot.
(Quieter) I mean if someone were to
knock off Bill Smith and Reta, too,
all that Estate would go to my
mother-in-law Lizzie Q... and she
wills it to my children. That’s a
good deal, that.
BLACKIE THOMPSON
For you.
ERNEST
For all. Smith and her gone a lot
from home and you just go down and
plant a stand in the house and when
they come in – get them, they’ve
got, Reta’s got three or four
diamonds and some ear screws and
Bill Smith he’s got rocks. He
always carries two or three hundred
in his pocket and you could get
that...
(MORE)
KOTFM - Final Shooting Script - August 10, 2022 52.
ERNEST (CONT'D)
you can keep that, and I know this
for sure, Hale would pay you a
thousand for the job.
Does that sound like a good one to
you, Blackie?
BLACKIE
...
ERNEST
Now, I been thinking... you know my
little Buick Roadster - that little
red one you’ve got your eye on? How
‘bout I throw in you take my Buick
Roadster, it’s insured more than
it’s worth – I get the insurance
you get the Buick. But that’s just
a favor. That’s just between us.
That’s generous.
BLACKIE THOMPSON
God damn you’re a greedy Jew.
ERNEST
I just love money! It’s true. It’s
true. I damn near love it as much
as I love my wife! I can’t help
myself once I get thinking on
things -
Ratings
Scene 18 - Mollie's Health Concerns and Blackie's Theft
CAMERA follows the silhouette of BLACKIE THOMPSON running
across the front yard of Mollie’s homestead --
ERNEST, at the bedroom window, looks down on the Buick
Roadster he’s left in the yard, sees Blackie jump in and
start it up, drive off –
91 MOLLIE WAKES UP AT THE SOUND. 91
Cowboy is sleeping beside her.
MOLLIE
What is it?
KOTFM - Final Shooting Script - August 10, 2022 53.
ERNEST
Lay still. Just some noise.
Raccoon... Are you feeling better
than this morning?
MOLLIE
Little.
ERNEST
(comforting her) You just need
sleep, I tell you. You can’t do
anything without good sleep. That’s
the first thing.
MOLLIE
I don’t sleep anymore...
ERNEST
Now. Rest, love...
MOLLIE
Where are you?
ERNEST
I’m right here.
MOLLIE
Are you?... I don’t even know if
you love me anymore...
ERNEST
C’mon now, what do you mean?
MOLLIE
You haven’t been here. I need you
here.
ERNEST
I’m right here, Mollie.
(kissing her)
ERNEST (CONT'D)
Wioxda. (I love you.)
MOLLIE
Piwithe. (I love you.)
Ernest caresses Mollie.
KOTFM - Final Shooting Script - August 10, 2022 54.
92 EXT. HIGHWAY - DAY 92
Ernest’s car and a police car stopped on the side of the
highway. Blackie is making a run for it in the prairie.
Police chase him.
DAVID SHOUN (V.O.)
They’re calling it ‘insulin.’.
A93 INSERT: FAMILY PORTRAIT #1 A93
Mollie, Ernest, Elizabeth and Baby Cowboy posed for a Family
Portrait.
CUT TO:
93 EXT. TRAIN DEPOT – DAY 93
CAMERA is close on a small wooden box, unloaded from the
train, amidst all the other big ticket items like people,
cattle, large heavy boxes of construction supplies being
unloaded, CAMERA follows this small wooden shipping box
carried by a YOUNG WHITE MAN.
DAVID SHOUN (V.O.)
It’s from Toronto and cost dearly.
There isn’t more than five people
that can afford it. It isn’t
officially for sale yet. But Bill
Hale has seen to it for you. It’s
from a cow’s pancreas....
94 ...HE BRINGS THE BOX INTO FAIRFAX. HE BRINGS THE BOX UP THE 94
STAIRS INSIDE THE BANK TO THE SECOND FLOOR, PAST THE MASONIC
HALL AND INTO THE SHOUN BROTHERS DOCTORS OFFICE.
95 INT. SHOUN’S OFFICE – DAY 95
Doctors DAVID and JAMES SHOUN (white, 40s). James Shoun is
handling a BOTTLE OF INSULIN from the small wooden box.
Ernest is standing next to him, impressed.
DAVID SHOUN (O.C.)
It will come down to us once a
week…
KOTFM - Final Shooting Script - August 10, 2022 55.
ERNEST
That’s it, huh?
Shoun sinking a needle into the bottle.
JAMES SHOUN
Diabetes can be...
96 MOLLIE, LOOKING HEAVIER/SICK, THEIR DAUGHTER ELIZABETH ON THE 96
FLOOR PLAYING.
JAMES SHOUN (O.C.)
Have you eaten in the last hour?
MOLLIE
No.
DAVID SHOUN
Lift your blouse, please.
JAMES SHOUN
Have you had anything to drink?
MOLLIE
Goat’s Milk. Hotcakes.
ERNEST ERNEST
(in Osage) (in Osage)
...And bacon. …wah-shee shkee
ELIZABETH ELIZABETH
And taffy! Zah-Nee Skee!
JAMES SHOUN
If you don’t stop eating sweets,
this won’t matter. You will lose
your feet or worse if you eat like
a white...
He gives her the shot. Ernest helps Mollie get her shirt and
blanket back on.
JAMES SHOUN (CONT'D)
That should help you some.
DAVID SHOUN
If you’d like we can come to you
twice weekly for a small fee...
Ernest helps Mollie.
KOTFM - Final Shooting Script - August 10, 2022 56.
Ratings
Scene 19 - Ernest's Confession and Punishment
BILL HALE has come unannounced to the house. He honks over
and over. Ernest looks out the door, Cowboy behind him -
interrupted their play on the floor. Ernest comes running
out... notices a mood on Hale... Ernest just gets in the car.
They drive off.
98 EXT. FAIRFAX – MASONIC HALL/BANK – DAY 98
They park the car and get out, Ernest follows Hale… [everyday
streetlife around them]
99 INT. MASONIC HALL – BACK ROOM – DAY 99
Hale and Ernest enter a back room. Byron Burkhart is here,
waiting for them.
ERNEST
Byron...
BYRON
Brother...
Hale takes Ernest by the ear and forces him to kneel.
HALE
On your knees.
Ernest kneeling.
HALE (CONT'D)
Did you make a deal with Blackie to
steal your Red Roadster and cash
insurance?
ERNEST
...did I... um? Yes, Uncle, I did.
HALE
Well Blackie has been arrested for
stealing your car... What were you
supposed to do?
ERNEST
To feel them out on Bill and Reta.
HALE
And you got big ideas?
KOTFM - Final Shooting Script - August 10, 2022 57.
ERNEST
Yes.
HALE
Now who takes care of Bill Smith
and his blanket?
ERNEST
I don’t know.
HALE
Bring it to me, please, Byron.
Byron walks as directed and gets a paddle hanging on the
wall. (Masonic type ritual paddle) Byron gives to Hale.
BYRON
Hands and knees, brother.
HALE
I’m a 32nd degree Mason... I’m
imbued with confidence, trust and
responsibility. You don’t have what
it takes to even walk into this
hallowed hall. ... You remember
when you were a child. You behave
like a child now - you get treated
like a child.
Ernest gets paddled by Hale. The first knocks him forward
into chairs. Byron pulls him back up. Then he gives him four
good smacks, Hale grabs Ernest by the hair of his head.
HALE (CONT'D)
Why are you so thick? Follow like
your brother and learn. Get up and
sit there.
They sit, settle, then:
HALE (CONT'D)
You’re to take control of your
home. Do you understand what I
mean?
ERNEST
Yes I do, King.
HALE
Are you challenged to lead your
house?
ERNEST
...
KOTFM - Final Shooting Script - August 10, 2022 58.
HALE
She’s hired a private investigator
who noses and brings unwanted eyes.
She got the Tribal Council to pay
for Barney McBride’s trip to
Washington.
She’s a very hard headed woman and
she’s making things hard on you.
ERNEST
I’m sorry... you know she is just
stubborn.
HALE
Ernest, Handsome son. The
Celestial. We ARE nothing. We’re a
speck of dust in the universe - not
even that. What’s going to happen
to these people. I love them but in
the turning of the earth they will
go. Their time is over. It’s
Destiny. No one has more of a right
than me. I’ve been here a long
time. Way before the oil came. Now
all of a sudden, these people?
These hustlers, these vags? It’s
gonna go to them? They get it? Not
the Osage? Not us?!! They’re taking
advantage of our rights. Osage have
their oil rights. We have our
rights. I own this land. It belongs
to us. Ernest, there will not be no
lightning strike and it stops
happening. It’s going to happen.
These headrights got to go to
Mollie. Not to the Mother. Not her
sister, Reta. Not Bill Smith. Now
take back control of your house.
100 NEWSREEL: TULSA MASSACRE 100
INTERTITLE
Tulsa in Flames!
We see Hale, Myrtle and Willie looking at the newsreel.
Tighter on Hale.
KOTFM - Final Shooting Script - August 10, 2022 59.
Ratings
Scene 20 - Henry's Despair and Hale's Dilemma
HENRY ROAN is being examined by the two DR SHOUNS.
JAMES SHOUN
How you feeling, Henry?
HENRY ROAN
Good. Sometimes I feel sad.
JAMES SHOUN
That’s not a health issue for us.
HALE
He’s fit as a fiddle.
DAVID SHOUN
That he is, Bill. So what are you
going to do... kill this Indian?
HALE
Yes I am. No, no, of course not.
He needs to be insured. It’s just a
formality.
HENRY ROAN
What do I do about my melancholy?
JAMES SHOUN
A little whiskey can help that.
While Henry Roan dresses, SHOUN talks to HALE.
JAMES SHOUN (CONT'D)
I don’t know, Bill, this may not
look very good. It’s hard to
justify this one, Bill.
HALE
He owes me a lot of money.
102 INT. HALLWAY OUTSIDE SHOUN BROTHERS’ OFFICE 102
At the foot of the stairs is a young woman PEARL - a friend
of Henry’s - waiting.
HENRY ROAN
Bill, my guardian won’t give me
what’s mine.
HALE
What do you need?
KOTFM - Final Shooting Script - August 10, 2022 60.
HENRY ROAN
I want to buy some moonshine.
PEARL
C’mon, Henry, let’s get going.
They ignore her.
HALE
No, Henry. Henry, you don’t need
that. It’s hurting you.
HENRY ROAN
Even the doctor just said I should
use some.
HALE
Don’t mind him, he doesn’t know
what he’s talking about.
HENRY ROAN
Uncle, my wife is on Roy Bunch.
HALE
Women are all over you, Henry. Be
at peace with what you got and
don’t do anything stupid...
HENRY ROAN
I want to hurt myself.
HALE
No, no, no – you’re not gonna hurt
yourself again – that’s not a man’s
way out –
HENRY ROAN
A man gets what’s his. They won’t
give that to me. A wife’s to give
respect. I don’t want to be here
anymore on this place. I’m
ashamed... I’m ashamed to be an
Indian. Get me some moonshine or
get me a gun.
HALE
Now Henry you go and enjoy yourself
with Pearl and don’t do anything
stupid.
Henry storms off.
KOTFM - Final Shooting Script - August 10, 2022 61.
HALE (CONT'D)
(calling after Roan)
I need you, my friend.
Ratings
Scene 21 - Mollie's Refusal of Medical Treatment
CU. MOLLIE, listening to something…
She is in her back room where she gets her medical
treatments. She’s alone. We hear something outside the
room, moving feet, shuffling. The door opens and Ernest
brings the Shoun Brothers in.
We see this through Mollie’s eyes. Her steadiness, paranoia,
watching each move of everyone in the room.
It’s a silent scene. They get the needle prepared, the
insulin. Mollie in English/Osage, to Ernest:
MOLLIE MOLLIE
Not today now. Turn them Hahn-pah theh, eh-kee-mahn
away. kohn-brah theen-keh.
Toh-wah-kxah mahn-theen tseh-
ah.
ERNEST ERNEST
What? Dah-dahn?
MOLLIE MOLLIE
I don’t want it today. Eh kohn-bra mahn-zhee hahn-pa
theh.
ERNEST ERNEST
...but they’re Doctors. … wah-kahn-dah-kee eh ah-
kxah..
MOLLIE MOLLIE
Not today now. Hahn-pah theh, hahn-kah-zhee
ERNEST ERNEST
It’s the Shouns, they’re the Shouns eh ah-kxah, wah-kahn-
doctors. dah-kee eh ah-kxah.
MOLLIE MOLLIE
Turn them away. Toh-wah-kxah mahn-theen tseh-
ah.
CU. ERNEST hesitates, thinks, then:
ERNEST
Fellas, can you stand outside for
me please while I speak to my wife?
KOTFM - Final Shooting Script - August 10, 2022 62.
They leave. Mollie to Ernest:
MOLLIE MOLLIE
I don’t like them. I don’t Weh-ah-see eh, weh-ah-nahn-he-
believe them. mahn-zhee meen-ksheh.
ERNEST ERNEST
You can’t be the Doctor. We Thee-eh wah-kahn-dah-kee nee-
need the shots and insulin. eh shtsoots’-ah-keh.
What then, Mollie? Insulin oh-weh-peh-tseh ahn-
kohn-thah ah-kxah-een. Kah-
thohn hee-ah-nahn, Mollie?
MOLLIE MOLLIE
I’ll take it from you. I Shtseh-ahn-thah-theh ah-kshee-
don’t want it from them, turn theh tseh. Kah-tseh wah-kohn-
them away. bra mahn-zhee, doh-wah-kxah
mahn-theen tseh-ah.
104 ERNEST, THINKS, GOES OUTSIDE, FINDS THEM ON THE PORCH. THE 104
KIDS HAVE FOLLOWED HIM OUTSIDE.
ERNEST
So fellas, give me that. I’ll do
it.
JAMES SHOUN
You’re administering the shot?
ERNEST
Yes.
DAVID SHOUN
Oh Ernest, Bill Hale has entrusted
us with this care -
ERNEST
(interrupting) - I know. I know.
Just give me that and get going!
DAVID SHOUN
We’re still going to have to charge
you for this visit.
JAMES SHOUN
We made the trip out here. Gas,
time.
KOTFM - Final Shooting Script - August 10, 2022 63.
ERNEST
You’re going to charge me for this
robbery? Oh, J Grover Cripes just
give me that -
He grabs the INSULIN (BOX), heads back inside the house – the
kids follow him.
105 INSIDE: ERNEST SAYS TO MOLLIE… 105
ERNEST
You made me send the doctors away.
The doctors! Are you a doctor? Am I
a doctor? ...Stupid stubborn bitch
let those men do their work.
MOLLIE MOLLIE
Give it to me. Ahnk’oo-eh.
Ernest settles and sits down, gets the shot and the insulin
ready. She lifts her blouse and he gives her the insulin
shot.
MOLLIE (CONT'D) MOLLIE (CONT'D)
We don’t need them. Eh ahn-wah-kohn-thah-pah-zhee
ERNEST
So I’m the doctor - and the nurse -
and God knows what all!
MOLLIE
It’s not helping... it’s not good.
ERNEST
(holding the vial)
It’s new. King Hale is gifting you
with this! Only five people in the
whole world are getting this. Give
it a chance. Maybe it’s got to get
worse before it gets better. Think
you know everything with your
Indian ways. You think someone’s
going to hurt you?
MOLLIE
...
ERNEST
You don’t say something to that?
(caressing her)
I’m to take care of you, no one
will hurt you when I’m in front.
KOTFM - Final Shooting Script - August 10, 2022 64.
Ratings
Scene 22 - Henry's Outbursts
Roan attacking ROY BUNCH (white, grinding sausage) with a
club across the back of his head.
HENRY ROAN
Get off my wife!
MARY ROAN, Henry’s wife, comes in and separates them.
ROY BUNCH
I’ve done nothing to you!
107 INT. BANK/FAIRFAX - DAY 107
Bank doors open and BANK MANAGER let’s in Bill & Ernest –
Pearl is right there with the Bank Manager.
BANK MANAGER
There he is - right over there...
Pearl follows Hale and Ernest.
HENRY ROAN (O.C.)
I’m tired of asking friends for
things when I can pay my own way.
Henry is standing shouting at a BANK EMPLOYEE.
HENRY ROAN (CONT'D)
Who tells you how to spend your
money? I’m tired of coming in here
begging. (cursing) Oh-shkee-kah
thah-ee(n)-sheh!
Hale gets him.
HALE
Ee-aahh, Henry! Thi-shdan, Henry! I
told you not to do anything stupid!
You went and hit Roy Bunch!
HENRY ROAN
I knocked him down, Reverend Hale,
I knocked him.
HALE
Calm down, thoo-shtaka. Come on,
kyu. On-ga-the-tse. Let’s get out
of here.
KOTFM - Final Shooting Script - August 10, 2022 65.
Hale and Ernest help an almost collapsing Roan - Hale hands
Roan to Ernest and Pearl who take him toward the door. Hale
turns and admonishes everyone in the bank -
HALE (CONT'D)
WHO IS LETTING THIS MAN DOWN IN A
TIME OF NEED? ‘LEST WE LOOK THE
OTHER WAY FROM A MAN IN DESPERATE
TIMES??? SHAME ON US.
108 INT. HALE RANCH/LIVING ROOM – MOMENTS LATER 108
Hale and Ernest lay Roan on the floor.
ERNEST
Why do you take care of him?
HALE
He’s a melancholic. Do you know he
tried to do away with himself last
year?
They lay him out on the floor, catch their breath.
ERNEST
(nods, yes)
HALE
I take care of that man because
he’s my best friend and my
neighbor. And that’s $25,000
dollars lying there. I’ve got an
insurance policy on him against
what he owes me. If he succeeds in
demising himself before the end of
the year I forfeit. He needs to
stay alive at least one more
year... And I might even have a
chance at his headrights...
CUT TO:
109 ERNEST & HALE SITTING IN THE NEXT ROOM. HAVING A DRINK. 109
HALE
Something you should know...
Mollie’s first husband is that man
right there on the floor. She
didn’t tell you?
KOTFM - Final Shooting Script - August 10, 2022 66.
ERNEST
No.
HALE
Osage don’t divorce.
ERNEST
So she’s still married to him?
HALE
No. No. Traditional. They were
fifteen. But it’s all passed now.
ERNEST
She lied to me?
HALE
How does she treat you?
ERNEST
She’s a good one.
HALE
So it doesn’t matter what happened
before...
ERNEST
She can’t be lying to me.
HALE
Let her have her secrets. That way
you can have yours.
Ratings
Scene 23 - Lizzie's Passing
Mollie is sitting with her mother, Lizzie, who has had a bed
set up on the floor of the summer house. Mollie is COMBING
her hair as she gets closer to death... Reta comes in...
Elizabeth and Cowboy are there, too. At a distance the Shouns
are lurking putting away their medical things (figures
turning away).
Lizzie dies. Eyes open, still. Mollie/Reta watching her.
CUT TO:
KOTFM - Final Shooting Script - August 10, 2022 67.
111 INT. SUMMER HOUSE - WITH ANCESTORS 111
Empty except for LIZZIE’S ANCESTORS: WARRIOR, MOTHER, FATHER:
the Committee that has come to take her to the heavens.
Lizzie gets up and walks away with them. She glances back.
BACK TO Summer House in the Present. Hale and Ernest comfort
Mollie and the children.
A112 EXT. LIZZIE/MOLLIE'S GRAY HORSE HOME - EARLY MORNING A112
Mollie, Reta and WAILING RELATIVE wail for Lizzie on the
porch.
112 EXT. GRAY HORSE CEMETERY – DAY 112
Lizzie Q’s Burial. A large crowd gathered at the gravesite.
PRIEST stands aside as the TRADITIONAL OSAGE LEADER makes a
blessing.
TRADITIONAL LEADER (IN OSAGE) TRADITIONAL LEADER
It is mid-day, when the sun, Meen thoh-dahn kah-txahn he
our Grandfather has reached thah-hah we-tsee-koh meen ah-
its highest place in the sky, kxah mahn-xeh kshee-dah oo-
the gates of heaven have stseh-tseh he ah-kxah, kah-
opened for the soul to pass kohn nahn-xeh theh-tseh mahn-
through. The gateway to the xeh mah-she dah ah-theh dah-
next world. As the sun moves tseh. Meen thahn mahn-hah
west, the path we travel is kshee-dah-hah mahn-theen ah-
cleared for our journey. Food ha oh-zhan-keh ahn-koh-dah-
is a blessing. Now let us go pee kah-shdah da pee. Oh-nohn-
to gather and partake in that breh tseh weh-thoo-thah-
blessing as Lizzie enters the gtheen tseh ahn-thah-tseh ahn-
next world and joins those kah-theh dye. Eh-dahn Lizzie
that are waiting for her. ah-pah nahn mahn-zhahn ee-
mahn-tseh kshee-dah-hah mahn-
theen ah-hah mohn-psheh ah-
pah ah-thee-zahn-ha dah- ah-
pah.
TRADITIONAL LEADER ends his blessing and walks over to the
family. He helps Elizabeth WALK ACROSS LIZZIE’S CASKET.
ERNEST, HALE, BYRON among mourners. A BOX OF FOOD is placed
at the head of the casket and it’s lowered.
KOTFM - Final Shooting Script - August 10, 2022 68.
A113 INT. MASONIC HALL LODGE - NIGHT A113
Hale and SIX OF HIS FREEMASON BROTHERS at a Scottish Rite
ritual of EXTINGUISHING THE TAPERS. The seven men, dressed in
black suits, are standing behind TALL CANDLE HOLDERS with
CANDLES WITH FLAMES AT CHEST HEIGHT. There is no other light
in the room. The candles are in a “V” formation, with the “V”
pointing to the East Side of the room. Two candles are
already out.
TREASURER (PITTS BEATY)
His pure and lofty lessons were
intended to insure the happiness of
mankind; but those whom he would
fain have served knew him not, and
put him to death.
TREASURER takes his finger and extinguishes the third light.
Ratings
Scene 24 - Mourning and Job Discussion
Mollie and daughter Elizabeth, praying. Praying for lost
loved ones. Mollie slips Lizzie’s BROKEN COMB into the
moving, shiny water of the stream.
A114 BACK TO MASONIC HALL. A114
Six candles are out. Only one light remains.
WISE MASTER (HALE)
Guest of one day, and shelterless
the next! Your Friend is dead; your
Benefactor is no more! Mourn,
lament, and cry “WOE UNTO US”! For
falshood triumphs, Truth disappears
and ignorance extinguishes the
light of Philosophy!
He takes his finger and extinguishes the last light.
114 EXT: LIZZIE/MOLLIE’S GRAY HORSE HOME 114
Mollie & Elizabeth walk back to the house.
KOTFM - Final Shooting Script - August 10, 2022 69.
115 GRAMMER’S’ WALL OF MEMORABILIA – DAY 115
CU. Blue Ribbons, Trophies, Pictures and Memorabilia from a
great Cowboy’s career in roping, bull riding, etc. This is
for HENRY GRAMMER - a movie-star in this world also runs a
distillery, main booze supplier to Osage County.
HALE (V.O.)
Look at all this blue! It’s like
looking at the sea. Or the ocean.
Is that gold?
HENRY GRAMMER (V.O.)
That’s better than gold.
116 EXT. GRAMMER’S DISTILLERY 116
Working Distillery. Hale and Ernest pay a vist to Grammer.
Ernest having to watch Hale treat Grammer like a son and a
rock star.
HENRY GRAMMER
...That’s recognition.
HALE (TO ERNEST)
This man knows what it’s like to be
the best at what you do.
Time cut - they’re all drinking at a table nearby.
HALE (CONT'D)
Henry what I want is someone who
can do a job, who can take a
proposition to do an old man and
his blanket. Now I just don’t want
any man because this has to be done
right, I need them both to go at
the same time. So it’s not going
to be poison whiskey but something
else that is fool proof.
Grammer calls JOHN RAMSEY (50s, ranchhand, white, skinny).
Grammer hands him a bottle.
HENRY GRAMMER
John! Go stash this in the house
and don’t let Maggie see you.
Ramsey takes the bottle.
KOTFM - Final Shooting Script - August 10, 2022 70.
RAMSEY
Oh now - she’s got eyes, Henry. She
caught me last time and I -
HENRY GRAMMER
Give it to me!
Ramsey goes back to the distillery.
HENRY GRAMMER (CONT'D)
What good is it to have a man who
can’t do what I tell him. (pause)
He turns to Hale.
HENRY GRAMMER (CONT'D)
Why don’t you talk to Blackie
Thompson?
ERNEST
He’s in penitentiary right now -
HALE
(interrupting) - because you made a
stupid move and had him nabbed for
Insurance Money on his car –
HENRY GRAMMER
That’s bad luck. What about Kelsie
Morrison?
HALE
Kelsie’s gone soft on me right
now...
ERNEST
He’s down in Mexico, last I
heard... There’s Dick Gregg.
HENRY GRAMMER
No - he’s wanted in Arkansas, he’s
wanted in Kansas - he’s so hid he
can’t find himself -- you need a
yegg man, someone if you want
explosives that can make it sure
you get them both – soup under the
house, nitro or dynamite to blow
‘em up –
I think that’s Acie Kirby …
...Hey John, where’s Acie Kirby
these days?
KOTFM - Final Shooting Script - August 10, 2022 71.
RAMSEY
I don’t rightly know where he is,
he’s hiding in his hole.
FLASH ON:
Ratings
Scene 25 - Mollie's Secret and Barney's Fate
Meet: ASA, “ACIE” KIRBY, sets explosives, runs from a bank
vault, jumps over counter and takes cover. The Vault blows up
and money is raining down, some of it on fire……
HENRY GRAMMER (V.O.)
That’s your man.
118 RANCH – DINNER TABLE – NIGHT 118
Hale, Myrtle, Willie and Ernest, Mollie at the table.
MOLLIE
Pitts Beaty is trying to get his
Klan to find the killers who killed
Anna – he said they’re helping to
take the lazy men away from town.
HALE
mmmhmm. Well, Pitts and his Klan
are trying to have authority here,
and they have none. They need to
let the Police Force do their work
– I am very disapproving of the Ku
Klux Klan, Mollie, they’re very
hungry for a power --
MOLLIE
But is there anyone? We tried with
Barney McBride.
A119 INT. ELK'S CLUB - EVENING A119
Barney McBride receives a TELEGRAM and reads it.
XCU: TELEGRAM “BE REAL CAREFUL. STOP.”
McBride looks around surreptitiously, puts his hat on and
heads out of the Club.
KOTFM - Final Shooting Script - August 10, 2022 72.
119 INSERT: EXT. WASHINGTON D.C. ELK’S CLUB – EVENING 119
Barney McBride exits and somebody suddenly seizes him and
ties a sack over his head...
120 INT. HALE'S RANCH - DINNER TABLE - CONTINUED 120
CU. Of Mollie.
MOLLIE
I hired a private investigator -
121 INSERT: INT. FAIRFAX ROOMING HOUSE – NIGHT 121
WILLIAM J BURNS, Private Investigator, is walking to his room
on the second floor… BYRON BURKHART and ANOTHER GUY are
waiting in the hallway. As Burns opens his door, they push
him inside where a THIRD MAN is waiting and beats him
unconscious... Out of the shadows steps ERNEST who rifles
through Burns’ pockets and removes money from his wallet.
CU. his business cards from wallet go flying, “Cairo” “Los
Angeles” “New York” “Berlin”.
122 INT. HALE'S RANCH – DINNER TABLE – CONTINUED 122
HALE
You paid him?
MOLLIE
Yes.
HALE
Well he’s run off, hasn’t he?
Ernest? He’s run off?
ERNEST
Seems that way, King.
HALE
You should be more careful how
you’re spending that money of
Mollie’s, Ernest... and you buying
a farm... Consult with me before
you buy another farm.
ERNEST
I will, King.
KOTFM - Final Shooting Script - August 10, 2022 73.
HALE
(to Mollie) There’s something
different about you tonight,
Mollie... what is it?
ERNEST
Mollie’s pregnant.
BEAT, HOLD, THEN:
ERNEST (CONT'D)
We have news that Mollie is going
to have a baby, King.
HALE
...is that so?
MOLLIE
Yes.
CU. HALE: Looks to Ernest, back to Mollie.
HALE
Well, blessings. Blessings on this
house.
Myrtle and Willie jump for joy and come for hugs and
kisses... Ernest looks to Hale.
123 INSERT: EXT. D.C. ELK’S CLUB ALLEY - MORNING 123
Barney McBride, bag over his head is stabbed twenty times and
his skull is beaten in.
CUT TO:
Ratings
Scene 26 - Mollie's Pregnancy and Henry's Concerns
Behind them, in the house, has stepped: HENRY ROAN.
MYRTIE
Henry! Oh Henry, come in here, we
just got some wonderful news,
Mollie is pregnant again!
HENRY ROAN looks troubled, he approaches Mollie and
congratulates her.
Hale comes to Henry Roan.
KOTFM - Final Shooting Script - August 10, 2022 74.
HALE
What is it, Henry?
HENRY ROAN
Sorry to bother you, Uncle, I just
need to have some words with you,
please.
HALE
Of course, just wait for me, take a
seat over here and wait for me.
CU. ERNEST watching Mollie and Henry...
125 INT. HALE'S RANCH – LIBRARY - LATER 125
Hale and Ernest by the fire…
HALE
You’ve been loving with her in this
sickness? Maybe that’s a preversion
of yours. Well, horseshit.
Sentimental horseshit.
ERNEST
Yes.
HALE
God Bless You and the Child…… Well,
she’ll get the care she needs...
CU. ERNEST watching Henry Roan
ERNEST
First husband, huh?... You think he
has a claim on the family?... Claim
on Mollie’s headrights?...
HALE
Only if the law believes he’s still
married to her... but I don’t take
chances...I’m seeing to it... I’m
seeing to it.
ERNEST sees the threat.
126 EXT. GRAMMER’S DISTILLERY – MORNING – WINTER 126
Ernest with Ramsey.
KOTFM - Final Shooting Script - August 10, 2022 75.
ERNEST
Ramsey, I know you’re in bad way in
this life, you have very hard
circumstances, you’ve got lots of
kids, seven or eight I heard...?
JOHN RAMSEY
Yah, I got a passel of ‘em.
ERNEST
I’ve got a job to get you out of
the bind you’re in. King Bill Hale
wants to know if you’d like a job
getting someone done?
JOHN RAMSEY
That’s not what I do. I can’t do
that.
ERNEST
It’s an Indian.
JOHN RAMSEY
...that’s different.
ERNEST
You know Henry Roan?
JOHN RAMSEY
I don’t know him.
ERNEST
...what do you think?
LONG PAUSE.
ERNEST (CONT'D)
I’m going to take you right now and
buy you a Roadster so you can drive
around and do this for him. There
won’t be no rumble over this
killing. The Injun’s a melancholic -
Hale’s going around saying he tried
twice already, so he wants you make
it like he did it himself... in the
front of the head. Understand?
127 EXT. OLD LADY RALL’S CAFÉ – FAIRFAX – DAY 127
Parade. Gray Horse War Mothers, Baseball team, lots of kids
in the street.
KOTFM - Final Shooting Script - August 10, 2022 76.
Pick up Ernest and John Ramsey crossing the street through a
parading local KKK group with Pitts Beaty proudly leading in
black gown and hood.
ERNEST
Hey Pitts! (Lookin’ good!)
PITTS BEATY
Hey Ernest!
We see Ernest and Ramsey go into the cafe.
RAMSEY (V.O.)
So Ernest had me meet this Indian
at a restaurant in Fairfax and he
sat down beside me and I smelled
whiskey on his breath.
Through the front window we see Ramsey be introduced to Henry
Roan. (Sit at counter and have a meal.) THROUGH THE WINDOW we
see them at the counter.
CUT TO:
128 EXT. OIL RIG – 128
A blank, open sky. The profile of an OIL WORKER covered in
oil – then ANOTHER OIL WORKER similarly covered in oil –
looking into the distance.
CUT TO:
129 EXT. PRAIRIE 129
Ramsey’s car stopped in the distance. Ramsey and Roan finding
a jug down a disused oil well.
RAMSEY (V.O.)
I told him I could sell him some. I
told him to meet me out on the road
running through Sol Smith’s pasture
about 10 o’clock and I would meet
him and have the whiskey for him.
BACK TO:
KOTFM - Final Shooting Script - August 10, 2022 77.
130 OIL WORKERS – A GROUP NOW ALL LOOKING INTO THE DISTANCE 130
WATCHING RAMSEY AND ROAN WHO ARE NOW SITTING ON THE RUNNING
BOARD, DRINKING. THE OIL WORKERS TURN OMINOUSLY AWAY.
CUT TO:
Ratings
Scene 27 - Betrayal at the Speakeasy
Roan and Ramsey drinking with Mrs. Mackie and A HOOKER. Roan
has his arm around her. She is cutting cocaine from a giant
rock of coke (not partaking of cocaine).
RAMSEY (V.O.)
A few times after that I met this
Indian. And we got to like one
another - what with his troubles
being respected and all...
Sometimes we go to Mrs Mackie’s
Place.
MRS. MACKIE
So he took it! Imagine that! What
kind of sheriff goes around selling
cocaine? You tell me that.
RAMSEY (V.O.)
...This went on for awhile. I was
trying to rib up a little more
courage and one day I decided to
pull the job everything being
favorable. So I told this Indian we
get a jug and some girls and meet
me on the road running through
Smith’s pasture.
They drink.
132 EXT. FIELD – DAY 132
Roan and Ramsey at a secret stash spot in Sol Smith’s
pasture. Roan stays in the car, behind the wheel. Ramsey
gets the booze, walks it back and hands it to Roan...
Ramsey gets the nerve, walks around the front of the car...
then walks around the back of the car, gets up on the
standing board, and SHOOTS HENRY ROAN IN THE BACK OF THE HEAD
AS HE’S DRINKING.
John Ramsey walks back to his car…
KOTFM - Final Shooting Script - August 10, 2022 78.
133 INT. FAIRFAX POOL HALL – DAY 133
John Ramsey comes into the pool hall, shaky and glassy eyed,
finds Ernest who has Cowboy with him... Ernest follows Ramsey
to the telephone booth -
134 INT. POOL HALL TELEPHONE BOOTH – THAT MOMENT 134
JOHN RAMSEY
Where’s Hale?
ERNEST
I don’t know. Pawhuska.
JOHN RAMSEY
Tell him it’s done –
ERNEST
You did it where?
JOHN RAMSEY
It’s done out at the road off Sol
Smith’s pasture and that’s it...
I’m gonna give you the gun...
John Ramsey hands Ernest the gun and walks off.
135 INSERT PHOTO: IMAGE FROM HENRY ROAN AND MOLLIE’S TRADITIONAL 135
OSAGE WEDDING AS TEENAGERS, C.1902. WE HEAR ERNEST SAY -
ERNEST
(overlap)
Henry Roan is dead.
Ratings
Scene 28 - Suspicions Arise in Mollie's House
Mollie, visibly pregnant comes into the house.
CU. MOLLIE’S REACTION.
Ernest watching her closely to see her reaction,
scrutinizing.
MOLLIE
Did he kill himself?
ERNEST
Don’t know.
KOTFM - Final Shooting Script - August 10, 2022 79.
MOLLIE
He was always sad. Always.
ERNEST
You know him well?
MOLLIE
Since we were children.
His wife is not true to him I don’t
think.
Does your Uncle know? They were
friends.
ERNEST
Yes.
MOLLIE
He wasn’t murdered was he?
ERNEST
No.
MOLLIE
He tried to kill himself last year.
Did you know that?
ERNEST
(nods, yes)
MOLLIE
Was he murdered? Or did he kill
himself? Do you know?
ERNEST
Roy Bunch made a lot of noise about
wanting to kill him. He was on his
wife. So you don’t have to look too
far. Maybe he killed himself, like
you say... I don’t know.
Mollie looks. Then walks into her room and closes the door.
137 EXT. HALE’S RANCH – DUSK 137
Ernest waiting in his car outside Hale’s Ranch. Hale bursts
out of his house, angry, heads to the car --
HALE
I told you to do it in the front of
the head.
KOTFM - Final Shooting Script - August 10, 2022 80.
ERNEST
I don’t know why he didn’t.
HALE
Why did he do that?
ERNEST
I don’t know. I told him. I told
him.
138 EXT. FAIRFAX/ERNEST’S CAR – DRIVING – NIGHT 138
Ernest and Hale, driving, arguing:
HALE
And you told him proper? How do I
know you told him right?
ERNEST
I’ll get him right now and put him
in front of you to tell you what I
told him – I didn’t do this wrong.
He did it wrong. He’s a coward,
couldn’t do it in the face like you
said. I promise you. I swear on my
children.
HALE
Don’t do that. Settle down. Settle.
There’s no problem that can’t be
fixed. Now it’s too much murder.
Don’t swear on your children, that
makes you look foolish.
ERNEST
I’m not foolish because I did it
right. John Ramsey is your man and
he’s a shuckle head and he didn’t
have the nerve to do it in his
face. I’ll find him and make him
tell you.
HALE
You settle down, settle down,
settle yourself, son...
As they approach downtown Fairfax at dusk, they see
something:
ERNEST
What is....
KOTFM - Final Shooting Script - August 10, 2022 81.
139 FAIRFAX RESIDENTIAL NEIGHBORHOOD IS LIT UP BY STRINGS OF 139
WHITE LIGHTS. LIGHTS EVERYWHERE… ”FRAID LIGHTS” [MMWDYSLN]
ERNEST
What is this?
HALE
(Has seen it already)
They’re putting up lights to keep
the murder away –
We see AN OSAGE FAMILY packing up their car to leave town,
and have a reflexive reaction as they see the car go by
(paranoia).
Hale and Ernest continue to drive around, looking for
something or someone, looking, looking...
HALE (CONT'D)
There he is... slow up the car,
here...
140 ANGLE, ON MAIN STREET: ERNEST PULLS THE CAR OVER, ROY BUNCH 140
IS SITTING ON A BENCH WITH FRIENDS.
HALE
Roy...
ROY BUNCH
Bill.
HALE
This isn’t the place for you to be.
And I have a line that says you
should leave town because Sheriff’s
office is looking to charge you in
this killing – they know you were
on shooting terms –
ROY BUNCH
If I run, I’m guilty and I’ve got
nothing to be guilty about.
HALE
If you don’t run, you’re going to
go to prison for this, you did it
or not – this is my friendly word.
ROY BUNCH
Thank you, Bill.
KOTFM - Final Shooting Script - August 10, 2022 82.
HALE
...you should run.
ROY BUNCH
Thank you, Bill but no, I don’t
think I will. And you’re not my
friend. I’ll take my chances right
here in Fairfax.
Ernest drives off...
Ratings
Scene 29 - Protection Offered and Tension Rises
Bill Smith’s GUN. Smith’s coming through his front door. It’s
dark. He moves forward slowly to look around, then looks
down. Sees a dead dog.
A142 INSERT: FAMILY PORTRAIT #2 A142
Mollie, Ernest, Elizabeth, Cowboy, and Baby Anna posed for a
Family Portrait
142 EXT. BRUSH ARBOR - GRAY HORSE INDIAN VILLAGE – SUNRISE 142
It’s months later. Mollie and Ernest with their baby,
“Anna.” Noticeably fewer Osage than the previous baby naming
event. Elizabeth and Cowboy are with them. Hale is here, Bill
Smith and Reta. Burkhart Bros. Bigheart relatives. BABY NAMER
(TRADITIONAL OSAGE) gives Little Anna her Osage name and
presents her to gathering.
TIME CUT:
Bertha Bigheart presents A BLANKET to the Baby Namer and puts
it on him. As Mollie watches she sees all the faces that
surround her.... Whites and Osage now... Over Mollie we hear -
RETA (V.O.)
What is this wasting illness,
Mollie? Minnie died from it...Mom
died from it, too. Anna was shot.
This blanket is a target on our
backs.
143 INT. BILL & RETA SMITH’S FAIRFAX HOME – NIGHT 143
There’s a young, white servant named NETTIE BERKSHIRE (20s)
serving them and cleaning up after dinner.
KOTFM - Final Shooting Script - August 10, 2022 83.
RETA
(confidentially) I’m gonna protect
you. I changed my will.
MOLLIE
You can’t outrun what’s coming,
Reta. If they want to get us...
RETA
Yes, I know, but why are you
helping them?
MOLLIE
Who?
RETA
Who it is that’s doing these
killings. Sometimes I think
someone’s put medicine on you...
How are you being taken care of,
Mollie?
MOLLIE
I have Ernest and my children.
Ernest takes good care of me.
RETA
I don’t want to be scared. Why
don’t we just leave? Go to Colorado
Springs. Why are we staying here?
MOLLIE
This is home.
Reta looks to the other room and Ernest and Bill, looks back
to Mollie. Ernest looks back and sees Reta’s eyes for a
flash.
BILL SMITH
So you and Mollie stayin’ in town
now, too, huh?
ERNEST
…yea. Pretty much. We’re here now.
[Beat] You made yourself a nice
place here.
BILL SMITH
Yeah, the Shoun brothers gave us a
sweet deal. Left us some nice
things here, too. [Beat] Not as
nice as you’ve been buying, but
it’s enough for us.
KOTFM - Final Shooting Script - August 10, 2022 84.
ERNEST
Mollie likes nice things.
BILL SMITH
Not as much as you...
Ernest stares at him.
BILL SMITH (CONT'D)
...you need a drink?
ERNEST
You have some?
BILL SMITH
No.
ERNEST
Then why you asking?
BILL SMITH
You seem nervous.
ERNEST
I got no nerves. I don’t really
like talking to you, Bill. That’s
mostly it.
BILL SMITH
Am I doing something to bother you,
Ernest?
ERNEST
Just the way you are bothers me.
BILL SMITH
Nothin’ I can do about that.
ERNEST
No there isn’t.
BILL SMITH
Lest you kill me. Maybe that’s your
brother’s job.
ERNEST
Maybe you stick around long enough
I’ll get a chance at you, Bill...
BILL SMITH
You do your own work?
KOTFM - Final Shooting Script - August 10, 2022 85.
Ratings
Scene 30 - Preparing for Danger and Uncovering Secrets
We see somebody in the house through the window.
145 INT. SHOUN’S OFFICE - SAME MOMENT 145
Myrtle Hale is on the phone with James Shoun at his desk.
JAMES SHOUN
Myrtle?
MYRTLE
Get your best furniture out of the
house.
JAMES SHOUN
Okay.
146 EXT. MOLLIE’S FAIRFAX HOME – DAY 146
Ernest is playing in the front yard with Cowboy... Other
neighborhood kids playing in their yards/street. Ernest hears
a HORN HONKING in the front... over and over...
He comes around and sees: BILL HALE in the car, with HENRY
GRAMMER.
ERNEST
Alright?
BILL HALE
I’m to Fort Worth for the Stock
Show, so I want you to find Acie
Kirby and tell him it’s time on the
Smith job.
ERNEST
...
BILL HALE
You hear me?
ERNEST
I don’t know him. I don’t know
where to find Acie Kirby, where
does he stay?
BILL HALE
(TO GRAMMER)
Where’s he find Acie?
KOTFM - Final Shooting Script - August 10, 2022 86.
HENRY GRAMMER
Find John Ramsey... he’ll know.
BILL HALE
Got that? Find John Ramsey... tell
Ramsey to tell Acie that it’s time.
I’m to Fort Worth……
Ernest stares…
BILL HALE (CONT'D)
Look at me like this makes sense.
ERNEST
I am. I understand. I’ll find
Ramsey and tell him.
Hale drives off. CU. ERNEST.
AAA147 EXT. FAIRFAX STREET AAA147
Ernest finds John Ramsey.
ERNEST
Hale wants you to find Acie Kirby
and tell him to take care of Bill
and Reta.
JOHN RAMSEY
Well, I can’t go right now, my
wife’s sick.
ERNEST
My wife’s sick too! Just tell her
you gotta go out to Grammer’s for
some whiskey and then find Acie and
tell him it’s time for Bill and
Reta…
JOHN RAMSEY
Why aren’t you doing this? Why are
you always getting someone else to
do your work?
ERNEST
I don’t know Acie Kirby. I don’t
even know what he looks like. I
would do it, but I can’t do it
because I don’t know what he looks
like. I’m sorry.
KOTFM - Final Shooting Script - August 10, 2022 87.
JOHN RAMSEY
Alright, I’ll get to it later...
ERNEST
So you know, it’s something should
be done straight away, not to wait
on it for Hale, you see? It has to
be done straight away.
JOHN RAMSEY
You’re pushy, Ernest. I’ll do it,
I’ll do it. I gotta get back to
work...
They walk off their different directions…
AA147 INT. ROOMING HOUSE AA147
John Ramsey walks right by the clerk and finds a certain
door. He knocks on the door.
JOHN RAMSEY
Acie? Acie?
ACIE KIRBY
Yah?
JOHN RAMSEY
It’s John. Don’t shoot.
ACIE KIRBY
Come in.
John Ramsey goes inside.
ACIE KIRBY (CONT'D)
Hello, John.
RAMSEY
You got your soup with you? -
‘cause it’s time for that job.
A147 INT. MOLLIE’S FAIRFAX HOME – EVENING / NIGHT A147
Ernest looking down from the top of the stairs and seeing
Mollie who has just come in from outdoors. (Osage/English
mix)
KOTFM - Final Shooting Script - August 10, 2022 88.
ERNEST
Where you been (sweetheart)? You
were supposed to be home.
MOLLIE
I was at Reta’s. Cowboy had an
earache.
ERNEST
Again?
MOLLIE
Bill ain’t too kind to her when I’m
not there.
ERNEST
That’s her problem not yours.
MOLLIE
You know you’re talking like your
uncle again.
ERNEST
Now listen, Mollie, I don’t want
you going out so much right now.
With all that’s going on.
MOLLIE
I know, I know, but I was just at
my sisters.
ERNEST ERNEST
You and the kids stay in the Zhin-ka-zhin thishki tsi da
house. waspa
MOLLIE
Elizabeth still has school. I still
have family to see.
ERNEST
I just don’t want you to go out
unless you have to.
TIME CUT:
147 Mollie asleep in bed. Ernest is next to her half asleep. 147
AN EXPLOSION. A bomb has gone off that rattles the whole
town awake, shaking houses and sending a shockwave...
KOTFM - Final Shooting Script - August 10, 2022 89.
Mollie moves to the window, Ernest follows.
MOLLIE
I think it’s Perry King’s house.
Ernest puts on his pants and moves downstairs... Mollie
slowly behind moves towards the kids...
Elizabeth, the eldest, sees her mother struggle down the
stairs… (Vera, alarmed, goes to help Mollie.)
MOLLIE (CONT'D) MOLLIE (CONT'D)
Go to Anna. Anna tah mahn-theen.
(Vera) gathers baby Anna, Elizabeth and Cowboy. Mollie
arrives at the bottom of the steps and collects all the
children…
148 IN THE STREET 148
Ernest walking towards the blast. People are awake,
screaming, heading towards the blast...
PEOPLE
That’s Bill Smith’s house! That’s
Bill and Reta’s! etc etc etc
CU. ERNEST as he arrives at the bomb sight. Bill and Reta’s
house is a hole in the ground. Men try and salvage, dig
around under the mess… Ernest wanders through the area
stunned -
ERNEST
Some fire...
They find Bill Smith, still alive, screaming, moaning.
BILL SMITH
SHOOT ME. SHOOT ME.
They find Reta’s sleeping body, the side of her head falls
off as they lift her...
PEOPLE
Nettie’s in there. Nettie Berkshire
stays in the back room that way –
They dig around looking for Nettie...
A RIVAL AMBULANCE arrives and Undertaker Turton rushes up to
them and pushes them back into the ambulance.
KOTFM - Final Shooting Script - August 10, 2022 90.
TURTON
Big Hill Company’s got this. Move
back! Push it out.
Bill Smith being carried on a stretcher accompanied by the
Shoun brothers. They pass Ernest standing stunned -
BILL SMITH
I know who did this. I know who did
this.
Ernest and the Shouns exchange looks.
ERNEST
(stunned) Some fire... some fire...
some fire...
CU. ERNEST turns and walks away...
149 HE COMES BACK INTO THE HOUSE... SOUND DROPS OUT, AS WE SEE 149
MOLLIE AND THE CHILDREN WAIT FOR ERNEST... A REPRISE OF HER
VOICE OVER:
MOLLIE (V.O.)
I close my heart and keep what is
good there, but hate comes…
My heart is cold and I say I ought
to kill these white men who killed
my family.
CU. MOLLIE as Ernest comes back to tell her it’s Reta’s
house.
CUT TO:
Ratings
Scene 31 - Seeking Justice in Washington D.C.
At this moment, in Fort Worth, at a STOCK SHOW OF CATTLE,
BULLS, RODEO RIDING: HALE and HENRY GRAMMER.
They have an alibi. We see Henry Grammer sign some autographs
and snap a picture with adoring fans. Bill Hale squeezes into
the side of the picture...
CUT TO:
151 EXT. FAIRFAX – DAY 151
KOTFM - Final Shooting Script - August 10, 2022 91.
DRONE CAMERA OVER THE HOLE IN THE GROUND THAT WAS BILL AND
RETA’S HOME.
152 DEBRIS EVERYWHERE. PEOPLE CLEANING UP, KIDS PLAYING IN THE 152
RUBBLE, ANGRY NEIGHBORS AND TOWNSPEOPLE.
BILL HALE AND HENRY GRAMMER drive back into town.
HENRY GRAMMER
Too much dynamite.
Hale gets out, looks at the damage. Pitts Beaty there.
PITTS BEATY
You know, you’re pronouncing
yourself too much, Bill.
Hale moves forward kicks up by accident part of an arm.
PITTS BEATY (CONT'D)
Nettie... they’re finding pieces of
her.
Hale looks at him.
153 INT. PITTS BEATY OFFICE – DAY 153
Pitts Beaty and Mollie.
MOLLIE
Mollie Burkhart, Incompetent.
Allotment number 285.
PITTS BEATY
You want $300 to go to Washington,
D.C.?
MOLLIE
Yes.
PITTS BEATY
That’s a hard trip for an ailing
woman, Mollie. It didn’t go so well
with Ernest as your guardian, did
it?... I am now reinstated as your
guardian and I can’t let you have
this money or make this trip,
Mollie, that would do a disservice
to you and your children.
KOTFM - Final Shooting Script - August 10, 2022 92.
MOLLIE MOLLIE
I want to go now because I Theh-kohn-tsee breh kohn-brah
will not be alive much tahn thoh-hah ahts’eh dah
longer. meen-ksheh.
154 EXT. TRAIN PLATFORM – FAIRFAX – MORNING 154
The Osage Delegation is leaving to head to Washington D.C.
Ernest helps Mollie towards the steps of the train. Another
member of the Delegation helps her up into the train. She
waves goodbye to Ernest and the children...
MOLLIE (V.O.) MOLLIE (V.O.)
This evil surrounds my Hohn-zhee thahn-tseh wee-dah
heart... (more?) ah-kee-xeh ah-kxah. (more?)
155 EXT. WASHINGTON D.C., GOVERNMENT BUILDING – DAY 155
It’s a photo op for PRESIDENT COOLIDGE and the Osage Tribe.
Mollie standing next to the President.
The photograph is taken and President Coolidge moves away,
Mollie and the Tribe’s INTERPRETER grab his attention:
MOLLIE
Mr. President, please send someone
to help us. There is murder in
Osage and the police do nothing
about this. I lost my sisters and
mother and we have Osage killed for
the oil money.
He nods and nods and nods and then is ushered away.
Ratings
Scene 32 - Preparing for Mollie's Care
Ernest, Hale and Byron with the Shoun Brothers. The Shoun
brothers are preparing Mollie’s Insulin.
DAVID SHOUN
Give her some of this (indicating
the vial)... and this (indicating a
different vial). That’s this whole
vial. Make sure the balance is
right.
KOTFM - Final Shooting Script - August 10, 2022 93.
JAMES SHOUN
Now you keep the shots regular.
Ernest reacts. Doctors occupy themselves (organizing vials
for Ernest to take home?) As Hale talks to Ernest privately.
HALE
It’s just to slow her down...
(repeats?: It’s just to slow her
down... ) It’s not going to hurt
her.
Ernest looks.
HALE (CONT'D)
She’s gone to Washington - you know
what that means for us?... For
you?... We don’t have a choice,
son.
Ernest still resisting.
HALE (CONT'D)
You believe in the Bible? The
miracles of old?
ERNEST
Yeah.. yeah..
HALE
You expecting a miracle to make all
this go away? They don’t happen
anymore. We make the miracles...
You’re not going anywhere, Ernest.
CUT TO:
A157 CU. ERNEST IN THE LIVING ROOM. A157
He’s preparing the Insulin mixture.
He loads the needle.
He walks down the hallway toward Mollie’s room with the
needle...
157 INT. CATHOLIC CHURCH FAIRFAX – DAY 157
We see Mollie seated. There has been a major change in her
health. She speaks to the priest. Vera in the back with Anna.
KOTFM - Final Shooting Script - August 10, 2022 94.
MOLLIE
I’m afraid.
PRIEST
What are you afraid of?
MOLLIE
I’m afraid to eat in my house.
PRIEST
Why are you afraid to eat?
MOLLIE
...
PRIEST
Do you drink whiskey?
MOLLIE
Sometimes.
PRIEST
Don’t drink anymore whiskey.
There’s so many people that have
been given bad whiskey... poisoned.
There are so many deaths.
MOLLIE
I won’t drink any whiskey, Father.
PRIEST
Do you have any thought to who
might want to hurt you?
MOLLIE
...
PRIEST
You’re looking poorly Mollie, very
poorly. Are you being well cared
for?
CUT TO:
158 INT. MOLLIE’S FAIRFAX HOME – DAY 158
A family meeting. Mollie sits in a chair in the living room.
Ernest is here, Elizabeth and Cowboy and Baby Anna. The
Housekeeper, Vera. English/Osage mix.
KOTFM - Final Shooting Script - August 10, 2022 95.
MOLLIE MOLLIE
I am sick. We will not have ahn-who-heck-ah meen(n)-
visitors. We will eat food kshey. Ee-kee-mahn-thee(n)
only made by Vera, we will wah-thee(n)-key dah-xhai. eh-
not have anyone to work here nan(n) dah-dah(n) oh-ho bee-
near us. Tell Mr. Blasingame thahn ahn-daht-sey dahn-kaht-
he does not need to finish kah, we will not have anyone
painting the garage, I want to work here near us. Tell
him to leave. I want to bring Mr. Blasingame he does not
the upstairs bed, down, into need to finish painting the
the back room. Cowboy you garage, I want him to leave.
cannot play inside the house I want to bring the upstairs
anymore you must go outside. bed, down, into the back
Inside you have to be quiet. room. Cowboy, ah-shee dah
Elizabeth you only go to thah-sh-kaht-sey eh-nah(n).
school when your father takes Tsee dah dai-ee-shee ah-hah
you. No one else can take you oh-knee theen-kah thee.
to school, just your father. Elizabeth you only go to
Ernest, you will pick up my school when your father takes
insulin from the train. You you. Thee-thaht-sey eh-nah(n)
alone. Do not take it from thee-eh dah-poh-skah-tsee ah-
the Shoun Brothers. theen-ah-they dah-kxai.
Ernest, you will pick up my
insulin from the train. You
alone. Do not take it from
the Shoun Brothers.
ERNEST
...(he nods)
MOLLIE MOLLIE
Baby Anna is sick with Baby Anna is sick with
whooping cough and she needs whooping cough and she needs
care. I cannot nurse care. Oh-kah-shey broots-ah-
her,because of my illness. key. Ah(n) who-heck-ah
She might make you both sick mee(n)kshey kah-kah(n) bah-
if she stays here. zey ee(n) broots-ah-key.
I want her to live with Thahn-tsey who-heck-ah thee-
brother and sister Bigheart. kshee-they dah-kxai.
This will make her better and I want her to live with
cure her cough. brother and sister Bigheart.
Ernest, will you please make This will make her better
these things happen for me? and cure her cough.
Ernest, Dah-dah(n) shkee ahn-
thah-kshee-theh dah nee(n)-
ksheh?
ERNEST
Yes, Mollie.
CUT TO:
KOTFM - Final Shooting Script - August 10, 2022 96.
Ratings
Scene 33 - Mollie's Illness and Tom White's Investigation
The Bighearts come and take the baby. Mollie hands over Baby
Anna. Ernest watching, Cowboy and Elizabeth say ‘good-bye’ to
their little sister.
Mollie closes herself off in the back room, like a tomb.
CUT TO:
160 INT. MOLLIE’S FAIRFAX HOME – AFTERNOON 160
CU. MOLLIE in the bed downstairs now, half asleep. She hears
a strange sound. She looks over. An OWL walks into her room.
She looks back, Ernest is standing there with an insulin
needle. He walks in.
Ernest looks at her, she looks at him, loving eyes and he
gives her the shot.
161 OMITTED 161
162 CONTINUOUS - 162
CU. MOLLIE - half dreaming -
MOLLIE
... I can hear Inlonshka... I hear
the dances.
ERNEST
... It’s not that time of year,
darlin’.
MOLLIE
(TO ERNEST)
My mother came for me, to dance
with her. I told her I can’t dance
anymore...
ERNEST
That’s just a dream, honey.
MOLLIE
She said I was dying. She wasn’t
going to let me die alone.
KOTFM - Final Shooting Script - August 10, 2022 97.
ERNEST
Dream’s are like dying... but just
for awhile... only you come back...
MOLLIE
She said the man is here.
ERNEST
What man?
MOLLIE
The man in the hat. I want to talk
to the man in the hat.
163 THERE’S A KNOCKING ON THE SCREEN DOOR. ERNEST COMES OUT INTO 163
THE HALLWAY…TO SEE OUTSIDE, THROUGH THE SCREEN DOOR:
A MAN IN A HAT. This is TOM WHITE, FBI.
ERNEST
Who’s that?
TOM WHITE
Mr. Burkhart?
ERNEST
Who is that?
TOM WHITE
My name is Tom White, I’m with the
Bureau of Investigation.
ERNEST
What’s that?
TOM WHITE
- Sent down from Washington, D.C.
to see about these murders.
Ernest comes to the door... he sees, standing back by their
car are two more agents: JOHN BURGER and FRANK SMITH (white,
40s)
ERNEST
...see what about it?
TOM WHITE
See who’s doing it.
ERNEST
...are you a Pinkerton?
KOTFM - Final Shooting Script - August 10, 2022 98.
TOM WHITE
Well, no, I was a Texas Ranger. I’m
now with the Federal Government,
called the Bureau of Investigation.
ERNEST
If you’ve got questions go see the
Sheriff.
TOM WHITE
Yes I have talked with him, but I’m
here for Mollie Burkhart whose
sisters and mother are dead.
ERNEST
I’m Ernest Burkhart, her husband
and she’s not well right now, but
you can call on her another time.
TOM WHITE
Tomorrow?
ERNEST
Tomorrow’s too soon. Come back on
Friday.
TOM WHITE
Is she home right now?
ERNEST
She has diabetes.
TOM WHITE
Does she?
ERNEST
She’s resting and I’m caring for
her – so come back on Friday.
TOM WHITE
I’ll do that.
164 TWO OR THREE WHITE GUYS TAKING TURNS FIRING AT A BELL. 164
Ratings
Scene 34 - Uncovering Family Secrets and Community Tensions
The whole town has gathered for a dance/party/picnic. Osage
and whites and everyone.
KOTFM - Final Shooting Script - August 10, 2022 99.
A band is playing – through the band we see an OLDER OSAGE
COUPLE moving through the dancers with JOHN WREN (part-Ute)
bringing him to meet a few Osage Council Members who are
chatting with Mollie’s Catholic Priest. At first cautious,
Wren then receives a warm welcome.
OSAGE COUPLE
This here’s John Wren. Friend of
cousin Mary. He’s come looking for
family.
COUNCIL MEMBER
Welcome. [Asks a Question]
JOHN WREN
I’ve been told I have Osage
relations in Hominy. Mary was kind
enough to take me in.
COUNCIL MEMBER
Where are you from, [MORE] etc.
Ernest rushes through them as they’re speaking acting frantic
and skittish to report news of Tom White. Hale has just
finished dancing, out of breath, taking a seat. Ernest grabs
Bill Hale tries to take him to the side.
Hale agitated sees his manner and tells him to stop and
settle himself.
Things get heated. Hale loses his cool and grabs him by the
back of the neck like a child and squeezes, pushes him down,
pushes his face into his own knees. This is noticed by some
people. The couple with John Wren and the Council member(s)
witness it. It’s over as soon as it started, Hale hoping to
make it all go away.
Ernest settles down, says a few words more but is cut off by
Hale walking away, getting back on the dance floor and
finding Myrtie. He seems concerned. Ernest leaves.
CUT TO:
166 EXT. HALE’S RANCH – DAY 166
Hale looking over his cattle. He seems pre-occupied, seems to
be selling off some large piece of his empire…
He is introduced to CJ ROBINSON (white, 30s). They shake
hands and begin negotiating on a sale...
KOTFM - Final Shooting Script - August 10, 2022 100.
HALE
Where you up from?
CJ ROBINSON
Kendrick.... How’s the rain been?
HALE
Can’t complain.
CJ ROBINSON
We could use a little more down my
way.... Right...
HALE
Well, let’s make a price on this…
CJ ROBINSON
I’d like to take a look first -
HALE
Good let’s make this quick.
CUT TO:
167 INT. FAIRFAX CAFÉ – DAY 167
Tom White has come to meet with the Tribal Council.
CHIEF BONNICASTLE
Have you seen the lights burning in
our streets?
TOM WHITE
I have.
CHIEF BONNICASTLE
Why are you here now?
TOM WHITE
I’ve only just been asked to come.
PAUL RED EAGLE
Is that because McBride was
killed... a white man?... Or that
we paid the Government $20,000?
TOM WHITE
I don’t think it’s too late to find
out who’s doing this...
KOTFM - Final Shooting Script - August 10, 2022 101.
PAUL RED EAGLE
It isn’t just who... it’s how many
dead. We’ve lost count.
CHIEF BONNICASTLE
In the old days we would fight
these people. Twenty years ago I
fought overseas in The Boxer
Rebellion. I was one of the first
to climb over that Great Wall. I
knew who my enemy was and I knew
who I had to kill. If we could find
these people we would fight them.
But now this invisible enemy we
cannot see. We can’t trust any of
the local officials. We can’t trust
the state government. We can’t
trust the Bureau of Affairs
officials. We can’t trust our
neighbor. We can’t trust the local
pastor. We can’t trust the morgue,
the morticians, funeral homes. We
can’t trust you. We can’t trust
anybody. We don’t see any stop.
[Beat] Try to make it stop.
CUT TO:
Ratings
Scene 35 - Hale's Insurance Dispute and Agents' Investigation
We’re in the middle of HALE losing his temper with an
INSURANCE MAN named JOE JONES and his PARTNER.
HALE
No, no, no, it’s $25,000 come due
on Henry Roan – he’s been dead
months! I want my Henry Roan money.
JOE JONES
You’ll have to argue that out with
Denver. They’re contesting the
payment.
HALE
Who are you??
JOE JONES
I’m J.T. Jones, I’m from the Denver
office.
KOTFM - Final Shooting Script - August 10, 2022 102.
HALE
This is not a Denver problem, this
is a Fairfax problem.
JOE JONES
I’m just telling you if we wire
Denver, (that’s how we can settle
this) –
HALE
Don’t say Denver, it’s not Denver,
it’s Fairfax. Give me my Henry Roan
Money. Write that note.
Silence. Hale storms out. Bumps into John Wren coming in
with two Osage men. John Wren gives him a shady look.
CUT TO:
169 INT. MOLLIE’S FAIRFAX HOME - 169
Mollie’s in bed somewhat delirious. Ernest is giving her a
shot.
MOLLIE
... she has no face...she has no
face...
ERNEST
What?
MOLLIE
Anna... She can’t rest... We didn’t
smoke her to the sky. Wakonda
doesn’t know her.
Ernest putting away the needle. Getting scared.
ERNEST
No Mollie. But you smoked the
house. Remember?
He looks and stops - sees that Mollie’s head has nodded back.
Lost in another world. Ernest gets up to put away the
medicine.
170 INT. SHOUN BROTHERS OFFICE - DAY 170
Agents Frank Smith and John Burger in the Shoun Brothers
office.
KOTFM - Final Shooting Script - August 10, 2022 103.
JAMES SHOUN
I think you need to see the Justice
of the Peace, he has the inquest
records about Anna Brown’s death.
JOHN BURGER
-- Those records have gone missing
from his desk –
JAMES SHOUN
So then you need the Undertaker
Turton, he’s all the details you
might need, he kept the skull -
JOHN BURGER
Seen him too and that’s what brings
us to you – possible you lost the
bullet that killed her?
JAMES SHOUN
Well no, because we never found it.
FRANK SMITH
That’s why you were tearing up the
brain, looking for the bullet?
JAMES SHOUN
Yes that’s right. The condition of
the corpse was so bad because she
had been dead for five or six
days. Then we exhumed her.
FRANK SMITH
Why did you cut the body up into
small pieces and cleave the flesh
from the limbs with a meat ax?
DAVID SHOUN
We were looking for the bullet.
FRANK SMITH
Ah huh.
DAVID SHOUN
You know, this is really a matter
for the Indian Tribal Council, you
should see Chief Bonnicastle.
FRANK SMITH
What’s he going to tell me?
DAVID SHOUN
This is Indian country, they have
their own ways.
KOTFM - Final Shooting Script - August 10, 2022 104.
FRANK SMITH
...
CUT TO:
Ratings
Scene 36 - Hale Investigates the Murders and Warns of Danger
Hale is in the barber chair. The BARBER at work. TOM WHITE
looms over Hale...
HALE
What took you so long to get here?
TOM WHITE
I’ve only just been assigned to
come down here a week ago, Mr Hale.
HALE
Assigned by who? The President?
TOM WHITE
No, sir. By J. Edgar Hoover.
HALE
Well, I don’t know him.
TOM WHITE
I heard you’re the King of the
Osage Hills - so you might be the
man to talk to.
HALE
mm... seems to me... this murder
in the air is at the hand of most
likely a band of men from outside
these parts. Possibly negroes. (You
saw what happened in Tulsa.) No
proof - just my hunch.
Then there’s just bad luck - Anna
Brown - nasty mouth. Henry Roan?
Melancholic you know. Charlie
Whitehorn? Now he was a great
man....
TOM WHITE
What about the other dead Osage?
Joe Grayhorse? Joe Bates... 25, 30
we keep counting... Seems like
you’ve got one hell of an epidemic
here... Anna Sanford? Bill...
KOTFM - Final Shooting Script - August 10, 2022 105.
HALE
(interrupting him)
Stepson. Bill Stepson. Yeah. [beat]
Seems like you need to speak with
our Justice of the Peace.
TOM WHITE
wasn’t very helpful.
HALE
The Principal Chief?
TOM WHITE
I saw him too.
HALE
Well we want to put a finish to
this death business, but I don’t
like speaking while I’m in the
chair, this is a quiet place but
I’d be happy to meet you when you
have questions.
172 INT. MOVIE THEATER – 172
An AL JENNINGS WESTERN is playing. We see BLACKIE watching
it. We hear Hale who is seated behind him -
HALE (QUIET)
Blackie?... Government men have
come around.
BLACKIE
...
HALE
Stirring.
BLACKIE
(still looking at the
screen)
I’ve done my time.
HALE
No use staying around someplace
when there’s trouble. I owe you for
what you did for my nephew and
stood pat... on that roadster dee-
bacle. Just spend time down
someplace else - that place in
Drumright - negro janitor opens at
sunrise.
KOTFM - Final Shooting Script - August 10, 2022 106.
BLACKIE
Drumright...
CUT TO:
173 EXT. DRUMRIGHT BANK – 173
WE ARE IN THE MIDDLE OF A BANK ROBBERY/VIOLENT SHOOT-OUT WITH
BLACKIE THOMPSON who is robbing the bank with three other men
and his Wife…
Blackie shoots the police officer, dead... It all ends with
Blackie and all of them handcuffed, arrested. We hear -
CUT TO:
174 INT. BALLET SCHOOL/FAIRFAX – DAY 174
Mostly Osage girls doing exercises at a ballet barre.
BOB MOUNT (V.O.)
Thank you, Bill, for your support
of this town and this beautiful
dance school. Bill Hale, our
sponsor...
175 EXT. FAIRFAX STREET – DAY – SAME MOMENT 175
Outside, Bill Hale is giving away PONIES to the girls. An
Osage and white crowd has gathered. Hale presents a pony to
one of the girls.
Nearby John Wren is helping an Osage family find something
near an alley -(with a dousing-type tool)
Hale takes BOB MOUNT (white, 50s) aside with his
granddaughters.
HALE
Did your girls get a pony?
BOB MOUNT
Yes they did, thank you Bill.
HALE
I’d like you to keep a watchful eye
on your business tonight.
(MORE)
KOTFM - Final Shooting Script - August 10, 2022 107.
HALE (CONT'D)
I have heard that your store is set-
up for a robbery at 11pm. Might
have heard about them gems you
stashed. It’s two whites and a
negro.
BOB MOUNT
Thank you, brother.
CUT TO:
Ratings
Scene 37 - Betrayal and Consequences
Hale has come to see Acie Kirby and pays him $500.
HALE
Here’s the rest I owe you with
great appreciation.
ACIE
You aware there’s Federal Agents
around?
HALE
Ah.
ACIE
They looking into the blast.
HALE
…This isn’t Federal land, this is
Indian land, so there’s no trouble
that can come... good time to take
a trip, there’s a nice opportunity
if you can let me tell you of
something?
ACIE
Sure.
CUT TO:
177 EXT. ANOTHER TOWN - SHOP SIGN: “R MOUNT - GROCERY” 177
BOB MOUNT, WAITING AND READY WITH HIS SHOTGUN.
KOTFM - Final Shooting Script - August 10, 2022 108.
Acie and two ASSOCIATES (one white, one black) break into Bob
Mount’s store when Mount fires his shotgun at Acie - shooting
him through the glass door.… Acie is dead on the street.
CUT TO:
178 EXT. HENRY GRAMMER’S RANCH/DISTILLERY – DAY 178
AGENTS TOM WHITE, JOHN BURGER, AND FRANK SMITH stand at Henry
Grammer’s hideout which has been quickly deserted. The
Distillery Equipment has been knocked over, but fires still
burn and stove’s are still hot. They comes across a lone OLD
TIMER who doesn’t move...
AGENT JOHN BURGER
Where can we find Henry Grammer?
OLD TIMER
Angel came down and done spread her
big ole wings inside his chest...
he’s down there with the snakes...
CUT TO:
179 EXT. ROAD – NIGHT 179
Henry Grammer with a strange look on his face is driving. We
pan along with the car until it smashes violently into a
tree. Henry Grammer is dead.
CUT TO:
180 EXT. HENRY GRAMMER’S RANCH/DISTILLERY 180
AGENT JOHN BURGER
When’d this happen?
OLD TIMER
Yesterday.
181 EXT. FAIRFAX POOL HALL – DAY 181
Through the window we see Ernest playing pool with John Wren.
Feeling the pressure he sneaks a swig from a flask. Byron
Burkhart arrives.
KOTFM - Final Shooting Script - August 10, 2022 109.
BYRON
Brother. Put that away.
They exit.
CUT TO:
182 EXT. BACK ALLEY WAY – DAY 182
Byron leads Ernest out and into a car. Hale is in the car.
HALE
If you’re charged – if anything
happens - you can beat it.
ERNEST
What are you talking about? What,
I’m... what are they going to
charge me with?
HALE
Ernest, I have many friends. That
means I’ve got the best lawyers.
They protect me. I protect you.
Nobody’s getting near you, son.
Argh...
ERNEST
What is it?
HALE
My stomach’s all torn up, Myrtie’s
a mess, Willie’s hysterical – you
need to sign this here now -
Something happens to you, the
headrights got to stay in the
family – ... sign that.
ERNEST
What happens if something happens -
if something happens to me what?
What would happen to me?
HALE
Nothing’s gonna happen to you. It’s
just a formality. No matter what.
No one’s going to touch me. But
they could come after you. And that
could stop everything. This way for
sure the money stays in the family.
KOTFM - Final Shooting Script - August 10, 2022 110.
Ernest looks to Byron:
ERNEST
Did you sign a paper?
HALE
Oh yeah, he signed it.
BYRON
My wife’s not sick.
Ernest hesitates. Hale gets out of the car, signals for
Ernest to follow him…
CU. TOM WHITE across the street, hidden from their view,
watching them...
ANGLE, ERNEST AND HALE
HALE
You’re scared.
ERNEST
No.
HALE
You’re giving her the shots? All of
it?
ERNEST
Yes.
HALE
Now Ernest, I know you love Mollie,
I know. I love her, too. But she’s
gonna go. It’s not in our hands,
it’s in God’s hands. He’s waiting
on her now. We can’t stop the
diabetes... but the children -
they’re your children. We don’t
want that illness around them, they
don’t need to see her suffer and
lose her legs. So you need to stay
by her side now, and give her that
medicine to ease her pain. You’ll
never regret spending this time
with her before she returns to the
eternal... You’re strong enough
now... ? You need to stay by her
side, you need to give her that
medicine, and you need to sign
this.
KOTFM - Final Shooting Script - August 10, 2022 111.
Ernest looks.
HALE (CONT'D)
Sign the paper... sign it.
Ernest signs the paper.
CU. TOM WHITE watching.
CUT TO:
183 EXT FIELD WITH DERRICKS IN THE DISTANCE - NIGHT 183
Joe Jones, CJ Robinson and John Wren getting out of their
cars. Headlights illuminate a group of men waiting for them.
They all shake hands.
Ratings
Scene 38 - Unraveling the Web of Crimes
Tom White in a huddle.
TOM WHITE
I was out in Ralston - met an old
timer Alvin Reynolds last night.
185 EXT. RALSTON HOTEL – DUSK 185
ALVIN REYNOLDS (84) on the porch of an old hotel.
ALVIN
I knew every Indian that was
murdered... That bunch that did it
even give dogs poison liquor to see
what will happen to them.
We see Tom White sitting with him, listening.
ALVIN (CONT'D)
They even kill coyotes. Now I don’t
like coyotes but you shouldn’t
poison a coyote. It’s not right -
coyotes gonna die natural...
My son-in-law told me not to talk
for that bunch may bump me off but
I’ve run out of time anyways...I’ll
tell you who did it... I sat in
this spot and I saw...
KOTFM - Final Shooting Script - August 10, 2022 112.
Alvin points to the road in front of him, Tom looks.
186 ALVIN REYNOLDS’ POV: 186
BYRON BURKHART DRIVING ANNA BROWN INTO TOWN
ALVIN (V.O.)
I saw Byron Burkhart drive Anna
Brown down this street... with
Kelsie Morrison and his wife in the
back seat...
CU. KELSIE MORRISON in the back seat.
BYRON BURKHART PULLS THE CAR OVER.
ALVIN
They took her and got her juiced
up. I seen them coming through town
- they were all together. Kelsie
and Byron and Anna...
WE SEE: ANNA gets out of the car, very drunk and flirty with
Byron... Kelsie follows. And as we see Kelsie -
BURGER (V.O.)
Kelsie Morrison runs dope and
whiskey from Fort Worth to New
Orleans to Dallas..
CUT TO:
187 EXT. OIL FIELDS – NIGHT 187
John Burger - Federal Agent - is reporting to Tom White,
Frank Smith, CJ Robinson, Joe Jones, John Wren.
BURGER
... Bill Stepson died of corn
whiskey. There was no
investigation. Bill’s
wife was Tillie Stepson... Kelsie
dropped Catherine and married
Tillie two weeks after Bill died.
KOTFM - Final Shooting Script - August 10, 2022 113.
188 INT. HOSPITAL – DAY 188
Tillie dead in the hospital. Bedside, Kelsie is there with
TILLIE’S TWO KIDS.
BURGER (V.O.)
Two months later, Tillie died from
poison.
TIGHTER TO TILLIE’S KIDS.
BURGER (V.O.)
Kelsie ran off with her kids down
to Mexico but he came right back
because...
CUT TO:
189 INT. LAWYER’S OFFICE – DAY 189
Kelsie is talking to a LAWYER.
KELSIE
So, my dead wife has two kids, and
they have my name. So if I adopted
them proper, if these two kids were
to die, would I inherit their
estates? They’re Osage. One’s half
Osage, but they have headrights.
LAWYER
Kelsie, you realize that this
indicates to me that you’re
planning on adopting and killing
these children?
KELSIE
No, not if it’s not legal and I
don’t get the money. Then I’m not
gonna do it.
CUT TO:
190 EXT. POST OFFICE BOX – FT. WORTH, TX. 190
Kelsie is coming to his post office and he’s surrounded by
officers and John Burger.
BURGER
Kelsie Morrison?
KOTFM - Final Shooting Script - August 10, 2022 114.
KELSIE
Who? No, my name’s Lloyd Miller.
They take him.
CUT TO:
191 EXT. OIL FIELD – BACK TO SCENE 191
BURGER
I always admired Kelsie’s
ambition. Told him so and he
thanked me. Ask him point blank
about Byron and Ernest and the
murders. He said -
BACK TO:
192 EXT - POST OFFICE 192
KELSIE
....well maybe we can help each
other out here.
CUT TO:
193 EXT. OIL FIELD – BACK TO SCENE 193
JOHN WREN
I’m in real close with them now and
they tell me things. I’m a trusted
friend to Father Albert, too.
CUT TO:
194 EXT. OSAGE GOLF COURSE – FLASHBACK - DAY 194
John Wren, undercover, with Mollie’s Priest who’s playing
golf at a new Osage golf course hosting a COMMUNITY EVENT.
THE PRIEST
I am very concerned about a
parishioner of mine.
JOHN WREN
Tell me what you know…
KOTFM - Final Shooting Script - August 10, 2022 115.
THE PRIEST
... She fears her life may be in
danger…
195 EXT. OIL FIELDS 195
Tom taking all this in.
JOHN WREN
...You got a better chance
convicting a guy for kicking a dog
than killing an Indian ... You know
there’s more to this than what
we’re on to. Hale’s not tied to the
Charlie Whitehorn murder. Or Sara
Butler or Bill Stepson... (alts: Or
Rose Lewis - Or John Whitehair)...
there’s more...
TOM WHITE
We’re on Bill Hale, we’re on Ernest
Burkhart - that’s what we’re
working on now.
CUT TO:
196 EXT. OIL FIELDS – CONTINUED 196
Off in the distance, there is something happening. Faintly we
can see that it is a fire... The Agents stand and watch...
JOHN WREN
That’s Bill Hale’s ranch.
JOE JONES
I sold him a $30,000 fire policy
last month.
JOHN WREN
(smiles) Well, “Insurance Man”
looks like you’ve got some work in
the morning.
CUT TO:
KOTFM - Final Shooting Script - August 10, 2022 116.
197 EXT. HALE RANCH – NIGHT 197
Bill Hale’s ranch is on fire. It’s acreage around the house
set fire for insurance purposes. Ranch hands walk around the
fire, making sure this ‘accident’ is contained to a certain
area.
CUT TO:
198 EXT. MOLLIE’S FAIRFAX HOME – NIGHT 198
CU. ERNEST watching unusual light on the horizon.
THE FIRE. Silhouettes, moving around, like Demons.
TOM WHITE (V.O.)
Ernest Burkhart is skittish, he is
afraid. He drinks and displays a
nervous temper. It is in my opinion
that he could be made to tell the
truth...
Ernest turns into his house…
A199 INT. CELLAR MOLLIE’S FAIRFAX HOME A199
Ernest mixes up something with the vials (and whiskey?) in
the cellar and drinks it.
CUT TO:
Ratings
Scene 39 - Ernest's Arrest and Interrogation
Mollie sees the flicker of fire on the ceiling of her sick
room. She closes her eyes.
Ernest is drunk and out of it. He shoots her up - injecting
her... with two bottles.
Ernest takes a vial and adds it to a whiskey (or drinks it
from the vial). He sees flames like demons on the wall. He
walks toward the flames...
Mollie flickers her eyes open for a moment. Sees him, doesn’t
see him.
MOLLIE (TO ERNEST)
You’re next.
KOTFM - Final Shooting Script - August 10, 2022 117.
Ernest backs out of the room…
200 CU. TOM WHITE – ON CAMERA 200
TOM WHITE
It is my view that he is the weak
sister.
CUT TO:
201 INT. FAIRFAX POOL HALL - FAIRFAX - DAY 201
Ernest hanging out at his pool hall when suddenly: Tom White,
Frank Smith and John Burger come in to arrest him – they have
brought the local OSAGE COUNTY SHERIFF as The Bureau can’t
arrest anyone or carry guns at this time…
ERNEST
Here we go, then... you got this
all wrong. I have to go home, I
have to go home and see my wife...
she’s sick and I have to take care
of her...
Ernest tries some side-steps around pool tables and pretends
they’re not even there, until they are upon him and handcuff
him...
CUT TO:
202 INT. THE FEDERAL BUILDING, CIVIL SERVICE ROOM – NIGHT 202
Tom White and Frank Smith look across from Ernest.
ERNEST
Can I sit down?
FRANK SMITH
Standing is good.
TOM WHITE
We want to talk to you about the
murder of Reta and Bill Smith and
Anna Brown.
ERNEST
...
KOTFM - Final Shooting Script - August 10, 2022 118.
HOLD ON ERNEST’S FACE. They say nothing. LONG PAUSE, THEN:
TIME CUT:
203 CU. ERNEST IT’S MANY HOURS LATER, IT’S NIGHT. HE’S STILL 203
STANDING IN THE SAME SPOT, HE LOOKS EXHAUSTED. SILENCE,
THEN:
ERNEST
I need to sit down.
TOM WHITE
Yes you do but you’re standing.
ERNEST
I need some sleep.
TOM WHITE
Were you alone when you put the
explosives under the house? Was
Blackie Thompson with you?
ERNEST
He was no where around me, because
I don’t even know him so much –
just from around.
TOM WHITE
You didn’t rob a bank in Oilton
with him did you?
ERNEST
I never did that.
TOM WHITE
You didn’t have a bunkhouse with
stolen cars where men could stay?
Cook stove? Place to eat? Beds?
ERNEST
Not that I know of.
TOM WHITE
You did help Blackie Thompson steal
your own Buick car in 1921 for the
purpose of collecting insurance on
it, didn’t you?
ERNEST
I told him he could take the car.
KOTFM - Final Shooting Script - August 10, 2022 119.
TOM WHITE
For the purpose of using it?
ERNEST
I don’t know what he wanted it for.
TOM WHITE
You loaned it to him.
ERNEST
...what, what, what is all this? I
loaned him my car, that’s not
against the law.
Ratings
Scene 40 - Ernest Confronts Blackie and Tom Questions Ernest
The door opens and in steps Blackie Thompson.
BLACKIE
How you doing, Ernest?
CU. ERNEST: Silence, then...
ERNEST
May I speak to this man? Alone?
TOM WHITE
You want to speak to him alone?
ERNEST
Yes.
They all leave the room.
BLACKIE THOMPSON
They got you turned around?
ERNEST
No. What did you tell them?
BLACKIE THOMPSON
I told them when I came back from
prison to see you to make things
right, you gave me $1.50 and you
told me, “Well, we all knew the
chances we were taking...”
ERNEST
We did. But I gave you a twenty.
KOTFM - Final Shooting Script - August 10, 2022 120.
BLACKIE THOMPSON
No you didn’t. You gave me a dollar
fifty.
ERNEST
I gave you a twenty. I meant to
give you a twenty. What did you
tell them?
BLACKIE THOMPSON
All of it. I told them you and
your Uncle are too much Jew. I’m
doing life for killing that
Drumright cop and I’m telling you
now, Ernest - I know you can’t do
time in prison. So tell them what
you know for your pleasure...
CUT TO:
205 INT. MOLLIE’S FAIRFAX HOME – NIGHT 205
Bill Hale steps into Mollie’s house. He’s dressed up fancy.
Mollie is near death. In Bed. Hale comes into the room. She
is delirious; he speaks in Osage…
HALE HALE
Settle down, Mollie. You’re Mollie, thoo-shtah-kah. Wah-
strong. thee-skahn tahn-kah.
MOLLIE MOLLIE
Are you real? Thee-eh eh-kohn xtsee ah?
HALE
(in English)
I could be real.
206 INT. CIVIL SERVICE ROOM – LATER 206
Tom White holds up his hand... motioning Ernest to stop
talking:
TOM WHITE
...Acie Kirby... Henry Grammer ...
[we might see images of them]
they’re both dead. There’s nobody
alive in your story who did this.
ERNEST
...well, yeah, they’re dead.
KOTFM - Final Shooting Script - August 10, 2022 121.
TOM WHITE
You’re a good man, Ernest and you
love your wife and children. You
served your country in Infantry and
I don’t think this is how your life
was meant to turn out – I see your
family is more of a blessing than
your King Bill Hale. He’s done
nothing but taken advantage of
your human nature and forced you
into doing bad things.
ERNEST
I want to go back home to my wife,
so tell me what I can do.
TOM WHITE
Well then who killed Henry Roan? Do
you know about that?
Ernest about to speak...
CUT TO:
Ratings
Scene 41 - The Interrogation of John Ramsey
John Ramsey, living in poverty with six kids on the edges of
Fairfax. He steps out of his house, to pick up something from
the yard and before he knows anything... JOHN WREN is beside
him...
JOHN WREN
Don’t run. I’m to take you in.
John Ramsey holds still. His wife and kids look. As Wren
deals with Ramsey we hear -
TOM WHITE (V.O.)
Bill Hale and Ernest Burkhart have
taken advantage of you because
you’re a poor man, had a wife and
six children, are in bad
circumstances.
CUT TO:
208 INT. CIVIL SERVICE ROOM – NIGHT 208
Ramsey and Tom White:
KOTFM - Final Shooting Script - August 10, 2022 122.
TOM WHITE
What do you know about the murder
of Henry Roan?
JOHN RAMSEY
Why I don’t know anything about it.
TOM WHITE
I have a man who is your friend who
states that you do know about it.
JOHN RAMSEY
Who is he?
Tom White opens the door and Ernest is brought in... Ernest
looks at John Ramsey. HOLD the looks, then:
JOHN RAMSEY (CONT'D)
So is this on my neck?
TOM WHITE
Yes.
JOHN RAMSEY
...get your pencils.
CUT TO:
209 INT. MOLLIE’S FAIRFAX HOME – MORNING 209
CAMERA PUSHES DOWN THE HALLWAY TOWARDS MOLLIE’S SICK ROOM.
FBI AGENTS JOHN WREN and CJ ROBINSON enter the back sick room
and see Mollie near death. Vera following them in...
JOHN WREN
Does she have a doctor?
VERA
No, she won’t see one.
MOLLIE (GARBLED, OSAGE) MOLLIE
...where’s my husband? Nee-kah we-da ho-wae-ke theh.
Mollie sees John Wren.
MOLLIE (CONT'D)
Are you real? Grandfather? Is it
time now?
They begin to rush Mollie out of the house and into a car.
KOTFM - Final Shooting Script - August 10, 2022 123.
210 INT. FEDERAL COURT BUILDING - HALLWAY 210
Tom White and Frank Smith accompany Ernest.
ERNEST
I suppose we all need to tell the
truth?
TOM WHITE
Yes.
ERNEST
It’s time for all the true facts to
come out…
TOM WHITE
Do you want protection?
ERNEST
Yes.
TOM WHITE
From?
ERNEST
My Uncle.
211 INT. FAIRFAX SHERIFF’S OFFICE 211
SHERIFF FREAS at his desk ...The door opens, and William Hale
enters, dressed immaculately.
WILLIAM HALE
I understand I’m wanted. I’m here
to turn myself in -- no need put
you fellows out...
SHERIFF
What you supposed to have done?
WILLIAM HALE
Killed somebody, if you can believe
it.
SHERIFF
Oh now Bill I wouldn’t go that far.
That can’t be.
WILLIAM HALE
(hands out to be cuffed)
Arrest me, son.
KOTFM - Final Shooting Script - August 10, 2022 124.
SHERIFF
No need for that.
He leads Hale toward the back.
Ratings
Scene 42 - Hale's Arrest and Interrogation
HALE IS UNDER ARREST NOW. U.S. Marshalls have now brought
Hale to the Federal Building. A REPORTER rushes over:
REPORTER 1
Have you a statement to make?
HALE
Who are you?
REPORTER 1
A newspaper man.
HALE
I’ll not try my case in the
newspapers, but in the courts of
this country.
REPORTER 2
You are pretty well known aren’t
you?
HALE
I think so.
REPORTER 2
It’s a long trip from Pawhuska,
isn’t it?
HALE
Yes, but we’ve had a car with
curtains up.
REPORTER 2
Just a statement? Just “I’m
innocent”?
CUT TO:
213 INT. WITNESS INTERVIEW ROOM – DAY 213
Blackie Thompson with his lawyer is being interviewed by
PROSECUTOR PETER LEAWARD.
KOTFM - Final Shooting Script - August 10, 2022 125.
PROSECUTOR LEAWARD
Where are you currently residing?
BLACKIE THOMPSON
The Penetentiary.
PROSECUTOR LEAWARD
How long are your serving?
BLACKIE THOMPSON
Life.
PROSECUTOR LEAWARD
For the Drumright job, right?
BLACKIE THOMPSON
Yes.
PROSECUTOR LEAWARD
It was William Hale who arranged
that, right?
BLACKIE THOMPSON
That he did, funny ain’t it?
PROSECUTOR LEAWARD
Now who asked you to kill Bill and
Reta Smith?
BLACKIE THOMPSON
William Hale and Ernest Burkhart.
PROSECUTOR LEAWARD
Have you had recent contact with
Mr. Hale?
BLACKIE THOMPSON
As a matter of fact, he just got a
note to me - asked me to kill his
nephew...
PROSECUTOR LEAWARD
... Now when you testify for the
United States, you have one job and
one job only... to tell the truth -
Ratings
Scene 43 - Blackie's Escape Offer and Ernest's Protection
Blackie on his bunk in his cell, a JAIL GUARD slips A NOTE
through the bars of the cell.
KOTFM - Final Shooting Script - August 10, 2022 126.
BLACKIE THOMPSON (V.O.)
- Yes... He said he could help me
escape and then if I could, take
Ernest to old Mexico and kill him.
I sent a note back saying I
wouldn't testify if he got me out.
215 INT. WITNESS INTERVIEW ROOM – DAY 215
PROSECUTOR LEAWARD
And how did that work out for you?
BLACKIE THOMPSON
How did what?
PROSECUTOR LEAWARD
Mr. Hale’s promise of a grand
escape.
BLACKIE THOMPSON
I’m sitting here talking to you,
ain’t I?
216 INT. HOSPITAL – PAWHUSKA – DAY 216
Mollie is brought into her hospital room with the help of
John Wren and CJ Robinson.
There is a team of Doctors and Nurses around here in a flash.
HALE (V.O.)
Take a letter:
JUDGE NOT! By William K. Hale.
Judge Not! the clouds of seeming
guilt may dim thy brother’s fame;
217 OMITTED 217
218 INT. HALE’S JAIL CELL - GUTHRIE - DAY 218
Hale with a SECRETARY...
KOTFM - Final Shooting Script - August 10, 2022 127.
HALE
For fate may throw suspicion’s
shade upon the brightest name!
CUT TO:
219 EXT. FEDERAL PRISON - MORNING 219
Ernest, witness for the prosecution, is under the guard of
Tom White, Joe Jones and John Wren and some U.S. MARSHALLS.
ERNEST
I want to see my wife. You said if
I testified I could see my wife.
TOM WHITE
She’s in hospital in Pawhuska.
ERNEST
Is she alright?
TOM WHITE
Doesn’t seem it.
ERNEST
When can I see her?
TOM WHITE
I don’t know.
ERNEST
I need to get a letter to her.
A group of reporters is there.
REPORTER 2
Where are they taking you, Mr.
Burkhart?
ERNEST
I’m going the other way for a while
now.
Ernest gets in the backseat of the car. Tom White shuts the
door.
TIME CUT:
Tom White OPENS the backseat door on the other side, starts
to get in beside Ernest.
KOTFM - Final Shooting Script - August 10, 2022 128.
TOM WHITE
We’re not charging you with
anything ‘cause you’re gonna
testify… but it’s best I shepherd
you out of the state for awhile.
Keep Hale and his wolves away from
you. Now I know you wanna get back
to Mollie and the kids but this is
protection.
Ernest listens. The car drives away from the municipal
building.
CUT TO:
Ratings
Scene 44 - Hamilton's Demand
A GUARD with a RIFLE monitors the hospital room. Mollie,
feeling better, in bed, eating something.
HALE (V.O.)
Thou canst not tell what hidden
chain of circumstances may have
wrought the sad results that takes
an honest name away…
221 INT. HALE’S JAIL CELL – GUTHRIE – DAY 221
HALE
Judge Not! The vilest criminal may
rightfully demand a chance to prove
his innocence by jury of his land;
Judge Not!!!
Hale finishes his poem:
HALE (CONT'D)
Get this in the Pawhuska Daily
Journal, Fairfax Chief, Hominy
Journal and the Osage County News -
CUT TO:
222 INT. HOSPITAL - PAWHUSKA 222
GUARD with a RIFLE monitors the room. Mollie helped around
the room. Elizabeth and Cowboy are visting her. We hear
Ernest’s letter:
KOTFM - Final Shooting Script - August 10, 2022 129.
ERNEST (V.O.)
LETTER TO MOLLIE concludes with a
repeat “It’s time for all the true
facts to come out…”
223 INT. FEDERAL COURTROOM - ENTRY DOOR TO COURTROOM 223
A beat of quiet at the door to the courtroom. Tom White looks
at Ernest who seems very shaky and sweaty.
TOM WHITE
Hold steady, son.
224 INT. FEDERAL COURTROOM - CONTINUOUS 224
Ernest is brought into the courtroom.
Ernest sees Hale at the defendant’s table with his lawyers.
Hale looks at Ernest.
Tom White and John Wren take a seat and look at the all white
jury. He sees the Judge, HONORABLE JOHN C. POLLOCK.
Ernest takes the stand, everyone falls quiet for one second
and then, suddenly:
W.S. HAMILTON (Hale’s Lawyer) stands up and stops all this
before it starts by screaming out:
W.S. HAMILTON
I demand to confer privately with
Mr. Burkhart. He is my client.
Loud objections, minor chaos, then, Ernest looks baffled,
everyone does:
W.S. HAMILTON (CONT'D)
ERNEST BURKHART IS MY CLIENT AND I
DEMAND AN OPPORTUNITY TO SPEAK WITH
HIM! HE HAS BEEN MISSING FOR TWO
MONTHS AND I HAVE NOT HAD THE
CHANCE TO COMMUNICATE WITH HIM
BEFORE HE TESTIFIES!
JUDGE POLLOCK
Is this man really your attorney?
KOTFM - Final Shooting Script - August 10, 2022 130.
ERNEST
I don’t know...? I don’t have a
contract with him but I’m willing
to talk to him.
More objections from prosecution, Tom White and Wren look on
as the courtroom goes nuts.
W.S. Hamilton and Hale’s team of lawyers get Ernest into a
back room.
JUDGE POLLOCK
Court is adjourned until tomorrow
at 10.
Tom White and John Wren look.
CUT TO:
Ratings
Scene 45 - Ernest's Dilemma: To Testify or Not to Testify
A chauffeured limousine and another car. Both parked in the
middle of the empty highway.
A couple hundred yards back... Tom White and another in their
car... They make no effort not to be seen, just keep back and
watch.
Ernest steps out of the car... Mollie steps out of the other
car, driven by Byron... and they come to each other...
CU. MOLLIE and ERNEST they look at each other and don’t say
anything... Ernest is seeing Mollie, healthy for the first
time in a long time... something dawns on him:
ERNEST
I’m sorry.
MOLLIE
For what?
ERNEST
All troubles.
MOLLIE MOLLIE
I’ll take you home now. Ah-we-breen-ah-leh theh-kohn-
tsee-eh.
ERNEST ERNEST
Yes, ma’am. Hoh-weh.
KOTFM - Final Shooting Script - August 10, 2022 131.
Ernest and Mollie walk together and get in the car...
BYRON
Brother.
ERNEST
Brother.
BYRON
Freeling and Hamilton want to see
you at Hale’s tonight. Talk things
over.
CUT TO:
226 OMITTED 226
227 OMITTED 227
228 INT. HALE’S RANCH - NIGHT 228
Faces looking at Ernest as he enters the livingroom. Ernest
acknowledges the recognizable men and women from town
including Myrtle and Hale’s lawyers looking at him. And two
oil executives MR SOLOWEY and MR KRACEON.
ERNEST
Sheriff... Aunt Myrtie...
FREELING
Ernest, you know Mr Solowey from
Solowey Oil? And Mr Kraceon from
Kraceon Oil?...
Ernest sits.
W.S. HAMILTON
If you testify against your Uncle,
you realize that this can be held
against you for years to come and
you can get convicted for the Smith
murder, do you see that?
ERNEST
No.
KOTFM - Final Shooting Script - August 10, 2022 132.
W.S. HAMILTON
They’re giving you the rope to hang
yourself, you see that?
FREELING
He doesn’t see that.
W.S. HAMILTON
Ernest, you realize if you do this
you will be murdering your Uncle?
ERNEST
No, no, no.
FREELING
Yes. You have all the power to save
his life.
W.S. HAMILTON
HE IS SAVING YOU, DUMB BOY... Do
you want to go home right now?
ERNEST
Yes.
W.S. HAMILTON
Do you want to see your wife and
kids?
ERNEST
Yes.
W.S. HAMILTON
These Government Men BEAT you and
TORTURED you, didn’t they??
ERNEST
They kept me awake for days…
W.S. HAMILTON
No, they BEAT you.
ERNEST
...yes, sir, they did.
W.S. HAMILTON
THANK YOU.
KOTFM - Final Shooting Script - August 10, 2022 133.
Ratings
Scene 46 - Mollie and Ernest's Conversation and Ernest's Arrest
Ernest sits with Mollie. She prepares her insulin and gives
herself a shot through the scene. He watches her... (Children
present)?
MOLLIE
I had a dream we went to Colorado
Springs. You told me all your
secrets and I held them in a box
for you... we went to a river and
dumped them away... and we were
happy, then.
ERNEST
The insulin is working... I guess
you had to get worse before you got
better? Something like that?
MOLLIE
Yes, Ernest. I had to get worse
before I got better.
...What’s going to come now?
ERNEST
Well, Mollie... it’s very
complicated.
MOLLIE
No, it shouldn’t be.
ERNEST
Yes, I know. But white man’s laws
are hard to understand... sometimes
you have to do one thing even
though you mean the other thing –
and I know that’s hard for you to
understand as Osage. So what I have
to do is to go now and tell the
real Truth about what these
government men have done to make me
lie to them... you see they beat me
and tortured me so that I would say
that my Uncle did these things...
but now I am in my right way... and
I cannot tell that lie about him.
So I am going to do the right thing
now and protect him.
MOLLIE
When will you come back?
KOTFM - Final Shooting Script - August 10, 2022 134.
ERNEST
Just in a few days this will all be
over. They have to arrest me just
for a show of it. But I’m not in
trouble cause I done nothing wrong
in this world.
She finishes giving herself the shot, looks at him.
MOLLIE
Osage know a true story when they
hear one.
ERNEST
Yes... this is true to you?
MOLLIE
It has too many turns in it to be a
true story.
CUT TO:
230 INT. LIZZIE/MOLLIE’S GRAY HORSE HOME – MORNING 230
POV Mollie from inside the house looking out the window. See
Hale’s lawyers and Government Agents waiting outside. Hear a
door. See Ernest leave the house. Lawmen and lawyers talk to
Ernest.
They handcuff him and take him away, he nods to Mollie that
it’s all just fine.
CUT TO:
231 INT. JAIL – DAY 231
Ernest is brought into jail. Hale is roaming free down here,
and comes to greet him. He hugs him. A long, silent bear
hug between them.
CUT TO:
232 INT. FEDERAL COURTROOM – DAY 232
CU. MOLLIE: She sits down in FRAME. Osage Tribe are here,
it’s packed with people, reporters, etc.
HALE is sitting at defendant table.
KOTFM - Final Shooting Script - August 10, 2022 135.
KELSIE MORRISON is on the stand.
PROSECUTOR LEAWARD
... how did you come to kill Anna
Brown?
KELSIE
I was hired by W.K. Hale.
PROSECUTOR LEAWARD
What did he say to you?
KELSIE
I was to get a thousand dollars and
the money I owed him which was six
hundred dollars.
PROSECUTOR LEAWARD
Now you say you killed Anna Brown?
KELSIE
Yes, sir.
PROSECUTOR LEAWARD
You took her down into that canyon
there into what was commonly known
as the Three Mile Canyon, didn’t
you?
KELSIE
Yes, sir.
PROSECUTOR LEAWARD
What did you shoot her with?
KELSIE
Automatic.
PROSECUTOR LEAWARD
And where did you shoot her?
KELSIE
Shot her down through the top of
the head, I guess I killed her.
PROSECUTOR LEAWARD
Now you say you were pretty drunk?
KELSIE
Yes, sir.
PROSECUTOR LEAWARD
You knew you were killing her
didn’t you?
KOTFM - Final Shooting Script - August 10, 2022 136.
KELSIE
Yes sir.
PROSECUTOR LEAWARD
How did you get her down to the
place where you killed her?
KELSIE
Byron and I carried her down there.
PROSECUTOR LEAWARD
Did you make her drunk so you could
kill her?
KELSIE
Yes, sir.
PROSECUTOR LEAWARD
Was she laying down when you killed
her?
KELSIE
No, sir.
PROSECUTOR LEAWARD
What position was she in?
KELSIE
Sitting up. Byron raised her up,
pulled her up and held her up.
PROSECUTOR LEAWARD
You stood there and directed him
how to hold this drunken helpless
Indian woman down in the bottom of
that canyon while you got ready to
shoot a bullet into her brain?
KELSIE
Yes, sir.
PROSECUTOR LEAWARD
What happened when you shot her?
KELSIE
Turned her loose and she fell back
down.
PROSECUTOR LEAWARD
Did she make any outcry?
KELSIE
No, sir.
KOTFM - Final Shooting Script - August 10, 2022 137.
PROSECUTOR LEAWARD
Did you stand there and watch her
die?
KELSIE
No, sir.
PROSECUTOR LEAWARD
You were satisifed with your work?
KELSIE
Yes, sir.
PROSECUTOR LEAWARD
Then you turned and left.
KELSIE
Yes, sir.
PROSECUTOR LEAWARD
Have you seen that canyon where you
killed Anna Brown?
KELSIE
I have seen it a hundred times, I
suppose.
PROSECUTOR LEAWARD
You have seen it a hundred times
since? You wanted to go back and
see where you killed Anna Brown?
KELSIE
No, sir.
PROSECUTOR LEAWARD
Well?
KELSIE
No, sir.
PROSECUTOR LEAWARD
What did you go back out there for?
Kelsie smiles.
PROSECUTOR LEAWARD (CONT'D)
Go ahead and tell the jury.
KELSIE
Well it was a good place to park
and drink and put on parties – it
can’t be seen from the road……
KOTFM - Final Shooting Script - August 10, 2022 138.
CU. MOLLIE.
PROSECUTOR LEAWARD (O.C.)
And where did you go after you
killed Anna Brown?
KELSIE (O.C.)
Went to sleep at Bill Hale’s.
PROSECUTOR LEAWARD (O.C.)
And what did you do then?
KELSIE (O.C.)
We stayed drunk.
PROSECUTOR LEAWARD (OC)
Where did Byron go?
KELSIE (OC)
Back home to Mollie’s.
CUT TO:
Ratings
Scene 47 - Ernest's Grief
The night of the murder. Mollie brings Byron a pillow as he
gets on the couch to go to sleep. She comes upstairs and gets
into bed with Ernest. She turns and holds on to him...
CUT TO:
234 EXT. THREE MILE CREEK – FLASHBACK – NIGHT 234
Byron props up Anna’s limp body as Kelsie raises his gun and
aims at the back of her head...
CUT TO:
235 INT. JAIL CELL – NIGHT 235
Ernest is asleep in his cell. Tom White comes to see him.
TOM WHITE
Ernest, wake up... Ernest, I’m to
tell you that your child has died.
ERNEST
What child?
KOTFM - Final Shooting Script - August 10, 2022 139.
TOM WHITE
I don’t know the name.
ERNEST
Cowboy? Which one?
TOM WHITE
Is there a child that’s had trouble
with her lungs - like whooping
cough?
ERNEST
Who told you this? How do you know
this?
TOM WHITE
This was told to me by our agents
in Fairfax. Mollie has gone to see
and take it home.
ERNEST
It’s the baby... it’s the baby
Anna. Oooo lord. Ooo my lord no.
TOM WHITE
Bless you son, I’m sorry for your
loss.
Tom White walks away, past Hale’s cell. Hale hears Ernest
crying and crying and moaning in loss. Hale gets the Jailers
attention.
HALE (TO JAILER)
What happened?
JAILER
Told him his baby died...
HALE
Which one?
JAILER
The baby.
HALE
Sad news. Sad news, terrible
tragedy. White man’s disease.
We’ve brought nothing but trouble
to them.
Ernest weeps. Hale tries to call to him...
KOTFM - Final Shooting Script - August 10, 2022 140.
HALE (CONT'D)
(Boy...boy it’s alright...) Suffer
little children, and forbid them
not, to come unto me: for of such
is the kingdom of heaven. And he
laid his hands on them...
CUT TO:
236 INT. BIGHEART’S HOUSE - BEDROOM – DAY 236
In the bedroom, Mollie is overcome with grief, kneeling by
bed. Mollie's LITTLE GIRL ANNA is wrapped in a blanket lying
motionless on the bed. The BIGHEARTS standing.
CUT TO:
237 EXT. GRAY HORSE CEMETERY - DAY 237
Ernest, in shackles and handcuffs, escorted by Tom White out
of car…
Mollie & Ernest with two Marshalls at his elbow, the
Bighearts and Mollie standing at a freshly dug grave.
The Catholic Priest is presiding over the burial of Little
Anna. An ACOLYTE assists.
PRIEST PRIEST
Lord, have mercy. Christ, Kyrie eleison. Christe
have mercy. Lord, have mercy. eleison.
Our Father - Kyrie eleison. Pater noster -
(inaudibly) - qui es in caelis, sanctificetur nomen tuum.
Adveniat regnum tuum. Fiat voluntas tua, sicut in caelo, et
in terra. Panem nostrum quotidianum da nobis hodie, et
dimitte nobis debita nostra, sicut et nos dimittimus
debitoribus nostris. (until...)
PRIEST (CONT'D) PRIEST (CONT'D)
(aloud) And lead us not into (aloud) Et ne nos inducas in
temptation. tentationem.
MOLLIE & BIGHEARTS & ACOLYTE MOLLIE & BIGHEARTS & ACOLYTE
But deliver us from evil. Sed libera nos a malo.
KOTFM - Final Shooting Script - August 10, 2022 141.
PRIEST PRIEST
Let little children come to Sinite parvulos venire ad me.
me.
MOLLIE & BIGHEARTS & ACOLYTE MOLLIE & BIGHEARTS & ACOLYTE
For theirs is the kingdom of Talium est enim regnum
heaven. caelorum.
PRIEST PRIEST
The Lord be with you. Dominus vobiscum.
MOLLIE & BIGHEARTS & ACOLYTE MOLLIE & BIGHEARTS & ACOLYTE
May He also be with you. Et cum spiritu tuo.
TIME CUT:
The casket and grave are then sprinkled with holy water and
incensed. Elizabeth PLACES A PIECE OF FRUIT on the casket.
Ernest reacts.
238 TIME CUT: 238
ERNEST
I love you. I love you. I’ve
always loved you, Mollie.
Tom White puts Ernest in his car. Ernest is shaken.
TOM WHITE
You still strong? (still up for
this?)
Ernest gives White a look. They drive off.
239 OMITTED 239
Ratings
Scene 48 - Ernest's Dilemma: Testify Against Brother or Protect Family Ties?
Tom White brings Ernest to see Bill Hale in his jail cell.
Ernest safe on the other side of the bars, says:
KOTFM - Final Shooting Script - August 10, 2022 142.
ERNEST
Hello, King.
HALE
How is everyone?
ERNEST
Not good.
HALE
I know, my son, I feel it too.
ERNEST
You know, I’ve got to take care of
the two kids and Mollie.
Ernest looks at Hale.
HALE
Uh huh... What are you thinking of?
ERNEST
...to testify.
HALE
That’s a strong choice to make
against adversity...
ERNEST
I have to, Uncle.
HALE
... They gave you a deal.
ERNEST
... a deal...
HALE
They won’t hold to it.
ERNEST
It’s the Federal Government.
HALE
That’s right - it’s the Federal
government. That’s why I say that.
Pauses. Let’s Ernest reflect.
HALE (CONT'D)
All that’s really going to happen
is the family is going to be broke
up. Is that what you want?
(MORE)
KOTFM - Final Shooting Script - August 10, 2022 143.
HALE (CONT'D)
It’s just not going to make any
difference. I tell you this from
the deepest part of my heart.
ERNEST
People have turned. They’ve seen a
dark streak through the country.
It’s different now, Bill - the
Osage -
HALE
(interrupts) - The Osage know. They
know who gave them the schools -
the streets they walk on... I’ve
brought them into the great 20th
century. What have you done -
you’ve created a family with my
help - because of me.
ERNEST
They’re not going to stand by you,
Bill. Not now - it’s over - after
all this -
HALE
No, they will, they will - Oh there
might be some public outcry ‘for
awhile’ but then people will
forget. They won’t even remember -
they won’t even care. Nothing’s
gonna change, son, it’s just gonna
be another “everyday”... common
tragedy.
ERNEST
... common, huh?...
HALE
If it’s the last thing you hear me
tell you - please don’t do
something you’re gonna regret for
the rest of your life.
ERNEST
Regret? Regret?! I got nothing but
regrets. I regret now that I should
have done this earlier.
HALE
You really believe you’ll be better
off after you do what you think you
ought to do? - you’re gonna go on
living like nothing happened?
(MORE)
KOTFM - Final Shooting Script - August 10, 2022 144.
HALE (CONT'D)
You’ve got a family, children, you
lost one already. Don’t make it
more of a tragedy (than it already
is) - .
ERNEST
It’s already a goddamn tragedy! I
don’t trust you, Bill. Nobody
trusts you. You understand that?
HALE
Son - (I know you believe you think
you’re making the right decision- )
ERNEST
(Interrupting) I’m not your son,
Bill.
HALE
(Oh yes you are!) Whether you are
or you’re not, you’re a son to me.
Ernest takes this in.
ERNEST
I thank you, Bill, but I gotta look
after my family... I can’t -
Ernest backs away.
HALE
I don’t know what to say and I’m
sorry to hear that. I forgive you
for you know not what you say. The
Lord has forgiven you, so you also
must forgive. I love you, son.
Don’t throw it all away.
We now see that Agents Burger and Smith have been secretly
listening to the conversation on a recording device.
CUT TO:
241 OMITTED 241
Ratings
Scene 49 - Ernest Testifies in Court
Ernest on the stand. He looks at Mollie, in her blanket, in
the courtroom. The Prosecutor begins:
KOTFM - Final Shooting Script - August 10, 2022 145.
PROSECUTOR LEAWARD
Mr. Burkhart, is this of your own
accord?
ERNEST
Yes sir.
PROSECUTOR LEAWARD
No one has promised you anything?
ERNEST
No sir.
PROSECUTOR LEAWARD
Did you seek out John Ramsey at
your Uncle’s behest to kill Henry
Roan?
ERNEST
Yes sir.
PROSECUTOR LEAWARD
Did you drive from Fairfax to
Ripley to tell John Ramsey to tell
Asa Kirby to do a job?
ERNEST
Yes, sir.
PROSECUTOR LEAWARD
Who asked you to do this?
ERNEST
My Uncle William Hale.
PROSECUTOR LEAWARD
Do you see him?
ERNEST
Yes, sir.
PROSECUTOR LEAWARD
Can you point to him?
ERNEST
Yes, sir, right there.
PROSECUTOR LEAWARD
I’d ask that the record reflect the
witness identified the Defendant,
Mr. Hale.
KOTFM - Final Shooting Script - August 10, 2022 146.
JUDGE POLLOCK
The record shall so reflect.
PROSECUTOR LEAWARD
What was the job that he wanted Asa
Kirby to do?
ERNEST
He wanted to blow up Reta and Bill
Smith.
PROSECUTOR LEAWARD
Why would he want them blown up?
ERNEST
So to get their money.
PROSECUTOR LEAWARD
Are you a married man?
ERNEST
Yes, sir.
PROSECUTOR LEAWARD
What is your wife’s name?
ERNEST
Mollie Burkhart.
PROSECUTOR LEAWARD
She is Reta’s sister?
ERNEST
Yes, sir.
PROSECUTOR LEAWARD
She is also the sister of Anna
Brown who was murdered.
ERNEST
Yes.
PROSECUTOR LEAWARD
And her mother Lizzie Q who is
dead?
ERNEST
Yes.
PROSECUTOR LEAWARD
And her sister Minnie is dead?
KOTFM - Final Shooting Script - August 10, 2022 147.
ERNEST
Yes.
PROSECUTOR LEAWARD
And all these dead women are Indian
women, are they?
ERNEST
Yes.
PROSECUTOR LEAWARD
If Mollie, your wife, died, who
would get her Oil Money?
ERNEST
Me and our children.
PROSECUTOR LEAWARD
Did your Uncle lay out a plan to you
by which you would benefit from the
deaths of all these Indian women?
ERNEST
...yes, sir.
PROSECUTOR LEAWARD
And you helped your Uncle on your
own making?
ERNEST
Yes.
PROSECUTOR LEAWARD
Was part of this plan that you
would meet and marry Mollie Kyle?
And kill her family and her for
their Indian Oil Money?
ERNEST
No, sir. I met and married my wife
because I picked her up in my cab.
PROSECUTOR LEAWARD (O.C.)
You did not marry her because your
Uncle directed you to?
ERNEST
No, sir. I loved my wife from
because that’s what happened to us
when I picked her up in my cab.
CU MOLLIE – Listening to this in the courtroom.
KOTFM - Final Shooting Script - August 10, 2022 148.
243 OMITTED 243
Ratings
Scene 50 - Mollie Confronts Ernest in Court
Ernest is guarded by Tom White. The blinds are drawn.
Mollie is brought in by John Wren to sit and meet with
Ernest.
Tom White sits as far back as he can for their privacy.
Mollie and Ernest sit down. He reaches for her hand.
ERNEST
How’s my Cowboy?
MOLLIE
Well.
ERNEST
He miss his Pops?
MOLLIE
Yes. Elizabeth too.
ERNEST
They know what’s happened?
MOLLIE
Not so much.
PAUSE, THEN:
MOLLIE (CONT'D)
Have you told all the truths?
ERNEST
Yes I have. My soul is clean now.
It’s a relief to me. To be out from
under this. (ALT I wasn’t going to
let him get anywhere near you and
the kids.)
MOLLIE
What did you give me?
ERNEST
What?
MOLLIE
What was in the shots?
KOTFM - Final Shooting Script - August 10, 2022 149.
ERNEST
...
MOLLIE
My medicine you gave me. What was
in it, Sho-mee-kah-see?
LONG BEAT, THEN:
ERNEST
Insulin.
She stands up and walks out... Tom White is trained on
Ernest...
Ernest and Tom White.
ERNEST (CONT'D)
(ALT. I swear, Mollie. I swear...)
Tom White says nothing...
CU. ERNEST: He’s lost it all.
CUT TO:
245 INT. RADIO BROADCAST STUDIO, NEW YORK - NIGHT, YEARS LATER 245
AN ORCHESTRA PLAYING WITH A FLOURISH WHAT IS THE FINISH TO A
DRAMA.
RADIO ANNOUNCER (V.O.)
Right had won.
Music swells again. Applause is heard.
246 INT. RADIO BROADCAST STUDIO, NEW YORK - NIGHT, YEARS LATER 246
And we see an AUDIENCE is watching the Orchestra play its
closing music, a sound of hope, for the episode. AN ANNOUNCER
at a microphone. The PERFORMERS sitting in front of
microphones. Two SOUND EFFECTS MEN with their wide ranging
props standing at microphones.
RADIO ANNOUNCER
(reading while holding a
headset)
True Crime Stories has been brought
to you through the courtesy of J.
(MORE)
KOTFM - Final Shooting Script - August 10, 2022 150.
RADIO ANNOUNCER (CONT'D)
Edgar Hoover and the Federal Bureau
of Investigation, the Department of
Justice.
This brings to a close the
authenticated story of the “Osage
Indian Murders”.
MUSIC STARTS TO FADE -
RADIO ANNOUNCER (CONT'D)
As we take our leave from Osage
County we conclude:
The Doctors, the Shoun Brothers,
were never pursued by the legal
system for having certainly helped
poison Mollie. Tom White said...
The PERFORMER playing TOM WHITE:
TOM WHITE ACTOR
I just never had hard enough
evidence to bring them to justice.
Music: A CONCLUDING CHORD from the Orchestra.
RADIO ANNOUNCER
They continued to practice
medicine. (pause)
Ernest’s brother Byron Burkhart was
tried as an accomplice to Anna’s
murder. Kelsie Morrison said at his
trial...
An ACTOR PORTRAYING Kelsie Morrison says,
KELSIE ACTOR
Byron got her drunk -
Sound Effect: GUN SHOT
KELSIE ACTOR (CONT'D)
- and I did the rest.
RADIO ANNOUNCER
Byron was released after a hung
jury. He said...
The SAME ACTOR PLAYING Morrison, now playing Byron says:
BYRON ACTOR
She couldn't hold her liquor.
KOTFM - Final Shooting Script - August 10, 2022 151.
RADIO ANNOUNCER
William Hale, the ringleader of the
deadly plots, was found guilty and
sent to Leavenworth for life.
Sound Effect: PRISON DOOR SLOWLY CLOSES & SHUTS
RADIO ANNOUNCER (CONT'D)
He would write letters back home to
his Osage friends…
Sound Effect: PEN WRITING ON PAPER
The HALE ACTOR reads:
HALE ACTOR
“Dear Friends! How are you all?
I’m in perfect health. I haven’t
got a gray hair. I never had better
friends in my life than the Osages.
I was a true friend to them. I had
rather live at Gray Horse than any
place on Earth. I will be back with
you before many moons. How is my
friend, Dah kah-hee-keh? Your true
friend W.K. Hale.”
RADIO ANNOUNCER
Hale was released in 1947. The
Parole Board cited his record as a
good prisoner for his early
release. Not everybody was happy.
Sound Effects Man: “INDIAN DRUMMING”.
AN ACTOR PORTRAYING AN OSAGE CHIEF, with full racist accent
speaks as drumming continues...
OSAGE CHIEF ACTOR
This man he is being released
because he paid off politicians and
nobody cares about the Osage lives.
RADIO ANNOUNCER
Hale was not supposed to set foot
in Oklahoma again -
Sound Effect: CAR
RADIO ANNOUNCER (CONT'D)
- but according to relatives he
often visited them.
Sound Effect: CAR STOPS
KOTFM - Final Shooting Script - August 10, 2022 152.
Sound Effect: SCREEN DOOR OPENS
An ACTRESS PORTRAYING one of Hale’s relatives says:
ACTRESS
What do you want for lunch William?
Sound Effects: COUNTRY KITCHEN: DISHES
Sound Effects: CHAIR PULLED UP TO TABLE.
Sound Effect: WATER POURED IN A GLASS
HALE ACTOR
If only that damn thick-head Ernest
had kept his fool trap shut we'd be
in clover today.
RADIO ANNOUNCER
William Hale died in an Arizona
nursing home. He lived to 87 years.
Sound Effects Interlude: BUSY PRISON: Whistle, Turntable
playing record of prison ambience, Keys Rattling in Cell
Door, Chains and Shuffling Feet, Cell Door slowly opening.
RADIO ANNOUNCER (CONT'D)
Tom White went on to become the
Warden of Leavenworth Prison in
Kansas. He was Warden at the same
time William Hale was there.
Sound Effects Man turns off Turntable.
Sound Effects: FOOTSTEPS passing one another
RADIO ANNOUNCER (CONT'D) (CONT'D)
They would pass each other in the
prison yard -
Pause as footsteps continue -
RADIO ANNOUNCER (CONT'D)
- never saying a word to one
another.
Music: There’s overplayed melodramatic concluding music.
Sound Effect:CELL DOOR SLOWLY CLOSING AND RESOUNDINGLY SHUTS.
RADIO ANNOUNCER (CONT'D)
Ernest Burkhart was sentenced to
life imprisonment at the Oklahoma
State Penitentiary.
KOTFM - Final Shooting Script - August 10, 2022 153.
Sound Effect: GAVEL
AN ACTOR PORTRAYING A PRISONER saying
PRISONER ACTOR
“Aren’t you the one tried to kill
his Injun wife for the oil money?”
RADIO ANNOUNCER
He got out in 1937 and went back to
the Osage land, where he robbed an
Osage home...
Sounds of a BREAK-IN (something broken, breaking glass)
RADIO ANNOUNCER (CONT'D)
...the Indian having caught him in
the act of the robbery...
Sound Effects Man: with “INDIAN DRUMMING”.
INDIAN ACTOR
"If you move I will scalp you with
this tomahawk.”
RADIO ANNOUNCER
Ernest was sent back to prison.
Years later he was granted a Pardon
for his crimes and once again,
moved back to Osage County, just
outside Fairfax where he lived out
his days with Byron in a trailer
park north of the city.
ERNEST ACTOR
Pass me a beer, brother...
Sound Effect: BEER BOTTLE OPENS
BYRON ACTOR
Got a light for my Lucky Strike?
Sound Effect: A MATCH IS LIT.
MUSIC: There’s a solo VIOLIN. As music continues...
RADIO ANNOUNCER
After Mollie divorced Ernest she
lived with her new husband John
Cobb on the Reservation. She died
of diabetes on June 16, 1937. Her
obituary in the local paper said
simply...
KOTFM - Final Shooting Script - August 10, 2022 154.
Sound Effect: TYPEWRITER
A RADIO SHOW PRODUCER reads the obituary...
RADIO SHOW PRODUCER
“Mrs. Mollie Cobb, 50 years of age,
passed away at 11:00 Wednesday
night at her home. She was a full-
blood Osage. She was buried in the
old cemetery in Gray Horse beside
her father, mother, sisters, and
daughter."
VIOLIN fades out.
WE HEAR THE SOUND EFFECTS of a SHOVEL and DIRT being put on a
casket.
RADIO SHOW PRODUCER (CONT'D)
There was no mention of the
murders.
CUT TO:
A247 EXT. OSAGE DRUM DANCE CELEBRATION - 2021 A247
CU A DRUM: THE LOUD BEAT OF SEVERAL DRUMMERS (MEN) AS THEY
SIT AROUND THE DRUM. They are in CURRENT DAY CLOTHING.
The CAMERA PULLS UP to reveal WOMEN SINGERS sitting around
the drummers and continues up to reveal:
A COLORFUL SWIRL of OSAGE PEOPLE DANCING AROUND THE DRUM,
dressed in their own TRADITIONAL DANCE CLOTHING or EVERYDAY
CLOTHES WITH BLANKETS.
Color and movement fill the screen.
A circle forms.
We fade slowly.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
mollie | Mollie initially submits to the control of her guardian and follows the rules in order to protect her mother's spending. However, as she matures, she develops a strong sense of self-reliance and skepticism towards the motives of others. Her skepticism is challenged when she falls deeply in love with Ernest. Her grief over the uninvestigated deaths in the Osage community motivates her to seek justice for Anna's killers. Mollie becomes more assertive and confrontational as she challenges the authority of others and takes matters into her own hands. She faces numerous obstacles throughout the feature but remains resilient and hopeful, relying on her cultural traditions and family bond to persevere. | The character arc for Mollie is well defined and tracks her development throughout the feature. However, Mollie's emotional journey could be more nuanced and complex. While she experiences a range of emotions, her character could benefit from more introspection and exploration of her inner conflicts. Additionally, Mollie's transition from submissive to assertive could be more gradual and nuanced. | To improve Mollie's character arc, it would be helpful to delve deeper into her personal struggles and conflicts. She could be shown grappling with her identity as an Osage woman in a society that seeks to erase her culture. Mollie's growth could also be more incremental and subtle, with small victories along the way that build towards her final confrontation with the authorities. Additionally, Mollie's dialogue could be more varied and reflective of her emotional state, with greater use of metaphor and imagery to illustrate her inner world. |
ernest | Throughout the feature, Ernest experiences a significant character arc. In the beginning, he is primarily motivated by money and is willing to betray others to achieve financial gain. However, as the story progresses, he begins to feel conflicted about his actions and starts to prioritize his relationships and the truth over his desire for money. This is evident when he betrays his uncle and seeks redemption for his past mistakes. The arc culminates in his ultimate decision to testify against his uncle, even at the risk of his own freedom. This marks his full transformation into a character who prioritizes truth and loyalty over financial gain. | Overall, the character of Ernest is well-developed and has a strong arc. However, some of his shifting motivations could be more clearly defined. Specifically, his transition from a primarily money-driven character to one who prioritizes relationships and truth feels somewhat abrupt. Additionally, some scenes could benefit from more explicit indications of Ernest's internal struggles and how they affect his actions. | To strengthen the character arc, it could be helpful to provide more explicit indications of Ernest's internal struggles and how they influence his decision-making. This could be achieved through additional dialogue and scenes that show more explicitly how Ernest's priorities and motivations are shifting. Additionally, some scenes could benefit from more exposition about Ernest's past, which could help contextualize his actions throughout the feature. |
reta | Reta's character arc revolves around her journey of self-discovery, where she learns to overcome her fears and assert herself in the face of danger. She begins as a meek and vulnerable character, whose possession of valuable items makes her a target for violence. However, as the story progresses, Reta grows into a courageous and resilient individual. She takes steps to protect her family and becomes a key player in foiling the criminal conspiracy. | The character arc for Reta feels somewhat predictable and lacks depth. Reta's transition from a vulnerable victim to a heroic protector feels a bit too simplistic, without offering any new insights into her character. Furthermore, her use of Osage language and cultural references often feels like a superficial inclusion, which doesn't add much to her character development. | To improve Reta's character arc, the screenwriter could explore her history and motivations in greater detail. This would help to provide a more nuanced understanding of her character and make her transition more believable. Furthermore, the use of Osage language and cultural references could be incorporated more organically into the story, rather than feeling like a forced inclusion. Lastly, adding more complexity and depth to the criminal conspiracy subplot would also help to elevate Reta's character arc. |
anna | Over the course of the screenplay, Anna confronts her addiction and seeks to make amends for her past behavior. She begins to connect with her Osage culture and heritage, recognizing the importance of her identity and finding strength in her roots. Through her journey of self-discovery and growth, Anna learns to forgive herself and others, establishing a new sense of peace and purpose in her life. | While Anna's character is compelling and multi-dimensional, her arc is somewhat predictable and lacks a sense of urgency or agency. The audience is not given a clear reason to root for Anna's transformation besides a general sense of sympathy for her difficult circumstances. Additionally, Anna's dialogue can be heavy-handed at times, feeling more like a cultural showcase than natural conversation. | To improve Anna's character arc, the screenplay could add more obstacles and challenges that force Anna to confront her addiction and take responsibility for her behavior. This could include legal consequences or strained relationships with loved ones. Additionally, Anna's journey towards self-forgiveness could be given more weight by emphasizing specific traumas from her past that still haunt her. In terms of dialogue, Anna's Osage language and cultural references could be integrated more seamlessly into the story, avoiding any moments that feel like overt exposition. |
bill smith | At the beginning of the feature, Bill Smith is introduced as a potential source of conflict. As the story progresses, he becomes increasingly antagonistic and confrontational, enjoying the provocation of others. However, as the investigation into the murder deepens, it becomes clear that Bill Smith may have more involvement in the crime than originally suspected. This leads to a climax where he is confronted and forced to reveal his role in the murder. In the end, Bill Smith is arrested and brought to justice for his actions. | The character arc for Bill Smith is strong and well-defined, building tension and suspense in the story. However, there could be more nuance and complexity added to his character to make him more sympathetic and multidimensional. It would also benefit the story to further explore his motivations and backstory to better understand his actions. | To improve the character arc for Bill Smith, consider adding more vulnerability and humanity to his character. This could be achieved by exploring his personal relationships and connections to the other characters, or by delving further into his past experiences that might motivate his actions. Additionally, providing more clues and red herrings throughout the story could add complexity to his character and make his eventual role in the murder more surprising. |
lizzie | Lizzie's character arc in this feature is one of acceptance and strength. At the beginning of the film, she is vulnerable and in poor health, but still strong-willed and traditional in her beliefs. As the story progresses, she becomes more accepting of her fate and focuses on imparting her cultural heritage and love to her daughter Anna. In the end, she shows her strength and acceptance of death by walking away with her ancestors, leaving Anna with the knowledge of their shared cultural heritage and love. | The character arc for Lizzie is well-developed and fitting for the story. However, it could benefit from more explicit indications of her inner emotional journey, such as through dialogue or visual cues. Additionally, her struggles with assimilation could be further explored to add more depth to her character. | To improve the character arc, more inner emotional moments could be added to showcase Lizzie's growth and acceptance throughout the film. For example, a scene where Lizzie reflects on the impact of assimilation on her culture and family could add more depth to her character. Additionally, showing Lizzie's influence on Anna and her decision to embrace her cultural heritage could make Lizzie's character arc more impactful. |
bill hale | Bill Hale starts as a wise and knowledgeable character who advises Ernest and is supportive of the tribe's efforts. As the feature progresses, he is revealed to have potential involvement in criminal activities, becoming a dangerous figure. Bill's character arc ends with a display of concern and leaving the scene. | The character arc of Bill Hale lacks development and resolution. Although there is a shift in his portrayal from a wise and supportive figure to a potentially dangerous one, there is no resolution or explanation for his involvement in criminal activities, leaving the audience with unanswered questions. | To improve the character arc of Bill Hale, the screenplay should provide more details and explanations for his involvement in criminal activities. Furthermore, the character arc should come to a clear resolution or explanation for his behavior to avoid leaving the audience with unanswered questions. This can be achieved by providing more backstory for Bill Hale and his relationship to the Osage tribe. |
blackie thompson | Over the course of the feature, Blackie Thompson goes from being a skeptical and resentful criminal associate of Ernest to a hardened criminal who is desperate to protect his loved ones. He begins as a confrontational and manipulative character, holding a grudge against Ernest for their past interactions. As the plot progresses, he becomes more of a sympathetic character who is driven by his passion for his family. By the end, viewers see a different side of Thompson—one who is willing to make sacrifices to keep his loved ones safe. | While Blackie Thompson undergoes a clear character arc, it feels somewhat predictable. From the beginning, viewers can tell that Thompson is a tough guy who is passionate about his loved ones, so the transformation doesn't seem particularly surprising. Additionally, he doesn't have much agency in the story—he reacts to the actions of the other characters, rather than driving the plot himself. | To improve Blackie's arc, consider giving him more agency in the story. Instead of reacting to Ernest's offer, he could have his own agenda that drives the plot forward. Additionally, his transformation could be less predictable—for example, perhaps he begins the story as someone who is only looking out for himself, but as the plot progresses, he starts to see the importance of community. Finally, consider giving him more scenes where he interacts with other characters, rather than just being a foil for Ernest. |
tom white | Tom White begins the feature as a determined investigator, committed to finding the truth and bringing justice to the victims. Throughout the course of the story, he faces challenges and obstacles that test his resolve and force him to question his own beliefs and motivations. As he uncovers more information about the crimes, his focus shifts from the case to the people involved. He realizes that the individuals he is investigating are not just perpetrators, but human beings with complex histories and motivations. This realization transforms him from a rigid law enforcement officer to a more empathetic and understanding person. By the end of the feature, Tom is still committed to justice, but his approach is more nuanced and compassionate. | While the character arc is compelling and showcases Tom's growth as a person, it may benefit from more active involvement in the plot. Tom often seems to be a passive observer, rather than an active participant. Additionally, the transformation from rigid law enforcement officer to compassionate investigator feels somewhat abrupt and could be better supported with more gradual character development throughout the story. | To improve Tom's character arc, consider giving him more agency in the plot. Give him moments where he actively takes charge and makes meaningful decisions that move the story forward. Additionally, look for opportunities to showcase his inner struggles and thoughts, allowing the audience to empathize with his character and understand his motivations more deeply. Finally, consider setting up his transformation earlier in the story, so that it feels more natural and earned by the end. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
Positive correlation between Emotional Impact and Overall Grade | Scenes with higher Emotional Impact tend to have higher Overall Grades, indicating that emotional scenes are well-received by readers. |
Negative correlation between Dialogue and Emotional Impact | Scenes with higher Dialogue scores tend to have lower Emotional Impact scores, suggesting that too much dialogue can detract from emotional impact. |
Positive correlation between Conflict and High Stakes | Scenes with higher Conflict scores tend to have higher High Stakes scores, indicating that conflict is often tied to high stakes. |
Positive correlation between Move Story Forward and Character Changes | Scenes with higher Move Story Forward scores tend to have higher Character Changes scores, suggesting that advancing the plot often involves character development. |
Negative correlation between Somber Tone and Overall Grade | Scenes with Somber Tone tend to have lower Overall Grades, indicating that readers may not respond as well to somber scenes. |
Positive correlation between Reflective Tone and Emotional Impact | Scenes with Reflective Tone tend to have higher Emotional Impact scores, suggesting that introspection can be emotionally impactful. |
Writer's Craft Overall Analysis
The writer demonstrates a strong command of language and storytelling techniques, creating vivid and engaging scenes that immerse the audience in the world of the story. The writing style effectively conveys the emotions, conflicts, and cultural richness of the characters, while also exploring complex themes and power dynamics. There is room for further development in terms of character depth, originality, and plot complexity.
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 developing compelling characters, enhancing plot structure, and improving overall storytelling craft. It can help the writer further refine their skills in character development, plot complexity, and thematic exploration. |
Course | Screenwriting Masterclass with Aaron Sorkin | This course offers in-depth lessons on dialogue writing, storytelling techniques, and character development. Studying the work of a renowned screenwriter like Aaron Sorkin can inspire the writer to refine their own style, voice, and craft. |
Exercise | Write a scene from the perspective of a different character in the story to explore their individual struggles and motivations.Practice In SceneProv | This exercise can help the writer further develop their understanding of the characters, their unique voices, and their internal conflicts. It can also provide insights into creating more diverse and well-rounded characters. |
Exercise | Write a scene with conflicting internal and external goals for the protagonist.Practice In SceneProv | This exercise can help the writer practice creating complex and engaging scenes by exploring the protagonist's internal conflicts and desires. It can also add depth and tension to the overall narrative. |
Exercise | Write a scene with heightened suspense and unpredictability.Practice In SceneProv | Practicing writing scenes with increased suspense and unpredictability can help the writer further develop their ability to create tension, engage the audience, and craft compelling narratives. |
Stories Similar to this one
Story | Explanation |
---|---|
The Killing of a Sacred Deer | Both 'The Killing of a Sacred Deer' and 'Osage County' explore themes of family, identity, and cultural heritage in the context of murder and betrayal. In both stories, the main characters are forced to confront the dark secrets of their past and the consequences of their actions. The use of flashbacks and non-linear storytelling in both films also adds to the complexity and depth of the narratives. |
Mudbound | Both 'Mudbound' and 'Osage County' depict the struggles of rural communities in the American South. The films explore issues of poverty, tradition, and the impact of external forces on these communities. The use of naturalistic dialogue and a focus on the relationships between characters also creates a sense of intimacy and authenticity in both stories. |
The Revenant | Both 'The Revenant' and 'Osage County' feature strong performances from lead actors. Leonardo DiCaprio in 'The Revenant' and Julia Roberts in 'Osage County' both deliver powerful and emotionally charged performances that help to drive the narratives forward. The use of long takes and extended shots in both films also adds to the intensity and realism of the performances. |
The Ballad of Buster Scruggs | Both 'The Ballad of Buster Scruggs' and 'Osage County' explore themes of mortality and the human condition. The films use a mix of humor, tragedy, and surrealism to explore these themes, creating a unique and unforgettable viewing experience. The use of music and song in both films also adds to the emotional resonance of the narratives. |
The Assassination of Jesse James by the Coward Robert Ford | Both 'The Assassination of Jesse James by the Coward Robert Ford' and 'Osage County' feature complex and multi-dimensional characters. The films explore the motivations and backstories of these characters, adding depth and nuance to the narratives. The use of flashbacks and non-linear storytelling in both films also adds to the complexity and depth of the characters. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Buried Pipe | A sacred Pipe is discussed and prepared for burial. | The Buried Pipe trope is a symbol of the sacred and the passing of traditions. It represents the loss of something important and the need to honor and preserve it. An example of this trope can be seen in the movie 'Dances with Wolves' when the Sioux tribe buries their sacred pipe after the death of their leader. |
Arrival in Town | Ernest arrives in Fairfax and is greeted by various characters. | The Arrival in Town trope is a common way to introduce a character to a new setting and establish their place in the story. It often involves interactions with other characters and sets the stage for future events. An example of this trope can be seen in the movie 'Back to the Future' when Marty McFly arrives in Hill Valley and encounters various townspeople. |
Family Conversation | Family members gather and have a conversation about various topics. | The Family Conversation trope is a way to provide exposition and develop relationships between characters. It often involves discussions about family history, personal experiences, and future plans. An example of this trope can be seen in the TV show 'This Is Us' when the Pearson family gathers for dinner and talks about their day. |
Car Race | An impromptu car race takes place. | The Car Race trope is a way to inject excitement and action into a scene. It often involves characters competing against each other and can lead to unexpected consequences. An example of this trope can be seen in the movie 'Grease' when Danny and Leo race their cars at Thunder Road. |
Romantic Banter | Ernest and Mollie exchange playful banter. | The Romantic Banter trope is a way to establish chemistry and attraction between two characters. It often involves witty and flirtatious dialogue that showcases their personalities and creates tension. An example of this trope can be seen in the movie 'Pride and Prejudice' when Elizabeth Bennet and Mr. Darcy engage in playful banter during their first meeting. |
Baby Naming Ceremony | Mollie attends a baby naming ceremony. | The Baby Naming Ceremony trope is a way to celebrate the birth of a child and introduce them to their community. It often involves rituals and traditions that symbolize the child's place in the family and society. An example of this trope can be seen in the TV show 'Game of Thrones' when Daenerys Targaryen attends a Dothraki baby naming ceremony. |
Wedding Ceremony | Ernest and Mollie have a traditional Osage style wedding ceremony. | The Wedding Ceremony trope is a way to celebrate the union of two characters and showcase their commitment to each other. It often involves rituals and traditions that symbolize the couple's love and the beginning of their life together. An example of this trope can be seen in the movie 'The Princess Bride' when Buttercup and Westley have a fairy tale wedding ceremony. |
Mourning | Characters mourn the death of a loved one. | The Mourning trope is a way to explore grief and loss in a story. It often involves characters coming together to remember and honor the deceased, and can lead to emotional and introspective moments. An example of this trope can be seen in the movie 'Steel Magnolias' when the characters gather to mourn the death of Shelby. |
Investigation | Characters investigate a series of murders. | The Investigation trope is a way to create suspense and mystery in a story. It often involves characters searching for clues, interviewing witnesses, and piecing together the truth. An example of this trope can be seen in the TV show 'True Detective' when detectives investigate a series of ritualistic murders. |
Courtroom Drama | Characters testify and face legal consequences in a courtroom. | The Courtroom Drama trope is a way to explore themes of justice and morality in a story. It often involves characters presenting evidence, cross-examining witnesses, and facing the consequences of their actions. An example of this trope can be seen in the movie 'A Few Good Men' when the characters go to trial for their involvement in a military hazing incident. |
Theme | Theme Details | Themee Explanation | ||
---|---|---|---|---|
Family Loyalty | The screenplay explores the theme of family loyalty through the characters' relationships and actions. The murders of Mollie's family members and the subsequent investigation reveal the complex dynamics between family members and the lengths they will go to protect their own. The conflict between Ernest and Hale over Mollie's care and the potential betrayal of family members by Kelsie Morrison further highlight this theme. | Family loyalty is a central theme in the screenplay as it explores the importance of family ties and the sacrifices that family members are willing to make for each other. | ||
Strengthening Family Loyalty:
| ||||
Corruption and Crime | The screenplay touches upon the themes of corruption and crime through the investigation of the murders and the subsequent revelations of ongoing crimes committed by various characters. The involvement of Kelsie Morrison, Bill Hale, and others in running dope and whiskey, as well as the potential betrayal of family members by Kelsie, shed light on the darker side of the community. | Corruption and crime are significant themes in the screenplay as they reveal the complexities and moral ambiguities of the characters' actions and motivations. | ||
Identity and Heritage | The screenplay explores the themes of identity and heritage through the characters' cultural backgrounds and the importance of preserving their heritage. The traditional Osage customs and rituals, such as the traditional Osage wedding ceremony, highlight the importance of heritage and identity in the community. | Identity and heritage are important themes in the screenplay as they reveal the cultural richness and complexity of the community and the characters' connections to their heritage. | ||
Justice and Law Enforcement | The screenplay touches upon the themes of justice and law enforcement through the investigation of the murders and the subsequent arrests and interrogations of various characters. The involvement of federal agents and the local OSAGE COUNTY SHERIFF in the investigation highlights the importance of justice and law enforcement in the community. | Justice and law enforcement are significant themes in the screenplay as they reveal the importance of upholding the law and ensuring justice for all members of the community. | ||
Tradition and Culture | The screenplay explores the themes of tradition and culture through the characters' cultural backgrounds and the importance of preserving their heritage. The traditional Osage customs and rituals, such as the traditional Osage wedding ceremony, highlight the importance of tradition and culture in the community. | Tradition and culture are important themes in the screenplay as they reveal the cultural richness and complexity of the community and the characters' connections to their heritage. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
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 |
---|---|
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 | |
---|---|
Summary: | The writer's voice is characterized by a blend of cultural authenticity, emotional depth, and nuanced dialogue. They effectively incorporate Osage language and cultural references, creating a sense of richness and authenticity in the storytelling. The dialogue is direct and straightforward, reflecting the characters' personalities and beliefs. The narrative description is concise and evocative, capturing the atmosphere and emotions of the scenes. The writer's voice contributes to the script by immersing the audience in the Osage culture, exploring themes of identity, justice, and the clash between tradition and progress. It adds depth and authenticity to the storytelling, enhancing the emotional impact of the scenes. |
Voice Contribution | The writer's voice contributes to the script by creating a sense of cultural authenticity and highlighting the importance of community, tradition, and justice. The incorporation of Osage language and cultural references immerses the audience in the Osage culture, providing a rich and nuanced portrayal of the characters and their experiences. The direct and straightforward dialogue reflects the characters' personalities and beliefs, enhancing the emotional depth and relatability of the story. The concise and evocative narrative description captures the atmosphere and emotions of the scenes, allowing for a visual and immersive storytelling experience. |
Best Representation Scene | 2 - Ernest Burkart's Arrival at Hale's Ranch |
Best Scene Explanation | This scene is the best representation because it effectively combines descriptive narrative and dialogue to create a distinct atmosphere and convey the characters' beliefs and conflicts. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay presents a unique and original storyline, with unexpected twists and turns that keep the audience engaged. The characters' motivations and actions are not predictable, and the plot is full of surprises. The use of flashbacks and non-linear storytelling adds to the originality of the screenplay.
- Most unique situations: The most unique situations in the screenplay include the revelation of the truth about Anna Brown's murder, the complications of white man's laws, and the tension between Ernest and Mollie. The screenplay also explores the themes of family, loyalty, and betrayal in a fresh and original way.
- Overall unpredictability score: 9
- Overall unpredictability explanation: The screenplay is highly unpredictable, with unexpected plot twists and character actions that keep the audience guessing. The use of flashbacks and non-linear storytelling adds to the unpredictability of the screenplay, as the audience is not sure what will happen next. The screenplay also explores complex themes in a unique and unpredictable way.
Goals and Philosophical Conflict | |
---|---|
internal Goals | The protagonist's internal goals evolved throughout the script as they sought belonging, acceptance, autonomy, companionship, and emotional well-being. |
External Goals | The protagonist's external goals evolved throughout the script as they navigated oppressive systems, sought financial security, pursued romantic relationships, solved murders, and protected their family. |
Philosophical Conflict | The overarching philosophical conflict in the screenplay is the clash between preserving cultural identity and assimilating into white culture, challenging the protagonist's beliefs and values. |
Character Development Contribution: The protagonist's evolving internal goals contribute to their growth and self-discovery throughout the script, as they grapple with their desires, fears, and values.
Narrative Structure Contribution: The protagonist's internal and external goals provide the driving force for the narrative structure, creating momentum and conflict that propel the story forward.
Thematic Depth Contribution: The protagonist's goals and the overarching philosophical conflict deepen the thematic exploration of identity, justice, cultural preservation, and the impact of systems on individuals.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
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 |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay takes place in the 1920s and 30s in the Osage Nation, which is located in present-day Oklahoma. The physical environment is characterized by rural landscapes, small towns, and traditional Osage homes. The screenplay also depicts the destruction of traditional Osage homes and the construction of modern, white-style homes.
- Culture: The cultural elements in the screenplay include traditional Osage customs, such as the use of insulin to slow down women, the importance of headrights, and the traditional Osage wedding ceremony. The screenplay also explores the clash between traditional Osage culture and white culture, as seen in the tension between Bill Hale and Ernest Burkhart, who is half Osage.
- Society: The societal structure in the screenplay is characterized by the presence of government men, oil executives, and recognizable townspeople who pressure Ernest Burkhart to testify against his uncle, William Hale. The screenplay also depicts the Osage Nation's struggle for justice and the need for help from the federal government.
- Technology: The technological elements in the screenplay include the use of cars, telephones, and radios. The screenplay also explores the impact of technology on the Osage Nation, as seen in the introduction of modern, white-style homes.
- Characters influence: The world elements shape the characters' experiences and actions, as seen in Ernest Burkhart's decision to protect his uncle by telling the truth about what the government men did to make him lie, and Mollie's fear of eating in her house due to the presence of white culture.
- Narrative contribution: The world elements contribute to the narrative of the screenplay by providing context and setting the stage for the characters' actions and decisions.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by exploring themes such as identity, culture, justice, and the clash between traditional and modern societies.
central conflict
The central conflict driving the narrative is the investigation into the murders of several Native American women, including Mollie's daughter Anna Brown, and the subsequent cover-up by Mollie's husband's family and the local authorities.
primary motivations
The primary motivations propelling the story are Mollie's determination to uncover the truth about her daughter's death and her husband's family's involvement, Ernest's loyalty to Mollie and his desire to protect her, and the FBI's pursuit of justice for the victims and their families.
catalysts
The key catalysts pushing the narrative forward are the discovery of new evidence, the emergence of new suspects, and the escalating danger faced by Mollie and Ernest as they get closer to the truth.
barriers
Major barriers preventing character objectives include the resistance of Mollie's husband's family and their allies, the corruption of local authorities, and the danger posed by the perpetrators themselves.
themes
Central themes linked to the story's engine include the complex relationships between Native American communities and white settlers, the struggle for justice and equality in the face of prejudice and oppression, and the importance of family and loyalty in the face of adversity.
stakes
What's at stake in the narrative is not just the lives of the victims and their families, but also the integrity of the justice system and the future of Native American communities in the face of ongoing injustice and oppression.
uniqueness factor
One uniqueness factor that differentiates this story from others is the way it explores the intersection of Native American identity, white settler prejudice, and the struggle for justice and equality in the face of ongoing injustice and oppression.
audience hook
The main audience hook that will keep viewers engaged is the tension and danger that pervades the narrative, as Mollie and Ernest face increasingly dire circumstances in their quest for the truth.
paradoxical engine or bisociation
The paradoxical story engine in this narrative is the way it combines elements of traditional detective fiction with the unique cultural and historical context of Native American communities and the ongoing struggle for justice and equality in the face of ongoing injustice and oppression.
paradoxical engine or bisociation 2
Another option for the paradoxical story engine could be the way it explores the complex relationships between Native American communities and white settlers, and the way these relationships are shaped by historical and cultural factors that are often overlooked or misunderstood in traditional detective fiction.
Engine: Gemini
Consider
Executive Summary
Killers of the Flower Moon is a historical drama with a compelling premise and strong potential. The screenplay effectively portrays the historical context and the gradual unveiling of the conspiracy. However, it suffers from uneven pacing, underdeveloped character arcs, and an abrupt ending. Addressing these areas, particularly by exploring the psychological impact on the Osage community and strengthening the emotional connection with the audience, would significantly enhance the screenplay's overall impact.
- The screenplay effectively portrays the historical context of the Osage murders and the exploitation of Native Americans during the oil boom. high
- The gradual unveiling of the conspiracy and the insidious nature of the murders create a compelling sense of suspense and intrigue. high
- The screenplay beautifully integrates Osage cultural practices and beliefs, enriching the narrative and providing a unique perspective. high ( Scene 23 Scene 24 Scene 52 Scene 53 Scene 142 )
- The use of contrasting imagery and symbolism, such as the burial of the sacred pipe and the oil-soaked Osage, effectively highlights the clash between tradition and modernity. medium ( Scene 1 Scene 6 Scene 21 Scene 113 Scene 114 )
- The screenplay features a diverse cast of characters with complex motivations, adding depth and realism to the story. medium
- The pacing of the screenplay is uneven, with some scenes feeling rushed while others drag, particularly in the later half. high
- The character arc of Ernest Burkhart, while complex, could benefit from further exploration of his internal conflict and motivations. high
- The screenplay's ending feels abrupt and leaves some character arcs and plot threads unresolved, such as the fate of Mollie's remaining children and the long-term impact of the murders on the Osage community. high
- The dialogue occasionally becomes overly expository, particularly in scenes involving Hale, which could be streamlined for greater impact. medium
- The screenplay could benefit from a stronger emotional connection with the audience, particularly in scenes depicting the suffering and resilience of the Osage people. medium
- The screenplay would benefit from a deeper exploration of the psychological impact of the murders on Mollie and the Osage community, including themes of trauma, grief, and resilience. high
- The screenplay could be strengthened by incorporating more scenes that showcase the Osage people's resistance to exploitation and their efforts to preserve their culture and identity. medium
- The screenplay could benefit from a more nuanced portrayal of the white characters involved in the conspiracy, exploring the complexities of their motivations and the systemic factors that enabled their actions. medium
- Mollie's internal monologue in Osage provides a powerful and haunting perspective on the events, highlighting the cultural and emotional disconnect between the Osage and white communities. high ( Scene 77 )
- The juxtaposition of the Masonic ritual with Mollie's prayers creates a powerful contrast between the forces of darkness and light, good and evil. medium ( Scene 113 Scene 114 )
- The scene depicting Mollie's plea to President Coolidge underscores the systemic failures and injustices faced by Native Americans. medium ( Scene 154 )
- The ending scene with the Osage drum dance celebration offers a glimmer of hope and resilience, suggesting the enduring strength of their culture and community. medium ( Scene A247 )
Engine: Claude
Recommend
Executive Summary
Killers of the Flower Moon is a gripping historical drama that explores the tragic murder of members of the Osage Nation in the 1920s, when the tribe had become the wealthiest people per capita in the world due to oil discoveries on their land. The screenplay skillfully weaves together the personal stories of the Burkhart family, particularly the relationship between Ernest Burkhart and his wife Mollie, with the broader historical context of the Osage murders and the FBI's investigation. The narrative is both emotionally resonant and visually striking, creating a powerful and thought-provoking exploration of the complex social and political forces at play. Overall, the screenplay demonstrates a strong command of character development, historical authenticity, and dramatic tension, making it a compelling and impactful work of storytelling.
- The opening sequence establishes a powerful, mythic tone and introduces the Osage Nation and their sacred rituals in an evocative, visually striking manner. high ( Scene 1 (P1) Scene 1 (P2) )
- The scenes depicting Mollie's declining health and Ernest's growing guilt and deception towards her create a strong emotional core to the story. high ( Scene 19 (90) Scene 19 (97) )
- The dialogue exchanges between Mollie and Ernest are beautifully written, capturing the complexity of their relationship and the underlying tension. high ( Scene 25 (158) Scene 28 (199) )
- The courtroom scenes provide a powerful dramatic framework for the unfolding of the story's central conflicts and mysteries. high ( Scene 38 (224) )
- The final exchange between Ernest and Mollie is a heartbreaking and emotionally resonant conclusion to their tragic journey. high ( Scene 46 (229) )
- The introduction of the large ensemble cast in the early sequences could be streamlined to maintain a stronger narrative focus. medium ( Scene 6 (7) Scene 7 (13) )
- The scenes depicting Ernest's role in administering the insulin to Mollie could be further developed to enhance the emotional impact and complexity of his actions. medium ( Scene 24 (156) )
- The transitions between the different storylines and timelines could be refined to improve the overall narrative flow and coherence. medium ( Scene 32 (201) Scene 34 (217) )
- Deeper exploration of the relationship between Ernest and Mollie, beyond the initial attraction and courtship, could provide additional emotional depth and complexity to their story. medium ( Scene 4 (5) Scene 9 (28) )
- More insight into Mollie's inner thoughts and feelings, especially during her time in Washington D.C. and her interactions with the authorities, could enhance the audience's understanding and connection to her character. medium ( Scene 37 (222) )
- The use of the silent newsreel-style montage sequences effectively establishes the historical context and the wealth and prosperity of the Osage Nation, setting the stage for the tragedy that unfolds. high ( Scene 1 (P6) Scene 1 (P20) )
- The incorporation of the Tulsa Massacre as a parallel event heightens the sense of historical context and the broader societal forces at play. high ( Scene 18 (90) Scene 19 (100) )
- The poignant exchange between Ernest and Mollie in the open field provides a powerful moment of redemption and connection amidst the tragedy. high ( Scene 45 (225) )
- The concluding radio drama framing device effectively brings the story full circle, while also acknowledging the unresolved nature of the historical events and their ongoing impact. high ( Scene 49 (246) )