diff --git "a/scripts/Fargo.txt" "b/scripts/Fargo.txt" new file mode 100644--- /dev/null +++ "b/scripts/Fargo.txt" @@ -0,0 +1,5675 @@ + 1. + + + + The following text fades in over black: + + This is a true story. The events depicted in this film took + place in Minnesota in 1987. At the request of the + survivors, the names have been changed. Out of respect for + the dead, the rest has been told exactly as it occurred. + + FLARE TO WHITE + + FADE IN FROM WHITE + + Slowly the white becomes a barely perceptible image: white + particles wave over a white background. A snowfall. + + A car bursts through the curtain of snow. + + The car is equipped with a hitch and is towing another car, + a brand-new light brown Cutlass Ciera with the pink sales + sticker showing in its rear window. + + As the car roars past, leaving snow swirling in their dirt, + the title of the film fades in. + + FARGO + + Green highway signs point the way to MOOREHEAD, + MINNESOTA/FARGO, NORTH DAKOTA. The roads for the two cities + diverge. A sign says WELCOME TO NORTH DAKOTA and another + just after says NOW ENTERING FARGO, ND, POP. 44,412. + + The car pulls into a Rodeway Inn. + + +1 INT. HOTEL LOBBY 1 + + A man in his early forties, balding and starting to paunch, + goes to the reception desk. The clerk is an older woman. + + CLERK + And how are you today, sir? + + MAN + Real good now. I'm checking in - + Mr. Anderson. + + The man prints "Jerry Lundega" onto a registration card, + then hastily crosses out the last name and starts to print + "Anderson." + + As she types into a computer: + 2. + + + CLERK + Okay, Mr. Anderson, and you're + still planning on staying with us + just the night, then? + + ANDERSON + You bet. + + +2 INT. HOTEL ROOM 2 + + The man turns on the TV, which shows the local evening + news. + + NEWS ANCHOR + - whether they will go to summer + camp at all. Katie Jensen has more. + + KATIE + It was supposed to be a project + funded by the city council; it was + supposed to benefit those Fargo- + Moorehead children who would + otherwise not be able to afford to + attend a lakeshore summer camp. But + nobody consulted city controller + Stu Jacobson... + + +3 INT. CHAIN RESTAURANT 3 + + Anderson sits alone at a table finishing dinner. Muzak + plays. A middle-aged waitress approaches holding a pot of + regular coffee in one hand and decaf in the other. + + WAITRESS + Can I warm that up for ya there? + + ANDERSON + You bet. + + The man looks at his watch. + + THROUGH A WINDSHIELD + + We are pulling into the snowswept parking lot of a one- + story brick building. Broken neon at the top of the + building identifies it as the Jolly Troll Tavern. A troll, + also in neon, holds a champagne glass aloft. + + INSIDE + 3. + + +The bar is downscale even for this town. Country music +plays on the jukebox. + +Two men are seated in a booth at the back. One is short, +slight, youngish. The other man is somewhat older, and +dour. The table in front of them is littered with empty +long-neck beer bottles. The ashtray is full. + +Anderson approaches. + + ANDERSON + I'm, uh, Jerry Lundegaard - + + YOUNGER MAN + You're Jerry Lundegaard? + + JERRY + Yah, Shep Proudfoot said - + + YOUNGER MAN + Shep said you'd be here at 7:30. + What gives, man? + + JERRY + Shep said 8:30. + + YOUNGER MAN + We been sitting here an hour. I've + peed three times already. + + JERRY + I'm sure sorry. I - Shep told me + 8:30. It was a mix-up, I guess. + + YOUNGER MAN + Ya got the car? + + JERRY + Yah, you bet. It's in the lot + there. Brand-new burnt umber Ciera. + + YOUNGER MAN + Yeah, okay. Well, siddown then. I'm + Carl Showalter and this is my + associate Gaear Grimsrud. + + JERRY + Yah, how ya doin'. So, uh, we all + set on this thing, then? + + YOUNGER MAN + Sure, Jerry, we're all set. Why + wouldn't we be? + 4. + + + JERRY + Yah, no, I'm sure you are. Shep + vouched for you and all. I got + every confidence in you fellas. + +They stare at him. An awkward beat. + + JERRY + ... So I guess that's it, then. + Here's the keys - + + CARL + No, that's not it, Jerry. + + JERRY + Huh? + + CARL + The new vehicle, plus forty + thousand dollars. + + JERRY + Yah, but the deal was, the car + first, see, then the forty + thousand, like as if it was the + ransom. I thought Shep told you - + + CARL + Shep didn't tell us much, Jerry. + + JERRY + Well, okay, it's - + + CARL + Except that you were gonna be here + at 7:30. + + JERRY + Yah, well, that was a mix-up, then. + + CARL + Yeah, you already said that. + + JERRY + Yah. But it's not a whole pay-in- + advance deal. I give you a brand- + new vehicle in advance and - + + CARL + I'm not gonna debate you, Jerry. + + JERRY + Okay. + 5. + + + CARL + I'm not gonna sit here and debate. + I will say this though: what Shep + told us didn't make a whole lot of + sense. + + JERRY + Oh, no, it's real sound. It's all + worked out. + + CARL + You want your own wife kidnapped? + + JERRY + Yah. + +Carl Stares. Jerry looks blankly back. + + CARL + ... You - my point is, you pay the + ransom - what eighty thousand + bucks? - I mean, you give us half + the ransom, forty thousand, you + keep half. It's like robbing Peter + to play Paul, it doesn't make any - + + JERRY + Okay, it's - see, it's not me + payin' the ransom. The thing is, my + wife, she's wealthy - her dad, he's + real well off. Now, I'm in a bit of + trouble - + + CARL + What kind of trouble are you in, + Jerry? + + JERRY + Well, that's, that's, I'm not go + inta, inta - see, I just need + money. Now, her dad's real wealthy + - + + CARL + So why don't you just ask him for + the money? + +Grimsrud, the dour man who has not yet spoken, now softly +puts in with a Swedish-accented voice: + + GRIMSRUD + Or your fucking wife, you know. + 6. + + + CARL + Or your fucking wife, Jerry. + + JERRY + Well, it's all just part of this - + they don't know I need it, see. + Okay, so there's that. And even if + they did, I wouldn't get it. So + there's that on top, then. See, + these're personal matters. + + CARL + Personal matters. + + JERRY + Yah. Personal matters that needn't, + uh - + + CARL + Okay, Jerry. You're tasking us to + perform this mission, but you, you + won't, uh, you won't - aw, fuck it, + let's take a look at that Ciera. + + +4 INT. MINNEAPOLIS SUBURBAN HOUSE 4 + + Jerry enters through the kitchen door, in a parka and a red + plaid Elmer Fudd hat. He stamps snow off his feet. He is + carrying a bag of groceries which he deposits on the + kitchen counter. + + JERRY + Hon? Got the growshries. + + VOICE + Thank you, hon. How's Fargo? + + JERRY + Yah, real good. + + VOICE + Dad's here. + + DEN + + Jerry enters, pulling off his plaid cap. + + JERRY + How ya doin', Wade? + + Wade Gustafson is mid-sixtyish, vigorous, with a full head + of gray hair. His eyes remain fixed on the TV. + 7. + + + WADE + Yah, pretty good. + + JERRY + Whatcha watchin' there? + + WADE + Norstars. + + JERRY + ... Who they playin'? + + WADE + OOOoooh! + + His reaction synchronizes with a reaction from the crowd. + + +5 INT. KITCHEN 5 + + Jerry walks back in, taking off his coat. His wife is + putting on an apron. Jerry nods toward the living room. + + JERRY + Is he stayin' for supper, then? + + WIFE + Yah, I think so... Dad, are you + stayin' for supper? + + WADE + (off) + Yah. + + +6 INT. DINING ROOM 6 + + Jerry, his wife, Wade and Scotty, twelve years old, sit + eating. + + SCOTTY + May I be excused? + + JERRY + Sure, ya done there? + + SCOTTY + Uh-huh. Goin' out. + + WIFE + Where are you going? + 8. + + + SCOTTY +Just out. Just McDonald's. + + JERRY +Back at 9:30. + + SCOTTY +Okay. + + WADE +He just ate. And he didn't finish. +He's going to McDonald's instead of +finishing here? + + WIFE +He sees his friends there. It's +okay. + + WADE +It's okay? McDonald's? What do you +think they do there? They don't +drink milkshakes, I assure you! + + WIFE +It's okay, Dad. + + JERRY +Wade, have ya had a chance to think +about, uh, that deal I was talkin' +about, those forty acres there on +Wayzata? + + WADE +You told me about it. + + JERRY +Yah, you said you'd have a think +about it. I understand it's a lot +of money - + + WADE +A heck of a lot. What'd you say you +were gonna put there? + + JERRY +A lot. It's a limited - + + WADE +I know it's a lot. + + JERRY +I mean a parking lot. + 9. + + + WADE + Yah, well, seven hundred and fifty + thousand dollars is a lot - ha ha + ha! + + JERRY + Yah, well, it's a chunk, but - + + WADE + I thought you were gonna show it to + Stan Grossman. He passes on this + stuff before it gets kicked up to + me. + + JERRY + Well, you know Stan'll say no dice. + That's why you pay him. I'm asking + you here, Wade. This could work out + real good for me and Jean and + Scotty - + + WADE + Jean and Scotty never have to + worry. + + WHITE + + A black like curls through the white. Twisting perspective + shows that it is an aerial shot of a two-lane highway, + bordered by snowfields. The highway carries one moving car. + + +7 INT. CAR 7 + + Carl Showalter is driving. Gaear Grimsrud stares blankly + out. + + After a long beat: + + GRIMSRUD + Where is Pancakes Hause? + + CARL + What? + + GRIMSRUD + We stop at Pancakes Hause. + + CARL + 10. + + + What're you, nuts? We had pancakes + for breakfast. I gotta go somewhere + I can get a shot and a beer - and a + steak maybe. Not more fuckin' + pancakes. Come on. + + Grimsrud gives him a sour look. + + CARL + ... Come on, man. Okay, here's an + idea. We'll stop outside of + Brainerd. I know a place there we + can get laid. Wuddya think? + + GRIMSRUD + I'm fuckin' hungry now, you know. + + CARL + Yeah, yeah, Jesus - I'm sayin', + we'll stop for pancakes, then we'll + get laid. Wuddya think? + + +8 INT. GUSTAFSON OLDS GARAGE 8 + + Jerry is sitting in his glassed-in salesman's cubicle just + off the showroom floor. On the other side of his desk sit + an irate customer and his wife. + + CUSTOMER + We sat here right in this room and + went over this and over this! + + JERRY + Yah, but that TruCoat - + + CUSTOMER + I sat right here and said I didn't + want no TruCoat! + + JERRY + Yah, but I'm sayin', that TruCoat, + you don't get it and you get + oxidization problems. It'll cost + you a heck of lot more'n five + hunnert - + + CUSTOMER + You're sittin' here, you're talkin' + in circles! You're talkin' like we + didn't go over this already! + + JERRY + 11. + + + Yah, but this TruCoat - + + CUSTOMER + We had us a deal here for nine- + teen-five. You sat there and darned + if you didn't tell me you'd get + this car, these options, WITHOUT + THE SEALANT, for nine-teen-five! + + JERRY + Okay, I'm not sayin' I didn't - + + CUSTOMER + You called me twenty minutes ago + and said you had it! Ready to make + delivery, ya says! Come on down and + get it! And here ya are and you're + wastin' my time and you're wastin' + my wife's time and I'm payin' + nineteen-five for this vehicle + here! + + JERRY + Well, okay, I'll talk to my boss... + + He rises, and, as he leaves: + + JERRY + ... See, they install that TruCoat + at the factory, there's nothin' we + can do, but I'll talk to my boss. + + The couple watch him go to a nearby cubicle. + + CUSTOMER + These guys here - these guys! It's + always the same! It's always more! + He's a liar! + + WIFE + Please, dear. + + CUSTOMER + We went over this and over this - + + +9 INT. NEARBY CUBICLE 9 + + Jerry sits perched on the desk of another salesman who is + eating lunch as he watches a hockey game on a small + portable TV. + + JERRY + 12. + + + So you're goin' to the Gophers on + Sunday? + + SALESMAN + You bet. + + JERRY + You wouldn't have an extra ticket + there? + + SALESMAN + They're playin' the Buckeyes! + + JERRY + Yah. + + SALESMAN + Ya kiddin'! + + +10 INT. JERRY'S CUBICLE 10 + + Jerry re-enters. + + JERRY + Well, he never done this before, + but seein' as it's special + circumstances and all, he says I + can knock one hunnert off that + TruCoat. + + CUSTOMER + One hundred! You lied to me, Mr. + Lundegaard. You're a bald-faced + liar! + + Jerry sits staring at his lap. + + CUSTOMER + ... A fucking liar - + + WIFE + Bucky, please! + + Jerry mumbles into his lap: + + JERRY + One hunnert's the best we can do + here. + + CUSTOMER + 13. + + + Oh, for Christ's sake, where's my + goddamn checkbook. Let's get this + over with. + + WIDE EXTERIOR: TRUCK STOP + + There is a restaurant with many big rigs parked nearby, and + a motel with an outsize Paul Bunyan and Babe the Blue Ox + flanking its sign: BLUE OX MOTEL. + + +11 INT. MOTEL ROOM 11 + + Carl Showalter and Gaear Grimsrud are in the twin beds + having sex with two truck-stop hookers. + + CARL + Oh, Jesus, yeah. + + HIS HOOKER + There ya go, sugar. + + GRIMSRUD + Nnph. + + HIS HOOKER + Yeah. Yeah. Oh, yeah. + + LATER + + The couples like in their respective beds, gazing at the + offscreen TV. + + ED MCMAHON + - Johnny's guests tonight will be + Lee Majors, George Wendt, and Steve + Boutsikaros from the San Diego Zoo, + so keep that dial - + + +12 INT. LUNDEGAARD KITCHEN 12 + + We hear a morning show on television. Jean Lundegaard is + making coffee in the kitchen as Scott eats cereal at the + table. + + JEAN + I'm talkin' about your potential. + + SCOTT + (absently) + Uh-huh. + 14. + + + JEAN + You're not a C student. + + SCOTT + Uhn. + + JEAN + And yet you're gettin' C grades. + It's this disparity there that + concerns your dad and me. + + SCOTT + Uh-huh. + + JEAN + You know what a disparity is? + + SCOTT + (testily) + Yeah! + + JEAN + Okay. Well, that's why we don't + want ya goin' out fer hockey. + + SCOTT + Oh, man! + +The phone rings. + + SCOTT + ... What's the big deal? It's an + hour - + + JEAN + Hold on. + +She picks up the phone. + + JEAN + ... Hello? + + PHONE VOICE + Yah, hiya, hon. + + JEAN + Oh, hiya, Dad. + + WADE + Jerry around? + + JEAN + 15. + + + Yah, he's still here - I'll catch + him for ya. + +She holds the phone away and calls: + + JEAN + ... Hon? + + VOICE + Yah. + + JEAN + It's Dad. + + VOICE + Yah... + +Jerry enters in shirtsleeves and tie. + + JERRY + ... Yah, okay... + + SCOTT + Look, Dad, there is no fucking way + - + + JEAN + Scott! + + JERRY + Say, let's watch the language - + +He takes the phone. + + JERRY + How ya doin', Wade? + + WADE + What's goin' on there? + + JERRY + Oh, nothing, Wade. How ya doin' + there? + + WADE + Stan Grossman looked at your + proposal. Says it's pretty sweet. + + JERRY + No kiddin'? + + WADE + 16. + + + We might be innarested. + + JERRY + No kiddin'! I'd need the cash + pretty quick there. In order to + close the deal. + + WADE + Come by at 2:30 and we'll talk + about it. If your numbers are + right, Stan says its pretty sweet. + Stan Grossman. + + JERRY + Yah. + + WADE + 2:30. + + Click. Dial tone. + + JERRY + Yah, okay. + + +13 INT. GUSTAFSON OLD GARAGE 13 + + Jerry wanders through the service area where cars are being + worked on. He stops by an Indian in blue jeans who is + + looking at the underside of a car that sits on a hydraulic + lift with a cage light hanging off its innards. + + JERRY + Say, Shep, how ya doin' there? + + SHEP + Mm. + + JERRY + Say, ya know those two fellas ya + put me in touch with, up there in + Fargo? + + SHEP + Put you in touch with Grimsrud. + + JERRY + Well, yah, but he had a buddy + there. He, uh - + + SHEP + Well, I don't vouch for him. + 17. + + + JERRY + Well, that's okay, I just - + + SHEP + I vouch for Grimsrud. Who's his + buddy? + + JERRY + Carl somethin'? + + SHEP + Never heard of him. Don't vouch for + him. + + JERRY + Well, that's okay, he's a buddy of + the guy ya vouched for, so I'm not + worryin'. I just, I was wonderin', + see, I gotta get in touch with 'em + for, I might not need it anymore, + sumpn's happenin', see - + + SHEP + Call 'em up. + + JERRY + Yah, well, see, I did that, and I + haven't been able to get 'em, so I + thought you maybe'd know an + alternate number or what have ya. + + SHEP + Nope. + +Jerry slaps his fist into his open palm and snaps his +fingers. + + JERRY + Okay, well, real good, then. + +CAR + +Carl is driving. Grimsrud stares out front. + +After a beat: + + CARL + ... Look at that. Twin Cities. IDS + Building, the big glass one. + Tallest skyscraper in the Midwest. + After the Sears, uh, Chicago... You + never been to Minneapolis? + 18. + + + GRIMSRUD + No. + + CARL + ... Would it kill you to say + something? + + GRIMSRUD + I did. + + CARL + "No." First thing you've said in + the last four hours. That's a, + that's a fountain of conversation, + man. That's a geyser. I mean, whoa, + daddy, stand back, man. Shit, I'm + sittin' here driving, man, doin' + all the driving, whole fuckin' way + from Brainerd, drivin', tryin' to, + you know, tryin' to chat, keep our + spirits up, fight the boredom of + the road, and you can't say one + fucking thing just in the way of + conversation. + + Grimsurd smokes, gazing out the window. + + CARL + ... Well, fuck it, I don't have to + talk either, man. See how you like + it... + + He drives. + + CARL + ... Total silence... + + +14 INT. JERRY'S CUBICLE 14 + + He is on the phone. + + JERRY + Yah, real good. How you doin'? + + VOICE + Pretty good, Mr. Lundegaard. You're + damned hard to get on the phone. + + JERRY + Yah, it's pretty darned busy here, + but that's the way we like it. + 19. + + + VOICE +That's for sure. Now, I just need, +on these last, these financing +documents you sent us, I can't read +the serial numbers of the vehicles +on here, so I - + + JERRY +But I already got the, it's okay, +the loans are in place, I already +got the, the what, the - + + VOICE +Yeah, the three hundred and twenty +thousand dollars, you got the money +last month. + + JERRY +Yah, so we're all set. + + VOICE +Yeah, but the vehicles you were +borrowing on, I just can't read the +serial numbers on your applicaton. +Maybe if you could just read them +to me - + + JERRY +But the deal's already done, I +already got the money - + + VOICE +Yeah, but we have an audit here, I +just have to know that these +vehicles you're financing with this +money, that they really exist. + + JERRY +Yah, well, they exist all right. + + VOICE +I'm sure they do - ha ha! But I +can't read their serial numbers +here. So if you could read me - + + JERRY +Well, but see, I don't have 'em in +front a me - why don't I just fax +you over a copy - + + VOICE + 20. + + + No, fax is no good, that's what I + have and I can't read the darn + thing - + + JERRY + Yah, okay, I'll have my girl send + you over a copy, then. + + VOICE + Okay, because if I can't correlate + this note with the specific + vehicles, then I gotta call back + that money - + + JERRY + Yah, how much money was that? + + VOICE + Three hundred and twenty thousand + dollars. See, I gotta correlate + that money with the cars it's being + lent on. + + JERRY + Yah, no problem, I'll just fax that + over to ya, then. + + VOICE + No, no, fax is - + + JERRY + I mean send it over. I'll shoot it + right over to ya. + + VOICE + Okay. + + JERRY + Okay, real good, then. + +CLOSE ON TELEVISION + +A morning-show host in an apron stands behind a counter on +a kitchen set. + + HOST + So I seperate the - how the heck do + I get the egg out of the shell + without breaking it? + +Jean Lundegaard is curled up on the couch with a cup of +coffee, watching the television. + 21. + + + HOSTESS + You just prick a little hole in the + end and blow! + + Jean smiles as we hear laughter and applause from the + studio audience. She hears something else - a faint + scraping sound - and looks up. + + HOST + Okay, here goes nothing. + + The scraping sound persists. Jean sets down her coffee cup + and rises. + + From the studio audience: + + AUDIENCE + Awoooo! + + +15 INT. KITCHEN 15 + + We track toward the back door. A curtain is stretched tight + across its window. + + Jean pulls the curtain back. Bright sunlight amplified by + snow floods in. + + A man in an orange ski mask looks up from the lock. + + Jean gasps, drops the curtain, runs and runs into - + + - a taller man, also in a ski mask, already in the house. + + We hear the crack of the back-door window being smashed. + + The tall man - Gaear Grimsrud - grabs Jean's wrist. + + She screams, staring at her own imprisoned wrist, then + wraps her gaping mouth around Grimsrud's gloved thumb and + bites down hard. + + He drops her wrist. As Carl enters, she races up the + stairs. + + GRIMSRUD + Unguent. + + CARL + Huh? + + Grimsurd looks at his thumb. + 22. + + + GRIMSRUD + I need ... unguent. + + +16 INT. UPSTAIRS BEDROOM 16 + + As the two men enter, a door at the far side is slamming + shut. A cord snakes in under the door. + + +17 INT. MASTER BATHROOM 17 + + Jean, sobbing, frantically pushes at buttons on the + princess phone. + + The phone pops out of her hands, jangles across the tile + floor, smashes against the door and then bounces away, its + cord ripped free. + + With a groaning sound, the door shifts in its frame. + + +18 INT. BEDROOM 18 + + Grimsrud has a crowbar jammed in between the bathroom door + and frame, and is working it. + + +19 INT. BATHROOM 19 + + Jean crosses to a high window above the toilet and throws + it open. Snow that had drifted against the window sifts + lightly in. Jean steps up onto the toilet. + + The door creaks, moving as one piece in its frame. + + Jean glances back as she steps up from the toilet seat to + the tank. + + The groaning of the door ends with the wood around its knob + splintering and the knob itself falling out onto the floor. + + The door swings open. + + Grimsrud and Carl enter. + + THEIR POV + + Room empty, window open. + + Carl strides to the window and hoists himself out. + 23. + + + Grimsrud opens the medicine cabinet and delicately taps + aside various bottles and tubes, seeking the proper + unguent. + + He finds a salve but after a moment sets it down, noticing + something in the mirror. + + The shower curtain is drawn around the tub. + + He steps toward it. + + As he reaches for the curtain, it explodes outward, + animated by thrashing limbs. + + Jean, screaming, tangled in the curtain, rips it off its + rings and stumbles out into the bedroom. Grimsrud follows. + + +20 INT. BEDROOM 20 + + Jean rushes toward the door, cloaked by the shower curtain + but awkwardly trying to push it off. + + UPSTAIRS LANDING + + Still thrashing, Jean crashes against the upstairs railing, + trips on the curtain and falls, thumping crazily down the + stairs. + + Grimsrud trots down after her. + + A PLAQUE: WADE GUSTAFSON INCORPORTATED + + +21 INT. WADE'S OFFICE 21 + + Wade sits behind his desk; another man rises as Jerry + enters. + + JERRY + How ya doin' there, Stan? How are + ya, Wade? + + Stan Grossman shakes his hand. + + STAN + Good to see ya again, Jerry. If + these numbers are right, this looks + pretty sweet. + + JERRY + 24. + + + Oh, those numbers are all right, + bleemee. + + WADE + This is do-able. + + STAN + Congratulations, Jerry. + + JERRY + Yah, thanks, Stan, it's a pretty - + + WADE + What kind of finder's fee were you + looking for? + + JERRY + ... Huh? + + STAN + The financials are pretty thorough, + so the only thing we don't know is + your fee. + + JERRY + ... My fee? Wade, what the heck're + you talkin' about? + + WADE + Stan and I're okay. + + JERRY + Yah. + + WADE + We're good to loan in. + + JERRY + Yah. + + WADE + But we never talked about your fee + for bringin' it to us. + + JERRY + No, but, Wade, see, I was bringin' + you this deal for you to loan me + the money to put in. It's my deal + here, see? + +Wade scowls, looks at Stan. + + STAN + 25. + + + Jerry - we thought you were + bringin' us an investment. + + JERRY + Yah, right - + + STAN + You're sayin' - what're you sayin'? + + WADE + You're sayin' that we put in all + the money and you collect when it + pays off? + + JERRY + No, no. I - I'd, I'd - pay you back + the principal, and interest - heck, + I'd go - one over prime - + + STAN + We're not a bank, Jerry. + +Wade is angry. + + WADE + What the heck, Jerry, if I wanted + bank interest on seven hunnert'n + fifty thousand I'd go to Midwest + Federal. Talk to Bill Diehl. + + STAN + He's at Norstar. + + WADE + He's at - + + JERRY + No, see, I don't need a finder's + fee, I need - finder's fee's, what, + ten percent, heck that's not gonna + do it for me. I need the principal. + + STAN + Jerry, we're not just going to give + you seven hundred and fifty + thousand dollars. + + WADE + What the heck were you thinkin'? + Heck, if I'm only gettin' bank + interest, I'd look for complete + security. Heck, FDIC. I don't see + nothin' like that here. + 26. + + + JERRY + Yah, but I - okay, I would, I'd + guarantee ya your money back. + + WADE + I'm not talkin' about your damn + word, Jerry. Geez, what the heck're + you?... Well, look, I don't want to + cut you out of the loop, but his + here's a good deal. I assume, if + you're not innarested, you won't + mind if we move on it + independently. + + +22 INT. PARKING LOT 22 + + We are high and wide on the office building's parking lot. + + Jerry emerges wrapped in a parka, his arms sticking stiffly + out at his sides, his breath vaporizing. He goes to his + car, opens its front door, pulls out a red plastic scraper + and starts methodically scraping off the thin crust of ice + that has developed on his windshield. + + The scrape-scrape-scrape sound carries in the frigid air. + + Jerry goes into a frenzy, banging the scraper against the + windshield and the hood of his car. + + The tantrum passes. Jerry stands pantin, staring at nothing + in particular. + + Scrape-scrape-scrape - he goes back to work on the + windshield. + + FRONT DOOR + + A beat, silent but for a key scraping at the lock. + + The door swings open and Jerry edges in, looking about, + holding a sack of groceries. + + JERRY + Hon? + + He shuts the door. + + JERRY + ... Got the growshries... + + He has already seen the shower curtain on the floor. He + frowns, pokes at it with his foot. + 27. + + + JERRY + ... Hon? + + +23 INT. UPSTAIRS BATHROOM 23 + + Jerry walks in. He sets the groceries down on the toilet + tank. + + He looks at the open window, through which snow still sifts + in. He shuts it. + + He picks up the small tube of unguent that sits on the + sink, frowns at it, puts it back in the medicine chest. + + He looks at the shower curtain rod holding empty rings. + + +24 INT. FOYER 24 + + Once again we are looking at the rumpled shower curtain. + + From another room: + + JERRY + Yah, Wade, I - it's Jerry, I. + + Then, slightly more agitated. + + JERRY + ... Yah, Wade, it's, I, it's + Jerry... + + Beat. + + JERRY + ... Wade, it's Jerry, I - we gotta + talk, Wade, it's terrible... + + Beat. + + +25 INT. LIVING ROOM 25 + + Jerry stands in wide shot, hands on hips, looking down at a + telephone. + + After a motionless beat he picks up the phone and punches + in a number. + + JERRY + ... Yah, Wade Gustafson, please. + 28. + + + BLACK + + Hold in black. + + A slow tilt down from night sky brings the head of a large + paper-mache figure into frame. It is a flannel-shirt + woodsman carrying a double-edged ax over one shoulder. As + we hear the rumble of an approaching car, the continuing + tilt and boom down brings us down the woodsman's body to a + pedestal. + + A sweep of headlights illuminates a sign on the pedestal: + WELCOME TO BRAINDERD - HOME OF PAUL BUNYAN. + + The headlights sweep off and a car hums past and on into + the background. The two-lane highway is otherwise empty. + + +26 INT. CAR 26 + + Carl drives. Grimsrud smokes and gazes out the window. + + From the back seat we hear whimpering. + + Grimsrud turns to look. + + Jean lies bound and curled on the back seat underneath a + tarpaulin. + + GRIMSRUD + Shut the fuck up or I'll throw you + back in the trunk, you know. + + CARL + Geez. That's more'n I've heard you + say all week. + + Grimsrud stares at him, then turns back to the window. + + At a loud WHOOP Carl starts and looks back out the rear + window. Fifty yards behind a state trooper has turned on + his gumballs. + + Carl eases the car onto the shoulder. + + CARL + Ah, shit, the tags... + + Grimsrud looks at him. + + CARL + 29. + + + ... It's just the tags. I never put + my tags on the car. Don't worry, + I'll take care of this. + +He looks into the back seat as the car bounces and slows on +the gravel shoulder. + + CARL + ... Let's keep still back there, + lady, or we're gonna have to, ya + know, to shoot ya. + +Grimsrud stares at Carl. + + CARL + ... Hey! I'll take care of this! + +Both cars have stopped. Carl looks up at the rear-view +mirror. + +The trooper is stopped on the shoulder just behind them, +writing in his citation book. + +Carl watches. + +We hear the trooper's door open. + +The trooper walks up the shoulder, one hand resting lightly +on top of his holster, his breath steaming in the cold +night air. + +Carl opens his window as the trooper draws up. + + CARL + How can I help you, officer? + +The trooper scans the inside of the car, taking his time. + +Grimsrud smokes and gazes calmly out his window. + +Finally: + + TROOPER + This is a new car, then, sir? + + CARL + It certainly is, officer. Still got + that smell! + + TROOPER + 30. + + + You're required to display + temporary tags, either in the plate + area or taped inside the back + window. + + CARL + Certainly - + + TROOPER + Can I see your license and + registration please? + + CARL + Certainly. + +He reaches for his wallet. + + CARL + ... I was gonna tape up the + temporary tag, ya know, to be in + full compliance, but it, uh, it, uh + ... must a slipped my mind... + +He extends his wallet toward the trooper, a folded fifty- +dollar bill protruding from it. + + CARL + ... So maybe the best thing would + be to take care of that, right here + in Brainerd. + + TROOPER + What's this, sir? + + CARL + That's my license and regis- + tration. I wanna be in compliance. + +He forces a laugh. + + CARL + ... I was just thinking I could + take care of it right here. In + Brainerd. + +The policeman thoughtfully pats the fifty into the billfold +and hands the billfold back into the car. + + TROOPER + Put that back in your pocket, + please. + +Carl's nervous smile fades. + 31. + + + TROOPER + ... And step out of the car, + please, sir. + +Grimsrud, smiling thinly, shakes his head. + +There is a whimpering sound. + +The policeman hesitates. + +Another sound. + +The policeman leans forward into the car, listening. + +Grimsrud reaches across Carl, grabs the trooper by the hair +and slams his head down onto the car door. + +The policeman grunts, digs awkwardly for footing outside +and throws an arm for balance against the outside of the +car. + +With his free hand, Grimsrud pops the glove compartment. He +brings a gun out and reaches across Carl and shoots - BANG +- into the back of the trooper's head. + +Jean screams. + + GRIMSRUD + Shut up. + +He releases the policeman. + +The policeman's head slides out the window and his body +flops back onto the street. + +Carl looks out at the cop in the road. + + CARL + (softly) + Whoa... Whoa, Daddy. + +Grimsrud takes the trooper's hat off of Carl's lap and +sails it out the open window. + + GRIMSRUD + You'll take care of it. Boy, you + are smooth smooth, you know. + + CARL + Whoa, Daddy. + +Jean, for some reason, screams again. Then stops. + 32. + + + GRIMSRUD + Clear him off the road. + + CARL + Yeah. + + He gets out. + + +27 EXT. ROAD 27 + + Carl leans down to hoist up the body. + + Headlights appear: an oncoming car. + + +28 INT. CIERA 28 + + Grimsrud notices. + + +29 EXT. ROAD 29 + + The car approaches, slowing. + + Carl, with the trooper's body hoisted halfway up, is frozen + in the headlights. + + The car accelerates and roars past and away. We just make + out the silhouettes of two occupants in front. + + +30 INT. CIERA 30 + + Grimsrud slides into the driver's seat. He squeals into a + U-turn, the driver's door slamming shut with his spin. + + Small red tail lights fishtail up ahead. The pursued car + churns up fine snow. + + Grimsrud takes the cigarette from his mouth and stubs it in + his ashtray. We hear the churning of the car wheels and the + pinging of snow clods and salt on the car's underside. + + In the back seat, Jean starts screaming. + + Grimsrud is not gaining on the tail lights. + + He fights with the wheel as his car swims on the road face. + + The red tail lights ahead start to turn. With a distant + crunching sound, they disappear. + 33. + + + The headlights now show only empty road, starting to turn. + + Grimsrud frowns and slows. + + His headlights show the car up ahead off the road, crumpled + around a telephone pole, having failed to hold a turn. + + Grimsrud brakes. + + Jean slides off the back seat and thumps into the legwell. + + Grimsrud sweeps his gun off the front seat, throws open his + door and gets out. + + +31 EXT. ROAD 31 + + The wrecked car's headlights shine off into a snowfield + abutting the highway. A young man in a down parka is + limping across the snowfield, away from the wrecked car. + + Grimsrud strides calmly out after the injured boy. He + raises his gun and fires. + + With a poof of feathers, a hole opens up in the boy's back + and he pitches into the snow. + + Grimsrud walks up to the wreck and peers in its half-open + door. + + A young woman is trapped inside the twisted wreckage, + injured. + + Snow swirls in the headlights of the wreck. + + Grimsrud raises his gun and fires. + + AN OIL PAINTING + + A blue-winged teal in flight over a swampy marshland. The + room in which it hangs is dark. We hear off-screen snoring. + + We track off to reveal an easel upon which we see a half- + completed oil of a grey mallard. + + The continuing track reveals a couple in bed, sleeping. The + man, fortyish, pajama-clad, is big, and big-bellied. His + mouth is agape. He snores. His arms are flung over a woman + in her thirties, wearing a nightie, mouth also open, not + snoring. + 34. + + +We hold for a long beat on their regular breathing and +snoring. + +The phone rings. + +The woman stirs. + + WOMAN + Oh, geez... + +She reaches for the phone. + + WOMAN + ... Hi, it's Marge... + +The man stirs and clears his throat with a long deep +rumble. + + MARGE + ... Oh, my. Where?... Yah... Oh, + geez... + +The man sits up, gazes stupidly about. + + MARGE + ... Okay. There in a jif... Real + good, then. + +She hangs up. + + MARGE + ... You can sleep, hon. It's early + yet. + + MAN + Gotta go? + + MARGE + Yah. + +The man swings his legs out. + + MAN + I'll fix ya some eggs. + + MARGE + That's okay, hon. I gotta run. + + MAN + Gotta eat a breakfast, Marge. I'll + fix ya some eggs. + 35. + + + MARGE + Aw, you can sleep, hon. + + MAN + Ya gotta eat a breakfast... + + He clears his throat with another deep rumble. + + MAN + ... I'll fix ya some eggs. + + MARGE + Aw, Norm. + + PLATE + + Leavings of a huge plate of eggs, ham, toast. + + Wider, we see Marge now wearing a beige police uniform. A + patch on one arm says BRAINERD POLICE DEPARTMENT. She wears + a heavy belt holding a revolver, walkie-talkie and various + other jangling police impedimenta. Norm is in a dressing + gown. + + MARGE + Thanks, hon. Time to shove off. + + NORM + Love ya, Margie. + + As she struggles into a parka: + + MARGE + Love ya, hon. + + He is exiting back to the bedroom; she exits out the front + door. + + +32 EXT. GUNDERSON HOUSE 32 + + Dawn. Marge is making her way down the icy front stoop to + her prowler. + + +33 INT. GUNDERSON HOUSE 33 + + Norm sits back onto the bed, shrugging off his robe. Off- + screen we hear the front door open. + + FRONT DOOR + 36. + + +Marge stamps the snow off her shoes. + + MARGE + Hon? + + NORM + (off) + Yah? + + MARGE + Prowler needs a jump. + +HIGHWAY + +Two police cars and an ambulance sit idling at the side of +the road, a pair of men inside each car. + +The first car's driver door opens and a figure in a parka +emerges, holding two styrofoam cups. His partner leans +across the seat to close the door after him. + +The reverse shows Marge approaching from her own squad car. + + MARGE + Hiya, Lou. + + LOU + Margie. Thought you might need a + little warm-up. + +He hands her one of the cups of coffee. + + MARGE + Yah, thanks a bunch. So what's the + deal, now? Gary says triple + homicide? + + LOU + Yah, looks pretty bad. Two of'm're + over here. + +Marge looks around as they start walking. + + MARGE + Where is everybody? + + LOU + Well - it's cold, Margie. + +BY THE WRECK + 37. + + +Laid out in the early morning light is the wrecked car, a +pair of footprints leading out to a man in a bright orange +parka face down in the bloodstained snow, and one pair of +footsteps leading back to the road. + +Marge is peering into the car. + + MARGE + Ah, geez. So... Aw, geez. Here's + the second one... It's in the head + and the ... hand there, I guess + that's a defensive wound. Okay. + +Marge looks up from the car. + + MARGE + ... Where's the state trooper? + +Lou, up on the shoulder, jerks his thumb. + + LOU + Back there a good piece. In the + ditch next to his prowler. + +Marge looks around at the road. + + MARGE + Okay, so we got a state trooper + pulls someone over, we got a + shooting, and these folks drive by, + and we got a high-speed pursuit, + ends here, and this execution-type + deal. + + LOU + Yah. + + MARGE + I'd be very surprised if our + suspect was from Brainerd. + + LOU + Yah. + +Marge is studying the ground. + + MARGE + Yah. And I'll tell you what, from + his footprints he looks like a big + fella - + +Marge suddenly doubles over, putting her head between her +knees down near the snow. + 38. + + + LOU + Ya see something down there, Chief? + + MARGE + Uh - I just, I think I'm gonna + barf. + + LOU + Geez, you okay, Margie? + + MARGE + I'm fine - it's just morning + sickness. + +She gets up, sweeping snow from her knees. + + MARGE + ... Well, that passed. + + LOU + Yah? + + MARGE + Yah. Now I'm hungry again. + + LOU + You had breakfast yet, Margie? + + MARGE + Oh, yah. Norm made some eggs. + + LOU + Yah? Well, what now, d'ya think? + + MARGE + Let's go take a look at that + trooper. + +BY THE STATE TROOPER'S CAR + +Marge's prowler is parked nearby. + +Marge is on her hands and knees by a body down in the +ditch, again looking at footprints in the snow. She calls +up to the road: + + MARGE + There's two of 'em, Lou! + + LOU + Yah? + 39. + + + MARGE + Yah, this guy's smaller than his + buddy. + + LOU + Oh, yah? + +DOWN IN THE DITCH + +In the foreground is the head of the state trooper, facing +us. Peering at it from behind, still on her hands and +knees, is Marge. + + MARGE + For Pete's sake. + +She gets up, clapping the snow off her hands, and climbs +out of the ditch. + + LOU + How's it look, Marge? + + MARGE + Well, he's got his gun on his hip + there, and he looks like a nice + enough guy. It's a real shame. + + LOU + Yah. + + MARGE + You haven't monkeyed with his car + there, have ya? + + LOU + No way. + +She is looking at the prowler, which still idles on the +shoulder. + + MARGE + Somebody shut his lights. I guess + the little guy sat in there, + waitin' for his buddy t'come back. + + LOU + Yah, woulda been cold out here. + + MARGE + Heck, yah. Ya think, is Dave open + yet? + + LOU + 40. + + + You don't think he's mixed up in - + + MARGE + No, no, I just wanna get Norm some + night crawlers. + + +34 INT. PROWLER 34 + + Marge is driving; Lou sits next to her. + + MARGE + You look in his citation book? + + LOU + Yah... + + He looks at his notebook. + + LOU + ... Last vehicle he wrote in was a + tan Ciera at 2:18 a.m. Under the + plate number he put DLR - I figure + they stopped him or shot him before + he could finish fillin' out the tag + number. + + MARGE + Uh-huh. + + LOU + So I got the state lookin' for a + Ciera with a tag startin' DLR. They + don't got no match yet. + + MARGE + I'm not sure I agree with you a + hunnert percent on your policework, + there, Lou. + + LOU + Yah? + + MARGE + Yah, I think that vehicle there + probly had dealer plates. DLR? + + LOU + Oh... + + Lou gazes out the window, thinking. + + LOU + 41. + + + ... Geez. + + MARGE + Yah. Say, Lou, ya hear the one + about the guy who couldn't afford + personalized plates, so he went and + changed his name to J2L 4685? + + LOU + Yah, that's a good one. + + MARGE + Yah. + +THE ROAD + +The police car enters with a whoosh and hums down a +straight-ruled empty highway, cutting a landscape of flat +and perfect white. + +EMBERS FAMILY RESTAURANT + +Jerry, Wade, and Stan Grossman sit in a booth, sipping +coffee. Outside the window, snow falls from a gunmetal sky. + + WADE + - All's I know is, ya got a + problem, ya call a professional! + + JERRY + No! They said no cops! They were + darned clear on that, Wade! They + said you call the cops and we - + + WADE + Well, a course they're gonna say + that! But where's my protection? + They got Jean here! I give these + sons a bitches a million dollars, + where's my guarantee they're gonna + let her go. + + JERRY + Well, they - + + WADE + A million dollars is a lot a damn + money! And there they are, they got + my daughter! + + JERRY + 42. + + + Yah, but think this thing through + here, Wade. Ya give 'em what they + want, why wont' they let her go? + You gotta listen to me on this one, + Wade. + + WADE + Heck, you don't know! You're just + whistlin' Dixie here! I'm sayin', + the cops, they can advise us on + this! I'm sayin' call a + professional! + + JERRY + No! No cops! That's final! This is + my deal here, Wade! Jean is my wife + here! + + STAN + I gotta tell ya, Wade, I'm leanin' + to Jerry's viewpoint here. + + WADE + Well - + + STAN + We gotta protect Jean. These - + we're not holdin' any cards here, + Wade, they got all of 'em. So they + call the shots. + + JERRY + You're darned tootin'! + + WADE + Ah, dammit! + + STAN + I'm tellin' ya. + + WADE + Well... Why don't we... + +He saws a finger under his nose. + + WADE + ... Stan, I'm thinkin' we should + offer 'em half a million. + + JERRY + Now come on here, no way, Wade! No + way! + 43. + + + STAN + We're not horse-trading here, Wade, + we just gotta bite the bullet on + this thing. + + JERRY + Yah! + + STAN + What's the next step here, Jerry? + + JERRY + They're gonna call, give me + instructions for a drop. I'm + supposed to have the money ready + tomorrow. + + WADE + Dammit! + + THE CASHIER + + She rings up two dollars forty. + + CASHIER + How was everything today? + + JERRY + Yah, real good now. + + +35 EXT. PARKING LOT 35 + + Snow continues to fall. Jerry and Stan stand bundled in + their parkas and galoshes near a row of beached vehicles. + + Wade sits behind the wheel of an idling Lincoln, waiting + for Stan. + + STAN + Okay. We'll get the money together. + Don't worry about it, Jerry. Now, + d'you want anyone at home, with + you, until they call? + + JERRY + No, I - they don't want - they're + just s'posed to be dealin' with me, + they were real clear. + + STAN + Yah. + 44. + + + Jerry pounds his mittened hands together against the cold. + + JERRY + Ya know, they said no one listenin' + in, they'll be watchin', ya know. + Maybe it's all bull, but like you + said, Stan, they're callin' the + shots. + + STAN + Okay. And Scotty, is he gonna be + all right? + + JERRY + Yah, geez, Scotty. I'll go talk to + him. + + There is a tap at the horn from Wade, and Stan gets into + the Lincoln. + + STAN + We'll call. + + The Lincoln spits snow as it grinds out of the lot and + fishtails out onto the boulevard. + + +36 INT. SCOTTY'S BEDROOM 36 + + Scotty lies on the bed, weeping. Jerry enters and perches + uncomfortably on the edge of his bed. + + JERRY + ... How ya doin' there, Scotty? + + SCOTT + Dad! What're they doing? Wuddya + think they're doin' with Mom? + + JERRY + It's okay, Scotty. They're not + gonna want to hurt her any. These + men, they just want money, see. + + SCOTT + What if - what if sumpn goes wrong? + + JERRY + No, no, nothin's goin' wrong here. + Grandad and I, we're - we're makin' + sure this gets handled right. + + Scott snorfles and sits up. + 45. + + + SCOTT + Dad, I really think we should call + the cops. + + JERRY + No! We can't let anyone know about + this thing! We gotta play ball with + these guys - you ask Stan Grossman, + he'll tell ya the same thing! + + SCOTT + Yeah, but - + + JERRY + We're gonna get Mom back for ya, + but we gotta play ball. Ya know, + that's the deal. Now if Lorraine + calls, or Sylvia, you just say that + Mom is in Florida with Pearl and + Marty... + + Scotty starts to weep again. Jerry stares down at his lap. + + JERRY + ... That's the best we can do here. + + +37 EXT. CABIN 37 + + It is a lakeside cabin surrounded by white. A brown Ciera + with dealer plates is pulling into the drive. + + Grimsrud climbs out of the passenger seat as Carl climbs + out of the driver's. Grimsrud opens the back door and, with + an arm on her elbow, helps Jean out. She has her hands tied + behind her and a black hood over her head. + + With a cry, she swings her elbow out of Grimsrud's grasp + and lurches away across the front lawn. Grimsrud moves to + retrieve her but Carl, grinning, lays a hand on his + shoulder. + + CARL + Hold it. + + They both look out at the front lawn, Grimsrud + expressionless, Carl smiling. + + With muffled cries, the hooded woman lurches across the + unbroken snow, staggering this way and that, stumbling on + the uneven terrain. + + She stops, stands still, her hooded head swaying. + 46. + + + She lurches out in an arbitrary direction. Going downhill, + she reels, staggers, and falls face-first into the snow, + weeping. + + CARL + Ha ha ha ha ha ha! Jesus! + + Grimsrud, still expressionless, breaks away from Carl's + restraining hand to retrieve her. + + +38 INT. BRAINERD POLICE HEADQUARTERS 38 + + We track behind Marge as she makes her way across the + floor, greeting various officers. She holds a small half- + full paper sack. + + Beyond her we see a small glassed-in cubicle. Norm sits at + the desk inside with a box lunch spread out in front of + him. + + There is lettering on the cubicle's glass door: BRAINERD + PD. CHIEF GUNDERSON. + + Marge enters and sits behind the desk, detaching her + walkie-talkie from her utility belt to accommodate the + seat. + + MARGE + Hiya, hon. + + She slides the paper sack toward him. + + NORM + Brought ya some lunch, Margie. + What're those, night crawlers? + + He looks inside. + + The bottom of the sack is full of fat, crawling earthworms. + + MARGE + Yah. + + NORM + Thanks, hon. + + MARGE + You bet. Thanks for lunch. What do + we got here, Arbie's? + + NORM + Uh-huh. + 47. + + +She starts eating. + + MARGE + ... How's the paintin' goin'? + + NORM + Pretty good. Found out the Hautmans + are entering a painting this year. + + MARGE + Aw, hon, you're better'n them. + + NORM + They're real good. + + MARGE + They're good, Norm, but you're + better'n them. + + NORM + Yah, ya think? + +He leans over and kisses her. + + MARGE + Ah, ya got Arbie's all o'er me. + +Lou enters. + + LOU + Hiya, Norm, how's the paintin' + goin'? + + NORM + Not too bad. You know. + + MARGE + How we doin' on that vehicle? + + LOU + No motels registered any tan Ciera + last night. But the night before, + two men checked into the Blue Ox + registering a Ciera and leavin' the + tag space blank. + + MARGE + Geez, that's a good lead. The Blue + Ox, that's that trucker's joint out + there on I-35? + + LOU + 48. + + + Yah. Owner was on the desk then, + said these two guys had company. + + MARGE + Oh, yah? + + +39 EXT. STRIPPER CLUB 39 + + Marge's prowler is parked in an otherwise empty lot. Snow + drifts down. + + +40 INT. STRIPPER CLUB 40 + + Marge sits talking with two young women at one end of an + elevated dance platform. The club, not yet open for + business, is deserted. + + MARGE + Where you girls from? + + HOOKER ONE + Chaska. + + HOOKER TWO + LeSeure. But I went to high school + in White Bear Lake. + + MARGE + Okay, I want you to tell me what + these fellas looked like. + + HOOKER ONE + Well, the little guy, he was kinda + funny-looking. + + MARGE + In what way? + + HOOKER ONE + I dunno. Just funny-looking. + + MARGE + Can you be any more specific? + + HOOKER ONE + I couldn't really say. He wasn't + circumcised. + + MARGE + Was he funny-looking apart from + that? + 49. + + + HOOKER ONE +Yah. + + MARGE +So you were having sex with the +little fella, then? + + HOOKER ONE +Uh-huh. + + MARGE +Is there anything else you can tell +me about him? + + HOOKER ONE +No. Like I say, he was funny- +looking. More'n most people even. + + MARGE +And what about the other fella? + + HOOKER TWO +He was a little older. Looked like +the Marlboro man. + + MARGE +Yah? + + HOOKER TWO +Yah. Maybe I'm sayin' that cause he +smoked Marlboros. + + MARGE +Uh-huh. + + HOOKER TWO +A subconscious-type thing. + + MARGE +Yah, that can happen. + + HOOKER TWO +Yah. + + HOOKER ONE +They said they were goin' to the +Twin Cities? + + MARGE +Oh, yah? + + HOOKER TWO +Yah. + 50. + + + HOOKER ONE + Yah. Is that useful to ya? + + MARGE + Oh, you bet, yah. + + +41 EXT. LAKESIDE CABIN 41 + + It is now dusk. The brown Ciera with dealer plates still + sits in the drive. + + +42 INT. CABIN 42 + + We track in on Jean Lundegaard, who sits tied in a chair + with the black hood still over her head. As we track in, we + hear inarticulate cursing, intermittent banging and loud + static. + + We track in on Gaear Grimsrud, who sits smoking a cigarette + and expressionlessly gazing offscreen. + + We track in on Carl Showalter, who stands over an old + black-and-white television. It plays nothing but snow. Carl + is banging on it as he mutters: + + CARL + ...days ... be here for days with a + - DAMMIT! - a goddamn mute ... + nothin' to do ... and the fucking - + DAMMIT!... + + Each "dammit" brings a pound of his fist on the TV. + + CARL + ... TV doesn't even ... plug me in, + man... Gimmee a - DAMMIT! - + signal... Plug me into the ozone, + baby... Plug me into the ozone - + FUCK!... + + With one last bang we cut: + + BACK TO THE TELEVISION SET + + In extreme close-up an insect is lugging a worm. + + TV VOICE-OVER + The bark beetle carries the worm to + the nest ... where it will feed its + young for up to six weeks... + 51. + + + A pull back from the screen reveals that we are in Marge's + house. + + Marge and Norm are watching television in bed. From the TV + we hear insects chirring. + + After a long beat, silence except for the TV, Marge + murmurs, still looking at the set: + + MARGE + ... Well, I'm turnin' in, Norm. + + Also looking at the TV: + + NORM + ... Oh, yah? + + Marge rolls over and Norm continues to watch. + + We hold. + + BLACK + + Hold. + + A snowflake drops through the black. + + Another flake. + + It starts snowing. + + +43 EXT. BRAINERD MAIN STREET 43 + + The lone traffic light blinks slowly, steadily, red. Snow + sifts down. There is no other movement. + + PAUL BUNYAN + + We are looking up at the bottom-lit statue. Snow falls. + + HIGH SHOT OF MARGE'S HOUSE + + Snow drops away. + + HIGH SHOT IN MARGE'S BEDROOM + + The bedroom is dark. Norm is snoring. + + The phone rings. + + Marge gropes in the dark. + 52. + + + MARGE + Hello? + + VOICE + Yah, is this Marge? + + MARGE + Yah? + + VOICE + Margie Olmstead? + + MARGE + ... Well, yah. Who's this? + + VOICE + This is Mike Yanagita. Ya know - + Mike Yanagita. Remember me? + + MARGE + ... Mike Yanagita! + + MIKE + Yah! + +Marge props herself up next to the still-sleeping Norm. + + MARGE + Yah, yah, course I remember. How + are ya? What time is it? + + MIKE + Oh, geez. It's quarter to eleven. I + hope I dint wake you. + + MARGE + No, that's okay. + + MIKE + Yah, I'm down in the Twin Cities + and I was just watching on TV about + these shootings up in Brainderd, + and I saw you on the news there. + + MARGE + Yah. + + MIKE + I thought, geez, is that Margie + Olmstead? I can't believe it! + + MARGE + Yah, that's me. + 53. + + + MIKE + Well, how the heck are ya? + + MARGE + Okay, ya know. Okay. + + MIKE + Yah? + + MARGE + Yah - how are you doon? + + MIKE + Oh, pretty good. + + MARGE + Heck, it's been such a long time, + Mike. It's great to hear from ya. + + MIKE + Yah... Yah, yah. Geeze, Margie! + + +44 INT. GUSTAFSON OLDS GARAGE 44 + + Jerry is on the sales floor, showing a customer a vehicle. + + JERRY + Yah, ya got yer, this loaded here, + this has yer independent, uh, yer + slipped differential, uh, yer rack- + and-pinion steering, yer alarm and + radar, and I can give it to ya with + a heck of a sealant, this TruCoat + stuff, it'll keep the salt off - + + CUSTOMER + Yah, I don't need no sealant + though. + + JERRY + Yah, you don't need that. Now were + you thinking of financing here? You + oughta be aware a this GMAC plan + they have now, it's really super - + + ANOTHER SALESMAN + Jerry, ya got a call here. + + JERRY + Yah, okay. + 54. + + +45 INT. JERRY'S CUBICLE 45 + + He sits in and picks up his phone. + + JERRY + Jerry Lundegaard. + + VOICE + All right, Jerry, you got this + phone to yourself? + + JERRY + Well ... yah. + + VOICE + Know who this is? + + JERRY + Well, yah, I got an idea. How's + that Ciera workin' out for ya? + + VOICE + Circumstances have changed, Jerry. + + JERRY + Well, what do ya mean? + + VOICE + Things have changed. Circumstances, + Jerry. Beyond the, uh ... acts of + God, force majeure... + + JERRY + What the - how's Jean? + + A beat. + + CARL + ... Who's Jean? + + JERRY + My wife! What the - how's - + + CARL + Oh, Jean's okay. But there's three + people up in Brainerd who aren't so + okay, I'll tell ya that. + + JERRY + What the heck're you talkin' about? + Let's just finish up this deal here + - + 55. + + + CARL + Blood has been shed, Jerry. + +Jerry sits dumbly. The voice solemnly repeats: + + CARL + ... Blood has been shed. + + JERRY + What the heck d'ya mean? + + CARL + Three people. In Brainerd. + + JERRY + Oh, geez. + + CARL + That's right. And we need more + money. + + JERRY + The heck d'ya mean? What a you guys + got yourself mixed up in? + + CARL + We need more - + + JERRY + This was s'posed to be a no-rough - + stuff-type deal - + + CARL + DON'T EVER INTERRUPT ME, JERRY! + JUST SHUT THE FUCK UP! + + JERRY + Well, I'm sorry, but I just - I - + + CARL + Look. I'm not gonna debate you, + Jerry. The price is now the whole + amount. We want the entire eighty + thousand. + + JERRY + Oh, for Chrissakes here - + + CARL + Blood has been shed. We've incurred + risks, Jerry. I'm coming into town + tomorrow. Have the money ready. + 56. + + + JERRY + Now we had a deal here! A deal's a + deal! + + CARL + IS IT, JERRY? You ask those three + pour souls up in Brainerd if a + deal's a deal! Go ahead, ask 'em! + + JERRY + ... The heck d'ya mean? + + CARL + I'll see you tomorrow. + +Click. + +Jerry slams down the phone, which immediately rings. He +angrily snatches it up. + + JERRY + Yah! + + VOICE + Jerome Lundegaard? + + JERRY + Yah! + + VOICE + This is Reilly Deifenbach at GMAC. + Sir, I have not yet recieved those + vehicle IDs you promised me. + + JERRY + Yah! I ... those are in the mail. + + VOICE + Mr. Lundegaard, that very well may + be. I must inform you, however, + that absent the reciept of those + numbers by tomorrow afternoon, I + will have to refer this matter to + our legal department. + + JERRY + Yah. + + VOICE + My patience is at an end. + + JERRY + Yah. + 57. + + + VOICE + Good day, sir. + + JERRY + ... Yah. + +WIDE ON THE CUBICLE + +We are looking at Jerry's cubicle from across the showroom. + +Noise muted by distance, we watch Jerry slam down the +reciever, rise to his feet, fling the phone to the floor, +raise his desk blotter high over his head with pens and +pencils rolling off it and slam it onto his desktop. + +He stands for a moment, hands on hips, glaring. + +He stoops and picks up the phone, places it back on the +desktop, starts picking up the pens and pencils. + +TRACK + +On steam-table bins of food, each identified by a plaque: +BEEF STROGANOFF, SWEDISH MEATBALLS, BROILED TORSK, CHICKEN +FLORENTINE. + +A complementary track shows two rays being pushed along a +buffet line, piled high with many foods. + +MARGE AND NORM AT A TABLE + +They sit next to each other at a long cafeteria-style +Formica table, silently eating. + +A hip with a hissing walkie-talkie enters frame. + + GARY + Hiya, Norm. How ya doin', Margie? + How's the fricassee? + + MARGE + Pretty darn good, ya want some? + + GARY + No, I gotta - hey, Norm, I thought + you were goin' fishin' up at Mile + Lacs? + + NORM + Yah, after lunch. + +He goes back to his food. + 58. + + + MARGE + Whatcha got there? + + Gary hands her a flimsy. Marge takes it with one hand and + looks, her other hand frozen with a forkful of food. + + GARY + The numbers y'asked for, calls made + from the lobby pay phone at the + Blue Ox. Two to Minneapolis that + night. + + MARGE + Mm. + + GARY + First one's a trucking company, + second one's a private residence. A + Shep Proudfoot. + + MARGE + Uh-huh... A what? + + GARY + Shep Proudfoot. That's a name. + + MARGE + Uh-huh. + + GARY + Yah. + + MARGE + ... Yah, okay, I think I'll drive + down there, then. + + GARY + Oh, yah? Twin Cities? + + Norm, who has been eating steadily throughout, looks over + at Marge with mild interest. He stares for a beat as he + finishes chewing, and them swallows and says: + + NORM + ... Oh, yah? + + +46 INT. KITCHEN OF LUNDEGAARD HOUSE 46 + + Jerry, Wade, and Stan Grossman sit around the kitchen + table. + 59. + + +It is night. The scene is harshly top lit by a hanging +fixture. On the table are the remains of coffee and a +cinnamon filbert ring. + + WADE + Dammit! I wanna be a part a this + thing! + + JERRY + No, Wade! They were real clear! + They said they'd call tomorrow, + with instructions, and it's gonna + be delivered by me alone! + + WADE + It's my money, I'll deliver it - + what do they care? + + STAN + Wade's got a point there. I'll + handle the call if you want, Jerry. + + JERRY + No, no. See - they, no, see, they + only deal with me. Ya feel this, + this nervousness on the phone + there, they're very - these guys're + dangerous - + + WADE + All the more reason! I don't want + you - with all due respect, Jerry - + I don't want you mucking this up. + + JERRY + The heck d'ya mean? + + WADE + They want my money, they can deal + with me. Otherwise I'm goin' to a + professional. + +He points at a briefcase. + + WADE + ... There's a million dollars here! + + JERRY + No, see - + + WADE + 60. + + + Look, Jerry, you're not sellin' me + a damn car. It's my show here. + That's that. + + STAN + It's the way we prefer to handle + it, Jerry. + + +47 INT. THE DOWNTOWN RADISSON HOTEL 47 + + Marge is at the reception desk. + + MARGE + How ya doin'? + + CLERK + Real good. How're you today, ma'am? + + MARGE + Real good. I'm Mrs. Gunderson, I + have a reservation. + + The clerk types into a computer console. + + CLERK + You sure do, Mrs. Gunderson. + + MARGE + Is there a phone down here, ya + think? + + +48 INT. LOBBY CORNER 48 + + Marge is on a public phone. + + MARGE + ... Detective Sibert? Yah, this is + Marge Gunderson from up Brainerd, + we spoke - Yah. Well, actually I'm + in town here. I had to do a few + things in the Twin Cities, so I + thought I'd check in with ya about + that USIF search on Shep + Proudfoot... Oh, yah?... Well, + maybe I'll go visit with him if I + have the... No, I can find that... + Well, thanks a bunch. Say, d'ya + happen to know a good place for + lunch in the downtown area?... Yah, + the Radisson... Oh, yah? Is it + reasonable? + 61. + + + A GREEN FREEWAY SIGN + + Through a windshield we see a sign for the MINNEAPOLIS + INTERNATIONAL AIRPORT. + + +49 EXT. ROOFTOP PARKING LOT 49 + + The brown Ciera enters and drives lazy S-curves around the + few snow-covered cars parked on the roof of the lot. + + It stops by one car and Carl emerges. He quickly scans the + lot, then kneels in the snow at the back of the parked car + and starts unscrewing its license plate. + + +50 EXT. BOOTH 50 + + Carl pulls up and hands the attendant his ticket. + + CARL + Yeah, I decided not to park here. + + The attendant frowns uncomprehendingly at the ticket. + + ATTENDANT + ... What do you mean, you decided + not to park here? + + CARL + Yeah, I just came in. I decided not + to park here. + + The attendant is still puzzled. + + ATTENDANT + You, uh... I'm sorry, sir, but - + + CARL + I decided not to - I'm, uh, not + taking the trip as it turns out. + + ATTENDANT + I'm sorry, sir, we do have to + charge you the four dollars. + + CARL + I just pulled in here. I just + fucking pulled in here! + + ATTENDANT + 62. + + + Well, see, there's a minimum charge + of four dollars. Long-term parking + charges by the day. + + A car behind beeps. Carl glances back, starts digging for + money. + + CARL + I guess you think, ya know, you're + an authority figure. With that + stupid fucking uniform. Huh, buddy? + + The attendant doesn't say anything. + + CARL + ... King Clip-on Tie here. Big + fucking man. + + He is peeling off one dollar bills. + + CARL + ... You know, these are the limits + of your life, man. Ruler of your + little fucking gate here. There's + your four dollars. You pathetic + piece of shit. + + +51 INT. GUSTAFSON OLDS GARAGE 51 + + Jerry is staring up, mouth agape, at the underside of a car + on a hydraulic lift. Bewildered, he looks about, then asks + a mechanic passing by, his voice raised over the din of the + shop. + + JERRY + Where's Shep? + + The mechanic points. + + MECHANIC + Talkin' to a cop. + + Jerry looks. + + JERRY + ... Cop? + + Marge and Shep face each other at the other end of the + floor in a grimy and cluttered glassed-in cubicle. + + MECHANIC + Said she was a policewoman. + 63. + + +Marge and Shep silently talk. + +Jerry stares, swallows. + +INSIDE THE CUBICLE + + MARGE + - Wednesday night? + +Shep is shaking his head. + + SHEP + Nope. + + MARGE + Well, you do reside their at 1425 + Fremont Terrace? + + SHEP + Yep. + + MARGE + Anyone else residing there? + + SHEP + Nope. + + MARGE + Well, Mr. Proudfoot, this call came + in past three in the morning. It's + just hard for me to believe you + can't remember anyone calling. + +Shep says nothing. + + MARGE + ... Now, I know you've had some + problems, struggling with the + narcotics, some other + entanglements, currently on parole + - + + SHEP + So? + + MARGE + Well, associating with criminals, + if you're the one they talked to, + that right there would be a + violation of your parole and would + end with you back in Stillwater. + + SHEP + 64. + + + Uh-huh. + + MARGE + Now, I saw some rough stuff on your + priors, but nothing in the nature + of a homicide... + + Shep stares at her. + + MARGE + ... I know you don't want to be an + accessory to something like that. + + SHEP + Nope. + + MARGE + So you think you might remember who + those folks were who called ya? + + +52 INT. JERRY'S OFFICE 52 + + Jerry is worriedly pacing behind his desk. At a noise he + looks up. + + Marge has stuck her head in the door. + + MARGE + Mr. Lundegaard? + + JERRY + Huh? Yah? + + MARGE + I wonder if I could take just a + minute of your time here - + + JERRY + What... What is it all about? + + MARGE + Huh? Do you mind if I sit down - + I'm carrying quite a load here. + + Marge plops into the chair opposite him. + + MARGE + ... You're the owner here, Mr. + Lundegaard? + + JERRY + Naw, I... Executive Sales Manager. + 65. + + + MARGE + Well, you can help me. My name's + Marge Gunderson - + + JERRY + My father-in-law, he's the owner. + + MARGE + Uh-huh. Well, I'm a police officer + from up Brainerd investigating some + malfeasance and I was just + wondering if you've had any new + vehicles stolen off the lot in the + past couple of weeks - specifically + a tan Cutlass Ciera? + +Jerry stares at her, his mouth open. + + MARGE + ... Mr. Lundegaard? + + JERRY + ... Brainerd? + + MARGE + Yah. Yah. Home a Paul Bunyan and + Babe the Blue Ox. + + JERRY + ... Babe the Blue Ox? + + MARGE + Yah, ya know we've got the big + statue there. So you haven't had + any vehicles go missing, then? + + JERRY + No. No, ma'am. + + MARGE + Okey-dokey, thanks a bunch. I'll + let you get back to your paperwork, + then. + +As Marge rises, Jerry looks blankly down at the papers on +the desk in front of him. + + JERRY + ... Yah, okay. + +He looks up at Marge's retreating back. He looks back down +at the papers. He looks over at the phone. + 66. + + + he picks up the phone and dials four digits. + + JERRY + ... Yah, gimmee Shep... The heck + d'ya mean?... Well, where'd he go? + It's only... No, I don't need a + mechanic - oh, geez - I gotta talk + to a friend of his, so, uh ... have + him, uh ... oh, geez... + + +53 INT. HOTEL BAR 53 + + Marge enters. She looks around the bar, a rather + characterless, lowlit meeting place for business people. + + VOICE + Marge? + + It is a bald, paunching man of about Marge's age, rising + from a booth halfway back. His features are broad, + friendly, Asian-American. + + MARGE + Mike! + + He approaches somewhat carefully, as if on his second + drink. + + They hug and head back toward the booth. + + MIKE + Geez! You look great! + + MARGE + Yah - easy there - you do too! I'm + expecting, ya know. + + MIKE + I see that! That's great! + + A waitress meets them at the table. + + MIKE + ... What can I get ya? + + MARGE + Just a Diet Coke. + + Again she glances about. + + MARGE + ... This is a nice place. + 67. + + + MIKE + Yah, ya know it's the Radisson, so + it's pretty good. + + MARGE + You're livin' in Edina, then? + + MIKE + Oh, yah, couple years now. It's + actually Eden Prarie - that school + district. So Chief Gunderson, then! + So ya went and married Norm Son-of- + a-Gunderson! + + MARGE + Oh, yah, a long time ago. + + MIKE + Great. What brings ya down - are ya + down here on that homicide - if + you're allowed, ya know, to discuss + that? + + MARGE + Oh, yah, but there's not a heckuva + lot to discuss. What about you, + Mike? Are you married - you have + kids? + + MIKE + Well, yah, I was married. I was + married to - You mind if I sit over + here? + +He is sliding out of his side of the booth and easing in +next to Marge. + + MIKE + ... I was married to Linda Cooksey + - + + MARGE + No, I - Mike - wyncha sit over + there, I'd prefer that. + + MIKE + Huh? Oh, okay, I'm sorry. + + MARGE + No, just so I can see ya, ya know. + Don't have to turn my neck. + + MIKE + 68. + + +Oh, sure, I understand, I didn't +mean to - + + MARGE +No, no, that's fine. + + MIKE +Yah, sorry, so I was married to +Linda Cooksey - ya remember Linda? +She was a year behind us. + + MARGE +I think I remember Linda, yah. She +was - yah. So things didn't work +out, huh? + + MIKE +And then I, and then I been workin' +for Honeywell for a few years now. + + MARGE +Well, they're a good outfit. + + MIKE +Yah, if you're an engineer, yah, +you could do a lot worse. Of +course, it's not, uh, it's nothin' +like your achievement. + + MARGE +It sounds like you're doin' really +super. + + MIKE +Yah, well, I, uh ... it's not that +it didn't work out - Linda passed +away. She, uh... + + MARGE +I'm sorry. + + MIKE +Yah, I, uh... She had leukemia, you +know... + + MARGE +No, I didn't... + + MIKE +It was a tough, uh ... it was a +long - She fought real hard, +Marge... + 69. + + + MARGE + I'm sorry, Mike. + + MIKE + Oh, ya know, that's, uh - what can + I say?... + +He holds up his drink. + + MIKE + ... Better times, huh? + +Marge clinks it. + + MARGE + Better times. + + MIKE + I was so... I been so ... and then + I saw you on TV, and I remembered, + ya know... I always liked you... + + MARGE + Well, I always liked you, Mike. + + MIKE + I always liked ya so much... + + MARGE + It's okay, Mike - Should we get + together another time, ya think? + + MIKE + No - I'm sorry! It's just - I been + so lonely - then I saw you, and... + +He is weeping. + + MIKE + ... I'm sorry... I shouldn't a done + this... I thought we'd have a + really terrific time, and now + I've... + + MARGE + It's okay... + + MIKE + You were such a super lady ... and + then I... I been so lonely... + + MARGE + It's okay, Mike... + 70. + + +54 INT. CARLTON CELEBRITY ROOM 54 + + Carl Showalter is sitting at a small table with a tarty- + looking blonde in a low-cut gown. Each holds a drink. + + CARL + Just in town on business. Just in + and out. Ha ha! A little of the old + in-and-out! + + WOMAN + Wuddya do? + + Carl looks around. + + CARL + Have ya been to the Celebrity Room + before? With other, uh, clients? + + WOMAN + I don't think so. It's nice. + + CARL + Yeah, well, it depends on the + artist. You know, Jose Feliciano, + ya got no complaints. Waiter! + + The reverse shows a disappearing waiter and the backs of + many, many people sitting at tables between us and the very + distant stage. Jose Feliciano, very small, performs on a + spotlight stool. The acoustics are poor. + + Carl grimaces. + + CARL + ... What is he, deaf?... So, uh, + how long have you been with the + escort service? + + WOMAN + I don't know. Few munce. + + CARL + Ya find the work interesting, do + ya? + + WOMAN + ... What're you talking about? + + +55 INT. A DIRTY BEDROOM 55 + + Carl is humping the escort. + 71. + + +We hear the door burst open. + +The escort is grabbed and flung out of bed. + + CARL + Shep! What the hell are you doing? + I'm banging that girl! Shep! Jesus + Ch - + +Shep slaps him hard, forehand, backhand. + + SHEP + Fuck out of my house! + +He hauls him up - + + CARL + Shep! Don't you dare fucking hit + me, man! Don't you - + +- punches him and flings him away. + +Carl hits a sofa and we see his bare legs disappear as he +flips back over it. + +Shep enters frame to circle the sofa and kick at Carl +behind it. + + SHEP + Fuck outta here. Put me back in + Stillwater. Little fucking shit. + +There is a knock at the door. + + VOICE + Hey! Come on in there! + +Shep strides to the door, flings it open. + +A man in boxer shorts stands in the doorway. + + MAN + C'mon, brother, it's late - Unghh! + +Shep hits him twice, then grabs both of his ears and starts +banging his head against the wall. + +The hooker runs by, clutching her clothes, and Shep kicks +her in the ass as she passes. + +He spins and goes back into the apartment. + 72. + + + Carl is hopping desperately into his pants. + + CARL + Stay away from me, man! Hey! Smoke + a fuckin' peace pipe, man! Don't + you dare fuckin' - Unghh! + + After hitting him several times, Shep yanks Carl's belt out + of his dangling pants and strangles him with it. Carl + gurgles. Shep knees Carl repeatedly, then dumps him onto + the floor and starts whipping him with the buckle end of + the belt. + + +56 INT. CHAIN RESTAURANT PHONE BOOTH 56 + + Carl listens to the phone ring at the other end. His face + is deeply bruised and cut. + + Finally, through the phone... + + VOICE + ... Yah? + + CARL + All right, Jerry, I'm through + fucking around. You got the fucking + money? + + +57 INT. JERRY'S KITCHEN 57 + + Jerry is at the kitchen phone. Through the door to the + dining room we see Wade picking up an extension. + + JERRY + Yah, I got the money, but, uh - + + CARL + Don't you fucking but me, Jerry. I + want you with this money on the + Dayton-Radisson parking ramp, top + level, thirty minutes, and we'll + wrap this up. + + JERRY + Yah, okay, but, uh - + + CARL + 73. + + + You're there in thirty minutes or I + find you, Jerry, and I shoot you, + and I shoot your fucking wife, and + I shoot all your little fucking + children, and I shoot 'em all in + the back of their little fucking + heads. Got it? + + JERRY + ... Yah, well, you stay away from + Scotty now - + + CARL + GOT IT? + + JERRY + Okay, real good, then. + + The line goes dead. + + A door slams offscreen. + + +58 EXT. HOUSE 58 + + Wade, briefcase in hand, gets into his Cadillac, slams the + door and peels out. + + +59 INT. CAR 59 + + Wade's jaw works as he glares out at traffic. He mumbles to + himself as he drives. + + WADE + Okay ... here's your damn money, + now where's my daughter?... Goddamn + punk ... where's my damn + daughter... + + He pulls out a gun, cracks the barrel, peers in. + + WADE + ... You little punk. + + +60 INT. JERRY'S HOUSE 60 + + Jerry sits in the foyer, trying to pull on pair of + galoshes. + + Scotty's voice comes from upstairs: + 74. + + + VOICE + ... Dad? + + JERRY + It's okay, Scotty. + + VOICE + Where're you going? + + JERRY + Be back in a minute. If Stan calls + you, just tell him I went to + Embers. Oh, geez - + + Thunk! - his first boot goes on. + + RADISSON + + Marge sits on the bed in her hotel room, shoes off, + massaging her feet. The phone is pressed to her ear, and + through it, we hear ringing. + + VOICE + ... Hello? + + MARGE + Norm? + + +61 EXT. MILLE LACS LAKE 61 + + It is late evening, blowing storm. A leisurely pan across + the bleak gray expanse finds a little hut in the middle of + the frozen lake with a pickup truck parked next to it. + + MARGE'S VOICE + They bitin'? + + +62 INT. HUT 62 + + Norm has a cellular phone to his ear. His feet are + stretched out to an electric heater. The interior is bathed + in soft orange light. + + NORM + Yah, okay. How's the hotel? + + MARGE + Oh, pretty good. They bitin'? + + NORM + 75. + + + Yeah, couple a muskies. No pike + yet. How d'you feel? + + MARGE + Oh, fine. + + NORM + Not on your feet too much? + + MARGE + No, no. + + NORM + You shouldn't be on your feet too + much, you got weight you're not + used too. How's the food down + there? + + MARGE + Had dinner at a place called the + King's Table. Buffet style. It was + pretty darn good. + + NORM + Was it reasonable? + + MARGE + Yah, not too bad. So it's nice up + there? + + NORM + Yah, it's good. No pike yet, but + it's good. + + +63 INT. DAYTON-RADISSON RAMP 63 + + The top, open, level. Snow blows. A car sits idling. + + Another car pulls onto the roof. It creeps over to the + parked car and stops. It continues to idle as its door + opens and Wade steps out, carrying the briefcase. + + The door of the other car bangs open and Carl bounces out. + + CARL + Who the fuck are you? Who the fuck + are you? + + WADE + I got your goddamn money, you + little punk. Now where's my + daughter? + 76. + + + CARL + I am through fucking around! Drop + that fucking briefcase! + + WADE + Where's my daughter? + + CARL + Fuck you, man! Where's Jerry? I + gave SIMPLE FUCKING INSTRUCTIONS - + + WADE + Where's my damn daughter? No Jean, + no money! + + CARL + Drop that fucking money! + + WADE + No Jean, no money! + + CARL + Is this a fucking joke here? + +He pulls out a gun and fires into Wade's gut. + + CARL + ... Is this a fucking joke? + + WADE + Unghh ... oh, geez... + +He is on the pavement, clutching at his gut. Snow swirls. + + CARL + You fucking imbeciles! + +He bends down next to Wade to pick up the briefcase. + + WADE + Oh, for Christ ... oh, geez... + +Wade brings out his gun and fires at Carl's head, close by. + + CARL + Oh! + +Carl stumbles and falls back, and then stands up again. His +jaw is gouting blood. + + CARL + ... Owwmm... + 77. + + + One hand pressed to his jaw, he fires down at Wade several + times. Blood streams through the hand pressed to his jaw. + + CARL + ... Mmmmmphnck! He fnkem shop me... + + He pockets the gun, picks up the briefcase one-handed, + flings it into his car, gets in, peels out. + + +64 INT. DOWN RAMP 64 + + Carl screams down the ramp. He takes a corner at high speed + and swerves, just missing Jerry in his Olds on his way to + the top. + + +65 INT. JERRY'S CAR 65 + + Jerry recovers from the near miss and continues up. + + JERRY + Oh, geez! + + EXIT BOOTH + + Carl squeals to a halt at the gate, still pressing his hand + to his bleeding jaw. + + CARL + Ophhem ma fuchem gaphe! + + ATTENDANT + May I have your ticket, please? + + RAMP ROOF + + Jerry pulls to a halt next to Wade's idling Cadillac. He + gets out and walks slowly to Wade's body, prostrate in the + swirling snow. + + JERRY + Oh! Oh, geez! + + He bends down, picks Wade up by the armpits and drags him + over to the back of the Cadillac. He drops Wade's body, + walks to the driver's side of the car, pulls the keys and + walks back to pop the trunk. He wrestles Wade's body into + the trunk, slams it shut and walks back to the scene of the + shooting. + + He kicks at the snow with his galoshed feet, trying to hide + the fresh bloodstains. + 78. + + +66 EXT. BOOTH 66 + + Jerry approaches in the Cadillac. + + The wooden gate barring the exit has been broken away. The + booth is empty. + + Jerry eases toward the street, looking over at the booth as + he passes. + + Inside the booth we see the awkwardly angled leg of a + prostrate body. + + +67 EXT. JERRY'S HOUSE 67 + + The car pulls into the driveway. + + +68 INT. FOYER 68 + + Jerry enters and sits on the foyer chair to take off his + galoshes. + + SCOTT'S VOICE + ... Dad? + + JERRY + Yah. + + SCOTT'S VOICE + Stan Grossman called. + + JERRY + Yah, okay. + + SCOTT'S VOICE + Twice. + + JERRY + Okay. + + SCOTT'S VOICE + ... Is everything okay? + + JERRY + Yah. + + Thoonk - the first boot comes off. + + SCOTT'S VOICE + Are you calling Stan? + 79. + + + JERRY + Well... I'm goin' ta bed now. + + +69 INT. CARL'S CAR 69 + + Carl mumbles as he drives, underlit by the dim dash lights, + one hand now holding a piece of rag to his shredded jaw. + + CARL + ... Fnnkn ashlzh... Fnk... + + ROAD + + Carl's car roars into frame, violently swirling the snow. + + Its red tail lights fishtail away. + + FADE OUT + + HOLD IN BLACK + + HARD CUT TO: BRIGHT - LOOKING THROUGH A WINDSHIELD + + It is a starky sunny day. We are cruising down a street of + humble lookalike houses. + + We pan right as we draw toward one house in particular. In + its driveway a man in a hooded parka shovels snow. He + notices the approaching car and gives its driver a wave. + + The driver is Gary, the Brainderd police officer. He gives + a finger-to-the-head salute and pulls over. + + +70 EXT. OUTSIDE 70 + + Gary slams his door shut and the other man plants his + shovel in the snow. + + MAN + How ya doin'? + + GARY + Mr. Mohra? + + MAN + Yah. + + GARY + Officer Olson. + 80. + + + MAN + Yah, right-o. + +The two men caucus the driveway without shaking hands and +without standing particularly close. They stand stiffly, +arms down at their sides and breath streaming out of their +parka hoods. Each has an awkward leaning-away posture, head + +drawn slightly back and chin tucked in, to keep his face +from protruding into the cold. + + MAN + ... So, I'm tendin' bar there at + Ecklund && Swedlin's last Tuesday + and this little guy's drinkin' and + he says, 'So where can a guy find + some action - I'm goin' crazy down + there at the lake.' And I says, + 'What kinda action?' and he says, + 'Woman action, what do I look + like,' And I says 'Well, what do I + look like, I don't arrange that + kinda thing,' and he says, 'I'm + goin' crazy out there at the lake' + and I says, 'Well, this ain't that + kinda place.' + + GARY + Uh-huh. + + MAN + So he says, 'So I get it, so you + think I'm some kinda jerk for + askin',' only he doesn't use the + word jerk. + + GARY + I unnerstand. + + MAN + And then he calls me a jerk and + says the last guy who thought he + was a jerk was dead now. So I don't + say nothin' and he says, 'What do + ya think about that?' So I says, + 'Well, that don't sound like too + good a deal for him then.' + + GARY + Ya got that right. + + MAN + 81. + + +And he says, 'Yah, that guy's dead +and I don't mean a old age.' And +then he says, 'Geez, I'm goin' +crazy out there at the lake.' + + GARY +White Bear Lake? + + MAN +Well, Ecklund && Swedlin's, that's +closer ta Moose Lake, so I made +that assumption. + + GARY +Oh sure. + + MAN +So, ya know, he's drinkin', so I +don't think a whole great deal of +it, but Mrs. Mohra heard about the +homicides out here and she thought +I should call it in, so I called it +in. End a story. + + GARY +What'd this guy look like anyways? + + MAN +Oh, he was a little guy, kinda +funny-lookin'. + + GARY +Uh-huh - in what way? + + MAN +Just a general way. + + GARY +Okay, well, thanks a bunch, Mr. +Mohra. You're right, it's probably +nothin', but thanks for callin' her +in. + + MAN +Oh sure. They say she's gonna turn +cold tomorrow. + + GARY +Yah, got a front movin' in. + + MAN +Ya got that right. + 82. + + + CLOSE ON CARL SHOWALTER + + In his car, now parked, one hand holding the rag pressed to + his mangled jaw. He is staring down at something in the + front seat next to him. + + His other hand holds open the briefcase. It has money + inside - a lot of money. + + Carl unfreezes, takes out one of the bank-wrapped wads and + looks at it. + + CARL + ... Mmmnphh. + + He paws through the money in the briefcase to get a feeling + for the amount. + + CARL + ... Jeshush Shrist... Jeshush + fuchem Shrist! + + Excited, he counts out a bundle of bills and tosses it onto + the back seat. + + He starts to take the rag away from his chin but the layer + pressed against his face sticks, its loose weave bound to + his skin by clotted blood. + + He pulls very gently and winces as blood starts to flow + again. + + He carefully tears the rag in half so that only a bit of it + remains adhering to his jaw. + + +71 EXT. CAR 71 + + It is pulled over to the side of an untraveled road. THe + door opens and Carl emerges with the briefcase. + + He slogs through the snow, down a gulley and up the + embankment to a barbed-wire fence. He kneels at one of the + fence posts and frantically digs into the snow with his + bare hands, throws in the briefcase and covers it back up. + + He stands and tries to beat the circulation back into his + red, frozen hands. + + He looks to the right. + + A regular line of identical fence posts stretches away + against unblemished white. + 83. + + + He looks to the left. + + A regular line of identical fence posts stretches away + against unblemished white. + + He looks at the fence post in front of him. + + CARL + Mmmphh... + + He looks about the snowy vastness for a marker. Finding + none, he kicks the fence post a couple of times, failing to + scar or tilt it, then hurriedly plants a couple of sicks up + against the post. + + He bends down, scoops up a handful of snow, presses it + against his wounded jaw, and lopes back to the idling car. + + +72 INT. HOTEL ROOM 72 + + Marge has a packed overnight back sitting on the unmade + bed. + + She is ready to leave, already wearing her parka, but is on + the phone. + + MARGE + No, I'm leavin' this mornin', back + up to Brainerd. + + VOICE + Well, I'm sorry I won't see ya. + + MARGE + Mm. But ya think he's all right? I + saw him last night and he's - + + VOICE + What'd he say? + + MARGE + Well, it was nothin' specific he + said, it just seemd like it all hit + him really hard, his wife dyin' - + + VOICE + His wife? + + MARGE + Linda. + + VOICE + 84. + + + No. + + MARGE + Linda Cooksey? + + VOICE + No. No. No. They weren't - he, uh, + he was bothering Linda for about, + oh, for a good year. Really + pestering her, wouldn't leave her + alone. + + MARGE + So ... they didn't... + + VOICE + No. No. They never married. Mike's + had psychiatric problems. + + MARGE + Oh. Oh, my. + + VOICE + Yah, he - he's been struggling. + He's living with his parents now. + + MARGE + Oh. Geez. + + VOICE + Yah, Linda's fine. You should call + her. + + MARGE + Geez. Well - geez. That's a + suprise. + + +73 INT. MARGE'S CAR 73 + + Marge drives, gazing out at the road. + + MARGE AT A DRIVE-THROUGH + + She leans out of her open window and yells at the order + panel: + + MARGE + Hello? + + MARGE AT THE GUSTAFSON OLDS GARAGE + + She sits in the lot, eating a breakfast sandwich. + 85. + + +74 INT. JERRY LUNDEGAARD'S OFFICE 74 + + Jerry is at his desk using a blunt pencil to enter numbers + onto a form. Beneath the form is a piece of carbon paper + and beneath that another form copy, which Jerry + periodically checks. The carbon-copy form shows thick + smudgy, illegible entries. + + Jerry hums nervously. + + Glass rattles as someone taps at his door. + + Jerry looks up and freezes, mouth hanging open, brow knit + with worry. + + Marge sticks her head in the door. + + MARGE + Mr. Lundegaard? Sorry to bother you + again. Can I come in? + + She starts to enter. + + JERRY + Yah, no, I'm kinda - I'm kinda busy + - + + MARGE + I unnerstand. I'll keep it real + short, then. I'm on my way out of + town, but I was just - Do you mind + if I sit down? I'm carrying a bit + of a load here. + + JERRY + No, I - + + But she is already sitting into the chair opposite with a + sigh of relieved weight. + + MARGE + Yah, it's this vehicle I asked you + about yesterday. I was just + wondering - + + JERRY + Yah, like I told ya, we haven't had + any vehicles go missing. + + MARGE + 86. + + + Okay, are you sure, cause, I mean, + how do you know? Because, see, the + crime I'm investigating, the + perpetrators were driving a car + with dealer plates. And they called + someone who works here, so it'd be + quite a coincidence if they + weren't, ya know, connected. + + JERRY + Yah, I see. + + MARGE + So how do you - have you done any + kind of inventory recently? + + JERRY + The car's not from our lot, ma'am. + + MARGE + but do you know that for sure + without - + + JERRY + Well, I would know. I'm the + Executive Sales Manager. + + MARGE + Yah, but - + + JERRY + We run a pretty tight ship here. + + MARGE + I know, but - well, how do you + establish that, sir? Are the cars, + uh, counted daily or what kind of - + + JERRY + Ma'am, I answered your question. + +There is a silent beat. + + MARGE + ... I'm sorry, sir? + + JERRY + Ma'am, I answered your question. I + answered the darn - I'm cooperating + here, and I... + + MARGE + 87. + + + Sir, you have no call to get snippy + with me. I'm just doin' my job + here. + + JERRY + I'm not, uh, I'm not arguin' here. + I'm cooperating... There's no, uh - + we're doin' all we can... + +He trails off into silence. + + MARGE + Sir, could I talk to Mr. Gustafson? + +Jerry stares at her. + + MARGE + ... Mr. Lundegaard? + +Jerry explodes: + + JERRY + Well, heck, if you wanna, if you + wanna play games here! I'm workin' + with ya on this thing, but I... + +He is getting angrily off his feet. + + JERRY + Okay, I'll do a damned lot count! + + MARGE + Sir? Right now? + + JERRY + Sure right now! You're darned + tootin'! + +He is yanking his parka from a hook behind the opened door +and grabbing a pair of galoshes. + + JERRY + ... If it's so damned imporant to + ya! + + MARGE + I'm sorry, sir, I - + +Jerry has the parka slung over one arm and the galoshes +pinched in his hand. + + JERRY + Aw, what the Christ! + 88. + + +He stamps out the door. + +Marge stares. + +After a long moment her stare breaks. She glances idly +around the office. + +There is a framed picture facing away from her on the +desktop. She turns it to face her. It is Scotty, holding an +accordion. There is another picture of Jean. + +Marge looks at it, looks around, for some reason, at the +ceiling. + +She looks at a trophy shelf on the wall behind her. + +She fiddles idly with a pencil. She pulls a clipboard +toward her. It holds a form from the General Motors Finance +Corporation. + +She looks idly around. Her look abruptly locks. + + MARGE + ... Oh, for Pete's sake. + +Jerry is easing his car around the near corner of the +building. + +Marge's voice is flat with dismay: + + MARGE + ... Oh, for Pete's sake... + +She grabs the phone and punches in a number. + + MARGE + ... For Pete's s- he's fleein' the + interview. He's feelin' the + interview... + +Jerry makes a left turn into traffic. + + MARGE + ... Detective Sibert, please... + +POLICE OFFICER + +We are looking across a steam table at a man in blue. He +moves slowly to the right, pushing his tray along a +cafeteria line. Behind him, in the depth of the room, is an +eating area of long Formica tables at which sit a mix of +uniformed and civilian-clothed police and staff. + 89. + + +We are listening to an offscreen woman's voice. + + WOMAN + Well, so far we're just saying he's + wanted for questioning in + connection with a triple homicide. + Nobody at the dealship there's been + much help guessing where he might + go... + +The woman is entering frame sliding a tray. Marge enters +behind her, sliding her own. We move laterally with them as +they slowly make their way along the line. + + MARGE + Uh-huh. + + WOMAN + We called his house; his little boy + said he hadn't been there. + + MARGE + And his wife? + + WOMAN + She's visiting relatives in + Florida. Now his boss, this guy + Gustafson, he's also disappeared. + Nobody at his office knows where he + is. + + MARGE + Geez. Looks like this thing goes + higher than we thought. You call + his home? + + WOMAN + His wife's in the hospital, has + been for a couple months. The big + C. + + MARGE + Oh, my. + + WOMAN + And this Shep Proudfoot character, + he's a little darling. He's now + wanted for assault and parole + violation. He clobbered a neighbor + of his last night and another + person who could be one of your + perps, and he's at large. + 90. + + + MARGE + Boy, this thing is really ... geez. + + WOMAN + Well, they're all out on the wire. + Well, you know... + + MARGE + Yah. Well, I just can't thank you + enough, Detective Sibert, this + cooperation has been outstanding. + + DETECTIVE SIBERT + Ah, well, we haven't had to run + around like you. When're you due? + + MARGE + End a April. + + DETECTIVE SIBERT + Any others? + + MARGE + This'll be our first. We've been + waiting a long time. + + DETECTIVE SIBERT + That's wonderful. Mm-mm. It'll + change your life, a course. + + MARGE + Oh, yah, I know that! + + DETECTIVE SIBERT + They can really take over, that's + for sure. + + MARGE + You have children? + +Detective Sibert pulls an accordion of plastic picture +sleeves from her purse to show Marge. + + DETECTIVE SIBERT + I thought you'd never ask. The + older one is Janet, she's nine, and + the younger one is Morgan. + + MARGE + Oh, now he's adorable. + + DETECTIVE SIBERT + 91. + + + He's three now. Course, not in that + picture. + + MARGE + Oh, he's adorable. + + DETECTIVE SIBERT + Yah, he - + + MARGE + Where'd you get him that parka? + +They have reached the end of the cafeteria line. With a nod +to the cashier, Detective Sibert indicates hers and Marge's +trays. + + DETECTIVE SIBERT + Both of these. + + MARGE + Oh, no, I can't let you do that. + + DETECTIVE SIBERT + Oh, don't be silly. + + MARGE + Well, okay - thank you, Detective. + + DETECTIVE SIBERT + Oh, don't be silly. + +GAEAR GRIMSRUD + +He sits eating a Swanson's TV dinner from a TV tray he has +set up in front of an easy chair. + +He watches the old black-and-white TV set whose image - it +might be a game show - is still heavily ghosting and +diffused by snow. The audio crackles with interference. + +Despite the impenetrability of its image, it holds +Grimsrud's complete attention. + +At the sound of the front door opening, Grimsrud looks up. + +Carl enters, his face suppurating and raw. + +He reacts to Grimsrud's wordless look with a grotesque +laugh. + + CARL + You should she zhe uzher guy! + 92. + + +He glances around. + + CARL + ... The fuck happen a her? + +Jean sits slumped in a straight-backed chair facing the +wall. Her hooded head, resting on her chin, is motionless. + +There is blood on the facing wall. + + GRIMSRUD + She started shrieking, you know. + + CARL + Jezhush. + +He shakes his head. + + CARL + ... Well, I gotta muddy. + +He is plunking down eight bank-wrapped bundles on the +table. + + CARL + ... All of it. All eighty gran. + Forty for you... + +He makes one pile, pockets the rest. + + CARL + ... Forty for me. Sho thishuzh it. + Adiosh. + +He slaps keys down on the table. + + CARL + ... You c'n'ave my truck. I'm + takin' a Shiera. + + GRIMSRUD + We split that. + +Carl looks at him. + + CARL + HOW THE FUCK DO WE SHPLITTA FUCKIN' + CAR? Ya dummy! Widda fuckin' + chainshaw? + +Grimsrud looks sourly up. There is a beat. Finally: + 93. + + + GRIMSRUD + One of us pays the other for half. + + CARL + HOLD ON! NO FUCKIN' WAY! YOU + FUCKIN' NOTISH ISH? I GOT FUCKIN' + SHOT INNA FAISH! I WENT'N GOTTA + FUCKIN' MONEY! I GET SHOT FUCKIN' + PICKIN' IT UP! I BEEN UP FOR + THIRTY-SHIKSH FUCKIN' HOURZH! I'M + TAKIN' THAT FUCKIN' CAR! THAT + FUCKERZH MINE! + + Carl waits for an argument, but only gets the steady sour + look. + + Carl pulls out a gun. + + CARL + ... YOU FUCKIN' ASH-HOLE! I LISHEN + A YOUR BULLSHIT FOR A WHOLE FUCKIN' + WEEK! + + A beat. Carl returns Grimsrud's stare. + + CARL + ... Are we shquare? + + Grimsrud says nothing. + + CARL + ... ARE WE SHQUARE? + + A beat. + + Disgusted, Carl pockets the gun and heads for the door. + + CARL + ... Fuckin' ash-hole. And if you + shee your friend Shep Proudpfut, + tell him I'm gonna NAIL hizh + fuckin' ash. + + +75 EXT. OUTSIDE 75 + + We are pulling Carl as he walks toward the car. Behind him + we see the cabin door opening. Carl turns, reacting to the + sound. + + Grimsrud is bounding out wearing mittens and a red hunter's + cap, but no overcoat. He is holding an ax. + 94. + + +Carl fumbles in his pocket for his gun. + +Grimsrud swings overhand, burying the ax in Carl's neck. + +MARGE + +In her cruiser, on her two-way. Through it we hear Lou's +voice, heavily filtered: + + VOICE + His wife. This guy says she was + kidnapped last Wednesday. + + MARGE + The day of our homicides. + + VOICE + Yah. + +Marge is peering to one side as she drives, looking through +the bare trees that border the road on a declivity that +runs down to a large frozen lake. + + MARGE + And this guy is... + + VOICE + Lundegaard's father-in-law's + accountant. + + MARGE + Gustafson's accountant. + + VOICE + Yah. + + MARGE + But we still haven't found + Gustafson. + + VOICE + (crackle) + - looking. + + MARGE + Sorry - didn't copy. + + VOICE + Still missing. We're looking. + + MARGE + Copy. And Lundegaard too. + 95. + + + VOICE + Yah. Where are ya, Margie? + +We hear, distant but growing louder, harsh engine noise, as +of a chainsaw or lawnmower. + + MARGE + Oh, I'm almost back - I'm driving + around Moose Lake. + + VOICE + Oh. Gary's loudmouth. + + MARGE + Yah, the loudmouth. So the whole + state has it, Lundegaard and + Gustafson? + + VOICE + Yah, it's over the wire, it's + everywhere, they'll find 'em. + + MARGE + Copy. + + VOICE + We've got a - + + MARGE + There's the car! There's the car! + +We are slowing as we approach a short driveway leading down +to a cabin. Parked in front is the brown Cutlass Ciera. + + VOICE + Whose car? + + MARGE + My car! My car! Tan Ciera! + + VOICE + Don't go in! Wait for back-up! + +Marge is straining to look. The power-tool noise is louder +here but still muffled, its source not yet visible. + + VOICE + ... Chief Gunderson? + + MARGE + Copy. Yah, send me back-up! + + VOICE + 96. + + + Yes, ma'am. Are we the closest PD? + + MARGE + Yah, Menominie only has Chief + Perpich and he takes February off + to go to Boundary Waters. + + +76 EXT. ROAD EXTERIOR 76 + + Marge pulls her prowler over some distance past the cabin. + + She gets out, zips up her khaki parka and pulls up its fur- + lined hood. + + For a moment, she stands listening to the muffled roar of + the power tool. Then, with one curved arm half pressing + against, half supporting her belly, she takes slow, + gingerly steps down the slope, through the deep snow, + through the trees angling toward the cabin and the source + of the grinding noise. + + She slogs from tree to tree, letting each one support her + downhill-leaning weight for a moment before slogging to the + next. + + The roar grows louder. Marge stands panting by one tree, + her breath vaporizing out of her snorkel hood. She squints + down toward the cabin's back lot. + + A tall man with his back to us, wearing a red plaid quilted + jacket and a hunting cap with earflaps, is laboring over a + large power tool which his body blocks from view. + + Marge advances. + + The man is forcing downward something which engages the + roaring power tool and makes harsh spluttering noises. + + The man is Grimsrud, his nose red and eyes watering from + the cold, hatflaps pulled down over his ears. His breath + steams as he sourly goes about his work, both hands + pressing down a shod foot, as it if were the shaft of a + butter churn. + + The roar is very loud. + + Marge slogs down to the next tree, panting, looking. + + Grimsrud forces more of the leg into the machine, which we + can now see sprays small wet chunks out the bottom. + + Marge's eyes shift. + 97. + + +A large dark form lies in the snow next to Grimsrud. + +Grimsrud works on, eyes watering. With a grunt he bends +down out of frame and then re-enters holding a thick log. + +He uses it to force the leg deeper into the machine. + +Marge is advancing. She holds a gun extended toward +Grimsrud, who is still turned away. + +Grimsrud rubs his nose with the back of his hand. + +Marge closes in, grimacing. + +Grimsrud's back strains as he puts his weight into the log +that pushes down into the machine. + +The dark shape in the snow next to his side is the rest of +Carl Showalter's body. + +Marge has drawn to within twenty yards. When she bellows it +sounds hollow and distant, her voice all but eaten up by +the roar of the power tool. + + MARGE + Stop! Police! Turn around and hands + up! + +Startled, Grimsrud scowls. He turns to face her. + +He stares. + +Marge bellows again: + + MARGE + ... Hands up! + +Conscious of the noise, she shows with a twist of her +shoulder the armpatch insignia. + + MARGE + ... Police! + +Grimsrud stares. + +With a quick twist, he reaches back for the log, hurls it +at Marge and then starts running away. + +Marge twists her body sideways, shielding herself. + +No need - the heavy log travels perhaps ten yards and lands +in the snow several feet short of her. + 98. + + +Grimsrud pants up the hill - slow going through the deep +snow. + +Behind him: + + MARGE + ... Halt! + +She fires in the air. + +She lowers the gun and carefully sighs. + + MARGE + ... Halt! + +She fires. + +Grimsrud still slogs up the hill - a miss. + +Marge sights again. + + MARGE + ... Halt! + +She fires again. + +Grimsrud pitches forward. He mutters in Swedish as he +reaches down to clutch at his wounded leg. + +Marge walks toward him, gun trained on him as her other +hand reaches under her parka and gropes around her waist. + +It comes out with a pair of handcuffs, which she opens with +a snap of the wrist. + + MARGE + ... All right, buddy. On your belly + and your hands clasped behind you. + +THE CRUISER + +Marge drives. Grimsrud sits in the back seat, hands cuffed +behind him. + +For a long moment there, he is quiet - only engine hum and +the periodic clomp of wheels on pavement seams - as Marge +grimly shakes her head. + + MARGE + ... So that was Mrs. Lundegaard in + there? + 99. + + +She glances up in the rear-view mirror. + +Grimsrud, cheeks sunk, eyes hollow, looks sourly out at the +road. + +Marge shakes her head. + +At length: + + MARGE + ... I guess that was your + accomplice in the wood chipper. + +Grimsrud's head bobs with bumps on the road; otherwise he +is motionless, reactionless, scowling and gazing out. + + MARGE + ... And those three people in + Brainerd. + +No response. + +Marge, gazing forward, seems to be talking to herself. + + MARGE + ... And for what? For a little bit + of money. + +We hear distant sirens. + + MARGE + ... There's more to life than + money, you know. + +She glances up in the rear-view mirror. + + MARGE + ... Don't you know that?... And + here ya are, and it's a beautiful + day... + +Grimsrud's hollow eyes stare out. + +The sirens are getting louder. Marge pulls over. + + MARGE + ... Well... + +She leans forward to the dash to give two short signalling +WHOOPS on her siren. + +She turns on her flashers. + 100. + + + She leans back with a creak and jangle of utilities. + + She stares forward, shakes her head. We hear the dull click + of her flashers. + + MARGE + ... I just don't unnerstand it. + + Outside it is snowing. The sky, the earth, the road - all + white. + + A squad car, gumballs spinning, punches through the white. + + It approaches in slow motion. + + An ambulance punches through after it. + + Another squad car. + + FADE OUT: + + FADE IN: + + HIGH AND WIDE ON A SHABBY MOTEL + + It stands next to a highway on a snowy, windslept plain. + + One or two cars dot the parking lot along with an idling + police cruiser. + + +77 INT. MOTEL ROOM DOORWAY 77 + + We are looking over the shoulders of two uniformed + policemen who stand on either side of the door, their hands + resting lightly on their holstered sidearms. One of them + raps at the door. + + COP ONE + Mr. Anderson... + + A title fades in: OUTSIDE OF BISMARK, NORTH DAKOTA + + After a pause, muffled through the door: + + VOICE + ... Who?... + + COP ONE + Mr. Anderson, is this your burgundy + 88 out here? + 101. + + + VOICE + ... Just a sec. + + COP ONE + Could you open the door, please? + + VOICE + ... Yah. Yah, just a sec. + +We hear a clatter from inside. + + VOICE + ... Just a sec... + +One of the policemen unholsters his gun and nods to someone +whose back enters - a superintendent holding a ring of +keys. + +This man turns a key in the door and then stands away. + +The two policemen, guns at the ready, bang into the motel +room. + +The rough hand-held camera rushes in behind them as the two +men give the room a two-handed sweep with their guns. + +The room is empty. + +Cop one indicates the open bathroom door. + + COP ONE + Dale! + +The two men charge the bathroom, belts jingling, guns at +the ready, jittery camera behind them rushing to keep pace. + +A man in boxer shorts is halfway out the bathroom window. + +The policemen holster their guns and charge the window, and +drag Jerry Lundegaard back into the room. + +His flesh quivers as he thrashes and keens in short, +piercing screams. + +The cops wrestle him to the floor but his palsied thrashing +continues. The policemen struggle to restrain him. + + COP ONE + Call an ambulance! + + COP TWO + You got him okay? + 102. + + + Cop One pinions Jerry's arms to the floor and Jerry bursts + into uncontrolled sobbing. + + COP ONE + Yah, yah, call an ambulance. + + Jerry sobs and screams. + + +78 INT. A BEDROOM 78 + + We are square on Norm, who sits in bed watching television. + + After a long beat, Marge enters frame in a nightie and + climbs into bed, with some effort. + + MARGE + Oooph! + + Norm reaches for her hand as both watch the television. + + At length Norm speaks, but keeps his eyes on the TV. + + NORM + They announced it. + + Marge looks at him. + + MARGE + They announced it? + + NORM + Yah. + + Marge looks at him, waiting for more, but Norm's eyes stay + fixed on the television. + + MARGE + ... So? + + NORM + Three-cent stamp. + + MARGE + Your mallard? + + NORM + Yah. + + MARGE + Norm, that's terrific! + 103. + + +Norm tries to suppress a smile of pleasure. + + NORM + It's just the three cent. + + MARGE + It's terrific! + + NORM + Hautman's blue-winged teal got the + twenty-nine cent. People don't much + use the three-cent. + + MARGE + Oh, for Pete's - a course they do! + Every time they raise the darned + postage, people need the little + stamps! + + NORM + Yah. + + MARGE + When they're stuck with a bunch a + the old ones! + + NORM + Yah, I guess. + + MARGE + That's terrific. + +Her eyes go back to the TV. + + MARGE + ... I'm so proud a you, Norm. + +Norm murmurs: + + NORM + I love you, Margie. + + MARGE + I love you, Norm. + +Both of them are watching the TV as Norm reaches out to +rest a hand on top of her stomach. + + NORM + ... Two more months. + +Marge absently rests her own hand on top of his. + 104. + + + MARGE + Two more months. + +Hold. + + FADE OUT: + \ No newline at end of file