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narrative_qa_rag_128_19_30

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[ [ "\t\tJerry?\n\n\t\t\t\tJERRY\n\t\tWell, that's, that's, I'm not go\n\t\tinta, inta - see, I just need\n\t\tmoney. Now, her dad's real\n\t\twealthy -\n\n\t\t\t\tCARL\n\t\tSo why don't you just ask him\n\t\tfor the money?\n\n\tGrimsrud, the dour man who has not yet spoken, now softly\n\tputs in with a Swedish-accented voice:\n", "\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tSTAN\n\t\tWhat's the next step here, Jerry?\n\n\t\t\t\tJERRY\n\t\tThey're gonna call, give me\n\t\tinstructions for a drop. I'm\n\t\tsupposed to have the money ready\n\t\ttomorrow.\n\n\t\t\t\tWADE\n\t\tDammit!\n\n\tTHE CASHIER\n\n\tShe rings up two dollars forty.\n\n\t\t\t\tCASHIER\n\t\tHow", "we need more\n\t\tmoney.\n\n\t\t\t\tJERRY\n\t\tThe heck d'ya mean? What a you\n\t\tguys got yourself mixed up in?\n\n\t\t\t\tCARL\n\t\tWe need more -\n\n\t\t\t\tJERRY\n\t\tThis was s'posed to be a no-rough\n\t\t-stuff-type deal -\n\n\t\t\t\tCARL\n\t\tDON'T EVER INTERRUPT ME, JERRY!\n\t\tJUST SHUT", "JERRY\n\t\tWade, have ya had a chance to\n\t\tthink about, uh, that deal I was\n\t\ttalkin' about, those forty acres\n\t\tthere on Wayzata?\n\n\t\t\t\tWADE\n\t\tYou told me about it.\n\n\t\t\t\tJERRY\n\t\tYah, you said you'd have a think\n\t\tabout it. I understand it's a\n\t\tlot of money -\n\n\t\t\t\tWADE\n\t\tA heck of a lot. What", "t need a finder's\n\t\tfee, I need - finder's fee's, what,\n\t\tten percent, heck that's not gonna\n\t\tdo it for me. I need the principal.\n\n\t\t\t\tSTAN\n\t\tJerry, we're not just going to\n\t\tgive you seven hundred and fifty\n\t\tthousand dollars.\n\n\t\t\t\tWADE\n\t\tWhat the heck were you thinkin'?\n\t\tHeck, if I'm only gettin' bank", "'re not a bank, Jerry.\n\n\tWade is angry.\n\n\t\t\t\tWADE\n\t\tWhat the heck, Jerry, if I wanted\n\t\tbank interest on seven hunnert'n\n\t\tfifty thousand I'd go to Midwest\n\t\tFederal. Talk to Bill Diehl.\n\n\t\t\t\tSTAN\n\t\tHe's at Norstar.\n\n\t\t\t\tWADE\n\t\tHe's at -\n\n\t\t\t\tJERRY\n\t\tNo, see, I don'", "Yah?\n\n\t\t\t\tCARL\n\t\tAll right, Jerry, I'm through\n\t\tfucking around. You got the\n\t\tfucking money?\n\n\tJERRY'S KITCHEN\n\n\tJerry is at the kitchen phone. Through the door to the\n\tdining room we see Wade picking up an extension.\n\n\t\t\t\tJERRY\n\t\tYah, I got the money, but, uh -\n\n\t\t\t\tCARL\n\t\tDon't you", "\n\ttoward her. It holds a form from the General Motors Finance\n\tCorporation.\n\n\tShe looks idly around. Her look abruptly locks.\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake.\n\n\tJerry is easing his car around the near corner of the\n\tbuilding.\n\n\tMarge's voice is flat with dismay:\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake...\n\n\tShe grabs the phone and punches", "\tWADE\n\t\tAll the more reason! I don't want\n\t\tyou - with all due respect, Jerry\n\t\t- I don't want you mucking this up.\n\n\t\t\t\tJERRY\n\t\tThe heck d'ya mean?\n\n\t\t\t\tWADE\n\t\tThey want my money, they can deal\n\t\twith me. Otherwise I'm goin' to\n\t\ta professional.\n\n\tHe points at a briefcase.\n\n\t\t\t\tWADE\n\t\t... There", "\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tVOICE\n\t\tMy patience is at an end.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tVOICE\n\t\tGood day, sir.\n\n\t\t\t\tJERRY\n\t\t... Yah.\n\n\tWIDE ON THE CUBICLE\n\n\tWe are looking at Jerry's cubicle from across the showroom.\n\tNoise muted by distance, we watch Jerry slam down the\n\trec", "\n\n\t\t\t\tJERRY\n\t\t... My fee? Wade, what the\n\t\theck're you talkin' about?\n\n\t\t\t\tWADE\n\t\tStan and I're okay.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tWADE\n\t\tWe're good to loan in.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tWADE\n\t\tBut we never talked about your\n\t\tfee for bringin'", "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", "\tJERRY\n\t\tYah, okay, I'll have my girl\n\t\tsend you over a copy, then.\n\n\t\t\t\tVOICE\n\t\tOkay, because if I can't correlate\n\t\tthis note with the specific vehicles,\n\t\tthen I gotta call back that money -\n\n\t\t\t\tJERRY\n\t\tYah, how much money was that?\n\n\t\t\t\tVOICE\n\t\tThree hundred and twenty thousand\n\t\tdollars. See, I gotta correlate\n\t\tthat money with", "\t\tjust read them to me -\n\n\t\t\t\tJERRY\n\t\tBut the deal's already done, I\n\t\talready got the money -\n\n\t\t\t\tVOICE\n\t\tYeah, but we have an audit here,\n\t\tI just have to know that these\n\t\tvehicles you're financing with\n\t\tthis money, that they really\n\t\texist.\n\n\t\t\t\tJERRY\n\t\tYah, well, they exist all right.\n\n\t\t\t\tVOICE\n\t\tI'm", "it to us.\n\n\t\t\t\tJERRY\n\t\tNo, but, Wade, see, I was\n\t\tbringin' you this deal for you\n\t\tto loan me the money to put\n\t\tin. It's my deal here, see?\n\n\tWade scowls, looks at Stan.\n\n\t\t\t\tSTAN\n\t\tJerry - we thought you were\n\t\tbringin' us an investment.\n\n\t\t\t\tJERRY\n\t\tYah, right -\n\n\t\t\t", "ar!\n\n\tJerry sits staring at his lap.\n\n\t\t\t\tCUSTOMER\n\t\t... A fucking liar -\n\n\t\t\t\tWIFE\n\t\tBucky, please!\n\n\tJerry mumbles into his lap:\n\n\t\t\t\tJERRY\n\t\tOne hunnert's the best we can\n\t\tdo here.\n\n\t\t\t\tCUSTOMER\n\t\tOh, for Christ's sake, where's my\n\t\tgoddamn checkbook. Let's", "\tdon't want to cut you out of the\n\t\tloop, but his here's a good deal.\n\t\tI assume, if you're not innarested,\n\t\tyou won't mind if we move on it\n\t\tindependently.\n\n\tPARKING LOT\n\n\tWe are high and wide on the office building's parking lot.\n\tJerry emerges wrapped in a parka, his arms sticking stiffly\n\tout at his sides, his breath vaporizing. He goes to his\n\tcar, opens its front door,", "was everything today?\n\n\t\t\t\tJERRY\n\t\tYah, real good now.\n\n\tPARKING LOT\n\n\tSnow continues to fall. Jerry and Stan stand bundled in\n\ttheir parkas and galoshes near a row of beached vehicles.\n\tWade sits behind the wheel of an idling Lincoln, waiting for\n\tStan.\n\n\t\t\t\tSTAN\n\t\tOkay. We'll get the money together.\n\t\tDon't worry about it, Jerry. Now,\n\t\td", "\t\tJERRY\n\t\tYah, it's pretty darned busy here,\n\t\tbut that's the way we like it.\n\n\t\t\t\tVOICE\n\t\tThat's for sure. Now, I just\n\t\tneed, on these last, these financing\n\t\tdocuments you sent us, I can't\n\t\tread the serial numbers of the\n\t\tvehicles on here, so I -\n\n\t\t\t\tJERRY\n\t\tBut I already got the, it's okay,\n\t\tthe loans", "\n\tJERRY'S CUBICLE\n\n\tJerry re-enters.\n\n\t\t\t\tJERRY\n\t\tWell, he never done this before,\n\t\tbut seein' as it's special\n\t\tcircumstances and all, he says I\n\t\tcan knock one hunnert off that\n\t\tTruCoat.\n\n\t\t\t\tCUSTOMER\n\t\tOne hundred! You lied to me, Mr.\n\t\tLundegaard. You're a bald-faced\n\t\tli" ], [ "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", "ROAD\n\n\tCarl leans down to hoist up the body.\n\n\tHeadlights appear: an oncoming car.\n\n\tINT. CIERA\n\n\tGrimsrud notices.\n\n\tEXT. ROAD\n\n\tThe car approaches, slowing.\n\n\tCarl, with the trooper's body hoisted halfway up, is frozen\n\tin the headlights.\n\n\tThe car accelerates and roars past and away. We just make\n\tout the silhouettes of two occupants in front.\n\n\t", ", on her two-way. Through it we hear Lou's\n\tvoice, heavily filtered:\n\n\t\t\t\tVOICE\n\t\tHis wife. This guy says she was\n\t\tkidnapped last Wednesday.\n\n\t\t\t\tMARGE\n\t\tThe day of our homicides.\n\n\t\t\t\tVOICE\n\t\tYah.\n\n\tMarge is peering to one side as she drives, looking through\n\tthe bare trees that border the road on a declivity that runs\n\tdown to a large frozen lake.\n", ", up on the shoulder, jerks his thumb.\n\n\t\t\t\tLOU\n\t\tBack there a good piece. In\n\t\tthe ditch next to his prowler.\n\n\tMarge looks around at the road.\n\n\t\t\t\tMARGE\n\t\tOkay, so we got a state trooper\n\t\tpulls someone over, we got a\n\t\tshooting, and these folks drive\n\t\tby, and we got a high-speed\n\t\tpursuit, ends here, and this\n\t\texecution-type deal", "\n\n\tThe headlights sweep off and a car hums past and on into the\n\tbackground. The two-lane highway is otherwise empty.\n\n\tINT. CAR\n\n\tCarl drives. Grimsrud smokes and gazes out the window.\n\tFrom the back seat we hear whimpering.\n\n\tGrimsrud turns to look.\n\n\tJean lies bound and curled on the back seat underneath a\n\ttarpaulin.\n\n\t\t\t\tGRIMSRUD\n\t\tShut the fuck up or I'll", "having failed to hold a turn.\n\n\tGrimsrud brakes.\n\n\tJean slides off the back seat and thumps into the legwell.\n\n\tGrimsrud sweeps his gun off the front seat, throws open his\n\tdoor and gets out.\n\n\tEXT. ROAD\n\n\tThe wrecked car's headlights shine off into a snowfield\n\tabutting the highway. A young man in a down parka is\n\tlimping across the snowfield, away from the wrecked car.\n\n\tGrimsrud strides", "calmly out after the injured boy. He\n\traises his gun and fires.\n\n\tWith a poof of feathers, a hole opens up in the boy's back\n\tand he pitches into the snow.\n\n\tGrimsrud walks up to the wreck and peers in its half-open\n\tdoor.\n\n\tA young woman is trapped inside the twisted wreckage,\n\tinjured.\n\n\tSnow swirls in the headlights of the wreck.\n\n\tGrimsrud raises his gun and fires.\n\n\tAN OIL", "trunk, slams it shut and walks back to the scene of the\n\tshooting.\n\n\tHe kicks at the snow with his galoshed feet, trying to hide\n\tthe fresh bloodstains.\n\n\tEXIT BOOTH\n\n\tJerry approaches in the Cadillac.\n\n\tThe wooden gate barring the exit has been broken away. The\n\tbooth is empty.\n\n\tJerry eases toward the street, looking over at the booth as\n\the passes.\n\n\tInside the booth we see the awkwardly angled leg of", "oper's head.\n\n\tJean screams.\n\n\t\t\t\tGRIMSRUD\n\t\tShut up.\n\n\tHe releases the policeman.\n\n\tThe policeman's head slides out the window and his body\n\tflops back onto the street.\n\n\tCarl looks out at the cop in the road.\n\n\t\t\t\tCARL\n\t\t\t(softly)\n\t\tWhoa... Whoa, Daddy.\n\n\tGrimsrud takes the trooper's hat off of Carl's lap", "\tgets out and walks slowly to Wade's body, prostrate in the\n\tswirling snow.\n\n\t\t\t\tJERRY\n\t\tOh! Oh, geez!\n\n\tHe bends down, picks Wade up by the armpits and drags him\n\tover to the back of the Cadillac. He drops Wade's body,\n\twalks to the driver's side of the car, pulls the keys and\n\twalks back to pop the trunk. He wrestles Wade's body into\n\tthe", "out of Grimsrud's grasp and\n\tlurches away across the front lawn. Grimsrud moves to\n\tretrieve her but Carl, grinning, lays a hand on his\n\tshoulder.\n\n\t\t\t\tCARL\n\t\tHold it.\n\n\tThey both look out at the front lawn, Grimsrud\n\texpressionless, Carl smiling.\n\n\tWith muffled cries, the hooded woman lurches across the\n\tunbroken snow, staggering this way and that, stumbling on\n\tthe uneven terrain.\n", "'s drinkin', so I\n\t\tdon't think a whole great deal of\n\t\tit, but Mrs. Mohra heard about the\n\t\thomicides out here and she thought\n\t\tI should call it in, so I called\n\t\tit in. End a story.\n\n\t\t\t\tGARY\n\t\tWhat'd this guy look like anyways?\n\n\t\t\t\tMAN\n\t\tOh, he was a little guy, kinda\n\t\tfunny-lookin'.\n\n\t\t\t\tGARY\n\t\tUh", "\this skin by clotted blood.\n\n\tHe pulls very gently and winces as blood starts to flow\n\tagain.\n\n\tHe carefully tears the rag in half so that only a bit of it\n\tremains adhering to his jaw.\n\n\tEXT. CAR\n\n\tIt is pulled over to the side of an untraveled road. THe\n\tdoor opens and Carl emerges with the briefcase.\n\n\tHe slogs through the snow, down a gulley and up the\n\tembankment to a barbed-wire fence. ", "'s the best we can do here.\n\n\tEXT. CABIN\n\n\tIt is a lakeside cabin surrounded by white. A brown Ciera\n\twith dealer plates is pulling into the drive.\n\n\tGrimsrud climbs out of the passenger seat as Carl climbs out\n\tof the driver's. Grimsrud opens the back door and, with an\n\tarm on her elbow, helps Jean out. She has her hands tied\n\tbehind her and a black hood over her head.\n\n\tWith a cry, she swings her elbow", "here?\n\n\tHe pulls out a gun and fires into Wade's gut.\n\n\t\t\t\tCARL\n\t\t... Is this a fucking joke?\n\n\t\t\t\tWADE\n\t\tUnghh ... oh, geez...\n\n\tHe is on the pavement, clutching at his gut. Snow swirls.\n\n\t\t\t\tCARL\n\t\tYou fucking imbeciles!\n\n\tHe bends down next to Wade to pick up the briefcase.\n\n\t\t\t\tWADE\n", "IDE\n\n\tWe are pulling Carl as he walks toward the car. Behind him\n\twe see the cabin door opening. Carl turns, reacting to the\n\tsound.\n\n\tGrimsrud is bounding out wearing mittens and a red hunter's\n\tcap, but no overcoat. He is holding an ax.\n\n\tCarl fumbles in his pocket for his gun.\n\n\tGrimsrud swings overhand, burying the ax in Carl's neck.\n\n\tMARGE\n\n\tIn her cruiser", "on her chin, is motionless.\n\tThere is blood on the facing wall.\n\n\t\t\t\tGRIMSRUD\n\t\tShe started shrieking, you know.\n\n\t\t\t\tCARL\n\t\tJezhush.\n\n\tHe shakes his head.\n\n\t\t\t\tCARL\n\t\t... Well, I gotta muddy.\n\n\tHe is plunking down eight bank-wrapped bundles on the table.\n\n\t\t\t\tCARL\n\t\t... All of it. All", "\n\tShe stops, stands still, her hooded head swaying.\n\n\tShe lurches out in an arbitrary direction. Going downhill,\n\tshe reels, staggers, and falls face-first into the snow,\n\tweeping.\n\n\t\t\t\tCARL\n\t\tHa ha ha ha ha ha! Jesus!\n\n\tGrimsrud, still expressionless, breaks away from Carl's\n\trestraining hand to retrieve her.\n\n\tBRAINERD POLICE HEADQUARTERS\n\n\tWe track behind", "looks pretty bad. Two\n\t\tof'm're over here.\n\n\tMarge looks around as they start walking.\n\n\t\t\t\tMARGE\n\t\tWhere is everybody?\n\n\t\t\t\tLOU\n\t\tWell - it's cold, Margie.\n\n\tBY THE WRECK\n\n\tLaid out in the early morning light is the wrecked car, a\n\tpair of footprints leading out to a man in a bright orange\n\tparka face down in the bloodstained snow, and one pair of\n\tfootsteps", "ide.\n\n\tIn the back seat, Jean starts screaming.\n\n\tGrimsrud is not gaining on the tail lights.\n\n\tHe fights with the wheel as his car swims on the road face.\n\n\tThe red tail lights ahead start to turn. With a distant\n\tcrunching sound, they disappear.\n\n\tThe headlights now show only empty road, starting to turn.\n\n\tGrimsrud frowns and slows.\n\n\tHis headlights show the car up ahead off the road, crumpled\n\taround a telephone pole," ], [ "\n\tThe dark shape in the snow next to his side is the rest of\n\tCarl Showalter's body.\n\n\tMarge has drawn to within twenty yards. When she bellows it\n\tsounds hollow and distant, her voice all but eaten up by the\n\troar of the power tool.\n\n\t\t\t\tMARGE\n\t\tStop! Police! Turn around and\n\t\thands up!\n\n\tStartled, Grimsrud scowls. He turns to face her.\n\n\tHe stares.\n\n\tM", "\n\t\tNaw, I... Executive Sales Manager.\n\n\t\t\t\tMARGE\n\t\tWell, you can help me. My name's\n\t\tMarge Gunderson -\n\n\t\t\t\tJERRY\n\t\tMy father-in-law, he's the owner.\n\n\t\t\t\tMARGE\n\t\tUh-huh. Well, I'm a police officer\n\t\tfrom up Brainerd investigating some\n\t\tmalfeasance and I was just wondering\n\t\tif you've", "\n\n\tMarge sights again.\n\n\t\t\t\tMARGE\n\t\t... Halt!\n\n\tShe fires again.\n\n\tGrimsrud pitches forward. He mutters in Swedish as he\n\treaches down to clutch at his wounded leg.\n\n\tMarge walks toward him, gun trained on him as her other hand\n\treaches under her parka and gropes around her waist.\n\n\tIt comes out with a pair of handcuffs, which she opens with\n\ta snap of the wrist.\n\n\t\t\t", ", ya think?\n\n\tLOBBY CORNER\n\n\tMarge is on a public phone.\n\n\t\t\t\tMARGE\n\t\t... Detective Sibert? Yah, this\n\t\tis Marge Gunderson from up Brainerd,\n\t\twe spoke - Yah. Well, actually\n\t\tI'm in town here. I had to do a\n\t\tfew things in the Twin Cities, so\n\t\tI thought I'd check in with ya about\n\t\tthat USIF search", "\n\tknees down near the snow.\n\n\t\t\t\tLOU\n\t\tYa see something down there, Chief?\n\n\t\t\t\tMARGE\n\t\tUh - I just, I think I'm gonna barf.\n\n\t\t\t\tLOU\n\t\tGeez, you okay, Margie?\n\n\t\t\t\tMARGE\n\t\tI'm fine - it's just morning\n\t\tsickness.\n\n\tShe gets up, sweeping snow from her knees.\n\n\t\t\t\tM", "arge bellows again:\n\n\t\t\t\tMARGE\n\t\t... Hands up!\n\n\tConscious of the noise, she shows with a twist of her\n\tshoulder the armpatch insignia.\n\n\t\t\t\tMARGE\n\t\t... Police!\n\n\tGrimsrud stares.\n\n\tWith a quick twist, he reaches back for the log, hurls it at\n\tMarge and then starts running away.\n\n\tMarge twists her body sideways, shielding herself.\n\n\tNo need -", "Marge as she makes her way across the floor,\n\tgreeting various officers. She holds a small half-full\n\tpaper sack.\n\n\tBeyond her we see a small glassed-in cublcle. Norm sits at\n\tthe desk inside with a box lunch spread out in front of him.\n\tThere is lettering on the cubicle's glass door: BRAINERD\n\tPD. CHIEF GUNDERSON.\n\n\tMarge enters and sits behind the desk, detaching her walkie-\n\ttalkie from her", "\n\n\t\t\t\tMARGE\n\t\tSorry - didn't copy.\n\n\t\t\t\tVOICE\n\t\tStill missing. We're looking.\n\n\t\t\t\tMARGE\n\t\tCopy. And Lundegaard too.\n\n\t\t\t\tVOICE\n\t\tYah. Where are ya, Margie?\n\n\tWe hear, distant but growing louder, harsh engine noise, as\n\tof a chainsaw or lawnmower.\n\n\t\t\t\tMARGE\n\t\tOh, I'", ", on her two-way. Through it we hear Lou's\n\tvoice, heavily filtered:\n\n\t\t\t\tVOICE\n\t\tHis wife. This guy says she was\n\t\tkidnapped last Wednesday.\n\n\t\t\t\tMARGE\n\t\tThe day of our homicides.\n\n\t\t\t\tVOICE\n\t\tYah.\n\n\tMarge is peering to one side as she drives, looking through\n\tthe bare trees that border the road on a declivity that runs\n\tdown to a large frozen lake.\n", "that was Mrs. Lundegaard\n\t\tin there?\n\n\tShe glances up in the rear-view mirror.\n\n\tGrimsrud, cheeks sunk, eyes hollow, looks sourly out at the\n\troad.\n\n\tMarge shakes her head.\n\n\tAt length:\n\n\t\t\t\tMARGE\n\t\t... I guess that was your\n\t\taccomplice in the wood chipper.\n\n\tGrimsrud's head bobs with bumps on the road; otherwise he is\n\tmotionless", "her siren.\n\n\tShe turns on her flashers.\n\n\tShe leans back with a creak and jangle of utilities.\n\n\tShe stares forward, shakes her head. We hear the dull click\n\tof her flashers.\n\n\t\t\t\tMARGE\n\t\t... I just don't unnerstand it.\n\n\tOutside it is snowing. The sky, the earth, the road - all\n\twhite.\n\n\tA squad car, gumballs spinning, punches through the white.\n", "the heavy log travels perhaps ten yards and lands\n\tin the snow several feet short of her.\n\n\tGrimsrud pants up the hill - slow going through the deep\n\tsnow.\n\n\tBehind him:\n\n\t\t\t\tMARGE\n\t\t... Halt!\n\n\tShe fires in the air.\n\n\tShe lowers the gun and carefully sighs.\n\n\t\t\t\tMARGE\n\t\t... Halt!\n\n\tShe fires.\n\n\tGrimsrud still slogs up the hill - a miss.", "\n\tShe stops, stands still, her hooded head swaying.\n\n\tShe lurches out in an arbitrary direction. Going downhill,\n\tshe reels, staggers, and falls face-first into the snow,\n\tweeping.\n\n\t\t\t\tCARL\n\t\tHa ha ha ha ha ha! Jesus!\n\n\tGrimsrud, still expressionless, breaks away from Carl's\n\trestraining hand to retrieve her.\n\n\tBRAINERD POLICE HEADQUARTERS\n\n\tWe track behind", "ICE DEPARTMENT. She wears\n\ta heavy belt holding a revolver, walkie-talkie and various\n\tother jangling police impedimenta. Norm is in a dressing\n\tgown.\n\n\t\t\t\tMARGE\n\t\tThanks, hon. Time to shove off.\n\n\t\t\t\tNORM\n\t\tLove ya, Margie.\n\n\tAs she struggles into a parka:\n\n\t\t\t\tMARGE\n\t\tLove ya, hon.\n\n\tHe is exiting back to the bedroom;", "m cooperating... There's no, uh\n\t\t- we're doin' all we can...\n\n\tHe trails off into silence.\n\n\t\t\t\tMARGE\n\t\tSir, could I talk to Mr. Gustafson?\n\n\tJerry stares at her.\n\n\t\t\t\tMARGE\n\t\t... Mr. Lundegaard?\n\n\tJerry explodes:\n\n\t\t\t\tJERRY\n\t\tWell, heck, if you wanna, if you\n\t\twanna play games", "\tDon't go in! Wait for back-up!\n\n\tMarge is straining to look. The power-tool noise is louder\n\there but still muffled, its source not yet visible.\n\n\t\t\t\tVOICE\n\t\t... Chief Gunderson?\n\n\t\t\t\tMARGE\n\t\tCopy. Yah, send me back-up!\n\n\t\t\t\tVOICE\n\t\tYes, ma'am. Are we the closest PD?\n\n\t\t\t\tMARGE\n\t\tYah", "Marge sticks her head in the door.\n\n\t\t\t\tMARGE\n\t\tMr. Lundegaard? Sorry to bother\n\t\tyou again. Can I come in?\n\n\tShe starts to enter.\n\n\t\t\t\tJERRY\n\t\tYah, no, I'm kinda - I'm kinda\n\t\tbusy -\n\n\t\t\t\tMARGE\n\t\tI unnerstand. I'll keep it real\n\t\tshort, then. I'm on my way out\n\t\tof town", ".\n\n\tShe glances up in the rear-view mirror.\n\n\t\t\t\tMARGE\n\t\t... Don't you know that?... And\n\t\there ya are, and it's a beautiful\n\t\tday...\n\n\tGrimsrud's hollow eyes stare out.\n\n\tThe sirens are getting louder. Marge pulls over.\n\n\t\t\t\tMARGE\n\t\t... Well...\n\n\tShe leans forward to the dash to give two short signalling\n\tWHOOPS on", "\n\t\t\t\tMARGE\n\t\tSo you think you might remember\n\t\twho those folks were who called\n\t\tya?\n\n\tJERRY'S OFFICE\n\n\tJerry is worriedly pacing behind his desk. At a noise he\n\tlooks up.\n\n\tMarge has stuck her head in the door.\n\n\t\t\t\tMARGE\n\t\tMr. Lundegaard?\n\n\t\t\t\tJERRY\n\t\tHuh? Yah?\n\n\t\t\t\tMARGE\n\t", "With a grunt he bends\n\tdown out of frame and then re-enters holding a thick log.\n\tHe uses it to force the leg deeper into the machine.\n\n\tMarge is advancing. She holds a gun extended toward\n\tGrimsrud, who is still turned away.\n\n\tGrimsrud rubs his nose with the back of his hand.\n\n\tMarge closes in, grimacing.\n\n\tGrimsrud's back strains as he puts his weight into the log\n\tthat pushes down into the machine.\n" ], [ ". It's\n\t\tall worked out.\n\n\t\t\t\tCARL\n\t\tYou want your own wife kidnapped?\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\tCarl Stares. Jerry looks blankly back.\n\n\t\t\t\tCARL\n\t\t... You - my point is, you pay\n\t\tthe ransom - what eighty thousand\n\t\tbucks? - I mean, you give us\n\t\thalf the ransom, forty thousand,\n\t\tyou keep half", "\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tSTAN\n\t\tWhat's the next step here, Jerry?\n\n\t\t\t\tJERRY\n\t\tThey're gonna call, give me\n\t\tinstructions for a drop. I'm\n\t\tsupposed to have the money ready\n\t\ttomorrow.\n\n\t\t\t\tWADE\n\t\tDammit!\n\n\tTHE CASHIER\n\n\tShe rings up two dollars forty.\n\n\t\t\t\tCASHIER\n\t\tHow", "dollars is a lot a damn\n\t\tmoney! And there they are, they\n\t\tgot my daughter!\n\n\t\t\t\tJERRY\n\t\tYah, but think this thing through\n\t\there, Wade. Ya give 'em what they\n\t\twant, why wont' they let her go?\n\t\tYou gotta listen to me on this one,\n\t\tWade.\n\n\t\t\t\tWADE\n\t\tHeck, you don't know! You're just\n\t\twhistlin' Dixie", "\t\tJerry?\n\n\t\t\t\tJERRY\n\t\tWell, that's, that's, I'm not go\n\t\tinta, inta - see, I just need\n\t\tmoney. Now, her dad's real\n\t\twealthy -\n\n\t\t\t\tCARL\n\t\tSo why don't you just ask him\n\t\tfor the money?\n\n\tGrimsrud, the dour man who has not yet spoken, now softly\n\tputs in with a Swedish-accented voice:\n", "Tie here. Big\n\t\tfucking man.\n\n\tHe is peeling off one dollar bills.\n\n\t\t\t\tCARL\n\t\t... You know, these are the limits\n\t\tof your life, man. Ruler of your\n\t\tlittle fucking gate here. There's\n\t\tyour four dollars. You pathetic\n\t\tpiece of shit.\n\n\tGUSTAFSON OLDS GARAGE\n\n\tJerry is staring up, mouth agape, at the underside of a car\n\ton", "it, Jerry.\n\n\t\t\t\tJERRY\n\t\tHuh?\n\n\t\t\t\tCARL\n\t\tThe new vehicle, plus forty\n\t\tthousand dollars.\n\n\t\t\t\tJERRY\n\t\tYah, but the deal was, the car\n\t\tfirst, see, then the forty\n\t\tthousand, like as if it was the\n\t\transom. I thought Shep told you -\n\n\t\t\t\tCARL\n\t\tShep didn't tell us much, Jerry.", " Stan Grossman.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tWADE\n\t\t2:30.\n\n\tClick. Dial tone.\n\n\t\t\t\tJERRY\n\t\tYah, okay.\n\n\tGUSTAFSON OLD GARAGE\n\n\tJerry wanders through the service area where cars are being\n\tworked on. He stops by an Indian in blue jeans who is\n\tlooking at the underside of a car that sits on a hydraulic\n\t", "\tJERRY\n\t\tYah, okay, I'll have my girl\n\t\tsend you over a copy, then.\n\n\t\t\t\tVOICE\n\t\tOkay, because if I can't correlate\n\t\tthis note with the specific vehicles,\n\t\tthen I gotta call back that money -\n\n\t\t\t\tJERRY\n\t\tYah, how much money was that?\n\n\t\t\t\tVOICE\n\t\tThree hundred and twenty thousand\n\t\tdollars. See, I gotta correlate\n\t\tthat money with", "'re they doing? Wuddya\n\t\tthink they're doin' with Mom?\n\n\t\t\t\tJERRY\n\t\tIt's okay, Scotty. They're not\n\t\tgonna want to hurt her any.\n\t\tThese men, they just want money,\n\t\tsee.\n\n\t\t\t\tSCOTT\n\t\tWhat if - what if sumpn goes wrong?\n\n\t\t\t\tJERRY\n\t\tNo, no, nothin's goin' wrong here.\n\t\tGr", ". It's like robbing\n\t\tPeter to play Paul, it doesn't\n\t\tmake any -\n\n\t\t\t\tJERRY\n\t\tOkay, it's - see, it's not me\n\t\tpayin' the ransom. The thing is,\n\t\tmy wife, she's wealthy - her dad,\n\t\the's real well off. Now, I'm in\n\t\ta bit of trouble -\n\n\t\t\t\tCARL\n\t\tWhat kind of trouble are you in,\n", "m cooperating... There's no, uh\n\t\t- we're doin' all we can...\n\n\tHe trails off into silence.\n\n\t\t\t\tMARGE\n\t\tSir, could I talk to Mr. Gustafson?\n\n\tJerry stares at her.\n\n\t\t\t\tMARGE\n\t\t... Mr. Lundegaard?\n\n\tJerry explodes:\n\n\t\t\t\tJERRY\n\t\tWell, heck, if you wanna, if you\n\t\twanna play games", "THE FUCK UP!\n\n\t\t\t\tJERRY\n\t\tWell, I'm sorry, but I just - I -\n\n\t\t\t\tCARL\n\t\tLook. I'm not gonna debate you,\n\t\tJerry. The price is now the whole\n\t\tamount. We want the entire eighty\n\t\tthousand.\n\n\t\t\t\tJERRY\n\t\tOh, for Chrissakes here -\n\n\t\t\t\tCARL\n\t\tBlood has been shed. We'", "Yah?\n\n\t\t\t\tCARL\n\t\tAll right, Jerry, I'm through\n\t\tfucking around. You got the\n\t\tfucking money?\n\n\tJERRY'S KITCHEN\n\n\tJerry is at the kitchen phone. Through the door to the\n\tdining room we see Wade picking up an extension.\n\n\t\t\t\tJERRY\n\t\tYah, I got the money, but, uh -\n\n\t\t\t\tCARL\n\t\tDon't you", "LE\n\n\tHe sits in and picks up his phone.\n\n\t\t\t\tJERRY\n\t\tJerry Lundegaard.\n\n\t\t\t\tVOICE\n\t\tAll right, Jerry, you got this\n\t\tphone to yourself?\n\n\t\t\t\tJERRY\n\t\tWell ... yah.\n\n\t\t\t\tVOICE\n\t\tKnow who this is?\n\n\t\t\t\tJERRY\n\t\tWell, yah, I got an idea. How's\n\t\tthat Ciera workin' out", "\n\tJERRY'S CUBICLE\n\n\tJerry re-enters.\n\n\t\t\t\tJERRY\n\t\tWell, he never done this before,\n\t\tbut seein' as it's special\n\t\tcircumstances and all, he says I\n\t\tcan knock one hunnert off that\n\t\tTruCoat.\n\n\t\t\t\tCUSTOMER\n\t\tOne hundred! You lied to me, Mr.\n\t\tLundegaard. You're a bald-faced\n\t\tli", "ERSON\n\t\tI'm, uh, Jerry Lundegaard -\n\n\t\t\t\tYOUNGER MAN\n\t\tYou're Jerry Lundegaard?\n\n\t\t\t\tJERRY\n\t\tYah, Shep Proudfoot said -\n\n\t\t\t\tYOUNGER MAN\n\t\tShep said you'd be here at 7:30.\n\t\tWhat gives, man?\n\n\t\t\t\tJERRY\n\t\tShep said 8:30.\n\n\t\t\t", "lift with a cage light hanging off its innards.\n\n\t\t\t\tJERRY\n\t\tSay, Shep, how ya doin' there?\n\n\t\t\t\tSHEP\n\t\tMm.\n\n\t\t\t\tJERRY\n\t\tSay, ya know those two fellas\n\t\tya put me in touch with, up\n\t\tthere in Fargo?\n\n\t\t\t\tSHEP\n\t\tPut you in touch with Grimsrud.\n\n\t\t\t\tJERRY\n\t\tWell, y", "\tWell... Why don't we...\n\n\tHe saws a finger under his nose.\n\n\t\t\t\tWADE\n\t\t... Stan, I'm thinkin' we should\n\t\toffer 'em half a million.\n\n\t\t\t\tJERRY\n\t\tNow come on here, no way, Wade!\n\t\tNo way!\n\n\t\t\t\tSTAN\n\t\tWe're not horse-trading here, Wade,\n\t\twe just gotta bite the bullet on\n\t\tthis thing.\n\n\t", ", real good.\n\n\t\t\t\tVOICE\n\t\tDad's here.\n\n\tDEN\n\n\tJerry enters, pulling off his plaid cap.\n\n\t\t\t\tJERRY\n\t\tHow ya doin', Wade?\n\n\tWade Gustafson is mid-sixtyish, vigorous, with a full head\n\tof gray hair. His eyes remain fixed on the TV.\n\n\t\t\t\tWADE\n\t\tYah, pretty good.\n\n\t\t\t\tJERRY\n\t\tWh", "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And" ], [ "calmly out after the injured boy. He\n\traises his gun and fires.\n\n\tWith a poof of feathers, a hole opens up in the boy's back\n\tand he pitches into the snow.\n\n\tGrimsrud walks up to the wreck and peers in its half-open\n\tdoor.\n\n\tA young woman is trapped inside the twisted wreckage,\n\tinjured.\n\n\tSnow swirls in the headlights of the wreck.\n\n\tGrimsrud raises his gun and fires.\n\n\tAN OIL", "\n\tThe dark shape in the snow next to his side is the rest of\n\tCarl Showalter's body.\n\n\tMarge has drawn to within twenty yards. When she bellows it\n\tsounds hollow and distant, her voice all but eaten up by the\n\troar of the power tool.\n\n\t\t\t\tMARGE\n\t\tStop! Police! Turn around and\n\t\thands up!\n\n\tStartled, Grimsrud scowls. He turns to face her.\n\n\tHe stares.\n\n\tM", "aked by the shower curtain\n\tbut awkwardly trying to push it off.\n\n\tUPSTAIRS LANDING\n\n\tStill thrashing, Jean crashes against the upstairs railing,\n\ttrips on the curtain and falls, thumping crazily down the\n\tstairs.\n\n\tGrimsrud trots down after her.\n\n\tA PLAQUE: WADE GUSTAFSON INCORPORTATED\n\n\tINT. WADE'S OFFICE\n\n\tWade sits behind his desk; another man rises as Jerry\n", "here?\n\n\tHe pulls out a gun and fires into Wade's gut.\n\n\t\t\t\tCARL\n\t\t... Is this a fucking joke?\n\n\t\t\t\tWADE\n\t\tUnghh ... oh, geez...\n\n\tHe is on the pavement, clutching at his gut. Snow swirls.\n\n\t\t\t\tCARL\n\t\tYou fucking imbeciles!\n\n\tHe bends down next to Wade to pick up the briefcase.\n\n\t\t\t\tWADE\n", "having failed to hold a turn.\n\n\tGrimsrud brakes.\n\n\tJean slides off the back seat and thumps into the legwell.\n\n\tGrimsrud sweeps his gun off the front seat, throws open his\n\tdoor and gets out.\n\n\tEXT. ROAD\n\n\tThe wrecked car's headlights shine off into a snowfield\n\tabutting the highway. A young man in a down parka is\n\tlimping across the snowfield, away from the wrecked car.\n\n\tGrimsrud strides", "With a grunt he bends\n\tdown out of frame and then re-enters holding a thick log.\n\tHe uses it to force the leg deeper into the machine.\n\n\tMarge is advancing. She holds a gun extended toward\n\tGrimsrud, who is still turned away.\n\n\tGrimsrud rubs his nose with the back of his hand.\n\n\tMarge closes in, grimacing.\n\n\tGrimsrud's back strains as he puts his weight into the log\n\tthat pushes down into the machine.\n", "IDE\n\n\tWe are pulling Carl as he walks toward the car. Behind him\n\twe see the cabin door opening. Carl turns, reacting to the\n\tsound.\n\n\tGrimsrud is bounding out wearing mittens and a red hunter's\n\tcap, but no overcoat. He is holding an ax.\n\n\tCarl fumbles in his pocket for his gun.\n\n\tGrimsrud swings overhand, burying the ax in Carl's neck.\n\n\tMARGE\n\n\tIn her cruiser", "\n\n\tMarge sights again.\n\n\t\t\t\tMARGE\n\t\t... Halt!\n\n\tShe fires again.\n\n\tGrimsrud pitches forward. He mutters in Swedish as he\n\treaches down to clutch at his wounded leg.\n\n\tMarge walks toward him, gun trained on him as her other hand\n\treaches under her parka and gropes around her waist.\n\n\tIt comes out with a pair of handcuffs, which she opens with\n\ta snap of the wrist.\n\n\t\t\t", "trunk, slams it shut and walks back to the scene of the\n\tshooting.\n\n\tHe kicks at the snow with his galoshed feet, trying to hide\n\tthe fresh bloodstains.\n\n\tEXIT BOOTH\n\n\tJerry approaches in the Cadillac.\n\n\tThe wooden gate barring the exit has been broken away. The\n\tbooth is empty.\n\n\tJerry eases toward the street, looking over at the booth as\n\the passes.\n\n\tInside the booth we see the awkwardly angled leg of", "A curtain is stretched tight\n\tacross its window.\n\n\tJean pulls the curtain back. Bright sunlight amplified by\n\tsnow floods in.\n\n\tA man in an orange ski mask looks up from the lock.\n\n\tJean gasps, drops the curtain, rutns and runs into -\n\n\t- a taller man, also in a ski mask, already in the house.\n\n\tWe hear the crack of the back-door window being smashed.\n\n\tThe tall man - Gaear Grimsrud - grabs Jean'", "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", "oper's head.\n\n\tJean screams.\n\n\t\t\t\tGRIMSRUD\n\t\tShut up.\n\n\tHe releases the policeman.\n\n\tThe policeman's head slides out the window and his body\n\tflops back onto the street.\n\n\tCarl looks out at the cop in the road.\n\n\t\t\t\tCARL\n\t\t\t(softly)\n\t\tWhoa... Whoa, Daddy.\n\n\tGrimsrud takes the trooper's hat off of Carl's lap", "Tie here. Big\n\t\tfucking man.\n\n\tHe is peeling off one dollar bills.\n\n\t\t\t\tCARL\n\t\t... You know, these are the limits\n\t\tof your life, man. Ruler of your\n\t\tlittle fucking gate here. There's\n\t\tyour four dollars. You pathetic\n\t\tpiece of shit.\n\n\tGUSTAFSON OLDS GARAGE\n\n\tJerry is staring up, mouth agape, at the underside of a car\n\ton", "on her chin, is motionless.\n\tThere is blood on the facing wall.\n\n\t\t\t\tGRIMSRUD\n\t\tShe started shrieking, you know.\n\n\t\t\t\tCARL\n\t\tJezhush.\n\n\tHe shakes his head.\n\n\t\t\t\tCARL\n\t\t... Well, I gotta muddy.\n\n\tHe is plunking down eight bank-wrapped bundles on the table.\n\n\t\t\t\tCARL\n\t\t... All of it. All", "his work, both hands pressing down a\n\tshod foot, as it if were the shaft of a butter churn.\n\n\tThe roar is very loud.\n\n\tMarge slogs down to the next tree, panting, looking.\n\n\tGrimsrud forces more of the leg into the machine, which we\n\tcan now see sprays small wet chunks out the bottom.\n\n\tMarge's eyes shift.\n\n\tA large dark form lies in the snow next to Grimsrud.\n\n\tGrimsrud works on, eyes watering. ", "tall man with his back to us, wearing a red plaid quilted\n\tjacket and a hunting cap with earflaps, is laboring over a\n\tlarge power tool which his body blocks from view.\n\n\tMarge advances.\n\n\tThe man is forcing downward something which engages the\n\troaring power tool and makes harsh spluttering noises.\n\n\tThe man is Grimsrud, his nose red and eyes watering from the\n\tcold, hatflaps pulled down over his ears. His breath steams\n\tas he sourly goes about", "\n\t\t\t\tMARGE\n\t\tAnd this guy is...\n\n\t\t\t\tVOICE\n\t\tLundegaard's father-in-law's\n\t\taccountant.\n\n\t\t\t\tMARGE\n\t\tGustafson's accountant.\n\n\t\t\t\tVOICE\n\t\tYah.\n\n\t\t\t\tMARGE\n\t\tBut we still haven't found Gustafson.\n\n\t\t\t\tVOICE\n\t\t\t(crackle)\n\t\t- looking.", "the heavy log travels perhaps ten yards and lands\n\tin the snow several feet short of her.\n\n\tGrimsrud pants up the hill - slow going through the deep\n\tsnow.\n\n\tBehind him:\n\n\t\t\t\tMARGE\n\t\t... Halt!\n\n\tShe fires in the air.\n\n\tShe lowers the gun and carefully sighs.\n\n\t\t\t\tMARGE\n\t\t... Halt!\n\n\tShe fires.\n\n\tGrimsrud still slogs up the hill - a miss.", "m cooperating... There's no, uh\n\t\t- we're doin' all we can...\n\n\tHe trails off into silence.\n\n\t\t\t\tMARGE\n\t\tSir, could I talk to Mr. Gustafson?\n\n\tJerry stares at her.\n\n\t\t\t\tMARGE\n\t\t... Mr. Lundegaard?\n\n\tJerry explodes:\n\n\t\t\t\tJERRY\n\t\tWell, heck, if you wanna, if you\n\t\twanna play games", "sound.\n\n\tThe policeman leans forward into the car, listening.\n\n\tGrimsrud reaches across Carl, grabs the trooper by the hair\n\tand slams his head down onto the car door.\n\n\tThe policeman grunts, digs awkwardly for footing outside and\n\tthrows an arm for balance against the outside of the car.\n\n\tWith his free hand, Grimsrud pops the glove compartment. He\n\tbrings a gun out and reaches across Carl and shoots - BANG -\n\tinto the back of the tro" ], [ "A curtain is stretched tight\n\tacross its window.\n\n\tJean pulls the curtain back. Bright sunlight amplified by\n\tsnow floods in.\n\n\tA man in an orange ski mask looks up from the lock.\n\n\tJean gasps, drops the curtain, rutns and runs into -\n\n\t- a taller man, also in a ski mask, already in the house.\n\n\tWe hear the crack of the back-door window being smashed.\n\n\tThe tall man - Gaear Grimsrud - grabs Jean'", "on Jean Lundegaard, who sits tied in a chair\n\twith the black hood still over her head. As we track in, we\n\thear inarticulate cursing, intermittent banging and loud\n\tstatic.\n\n\tWe track in on Gaear Grimsrud, who sits smoking a cigarette\n\tand expressionlessly gazing offscreen.\n\n\tWe track in on Carl Showalter, who stands over an old black-\n\tand-white television. It plays nothing but snow. Carl is\n\tbanging on it as he mutters:\n", "\n\n\tThe headlights sweep off and a car hums past and on into the\n\tbackground. The two-lane highway is otherwise empty.\n\n\tINT. CAR\n\n\tCarl drives. Grimsrud smokes and gazes out the window.\n\tFrom the back seat we hear whimpering.\n\n\tGrimsrud turns to look.\n\n\tJean lies bound and curled on the back seat underneath a\n\ttarpaulin.\n\n\t\t\t\tGRIMSRUD\n\t\tShut the fuck up or I'll", "get this\n\t\tover with.\n\n\tWIDE EXTERIOR: TRUCK STOP\n\n\tThere is a restaurant with many big rigs parked nearby, and\n\ta motel with an outsize Paul Bunyan and Babe the Blue Ox\n\tflanking its sign: BLUE OX MOTEL.\n\n\tMOTEL ROOM\n\n\tCarl Showalter and Gaear Grimsrud are in the twin beds\n\thaving sex with two truck-stop hookers.\n\n\t\t\t\tCARL\n\t\tOh,", "oper's head.\n\n\tJean screams.\n\n\t\t\t\tGRIMSRUD\n\t\tShut up.\n\n\tHe releases the policeman.\n\n\tThe policeman's head slides out the window and his body\n\tflops back onto the street.\n\n\tCarl looks out at the cop in the road.\n\n\t\t\t\tCARL\n\t\t\t(softly)\n\t\tWhoa... Whoa, Daddy.\n\n\tGrimsrud takes the trooper's hat off of Carl's lap", "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", "\t\tWADE\n\t\tJean and Scotty never have to\n\t\tworry.\n\n\tWHITE\n\n\tA black like curls through the white. Twisting perspective\n\tshows that it is an aerial shot of a two-lane highway,\n\tbordered by snowfields. The highway carries one moving car.\n\n\tINT. CAR\n\n\tCarl Showalter is driving. Gaear Grimsrud stares blankly\n\tout.\n\n\tAfter a long beat:\n\n\t\t\t\tGRIMSRUD\n\t", "\n\tThe dark shape in the snow next to his side is the rest of\n\tCarl Showalter's body.\n\n\tMarge has drawn to within twenty yards. When she bellows it\n\tsounds hollow and distant, her voice all but eaten up by the\n\troar of the power tool.\n\n\t\t\t\tMARGE\n\t\tStop! Police! Turn around and\n\t\thands up!\n\n\tStartled, Grimsrud scowls. He turns to face her.\n\n\tHe stares.\n\n\tM", "Who's Jean?\n\n\t\t\t\tJERRY\n\t\tMy wife! What the - how's -\n\n\t\t\t\tCARL\n\t\tOh, Jean's okay. But there's\n\t\tthree people up in Brainerd who\n\t\taren't so okay, I'll tell ya that.\n\n\t\t\t\tJERRY\n\t\tWhat the heck're you talkin' about?\n\t\tLet's just finish up this deal\n\t\there -\n\n\t\t\t\tCARL", "and sails\n\tit out the open window.\n\n\t\t\t\tGRIMSRUD\n\t\tYou'll take care of it. Boy, you\n\t\tare smooth smooth, you know.\n\n\t\t\t\tCARL\n\t\tWhoa, Daddy.\n\n\tJean, for some reason, screams again. Then stops.\n\n\t\t\t\tGRIMSRUD\n\t\tClear him off the road.\n\n\t\t\t\tCARL\n\t\tYeah.\n\n\tHe gets out.\n\n\tEXT.", "IDE\n\n\tWe are pulling Carl as he walks toward the car. Behind him\n\twe see the cabin door opening. Carl turns, reacting to the\n\tsound.\n\n\tGrimsrud is bounding out wearing mittens and a red hunter's\n\tcap, but no overcoat. He is holding an ax.\n\n\tCarl fumbles in his pocket for his gun.\n\n\tGrimsrud swings overhand, burying the ax in Carl's neck.\n\n\tMARGE\n\n\tIn her cruiser", "\t\t\t\tCARL\n\t\t... Mmmmmphnck! He fnkem shop me...\n\n\tHe pockets the gun, picks up the briefcase one-handed,\n\tflings it into his car, gets in, peels out.\n\n\tDOWN RAMP\n\n\tCarl screams down the ramp. He takes a corner at high speed\n\tand swerves, just missing Jerry in his Olds on his way to\n\tthe top.\n\n\tINT. JERRY'S CAR\n\n\tJerry recovers from the", "\tWell... I'm goin' ta bed now.\n\n\tCARL'S CAR\n\n\tCarl mumbles as he drives, underlit by the dim dash lights,\n\tone hand now holding a piece of rag to his shredded jaw.\n\n\t\t\t\tCARL\n\t\t... Fnnkn ashlzh... Fnk...\n\n\tROAD\n\n\tCarl's car roars into frame, violently swirling the snow.\n\tIts red tail lights fishtail away.\n\n\tFA", "ROAD\n\n\tCarl leans down to hoist up the body.\n\n\tHeadlights appear: an oncoming car.\n\n\tINT. CIERA\n\n\tGrimsrud notices.\n\n\tEXT. ROAD\n\n\tThe car approaches, slowing.\n\n\tCarl, with the trooper's body hoisted halfway up, is frozen\n\tin the headlights.\n\n\tThe car accelerates and roars past and away. We just make\n\tout the silhouettes of two occupants in front.\n\n\t", "here?\n\n\tHe pulls out a gun and fires into Wade's gut.\n\n\t\t\t\tCARL\n\t\t... Is this a fucking joke?\n\n\t\t\t\tWADE\n\t\tUnghh ... oh, geez...\n\n\tHe is on the pavement, clutching at his gut. Snow swirls.\n\n\t\t\t\tCARL\n\t\tYou fucking imbeciles!\n\n\tHe bends down next to Wade to pick up the briefcase.\n\n\t\t\t\tWADE\n", "'s the best we can do here.\n\n\tEXT. CABIN\n\n\tIt is a lakeside cabin surrounded by white. A brown Ciera\n\twith dealer plates is pulling into the drive.\n\n\tGrimsrud climbs out of the passenger seat as Carl climbs out\n\tof the driver's. Grimsrud opens the back door and, with an\n\tarm on her elbow, helps Jean out. She has her hands tied\n\tbehind her and a black hood over her head.\n\n\tWith a cry, she swings her elbow", "\t\tOh, for Christ ... oh, geez...\n\n\tWade brings out his gun and fires at Carl's head, close by.\n\n\t\t\t\tCARL\n\t\tOh!\n\n\tCarl stumbles and falls back, and then stands up again. His\n\tjaw is gouting blood.\n\n\t\t\t\tCARL\n\t\t... Owwmm...\n\n\tOne hand pressed to his jaw, he fires down at Wade several\n\ttimes. Blood streams through the hand pressed to his jaw.\n\n", "having failed to hold a turn.\n\n\tGrimsrud brakes.\n\n\tJean slides off the back seat and thumps into the legwell.\n\n\tGrimsrud sweeps his gun off the front seat, throws open his\n\tdoor and gets out.\n\n\tEXT. ROAD\n\n\tThe wrecked car's headlights shine off into a snowfield\n\tabutting the highway. A young man in a down parka is\n\tlimping across the snowfield, away from the wrecked car.\n\n\tGrimsrud strides", "aked by the shower curtain\n\tbut awkwardly trying to push it off.\n\n\tUPSTAIRS LANDING\n\n\tStill thrashing, Jean crashes against the upstairs railing,\n\ttrips on the curtain and falls, thumping crazily down the\n\tstairs.\n\n\tGrimsrud trots down after her.\n\n\tA PLAQUE: WADE GUSTAFSON INCORPORTATED\n\n\tINT. WADE'S OFFICE\n\n\tWade sits behind his desk; another man rises as Jerry\n", "... The heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tI'll see you tomorrow.\n\n\tClick.\n\n\tJerry slams down the phone, which immediately rings. He\n\tangrily snatches it up.\n\n\t\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tVOICE\n\t\tJerome Lundegaard?\n\n\t\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tVOICE\n\t\tThis is Reilly Deif" ], [ "on Jean Lundegaard, who sits tied in a chair\n\twith the black hood still over her head. As we track in, we\n\thear inarticulate cursing, intermittent banging and loud\n\tstatic.\n\n\tWe track in on Gaear Grimsrud, who sits smoking a cigarette\n\tand expressionlessly gazing offscreen.\n\n\tWe track in on Carl Showalter, who stands over an old black-\n\tand-white television. It plays nothing but snow. Carl is\n\tbanging on it as he mutters:\n", "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", "get this\n\t\tover with.\n\n\tWIDE EXTERIOR: TRUCK STOP\n\n\tThere is a restaurant with many big rigs parked nearby, and\n\ta motel with an outsize Paul Bunyan and Babe the Blue Ox\n\tflanking its sign: BLUE OX MOTEL.\n\n\tMOTEL ROOM\n\n\tCarl Showalter and Gaear Grimsrud are in the twin beds\n\thaving sex with two truck-stop hookers.\n\n\t\t\t\tCARL\n\t\tOh,", "A curtain is stretched tight\n\tacross its window.\n\n\tJean pulls the curtain back. Bright sunlight amplified by\n\tsnow floods in.\n\n\tA man in an orange ski mask looks up from the lock.\n\n\tJean gasps, drops the curtain, rutns and runs into -\n\n\t- a taller man, also in a ski mask, already in the house.\n\n\tWe hear the crack of the back-door window being smashed.\n\n\tThe tall man - Gaear Grimsrud - grabs Jean'", "\n\n\tThe headlights sweep off and a car hums past and on into the\n\tbackground. The two-lane highway is otherwise empty.\n\n\tINT. CAR\n\n\tCarl drives. Grimsrud smokes and gazes out the window.\n\tFrom the back seat we hear whimpering.\n\n\tGrimsrud turns to look.\n\n\tJean lies bound and curled on the back seat underneath a\n\ttarpaulin.\n\n\t\t\t\tGRIMSRUD\n\t\tShut the fuck up or I'll", "'\n\t\tall the driving, whole fuckin' way\n\t\tfrom Brainerd, drivin', tryin' to,\n\t\tyou know, tryin' to chat, keep\n\t\tour spirits up, fight the boredom\n\t\tof the road, and you can't say one\n\t\tfucking thing just in the way of\n\t\tconversation.\n\n\tGrimsurd smokes, gazing out the window.\n\n\t\t\t\tCARL\n\t\t... Well, fuck it, I don't have\n\t\t", "\n\tThe dark shape in the snow next to his side is the rest of\n\tCarl Showalter's body.\n\n\tMarge has drawn to within twenty yards. When she bellows it\n\tsounds hollow and distant, her voice all but eaten up by the\n\troar of the power tool.\n\n\t\t\t\tMARGE\n\t\tStop! Police! Turn around and\n\t\thands up!\n\n\tStartled, Grimsrud scowls. He turns to face her.\n\n\tHe stares.\n\n\tM", "oper's head.\n\n\tJean screams.\n\n\t\t\t\tGRIMSRUD\n\t\tShut up.\n\n\tHe releases the policeman.\n\n\tThe policeman's head slides out the window and his body\n\tflops back onto the street.\n\n\tCarl looks out at the cop in the road.\n\n\t\t\t\tCARL\n\t\t\t(softly)\n\t\tWhoa... Whoa, Daddy.\n\n\tGrimsrud takes the trooper's hat off of Carl's lap", "... The heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tI'll see you tomorrow.\n\n\tClick.\n\n\tJerry slams down the phone, which immediately rings. He\n\tangrily snatches it up.\n\n\t\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tVOICE\n\t\tJerome Lundegaard?\n\n\t\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tVOICE\n\t\tThis is Reilly Deif", "IDE\n\n\tWe are pulling Carl as he walks toward the car. Behind him\n\twe see the cabin door opening. Carl turns, reacting to the\n\tsound.\n\n\tGrimsrud is bounding out wearing mittens and a red hunter's\n\tcap, but no overcoat. He is holding an ax.\n\n\tCarl fumbles in his pocket for his gun.\n\n\tGrimsrud swings overhand, burying the ax in Carl's neck.\n\n\tMARGE\n\n\tIn her cruiser", ", or we're gonna have to, ya\n\t\tknow, to shoot ya.\n\n\tGrimsrud stares at Carl.\n\n\t\t\t\tCARL\n\t\t... Hey! I'll take care of this!\n\n\tBoth cars have stopped. Carl looks up at the rear-view\n\tmirror.\n\n\tThe trooper is stopped on the shoulder just behind them,\n\twriting in his citation book.\n\n\tCarl watches.\n\n\tWe hear the trooper's door open.\n\n\tThe tro", "rud gives him a sour look.\n\n\t\t\t\tCARL\n\t\t... Come on, man. Okay, here's\n\t\tan idea. We'll stop outside of\n\t\tBrainerd. I know a place there\n\t\twe can get laid. Wuddya think?\n\n\t\t\t\tGRIMSRUD\n\t\tI'm fuckin' hungry now, you know.\n\n\t\t\t\tCARL\n\t\tYeah, yeah, Jesus - I'm sayin',\n\t\twe'", "\tWell... I'm goin' ta bed now.\n\n\tCARL'S CAR\n\n\tCarl mumbles as he drives, underlit by the dim dash lights,\n\tone hand now holding a piece of rag to his shredded jaw.\n\n\t\t\t\tCARL\n\t\t... Fnnkn ashlzh... Fnk...\n\n\tROAD\n\n\tCarl's car roars into frame, violently swirling the snow.\n\tIts red tail lights fishtail away.\n\n\tFA", "kill you to say\n\t\tsomething?\n\n\t\t\t\tGRIMSRUD\n\t\tI did.\n\n\t\t\t\tCARL\n\t\t\"No.\" First thing you've said\n\t\tin the last four hours. That's\n\t\ta, that's a fountain of conversation,\n\t\tman. That's a geyser. I mean, whoa,\n\t\tdaddy, stand back, man. Shit, I'm\n\t\tsittin' here driving, man, doin", "here?\n\n\tHe pulls out a gun and fires into Wade's gut.\n\n\t\t\t\tCARL\n\t\t... Is this a fucking joke?\n\n\t\t\t\tWADE\n\t\tUnghh ... oh, geez...\n\n\tHe is on the pavement, clutching at his gut. Snow swirls.\n\n\t\t\t\tCARL\n\t\tYou fucking imbeciles!\n\n\tHe bends down next to Wade to pick up the briefcase.\n\n\t\t\t\tWADE\n", "sound.\n\n\tThe policeman leans forward into the car, listening.\n\n\tGrimsrud reaches across Carl, grabs the trooper by the hair\n\tand slams his head down onto the car door.\n\n\tThe policeman grunts, digs awkwardly for footing outside and\n\tthrows an arm for balance against the outside of the car.\n\n\tWith his free hand, Grimsrud pops the glove compartment. He\n\tbrings a gun out and reaches across Carl and shoots - BANG -\n\tinto the back of the tro", "ROAD\n\n\tCarl leans down to hoist up the body.\n\n\tHeadlights appear: an oncoming car.\n\n\tINT. CIERA\n\n\tGrimsrud notices.\n\n\tEXT. ROAD\n\n\tThe car approaches, slowing.\n\n\tCarl, with the trooper's body hoisted halfway up, is frozen\n\tin the headlights.\n\n\tThe car accelerates and roars past and away. We just make\n\tout the silhouettes of two occupants in front.\n\n\t", "to talk either, man. See how\n\t\tyou like it...\n\n\tHe drives.\n\n\t\t\t\tCARL\n\t\t... Total silence...\n\n\tJERRY'S CUBICLE\n\n\tHe is on the phone.\n\n\t\t\t\tJERRY\n\t\tYah, real good. How you doin'?\n\n\t\t\t\tVOICE\n\t\tPretty good, Mr. Lundegaard.\n\t\tYou're damned hard to get on the\n\t\tphone.\n\n\t\t", "\t\tWADE\n\t\tJean and Scotty never have to\n\t\tworry.\n\n\tWHITE\n\n\tA black like curls through the white. Twisting perspective\n\tshows that it is an aerial shot of a two-lane highway,\n\tbordered by snowfields. The highway carries one moving car.\n\n\tINT. CAR\n\n\tCarl Showalter is driving. Gaear Grimsrud stares blankly\n\tout.\n\n\tAfter a long beat:\n\n\t\t\t\tGRIMSRUD\n\t", "\t\tOh, for Christ ... oh, geez...\n\n\tWade brings out his gun and fires at Carl's head, close by.\n\n\t\t\t\tCARL\n\t\tOh!\n\n\tCarl stumbles and falls back, and then stands up again. His\n\tjaw is gouting blood.\n\n\t\t\t\tCARL\n\t\t... Owwmm...\n\n\tOne hand pressed to his jaw, he fires down at Wade several\n\ttimes. Blood streams through the hand pressed to his jaw.\n\n" ], [ "\n\n\t\t\t\tMARGE\n\t\tYou bet. Thanks for lunch. What\n\t\tdo we got here, Arbie's?\n\n\t\t\t\tNORM\n\t\tUh-huh.\n\n\tShe starts eating.\n\n\t\t\t\tMARGE\n\t\t... How's the paintin' goin'?\n\n\t\t\t\tNORM\n\t\tPretty good. Found out the Hautmans\n\t\tare entering a painting this year.\n\n\t\t\t\tMARGE\n\t\t", "PAINTING\n\n\tA blue-winged teal in flight over a swampy marshland. The\n\troom in which it hangs is dark. We hear off-screen snoring.\n\n\tWe track off to reveal an easel upon which we see a half-\n\tcompleted oil of a grey mallard.\n\n\tThe continuing track reveals a couple in bed, sleeping. The\n\tman, fortyish, pajama-clad, is big, and big-bellied. His\n\tmouth is agape. He sno", "waiting for more, but Norm's eyes stay\n\tfixed on the television.\n\n\t\t\t\tMARGE\n\t\t... So?\n\n\t\t\t\tNORM\n\t\tThree-cent stamp.\n\n\t\t\t\tMARGE\n\t\tYour mallard?\n\n\t\t\t\tNORM\n\t\tYah.\n\n\t\t\t\tMARGE\n\t\tNorm, that's terrific!\n\n\tNorm tries to suppress a smile of pleasure.\n\n\t\t\t\tNORM\n\t\tIt's just the", "NORM\n\t\tYah.\n\n\t\t\t\tMARGE\n\t\tWhen they're stuck with a bunch a\n\t\tthe old ones!\n\n\t\t\t\tNORM\n\t\tYah, I guess.\n\n\t\t\t\tMARGE\n\t\tThat's terrific.\n\n\tHer eyes go back to the TV.\n\n\t\t\t\tMARGE\n\t\t... I'm so proud a you, Norm.\n\n\tNorm murmurs:\n\n\t\t\t\tNORM\n\t\tI love you,", "enters frame in a nightie and\n\tclimbs into bed, with some effort.\n\n\t\t\t\tMARGE\n\t\tOooph!\n\n\tNorm reaches for her hand as both watch the television.\n\n\tAt length Norm speaks, but keeps his eyes on the TV.\n\n\t\t\t\tNORM\n\t\tThey announced it.\n\n\tMarge looks at him.\n\n\t\t\t\tMARGE\n\t\tThey announced it?\n\n\t\t\t\tNORM\n\t\tYah.\n\n\tMarge looks at him,", "house.\n\n\tMarge and Norm are watching television in bed. From the TV\n\twe hear insects chirring.\n\n\tAfter a long beat, silence except for the TV, Marge murmurs,\n\tstill looking at the set:\n\n\t\t\t\tMARGE\n\t\t... Well, I'm turnin' in, Norm.\n\n\tAlso looking at the TV:\n\n\t\t\t\tNORM\n\t\t... Oh, yah?\n\n\tMarge rolls over and Norm continues to watch.\n\n\tWe", "Aw, hon, you're better'n them.\n\n\t\t\t\tNORM\n\t\tThey're real good.\n\n\t\t\t\tMARGE\n\t\tThey're good, Norm, but you're\n\t\tbetter'n them.\n\n\t\t\t\tNORM\n\t\tYah, ya think?\n\n\tHe leans over and kisses her.\n\n\t\t\t\tMARGE\n\t\tAh, ya got Arbie's all o'er me.\n\n\tLou enters.\n\n\t\t\t", "utility belt to accomodate the seat.\n\n\t\t\t\tMARGE\n\t\tHiya, hon.\n\n\tShe slides the paper sack toward him.\n\n\t\t\t\tNORM\n\t\tBrought ya some lunch, Margie.\n\t\tWhat're those, night crawlers?\n\n\tHe looks inside.\n\n\tThe bottom of the sack is full of fat, crawling earthworms.\n\n\t\t\t\tMARGE\n\t\tYah.\n\n\t\t\t\tNORM\n\t\tThanks, hon.", "OFF, SWEDISH MEATBALLS, BROILED TORSK, CHICKEN\n\tFLORENTINE.\n\n\tA complementary track shows two rays being pushed along a\n\tbuffet line, piled high with many foods.\n\n\tMARGE AND NORM AT A TABLE\n\n\tThey sit next to each other at a long cafateria-style\n\tFormica table, silently eating.\n\n\tA hip with a hissing walkie-talkie enters frame.\n\n\t\t\t\tGARY\n\t\tHiya, Norm. How", "\t\tCOP ONE\n\t\tCall an ambulance!\n\n\t\t\t\tCOP TWO\n\t\tYou got him okay?\n\n\tCop One pinions Jerry's arms to the floor and Jerry bursts\n\tinto uncontrolled sobbing.\n\n\t\t\t\tCOP ONE\n\t\tYah, yah, call an ambulance.\n\n\tJerry sobs and screams.\n\n\tA BEDROOM\n\n\tWe are square on Norm, who sits in bed watching television.\n\n\tAfter a long beat, Marge", "S LAKE\n\n\tIt is late evening, blowing storm. A leisurely pan across\n\tthe bleak gray expanse finds a little hut in the middle of\n\tthe frozen lake with a pickup truck parked next to it.\n\n\t\t\t\tMARGE'S VOICE\n\t\tThey bitin'?\n\n\tINT. HUT\n\n\tNorm has a cellular phone to his ear. His feet are\n\tstretched out to an electric heater. The interior is bathed\n\tin soft orange light.\n\n\t\t\t", "sleep, hon.\n\n\t\t\t\tMAN\n\t\tYa gotta eat a breakfast...\n\n\tHe clears his throat with another deep rumble.\n\n\t\t\t\tMAN\n\t\t... I'll fix ya some eggs.\n\n\t\t\t\tMARGE\n\t\tAw, Norm.\n\n\tPLATE\n\n\tLeavings of a huge plate of eggs, ham, toast.\n\n\tWider, we see Marge now wearing a beige police uniform. A\n\tpatch on one arm says BRAINERD POL", "\tNORM\n\t\tYah, okay. How's the hotel?\n\n\t\t\t\tMARGE\n\t\tOh, pretty good. They bitin'?\n\n\t\t\t\tNORM\n\t\tYeah, couple a muskies. No pike\n\t\tyet. How d'you feel?\n\n\t\t\t\tMARGE\n\t\tOh, fine.\n\n\t\t\t\tNORM\n\t\tNot on your feet too much?\n\n\t\t\t\tMARGE\n\t\tNo, no.\n", "\tLOU\n\t\tHiya, Norm, how's the paintin'\n\t\tgoin'?\n\n\t\t\t\tNORM\n\t\tNot too bad. You know.\n\n\t\t\t\tMARGE\n\t\tHow we doin' on that vehicle?\n\n\t\t\t\tLOU\n\t\tNo motels registered any tan Ciera\n\t\tlast night. But the night before,\n\t\ttwo men checked into the Blue Ox\n\t\tregistering a Ciera and leavin' the\n\t\ttag space blank.\n", "tall man with his back to us, wearing a red plaid quilted\n\tjacket and a hunting cap with earflaps, is laboring over a\n\tlarge power tool which his body blocks from view.\n\n\tMarge advances.\n\n\tThe man is forcing downward something which engages the\n\troaring power tool and makes harsh spluttering noises.\n\n\tThe man is Grimsrud, his nose red and eyes watering from the\n\tcold, hatflaps pulled down over his ears. His breath steams\n\tas he sourly goes about", "she exits out the front\n\tdoor.\n\n\tEXT. GUNDERSON HOUSE\n\n\tDawn. Marge is making her way down the icy front stoop to\n\ther prowler.\n\n\tINT. GUNDERSON HOUSE\n\n\tNorm sits back onto the bed, shrugging off his robe. Off-\n\tscreen we hear the front door open.\n\n\tFRONT DOOR\n\n\tMarge stamps the snow off her shoes.\n\n\t\t\t\tMARGE\n\t\tHon?\n\n\t", "his work, both hands pressing down a\n\tshod foot, as it if were the shaft of a butter churn.\n\n\tThe roar is very loud.\n\n\tMarge slogs down to the next tree, panting, looking.\n\n\tGrimsrud forces more of the leg into the machine, which we\n\tcan now see sprays small wet chunks out the bottom.\n\n\tMarge's eyes shift.\n\n\tA large dark form lies in the snow next to Grimsrud.\n\n\tGrimsrud works on, eyes watering. ", "ya doin', Margie?\n\t\tHow's the fricasse?\n\n\t\t\t\tMARGE\n\t\tPretty darn good, ya want some?\n\n\t\t\t\tGARY\n\t\tNo, I gotta - hey, Norm, I thought\n\t\tyou were goin' fishin' up at Mile\n\t\tLacs?\n\n\t\t\t\tNORM\n\t\tYah, after lunch.\n\n\tHe goes back to his food.\n\n\t\t\t\tMARGE\n\t\tWhatcha got there?", "\t\t\tNORM\n\t\t\t(off)\n\t\tYah?\n\n\t\t\t\tMARGE\n\t\tProwler needs a jump.\n\n\tHIGHWAY\n\n\tTwo police cars and an ambulance sit idling at the side of\n\tthe road, a pair of men inside each car.\n\n\tThe first car's driver door opens and a figure in a parka\n\temerges, holding two styrofoam cups. His partner leans\n\tacross the seat to close the door after him.\n\n\t", " So it's nice\n\t\tup there?\n\n\t\t\t\tNORM\n\t\tYah, it's good. No pike yet, but\n\t\tit's good.\n\n\tDAYTON-RADISSON RAMP\n\n\tThe top, open, level. Snow blows. A car sits idling.\n\n\tAnother car pulls onto the roof. It creeps over to the\n\tparked car and stops. It continues to idle as its door\n\topens and Wade steps out, carrying the briefcase" ], [ "calmly out after the injured boy. He\n\traises his gun and fires.\n\n\tWith a poof of feathers, a hole opens up in the boy's back\n\tand he pitches into the snow.\n\n\tGrimsrud walks up to the wreck and peers in its half-open\n\tdoor.\n\n\tA young woman is trapped inside the twisted wreckage,\n\tinjured.\n\n\tSnow swirls in the headlights of the wreck.\n\n\tGrimsrud raises his gun and fires.\n\n\tAN OIL", "trunk, slams it shut and walks back to the scene of the\n\tshooting.\n\n\tHe kicks at the snow with his galoshed feet, trying to hide\n\tthe fresh bloodstains.\n\n\tEXIT BOOTH\n\n\tJerry approaches in the Cadillac.\n\n\tThe wooden gate barring the exit has been broken away. The\n\tbooth is empty.\n\n\tJerry eases toward the street, looking over at the booth as\n\the passes.\n\n\tInside the booth we see the awkwardly angled leg of", "looks pretty bad. Two\n\t\tof'm're over here.\n\n\tMarge looks around as they start walking.\n\n\t\t\t\tMARGE\n\t\tWhere is everybody?\n\n\t\t\t\tLOU\n\t\tWell - it's cold, Margie.\n\n\tBY THE WRECK\n\n\tLaid out in the early morning light is the wrecked car, a\n\tpair of footprints leading out to a man in a bright orange\n\tparka face down in the bloodstained snow, and one pair of\n\tfootsteps", "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", "on her chin, is motionless.\n\tThere is blood on the facing wall.\n\n\t\t\t\tGRIMSRUD\n\t\tShe started shrieking, you know.\n\n\t\t\t\tCARL\n\t\tJezhush.\n\n\tHe shakes his head.\n\n\t\t\t\tCARL\n\t\t... Well, I gotta muddy.\n\n\tHe is plunking down eight bank-wrapped bundles on the table.\n\n\t\t\t\tCARL\n\t\t... All of it. All", "'s drinkin', so I\n\t\tdon't think a whole great deal of\n\t\tit, but Mrs. Mohra heard about the\n\t\thomicides out here and she thought\n\t\tI should call it in, so I called\n\t\tit in. End a story.\n\n\t\t\t\tGARY\n\t\tWhat'd this guy look like anyways?\n\n\t\t\t\tMAN\n\t\tOh, he was a little guy, kinda\n\t\tfunny-lookin'.\n\n\t\t\t\tGARY\n\t\tUh", "\tWell... I'm goin' ta bed now.\n\n\tCARL'S CAR\n\n\tCarl mumbles as he drives, underlit by the dim dash lights,\n\tone hand now holding a piece of rag to his shredded jaw.\n\n\t\t\t\tCARL\n\t\t... Fnnkn ashlzh... Fnk...\n\n\tROAD\n\n\tCarl's car roars into frame, violently swirling the snow.\n\tIts red tail lights fishtail away.\n\n\tFA", "me a jerk and\n\t\tsays the last guy who thought he\n\t\twas a jerk was dead now. So I\n\t\tdon't say nothin' and he says, 'What\n\t\tdo ya think about that?' So I\n\t\tsays, 'Well, that don't sound like\n\t\ttoo good a deal for him then.'\n\n\t\t\t\tGARY\n\t\tYa got that right.\n\n\t\t\t\tMAN\n\t\tAnd he says, 'Yah, that guy's dead\n\t\tand I don", "his work, both hands pressing down a\n\tshod foot, as it if were the shaft of a butter churn.\n\n\tThe roar is very loud.\n\n\tMarge slogs down to the next tree, panting, looking.\n\n\tGrimsrud forces more of the leg into the machine, which we\n\tcan now see sprays small wet chunks out the bottom.\n\n\tMarge's eyes shift.\n\n\tA large dark form lies in the snow next to Grimsrud.\n\n\tGrimsrud works on, eyes watering. ", "\tgets out and walks slowly to Wade's body, prostrate in the\n\tswirling snow.\n\n\t\t\t\tJERRY\n\t\tOh! Oh, geez!\n\n\tHe bends down, picks Wade up by the armpits and drags him\n\tover to the back of the Cadillac. He drops Wade's body,\n\twalks to the driver's side of the car, pulls the keys and\n\twalks back to pop the trunk. He wrestles Wade's body into\n\tthe", "\n\tThe dark shape in the snow next to his side is the rest of\n\tCarl Showalter's body.\n\n\tMarge has drawn to within twenty yards. When she bellows it\n\tsounds hollow and distant, her voice all but eaten up by the\n\troar of the power tool.\n\n\t\t\t\tMARGE\n\t\tStop! Police! Turn around and\n\t\thands up!\n\n\tStartled, Grimsrud scowls. He turns to face her.\n\n\tHe stares.\n\n\tM", "aked by the shower curtain\n\tbut awkwardly trying to push it off.\n\n\tUPSTAIRS LANDING\n\n\tStill thrashing, Jean crashes against the upstairs railing,\n\ttrips on the curtain and falls, thumping crazily down the\n\tstairs.\n\n\tGrimsrud trots down after her.\n\n\tA PLAQUE: WADE GUSTAFSON INCORPORTATED\n\n\tINT. WADE'S OFFICE\n\n\tWade sits behind his desk; another man rises as Jerry\n", "ROAD\n\n\tCarl leans down to hoist up the body.\n\n\tHeadlights appear: an oncoming car.\n\n\tINT. CIERA\n\n\tGrimsrud notices.\n\n\tEXT. ROAD\n\n\tThe car approaches, slowing.\n\n\tCarl, with the trooper's body hoisted halfway up, is frozen\n\tin the headlights.\n\n\tThe car accelerates and roars past and away. We just make\n\tout the silhouettes of two occupants in front.\n\n\t", ", up on the shoulder, jerks his thumb.\n\n\t\t\t\tLOU\n\t\tBack there a good piece. In\n\t\tthe ditch next to his prowler.\n\n\tMarge looks around at the road.\n\n\t\t\t\tMARGE\n\t\tOkay, so we got a state trooper\n\t\tpulls someone over, we got a\n\t\tshooting, and these folks drive\n\t\tby, and we got a high-speed\n\t\tpursuit, ends here, and this\n\t\texecution-type deal", "ide.\n\n\tIn the back seat, Jean starts screaming.\n\n\tGrimsrud is not gaining on the tail lights.\n\n\tHe fights with the wheel as his car swims on the road face.\n\n\tThe red tail lights ahead start to turn. With a distant\n\tcrunching sound, they disappear.\n\n\tThe headlights now show only empty road, starting to turn.\n\n\tGrimsrud frowns and slows.\n\n\tHis headlights show the car up ahead off the road, crumpled\n\taround a telephone pole,", "here?\n\n\tHe pulls out a gun and fires into Wade's gut.\n\n\t\t\t\tCARL\n\t\t... Is this a fucking joke?\n\n\t\t\t\tWADE\n\t\tUnghh ... oh, geez...\n\n\tHe is on the pavement, clutching at his gut. Snow swirls.\n\n\t\t\t\tCARL\n\t\tYou fucking imbeciles!\n\n\tHe bends down next to Wade to pick up the briefcase.\n\n\t\t\t\tWADE\n", "having failed to hold a turn.\n\n\tGrimsrud brakes.\n\n\tJean slides off the back seat and thumps into the legwell.\n\n\tGrimsrud sweeps his gun off the front seat, throws open his\n\tdoor and gets out.\n\n\tEXT. ROAD\n\n\tThe wrecked car's headlights shine off into a snowfield\n\tabutting the highway. A young man in a down parka is\n\tlimping across the snowfield, away from the wrecked car.\n\n\tGrimsrud strides", "that was Mrs. Lundegaard\n\t\tin there?\n\n\tShe glances up in the rear-view mirror.\n\n\tGrimsrud, cheeks sunk, eyes hollow, looks sourly out at the\n\troad.\n\n\tMarge shakes her head.\n\n\tAt length:\n\n\t\t\t\tMARGE\n\t\t... I guess that was your\n\t\taccomplice in the wood chipper.\n\n\tGrimsrud's head bobs with bumps on the road; otherwise he is\n\tmotionless", "IDE\n\n\tWe are pulling Carl as he walks toward the car. Behind him\n\twe see the cabin door opening. Carl turns, reacting to the\n\tsound.\n\n\tGrimsrud is bounding out wearing mittens and a red hunter's\n\tcap, but no overcoat. He is holding an ax.\n\n\tCarl fumbles in his pocket for his gun.\n\n\tGrimsrud swings overhand, burying the ax in Carl's neck.\n\n\tMARGE\n\n\tIn her cruiser", "\n\tShe stops, stands still, her hooded head swaying.\n\n\tShe lurches out in an arbitrary direction. Going downhill,\n\tshe reels, staggers, and falls face-first into the snow,\n\tweeping.\n\n\t\t\t\tCARL\n\t\tHa ha ha ha ha ha! Jesus!\n\n\tGrimsrud, still expressionless, breaks away from Carl's\n\trestraining hand to retrieve her.\n\n\tBRAINERD POLICE HEADQUARTERS\n\n\tWe track behind" ], [ "\t\tJerry?\n\n\t\t\t\tJERRY\n\t\tWell, that's, that's, I'm not go\n\t\tinta, inta - see, I just need\n\t\tmoney. Now, her dad's real\n\t\twealthy -\n\n\t\t\t\tCARL\n\t\tSo why don't you just ask him\n\t\tfor the money?\n\n\tGrimsrud, the dour man who has not yet spoken, now softly\n\tputs in with a Swedish-accented voice:\n", "\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tSTAN\n\t\tWhat's the next step here, Jerry?\n\n\t\t\t\tJERRY\n\t\tThey're gonna call, give me\n\t\tinstructions for a drop. I'm\n\t\tsupposed to have the money ready\n\t\ttomorrow.\n\n\t\t\t\tWADE\n\t\tDammit!\n\n\tTHE CASHIER\n\n\tShe rings up two dollars forty.\n\n\t\t\t\tCASHIER\n\t\tHow", "we need more\n\t\tmoney.\n\n\t\t\t\tJERRY\n\t\tThe heck d'ya mean? What a you\n\t\tguys got yourself mixed up in?\n\n\t\t\t\tCARL\n\t\tWe need more -\n\n\t\t\t\tJERRY\n\t\tThis was s'posed to be a no-rough\n\t\t-stuff-type deal -\n\n\t\t\t\tCARL\n\t\tDON'T EVER INTERRUPT ME, JERRY!\n\t\tJUST SHUT", "JERRY\n\t\tWade, have ya had a chance to\n\t\tthink about, uh, that deal I was\n\t\ttalkin' about, those forty acres\n\t\tthere on Wayzata?\n\n\t\t\t\tWADE\n\t\tYou told me about it.\n\n\t\t\t\tJERRY\n\t\tYah, you said you'd have a think\n\t\tabout it. I understand it's a\n\t\tlot of money -\n\n\t\t\t\tWADE\n\t\tA heck of a lot. What", "t need a finder's\n\t\tfee, I need - finder's fee's, what,\n\t\tten percent, heck that's not gonna\n\t\tdo it for me. I need the principal.\n\n\t\t\t\tSTAN\n\t\tJerry, we're not just going to\n\t\tgive you seven hundred and fifty\n\t\tthousand dollars.\n\n\t\t\t\tWADE\n\t\tWhat the heck were you thinkin'?\n\t\tHeck, if I'm only gettin' bank", "'re not a bank, Jerry.\n\n\tWade is angry.\n\n\t\t\t\tWADE\n\t\tWhat the heck, Jerry, if I wanted\n\t\tbank interest on seven hunnert'n\n\t\tfifty thousand I'd go to Midwest\n\t\tFederal. Talk to Bill Diehl.\n\n\t\t\t\tSTAN\n\t\tHe's at Norstar.\n\n\t\t\t\tWADE\n\t\tHe's at -\n\n\t\t\t\tJERRY\n\t\tNo, see, I don'", "Yah?\n\n\t\t\t\tCARL\n\t\tAll right, Jerry, I'm through\n\t\tfucking around. You got the\n\t\tfucking money?\n\n\tJERRY'S KITCHEN\n\n\tJerry is at the kitchen phone. Through the door to the\n\tdining room we see Wade picking up an extension.\n\n\t\t\t\tJERRY\n\t\tYah, I got the money, but, uh -\n\n\t\t\t\tCARL\n\t\tDon't you", "\n\ttoward her. It holds a form from the General Motors Finance\n\tCorporation.\n\n\tShe looks idly around. Her look abruptly locks.\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake.\n\n\tJerry is easing his car around the near corner of the\n\tbuilding.\n\n\tMarge's voice is flat with dismay:\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake...\n\n\tShe grabs the phone and punches", "\tWADE\n\t\tAll the more reason! I don't want\n\t\tyou - with all due respect, Jerry\n\t\t- I don't want you mucking this up.\n\n\t\t\t\tJERRY\n\t\tThe heck d'ya mean?\n\n\t\t\t\tWADE\n\t\tThey want my money, they can deal\n\t\twith me. Otherwise I'm goin' to\n\t\ta professional.\n\n\tHe points at a briefcase.\n\n\t\t\t\tWADE\n\t\t... There", "\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tVOICE\n\t\tMy patience is at an end.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tVOICE\n\t\tGood day, sir.\n\n\t\t\t\tJERRY\n\t\t... Yah.\n\n\tWIDE ON THE CUBICLE\n\n\tWe are looking at Jerry's cubicle from across the showroom.\n\tNoise muted by distance, we watch Jerry slam down the\n\trec", "\n\n\t\t\t\tJERRY\n\t\t... My fee? Wade, what the\n\t\theck're you talkin' about?\n\n\t\t\t\tWADE\n\t\tStan and I're okay.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tWADE\n\t\tWe're good to loan in.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tWADE\n\t\tBut we never talked about your\n\t\tfee for bringin'", "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", "\tJERRY\n\t\tYah, okay, I'll have my girl\n\t\tsend you over a copy, then.\n\n\t\t\t\tVOICE\n\t\tOkay, because if I can't correlate\n\t\tthis note with the specific vehicles,\n\t\tthen I gotta call back that money -\n\n\t\t\t\tJERRY\n\t\tYah, how much money was that?\n\n\t\t\t\tVOICE\n\t\tThree hundred and twenty thousand\n\t\tdollars. See, I gotta correlate\n\t\tthat money with", "\t\tjust read them to me -\n\n\t\t\t\tJERRY\n\t\tBut the deal's already done, I\n\t\talready got the money -\n\n\t\t\t\tVOICE\n\t\tYeah, but we have an audit here,\n\t\tI just have to know that these\n\t\tvehicles you're financing with\n\t\tthis money, that they really\n\t\texist.\n\n\t\t\t\tJERRY\n\t\tYah, well, they exist all right.\n\n\t\t\t\tVOICE\n\t\tI'm", "it to us.\n\n\t\t\t\tJERRY\n\t\tNo, but, Wade, see, I was\n\t\tbringin' you this deal for you\n\t\tto loan me the money to put\n\t\tin. It's my deal here, see?\n\n\tWade scowls, looks at Stan.\n\n\t\t\t\tSTAN\n\t\tJerry - we thought you were\n\t\tbringin' us an investment.\n\n\t\t\t\tJERRY\n\t\tYah, right -\n\n\t\t\t", "ar!\n\n\tJerry sits staring at his lap.\n\n\t\t\t\tCUSTOMER\n\t\t... A fucking liar -\n\n\t\t\t\tWIFE\n\t\tBucky, please!\n\n\tJerry mumbles into his lap:\n\n\t\t\t\tJERRY\n\t\tOne hunnert's the best we can\n\t\tdo here.\n\n\t\t\t\tCUSTOMER\n\t\tOh, for Christ's sake, where's my\n\t\tgoddamn checkbook. Let's", "\tdon't want to cut you out of the\n\t\tloop, but his here's a good deal.\n\t\tI assume, if you're not innarested,\n\t\tyou won't mind if we move on it\n\t\tindependently.\n\n\tPARKING LOT\n\n\tWe are high and wide on the office building's parking lot.\n\tJerry emerges wrapped in a parka, his arms sticking stiffly\n\tout at his sides, his breath vaporizing. He goes to his\n\tcar, opens its front door,", "was everything today?\n\n\t\t\t\tJERRY\n\t\tYah, real good now.\n\n\tPARKING LOT\n\n\tSnow continues to fall. Jerry and Stan stand bundled in\n\ttheir parkas and galoshes near a row of beached vehicles.\n\tWade sits behind the wheel of an idling Lincoln, waiting for\n\tStan.\n\n\t\t\t\tSTAN\n\t\tOkay. We'll get the money together.\n\t\tDon't worry about it, Jerry. Now,\n\t\td", "\t\tJERRY\n\t\tYah, it's pretty darned busy here,\n\t\tbut that's the way we like it.\n\n\t\t\t\tVOICE\n\t\tThat's for sure. Now, I just\n\t\tneed, on these last, these financing\n\t\tdocuments you sent us, I can't\n\t\tread the serial numbers of the\n\t\tvehicles on here, so I -\n\n\t\t\t\tJERRY\n\t\tBut I already got the, it's okay,\n\t\tthe loans", "\n\tJERRY'S CUBICLE\n\n\tJerry re-enters.\n\n\t\t\t\tJERRY\n\t\tWell, he never done this before,\n\t\tbut seein' as it's special\n\t\tcircumstances and all, he says I\n\t\tcan knock one hunnert off that\n\t\tTruCoat.\n\n\t\t\t\tCUSTOMER\n\t\tOne hundred! You lied to me, Mr.\n\t\tLundegaard. You're a bald-faced\n\t\tli" ], [ ".\n\n\t\t\t\tMAN\n\t\tYa got that right.\n\n\tCLOSE ON CARL SHOWALTER\n\n\tIn his car, now parked, one hand holding the rag pressed to\n\this mangled jaw. He is staring down at something in the\n\tfront seat next to him.\n\n\tHis other hand holds open the briefcase. It has money\n\tinside - a lot of money.\n\n\tCarl unfreezes, takes out one of the bank-wrapped wads and\n\tlooks at it.\n\n\t", "\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tSTAN\n\t\tWhat's the next step here, Jerry?\n\n\t\t\t\tJERRY\n\t\tThey're gonna call, give me\n\t\tinstructions for a drop. I'm\n\t\tsupposed to have the money ready\n\t\ttomorrow.\n\n\t\t\t\tWADE\n\t\tDammit!\n\n\tTHE CASHIER\n\n\tShe rings up two dollars forty.\n\n\t\t\t\tCASHIER\n\t\tHow", "\t\t\tCARL\n\t\t... Mmmnphh.\n\n\tHe paws through the money in the briefcase to get a feeling\n\tfor the amount.\n\n\t\t\t\tCARL\n\t\t... Jeshush Shrist... Jeshush\n\t\tfuchem Shrist!\n\n\tExcited, he counts out a bundle of bills and tosses it onto\n\tthe back seat.\n\n\tHe starts to take the rag away from his chin but the layer\n\tpressed against his face sticks, its loose weave bound to\n", ". It's\n\t\tall worked out.\n\n\t\t\t\tCARL\n\t\tYou want your own wife kidnapped?\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\tCarl Stares. Jerry looks blankly back.\n\n\t\t\t\tCARL\n\t\t... You - my point is, you pay\n\t\tthe ransom - what eighty thousand\n\t\tbucks? - I mean, you give us\n\t\thalf the ransom, forty thousand,\n\t\tyou keep half", ".\n\n\tThe door of the other car bangs open and Carl bounces out.\n\n\t\t\t\tCARL\n\t\tWho the fuck are you? Who the\n\t\tfuck are you?\n\n\t\t\t\tWADE\n\t\tI got your goddamn money, you\n\t\tlittle punk. Now where's my\n\t\tdaughter?\n\n\t\t\t\tCARL\n\t\tI am through fucking around! Drop\n\t\tthat fucking briefcase!\n\n\t\t\t\tWADE\n\t\tWhere", "dollars is a lot a damn\n\t\tmoney! And there they are, they\n\t\tgot my daughter!\n\n\t\t\t\tJERRY\n\t\tYah, but think this thing through\n\t\there, Wade. Ya give 'em what they\n\t\twant, why wont' they let her go?\n\t\tYou gotta listen to me on this one,\n\t\tWade.\n\n\t\t\t\tWADE\n\t\tHeck, you don't know! You're just\n\t\twhistlin' Dixie", "it, Jerry.\n\n\t\t\t\tJERRY\n\t\tHuh?\n\n\t\t\t\tCARL\n\t\tThe new vehicle, plus forty\n\t\tthousand dollars.\n\n\t\t\t\tJERRY\n\t\tYah, but the deal was, the car\n\t\tfirst, see, then the forty\n\t\tthousand, like as if it was the\n\t\transom. I thought Shep told you -\n\n\t\t\t\tCARL\n\t\tShep didn't tell us much, Jerry.", "on her chin, is motionless.\n\tThere is blood on the facing wall.\n\n\t\t\t\tGRIMSRUD\n\t\tShe started shrieking, you know.\n\n\t\t\t\tCARL\n\t\tJezhush.\n\n\tHe shakes his head.\n\n\t\t\t\tCARL\n\t\t... Well, I gotta muddy.\n\n\tHe is plunking down eight bank-wrapped bundles on the table.\n\n\t\t\t\tCARL\n\t\t... All of it. All", ". It's like robbing\n\t\tPeter to play Paul, it doesn't\n\t\tmake any -\n\n\t\t\t\tJERRY\n\t\tOkay, it's - see, it's not me\n\t\tpayin' the ransom. The thing is,\n\t\tmy wife, she's wealthy - her dad,\n\t\the's real well off. Now, I'm in\n\t\ta bit of trouble -\n\n\t\t\t\tCARL\n\t\tWhat kind of trouble are you in,\n", "\tWell... Why don't we...\n\n\tHe saws a finger under his nose.\n\n\t\t\t\tWADE\n\t\t... Stan, I'm thinkin' we should\n\t\toffer 'em half a million.\n\n\t\t\t\tJERRY\n\t\tNow come on here, no way, Wade!\n\t\tNo way!\n\n\t\t\t\tSTAN\n\t\tWe're not horse-trading here, Wade,\n\t\twe just gotta bite the bullet on\n\t\tthis thing.\n\n\t", "'re they doing? Wuddya\n\t\tthink they're doin' with Mom?\n\n\t\t\t\tJERRY\n\t\tIt's okay, Scotty. They're not\n\t\tgonna want to hurt her any.\n\t\tThese men, they just want money,\n\t\tsee.\n\n\t\t\t\tSCOTT\n\t\tWhat if - what if sumpn goes wrong?\n\n\t\t\t\tJERRY\n\t\tNo, no, nothin's goin' wrong here.\n\t\tGr", "\this skin by clotted blood.\n\n\tHe pulls very gently and winces as blood starts to flow\n\tagain.\n\n\tHe carefully tears the rag in half so that only a bit of it\n\tremains adhering to his jaw.\n\n\tEXT. CAR\n\n\tIt is pulled over to the side of an untraveled road. THe\n\tdoor opens and Carl emerges with the briefcase.\n\n\tHe slogs through the snow, down a gulley and up the\n\tembankment to a barbed-wire fence. ", "\t\t\t\tCARL\n\t\t... Mmmmmphnck! He fnkem shop me...\n\n\tHe pockets the gun, picks up the briefcase one-handed,\n\tflings it into his car, gets in, peels out.\n\n\tDOWN RAMP\n\n\tCarl screams down the ramp. He takes a corner at high speed\n\tand swerves, just missing Jerry in his Olds on his way to\n\tthe top.\n\n\tINT. JERRY'S CAR\n\n\tJerry recovers from the", "arned clear on that, Wade! They\n\t\tsaid you call the cops and we -\n\n\t\t\t\tWADE\n\t\tWell, a course they're gonna say\n\t\tthat! But where's my protection?\n\t\tThey got Jean here! I give these\n\t\tsons a bitches a million dollars,\n\t\twhere's my guarantee they're gonna\n\t\tlet her go.\n\n\t\t\t\tJERRY\n\t\tWell, they -\n\n\t\t\t\tWADE\n\t\tA million", "He kneels at one of the\n\tfence posts and frantically digs into the snow with his bare\n\thands, throws in the briefcase and covers it back up.\n\n\tHe stands and tries to beat the circulation back into his\n\tred, frozen hands.\n\n\tHe looks to the right.\n\n\tA regular line of identical fence posts stretches away\n\tagainst unblemished white.\n\n\tHe looks to the left.\n\n\tA regular line of identical fence posts stretches away\n\tagainst unblemished white.\n\n\tHe looks", "\tJERRY\n\t\tYah, okay, I'll have my girl\n\t\tsend you over a copy, then.\n\n\t\t\t\tVOICE\n\t\tOkay, because if I can't correlate\n\t\tthis note with the specific vehicles,\n\t\tthen I gotta call back that money -\n\n\t\t\t\tJERRY\n\t\tYah, how much money was that?\n\n\t\t\t\tVOICE\n\t\tThree hundred and twenty thousand\n\t\tdollars. See, I gotta correlate\n\t\tthat money with", "here?\n\n\tHe pulls out a gun and fires into Wade's gut.\n\n\t\t\t\tCARL\n\t\t... Is this a fucking joke?\n\n\t\t\t\tWADE\n\t\tUnghh ... oh, geez...\n\n\tHe is on the pavement, clutching at his gut. Snow swirls.\n\n\t\t\t\tCARL\n\t\tYou fucking imbeciles!\n\n\tHe bends down next to Wade to pick up the briefcase.\n\n\t\t\t\tWADE\n", "ats the fifty into the billfold\n\tand hands the billfold back into the car.\n\n\t\t\t\tTROOPER\n\t\tPut that back in your pocket,\n\t\tplease.\n\n\tCarl's nervous smile fades.\n\n\t\t\t\tTROOPER\n\t\t... And step out of the car,\n\t\tplease, sir.\n\n\tGrimsrud, smiling thinly, shakes his head.\n\n\tThere is a whimpering sound.\n\n\tThe policeman hesitates.\n\n\tAnother", "gets into his Cadillac, slams the\n\tdoor and peels out.\n\n\tINT. CAR\n\n\tWade's jaw works as he glares out at traffic. He mumbles to\n\thimself as he drives.\n\n\t\t\t\tWADE\n\t\tOkay ... here's your damn money,\n\t\tnow where's my daughter?...\n\t\tGoddamn punk ... where's my damn\n\t\tdaughter...\n\n\tHe pulls out a gun, cracks the barrel, peers in.\n\n\t\t\t", "A curtain is stretched tight\n\tacross its window.\n\n\tJean pulls the curtain back. Bright sunlight amplified by\n\tsnow floods in.\n\n\tA man in an orange ski mask looks up from the lock.\n\n\tJean gasps, drops the curtain, rutns and runs into -\n\n\t- a taller man, also in a ski mask, already in the house.\n\n\tWe hear the crack of the back-door window being smashed.\n\n\tThe tall man - Gaear Grimsrud - grabs Jean'" ], [ "on Jean Lundegaard, who sits tied in a chair\n\twith the black hood still over her head. As we track in, we\n\thear inarticulate cursing, intermittent banging and loud\n\tstatic.\n\n\tWe track in on Gaear Grimsrud, who sits smoking a cigarette\n\tand expressionlessly gazing offscreen.\n\n\tWe track in on Carl Showalter, who stands over an old black-\n\tand-white television. It plays nothing but snow. Carl is\n\tbanging on it as he mutters:\n", "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", "get this\n\t\tover with.\n\n\tWIDE EXTERIOR: TRUCK STOP\n\n\tThere is a restaurant with many big rigs parked nearby, and\n\ta motel with an outsize Paul Bunyan and Babe the Blue Ox\n\tflanking its sign: BLUE OX MOTEL.\n\n\tMOTEL ROOM\n\n\tCarl Showalter and Gaear Grimsrud are in the twin beds\n\thaving sex with two truck-stop hookers.\n\n\t\t\t\tCARL\n\t\tOh,", "A curtain is stretched tight\n\tacross its window.\n\n\tJean pulls the curtain back. Bright sunlight amplified by\n\tsnow floods in.\n\n\tA man in an orange ski mask looks up from the lock.\n\n\tJean gasps, drops the curtain, rutns and runs into -\n\n\t- a taller man, also in a ski mask, already in the house.\n\n\tWe hear the crack of the back-door window being smashed.\n\n\tThe tall man - Gaear Grimsrud - grabs Jean'", "\n\n\tThe headlights sweep off and a car hums past and on into the\n\tbackground. The two-lane highway is otherwise empty.\n\n\tINT. CAR\n\n\tCarl drives. Grimsrud smokes and gazes out the window.\n\tFrom the back seat we hear whimpering.\n\n\tGrimsrud turns to look.\n\n\tJean lies bound and curled on the back seat underneath a\n\ttarpaulin.\n\n\t\t\t\tGRIMSRUD\n\t\tShut the fuck up or I'll", "'\n\t\tall the driving, whole fuckin' way\n\t\tfrom Brainerd, drivin', tryin' to,\n\t\tyou know, tryin' to chat, keep\n\t\tour spirits up, fight the boredom\n\t\tof the road, and you can't say one\n\t\tfucking thing just in the way of\n\t\tconversation.\n\n\tGrimsurd smokes, gazing out the window.\n\n\t\t\t\tCARL\n\t\t... Well, fuck it, I don't have\n\t\t", "\n\tThe dark shape in the snow next to his side is the rest of\n\tCarl Showalter's body.\n\n\tMarge has drawn to within twenty yards. When she bellows it\n\tsounds hollow and distant, her voice all but eaten up by the\n\troar of the power tool.\n\n\t\t\t\tMARGE\n\t\tStop! Police! Turn around and\n\t\thands up!\n\n\tStartled, Grimsrud scowls. He turns to face her.\n\n\tHe stares.\n\n\tM", "oper's head.\n\n\tJean screams.\n\n\t\t\t\tGRIMSRUD\n\t\tShut up.\n\n\tHe releases the policeman.\n\n\tThe policeman's head slides out the window and his body\n\tflops back onto the street.\n\n\tCarl looks out at the cop in the road.\n\n\t\t\t\tCARL\n\t\t\t(softly)\n\t\tWhoa... Whoa, Daddy.\n\n\tGrimsrud takes the trooper's hat off of Carl's lap", "... The heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tI'll see you tomorrow.\n\n\tClick.\n\n\tJerry slams down the phone, which immediately rings. He\n\tangrily snatches it up.\n\n\t\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tVOICE\n\t\tJerome Lundegaard?\n\n\t\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tVOICE\n\t\tThis is Reilly Deif", "IDE\n\n\tWe are pulling Carl as he walks toward the car. Behind him\n\twe see the cabin door opening. Carl turns, reacting to the\n\tsound.\n\n\tGrimsrud is bounding out wearing mittens and a red hunter's\n\tcap, but no overcoat. He is holding an ax.\n\n\tCarl fumbles in his pocket for his gun.\n\n\tGrimsrud swings overhand, burying the ax in Carl's neck.\n\n\tMARGE\n\n\tIn her cruiser", ", or we're gonna have to, ya\n\t\tknow, to shoot ya.\n\n\tGrimsrud stares at Carl.\n\n\t\t\t\tCARL\n\t\t... Hey! I'll take care of this!\n\n\tBoth cars have stopped. Carl looks up at the rear-view\n\tmirror.\n\n\tThe trooper is stopped on the shoulder just behind them,\n\twriting in his citation book.\n\n\tCarl watches.\n\n\tWe hear the trooper's door open.\n\n\tThe tro", "rud gives him a sour look.\n\n\t\t\t\tCARL\n\t\t... Come on, man. Okay, here's\n\t\tan idea. We'll stop outside of\n\t\tBrainerd. I know a place there\n\t\twe can get laid. Wuddya think?\n\n\t\t\t\tGRIMSRUD\n\t\tI'm fuckin' hungry now, you know.\n\n\t\t\t\tCARL\n\t\tYeah, yeah, Jesus - I'm sayin',\n\t\twe'", "\tWell... I'm goin' ta bed now.\n\n\tCARL'S CAR\n\n\tCarl mumbles as he drives, underlit by the dim dash lights,\n\tone hand now holding a piece of rag to his shredded jaw.\n\n\t\t\t\tCARL\n\t\t... Fnnkn ashlzh... Fnk...\n\n\tROAD\n\n\tCarl's car roars into frame, violently swirling the snow.\n\tIts red tail lights fishtail away.\n\n\tFA", "kill you to say\n\t\tsomething?\n\n\t\t\t\tGRIMSRUD\n\t\tI did.\n\n\t\t\t\tCARL\n\t\t\"No.\" First thing you've said\n\t\tin the last four hours. That's\n\t\ta, that's a fountain of conversation,\n\t\tman. That's a geyser. I mean, whoa,\n\t\tdaddy, stand back, man. Shit, I'm\n\t\tsittin' here driving, man, doin", "here?\n\n\tHe pulls out a gun and fires into Wade's gut.\n\n\t\t\t\tCARL\n\t\t... Is this a fucking joke?\n\n\t\t\t\tWADE\n\t\tUnghh ... oh, geez...\n\n\tHe is on the pavement, clutching at his gut. Snow swirls.\n\n\t\t\t\tCARL\n\t\tYou fucking imbeciles!\n\n\tHe bends down next to Wade to pick up the briefcase.\n\n\t\t\t\tWADE\n", "sound.\n\n\tThe policeman leans forward into the car, listening.\n\n\tGrimsrud reaches across Carl, grabs the trooper by the hair\n\tand slams his head down onto the car door.\n\n\tThe policeman grunts, digs awkwardly for footing outside and\n\tthrows an arm for balance against the outside of the car.\n\n\tWith his free hand, Grimsrud pops the glove compartment. He\n\tbrings a gun out and reaches across Carl and shoots - BANG -\n\tinto the back of the tro", "ROAD\n\n\tCarl leans down to hoist up the body.\n\n\tHeadlights appear: an oncoming car.\n\n\tINT. CIERA\n\n\tGrimsrud notices.\n\n\tEXT. ROAD\n\n\tThe car approaches, slowing.\n\n\tCarl, with the trooper's body hoisted halfway up, is frozen\n\tin the headlights.\n\n\tThe car accelerates and roars past and away. We just make\n\tout the silhouettes of two occupants in front.\n\n\t", "to talk either, man. See how\n\t\tyou like it...\n\n\tHe drives.\n\n\t\t\t\tCARL\n\t\t... Total silence...\n\n\tJERRY'S CUBICLE\n\n\tHe is on the phone.\n\n\t\t\t\tJERRY\n\t\tYah, real good. How you doin'?\n\n\t\t\t\tVOICE\n\t\tPretty good, Mr. Lundegaard.\n\t\tYou're damned hard to get on the\n\t\tphone.\n\n\t\t", "\t\tWADE\n\t\tJean and Scotty never have to\n\t\tworry.\n\n\tWHITE\n\n\tA black like curls through the white. Twisting perspective\n\tshows that it is an aerial shot of a two-lane highway,\n\tbordered by snowfields. The highway carries one moving car.\n\n\tINT. CAR\n\n\tCarl Showalter is driving. Gaear Grimsrud stares blankly\n\tout.\n\n\tAfter a long beat:\n\n\t\t\t\tGRIMSRUD\n\t", "\t\tOh, for Christ ... oh, geez...\n\n\tWade brings out his gun and fires at Carl's head, close by.\n\n\t\t\t\tCARL\n\t\tOh!\n\n\tCarl stumbles and falls back, and then stands up again. His\n\tjaw is gouting blood.\n\n\t\t\t\tCARL\n\t\t... Owwmm...\n\n\tOne hand pressed to his jaw, he fires down at Wade several\n\ttimes. Blood streams through the hand pressed to his jaw.\n\n" ], [ "hold.\n\n\tBLACK\n\n\tHold.\n\n\tA snowflake drops through the black.\n\n\tAnother flake.\n\n\tIt starts snowing.\n\n\tBRAINERD MAIN STREET\n\n\tThe lone traffic light blinks slowly, steadily, red. Snow\n\tsifts down. There is no other movement.\n\n\tPAUL BUNYAN\n\n\tWe are looking up at the bottom-lit statue. Snow falls.\n\n\tHIGH SHOT OF MARGE'S HOUSE\n", "his work, both hands pressing down a\n\tshod foot, as it if were the shaft of a butter churn.\n\n\tThe roar is very loud.\n\n\tMarge slogs down to the next tree, panting, looking.\n\n\tGrimsrud forces more of the leg into the machine, which we\n\tcan now see sprays small wet chunks out the bottom.\n\n\tMarge's eyes shift.\n\n\tA large dark form lies in the snow next to Grimsrud.\n\n\tGrimsrud works on, eyes watering. ", "calmly out after the injured boy. He\n\traises his gun and fires.\n\n\tWith a poof of feathers, a hole opens up in the boy's back\n\tand he pitches into the snow.\n\n\tGrimsrud walks up to the wreck and peers in its half-open\n\tdoor.\n\n\tA young woman is trapped inside the twisted wreckage,\n\tinjured.\n\n\tSnow swirls in the headlights of the wreck.\n\n\tGrimsrud raises his gun and fires.\n\n\tAN OIL", "tall man with his back to us, wearing a red plaid quilted\n\tjacket and a hunting cap with earflaps, is laboring over a\n\tlarge power tool which his body blocks from view.\n\n\tMarge advances.\n\n\tThe man is forcing downward something which engages the\n\troaring power tool and makes harsh spluttering noises.\n\n\tThe man is Grimsrud, his nose red and eyes watering from the\n\tcold, hatflaps pulled down over his ears. His breath steams\n\tas he sourly goes about", "ingerly\n\tsteps down the slope, through the deep snow, through the\n\ttrees angling toward the cabin and the source of the\n\tgrinding noise.\n\n\tShe slogs from tree to tree, letting each one support her\n\tdownhill-leaning weight for a moment before slogging to the\n\tnext.\n\n\tThe roar grows louder. Marge stands panting by one tree,\n\ther breath vaporizing out of her snorkel hood. She squints\n\tdown toward the cabin's back lot.\n\n\tA", "He kneels at one of the\n\tfence posts and frantically digs into the snow with his bare\n\thands, throws in the briefcase and covers it back up.\n\n\tHe stands and tries to beat the circulation back into his\n\tred, frozen hands.\n\n\tHe looks to the right.\n\n\tA regular line of identical fence posts stretches away\n\tagainst unblemished white.\n\n\tHe looks to the left.\n\n\tA regular line of identical fence posts stretches away\n\tagainst unblemished white.\n\n\tHe looks", "looks pretty bad. Two\n\t\tof'm're over here.\n\n\tMarge looks around as they start walking.\n\n\t\t\t\tMARGE\n\t\tWhere is everybody?\n\n\t\t\t\tLOU\n\t\tWell - it's cold, Margie.\n\n\tBY THE WRECK\n\n\tLaid out in the early morning light is the wrecked car, a\n\tpair of footprints leading out to a man in a bright orange\n\tparka face down in the bloodstained snow, and one pair of\n\tfootsteps", "pulls out a red plastic scraper\n\tand starts methodically scraping off the thin crust of ice\n\tthat has developed on his windshield.\n\n\tThe scrape-scrape-scrape sound carries in the frigid air.\n\n\tJerry goes into a frenzy, banging the scraper against the\n\twindshield and the hood of his car.\n\n\tThe tantrum passes. Jerry stands pantin, staring at nothing\n\tin particular.\n\n\tScrape-scrape-scrape - he goes back", ", on her two-way. Through it we hear Lou's\n\tvoice, heavily filtered:\n\n\t\t\t\tVOICE\n\t\tHis wife. This guy says she was\n\t\tkidnapped last Wednesday.\n\n\t\t\t\tMARGE\n\t\tThe day of our homicides.\n\n\t\t\t\tVOICE\n\t\tYah.\n\n\tMarge is peering to one side as she drives, looking through\n\tthe bare trees that border the road on a declivity that runs\n\tdown to a large frozen lake.\n", "at the fence post in front of him.\n\n\t\t\t\tCARL\n\t\tMmmphh...\n\n\tHe looks about the snowy vastness for a marker. Finding\n\tnone, he kicks the fence post a couple of times, failing to\n\tscar or tilt it, then hurriedly plants a couple of sicks up\n\tagainst the post.\n\n\tHe bends down, scoops up a handful of snow, presses it\n\tagainst his wounded jaw, and lopes back to the idling car.\n\n\tHOT", "\n\n\tSlowly the white becomes a barely perceptible image: white\n\tparticles wave over a white background. A snowfall.\n\n\tA car bursts through the curtain of snow.\n\n\tThe car is equipped with a hitch and is towing another car,\n\ta brand-new light brown Cutlass Ciera with the pink sales\n\tsticker showing in its rear window.\n\n\tAs the car roars past, leaving snow swirling in their dirft,\n\tthe title of the film fades in.\n\n\t\t\t\tF", "her siren.\n\n\tShe turns on her flashers.\n\n\tShe leans back with a creak and jangle of utilities.\n\n\tShe stares forward, shakes her head. We hear the dull click\n\tof her flashers.\n\n\t\t\t\tMARGE\n\t\t... I just don't unnerstand it.\n\n\tOutside it is snowing. The sky, the earth, the road - all\n\twhite.\n\n\tA squad car, gumballs spinning, punches through the white.\n", "No way.\n\n\tShe is looking at the prowler, which still idles on the\n\tshoulder.\n\n\t\t\t\tMARGE\n\t\tSomebody shut his lights. I guess\n\t\tthe little guy sat in there, waitin'\n\t\tfor his buddy t'come back.\n\n\t\t\t\tLOU\n\t\tYah, woulda been cold out here.\n\n\t\t\t\tMARGE\n\t\tHeck, yah. Ya think, is Dave open\n\t\tyet?\n\n\t\t\t\t", "iever, rise to his feet, fling the phone to the floor,\n\traise his desk blotter high over his head with pens and\n\tpencils rolling off it and slam it onto his desktop.\n\n\tHe stands for a moment, hands on hips, glaring.\n\n\tHe stoops and picks up the phone, places it back on the\n\tdesktop, starts picking up the pens and pencils.\n\n\tTRACK\n\n\tOn steam-table bins of food, each identified by a plaque:\n\tBEEF STROGAN", "sound, the door shifts in its frame.\n\n\tBEDROOM\n\n\tGrimsrud has a crowbar jammed in between the bathroom door\n\tand frame, and is working it.\n\n\tBATHROOM\n\n\tJean crosses to a high window above the toilet and throws it\n\topen. Snow that had drifted against the window sifts\n\tlightly in. Jean steps up onto the toilet.\n\n\tThe door creaks, moving as one piece in its frame.\n\n\tJean glances back as she steps up from the", "toilet seat to\n\tthe tank.\n\n\tThe groaning of the door ends with the wood around its knob\n\tsplintering and the knob itself falling out onto the floor.\n\n\tThe door swings open.\n\n\tGrimsrud and Carl enter.\n\n\tTHEIR POV\n\n\tRoom empty, window open.\n\n\tCarl strides to the window and hoists himself out.\n\n\tGrimsrud opens the medicine cabinet and delicately taps\n\taside various bottles and tubes, seeking the proper unguent.\n", "\n\tknees down near the snow.\n\n\t\t\t\tLOU\n\t\tYa see something down there, Chief?\n\n\t\t\t\tMARGE\n\t\tUh - I just, I think I'm gonna barf.\n\n\t\t\t\tLOU\n\t\tGeez, you okay, Margie?\n\n\t\t\t\tMARGE\n\t\tI'm fine - it's just morning\n\t\tsickness.\n\n\tShe gets up, sweeping snow from her knees.\n\n\t\t\t\tM", ", right-o.\n\n\tThe two men caucus the driveway without shaking hands and\n\twithout standing particularly close. They stand stiffly,\n\tarms down at their sides and breath streaming out of their\n\tparka hoods. Each has an awkward leaning-away posture, head\n\tdrawn slightly back and chin tucked in, to keep his face\n\tfrom protruding into the cold.\n\n\t\t\t\tMAN\n\t\t... So, I'm tendin' bar there at\n\t\tEcklund && Swedlin's last", "the heavy log travels perhaps ten yards and lands\n\tin the snow several feet short of her.\n\n\tGrimsrud pants up the hill - slow going through the deep\n\tsnow.\n\n\tBehind him:\n\n\t\t\t\tMARGE\n\t\t... Halt!\n\n\tShe fires in the air.\n\n\tShe lowers the gun and carefully sighs.\n\n\t\t\t\tMARGE\n\t\t... Halt!\n\n\tShe fires.\n\n\tGrimsrud still slogs up the hill - a miss.", " So it's nice\n\t\tup there?\n\n\t\t\t\tNORM\n\t\tYah, it's good. No pike yet, but\n\t\tit's good.\n\n\tDAYTON-RADISSON RAMP\n\n\tThe top, open, level. Snow blows. A car sits idling.\n\n\tAnother car pulls onto the roof. It creeps over to the\n\tparked car and stops. It continues to idle as its door\n\topens and Wade steps out, carrying the briefcase" ], [ "\n\ttoward her. It holds a form from the General Motors Finance\n\tCorporation.\n\n\tShe looks idly around. Her look abruptly locks.\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake.\n\n\tJerry is easing his car around the near corner of the\n\tbuilding.\n\n\tMarge's voice is flat with dismay:\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake...\n\n\tShe grabs the phone and punches", "Marge rises, Jerry looks blankly down at the papers on\n\tthe desk in front of him.\n\n\t\t\t\tJERRY\n\t\t... Yah, okay.\n\n\tHe looks up at Marge's retreating back. He looks back down\n\tat the papers. He looks over at the phone.\n\n\the picks up the phone and dials four digits.\n\n\t\t\t\tJERRY\n\t\t... Yah, gimmee Shep... The\n\t\theck d'ya mean?... Well", "\n\n\t\t\t\tMARGE\n\t\tYah.\n\n\t\t\t\tMIKE\n\t\tI thought, geez, is that Margie\n\t\tOlmstead? I can't believe it!\n\n\t\t\t\tMARGE\n\t\tYah, that's me.\n\n\t\t\t\tMIKE\n\t\tWell, how the heck are ya?\n\n\t\t\t\tMARGE\n\t\tOkay, ya know. Okay.\n\n\t\t\t\tMIKE\n\t\tYah?\n\n", "After a long moment her stare breaks. She glances idly\n\taround the office.\n\n\tThere is a framed picture facing away from her on the\n\tdesktop. She turns it to face her. It is Scotty, holding\n\tan accordion. There is another picture of Jean.\n\n\tMarge looks at it, looks around, for some reason, at the\n\tceiling.\n\n\tShe looks at a trophy shelf on the wall behind her.\n\n\tShe fiddles idly with a pencil. She pulls a clipboard", "\n\n\t\t\t\tMARGE\n\t\tSorry - didn't copy.\n\n\t\t\t\tVOICE\n\t\tStill missing. We're looking.\n\n\t\t\t\tMARGE\n\t\tCopy. And Lundegaard too.\n\n\t\t\t\tVOICE\n\t\tYah. Where are ya, Margie?\n\n\tWe hear, distant but growing louder, harsh engine noise, as\n\tof a chainsaw or lawnmower.\n\n\t\t\t\tMARGE\n\t\tOh, I'", ", on her two-way. Through it we hear Lou's\n\tvoice, heavily filtered:\n\n\t\t\t\tVOICE\n\t\tHis wife. This guy says she was\n\t\tkidnapped last Wednesday.\n\n\t\t\t\tMARGE\n\t\tThe day of our homicides.\n\n\t\t\t\tVOICE\n\t\tYah.\n\n\tMarge is peering to one side as she drives, looking through\n\tthe bare trees that border the road on a declivity that runs\n\tdown to a large frozen lake.\n", "Marge sticks her head in the door.\n\n\t\t\t\tMARGE\n\t\tMr. Lundegaard? Sorry to bother\n\t\tyou again. Can I come in?\n\n\tShe starts to enter.\n\n\t\t\t\tJERRY\n\t\tYah, no, I'm kinda - I'm kinda\n\t\tbusy -\n\n\t\t\t\tMARGE\n\t\tI unnerstand. I'll keep it real\n\t\tshort, then. I'm on my way out\n\t\tof town", "\n\t\t\t\tMARGE\n\t\t... Now, I know you've had some\n\t\tproblems, struggling with the\n\t\tnarcotics, some other entanglements,\n\t\tcurrently on parole -\n\n\t\t\t\tSHEP\n\t\tSo?\n\n\t\t\t\tMARGE\n\t\tWell, associating with criminals,\n\t\tif you're the one they talked to,\n\t\tthat right there would be a\n\t\tviolation of your parole and would\n\t\tend with", "\n\t\t\t\tMARGE\n\t\tSo you think you might remember\n\t\twho those folks were who called\n\t\tya?\n\n\tJERRY'S OFFICE\n\n\tJerry is worriedly pacing behind his desk. At a noise he\n\tlooks up.\n\n\tMarge has stuck her head in the door.\n\n\t\t\t\tMARGE\n\t\tMr. Lundegaard?\n\n\t\t\t\tJERRY\n\t\tHuh? Yah?\n\n\t\t\t\tMARGE\n\t", "\n\n\t\t\t\tMARGE\n\t\tNo, just so I can see ya, ya know.\n\t\tDon't have to turn my neck.\n\n\t\t\t\tMIKE\n\t\tOh, sure, I unnerstand, I didn't\n\t\tmean to -\n\n\t\t\t\tMARGE\n\t\tNo, no, that's fine.\n\n\t\t\t\tMIKE\n\t\tYah, sorry, so I was married to\n\t\tLinda Cooksey - ya remember Linda?\n\t\tShe was a year behind", "\n\n\tMarge sights again.\n\n\t\t\t\tMARGE\n\t\t... Halt!\n\n\tShe fires again.\n\n\tGrimsrud pitches forward. He mutters in Swedish as he\n\treaches down to clutch at his wounded leg.\n\n\tMarge walks toward him, gun trained on him as her other hand\n\treaches under her parka and gropes around her waist.\n\n\tIt comes out with a pair of handcuffs, which she opens with\n\ta snap of the wrist.\n\n\t\t\t", "\t\t\t\tMIKE\n\t\tGreat. What brings ya down - are\n\t\tya down here on that homicide -\n\t\tif you're allowed, ya know, to\n\t\tdiscuss that?\n\n\t\t\t\tMARGE\n\t\tOh, yah, but there's not a heckuva\n\t\tlot to discuss. What about you,\n\t\tMike? Are you married - you have\n\t\tkids?\n\n\t\t\t\tMIKE\n\t\tWell, yah, I was married. ", "\t\t\t\tMARGE\n\t\tYah - how are you doon?\n\n\t\t\t\tMIKE\n\t\tOh, pretty good.\n\n\t\t\t\tMARGE\n\t\tHeck, it's been such a long time,\n\t\tMike. It's great to hear from ya.\n\n\t\t\t\tMIKE\n\t\tYah... Yah, yah. Geeze, Margie!\n\n\tGUSTAFSON OLDS GARAGE\n\n\tJerry is on the sales floor, showing", "The reverse shows Marge approaching from her own squad car.\n\n\t\t\t\tMARGE\n\t\tHiya, Lou.\n\n\t\t\t\tLOU\n\t\tMargie. Thought you might need\n\t\ta little warm-up.\n\n\tHe hands her one of the cups of coffee.\n\n\t\t\t\tMARGE\n\t\tYah, thanks a bunch. So what's\n\t\tthe deal, now? Gary says triple\n\t\thomicide?\n\n\t\t\t\tLOU\n\t\tYah,", "us.\n\n\t\t\t\tMARGE\n\t\tI think I remember Linda, yah.\n\t\tShe was - yah. So things didn't\n\t\twork out, huh?\n\n\t\t\t\tMIKE\n\t\tAnd then I, and then I been workin'\n\t\tfor Honeywell for a few years now.\n\n\t\t\t\tMARGE\n\t\tWell, they're a good outfit.\n\n\t\t\t\tMIKE\n\t\tYah, if you're an engineer, yah,\n", "\n\tknees down near the snow.\n\n\t\t\t\tLOU\n\t\tYa see something down there, Chief?\n\n\t\t\t\tMARGE\n\t\tUh - I just, I think I'm gonna barf.\n\n\t\t\t\tLOU\n\t\tGeez, you okay, Margie?\n\n\t\t\t\tMARGE\n\t\tI'm fine - it's just morning\n\t\tsickness.\n\n\tShe gets up, sweeping snow from her knees.\n\n\t\t\t\tM", "s had psychiatric problems.\n\n\t\t\t\tMARGE\n\t\tOh. Oh, my.\n\n\t\t\t\tVOICE\n\t\tYah, he - he's been struggling.\n\t\tHe's living with his parents now.\n\n\t\t\t\tMARGE\n\t\tOh. Geez.\n\n\t\t\t\tVOICE\n\t\tYah, Linda's fine. You should\n\t\tcall her.\n\n\t\t\t\tMARGE\n\t\tGeez. Well - geez.", "he might go...\n\n\tThe woman is entering frame sliding a tray. Marge enters\n\tbehind her, sliding her own. We move laterally with them as\n\tthey slowly make their way along the line.\n\n\t\t\t\tMARGE\n\t\tUh-huh.\n\n\t\t\t\tWOMAN\n\t\tWe called his house; his little\n\t\tboy said he hadn't been there.\n\n\t\t\t\tMARGE\n\t\tAnd his wife?\n\n\t\t\t\tWOMAN\n\t\tShe'", "\t\tI saw him last night and he's -\n\n\t\t\t\tVOICE\n\t\tWhat'd he say?\n\n\t\t\t\tMARGE\n\t\tWell, it was nothin' specific\n\t\the said, it just seemd like it\n\t\tall hit him really hard, his\n\t\twife dyin' -\n\n\t\t\t\tVOICE\n\t\tHis wife?\n\n\t\t\t\tMARGE\n\t\tLinda.\n\n\t\t\t\tVOICE\n\t\tNo.\n\n\t\t\t\t", "a grimy and cluttered glassed-in cubicle.\n\n\t\t\t\tMECHANIC\n\t\tSaid she was a policewoman.\n\n\tMarge and Shep silently talk.\n\n\tJerry stares, swallows.\n\n\tINSIDE THE CUBICLE\n\n\t\t\t\tMARGE\n\t\t- Wednesday night?\n\n\tShep is shaking his head.\n\n\t\t\t\tSHEP\n\t\tNope.\n\n\t\t\t\tMARGE\n\t\tWell, you do reside their at" ], [ "MARGE\n\t\t... Well, yah. Who's this?\n\n\t\t\t\tVOICE\n\t\tThis is Mike Yanagita. Ya know\n\t\t- Mike Yanagita. Remember me?\n\n\t\t\t\tMARGE\n\t\t... Mike Yanagita!\n\n\t\t\t\tMIKE\n\t\tYah!\n\n\tMarge props herself up next to the still-sleeping Norm.\n\n\t\t\t\tMARGE\n\t\tYah, yah, course I remember.\n\t\t", ", on her two-way. Through it we hear Lou's\n\tvoice, heavily filtered:\n\n\t\t\t\tVOICE\n\t\tHis wife. This guy says she was\n\t\tkidnapped last Wednesday.\n\n\t\t\t\tMARGE\n\t\tThe day of our homicides.\n\n\t\t\t\tVOICE\n\t\tYah.\n\n\tMarge is peering to one side as she drives, looking through\n\tthe bare trees that border the road on a declivity that runs\n\tdown to a large frozen lake.\n", "\n\n\t\t\t\tMARGE\n\t\tYah.\n\n\t\t\t\tMIKE\n\t\tI thought, geez, is that Margie\n\t\tOlmstead? I can't believe it!\n\n\t\t\t\tMARGE\n\t\tYah, that's me.\n\n\t\t\t\tMIKE\n\t\tWell, how the heck are ya?\n\n\t\t\t\tMARGE\n\t\tOkay, ya know. Okay.\n\n\t\t\t\tMIKE\n\t\tYah?\n\n", "Marge rises, Jerry looks blankly down at the papers on\n\tthe desk in front of him.\n\n\t\t\t\tJERRY\n\t\t... Yah, okay.\n\n\tHe looks up at Marge's retreating back. He looks back down\n\tat the papers. He looks over at the phone.\n\n\the picks up the phone and dials four digits.\n\n\t\t\t\tJERRY\n\t\t... Yah, gimmee Shep... The\n\t\theck d'ya mean?... Well", "\n\t\t\t\tMARGE\n\t\tSo you think you might remember\n\t\twho those folks were who called\n\t\tya?\n\n\tJERRY'S OFFICE\n\n\tJerry is worriedly pacing behind his desk. At a noise he\n\tlooks up.\n\n\tMarge has stuck her head in the door.\n\n\t\t\t\tMARGE\n\t\tMr. Lundegaard?\n\n\t\t\t\tJERRY\n\t\tHuh? Yah?\n\n\t\t\t\tMARGE\n\t", "After a long moment her stare breaks. She glances idly\n\taround the office.\n\n\tThere is a framed picture facing away from her on the\n\tdesktop. She turns it to face her. It is Scotty, holding\n\tan accordion. There is another picture of Jean.\n\n\tMarge looks at it, looks around, for some reason, at the\n\tceiling.\n\n\tShe looks at a trophy shelf on the wall behind her.\n\n\tShe fiddles idly with a pencil. She pulls a clipboard", "\t\t\t\tMIKE\n\t\tGreat. What brings ya down - are\n\t\tya down here on that homicide -\n\t\tif you're allowed, ya know, to\n\t\tdiscuss that?\n\n\t\t\t\tMARGE\n\t\tOh, yah, but there's not a heckuva\n\t\tlot to discuss. What about you,\n\t\tMike? Are you married - you have\n\t\tkids?\n\n\t\t\t\tMIKE\n\t\tWell, yah, I was married. ", "paunching man of about Marge's age, rising\n\tfrom a booth halfway back. His features are broad,\n\tfriendly, Asian-American.\n\n\t\t\t\tMARGE\n\t\tMike!\n\n\tHe approaches somewhat carefully, as if on his second drink.\n\tThey hug and head back toward the booth.\n\n\t\t\t\tMIKE\n\t\tGeez! You look great!\n\n\t\t\t\tMARGE\n\t\tYah - easy there - you do too!\n\t\tI'm expecting, ya know", "\n\n\t\t\t\tMARGE\n\t\tSorry - didn't copy.\n\n\t\t\t\tVOICE\n\t\tStill missing. We're looking.\n\n\t\t\t\tMARGE\n\t\tCopy. And Lundegaard too.\n\n\t\t\t\tVOICE\n\t\tYah. Where are ya, Margie?\n\n\tWe hear, distant but growing louder, harsh engine noise, as\n\tof a chainsaw or lawnmower.\n\n\t\t\t\tMARGE\n\t\tOh, I'", "With a grunt he bends\n\tdown out of frame and then re-enters holding a thick log.\n\tHe uses it to force the leg deeper into the machine.\n\n\tMarge is advancing. She holds a gun extended toward\n\tGrimsrud, who is still turned away.\n\n\tGrimsrud rubs his nose with the back of his hand.\n\n\tMarge closes in, grimacing.\n\n\tGrimsrud's back strains as he puts his weight into the log\n\tthat pushes down into the machine.\n", "the heavy log travels perhaps ten yards and lands\n\tin the snow several feet short of her.\n\n\tGrimsrud pants up the hill - slow going through the deep\n\tsnow.\n\n\tBehind him:\n\n\t\t\t\tMARGE\n\t\t... Halt!\n\n\tShe fires in the air.\n\n\tShe lowers the gun and carefully sighs.\n\n\t\t\t\tMARGE\n\t\t... Halt!\n\n\tShe fires.\n\n\tGrimsrud still slogs up the hill - a miss.", "\n\n\tMarge sights again.\n\n\t\t\t\tMARGE\n\t\t... Halt!\n\n\tShe fires again.\n\n\tGrimsrud pitches forward. He mutters in Swedish as he\n\treaches down to clutch at his wounded leg.\n\n\tMarge walks toward him, gun trained on him as her other hand\n\treaches under her parka and gropes around her waist.\n\n\tIt comes out with a pair of handcuffs, which she opens with\n\ta snap of the wrist.\n\n\t\t\t", "The reverse shows Marge approaching from her own squad car.\n\n\t\t\t\tMARGE\n\t\tHiya, Lou.\n\n\t\t\t\tLOU\n\t\tMargie. Thought you might need\n\t\ta little warm-up.\n\n\tHe hands her one of the cups of coffee.\n\n\t\t\t\tMARGE\n\t\tYah, thanks a bunch. So what's\n\t\tthe deal, now? Gary says triple\n\t\thomicide?\n\n\t\t\t\tLOU\n\t\tYah,", "\n\n\t\t\t\tMARGE\n\t\tNo, just so I can see ya, ya know.\n\t\tDon't have to turn my neck.\n\n\t\t\t\tMIKE\n\t\tOh, sure, I unnerstand, I didn't\n\t\tmean to -\n\n\t\t\t\tMARGE\n\t\tNo, no, that's fine.\n\n\t\t\t\tMIKE\n\t\tYah, sorry, so I was married to\n\t\tLinda Cooksey - ya remember Linda?\n\t\tShe was a year behind", "\ttell me about him?\n\n\t\t\t\tHOOKER ONE\n\t\tNo. Like I say, he was funny-looking.\n\t\tMore'n most people even.\n\n\t\t\t\tMARGE\n\t\tAnd what about the other fella?\n\n\t\t\t\tHOOKER TWO\n\t\tHe was a little older. Looked like\n\t\tthe Marlboro man.\n\n\t\t\t\tMARGE\n\t\tYah?\n\n\t\t\t\tHOOKER TWO\n\t\tYah", "\n\ttoward her. It holds a form from the General Motors Finance\n\tCorporation.\n\n\tShe looks idly around. Her look abruptly locks.\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake.\n\n\tJerry is easing his car around the near corner of the\n\tbuilding.\n\n\tMarge's voice is flat with dismay:\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake...\n\n\tShe grabs the phone and punches", "s had psychiatric problems.\n\n\t\t\t\tMARGE\n\t\tOh. Oh, my.\n\n\t\t\t\tVOICE\n\t\tYah, he - he's been struggling.\n\t\tHe's living with his parents now.\n\n\t\t\t\tMARGE\n\t\tOh. Geez.\n\n\t\t\t\tVOICE\n\t\tYah, Linda's fine. You should\n\t\tcall her.\n\n\t\t\t\tMARGE\n\t\tGeez. Well - geez.", "had any new vehicles stolen\n\t\toff the lot in the past couple of\n\t\tweeks - specifically a tan Cutlass\n\t\tCiera?\n\n\tJerry stares at her, his mouth open.\n\n\t\t\t\tMARGE\n\t\t... Mr. Lundegaard?\n\n\t\t\t\tJERRY\n\t\t... Brainerd?\n\n\t\t\t\tMARGE\n\t\tYah. Yah. Home a Paul Bunyan and\n\t\tBabe the Blue Ox.\n\n\t\t\t\tJ", "\t\t\t\tMARGE\n\t\tYah - how are you doon?\n\n\t\t\t\tMIKE\n\t\tOh, pretty good.\n\n\t\t\t\tMARGE\n\t\tHeck, it's been such a long time,\n\t\tMike. It's great to hear from ya.\n\n\t\t\t\tMIKE\n\t\tYah... Yah, yah. Geeze, Margie!\n\n\tGUSTAFSON OLDS GARAGE\n\n\tJerry is on the sales floor, showing", "us.\n\n\t\t\t\tMARGE\n\t\tI think I remember Linda, yah.\n\t\tShe was - yah. So things didn't\n\t\twork out, huh?\n\n\t\t\t\tMIKE\n\t\tAnd then I, and then I been workin'\n\t\tfor Honeywell for a few years now.\n\n\t\t\t\tMARGE\n\t\tWell, they're a good outfit.\n\n\t\t\t\tMIKE\n\t\tYah, if you're an engineer, yah,\n" ], [ "MARGE\n\t\t... Well, yah. Who's this?\n\n\t\t\t\tVOICE\n\t\tThis is Mike Yanagita. Ya know\n\t\t- Mike Yanagita. Remember me?\n\n\t\t\t\tMARGE\n\t\t... Mike Yanagita!\n\n\t\t\t\tMIKE\n\t\tYah!\n\n\tMarge props herself up next to the still-sleeping Norm.\n\n\t\t\t\tMARGE\n\t\tYah, yah, course I remember.\n\t\t", "\t\tI saw him last night and he's -\n\n\t\t\t\tVOICE\n\t\tWhat'd he say?\n\n\t\t\t\tMARGE\n\t\tWell, it was nothin' specific\n\t\the said, it just seemd like it\n\t\tall hit him really hard, his\n\t\twife dyin' -\n\n\t\t\t\tVOICE\n\t\tHis wife?\n\n\t\t\t\tMARGE\n\t\tLinda.\n\n\t\t\t\tVOICE\n\t\tNo.\n\n\t\t\t\t", "Marge rises, Jerry looks blankly down at the papers on\n\tthe desk in front of him.\n\n\t\t\t\tJERRY\n\t\t... Yah, okay.\n\n\tHe looks up at Marge's retreating back. He looks back down\n\tat the papers. He looks over at the phone.\n\n\the picks up the phone and dials four digits.\n\n\t\t\t\tJERRY\n\t\t... Yah, gimmee Shep... The\n\t\theck d'ya mean?... Well", ", on her two-way. Through it we hear Lou's\n\tvoice, heavily filtered:\n\n\t\t\t\tVOICE\n\t\tHis wife. This guy says she was\n\t\tkidnapped last Wednesday.\n\n\t\t\t\tMARGE\n\t\tThe day of our homicides.\n\n\t\t\t\tVOICE\n\t\tYah.\n\n\tMarge is peering to one side as she drives, looking through\n\tthe bare trees that border the road on a declivity that runs\n\tdown to a large frozen lake.\n", "After a long moment her stare breaks. She glances idly\n\taround the office.\n\n\tThere is a framed picture facing away from her on the\n\tdesktop. She turns it to face her. It is Scotty, holding\n\tan accordion. There is another picture of Jean.\n\n\tMarge looks at it, looks around, for some reason, at the\n\tceiling.\n\n\tShe looks at a trophy shelf on the wall behind her.\n\n\tShe fiddles idly with a pencil. She pulls a clipboard", "\t\t\t\tMIKE\n\t\tGreat. What brings ya down - are\n\t\tya down here on that homicide -\n\t\tif you're allowed, ya know, to\n\t\tdiscuss that?\n\n\t\t\t\tMARGE\n\t\tOh, yah, but there's not a heckuva\n\t\tlot to discuss. What about you,\n\t\tMike? Are you married - you have\n\t\tkids?\n\n\t\t\t\tMIKE\n\t\tWell, yah, I was married. ", "he might go...\n\n\tThe woman is entering frame sliding a tray. Marge enters\n\tbehind her, sliding her own. We move laterally with them as\n\tthey slowly make their way along the line.\n\n\t\t\t\tMARGE\n\t\tUh-huh.\n\n\t\t\t\tWOMAN\n\t\tWe called his house; his little\n\t\tboy said he hadn't been there.\n\n\t\t\t\tMARGE\n\t\tAnd his wife?\n\n\t\t\t\tWOMAN\n\t\tShe'", "\n\n\t\t\t\tMARGE\n\t\tNo, just so I can see ya, ya know.\n\t\tDon't have to turn my neck.\n\n\t\t\t\tMIKE\n\t\tOh, sure, I unnerstand, I didn't\n\t\tmean to -\n\n\t\t\t\tMARGE\n\t\tNo, no, that's fine.\n\n\t\t\t\tMIKE\n\t\tYah, sorry, so I was married to\n\t\tLinda Cooksey - ya remember Linda?\n\t\tShe was a year behind", "\n\ttoward her. It holds a form from the General Motors Finance\n\tCorporation.\n\n\tShe looks idly around. Her look abruptly locks.\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake.\n\n\tJerry is easing his car around the near corner of the\n\tbuilding.\n\n\tMarge's voice is flat with dismay:\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake...\n\n\tShe grabs the phone and punches", "\n\n\t\t\t\tMARGE\n\t\tYah.\n\n\t\t\t\tMIKE\n\t\tI thought, geez, is that Margie\n\t\tOlmstead? I can't believe it!\n\n\t\t\t\tMARGE\n\t\tYah, that's me.\n\n\t\t\t\tMIKE\n\t\tWell, how the heck are ya?\n\n\t\t\t\tMARGE\n\t\tOkay, ya know. Okay.\n\n\t\t\t\tMIKE\n\t\tYah?\n\n", "s visiting relatives in Florida.\n\t\tNow his boss, this guy Gustafson,\n\t\the's also disappeared. Nobody at\n\t\this office knows where he is.\n\n\t\t\t\tMARGE\n\t\tGeez. Looks like this thing goes\n\t\thigher than we thought. You call\n\t\this home?\n\n\t\t\t\tWOMAN\n\t\tHis wife's in the hospital, has\n\t\tbeen for a couple months. The big C.\n\n\t\t\t\tMARGE\n", "a grimy and cluttered glassed-in cubicle.\n\n\t\t\t\tMECHANIC\n\t\tSaid she was a policewoman.\n\n\tMarge and Shep silently talk.\n\n\tJerry stares, swallows.\n\n\tINSIDE THE CUBICLE\n\n\t\t\t\tMARGE\n\t\t- Wednesday night?\n\n\tShep is shaking his head.\n\n\t\t\t\tSHEP\n\t\tNope.\n\n\t\t\t\tMARGE\n\t\tWell, you do reside their at", "\n\t\t\t\tMARGE\n\t\tSo you think you might remember\n\t\twho those folks were who called\n\t\tya?\n\n\tJERRY'S OFFICE\n\n\tJerry is worriedly pacing behind his desk. At a noise he\n\tlooks up.\n\n\tMarge has stuck her head in the door.\n\n\t\t\t\tMARGE\n\t\tMr. Lundegaard?\n\n\t\t\t\tJERRY\n\t\tHuh? Yah?\n\n\t\t\t\tMARGE\n\t", "\n\n\t\t\t\tMARGE\n\t\tSorry - didn't copy.\n\n\t\t\t\tVOICE\n\t\tStill missing. We're looking.\n\n\t\t\t\tMARGE\n\t\tCopy. And Lundegaard too.\n\n\t\t\t\tVOICE\n\t\tYah. Where are ya, Margie?\n\n\tWe hear, distant but growing louder, harsh engine noise, as\n\tof a chainsaw or lawnmower.\n\n\t\t\t\tMARGE\n\t\tOh, I'", "The reverse shows Marge approaching from her own squad car.\n\n\t\t\t\tMARGE\n\t\tHiya, Lou.\n\n\t\t\t\tLOU\n\t\tMargie. Thought you might need\n\t\ta little warm-up.\n\n\tHe hands her one of the cups of coffee.\n\n\t\t\t\tMARGE\n\t\tYah, thanks a bunch. So what's\n\t\tthe deal, now? Gary says triple\n\t\thomicide?\n\n\t\t\t\tLOU\n\t\tYah,", "\t\tyou could do a lot worse. Of\n\t\tcourse, it's not, uh, it's\n\t\tnothin' like your achievement.\n\n\t\t\t\tMARGE\n\t\tIt sounds like you're doin' really\n\t\tsuper.\n\n\t\t\t\tMIKE\n\t\tYah, well, I, uh ... it's not that\n\t\tit didn't work out - Linda passed\n\t\taway. She, uh...\n\n\t\t\t\tMARGE\n\t\tI", "\ttell me about him?\n\n\t\t\t\tHOOKER ONE\n\t\tNo. Like I say, he was funny-looking.\n\t\tMore'n most people even.\n\n\t\t\t\tMARGE\n\t\tAnd what about the other fella?\n\n\t\t\t\tHOOKER TWO\n\t\tHe was a little older. Looked like\n\t\tthe Marlboro man.\n\n\t\t\t\tMARGE\n\t\tYah?\n\n\t\t\t\tHOOKER TWO\n\t\tYah", "With a grunt he bends\n\tdown out of frame and then re-enters holding a thick log.\n\tHe uses it to force the leg deeper into the machine.\n\n\tMarge is advancing. She holds a gun extended toward\n\tGrimsrud, who is still turned away.\n\n\tGrimsrud rubs his nose with the back of his hand.\n\n\tMarge closes in, grimacing.\n\n\tGrimsrud's back strains as he puts his weight into the log\n\tthat pushes down into the machine.\n", "\n\tThe dark shape in the snow next to his side is the rest of\n\tCarl Showalter's body.\n\n\tMarge has drawn to within twenty yards. When she bellows it\n\tsounds hollow and distant, her voice all but eaten up by the\n\troar of the power tool.\n\n\t\t\t\tMARGE\n\t\tStop! Police! Turn around and\n\t\thands up!\n\n\tStartled, Grimsrud scowls. He turns to face her.\n\n\tHe stares.\n\n\tM", "enters frame in a nightie and\n\tclimbs into bed, with some effort.\n\n\t\t\t\tMARGE\n\t\tOooph!\n\n\tNorm reaches for her hand as both watch the television.\n\n\tAt length Norm speaks, but keeps his eyes on the TV.\n\n\t\t\t\tNORM\n\t\tThey announced it.\n\n\tMarge looks at him.\n\n\t\t\t\tMARGE\n\t\tThey announced it?\n\n\t\t\t\tNORM\n\t\tYah.\n\n\tMarge looks at him," ], [ "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", "... The heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tI'll see you tomorrow.\n\n\tClick.\n\n\tJerry slams down the phone, which immediately rings. He\n\tangrily snatches it up.\n\n\t\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tVOICE\n\t\tJerome Lundegaard?\n\n\t\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tVOICE\n\t\tThis is Reilly Deif", "LE\n\n\tHe sits in and picks up his phone.\n\n\t\t\t\tJERRY\n\t\tJerry Lundegaard.\n\n\t\t\t\tVOICE\n\t\tAll right, Jerry, you got this\n\t\tphone to yourself?\n\n\t\t\t\tJERRY\n\t\tWell ... yah.\n\n\t\t\t\tVOICE\n\t\tKnow who this is?\n\n\t\t\t\tJERRY\n\t\tWell, yah, I got an idea. How's\n\t\tthat Ciera workin' out", "get this\n\t\tover with.\n\n\tWIDE EXTERIOR: TRUCK STOP\n\n\tThere is a restaurant with many big rigs parked nearby, and\n\ta motel with an outsize Paul Bunyan and Babe the Blue Ox\n\tflanking its sign: BLUE OX MOTEL.\n\n\tMOTEL ROOM\n\n\tCarl Showalter and Gaear Grimsrud are in the twin beds\n\thaving sex with two truck-stop hookers.\n\n\t\t\t\tCARL\n\t\tOh,", "on Jean Lundegaard, who sits tied in a chair\n\twith the black hood still over her head. As we track in, we\n\thear inarticulate cursing, intermittent banging and loud\n\tstatic.\n\n\tWe track in on Gaear Grimsrud, who sits smoking a cigarette\n\tand expressionlessly gazing offscreen.\n\n\tWe track in on Carl Showalter, who stands over an old black-\n\tand-white television. It plays nothing but snow. Carl is\n\tbanging on it as he mutters:\n", "fucking but me, Jerry.\n\t\tI want you with this money on the\n\t\tDayton-Radisson parking ramp, top\n\t\tlevel, thirty minutes, and we'll\n\t\twrap this up.\n\n\t\t\t\tJERRY\n\t\tYah, okay, but, uh -\n\n\t\t\t\tCARL\n\t\tYou're there in thirty minutes or\n\t\tI find you, Jerry, and I shoot\n\t\tyou, and I shoot your fucking wife,\n\t\tand I shoot all your little fucking\n\t\tchildren", ". Brand-new burnt umber\n\t\tCiera.\n\n\t\t\t\tYOUNGER MAN\n\t\tYeah, okay. Well, siddown then.\n\t\tI'm Carl Showalter and this is\n\t\tmy associate Gaear Grimsrud.\n\n\t\t\t\tJERRY\n\t\tYah, how ya doin'. So, uh, we\n\t\tall set on this thing, then?\n\n\t\t\t\tYOUNGER MAN\n\t\tSure, Jerry, we're all set.", "to talk either, man. See how\n\t\tyou like it...\n\n\tHe drives.\n\n\t\t\t\tCARL\n\t\t... Total silence...\n\n\tJERRY'S CUBICLE\n\n\tHe is on the phone.\n\n\t\t\t\tJERRY\n\t\tYah, real good. How you doin'?\n\n\t\t\t\tVOICE\n\t\tPretty good, Mr. Lundegaard.\n\t\tYou're damned hard to get on the\n\t\tphone.\n\n\t\t", "\n\tJERRY'S CUBICLE\n\n\tJerry re-enters.\n\n\t\t\t\tJERRY\n\t\tWell, he never done this before,\n\t\tbut seein' as it's special\n\t\tcircumstances and all, he says I\n\t\tcan knock one hunnert off that\n\t\tTruCoat.\n\n\t\t\t\tCUSTOMER\n\t\tOne hundred! You lied to me, Mr.\n\t\tLundegaard. You're a bald-faced\n\t\tli", "\t\t\t\tCARL\n\t\t... Mmmmmphnck! He fnkem shop me...\n\n\tHe pockets the gun, picks up the briefcase one-handed,\n\tflings it into his car, gets in, peels out.\n\n\tDOWN RAMP\n\n\tCarl screams down the ramp. He takes a corner at high speed\n\tand swerves, just missing Jerry in his Olds on his way to\n\tthe top.\n\n\tINT. JERRY'S CAR\n\n\tJerry recovers from the", "\n\t\t\t\tMARGE\n\t\tSo you think you might remember\n\t\twho those folks were who called\n\t\tya?\n\n\tJERRY'S OFFICE\n\n\tJerry is worriedly pacing behind his desk. At a noise he\n\tlooks up.\n\n\tMarge has stuck her head in the door.\n\n\t\t\t\tMARGE\n\t\tMr. Lundegaard?\n\n\t\t\t\tJERRY\n\t\tHuh? Yah?\n\n\t\t\t\tMARGE\n\t", "Who's Jean?\n\n\t\t\t\tJERRY\n\t\tMy wife! What the - how's -\n\n\t\t\t\tCARL\n\t\tOh, Jean's okay. But there's\n\t\tthree people up in Brainerd who\n\t\taren't so okay, I'll tell ya that.\n\n\t\t\t\tJERRY\n\t\tWhat the heck're you talkin' about?\n\t\tLet's just finish up this deal\n\t\there -\n\n\t\t\t\tCARL", "it, Jerry.\n\n\t\t\t\tJERRY\n\t\tHuh?\n\n\t\t\t\tCARL\n\t\tThe new vehicle, plus forty\n\t\tthousand dollars.\n\n\t\t\t\tJERRY\n\t\tYah, but the deal was, the car\n\t\tfirst, see, then the forty\n\t\tthousand, like as if it was the\n\t\transom. I thought Shep told you -\n\n\t\t\t\tCARL\n\t\tShep didn't tell us much, Jerry.", "lift with a cage light hanging off its innards.\n\n\t\t\t\tJERRY\n\t\tSay, Shep, how ya doin' there?\n\n\t\t\t\tSHEP\n\t\tMm.\n\n\t\t\t\tJERRY\n\t\tSay, ya know those two fellas\n\t\tya put me in touch with, up\n\t\tthere in Fargo?\n\n\t\t\t\tSHEP\n\t\tPut you in touch with Grimsrud.\n\n\t\t\t\tJERRY\n\t\tWell, y", "had any new vehicles stolen\n\t\toff the lot in the past couple of\n\t\tweeks - specifically a tan Cutlass\n\t\tCiera?\n\n\tJerry stares at her, his mouth open.\n\n\t\t\t\tMARGE\n\t\t... Mr. Lundegaard?\n\n\t\t\t\tJERRY\n\t\t... Brainerd?\n\n\t\t\t\tMARGE\n\t\tYah. Yah. Home a Paul Bunyan and\n\t\tBabe the Blue Ox.\n\n\t\t\t\tJ", "ERSON\n\t\tI'm, uh, Jerry Lundegaard -\n\n\t\t\t\tYOUNGER MAN\n\t\tYou're Jerry Lundegaard?\n\n\t\t\t\tJERRY\n\t\tYah, Shep Proudfoot said -\n\n\t\t\t\tYOUNGER MAN\n\t\tShep said you'd be here at 7:30.\n\t\tWhat gives, man?\n\n\t\t\t\tJERRY\n\t\tShep said 8:30.\n\n\t\t\t", ", and I shoot 'em all in the\n\t\tback of their little fucking heads.\n\t\tGot it?\n\n\t\t\t\tJERRY\n\t\t... Yah, well, you stay away from\n\t\tScotty now -\n\n\t\t\t\tCARL\n\t\tGOT IT?\n\n\t\t\t\tJERRY\n\t\tOkay, real good, then.\n\n\tThe line goes dead.\n\n\tA door slams offscreen.\n\n\tEXT. HOUSE\n\n\tWade, briefcase in hand,", "\tI wonder if I could take just a\n\t\tminute of your time here -\n\n\t\t\t\tJERRY\n\t\tWhat... What is it all about?\n\n\t\t\t\tMARGE\n\t\tHuh? Do you mind if I sit down\n\t\t- I'm carrying quite a load here.\n\n\tMarge plops into the chair opposite him.\n\n\t\t\t\tMARGE\n\t\t... You're the owner here, Mr.\n\t\tLundegaard?\n\n\t\t\t\tJERRY", "A curtain is stretched tight\n\tacross its window.\n\n\tJean pulls the curtain back. Bright sunlight amplified by\n\tsnow floods in.\n\n\tA man in an orange ski mask looks up from the lock.\n\n\tJean gasps, drops the curtain, rutns and runs into -\n\n\t- a taller man, also in a ski mask, already in the house.\n\n\tWe hear the crack of the back-door window being smashed.\n\n\tThe tall man - Gaear Grimsrud - grabs Jean'", ". It's\n\t\tall worked out.\n\n\t\t\t\tCARL\n\t\tYou want your own wife kidnapped?\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\tCarl Stares. Jerry looks blankly back.\n\n\t\t\t\tCARL\n\t\t... You - my point is, you pay\n\t\tthe ransom - what eighty thousand\n\t\tbucks? - I mean, you give us\n\t\thalf the ransom, forty thousand,\n\t\tyou keep half" ], [ "\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tVOICE\n\t\tMy patience is at an end.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tVOICE\n\t\tGood day, sir.\n\n\t\t\t\tJERRY\n\t\t... Yah.\n\n\tWIDE ON THE CUBICLE\n\n\tWe are looking at Jerry's cubicle from across the showroom.\n\tNoise muted by distance, we watch Jerry slam down the\n\trec", "\n\ttoward her. It holds a form from the General Motors Finance\n\tCorporation.\n\n\tShe looks idly around. Her look abruptly locks.\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake.\n\n\tJerry is easing his car around the near corner of the\n\tbuilding.\n\n\tMarge's voice is flat with dismay:\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake...\n\n\tShe grabs the phone and punches", "'S OFFICE\n\n\tJerry is at his desk using a blunt pencil to enter numbers\n\tonto a form. Beneath the form is a piece of carbon paper\n\tand beneath that another form copy, which Jerry periodically\n\tchecks. The carbon-copy form shows thick smudgy, illegible\n\tentries.\n\n\tJerry hums nervously.\n\n\tGlass rattles as someone taps at his door.\n\n\tJerry looks up and freezes, mouth hanging open, brow knit\n\twith worry.\n\n\t", "scene is harshly toplit by a hanging\n\tfixture. On the table are the remains of coffee and a\n\tcinammon filbert ring.\n\n\t\t\t\tWADE\n\t\tDammit! I wanna be a part a\n\t\tthis thing!\n\n\t\t\t\tJERRY\n\t\tNo, Wade! They were real clear!\n\t\tThey said they'd call tomorrow,\n\t\twith instructions, and it's gonna\n\t\tbe delivered by me alone!\n\n\t\t\t\tWADE\n\t\tIt'", "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", ".\n\n\t\t\t\tJERRY\n\t\tYah, well, see, I did that, and\n\t\tI haven't been able to get 'em,\n\t\tso I thought you maybe'd know an\n\t\talternate number or what have ya.\n\n\t\t\t\tSHEP\n\t\tNope.\n\n\tJerry slaps his fist into his open palm and snaps his\n\tfingers.\n\n\t\t\t\tJERRY\n\t\tOkay, well, real good, then.\n\n\tCAR\n\n", "Marge rises, Jerry looks blankly down at the papers on\n\tthe desk in front of him.\n\n\t\t\t\tJERRY\n\t\t... Yah, okay.\n\n\tHe looks up at Marge's retreating back. He looks back down\n\tat the papers. He looks over at the phone.\n\n\the picks up the phone and dials four digits.\n\n\t\t\t\tJERRY\n\t\t... Yah, gimmee Shep... The\n\t\theck d'ya mean?... Well", "CUSTOMER\n\t\tThese guys here - these guys!\n\t\tIt's always the same! It's always\n\t\tmore! He's a liar!\n\n\t\t\t\tWIFE\n\t\tPlease, dear.\n\n\t\t\t\tCUSTOMER\n\t\tWe went over this and over this -\n\n\tNEARBY CUBICLE\n\n\tJerry sits perched on the desk of another salesman who is\n\teating lunch as he watches a hockey game on a small portable\n\tTV.\n\n\t", "\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tSTAN\n\t\tWhat's the next step here, Jerry?\n\n\t\t\t\tJERRY\n\t\tThey're gonna call, give me\n\t\tinstructions for a drop. I'm\n\t\tsupposed to have the money ready\n\t\ttomorrow.\n\n\t\t\t\tWADE\n\t\tDammit!\n\n\tTHE CASHIER\n\n\tShe rings up two dollars forty.\n\n\t\t\t\tCASHIER\n\t\tHow", "\tdon't want to cut you out of the\n\t\tloop, but his here's a good deal.\n\t\tI assume, if you're not innarested,\n\t\tyou won't mind if we move on it\n\t\tindependently.\n\n\tPARKING LOT\n\n\tWe are high and wide on the office building's parking lot.\n\tJerry emerges wrapped in a parka, his arms sticking stiffly\n\tout at his sides, his breath vaporizing. He goes to his\n\tcar, opens its front door,", "lift with a cage light hanging off its innards.\n\n\t\t\t\tJERRY\n\t\tSay, Shep, how ya doin' there?\n\n\t\t\t\tSHEP\n\t\tMm.\n\n\t\t\t\tJERRY\n\t\tSay, ya know those two fellas\n\t\tya put me in touch with, up\n\t\tthere in Fargo?\n\n\t\t\t\tSHEP\n\t\tPut you in touch with Grimsrud.\n\n\t\t\t\tJERRY\n\t\tWell, y", "\tand grabbing a pair of galoshes.\n\n\t\t\t\tJERRY\n\t\t... If it's so damned imporant\n\t\tto ya!\n\n\t\t\t\tMARGE\n\t\tI'm sorry, sir, I -\n\n\tJerry has the parka slung over one arm and the galoshes\n\tpinched in his hand.\n\n\t\t\t\tJERRY\n\t\tAw, what the Christ!\n\n\tHe stamps out the door.\n\n\tMarge stares.\n\n\t", "aked by the shower curtain\n\tbut awkwardly trying to push it off.\n\n\tUPSTAIRS LANDING\n\n\tStill thrashing, Jean crashes against the upstairs railing,\n\ttrips on the curtain and falls, thumping crazily down the\n\tstairs.\n\n\tGrimsrud trots down after her.\n\n\tA PLAQUE: WADE GUSTAFSON INCORPORTATED\n\n\tINT. WADE'S OFFICE\n\n\tWade sits behind his desk; another man rises as Jerry\n", "ling, guns at the\n\tready, jittery camera behind them rushing to keep pace.\n\n\tA man in boxer shorts is halfway out the bathroom window.\n\n\tThe policemen holster their guns and charge the window, and\n\tdrag Jerry Lundegaard back into the room.\n\n\tHis flesh quivers as he thrashes and keens in short,\n\tpiercing screams.\n\n\tThe cops wrestle him to the floor but his palsied thrashing\n\tcontinues. The policemen struggle to restrain him.\n\n\t\t", "pulls out a red plastic scraper\n\tand starts methodically scraping off the thin crust of ice\n\tthat has developed on his windshield.\n\n\tThe scrape-scrape-scrape sound carries in the frigid air.\n\n\tJerry goes into a frenzy, banging the scraper against the\n\twindshield and the hood of his car.\n\n\tThe tantrum passes. Jerry stands pantin, staring at nothing\n\tin particular.\n\n\tScrape-scrape-scrape - he goes back", "... Wade, it's Jerry, I - we\n\t\tgotta talk, Wade, it's terrible...\n\n\tBeat.\n\n\tLIVING ROOM\n\n\tJerry stands in wide shot, hands on hips, looking down at a\n\ttelephone.\n\n\tAfter a motionless beat he picks up the phone and punches in\n\ta number.\n\n\t\t\t\tJERRY\n\t\t... Yah, Wade Gustafson, please.\n\n\tBLACK\n\n\tHold in black.\n\n\t", "\t\t\t\tCARL\n\t\t... Mmmmmphnck! He fnkem shop me...\n\n\tHe pockets the gun, picks up the briefcase one-handed,\n\tflings it into his car, gets in, peels out.\n\n\tDOWN RAMP\n\n\tCarl screams down the ramp. He takes a corner at high speed\n\tand swerves, just missing Jerry in his Olds on his way to\n\tthe top.\n\n\tINT. JERRY'S CAR\n\n\tJerry recovers from the", "\t\t\t\tVOICE\n\t\tYah.\n\n\t\t\t\tJEAN\n\t\tIt's Dad.\n\n\t\t\t\tVOICE\n\t\tYah...\n\n\tJerry enters in shirtsleeves and tie.\n\n\t\t\t\tJERRY\n\t\t... Yah, okay...\n\n\t\t\t\tSCOTT\n\t\tLook, Dad, there is no fucking\n\t\tway -\n\n\t\t\t\tJEAN\n\t\tScott!\n\n\t\t\t\tJERRY\n\t\t", "a\n\tprostrate body.\n\n\tEXT. JERRY'S HOUSE\n\n\tThe car pulls into the driveway.\n\n\tFOYER\n\n\tJerry enters and sits on the foyer chair to take off his\n\tgaloshes.\n\n\t\t\t\tSCOTT'S VOICE\n\t\t... Dad?\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tSCOTT'S VOICE\n\t\tStan Grossman called.\n\n\t\t\t\tJ", "\t\tJERRY\n\t\tYah, it's pretty darned busy here,\n\t\tbut that's the way we like it.\n\n\t\t\t\tVOICE\n\t\tThat's for sure. Now, I just\n\t\tneed, on these last, these financing\n\t\tdocuments you sent us, I can't\n\t\tread the serial numbers of the\n\t\tvehicles on here, so I -\n\n\t\t\t\tJERRY\n\t\tBut I already got the, it's okay,\n\t\tthe loans" ], [ "\n\n\t\t\t\tJERRY\n\t\t... My fee? Wade, what the\n\t\theck're you talkin' about?\n\n\t\t\t\tWADE\n\t\tStan and I're okay.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tWADE\n\t\tWe're good to loan in.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tWADE\n\t\tBut we never talked about your\n\t\tfee for bringin'", "it to us.\n\n\t\t\t\tJERRY\n\t\tNo, but, Wade, see, I was\n\t\tbringin' you this deal for you\n\t\tto loan me the money to put\n\t\tin. It's my deal here, see?\n\n\tWade scowls, looks at Stan.\n\n\t\t\t\tSTAN\n\t\tJerry - we thought you were\n\t\tbringin' us an investment.\n\n\t\t\t\tJERRY\n\t\tYah, right -\n\n\t\t\t", "'re not a bank, Jerry.\n\n\tWade is angry.\n\n\t\t\t\tWADE\n\t\tWhat the heck, Jerry, if I wanted\n\t\tbank interest on seven hunnert'n\n\t\tfifty thousand I'd go to Midwest\n\t\tFederal. Talk to Bill Diehl.\n\n\t\t\t\tSTAN\n\t\tHe's at Norstar.\n\n\t\t\t\tWADE\n\t\tHe's at -\n\n\t\t\t\tJERRY\n\t\tNo, see, I don'", "ah, but he had a buddy\n\t\tthere. He, uh -\n\n\t\t\t\tSHEP\n\t\tWell, I don't vouch for him.\n\n\t\t\t\tJERRY\n\t\tWell, that's okay, I just -\n\n\t\t\t\tSHEP\n\t\tI vouch for Grimsrud. Who's his\n\t\tbuddy?\n\n\t\t\t\tJERRY\n\t\tCarl somethin'?\n\n\t\t\t\tSHEP\n\t\tNever heard of", "\tSTAN\n\t\tYou're sayin' - what're you\n\t\tsayin'?\n\n\t\t\t\tWADE\n\t\tYou're sayin' that we put in\n\t\tall the money and you collect\n\t\twhen it pays off?\n\n\t\t\t\tJERRY\n\t\tNo, no. I - I'd, I'd - pay you\n\t\tback the principal, and interest\n\t\t- heck, I'd go - one over prime -\n\n\t\t\t\tSTAN\n\t\tWe", "\n\tJERRY'S CUBICLE\n\n\tJerry re-enters.\n\n\t\t\t\tJERRY\n\t\tWell, he never done this before,\n\t\tbut seein' as it's special\n\t\tcircumstances and all, he says I\n\t\tcan knock one hunnert off that\n\t\tTruCoat.\n\n\t\t\t\tCUSTOMER\n\t\tOne hundred! You lied to me, Mr.\n\t\tLundegaard. You're a bald-faced\n\t\tli", "\tdon't want to cut you out of the\n\t\tloop, but his here's a good deal.\n\t\tI assume, if you're not innarested,\n\t\tyou won't mind if we move on it\n\t\tindependently.\n\n\tPARKING LOT\n\n\tWe are high and wide on the office building's parking lot.\n\tJerry emerges wrapped in a parka, his arms sticking stiffly\n\tout at his sides, his breath vaporizing. He goes to his\n\tcar, opens its front door,", "it, Jerry.\n\n\t\t\t\tJERRY\n\t\tHuh?\n\n\t\t\t\tCARL\n\t\tThe new vehicle, plus forty\n\t\tthousand dollars.\n\n\t\t\t\tJERRY\n\t\tYah, but the deal was, the car\n\t\tfirst, see, then the forty\n\t\tthousand, like as if it was the\n\t\transom. I thought Shep told you -\n\n\t\t\t\tCARL\n\t\tShep didn't tell us much, Jerry.", "him. Don't vouch\n\t\tfor him.\n\n\t\t\t\tJERRY\n\t\tWell, that's okay, he's a buddy\n\t\tof the guy ya vouched for, so I'm\n\t\tnot worryin'. I just, I was\n\t\twonderin', see, I gotta get in\n\t\ttouch with 'em for, I might not\n\t\tneed it anymore, sumpn's happenin',\n\t\tsee -\n\n\t\t\t\tSHEP\n\t\tCall 'em up", "\t\tjust read them to me -\n\n\t\t\t\tJERRY\n\t\tBut the deal's already done, I\n\t\talready got the money -\n\n\t\t\t\tVOICE\n\t\tYeah, but we have an audit here,\n\t\tI just have to know that these\n\t\tvehicles you're financing with\n\t\tthis money, that they really\n\t\texist.\n\n\t\t\t\tJERRY\n\t\tYah, well, they exist all right.\n\n\t\t\t\tVOICE\n\t\tI'm", "lift with a cage light hanging off its innards.\n\n\t\t\t\tJERRY\n\t\tSay, Shep, how ya doin' there?\n\n\t\t\t\tSHEP\n\t\tMm.\n\n\t\t\t\tJERRY\n\t\tSay, ya know those two fellas\n\t\tya put me in touch with, up\n\t\tthere in Fargo?\n\n\t\t\t\tSHEP\n\t\tPut you in touch with Grimsrud.\n\n\t\t\t\tJERRY\n\t\tWell, y", "\tJERRY\n\t\tYah, okay, I'll have my girl\n\t\tsend you over a copy, then.\n\n\t\t\t\tVOICE\n\t\tOkay, because if I can't correlate\n\t\tthis note with the specific vehicles,\n\t\tthen I gotta call back that money -\n\n\t\t\t\tJERRY\n\t\tYah, how much money was that?\n\n\t\t\t\tVOICE\n\t\tThree hundred and twenty thousand\n\t\tdollars. See, I gotta correlate\n\t\tthat money with", "are in place, I already\n\t\tgot the, the what, the -\n\n\t\t\t\tVOICE\n\t\tYeah, the three hundred and twenty\n\t\tthousand dollars, you got the money\n\t\tlast month.\n\n\t\t\t\tJERRY\n\t\tYah, so we're all set.\n\n\t\t\t\tVOICE\n\t\tYeah, but the vehicles you were\n\t\tborrowing on, I just can't read\n\t\tthe serial numbers on your\n\t\tapplicaton. Maybe if you could\n", "\t\tJERRY\n\t\tYah, it's pretty darned busy here,\n\t\tbut that's the way we like it.\n\n\t\t\t\tVOICE\n\t\tThat's for sure. Now, I just\n\t\tneed, on these last, these financing\n\t\tdocuments you sent us, I can't\n\t\tread the serial numbers of the\n\t\tvehicles on here, so I -\n\n\t\t\t\tJERRY\n\t\tBut I already got the, it's okay,\n\t\tthe loans", "\tenters.\n\n\t\t\t\tJERRY\n\t\tHow ya doin' there, Stan? How\n\t\tare ya, Wade?\n\n\tStan Grossman shakes his hand.\n\n\t\t\t\tSTAN\n\t\tGood to see ya again, Jerry. If\n\t\tthese numbers are right, this\n\t\tlooks pretty sweet.\n\n\t\t\t\tJERRY\n\t\tOh, those numbers are all right,\n\t\tbleemee.\n\n\t\t\t\tWADE\n\t\tThis is", "\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tSTAN\n\t\tWhat's the next step here, Jerry?\n\n\t\t\t\tJERRY\n\t\tThey're gonna call, give me\n\t\tinstructions for a drop. I'm\n\t\tsupposed to have the money ready\n\t\ttomorrow.\n\n\t\t\t\tWADE\n\t\tDammit!\n\n\tTHE CASHIER\n\n\tShe rings up two dollars forty.\n\n\t\t\t\tCASHIER\n\t\tHow", "\n\ttoward her. It holds a form from the General Motors Finance\n\tCorporation.\n\n\tShe looks idly around. Her look abruptly locks.\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake.\n\n\tJerry is easing his car around the near corner of the\n\tbuilding.\n\n\tMarge's voice is flat with dismay:\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake...\n\n\tShe grabs the phone and punches", "\t\tJerry?\n\n\t\t\t\tJERRY\n\t\tWell, that's, that's, I'm not go\n\t\tinta, inta - see, I just need\n\t\tmoney. Now, her dad's real\n\t\twealthy -\n\n\t\t\t\tCARL\n\t\tSo why don't you just ask him\n\t\tfor the money?\n\n\tGrimsrud, the dour man who has not yet spoken, now softly\n\tputs in with a Swedish-accented voice:\n", "\t\t\t\tJERRY\n\t\tNo kiddin'?\n\n\t\t\t\tWADE\n\t\tWe might be innarested.\n\n\t\t\t\tJERRY\n\t\tNo kiddin'! I'd need the cash\n\t\tpretty quick there. In order\n\t\tto close the deal.\n\n\t\t\t\tWADE\n\t\tCome by at 2:30 and we'll talk\n\t\tabout it. If your numbers are\n\t\tright, Stan says its pretty\n\t\tsweet.", "ar!\n\n\tJerry sits staring at his lap.\n\n\t\t\t\tCUSTOMER\n\t\t... A fucking liar -\n\n\t\t\t\tWIFE\n\t\tBucky, please!\n\n\tJerry mumbles into his lap:\n\n\t\t\t\tJERRY\n\t\tOne hunnert's the best we can\n\t\tdo here.\n\n\t\t\t\tCUSTOMER\n\t\tOh, for Christ's sake, where's my\n\t\tgoddamn checkbook. Let's" ], [ "are in place, I already\n\t\tgot the, the what, the -\n\n\t\t\t\tVOICE\n\t\tYeah, the three hundred and twenty\n\t\tthousand dollars, you got the money\n\t\tlast month.\n\n\t\t\t\tJERRY\n\t\tYah, so we're all set.\n\n\t\t\t\tVOICE\n\t\tYeah, but the vehicles you were\n\t\tborrowing on, I just can't read\n\t\tthe serial numbers on your\n\t\tapplicaton. Maybe if you could\n", "\n\n\t\t\t\tJERRY\n\t\t... My fee? Wade, what the\n\t\theck're you talkin' about?\n\n\t\t\t\tWADE\n\t\tStan and I're okay.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tWADE\n\t\tWe're good to loan in.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tWADE\n\t\tBut we never talked about your\n\t\tfee for bringin'", "\t\tjust read them to me -\n\n\t\t\t\tJERRY\n\t\tBut the deal's already done, I\n\t\talready got the money -\n\n\t\t\t\tVOICE\n\t\tYeah, but we have an audit here,\n\t\tI just have to know that these\n\t\tvehicles you're financing with\n\t\tthis money, that they really\n\t\texist.\n\n\t\t\t\tJERRY\n\t\tYah, well, they exist all right.\n\n\t\t\t\tVOICE\n\t\tI'm", "\t\tJERRY\n\t\tYah, it's pretty darned busy here,\n\t\tbut that's the way we like it.\n\n\t\t\t\tVOICE\n\t\tThat's for sure. Now, I just\n\t\tneed, on these last, these financing\n\t\tdocuments you sent us, I can't\n\t\tread the serial numbers of the\n\t\tvehicles on here, so I -\n\n\t\t\t\tJERRY\n\t\tBut I already got the, it's okay,\n\t\tthe loans", "it to us.\n\n\t\t\t\tJERRY\n\t\tNo, but, Wade, see, I was\n\t\tbringin' you this deal for you\n\t\tto loan me the money to put\n\t\tin. It's my deal here, see?\n\n\tWade scowls, looks at Stan.\n\n\t\t\t\tSTAN\n\t\tJerry - we thought you were\n\t\tbringin' us an investment.\n\n\t\t\t\tJERRY\n\t\tYah, right -\n\n\t\t\t", "\tJERRY\n\t\tYah, okay, I'll have my girl\n\t\tsend you over a copy, then.\n\n\t\t\t\tVOICE\n\t\tOkay, because if I can't correlate\n\t\tthis note with the specific vehicles,\n\t\tthen I gotta call back that money -\n\n\t\t\t\tJERRY\n\t\tYah, how much money was that?\n\n\t\t\t\tVOICE\n\t\tThree hundred and twenty thousand\n\t\tdollars. See, I gotta correlate\n\t\tthat money with", "\n\tJERRY'S CUBICLE\n\n\tJerry re-enters.\n\n\t\t\t\tJERRY\n\t\tWell, he never done this before,\n\t\tbut seein' as it's special\n\t\tcircumstances and all, he says I\n\t\tcan knock one hunnert off that\n\t\tTruCoat.\n\n\t\t\t\tCUSTOMER\n\t\tOne hundred! You lied to me, Mr.\n\t\tLundegaard. You're a bald-faced\n\t\tli", "'re not a bank, Jerry.\n\n\tWade is angry.\n\n\t\t\t\tWADE\n\t\tWhat the heck, Jerry, if I wanted\n\t\tbank interest on seven hunnert'n\n\t\tfifty thousand I'd go to Midwest\n\t\tFederal. Talk to Bill Diehl.\n\n\t\t\t\tSTAN\n\t\tHe's at Norstar.\n\n\t\t\t\tWADE\n\t\tHe's at -\n\n\t\t\t\tJERRY\n\t\tNo, see, I don'", "ah, but he had a buddy\n\t\tthere. He, uh -\n\n\t\t\t\tSHEP\n\t\tWell, I don't vouch for him.\n\n\t\t\t\tJERRY\n\t\tWell, that's okay, I just -\n\n\t\t\t\tSHEP\n\t\tI vouch for Grimsrud. Who's his\n\t\tbuddy?\n\n\t\t\t\tJERRY\n\t\tCarl somethin'?\n\n\t\t\t\tSHEP\n\t\tNever heard of", "\n\ttoward her. It holds a form from the General Motors Finance\n\tCorporation.\n\n\tShe looks idly around. Her look abruptly locks.\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake.\n\n\tJerry is easing his car around the near corner of the\n\tbuilding.\n\n\tMarge's voice is flat with dismay:\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake...\n\n\tShe grabs the phone and punches", "it, Jerry.\n\n\t\t\t\tJERRY\n\t\tHuh?\n\n\t\t\t\tCARL\n\t\tThe new vehicle, plus forty\n\t\tthousand dollars.\n\n\t\t\t\tJERRY\n\t\tYah, but the deal was, the car\n\t\tfirst, see, then the forty\n\t\tthousand, like as if it was the\n\t\transom. I thought Shep told you -\n\n\t\t\t\tCARL\n\t\tShep didn't tell us much, Jerry.", "lift with a cage light hanging off its innards.\n\n\t\t\t\tJERRY\n\t\tSay, Shep, how ya doin' there?\n\n\t\t\t\tSHEP\n\t\tMm.\n\n\t\t\t\tJERRY\n\t\tSay, ya know those two fellas\n\t\tya put me in touch with, up\n\t\tthere in Fargo?\n\n\t\t\t\tSHEP\n\t\tPut you in touch with Grimsrud.\n\n\t\t\t\tJERRY\n\t\tWell, y", "\tSTAN\n\t\tYou're sayin' - what're you\n\t\tsayin'?\n\n\t\t\t\tWADE\n\t\tYou're sayin' that we put in\n\t\tall the money and you collect\n\t\twhen it pays off?\n\n\t\t\t\tJERRY\n\t\tNo, no. I - I'd, I'd - pay you\n\t\tback the principal, and interest\n\t\t- heck, I'd go - one over prime -\n\n\t\t\t\tSTAN\n\t\tWe", "\tdon't want to cut you out of the\n\t\tloop, but his here's a good deal.\n\t\tI assume, if you're not innarested,\n\t\tyou won't mind if we move on it\n\t\tindependently.\n\n\tPARKING LOT\n\n\tWe are high and wide on the office building's parking lot.\n\tJerry emerges wrapped in a parka, his arms sticking stiffly\n\tout at his sides, his breath vaporizing. He goes to his\n\tcar, opens its front door,", "\tenters.\n\n\t\t\t\tJERRY\n\t\tHow ya doin' there, Stan? How\n\t\tare ya, Wade?\n\n\tStan Grossman shakes his hand.\n\n\t\t\t\tSTAN\n\t\tGood to see ya again, Jerry. If\n\t\tthese numbers are right, this\n\t\tlooks pretty sweet.\n\n\t\t\t\tJERRY\n\t\tOh, those numbers are all right,\n\t\tbleemee.\n\n\t\t\t\tWADE\n\t\tThis is", "\t\t\t\tJERRY\n\t\tNo kiddin'?\n\n\t\t\t\tWADE\n\t\tWe might be innarested.\n\n\t\t\t\tJERRY\n\t\tNo kiddin'! I'd need the cash\n\t\tpretty quick there. In order\n\t\tto close the deal.\n\n\t\t\t\tWADE\n\t\tCome by at 2:30 and we'll talk\n\t\tabout it. If your numbers are\n\t\tright, Stan says its pretty\n\t\tsweet.", "\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tSTAN\n\t\tWhat's the next step here, Jerry?\n\n\t\t\t\tJERRY\n\t\tThey're gonna call, give me\n\t\tinstructions for a drop. I'm\n\t\tsupposed to have the money ready\n\t\ttomorrow.\n\n\t\t\t\tWADE\n\t\tDammit!\n\n\tTHE CASHIER\n\n\tShe rings up two dollars forty.\n\n\t\t\t\tCASHIER\n\t\tHow", "had any new vehicles stolen\n\t\toff the lot in the past couple of\n\t\tweeks - specifically a tan Cutlass\n\t\tCiera?\n\n\tJerry stares at her, his mouth open.\n\n\t\t\t\tMARGE\n\t\t... Mr. Lundegaard?\n\n\t\t\t\tJERRY\n\t\t... Brainerd?\n\n\t\t\t\tMARGE\n\t\tYah. Yah. Home a Paul Bunyan and\n\t\tBabe the Blue Ox.\n\n\t\t\t\tJ", "ar!\n\n\tJerry sits staring at his lap.\n\n\t\t\t\tCUSTOMER\n\t\t... A fucking liar -\n\n\t\t\t\tWIFE\n\t\tBucky, please!\n\n\tJerry mumbles into his lap:\n\n\t\t\t\tJERRY\n\t\tOne hunnert's the best we can\n\t\tdo here.\n\n\t\t\t\tCUSTOMER\n\t\tOh, for Christ's sake, where's my\n\t\tgoddamn checkbook. Let's", "him. Don't vouch\n\t\tfor him.\n\n\t\t\t\tJERRY\n\t\tWell, that's okay, he's a buddy\n\t\tof the guy ya vouched for, so I'm\n\t\tnot worryin'. I just, I was\n\t\twonderin', see, I gotta get in\n\t\ttouch with 'em for, I might not\n\t\tneed it anymore, sumpn's happenin',\n\t\tsee -\n\n\t\t\t\tSHEP\n\t\tCall 'em up" ], [ ".\n\n\t\t\t\tJERRY\n\t\tYah, well, see, I did that, and\n\t\tI haven't been able to get 'em,\n\t\tso I thought you maybe'd know an\n\t\talternate number or what have ya.\n\n\t\t\t\tSHEP\n\t\tNope.\n\n\tJerry slaps his fist into his open palm and snaps his\n\tfingers.\n\n\t\t\t\tJERRY\n\t\tOkay, well, real good, then.\n\n\tCAR\n\n", "a hydraulic lift. Bewildered, he looks about, then asks\n\ta mechanic passing by, his voice raised over the din of the\n\tshop.\n\n\t\t\t\tJERRY\n\t\tWhere's Shep?\n\n\tThe mechanic points.\n\n\t\t\t\tMECHANIC\n\t\tTalkin' to a cop.\n\n\tJerry looks.\n\n\t\t\t\tJERRY\n\t\t... Cop?\n\n\tMarge and Shep face each other at the other end of the floor\n\tin", "Marge rises, Jerry looks blankly down at the papers on\n\tthe desk in front of him.\n\n\t\t\t\tJERRY\n\t\t... Yah, okay.\n\n\tHe looks up at Marge's retreating back. He looks back down\n\tat the papers. He looks over at the phone.\n\n\the picks up the phone and dials four digits.\n\n\t\t\t\tJERRY\n\t\t... Yah, gimmee Shep... The\n\t\theck d'ya mean?... Well", "lift with a cage light hanging off its innards.\n\n\t\t\t\tJERRY\n\t\tSay, Shep, how ya doin' there?\n\n\t\t\t\tSHEP\n\t\tMm.\n\n\t\t\t\tJERRY\n\t\tSay, ya know those two fellas\n\t\tya put me in touch with, up\n\t\tthere in Fargo?\n\n\t\t\t\tSHEP\n\t\tPut you in touch with Grimsrud.\n\n\t\t\t\tJERRY\n\t\tWell, y", "ah, but he had a buddy\n\t\tthere. He, uh -\n\n\t\t\t\tSHEP\n\t\tWell, I don't vouch for him.\n\n\t\t\t\tJERRY\n\t\tWell, that's okay, I just -\n\n\t\t\t\tSHEP\n\t\tI vouch for Grimsrud. Who's his\n\t\tbuddy?\n\n\t\t\t\tJERRY\n\t\tCarl somethin'?\n\n\t\t\t\tSHEP\n\t\tNever heard of", "him. Don't vouch\n\t\tfor him.\n\n\t\t\t\tJERRY\n\t\tWell, that's okay, he's a buddy\n\t\tof the guy ya vouched for, so I'm\n\t\tnot worryin'. I just, I was\n\t\twonderin', see, I gotta get in\n\t\ttouch with 'em for, I might not\n\t\tneed it anymore, sumpn's happenin',\n\t\tsee -\n\n\t\t\t\tSHEP\n\t\tCall 'em up", "it, Jerry.\n\n\t\t\t\tJERRY\n\t\tHuh?\n\n\t\t\t\tCARL\n\t\tThe new vehicle, plus forty\n\t\tthousand dollars.\n\n\t\t\t\tJERRY\n\t\tYah, but the deal was, the car\n\t\tfirst, see, then the forty\n\t\tthousand, like as if it was the\n\t\transom. I thought Shep told you -\n\n\t\t\t\tCARL\n\t\tShep didn't tell us much, Jerry.", "a grimy and cluttered glassed-in cubicle.\n\n\t\t\t\tMECHANIC\n\t\tSaid she was a policewoman.\n\n\tMarge and Shep silently talk.\n\n\tJerry stares, swallows.\n\n\tINSIDE THE CUBICLE\n\n\t\t\t\tMARGE\n\t\t- Wednesday night?\n\n\tShep is shaking his head.\n\n\t\t\t\tSHEP\n\t\tNope.\n\n\t\t\t\tMARGE\n\t\tWell, you do reside their at", ". I give you a\n\t\tbrand-new vehicle in advance and -\n\n\t\t\t\tCARL\n\t\tI'm not gonna debate you, Jerry.\n\n\t\t\t\tJERRY\n\t\tOkay.\n\n\t\t\t\tCARL\n\t\tI'm not gonna sit here and debate.\n\t\tI will say this though: what Shep\n\t\ttold us didn't make a whole lot\n\t\tof sense.\n\n\t\t\t\tJERRY\n\t\tOh, no, it's real sound", "ERSON\n\t\tI'm, uh, Jerry Lundegaard -\n\n\t\t\t\tYOUNGER MAN\n\t\tYou're Jerry Lundegaard?\n\n\t\t\t\tJERRY\n\t\tYah, Shep Proudfoot said -\n\n\t\t\t\tYOUNGER MAN\n\t\tShep said you'd be here at 7:30.\n\t\tWhat gives, man?\n\n\t\t\t\tJERRY\n\t\tShep said 8:30.\n\n\t\t\t", "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", "anging his head against the wall.\n\n\tThe hooker runs by, clutching her clothes, and Shep kicks\n\ther in the ass as she passes.\n\n\tHe spins and goes back into the apartment.\n\n\tCarl is hopping desperately into his pants.\n\n\t\t\t\tCARL\n\t\tStay away from me, man! Hey!\n\t\tSmoke a fuckin' peace pipe, man!\n\t\tDon't you dare fuckin' - Unghh!\n\n\tAfter hitting him several times, Shep y", "\tYOUNGER MAN\n\t\tWe been sitting here an hour.\n\t\tI've peed three times already.\n\n\t\t\t\tJERRY\n\t\tI'm sure sorry. I - Shep told\n\t\tme 8:30. It was a mix-up, I\n\t\tguess.\n\n\t\t\t\tYOUNGER MAN\n\t\tYa got the car?\n\n\t\t\t\tJERRY\n\t\tYah, you bet. It's in the lot\n\t\tthere", "', ya know.\n\t\tMaybe it's all bull, but like you\n\t\tsaid, Stan, they're callin' the\n\t\tshots.\n\n\t\t\t\tSTAN\n\t\tOkay. And Scotty, is he gonna\n\t\tbe all right?\n\n\t\t\t\tJERRY\n\t\tYah, geez, Scotty. I'll go talk\n\t\tto him.\n\n\tThere is a tap at the horn from Wade, and Stan gets into the\n\tLincoln.\n\n\t\t\t", "\n\t\t... What're you talking about?\n\n\tA DIRTY BEDROOM\n\n\tCarl is humping the escort.\n\n\tWe hear the door burst open.\n\n\tThe escort is grabbed and flung out of bed.\n\n\t\t\t\tCARL\n\t\tShep! What the hell are you doing?\n\t\tI'm banging that girl! Shep! Jesus\n\t\tCh -\n\n\tShep slaps him hard, forehand, backhand.\n\n\t\t\t\tSHE", "\tenters.\n\n\t\t\t\tJERRY\n\t\tHow ya doin' there, Stan? How\n\t\tare ya, Wade?\n\n\tStan Grossman shakes his hand.\n\n\t\t\t\tSTAN\n\t\tGood to see ya again, Jerry. If\n\t\tthese numbers are right, this\n\t\tlooks pretty sweet.\n\n\t\t\t\tJERRY\n\t\tOh, those numbers are all right,\n\t\tbleemee.\n\n\t\t\t\tWADE\n\t\tThis is", "a\n\tprostrate body.\n\n\tEXT. JERRY'S HOUSE\n\n\tThe car pulls into the driveway.\n\n\tFOYER\n\n\tJerry enters and sits on the foyer chair to take off his\n\tgaloshes.\n\n\t\t\t\tSCOTT'S VOICE\n\t\t... Dad?\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tSCOTT'S VOICE\n\t\tStan Grossman called.\n\n\t\t\t\tJ", "outta here. Put me back in\n\t\tStillwater. Little fucking shit.\n\n\tThere is a knock at the door.\n\n\t\t\t\tVOICE\n\t\tHey! Come on in there!\n\n\tShep strides to the door, flings it open.\n\n\tA man in boxer shorts stands in the doorway.\n\n\t\t\t\tMAN\n\t\tC'mon, brother, it's late - Unghh!\n\n\tShep hits him twice, then grabs both of his ears and starts\n\tb", "\n\ttoward her. It holds a form from the General Motors Finance\n\tCorporation.\n\n\tShe looks idly around. Her look abruptly locks.\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake.\n\n\tJerry is easing his car around the near corner of the\n\tbuilding.\n\n\tMarge's voice is flat with dismay:\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake...\n\n\tShe grabs the phone and punches", "P\n\t\tFuck out of my house!\n\n\tHe hauls him up -\n\n\t\t\t\tCARL\n\t\tShep! Don't you dare fucking hit\n\t\tme, man! Don't you -\n\n\t- punches him and flings him away.\n\n\tCarl hits a sofa and we see his bare legs disappear as he\n\tflips back over it.\n\n\tShep enters frame to circle the sofa and kick at Carl behind\n\tit.\n\n\t\t\t\tSHEP\n\t\tFuck" ], [ "LE\n\n\tHe sits in and picks up his phone.\n\n\t\t\t\tJERRY\n\t\tJerry Lundegaard.\n\n\t\t\t\tVOICE\n\t\tAll right, Jerry, you got this\n\t\tphone to yourself?\n\n\t\t\t\tJERRY\n\t\tWell ... yah.\n\n\t\t\t\tVOICE\n\t\tKnow who this is?\n\n\t\t\t\tJERRY\n\t\tWell, yah, I got an idea. How's\n\t\tthat Ciera workin' out", "... The heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tI'll see you tomorrow.\n\n\tClick.\n\n\tJerry slams down the phone, which immediately rings. He\n\tangrily snatches it up.\n\n\t\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tVOICE\n\t\tJerome Lundegaard?\n\n\t\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tVOICE\n\t\tThis is Reilly Deif", "on Jean Lundegaard, who sits tied in a chair\n\twith the black hood still over her head. As we track in, we\n\thear inarticulate cursing, intermittent banging and loud\n\tstatic.\n\n\tWe track in on Gaear Grimsrud, who sits smoking a cigarette\n\tand expressionlessly gazing offscreen.\n\n\tWe track in on Carl Showalter, who stands over an old black-\n\tand-white television. It plays nothing but snow. Carl is\n\tbanging on it as he mutters:\n", ". It's\n\t\tall worked out.\n\n\t\t\t\tCARL\n\t\tYou want your own wife kidnapped?\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\tCarl Stares. Jerry looks blankly back.\n\n\t\t\t\tCARL\n\t\t... You - my point is, you pay\n\t\tthe ransom - what eighty thousand\n\t\tbucks? - I mean, you give us\n\t\thalf the ransom, forty thousand,\n\t\tyou keep half", "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", ". Brand-new burnt umber\n\t\tCiera.\n\n\t\t\t\tYOUNGER MAN\n\t\tYeah, okay. Well, siddown then.\n\t\tI'm Carl Showalter and this is\n\t\tmy associate Gaear Grimsrud.\n\n\t\t\t\tJERRY\n\t\tYah, how ya doin'. So, uh, we\n\t\tall set on this thing, then?\n\n\t\t\t\tYOUNGER MAN\n\t\tSure, Jerry, we're all set.", "\n\t\t\t\tMARGE\n\t\tSo you think you might remember\n\t\twho those folks were who called\n\t\tya?\n\n\tJERRY'S OFFICE\n\n\tJerry is worriedly pacing behind his desk. At a noise he\n\tlooks up.\n\n\tMarge has stuck her head in the door.\n\n\t\t\t\tMARGE\n\t\tMr. Lundegaard?\n\n\t\t\t\tJERRY\n\t\tHuh? Yah?\n\n\t\t\t\tMARGE\n\t", "to talk either, man. See how\n\t\tyou like it...\n\n\tHe drives.\n\n\t\t\t\tCARL\n\t\t... Total silence...\n\n\tJERRY'S CUBICLE\n\n\tHe is on the phone.\n\n\t\t\t\tJERRY\n\t\tYah, real good. How you doin'?\n\n\t\t\t\tVOICE\n\t\tPretty good, Mr. Lundegaard.\n\t\tYou're damned hard to get on the\n\t\tphone.\n\n\t\t", "\tI wonder if I could take just a\n\t\tminute of your time here -\n\n\t\t\t\tJERRY\n\t\tWhat... What is it all about?\n\n\t\t\t\tMARGE\n\t\tHuh? Do you mind if I sit down\n\t\t- I'm carrying quite a load here.\n\n\tMarge plops into the chair opposite him.\n\n\t\t\t\tMARGE\n\t\t... You're the owner here, Mr.\n\t\tLundegaard?\n\n\t\t\t\tJERRY", "A curtain is stretched tight\n\tacross its window.\n\n\tJean pulls the curtain back. Bright sunlight amplified by\n\tsnow floods in.\n\n\tA man in an orange ski mask looks up from the lock.\n\n\tJean gasps, drops the curtain, rutns and runs into -\n\n\t- a taller man, also in a ski mask, already in the house.\n\n\tWe hear the crack of the back-door window being smashed.\n\n\tThe tall man - Gaear Grimsrud - grabs Jean'", "had any new vehicles stolen\n\t\toff the lot in the past couple of\n\t\tweeks - specifically a tan Cutlass\n\t\tCiera?\n\n\tJerry stares at her, his mouth open.\n\n\t\t\t\tMARGE\n\t\t... Mr. Lundegaard?\n\n\t\t\t\tJERRY\n\t\t... Brainerd?\n\n\t\t\t\tMARGE\n\t\tYah. Yah. Home a Paul Bunyan and\n\t\tBabe the Blue Ox.\n\n\t\t\t\tJ", "get this\n\t\tover with.\n\n\tWIDE EXTERIOR: TRUCK STOP\n\n\tThere is a restaurant with many big rigs parked nearby, and\n\ta motel with an outsize Paul Bunyan and Babe the Blue Ox\n\tflanking its sign: BLUE OX MOTEL.\n\n\tMOTEL ROOM\n\n\tCarl Showalter and Gaear Grimsrud are in the twin beds\n\thaving sex with two truck-stop hookers.\n\n\t\t\t\tCARL\n\t\tOh,", "ERSON\n\t\tI'm, uh, Jerry Lundegaard -\n\n\t\t\t\tYOUNGER MAN\n\t\tYou're Jerry Lundegaard?\n\n\t\t\t\tJERRY\n\t\tYah, Shep Proudfoot said -\n\n\t\t\t\tYOUNGER MAN\n\t\tShep said you'd be here at 7:30.\n\t\tWhat gives, man?\n\n\t\t\t\tJERRY\n\t\tShep said 8:30.\n\n\t\t\t", "Who's Jean?\n\n\t\t\t\tJERRY\n\t\tMy wife! What the - how's -\n\n\t\t\t\tCARL\n\t\tOh, Jean's okay. But there's\n\t\tthree people up in Brainerd who\n\t\taren't so okay, I'll tell ya that.\n\n\t\t\t\tJERRY\n\t\tWhat the heck're you talkin' about?\n\t\tLet's just finish up this deal\n\t\there -\n\n\t\t\t\tCARL", "fucking but me, Jerry.\n\t\tI want you with this money on the\n\t\tDayton-Radisson parking ramp, top\n\t\tlevel, thirty minutes, and we'll\n\t\twrap this up.\n\n\t\t\t\tJERRY\n\t\tYah, okay, but, uh -\n\n\t\t\t\tCARL\n\t\tYou're there in thirty minutes or\n\t\tI find you, Jerry, and I shoot\n\t\tyou, and I shoot your fucking wife,\n\t\tand I shoot all your little fucking\n\t\tchildren", "lift with a cage light hanging off its innards.\n\n\t\t\t\tJERRY\n\t\tSay, Shep, how ya doin' there?\n\n\t\t\t\tSHEP\n\t\tMm.\n\n\t\t\t\tJERRY\n\t\tSay, ya know those two fellas\n\t\tya put me in touch with, up\n\t\tthere in Fargo?\n\n\t\t\t\tSHEP\n\t\tPut you in touch with Grimsrud.\n\n\t\t\t\tJERRY\n\t\tWell, y", "\t\t\t\tCARL\n\t\t... Mmmmmphnck! He fnkem shop me...\n\n\tHe pockets the gun, picks up the briefcase one-handed,\n\tflings it into his car, gets in, peels out.\n\n\tDOWN RAMP\n\n\tCarl screams down the ramp. He takes a corner at high speed\n\tand swerves, just missing Jerry in his Olds on his way to\n\tthe top.\n\n\tINT. JERRY'S CAR\n\n\tJerry recovers from the", "it, Jerry.\n\n\t\t\t\tJERRY\n\t\tHuh?\n\n\t\t\t\tCARL\n\t\tThe new vehicle, plus forty\n\t\tthousand dollars.\n\n\t\t\t\tJERRY\n\t\tYah, but the deal was, the car\n\t\tfirst, see, then the forty\n\t\tthousand, like as if it was the\n\t\transom. I thought Shep told you -\n\n\t\t\t\tCARL\n\t\tShep didn't tell us much, Jerry.", "\n\tJERRY'S CUBICLE\n\n\tJerry re-enters.\n\n\t\t\t\tJERRY\n\t\tWell, he never done this before,\n\t\tbut seein' as it's special\n\t\tcircumstances and all, he says I\n\t\tcan knock one hunnert off that\n\t\tTruCoat.\n\n\t\t\t\tCUSTOMER\n\t\tOne hundred! You lied to me, Mr.\n\t\tLundegaard. You're a bald-faced\n\t\tli", "Marge sticks her head in the door.\n\n\t\t\t\tMARGE\n\t\tMr. Lundegaard? Sorry to bother\n\t\tyou again. Can I come in?\n\n\tShe starts to enter.\n\n\t\t\t\tJERRY\n\t\tYah, no, I'm kinda - I'm kinda\n\t\tbusy -\n\n\t\t\t\tMARGE\n\t\tI unnerstand. I'll keep it real\n\t\tshort, then. I'm on my way out\n\t\tof town" ], [ "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", "LE\n\n\tHe sits in and picks up his phone.\n\n\t\t\t\tJERRY\n\t\tJerry Lundegaard.\n\n\t\t\t\tVOICE\n\t\tAll right, Jerry, you got this\n\t\tphone to yourself?\n\n\t\t\t\tJERRY\n\t\tWell ... yah.\n\n\t\t\t\tVOICE\n\t\tKnow who this is?\n\n\t\t\t\tJERRY\n\t\tWell, yah, I got an idea. How's\n\t\tthat Ciera workin' out", ". Brand-new burnt umber\n\t\tCiera.\n\n\t\t\t\tYOUNGER MAN\n\t\tYeah, okay. Well, siddown then.\n\t\tI'm Carl Showalter and this is\n\t\tmy associate Gaear Grimsrud.\n\n\t\t\t\tJERRY\n\t\tYah, how ya doin'. So, uh, we\n\t\tall set on this thing, then?\n\n\t\t\t\tYOUNGER MAN\n\t\tSure, Jerry, we're all set.", "... The heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tI'll see you tomorrow.\n\n\tClick.\n\n\tJerry slams down the phone, which immediately rings. He\n\tangrily snatches it up.\n\n\t\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tVOICE\n\t\tJerome Lundegaard?\n\n\t\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tVOICE\n\t\tThis is Reilly Deif", "on Jean Lundegaard, who sits tied in a chair\n\twith the black hood still over her head. As we track in, we\n\thear inarticulate cursing, intermittent banging and loud\n\tstatic.\n\n\tWe track in on Gaear Grimsrud, who sits smoking a cigarette\n\tand expressionlessly gazing offscreen.\n\n\tWe track in on Carl Showalter, who stands over an old black-\n\tand-white television. It plays nothing but snow. Carl is\n\tbanging on it as he mutters:\n", "\tCarl is driving. Grimsrud stares out front.\n\n\tAfter a beat:\n\n\t\t\t\tCARL\n\t\t... Look at that. Twin Cities.\n\t\tIDS Building, the big glass one.\n\t\tTallest skyscraper in the Midwest.\n\t\tAfter the Sears, uh, Chicago...\n\t\tYou never been to Minneapolis?\n\n\t\t\t\tGRIMSRUD\n\t\tNo.\n\n\t\t\t\tCARL\n\t\t... Would it", "lift with a cage light hanging off its innards.\n\n\t\t\t\tJERRY\n\t\tSay, Shep, how ya doin' there?\n\n\t\t\t\tSHEP\n\t\tMm.\n\n\t\t\t\tJERRY\n\t\tSay, ya know those two fellas\n\t\tya put me in touch with, up\n\t\tthere in Fargo?\n\n\t\t\t\tSHEP\n\t\tPut you in touch with Grimsrud.\n\n\t\t\t\tJERRY\n\t\tWell, y", "get this\n\t\tover with.\n\n\tWIDE EXTERIOR: TRUCK STOP\n\n\tThere is a restaurant with many big rigs parked nearby, and\n\ta motel with an outsize Paul Bunyan and Babe the Blue Ox\n\tflanking its sign: BLUE OX MOTEL.\n\n\tMOTEL ROOM\n\n\tCarl Showalter and Gaear Grimsrud are in the twin beds\n\thaving sex with two truck-stop hookers.\n\n\t\t\t\tCARL\n\t\tOh,", "had any new vehicles stolen\n\t\toff the lot in the past couple of\n\t\tweeks - specifically a tan Cutlass\n\t\tCiera?\n\n\tJerry stares at her, his mouth open.\n\n\t\t\t\tMARGE\n\t\t... Mr. Lundegaard?\n\n\t\t\t\tJERRY\n\t\t... Brainerd?\n\n\t\t\t\tMARGE\n\t\tYah. Yah. Home a Paul Bunyan and\n\t\tBabe the Blue Ox.\n\n\t\t\t\tJ", "to talk either, man. See how\n\t\tyou like it...\n\n\tHe drives.\n\n\t\t\t\tCARL\n\t\t... Total silence...\n\n\tJERRY'S CUBICLE\n\n\tHe is on the phone.\n\n\t\t\t\tJERRY\n\t\tYah, real good. How you doin'?\n\n\t\t\t\tVOICE\n\t\tPretty good, Mr. Lundegaard.\n\t\tYou're damned hard to get on the\n\t\tphone.\n\n\t\t", "\t\t\t\tCARL\n\t\t... Mmmmmphnck! He fnkem shop me...\n\n\tHe pockets the gun, picks up the briefcase one-handed,\n\tflings it into his car, gets in, peels out.\n\n\tDOWN RAMP\n\n\tCarl screams down the ramp. He takes a corner at high speed\n\tand swerves, just missing Jerry in his Olds on his way to\n\tthe top.\n\n\tINT. JERRY'S CAR\n\n\tJerry recovers from the", "fucking but me, Jerry.\n\t\tI want you with this money on the\n\t\tDayton-Radisson parking ramp, top\n\t\tlevel, thirty minutes, and we'll\n\t\twrap this up.\n\n\t\t\t\tJERRY\n\t\tYah, okay, but, uh -\n\n\t\t\t\tCARL\n\t\tYou're there in thirty minutes or\n\t\tI find you, Jerry, and I shoot\n\t\tyou, and I shoot your fucking wife,\n\t\tand I shoot all your little fucking\n\t\tchildren", "Tie here. Big\n\t\tfucking man.\n\n\tHe is peeling off one dollar bills.\n\n\t\t\t\tCARL\n\t\t... You know, these are the limits\n\t\tof your life, man. Ruler of your\n\t\tlittle fucking gate here. There's\n\t\tyour four dollars. You pathetic\n\t\tpiece of shit.\n\n\tGUSTAFSON OLDS GARAGE\n\n\tJerry is staring up, mouth agape, at the underside of a car\n\ton", "A curtain is stretched tight\n\tacross its window.\n\n\tJean pulls the curtain back. Bright sunlight amplified by\n\tsnow floods in.\n\n\tA man in an orange ski mask looks up from the lock.\n\n\tJean gasps, drops the curtain, rutns and runs into -\n\n\t- a taller man, also in a ski mask, already in the house.\n\n\tWe hear the crack of the back-door window being smashed.\n\n\tThe tall man - Gaear Grimsrud - grabs Jean'", "Who's Jean?\n\n\t\t\t\tJERRY\n\t\tMy wife! What the - how's -\n\n\t\t\t\tCARL\n\t\tOh, Jean's okay. But there's\n\t\tthree people up in Brainerd who\n\t\taren't so okay, I'll tell ya that.\n\n\t\t\t\tJERRY\n\t\tWhat the heck're you talkin' about?\n\t\tLet's just finish up this deal\n\t\there -\n\n\t\t\t\tCARL", "\n\tJERRY'S CUBICLE\n\n\tJerry re-enters.\n\n\t\t\t\tJERRY\n\t\tWell, he never done this before,\n\t\tbut seein' as it's special\n\t\tcircumstances and all, he says I\n\t\tcan knock one hunnert off that\n\t\tTruCoat.\n\n\t\t\t\tCUSTOMER\n\t\tOne hundred! You lied to me, Mr.\n\t\tLundegaard. You're a bald-faced\n\t\tli", "ERSON\n\t\tI'm, uh, Jerry Lundegaard -\n\n\t\t\t\tYOUNGER MAN\n\t\tYou're Jerry Lundegaard?\n\n\t\t\t\tJERRY\n\t\tYah, Shep Proudfoot said -\n\n\t\t\t\tYOUNGER MAN\n\t\tShep said you'd be here at 7:30.\n\t\tWhat gives, man?\n\n\t\t\t\tJERRY\n\t\tShep said 8:30.\n\n\t\t\t", "\n\t\t\t\tMARGE\n\t\tSo you think you might remember\n\t\twho those folks were who called\n\t\tya?\n\n\tJERRY'S OFFICE\n\n\tJerry is worriedly pacing behind his desk. At a noise he\n\tlooks up.\n\n\tMarge has stuck her head in the door.\n\n\t\t\t\tMARGE\n\t\tMr. Lundegaard?\n\n\t\t\t\tJERRY\n\t\tHuh? Yah?\n\n\t\t\t\tMARGE\n\t", "ve incurred\n\t\trisks, Jerry. I'm coming into town\n\t\ttomorrow. Have the money ready.\n\n\t\t\t\tJERRY\n\t\tNow we had a deal here! A deal's\n\t\ta deal!\n\n\t\t\t\tCARL\n\t\tIS IT, JERRY? You ask those three\n\t\tpour souls up in Brainerd if a\n\t\tdeal's a deal! Go ahead, ask 'em!\n\n\t\t\t\tJERRY\n\t\t", "\tI wonder if I could take just a\n\t\tminute of your time here -\n\n\t\t\t\tJERRY\n\t\tWhat... What is it all about?\n\n\t\t\t\tMARGE\n\t\tHuh? Do you mind if I sit down\n\t\t- I'm carrying quite a load here.\n\n\tMarge plops into the chair opposite him.\n\n\t\t\t\tMARGE\n\t\t... You're the owner here, Mr.\n\t\tLundegaard?\n\n\t\t\t\tJERRY" ], [ "\n\ttoward her. It holds a form from the General Motors Finance\n\tCorporation.\n\n\tShe looks idly around. Her look abruptly locks.\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake.\n\n\tJerry is easing his car around the near corner of the\n\tbuilding.\n\n\tMarge's voice is flat with dismay:\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake...\n\n\tShe grabs the phone and punches", "a grimy and cluttered glassed-in cubicle.\n\n\t\t\t\tMECHANIC\n\t\tSaid she was a policewoman.\n\n\tMarge and Shep silently talk.\n\n\tJerry stares, swallows.\n\n\tINSIDE THE CUBICLE\n\n\t\t\t\tMARGE\n\t\t- Wednesday night?\n\n\tShep is shaking his head.\n\n\t\t\t\tSHEP\n\t\tNope.\n\n\t\t\t\tMARGE\n\t\tWell, you do reside their at", "\n\t\t\t\tMARGE\n\t\tSo you think you might remember\n\t\twho those folks were who called\n\t\tya?\n\n\tJERRY'S OFFICE\n\n\tJerry is worriedly pacing behind his desk. At a noise he\n\tlooks up.\n\n\tMarge has stuck her head in the door.\n\n\t\t\t\tMARGE\n\t\tMr. Lundegaard?\n\n\t\t\t\tJERRY\n\t\tHuh? Yah?\n\n\t\t\t\tMARGE\n\t", "a hydraulic lift. Bewildered, he looks about, then asks\n\ta mechanic passing by, his voice raised over the din of the\n\tshop.\n\n\t\t\t\tJERRY\n\t\tWhere's Shep?\n\n\tThe mechanic points.\n\n\t\t\t\tMECHANIC\n\t\tTalkin' to a cop.\n\n\tJerry looks.\n\n\t\t\t\tJERRY\n\t\t... Cop?\n\n\tMarge and Shep face each other at the other end of the floor\n\tin", "Marge rises, Jerry looks blankly down at the papers on\n\tthe desk in front of him.\n\n\t\t\t\tJERRY\n\t\t... Yah, okay.\n\n\tHe looks up at Marge's retreating back. He looks back down\n\tat the papers. He looks over at the phone.\n\n\the picks up the phone and dials four digits.\n\n\t\t\t\tJERRY\n\t\t... Yah, gimmee Shep... The\n\t\theck d'ya mean?... Well", "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", "\tJEAN\n\t\t... Hello?\n\n\t\t\t\tPHONE VOICE\n\t\tYah, hiya, hon.\n\n\t\t\t\tJEAN\n\t\tOh, hiya, Dad.\n\n\t\t\t\tWADE\n\t\tJerry around?\n\n\t\t\t\tJEAN\n\t\tYah, he's still here - I'll\n\t\tcatch him for ya.\n\n\tShe holds the phone away and calls:\n\n\t\t\t\tJEAN\n\t\t... Hon?\n\n", "lift with a cage light hanging off its innards.\n\n\t\t\t\tJERRY\n\t\tSay, Shep, how ya doin' there?\n\n\t\t\t\tSHEP\n\t\tMm.\n\n\t\t\t\tJERRY\n\t\tSay, ya know those two fellas\n\t\tya put me in touch with, up\n\t\tthere in Fargo?\n\n\t\t\t\tSHEP\n\t\tPut you in touch with Grimsrud.\n\n\t\t\t\tJERRY\n\t\tWell, y", "Who's Jean?\n\n\t\t\t\tJERRY\n\t\tMy wife! What the - how's -\n\n\t\t\t\tCARL\n\t\tOh, Jean's okay. But there's\n\t\tthree people up in Brainerd who\n\t\taren't so okay, I'll tell ya that.\n\n\t\t\t\tJERRY\n\t\tWhat the heck're you talkin' about?\n\t\tLet's just finish up this deal\n\t\there -\n\n\t\t\t\tCARL", "\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tVOICE\n\t\tMy patience is at an end.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tVOICE\n\t\tGood day, sir.\n\n\t\t\t\tJERRY\n\t\t... Yah.\n\n\tWIDE ON THE CUBICLE\n\n\tWe are looking at Jerry's cubicle from across the showroom.\n\tNoise muted by distance, we watch Jerry slam down the\n\trec", ", but I was just - Do you\n\t\tmind if I sit down? I'm carrying\n\t\ta bit of a load here.\n\n\t\t\t\tJERRY\n\t\tNo, I -\n\n\tBut she is already sitting into the chair opposite with a\n\tsigh of relieved weight.\n\n\t\t\t\tMARGE\n\t\tYah, it's this vehicle I asked you\n\t\tabout yesterday. I was just\n\t\twondering -\n\n\t\t\t\tJERRY\n\t\tYah, like I", "OLIS SUBURBAN HOUSE\n\n\tJerry enters through the kitchen door, in a parka and a red\n\tplaid Elmer Fudd hat. He stamps snow off his feet. He is\n\tcarrying a bag of groceries which he deposits on the kitchen\n\tcounter.\n\n\t\t\t\tJERRY\n\t\tHon? Got the growshries.\n\n\t\t\t\tVOICE\n\t\tThank you, hon. How's Fargo?\n\n\t\t\t\tJERRY\n\t\tYah", "\tWADE\n\t\t... You little punk.\n\n\tJERRY'S HOUSE\n\n\tJerry sits in the foyer, trying to pull on pair of galoshes.\n\tScotty's voice comes from upstairs:\n\n\t\t\t\tVOICE\n\t\t... Dad?\n\n\t\t\t\tJERRY\n\t\tIt's okay, Scotty.\n\n\t\t\t\tVOICE\n\t\tWhere're you going?\n\n\t\t\t\tJERRY\n\t\tBe back in a minute. If", ", real good.\n\n\t\t\t\tVOICE\n\t\tDad's here.\n\n\tDEN\n\n\tJerry enters, pulling off his plaid cap.\n\n\t\t\t\tJERRY\n\t\tHow ya doin', Wade?\n\n\tWade Gustafson is mid-sixtyish, vigorous, with a full head\n\tof gray hair. His eyes remain fixed on the TV.\n\n\t\t\t\tWADE\n\t\tYah, pretty good.\n\n\t\t\t\tJERRY\n\t\tWh", "atcha watchin' there?\n\n\t\t\t\tWADE\n\t\tNorstars.\n\n\t\t\t\tJERRY\n\t\t... Who they playin'?\n\n\t\t\t\tWADE\n\t\tOOOoooh!\n\n\tHis reaction synchronizes with a reaction from the crowd.\n\n\tKITCHEN\n\n\tJerry walks back in, taking off his coat. His wife is\n\tputting on an apron. Jerry nods toward the living room.\n\n\t\t\t\tJERRY\n\t\t", "had any new vehicles stolen\n\t\toff the lot in the past couple of\n\t\tweeks - specifically a tan Cutlass\n\t\tCiera?\n\n\tJerry stares at her, his mouth open.\n\n\t\t\t\tMARGE\n\t\t... Mr. Lundegaard?\n\n\t\t\t\tJERRY\n\t\t... Brainerd?\n\n\t\t\t\tMARGE\n\t\tYah. Yah. Home a Paul Bunyan and\n\t\tBabe the Blue Ox.\n\n\t\t\t\tJ", "... Wade, it's Jerry, I - we\n\t\tgotta talk, Wade, it's terrible...\n\n\tBeat.\n\n\tLIVING ROOM\n\n\tJerry stands in wide shot, hands on hips, looking down at a\n\ttelephone.\n\n\tAfter a motionless beat he picks up the phone and punches in\n\ta number.\n\n\t\t\t\tJERRY\n\t\t... Yah, Wade Gustafson, please.\n\n\tBLACK\n\n\tHold in black.\n\n\t", "a\n\tprostrate body.\n\n\tEXT. JERRY'S HOUSE\n\n\tThe car pulls into the driveway.\n\n\tFOYER\n\n\tJerry enters and sits on the foyer chair to take off his\n\tgaloshes.\n\n\t\t\t\tSCOTT'S VOICE\n\t\t... Dad?\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tSCOTT'S VOICE\n\t\tStan Grossman called.\n\n\t\t\t\tJ", "\tand grabbing a pair of galoshes.\n\n\t\t\t\tJERRY\n\t\t... If it's so damned imporant\n\t\tto ya!\n\n\t\t\t\tMARGE\n\t\tI'm sorry, sir, I -\n\n\tJerry has the parka slung over one arm and the galoshes\n\tpinched in his hand.\n\n\t\t\t\tJERRY\n\t\tAw, what the Christ!\n\n\tHe stamps out the door.\n\n\tMarge stares.\n\n\t", "to work on the\n\twindshield.\n\n\tFRONT DOOR\n\n\tA beat, silent but for a key scraping at the lock.\n\n\tThe door swings open and Jerry edges in, looking about,\n\tholding a sack of groceries.\n\n\t\t\t\tJERRY\n\t\tHon?\n\n\tHe shuts the door.\n\n\t\t\t\tJERRY\n\t\t... Got the growshries...\n\n\tHe has already seen the shower curtain on the floor. He\n\tfrowns" ], [ "it, Jerry.\n\n\t\t\t\tJERRY\n\t\tHuh?\n\n\t\t\t\tCARL\n\t\tThe new vehicle, plus forty\n\t\tthousand dollars.\n\n\t\t\t\tJERRY\n\t\tYah, but the deal was, the car\n\t\tfirst, see, then the forty\n\t\tthousand, like as if it was the\n\t\transom. I thought Shep told you -\n\n\t\t\t\tCARL\n\t\tShep didn't tell us much, Jerry.", ". It's\n\t\tall worked out.\n\n\t\t\t\tCARL\n\t\tYou want your own wife kidnapped?\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\tCarl Stares. Jerry looks blankly back.\n\n\t\t\t\tCARL\n\t\t... You - my point is, you pay\n\t\tthe ransom - what eighty thousand\n\t\tbucks? - I mean, you give us\n\t\thalf the ransom, forty thousand,\n\t\tyou keep half", "\t\t\tJERRY\n\t\tYah!\n\n\t\t\t\tSTAN\n\t\tWhat's the next step here, Jerry?\n\n\t\t\t\tJERRY\n\t\tThey're gonna call, give me\n\t\tinstructions for a drop. I'm\n\t\tsupposed to have the money ready\n\t\ttomorrow.\n\n\t\t\t\tWADE\n\t\tDammit!\n\n\tTHE CASHIER\n\n\tShe rings up two dollars forty.\n\n\t\t\t\tCASHIER\n\t\tHow", "dollars is a lot a damn\n\t\tmoney! And there they are, they\n\t\tgot my daughter!\n\n\t\t\t\tJERRY\n\t\tYah, but think this thing through\n\t\there, Wade. Ya give 'em what they\n\t\twant, why wont' they let her go?\n\t\tYou gotta listen to me on this one,\n\t\tWade.\n\n\t\t\t\tWADE\n\t\tHeck, you don't know! You're just\n\t\twhistlin' Dixie", "\tWell... Why don't we...\n\n\tHe saws a finger under his nose.\n\n\t\t\t\tWADE\n\t\t... Stan, I'm thinkin' we should\n\t\toffer 'em half a million.\n\n\t\t\t\tJERRY\n\t\tNow come on here, no way, Wade!\n\t\tNo way!\n\n\t\t\t\tSTAN\n\t\tWe're not horse-trading here, Wade,\n\t\twe just gotta bite the bullet on\n\t\tthis thing.\n\n\t", ". It's like robbing\n\t\tPeter to play Paul, it doesn't\n\t\tmake any -\n\n\t\t\t\tJERRY\n\t\tOkay, it's - see, it's not me\n\t\tpayin' the ransom. The thing is,\n\t\tmy wife, she's wealthy - her dad,\n\t\the's real well off. Now, I'm in\n\t\ta bit of trouble -\n\n\t\t\t\tCARL\n\t\tWhat kind of trouble are you in,\n", "\n\tJERRY'S CUBICLE\n\n\tJerry re-enters.\n\n\t\t\t\tJERRY\n\t\tWell, he never done this before,\n\t\tbut seein' as it's special\n\t\tcircumstances and all, he says I\n\t\tcan knock one hunnert off that\n\t\tTruCoat.\n\n\t\t\t\tCUSTOMER\n\t\tOne hundred! You lied to me, Mr.\n\t\tLundegaard. You're a bald-faced\n\t\tli", "arned clear on that, Wade! They\n\t\tsaid you call the cops and we -\n\n\t\t\t\tWADE\n\t\tWell, a course they're gonna say\n\t\tthat! But where's my protection?\n\t\tThey got Jean here! I give these\n\t\tsons a bitches a million dollars,\n\t\twhere's my guarantee they're gonna\n\t\tlet her go.\n\n\t\t\t\tJERRY\n\t\tWell, they -\n\n\t\t\t\tWADE\n\t\tA million", "\n\n\t\t\t\tJERRY\n\t\t... My fee? Wade, what the\n\t\theck're you talkin' about?\n\n\t\t\t\tWADE\n\t\tStan and I're okay.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tWADE\n\t\tWe're good to loan in.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tWADE\n\t\tBut we never talked about your\n\t\tfee for bringin'", "JERRY\n\t\tWade, have ya had a chance to\n\t\tthink about, uh, that deal I was\n\t\ttalkin' about, those forty acres\n\t\tthere on Wayzata?\n\n\t\t\t\tWADE\n\t\tYou told me about it.\n\n\t\t\t\tJERRY\n\t\tYah, you said you'd have a think\n\t\tabout it. I understand it's a\n\t\tlot of money -\n\n\t\t\t\tWADE\n\t\tA heck of a lot. What", "'re they doing? Wuddya\n\t\tthink they're doin' with Mom?\n\n\t\t\t\tJERRY\n\t\tIt's okay, Scotty. They're not\n\t\tgonna want to hurt her any.\n\t\tThese men, they just want money,\n\t\tsee.\n\n\t\t\t\tSCOTT\n\t\tWhat if - what if sumpn goes wrong?\n\n\t\t\t\tJERRY\n\t\tNo, no, nothin's goin' wrong here.\n\t\tGr", "THE FUCK UP!\n\n\t\t\t\tJERRY\n\t\tWell, I'm sorry, but I just - I -\n\n\t\t\t\tCARL\n\t\tLook. I'm not gonna debate you,\n\t\tJerry. The price is now the whole\n\t\tamount. We want the entire eighty\n\t\tthousand.\n\n\t\t\t\tJERRY\n\t\tOh, for Chrissakes here -\n\n\t\t\t\tCARL\n\t\tBlood has been shed. We'", ".\n\n\tCarl looks at him.\n\n\t\t\t\tCARL\n\t\tHOW THE FUCK DO WE SHPLITTA FUCKIN'\n\t\tCAR? Ya dummy! Widda fuckin'\n\t\tchainshaw?\n\n\tGrimsrud looks sourly up. There is a beat. Finally:\n\n\t\t\t\tGRIMSRUD\n\t\tOne of us pays the other for half.\n\n\t\t\t\tCARL\n\t\tHOLD ON! NO FUCKIN", "\tJERRY\n\t\tYah, okay, I'll have my girl\n\t\tsend you over a copy, then.\n\n\t\t\t\tVOICE\n\t\tOkay, because if I can't correlate\n\t\tthis note with the specific vehicles,\n\t\tthen I gotta call back that money -\n\n\t\t\t\tJERRY\n\t\tYah, how much money was that?\n\n\t\t\t\tVOICE\n\t\tThree hundred and twenty thousand\n\t\tdollars. See, I gotta correlate\n\t\tthat money with", "\n\t\tBlood has been shed, Jerry.\n\n\tJerry sits dumbly. The voice solemnly repeats:\n\n\t\t\t\tCARL\n\t\t... Blood has been shed.\n\n\t\t\t\tJERRY\n\t\tWhat the heck d'ya mean?\n\n\t\t\t\tCARL\n\t\tThree people. In Brainerd.\n\n\t\t\t\tJERRY\n\t\tOh, geez.\n\n\t\t\t\tCARL\n\t\tThat's right. And", "\t\t\t\tJERRY\n\t\tNo kiddin'?\n\n\t\t\t\tWADE\n\t\tWe might be innarested.\n\n\t\t\t\tJERRY\n\t\tNo kiddin'! I'd need the cash\n\t\tpretty quick there. In order\n\t\tto close the deal.\n\n\t\t\t\tWADE\n\t\tCome by at 2:30 and we'll talk\n\t\tabout it. If your numbers are\n\t\tright, Stan says its pretty\n\t\tsweet.", "lift with a cage light hanging off its innards.\n\n\t\t\t\tJERRY\n\t\tSay, Shep, how ya doin' there?\n\n\t\t\t\tSHEP\n\t\tMm.\n\n\t\t\t\tJERRY\n\t\tSay, ya know those two fellas\n\t\tya put me in touch with, up\n\t\tthere in Fargo?\n\n\t\t\t\tSHEP\n\t\tPut you in touch with Grimsrud.\n\n\t\t\t\tJERRY\n\t\tWell, y", "eighty gran.\n\t\tForty for you...\n\n\tHe makes one pile, pockets the rest.\n\n\t\t\t\tCARL\n\t\t... Forty for me. Sho thishuzh\n\t\tit. Adiosh.\n\n\tHe slaps keys down on the table.\n\n\t\t\t\tCARL\n\t\t... You c'n'ave my truck. I'm\n\t\ttakin' a Shiera.\n\n\t\t\t\tGRIMSRUD\n\t\tWe split that", "\tdon't want to cut you out of the\n\t\tloop, but his here's a good deal.\n\t\tI assume, if you're not innarested,\n\t\tyou won't mind if we move on it\n\t\tindependently.\n\n\tPARKING LOT\n\n\tWe are high and wide on the office building's parking lot.\n\tJerry emerges wrapped in a parka, his arms sticking stiffly\n\tout at his sides, his breath vaporizing. He goes to his\n\tcar, opens its front door,", "t need a finder's\n\t\tfee, I need - finder's fee's, what,\n\t\tten percent, heck that's not gonna\n\t\tdo it for me. I need the principal.\n\n\t\t\t\tSTAN\n\t\tJerry, we're not just going to\n\t\tgive you seven hundred and fifty\n\t\tthousand dollars.\n\n\t\t\t\tWADE\n\t\tWhat the heck were you thinkin'?\n\t\tHeck, if I'm only gettin' bank" ], [ " Stan Grossman.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tWADE\n\t\t2:30.\n\n\tClick. Dial tone.\n\n\t\t\t\tJERRY\n\t\tYah, okay.\n\n\tGUSTAFSON OLD GARAGE\n\n\tJerry wanders through the service area where cars are being\n\tworked on. He stops by an Indian in blue jeans who is\n\tlooking at the underside of a car that sits on a hydraulic\n\t", "\tenters.\n\n\t\t\t\tJERRY\n\t\tHow ya doin' there, Stan? How\n\t\tare ya, Wade?\n\n\tStan Grossman shakes his hand.\n\n\t\t\t\tSTAN\n\t\tGood to see ya again, Jerry. If\n\t\tthese numbers are right, this\n\t\tlooks pretty sweet.\n\n\t\t\t\tJERRY\n\t\tOh, those numbers are all right,\n\t\tbleemee.\n\n\t\t\t\tWADE\n\t\tThis is", "a\n\tprostrate body.\n\n\tEXT. JERRY'S HOUSE\n\n\tThe car pulls into the driveway.\n\n\tFOYER\n\n\tJerry enters and sits on the foyer chair to take off his\n\tgaloshes.\n\n\t\t\t\tSCOTT'S VOICE\n\t\t... Dad?\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tSCOTT'S VOICE\n\t\tStan Grossman called.\n\n\t\t\t\tJ", "andad and I, we're - we're makin'\n\t\tsure this gets handled right.\n\n\tScott snorfles and sits up.\n\n\t\t\t\tSCOTT\n\t\tDad, I really think we should call\n\t\tthe cops.\n\n\t\t\t\tJERRY\n\t\tNo! We can't let anyone know about\n\t\tthis thing! We gotta play ball with\n\t\tthese guys - you ask Stan Grossman,\n\t\the'll tell ya the same thing!\n\n\t", "cutting a landscape of flat and perfect\n\twhite.\n\n\tEMBERS FAMILY RESTAURANT\n\n\tJerry, Wade, and Stan Grossman sit in a booth, sipping\n\tcoffee. Outside the window, snow falls from a gunmetal sky.\n\n\t\t\t\tWADE\n\t\t- All's I know is, ya got a\n\t\tproblem, ya call a professional!\n\n\t\t\t\tJERRY\n\t\tNo! They said no cops! They were\n\t\td", "\t\t\tGARY\n\t\tOh, yah? Twin Cities?\n\n\tNorm, who has been eating steadily throughout, looks over at\n\tMarge with mild interest. He stares for a beat as he\n\tfinishes chewing, and them swallows and says:\n\n\t\t\t\tNORM\n\t\t... Oh, yah?\n\n\tKITCHEN OF LUNDEGAARD HOUSE\n\n\tJerry, Wade, and Stan Grossman sit around the kitchen table.\n\tIt is night. The", "', ya know.\n\t\tMaybe it's all bull, but like you\n\t\tsaid, Stan, they're callin' the\n\t\tshots.\n\n\t\t\t\tSTAN\n\t\tOkay. And Scotty, is he gonna\n\t\tbe all right?\n\n\t\t\t\tJERRY\n\t\tYah, geez, Scotty. I'll go talk\n\t\tto him.\n\n\tThere is a tap at the horn from Wade, and Stan gets into the\n\tLincoln.\n\n\t\t\t", "Say, let's watch the language -\n\n\tHe takes the phone.\n\n\t\t\t\tJERRY\n\t\tHow ya doin', Wade?\n\n\t\t\t\tWADE\n\t\tWhat's goin' on there?\n\n\t\t\t\tJERRY\n\t\tOh, nothing, Wade. How ya doin'\n\t\tthere?\n\n\t\t\t\tWADE\n\t\tStan Grossman looked at your\n\t\tproposal. Says it's pretty\n\t\tsweet.\n\n", "s a chunk, but -\n\n\t\t\t\tWADE\n\t\tI thought you were gonna show\n\t\tit to Stan Grossman. He passes\n\t\ton this stuff before it gets\n\t\tkicked up to me.\n\n\t\t\t\tJERRY\n\t\tWell, you know Stan'll say no\n\t\tdice. That's why you pay him.\n\t\tI'm asking you here, Wade. This\n\t\tcould work out real good for me\n\t\tand Jean and Scotty -\n\n\t\t", "\tSTAN\n\t\tWe'll call.\n\n\tThe Lincoln spits snow as it grinds out of the lot and\n\tfishtails out onto the boulevard.\n\n\tSCOTTY'S BEDROOM\n\n\tScotty lies on the bed, weeping. Jerry enters and perches\n\tuncomfortably on the edge of his bed.\n\n\t\t\t\tJERRY\n\t\t... How ya doin' there, Scotty?\n\n\t\t\t\tSCOTT\n\t\tDad! What", "\t\tWell -\n\n\t\t\t\tSTAN\n\t\tWe gotta protect Jean. These -\n\t\twe're not holdin' any cards here,\n\t\tWade, they got all of 'em. So\n\t\tthey call the shots.\n\n\t\t\t\tJERRY\n\t\tYou're darned tootin'!\n\n\t\t\t\tWADE\n\t\tAh, dammit!\n\n\t\t\t\tSTAN\n\t\tI'm tellin' ya.\n\n\t\t\t\tWADE\n\t", ", real good.\n\n\t\t\t\tVOICE\n\t\tDad's here.\n\n\tDEN\n\n\tJerry enters, pulling off his plaid cap.\n\n\t\t\t\tJERRY\n\t\tHow ya doin', Wade?\n\n\tWade Gustafson is mid-sixtyish, vigorous, with a full head\n\tof gray hair. His eyes remain fixed on the TV.\n\n\t\t\t\tWADE\n\t\tYah, pretty good.\n\n\t\t\t\tJERRY\n\t\tWh", "do-able.\n\n\t\t\t\tSTAN\n\t\tCongratulations, Jerry.\n\n\t\t\t\tJERRY\n\t\tYah, thanks, Stan, it's a pretty -\n\n\t\t\t\tWADE\n\t\tWhat kind of finder's fee were\n\t\tyou looking for?\n\n\t\t\t\tJERRY\n\t\t... Huh?\n\n\t\t\t\tSTAN\n\t\tThe financials are pretty thorough,\n\t\tso the only thing we don't know\n\t\tis your fee.", "it to us.\n\n\t\t\t\tJERRY\n\t\tNo, but, Wade, see, I was\n\t\tbringin' you this deal for you\n\t\tto loan me the money to put\n\t\tin. It's my deal here, see?\n\n\tWade scowls, looks at Stan.\n\n\t\t\t\tSTAN\n\t\tJerry - we thought you were\n\t\tbringin' us an investment.\n\n\t\t\t\tJERRY\n\t\tYah, right -\n\n\t\t\t", "tall man with his back to us, wearing a red plaid quilted\n\tjacket and a hunting cap with earflaps, is laboring over a\n\tlarge power tool which his body blocks from view.\n\n\tMarge advances.\n\n\tThe man is forcing downward something which engages the\n\troaring power tool and makes harsh spluttering noises.\n\n\tThe man is Grimsrud, his nose red and eyes watering from the\n\tcold, hatflaps pulled down over his ears. His breath steams\n\tas he sourly goes about", "Stan\n\t\tcalls you, just tell him I went\n\t\tto Embers. Oh, geez -\n\n\tThunk! - his first boot goes on.\n\n\tRADISSON\n\n\tMarge sits on the bed in her hotel room, shoes off,\n\tmassaging her feet. The phone is pressed to her ear, and\n\tthrough it, we hear ringing.\n\n\t\t\t\tVOICE\n\t\t... Hello?\n\n\t\t\t\tMARGE\n\t\tNorm?\n\n\tMILLE LAC", "\n\n\t\t\t\tJERRY\n\t\t... My fee? Wade, what the\n\t\theck're you talkin' about?\n\n\t\t\t\tWADE\n\t\tStan and I're okay.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tWADE\n\t\tWe're good to loan in.\n\n\t\t\t\tJERRY\n\t\tYah.\n\n\t\t\t\tWADE\n\t\tBut we never talked about your\n\t\tfee for bringin'", "ah, but he had a buddy\n\t\tthere. He, uh -\n\n\t\t\t\tSHEP\n\t\tWell, I don't vouch for him.\n\n\t\t\t\tJERRY\n\t\tWell, that's okay, I just -\n\n\t\t\t\tSHEP\n\t\tI vouch for Grimsrud. Who's his\n\t\tbuddy?\n\n\t\t\t\tJERRY\n\t\tCarl somethin'?\n\n\t\t\t\tSHEP\n\t\tNever heard of", "\tdon't want to cut you out of the\n\t\tloop, but his here's a good deal.\n\t\tI assume, if you're not innarested,\n\t\tyou won't mind if we move on it\n\t\tindependently.\n\n\tPARKING LOT\n\n\tWe are high and wide on the office building's parking lot.\n\tJerry emerges wrapped in a parka, his arms sticking stiffly\n\tout at his sides, his breath vaporizing. He goes to his\n\tcar, opens its front door,", "'s drinkin', so I\n\t\tdon't think a whole great deal of\n\t\tit, but Mrs. Mohra heard about the\n\t\thomicides out here and she thought\n\t\tI should call it in, so I called\n\t\tit in. End a story.\n\n\t\t\t\tGARY\n\t\tWhat'd this guy look like anyways?\n\n\t\t\t\tMAN\n\t\tOh, he was a little guy, kinda\n\t\tfunny-lookin'.\n\n\t\t\t\tGARY\n\t\tUh" ], [ ", on her two-way. Through it we hear Lou's\n\tvoice, heavily filtered:\n\n\t\t\t\tVOICE\n\t\tHis wife. This guy says she was\n\t\tkidnapped last Wednesday.\n\n\t\t\t\tMARGE\n\t\tThe day of our homicides.\n\n\t\t\t\tVOICE\n\t\tYah.\n\n\tMarge is peering to one side as she drives, looking through\n\tthe bare trees that border the road on a declivity that runs\n\tdown to a large frozen lake.\n", "Marge rises, Jerry looks blankly down at the papers on\n\tthe desk in front of him.\n\n\t\t\t\tJERRY\n\t\t... Yah, okay.\n\n\tHe looks up at Marge's retreating back. He looks back down\n\tat the papers. He looks over at the phone.\n\n\the picks up the phone and dials four digits.\n\n\t\t\t\tJERRY\n\t\t... Yah, gimmee Shep... The\n\t\theck d'ya mean?... Well", "\n\ttoward her. It holds a form from the General Motors Finance\n\tCorporation.\n\n\tShe looks idly around. Her look abruptly locks.\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake.\n\n\tJerry is easing his car around the near corner of the\n\tbuilding.\n\n\tMarge's voice is flat with dismay:\n\n\t\t\t\tMARGE\n\t\t... Oh, for Pete's sake...\n\n\tShe grabs the phone and punches", "\t\tI saw him last night and he's -\n\n\t\t\t\tVOICE\n\t\tWhat'd he say?\n\n\t\t\t\tMARGE\n\t\tWell, it was nothin' specific\n\t\the said, it just seemd like it\n\t\tall hit him really hard, his\n\t\twife dyin' -\n\n\t\t\t\tVOICE\n\t\tHis wife?\n\n\t\t\t\tMARGE\n\t\tLinda.\n\n\t\t\t\tVOICE\n\t\tNo.\n\n\t\t\t\t", "\n\n\t\t\t\tMARGE\n\t\tNo, just so I can see ya, ya know.\n\t\tDon't have to turn my neck.\n\n\t\t\t\tMIKE\n\t\tOh, sure, I unnerstand, I didn't\n\t\tmean to -\n\n\t\t\t\tMARGE\n\t\tNo, no, that's fine.\n\n\t\t\t\tMIKE\n\t\tYah, sorry, so I was married to\n\t\tLinda Cooksey - ya remember Linda?\n\t\tShe was a year behind", "\n\n\t\t\t\tMARGE\n\t\tSorry - didn't copy.\n\n\t\t\t\tVOICE\n\t\tStill missing. We're looking.\n\n\t\t\t\tMARGE\n\t\tCopy. And Lundegaard too.\n\n\t\t\t\tVOICE\n\t\tYah. Where are ya, Margie?\n\n\tWe hear, distant but growing louder, harsh engine noise, as\n\tof a chainsaw or lawnmower.\n\n\t\t\t\tMARGE\n\t\tOh, I'", "tall man with his back to us, wearing a red plaid quilted\n\tjacket and a hunting cap with earflaps, is laboring over a\n\tlarge power tool which his body blocks from view.\n\n\tMarge advances.\n\n\tThe man is forcing downward something which engages the\n\troaring power tool and makes harsh spluttering noises.\n\n\tThe man is Grimsrud, his nose red and eyes watering from the\n\tcold, hatflaps pulled down over his ears. His breath steams\n\tas he sourly goes about", "\n\n\t\t\t\tMARGE\n\t\tYah.\n\n\t\t\t\tMIKE\n\t\tI thought, geez, is that Margie\n\t\tOlmstead? I can't believe it!\n\n\t\t\t\tMARGE\n\t\tYah, that's me.\n\n\t\t\t\tMIKE\n\t\tWell, how the heck are ya?\n\n\t\t\t\tMARGE\n\t\tOkay, ya know. Okay.\n\n\t\t\t\tMIKE\n\t\tYah?\n\n", "house.\n\n\tMarge and Norm are watching television in bed. From the TV\n\twe hear insects chirring.\n\n\tAfter a long beat, silence except for the TV, Marge murmurs,\n\tstill looking at the set:\n\n\t\t\t\tMARGE\n\t\t... Well, I'm turnin' in, Norm.\n\n\tAlso looking at the TV:\n\n\t\t\t\tNORM\n\t\t... Oh, yah?\n\n\tMarge rolls over and Norm continues to watch.\n\n\tWe", "\t\t\t\tMARGE\n\t\tYah - how are you doon?\n\n\t\t\t\tMIKE\n\t\tOh, pretty good.\n\n\t\t\t\tMARGE\n\t\tHeck, it's been such a long time,\n\t\tMike. It's great to hear from ya.\n\n\t\t\t\tMIKE\n\t\tYah... Yah, yah. Geeze, Margie!\n\n\tGUSTAFSON OLDS GARAGE\n\n\tJerry is on the sales floor, showing", "us.\n\n\t\t\t\tMARGE\n\t\tI think I remember Linda, yah.\n\t\tShe was - yah. So things didn't\n\t\twork out, huh?\n\n\t\t\t\tMIKE\n\t\tAnd then I, and then I been workin'\n\t\tfor Honeywell for a few years now.\n\n\t\t\t\tMARGE\n\t\tWell, they're a good outfit.\n\n\t\t\t\tMIKE\n\t\tYah, if you're an engineer, yah,\n", "throat with a long deep rumble.\n\n\t\t\t\tMARGE\n\t\t... Oh, my. Where?... Yah...\n\t\tOh, geez...\n\n\tThe man sits up, gazes stupidly about.\n\n\t\t\t\tMARGE\n\t\t... Okay. There in a jif...\n\t\tReal good, then.\n\n\tShe hangs up.\n\n\t\t\t\tMARGE\n\t\t... You can sleep, hon. It's\n\t\tearly yet.\n", "Aw, hon, you're better'n them.\n\n\t\t\t\tNORM\n\t\tThey're real good.\n\n\t\t\t\tMARGE\n\t\tThey're good, Norm, but you're\n\t\tbetter'n them.\n\n\t\t\t\tNORM\n\t\tYah, ya think?\n\n\tHe leans over and kisses her.\n\n\t\t\t\tMARGE\n\t\tAh, ya got Arbie's all o'er me.\n\n\tLou enters.\n\n\t\t\t", "\t\t\t\tMIKE\n\t\tGreat. What brings ya down - are\n\t\tya down here on that homicide -\n\t\tif you're allowed, ya know, to\n\t\tdiscuss that?\n\n\t\t\t\tMARGE\n\t\tOh, yah, but there's not a heckuva\n\t\tlot to discuss. What about you,\n\t\tMike? Are you married - you have\n\t\tkids?\n\n\t\t\t\tMIKE\n\t\tWell, yah, I was married. ", "paunching man of about Marge's age, rising\n\tfrom a booth halfway back. His features are broad,\n\tfriendly, Asian-American.\n\n\t\t\t\tMARGE\n\t\tMike!\n\n\tHe approaches somewhat carefully, as if on his second drink.\n\tThey hug and head back toward the booth.\n\n\t\t\t\tMIKE\n\t\tGeez! You look great!\n\n\t\t\t\tMARGE\n\t\tYah - easy there - you do too!\n\t\tI'm expecting, ya know", "NORM\n\t\tYah.\n\n\t\t\t\tMARGE\n\t\tWhen they're stuck with a bunch a\n\t\tthe old ones!\n\n\t\t\t\tNORM\n\t\tYah, I guess.\n\n\t\t\t\tMARGE\n\t\tThat's terrific.\n\n\tHer eyes go back to the TV.\n\n\t\t\t\tMARGE\n\t\t... I'm so proud a you, Norm.\n\n\tNorm murmurs:\n\n\t\t\t\tNORM\n\t\tI love you,", "Marge sticks her head in the door.\n\n\t\t\t\tMARGE\n\t\tMr. Lundegaard? Sorry to bother\n\t\tyou again. Can I come in?\n\n\tShe starts to enter.\n\n\t\t\t\tJERRY\n\t\tYah, no, I'm kinda - I'm kinda\n\t\tbusy -\n\n\t\t\t\tMARGE\n\t\tI unnerstand. I'll keep it real\n\t\tshort, then. I'm on my way out\n\t\tof town", "enters frame in a nightie and\n\tclimbs into bed, with some effort.\n\n\t\t\t\tMARGE\n\t\tOooph!\n\n\tNorm reaches for her hand as both watch the television.\n\n\tAt length Norm speaks, but keeps his eyes on the TV.\n\n\t\t\t\tNORM\n\t\tThey announced it.\n\n\tMarge looks at him.\n\n\t\t\t\tMARGE\n\t\tThey announced it?\n\n\t\t\t\tNORM\n\t\tYah.\n\n\tMarge looks at him,", "s had psychiatric problems.\n\n\t\t\t\tMARGE\n\t\tOh. Oh, my.\n\n\t\t\t\tVOICE\n\t\tYah, he - he's been struggling.\n\t\tHe's living with his parents now.\n\n\t\t\t\tMARGE\n\t\tOh. Geez.\n\n\t\t\t\tVOICE\n\t\tYah, Linda's fine. You should\n\t\tcall her.\n\n\t\t\t\tMARGE\n\t\tGeez. Well - geez.", "he might go...\n\n\tThe woman is entering frame sliding a tray. Marge enters\n\tbehind her, sliding her own. We move laterally with them as\n\tthey slowly make their way along the line.\n\n\t\t\t\tMARGE\n\t\tUh-huh.\n\n\t\t\t\tWOMAN\n\t\tWe called his house; his little\n\t\tboy said he hadn't been there.\n\n\t\t\t\tMARGE\n\t\tAnd his wife?\n\n\t\t\t\tWOMAN\n\t\tShe'" ] ]

[ "Why does Jerry need money?", "How many people did the kidnappers kill on their way to their hideout?", "What condition is Police Chief Marge Gunderson in?", "How much money does Jerry tell Gustafson the kidnappers are demanding?", "Who kills Gustafson?", "Gaear kills jean but who kills Carl?", "Why does Gaear kill Carl?", "What is the subject of Norm's painting?", "How many people are dead by the end of the story?", "Why does Jerry need money?", "How much money was in the briefcase for the ransom?", "Why does Gaear kill Carl?", "What season of the year does this story take place in?", "Who is Marge?", "What is the connection between Marge and Yanagita?", "How does Marge find out that Yanagita's \"dead wife\" is not dead and was never his wife?", "What did Jerry hire Carl and Gaear to do?", "What is Jerry desperate for?", "Who gave Jerry the loan he fraudulently collateralized?", "What did Jerry use to fraudulently collateralize the loan?", "Who does Shep refer Jerry to?", "Who does Jerry hire Gaear and Carl to kidnap?", "In what city does Jerry hire Gaear and Carl?", "What is Jerry's wife's name?", "How much is the ransom Jerry promises to split?", "What is Stan Grossman's profession?", "Who is Marge's husband?" ]

[ [ "He needs to pay back a fraudulent loan.", "He needs to repay a loan" ], [ "3; police officer and 2 eye witnesses", "Three" ], [ "She's pregnant.", "seven months pregnant" ], [ "A Million dollars.", "One million dollars." ], [ "Carl.", "Carl Showalter." ], [ "Gaear kills him as well.", "Gaear" ], [ "Gaear wants to keep the new car they were given.", "To get the money" ], [ "A duck.", "Mallard" ], [ "Six", "3" ], [ "There is repayment due on a large GMAC loan he took out", "to pay off a loan" ], [ "1 million dollars", "$1 million" ], [ "He kills Carl in an argument over who can have the new car Jerry gave them", "refuses to hand over briefcase" ], [ "Winter", "Winter" ], [ "The Brainerd police chief", "Brainerd police chief" ], [ "They are old classmates", "They are old classmates." ], [ "Through a phone call with a mutual friend", "phone conversation" ], [ "To kidnap his wife for ransom from his father-in-law", "Kidnap his wife" ], [ "money", "money" ], [ "GMAC", "GMAC" ], [ "non-existent dealership vehicles", "Nonexistent Dealership Vehicles" ], [ "Gaear", "Gaear Grimsrud." ], [ "his wife", "His wife" ], [ "Fargo", "Fargo, North Dakota." ], [ "Jean", "Jean" ], [ "$80,000", "80,000 Dollars" ], [ "accountant", "An accountant" ], [ "Norm", "Norm" ] ]

[["happened while Twinkle was winking, the path had run away\nand left them without any guide or any(...TRUNCATED)

["WHAT DO THEY ENCOUNTER WHILE LOST IN THE FOREST?","WHAT DOES THE TUXIX DO TO THE CHILDREN?","WHAT (...TRUNCATED)

[["A TUXIX","tuxix"],["IT CASTS A SPELL ON THEM.","Turns them into bird like beings with a spell"],[(...TRUNCATED)

[["is badly worn. Shall\nit stay so? Up jumps Old Bill Simpkins claiming that it is a townsman's\ndu(...TRUNCATED)

["What's the name of Gadsby's hometown?","What is the town's population at the end?","What does the (...TRUNCATED)

[["Branton Hills. ","Branton Hills. "],["60,000.","60,000"],["His poor writing skills. ","His poor w(...TRUNCATED)

[["surprize me!\" cries Mrs. Ellison. \"Sure, you are not in earnest?\"\n\n\"Indeed, madam,\" return(...TRUNCATED)

["After getting married, where do Amelia and William go?","How did Amelia's nose get ruined?","How d(...TRUNCATED)

[["London","London"],["She was in a carriage accident.","carriage accident"],["He refuses to see her(...TRUNCATED)

[[", she whispered to Kate, \"Keep the house from going to pieces, an\nye can;\" and donned her best(...TRUNCATED)

["Where does Margaret go to at the beginning of the story?","Why do Gerard's brothers send him a fal(...TRUNCATED)

[["She stays in Holland.","To visit her son with the plague"],["Because they want a bigger share of (...TRUNCATED)

[[". Like the rest of the town,\n badly damaged and shoddily fixed-up. But still standing.\(...TRUNCATED)

["Who oversees the rebuilt town?","Who owns the store?","Who is Carnegie's mistress?","What disabili(...TRUNCATED)

[["Carnegie","Carnegie"],["The enigineer","The Engineer"],["Claudia","Claudia"],["Blindness","she is(...TRUNCATED)

[["he is a little mixed in the\nopening of the story, and he is striving in English to \"scamp,\" in(...TRUNCATED)

["Which French names does the confessor feel are bound up in the theories he studies?","What did the(...TRUNCATED)

[["Flaubert, Goncourts, Zola, Degas, and Manet","Flaubert, Goncourts, Zola, Degas, and Manet"],["The(...TRUNCATED)

[["'s court appointed\n attorney...\n \n (...TRUNCATED)

["What does the judge appoint Mike as for his client, Leo?","Which of Leo's relatives moves in with (...TRUNCATED)

[["his guardian","guardian"],["Leo's grandson, Kyle","his grandson Kyle"],["She is in rehab.","She i(...TRUNCATED)

[["\"Rather a fine epitaph to have on one's tombstone,\" he said, \"especially\nif the tombstone wer(...TRUNCATED)

["Which war is predicted?","Who is William?","What literary genre flourished at the beginning of the(...TRUNCATED)

[["The Great War.","The Great War."],["Kaiser Wilhelm II.","Kaiser Wlihelm II"],["Invasion literatur(...TRUNCATED)

[["the Count. It all lies in that, do not you see?\n\n\"'Every time my eyes met his I should see my (...TRUNCATED)

["Why do you think the Count hid some of his past realtionship?","What type of business did Honorine(...TRUNCATED)

[["Because he was in love with Honorine and she ran out on him.","embarrassment "],["FLower Business(...TRUNCATED)