CHRONICLES

by Jamie Vanderbilt

Based on the books

"Zodiac" and "Zodiac Unmasked"

by Robert Graysmith

White shooting script 8/15/05 Full Blue script 9/9/05 Pink revisions 9/20/05 Yellow revisions 9/30/05 Green revisions 10/4/05 Goldenrod revisions 10/26/05 Buff revisions 10/31/05 Salmon revisions 11/29/05 Cherry revisions 1/25/06 Tan revisions 1/29/06 White 2 revisions 2/20/06 Blue 2 revisions 6/26/06 Pink 2 revisions 6/29/06 Yellow 2 revisions 7/5/06 FINAL SHOOTING SCRIPT FINAL SHOOTING SCRIPT 102. 151 CONTINUED: 151

TOSCHI (CONT'D) Check stubs are a wash, cause there's so little writing on them. The application's got more, but he says it doesn't look like Z. He's not ruling him out, but he can't rule him in either. ARMSTRONG Well, that's... vague. TOSCHI (chewing) He needs more samples. Oh, also - our guy's a perv. When Mel got the application from Valley Springs, they told him Allen had been fired for touching kids. ARMSTRONG Touching? TOSCHI Polite euphemism. What do you want to do? ARMSTRONG Let me make a few calls. He rises to leave. Toschi, shouting after him: TOSCHI Can I have the rest of your- ARMSTRONG (O.S.) Yes! 152 INT. HALL OF JUSTICE -- HOMICIDE UNIT -- DAY 152 Armstrong, on the phone with PANZARELLA. INTERCUT: ARMSTRONG Did you and Mr. Cheney have a chance to look at the copies of the Zodiac letters we sent? PANZARELLA Yeah, some of that stuff is creepy. ARMSTRONG We know.

(CONTINUED) FINAL SHOOTING SCRIPT 103. 152 CONTINUED: 152

PANZARELLA No, I mean creepy like Leigh. He misspells words like that, thinks it's funny. And he makes up rhymes, too. Like that one "I feel it my bones, you ache to know my name"... Very Leigh. ARMSTRONG What about the handwriting? PANZARELLA I don't know. Don't you have experts for that stuff? ARMSTRONG Our man at Questioned Documents says it's inconclusive. PANZARELLA Maybe he did it with his other hand. ARMSTRONG The letters are a little too neat for someone to have written with the wrong hand- PANZARELLA Not for Leigh. Armstrong leans forward in his chair. ARMSTRONG What do you mean? PANZARELLA He's ambidextrous. He can write with both hands. Didn't you know that?

153 INT. CAPTAIN LEE'S OFFICE -- EVENING 153 Toschi and Armstrong, sitting with Captain Lee. ARMSTRONG Here's our theory - In every day life Allen uses his left hand, job applications, letters to friends, etcetera. But he writes the Zodiac letters with his right hand producing a different handwriting that he can't be linked to.

(CONTINUED) FINAL SHOOTING SCRIPT 104. 153 CONTINUED: 153

TOSCHI We gotta go see this guy, Chief. CAPTAIN LEE Where is he? ARMSTRONG Vallejo, he works at Union Oil in Pinole. He's also got a brother who lives up there. CAPTAIN LEE See 'em both. And bring Mulanax in, it's his backyard. TOSCHI Because that worked so well in Riverside. (off Lee's look) Cooperation at all costs, that's us.

154 EXT. PINOLE -- UNION OIL REFINERY -- DAY 154

August 4, 1971 - Vallejo. Establishing. A HUGE COMPLEX.

155 INT. UNION OIL REFINERY -- BREAK ROOM -- DAY 155 A FOREMAN leads Toschi, Armstrong, and Mulanax into the cramped meeting room. PINOLE FOREMAN You can talk to him in here. Coke machine's busted, by the way. Toschi looks over at the machine, out of order since 1957. TOSCHI No kidding. PINOLE FOREMAN I'll go get him for you. The Foreman leaves. Mulanax turns to the others. MULANAX How do you want to do this? TOSCHI Bill talked to the informants. He leads, we follow?

(CONTINUED) FINAL SHOOTING SCRIPT 105. 155 CONTINUED: 155

MULANAX Okay by me. Armstrong nods - "fine". FOOTSTEPS in the hallway. HEAVY. The detectives turn to the closed door in anticipation. The door opens... and ARTHUR LEIGH ALLEN fills it. Over 200 lbs. Close cropped buzzcut with graying hair. Confused. Armstrong steps forward, all business. Immediately: ARMSTRONG Mr. Allen, I'm Inspector Bill Armstrong, this is Inspector David Toschi, and that's Sergeant Jack Mulanax - we're investigating the Zodiac murders in San Francisco and Vallejo. Sit, please. Allen does. Nervous. ARMSTRONG (CONT'D) An informant notified us that you made certain statements eleven months prior to the first Zodiac murder and if they're true, they're quite incriminating. Do you recall having any such conversation? LEIGH ALLEN No. MULANAX Have you ever read or heard about the Zodiac? Allen, surprised the second cop has joined in. LEIGH ALLEN When it was first in the papers, sure. I didn't follow up after those first reports. ARMSTRONG Why not? LEIGH ALLEN Because it was too morbid. I told all this to the other officer. Now it's the detectives turn to be thrown. ARMSTRONG Which other officer?

(CONTINUED) FINAL SHOOTING SCRIPT 106. 155 CONTINUED: (2) 155

LEIGH ALLEN From Vallejo. Mulanax shoots Toschi a head shake - "I don't know" ARMSTRONG Do you remember the officer's name? LEIGH ALLEN No. But it was right after the murder at the Lake. MULANAX And what did you tell this officer? LEIGH ALLEN I told him that I'd gone to Salt Point that weekend to skin dive. I was alone but I met a couple there. I have their names at home if you want them. MULANAX That would be great, Arthur. LEIGH ALLEN Leigh. MULANAX What? LEIGH ALLEN Leigh. Nobody calls me Arthur. Also, that day when I came home, my neighbor saw me. It was about four. I forgot to tell the officer about that. ARMSTRONG What's your neighbor's name? LEIGH ALLEN Bill White. But he died about a week afterwards. Heart attack. So I never called to follow up. (suddenly) The knives I had in my car with blood on them, the blood came from a chicken I killed for dinner. The three detectives, stunned. MULANAX What? (CONTINUED) FINAL SHOOTING SCRIPT 107. 155 CONTINUED: (3) 155

LEIGH ALLEN That weekend, there were two knives in my car. Maybe Bill saw them and called the first cop on me. MULANAX We'll be checking on that. Let me ask you something else, were you in Southern California at any time during 1966? LEIGH ALLEN You mean about the Riverside killing? A beat. MULANAX Yes. LEIGH ALLEN I guess I was down there around the same time. I used to go down a lot, I like the auto races. Armstrong looks over at Toschi, who still hasn't spoken. "Do you want to jump in?" Toschi stays quiet. Observing. ARMSTRONG Our informant tells us you're ambidextrous. LEIGH ALLEN No. That's untrue. ARMSTRONG You can't write with both hands? LEIGH ALLEN They tried to make me when I was little, but I couldn't. I'm left handed. MULANAX He also says you made statements about killing school children. Allen, becoming upset. LEIGH ALLEN No. That's horrible. That's a horrible thing to say...

(CONTINUED) FINAL SHOOTING SCRIPT 108. 155 CONTINUED: (4) 155

ARMSTRONG So you weren't angry about being fired from Valley Springs for touching your students? Allen looks up at him. Tears in his eyes. LEIGH ALLEN I am not the Zodiac. And if I was, I certainly wouldn't tell you. Silence... And then Toschi finally speaks: TOSCHI That's a nice watch. LEIGH ALLEN Thank you. TOSCHI Can I see it?

Allen holds it up for them. It's the Zodiac Watch. TOSCHI (CONT'D) Where did you get it? LEIGH ALLEN It was a Christmas gift from my mother two years ago. TOSCHI That's sweet. Tell me something, Arthur, do you remember anyone you might have had a conversation with regarding the Zodiac? LEIGH ALLEN Maybe Ted Kidder or Phil Tucker at Vallejo Recreation, but I'm not positive. I used to work there... (suddenly realizing) Ohhhh, The Most Dangerous Game! ARMSTRONG What? LEIGH ALLEN The Most Dangerous Game! That's why you're here isn't it? Best thing I read in high school. (MORE)

(CONTINUED) FINAL SHOOTING SCRIPT 109. 155 CONTINUED: (5) 155 LEIGH ALLEN (CONT'D) It's about this man who waits for people to get shipwrecked on his island because he's tired of hunting animals, so he hunts the people for the challenge. TOSCHI Man is the most dangerous animal? LEIGH ALLEN That's the whole point to the story! Great book. The WHISTLE outside the plant blows. Lunch. LEIGH ALLEN (CONT'D) May I go? TOSCHI Yes. Thank you for your time. Allen rises to leave... LEIGH ALLEN I'm willing to help you in anyway possible. I can't wait until the day comes when police officers aren't referred to as "pigs". ARMSTRONG Thanks. We'll be in touch. Allen exits the room. The detectives stand there. TOSCHI So... does anyone think this suspect warrants further investigation?

156 INT. JOHN AND CATHERINE ALLEN RESIDENCE -- VALLEJO -- EVENING 156 Toschi, Armstrong, and Mulanax sit in the home of JOHN and CATHERINE ALLEN - Allen's brother and sister-in-law. Armstrong, laying out papers on the coffee table. ARMSTRONG These are copies of the letters Zodiac sent us. Would you mind taking a look at them? JOHN ALLEN You think my brother's the Zodiac.

(CONTINUED) TRAINING DAY

Written by DAVID AYER

April 2001 Draft

FOR EDUCATIONAL PURPOSES ONLY 5.

3 INT. COFFEE SHOP - DAY 3 Old and tired, near Good Samaritan Hospital. Jake struts through the door, confidently looks around.

JAKE'S POV DETECTIVE SERGEANT ALONZO HARRIS, in black shirt, black leather jacket. And just enough platinum and diamonds to look like somebody. He reads the paper in a booth. The gun leather-tough LAPD vet is a hands-on, blue-collar cop who can kick your ass with a look.

BACK TO SCENE Jake walks over. Slides in across. Alonzo's eyes will never leave his newspaper. JAKE Good morning, sir. A young waitress pours Jake coffee, offers a menu. Jake waves it away. JAKE I'm okay, ma'am. Thank you. ALONZO Have some chow before we hit the office. Go ahead. It's my dollar. JAKE No, thank you, sir. I ate. ALONZO Fine. Don't. Alonzo turns the page. A long beat. Then: JAKE It's nice here. ALONZO May I read my paper? JAKE I'm sorry, sir... I'll get some food. (CONTINUED) 6.

3 CONTINUED: 3 ALONZO No. You won't. You fucked that up. Please. I'm reading. Shut up. Jake does -- Jeeez, sorry. Pours a ton of sugar in his coffee. TIME CUT TO:

4 INT. COFFEE SHOP - DAY 4 The waitress pours refills. Alonzo reads. Jake fidgets. JAKE Sure wouldn't mind not roasting in a hot black and white all summer. Alonzo sighs, carefully folds his paper. Glares at Jake. ALONZO Tell me a story, Hoyt. JAKE My story? ALONZO Not your story. A story. You can't keep your mouth shut long enough to let me finish my paper. So tell me a story. JAKE I don't think I know any stories. Alonzo waves the paper in Jake's face. ALONZO This is a newspaper. And I know it's ninety percent bullshit but it's entertaining. That's why I read it. Because it entertains me. If you won't let me read my paper, then entertain me with your bullshit. Tell me a story. JAKE A real one or should I make one up? (CONTINUED) 7.

4 CONTINUED: 4 ALONZO (sighs) Where'd you do your probation? JAKE Van Nuys. ALONZO Right. The Valley. No cute little anecdotes about writing underage smoking cites at the shopping mall? Jake thinks. Bingo! He's got it. JAKE There was this D.U.I. stop. ALONZO A D.U.I. stop. Wow. Go on. JAKE We were on the mid-watch. ALONZO We? You and...? JAKE Debbie. ALONZO Debbie? The hell's Debbie? JAKE My training officer. Debbie Maxwell -- ALONZO -- Your T.O. was female? JAKE Yessir. ALONZO She white? Black? JAKE White. ALONZO She dyked out or she any good? (CONTINUED) 8.

4 CONTINUED: (2) 4 JAKE She's pretty good. ALONZO (he's hooked) So you and Debbie are pullin' a mid-watch? JAKE Right. It's a real quiet night. A yawner. We're rolling on Vanowen. I'm driving. And this Acura, just a beautiful car, comes out a side street. In excess. All over the median. So I light it up and hit the wailer. Guy drives on like I'm invisible for ten blocks before he pulls over. Plates ran clean. Debbie covers as I approach. Driver's this huge white guy. Can barely keep his eyes open. I field test and arrest and I'm belting him in our unit. Debbie's tossing his car. She calls me to the vehicle and shows me a snubbed .38 and two shotguns, all loaded and locked. ALONZO No shit? JAKE No shit. She calls our supervisor and I keep searching. I find five hundred grams of meth in the dash. Turns out our D.U.I. was on bail for distribution. He was on his way to smoke his ex-partner before trial. (proudly) We prevented a murder. Alonzo is astonished. ALONZO ... amazing... Jake beams -- some story, huh? (CONTINUED) 9.

4 CONTINUED: (3) 4 ALONZO You're driving around the Valley with a fine bitch in your car for a year and the most entertaining story you got is a drunk stop? Never hit her up for some Code X in the back seat? Didn't tap it? JAKE I have a wife. ALONZO You also have a dick. Alonzo shakes his head in disgust. Jake is crushed. ALONZO Let's go. Alonzo tosses a fifty on the table. OFF his heavy wedding band we -- CUT TO:

5 EXT. COFFEE SHOP - PARKING LOT - DAY 5 Jake and Alonzo crossing. Alonzo sizes Jake up. ALONZO You walk and talk like a damn cop. Alonzo stops at:

G-RIDE A narc-machine supreme. A clean, black 1978 Monte Carlo on nice rims. ALONZO Gimme that menu. Jake pulls a Chinese menu from under the wiper. Hands it to Alonzo, who folds and pockets it. ALONZO Get in. S'unlocked. Jake admires the car, climbs in. HELL OR HIGH WATER

Written by

Taylor Sheridan OPEN ON: Dead grass. Burnt from four months of triple digit heat and no rain. We move past an endless sea of it. Past PUMP JACKS drawing black gold from the dirt ... Past a herd of cattle scratching breakfast from the blistered earth -- two old bulls huddle in the shadow of a mesquite tree, choosing shade over hunger. We pass a graveyard of farm equipment and rusted propane tanks, signaling the city limits of ARCHER CITY, TEXAS. We look over the town -- it doesn’t take long. Surrounding an old, stone courthouse are empty buildings with broken windows. A cafe. A title company ... And FIRST TEXAS BANK. We stop in front. We hear a car door open and shut. ELSIE WALBERGER, 60, and heavy, curlers in her hair, waddles past us to the entrance of the bank. She unlocks the door. As she hefts it open -- CAMERA RUSHES TOWARD HER. Elsie is pushed forward and falls to the floor of the bank with a thud. She moans, rolls to her side, and sees:

INT. FIRST TEXAS BANK -- ARCHER CITY -- CONT. TWO SILHOUETTES. MEN. Hard to say who for two reasons: the morning sun through the glass door and the ski masks pulled over their faces. ELSIE What in the devil --

ROBBER (Offering her a hand) Stand up and take us to the cash drawers. 2.

ELSIE I will not. The robber kneels below the glare and points a revolver at her face. ROBBER 2 We ain’t askin’. She scrambles to her feet and is escorted behind the counter. ELSIE There’s no money in the drawers yet. It’s in the safe and I ain’t got the key. ROBBER Prove it. She opens the drawers. Sure enough, they’re empty. ROBBER (CONT’D) Damn. ELSIE Y’all are new at this I’m guessing. ROBBER 2 Where’s the money? ELSIE I told you, in the safe. ROBBER 2 Who’s got the key? ELSIE Mister Clauson. He’ll be here soon, and I suggest you fellers don’t be. All you’re guilty of right now is being stupid. Just leave and that’s all it’ll be. One of the robbers spins her to face him. Grabs her by the throat. His cold eyes stare deep into hers. ROBBER 2 Call me stupid again. ELSIE Think you scare me? You stupid son of a bitch. Uh oh. 3.

The thief’s partner steps up, puts a hand on the angry man’s shoulder, easing him back, and steps between them. ROBBER When does Mister Clauson get here? ELSIE Eight-thirty every morning. They look to the clock on the wall -- 8:29. The other robber grabs her by the arm and drags her around to the main foyer of the little bank. Points his pistol at her head. ROBBER 2 Sit. She starts to move toward a small sofa. ROBBER 2 (CONT’D) Where the hell are you going? Sit on the floor. She does. Right in the middle of the bank. She looks up at them -- scared for the first time. ELSIE What are you gonna do? CUT TO:

EXT. FIRST TEXAS BANK -- DAY. A ‘78 Buick in mint condition comes to a stop in front of the bank. MR. CLAUSON, 50’s, bit of a belly and barely any hair, climbs out and looks up at the bank sign, digitally displaying the time and temperature. The time is 8:30am. The temperature is 98. MR. CLAUSON Goodness, it’s gonna be a cooker. He moves toward the entrance of the bank. Behind him we see virtually no signs of life. It’s a miracle this bank is even open.

INT. FIRST TEXAS BANK -- CONT. Mr. Clauson steps through and sees: 4.

Elsie sitting uncomfortably in the center of the lobby, propping all her weight on one arm, like a broken chair. MR. CLAUSON Elsie, you alright? She shakes her head ‘no’ as a pistol is placed to Mr. Clauson’s temple ... CUT TO:

INT. 1988 CHEVY CAMARO -- DAY. A burnt field, charred and smoking, whizzes by as the engine whines. We see two men: TOBY HANSON, late 30’s, a kind face marked by years of sun and disappointment, rides shotgun. It’s not the face of a thief, it is the face of a farmer. Behind the wheel is TANNER HANSON, 40, his brother’s opposite in every way: mustache, shaggy hair, an air of danger that attracts as many women as it repels. He lights a smoke as Toby wipes sweat from his brow. Tanner grins from ear to ear. TANNER Just like the army. Doin’ more before nine a.m. than most folks do all goddam day. Toby looks straight ahead. They ride in silence for a moment. Then Tanner explodes -- TANNER (CONT’D) WHOOOOOOOOOHOOOOOOHOOHOO!!!!! He pounds the dash. Toby waits for the storm to pass. It does. Silence again. TOBY You need to go a little easier on the tellers. TANNER I go as easy on them as they go on me. Beat. 5.

TOBY Slow down. He doesn’t. In the distance, they see the throbbing lights of a SHERIFF’S CRUISER headed toward them. TOBY (CONT’D) Slow down -- TANNER I ain’t speeding.

The cruiser races toward them. Tanner drives without a care in the world. Toby is frozen to his seat, eyes tracking the car as it approaches. The cruiser whips by. Toby looks in the side mirror, certain the vehicle is going to turn around. It doesn’t. TANNER (CONT’D) See, little brother? We ain’t got a worry in the world. Tanner takes a long pull from his cigarette, and looks out over the black top. TOBY Plannin’ this and doin’ it’s two different things. Tanner laughs. His demeanor is so relaxed, you’d think they were taking a drive with no destination at all. TANNER Shit, most people that do this don’t think to plan at all. ... You know, we’re half way to Olney. Might as well put ourselves a day ahead. Toby looks exhausted. But it’s true. Tanner looks at him and smiles. TANNER (CONT’D) C’mon. Early bird gets the worm. Beat. TOBY Slow down. 6.

He doesn’t.

EXT. TWO LANE HIGHWAY -- CONT. The Camaro pulls away from us. We try to keep up, but it disappears over a rise. We stare at broken yellow lines as they race underneath us. CAMERA RISES. We see the Camaro in the distance. It is the only car on the road. In fact, it is the only sign of life in any direction. Smoke rises from scorched fields in every direction. From our vantage point, it seems the whole world is on fire ... CUT TO:

INT. FIRST TEXAS BANK -- OLNY BRANCH -- DAY. This branch was built in the fifties and hasn’t had a remodel since. There is one surveillance camera mounted above the teller’s counter. A MAN IN HIS 80’S is placing rolls of coins on the counter before a chubby, young TELLER. There is a dolly loaded with three cardboard boxes beside him. They are the only two people in the bank. MAN I found three boxes in the barn. Lord knows how long they been sittin there. (The old man chuckles) I been living on an inmate’s diet and had all these boxes just sitting under feed sacks. The teller smiles. TELLER How do you forget such a thing? OLD MAN Old as I am, lucky I could find my way here. The teller examines a roll of pennies. TELLER This one says 1953. She breaks open the roll. 7.

TELLER (CONT’D) I wonder if any of these is collector’s items. You could be sitting on a fortune here. We hear a JINGLE OF BELLS from the front door. In a flash, a pistol is pointed at the old man and a blurred image leaps over the counter. TANNER, in ski mask, is now behind the teller, pistol to her head. Toby appears beside the old man. TANNER Open the drawer. Her eyes go wide. She raises her hands to the sky. TANNER (CONT’D) Put yer hands down and open the drawer. She does. TOBY Ones, fives, tens, and twenties. No hundreds. OLD MAN Don’t this figure. Good lord won’t even let me have it for a damn day. TOBY (Looking over the boxes) We don’t want your coins, old man. OLD MAN So you boys is robbing the bank? TANNER Shut up. TOBY Keep your hands on the counter. The old man simply can’t wrap his head around what he’s seeing. OLD MAN That’s crazy ... Ya’ll ain’t even Mexican. She reaches for the ink pack. 8.

TANNER No no no. Leave that where it is. And none of them in bundles, just the loose cash. OLD MAN You oughta be ashamed of yerself -- TANNER Oh, I am. Make no mistake. But I’m doing it anyway. Put your hands on the counter where I can see em, old man. Got a pistol on you? OLD MAN Damn right I do. TANNER (Looks hard at Toby)Keep up with the circumstances, okay? Toby shakes his head at the scolding and frisks him, finds a snub nose .38 and sets it on the counter, out of the old man’s reach. OLD MAN You gonna steal my gun? TANNER (Pointing his pistol)I got my own gun -- TOBY We ain’t stealing from you, we’re stealing from the bank. OLD MAN It’s the same thing, son. Tanner jumps the counter. TANNER Like hell it is. They turn and run. The old man grabs his pistol and fires, shattering glass beside them as they exit the building.

EXT. FIRST TEXAS BANK -- OLNY, TEXAS -- CONT. The brothers run around the building to the back of the bank and the waiting Camaro. They tear off through the alley. 9.

The old man struggles out the front door, pistol in hand, looks down the street. Nothing. Looks the other way. Nothing there either. Just like the last town, it appears in every way to be deserted.

INT. CAMARO -- RESIDENTIAL STREET -- OLNY, TEXAS -- DAY. Masks removed, the brothers are drenched in sweat. They pass house after house with dead lawns and no cars in the driveway. Some of the windows are broken, some boarded up. One thing is certain, whoever lived in these little towns doesn’t live here anymore. TANNER Put the gun on the counter?? You liked to get us killed! TOBY I’m not stealing from some old man. We stealing from one place. That’s it. But Tanner isn’t angry, he’s laughing. TANNER You’re turning out to be a poor criminal. Toby opens the trash bag, judging the take. This was a much bigger haul. TANNER (CONT’D) See what the early bird gets? Through the windshield we see field after field of cotton, drab and stunted from the heat. Olney is far behind us now. A tinge of relief on Toby’s face -- this may actually work. He leans his head back. TANNER (CONT’D) (The gleam returns to Tanner’s eyes) Wanna head over to the branch in Jayton? Relief gone.

10.

TOBY NO. (He looks at his brother) We hit these banks first thing in the morning. When they’re empty... That’s the last time I care to be shot at. Toby runs his hand over his sweat-drenched face. TOBY (CONT’D) Gotta be smart. We’re a ways from being finished. TANNER Hell, we could do this all week. TOBY We’re gonna. Tanner laughs. TANNER Can’t nobody stop us ... We like the Comanches, little brother. Lords of the plains... Raiding where we please, with the whole of Texas huntin’ our shadow. Field after empty field fly by Toby’s window. He stares out over them. Tanner lights a smoke, draws in a deep drag. TANNER (CONT’D) Lords of the plains. That’s us ... Toby looks in the direction of his greatest worry, who exhales smoke and smiles. CUT TO:

INT. TEXAS RANGER’S OFFICE -- ABILENE, TEXAS -- DAY. MARCUS HAMILTON, two weeks shy of 70, thick silver mustache, sits at his desk. A large Texas flag tacked to the wall behind him. He looks over a LETTER from the DPS HEADQUARTERS in Austin. The heading says it all: Mandatory Retirement Referendum. The letter is worn at the edges -- Marcus has spent a fair amount of time looking it over. HELL OR HIGH WATER

Written by

Taylor Sheridan 107.

RANGER (CONT’D) Marcus ... You’re retired. MARCUS I hear you. RANGER Okay. Off the Ranger, not quite believing him. CUT TO:

EXT. HANSON RANCH HOUSE -- DAY. Toby looks at a depression dug under a barbed wire fence that leads to a small garden that has been destroyed. Toby walks to an old pickup and grabs a lever action rifle from the gun rack. He racks a round. Climbs over the fence and follows pig tracks that lead from his garden to the mesquite thicket just beyond. He follows. He walks a deer trail through the thicket, following the pig tracks. He slows, creeping along the trail. It bends to the right. He creeps along the trail, then notices something moving off to his right, along the dirt road that leads to the house. He ducks. Looks, and starts creeping back toward the house. MARCUS WALKS THE ROAD UP TO THE HOUSE. He looks up at it. It’s halfway through a new paint job, paint cans and rollers rest beside the porch. Toby steps quietly from the mesquites, coming up behind Marcus. Marcus turns to him. MARCUS Painting the house I see ... Know who I am? Toby steps closer, the rifle cradled in his arms. Marcus smiles. MARCUS (CONT’D) I’m the man who killed your brother. Beat. 108.

TOBY I know it. I also know you’re retired. And you’re trespassing. MARCUS You could shoot me now and be within your rights. And you totin’ a gun. How convenient. TOBY I imagine you’ve got one too. Marcus smiles. Toby stands there, waiting patiently for whatever Marcus came here to do. Or say. Marcus has a seat on the edge of the porch. MARCUS You mind if I sit? Toby almost smiles. TOBY Feel free. Toby walks to the porch sits in his chair. TOBY (CONT’D) You want a beer? Marcus thinks about that. MARCUS Sure. I ain’t on duty no more. Toby grabs two from a small cooler and tosses him one. MARCUS (CONT’D) Nice out here with the breeze, now that it’s cooled down. Texas is hell till September comes, ain’t it? TOBY It can be. Silence. MARCUS How’d you do it -- never mind, I’ll figure that in time ... Why’d you do it? TOBY Do what? 109.

MARCUS I know why Tanner did it. He robbed those banks cuz he liked it. He shot my partner three hundred yards away cuz he liked it. Made him feel good. And if I hadn’t blown his shit-for-brains out, there’d be a brand new truck parked out front and four wheelers and anything else he could think to buy. He’d spend it all just to have an excuse to steal some more. But not you ... Painting this old house yourself. Driving that beat up truck. Nothing new I can see, ‘cept those pump jacks and each of ‘em paying you a week what you and your brother stole from all four banks combined. Marcus sips from his beer. Toby shifts the muzzle of his rifle discreetly in Marcus’s direction. MARCUS (CONT’D) Help me understand that ... Help me understand why four people died so you could steal money it don’t seem you’ve spent. That it don’t seem you need. Toby looks at Marcus, and his grin that begs for a fight. TOBY You got a family? Beat. MARCUS My partner had a family. A big one. They don’t have no pump jacks in their back yard. They’re gonna have to stretch a pension among the six of em. TOBY I didn’t kill your friend. MARCUS Yes you did. By setting this thing in motion. You expect me to believe your dim-witted brother planned all this? We’ve seen how he operated on his own. No, this was smart. This was you. 110.

Beat. Toby looks over at a pump jack, undulating up and down, drawing money from the earth with every revolution. TOBY I been poor my whole life. So were my parents, and their parents before ‘em ... Like a disease, passed from generation to generation. And that’s what it becomes, a sickness ... Infecting every person you know ... But not my boys. Not anymore. This is theirs now. Ain’t no advice you can give a child these days. No lessons. No love. Nothing that can guarantee they have a chance at life, but money. I hate that the world’s come to this, but it has. And I dare you to look me in the eye and tell me different ... I never killed anyone in my life, but if you want me to start with you, let’s get on with it, old man. See if you can get that pistol from your boot before I blast you off this porch. They hold each other’s gaze, no surrender in either man’s eyes, but no anger either, just the grim acceptance that it had to be this way. An older Ford Expedition bounces up the dirt road and stops in front of the house. Justin, Debbie, and RANDY, 11, step out, book bags over the boys’ shoulders. Debbie spots the gun in Toby’s lap. DEBBIE What’s going on? TOBY That pig was back in the garden. (To Marcus) Feral hogs are tearing up this place somethin’ fierce. DEBBIE Who’s this? MARCUS I’m an old friend of your husband. Debbie recognizes Marcus instantly, but this isn’t her first rodeo with playing dumb. 111.

DEBBIE Ex husband. TOBY I’m just here working on the house. MARCUS You don’t live here? TOBY It’s not mine. It’s theirs. Marcus looks at the boys. Then at Debbie. Stoic expressions, giving away nothing ... They all know. He can tell. Has to laugh. MARCUS Things you do for your kids, huh? Marcus rises. MARCUS (CONT’D) Well, I’d best be going. Toby stands as well. TOBY Me too. (To Debbie) I’ll be back over around nine tomorrow, try and finish the front. She nods. Toby looks at Marcus.

TOBY (CONT’D) You know, I’m renting a little house in town. If you wanna come by and finish our conversation ... You’re welcome anytime. A dare ... A threat ... Marcus looks back at him. MARCUS I’ll do that. I haven’t figured this whole thing out yet ... But I will. Marcus looks over at the boys. Studies them. MARCUS (CONT’D) You as smart as your daddy? 112.

RANDY I never thought of daddy as all that sharp. Marcus laughs. Leans down to the boy. MARCUS Don’t you underestimate him. He looks back at Toby. MARCUS (CONT’D) I’ll be seeing you. TOBY Soon, I hope. I’m ready to be done with this. MARCUS You’ll never be done with it. No matter what. That’s the price. It’s gonna haunt you, son. For the rest of your days. Marcus looks up to the sky, letting the autumn sun bathe his face. MARCUS (CONT’D) But you won’t be alone. It’s gonna haunt me too. TOBY When you come by, maybe I’ll give you peace. Marcus smiles. MARCUS Maybe. Maybe I’ll give it to you. TOBY I’d like that ... Till that day. Marcus looks at this sad, simple man, and smiles. Tips his hat, turns and walks up the dirt road. The camera rises and looks down on them. The house’s gray, faded shingles and Marcus’s silver hat standing out from the red dirt that surrounds them. THE END. 113.

WINTER'S BONE

by Debra Granik Anne Rosellini

Based on the novel WINTER'S BONE By Daniel Woodrell

15.

REE It really must be. Cause you ain’t never used to eat no shit.

GAIL Ned needs his nap.

Gail takes Ned from Ree’s arms.

GAIL (whispers to baby) Come here.

Ree leaves and Gail watches her go.

EXT. WOODS - DAY

Ree treks up a wooded hill.

EXT. TEARDROP’S YARD - DAY

Ree enters the yard, greeted by dogs.

VICTORIA, 30’s, opens the door of a rough-hewn brown painted cabin.

VICTORIA What brings you here? Somebody dead?

REE I’m looking for my Dad.

Victoria holds the door for Ree and beckons her inside.

VICTORIA Come on in. Shake off the chill.

Ree enters the house, followed by Victoria.

INT. TEARDROP’S HOUSE, KITCHEN - DAY

Ree and Victoria enter kitchen.

VICTORIA Let’s keep it quiet. Teardrop’s still laying up in bed. 16.

Ree takes off her coat and sits down at the table. Victoria pours two cups of coffee.

REE The law came by today. Dad signed over everything to his bond. Victoria, I really gotta run Dad down to get him to show.

Ree’s uncle, TEARDROP, 40’s, a worn, unshaven man enters. He lights a cigarette and crosses the room.

TEARDROP You ought not do that. Don’t go running after Jessup.

Teardrop sits at the table.

TEARDROP (CONT’D) Show or don’t show that choice is up to the one going to jail, not you.

REE You know where he’s at, don’t you?

TEARDROP Where a man’s at ain’t necessarily for you to know neither.

REE But you do...

Teardrop abruptly shoots a warning look at Ree.

TEARDROP I ain’t seen him.

Victoria places a cup of coffee in front of him. Silence while Ree contemplates her next move.

REE Could be running around with Little Arthur and them, you think?

Teardrop absentmindedly loads the magazine of a pistol. 17.

TEARDROP Don’t you ever go down around Little Arthur’s asking them people about shit they ain’t offering to talk about. That’s a real good way to end up et by hogs, or wishing you was.

REE We’re all related ain’t we?

Teardrop continues to fiddle with the pistol.

TEARDROP Our relations get watered kinda thin between here and Little Arthur’s.

Teardrop tosses the pistol onto the lazy susan in the middle of the table.

VICTORIA You know all those people, Teardrop. You could ask.

TEARDROP Shut up.

VICTORIA None of them’s gonna be in a great big hurry to tangle with you.

TEARDROP I said shut up once already with my mouth.

Teardrop gets up and walks across the kitchen to the stove with his back to Ree.

REE Jesus, Dad’s your only brother.

Teardrop spins back to face her. 18.

TEARDROP You think I forgot that? Hmm? Jessup and me run together for coming on forty years but I don’t know where he’s at, and I ain’t going to go around asking after him neither.

Victoria tries to cut the tension by changing the subject.

VICTORIA Ree, you still planning to join the army?

REE No, I don’t think I can any more. (to Teardrop) Listen...

Teardrop lunges at Ree, grabs her hair and pulls her face back to look at him. He leans his face in very close to hers.

TEARDROP (shaking his head) No.

He lets her go and exits the kitchen.

Victoria locks eyes with Ree, then follows Teardrop.

Ree, sitting at the table, can hear their muffled voices from the next room. She rises and puts on her coat as they argue.

VICTORIA (O.S.) She needs help.

TEARDROP (O.S.) Nope. Nope. listen. Listen! You tell that girl to stay close to home. Don’t move. Give her this. You send her ass on her way right now.

Victoria comes back into the kitchen. 19.

VICTORIA Teardrop says you best keep your ass real close to the willows, dear. He hopes this helps.

Victoria presses a wad of bills into Ree’s hand. She slips a joint out of her cigarette package.

VICTORIA (CONT’D) Here’s a doobie for your walk.

Ree takes the joint.

REE Thank you.

Victoria stares at Ree as she leaves.

EXT. RURAL FIELD - LATE AFTERNOON

Ree hikes across a ruddy pasture strewn with dilapidated sheds.

EXT. RURAL ROAD - LATE AFTERNOON

Ree crosses the road and heads up a hill.

EXT. MEGAN’S YARD - LATE AFTERNOON

Ree enters a yard with laundry hanging on a line. A donkey is grazing on the other side of the fence. A half-eaten apple has rolled out of his reach. She picks it up and feeds it to the donkey. MEGAN, 20, comes out onto the porch and calls out to Ree.

MEGAN Hey! What’s your business here?

REE My dad’s, Jessup. He’s pals with Little Arthur, and I gotta find him.

Megan stares Ree down, taking a long time to answer.

MEGAN Hold on. WINTER'S BONE

by Debra Granik Anne Rosellini

Based on the novel WINTER'S BONE By Daniel Woodrell

23. MEGAN (cont'd) But you’re going to have to go on up the hill and ask for a talk with Thump Milton. Now, I hope he’ll talk with you - he generally won’t.

REE That man, scares me way more than the rest.

MEGAN Well, scared ain’t a bad way to be about him, neither, hon. He’s my own granpaw, and I still make damn sure I never piss him off none.

They continue walking until they reach Megan’s property.

EXT. MEGAN’S YARD - AFTERNOON

MEGAN You go see Thump.

Megan holds down a barbed wire fence to allow Ree to climb over it.

MEGAN (CONT’D) Go on.

Ree heads up the hill while Megan watches her go.

EXT. WOODS - AFTERNOON

Ree trudges through the woods. Dry leaves and branches crackle under her footsteps as she makes her way.

EXT. THUMP MILTON’S YARD - AFTERNOON

MERAB, 50’s, comes out to the porch of her house. Ree crosses the yard. Dogs herald her arrival with loud barking.

MERAB You’ve got the wrong place, I expect. Who might you be?

REE I’m Ree. My Dad’s Jessup Dolly. 24.

Merab gestures for Ree to come closer. Ree takes a few steps towards the porch.

MERAB You ain’t here for trouble, are you?

REE No, ma’am.

MERAB Cause one of my nephews is Buster Leroy, and didn’t he shoot your daddy one time?

REE Yes’m, but that ain’t got nothing to do with me. They settled all that theirselves, I think.

MERAB Shooting him likely settled it. What is it you want?

REE I got a real bad need to talk with Thump.

MERAB And he ain’t got no need to talk to you.

Merab turns away towards her doorway.

REE But I need to. I really, really got to ma’am. Please!

Merab turns around to face Ree.

REE (CONT’D) Some of our blood at least is the same. Ain’t that s’posed to mean something’ - isn’t that what is always said?

Merab, irritated, moves to confront Ree. 25.

MERAB Ain’t you got no men could do this?

REE No, Ma’am, I don’t.

MERAB You go wait in the yard somewhere by that coop, and I’ll tell Thump you’re here.

REE Thank you.

Ree walks in the direction of the chicken coop. Merab goes inside.

EXT. THUMP MILTON’S YARD - AFTERNOON

Ree finds a place to sit next to the coop.

The camera lingers on the various things Ree notices as she waits.

REE (to herself) Come on, already.

EXT. THUMP MILTON’S YARD - LATE AFTERNOON

Merab comes back outside carrying a mug and calls out to Ree.

MERAB He ain’t likely to have time for you, child.

REE I’ve got to talk to him. If he don’t know, nobody does.

MERAB Nope. Talking just causes witnesses. And he don’t want for any of those.

REE I’ll wait. 26.

MERAB You need to get yourself on home.

She gives Ree the mug.

MERAB Here, drink it down and be on your way.

Ree drinks and hands the empty mug back to Merab.

REE Thanks.

MERAB Thump knows you were in the valley, child. With Megan. And at Little Arthur’s. He knows what you want to ask, and he don’t want to hear it.

REE And that’s it? He ain’t gonna say nothing to me?

MERAB If you’re listening, child, you got your answer.

Merab turns her back and walks toward her house. Ree calls after her.

REE So, I guess come the nut-cutting, blood don’t really mean shit to the big man. Am I understanding that right?

Merab spins on her heel and gets up into Ree’s face.

MERAB Don’t you dare. Don’t! I want you to listen to me, child. You need to turn around, and get yourself on home.

Merab turns and walks back to her house. As she reaches the doorstep, she turns back towards Ree. 27.

MERAB (CONT’D) Don’t you make me come out here and tell you again!

Merab enters the house and slams the door. As Ree stomps away, Merab eyes her suspiciously from the window.

EXT. REE’S HOUSE - DAY

Ashlee bounces on the trampoline on a toy horse.

Ree comes out onto the porch.

REE Ashlee Dawn, come inside. Bring Brownie and Cupcake.

Ashlee picks up the two horses and climbs off the trampoline.

INT. REE’S HOUSE - DAY

Ree is slicing potatoes into a sizzling pan.

There is a loud knock at the door.

BLOND MILTON (O.S.) Ree, Get out here!

EXT. REE’S HOUSE, PORCH - DAY

Ree opens the door and steps out.

BLOND MILTON Do you know, there’s people going ‘round saying you best shut up. People you ought to listen to. Get your ass in the truck.

He grabs Ree’s arm.

REE Don’t touch me.

BLOND MILTON Get your ass in the truck. WINTER'S BONE

by Debra Granik Anne Rosellini

Based on the novel WINTER'S BONE By Daniel Woodrell

47.

EXT. CATTLE STOCKYARD, HOLDING PENS - DAY

Walking gingerly but intently along an elevated catwalk, Ree searches for Thump amidst the massive maze of cattle pens below.

The mooing of the cattle is deafening.

Finally, Ree spots Thump. She tries to get his attention.

REE (shouting) Thump Milton! I need to talk to you! Thump Milton! Thump Milton! Thump!

Ree’s voice competes with the din of the cattle. Thump Milton quickly leaves the area, and she runs down the catwalk after him.

EXT. THUMP MILTON’S YARD - DUSK

Ree walks across the yard towards Thump Milton’s house.

The door opens and Merab comes out carrying a steaming mug.

She hurls the liquid at Ree, then hits her in the face with the mug as ALICE and TILLY, Merab’s sisters, emerge from the house.

Ree cries out and falls to the ground.

MERAB I done told you to leave him be.

Merab and Alice grab Ree and drag her to the barn with Tilly leading the way. Ree resists with all her strength.

MERAB (CONT’D) Get her, Alice!

ALICE (to Ree) No, you don’t!

The sisters get a tighter hold on her and force her inside the barn. 48.

MERAB That’s what you get for not listening.

Ree’s screams pierce the air as the barn door lowers.

INT. THUMP MILTON’S BARN - NIGHT

Ree regains consciousness in the glow of a fluorescent light. She can see the rafters of the barn ceiling and a large assortment of metal tools and pieces of equipment all around her. Merab stands over her.

MERAB You was warned. You was warned nice and you wouldn’t listen - why didn’t you listen?

Ree spits a bloody tooth into her palm. She looks around and sees people she can barely make out, watching her in silence. Among them she recognizes; Little Arthur, SPIDER MILTON, and RAY.

Megan bends down next to Ree and strokes her hair.

MEGAN What are we ever gonna do with you, baby girl?

REE Kill me, I guess.

MEGAN That idea has been said already. Got any others?

REE Help me. Ain’t nobody said that idea yet, have they?

MEGAN I tried to help you some before, and this is what come of it.

Megan backs away as Thump Milton enters the barn and walks up to Ree. He grasps her chin and examines her bloody face, shooting a look at Merab. 49.

THUMP MILTON You got something to say, child, you best say it now.

Ree thinks a minute, her eyes locked on Thump.

REE I got two kids who can’t feed themselves yet. My mom is sick, and she’s always gonna be sick. Pretty soon the laws are coming and taking our house and throwing us out to live in the field like dogs.

Ree catches her breath.

REE (CONT’D) If Dad has done wrong, Dad has paid. And whoever killed him, I don’t need to know all that. But I can’t forever carry them kids, and my mom - not without that house.

She is met with silence. Thump leaves the barn with BOBBY. Dogs bark outside as we hear the sound of an engine approaching.

SPIDER MILTON Aw, shit.

Ray makes to leave.

RAY I ain’t gonna stand here naked when that motherfucker comes in.

Everyone can hear a truck door slam and heavy footsteps coming up the gravel. The barn door opens to reveal Teardrop.

TEARDROP Where is she?

LITTLE ARTHUR Don’t get all excited, Teardrop. She was warned, and more than once.

Teardrop gazes at Ree, his expression unchanging, then turns to Spider Milton. 50.

TEARDROP You hit her?

Spider Milton drops his arm to the small of his back, wrapping his hand around the gun tucked into his pants.

Merab steps up to Teardrop.

MERAB He never! No man here touched that crazy girl. I put the hurt on her. Me and my sisters, they was here too.

Thump Milton walks back into the barn flanked by Ray and Bobby. He stops within an arm’s length of Teardrop.

TEARDROP What Jessup done was against our ways, he knew it, I know it, and I ain’t raised no stink at all about whatever became of him. But she ain’t my brother.

Teardrop looks around the gathering, finally locking eyes with Ree before concluding his case.

TEARDROP (CONT’D) She’s about all the close family I got left, so I’ll be collecting her now and carrying her on out of here to home. That suit you, Thump?

THUMP MILTON You’re gonna stand for her, are you?

TEARDROP If she does wrong, you can put it on me.

Ree registers the gravity of this commitment on Teardrop’s part.

THUMP MILTON She’s now yours to answer for. 51.

TEARDROP This is a girl who ain’t gonna tell nobody nothing.

THUMP MILTON You boys give him a hand. Go on and put her in the truck.

Little Arthur and Spider Milton shoulder Ree and walk her from the barn to the truck.

The rest of the family in the barn watch Ree and Teardrop drive off.

INT. TEARDROP’S TRUCK - NIGHT

Teardrop drives Ree home. They park in front of the house but remain in the truck. Teardrop and rips a bandana and sticks the cloth into her mouth.

TEARDROP Chomp down on that ‘til the blood lets up.

Ree holds the cloth in her mouth.

In the silence and dark of the truck, Teardrop levels with Ree.

TEARDROP (CONT’D) Your daddy couldn’t face this last bust. Couldn’t face a ten year jolt. He started talking to the fucking sheriff.

Teardrop takes a drag off his cigarette.

TEARDROP (CONT’D) You own me now. You understand? They been waiting to see if I’ll do anything. Watching. I can’t know for a certain fact who went and killed my little brother. Even if you find out, you can’t ever let me know who killed him. Knowing that would just mean I’d be toes up myself pretty soon. Deal? 52.

Ree reaches across the cab of the truck to squeeze Teardrop’s shoulder.

EXT. REE’S YARD - NIGHT

Gail comes out of the house and runs to the truck. Ashlee and Sonny follow her and watch from the porch.

Gail and Teardrop lift Ree from the truck and walk her towards the house, pushing Sonny aside.

GAIL (to Sonny) No, get out of the way. Open the door.

Teardrop closes the door to the house and lingers on the porch.

INT. REE’S HOUSE, BATHROOM - NIGHT

Gail carefully cleans Ree’s wounds with peroxide.

GAIL Gonna burn. Squeeze my hand.

Ree rinses her mouth and spits more blood into the sink. She sits, exhausted, appreciating Gail.

REE Thank you.

INT. REE’S HOUSE, BEDROOM - NIGHT

Ree lies on the bed. Gail arranges packs of frozen vegetables over Ree’s bruised ribs.

Sonya enters.

SONYA I just heard. I brought these over for you.

Sonya hands Gail a plastic vial.