justified 501 (spec) a man dies written by isaac … 4’s final episode “ghosts. ... fresh off a...
TRANSCRIPT
JUSTIFIED 501 (SPEC)
"A MAN DIES..."
Written by
Isaac Kinsey
15353 Weddington St. Apt. D-321Sherman Oaks, CA 91411
PREVIOUSLY ON JUSTIFIED...
This spec is to take place a few months after the end of Season 4’s final episode “GHOSTS.”
After infamously gunning down local gun thug TOMMY BUCKS in Miami four years ago, DEPUTY US MARSHAL RAYLAN GIVENS was transferred to the Marshals office in his home state of Kentucky. It is here where he reconnected with the family and life he purposely left behind, including his ex-wife WINONA HAWKINS. Their reunion has produced a pregnancy and has placed Raylan and Winona in a very precarious position: Does she stay and try to raise the child with Raylan, whose reckless lifestyle brings a threat on his (and sometimes hers) life every time he steps out of the door? Or does she leave town and start anew? While Raylan ponders his life...
...We find Raylan’s frenemy/career criminal BOYD CROWDER at a crossroads. After securing the assurance from Detroit mob boss THEO TONIN that upon his delivery of DREW THOMPSON, someone who owes Theo dearly, he would be Detroit’s new point man for heroin dealership in Kentucky, Raylan finds Drew first and turns him in to authorities, despite Boyd’s pleas. Reeling from the loss of a potential empire at his hands, he’s dealt an even harder blow when his fiancee AVA is arrested for the murder of DELROY, an abusive misogynistic pimp whose body he helped her hide but was recently found.
Our two leads are headed on a crash course for each other, as father-to-be Raylan tries to reconcile his relationship with his ex and child and still be the only thing he knows how to be: ass-kicking lawman with a death wish bigger than the 10-gallon hat on his head. And Boyd, now relegated to serving as the “help,” along with his backstabbing cousin JOHNNY, for Tonin’s appointed man in Kentucky, WYNN DUFFY, is in as dark and desperate a place he has ever been: playing servant while the love of his life rots in jail. At this point, he will do just about anything to free his love and give them the life he thinks they deserve. ANYTHING.
Elsewhere, we find Raylan’s colleagues in periods of transition of their own. DEPUTY US MARSHAL RACHEL BROOKS is fresh off a divorce she cares not to talk about. DEPUTY US MARSHAL TIM GUTTERSON, a former military sniper, is still battling unchecked instances of PTSD and is now in (mandatory) counseling after shooting dead COLTON RHODES, one of Boyd’s henchman, during a standoff. The only bright spot here is CHIEF DEPUTY ART MULLEN, who is all smiles as he inches closer to retirement with each passing day. What he doesn’t know is Raylan’s past is coming back to haunt them all, making that ride off into the sunset not as easy as he thinks it will be. And with that, we begin Season 5...
TEASER
EXT. HOUSE - DAY
RAYLAN GIVENS, gun in hand, stands pressed against the front door of a small house in the woods. Several cop cars sit in the driveway. Officers watch the scene:
RAYLAN(into the door)
...you wanna just come on out? I’ve never been one much for dancing, and this one in particular is going on a little too long.
A MALE VOICE from the other side of the door speaks.
VOICE (O.S.)You think I’m kidding don’t you? You all think I’m one big joke. But I’ma do it. I swear it I will.
Raylan scoffs.
RAYLANLook. If you were gonna shoot yourself and the rest of your family don’t you think you’d done it by now? And you certainly wouldn’t have called the cops to tell em you was gonna do it.
INT. HOUSE - DAY
A man stands pressed against the door gripping a SHOTGUN. On a nearby couch sits his WIFE and three YOUNG CHILDREN.
MAN(into the door)
That’s right, I did call the cops. I called to save the rest of my family because of the carnage I’m about to cause.
INTERCUT BETWEEN RAYLAN AND THE MAN
RAYLANOk. Um, sir? What was your name again?
MANLeslie.
2.
RAYLAN(shocked at the name)
Leslie. Ok. Uh, full disclosure I’m a Deputy United States Federal Marshal, and I don’t usually make these kinds of house calls but I’m doing it as a favor.
LESLIEYou ain’t doing me no favors.
RAYLANI’m not? Right now I’m the only thing standing between you and a cavalry of more-than-happy-to-bust-down-your-goddamn-door-and-smash-your-head-in officers. I’d say that qualifies as a pretty big favor.
LESLIELook-
RAYLANNo you look. Why don’t you just tell me what exactly it is that you want so we can work on remedying this situation.
Leslie looks over at his panicked family. He grips the shotgun tightly.
LESLIEAin’t no way of remedying the situation Marshal.
RAYLANLeslie. Ok...how is your family? Are ya’ll ok in there?
Leslie’s wife, DEENA, speaks up.
DEENAWe’re fine. Could you hurry this up please?
Raylan waves the officers around to different sides of the house.
RAYLANLeslie? You still there?
LESLIEYeah.
3.
RAYLANI’m gonna level with you here.
(checks his watch)I was supposed to be on my way up to Lexington about an hour ago. Winona-that’s my wife-sorry ex-wife...what have you...is in the hospital either currently giving birth to or about to give birth to my first-born child. A baby girl.
LESLIECongratulations.
RAYLANThank you.
(then)The reason I’m not on my way up there however is because a field agent in my office who is currently out of town said his assholebrother-in-law was once again threatening to kill himself and his entire family on account that he lost the rent money again to some loan shark during some outhouse backwoods poker game, and, in an attempt to gain a few karma points, especially on such an important day like today, I told him I would stop by on my way to the hospital and try to assist in ending the situation in a peaceful manner.
He looks at the officers. They’re set in place.
RAYLAN (CONT’D)But the longer you stay here, it gets me thinking about that famous quote, you know “a man dies a baby’s born,” and I’m wondering if I should just let you do us both a favor.
LESLIEFamous quote? I ain’t never heard that.
BOOM! The back door bursts and officers flood the house. At the same time Raylan kicks in the front door, knocking Leslie to the floor.
The officers grab the shotgun and subdue Leslie on the ground. Raylan stands over him.
4.
RAYLAN(to the family)
Ya’ll ok?
They nod yes.
RAYLAN (CONT’D)(looking down)
You listen to rap Leslie?
LESLIE(struggling)
What?
RAYLANMusic. Do you listen to rap music?
LESLIENo.
RAYLANOh. Well the quote, it’s from 50 Cent. He’s a rapper. I’d say he’s pretty famous.
Raylan turns to exit the house.
DEENA(to Raylan)
Congratulations on the baby Marshal.
Raylan stops and turns back to Deena.
RAYLANOn behalf of my ex-wife and soon-to-be-or-already-may-be-here-child, I thank you.
Raylan flashes that million dollar smile.
RAYLAN (CONT’D)(to the officers, re: Leslie)
Take his ass somewhere.
Raylan exits.
END TEASER
5.
ACT ONE
INT. HOSPITAL - DAY
Raylan walks down the hallway of a busy hospital. He checks numbers on doors, looking for a particular one. Room 511, 512...
...and outside of room 513 he is met by GAYLE, WINONA’S sister. Two POLICEMEN, detail for Winona, sit near the door.
GAYLEYou’re late.
RAYLANTraffic.
She doesn’t believe him.
RAYLAN (CONT’D)Cattle in the middle of the road?
She still doesn’t.
RAYLAN (CONT’D)C’mon Gayle have a sense of humor here. I tried calling.
GAYLEWe don’t get good cell service in here.
RAYLANYou ok?
GAYLERaylan, I’m trying to be, but as much as I love her, I’ve never been so close to wanting to kill my sister my whole life.
RAYLANWell, that answers the “how is she doing” portion of this conversation. Can I go in?
GAYLEAt your own risk.
Raylan smiles. He opens the door. A NURSE quickly scurries out.
6.
INT. HOSPITAL - DELIVERY ROOM - DAY - CONTINUOUS
Raylan enters the hospital room. WINONA is seated up in a hospital bed watching television. She’s sweating and looks a mess, predictably. She spots Raylan.
WINONAYou’re late.
RAYLANI heard.
He looks around the room.
RAYLAN (CONT’D)I’m not particularly sure of protocol in these situations, so um, is there anything you need me to do?
WINONA(touching her stomach)
You’ve done enough.
Silence. The television plays. Then:
RAYLANHow you feeling?
She sighs. She grabs the remote from a nearby tray and turns the television off. Then:
WINONAHow am I feeling? Let’s see: I’ve been sitting in this bed for almost 24 hours, half of that time with my legs cocked wide open for pretty much all of greater Lexington and the surrounding counties to see. I know I look like a holy mess. And my sister...
(beat)Lord forgive me ‘cuz I know I called her some things that would shame my grandmomma.
(then, building)I got this child driving me crazy and she’s not even out yet. I got nurses and doctors and whoever else in and out and in and out at all hours of the night.
7.
(MORE)
I got God knows what coming out of me from God knows where and when I want you here I can’t have you and all I really want is a cheeseburger with extra pickles-
RAYLANWinona. I’m here.
Winona, panting, slows her breathing.
RAYLAN (CONT’D)I’ll see what I can do about that cheeseburger.
Raylan turns to the door.
WINONARaylan?
He turns back.
RAYLANYeah.
WINONADon’t leave.
He stops.
RAYLANI was only going to get you some food.
WINONAI said I wanted you here before I said I wanted the cheeseburger. You’re the priority.
RAYLANOver the burger? I’m flattered.
They both laugh. Winona shifts up in the bed.
WINONAIf the paternity of this baby were to ever be in question, the fact that she started making her way out last night and at the last minute decided she wasn’t ready and went back up proves she’s a Givens.
8.
WINONA (CONT'D)
RAYLAN(smiling)
Meaning?
WINONAShe’s stubborn as all hell. Doing things on her own time.
RAYLAN(hint of sarcasm)
Did I tell you how glad I am you decided to come back?
WINONANope not yet.
RAYLANI will.
They look at each other. There’s still love there.
RAYLAN (CONT’D)Let’s just hope she has my nose too.
WINONAWhat’s wrong with my nose?
RAYLANOh...nothing.
Raylan smiles. Winona doesn’t.
INT. MARSHAL’S OFFICE - DAY
An average day in the office. RACHEL fields a phone call at her desk.
RACHELBrooks.
A MALE VOICE responds on the other end.
VOICE (O.S.)Hello. Um, I need to speak with US Marshal Raylan Givens.
RACHELGivens isn’t in right now, is there anything I can help you with?
9.
VOICE (O.S.)I need to talk to US Marshal Raylan Givens.
RACHELI’m sorry sir Givens isn’t in at the moment. I’m a Deputy US Marshal, can you tell me exactly what it is you need? Maybe I can assist you.
Rachel waves ART, sitting at his desk, to come to her. He moves.
VOICE (O.S.)Ma’am you don’t understand. I need US Marshal Raylan Givens.
She hands Art the phone, cupping the receiver.
RACHEL(whispering)
He keeps asking for Raylan. Just Raylan Raylan Raylan.
ARTOk.
(into phone)Hello. Sir? You’re looking for Marshal Givens?
VOICE (O.S.)Yes.
ARTThis is Chief Deputy Art Mullen, Raylan’s boss. Can I ask what this is about?
VOICE (O.S.)I want to speak with US Marshal Raylan Givens.
ARTWell speaking to me is essentially speaking to Marshal Givens. I’m like four Raylans in one.
Art and Rachel chuckle.
Beat.
10.
VOICE (O.S.)Why won’t you let me talk to Marshal Givens?
ARTMarshal Givens is not in right now sir I apologize. Now if there’s something I can-
The voice CHANGES.
VOICE (O.S.)(serious)
Since you won’t let me talk to Marshal Givens, pass along a message for me: tell him an old friend says hi, and that he can’t wait to see him.
ARTWho is this? Where are you?
Dial tone. The caller hangs up.
RACHELWhat was that?
ARTI’m not sure. Don’t know if it was a prank, friendly call, or a threat. However, the job dictates we assume it was the latter.
Rachel stands, preparing to leave.
RACHELI’ll have the call traced.
ARTI’ll call Raylan.
RACHELTim’s counselor is over by the hospital. You should call him too, have him get over there.
ARTWill do. And when you get that address, take someone with you, just in case.
RACHELOk.
11.
Rachel exits the office. Art enters his and grabs the phone.
INT. HOUSE - DAY
A hand slowly comes off of a recently hung up phone. WE REVEAL the voice of our caller, just an average run of the mill townie. Nothing special, although as WE PULL BACK, we see he’s staring down the barrel of a rather large REVOLVER, whose owner we cannot see.
GUN OWNERGood.
EXT. JOHNNY’S BAR - DAY
A PICK-UP TRUCK pulls into the parking area. It drives around to the back entrance where it does a 180 and backs in. It’s hauling LOGS in the truck bed. Once it stops, the engine shuts off and JOHNNY steps out, cane first, of the driver’s side door. He walks to the door.
INT. JOHNNY’S BAR - BACK ROOM - DAY
Boyd sits at his desk reading through a FILE. He flips through the pages, one of which reveals a photo of AVA. Johnny opens the door and stands in the doorway.
JOHNNYI’m back.
BOYDI see that.
(then)Any problems?
JOHNNYNope. Just like clockwork. You mind giving me a hand unloading?
BOYD(eyes still on the file)
I’m pretty distracted at the moment why don’t you go out front and see if there’s any good samaritans willing to help out the disabled.
Johnny scoffs.
JOHNNYI can’t just leave this out here with nobody out here to watch.
12.
BOYDHow long do you think it’s gonnatake to get some help?
(then)Just go. I’m back here, nobody’s gonna mess with it.
Johnny limps in past Boyd and exits the door to the bar. Boyd keeps reading. Seconds later, Johnny re-enters the back with two LARGE MEN. They walk to the back door.
BOYD (CONT’D)Now how easy was that?
Beat.
The large men return carrying the logs. They set them down and leave to grab more. Johnny comes in and takes a seat. Boyd continues thumbing through the file. Johnny can’t take it anymore...
JOHNNYHow long you gon’ keep this up?
BOYDWhat exactly is this this you are referring to?
JOHNNYThe way you been treating me. Like I’m some wayward stranger.
Boyd sets the file down.
BOYDDo you feel like I’m giving you the cold shoulder Johnny?
JOHNNYHell yeah.
BOYDWell Johnny. We have a rich history between us, being blood and all, but our most recent history hasn’t really been the most pleasant wouldn’t you say so?
JOHNNYI’m not sure I follow Boyd.
Boyd stands up. He paces. The large men bring more logs in.
13.
BOYDJohnny, I know all you done.
JOHNNYWhat? Done?
BOYDI know all about your dealings with Limehouse, and Nicky Augustine. I know about you trying to strike a deal with Wynn Duffy, with the Marshals. Hell, I know what you had for breakfast this morning.
JOHNNYBoyd what are-
BOYDYou see, knowing, is my job. I also know that you in love with Ava. Or at least you think you are. But unfortunately, that, will never ever happen.
Boyd gets closer to Johnny. The men bring more logs in. One of them speaks.
LARGE MANThat’s the last of it.
JOHNNYAlright, go on back up front. You’re on the house now.
The large men go back into the bar.
BOYD(re: drinks)
Well that was kind of you.(then)
Johnny, I know that you hold some ill will towards me on account of your physical inabilities and how you came to be that way, and for that I truly am sorry. Now I don’t completely believe I should be blamed for such a thing, but I do realize that certain actions on my part did play a hand in the events that came to hurt you, and I hope one day you can forgive me.
Boyd sits next to Johnny.
14.
BOYD (CONT’D)At the same time, you have crossed me on several occasions in such a way that if you were not of my blood you’d have already been buried someplace even the bugs couldn’t find.
Johnny turns his head away. Boyd touches his shoulders.
BOYD (CONT’D)But you are blood, and as they say, blood is thicker than water. And right now, there’s a whole river of shit between that blood. As I hope you have it in your heart to forgive me, I’m fighting everyday to forgive you as well. Now do you understand my shoulder?
Johnny slightly nods.
BOYD (CONT’D)Betrayal is a hard emotion to overcome my friend.
Boyd gets up. He walks over to the log piles.
BOYD (CONT’D)Now. Are all these accounted for?
JOHNNYYes they are. 4 kilos exact.
Boyd picks one up.
BOYDYou got your knife?
Johnny pulls out a small utility knife and tosses it to Boyd. Boyd takes the knife to the log’s top and pops it open. He puts his hand inside and pulls out a bag of HEROIN.
BOYD (CONT’D)Good. After you empty the rest of these, call Mr. Duffy. He’ll give you directions. You gonna be around later?
JOHNNYSounds like I need to be.
15.
BOYDWell we got some things we need to discuss. Mainly your penance, and that of the boys up in Clover Hill.
Boyd walks toward the exit. Johnny tenses up a bit.
JOHNNYGive Ava my best.
BOYD(to himself)
I bet you would.
END ACT ONE
16.
ACT TWO
INT. CAR (MOVING) - DAY
Rachel drives down the highway. A police officer, WILLIAMS, young, rides shotgun.
RACHELI don’t mean offense but can I ask how old you are?
WILLIAMSIt’s only offensive if I ask you.
They both laugh.
WILLIAMS (CONT’D)I’m 22.
RACHELYou’re a baby! Have you always wanted to be a police officer?
WILLIAMSAll my life. However short you think that is.
They laugh again.
WILLIAMS (CONT’D)My daddy was a cop. His daddy was a cop. Didn’t seem like I had much of a choice. Although I did flirt with the idea of being an actor for a minute.
RACHELReally? How did that go?
WILLIAMSWell in college I needed some extra credits, and my advisor was good friends with this acting professor who’s like really world renowned. Apparently a lot of famous people come to UT to study with him-
RACHELUT as in Tennessee?
WILLIAMSYeah. Did you go?
17.
RACHELNo I went to Ole Miss, but I’m from Tennessee. Hendersonville.
WILLIAMSNo kidding? I’m from Millersville! Just south.
RACHELI know Millersville. That’s SumnerCounty!
WILLIAMSMy family’s been there over 200 years. My momma and daddy are from there, my grandparents. Great-grandparents. My wife’s parents, her grandparents too.
RACHELYou’re married?
WILLIAMS3 years. We met in kindergarten. I’ve known her literally my whole life.
RACHELKids?
WILLIAMSLittle boy. Junior. He’s 2. Best part of my day is coming home to him, worst part is leaving. And you?
RACHELOh no I’m.......single.
Kind of awkward.
WILLIAMSOk.
(then)Sumner County huh. Truly a small world. Is that how I ended up in this car? I was wondering.
RACHELNope. Random selection. I told them I needed an officer to ride along and here you are.
They look at each other.
18.
WILLIAMSYou believe in fate Marshal Brooks?
Rachel shrugs her shoulders. Eh.
WILLIAMS (CONT’D)I do. It was fate that I’m from Millersville, it was fate I went to UT, it was fate I got in this car. I don’t know what the purpose was, but this was fate.
RACHELLet’s hope the purpose is just to be good car entertainment and that this house call turns out to be nothing but just that.
They both laugh.
EXT. HOUSE - DAY
Rachel and Williams pull into the end of a dirt driveway of a small house and park. It’s a lone house surrounded by trees and acres of land. A Toyota Prius sits in the driveway.
INT. CAR (PARKED) - DAY - CONTINUOUS
RACHELThis is it right?
Willaims holds up a GPS.
WILLIAMSYeah. According to this.
RACHEL(smiling)
Ok. Let’s go find out what our fate is.
EXT. HOUSE - DAY - CONTINUOUS
Rachel and Williams exit the car and walk up the driveway. As they get closer to the house they look at the Prius. Seems a bit out of place for these parts, even more so is its “FLORIDA” license plate. They both notice.
WILLIAMSFlorida?
19.
They keep walking. They see a vanity plate on the front of the Prius. It says “BUCSHOT.”
WILLIAMS (CONT’D)What is that?
RACHELKeep it down.
They slowly move closer to the house.
WILLIAMS(whispering)
B-u-c-s-h-o-t. Buckshot. Buckshot?
Rachel keeps moving. He moves behind her, still trying to figure out the plate.
They approach the house carefully. Rachel draws her gun and puts her ear to the door. No sound. She knocks--
RACHEL(knocking)
Federal Marshals open up!
Nothing.
RACHEL (CONT’D)Federal Marshals open up!
Nothing.
RACHEL (CONT’D)Travis Cook are you in there? You need to open this door or we’re gonna open it for you.
Beat.
RACHEL (CONT’D)I’m gonna give you a few more seconds. Either you come out or we come in!
Then--
TRAVIS (O.S.)Ok I’m coming.
TRAVIS COOK, the guy from the phone call earlier, unlatches the locks and opens the door.
RACHELBack up slowly sir.
20.
INT. HOUSE - DAY - CONTINUOUS
Travis backs up. They enter the house.
RACHEL(lowering her gun)
Now Mr. Cook, you called--
WILLIAMSOhhhh! Bucs hot!
Rachel turns to Williams.
WILLIAMS (CONT’D)The Tampa Bay Buccaneers! They’re Bucs fans! It makes se--
Travis JUMPS on Williams! Before she can blink Rachel is quickly grabbed from behind by a man in a WHITE LINEN SUIT and slammed into the wall, passing her out onto the floor. Travis grapples with Williams until Linen Man gets behind them. He cold cocks Williams in the head with his revolver, knocking him to the ground as well.
LINEN MAN(to Williams’ passed out body)
Sorry kid. Dolphins fan.
INT. HOSPITAL - RECEPTIONIST DESK - DAY
TIM waits at the receptionist’s desk. The RECEPTIONIST, an ATTRACTIVE PLUS-SIZED WOMAN, is on the phone.
RECEPTIONIST(into phone)
...so after we’d left the fair I decided I was gon’ give it a try myself. You can always tell when they use that old oil. It tastes like burnt saran wrap--
TIMExcuse me--
She “SHHSH’S” Tim. Back to her conversation--
RECEPTIONISTNow the trick that most people get wrong is you only wanna cook a few of em at a time.
21.
(MORE)
You let that oil heat up to about 375, you mix the pancake batter up real good, preferably from scratch, that Bisquick shit is just the worst. Then you take your Oreos and dip em in the batter one at a time, then you put em in that oil, no more than 4 or 5 at a time. You need the space for em to properly get that heat distributed through and cook that cookie just a bit, which only takes about 2 minutes. After they’re golden brown, you can take em out and let em sit or, if you’re like me, you already got a fresh glass of ice cold whole milk ready and you take em out and dip right into that glass. All that flavor and steam just falls into that milk so after you finish chewing on that deliciousness, you get a little extra treat with that sweet cookie milk. Mmmmmm Mmmmmm!
She looks up at Tim, staring right back at her.
RECEPTIONIST (CONT’D)Let me call you back. Somebody needs something.
She hangs up the phone.
RECEPTIONIST (CONT’D)And how may I help you sir?
TIMActually, you--
(bites his tongue)Patient’s name is Winona Hawkins. Her room please.
The receptionist looks through papers on a clipboard.
RECEPTIONISTHawkins. Room 513.
TIMThank you.
RECEPTIONISTYou’re welcome.
Tim walks away. The receptionist picks the phone back up and puts it to her ear.
22.
RECEPTIONIST (CONT'D)
INT. HOSPITAL - DAY
Tim walks down the hallway towards Winona’s room. As he approaches the two policemen outside her door stand up. He flashes his shield and they take their seats back.
TIMHawkins?
The officers nod yes.
Tim opens the door and a nurse quickly scurries out. With Raylan and Gayle’s back to us, Winona spots him:
WINONAClose that door!
Raylan and Gayle turn to find Tim. Raylan quickly shuffles him into the hallway, closing the door behind him.
RAYLANWhat are you doing here?
TIMI’m here because no one can reach you on your cell.
Raylan pulls out his clearly dated phone. It has no service.
RAYLANShit that’s right. This building’s service ain’t so good. What’d you need me for anyway?
TIMArt called, said some guy called our office looking for you.
RAYLANWell what did he say?
TIMThe guy or Art?
RAYLANThe guy.
TIMHe said he was looking for you.
RAYLANFor me?
23.
TIMFor you.
RAYLANThat’s odd.
TIMThat’s true.
RAYLANAnd he, the guy, did he say what he wanted?
TIMNope. Rachel had the call traced to some place off Highway 60.
RAYLANThat’s a long highway. Huh.
TIMHow’s everything around here?
RAYLANWinona’s hating me at the moment and scaring the nursing staff quite a bit. And a strange man called my workplace looking for me but didn’t say why. All in all I’d say everything is pretty average. You come here from your counseling session?
TIMYeah.
RAYLANHow’s that working out for you?
TIMYou shoot someone they wanna know how it’s affecting you. You know how it is.
RAYLANI do.
(then)How is it affecting you?
24.
TIMI can’t say one way or the other. If anything it’s definitely making me think the next time I’m in a situation where I might have to take somebody down in the line of duty, I might hesitate for fear of the prospect having to go and discuss it afterwards for 3 months.
Raylan laughs.
TIM (CONT’D)Raylan?
RAYLANYeah.
TIMI mean this in no offense--
RAYLANThe preferred preface of someone about to offend--
TIMBut you’ve had your fair share of shootings--
RAYLANI have.
TIMHow is it affecting you?
RAYLANIt doesn’t.
(then)Guess that’s why they think I need the counseling.
Art walks up.
ARTAny of you talk to that receptionist?
TIMWho Paula Deen? I asked her for Winona’s room number, walked away with a recipe for deep-fried diabetes.
25.
Art is a little confused.
TIM (CONT’D)Never mind.
RAYLANArt. I assume you’re here to discuss the vivid details of my pen-pal’s phone call?
ART(to Tim)
You told him.
TIMI did.
ARTEverything?
TIMI didn’t get to the last part--
RAYLANWhat last part?
INT. HOUSE - LIVING ROOM - DAY
Linen man sits in a chair, brandishing his gun. Rachel, silent, is TIED to a chair. Travis, the henchman, stands with his gun pointed at a visibly shaken Williams.
LINEN MAN(to Williams)
Are you going to be alright son?
Williams pants and cries.
LINEN MAN (CONT’D)(to Rachel)
Is he going to be alright?
Rachel stares into the distance. Silent.
LINEN MAN (CONT’D)(smiling)
So she’s the strong one.
Linen walks over to Williams.
LINEN MAN (CONT’D)Do you know where Marshal Givens is?
26.
WILLIAMS(crying)
I don’t know who that is.
LINEN MANI’m not very fond of liars. Now, again, where is US Marshal Raylan Givens?
WILLIAMSI don’t know who is he. I’ve only been on the force 2 weeks.
Linen man sighs. He moves over to Rachel, still staring off.
LINEN MAN(crouching down)
What about you? On the phone you stated you were a Deputy US Marshal, same as Givens. That means at the least you are co-workers, and, from what I know of Raylan, maybe a bit more.
Rachel’s eyes quickly hit Linen Man’s.
LINEN MAN (CONT’D)(smiles)
Oh is that it? Interesting. Well then Deputy Brooks, how about you tell me where to find Marshal Givens.
She stays silent.
Linen Man stands back up.
LINEN MAN (CONT’D)(sighing)
Alright. This is the game we choose to play.
He sits back down in his chair.
LINEN MAN (CONT’D)(to Williams)
You know nothing,(to Rachel)
And you say nothing. So, my dilemma is there is information that needs to be gotten, with only a limited amount of resources used to get it.
27.
(MORE)
Now usually a man like myself, when I need to extract information from someone, when a simple question and answer session fails to provide the desired result, resorts to means some would call hands on if I may.
He crosses his legs.
LINEN MAN (CONT’D)You know what I’m also not fond of? Putting my hands on a woman. Being from the south, you’re taught the southern gentlemanly thing to do is never to put your hands on a woman, something I’ve abided by for the most part my whole life, and don’t feel very necessary to abandon now. Unfortunately, that makes this situation a bit tricky for me.
He stands up and slowly walks toward Williams.
LINEN MAN (CONT’D)(to Williams)
But then again I have you, my friend, and you most certainly are not me. And because you are not governed by the same rules that I myself answer to, you are free of any hinderance whatsoever in assisting me in the extraction of the information I currently seek.
He puts the gun in Williams’ face. Between the eyes. He cocks it.
WILLIAMSPlease God my son! I have a son! I have a family! Please don’t!! Oh God don’t-
LINEN MAN(motioning toward Rachel)
Get over there.
Williams stumbles toward Rachel. Linen Man right on him.
LINEN MAN (CONT’D)(to Rachel)
I asked you where Marshal Givens was, you didn’t want to tell me. Ok.
28.
LINEN MAN (CONT’D)
(MORE)
Now, Williams here is gonna beat the brakes off of you til you do. And if he doesn’t, I’m gonna blow his head clean off his neck.
Williams pants and cries harder. Linen Man takes a seat.
LINEN MAN (CONT’D)(to Williams)
Get to work.
The room goes silent for a second. Williams hesitates.
LINEN MAN (CONT’D)(pointing the gun at Williams)
Now.
Williams’ panting is loud. Audible. He’s shaking. He and Rachel stare at each other. He looks at Travis. Then Linen Man. Back to Rachel. She turns her face to the side. Then...
...Williams CLOCKS her in the jaw, the force sending her and the chair quickly to the ground.
END ACT TWO
29.
LINEN MAN (CONT’D)
ACT THREE
INT. JAIL - WAITING ROOM - DAY
Boyd sits in the waiting room of the WOMEN’S JAIL. The room is full of men and women, waiting to see their significant others, mothers, daughters, girlfriends, wives, sisters. After a beat, a CORRECTIONS OFFICER, wielding a clipboard, speaks up.
CORRECTIONS OFFICERCrowder?
BOYDYep.
CORRECTIONS OFFICERCome on.
Boyd gets up. The corrections officer opens a door and lets him through...
INT. JAIL - VISITOR ROOM - DAY - CONTINUOUS
...to the visiting room of the jail. Bulletproof glass separates loved ones from inmates. People are yelling, crying, and emoting everything in between.
CORRECTIONS OFFICER(to Boyd)
Down on the end.
Boyd walks to the end of the room and takes a seat, where AVA anxiously awaits. His smile quickly turns into a scowl as he notices fresh BRUISES on Ava’s usually flawless face. He sits down and picks up the telephone, as does she.
AVAI know what you gon’ say.
BOYDAm I that transparent? Baby what happened to your face?
AVAJust a little dust up.
BOYDThat looks like more than just a little dust.
30.
AVANo. You remember Daisy Millner? From high school?
BOYDVaguely.
AVAWell she used to date Bowman, and then got it somehow in her head that I stole Bowman from her. Apparently she’s been carrying that grudge ever since and decided yesterday at lunch that it was time to bring that revelation to light.
BOYDAnd how is she?
AVAShe’s been better.
They both chuckle.
BOYDBaby ok how are you really?
AVAThe same. I wanna get out, that hasn’t changed. How you?
BOYDNormally I’m an optimistic man but I must say nowadays, the outlook is a little on the dark side. I got you in here, I got Wynn Duffy, I got Johnny-
AVAYou got Johnny what?
BOYDBaby before you fly off--
AVABoyd Crowder your cousin Johnny tried to set you up on several occasions, not to mention--youknow--why are you keeping him around ain’t nothing good cominfrom him.
31.
BOYDBaby I got him helping me with some things is all. My eye is permanently fixated on him, plus his tail is too far between his legs to think of trying anything sideways against me. I’m fine. You are my concern.
AVAAny news on my case?
BOYDI’m meeting with a lawyer tomorrow. Wynn Duffy set it up. He’s supposed to be some genius who specializes in cases like yours.
AVA(laughing)
What? Body swapping murderers?
BOYDAlleged body swapping murderers. And yes. Duffy said his acquittal rate bodes well for us.
AVASeems to me you’re doing an awful lot of depending on Wynn Duffy.
BOYDIt’s all part of the plan baby.
AVAWhen you planning on letting me in on this plan you talking?
BOYDI will let you in on what my plan is once I get you out of here.
AVAHuh. This whole time I thought getting me out of here was the plan.
BOYDOnly a small ripple in the big pond my dear.
Ava sighs.
32.
AVAI miss you.
BOYDI miss you too.
AVAI don’t like it here.
BOYDI know you don’t baby.
CORRECTIONS OFFICER (O.S.)Time’s up everybody let’s go!
Ava and Boyd stare at one another. A lifetime passes between them.
AVA(tearing up)
Bring me home.
Boyd breathes deep. His eyes slowly well. He tries to fight.
BOYDOk.
AVA(crying)
Bring me home.
Ava hangs up the phone, kisses her hand and puts it on the glass. Boyd presses his hand to hers. She mouths “I love you.” He mouths it back.
INT. HOSPITAL - DAY - LATER
Art, Raylan, and Tim stand outside of Winona’s hospital room.
RAYLANIt’s no big deal. People wanna say hi to me all the time. It’s my amicable demeanor. I bring joy to people’s lives.
Winona SCREAMS!!! For a second, everything stops. Then:
TIMYeah, that sounds like joy.
ARTPure ecstasy.
33.
TIM(to Art)
You hear from Rachel yet?
ARTYou know what I haven’t. Figured maybe it was nothing she found out.
Art pulls out his cell phone and dials.
ART (CONT’D)But just to be sure...
He puts the phone to his ear. As it starts to ring...
INT. HOUSE - DAY - SAME TIME
...a BLOODY, BATTERED Rachel lies on the floor, still tied to the chair. A phone in her pocket rings...
LINEN MAN(sarcastically)
Looks like you’ve got a phone call. You gonna answer it?
Rachel says nothing. She just breathes heavily.
LINEN MAN (CONT’D)Oh alright I’ll do it.
Linen Man kneels down beside Rachel and pulls out her cell phone. It says “CHIEF DEPUTY ART MULLEN.” He answers it.
LINEN MAN (CONT’D)Well hello four Raylans.
INTERCUT BETWEEN LINEN MAN AND ART
ART(shocked)
Who is this??
LINEN MANYou don’t know who this is? We spoke earlier today. I’m a little hurt.
ARTWhere’s Rachel?
LINEN MANShe’s here. Hold on I’ll let you talk to her.
34.
He puts the phone up to Rachel’s ear. Art calls out--
ART (O.S.)Rachel? Rachel?
She grimaces.
ART (O.S.) (CONT’D)Rachel? Are you hurt? Rach-
Linen Man puts the phone back to his ear.
LINEN MANSorry. She doesn’t seem up for much conversation right now.
ARTListen you piece of shit. That young woman is a Federal US Marshal, and more importantly, she’s like my--
LINEN MAN(loudly)
Chief Deputy! You are in no position at the moment to make any semblance of a threat. I will put a bullet in this girl’s head faster than you can hang this phone up. Now that that’s been established, let’s revisit my intentions for calling you earlier in the day. Is Marshal Givens there?
Art looks at Raylan.
ARTHe’s here.
LINEN MANMay I speak with him please?
Art gives Raylan the phone.
RAYLANHello dead man.
LINEN MANDead man? Is that the way you speak to an old friend?
35.
RAYLANI don’t recall the voice, and I typically have a good memory for those sorta things, so how about you end the suspense now so we can skip to the part where we find you and I not be so kind.
LINEN MANMarshal Givens, you shot someone I loved.
RAYLANI’ve shot a lot of people someone loved.
LINEN MANIt was my brother.
RAYLANWell judging from what little I know of you thus far, I’d say I stopped one asshole brother too short.
LINEN MANYou’re really not doing your friend over here any favors.
RAYLANThe longer you stay on this phone the easier you’re making it for us to find you you do know that right?
LINEN MANI’ll spare the suspense and give you address how bout that?
RAYLANSpit it out.
LINEN MANWait hold on a sec. You have to promise me that you’re gonna be here.
Raylan breathes in deep. He grits his teeth, looks toward Winona in the delivery room. Then--
RAYLANI promise.
LINEN MAN1914 Early Drive. Off Mt. Sterling.
36.
Raylan hangs the phone up.
END ACT THREE
37.
ACT FOUR
INT. HOSPITAL - DAY
Art yells into a walkie talkie:
ARTAnybody within an earshot of this get to 1914 Early Dr. 1914 Early Drive. Got a possible Marshal down. I repeat, possible Marshal down. And get an ambulance out there!
(to Tim)You ride with me.
Art and Tim walk off. Raylan follows. They stop.
ART (CONT’D)Raylan you seriously don’t think you’re going are you?
RAYLANI made the man a promise.
ARTWhat about Winona? Did you make her a promise?
Raylan thinks. He turns back and looks toward the delivery room.
ART (CONT’D)Raylan we got everybody on this, you stay here where you’re needed.
Raylan is restless.
RAYLANGoddammit.
(then)Ok.
TIMHe’s not gonna be waiting for you there anyway.
RAYLANYeah.
A conflicted Raylan watches Tim and Art walk away.
38.
INT. HOUSE - EVENING
Rachel, now upright, sits stone silent. Even her breaths go unheard. Williams, completely broken, stands in a corner, Travis with his gun on him. Linen Man leaves the room for a second then returns with a BLACK BAG.
LINEN MAN(to Travis)
Let’s go.
TRAVIS(pressing the gun on Williams)
Move it. Outside.
Williams walks with Travis behind him, gun in his back. They exit the front door, Linen Man right behind them.
LINEN MAN(to Rachel)
We’ll be right back. Don’t go anywhere.
Off their exit--Rachel tries to shimmy her way out of the ropes. They’re tight. And she’s in too much pain, but she tries anyway. Every inch she moves she can feel it. She winces. Exhales hard. She’s desperate. She kicks her feet into the ground. Anything to get out of this chair. After a beat, her groans go silent. She’s tired. She stops. The ropes have won...for now. The room goes silent. She can’t hear what’s going on outside. What is going on outside? She stretches her neck to the side to give her ear a chance to hear. Nothing. Then...
...GUNSHOT! Then three more! Her breathing picks up. She looks around. She can’t go anywhere. She needs help.
Linen Man re-enters the house on the cell phone.
LINEN MAN (CONT’D)(into phone)
I’m ready. Come on.
He puts the phone away.
LINEN MAN (CONT’D)(to Rachel)
Alright. You’re up.
39.
INT. JOHNNY’S BAR - EVENING
Johnny tends bar to a pretty packed house. A PRETTY BLONDE also bartends.
The door opens and MIKE, WYNN DUFFY’S BODYGUARD enters, followed by Duffy himself. They approach the bar.
BLONDE BARTENDERCan I get you boys something?
JOHNNYI got these two.
WYNN DUFFY(smiling)
No Johnny I think I’d much prefer this young lady to handle me.
Off an annoyed Johnny--
WYNN DUFFY (CONT’D)Umm I’ll have a double Basil Hayden. Neat please.
BLONDE BARTENDER(to Mike)
And for you?
WYNN DUFFYHe doesn’t drink much.
MIKEYou got Corona?
BLONDE BARTENDER(obviously)
No.
MIKEI’ll take a Jaegermeister.
BLONDE BARTENDER(to Johnny)
Do we have that?
JOHNNY(to Mike)
How bout a Basil Hayden neat for you too?
Mike shrugs his shoulders.
40.
WYNN DUFFYSo Johnny, is my friend Boyd around?
JOHNNYNaw he ain’t made it back yet.
Wynn Duffy checks his watch.
WYNN DUFFYThat’s odd. I’m pretty sure I told him I was going to be here at seven thirty, and here it is seven thirty, I’m here and he’s not.
The bartender sets the drinks down in front of them.
BLONDE BARTENDERThat’ll be $24.
Wynn Duffy looks at Johnny.
WYNN DUFFY(arrogantly)
Will it?
Johnny cowers.
JOHNNY(to the bartender)
Don’t worry about these. I got ‘em covered.
WYNN DUFFYHow cordial of you Johnny thank you. Isn’t that nice Mike?
Mike nods yes. Wynn Duffy takes a drink.
WYNN DUFFY (CONT’D)(re: drink)
Now that is fine bourbon. Arguably the only good thing ever to come out of Kentucky. Besides Tubby.
Wynn Duffy cracks an asshole’s grin.
WYNN DUFFY (CONT’D)Johnny it’s a bit noisy out here, do you mind if we go somewhere else and talk?
JOHNNYIn the back.
41.
WYNN DUFFYFantastic.
The men head to the back. Mike takes a sip of his bourbon and violently coughs, catching glimpses from bar patrons.
INT. JOHNNY’S BAR - BACK ROOM - EVENING - CONTINUOUS
The men enter the back room of the bar. Johnny takes a seat. Mike does too. Wynn Duffy walks over to the logs.
WYNN DUFFYHow did you get these here?
JOHNNYI picked them up from the connect and drove them here.
WYNN DUFFYIn your pick up?
JOHNNYOf course.
WYNN DUFFYSo you drove around, for hours, with hollowed out logs filled with heroin and then brought them back here to your bar.
JOHNNYYeah.
WYNN DUFFYDon’t you think that’s a little suspicious? Just, big piles of logs sitting in the back of a bar?
JOHNNYSuspicious to who? It’s just us back here.
WYNN DUFFYI don’t know who comes back here. Maybe your friend with the hat, he likes to pop up in places he shouldn’t be now and then. Or some bartender who happens to get a hair up their ass and poke around with these seemingly out-of-place logs, and then whoops, they find heroin.
42.
JOHNNYUnder no circumstances would Raylan Givens ever be back here, and outside of Boyd and myself, no one is allowed back here unless we tell them to.
WYNN DUFFYWhat about if I tell them to?
Johnny is taken aback. Wynn Duffy makes his play.
WYNN DUFFY (CONT’D)What if I said I want or have someone I want back here. Is it gonna be allowed then?
JOHNNY(cowering)
Yeah.
WYNN DUFFYJust checking. Now, about these logs. I don’t like it. If you guys were running some kind of camping operation or a fireplace store, a place where a large group of logs wouldn’t appear to be so out of place, I’d be ok with it. But you’re not, you’re running a bar, and by bringing this stuff in this way does not do well in the “not being noticed” department, which is how we want to do things right?
JOHNNYYeah.
WYNN DUFFYGood. So, no more logs. Glad we’re on the same page.
Wynn Duffy finishes his drink in one gulp. He sets the glass down on a desk.
WYNN DUFFY (CONT’D)Now, you’ve got something for me.
Johnny walks over to the corner and grabs a BRIEFCASE. He walks it to Duffy and hands it over.
WYNN DUFFY (CONT’D)Thank you.
43.
JOHNNYYou’re not gonna check it?
WYNN DUFFYI’d like to think I wouldn’t need to.
Wynn Duffy looks over at Mike. His drink is still full.
WYNN DUFFY (CONT’D)You’re not gonna finish that?
Mike shakes his head no.
WYNN DUFFY (CONT’D)Jesus.
Wynn Duffy grabs Mike’s glass and downs his drink. Mike gets up and they head for the door.
WYNN DUFFY (CONT’D)No more logs.
On the way out-
WYNN DUFFY (CONT’D)Tell Boyd to call.
They exit. Johnny looks around the room. He gives a log a frustrated kick.
EXT. HOUSE - NIGHT
Rachel is seated on the lawn still tied to the chair. Travis’ body lies DEAD on the ground, away from, but directly in front of her, Williams is tied to a tree. His head is wrapped in plastic, and stuck in his mouth is a stick of DYNAMITE. Linen Man puts the finishing touches up on Williams and pulls out a match book and a cigarette. He strikes the match and lights the cigarette, and with the same flame he lights the stick of dynamite. He flicks the match and walks off.
LINEN MAN(to Rachel)
Enjoy the show!
Linen Man walks to the driveway where a car waits for him. He gets in, they back up and drive off down the road.
ON RACHEL
Rachel squirms in her chair.
44.
ON WILLIAMS
Williams moans and shakes out of fear. The dynamite burns slowly.
MONTAGE - VARIOUS - NIGHT
MUSIC CUE: A slow mellow tune with melancholy notes.
A) INT. HOSPITAL - DELIVERY ROOM - NIGHT
Raylan watches Winona in labor. He’s present but not all the way. The room is filled with nurses. She pushes hard.
B) EXT. CAR - COUNTRY ROAD - NIGHT
Boyd, tears in his eyes, drives down a country road.
C) EXT. HOUSE - NIGHT
The stick of dynamite burns. Rachel and Williams’ tearful eyes lock.
D) INT. BEDROOM - NIGHT
A YOUNG WOMAN places a SMALL CHILD in her bed. She gets in and reaches for the lamp on the night stand, where we see a picture of her, the child, and Williams, proudly smiling. The lights go out.
E) EXT. HOUSE - NIGHT
The Marshals, officers, and ambulance pull up to the house. They spot Rachel and run to her.
F) INT. HOSPITAL - DELIVERY ROOM - NIGHT
The nurses hand a NEWBORN BABY to Winona. She and Raylan smile. He kisses Winona’s head.
RAYLANThank you for coming back.
G) EXT. HOUSE - NIGHT
As everyone runs to Rachel, something EXPLODES! The light of the fire cuts through the darkness of the night.
45.
END MUSIC.
END MONTAGE.
INT. HOSPITAL - NIGHT - LATER
Raylan is outside the delivery room on the phone. He watches mother and child sleep through the looking glass.
RAYLAN(into phone)
Yep, mother and child are fine. Sleeping finally.
(beat)Seven pounds eight ounces.
(beat)Haven’t done that yet. It’s still up for discussion.
(beat)I’m pretty partial to anything that has hints of Raylan in it. Raylene. Rayna. Well, probably not Rayna. Anyway Rachel ok?
EXT. HOUSE - NIGHT - CONTINUOUS
Firefighters clean up the scene. Rachel lies in the back of an ambulance with Tim by her side. Art stands in the driveway near the Prius. He’s on the phone with Raylan.
ARTShe took a pretty good beating, but nothing that won’t heal up. I’m more concerned about what’s going on inside.
(beat)Well she’s been through a lot today. These things have a way of manifesting themselves in odd ways sometimes.
INTERCUT BETWEEN ART AND RAYLAN
RAYLANWhat exactly happened out there?
ARTWell she’s not talking much right now, understandably. When we found her she was tied to a chair. And-
Art halts. He looks toward the carnage. His eyes close.
46.
RAYLANAnd what Art?
ART(sighs, then)
I told her when she came out here to bring someone with her.
RAYLANOk.
ARTWell, they tied her to a chair, and the fella I told her to bring with her, they tied him to a tree and put a stick of dynamite in his mouth.
Raylan sees a ghost. His eyes buck. His brow furrows.
RAYLANYou said a stick of dynamite was in his mouth?
ARTYep. Sick son of a bitch. And we found another body out here too. No dynamite on that one. He was shot. And then there’s the case of mysterious Prius with Florida plates.
RAYLANWhat did you say?
ARTThere’s a Toyota Prius out here with Florida license plates. No registration inside though. Got a vanity plate on the front. “Bucshot.” Guess they’re a football fan.
Raylan pieces it together.
RAYLANJesus Christ.
ARTWhat is it Raylan?
RAYLANJesus Christ.
47.
ARTRaylan?
Raylan paces back and forth in the hallway.
ART (CONT’D)Raylan?
RAYLANThat gun thug in Miami from the cartel, the one I shot?
ARTTommy Bucks.
RAYLANRemember what I told you? Nicaragua? Tied that fella up to the tree. Made me watch?
ARTTommy Bucks.
Art looks at the Prius’ vanity plate.
ART (CONT’D)“Buc shot.”
(then)He’s got a brother?
RAYLANYeah.
Then--
RAYLAN (CONT’D)Goddamit.
ARTJesus Christ.
CUT TO BLACK:
END OF EPISODE
48.