Kirsten Dunst - Waiting for Dutch lyrics

EXT. MOVIE SET- DAY Opening credits appear for a fictional movie called Ma**acre of Sioux Falls starring Ronald Reagan and Betty Laplage. The area shows a battle had taken place, where there are numerous bodies of dead soldiers on the ground. A Native American dressed in Indian regalia stands amidst the carnage. ACTOR: Am I, uh, what are we waiting for? Indistinct shouting off-camera ACTOR: What? Footsteps approaching DIRECTOR: The arrows. Gayle's putting in the arrows on Reagan. ACTOR: Yeah, I know. It's- They said- Jenny came by the trailer, and she said five minutes, so-- DIRECTOR: Well, there's a lot of arrows (Chuckles and blows into his palms.) ACTOR: So - Should I just go back to my— DIRECTOR: No. No, it's, uh-- Jenny said-- What did Jenny say? Footsteps approaching WOMAN: They're-- they're-- they're putting in the arrows. DIRECTOR: Yeah, I know. But how long? Doll, just find out, will you? 'Cause the Chief is wearing moccasins here. It's goddamn February (Chuckles.) ACTOR: So, what's he like, anyway? DIRECTOR: Who? ACTOR: Dutch. Reagan. DIRECTOR: Ronnie? Oh, he's a prince. He's a real cla** act. (Chuckles lightly) Yeah. One of the extras playing a dead body in the background lies up. EXTRA: Can I get a blanket? The director sighs then snaps his fingers. A man in the background runs towards the extra with a blanket and covers him with it. DIRECTOR: This is the actual field, they tell me. ACTOR: What? DIRECTOR: It's the actual battlefield-- Ma**acre at Sioux Falls. I think 300 of your people-- Braves-- died here, what, 100 years ago? ACTOR: I'm from New Jersey. DIRECTOR: Sure, but-- Yeah, you're-- you're-- you're an Indian, right? So-- so that-- that-- that's got to be, uh— ACTOR: Got to be what? DIRECTOR: No, I'm just saying this battle, it was the last big battle before the end of the-- And what came after-- whew! And, look, I'm a Jew, so believe me, I know tribulation. The director pulls out a box of cigarettes from his pocket. DIRECTOR: Here. Smoke? The actor takes a cigarette. Both are smoking DIRECTOR: Any minute, he'll be out. MAN: All right, nobody moves. Everybody is still dead. OPENING: Jimmy Carter's televised speech “A Crisis of Confidence” plays while the superimposed text appears on screen like it is being typed on a typewriter, which reads: “This is a true story. The events depicted took place in Minnesota in 1979. At the request of the survivors, the names have been changed. Out of respect for the dead, the rest has been told exactly as it occurred.” CUT TO. WHITE HOUSE JIMMY CARTER: It is a crisis of confidence. CUT TO. OUTSIDE- DAY Dodd Gerhardt and Hanzee Dent are standing outside a red bricked building by a white shack. Dodd is pacing back and forth. CUT TO. WHITE HOUSE JIMMY CARTER: It is a crisis that strikes at the very heart and soul and spirit of our national will. We can see this crisis in the growing doubt about the meaning of our own lives and in the loss of a unity of purpose. Clips of gas stations showing they are out of gas CUT TO: OUTSIDE- DAY DODD (looking at his watch): Is he kidding me? News clip REPORTER: Has been taken out of the home of John Wayne Gacy. CUT TO. WHITE HOUSE JIMMY CARTER: The erosion of our confidence in the future is threatening to destroy the social and the political fabric of America. CUT TO CARRIAGE TYPEWRITERS- DAY SKIP SPRANG: That's what I'm trying to engage with here is this untapped potential of yours to sort of think a little bit. SINGER: I can't sing, I ain't pretty and my legs are thin CUT TO. WHITE HOUSE JIMMY CARTER: Confidence in the future has supported everything else. SINGER: I might not give a answer that you want me to. EXT. OUTSIDE- DAY RYE: Hey, there. Sorry. DODD: Are you kidding me? RYE: You said noon, yeah? DODD: Are you kidding me? RYE: Hold on, now— Dodd grabs Rye in a headlock. DODD: Said 11:00, not noon. RYE: What? DODD: Say that again. RYE: Okay. DODD: Say it again. RYE: Okay, okay! Dodd lets Rye out of the headlock DODD: Where's the goddamn money? RYE: I gave it to Ollie, like, yesterday. DODD: Don't lie. RYE: I mean, I'm-- I'm getting it. It's just a little late. DODD: The hell you say. I did the rounds. Everybody paid. RYE: 'Course they're gonna say that. DODD: So you got the money. RYE: Well, you know, maybe I needed it for me, for something I— DODD: No, you earn for the family, not for yourself. RYE: Yeah. But you're the oldest, and then there's Bear, and that's the throne. What am I ever gonna be except the kid you send out for milk? DODD: You're a Gerhardt. RYE: That's like Jupiter telling Pluto, "Hey, you're a planet, too.” DODD: What? RYE: If I'm this royalty, how come you got me doing bullsh** collections like some nobody chump? DODD: Everybody earns. That's the law. RYE: Yeah, but what if I got ambitions, you know? DODD: You wear short pants till you prove you're a man. RYE: I'm a man. DODD: You're the comic in a piece of bubble gum! RYE: Well, I mean, says you. Dodd sighs. Him and Hanzee walk to the car. DODD: You got till tomorrow to bring the collection money you owe. RYE (scoffing): Or what? DODD: You make me wait for you again, I'll cleave your skull. EXT. GERHARDT RESIDENCE- DAY Dodd's car pulls up to the house. INT. GERHARDT RESIDENCE, DINING ROOM The Gerhardt family are sitting at a table FLOYD: This is the month's cash, all in. You'll see the problem right away. OTTO: Light. FLOYD (nodding her head): Mm Door opens OTTO: About time. Dodd walks into the room DODD: Give me a break. Dodd takes off his hat. He whistles to his brother Bear, signaling him to get off the chair he's sitting on. Bear stands up, but blocks Dodd's way. Dodd slightly shoves Bear as he moves to the chair. Bear walks over to a shelf nearby and picks off a piece of bread. OTTO (to Dodd and Bear): Soon as you ladies are done dancing— Floyd: You're right. We're light, even though the transport dollars went up. It's the local business-- gambling and d**… and who*es. Dodd takes a seat OTTO: Meine keine gute soehne? DODD: Don't pin this on me. BEAR: Or me. We earned. OTTO: But not Rye. FLOYD: No. But even without his nut, we shouldn't be this short. It's like we're a balloon leaking air all over. OTTO: Spit it out. What are we talking about here? Tell me, Goddamn it. BEAR: Another outfit. DODD: I'm taking care of it. BEAR: From the south. Don't know where. DODD: I said I'd handle it. BEAR: They're coming hard. OTTO: Son, I'm the iron fist of God. There's not a sane man in three states who would dare to-- Some pissant crew from south no place? You bring me these hirnlose mutter fotzen and I'll grind their bones to make my— FLOYD: Otto? Otto? Otto grunts and grabs both ends of the table and starts shaking uncontrollably. He stands up wheezing, and his left eye pupil shifts to the left. EXT. ROAD- DAY Indistinct talking on radio Rye parks in front of Carriage Typewriters INT. CARRIAGE TYPEWRITER- DAY SKIP: All right, hear me. I'm saying tomorrow has never been closer than it is right now. MAN: It's 11:00 in the morning. SKIP: Metaphorically, I mean. Rye enters the store SKIP: Hi, friend. Be with you in a— MAN: Check never came, is my point. I'm owed for work I done. Me and the boys, we're owed. Rye sighs, then whistles to the man RYE: Giddyup there, cowboy. MAN: Wait your turn, short round. RYE: What'd you say? MAN: You heard me. Rye pulls out a gun and co*ks it, pointing it at the man SKIP: Jesus. Just-- (stammers) -- it's in the mail, okay? The check. Just-- if it hasn't come by Tuesday, I'll write you another. Skip leads the man out of the store, with Rye still pointing his gun at him. RYE: Yeah, that's right. You better run. Rye tucks his gun away SKIP: Come on, now. He could call a cop. RYE: He's not calling anybody. Guys like that, they're just big on the outside. So, where's this miracle contraption? Cut away to Skip unveiling plastic off a blue typewriter SKIP: Behold the future. I'm talking money hand over fist. RYE: A typewriter. SKIP: A self-correcting IBM Selectric II electric typewriter with patented high-speed type ball. They're not just for women anymore. RYE: And you're sure we're the only— SKIP: Sole distributor, Midwest region. Assuming you're willing to forget certain debts owed to your family from the, uh— RYE: Gambling. SKIP: Yeah, which, you know, I'm not proud. So, as soon as you talk to the judge and she unfreezes the accounts, well, then we can turn on the money spigot. RYE: The what? SKIP: The spigot. It's like where you hook up a hose. RYE: Like a fire hose? SKIP: Any hose. I'm saying once we get those typewriters, the money-- there'll be no stopping it. RYE: Uh, which judge, again? EXT. COURTHOUSE- DAY A female judge walks away from the courthouse. She tightens her left glove and coat. Rye is shown sitting outside the courthouse, smoking. She walks past him. Rye follows her. EXT. ROAD- NIGHT The judge drives as Rye secretly tails her Split-screen showing what the rest of the Gerhardt family are doing at the house: Dodd is sitting on the stairs smoking. Otto is lying in bed being tended to by Floyd. Bear is in the kitchen picking at food from the fridge. EXT. WAFFLE HUT- NIGHT Rye parks his car in front of the restaurant. He sniffs c**aine off his left hand, while remembering Dodd saying to him: “You're the comic in a piece of bubble gum!” He sees the judge through a window taking a seat at a table. INT. WAFFLE HUT- NIGHT Rye enters the Waffle Hut. He stares at the judge seated at the table. Rye walks over to take a seat by the counter. He wipes his nose with a napkin and puts it in an ashtray. He turns his head to look at the judge. WAITRESS: Special's tuna melt and fries. Pie is humbleberry. RYE: Just coffee. Rye sees a black cook in the kitchen looking at the customers orders. The waitress pours Rye a cup of coffee. He looks back to the judge. There is a family at the table next to the judge chatting. MAN: Everything's taken care of, see? They didn't even charge us for the fries. WAITRESS (to Rye): Sugar? RYE: Uh, you know, you're freaking me out a little. The waitress leaves the sugar by Rye and walks away to clean the counters. Rye takes the sugar and pours it into his coffee. He sips it. He turns his attention back to the judge. MAN: Honey, I don't know about your day, but my day was crazy… he squeezes and the mustard goes all over his shirt. And he now has no shirt to wear, so now… There is laughter coming from the family at the table next to the judge. Everyone there then leaves. MAN: I got to pay up. I'll meet you at the cash register. Family walks out of the restaurant, with the man paying at the register. Rye continues to stare at the judge. WAITRESS: How was everything? MAN: Oh, yeah. Real good. WAITRESS: Oh, good. I'll get your change. Cash register dings WAITRESS: There you are. MAN: Thanks. Cut to Rye walking to the Judges table and sitting opposite from her. RYE: Hi. JUDGE: No. RYE: What do you mean, "No?" JUDGE: Whatever you're selling, I ain't buying. The judge looks at her burger and signals for the waitress. RYE: First of all, I'm not selling anything. And second-- The waitress arrives at the table JUDGE: He needs to make me another burger. This one's a coaster. WAITRESS: Yes, ma'am. The waitress takes the plate and walks away. RYE: Hey. Your majesty. You're gonna change your mind about something- a case. JUDGE: Or what? RYE: Or you'll find out, is what. This isn't one of those optional check "A" or "B" scenarios. I'm gonna change your mind. Judge (sighing): One day, the Devil came to God and said, "Let's make a bet between you and me for the soul of a man." And from on high they looked down on Job, a devout man, religious. And the Devil said, "I can change his mind and make him curse your name. " And God said, "Try and you will only fail." So the Devil begins. He k**s Job's herds and takes his fields. He plagues him with boils and throws him on the ash heap. But Job's mind remains unchanged. So I ask you, son, if the Devil couldn't change Job's mind, how the hell are you gonna change mine? RYE: What? JUDGE: You're a little dim, aren't you? RYE: Listen, this is-- There's two ways this can go- JUDGE: Is one of them the hard way? RYE: Easy—(pounds table) --- You know what? There's a fella who needs to get his hands on some typewriters. JUDGE: Ugh. Christ. You're with that fool. RYE: And you're gonna- Yeah. You're- The judge looks into her purse and pulls out bug spray JUDGE: Son, you have three second to pick your a** up and get out of here, or I'm gonna squash you like a bug. RYE (laughing): Okay, look, b**h-- I'm the one do— The judge sprays Rye's face. RYE (gagging): God damn, my eyes! Rye stands in agony JUDGE: Now scram before I call the cops! Rye pulls his gun out of his coat JUDGE: Oh, crap. Rye shoots the judge. The cook in the kitchen sees this, grabs a pan, and quickly runs out the door leading to the dining area. He screams and charges towards Rye with the pan in hand, but Rye shoots him down before he could reach him. The waitress behind Rye screams in a panic and drops the coffee picture, shattering it. She is also shot down. Rye is breathing heavily. The judge surprisingly rises up from behind Rye and stabs him in the back with a knife. Rye grunts at the wound, then turns and fires three more rounds at the judge. The judge falls back and lands on the table, her blood spilling out and colliding with a spilled gla** of milk. Rye is in pain from his knife wound. Struggling, he pulls out the knife from his back. Cut to Rye stealing from the cash register. He is alerted by the door bell. He walks over to find the waitress gone. RYE: Shhh- sh**! EXT. WAFFLE HUT- NIGHT Rye sees the wounded waitress walking away, struggling to escape. RYE: Sh- sh**! Rye pulls out his gun and walks up closer to shoot the waitress, but he is out of ammo. RYE: sh**! Shhhhhit! Rye reloads. He shoots the waitress, and she drops dead in the snow. Rye runs up to the fallen body, gun still pointed at her. He breathes heavily, looking panicked with what to do. A bright light captures Rye's attention. He walks over closer to where the light is approaching. The light comes closer, revealing itself to be a UFO. Rye stares at it in awe. The UFO stops for a few seconds to where Rye is before speeding off in the distance. Still distracted by what he saw, he is struck unaware by an incoming car from behind. The car halts to an immediate stop, and we see an unconscious Rye jammed in the windshield headfirst. The car drives off. INT. SOLVERSONE RESIDENCE Lou is reading his daughter Molly a bedtime story as the camera scans various rooms in the house, such as the dining room where unfinished dinner plates, gla**es, and silverware are still on the table, and the living room which looks messy with toys and the like scattered around. Betsy is carrying a laundry basket with clean clothes upstairs and puts some clothes in a drawer. The telephone rings. LOU (laughing): "'Oh, whocky!' Cried Joel. 'See what you've done, Polly Pepper?' but Polly didn't hear. Over the big, flat door-stone she sped and met Ben with Little David coming in the gate. His face was just like Phronsie's! And with a cold, heavy feeling at her heart, Polly realized this was no play. 'Oh, Ben!' She cried, flinging her arms around his neck and bursting into tears. 'Don't! Please. I-I wish you wouldn't. Phronsie's got 'em, and that's enough. 'Got what?' Asked Ben, while Davie's eyes grew to their widest proportions. 'Oh, measles!' Cried Polly, bursting out afresh. 'Hatefulest, horridest measles! And now you're taken!' 'Oh, no, I ain't,' responded Ben cheerfully, who knew what measles were. 'Wipe up, Polly. I'm all right."'Only my head aches and my eyes feel funny. ' Polly, only half rea**ured, gulped down her sobs and the sorrowful trio repaired to mother. 'Oh, dear me,' ejaculated Mrs. Pepper, sinking in a chair at the dismay at the sight of Ben's red face. 'Whatever will we do now?'" Lou turns the book to look at the front This is a funny book, huh? Yeah. MOLLY: Yeah. BETSY: Phone call, hon. It's the shop. LOU: Okay, you (kisses Molly) Sleep, huh? MOLLY: OKAY BETSY: I'll be back in a minute to tuck you in. MOLLY: Okay. INT. SOLVERSONE RESIDENCE- DOWNSTAIRS BETSY: Murder, Eunice says. Three of them over at the Waffle Hut. LOU (sighing): Hey, uh, you-- you had your thing today. BETSY: Yeah. This morning. LOU: You feel okay? BETSY: Compared to what? Love Can*l? Hmm? Lou takes the phonecall. LOU: Solverson. Speaking indistinctly LOU: Yeah, okay. Tell him not to go inside. Hank on his way? Speaking indistinctly LOU: Okay. You too. Hangs up phone. LOU: Got to go, hon. You okay getting her to bed? BETSY: Yeah. She's six, not, you know, Pol Pot. LOU: Okay. Call if you need, you know, whatever. BETSY: Mm-hmm. EXT. WAFFLE HUT- NIGHT Lou parks at the restaurant, where he meets a man. MAN: I left my rig there. I hope that's okay. I'm the one who called it in, see? Stopped for waffles, you know? With the blueberries. They come frozen this time of year, I know- Lou follows a trail blood leading away from the restaurant, finding the dead waitress at the spot she was shot down by Rye. MAN: - but I-I put my coat on her. It seemed only right. Lou lifts a part of the coat off her. LOU: Yeah. MAN: "Yeah," it's okay about the coat, or…? INT. WAFFLE HUT- NIGHT Lou enters the restaurant and sees the blood splatter on the floor and two dead bodies. He puts the flashlight away. He continues scanning the scene, and sees the empty cash register open. LOU (sighing): Yeah. Lou walks over to where the judge's dead body is. He takes out a pen and notepad. The doorbell rings and a man in police uniform enters. Lou nods at the man, who is the sheriff. HANK: Well, this is a deal. LOU: I count three dead. HANK: Saw the waitress in the parking lot? LOU: Mm. I think she caught one there, then staggered out. Gunman followed, made things permanent. Hank shines his flashlight on the dead cook and approaches him. HANK: That's Henry Blanton. Got the single-season touchdown record in 10th grade. 31. Still stands. Lou flashes his light on the judge's body. HANK: Yeah. Don't know her. LOU: North Dakota plates on a Mercedes outside. HANK: Tourist, you're thinking? LOU: Mm. HANK: How's Betsy? LOU: You mean you didn't call her before you came over? HANK: Well, yeah. Just being polite. Give you a chance to talk about your feelings, should you be so disposed. LOU: She's good. Yeah. Ordered this kit of recipe cards. Saw it on the TV. So now every night, we eat delicacies of the world. HANK: Mm. Some men like that. Variety. LOU: Mm. She put a soufflé on the table last night-- perfectly good ca**erole-- and lit it on fire with a kitchen match. HANK: Huh? LOU: Oh, which reminds me-- you're invited for dinner tomorrow. HANK: 6:00? LOU: Mm-hmm. Hank (inhaling sharply): I'll bring a suit of armor. Camera lingers over the dead cook. EXT. WAFFLE HUT- NIGHT Hank and Lou are inspecting the road. LOU: Skid marks. HANK: Yeah. I see them. 'Course, connecting those to this deal here would be what we call "jumping to a conclusion.” Based on the number of bodies, I'm thinking we've got one car too many in the parking lot. Split-screen- the right half shows an object covered in snow while the left shows Lou walking over towards it. It is revealed to be a dollar-bill covered in blood. LOU: Yeah. So, the shooter's got a wound or two in him from the steak knife. Two blood trails lead out. One to the waitress, now deceased. The other to the road here, where he absconds, leaving a few dollars behind. HANK Uh-huh. Why not take his own car? LOU: Unclear at this time. Hank spots something up above. HANK: There's a shoe in that tree. LOU: There sure is. HANK: So, uh, this a local matter or do the State Police want it? LOU: We do not. HANK (chuckling): Local matter it is. LOU: And, of course, any support the State can provide. HANK: Yeah, of course. See you tomorrow night, then, eh? LOU: 6:00. Be ready for anything. Lou walks away. HANK: That's a shoe, all right. INT. BUTCHER SHOP- NIGHT Bud Jorgenlen is covering the meat on display. Ed Blumquist comes through a door to the front. Noreen Vanderslice is reading a book at the counter. ED: Okay, then. BUD: Okay, then… Noreen NOREEN: Hmm? BUD: Ed's leaving. NOREEN: Okay, then. Bud: Oh, hey. May as well take these with you. Bud puts something wrapped up on top of the gla** case for Ed. BUD: Boolie Hendricks paid but never picked them up. ED: Chops? BUD: Mm. Wasted meat's a crime. Or it should be. Ed takes the porkchops. ED: Okay, then. BUD: Okay, then. NOREEN: Okay, then. INT. BAR A cage full of bingo balls is being rotated. The bingo announcer takes out a ball. BJORN: B-8. B-8. Cut to Karl Weathers and Sonny Greer at a table. SONNY: So, Ho Chi Minh— KARL: Jesus, kid. Keep up. Ho Chi Minh was just a front man. Enemy number one straight out of central casting. AKA a stuffed shirt for the military industrial complex. SONNY: The what's that, now? KARL: Jesus, Mary, and Joseph. Ike's farewell address? The military industrial complex. Wheels inside wheels, special interests. BJORN: N-33. N-33. SONNY: I thought there'd be a band tonight. Lou joins Karl and Sonny. LOU: Boys. BJORN: I-17. I-17. Karl looks at his bingo card. KARL: Balls… (to Lou) tell this dipsh** pissant about Ike's farewell address. LOU: You mean the military industrial complex? KARL: See? He knows. LOU: 'Course, we've been to war. Nothing complex about it. SONNY: How come you're in uniform, then, Lou? Didn't you work this morning? LOU: Three dead at the Waffle Hut. KARL: No sh**. LOU: Yeah, a real mess. Women, too. Hank's thinking botched robbery. KARL: Oh, sure. That's what they want you to think. SONNY: Who? KARL: They. BJORN (in the background): B-11. KARL: You know, the powers that be. It's a cla**ic story. Oswald acted alone. The girl in the polka-dot dress. SONNY: The what, now? KARL: The girl in the-- After Kennedy the other was shot-- Robert, in LA-- People saw a woman in a polka-dot dress running out of the hotel yelling, "We got him!" But who did they arrest? SONNY: Uhh… KARL: An A-rab. Racist pricks. LOU: It's a diner robbery in Minnesota, Karl. Not a presidential a**a**ination. KARL: Oh, sure. That's how it starts-- with something small like a break-in at the Watergate Hotel. But just watch. This thing's only getting bigger. BJORN: G-53. G-53. LOU: Well, I better get home. Betsy had her chemo today. KARL: God! Karl smashes his fist against the table. SONNY: What is it, Karl? KARL: It's just-- God damn. Unacceptable is what it is. A woman like that in the prime of her. With a young daughter. Tell her if John McCain could hold out for 5 1/2 years against Viet Cong thumbscrews, she can beat this cancer bullsh** in her sleep. LOU: I'll make sure to mention that. Lou takes his leave. EXT. ROAD- NIGHT Ed is pulling up to his house. INT. BLUMUIST RESIDENCE- NIGHT Ed is walking through the doorway. ED: Hey, hon? PEGGY: In the kitchen. Peggy is cooking. ED: Boolie Hendricks paid for chops and never picked them up, so I figured - Hi. Ed kisses Peggy on the shoulder from behind. PEGGY: Hey. Uh, hon, you're getting blood on the tile. ED: Oh. Sorry. I'll put them in the fridge. Ed puts the porkchops in the refrigerator. ED: Hamburger helper? PEGGY: And Tater Tots. ED: Yum. Ed walks over to the table. There is a stack full of magazines on the chair. ED: Should I-- PEGGY: Oh, hon. Don't. I just got that stuff organized. Peggy pulls out a tray from the oven. ED: Yeah, but my chair. Where am I supposed to— PEGGY: - Well, sit there, huh? Peggy points to a smaller chair nearby. ED: Yeah. Ed grabs the smaller chair and puts it at the table. PEGGY: I'll move that stuff tomorrow. Promise. Peggy brings over their food. PEGGY: Bon appetite. ED: Mm. Peggy and Ed hold hands and say grace. EXT. SOLVERSONE RESIDENCE- NIGHT Lou gets out of his police car and walks to his house. INT. SOLVERSONE RESIDENCE Lou takes off his weapons holster and puts it on the couch. He walks over to the kitchen where Betsy is. BETSY: So, you think there was an accomplice and a getaway car? LOU: Your dad called. Lou opens the fridge and pulls out a carton of milk. BETSY: You know him. Likes to talk things through before he goes to bed. Lou drinks from the carton. BETSY (sighing): We got gla**es. LOU: Tastes different in a gla**. Molly go down okay? BETSY: Mm-hmm. Oh, you know, I forgot earlier-- She made you something at school today. Betsy puts an ashtray made of clay on the counter. LOU: Yeah? She knows I don't smoke, right? BETSY: You could start. Lou chuckles. LOU: Your dad said he'd be over Sunday in a suit of armor. BETSY: Ugh. Geez. You light one soufflé on fire— Both laugh. Lou rubs his face and has a concerned look. Betsy kisses Lou on the shoulder and pats his back. Lou continues looking at the ashtray. INT. BLUMQUIST, DINNER TABLE PEGGY: So, I'm getting excited about this seminar. ED: The which? PEGGY: You remember, hon. It's next weekend. Constance is taking me. Lifespring. Everybody's doing it Peggy pours ketchup on her plate. ED: Oh, yeah. PEGGY: I really think this course is gonna help me actualize, you know, fully. Re-examine old reflex patterns-- the ones that keep my life from working. ED: From-- 'Cause we're doing great, yeah? PEGGY Oh, yeah. I just mean me, you know? As a person. ED: Yeah. PEGGY: Yeah. Both chuckle. ED: Well, Bud asked again if I was interested in maybe taking over the butcher shop. PEGGY: Mm. ED: Said he's thinking of retiring end of the year. PEGGY: Just had the end of the year, huh? ED: Yeah, I guess he means this year, but wouldn't that be great? (takes a bite) Me owning the shop, maybe you take over the salon one day. You know , unless we got a whole litter of kids by then. PEGGY: Yeah, that's (sips water)-- We talked about that. We're trying, but it takes time, you know? ED: Yeah. Yeah, of course. Though, uh hon-- "trying"-- I mean, last time I checked, there's just the one way to make a baby, you know? PEGGY: Did that last weekend, didn't we? (takes a bite) ED: It was Bear Lake last weekend. You said you didn't want to-- - not with Kevin and Sally— PEGGY: - Hon. ED: I ju—(chuckles) I just-- uh-- I just love you, is all. So, so much. And, come on, our kids would be amazing. A thump in the distance alerts Peggy and Ed. Peggy looks at Ed nervously and purposely knocks over her gla** of water. PEGGY: Oh, shoot! ED: Here. Hon, let me-- Ed wipes the water on the floor. PEGGY: No, it-it's fine. I'm-- I'm such a bumble sometimes. Another thump in the distance. ED: What the heck? Peggy grabs hold of Ed affectionately. PEGGY: I-I love you, too, hon, so, so much. Maybe we should-- Maybe do it right now. ED: Here? PEGGY: No, silly. In the bedroom. Come on. The thump continues. ED: Geez. I better go see what that— Cut to Ed heading to the garage. PEGGY: We can-- I'll wear that nightie you like. Peggy nervously cups her hands to her face. Ed turns on the garage light, revealing a car with a large hole windshield, stained with blood. Ed: What the-- Hon? Peggy slowly takes a look at the car. PEGGY: Didn't I tell you? I kind of hit a deer. ED: You hit a-- Are you-- you okay? PEGGY: Yeah, no, I-I'm just, you know, shook up, mostly. Ed walks closer to the car. ED: Geez. Well, insurance should cover most— The thumping continues- this time much closer. PEGGY: Actually, I-- I think I need to sit down, hon. Can we go in the kitchen? There is heavy breathing accompanying the thumps. ED: Heck, hon, did you bring the deer home? Ed moves closer to where the noise is coming from. PEGGY: Hon, don't. Ed walks to a small narrow part of the garage. He taps his flashlight continuously to get it working and see what is making that sound. the flashlight flickers on and off, revealing a figure in the corner. PEGGY: Hon, don't. Ed continues tapping the flashlight. PEGGY: Hon! Come back! Don't. The flashlight finally turns on fully. ED: Ah, geez. T-there's a-- It's a man. There's a man in the— The deranged man charges at Ed with a knife in hand. A struggle ensues. Ed pushes the man back into a stack of tires. He grabs a garden knife out of a bag of fertilizer close by him. The man charges at Ed again, but Ed manages to stab him with the garden knife in the abdomen. Ed pulls it out and the man falls dead on the ground, covered in blood. Ed is panting heavily. ED: Oh, my God. Oh-- oh, my God. Peggy walks over to Ed and puts a hand on his shoulder. PEGGY: Hon. Ed is caught off guard and accidentally elbows Peggy's head. ED: Geez, hon. Sorry. Are y-you okay? PEGGY: No, it's-- I'm fine. ED: Who— PEGGY: - You got to believe me. I-I thought he was dead. ED: What? PEGGY: When I hit him, I thought he was— ED: You hit him? A flashback shows Rye getting hit by the car at the Waffle Hut, revealing that it was Peggy's doing. ED: You hit him with the car? You-- you said a deer. The flashback shows Peggy getting out of the car and looking around nervously. She gets back in the car. The blood leaking out of Rye's head is dripping on the car seat, where Peggy's stuff is at. She whimpers and moves her stuff away from the blood. ED: You hit him. Why-- why didn't you go to the police or the hospital? PEGGY: He ran out into the road, hon. What was I supposed to do? ED: Yeah, so-- so you brought him home, made dinner-- Hamburger Helper. The flashback shows Peggy arriving at the house, pulling up in the garage with Rye still stuck in the window. She turned off the garage light. The split-screen appears focusing on Peggy trying to clean herself up. PEGGY: I panicked, okay? ED: We-- we got to call the police. Why didn't you call the police? PEGGY: - No. ED: - We gotta-- Maybe he's not— PEGGY: No, no. No. I-- I-- Hon, listen to me. I ran over him. Hit and run. And-- and then you stabbed him with a gardening tool. The cops-- do you think they're gonna believe us? ED: I don't know. But-- but people are gonna look for him. Peggy: But-- but look. Look. I-I was careful. I-I drove the back way all the way home. ED: You drove the-- Hon, a-a man's dead. PEGGY: Well, that's why we have to clean it up and-- and tell people I hit a deer or… Peggy flashbacks to cleaning herself up in the mirror, with the camera panning to a picture of Hollywood Beach. PEGGY: - We could run. ED: What? PEGGY: Go to California. ED: Calif-f-f (sighing)… No. (scoffing) We have a life here, hon. A family. I'm gonna buy the shop. Flashback to the butcher shop ED: Okay, then. BUD: Okay, then. NOREEN: Okay, then. ED: And we're gonna start a f-family. PEGGY: Well, start again, I'm saying. ED: I don't want to. PEGGY: Okay, then. You-- Then, hon, look at me. If we're gonna get clear of this, then we're gonna have to clean it up. Pretend it didn't happen. Ed and Peggy sit on the steps. PEGGY: 'Cause if this comes out, if this-- then all the things you want, that we want-- that's over. (Scoffs) I go to jail and maybe you also. And then there's no shop and no family. No kids. ED: Okay. Okay, then. We-- we clean it up. PEGGY: We clean it up. INT. SOLVERSONE RESIDENCE, BEDROOM- NIGHT Lou is looking out the window, fiddling with a rope. Betsy is lying in bed reading. She looks over at Lou and closes her book. BETSY: Well, should we call that Saturday? LOU: I suppose we better. She'll be up at 5:00 anyway wanting to play dolls. Lou puts the rope away in the drawer. BETSY: And I know how fond you are of your doll-playing time. Lou chuckles. Betsy and Lou turn off their lamps and kiss each other. BETSY: Good night, Mr. Solverson. LOU: Good night, Mrs. Solverson, and all the ships at sea. The camera closes up on the two, who are still awake. Both eventually close their eyes. INT. GERHEARDT RESIDENCE, BEDROOM- NIGHT Otto is resting in bed. Floyd is sitting by his side, with Bear and Dodd standing by them. We hear sounds from what happened when Otto had his stroke: Sounds of Otto breathing raggedly. Floyd: Otto? O-Otto? Sounds of Otto grunting. Floyd: Otto! No! We hear a thud. FLOYD: No! Oh! Otto! Live! Get the doctor! Go now! Now! Otto. Call the doctor. Go! INT. BLUMQUIST RESIDENCE- GARAGE Ed and Peggy dump Rye's body in the freezer. They gaze at the body, then close the freezer. INT. KANSAS CITY HEADQUARTERS A projection on the wall reading KANSAS CITY NORTHERN EXPANSION STRATEGY 1979-1980. JOE: So, as you see on page 16 of the prospectus, the main component of our Northern expansion strategy involves the absorption of the Gerhardt Family Syndicate (next slide shows the Gerhardt household.) headquartered in Fargo, ND. The projection changes to a map. Joe stands. JOE: Now, the Gerhardts control trucking and distribution for the entire Northern Midwest. It's a family business started in 1931 by Dieter Gerhardt (next slide changes to a picture of the aforementioned name.) Mike Milligan lights a cigar and starts smoking. JOE: Now deceased, and taken over in 1950 by his son Otto (next slide is a picture of Otto.) Now, not in the report but of relevance to this meeting, Old Otto had a stroke yesterday in the family compound in North Dakota. HAMISH BROKER: Leaving who in charge? JOE: Unclear. (Next slide is a picture of Floyd) His wife, Floyd, she's tough, but, you know, a girl. And then there are the three sons—(Next slide is a picture of the three brothers, from right to left) Dodd, Bear, and Rye. And of course they all want their shot at the throne, which the boys in Research think provides a tactical opportunity for us to move aggressively to acquire or absorb their operation. HAMISH BROKER: And if you can't… and the current business owners resist? JOE: We liquidate. Next slide is a white page. Silence for a moment HAMISH BROKER: Approved. [End Credits]