“north park”

Written by

P. Rolf Larson

P. Rolf Larson

FADE IN:

Ext. RURAL HIGHWAY - – DAY

A dazzling sun beats down on a pockmarked stretch of two-lane blacktop that cuts through rangeland dotted with snow. Craggy snowcapped peaks rise abruptly in the distance.

A blue highway sign reads ‘This section sponsored by the Congregational Church’ above ‘Keeping Colorado Beautiful’

A green sign with white letters reads ‘Walden 9 mi.’

The wind rocks a plastic red, white and blue sign on a thin wooden stake that commands ‘HAL HOLKUM FOR SHERIFF’.

A muskrat sniffs at a beer can and ambles onto the road.

INT./EXT. ellen’s car - - day

An old, UPBEAT SONG rocks from the stereo.

A road atlas, crumpled jacket, purse, wrappers, and a pile of water bottles litter the passenger seat.

A hand rummages the bottles and finds one still half full.

ELLEN JASPER tips back the bottle for a drink, and then cradles it on the steering wheel to replace the cap. She is in her thirties, with a youthful appearance and energy.

She rummages in the purse and comes out with a nutrition bar. She cradles the wheel and glances down as she tears at the wrapper.

She glances up to see the muskrat on the road and jerks the wheel.

ON THE ROAD

With TIRES SCREECHING, the car swerves and skids onto the shoulder. It clips the campaign sign with a THUMP, then swerves back toward the road with tires FLINGING GRAVEL.

IN THE CAR

Ellen wrestles the steering wheel.

ON THE ROAD

The over correction sends the car SKIDDING to the opposite shoulder.

The outside wheels SLOSH in a muddy ditch and the rest of the car follows with a jerk.

IN THE CAR

Mud splatters the windshield.

IN THE DITCH

The car SLEWS through muck, sliding further from the road as the ditch deepens. A culvert juts out from the roadside bank.

The car impacts with a CRASH OF METAL ON METAL then SRRAYS MUD as it spins to a stop.

IN THE CAR

Ellen hangs limp in her shoulder harness. Small POPS and CREAKS disturb the silence.

Her head comes up slowly.

Ellen

Shit.

ext. rural highway – ditch - day

The car door jerks open with a protest of GRATING METAL and Ellen clambers out.

She stumbles backward in the muck and surveys the damaged vehicle. It isn’t going anywhere.

IN THE CAR

Her hands reach across the seat and grab her purse and jacket.

ext. rural highway – shoulder - day

Ellen looks from the deserted stretch of road in one direction to the equally barren stretch in the other.

Her hand pulls a cel phone from her purse but the display reads ‘No Service’ and she jams it back inside.

She looks down at her marooned car and further past it to a small cluster of ranch buildings miles in the distance.

Crossing the road, she spies another homestead off at an angle. This one is close enough to make out a battered pickup and a dog in the dirt yard.

ext. pasture - - day

She steps over a damaged section of the low barbed wire fence that borders the roadway and starts across the rough pasture that separates her from the dwelling.

Her shoes make SUCKING SOUNDS as she skirts patches of melting snow and hops streamlets GURGLING with runoff.

She lurches to a stop with one foot sunk to the ankle. An INSECT BUZZES her face and she swipes at it then wrinkles her nose in disgust.

ellen

Phew. What died?

She tugs her foot free and stumbles on. She glances from the ranch ahead back toward the roadway and trips.

Her hand SPLASHES into water as she breaks her fall. Large black birds SCREECH and FLAP skyward. Her eyes fill with horror.

A DISFIGURED CORPSE floats in the streamlet she has nearly tumbled into.

Ext. rural highway - - day

Ellen, PANTING and mud soaked, stoops on the shoulder with hands on knees. The SOUND OF A MOTOR drifts across the wind and she looks down the road to see a speck in the distance.

The speck resolves to an old, muddy pickup truck and she straightens and waves her arms.

Sunlight glares the dirty windshield as the truck CRUNCHES to a stop on the shoulder a few yards away. The driver’s window CREAKS as it rolls down.

maggie (O.S.)

Ya need somethin’?

Ellen takes a few wary steps toward the truck.

ellen

I saw . . .

MAGGIE DALTON cranes her head out the window. Her weathered skin and graying hair betray fifty plus years and a hard life outdoors.

maggie

What ya doin’ out here?

INSIDE THE TRUCK

Maggie pulls back as Ellen comes to lean outside her window.

ellen

Can you . . . call the police?

maggie

Ya been hurt?

ellen

No. I saw . . . There’s a body in that field.

maggie

A body?

ellen

A dead body. Can you get the police?

maggie

Sheriff’s just up the road.

ext./int. maggie’s truck - - day

Maggie’s pickup bumps along a muddy road.

Maggie sways behind the wheel as Ellen peers in a compact and wipes at the mud on her face with a hanky.

maggie

Ya went in the ditch?

ellen

There was something in the road.

maggie

We can give Jet a call ta come an’ tow it.

ellen

Thanks.

maggie

So what brings ya through here?

ellen

I’m trying to get to Denver. I was on 80. They closed it.

maggie

The storm. Heard it was worse up north. Where ya commin’ from?

ellen

Seattle.

maggie

Heard it rains there a lot.

ellen

It does.

ext. tom’s ranch - - day

Neatly kept outbuildings and a Victorian two-story ranch house perch on a low hill with mountains looming close in the background.

Maggie’s truck bumps up a gravel drive that loops through the structures and rolls to a stop in front of the house.

IN THE TRUCK

Maggie and Ellen peer towards the house.

maggie

Sit tight. I’ll see if he’s at home.

ON THE PORCH

Maggie rings the bell and knocks at the front door.

AROUND THE SIDE

Maggie steps off the porch and walks toward a METALIC CLANGING that comes from the open doors of a shed across from the house.

int. shed - - day

The CLANGING is louder as Maggie stands framed in the light of the open doors, peering into the relative darkness. Old farm tools hang from the walls and litter the floor.

maggie

Hey, Tom.

The CLANGING STOPS.

tom (O.S.)

Saw your sign.

maggie

Holkum asked. I said it don’t make no diff’rence ta me.

tom (O.S.)

Yeah.

maggie

Ya got any signs?

TOM WILSON steps into the light holding a ball peen hammer. He is mature, rugged, and needing a shave.

tom

No.

maggie

That wouldn’t make no diff’rence neither.

He looks down at the hammer in his hand, hefts it.

maggie (cont.)

Got a girl in the truck. Says she seen a dead body at Dale’s place.

Ext. tom’s ranch -- day

AT MAGGIE’S TRUCK

Ellen leans against the truck and looks around.

AT THE SIDE OF THE HOUSE

A well-used playground set rises from a patch of bark chips.

ON THE PORCH

A pair of equally used rockers rests in the shade.

IN THE YARD

A tire swing dangles from an old tree. A flowerbed nearby still shows some color.

AT THE FLOWERBED

Ellen stoops and starts to pull out some of the tangle of weeds choking the late blooming plants.

She turns at the CRUNCH OF APPROACHING FOOTSTEPS.

tom

Maggie says ya think ya saw a body.

ellen

I saw a body.

tom

Ya got some ID?

ellen

Sure.

AT MAGGIE’S TRUCK

Ellen fishes in her purse and hands Tom her ID.

tom

Ellen Jasper?

ellen

Right. And you are?

tom

Tom Wilson.

ellen

And you’re a Sheriff? Got some ID?

EXT. Rural highway – shoulder - day

Ellen and Maggie lean against the side of a SUV with an emergency light pod on the roof and marked ‘JACKSON COUNTY SHERIFF’. They gaze out at the pasture.

ext. pasture – at the body - day

Tom straightens up but continues looking down at the ground.

ED TRAINER, a doughy forty year old in a deputy’s uniform, peeks over his shoulder.

ed

So waddaya think?

tom

Hard ta say. Birds got at ‘im pretty good. Maybe somethin’ else.

ext. rural highway – - day

AT THE SUV

Ellen and Maggie watch the figures in the pasture.

maggie

Ed’s gotta be creamin’ ‘is jeans.

ellen

I’m sorry?

maggie

We don’t get alotta dead bodies. Wonder how Calvin’s gonna take it.

ellen

Calvin?

maggie

Calvin’s the County Cor’ner. But mostly he runs the feed store.

ellen

He’s not a doctor?

maggie

Nope.

ellen

Then why is he the Coroner?

maggie

Got elected. Gets paid for it.

FURTHER UP THE ROAD

A pickup truck with the logo ‘Walden Feed and Seed’ CRUNCHES to a stop at the end of the line of vehicles that includes another sheriff’s SUV and Maggie’s truck.

The door swings open and CALVIN GRIGGS climbs out. Calvin jacks his trousers up around his middle-aged gut and grabs a large satchel from the bed of the truck.

AT THE SUV

Calvin shuffles up the shoulder carrying the satchel.

maggie

Speak a the devil.

calvin

Hey there, Maggie. What’s goin’ on?

maggie

Watchin’ the boys poke at some dead meat.

calvin

That was some snow, huh?

maggie

Seen worse.

calvin

Pretty good for September though. Don’t think we’ve met. Calvin Griggs.

He extends a hand to Ellen and she shakes it.

ellen

Ellen Jasper.

maggie

She found it.

calvin

Huh.

maggie

Well go on.

calvin

What?

maggie

Don’t you have ‘ficial duties to perform?

calvin

Sure.

maggie

Then go.

ext. pasture - AT THE BODY - day

Calvin sets down his satchel and takes out a clipboard.

Ed hovers nearby while Tom stands back staring into the distance.

calvin

Okay. First thing we do is document the vicinity of the subject. Note all the details-

tom

Ya get that at that trainin’?

Tom nods toward the clipboard.

calvin

Yeah.

tom

They mention a Coroner’s investigation should be independent?

calvin

Yeah, but you guys can help.

tom

We’ll be lookin’ too. Ya just go through yer list there.

calvin

Shit, Tom. Last time-

tom

This ain’t the same.

calvin

No. Guess not.

EXT. rural highway - - day

ON THE SHOULDER

Ellen and Maggie stand on the shoulder behind a tow truck marked ‘Jones Auto Service’ and look toward Ellen’s car.

maggie

His real name’s Oscar. ‘Fore he could talk he just made this woosh sound. His brother said he sounded like a jet. Just sorta stuck.

AT THE CAR

JET JONES’ lower body sprawls across the hood and his torso hangs over the grill as he peers under the front end. Loose, greasy coveralls cover his young stringy frame.

jet

Shit. This is one fucked up mobile.

ellen (o.s.)

Can you get it out?

Jet rolls off the hood and steps back for an assessment. He takes a cigarette from behind his ear and lights it.

jet

Yeah. I can get it out. But it ain’t goin’ nowhere. Not without a new front end.

EXT. PASTURE - - day

AT THE BODY

Calvin flashes pictures of the scene.

IN THE PASTURE

Tom stoops down several yards closer to the homestead, examining the ground. Ed sloshes up to him.

tom

Give Beth a call.

Ed pulls a walkie-talkie from his belt and thumbs transmit.

ed

Hey Beth. This is Ed. Ya read me? Over.

STATIC CRACKLES from the speaker. Tom looks from the ground to the homestead.

tom

See if she can track down Stacey.

STATIC CRACKLES again.

beth (filter)

Yeah Ed. I read you. Over.

ed

Tom says see if ya can find Stacey Johnson.

beth (filter)

Say again.

ed

Find out where Stacey Johnson is at. Try her sister’s house. I heard she was stayin’ there. Over.

beth (filter)

Will do.

A final BURST OF STATIC sounds and Ed holsters the radio. Tom straightens up.

ed

What ya thinkin’? Ya heard she an’ Dale split up again, didn’t ya? Steve told me-

tom

Somebody standin’ in yer field ya wouldn’t come see what’s goin’ on?

ed

Maybe he’s not home.

tom

Truck’s here. Looks like somebody came this way.

ed

Hard ta say.

tom

Let’s have a look.

EXT. DALE’S HOMESTEAD - - DAY

A DOG BARKS FIERCELY as Tom and Ed pass through a spring-loaded gate on the edge of the pasture. Ed picks up a rock and hurls it. The dog YELPS and skitters away.

They cross a muddy yard edged by a fence, a barn and a simple ranch house.

IN THE YARD

Ed squats down next to a spent rifle cartridge that glints in the sunlight. He looks to Tom.

Tom stands looking down at another cartridge, a few yards closer to the house. He looks to Ed.

They pass on either side of a pickup parked in front of the house and each glances in a window.

Keys dangle from the ignition.

AT THE HOUSE

They step up onto a stoop in front of the doorway and peer through the screen door.

int. dale’s house - - day

A shaft of light from the partially open front door illuminates a sliver of the floor.

The clatter of KNOCKING ON THE SCREEN DOOR disturbs dust that swirls in the light.

tom (O.S.)

Dale? Ya home?

The CREAK OF THE SCREEN DOOR OPENING penetrates the stillness. The inner door swings open and the shaft of light grows to reveal a dark stain on the floor.

Tom steps in and crouches down to examine the stain.

ext. rural highway - shoulder - DAY

Tom leans on the open door of one of the Sheriff’s Dept. SUVs. Ed sits behind the wheel.

tom

Post a notice down by his gate. Then seal it off. Ya got that tape?

ed

Yeah.

tom

Dan’s at that accident but he’ll be along shortly ta give ya a hand.

ed

We’ll need a statement from the woman too.

tom

Yeah.

ed

I’ll get Dan ta-

tom

I can handle it.

Ed looks like he has more to say but Tom’s hard stare stops him and he SLAMS THE DOOR.

The MOTOR OF THE SUV STARTS, then it CRUNCHES away and in its place Tom is left with a view of Jet’s tow truck on the opposite shoulder.

EXT. rural highway - - later

Jet adjusts the harness of Ellen’s car that is now suspended just off the rear of his vehicle.

Ellen watches from the shoulder a few yards away. A pair of duffels sits next to her.

Tom glides up in a Sheriff’s SUV and rolls down his window.

tom

Did Maggie take off?

ellen

Said her husband thought she was just going for milk.

tom

Ya headin’ back ta town?

ellen

I don’t have much choice.

tom

I’ll need a statement from ya anyway. Hop in.

Ellen tosses her duffels in the rear of the SUV.

EXT./INT. sheriff’s suv - - day

The Sheriff’s SUV rolls through the rangeland.

Tom drives, lost in thought while Ellen looks him over.

ellen

So did you find out who it was?

tom

Not yet.

ellen

Can you tell what happened? How they died?

tom

No.

ellen

Were you on vacation? Or is this your day off?

tom

Hmm?

ellen

You were at your house. Are you on vacation or something?

tom

No.

ext. walden - - day

ON THE HIGHWAY

The Sheriff’s SUV rolls past the treeless shores of Walden Lake and up highway 14 toward a small cluster of buildings and houses in the distance.

They pass a highway sign that reads ‘WALDEN, POP. 734’

A “HAL HOLKUM FOR SHERIFF” sign flutters as they drive past.

AT THE EDGE OF TOWN

The SUV passes a garage with a sign that reads ‘Jones Auto Service’.

ON MAIN STREET

The SUV passes down the business district’s two blocks of low buildings.

AT THE COURTHOUSE

On a side street, the SUV rounds an old two and a half story stone structure with massive columns flanking the entrance. A sign in the green lawn in front of it reads ‘Jackson County Courthouse’

The SUV CRUNCHES to a stop in a gravel parking lot behind the building.

EXT. COURTHOUSE – REAR - day

Tom exits the SUV and strides off toward a stairwell that leads to a half sub-merged doorway.

Ellen slams the passenger door behind her and follows.

AT THE DOOR

A sign reads ‘Sheriff Only’.

Tom tries a key, than another and unlocks the door just as Ellen comes down the stairs.

int. sheriff’s office - - DAY

AT THE BACK DOOR

Tom enters into a tight hallway piled with office supplies, a broken chair, and a snow shovel with Ellen close behind. They pick their way past the debris.

IN THE BULLPEN

The SOUND OF LAUGHTER.

Tom and Ellen exit the hall.

Light streams in from the windows set high in the walls at ground level. A half dozen desks and tables of different manufacture, all old, have been pressed into service for various functions; radio center, filing cabinet, deputy desks.

Electrical conduits and pipes snake over the original plaster walls of the century old building. Everything is covered in several layers of thick paint.

BETH, pushing forty and plain, lounges in a chair with her back to her radio table. She is facing the back hall entrance and flushes with surprise at the sight of Tom.

beth

Tom.

A figure tipped back in a chair across from her swivels. HAL HOLKUM rises quickly, as if caught in someone’s seat. He’s an imposing man around forty.

hal

Hey Tom.

tom

Elections not ‘till November, Hal.

hal

I was just shootin’ the shit with Beth.

beth

I left a message at Gwen’s. Told her we was lookin’ fer Stacy.

hal

Hear ya found a body out ta Dale’s spread.

Tom looks at Beth and Beth looks uncomfortable.

HAl (cont.)

Yeah. So ya know who it is?

Tom considers a moment.

tom

That sign fall down again, Beth?

beth

What?

Ellen hangs back as Tom crosses between the unsettled Beth and Hal.

He opens a gate in the high counter that separates the bullpen from the small public area with its door to the interior courthouse hall and steps out.

IN THE PUBLIC AREA

He turns and looks back at the gate where a sign reads ‘Authorized Personnel Only’.

tom

Still there . . . So, Hal. Come tell me if ya can read this.

Hal hangs for a moment, swinging between embarrassment and anger, then comes out the gate.

Tom goes back in and closes the gate behind him. He leans over the gate and looks upside down at the sign.

tom

So can ya read that?

He looks up at Hal and silent daggers fly between them.

hal

Yeah.

tom

Good.

Tom turns away from the gate leaving Hal stranded and steaming outside.

IN THE BULLPEN

Tom gives Beth a stern look as he passes her.

The SOUND OF THE OUTER DOOR SLAMMING vibrates through the space.

Tom passes Ellen and opens his office door.

tom

Let’s get that statement.

INT. SHERiff’s office - TOM’S OFFICE - DAY

Tom flicks on the light and pauses in the doorway. Someone has been using the small space for storage.

He looks with dismay from the cartons stacked in the corner to the files heaped on the desk.

He hastily clears a box from a chair as Ellen enters and looks around.

tom

Uh, here. Have a seat.

He goes around behind the desk and clears the chair there.

He sits but they can’t see each other over piles of files.

He stands and grabs half a stack off each pile and dumps them in a corner.

Seated again he starts looking through the drawers. He finds a pen. He looks some more.

TOm

‘Scuse me a minute.

He rounds the desk, stepping over piles, and goes out the door. The SOUND OF CABINETS OPENING AND CLOSING comes in the open door.

Ellen stands and looks around the office.

Shelves with some trophies: softball, bowling.

A number of photos tacked on the wall: Tom laughing with a group of men holding fish. Tom laughing with men and women in softball uniforms. Tom laughing next to a snowman.

tom (O.S.)

Where we keepin’ the statement forms now?

beth (O.s.)

Same place we been keepin’ ‘em for the last year.

Ellen comes to a group of framed photos lying on top of a cabinet. She picks up the stack and examines them: Tom kissing an attractive woman, Tom with his arm around the same woman as they proudly show off a swaddled baby.

She places them back on the cabinet and holds the last one: Tom and the woman in front of the ranch house with a little boy and girl.

She holds it up as Tom comes back in carrying a form.

ellen

Your family?

Tom takes only a glance in her direction.

tom

That’s old.

She replaces the photo on the stack as he picks his way around the desk and sits down.

ellen

I know what you mean. They grow so fast.

Tom looks for the pen.

He finds the pen. He looks at the form.

His eyes are slowly drawn to the photos on the cabinet as if there was some kind of magnet there.

Ellen takes a seat.

ellen

Will it take long?

tom

Hmmm?

ellen

The statement? Because, honestly, I didn’t get breakfast and not much dinner yesterday and it’s . . .

She looks at her watch.

ellen (cont.)

. . . after 2 and I’m starting to feel a little woozy.

He looks at her as if she just appeared.

ellen (cont.)

Probably some of the adrenaline let down too. Seeing . . . that.

tom

Ya okay? Must a been a shock.

ellen

I’ve never . . . It didn’t seem like a real person. But it was a person. Someone . . .

He’s looking towards the photos again.

He looks back to her.

tom

We don’t have ta do this now.

ellen

I just need-

tom

Let’s get some lunch.

She looks down to her mud crusted clothing and back to him.

ellen

I might need to clean up first.

int. dale’s house - - day

A spent rifle cartridge lies on the floor. A cheap ballpoint pen maneuvers in the open end and picks it up.

DAN BLACK looks closely at the cartridge and Ed leans in close to do the same. Dan’s buff early thirties physique strains the confines of his deputy’s uniform.

In the bg, the worn furnishings of Dale’s living room surround them.

DAN

Thirty-thirty?

ED

Could be.

Dan looks to the ratty recliner next to them and then to the front door opposite.

DAN

Looks like they were sittin’ here waitin’. Let ‘im have it when he came in the door.

ed

Could be.

dan

Then chased him out ta the field.

Dan crosses to a tall gun cabinet that dominates a wall of the room. A few rifles are visible through glass doors.

Ed comes up behind Dan as he opens the glass doors with a hanky-covered hand.

dan

Dale had that lever action thirty-thirty I had my eye on.

ed

Hmmm. Not seein’ it.

INT. ELK HORN café - - DAY

Light streams in a large picture window with a backwards stencil of ‘The Elkhorn Café’. There is an outside door next to the window and beside that a cash register desk.

A GROUP OF OLDER WOMEN are TALKING and LAUGHING at a round table in front of the window. A cloud of cigarette smoke wafts above them.

TWO LOCALS in overalls sit up at the bar that runs down one side of the room. Booths line the other wall with a few tables in between.

IN A BOOTH

Ellen, with clean clothes, takes a menu from behind the napkin dispenser and starts to look it over. Tom sits across form her, half turned away and studying the room.

SALLY (O.S.)

Jesus H. Christ is that Tom Wilson?

SALLY hustles over, wiping her hands with a dishrag. She is in her thirties and stuffed into jeans a size too small.

She slides into the booth next to Ellen.

tom

Hey, Sally.

sally

My God. How are ya? It’s been forever. I was just tellin’ Alice yesterday I wish that goddamn Tom would get his ass back in here.

Sally leans back and appraises him.

sally (cont.)

Well ya still look pretty damn good. Ranch life must be treatin’ ya all right.

She turns to Ellen for confirmation.

sally (cont.)

Ain’t he just a hunk?

Tom glances at Ellen for her answer. She meets his eyes.

ellen

I suppose so.

sally

Ain’t no supposin’ about it. He is one fine lookin’ man.

Tom looks heavenward for salvation. Ellen smiles.

sally (cont.)

So what can I get for ya? ‘sides me.

She gives Ellen a nudge and a wink.

INT. ELK HORN café - - LATER

IN THE BOOTH

Tom sips a coffee with an empty plate in front of him and watches Ellen carve at the remains of a huge T-bone.

tom

That yer usual lunch?

ellen

I’m on a no-carb diet.

AT THE FRONT

The door next to the picture window opens with a JINGLE OF BELLS and RAFE and BERT saunter in. Rafe is late twenties and rough looking. Bert is about the same age but beefy.

They wave to the Locals and make their way down the room.

IN THE BOOTH

Tom notices Rafe and Bert pass by.

ellen

You can have eggs, meat, cheese, nuts, some vegetables, like salad greens . . .

AT A TABLE

Rafe and Bert sit down just a little further to the back and with a clear view of Tom. They show recognition. Bert leans over and says something to Rafe MSO. Rafe LAUGHS.

Sally saunters to the table to take their order.

IN THE BOOTH

Tom looks back from the table to Ellen who is finishing up.

tom

Ya don’t look like ya need a diet.

ellen

That’s why I have a diet.

tom

Huh.

Sally has finished with the back table and swings by.

sally

What else can I get ya? Pie?

tom

No. Think we’re good.

sally

I’ll ring ya up front.

She moves toward the front and Tom is left with a view of the table and the two men looking at him.

IN THE ROOM

Tom and Ellen slide out of the booth, which puts them a few steps closer to the table. Tom helps Ellen with her jacket.

Rafe speaks louder than he needs to.

rafe

Hey Bert, ya know what day it is?

bert

Tuesday.

rafe

No. Must be Groundhog day. Ya know what that is?

bert

What?

Ellen glances at the loud men as Tom finally gets her arm in a twisted sleeve and they start toward the front.

rafe

There’s this squirrel that stays in ‘is hole all year an’ that’s the one day he gets ta come out.

Tom pauses.

rafe (cont.)

An’ if he sees his shadow, he goes back in again.

Ellen looks back to Tom and the pair at the table.

ellen

You coming?

tom

Yeah.

They continue toward the front.

ext. motel – parking lot – day

The Sheriff’s SUV rolls to a stop in front of the office of an old, one story motel with half a dozen units.

Tom gets out and grabs Ellen’s duffels from the rear seat while she comes around the car.

ellen

Thanks for the lift. What was that? A whole two blocks?

tom

Two and a half.

ellen

Right.

tom

We can do that statement in the mornin’.

ellen

Sure.

Ellen takes her duffels and starts toward the office.

She stops.

She turns around and walks back.

ellen (cont.)

I have to ask something.

Tom looks at her. She sets the duffels down.

ellen (cont.)

What’s going on?

tom

Not sure what ya mean.

ellen

Why haven’t you been around?

She looks at him for an answer but his face is stone.

She looks away and picks up her duffels.

ellen (cont.)

None of my business.

She starts to walk toward the office.

tom

My wife died.

She stops.

tom (cont.)

I need ta look after the kids.

She turns but a distance separates them.

ellen

I’m sorry. I . . .

He shakes his head and looks away.

tom

See you in the mornin’.

Tom climbs into the SUV. It backs up and pulls away. Ellen stands looking after it.

int. motel room - - day

Darkness and the SOUNDS OF A DOOR UNLOCKING.

The opening door casts a shaft of light into the room.

Ellen tosses down her duffels.

She moves to open the blackout curtains covering the picture window next to the door and the light flooding in reveals the typical old motel room.

A double bed is made up with a thin spread and flat pillows. A nightstand next to it holds a lamp, a phone and a clock.

A low, cheap dresser opposite the bed has a small TV on top and an unadorned mirror on the wall above it.

An open door gives a glimpse of a utilitarian bathroom beyond.

She shakes her head and sighs.

INT. motel room - - later

The afternoon light is muted by the gauzy privacy drapes that move with a breeze.

The open window lets in the OCCAISIONAL ROAD NOISE.

Ellen sits on the edge of the bed with a cheap towel wrapped around her.

In one hand she uses another thin towel to rub at her wet hair and in the other she holds the phone to her ear.

Ellen

. . . it wasn’t an accident.

(beat)

No. I just ran off the road.

She cradles the phone to her shoulder and stands and picks up the base. She paces to the extent the short phone cord will let her while she listens.

ellen (cont.)

Mom . . .

(beat)

Just let me talk to the kids.

She finishes with the towel and tosses it on the bed. She shifts the phone to her free hand. Her face lights up.

ellen (cont.)

Hi sweetie. How are you?

She sits down absently on the edge of the bed.

ellen (cont.)

He did?

She smiles and almost laughs. She tries to sound serious.

ellen (cont.)

Well you tell him I said not to do that.

ext. tom’s ranch - - SUNSET

The Sheriff’s SUV pulls into the drive as the rim of the sun sinks behind the mountains in the distance.

int. tom’s ranch – KITCHEN - NIGHT

Tom enters through an outside door and is greeted by a dark room and the SOUND OF A TV IN ANOTHER ROOM.

He flicks on the lights that illuminate a large country kitchen and hangs his car keys on a hook beside the door.

int. tom’s ranch – family room – night

A sitcom rerun emits BANTER and LAUGH TRACKS and casts the only light in the room.

JACK and JILL WILSON slump back on a couch with blank looks on faces lit by the TV glow. Jack is a 10-year-old version of Tom. Jill is 7 and must have gotten her mother’s good looks.

Tom leans in a doorframe to the side of the couch.

tom

I’ll get some dinner.

jack

We already ate.

They all watch the television with blank faces.

int. tom’s ranch – kitchen – night

Jack and Jill labor over homework at the kitchen table as Tom washes dishes at the sink with slow wooden movements.

Int. tom’s ranch – UPSTAIRS HALL - night

Tom reaches into a bedroom doorway and flicks off a light.

tom

Night.

jack (o.s.)

Night.

int. tom’s ranch – jill’s bedroom – night

Tom focuses on the bedding as he tucks in Jill.

jill

Where were you today?

tom

Sheriffing.

jill

You gonna be doin’ that again?

tom

Some.

He gives her a kiss on the forehead.

He crosses to the door and has his hand on the light switch.

jill

Did somebody get killed?

ext. pasture - - day

SCREECHING AND FLAPPING, a flock of large black birds erupt into a blinding sky.

int. motel room - - dawn

The SCREECHING OF BIRDS echoes to silence. A shaft of light illuminates Ellen as she jerks awake.

Light pours from the open bathroom door.

Her startled image, sitting up in the bed, stares back from the mirror on the wall.

AT THE CURTAINS

Ellen parts the heavy drapes and the faint dawn lights her face as she contemplates the view.

A DUFFLE

She pulls out a pair of running shoes.

ext. motel - - dawn

Dressed for a run, Ellen shuts the motel door behind her and trots off at an easy pace.

In the bg, the sun breaks over mountain peaks.

ext. walden – main street – dawn

Ellen jogs down the deserted street past dark storefronts.

ext. walden – residential street - day

Modest houses dot a tree lined drive. Ellen runs past an unkempt yard with a “HAL HOLKUM FOR SHERIFF” sign.

EXT. RURAL ROAD - - day

Ellen sprints up a gravel road through rangeland that seems to head straight into the mountains looming ahead.

Ext. motel - - day

Tom leans against his Sheriff’s SUV parked outside the motel room and watches Ellen with an appraising eye as she slows from a run at the edge of the parking lot. He is clean-shaven and more presentable.

She walks toward him with hands on hips, spent.

ellen

Hi.

tom

Mornin’.

ellen

The statement thing.

tom

Yeah.

ellen

Can I get a shower first?

tom

Sure. Just come by the office.

She starts to unlock her door and Tom opens the door of the SUV.

tom

Ya should be careful.

Ellen looks at him but he’s not looking at her.

tom (cont.)

Goin’ off alone like that.

He gets into the SUV and drives off.

She shakes her head as if to clear it and unlocks the door.

Int. sheriff’s office - - day

IN THE BULLPEN

Ed grins and leans back in his chair at a deputy desk across from Dan who does the same. Both wear their deputy uniforms.

In the bg, Tom’s office door stands open and raised voices echo out.

tom (o.s.)

Is it too much ta ask to have a goddamn chair ta sit in?

beth (o.s.)

How was I suppose’ ta know ya was commin’ in?

tom (o.s.)

Don’t we have filin’ cabinets or somethin’?

beth

I’ll find someplace. Just quit yer yellin’.

Beth comes out the door with a stack of files under one arm and slams it behind her.

She gives a mean look to the deputies grinning at her.

beth

Don’t say nothin’.

She heads toward the back hall.

dan

Told ya not ta store that shit in there.

beth (O.S.)

Shut the hell up.

The DING OF A BELL brings the deputies’ attention around toward the counter.

IN THE PUBLIC AREA

Ellen leans against the counter that holds a ring for service bell.

Dan comes into view from the bullpen.

dan

Well hello. What can I do for ya?

ellen

I was supposed to come in for a statement.

dan

Would ya be givin’ that, or receivin’ it?

ellen

Giving it.

dan

They do say it’s better ta give than ta receive.

ellen

Is that what they say?

dan

Yeah. Personally I like-

tom (o.s.)

Don’t ya have that accident report ta type up?

Dan turns to find Tom behind him.

dan

Just helpin’ a customer here.

He turns back to Ellen.

dan

Didn’t get your name. I’m Deputy Dan Black.

He extends his hand across the counter and she takes it.

ellen

Ellen-

tom

Yeah that’s enough Dan. I’ll handle it.

dan

Okay.

Tom opens the gate.

tom

Come on back.

Ellen goes through the gate and past Tom.

Tom looks hard at Dan as he closes the gate.

int. sheriff’s office – - later

Tom’s office door opens and he comes out with a few pages in his hand.

Dan glances up from his work as Tom passes his desk.

Beth is turned away from him, working at a desk next to her radio set, as he lays the pages down there.

She looks down at them.

beth

What’s this?

tom

Type that up, will ya?

She looks back over her shoulder at him.

beth

Now I’m yer goddamn secretary?

tom

Don’t start with me, Beth.

She turns back and picks up the pages.

beth

So glad yer back.

Tom starts to walk away.

beth (cont.)

Gotta holda Gwen.

Tom turns back.

Beth shuffles the papers and doesn’t look at him.

beth (cont.)

Says Stacy went ta visit some friends. Sounds like a load a shit ta me.

tom

Huh.

beth

Maybe some ‘fficial Sheriff type person should ask her some questions.

Tom looks hard at her back as she nonchalantly starts to type and then turns and walks back toward his office.

int. sheriff’s office – – LATER

IN TOM’S OFFICE

Ellen turns in the guest chair as Tom comes through the open door and grabs his jacket from a coat rack.

ellen

Are we done?

tom

You’ll need ta sign it when Beth gets it typed up.

Tom shrugs into his jacket.

ellen

You’re leaving?

He pats his pockets for his keys, distracted.

tom

Yeah I gotta go see someone.

ellen

Oh. Okay.

He goes out the door without a backward glance.

She looks around the empty office for a moment.

She gets up and walks out the door.

IN THE BULLPEN

Ellen comes out of Tom’s office.

Dan looks up from his work and smiles.

dan

So ya all done?

She tries not to meet his eyes as she moves past.

ellen

Yes.

Beth glances up from her typing as Ellen takes a seat next to her, and then resumes work.

ellen

I’m supposed to sign it.

beth

Uh huh.

Beth types as Ellen looks around, bored, uncomfortable.

ellen

Do you do a lot of these? Statements?

beth

No.

ellen

No?

beth

Honey, there’s only ‘bout fifteen hundred people in this county. We don’t do alotta anythin’.

ellen

In the whole county?

beth

Yeah. So that’s . . . where you from?

She stops typing and looks back a page.

beth (cont.)

Seattle. So that’s probably like a block or two a them fancy apartment buildin’s. You live in one a them?

ellen

An apartment?

beth

Yeah. Like on Frazier.

ellen

No. I live in a house. Lived in a house.

beth

But ya don’t live there no more?

ellen

My ex-husband got it in the divorce.

beth

Shit. How’d that happen?

ellen

He’s a lawyer.

Beth shakes her head and goes back to her typing.

beth

Shit.

She checks back a page, then continues typing.

beth (cont.)

So we don’t do alotta statements. Last year we had a grand total a thirty six offenses. Fifteen assaults, mostly bar fights. Sixteen thefts. A couple burglaries.

ellen

So a murder would be a big thing?

Beth stops typing and gives Ellen a curious look.

Ellen (cont.)

The body. If it was murder.

Beth goes back to typing with a hard set to her face.

beth

We’ve only had the one homicide here in the last five years.

(beat)

Tom’s wife.

Ellen sits open mouthed and the only sound is the CLICKING of Beth’s typing.

EXt. walden – residential street – day

Tom’s SUV glides down the same street that Ellen ran on and pulls to a stop in front of the house with the Holkum for Sheriff sign.

ext. gwen’s house - - day

Tom steps up to the stoop of the house that is badly in need of paint and RAPS on the warped screen door.

INT./Ext. Gwen’s house - - day

The light form the open front door shines down a hallway.

In the bg, Tom stands outside the screen.

GWEN shuffles toward the door with a FUSSING INFANT on her hip. Her ratty sweater hides her figure but her face looks like she should still be in school.

She stops at the screen door.

gwen

What ya need?

tom

Lookin’ for Stacy.

gwen

She ain’t here.

tom

Know where I can find her?

gwen

She’s stayin’ with some friends.

tom

What friends?

The INFANT CRIES and Gwen jostles him.

gwen

Hush now. Hush.

tom

What friends would that be?

gwen

I dunno. She didn’t say.

The INFANT CRIES and she switches him to the other hip.

tom

When’s the last time ya seen her?

gwen

Shhhh. Shhh. I dunno.

tom

Yesterday?

gwen

No.

tom

Last week?

The infant is quiet but she still fusses with him and doesn’t look at Tom.

tom (cont.)

Have ya talked ta yer brother lately?

She looks at him through the screen with a glint in her eye.

tom (cont.)

Maybe Steve’s heard from her.

gwen

He ain’t talked ta her.

tom

Right.

He looks away down the street.

tom (cont.)

If ya hear from her, ya give me a call.

He turns and walks back down the sidewalk.

She stares after him.

ext. jet’s garage - - day

Jet’s tow truck is parked in front of a modest two bay garage/service station. Painted above the bay doors is a faded banner that reads ‘Jones Auto Service’.

One of the bay doors is open and the back of Ellen’s car is visible inside, suspended six feet off the ground on a lift. TINNY RADIO MUSIC wafts out from inside.

INt. jet’s garage - - day

IN THE BAY

The TINNY RADIO MUSIC competes with NOISE FROM A TV that emanates from an open door into the office.

Ellen’s car floats on the lift.

Various automotive junk litters the floor and the walls are covered with more hanging junk.

In the bg, the open bay door reveals Ellen approaching from the street.

She looks in the direction of the shuttered office, and then continues into the open bay.

ELLEN

Hello?

IN THE OFFICE

TV NOISE assaults Ellen as she stands in the door to the bays with the TINNY RADIO MUSIC still audible behind her.

Jet reclines in an old lounger with his back to the door, smoke wafting up from a cigarette in his hand.

A television in front of him plays an OBNOXIOUS DAYTIME PROGRAM.

Ellen COUGHS and waves at the smoke in front of her.

ellen

Jet.

Jet glances over his shoulder at her and back to the TV.

jet

Hey.

ellen

What’s the word on my car?

She is barely audible over the NOISE and Jet doesn’t respond. She tries again, louder.

ellen (cont.)

I’m here about my car.

jet

Not ready yet.

She waits a moment for more from him.

THE TELEVISION

The TV NOISE DIES as the screen goes dark.

THE OFFICE.

Ellen reaches back from the TV and turns to Jet.

ellen

Can you be a little more specific?

jet

What?

ellen

About my car.

jet

Front end’s shot.

He takes a drag from his cigarette and gives her a blank look. She settles back on the counter that holds the TV.

ellen

And?

jet

Ordered some parts.

ellen

So when do you think you’ll have it fixed?

jet

Depends on when the parts come in. Couple a days. Maybe more.

ellen

Any way to speed that up?

He looks perplexed. She shakes her head and stands.

ellen (cont.)

No. I didn’t think so.

IN THE BAY

The TINNY RADIO MUSIC greets Ellen as she exits the office.

The TV NOISE starts up again as she pauses next to her car, looks at it and sighs.

ext. walden – main street – day

Ellen strolls absently past the few meager storefronts.

A TOOT OF A HORN brings her attention to the street and Maggie’s truck glides to the curb next to her.

Maggie leans across to the open passenger window.

maggie

Hey there.

ellen

Hi.

Ellen steps to the curb and leans on the truck door.

maggie

Ya still hangin’ ‘round this bustlin’ metrop’lis?

ellen

Your friend Jet isn’t making much headway on my car.

maggie

Ya don’t say. Well, he’ll get it done ‘ventually.

ellen

Sure.

maggie

Hey, ya wanna get some lunch?

ellen

Sure.

EXT. LAKESHORE - - day

The treeless shoreline and placid waters of Lake Walden stretch into the distance.

Maggie and Ellen face each other across an old picnic table.

Maggie fishes wrapped sandwiches from a paper bag and hands one to Ellen along with a water bottle.

maggie

Ya want chips?

ellen

No thanks.

Maggie pulls a paper back book from the bag, holds it to survey the cover, then hands it over to Ellen.

maggie

Wouldn’t take ya fer that sorta thing.

ellen

It’s . . . for someone else.

maggie

Huh.

They unwrap their food and settle in.

maggie

So how da ya like North Park?

ellen

I thought this was Walden.

maggie

Whole valley’s called North Park. ‘Tween them three ranges.

She makes a sweeping gesture to the mountains on three sides.

ellen

It has some amazing scenery.

maggie

Yeah, it has that. Bit harsh in the winter.

ellen

I grew up in Minnesota.

maggie

Ya don’t say? Well, it might not seem too bad ta ya then. Now if ya was one a them California girls, ya might be in fer a shock.

Maggie swallows a bite of sandwich and washes it down with a drink.

maggie (cont.)

Ned makes a good sandwich.

ellen

He seemed friendly.

maggie

Yeah, the people ‘round here are nice too. Fer the most part.

ellen

The Sheriff’s a little odd.

maggie

Tom? He’s a good man. I look in on ‘im from time ta time, make sure he’s getting’ by. He’s just had a hard time of it.

ellen

Because his wife was killed?

maggie

Yeah. It’s a sad thing. Can’t seem ta put that behind ‘im.

ellen

Maybe he should . . . get some help.

maggie

Does he strike ya as the kinda fella ta ask fer help?

ellen

No.

ext. feed store - - day

A large sign reads “WALDEN FEED AND SEED”.

It runs across the front of a corrugated metal warehouse style building on the highway at the edge of town.

A gravel parking area between the building and the road holds Calvin’s pickup and a large black SUV.

A Sheriff’s SUV turns into the parking area from the road and CRUNCHES to a stop a few empty spots away from the other vehicles.

Tom sits motionless in his SUV and glares at the black vehicle through his open window.

IN THE SHERIFF’S SUV

The Radio CRACKLES WITH STATIC.

beth (filter)

Hey Tom, ya there? Over.

Tom grabs the radio handset and thumbs transmit.

tom

Yeah. Go ahead.

beth (filter)

Boys ya asked for from CBI are here. Over.

Tom holds the handset to his head in thought for a moment, and then thumbs transmit.

tom

Have Dan take ‘em out ta Dale’s. I’ll be along shortly. Over.

beth (filter)

Yeah, I guess yer way to busy ta take take ‘em out there yerself.

tom

Damn it Beth.

Through the open window Tom sees the glass door of the feed store open and Hal step out.

AT THE DOOR

Hal sees the Sheriff’s SUV and Tom. He makes a show of ignoring it and heads toward the black SUV.

IN THE SHERIFF’S SUV

Tom thumbs transmit on the radio.

tom (cont.)

Just have Dan take care of it. Out.

He watches the SUV pull out and his eyes follow it in the rearview mirror as it passes behind him.

int. feed store – Calvin’s office - day

Calvin shuffles papers, seated at a battered desk in a cluttered office.

A KNOCKING startles Calvin and he looks up.

Tom leans on the frame of the open door.

In the bg the aisles of the feed store are stacked with supplies and equipment.

calvin

Hey. Tom.

Tom nods to Calvin as he continues in. A metal folding chair rests before the desk and he pulls it back with a SCRAPE OF METAL ON THE CONCRETE FLOOR and takes a seat.

Calvin sets the papers down and leans back in his chair, TAPPING a ballpoint pen absently on the desk.

calvin (cont.)

What’s up?

tom

Wondered how ya was commin’ along.

calvin

Still waitin’ on the report from the M.E. over ta Routt.

tom

Ya trucked it over there?

Calvin

Jay took it over straight from the field.

tom

So what can ya tell me so far?

calvin

Hmmm. Thought we were supposed ta be all independent.

Tom’s answer is a hard stare and Calvin STOPS TAPPING the pen.

calvin (cont.)

Yeah. Well. It looked ta me like at least two bullet wounds. One in the gut, another on the back. The M.E. called when they did their prelim. Thought it looked like a third took off the side of his head there.

tom

Can they ID ‘im?

calvin

They got a half a jaw to work with on dental. Don’t think we’ll need ta look too hard though.

tom

Why’s that?

calvin

Had a wallet in his pocket.

tom

Dale?

calvin

Yeah.

Tom accepts this with barely a nod.

tom

I called CBI in ta help. They’ll want whatever ya got.

calvin

Yer bringin’ in CBI?

tom

Already here.

calvin

Huh.

tom

What?

calvin

Just thought you’d want ta handle it yerself. With the election commin’.

Tom considers him coldly for a moment, and then pushes up from the chair with another SCRAPE OF METAL.

He starts toward the door but pauses at the frame.

tom

Ya share this with anybody else?

calvin

Might a mentioned it.

Calvin starts TAPPING the pen again.

INt. jet’s garage – office - day

An OBNOXIOUS DAYTIME PROGRAM BLARES from the television.

Jet leans back in his chair.

A paper back book drops on his chest and he looks at it curiously, then to Ellen who is standing next to him.

She picks up a remote control from next to him and SWITCHES OFF THE TELEVISION.

jet

What’s this?

ellen

Thought you might enjoy some reading. Since you have some time on your hands.

He picks up the book and scans the cover.

ellen (cont.)

It’s not exactly a classic but my selection was limited.

jet

Huh.

ellen

Don’t mention it.

She turns and walks to the door, leaving the remote control on a shelf there as she passes through.

Jet reaches absently for the remote control.

He looks at the book, still in his hand, turns it over and reads the cover blurb.

He opens the book and starts to read.

ext. Walden - - sunset

The orange disk of the setting sun slides behind the distant mountains that stand out in silhouette.

ext. motel - - DUSK

A trace of orange from the fading sun dimly lights the empty parking lot and the sides of the motel. A solitary lighted curtain marks Ellen’s room.

A neon ‘MOTEL’ sign flickers to life in front of the office.

int. motel room - - dusk

The bedside lamp lights half of Ellen’s face as she sits propped up in the bed with the phone to her ear.

ext. tom’s ranch - - dusk

The ranch house sits in shadow with a few lights shining from the windows.

int. tom’s ranch – kitchen – night

Tom rests at the head of a large table with Jack and Jill opposite each other on the sides.

Jack tries to push some of the ugly mass on his plate underneath a partially burned biscuit.

Tom notices, but looks back down to his own plate.

Jack casts a guilty look about and catches Jill’s eye.

Jill sends a furtive look toward Tom then starts to try the same trick on her own plate.

ext. pasture - - day

SCREECHING AND FLAPPING, a flock of large black birds erupt into a blinding sky.

int. motel room - - dawn

The SCREECHING OF BIRDS echoes to silence. A shaft of light illuminates Ellen as she jerks awake.

Her startled image, sitting up in the bed, stares back from the mirror on the wall.

AT THE CURTAINS

Ellen parts the heavy drapes and the faint dawn lights her face as she contemplates the view.

ext. rural ROAD - - day

Ellen runs down a stretch of deserted road toward the small cluster of houses and buildings that is Walden in the bg.

As her figure shrinks with distance, a Sheriff’s SUV cruises slowly down the road after her.

int. motel room - - day

Ellen rubs her still damp hair with one of the thin towels as a KNOCK SOUNDS ON THE DOOR.

She pauses and looks toward the door as it vibrates from another KNOCK.

She crosses slowly to the door.

ellen

Who’s there?

tom (o.s.)

It’s me.

Light spills in the door as she opens it to the limit of the security chain.

The opening door reveals a man’s torso with a gun butt in a shoulder holster visible beneath his open jacket.

She takes a quick step back.

Tom’s face appears in the crack.

tom (cont.)

Mornin’.

Ellen relaxes a touch and steps forward to the open door.

ext. motel - - day

Ellen takes a step out the open door of her room and looks from Tom on one side of the doorway to JOHN MACAVY on the other. John is large, fit and graying.

tom (cont.)

This is John Macavy from the Colorado Bureau of Investigation.

John steps forward and offers his hand.

john

Ms. Jasper. Hi.

Ellen shakes his hand hesitantly.

tom

It’s pretty clear that the body ya saw was a homicide an’ I asked John and his partner up ta help with the investigation.

ellen

Is something wrong?

john

Not at all. Part of our charter is to help rural law enforcement on major crimes cases.

tom

They just like ta show off.

Tom cracks the hint of a smile and so does John.

john

Tom showed me your statement and I just had a few questions.

ellen

Sure.

tom

Ya wanta do this here or . . .

john

We could get some coffee. How does that sound?

ellen

Sure. Give me just a minute.

She ducks back into the room and closes the door.

Tom and John take a few steps away into the parking lot.

john

Are you gettin’ much fishing in?

tom

Haven’t been out in a while.

john

I had some good luck down on the Arkansas. Working a case out of Salida.

tom

Hope ya have some good luck here.

int. elkhorn café - - day

The door opens, and Tom stands holding it for Ellen and John as they enter.

The Group of older women hold court at their regular table in front of the window.

Sally looks up from wiping off a table further back.

In the bg is a table with Hal, Rafe, Bert and another LOCAL MAN.

sally

Hey there.

tom

Mornin’.

sally

Table or a booth?

john

Tables good.

sally

Then set yourselves down. I’ll fetch the coffee.

john

Thanks.

As Sally hustles off, John and Ellen seat themselves on opposite sides of the table.

Tom spots the group at the back and moves around the table to take a seat with his back to them.

John pulls a menu from a stand in the center of the table.

john (cont.)

You guys eat yet? I’ll spot you breakfast.

Ellen reaches for a menu.

tom

Hope ya got a big budget. She’s got a thing for the steak.

AT THE BACK TABLE

Hal takes a last swig of coffee and pushes back.

hal

I’m headin’ off, boys.

rafe

Hey. Why don’t ya say hi ta yer buddy there on yer way out.

Rafe nods in the direction of Tom’s table and Hal glances over his shoulder for a moment, and then turns back as he rises.

hal

Well I might just do that.

AT THE FRONT TABLE

Ellen is focused on John while Tom leans back observing.

ellen

. . . you can have eggs and cheese and leafy vegetables, like lettuce.

John

What about fruit?

ellen

Not many. Most are loaded with carbs.

Hal saunters up behind Tom’s shoulder.

hal

Mornin’ folks.

Tom freezes at the sound of Hal’s voice.

john

Good Morning.

hal

Don’t believe we met. I’m Hal Holkum.

Hal reaches across Tom to extend a hand. John takes it.

john

John Macavy.

hal

Macavy. Yer with the CBI?

john

That’s right. And you’re running for Sheriff.

hal

Sure am. Looks like we might be workin’ together in the future.

Ellen looks over to Tom and he is stone cold.

hal (cont.)

‘Course I don’t think I’ll be callin’ ya in just ‘cause some asshole get’s himself shot. Maybe if we come up with one of them Asian gangs or somethin’.

Hal CHUCKLES and half turns back to his table of cronies.

john

So Dale Johnson was an asshole?

Hal turns back quickly.

john (cont.)

Is that how you felt about him?

hal

Hell, half the town thought that. Other half flat out hated ‘im.

john

Did you have any particular problem with him?

hal

Nothin’ special.

Hal and John lock eyes.

hal (cont.)

‘Course it shouldn’t be too hard ta find someone with a particular problem with ‘im. Not fer a CBI guy.

Hal gives a sarcastic smile and a nod and continues on toward the door.

Tom looks after the departing Hal.

tom

Be back in a minute.

Tom pushes away from the table.

ext. walden – mainstreet – day

Hal saunters along the sidewalk.

Tom’s hand appears on his shoulder and spins him around.

tom

Speakin’ a assholes.

Hal and Tom exchange hot sparks from their eyes.

hal

Ya got a problem?

tom

Yeah. Yer a problem.

hal

That so?

tom

Yer a problem stickin’ yer nose in this. That’s my job. It’s none a yer god damn business.

hal

Yer doin’ the job? ‘Cause it sure hasn’t looked that way.

tom

That’s none a yer god damn business either.

Again with the hot sparks.

hal (cont.)

Looks like yer the one with the problem.

Hal gives a sarcastic smile, turns, and saunters off.

int. elkhorn café - - day

Sally pours coffee at the table with Ellen and John.

In the bg, Tom pushes through the front door.

sally

. . . so where ya stayin?

john

Out at the Lazy Day. Got a little cabin right on the river. Caught two trout there last night after dinner.

sally

Ya don’t say?

Sally leans a hand on the back of John’s chair as Tom resumes his seat.

sally (cont.)

Ya know I’ve been known ta enjoy a little fishin’ myself. Maybe I could drop by and cast a few.

She gives a wink across to Ellen as John starts to blush.

john

Well. Sure.

sally

How ‘bout tonight then? I’ll be by ‘bout seven.

john

Well. Okay.

sally

Good. That’s settled then. Now what can I get ya?

John

Ah. Two eggs scrambled.

sally

Bacon an’ toast?

John

Just toast.

Sally looks to Tom.

sally

And how ‘bout you. Got an appetite this mornin’?

tom

Just the coffee.

sally

Can’t keep up yer stud physique with that.

Tom looks down and shakes his head as Sally turns to Ellen.

sally (cont.)

An’ how ‘bout you, honey.

ellen

Steak and eggs. Over hard.

sally

Toast and hash browns?

ellen

No thanks.

sally

Okay then. I’ll get that in fer ya.

Sally hustles off and Tom looks at John.

tom

Did ya just make yerself a date?

john

I think so.

John shakes out of his daze and turns to Tom.

john (cont.)

So what’s up with Holkum? You saw the victims name didn’t faze him?

tom

Probably got that from Calvin. Bet half the town knows now. Told him ta stay out of it. It was a lot like talkin’ ta a rock.

john

Any motive there?

tom

Hal and Dale? Nothin’ special. But I wouldn’t be the most informed source on that. You’ll want ta talk ta Maggie if ya want the latest gossip.

john

I was talking with Beth at the office yesterday. She seemed to have an ear to the ground.

tom

Yeah. Beth usually knows what’s goin’ on. Just not sure whose side she’s on right now.

john

There’s sides?

tom

Startin’ ta look that way.

ext. walden – mainstreet – day

The door of the Elkhorn café opens and Ellen squints as she steps out to the bright light of the sidewalk followed by John and Tom.

ellen

I don’t know if that helped at all.

john

Not so much, no.

He smiles and she smiles back.

John (cont.)

Gotta start somewhere, though. Thank you for your time.

ellen

Thank you for breakfast.

John turns to Tom.

John

I’ll see you back at the office.

Tom nods and John waves to Ellen as he heads off.

john (cont.)

Nice meeting you.

ellen

Yes. You too.

Tom and Ellen watch John trot across the street, and then turn to each other.

tom

Can I give ya a lift back?

ellen

The whole two and a half blocks? No. I think I’ll just walk. It’s not something I want to rush back to.

tom

Yer not happy with our fine motel?

ellen

It’s okay. I’m just feeling a little cooped up.

tom

Yeah.

They stand uneasily for a moment.

Tom (cont.)

Okay then.

They start up the sidewalk to where a Sheriff’s SUV is parked a few yards away.

Tom pauses with his hand on the door as Ellen continues up the sidewalk.

tom (cont.)

Hey.

Ellen stops and turns back.

ellen

What?

tom

If ya want . . . There’s alotta room at the ranch.

He looks down at the sidewalk as she takes a few steps back toward him.

ellen

Your ranch?

tom

Yeah. Might be better than the motel.

He looks off towards the mountains.

tom (cont.)

With me bein’ gone so much, I’d feel better if someone was there when the kids get home.

He looks up at her and their eyes meet.

ellen

No. They shouldn’t be alone.

tom

An’ it might be better than the motel.

ellen

Sure.

tom

Okay then.

ellen

I’ll get my things together.

tom

Okay. I’ll be by later.

ellen

Sure.

She watches a moment as he gets in the SUV and pulls away, then turns and heads up the sidewalk.

int. sheriff’s office - - day

IN THE BACK HALL

Stacks of file boxes line the walls nearly choking off the passage.

Light spills in as the exterior door opens. Tom steps in and pauses, surveying the obstacles.

He picks his way down the hall, turning sideways.

IN THE BULLPEN

Beth types with steady CLICKING at a desk next to her radio.

Tom comes up behind her and folds his arms across his chest.

tom

See ya found a place for them boxes.

She continues typing without looking up.

beth

Don’t mention it.

tom

Probably wouldn’t pass a fire inspection.

beth

Wouldn’t a passed it before.

INt. sheriff’s office - TOM’S OFFICE - day

Tom pauses at the door and looks around the clean and organized space.

John stands at the desk and speaks into the phone.

john

Okay. Thanks.

He hangs up and moves away from the desk, motioning for Tom to have his seat.

tom

No. Sit. Don’t worry ‘bout it.

He sinks down into the guest chair and leans back.

John hesitates a moment then sits back down at the desk.

John

That was Tyson. He finished with the C.S.I. out at Johnson’s.

tom

Anythin’ interestin’?

John

Lifted a lot of prints that we’ll run AFIS on, but most are probably the victim’s. What’s interesting is where there weren’t any prints. Like the door handles and the shell casings.

tom

Huh.

john

So where do we go next?

tom

I’d really like ta get a hold of Stacey.

john

The wife? As a suspect?

tom

No. Don’t think she has it in her. Heat a the moment maybe but . . .

john

They were waiting for him.

tom

Waitin’ an’ ready. Ya said ya didn’t find any prints on the shells.

john

Not even a partial. So someone had the foresight to load the gun with gloves on or wipe them down.

tom

An’ they followed ‘im outside when the first shot didn’t bring ‘im down. Takes a whole different person ta stand there and shoot at someone runnin’ away.

john

But you think she knows something. Hired it out, maybe?

tom

She knows somethin’. Or she wouldn’t be hidin’.

john

I can put out an A.P.B., wanted as a material witness.

tom

That’s a start. Beth can probably round us up a photo from an old yearbook. An’ we might have a talk with her brother. Sister wasn’t much help but maybe if ya get all CBI in his face . . .

john

I can do that. Where’s he at?

tom

Ranch about 5 miles out.

ext. rural highway - - day

A ‘Holkum for Sheriff’ sign rocks gently in the breeze.

A wooden post topped with an aluminum mailbox stands next to it at the junction of a dirt road and the two-lane blacktop. Reflective letters on the side of the mailbox read ‘KETCHUM’.

The Sheriff’s SUV breaks to a near stop on the highway, turns and bumps along down the dirt road.

ext. steve’s ranch - - day

A muddy pickup truck is backed up to the open doors of a wooden barn.

STEVE KETCHUM lugs a hay bail out of the barn and heaves it into the back of the truck. His late twenties face is weathered and his ranch clothes are worn and dirty.

He shoves the bail further into the truck bed, then turns and disappears back into the barn.

The Sheriff’s SUV CRUNCHES to a stop next to the pickup.

Steve re-appears with a hay bail that he hefts in the truck.

He pauses for a moment at the sight of the new vehicle, and then disappears into the barn again.

Tom and John climb out of the SUV. They walk on opposite sides to the back of the pickup as Steve lugs another hay bail out of the barn.

Steve hefts the bail into the pickup and ignores Tom and John standing at either side as he maneuvers the bail around.

tom

Mornin’ Steve.

Steve turns back to the barn.

He stops at the sight of John blocking his path.

john

He said good morning.

steve

Who the hell are you?

john

John Macavy. CBI. Where’s Stacey?

steve

Aint seen ‘er.

john

That wasn’t my question.

steve

Don’t know where she is.

john

But you do know why we want to find her?

Steve turns back to the truck and starts shoving at the bails.

john (cont.)

You know her husband was murdered?

Steve pauses a moment then returns to arranging the hay.

steve

She didn’t do nothin’ wrong.

john

Again, not my question.

steve

Yeah. I know somebody put the sonofabitch outta ‘is misery.

john

Any idea who it was?

steve

Could’ve been anybody.

tom

Steve, if ya know somethin’ an’ your not tellin’ it, you’ll be lookin’ at obstruction charges.

john

Have you spoken with her?

Steve picks absently at one of the bails.

steve

She called a couple days ago . . . said she was okay.

john

And you talked about Dale?

steve

She said she didn’t have nothin’ ta do with it.

john

So how did that come up?

Steve looks up.

john (cont.)

That she didn’t kill Dale. Did you ask her if she did?

steve

Maybe somthin’ like that.

John

And where did you hear it? Who told you Dale was dead?

steve

I dunno. Heard it in town.

Steve shuts his lips tight and stares straight ahead.

ext. courthouse – rear – day

The Sheriff’s SUV CRUNCHES to a stop in the parking lot.

John climbs out the passenger door and closes it. Tom is visible behind the wheel through the open window.

john

I’ll see what I can come up with from the phone company. If she did call him we might get a lead.

tom

Yeah, an’ I’d like ta see the timin’ on that. Like ta know in general who he’s been talkin’ to.

John nods and turns toward the building.

tom (cont.)

Hey.

John turns back and Tom leans toward the window.

tom (cont.)

Don’t forget yer fishin’ date.

ext. motel - - day

The afternoon sun glints of the Sheriff’s SUV parked in front of Ellen’s room.

The door to the room opens and Tom emerges from the inner darkness carrying Ellen’s duffels.

He carries them to the rear of the SUV and puts them in as Ellen follows out of the room and shuts the door behind her.

Ext./int. sheriff’s suv - - day

The SUV glides along a rural highway surrounded by rangeland stretching to the mountains in the distance.

IN THE SUV

Tom watches the road and steers.

Ellen turns from the scenery to glance at Tom.

ellen

Any luck on your investigation?

tom

Not much.

ellen

So what will you do?

tom

Keep lookin’.

They drive in silence for a moment.

ellen

How did you end up being a Sheriff?

tom

Got elected.

Frustration shows on her face.

ellen

Do you always talk so much?

tom

No.

ext. tom’s ranch - - day

The SUV CRUNCHES to a stop in the drive before the ranch house.

Tom climbs from the driver’s side and retrieve