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Scene Map 60
# PG SLUGLINE
1 1
EXT MAIN STREET - GUYMON - OKLAHOMA DAY
2 2
INT COUNTY SHERIFF’S OFFICE - TEXAS COUNTY COURTHOUSE DAY
3 4
EXT RITA BLANCA - OKLAHOMA PANHANDLE DAY
4 5
INT JUNIOR’S CAR - EMPTY LAND - RITA BLANCA LATER
5 8
EXT TEXHOMA - OKLAHOMA DAY
6 10
EXT ZION LUTHERAN CHURCH - RITA BLANCA - OKLAHOMA DAY
7 12
EXT TOWN FAIR - TEXHOMA - OKLAHOMA DAY
8 17
EXT BARN/ORPHANAGE - ZION LUTHERAN CHURCH NIGHT
9 18
INT BARN/ORPHANAGE - ZION LUTHERAN CHURCH LATER
10 19
INT SHERIFF’S OFFICE - TEXHOMA MORNING
11 21
EXT GARRISON FARM - RITA BLANCA - OKLAHOMA DAY
12 23
EXT GARRISON FARM - OKLAHOMA DAY
13 24
EXT GARRISON FARM - OKLAHOMA DAY
14 25
EXT EMPTY FARMLAND - RITA BLANCA - OKLAHOMA DAY
15 26
EXT EMPTY FARMLAND - RITA BLANCA LATER
16 29
INT KITCHEN - BIG FRANK’S HOUSE DAY
17 30
INT THE KRIEG HOUSE - TEXHOMA MORNING
18 31
INT THE KRIEG HOUSE - TEXHOMA DAY
19 33
INT MUNICIPAL OFFICE BUILDING - TEXHOMA NIGHT
20 34
INT MASTER BEDROOM - BIG FRANK'S HOUSE - TEXHOMA NIGHT
21 36
EXT US 54 (HIGHWAY) - OUTSIDE OF TEXHOMA NIGHT
22 37
EXT US 54 (HIGHWAY) - OUTSIDE OF TEXHOMA MORNING
23 39
EXT ZION LUTHERAN CHURCH - RITA BLANCA EVENING
24 40
EXT ZION LUTHERAN CHURCH - RITA BLANCA NIGHT
25 41
INT POLICE CAR - US 54 (HIGHWAY) NIGHT
26 44
EXT ZION LUTHERAN CHURCH - RITA BLANCA NIGHT
27 45
EXT ZION LUTHERAN CHURCH - RITA BLANCA MORNING
28 48
INT MASTER BEDROOM - BIG FRANK'S HOUSE - TEXHOMA MORNING
29 49
EXT GARRISON FARM - RITA BLANCA MORNING
30 50
INT SHERIFF’S OFFICE - TEXHOMA DAY
31 51
EXT HENBANE FIELD - RITA BLANCA DAY
32 53
INT JUNIOR’S BEDROOM - BIG FRANK’S HOUSE DAY
33 55
EXT GARRISON FARM - RITA BLANCA MORNING
34 57
INT KITCHEN - BIG FRANK’S HOUSE DAY
35 59
INT LIVING ROOM - BIG FRANK’S HOUSE DAY
36 61
EXT GARRISON FARM HOUSE - RITA BLANCA EVENING
37 63
INT LIVING ROOM - BIG FRANK'S HOUSE NIGHT
38 65
INT DAWSON’S BAR - TEXHOMA MORNING
39 67
INT SHERIFF’S OFFICE - MUNICIPAL OFFICE DAY
40 68
EXT GARRISON FARM - RITA BLANCA DAY
41 69
EXT GARRISON FARM - RITA BLANCA DAY
42 70
EXT MUNICIPAL OFFICE BUILDING - TEXHOMA DAY
43 72
EXT GARRISON FARM HOUSE - RITA BLANCA DAY
44 73
EXT MUNICIPAL OFFICE BUILDING - TEXHOMA DAY
45 75
INT THURGOOD FARM - RITA BLANCA DAY
46 76
INT SHERIFF'S OFFICE - MUNICIPAL OFFICE BUILDING DAY
47 78
INT MUNICIPAL OFFICE BUILDING LATER
48 79
INT CELLS - MUNICIPAL OFFICE LATER
49 80
EXT ZION LUTHERAN HOUSE - RITA BLANCA MORNING
50 81
EXT BIG FRANK’S HOUSE MORNING
51 83
EXT MUNICIPAL OFFICE BUILDING - TEXHOMA DAY
52 84
INT KITCHEN - BIG FRANK'S HOUSE - TEXHOMA DAY
53 86
EXT BIG FRANK’S HOUSE - TEXHOMA DAY
54 88
EXT RITA BLANCA DAY
55 89
INT DAWSON’S BAR - TEXHOMA MORNING
56 91
INT BARN/ORPHANAGE - ZION LUTHERAN CHURCH DAY
57 93
EXT RITA BLANCA MORNING
58 95
INT FRIDA’S ROOM - ZION LUTHERAN CHURCH DAY
59 98
EXT MAIN STREET - TEXHOMA DAY
60 100
EXT RITA BLANCA DAY
Scene Map
60
# PG SLUGLINE
1 1
EXT MAIN STREET - GUYMON - OKLAHOMA DAY
EXT. MAIN STREET - GUYMON - OKLAHOMA - DAY
EXT. MAIN STREET - GUYMON - OKLAHOMA - DAY Brick storefronts line both sides of Main Street, their paint faded, their windows dulled by dust. A shopkeeper sweeps at his door. The dust slips back under, endless.
2 2
INT COUNTY SHERIFF’S OFFICE - TEXAS COUNTY COURTHOUSE DAY
INT. COUNTY SHERIFF’S OFFICE - TEXAS COUNTY COURTHOUSE - DAY
INT. COUNTY SHERIFF’S OFFICE - TEXAS COUNTY COURTHOUSE - DAY The basement hums with old air, thick, dry, recycled through slow-turning fans that move more dust than breeze. Rows of oak desks buckle under stacks of yellowed papers. Ink bottles. A cracked photograph of a family in better times.
3 4
EXT RITA BLANCA - OKLAHOMA PANHANDLE DAY
EXT. RITA BLANCA - OKLAHOMA PANHANDLE - DAY
EXT. RITA BLANCA - OKLAHOMA PANHANDLE - DAY The horizon burns white. Dust sweeps over a dead land, cracked soil, broken fences, no movement except the wind. A Model A bumps along what used to be a road. The Sheriff’s badge on its door is dulled by sand.
4 5
INT JUNIOR’S CAR - EMPTY LAND - RITA BLANCA LATER
INT. JUNIOR’S CAR - EMPTY LAND - RITA BLANCA - LATER
INT. JUNIOR’S CAR - EMPTY LAND - RITA BLANCA - LATER Junior drives through the haze. On the roadside, Bingo sits waiting, dust swirling around him. Junior stops, opens the passenger door.
5 8
EXT TEXHOMA - OKLAHOMA DAY
EXT. TEXHOMA - OKLAHOMA - DAY
EXT. TEXHOMA - OKLAHOMA - DAY The town lies half abandoned beneath a pale, dust-choked sky. A handful of storefronts cling to life, a general store, a feed supply, a gas station with a hand-crank pump. Signs hang crooked, paint flaking, windows clouded with grit.
6 10
EXT ZION LUTHERAN CHURCH - RITA BLANCA - OKLAHOMA DAY
EXT. ZION LUTHERAN CHURCH - RITA BLANCA - OKLAHOMA - DAY
EXT. ZION LUTHERAN CHURCH - RITA BLANCA - OKLAHOMA - DAY A modest wooden church stands alone against the barren plain its white paint long stripped by wind and dust. Beside it, a small cemetery — rows of rough wooden crosses, fresh mounds of earth still soft in the sun.
7 12
EXT TOWN FAIR - TEXHOMA - OKLAHOMA DAY
EXT. TOWN FAIR - TEXHOMA - OKLAHOMA - DAY
EXT. TOWN FAIR - TEXHOMA - OKLAHOMA - DAY A giant banner ripples in the hot wind — “AGRI FAIR 1935.” The fairgrounds buzz with forced cheer under a pale, hazy sky. Dust clings to every surface — banners, livestock pens, even the pies on display.
8 17
EXT BARN/ORPHANAGE - ZION LUTHERAN CHURCH NIGHT
EXT. BARN/ORPHANAGE - ZION LUTHERAN CHURCH - NIGHT
EXT. BARN/ORPHANAGE - ZION LUTHERAN CHURCH - NIGHT The wind has quieted, leaving behind only the creak of wood and the chirp of distant insects. An old barn, weather-beaten and sagging at the edges, stands on the edge of a flat, lifeless field. Once red, its paint
9 18
INT BARN/ORPHANAGE - ZION LUTHERAN CHURCH LATER
INT. BARN/ORPHANAGE - ZION LUTHERAN CHURCH - LATER
INT. BARN/ORPHANAGE - ZION LUTHERAN CHURCH - LATER The storm has passed. The barn is quiet, the air thick with warmth and the scent of smoke. The children sleep, curled beneath thin blankets, their breathing soft and even. Lanterns burn low, throwing long,
10 19
INT SHERIFF’S OFFICE - TEXHOMA MORNING
INT. SHERIFF’S OFFICE - TEXHOMA - MORNING
INT. SHERIFF’S OFFICE - TEXHOMA - MORNING A pale light seeps through the grimy windows. The office feels colder now, stripped of warmth, order, or purpose. Paul sits behind the desk, nursing a tin mug of coffee. Across from him, Billy flips through paperwork, his tone calm
11 21
EXT GARRISON FARM - RITA BLANCA - OKLAHOMA DAY
EXT. GARRISON FARM - RITA BLANCA - OKLAHOMA - DAY
EXT. GARRISON FARM - RITA BLANCA - OKLAHOMA - DAY A weary farmstead clings to the edge of a dust-blown field. A small wood-framed house, a leaning barn, a chicken coop, and a lone windmill, its blades rusted still. The land stretches out in brittle rows of dying wheat.
12 23
EXT GARRISON FARM - OKLAHOMA DAY
EXT. GARRISON FARM - OKLAHOMA - DAY
EXT. GARRISON FARM - OKLAHOMA - DAY Junior stands outside, waiting. A car approaches fast, dust billowing behind it. It screeches to a halt. Paul jumps out, distraught. Junior grabs him, stopping him from running inside.
13 24
EXT GARRISON FARM - OKLAHOMA DAY
EXT. GARRISON FARM - OKLAHOMA - DAY
EXT. GARRISON FARM - OKLAHOMA - DAY Junior carries the small, cloth-wrapped body to his car, placing it gently on the back seat. Frida follows, silent. Mary and Paul cling to each other behind her.
14 25
EXT EMPTY FARMLAND - RITA BLANCA - OKLAHOMA DAY
EXT. EMPTY FARMLAND - RITA BLANCA - OKLAHOMA - DAY
EXT. EMPTY FARMLAND - RITA BLANCA - OKLAHOMA - DAY A rusted-out car sits half-buried, windows gone, no engine. Inside, Arthur sits behind the wheel, pretending to drive. Brown streaks of tears on his face.
15 26
EXT EMPTY FARMLAND - RITA BLANCA LATER
EXT. EMPTY FARMLAND - RITA BLANCA - LATER
EXT. EMPTY FARMLAND - RITA BLANCA - LATER Frida closes her book. The sky burns white. ARTHUR They sound tough.
16 29
INT KITCHEN - BIG FRANK’S HOUSE DAY
INT. KITCHEN - BIG FRANK’S HOUSE - DAY
INT. KITCHEN - BIG FRANK’S HOUSE - DAY Frida sits at the table, filthy and exhausted. A bundle of henbane lies before her, purple and yellow blooms against the drab room. Junior watches, sipping a Coke. She reaches for it; he stops
17 30
INT THE KRIEG HOUSE - TEXHOMA MORNING
INT. THE KRIEG HOUSE - TEXHOMA - MORNING
INT. THE KRIEG HOUSE - TEXHOMA - MORNING A two-room shack. Dirt floor. Dust seeps through every crack. JENNY KRIEG, (late 20s), tired but beautiful, stirs awake in bed. Her toddler lies beside her. The baby sleeps in a suitcase.
18 31
INT THE KRIEG HOUSE - TEXHOMA DAY
INT. THE KRIEG HOUSE - TEXHOMA - DAY
INT. THE KRIEG HOUSE - TEXHOMA - DAY Jenny sits at her small kitchen table — tired, guarded. Across from her, Peter counts out a wad of cash. JENNY We waited seven hours. Me and the
19 33
INT MUNICIPAL OFFICE BUILDING - TEXHOMA NIGHT
INT. MUNICIPAL OFFICE BUILDING - TEXHOMA - NIGHT
INT. MUNICIPAL OFFICE BUILDING - TEXHOMA - NIGHT The building is dark, a hollow shell lit by moonlight through dusty windows. A key turns in the lock. Junior slips inside, quiet as a thief.
20 34
INT MASTER BEDROOM - BIG FRANK'S HOUSE - TEXHOMA NIGHT
INT. MASTER BEDROOM - BIG FRANK'S HOUSE - TEXHOMA - NIGHT
INT. MASTER BEDROOM - BIG FRANK'S HOUSE - TEXHOMA - NIGHT The big bed is too clean for this town, white sheets, lace curtains, polished wood. Arthur and Florence sleep side by side beneath the quilt, small bodies lost in the vastness.
21 36
EXT US 54 (HIGHWAY) - OUTSIDE OF TEXHOMA NIGHT
EXT. US 54 (HIGHWAY) - OUTSIDE OF TEXHOMA - NIGHT
EXT. US 54 (HIGHWAY) - OUTSIDE OF TEXHOMA - NIGHT The road is mostly dirt, broken patches of pavement glinting under a weak moon. A convoy of five overloaded trucks crawls through the storm, families, furniture, everything they own.
22 37
EXT US 54 (HIGHWAY) - OUTSIDE OF TEXHOMA MORNING
EXT. US 54 (HIGHWAY) - OUTSIDE OF TEXHOMA - MORNING
EXT. US 54 (HIGHWAY) - OUTSIDE OF TEXHOMA - MORNING A pale sun rises through the haze. Peter’s old police car idles beside the charred remains of the cross, a black skeleton jutting from the dust. Peter stands over it, hat in hand.
23 39
EXT ZION LUTHERAN CHURCH - RITA BLANCA EVENING
EXT. ZION LUTHERAN CHURCH - RITA BLANCA - EVENING
EXT. ZION LUTHERAN CHURCH - RITA BLANCA - EVENING The last light of day bleeds across the plains. Smoke rises from a large pot simmering over an open fire. Frida stirs henbane leaves in boiling water, careful, precise. Around her, a small camp has formed: a half-dozen
24 40
EXT ZION LUTHERAN CHURCH - RITA BLANCA NIGHT
EXT. ZION LUTHERAN CHURCH - RITA BLANCA - NIGHT
EXT. ZION LUTHERAN CHURCH - RITA BLANCA - NIGHT A clear night sky, rare, beautiful. The dust has settled for once. A large fire crackles in the yard. Children dance barefoot in the dirt; a man plucks a banjo, another saws a fiddle.
25 41
INT POLICE CAR - US 54 (HIGHWAY) NIGHT
INT. POLICE CAR - US 54 (HIGHWAY) - NIGHT
INT. POLICE CAR - US 54 (HIGHWAY) - NIGHT The world outside is black, no moon, no stars. Peter drives, jaw tight. Junior sits beside him, staring into the dark, a bottle between his knees. Neither speaks for a long while. The hum of the engine fills
26 44
EXT ZION LUTHERAN CHURCH - RITA BLANCA NIGHT
EXT. ZION LUTHERAN CHURCH - RITA BLANCA - NIGHT
EXT. ZION LUTHERAN CHURCH - RITA BLANCA - NIGHT The fire from earlier burns smaller now — just coals and smoke. Families sleep in their trucks and tents. A few stragglers sit close to the dying flames, whispering
27 45
EXT ZION LUTHERAN CHURCH - RITA BLANCA MORNING
EXT. ZION LUTHERAN CHURCH - RITA BLANCA - MORNING
EXT. ZION LUTHERAN CHURCH - RITA BLANCA - MORNING The sun rises through a veil of dust. Junior and Frida, bone- tired and filthy, trudge back to the church. Peter’s police car is already parked outside.
28 48
INT MASTER BEDROOM - BIG FRANK'S HOUSE - TEXHOMA MORNING
INT. MASTER BEDROOM - BIG FRANK'S HOUSE - TEXHOMA - MORNING
INT. MASTER BEDROOM - BIG FRANK'S HOUSE - TEXHOMA - MORNING Junior stands before a heavy oak wardrobe. Dust drifts in shafts of light cutting through the half-open blinds. He opens the doors — the hinges groan. Inside: neatly folded clothes, boots lined like soldiers, a half-empty bottle of
29 49
EXT GARRISON FARM - RITA BLANCA MORNING
EXT. GARRISON FARM - RITA BLANCA - MORNING
EXT. GARRISON FARM - RITA BLANCA - MORNING A thin sun pushes through the dust. Peter’s police car pulls up to what’s left of the farmhouse, half-buried, ghostlike. Mary steps out first, skirt whipping in the wind.
30 50
INT SHERIFF’S OFFICE - TEXHOMA DAY
INT. SHERIFF’S OFFICE - TEXHOMA - DAY
INT. SHERIFF’S OFFICE - TEXHOMA - DAY A harsh beam of sunlight cuts through the blinds, slicing the dust-filled air. Billy sits behind the Sheriff’s desk, calm, coiled, a man who’s found his throne.
31 51
EXT HENBANE FIELD - RITA BLANCA DAY
EXT. HENBANE FIELD - RITA BLANCA - DAY
EXT. HENBANE FIELD - RITA BLANCA - DAY The wind carries the hiss of gasoline. Dee walks through the tall henbane, sloshing fuel from a tin can. The flowers shimmer, purple and gold against the dead earth.
32 53
INT JUNIOR’S BEDROOM - BIG FRANK’S HOUSE DAY
INT. JUNIOR’S BEDROOM - BIG FRANK’S HOUSE - DAY
INT. JUNIOR’S BEDROOM - BIG FRANK’S HOUSE - DAY Junior lies sprawled on his bed, boots still on, dust on his face. He stirs, blinks awake, shielding his eyes from the light cutting through the blinds. He sits up slowly, the weight of exhaustion heavy in every
33 55
EXT GARRISON FARM - RITA BLANCA MORNING
EXT. GARRISON FARM - RITA BLANCA - MORNING
EXT. GARRISON FARM - RITA BLANCA - MORNING Peter stands in his field, cigarette trembling between his fingers. A black plume swells on the horizon, the henbane fields burning.
34 57
INT KITCHEN - BIG FRANK’S HOUSE DAY
INT. KITCHEN - BIG FRANK’S HOUSE - DAY
INT. KITCHEN - BIG FRANK’S HOUSE - DAY Empty bottles crowd the table, a silent battlefield. The radio plays a slow, mournful tune through static. Junior sits alone, red-eyed, unshaven. His badge and gun rest before him, gleaming under the weak daylight.
35 59
INT LIVING ROOM - BIG FRANK’S HOUSE DAY
INT. LIVING ROOM - BIG FRANK’S HOUSE - DAY
INT. LIVING ROOM - BIG FRANK’S HOUSE - DAY Junior stands before his father’s old rolltop desk — the command post of a man who ran an empire on lies. The desk gapes open: a rotary phone, stacks of faded correspondence, and a massive ledger, heavy with secrets.
36 61
EXT GARRISON FARM HOUSE - RITA BLANCA EVENING
EXT. GARRISON FARM HOUSE - RITA BLANCA - EVENING
EXT. GARRISON FARM HOUSE - RITA BLANCA - EVENING Golden dusk settles over the plains. Arthur and Florence chase each other across the yard, laughter and dust rising together. Bingo barks, darting between them, full of life.
37 63
INT LIVING ROOM - BIG FRANK'S HOUSE NIGHT
INT. LIVING ROOM - BIG FRANK'S HOUSE - NIGHT
INT. LIVING ROOM - BIG FRANK'S HOUSE - NIGHT Junior slumps in his father’s armchair, dead drunk, the lamp casting a weak amber glow. Empty bottles litter the floor like fallen soldiers. In his hand, not the bottle. That lies empty beside him. He
38 65
INT DAWSON’S BAR - TEXHOMA MORNING
INT. DAWSON’S BAR - TEXHOMA - MORNING
INT. DAWSON’S BAR - TEXHOMA - MORNING The bar is almost empty, stale air, stale whiskey. Billy sits in the corner, framed by sunlight slicing through the blinds. Before him, on the table. A pink hat box.
39 67
INT SHERIFF’S OFFICE - MUNICIPAL OFFICE DAY
INT. SHERIFF’S OFFICE - MUNICIPAL OFFICE - DAY
INT. SHERIFF’S OFFICE - MUNICIPAL OFFICE - DAY The office is empty. Desks stripped bare. Files scattered like old bones. The only sound, the slow creak of the front door. Frida and Junior step inside, carrying Big Frank’s ledger and
40 68
EXT GARRISON FARM - RITA BLANCA DAY
EXT. GARRISON FARM - RITA BLANCA - DAY
EXT. GARRISON FARM - RITA BLANCA - DAY Junior’s car tears through the dust, engine howling against the wind. It skids to a stop. He and Frida step out, the air thick with silence. The land feels hollow, watching.
41 69
EXT GARRISON FARM - RITA BLANCA DAY
EXT. GARRISON FARM - RITA BLANCA - DAY
EXT. GARRISON FARM - RITA BLANCA - DAY The dust storm hits like a wall of noise. Junior staggers out of the house, scarf over his mouth, eyes stinging. The world turns white. Then red. Then nothing. He coughs, spits mud. The wind howls, tearing at his coat. He
42 70
EXT MUNICIPAL OFFICE BUILDING - TEXHOMA DAY
EXT. MUNICIPAL OFFICE BUILDING - TEXHOMA - DAY
EXT. MUNICIPAL OFFICE BUILDING - TEXHOMA - DAY The sun burns white over the quiet town. Arthur sits on the steps of the Municipal Building — freshly scrubbed, hair damp, clean clothes clinging to his small frame.
43 72
EXT GARRISON FARM HOUSE - RITA BLANCA DAY
EXT. GARRISON FARM HOUSE - RITA BLANCA - DAY
EXT. GARRISON FARM HOUSE - RITA BLANCA - DAY A single car rolls through the haze, its engine low and steady. It stops in front of the farmhouse. Two men step out, Klansmen, their hoods off but masks on.
44 73
EXT MUNICIPAL OFFICE BUILDING - TEXHOMA DAY
EXT. MUNICIPAL OFFICE BUILDING - TEXHOMA - DAY
EXT. MUNICIPAL OFFICE BUILDING - TEXHOMA - DAY The street shimmers with heat and dust. A dozen Klansmen stand outside the building, robes bright against the red haze. A makeshift podium is dragged into place.
45 75
INT THURGOOD FARM - RITA BLANCA DAY
INT. THURGOOD FARM - RITA BLANCA - DAY
INT. THURGOOD FARM - RITA BLANCA - DAY Frida stands at the window, watching two strange men approach through the haze. Both masked. Both wrong. JUNIOR Don’t open any doors.
46 76
INT SHERIFF'S OFFICE - MUNICIPAL OFFICE BUILDING DAY
INT. SHERIFF'S OFFICE - MUNICIPAL OFFICE BUILDING - DAY
INT. SHERIFF'S OFFICE - MUNICIPAL OFFICE BUILDING - DAY Arthur sits at the desk, the green book open before him. Sunlight flickers through the blinds, dust swirling like smoke. He reads aloud, voice small but sure, like a prayer he
47 78
INT MUNICIPAL OFFICE BUILDING LATER
INT. MUNICIPAL OFFICE BUILDING - LATER
INT. MUNICIPAL OFFICE BUILDING - LATER Moonlight leaks through the blinds, stripes of silver cutting across the dust. Frida lies awake on a narrow cot, staring at the ceiling. Across the room, Junior sleeps on the floor, one arm over his
48 79
INT CELLS - MUNICIPAL OFFICE LATER
INT. CELLS - MUNICIPAL OFFICE - LATER
INT. CELLS - MUNICIPAL OFFICE - LATER Arthur sleeps in the cell, curled under a thin blanket. Junior sits nearby, the green book open in his lap, a half- empty whiskey bottle by his boot.
49 80
EXT ZION LUTHERAN HOUSE - RITA BLANCA MORNING
EXT. ZION LUTHERAN HOUSE - RITA BLANCA - MORNING
EXT. ZION LUTHERAN HOUSE - RITA BLANCA - MORNING Dawn breaks pink and turquoise across a clean horizon. The dust has settled. A herd of cows drifts past, slow and aimless. Two horses drink from a trough, water clear for the first time in weeks.
50 81
EXT BIG FRANK’S HOUSE MORNING
EXT. BIG FRANK’S HOUSE - MORNING
EXT. BIG FRANK’S HOUSE - MORNING Frida approaches the house, knocks once. No answer. She peers through the window, a quiet room, the air unmoving. She tries the handle. It gives. The door creaks open.
51 83
EXT MUNICIPAL OFFICE BUILDING - TEXHOMA DAY
EXT. MUNICIPAL OFFICE BUILDING - TEXHOMA - DAY
EXT. MUNICIPAL OFFICE BUILDING - TEXHOMA - DAY Two masked men move quickly across the square, faces hidden, hands full of paint cans and clubs. They throw black paint against the white walls, thick strokes spelling out anger, not words.
52 84
INT KITCHEN - BIG FRANK'S HOUSE - TEXHOMA DAY
INT. KITCHEN - BIG FRANK'S HOUSE - TEXHOMA - DAY
INT. KITCHEN - BIG FRANK'S HOUSE - TEXHOMA - DAY On the table: Junior’s badge, his gun, his proof. Symbols of a man caught between guilt and blood. Junior sits across from Billy, who lounges with a smirk. Two Klansmen flank him, Dee and Dum, silent and stupid.
53 86
EXT BIG FRANK’S HOUSE - TEXHOMA DAY
EXT. BIG FRANK’S HOUSE - TEXHOMA - DAY
EXT. BIG FRANK’S HOUSE - TEXHOMA - DAY Frida sees the smoke rising. She leaves Arthur in the car, engine idling, dust swirling around them. Then she runs, skirts whipping, eyes wide, toward the fire.
54 88
EXT RITA BLANCA DAY
EXT. RITA BLANCA - DAY
EXT. RITA BLANCA - DAY A caravan of headlights cuts through the haze, broken beams flicker in the dark. Trucks. Tractors. Cars. Refugees from Texhoma. They follow Frida, her taillights leading them into the storm.
55 89
INT DAWSON’S BAR - TEXHOMA MORNING
INT. DAWSON’S BAR - TEXHOMA - MORNING
INT. DAWSON’S BAR - TEXHOMA - MORNING Whiskey fumes. Sweat. Smoke. Billy sits at the centre table, flanked by two bodyguards. Around him, a dozen Klansmen, robes filthy with dust and blood, drink and holler.
56 91
INT BARN/ORPHANAGE - ZION LUTHERAN CHURCH DAY
INT. BARN/ORPHANAGE - ZION LUTHERAN CHURCH - DAY
INT. BARN/ORPHANAGE - ZION LUTHERAN CHURCH - DAY Children huddle in the dark, faces buried in blankets. A few adults clutch them close, whispering prayers no one can hear. Sand seeps through seams, drifts over shoes and knees. The air turns thick, choking, like breathing through dirt.
57 93
EXT RITA BLANCA MORNING
EXT. RITA BLANCA - MORNING
EXT. RITA BLANCA - MORNING The storm is gone. What’s left looks like another planet, a flat ocean of dust and bone. A truck convoy crawls through the wasteland, two trucks and a
58 95
INT FRIDA’S ROOM - ZION LUTHERAN CHURCH DAY
INT. FRIDA’S ROOM - ZION LUTHERAN CHURCH - DAY
INT. FRIDA’S ROOM - ZION LUTHERAN CHURCH - DAY Frida lies motionless on the bed, pale against the dust-caked sheets. Light filters through boarded windows, a thin, holy beam cutting the gloom.
59 98
EXT MAIN STREET - TEXHOMA DAY
EXT. MAIN STREET - TEXHOMA - DAY
EXT. MAIN STREET - TEXHOMA - DAY Weeks later. Silence. The world still wears dust. Homes, barns, wells, all buried under a fine grey crust. Families dig with shovels and spoons, trying to open doors.
60 100
EXT RITA BLANCA DAY
EXT. RITA BLANCA - DAY
EXT. RITA BLANCA - DAY A car marked “Soil Conservation Service” stops beside a field. A man and a farmer speak quietly as Arthur’s voice carries over, calm, reverent: ARTHUR (V.O.)

The Dust Bowl 27 Oct 25

As ‘Black Sunday’ approaches, an unlikely pair — a guilt-ridden county comptroller and a dust-coated Valkyrie-like healer — race to protect orphaned children from greedy townsfolk and violent roving Klansmen, confronting a land whose wounds demand blood and a redemption that might cost them everything.

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Overview

Poster
Unique Selling Point

This screenplay uniquely blends historical Dust Bowl realism with Norse mythology and supernatural elements, creating a fresh take on the American historical drama genre. The fusion of environmental catastrophe, racial tensions, and mystical healing practices offers a distinctive perspective rarely seen in period pieces, making it stand out through its unconventional approach to historical storytelling.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

Hover over verdict cards for Executive Summaries

GPT5
 Recommend
Claude
 Recommend
Gemini
 Recommend
Grok
 Recommend
DeepSeek
 Recommend
Average Score: 8.3
Key Takeaways
For the Writer:
Lean into what makes the script cinematic — the Dust Bowl atmosphere, Junior and Frida’s emotionally strong chemistry, and the mythic visuals — while tightening the script’s engine. The single most urgent rewrite is to codify the supernatural: give henbane/Norse phenomena consistent rules (cause, cost, duration, limits) and weave those constraints into character choices and consequences. Once the magic has clear mechanics, prune or consolidate middle-act scenes that stall momentum, resolve or drop dangling subplots (minor Okie threads, Jenny, paperwork loose ends), and recalibrate extreme shock beats so violence serves character stakes rather than voyeurism. Finally, review Frida’s cultural portrayal with sensitivity and specificity so her heritage is respected and grounded rather than exoticized.
For Executives:
This is a high‑concept, highly visual period project with clear festival and niche commercial potential — think atmospheric historical drama with a mythic edge (True Grit + The Witch). Its production value will sell: memorable set pieces (Black Sunday, henbane fields, the house fire), a marketable female lead (Frida), and a redemptive arc for Junior. Key risks that must be addressed before financing: unclear supernatural rules (which weakens stakes and makes key scenes feel arbitrary), a sagging middle that lengthens run time and raises budget risks, and a handful of extreme shock images that could limit audience/certification or festival placement. A targeted rewrite that defines the magic, tightens Act II, and sharpens antagonist motivation will materially reduce creative and commercial risk and make the package financeable and director-ready.
Story Facts
Genres:
Drama 60% Western 30% Thriller 20% Crime 25% Fantasy 15% Horror 10% Action 15% Romance 10%

Setting: Dust Bowl era, specifically around 1935, Primarily set in Guymon and Texhoma, Oklahoma, with scenes in Rita Blanca and surrounding rural areas.

Themes: Resilience and Survival, Environmental Devastation and the Dust Bowl, Corruption and Greed, Loss of Innocence and Trauma, Prejudice and Social Division, Hope and Renewal, Identity and Inheritance, Spirituality and the Supernatural

Conflict & Stakes: The central conflict revolves around the struggle against environmental devastation, racial hatred, and personal demons, with stakes including survival, community integrity, and the fight against systemic oppression.

Mood: Somber and reflective, with moments of tension and hope.

Standout Features:

  • Unique Hook: The integration of supernatural elements with the harsh realities of the Dust Bowl, particularly through Frida's character.
  • Major Twist: Frida's transformation into a fierce protector during the climax, showcasing her strength and resilience.
  • Distinctive Setting: The vivid portrayal of the Dust Bowl era, emphasizing the environmental and social struggles of the time.
  • Innovative Ideas: The use of henbane as a symbol of both healing and destruction, reflecting the duality of nature.
  • Genre Blend: A mix of historical drama, social commentary, and elements of horror and fantasy.

Comparable Scripts: The Grapes of Wrath, No Country for Old Men, The Road, Fargo, The Dust Bowl: An Illustrated History, The Ballad of Buster Scruggs, The Good Lord Bird, The Road to Perdition, The Last Picture Show

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 8.39
Key Suggestions:
The screenplay's strongest asset is its unique fusion of Dust Bowl realism and mythic/supernatural imagery, anchored by powerful arcs for Junior and Frida. The single most urgent craft fix is to ground the supernatural (henbane visions, Frida's transformations) in clear emotional and historical causes so those moments enhance — rather than distract from — character motivation and stakes. Do this by tying visions to trauma and ritual, foreshadowing the henbane’s effects, limiting hallucinatory sequences to high-impact beats, and using sensory anchors and concrete consequences (physical cost, community reactions) so the audience always knows whose perspective they inhabit and why the visions matter emotionally.
Story Critique

Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.

Key Suggestions:
Sharpen the screenplay's thematic throughline by making the link between the Dust Bowl and human corruption explicit and by defining Frida's henbane/supernatural thread so it serves character arcs rather than feeling ornamental. Tighten the latter-half pacing so revelations land with emotional weight: foreshadow henbane’s true nature earlier, set clear ‘rules’ for Frida’s abilities, deepen Peter and Mary’s personal stakes, and ensure the climax and epilogue show earned consequences (and legacy) rather than tidy closure.
Characters

Explores the depth, clarity, and arc of the main and supporting characters.

Key Suggestions:
The character work is strong in emotional texture (especially Frida’s mythic presence and Arthur’s innocence) but the script needs a tighter, more obvious protagonist arc to carry the story’s stakes. Focus rewrites on making Junior’s transformation active and causal: give him concrete flashback beats that explain his wounds, a clear midpoint reversal that forces him to choose (sobriety/leadership), and visible consequences for his earlier avoidance. Also clarify Frida’s henbane dependency and its narrative logic (foreshadow, cost, and a recognizable turning point), and add a sliver of vulnerability to Billy so his evil feels rooted in motive rather than caricature. These targeted changes will turn passive, reactive sequences into driving scenes that unify theme, character and plot without reworking the whole script.
Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Key Suggestions:
The script's emotional core—Junior's moral journey and Frida's caregiving—works strongly, but the transition into overt supernatural elements and several sustained stretches of despair undercut audience empathy. Tighten emotional pacing by letting mystical moments grow from character perception (not sudden spectacle), keep Frida's humanity visible during her transformation (fear, disorientation, moral doubt), and restore tonal variety with small pockets of dark humor or ironic beats in the middle act. Also lengthen and deepen Frida’s final moments and the community’s emotional processing so key losses land with full catharsis.
Goals and Philosophical Conflict

Evaluates character motivations, obstacles, and sources of tension throughout the plot.

Key Suggestions:
The script has a powerful emotional spine: a haunted ex-sheriff (Junior) who must reject a violent family legacy and choose to protect a fragile community. To sharpen that impact, tighten and clarify Junior’s internal choices so each external action (burning robes, confronting Billy, arresting Klansmen, pinning a badge) clearly advances his inner journey from shame and passivity to moral agency. Trim or re-sequence scenes that dilute focus (repetitive dust-storm set pieces, meandering investigative detours) and make Frida’s supernatural/henbane elements serve the theme (healing vs. madness) rather than competing with Junior’s arc. Anchor emotional beats—especially the turning points where Junior decides to act—in quieter intimate moments so the climactic confrontations carry earned weight.
Themes

Analysis of the themes of the screenplay and how well they’re expressed.

Key Suggestions:
The script’s emotional power comes from its blend of environmental catastrophe, communal collapse, and intimate acts of care. To amplify that power, tighten the through-line so the audience can clearly follow who drives the story and why: anchor the theme of resilience to one or two definitive protagonist arcs (Junior’s redemption and Frida’s sacrificial leadership) and make the cause–effect links (henbane, visions, Klan escalation, Junior’s choices) feel earned rather than episodic. Streamline or clarify the supernatural elements so they enhance character stakes instead of diffusing them, and consider trimming/combining scenes that repeat atmospheric detail to improve pacing and emotional momentum.
Logic & Inconsistencies

Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Key Suggestions:
The script’s heart — a Dust Bowl-era moral thriller with a mystic edge — is strong, but the mix of realist drama and supernatural/henbane elements needs coherent rules and clearer character motivation. Prioritize tightening Frida’s arc (show, don’t spring) so her violence and vision-driven behavior are earned; either ground the henbane episodes in cultural/medical lore (inheritance, training, ritual) or commit to magical realism with consistent internal logic. Resolve the central crime (the Garrisons) with an evidentiary throughline (ledger, witness, confession or a clear framing) so the climax doesn’t feel like accusation by convenience. Finally, trim redundant storms and repeated beats to sharpen pacing and preserve the emotional impact of the major set pieces.

Scene Analysis

All of your scenes analyzed individually and compared, so you can zero in on what to improve.

Scene-Level Percentile Chart
Hover over the graph to see more details about each score.
Go to Scene Analysis

Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice

Assesses the distinctiveness and personality of the writer's voice.

Key Suggestions:
Your voice — spare, sensory, and melancholic — is the screenplay's biggest strength and gives it a distinctive, literary pulse. To sharpen the script without losing that tone, focus on tightening the protagonist throughline: make Junior's objective and the stakes around it clearer and let each scene either escalate the external threat or deepen his emotional choice. Keep the lyricism for key emotional beats (use Scene 4/6/53 as models) but prune or compress sequences that linger without advancing plot or character. Also decide on the supernatural/henbane material — commit to it as literal, psychological, or symbolic and make that commitment consistent so mood enhances rather than obscures cause-and-effect.
Writer's Craft

Analyzes the writing to help the writer be aware of their skill and improve.

Key Suggestions:
Your screenplay's strengths — immersive atmosphere, rich world-building, and emotionally resonant scenes — are clear. To elevate the script, prioritize clarifying and tightening the principal character arcs (especially Junior and Frida). Map each major scene to a specific beat in those arcs (inciting incident, midpoint reversal, low point, transformation) and let subtext replace expository lines in dialogue so actions and small details carry the emotional change. This will preserve your lyricism while giving the audience a satisfying emotional throughline and stronger dramatic payoff.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building

Evaluates the depth, consistency, and immersion of the story's world.

Key Suggestions:
You have a rich, textured world—Dust Bowl realism fused with Norse myth and a visceral, hallucinatory force (henbane) that drives the story. The single biggest creative improvement is to tighten the relationship between the historical/real and the supernatural so readers and viewers can feel the stakes intuitively. Define what henbane (and Frida's visions/strength) does and doesn't do, sharpen character motivations that follow from those rules (especially Junior, Billy and Frida), and use those constraints to drive clearer choices and escalating consequences. This will preserve the screenplay’s lyricism while improving narrative clarity, emotional payoff, and tonal control.
Correlations

Identifies patterns in scene scores.

Key Suggestions:
You already excel at converting peak emotional moments into plot propulsion — your climaxes land hard because stakes, conflict, and emotion align. The clearest weakness is the mid-story stretch: several reflective or intimate scenes (tone: 'Resigned', 'Reflective', 'Calm') undercut momentum because they don't carry a discrete narrative consequence. To tighten the script, make each quiet beat also do one thing: reveal a secret, force a decision, create a new obligation, or raise a future cost. Keep the potent use of silence, surreal elements, and ritualized violence, but tie them more directly to character choices so quiet moments deepen arcs rather than stall them.
Loglines
Presents logline variations based on theme, genre, and hook.