Text/(United States) Joel Cohen, Ethan Cohen
Translated/Cao Yixin
Fades in:
1. Location, mountains, and
snow in the wind roaring at night . The voice of an elderly man.
Voiceover: When I was 25, I was the sheriff of this county. Unbelievable. Grandfather used to be a marshal. So does my father. In addition, my father and I were the sheriff at the same time. He was in charge of Plano, and I was in charge of it. I think he must be very proud of it. Anyway, I am very proud.
2. Location, a scene of Western Texas, the dawn/daytime
lens dissolves another scene of Western Texas. The sun gradually rose.
Voiceover: The former sheriff never even carried a gun. Many people find it hard to believe. Jim Scarborough had never worn a gun. It's that little Jim. In Comanche County, Gaston Boykin did not have a gun either.
We dissolve more scenes, and the sky is already bright. All the pictures are uninhabited pictures.
Voiceover (continued): I always like to listen to the stories of older generations and never miss such an opportunity. Nigel Hoskin of Bastrop County knows the phone numbers of every household in the county. You can't help but compare yourself with those old guys. I couldn't help thinking, what would they do now? A while ago, in Huntsville, I sent a boy into the gas chamber. I arrested him and provided testimony. He killed a 14-year-old girl. The newspaper said that he had committed a crime on impulse, but the boy told me that he was not impulsive at all when killing.
3. Location, West Texas. Highway, the
last picture during the day , the overlooking camera slowly swayed across the dry prairie.
Voiceover (continued): He also said that he has been thinking about killing someone since he was a kid. Moreover, if he is released, he will vote again.
The camera pans in, and a police car with flashing lights stops on the edge of the road. A young sheriff's deputy was opening the rear door of the car.
Voiceover (continued): He also said that he knew he would go to hell. And stay there for about a quarter of an hour. I don't know what he means, I really don't know.
Close-up: A pair of hands handcuffed behind the back. Start painting with the other hand, grabbing one arm of the criminal.
Voiceover (continued): The crime you are seeing now is hard to infer with common sense. Not because I am afraid.
The camera crosses the police lights: the sheriff’s deputy covers the top of the criminal’s head with one hand to prevent him from touching the door frame, allowing him to sit smoothly in the rear seat. Regarding the criminal, all we can see is his black hair hidden in the police car.
Voiceover (continued): I have always understood in my heart that you must not be afraid of death if you do this errand - it is not for honor. However, I don't want to bet on my life and risk facing things I don't understand.
The sheriff's deputy closed the rear door. He opened the door next to the front passenger seat, bent over and picked up something that seemed heavy from his feet.
Voiceover: You can say that my job is to fight crime, but I don't know what that means.
The sheriff's deputy danglingly placed the heavy object in the passenger seat.
Shot from inside the car: It looked like a high-pressure oxygen tank with a stopcock on the top, and a hose was still drooping from the stopcock.
Voice-over: ... Besides, I don't want to know. Sometimes people have to use their souls to make bets.
The sheriff's deputy slammed the door shut.
While the car door was closed, the screen jumped to a Texas highway that dived below the camera, and the road stretched to the horizon before it became flat. The sirens whizzed away.
Voiceover (continued): He might say, okay, I want to be a part of this world.
4. Interior view, Lamar Sheriff’s Office. The
Sheriff’s deputy is sitting in the office during the day and is making a call.
The criminal stands in the background. The focus of the lens is very vacant, and we can't see his facial features, but from his posture, he can tell that his arms are still handcuffed behind him.
Deputy Sheriff: Yes, sir, I just walked in. What he brought, like the kind of high-pressure oxygen tank used to treat emphysema, had a tube protruding from his sleeve...
Behind him, we saw the criminal sitting quietly on the floor, handcuffed to him. The hands behind him go from under the legs to the front. Now, with his hand in front of him, he stood up.
Sheriff's deputy (continued): ...Fortunately, I am here. As soon as you come, you can see... the
criminal walks forward slowly. When he approached behind the deputy of the sheriff, his figure became clear, but his upper body emerged from the top of the screen.
Deputy Sheriff: Yes, sir, everything is under control.
When the sheriff's deputy leaned forward to hang up the phone, the criminal was behind him, holding his hand out of the picture. The handcuffed hands fell into the painting again and placed them at the throat of the sheriff's deputy, slammed back and then pulled upwards.
The camera was slightly pulled apart: the criminal used all his strength, led two people together and fell to the floor, the sheriff's deputy pressed face up on the criminal's body.
The sheriff's deputy raised his hands and tried to reach under the chain that strangled his neck.
The criminals again exerted their strength. His wrists have been turned white by the handcuffs.
The sheriff’s deputy twisted his legs left and right, kicked and kicked, drove in ugly circles on the ground, and led the criminal away from the point of support he held against the floor with his arched back.
The sheriff’s deputy kicked his legs indiscriminately, kicked over a wastebasket, and a chair with casters was kicked around and hit the table with a “bang”.
Blood slowly leaked from the edges of the handcuffs that were tightly stuck in the criminal's wrists. The sheriff's deputy vomited blood.
The criminal groped the sheriff's deputy's neck with his thumb, and then turned his face to one side. The iron chain slammed hard, severing the carotid artery of the sheriff's deputy. The blood spurted out.
Blood splashed on the wall of the office, making a dull and hollow crashing sound.
5. Interior view, Lamar sheriff's office, bathroom, the
criminal walked in during the day , turned on the tap, and put his handcuffed wrist under the stream of water.
6. Interior, office, daytime
Close-up of high-pressure oxygen tank.
A hand with a towel wrapped around his wrist draws and lifts the high-pressure oxygen tank.
7. Location, highway, the sky is getting late,
a highway swoops out below the camera.
The subjective lens shot through the windshield, there is only one car taillight in the line of sight.
The noise of the police siren.
A Ford four-door sedan drove to the side of the road and stopped.
The police car was parked behind the Ford car.
The criminal — his name is Anton Chigur — got out of the police car, carried the high-pressure oxygen tank on his shoulder, and walked to the man in front of the road who rolled down the car window and fumbled for his wallet.
Man; is there any problem?
Chigurh: Sir, please get off.
The man who drove squinted at the strange container.
Man: Huh? what is this?
Chigurh: I ask you to get off, sir.
The man opened the car door and got out of the car.
Man: What's wrong...
Chigurh pointed the end of the hose with the gas tank at the man's forehead.
Chigurh: Please don't move, sir.
The harsh sound of compressed air. The man plopped and leaned back against the car. Blood came out of the hole in the middle of the man's forehead.
Chigurhou was aside, and the man's body slid down and collapsed to the ground, leaving nothing in front of the car door. He opened the door, lifted the high-pressure oxygen tank, and placed it on the front seat.
8. Location, deserted prairie,
looking through the telescope's maximum multiple lens during the day . The heat wave gleamed from the horizon of the wilderness.
As the camera shakes, a group of antelopes in the distance fall into sight. They are eating grass.
The camera shot backwards, a man wearing a blue denim shirt and cowboy boots, kneeling on his heels with his elbows against his knees, staring into the distance through a pair of binoculars. A heavy barrel rifle was slung across the back. This is Moss.
He put down the binoculars, slowly took off the rifle, and then looked into the distance through the scope.
His eyes flickered through the scope for a while, and the group of prey was found again. An antelope stared at us. It stopped moving, as if it had heard or saw something.
Moss had close-up eyes, one staring at the scope and the other tightly closed.
He muttered to himself.
Moss: Don't move.
He opened his closed eyes and moved his head away from the scope so that he could see the three-dimensional view ahead.
Close-up: the cross tick mark on the scope. Moss carefully held it with his thumb.
He slowly moved his eyes back to the scope.
Through the subjective lens of the scope: Moss adjusted the crosshair so that it fell on the staring antelope.
Moss' finger pulled the trigger.
With a "swish" shot, the muzzle jumped up, and the camera moved upward.
Moss pressed the muzzle down.
The subjective lens through the scope fell on the antelope again, and it was still staring at us.
Gunshots echoed in the valley.
There was a short pause.
The bullet hit the antelope, but did not kill it. The antelope jumped, then limped on one leg and ran away.
Other antelopes also disappeared.
Moss (continued): Damn it.
He stood up, and the empty cartridge case that had exited crashed into the rock and clinked. Moss bent down to pick up the cartridge case and put it in his shirt pocket.
9. Location, deserted plains, the sky will be late
Moss on foot, the shotgun is slung on his shoulder again, binoculars hung around his neck. He looked around.
A string of intermittent blood stains.
Moss has a quick pace. Walk a long distance along the blood stain.
He stopped suddenly and took a closer look.
There was a trail of blood on the ground, and the periphery of the blood drop had solidified and shimmered. However, on top of this string of blood stains another string of drier blood stains interlaced.
Moss looked in the direction of the drier blood.
Subjective lens: plain. bush. There was silence.
He looked in another direction.
The mountains are endless in the distance. The same is silent.
He bent over to check for blood stains.
Moss walked forward following the bloodstain, and then found a series of clear footprints that would allow him to find the animal's whereabouts.
He stood there, looking at the distant mountains again. Then, raise the telescope.
Subjective lens: The scene gradually becomes clearer, and the telephoto lens compresses the heat wave a bit exaggerated.
The camera shakes, looking for the animal.
There was movement from a distance. An animal fell into focus: a black, bald-tailed dog with a huge head and severely lame hind legs. The rippling heat wave and the silence all around made it all look like a phantom.
Moss put down the telescope. He retracted his gaze and thought for a moment.
He turned and walked in the direction the dog came.
10. The location, a small hill near the basin, a few minutes after
Moss standing on top of a small hill. He examined the scene below.
Except for some shining points in the distance that are not in harmony with the surrounding scenery, I can't see much more.
Moss raised the telescope.
Vehicles parked there: Three are already lying down: it is a horse-drawn wagon and a few other off-road trucks, with thick tires, crank handles on the chassis, and a row of overhead lights on the roof rack.
There were some motionless black shadows lying on the ground next to the truck.
11. location, Basin, a few minutes later
Moss cautiously near the scene, shotgun already in hand, combat readiness.
The flies "buzzed".
He walked around two blood-stained corpses lying on the grass. There was also a dog that was the same as the lame dog we saw walking up the mountain, and was shot next to the dead body. There is also a sawed shotgun with a pistol butt on the grass.
The first pickup truck Moss approached had its tires and most of its window glass shattered.
He opened the car door and looked in.
The driver was dead, leaning on the steering wheel. Moss hit the car door.
He opened the door of the second car.
The driver was sitting in the driver's seat with a seat belt, staring at Moss.
Moss took a step back and raised his shotgun.
The man did not move. The front of his shirt was stained with blood.
Man (Spanish): Water.
Moss stared at him.
Man (continued): Water, give me some water.
Moss: I have no water.
On the seat next to the man was an HK automatic pistol. Moss looked at the pistol. Then look at the man again. The man is still staring at him. Moss didn't lower his eyes, but kept staring at the man. He reached for the pistol and picked it up.
Moss withdrew from the pickup truck, stood up straight, and threw the shotgun back over his shoulder. He removed the magazine of the automatic pistol with a "click", and after checking it, he installed the magazine with a "click".
Moss walked around behind the pickup truck and lifted the tarp covering the back of the truck.
A pile of brown bricks wrapped in plastic wrap.
He re-covered the tarp on the pile of cargo, and then returned to the cab with the open door.
Man: Water.
Moss: I told you that I have no water. Can you speak English?
A blank glance.
Moss (continued): ...Where is the last person?
The injured man stared at him without answering. Moss continued to ask.
Moss (continued): The last one. There must be another alive. Where did he go?
Man: Water.
Moss turned and scanned the surroundings. He saw the track marks coming out of the pickup truck.
He thought for a while.
Moss (muttering to himself): I think, I have to go back down the road...
He set off.
A sound came from the open door of the pickup truck.
Man: There... there are wolves over there.
Moss (walks away): There are no wolves.
12. Exterior scene, the plain near the basin. Later
Moss stopped and looked at another scene. Sweeping plains.
He raised the telescope.
Moss: If you stop... look back at the way you came... you will shoot at my stupid donkey.
He didn't see anything. Then put down the telescope, thinking.
He raised the telescope again.
Moss (continued): ...but if you stop...you will hide in the shadows.
He turned and set off.
13. Location, near a protruding rock,
after a period of daytime , through the subjective lens of the telescope.
A lonely protruding rock cast a shadow on us. The heat wave shimmered in the meantime.
The scorching sun made the shadows cast by the rocks look pitch black, making it difficult to discern what was in the shadows. But one foot in boots stretched out into the sun, with the toes facing upward, like a pointer on a sundial.
Moss put down the telescope.
He looks at his watch.
11:30
and then sit down.
(Quick fade)
14. Outside scene, near a protruding rock, the
hand of the watch points to 12:30 during the day .
Moss put down his watch and raised the binoculars again.
The shadow has shifted. The feet did not move.
Moss got up and walked towards the shadow.
15. The location, protruding rocks, a few minutes later
Moss arrived at the piece of rock protruding come.
The body of a man was lying sideways. His nose was plunged into the dirt, but his eyes were open, as if he was checking something very small on the ground.
Holding a .45 automatic pistol in one hand.
Next to the corpse is a rectangular leather file box.
Moss looked at the man's body. He picked up the pistol, looked at it, and then put it under his belt.
Moss dragged the box from the corpse and opened it.
Bundles of hundred-dollar bills tied up by the bank filled the box. Each bundle is stamped with a "$10,000" seal.
Moss' eyes straightened. He reached out and flipped through the pile of banknotes, not only to make sure that the box was full of money, but also to gauge their amount.
He stood up, looked around, then looked back at the way he came.
16. Locations,
stock stalls, trails, Moss' pickup truck during the day .
Moss's pickup truck was parked on a paved road outside the stalls that few people walked on.
Moss just arrived. He threw the file box, shotgun, and automatic pistol into the rear compartment, then climbed into the cab and closed the door.
17. Exterior scene, "Desert Wind" mobile home parking lot. At dusk,
Moss' pickup truck drove into a mobile home parking lot located on the highway in the suburbs of Sanderson, Texas. A dilapidated sign hung on a neon-lighted palm tree to mark the parking lot.
Moss got out of the pickup truck and approached a large mobile home. He picked up the file box and the mechanical pistol, bent down in front of the mobile home, and got underneath.
Moss' subjective lens: plywood and plastic pipes. He pushed away some insulated tubes, then plugged the pistol upwards and hid among those tubes.
18. Interior view, mobile home, night
Moss walked into the room carrying the file box. A woman in her 20s, wearing a pair of raw denim pants and a halter with a neck tie, is watching TV. She is Carla Jean.
Carla Jean: What's in the bag?
Moss: It's all money.
Cara Joan: Dream it.
Moss walked across the room to the back bedroom. Just as he was about to enter the house, Cara Jean saw the pistol on his back waist under the belt.
Cara Joan (continued): ...Where did the pistol come from?
Moss: From wherever you can get it.
When he came out of the bedroom, he no longer carried the suitcase and his gun was gone. He walked to the refrigerator. Take out a can of beer from the refrigerator and pull off the metal tab.
Cara Joan: You bought it?
Moss: No. I found it.
Cara Joan: Llewellyn!
Moss: What's wrong? Stop nagging.
He came over, took a sip of beer, and sat on the sofa with his hands and feet spread out.
Cara Joan: How did you find it?
Moss: You don't need to know everything. Carla Joan.
Carla Joan: I just need to know.
Moss: If you don't shut up, I will fuck you from behind.
Cara Joan: Bragging.
Moss: Keep talking.
Cara Joan: Good. I do not want to know. I don't want to know where you stay all day.
Moss: It's pretty much the same.
19. Interior view, mobile home, bedroom, at night
Moss is lying on the bed next to Cara Jean, and the camera descends towards him. He lay there quietly, eyes closed, and shook his head. When the camera stopped moving, he opened his eyes, frowning.
Moss: Okay.
He looked at the alarm clock beside the bed.
The electronic display shows: 1:06.
He moved his leg off the bed, looked back at Cara Jean, and then pulled the blanket up to cover her shoulders.
20. Interior view, mobile home, kitchen,
close-up at night : a one-gallon kettle, Moss put it under the faucet, and is filling it.
Cara Joan appeared at the door, looking at him sleepily.
Cara Joan: Llewellyn.
Moss: Yeah.
Cara Joan: Baby, what are you doing?
Moss: I want to go out.
Carla Joan: Where to go?
Moss: I forgot something. I will return.
Moss left the sink and screwed on the lid.
Moss: What I want to do may be stupid, but I have to go.
He walked towards the gate.
Moss (continued): ...if I don't come back, tell mom I love her.
Cara Joan: Your mother is dead, Llewellyn.
Moss: Well, I will tell her myself.
21. Interior scene, pickup truck/outdoor scene, stock fence, small road,
a map at night .
A detailed topographic survey illuminated by a flashlight.
Moss is studying the map in the cab of the pickup truck.
After a moment, he folded up the map.
Then, he checked the point 45 pistol taken from the dead man carrying the money.
Jingbie pulled away: The pickup truck was parked outside the livestock fence. There was a short pause. The pickup truck drove over the fence and drove to the unpaved land beside it, bumping up and down on the rugged ground.
Through the windshield, except for the big rocks and bushes illuminated by the headlights of the violently shaking car, the field of vision was completely dark.
22. Exterior scene, basin, the
car door banged at night .
Close-up: When Moss walked from the darkness, the kettle hit his thigh. Behind him, you can see the shape of the stopped pickup truck, and the sinking moon glows dimly, outlining the black silhouette of the pickup truck on the small hill.
Moss walked through the basin to the nearby pickup truck. He suddenly stopped and found that --- the
driver's door: closed.
Moss looked into the distance. The only black object is his own car.
He trot two steps towards the nearby pickup truck. Then put down the kettle. Softly:
Moss: Hey...
no one answered.
He opened the door.
The man's body was still sitting there with his upper body upright because he was wearing a seat belt, but his head, which had been exploded by a large lead bomb, was tilted aside.
Moss glanced at the rear compartment.
Nothing.
He looked into the distance again.
Now, the shadow of another pickup truck was parked beside his car. There are also two men there.
Moss hid behind the dead man's pickup truck. He poked his head cautiously and took another look.
Only one man can be seen now.
It is difficult to distinguish what sound is. It seemed to be some kind of air noise. On the hillside, his pickup truck swayed and then sank. Someone is puncturing his car tires.
The engine of another pickup truck rattles and is ready to start. The headlights and roof lights are all turned on.
Moss hid behind the car again.
The headlights on the roof swept the dead bodies and cars in the basin back and forth. After searching back and forth several times, the searchlight found something: the interlaced lights jumped.
When the pickup truck rushed down the hill, we could hear the sound of the car's shock absorbers bumping up and down.
The lights tell us that the car is slowly approaching. Moss still used the pickup truck that blocked him as a cover, two steps and one step, backed by the direction of the light, and ran forward, trying to hide in the shadows moving left and right.
A gunshot sounded. The bullet hit the right front of Moss' body, hitting a cloud of dust.
Moss looked back: The
two men trot, like an infantry escort tank, outflank the pickup truck from the two wings. One man had just stopped shooting, and the other man was raising his gun.
Moss ran forward at full speed in a zigzag shape and rolled under another scrapped pickup truck to his left. Another gunshot fired, but he still missed him.
The bullet hit the metal body of the pickup truck "bang-bang". A Ying bullet bounced off the dirt in front of the pickup truck and hit the chassis of the car with a "swish".
Moss crawled out from the far side, beside him was a corpse lying down beside the front passenger's door of the car.
The fire stopped: Moss secretly looked over the hood.
The pickup truck chasing him slowed down so that the two men with guns jumped into the car that was still moving forward.
The pickup truck accelerated, and when it turned to the first abandoned pickup truck, the lights of the car passed by the pickup truck where Moss was hiding.
Moss jumped up all at once, took two steps in one step, and ran in the vertical direction of his original route. He fell to the ground, his body pressed against the ground, his arms clasped his head.
When the pickup truck approached his previous hiding place, Moss crawled away from the place.
23. Location, riverside canyon, at dawn,
he climbed to the top of the hillside, stood up straight, and ran forward. We could hear the engine of an approaching pickup truck, and then saw the spotlight of the pickup truck illuminating behind Moss, sweeping across the hillside.
Moss ran down the slope of the river valley. The rising sun that has not yet risen reflected a rosy red in the sky.
Moss ran to the canyon as hard as he could, and he was panting.
The pickup truck followed, bumping into the field of view, driving up the hillside, the roof light gleaming dazzlingly. The body stopped slantingly, and the lights swept across the riverbank on the flat ground.
They found Moss. The pickup truck turned around, bumped down the hillside, and continued to chase Moss. The muzzle flashed, followed by a dull gunshot.
Moss ran hard to the river. Another gunshot. Moss stumbled to the ground, he turned his head and looked behind him.
Pickup trucks are getting closer. A man stood out from the sunroof of the car, with one hand on the roof of the cab and the other with a gun.
Moss was about to run to the steep slope by the river. Another "bang" gunshot.
The bullet hit Moss' right shoulder and lifted the shirt on his back. The impact of the bullet pushed him across the high slope of the bank.
Moss fell from the sky, smashed his butt down, and fell on the sandy ground near the bottom of the slope with a loud "plop".
He rolled to a stop, then looked up.
After the harsh brakes, the pickup truck stopped abruptly, dust everywhere on the edge of the ridge.
When Moss pulled off his boots, we could hear the voice of the man in the pickup truck.
The tailgate of the pickup truck was lowered with a "clang" sound, and the hollow metal plate of the rear compartment made the sound of objects moving.
Moss tucked his boots under his belt and jumped into the swift river, splashing water. He looked back again.
The bushes on the steep slope swayed, and something rushed down.
Moss stepped into the deeper water.
What rushed out from the bushes at the foot of the slope was: a large black dog with a huge head and trimmed ears. It came straight to Moss.
Moss turned around and stumbled into the river. Under the water, the large lead bomb made an extremely dull "pop", followed by a "hissing" sound.
Moss poked his head out of the water, panting, he looked back:
someone was standing on the mountain ridge. Under the mountain ridge, the black dog jumped into the water.
There was another shot on the river bank. The bullet did not know where it went. In the swift river, Moss paddled hard and swam faster.
24. Location, turning of the river, dawn
He swam across a curve with his arms. Moss realized that he could stand up. He staggered onto a piece of sand and ran to the distant shore.
The wicked dogs who followed, their heads leaned together rhythmically in the water.
Moss drew the pistol from under his belt. He took out the magazine and ejected a bullet.
The vicious dog felt that its stubby limbs were very close to the sand: its sturdy head plunged into the water, and as it swam slantingly, its head swayed from side to side. The evil dog emerged from the water, jumped up, and set foot on the sandy ground.
Moss shook the pistol and blew into the barrel.
The evil dog dripped water and straddled the sand between it and Moss.
Moss reloaded the magazine. The evil dog snarled, Moss pushed the bullet into the chamber, and when the evil dog rushed towards him, he raised his gun and shot it.
Moss fired two shots quickly, too late to see if the first shot had been shot.
The evil dog was knocked to the ground, unable to move, but was not dead yet. Its limbs twitched and blood gurgled.
Moss: Damn it!
He looked into the river.
The boots floated on the water.
25. Location, river bank,
Moss had already climbed to the distant shore during the day , and he was sitting on a rock. The sky is already bright. Moss had taken off his shirt, stretched his neck and turned his head back, and the back of his upper arm was twisted forward. The lead bullet hit his arm, and the wound turned purple, full of needle-like holes. He carefully took out the shirt fibers that had been shot into the muscles by the lead bullets bit by bit.
Then, he tore a piece of cloth from his shirt, and while staring into the distance, he wrapped the cloth around his bare feet.
His subjective lens: the highway in the distance. An eighteen-wheeled truck tremblingly drove forward in the heat wave.
26. Location, gas station/grocery store, Sheffield,
a lonely dusty crossroad during the day . It is already dusk now. Chigurh’s Ford car was parked next to the gas pump.
27. Interior view, gas station/grocery store, daytime
Chigurh stood outside the counter, opposite an elderly shopkeeper. Chigurh holds a bag of cashews in his hand.
Chigurh: How much is it?
Shop owner: Sixty-nine cents.
Chigurh: And gasoline.
Shop owner: Has it been raining on your way here?
Chigurh: Which way do you say?
Shop owner: I see that you are from Dallas.
Chigurh opened the bag of cashews and poured out some in his palm.
Chigurh: What does it matter to you where I come from, friend?
Shop owner: I have no other meaning.
Chigurh: No other meaning.
Shop owner: I just want to pass the time.
Chigurh: I think you take nonsense as a courtesy.
pause.
Shop owner: Well, I apologize to you, sir. If you don't accept it, then I don't know what to do.
Chigurh stood there chewing cashew nuts, stared at the small shop owner and wrote the account on the ledger, and then put the change on the counter.
The shop owner (continued): ...what else?
Chigurh: I don't know. Maybe there is.
pause.
The shop owner turned around and coughed. Chigurh glared at him.
Shop owner: Is there anything else?
Chigurh: What's the matter?
Shop owner: Whatever.
Chigurh: Are you asking me? Ask me if I have something else?
The owner of the shop looked at Chigurh, feeling uncomfortable, so he looked away.
Shop owner: Is there anything else?
Chigurh: You have asked me.
Shop owner: Okay... I have to close the door.
Chigurh: Closed?
Shop owner: Yes, sir.
Chigurh: When will you close?
Shop owner: Now. We are closed now.
Chigurh: "Now" is not a specific time. When do you close?
Shop owner: It's usually around dark. When it gets dark.
Chigurh stared at him, chewing the cashew nuts slowly.
Chigurh: You don't know what you are talking about at all, do you?
Shop owner: What?
Chigurh: I said, you don't even know what you are talking about.
Chigurh was still chewing.
Chigurh (continued): ...what time do you go to bed?
Shop owner: What?
Chigurh: Are you deaf? I ask you what time you go to bed.
Shop owner: Hmm...
pause.
The shop owner (continued): ...It's about half past nine. It's about half past nine.
Chigurh: I'll come back then.
Shop owner: Why do you want to come again? We are going to close.
Chigurh: You said it.
He still stared at the small shop owner, and continued to chew things in his mouth.
Owner of the shop:...Well, I'm going to close now.
Chigurh: Do you live in the house behind the shop?
Shop owner: Yes.
Chigurh: Have you lived here all your life?
pause.
Shop owner: This is my father-in-law’s house. It turned out to be.
Chigurh: Are you cutting the door upside down?
Shop owner: We used to live in Temple, Texas for many years. Set up a family there. In Temple. We moved here about four years ago.
Chigurh: Are you cutting the door upside down?
Shop owner: ...you can also say that if you have to.
Chigurh: It's not that I have to say that. That's it.
He stopped chewing and put the bag on the counter. The bag loosened slowly. The shop owner's eyes fell on the bag. Chigurh stared at the shopkeeper.
Chigurh: ...when you guessed the coin, what was the worst loss?
Shop owner: What?
Chigurh: The worst. What you lose. When guessing the coin.
Shop owner: I don’t know. Can't tell.
Chigurh searched in his pocket. Twenty-five cents: He tossed a coin. Then he buckled the coin on his forearm and covered it with his hand.
Chigurh: Guess it.
Shop owner: Let me guess?
Chigurh: Yes.
Shop owner: Why?
Chigurh: Quick guess.
Shop owner: Hmm... But I have to know what I am betting on!
Chigurh: You have to guess. I can't make the decision for you. This is not fair. It's not even right at all.
Shop owner: But I didn't bet anything.
Chigurh: You bet. You bet your whole life. It's just that you don't know. Do you know the year on this coin?
Shop owner: I don’t know.
Chigurh: 1958. It took 22 years to come here. That's it. Either heads or tails, you have to guess. Say it.
Long pause.
Shop owner: Wait a minute... I want to know what I can win.
Chigurh: Everything.
Shop owner: What is that again?
Chigurh: You will win everything. Guess quickly.
Shop owner: Okay. front.
Chigurh removed his hand from the coin, turned his arm, and looked at it.
Chigurh: Good job.
He passed the coin.
Chigurh (continued): Don't put it in your pocket.
Shop owner: What?
Chigurh: Don't put it in your pocket, it's your lucky coin.
Owner of the shop: ... Then where do you think I should put it.
Chigurh: It's everywhere except your pocket. Otherwise it will be mixed with other coins and it will be no different. It is a lucky coin.
He turned and left.
The shop owner looked at him.
28. Location, "Wind of the Desert", the
sky is completely dark at night .
Moss pushed open the door of the mobile home. We see Carla Jean in it.
Cara Joan: Llewellyn? What happened?
Moss walked in and closed the door.
29. Interior view, Moss' mobile home.
Carla Joan just bandaged Moss' arm later .
Moss: Odessa.
Cara Joan: Why are we going to Odessa?
Moss: It's not us, it's you. Stay with your mother.
Cara Joan: Well...what's the matter?
Moss: It's midnight on Sunday. The county government will open the door in nine hours. Someone will take the number of the metal plate on my car and go there to inquire. They will find here around 9:30.
Cara Joan: How long shall we hide?
Moss: Baby, if it were you, how could you give up looking for your two million dollars?
Carla Jean stared, thinking.
Cara Joan: How do I tell my mother?
Moss: You stand at the door and shout: "Mom, I'm back."
Cara Joan: Llewellyn...
Moss: Oh, hurry up and pack your things. Don't leave anything, you will never find it again.
Cara Jean threw the item into a pocket angrily.
Cara Joan: Thank you for your reminder and apology.
Moss: It has already happened. I can't stop it.
30. Locations, livestock fences, paths,
subjective shots shot through the windshield at night .
It was late at night and there were no other vehicles on the road.
The car turned a turn and stopped abruptly outside the livestock fence.
Parked on the other side was a Ramcharger car. The door of the passenger seat opened.
Outside the car: Chigurh got out of the Ford.
The man coming out of the Ramcharger wore a western-style suit.
Man: Take it easy, man.
31. Exterior scene, basin, the
Ramcharger is bumping on the rugged road at night .
The car stopped, and three men walked out—the driver and his accomplices, all dressed in suits. After getting off from both sides, Chigurh got out of the middle seat.
They parked the car next to Moss' pickup truck.
Chigurh: This is his car?
He opened the car door and looked at the metal plate riveted inside the car.
Man: Yes.
Chigurh: Screwdriver.
The man reached into his pocket, took out a screwdriver and handed it to Chigurh.
Chigurh said while prying the metal plate.
Chigurh (continued>: ...who punctured his tire?
Driver: Not us.
32. Location, basin, at night, the
flashlight beam shines on a dead dog.
Driver: There is a dead dog here.
Chigurh : Thank you!
Chigurh wandered around with a flashlight. The dead body was lying on the ground.
Chigurh (continued): ...Where is the receiver?
Man: In the car, I'll get it.
Driver: All the heads are blooming.
Chigurh handed the flashlight to the driver.
Chigurh: Take it.
He bent down, picked up a Glock Point 9 pistol from one of the dead bodies, and checked the magazine. The other man returned from the truck. He handed Chigurh an electronic receiver.
Chigurh (continued): ...Have you received any signals?
Man: I haven't made a "beep" sound yet.
Chigurh: OK...
Chigurh stood up and reached for his flashlight.
The driver handed him the flashlight. Chigurh shot the driver with a flashlight, then shot him in the forehead. As the driver fell, Chigurh shook the flashlight to the other man, who was watching his companion fall. He raised his head and looked at Chigurh with a face full of doubts, and was shot immediately.
33. Location, Bell Farm. In the early morning,
a horse-carrying trailer went backwards into the stable, and the door of the trailer was lowered.
Sheriff Bell, in his 60s, dressed in uniform, slapped the horse's buttocks, made a "ha, ha" sound at it, and urged the horse to climb a ramp and enter the trailer.
Loretta, the wife of Sheriff Bell, walked up. She is wearing a heavy coat and holding a large coffee cup with a handle in her hand.
Loretta: The car was burned?
Bell: Yes, the car was burned. Wendell said that the place was relatively remote.
Loretta: When can the county pay some rent for my horse?
Bell: Aha!
He put the second horse into the trailer.
Bell: ...I love you more and more, every day.
Loretta (indifferently): That's great.
Sheriff Bell closed the trailer door and locked the latch. Loretta looked at him.
Loretta (continued): Be careful.
Bell: I have always been very careful.
Loretta: Don't get hurt.
Bell: Things that have never happened before.
Loretta: Don't hurt others either.
Bell: Good! You decide.
34. Location, cattle fence, small road, during the day, the
pickup truck drove the trailer and drove to a car parked on the side of the road. Not far from the cattle fence, a Ford sedan was burning. Sheriff Bell got out of the pickup truck and walked to his deputy Wendell, who was staring at the Ford. They watched for a while.
Bell: Unexpectedly, a car would burn like this, right?
Wendell: Yes, sir. If I knew this, I should bring some Vienna sausages to grill.
Sheriff Bell took off his hat and flicked his eyebrows.
Bell: Do you look like Ford in 1977, Wendell?
Wendell: Maybe it is.
Bell: I said yes. There is no doubt at all.
Wendell: The old man who was killed by the highway?
Bell: Yes, it's his car. The guy killed Lamar’s sheriff’s deputy, then drove away the deputy’s police car, and killed the old man on the highway and changed his car. Now this car is driving here, God knows he changed another one. What car.
Wendell: It's too simple, sir.
Bell stared at the flames.
Bell: Well, when people are old, their thinking is not clear.
Wendell: Yes, sir. But there is another car over there.
Sheriff Bell's sight shifted from the side of the highway to the direction of the ridge.
Bell: Oh!
He turned around and walked towards the trailer.
Bell (continued): Go on horseback, Wendell.
Wendell: Are you sure?
Bell: Oh, of course. If anything goes wrong with Loretta's horse, I can tell you now, you will definitely not be able to eat.
35. Location, basin, daytime
The two rode horses, choosing their way from the bushes to approach Moss' pickup truck. Sheriff Bell observed the conditions on the ground.
Bell: The same tire, traces of repeated rolling. It was almost at the same time. You can clearly see the groove marks on the tires.
Wendell stood on the stirrups and looked towards the ridge.
Wendell: That's the car. Someone pried away the metal plate on the door.
Bell raised his head and circled the pickup truck.
Bell: I know this car. It's from a guy named Moss.
Wendell: Llewellyn Moss?
Bell: That's him.
Wendell: Do you think he is a drug dealer?
Bell rode on the horse, looking at the car tyre that had been chopped off.
Bell: I don't know, it should not be.
36. Location, basin,
next to the corpse during the day .
The two sheriffs got off their horses.
Wendell: Damn it, not even the dog.
They walked towards the pickup truck next to them.
Wendell (continued): …Is it because the business hasn’t been negotiated?
Sheriff Bell bent over to check the car tires.
Bell: Yes, there was an episode.
Wendell: What caliber pistol are you holding, sir?
Bell: 9 mm. Both are military pistols of 45ACP model.
He stood up and looked at the pickup truck.
Bell (continued): Someone put these bullets into a shotgun.
Wendell: Yes.
Bell opened the door of the pickup truck. Looking at the driver's body.
Wendell (continued): Why don't you say that wild wolves do not bite them?
Bell: I don't know.
He closed the car door gently with both hands.
Bell (continued): Maybe wolves don't eat Mexicans.
Wendell looked at the two bodies lying together in suits.
Wendell: These two guys look like high-level people in the organization.
Bell walked to the carriage behind the pickup truck. Wendell speculated -
Wendell (continued): There may be more than one gunfight here...
He gestured to the few corpses scattered on the side.
Wendell (continued): Trade over there.
Then, he nodded to the two corpses in suits and shot in the head.
Wendell (continued): Then there is a big cleaning here.
Bell stood at the back of the pickup truck, licked a finger, then rubbed back and forth on the floor of the car, then looked at his finger again.
Bell: Mexican brown cannabis.
Wendell walked back and forth between the corpses.
Wendell: These guys have enough cargo. So the first step is to prepare for the transaction. Then, there was a disagreement... You said, it can't be because you don't have money.
Bell: Maybe.
Wendell: But you don't believe it.
Bell: Yes. I don't quite believe it.
Wendell: It's really a melee, right, sir?
Bell re-mounted.
Bell: Even if it isn't, the melee is going to happen sooner or later.
37. Location, Moss' mobile home,
high-pressure oxygen tank during the day .
The camera follows the high-pressure oxygen tank being carried, moving along a path full of stones, and then up three low steps to the door of the mobile home.
One hand lifted up and knocked on the door. A tube emerged from the sleeve, clenched in the clenched fist that was knocking on the door. The door trembled slightly under the heavy knock. There was a short pause.
Open your palm and squeeze the nozzle at the end of the hose of the high-pressure oxygen tank against the door lock.
The harsh blasting sound.
38. Interior, indoor, daytime
The brass lock slammed into the far wall with a "bang" from the door, making a pit, falling to the ground, and rolling aside.
The camera hits the door. Sunlight came through the door lock.
The door was slowly pushed open, and Chigurh, against the strong light, walked in.
He placed the high-pressure oxygen tank next to the door and looked around.
Walk in calmly. Push a door open.
In the bedroom, a mess left after rushing to pack things.
living room. The envelopes are stacked on a large table that separates the kitchen area.
Chigurh turned the envelopes slowly. One of them is a phone bill. He put the bill in his pocket.
Then he walked to the refrigerator. He opened the refrigerator and looked at it for a while.
He took out a bottle of milk. Go to the sofa in the living room and sit down. Unscrew the cap and drink the milk.
He stared at his shadow on the lifeless gray-green TV screen opposite.
39. Interior view, "Desert Wind" office,
Chigurh walked in during the day . Old-fashioned plywood doors are inlaid with lattice glass, black-gray tabletops, and random stacks of newspapers. The window air conditioner is working hard.
A 50-year-old woman with hard curly hair is sitting behind the desk.
Woman: Hello, sir.
Chigurh: I'm looking for Llewellyn Moss.
Woman: Did you go to his room to find it?
Chigurh: I've been there.
Woman: Oh, then he is out to work. Do you want to leave a message?
Chigurh: Where does he work?
Woman: I can't say.
Chigurh: Where does he work?
Woman: Sir, I can’t say anything about our residents.
Chigurh looked around the office. Finally, he stared at the woman.
Chigurh: Where does he work?
Woman: Didn't you listen to me? We cannot disclose any information.
I don't know where the sound of the toilet is coming from. The latch on the door was pulled out. Then there was a sound of footsteps.
Chigurh heard these voices. He looked at the woman. Then he turned to open the door and left the room.
40. Interior view, long-distance bus,
some passengers have already got off during the day . Moss stood in the passage and took off the leather bag on the overhead rack. He picked up the file box from the floor, and Cara Jean was still sitting by the car window.
Carla Joan: Why go to Derio?
Moss: I want to borrow a car. Borrow from Eldon.
Carla Jean nodded towards the file box.
Carla Joan: Can't you afford a car?
Moss: I don't want to register. I'll call you in two days.
Cara Joan: Guarantee?
Moss: Yes, I promise.
Carla Jean: I have a bad feeling, Llewellyn.
Moss: I feel pretty good. Everything will go well. Don't worry about it.
Cara Joan: Mom must be mad.
Moss: Humph.
Cara Joan: She must curse your ancestor for the eighteenth generation.
Moss: You are all used to these.
Carla Joan: I am used to many things. I have also worked at Wal-Mart.
Moss: No more work, Carla Jean. You have retired.
Cara Joan: Llewellyn.
Moss: Yes, ma'am.
Cara Joan: You will be back, right?
Moss: I will.
41. Location, Moss' mobile home,
Wendell is knocking on the door during the day . Sheriff Bell stood a step away behind him.
Wendell: Police!
There is no answer.
Bell: Look at the door lock.
The two looked at the door lock together. pause.
Wendell: Are we going in?
Bell: Take the gun.
Wendell took the gun out of the holster, and he hesitated.
Wendell: What about your gun?
Bell: I am hiding behind you.
Wendell opened the door easily.
Wendell: Police!
42. Interior view, Moss' mobile home.
Two men walked in cautiously during the day , Wendell fought forward.
Wendell: No one.
He put down the pistol and put it in the holster.
Bell: Be safe.
Wendell took out the gun again.
Wendell: Yes, sir.
He walked toward the bedroom door, and Sheriff Bell looked at the brass lock on the floor, bent down, and weighed its weight.
He looked at the wall facing the door again: a small dent.
Wendell poked his head out of the bedroom.
Wendell (continued): I think they have escaped.
Bell: You are right.
Wendell: Is the door locked?
Bell stood up and looked around in confusion.
Bell: Maybe it is.
Wendell: When did he come?
Bell: I don't know.
He stood at the long table, staring at something.
Bell (continued): There is something more annoying.
Wendell: What?
Sheriff Bell pointed to the bottle of milk.
Bell: It's still ice.
Wendell was enraged.
Wendell: Oh, sir!
Sheriff Bell unhurriedly opened a small cupboard. He looked in, closed it, and opened the other one.
Wendell (continued): Sir, we just missed him. We want to publish news! Via the radio.
Bell took out a glass from another cupboard.
Bell: Oh, good!
He poured milk into the cup.
Bell: What news do we broadcast?
He sat on the sofa and took a sip of milk.
Bell (continued): Looking for a man who just drank milk?
Wendell glared at him.
Wendell: Sir, this is too annoying!
Bell: I was angry before you.
Wendell scanned the room and shook his head.
Wendell: Do you think Moss this kid knows that a bastard is chasing him?
Bell: I don't know.
Maybe ... Sheriff Bell took another sip of milk.
Bell (continued): ...he witnessed everything I saw. And all this left me deeply impressed.
43. Location, Derio, bus station, taxi waiting area,
Moss came out of the station during the day and walked towards a taxi.
He got into the car.
Moss: Take me to a motel.
Taxi driver: Which hotel do you want to go to?
Moss: Find a cheap one.
44. Interior view, Del Rio, motel, lobby, daytime
price list.
The price list is printed with a photo of the courtyard of Derio’s "Goodnight Charlie" motel. Above the photo is the hotel address "84 Highway East" and a three-star sign:
single room $24.00
double bed/double room $27.00
Two double beds / double room $28.00
Two double beds / triple room $32.00
Someone spoke.
Woman: Which room do you want to open?
Moss: What?
Woman: Which one do you choose?
The scene was slightly opened, and the camera showed that we were already in the lobby of a motel. A woman faces Moss across the counter. She passed the price list in the frame to Moss.
Woman (continued): Choose the one with the right price.
Moss: I'm alone. The size of the bed does not matter.
45. Interior, motel, room, daytime
wide-angle lens shooting room.
The headboards of the two beds were fixed to the wall, but only under the bed in the distance was stuffed.
Moss sat on the head of the bed with the phone in his ear.
The bell rang for a while.
He decided to give up, so he hung up the phone and stood up.
46. Interior view, bathroom,
Moss stood in front of the mirror during the day , twisting his body to check the gunshot wound on his back. Then he shrugged his shoulders and put on the clothes.
We can see in the mirror that Moss walked back to the master bedroom, then stopped and looked around. He slowly looked towards the ceiling.
47. Interior, motel, room,
close-up during the day : screws.
Has been unscrewed.
Panorama: We see Moss, standing on the bed, unscrewing the exhaust window of the ventilation duct above the head.
He got off the bed, opened the nylon backpack, and took out the letter box inside. Open the box, take out a stack of banknotes, take out a few, and put them in your clothes pocket. Then, relock the file box.
He walked to the window and cut off a length of curtain rope. Then tie the curtain rope to the handle of the file box. Go to the cabinet and put the box on the bed.
He removed the clothes rail from the bracket of the empty cupboard and slid the hanger on it to the floor.
48. Ventilation ducts during the day
The low hum of the air compressor came from the ventilation duct. The electroplated metal pipe has been extended to the far end of the bend. The file box slammed into the foreground with a "bang", and was then carefully pushed into the depth of the pipe by the clothes rail.
49. Interior view, motel, daytime
nylon backpack.
Moss unzipped the backpack and took out a mechanical pistol and another .45 pistol that had been taken from the dead man. He raised the mattress and hid the robotic pistol underneath. Then checked the barrel of the .45 pistol and pinned the gun under the belt.
50. Interior view, motel room/exterior view, parking lot, in
front of the window during the day .
Moss opened a curtain and looked towards the parking lot.
Nothing outside disturbed him.
He drew the curtains and folded the two curtains together.
He walked out of the house and closed the door gently.
51. Interior view, roadside snack bar,
phone bill during the day .
A pencil tapped a Delrio phone number that appeared repeatedly on the phone bill.
We heard ringing in the handset of the telephone.
The ringtone was hung up with a "click". The pencil moved to a phone number in the Odessa area, another phone number that often appeared on short phone bills.
When he finished dialing the number, the camera jumped to Chigurh, who was standing in the phone booth of a roadside restaurant. It was almost dusk at this time.
There was a ringing ring in the receiver. The phone is connected, a woman's voice.
Woman: Hello?
Chigurh: Is Llewellin here?
Woman: Llewellyn? Not here.
Chigurh: Are you waiting for him?
It was the voice of an elderly woman, chattering.
Woman: Why should I wait for him now? who are you?
Chigurh stared at the front for a while, then hung up.
52. Interior view, small general store, daytime
Back in the store, Moss stood in front of a row of shelves full of cowboy boots. He looked up and saw an elderly sales clerk wearing a white shirt with a little tangled legs approaching him.
Salesperson: Is there any need?
Moss: I want a pair of Larry boots, black, size 11.
Salesperson: Okay.
Moss: Do you have socks?
Salesperson: Only white ones.
Moss picked up a brown paper bag from the pharmacy.
Moss: It will be white. Is there a restroom?
53. Interior view, bathroom,
Mo Xin was sitting on the toilet during the day , taking off the blood-stained socks on the soles of his feet. The sneakers dropped to the ground. Next to it is the brown bag of the pharmacy.
He sprayed disinfectant on his feet. Then take out the bandage.
54. Interior, shop,
Moss returns to the shop during the day . The ring-legged clerk stood in the aisle, holding a pair of boots aloft.
Salesperson: Larry brand boots are no longer black, but I found a pair of brown ones, which are easy to take care of.
55. Interior, taxi/exterior view, Delio, motel, night
cars stop before Delio Motel.
Moss took out his wallet, stopped suddenly, and looked out of the car.
Parked on the street in front of the hotel was an off-road pickup truck with overhead lights.
Moss: Don't stop. Take me around these houses.
Driver: Which house?
Moss: Take me around. I want to see if there is anyone else here.
The taxi turns slowly through the parking lot.
Moss (continue): ...continue to drive.
A subjective lens centered on his room. A little window leaked between the two curtains.
Moss (continued): ...continue driving, don't stop.
Driver: Dude, I don't want to lie to you the fare.
Moss: It's okay.
Driver: Why don't you let me put you down here, so we don't have to bargain anymore.
Moss: Take me to another motel.
Driver: Let's check out.
Moss took out a hundred-dollar bill and handed it to the driver.
Moss: You have earned it. I don't want you to get involved. Take me to other hotels.
The driver took the banknotes, turned around, left the parking lot, and drove onto the highway.
Moss looked back at the fading hotel lights.
56. Exterior scene, a fork in an
expressway , at night the highway extends forward under the camera, and the headlights illuminate the road ahead.
Looking down from a height, we can see the fork in the expressway. Chigurh’s Ramcharger is under the green sign, heading in the direction of Derio on the right side of the fork.
57. Interior view, inside the Ramcharger,
Chigurh looked down at the passenger seat next to him at night . The receiver is on the seat, the power is on, but there is no sound. Next to the receiver is a pistol with a muffler in the shape of a can.
The receiver beeps.
Chigurh looked up. We are approaching a steel bridge. The headlights of the car illuminate a big black bird resting on the railing of the bridge.
The window next to the passenger's seat rolled down.
Chigurh picked up the pistol and placed the barrel on the car's window frame.
The car bumped up the bridge, and the tires jumped over the gap between the bridge and the asphalt road. When the car approached the big bird with its wings spread out, Chigurh fired a shot, with a "bang" sound, and the sound of air being compressed rapidly in the muffler.
Aerial shot: When the car was rushing forward, the bullet hit the guardrail and made a "dang" sound. The big bird rose into the air, flapping its wings heavily, and flew into the night.
58. Interior, cafe, early morning
Bell sat there, drinking coffee. Wendell stood in the aisle and handed something.
Wendell: A report from the man on the highway from the Austin laboratory.
Bell picked up the file and looked at it.
Bell: What bullet?
Wendell: No bullets.
Bell raised his head.
Bell: No bullets?
Wendell: Yes, sir, no.
Bell: Wendell, if I take the liberty, this is too ridiculous.
Wendell: Not bad at all.
Bell: You said the wound went through the forehead, but it didn't penetrate.
Wendell: Yes, sir.
Bell: You mean, he shot the man in the head and then dug out the bullet with a knife?
Wendell: Sir, I haven't thought about it that way.
Bell: I don't think so either.
After a short pause, both of them were thinking about the result, and a waiter interrupted them.
Waiter: Sheriff, give you another glass.
The sheriff's thoughts were interrupted and turned to look at her.
Bell: Nolin, you are so kind. Thank you.
Wendell: The police and the Narcotics Control Bureau returned to the scene of "Desert Wind" this morning. Are you going to find them?
Bell: I don't know. A new body was found again?
Wendell: No.
Bell: Then I don't have to go there anymore. God, Wendell, you ruined my breakfast.
59. Location, sports equipment store,
Moss leaves the wall he is leaning against during the day : someone bends over to unlock the double-glazed door.
60. Interior view, sports equipment store, firearms counter, the
clerk handed a shotgun from the counter during the day .
Clerk: 12mm standard caliber. Do you need bullets?
Moss took a close look at the gun.
Moss: Well, it's a double shot.
Clerk: It will make you play very cool.
He pushed the bullet over the counter.
Moss: Do you have camping equipment?
Another counter.
The clerk stared at Moss.
Clerk: Tent poles?
Moss: Yeah.
Clerk: Do you have a tent?
Moss: Something very similar to a tent.
Clerk: Tell me what type of tent it is, so I can equip you with poles.
Moss: Don't bother. I want a tent.
Clerk: Which style?
Moss: The longest pole.
Clerk: I recommend the ten-foot PER-GO-LA brand tent. You can stand in it. Someone can stand down. The canopy is six feet high. You should be able to stand down too.
Moss: That's it. Where is the nearest hardware store?
61. Interior view, another motel, Moss room. During the day,
he stuffed a shotgun in an open drawer and saw the barrel of a short shotgun with a hacksaw.
After a few minutes.
Moss sat on the bed and sharpened the barrel with a steel file.
He put down the steel file and looked at the barrel. He looked at the shotgun again, looked at it, then opened the bullet box and loaded the bullet into the thickly waxed barrel.
62. Interior view, the first motel, lobby,
Moss carried a new nylon travel bag during the day . The woman before was standing behind the counter.
Moss: Can I open another room?
Woman: Do you want to change rooms?
Moss: No, keep the original room and open another one.
Woman: Another one?
Moss: Yes. Do you have an icon of the location of the room?
The woman looked down under the counter.
Woman: We have something similar.
She found a brochure and handed it over.
Moss opened the pamphlet and pondered.
Moss: How about room 42?
Woman: If you want, you can choose the one next to you. Room 20 is unoccupied.
Moss: No, it's 42.
Woman: There are two double beds in that room.
63. Exterior scenes, motels, parking spaces,
subjective shots of arc-shaped movement trajectories during the day, shooting the windows of Moss’s original room. The curtains were still slightly opened.
The camera is reversed: Moss walked out of the hotel office with a long nylon travel bag and walked through the parking lot. He observed the room. Then, he looked over to the distant street.
The pickup truck with overhead lights is still parked there.
64. Interior view, motel,
two double beds in the second room . Moss lay on the wall listening to the movement next door.
He walked to the bed, unzipped the nylon backpack, and took out the shotgun with the sawed barrel short. Then put it on the bed, and took out the tent poles and a roll of insulating tape from the bag.
65. Interior view, Chigurh inside/two-way lane,
Chigurh drove slowly along the street later in the day, looking down at the receiver on the seat next to him from time to time. The receiver's indicator light flashed, and a beep sounded.
Chigurh slowed down and watched the houses on both sides of the two-way expressway.
66. Interior view, motel, second room,
Moss stood on a chair later in the day, unscrewed the exhaust window of the ventilation duct above his head, put it aside, raised a flashlight, and went into the ventilation duct According to the past.
67. Interior view, motel, inside the ventilation duct.
At the end of the duct later in the day , we can see a bend ten feet away from the connection. One end of the file box just came out of the corner.
68. Chigurh
moved slowly along with the car, and the receiver slowly wailed . At the fork in the distance, it is Delio's "Goodnight Charlie" motel.
69. Interior view,
Moss tears off a long piece of insulating tape in the second room of the motel . He left an inch of space between the two tent poles, aligned them, and tied them together. He wrapped the tape several times.
70. Exterior scene, motel, parking lot,
Chigurh slowly drove the car into the parking lot later , the receiver was already on his lap.
The "beep" of the receiver became more and more frequent, and after reaching the peak, it started to slow down again.
Chigurh reversed the car, and the beep of the receiver reached its peak again.
His subjective gaze: open the half-curtained window.
71. Interior view, motel, second room. Later in the day,
Moss tried to tie the tape joints of the struts and bend the two straight struts into an angle. After satisfaction, he began to glue the third pole.
72. Interior view, motel, lobby,
Chigurh stands outside the counter at night , and the clerk on the opposite side stares at him while waiting for him.
Chigurh frowned and looked at the price list.
73. Interior view, motel, Chigurh room, night
room door, slowly pushed open in our direction.
Chigurh stood at the door. The room number tag hangs on the key inserted into the door lock.
He stared at the room for a moment.
Slowly walked in, and raised his hand to touch the light switch. But it did not open it. He dropped his hand. Then raised his hand again and touched the switch.
He looked around the room. Take down the key and close the door behind you.
74. Moss
Moss off the shelf from the wardrobe three metal racks,
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