Below is the text snagged from first casting side for Garret’s character, Sheriff Baskin, in Winter’s Bone. It’s the scene that sets the plot in motion, in which he meets the film’s main character, the meth dealer’s daughter, and delivers some bad news to her.
EXT. REE’S HOUSE – DAY
Ree, in a big overcoat, is chopping wood. Snow is pelting on her face and neck as she splits the wood. She’s got headphones on and the music is fueling her chopping.
She takes a break and sits on the woodpile, enjoying the beauty of the snowfall which is covering everything. The valley seems in twilight though it is mid-day. Ree sees headlights approaching her house.
A police car pulls up and Ree walks over to see what’s up. She sees her two brothers in the back seat.
She storms around the hood to the driver’s side. SHERIFF BASKIN, 30s, opens his door a crack.
They didn’t do a goddamned thing!
What the hell’re you tryin’ to pull?
Ree steps back as the sheriff steps out of his car.
Hold on, girl – I just brung’em
down from where the bus stopped.
Just give’em a ride is all.
She blushes, embarrassed by having jumped to conclusions.
She sees that her relatives across the way are watching; she can see curtains parted, shapes moving.
You boys don’t need to do no ridin’
around with the law. The walk
ain’t that far.
She points to the woodpile.
Now get up there and bring them
splits into the kitchen.
I was on my way here anyhow.
Now why in the hell would that be?
Ask me inside. I need to talk some
with your momma.
She ain’t in the mood.
Ask me in or watch me go in anyhow.
Whichever way you like it best.
Goin’ to be like that, huh?
Listen, I didn’t drive close on two
hours just to see your smilin’
face, girl. I got reasons. Ask
me in or follow, it’s goddamn cold
Baskin heads up the stairs to the door, and Ree jumps ahead of him, stopping him at the door.
Stomp your shoes. Don’t track melt
all over my floor.
Baskin dramatically stomps the snow from his feet, making the porch planks vibrate and the snow fall from the railings.
Ree shrugs and holds the door open for him.
INT. REE’S HOUSE – DAY
Clothes are strung in three lines across the kitchen. Behind a line of clothes Ree’s mother, CONNIE, 39, is sitting by the pot-belly stove. Baskin looks at Connie then back at Ree.
You better just tell me.
Could be we should talk on the
EXT. REE’S HOUSE, PORCH – DAY
Ree and Baskin stand awkwardly and silent. The porch is surrounded by a veil of falling snow. Ree notices her cousins, BLOND MILTON and SONYA, both late 30s, cutting down the hanging meat in their yard. They keep looking over at Ree’s porch, very curious about Baskin’s presence.
You know your father’s out on bond,
Looks like he’s been cookin’ again.
I know that’s the charges you laid
against him. But you ain’t proved
it on him. You got to prove it
That won’t be no hard thing to do.
But that ain’t even why I’m here.
Why I’m here is, his court date is
next week and I can’t seem to turn him up.
Maybe he sees you comin’ and ducks.
That could be. But where you all
come into this is, he put this
house here, and your timber acres
up for his bond.
He what now?
Jessup signed over everything. If
he don’t show for trial, see, the
way the deal works is you all lose
this place. It’ll get sold from
under you. You’ll have to get out.
Got somewhere to go?
Ree is taken aback but doesn’t want Baskin to see her shock.
She stretches over the rail and lets the snow land on her neck.
I’ll find him.
Girl, I’ve been lookin’ and…
I’ll find him.
After a moment Baskin turns to leave. Across the creek Blond Milton and Sonya stop to look, openly staring at him. He waves to them, but neither move a twitch in response. He goes down to the steps.
Make sure your daddy gets the
gravity of this deal.