A scary scarecrow, and a hellish night in an elevator.
Things get a lot worse in Grovetown, as Hap and Leonard come up against plenty of racism.
Florida's gone to Grovetown, but Dt. Hanson worries for her safety, so he sends Hap to find her. And you know Hap is taking Leonard, too.
Hap & Leonard work undercover at the carnival to try rooting out the killer. Before unexpectedly terrible things happen.
Hap & Leonard investigate the old church in Meemaw's picture, only to find more disturbing discoveries awaiting them.
SundanceTV’s Hap and Leonard
Season 1, Episode 6: “Eskimos”
Directed by Jim Mickle
Written by Jim Mickle
* For a recap & review of the previous episode, “War” – click here
* For a recap & review of the Season 2 premiere, “Mucho Mojo” – click here
The finale has arrived, and after Trudy (Christina Hendricks) abandoned Hap and Leonard (James Purefoy/Michael K. Williams), they were left with the vengeful Soldier (Jimmi Simpson) who still mourns his dead lover, Angel (Pollyanna McIntosh).
In the aftermath, Leonard’s place is covered in police tape, and Hap laments to the dog: “I miss him, too.”
We flash back to their precarious situation at the end of the previous episode. Outside, Jimmi is killing the dogs, taunting Hap and Leonard inside. The episode flashes to after it all again, as Hap starts to take down all the boards over the windows, trying to put everything back in its place. He’s sporting injuries from the shootout. Obviously, Hap is now safe from Soldier. But what exactly’s happened in the meantime?
At a literal and figurative crossroads, Trudy sits in the van. Over at the house Soldier keeps on taunting, especially about Trudy, mocking Hap for having trusted her too many times. The title of the episode, “Eskimos”, comes from a conversation about how Eskimos supposedly share women, so on. A nice anecdote. Then, from nowhere, Angel reappears. Not dead at all. In fact, she proceeds to kick the absolute shit out of Hap and Leonard. At least until the latter snaps her neck. Well now, Soldier’s really upset.
Hap: “Guns, huh? Who needs guns?” (Soldier shoots him in the arm)
Amazingly enough, Trudy does come back. She drives right through the side of Leonard’s house, crashing into Soldier, saving the two pals. At least for the moment.
In an impressive scene, Hap holds a gun on Soldier but refuses to pull the trigger. He is thoroughly a non-violent man, only when pushed to the brink. And still, Trudy pulls the trigger herself. So there’s a juxtaposition between the two lovers, as Hap is tough but doesn’t always take the hard road out, whereas Trudy usually takes the hard road everywhere.
In the bloody moments following the showdown, Trudy reveals to Hap she drowned the bird in the sink. It reminded her of their relationship, her failures. She says “I love you“, only both Hap and Leonard are passed out in the backseat. Ah, their love is always complicated by something new. Meanwhile, Trudy passes out behind the wheel and they casually roll into a ditch coming to a full stop.
In hospital, Hap wakes to a vision of Trudy, who bids goodbye. She walks down the hall with the old Hap, the long haired hippy Hap, the one with too much optimism, before having to go to jail and figure out the harshest bits of lie. A sign that the old Hap is definitely dead. And Trudy, too.
Cut back to that rainy night when little Hap and his father stopped in the rain to help the black man and his boy. Here, we see the unifying moment between young Hap and young Leonard. That night their fathers were both killed, after a car crashed into them on the wet road.
Back to their present day, Leonard wakes up to Hap sitting by him at the hospital. They’d been out several days. The two of them ruminate on their relationship, Leonard talks of the war. However, things feel fractured, and it’s possible this has forever altered their relationship. Also, Hap ends up being questioned by FBI and local law enforcement. They want to know about the job Howard and Trudy enlisted him for, as well as Leonard, and all about the car in the river, so forth. Turns out Angel and Soldier were on the radar awhile. But as for Hap Collins, he’s in the clear currently.
Hap sets out to find the hidden goods himself. Mostly, he finds old sentimentality, and a little bit of dog shit. Leading him to a ton of money jammed into the dog food. Stacks of bills inside; lots chewed, some no worse for the wear.
What I love about this series is the emotional aspect. Joe R. Lansdale writes great crime fiction, but writes even better characters within that framework. He gets into Southern Gothic at times, even a bit of a take on the hardboiled detective genre. Above all else, he is a crafty writer whose characters, particularly those of Hap and Leonard, leap off the page. Here, they are adapted incredibly well, and especially Hap is a touching, complex character. Purefoy gives a wonderful performance, nuanced, and brings out the best in Hap. So watching him cobble together all the cash, for Leonard, for the Children’s Trust Fund, it is a real class act type sequence. Because we really recognize the goodness in Hap here, despite him getting wrapped up in ridiculous schemes such as the one Howard and Trudy had going.
More than that, we see another scene of young Hap, who witnesses the police covering up the drunk driving deaths, blaming it on young Leonard’s father being a “coon” and all. So not only is there a bond between the two boys, there’s further evidence as to why Hap became the man he is now. A beautiful and sad scene all at once.
Three months down the road. Hap’s back to working in the rose field, drinking Silver Spurs by the handful at night, smoking his pipe. Then up turns Leonard, healthy, if not a little banged up. He’s got to attend the funeral of his uncle. Regardless of the rift between them, Leonard cares for the man, seemingly always did. And good ole Hap accompanies his friend to the burial. Whatever had come between them before, the wildness of the things in which they got involved, it’s now lightening, but that’s always been clear – these two are friends for life, and even if something gets in their way briefly it would have to be a life altering event for them to completely split apart.
Hap remarks how life is not like Leave It to Beaver, there isn’t always closure and things don’t always cauterize at the end of an episode, to provide relief, so it all can start fresh next time. Ironically, this is the case. For the moment, anyways. Because after Hap turns out the light stating “No more drama for a while,” below Uncle Chester’s house, buried under the floorboards, is the skeleton of a small child. What sort of misadventure will this bring in Season 2? This opens the setup for Lansdale’s novel Mucho Mojo from the Hap and Leonard series, a dark bit of subject matter, too.
Let’s root hard that SundanceTV does the right thing and gives this a renewal. Lansdale deserves it, as do Hap and Leonard because there’s so much more to explore with them – their relationship, their world and its landscape – and many stories to be told! A great, fun, and at times wild season.
SundanceTV’s Hap and Leonard
Season 1, Episode 5: “War”
Directed by Jim Mickle
Teleplay by Nick Damici
* For a review of the previous episode, “Trudy” – click here
* For a review of the Season 1 finale, “Eskimos” – click here
The penultimate Season 1 episode of SundanceTV’s Hap and Leonard starts out after the betrayal in the previous chapter, on the part of Angel (Pollyanna McIntosh) and Soldier (Jimmi Simpson) with the greasy Paco (Neil Sandilands).
But we step back in time, to when Hap Collins (James Purefoy) was a little boy, and the racism in Marvel Creek is alive and thriving. A minstrel show is put off, as people crack up laughing and enjoy it, far too much. We see little Hap and his father driving, when they notice a black man on the road with car troubles. Then the worst looks like it’s about to happen.
Cut back to the 1980s again. Angel and Soldier, with Paco alongside, have Hap, Leonard (Michael K. Williams), Trudy (Christina Hendricks) in tow. So what kind of madness will we see this time around? Surely Hap and Leonard aren’t going down without a fight.
Naturally, Trudy is disgusted by Paco, having been an intricate part of their team before. He’s a man of his own, though. Meanwhile, Leonard tells Hap: “If you see a chance, don‘t you hesitate.” For the time being, they go along to get along. They start digging up the money from their little treasure hunt. And poor Leonard’s the one designated to do the shoveling. Typical.
Except, down in the dirt there’s no money. Just an empty box. Turns out Trudy moved the cash somewhere else. Soldier takes her aside for a little heart to heart, though, she’s one tough cookie.
Love the dialogue. Not only does it keep in the spirit of Joe Lansdale, it’s just solid television writing, and keeps the scenes moving along at a nice, spirited pace. There’s wit, there’s profundity at times, others it can even be silly as hell. Dig it all around.
Soldier: “The biggest balls in this room are swingin‘ from a cooch, I gotta love that.”
With only Trudy holding the whereabouts, things might get to looking ugly. Well, not until Soldier’s had himself a nice meal of french toast a la Angel. A set of handcuffs Leonard uses in bed end up chaining him and Hap down; nice little touch there, especially his mouthy response to Paco.
But the situation is starting to get scary. Soldier is a psychotic, as is his partner/lover in crime. The headstrong Trudy will not reveal where the money’s hidden, despite Hap trying to convince her otherwise. “Who are you, Joan of Arc?” sighs Soldier. This may lead her somewhere dark and disturbing. My favourite scene so far comes when Soldier throws on some VCMG, “Spock” to be exact, and starts dancing. Right before Angel reappears with a toolbox. Lots of interesting things to use. Nothing really works on Trudy, though. Even a semi-crucifixion. Until Howard suggests they put some pain on Hap, that’ll get her mouth jawing.
Soldier: “I figured you more of a Soul Man”
Leonard: “Country got soul”
Finally, Hap reveals he’s pretty sure where Trudy put the cash – he’d seen something on her shoes which gave her away. What’s most interesting in this scene is the bond, again, between Hap and Leonard. It’s stronger than the one between Hap and Trudy, even as lovers. Because Leonard stopped Howard from bashing Hap’s face in. Then when Leonard faced a bullet, Hap stopped it all. He could’ve really stopped things when Trudy got that nail in the hand. Yet he didn’t. He saved that card for Leonard.
Ole Howard bites the dust. I knew somebody had to. But the chaos goes on. Hap’s busy leading Soldier to the right spot. Can they slip themselves out of this mess?
At the dog pens, Hap goes in to try digging out the money. Then they throw a plan into action, as does Trudy, stabbing Paco through the eye after hauling her hand off the table and using the nail in self-defense. Everything goes wild. Hap and Leonard run off, though, the latter takes a bullet. Trudy manages to do Paco in. But Angel and Soldier are still lurking about, just as ready as ever to do more damage.
Hap and Leonard go back for Trudy, holing up in the house. Outside, Soldier removes an arrow from Angel’s neck, one Hap gave her. And so Soldier watches as she fades away, whispering sweet nothings to her; a tender relationship for two maniacs, all the same. Will this only serve to make Soldier more crazy?
Right now, Leonard’s bleeding out quick, and Hap decides running is their best option. Well, Hap plans on carrying Leonard, but still – high tailing it is their only shot.
The plan gets interrupted by Soldier. And then Trudy leaves, fast as she can. Alone. Another double cross in the books for this Southern femme fatale. How are Hap and Leonard about to squeeze out of this one?
The final Season 1 episode, “Eskimos”, comes out next week. Stay with me, folks. Loving this Lansdale adaptation to the fullest!