Raylan! Raylan, Come Back! Mother Wants You!

Written by: Marcia Aldrich

The sixth and final season of Justified has begun. I’m not happy about it. The final part, that is.

The show’s creators say they’re breaking it off because they don’t want to overstay their welcome. I say take your shoes off, stay as long as you like. The creators say they don’t want to repeat old tricks. If they don’t make new episodes, I’ll watch the old ones. What do I care if they repeat a few tricks?

But like it or not, the producers have made their decision, and I’m left with wondering how Justified will end. How will the battle between U.S. Marshal Raylan Givens (Timothy Olyphant) and his childhood friend turned criminal, Boyd Crowder (Walter Goggins), be resolved? Raylan chose the law, Boyd chose to blow things up, but the line that separates them is thin. They are pitted against one another, yet they often join forces against a shared enemy.

There are women involved, of course. There’s Ava (Joelle Carter), who had a romance with Raylan and then took up with Boyd. She’s going to be pivotal in the resolution to come, whatever it is. Raylan might join his ex-wife Winona (Natalie Zea) and his baby daughter in Florida after he completes his last task—put Boyd Crowder behind bars.

Catching Boyd may mean Raylan gets himself killed. It’s hard to imagine Boyd going down without pulling Raylan with him. The question for this last season is Who will get out of Harlan alive? Many viewers seem to want a shoot-out, a final duel between Raylan and Boyd. Many believe it will be Raylan whose luck runs out, as his past wrongs catch up to him.

What are the possible resolutions of the plot?

  1. Raylan puts Boyd in prison with help from Ava, or Boyd is killed, maybe hoist with his own petard. Then what? Raylan could ride out of Harlan and settle down with Winona. But this can’t be. For one thing, I don’t want Boyd to get caught in one of his own blasts, even if poetic justice would be done. And we haven’t seen anything of Winona lately except on Skype. She can’t hold her own against the claims of the flesh-and-blood characters. And really, is Raylan going to start changing diapers?
  2. Boyd kills Raylan, and he and Ava head off into a fresh start. Can’t get invested in that one either. I don’t want Raylan buried in a plot out back of his father’s house. And redemption for Boyd after all the killing and blowing shit up? Can’t see the show giving him the last word.
  3. Ava sets up a deal in which she gets rid of both men and takes over as queen of Harlan County. There’s some justice in this scenario. Both men have used her for their own purposes at times. But would the show end pleasingly with such a bitter tableau? I don’t think so.
  4. Raylan and Boyd kill each other, and Ava dies too. This is a variant on number 3, except no one gets out of Harlan alive. As for the men, one can’t live without the other, just like Sherlock Holmes and Moriarty going over the falls together. This may be the actual conclusion. It stays true to the story lines of the five seasons beforehand, and to a core story—how their fathers doomed Raylan and Boyd.

I don’t like any of these endings.

Here’s what I want. I want Raylan and Boyd to live. The show must end, but the characters don’t have to. They must depart Harlan after all the harm they’ve done. I accept that. But if the show wanted me to take seriously a domestic future for either man, the writers had to do a whole lot more with Winona and Ava. The screen goes blank when I imagine Raylan or Boyd in some kind of home life, even with a half-empty bottle of bourbon on the table.

What if we look to the law of genre for help? Justified is a late western. Raylan’s a marshal and wears a cowboy hat, shoot-outs are part of his job description, and Harlan is the law’s frontier, a modern-day Dodge City. So maybe the final scenes in iconic westerns will lead us to the right conclusion.

There’s John Wayne framed by the doorway at the end of The Searchers, restless and alone, but with a measure of peace that he has won by completing his quest. There’s Paul Newman and Robert Redford in freeze frame in Butch Cassidy and the Sundance Kid, seconds before their death, in their own way as immortal as figures on a Grecian urn.

Justified needs a combination of these, a mash-up of restless motion without satisfaction. I think we need to add another western model, Shane.

Shane picked up the gun he had vowed to holster forever, rode into town, and killed the hit man and every other bad guy. He made the town safe but killed his last chance for domestic companionship and peace. His brand is violence. He must ride into the mountains, alone. I am the kid who ran after him, calling, Mother wants you . . . Shane, come back.

That’s how it must end, Raylan and Boyd, in eternal, restless wandering, but together, moving into the fog of an uncertain future.

Or is there a more satisfying outcome I haven’t thought of?

No matter how it ends, I’ll mourn Justified. The hills of Harlan County will echo with Raylan! Raylan, come back! Mother wants you!

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Marcia Aldrich
I was born in Allentown, Pennsylvania, and raised in that very spot by my parents and half sisters, a story told in Girl Rearing. I graduated from Pomona College, earned a doctorate in English at the University of Washington, and now teach creative writing at Michigan State University. From 2008 to 2011 I edited Fourth Genre, one of the premiere literary journals featuring personal essays and memoirs. In spring 2010 I was the Mary Routt Chair of Writing at Scripps College in Claremont, California (where I lived in the Hut with goldens Omar and Quin), and in that same year was named Distinguished Professor of the Year by the Presidents Council, State Universities of Michigan.
Marcia Aldrich

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