Episode 11 - Laura’s Secret Diary
FADE IN:
INT. LOG LADY’S CABIN - DAY
MUSIC: CALL OF THE BLACK LODGE
272K
Seated at a dining table beside a tea set we see a woman, ‘LOG LADY’ MARGARET
LANTERMEN. In her arms she carries a wooden log. She is speaking to us.
LOG LADY
Miscommunication sometimes leads to arguments
and arguments sometimes lead to fights. Anger is usually present in arguments
and fights. Anger is an emotion, usually classified as a negative emotion.
Negative emotions can cause severe problems in our environment and to the
health of our body. Happiness, usually classified as a positive emotion,
can bring good health to our body and spread positive vibrations into our
environment. Sometimes when we are ill we are not on our best behavior.
By ill, I mean any of the following: physically ill, emotionally ill, mentally
ill, and / or spiritually ill.
MUSIC ENDS: CALL OF THE BLACK LODGE
272K
FADE OUT:
INTRO:
FADE IN:
MUSIC: TWIN PEAKS THEME
CREDITS run with the scenes of a bird in a tree, the mill machinery at work,
the road into town with the welcome sign, the hotel by the falls and the
river.
MUSIC ENDS: TWIN PEAKS THEME
FADE OUT:
FADE IN:
INT. SHERIFF’S DEPARTMENT INTERROGATION ROOM - DAY
LELAND’S POV:
SOUND EFFECT: SCREAM
Our view opens up to a cavernous dark hole from which we spirally withdraw
from as we hear the blood curdling scream from a woman. As we continue to
fall back we can also hear a hospital heart signature machine rhythmically
beep along with the voice of a young girl that says ‘daddy.’ Our view still
rotates as we back up and exit the cave to see a multitude of holes.
We retreat further and see that we were looking at an extreme closeup of
a sound proofing tile on the wall. We back up further and continue to hear
the screams of a woman and the voice of a young girl say ‘daddy’.
SHERIFF HARRY S. TRUMAN steps into view from the right. The heart machine
beeps faster and faster until it flatlines and becomes a tone.
SHERIFF TRUMAN
BACK TO SCENE:
Our view ROTATES as we look at LELAND PALMER’S face. The rotation stops.
Seated in a chair, LELAND is starring at the wall as SHERIFF TRUMAN tries to get his attention.
SHERIFF TRUMAN
LELAND finally snaps out of it and acknowledges by blinking his eyes.
SHERIFF TRUMAN
You have the right to an attorney.
FBI SPECIAL AGENT DALE COOPER stands in the background. LELAND nods his head for no.
LELAND
SHERIFF TRUMAN
I'm going to ask you some questions. Anything
you say may be held against you in a court of law. Do you understand?
LELAND
FAVORING ON LELAND, we move to PAN the room.
SHERIFF TRUMAN
On Friday morning, March 3rd, did you go to Calhoun
Memorial Hospital?
LELAND
SHERIFF TRUMAN
LELAND
I was looking for someone.
SHERIFF TRUMAN
Who were you looking for?
In the background, DR. WILL HAYWARD leans against the wall by the door.
LELAND
The man who killed my daughter.
SHERIFF TRUMAN
LELAND
No. Yes, I do now. Jacques Renault.
TRUMAN leans down to face LELAND.
SHERIFF TRUMAN
What ... made you think he killed Laura?
LELAND
TRUMAN sternly looks at LELAND and then to the ground. COOPER bows his head.
SHERIFF TRUMAN
Leland, did you kill Jacques Renault?
LELAND
MUSIC: LAURA PALMER’S THEME (SLOW VARIANT)
LELAND
Have you ever experienced absolute loss?
COOPER
(gently) I doubt that any one of us is a stranger
to grief.
LELAND
More than grief. Its deep down ... inside. Every
cell screams. You can hear ... nothing else.
LELAND’S eyes water as he speaks with a cry in his voice.
LELAND
Yes, I killed ... I killed him. Yes.
Upset, LELAND thrusts forward his hands in fists.
LELAND
SHERIFF TRUMAN looks at COOPER, who still has his head bowed.
MUSIC ENDS: LAURA PALMER’S THEME (SLOW VARIANT)
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
AGENT COOPER, in his usual suit, and DR. HAYWARD, wearing a coat and carrying
his medical bag, walk up the hall and enter the reception area. DEPUTY ANDY BRENNAN
is going through the magazines on an endtable in the reception area.
COOPER
He’ll plead temporary insanity.
DR. HAYWARD
We’ll need a psychiatric exam. I’ll tell you one
thing, parents should not bury their children. Anyone who’s been through
what Leland has has ...
COOPER stops walking and turns to DR. HAYWARD.
COOPER
You approve of murder Dr. Hayward?
DR. HAYWARD
COOPER quietly turns around and continues to walk to the adjoining hallway.
DR. HAYWARD watches COOPER walk off.
ANDY
DR. HAYWARD turns around.
DR. HAYWARD
ANDY
ANDY clearly appears agitated.
DR. HAYWARD
ANDY
DR. HAYWARD
ANDY
Its about my sperms ... (whispered) test.
DR. HAYWARD
Embarrassed, ANDY becomes more agitated.
ANDY
DR. HAYWARD
That’s not the precise term for it.
ANDY
Well, I was just wondering if its the kind of
test you can take over. You know like uhm ... a driver’s exam. I mean,
I’ve been wearing boxer shorts everyday just like you told me.
DR. HAYWARD
You want to give it another shot?
ANDY
DR. HAYWARD places his bag on top of the planter between himself and ANDY and digs into the medical bag.
DR. HAYWARD
I’ll need to take a sample ... with me.
DR. HAYWARD hands ANDY a small glass vial.
ANDY
DR. HAYWARD
Put it in a brown bag. I’ll wait in the car.
DR. HAYWARD closes his bag and walks off. ANDY, perturbed, looks at the glass vial.
MUSIC: ANDY’S THEME 7K
Holding a rolled up magazine, ANDY nervously peers out into the hallway
from behind the door to the conference room. ANDY checks both directions and
all appears clear so he rushes out and around the corner but smashes head
on into LUCY MORAN, who just stepped out of a room and into the hall. LUCY,
carrying a box full of ground coffee packets, falls to the floor dropping
the box and scattering the packets all over the floor. ANDY dropped the
magazine he was carrying and it is lost somewhere underneath the packets.
Nervously, ANDY helps LUCY pick up the packets and put them back in the box
hoping to get his magazine before she sees it. Unfortunately for ANDY, LUCY
finds it first. LUCY picks up the magazine and notices that it is a Fleshworld magazine.
LUCY stares at ANDY in disbelief. A toilet can be heard FLUSHING nearby and
LUCY looks at a door just behind ANDY.
LUCY’S POV:
From LUCY’S POV we view a CLOSE-UP on the sign of the door:
BACK TO SCENE:
LUCY makes the correct assumption between the magazine and the restroom.
LUCY glares at ANDY and thrusts the magazine towards him. Embarrassed, ANDY
grabs the magazine. LUCY picks up her box and walks away. Before she goes
around the corner LUCY lets out a SNOOT.
MUSIC ENDS: ANDY’S THEME 7K
LUCY walks into her reception office and slams a clipboard on her desk.
SHERIFF TRUMAN, sitting in the reception area, turns around to see the commotion.
A DEPUTY calls in a report over LUCY’S police radio.
DEPUTY (OFF SCREEN)
Lucy, I got a garbage truck here on ...
LUCY
TRUMAN turns back around to face AGENT COOPER. LUCY slams a handfull of files on a table in her office.
SHERIFF TRUMAN
Our judge arrives this afternoon, Clinton Sternwood.
Travels the circuit in a Winnebago.
COOPER sourly looks at LUCY as he digs into his coat pocket.
COOPER
COOPER enters the judge’s name into his electronic notebook, a small calculator-like device.
SHERIFF TRUMAN
Last of frontiersmen. They broke the mold.
COOPER checks his electronic notebook.
COOPER
Well we got bail hearing for Leland and Leo’s
competency examination.
SHERIFF TRUMAN
COOPER
Well Harry that’s up to your state prosecutor.
SHERIFF TRUMAN
That’d be Daryl Lodwick. Also on his way.
COOPER enters the prosecutor’s name into his electronic notebook.
COOPER
When do we hear from Hawk?
SHERIFF TRUMAN
TRUMAN puts his coffee mug on the nearby planter and pulls a folded piece
of paper out of his shirt pocket.
SHERIFF TRUMAN
Now the county ... says nobody by the name Robertson
ever lived next to the Palmer’s. We’ve got a current address on the last
occupants, Kalispell.
DEPUTY BOB, whistling, enters the building.
SHERIFF TRUMAN
We’ll check it by afternoon.
DEPUTY BOB, holding an open folder in front of his face, walks into the
hallway. Out of view, we hear DEPUTY BOB collide with someone.
DEPUTY BOB (OFF SCREEN)
COOPER turns his head towards the sound of the collision. COOPER puts his electronic
notebook back in his coat pocket.
MUSIC: ANDY’S THEME 7K
ANDY (OFF SCREEN)
COOPER sees a small glass vial roll on the floor to a corner of the
room, below a chair.
ANDY (OFF SCREEN)
SHERIFF TRUMAN, AGENT COOPER and LUCY all look at ANDY as he walks into
the reception area. ANDY scans the floor for his glass vial. ANDY quickly
moves to the corner of the room and gets on his knees to look under the
chair. COOPER notices the soles of ANDY’S boots.
COOPER
SHERIFF TRUMAN looks at COOPER.
MUSIC ENDS: ANDY’S THEME 7K
COOPER
Still on his knees and with his head under the chair, ANDY replies ...
ANDY
Don’t make me say where these came from.
COOPER
ANDY pulls his head out from underneath the chair and looks at COOPER.
ANDY
Please Agent Cooper this is extremely personal business.
COOPER gives ANDY a puzzled look.
COOPER
ANDY looks at his boots and then to COOPER.
ANDY
Oh, I’m sorry. I bought these from Philip Gerard
yesterday when he was waiting. Sorry.
COOPER looks at TRUMAN then kneels down to get a closer look at the heel of the boot.
COOPER
These are the same brand of boots ...
COOPER’S POV:
From COOPER’S POV we FOCUS on the heel of the boot. The heel is marked:
COOPER (OFF SCREEN)
... we found at Leo Johnson’s.
BACK TO SCENE:
COOPER
The giant said there was a clue out there.
SHERIFF TRUMAN
But I thought it was the cocaine?
COOPER
Harry we’ve got to find Philip Gerard, the one-armed man.
ANDY, still on his knees, looks at COOPER.
ANDY
Can I go now, Agent Cooper? I don’t know how much
time I’ve got.
COOPER
ANDY stands up and quickly runs outside. LUCY watches ANDY as he leaves the
building. COOPER notices LUCY.
COOPER
LUCY looks at her pencil and then tosses it behind her. LUCY reaches for
another pencil and then returns to her work.
DISSOLVE TO:
CLOSE-UP CASCADING WATER FALLS
MUSIC: DANCE OF THE DREAM MAN (NO SAX)
We FOCUS on a CLOSE-UP on the cascading water fall, giving the illusion of drapes.
CUT TO:
EXT. GREAT NORTHERN HOTEL - DAY
An establish shot. From a distance back, we FOCUS on the cascading water fall. We PAN LEFT
to the hotel perched on the nearby cliff.
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
In a hallway of the hotel, LOUIS, a desk clerk, meets BENJAMIN HORNE.
LOUIS
BENJAMIN
BEN and LOUIS walk up the hallway together. LOUIS speaks very quickly.
LOUIS
Okay, so this scribe inline works for the Seattle Prodispatch.
BENJAMIN
LOUIS
Actually my sister went to college with her but
she’s kind of a friend of mine to her.
BEN gestures to LOUIS to get to the point.
BENJAMIN
LOUIS
Anyway, she called me this morning with a hot
tip.
BENJAMIN
LOUIS
BEN checks his watch.
LOUIS
M. T. Went is coming to Twin Peaks.
BEN and LOUIS are now in the lobby which is bristling with people. A sign, surrounded
with balloons, above a doorway reads:
Welcome
??? County Lumber
Queen Semifinals
Rubbing his hands together, BEN mulls the name over.
BENJAMIN
M. T. Wents? M. T. Wents?
LOUIS
M. T. Wents, the travel writer.
BENJAMIN
Yes, M. T. Wents the travel writer.
Still rubbing his hands together, BEN walks away from LOUIS but continues to listen.
LOUIS
Wents travels incognito: uses only cash, no credit
cards. Nobody can trace his identity ... or hers. No one at the paper even
knows who he or she is.
BENJAMIN
Favorable Wents review could be quite useful.
LOUIS walks up to BEN’S side.
LOUIS
Oh he’s coming, he - he’s coming, he - he’s coming.
BENJAMIN
Keep your eye on registration. I want a hourly
update. Scrutinize every check.
LOUIS
Especially if they pay cash.
BEN checks his watch.
BENJAMIN
Not even 9:30 and you have already done ...
Smiling, BEN grabs LOUIS’S hand and pats it.
BENJAMIN
BEN walks away and loses his smile. Elated, LOUIS raises her fists in the air.
LOUIS
MUSIC ENDS: DANCE OF THE DREAM MAN (NO SAX)
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
JEAN RENAULT leans back in a chair next to BEN’S desk. The door
to the office opens. JEAN quickly stands up as BENJAMIN enters the office.
BEN does not recognize JEAN. JEAN speaks with a French-Canadian accent.
JEAN throws his arms out slightly.
JEAN
Mr. Horne, you look well.
BEN closes the doors to his office and throws his arms out slightly.
BENJAMIN
Behind JEAN, the fireplace is lit.
JEAN
Oh we’ve met. I sell insurance to the small business
like One-Eyed Jack.
BEN remembers and points his finger at JEAN.
BENJAMIN
JEAN points his finger right back at BEN. BEN puts his hands in his coat
pocket and walks up to JEAN.
BENJAMIN
What’s the occasion? Are my premiums about to
be raised?
JEAN puts his hands up.
JEAN
No, no. Nothing like that.
JEAN
JEAN gestures to BEN to have a seat where he was sitting. BEN slowly takes
a seat in the chair beside his desk. JEAN has a remote control in his hand.
A television monitor with a built in video cassette player sits on the desk
in front of BEN. JEAN points the remote at the monitor and pushes the play
button.
BEN’S POV:
MUSIC: LAURA PALMER’S THEME (0:00 - 1:00)
From BEN’S POV we FOCUS on a CLOSE-UP of the monitor as the tape plays. An image
of AUDREY HORNE with a gag in her mouth plays from the tape. AUDREY struggles with a
hand that is grabbing her jaw.
BACK TO SCENE:
BEN leans in closer to the monitor as the tape plays.
BEN’S POV:
From BEN’S POV we FOCUS on a CLOSE-UP of the monitor as the tape plays.
A hand firmly holds AUDREY’S head. AUDREY looks towards the camera.
BACK TO SCENE:
BENJAMIN
BEN stands up, turns around towards JEAN and waves a fist.
BENJAMIN
JEAN raises his index finger.
JEAN
Make no mistake Mr. Horne. I’m just the messenger.
BENJAMIN
JEAN
They request a large sum of money.
BENJAMIN
BEN looks back to the monitor.
BEN’S POV:
From BEN’S POV we FOCUS on a CLOSE-UP of the monitor as the tape continues to
play. AUDREY struggles with a hand holding her jaw.
BACK TO SCENE:
JEAN points to himself.
JEAN
I require something else entirely?
BEN waves a finger at him.
BENJAMIN
They should bear the cost of their own middle man.
JEAN bows his head towards BEN slightly.
JEAN
Holding his index finger up, JEAN walks towards BEN.
JEAN
Number one, your business up their is being run
by pickpockets and fools. A dollar earned is a dollar stolen.
JEAN leans towards BEN.
JEAN
BENJAMIN
JEAN walks back towards the fireplace.
JEAN
What you need is a partner. Someone who can take
care of these little problems.
BENJAMIN
JEAN
JEAN puts the video tape player on pause.
JEAN
BEN thinks it over.
BENJAMIN
JEAN raises his index finger.
JEAN
JEAN pushes the fast-forward button on the remote. BEN looks at the monitor.
BEN’S POV:
From BEN’S POV we FOCUS on a CLOSE-UP of the monitor as the tape fast-forwards
with the image of AUDREY gagged. Soon another image is on the screen. JEAN
stops the fast-forward motion and plays the tape. The tape plays an image of AGENT COOPER, dressed
in a tuxedo, seated at a Black Jack table when he was working undercover at One-Eyed Jacks.
JEAN (OFF SCREEN)
I want this man to bring to me the ransom.
BENJAMIN (OFF SCREEN)
BACK TO SCENE:
BENJAMIN
JEAN
Do you want your daughter back?
BENJAMIN
Of course I want my daughter back but I can’t
...
JEAN
JEAN walks towards BEN.
JEAN
BENJAMIN
(smiling slightly) This is supposed to be an equitable
exchange.
Smiling, JEAN pats BEN’S back.
JEAN
Hmm, this could turn out well.
JEAN walks toward the doors of the office.
JEAN
Expect a call tomorrow, noon.
JEAN exits the office. In a rage, BEN grabs the chair he was sitting on and throws it down
across the floor of the room. BEN paces slightly before he picks up the telephone
on his desk and punches a button.
BENJAMIN
Janet, (clears his throat) find Agent Cooper for
me. Its urgent.
MUSIC ENDS: LAURA PALMER’S THEME (0:00 - 1:00)
FADE OUT:
FADE IN:
MUSIC: COUNTRY #3 46K
INT. DOUBLE R DINER - DAY
Behind the island counter, NORMA JENNINGS stands by some customers
as she holds a pot of coffee and talks over the phone.
NORMA
You’re kidding? What’s he look like?
We PAN RIGHT, HANK JENNINGS carries a tray of food with the
plates covered with metal plate covers. HANK walks towards the cash register
where DONNA HAYWARD is standing. DONNA sports a new hairdo.
HANK
Well you’re looking really pretty today Donna.
DONNA
HANK
DONNA
Uh yeah. I’m having lunch today with someone I
met on my route.
HANK
HANK leans to her and stares into her eyes.
HANK
Bed pans and shut ins, who’s to meet?
DONNA
DONNA picks up the tray and walks off.
HANK
HANK watches DONNA walk off. NORMA can be heard in the background.
NORMA (OFF SCREEN)
Holding an empty coffee cup, NORMA walks up to HANK. HANK turns to NORMA.
NORMA
Hey, listen to this. I just got a call from Louis
at the Northern. M. T. Wents is coming to Twin Peaks.
HANK
NORMA
Hank, he’s the most powerful restaurant critic
in this state.
HANK
NORMA
Yeah. And a good review from him and his Seattle
paper could give us a lot of business. So she’s going to try to send him
our way.
HANK looks away and leans on the countertop as he thinks of a plan.
HANK
NORMA moves to the side of HANK.
NORMA
Well, nobody knows. I guess its a secret ... but
he’s supposed to be arriving today.
HANK
HANK opens the cash register and grabs a few bills. HANK shows NORMA the
bills and snaps at them.
NORMA
(worried) Time for what Hank?
HANK walks to the kitchen and NORMA walks after him.
NORMA
HANK grabs his black leather jacket and puts it on.
HANK
I’m going to pick up some flowers and maybe some
candles and some table clothes.
HANK puts his hands on NORMA’S shoulders.
HANK
And ah ... what can we add to the menu? Some specials
maybe.
NORMA
(smiling) I always wanted to try some regional
dishes.
HANK gives NORMA a big kiss.
HANK
Hhhmmmmuuhhh. Babe were going to trick this place
out like Christmas on the fourth of July. Oh, and I think you should give
Big Ed a call.
HANK exits the island counter through the flip-up counter door.
NORMA
NORMA looses her smile.
HANK
Well ... you’re still friendly right. So maybe this
Wents guy stops in for gas.
HANK becomes quite animate as he explains.
HANK
Ed could suggest the Double R to any new faces
he sees.
NORMA
HANK slams his fist on a toothpick dispenser, picks up a toothpick and places
it in his mouth.
HANK
HANK points to NORMA, starts to head but turns around, smiles and then heads
back out. NORMA smiles again.
MUSIC ENDS: COUNTRY #3 46K
CUT TO:
EXT. STREET LIGHT - DAY
Under a dark, stormy sky we view a CLOSE-UP on a lonely street intersection
control light glowing yellow. The light switches to red. A crack of thunder
rattles in the background.
CUT TO:
INT. HAROLD SMITH’S APARTMENT - DAY
Seated on the floor, HAROLD SMITH pours a glass of wine.
HAROLD
So, what shall we drink to?
DONNA sits on the floor across from HAROLD.
DONNA
HAROLD extends his glass toward DONNA for a toast.
HAROLD
To Laura. In our hearts and memories locked.
HAROLD and DONNA touch glasses for toast to LAURA. HAROLD smiles at DONNA and then reaches
behind himself to a book on an endtable. HAROLD grabs a small red book and shows it to DONNA.
HAROLD
Her diary. Did I tell you I had it?
DONNA shakes her head for no. A tray of food lays on the floor beside DONNA.
DONNA
HAROLD
Uhm (nods yes). Shall I read something from it?
It seems appropriate.
DONNA
HAROLD puts his glass of wine down on the floor and flips through the pages
of the diary until he finds an appropriate passage to read to DONNA.
HAROLD
Ah. But still I’m afraid to tell her of my fantasies and my nightmares.
Sometimes she’s good at understanding. Other times she just giggles and
I don’t have the nerve to ask why things like that are funny to her.
MUSIC: LAURA PALMER’S THEME (INSTRUMENT SOLO #1)
HAROLD
So I feel badly again and shut up about it for
a long time. I love Donna very muc...
HAROLD stops reading to look up at DONNA, who smiles. HAROLD resumes reading.
HAROLD
But sometimes I worry that she wouldn’t be around
me at all if she knew what my insides were like. Black and dark and soaked
with dreams of ... big, big men in different ways they might hold me and
take me into their ... control.
DONNA looks down at the floor. HAROLD stops reading and looks up to DONNA.
HAROLD
DONNA
No, don’t be. I - I was just, I mean ... I mean
if - if that’s evidence shouldn’t we give that to the sheriff.
HAROLD
No. I mean, I’ve - I’ve read this from cover to
cover, Donna and there’s no solutions here. Besides, she gave it to me.
DONNA
HAROLD
People come to me and tell me their stories ...
about the world outside. I take their stories and place them in a larger
context. A sort of living novel.
DONNA
HAROLD
Oh friends, ... lovers. Well maybe, someday, you
will too.
DONNA smiles.
MUSIC ENDS: LAURA PALMER’S THEME (INSTRUMENT SOLO #1)
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
INSERT: CLOSE-UP MONITOR
MUSIC: LAURA PALMER’S THEME (0:00 - 1:00)
We FOCUS on a CLOSE-UP of a monitor as a tape plays. It is the tape JEAN played
for BEN of AUDREY with a gag in her mouth as she struggles with a hand holding
her jaw.
BENJAMIN (OFF SCREEN)
BACK TO SCENE:
AGENT COOPER looks at the monitor.
BENJAMIN
Our kidnappers contacted me this morning.
COOPER turns to look at BEN. Smoking a cigar, BEN walks behind COOPER.
BENJAMIN
Damn you betcha were right.
COOPER
Why didn’t you alert the sheriff?
BEN walks back towards the fireplace.
BENJAMIN
He’ll kill her at first sign of police involvement.
That’s why I called you.
COOPER
That’s no reason to circumvent normal channels.
BEN walks up to COOPER.
BENJAMIN
Normal channels won’t bring my daughter back to
me alive.
BEN walks around COOPER.
BENJAMIN
You and Audrey ... have a special relationship.
You of all people understand her value to me. They want to make the exchange
tomorrow. Audrey ...
BEN and COOPER look at the monitor.
COOPER’S POV:
MUSIC: CHERRY STEM KNOT 7K
From COOPER’S POV we FOCUS on a CLOSE-UP of the monitor as the tape of AUDREY
gagged plays.
BENJAMIN (OFF SCREEN)
... for a hundred and twenty-five thousand dollars ...
BACK TO SCENE:
BENJAMIN
... cash. But I must ask you.
BEN walks up to the fireplace.
BENJAMIN
COOPER quietly stares at the monitor.
MUSIC ENDS: LAURA PALMER’S THEME (0:00 - 1:00)
CUT TO:
INT. BLUE PINE LODGE - DAY
A side door near the kitchen opens and JOSIE PACKARD, wearing a thick fur coat, carrying
a dozen apparel boxes, a hat box and a bag. JOSIE walks into the kitchen and as she places the
heavy load on the countertop the boxes topple over.
MUSIC ENDS: CHERRY STEM KNOT 7K
At the other side of the kitchen, PETE MARTELL opens the sliding partition doors of
the kitchen and spots JOSIE.
PETE
JOSIE
PETE and JOSIE meet each other in the middle of the kitchen and give each other a big hug.
JOSIE
PETE
PETE and JOSIE face each other, holding hands.
JOSIE
I keep thinking about Andrew. What he would have
done about the fire. Thank goodness Catherine was here to handle everything.
PETE shakes his head. Speechless, PETE just stares at JOSIE.
JOSIE
PETE
Josie, Catherine died in the fire.
JOSIE
JOSIE gives PETE another hug and pats his back. Tears come to PETE’S eyes.
JOSIE
PETE composes himself and wipes his tears away.
PETE
We’re uh ... (sniffles) we’re planning a service
but they haven’t found the body.
JOSIE
PETE
In a couple of days we’ll go ahead. I don’t know
exactly what we’ll be burying.
DISSOLVE TO:
EXT. WOODS - DAY
We FOCUS on pine trees being blown in the wind.
CUT TO:
INT. BLACKIE’S OFFICE - DAY
Jerking her by the arm, MR. EMORY BATTIS, the store vice-president of Horne’s
department store, escorts AUDREY HORNE into BLACKIE’S office. AUDREY’S hair
is a mess and she has dark circles under her eyes.
EMORY
Right this way. Come on dream boat. Daddy’s waiting.
MUSIC: LAURA PALMER’S THEME (0:00 - 1:00)
AUDREY’S POV:
From AUDREY’S drug induced POV, JEAN RENAULT sits behind BLACKIE’S
desk. AUDREY’S perspective is wavy like an unsettled boat. AUDREY’S hearing is
also impaired with distortion as if slowed down.
EMORY
BACK TO SCENE:
EMORY
Miss Horne was a very bad girl refusing to take her medicine.
EMORY throws AUDREY into a chair positioned before the desk facing JEAN.
AUDREY covers her eyes.
AUDREY
EMORY
JEAN
AUDREY’S POV:
From AUDREY’S drug induced POV, EMORY smiles at us. We PAN LEFT
to JEAN seated behind the desk. AUDREY’S perspective meanders around. We sample
AUDREY’S drug impaired hearing as JEAN speaks.
JEAN
Audrey, have you been mistreated?
AUDREY (OFF SCREEN)
JEAN
We PAN to EMORY as he snivels to JEAN.
EMORY
I - I - I did not hit her. If that’s what you’re thinking
I didn’t.
MUSIC ENDS: LAURA PALMER’S THEME (0:00 - 1:00)
We PAN back to JEAN.
MUSIC: THE BOOKHOUSE BOYS (2:12 - 3:26)
JEAN
That was wrong. It will never happen again as long as you’re with me. Do you understand?
BACK TO SCENE:
AUDREY’S head swivels around and she has a hard time keeping her eyes open
under the effect of the drugs.
JEAN
I spoke with your father this morning. You’re in no danger. Everything going to be fine.
AUDREY’S POV:
From AUDREY’S drug induced POV we FOCUS on JEAN as he stands up and moves around to
the front of the desk. A hand of cards are laid out on top of the desk along with a silver
tray containing heroin and a rubber tube. Facing AUDREY, JEAN leans on the desk.
JEAN
You do trust me? Don’t you, Audrey?
We PAN to EMORY. EMORY nervously looks over to JEAN.
EMORY
You see Audrey in a situation ...
BACK TO SCENE:
AUDREY’S head continues to snake around. AUDREY nearly falls over to the side
but regains her balance.
EMORY
... like this you have to handle yourself in a professional manner.
AUDREY’S POV:
From AUDREY’S drug induced POV, JEAN looks us over.
EMORY
We’re all reasonable people and - and - and what you discover is that ...
We PAN down from JEAN’S face.
EMORY
... something reasonable could always be worked out whenever ...
JEAN is holding a gun, with a silencer, pointed in our direction.
EMORY
... reasonable people just put their minds in
...
The gun silently fires and the bullet hits EMORY. EMORY is silenced and falls to the floor.
BACK TO SCENE:
AUDREY gasps in fear. EMORY has fallen back in his chair. Shot in
the chest, EMORY lies dead on the floor. JEAN moves to AUDREY and sits beside
but facing her on the same chair. JEAN holds AUDREY and soothes her.
JEAN
With her senses impaired, AUDREY realizes what has just conspired and begins
to uncontrollably cry in fear.
MUSIC ENDS: THE BOOKHOUSE BOYS (2:12 - 3:26)
FADE OUT:
FADE IN:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
MUSIC: ANDY’S THEME 7K
In the coffee station area, LUCY cuts open a coffee packet with a pair of
scissors for a new pot of coffee. On the counter to her right are a stack
of pink donut boxes. ANDY walks up behind LUCY.
ANDY
Lucy? Lucy, we need to talk.
LUCY turns around to face ANDY.
LUCY
Deputy Brennan I thought you preferred the company of your MAGAZINES!
MUSIC: THE BOOKHOUSE BOYS (1:31 - 1:34)
COOPER enters the building and sees the confrontation between the LUCY and ANDY.
MUSIC ENDS: THE BOOKHOUSE BOYS (1:31 - 1:34)
COOPER
ANDY turns to COOPER.
COOPER
Maybe you better get some air.
ANDY quietly walks outside through the front double doors of the building.
MUSIC ENDS: ANDY’S THEME 7K
COOPER walks up to LUCY and, facing her, puts his hands on the edge of her shoulders.
COOPER
Lucy, I think we’re at the point were it would
be healthier for everyone if you got what ever was bothering you out in
the open.
COOPER drops his hands to his side.
LUCY
Andy and I used to go out.
COOPER
LUCY
For a year and a half until I started to notice
things about him. They weren’t big things, they were little things.
LUCY glimpses behind COOPER.
LUCY’S POV:
From LUCY’S POV, ANDY looks inside the building through the glass of the front
door to the building. Cold, ANDY has his arms folded and shivers.
LUCY (OFF SCREEN)
Having been seen, ANDY walks off out of view from the glass doors.
BACK TO SCENE:
LUCY returns her attention to COOPER but still checks the door for ANDY.
LUCY
... he never washes his car and he doesn’t even
own a sports coat!
COOPER
Uh-huh, well did you do something about this?
LUCY
Well, after I watched this TV show I decided I needed some me time during
which we didn’t see each other. During which period I met ...
LUCY’S POV:
From LUCY’S POV, ANDY walks by the front door. LUCY immediately responds
by raising her voice.
LUCY (OFF SCREEN)
BACK TO SCENE:
LUCY returns her attention to COOPER and speaks normally.
LUCY
... Horne’s Department Store, men’s fashions.
He had lots of coats and keeps himself and his car in ...
LUCY’S POV:
From LUCY’S POV, ANDY peeks inside through the glass door.
LUCY (OFF SCREEN)
BACK TO SCENE:
LUCY returns her attention to COOPER.
LUCY
Most of his behavior was asinine but ... at least
he was different.
COOPER
Are you still seeing this ... Dick?
LUCY bows her head.
LUCY
COOPER
Lucy do want to get back together with Andy?
LUCY looks outside at ANDY and then thinks it over.
LUCY
COOPER
Well Lucy, can you tell me exactly what you do want?
LUCY answers with a cry in her voice.
LUCY
LUCY rushes off down the hall to the right and passes SHERIFF TRUMAN. With
a coffee mug in hand, TRUMAN turns to LUCY as she passes by. COOPER walks
up to TRUMAN.
COOPER
Sorry Harry, I - I was trying to help.
SHERIFF TRUMAN
Well it was good thought but its like trying to
fix those potholes over on Highway Nine. First heavy rain and whew.
TRUMAN makes a hand gesture of a slip by gliding his hand out away from his body.
COOPER
You’ve been down this road before?
SHERIFF TRUMAN
COOPER looks at TRUMAN.
COOPER
MUSIC: DANCE OF THE DREAM MAN (0:00 - 0:17)
TRUMAN turns to COOPER. COOPER looks around to see if all is clear.
COOPER
I’ve got a dangerous situation. I’ve examined
every possible angle and I believe there’s only one way to proceed. I need
a favor. Strictly between us.
SHERIFF TRUMAN
COOPER
I need one of the Bookhouse boys. Your best man.
It would be better if you didn’t know why.
SHERIFF TRUMAN
Cooper, I’ve steered clear when you asked me to.
Is there anything I need to know about this one?
COOPER
SHERIFF TRUMAN
I’ll set it up. 9:30 at the Roadhouse.
COOPER
COOPER walks off. TRUMAN watches COOPER leave.
Looking outside through the glass in the front doors to the building, ANDY is still outside
waiting. Cold, ANDY has his arms folded and shivers. A crack of thunder can be heard in the background.
MUSIC ENDS: DANCE OF THE DREAM MAN (0:00 - 0:17)
CUT TO:
EXT. HALF-MOON - NIGHT
We FOCUS on a CLOSE-UP of the half-moon in the night sky.
CUT TO:
EXT. DOUBLE R DINER - NIGHT
An establish shot. We FOCUS on a CLOSE-UP of the neon ‘RR’ sign of the diner.
CUT TO:
INT. DOUBLE R DINER - NIGHT
MUSIC: VIOLINS
A CUSTOMER enters the diner. The CUSTOMER is a large man wearing a black cowboy
hat. NORMA and HANK walk into view from opposite sides and meet in the center
of our view, framing the CUSTOMER in the distant background. NORMA and HANK
speak quietly to each other.
NORMA
HANK
HANK walks off to the kitchen. NORMA walks up to the CUSTOMER.
NORMA
Good evening sir, welcome to the Double R Diner.
CUSTOMER
Thanks, think I could have a booth?
NORMA
Of course, right this way.
NORMA guides the CUSTOMER to one of the booth along the right wall. The
CUSTOMER takes a seat.
NORMA
We have two very delicious specials this evening
...
CUSTOMER
I’m sure you do but I’ll have a cheeseburger,
medium; a coke and some fries.
NORMA
NORMA rolls her eyes in disappointment. NORMA walks off to the kitchen. We
MOVE BACK to see TOAD sitting in a booth right behind the CUSTOMER. TOAD
wears a dirty napkin tucked in at the top of his shirt like a bib. TOAD
licks his thumb as HANK walks up to him.
HANK
TOAD
HANK
Why don’t we finish this up in the kitchen.
TOAD
(mouth full) Hmm. Mm-hmm.
HANK grabs TOAD’S plate, picks it up and walks toward the kitchen. TOAD follows HANK.
HANK
Get in the back and don’t touch anything.
NORMA places the food order tab onto the short order hanging clip for the cook. HANK walks up to NORMA.
NORMA
He only wanted a cheeseburger.
HANK peers over to the CUSTOMER then back to NORMA.
HANK
It must be some kind of food critic trick.
NORMA
HANK
Absolutely yeah, yeah. I think ...
The CUSTOMER, with his hat and coat removed, clears his throat to get NORMA’S
and HANK’S attention as he walks up to them. HANK and NORMA turn to the CUSTOMER
and smile.
CUSTOMER
The CUSTOMER gestures that he would like to wash his hands by rubbing his hands together.
HANK
HANK leads the CUSTOMER to the bathroom. NORMA smiles as she listens to HANK.
HANK
Uh we just finished painting it and uh it looks
really nice. Its completely quiet. Yeah, just follow me. Oh sorry.
Behind NORMA in the background, TOAD is eating out of one of the large cooking pots.
TOAD
(barely intelligible) Hmm, good stuff.
NORMA turns around and sees TOAD eating out of the pot with a big stirring spoon.
NORMA
NORMA rushes into the kitchen.
NORMA
With his mouth full, TOAD backs off as NORMA enters the kitchen.
TOAD
MUSIC ENDS: VIOLINS
MUSIC: HANK’S THEME #2
HANK walks back out into the diner. HANK looks over to the kitchen. All clear,
HANK moves over to the CUSTOMER’S jacket. Using a rag, HANK pretends to be cleaning
the booth as he reaches into the pocket of the jacket and takes out a wallet.
HANK hides the wallet under his rag and walks away.
We FOCUS on a sign, in the shape of a soup kettle, that reads:
We PAN RIGHT to FOCUS on a chocolate pie under glass. We MOVE UP and look
over the pie to see DONNA and MADELEINE FERGUSON sitting opposite each other
at a booth. DONNA is smoking a cigarette.
MADELEINE
Thanks for coming. I ... I didn’t know ...
DONNA
MADELEINE
I didn’t know if you were mad or not. I mean,
how mad.
DONNA
MADELEINE leans forward.
MADELEINE
Donna, there’s nothing going on between me and
James.
DONNA
What if there is? I mean, who said James and I
couldn’t see other people? I certainly didn’t.
MADELEINE
(disbelief; smiles) Huh, are you saying you’re seeing
someone else?
DONNA
MADELEINE shakes her head.
MADELEINE
DONNA
Harold Smith has Laura’s diary.
MADELEINE
(confused) Hah, I thought the sheriff had Laura’s
diary.
DONNA
Harold said that Laura kept a second diary that
I didn’t know about and he’s got it.
MADELEINE looks away.
MADELEINE
God. We have to tell James about this.
DONNA
If Laura did have a secret diary and Harold’s
got it, I’m going to get it with or without you. Tell that to James.
MADELEINE and DONNA uneasily stare at each other. We ZOOM OUT and FOCUS on a CLOSE-UP of HANK’S
face as he steps into view. HANK opens the wallet he stole and looks down.
HANK’S POV:
From HANK’S POV we FOCUS on an identification badge.
District Attorney
Bureau of Investigation
Daryl Lodwick
BACK TO SCENE:
We ZOOM IN on HANK’S face as he looks back up and brandishes a wicked smile.
MUSIC ENDS: HANK’S THEME #2
CUT TO:
EXT. BLACK LAKE - NIGHT
Streaks of lightning illuminate the surface of Black Lake and thunder explodes and
rattles through the air.
CUT TO:
INT. BLUE PINE LODGE - NIGHT
BIRDS’S-EYE POV:
Positioned near the ceiling, we look down at the living room. SHERIFF TRUMAN
sits on the arm of a sofa chair. JOSIE enters the room directly behind him
wearing a thin, black camisole covering a thin, black negligee that has
a slit that runs to her upper thigh. JOSIE walks in front of TRUMAN and pulls
the camisole down, revealing her bare shoulders.
JOSIE
I know I paid too much for it but I just fell
in love with it. I heard the salesperson say the only reason we’re still
in business is because Josie Packard buys retail.
BACK TO SCENE:
JOSIE sits on TRUMAN’S right knee. TRUMAN looks JOSIE over.
SHERIFF TRUMAN
JOSIE
JOSIE kisses TRUMAN.
SHERIFF TRUMAN
JOSIE puts her hands on TRUMAN’S face. Lightning brightens the room and thunder
crashes just outside the lodge.
JOSIE
MUSIC: PACKARD THEME
31K
SHERIFF TRUMAN
Josie. Josie, I got to know. Were you really in
Seattle?
JOSIE
Yes, why are you so suspicious. Look at this blouse.
JOSIE gestures to her multitude of boxes.
JOSIE
You think I got them at Cash and Carry?
SHERIFF TRUMAN
Why didn’t you tell me you were going?
JOSIE
You know I had to get away, I was afraid.
SHERIFF TRUMAN
I know, afraid of Ben and Catherine.
JOSIE
SHERIFF TRUMAN
And now Catherine’s dead.
JOSIE stands up.
JOSIE
Harry? You don’t think I ...
TRUMAN holds his arms out.
SHERIFF TRUMAN
I don’t know what to think. I don’t know.
JOSIE
You think I could burn the mill? That I would
ruin everything of mine?
SHERIFF TRUMAN
JOSIE puts a hand to her mouth.
JOSIE
My god. How could you. How could you think of
such terrible things. You’ve hurt me so.
JOSIE clutches at her camisole and walks away. The room fills with blue
light and thunder whips outside the lodge. TRUMAN walks to JOSIE. JOSIE has
taken a seat on the couch by a window. TRUMAN takes a seat next to JOSIE.
SHERIFF TRUMAN
JOSIE
JOSIE guides TRUMAN’S arms around her back and hugs him.
JOSIE
Hold me. Hold me. Take me.
TRUMAN lets go, moves back slightly and holds JOSIE’S face.
SHERIFF TRUMAN
JOSIE
SHERIFF TRUMAN
Josie? Josie, why? Why didn’t you tell me?
JOSIE kisses TRUMAN and then guides his hands to her camisole.
JOSIE
SHERIFF TRUMAN
JOSIE
SHERIFF TRUMAN hungrily tears JOSIE’S camisole in two from the back. TRUMAN and
JOSIE embrace and kiss. JOSIE leans back on the couch. TRUMAN lies above her, kissing
her. JOSIE runs her hands over TRUMAN’S back.
JOSIE
We PAN up to the window.
JOSIE
I want you more then my life.
Lightning flashes and through the open Venetian blinds a figure is illuminated
just outside the window looking inside the lodge and down at JOSIE and TRUMAN
on the couch. Its JONATHAN KUMAGAI standing outside in the rain as thunder roars.
MUSIC ENDS: PACKARD THEME
31K
FADE OUT:
FADE IN:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT
MUSIC: DELUSIONS 7K
INSERT: COFFEE STATION
We FOCUS on the coffee station. On the counter is a plate full of a variety
of donuts, an open pink box of donuts, the coffee maker with a pot of coffee,
a coffee mug and another mug, shaped with the face of an old man, being
used to hold plastic stir sticks. Lightning flashes.
BACK TO SCENE:
Standing near the coffee station, LUCY takes a drink from her coffee mug
and holds it close to keep warm. Lightning flashes and thunder rattles.
The lights flicker and then go out but only briefly as the power return.
LUCY looks up at the lights and her eye’s widen.
MUSIC ENDS: DELUSIONS 7K
In the background behind LUCY, a MAN enters the building. The MAN takes
off his wet cowboy hat and slaps it against his dover. The MAN is JUDGE CLINTON
STERNWOOD, a tall man with short gray hair.
JUDGE STERNWOOD
Hi good looking. Who do you have to grease to get some coffee around here?
LUCY walks up to STERNWOOD.
LUCY
Judge Sternwood, hello your honor.
LUCY and STERNWOOD meet in front of the reception office window.
JUDGE STERNWOOD
Lucy, your a cool drink of water for road weary
eyes. What’s your secret?
LUCY bows her head slightly.
LUCY
(apprehensive) I’d rather not talk about it sir.
JUDGE STERNWOOD
(understanding) Give us a hug?
LUCY smiles and gives STERNWOOD a big hug. STERNWOOD holds LUCY.
JUDGE STERNWOOD
Uh, life is hard dear. Still in all, its harder
in most places then in Twin Peaks.
SHERIFF TRUMAN enters the building.
SHERIFF TRUMAN
JUDGE STERNWOOD
STERNWOOD and TRUMAN shake hands.
SHERIFF TRUMAN
TRUMAN appears distant. Squinting, STERNWOOD notices.
JUDGE STERNWOOD
SHERIFF TRUMAN
JUDGE STERNWOOD
You got the look of a man with filly trouble,
son. If they don’t take to saddle you’ve got two options and I won’t bore
you with either one of them.
TRUMAN gives STERNWOOD a discerning eye. AGENT COOPER, adjusting his suit
jacket, steps out of SHERIFF TRUMAN’S office.
COOPER
SHERIFF TRUMAN
Uh Judge Sternwood, Special Agent Dale Cooper
FBI.
JUDGE STERNWOOD
COOPER
COOPER and STERNWOOD shake hands.
SHERIFF TRUMAN
You two should have a lot in common.
TRUMAN gives COOPER a discerning eye as well.
JUDGE STERNWOOD
Sid will bring in the court calender as soon as
the Winnebago’s tanked up.
(to TRUMAN) You
wanna break the seal on that Irish you stashed for me.
SHERIFF TRUMAN
TRUMAN leads the way and walks off.
JUDGE STERNWOOD
Mr. Cooper, how do you find our little corner
of this world?
COOPER
JUDGE STERNWOOD
Well this week heaven includes arson, multiple
homicides and an attempt on the life of a federal agent.
STERNWOOD follows TRUMAN.
COOPER
Well heaven is a large and interesting place sir.
COOPER walks off. LUCY walks to window of her reception office. RICHARD ‘DICK’
TREMAYNE enters the building. LUCY notices DICK and tries to rush off, hoping
not to be seen.
DICK
LUCY stops in her tracks.
LUCY
DICK
Lucy I haven’t slept. I can’t eat. I’ve been absolutely
miserable.
DICK walks right up behind LUCY. LUCY turns around to face DICK.
LUCY
DICK
I’ve been a fool, a cad the way I’ve behaved.
I’m deeply, deeply ashamed.
LUCY stares into DICK’S eyes and hold her hands to her chest.
LUCY
DICK
I’ve been over it in my mind a million times and
what I’ve come to is this. I have to, no I must do the right thing.
LUCY
DICK reaches into the interior pocket of his trench coat and pulls out an
envelope. DICK hands the envelope to LUCY.
DICK
Its everything I could scrape together. I’m completely
accurate.
LUCY opens the envelope.
LUCY
DICK
Six hundred and fifty dollars. I called around.
I’ve been told its more than adequate.
LUCY
DICK
For the ... to take care of ... you know ... the
little problem.
LUCY wads the envelope and puts it in DICK’S hand.
LUCY
Richard, here’s what you’re going to do: take
your money; put it back in your wallet or your pocket; turn around and
walk through both sets of doors, the second one sticks sometimes; go out
into the parking lot; get in your car; turn the key and NEVER EVER SPEAK
TO ME AGAIN AS LONG AS YOU LIVE!
DICK opens his mouth to say something but LUCY interrupts him.
LUCY
SAY ONE MORE WORD AND I’LL SCREAM! Please, please.
DICK tries to speak again. LUCY jumps slightly and throws her hands to her
mouth to muffle her nearly hysterical scream. DICK quietly exits. LUCY goes
into SHERIFF TRUMAN’S office and slams the door behind herself.
LUCY (OFF SCREEN)
ANDY walks around the corner from the hallway escorting LELAND to the conference
room. ANDY hears LUCY yelling in the office. ANDY stops by the door and leans
toward it to try to catch what LUCY is saying but he has to move on. ANDY and
LELAND walk up the hall.
CUT TO:
INT. SHERIFF’S DEPARTMENT CONFERENCE ROOM - NIGHT
JUDGE STERNWOOD sits at the end of the conference table with SHERIFF TRUMAN
sitting to his right and AGENT COOPER to his left. In the background
behind them is a chalkboard with a chalk sketch of the town map.
LELAND, in handcuffs, and DEPUTY ANDY stand near the other end of the table.
Lightning flashes the room.
JUDGE STERNWOOD
Leland, this is most difficult. I ... My deepest
condolences on your heartbreaking loss.
LELAND
JUDGE STERNWOOD
You’ve appeared before me many times.
MUSIC: LAURA PALMER’S THEME (INSTRUMENT SOLO #1)
We slowly ZOOM IN on JUDGE STERNWOOD as he speaks.
JUDGE STERNWOOD
I know you to be a fine, descent man and a capable
attorney. And to see you under these circumstances is ... is dreadful for
us all. Well the uh law provides a structure to guide through perilous
and trying times but it requires us a submission to its procedures and
higher purposes. Before we assume our respective roles, in this enduring
drama, just let me say that uh ... when these frail shadows we inhabit
now .. have quit the stage ... we’ll meet ... and raise a class again together
... in Valhalla.
Lightning brightens the room in blue light and thunder crashes loudly.
LELAND
MUSIC ENDS: LAURA PALMER’S THEME (INSTRUMENT SOLO #1)
JUDGE STERNWOOD
I understand that your intention to represent
yourself?
LELAND nods his head for yes.
LELAND
JUDGE STERNWOOD looks at TRUMAN.
JUDGE STERNWOOD
Well, where’s Ludwig uh ... the prosecutor?
SHERIFF TRUMAN
JUDGE STERNWOOD
Well then I suggest we leave the question of bail
till morning. The facilities are adequate Leland?
LELAND
Oh yes. Everyone has been most kind.
JUDGE STERNWOOD
Then we’ll say good night. Deputy.
ANDY moves to open the door to escort LELAND back to his cell.
LELAND
LELAND turns to leave but quickly turns back to JUDGE STERNWOOD and nods his head.
LELAND
LELAND and ANDY exit the room. JUDGE STERNWOOD, SHERIFF TRUMAN and AGENT COOPER remain seated.
JUDGE STERNWOOD
I’ll speak for us all. We have hard jobs.
COOPER nods his agreement with STERNWOOD’S statement. COOPER and STERNWOOD take a sip
from their cups of coffee. A young woman, SID enters the room. SID has long dark brown hair
and wears a very colorful jacket. SID carries another jacket over her arm and the court calender in
a portfolio.
SID
SHERIFF TRUMAN
TRUMAN stands up. COOPER quickly follows suit and stands up. SID looks at TRUMAN.
SID
JUDGE STERNWOOD
Uh Sid uh, say hello to Special Agent Cooper.
SID
COOPER
STERNWOOD stands up and walks over to SID. COOPER and SHERIFF TRUMAN give
each other a look - a questioning gesture dealt towards STERNWOOD and
SID.
JUDGE STERNWOOD
Well gentlemen, we’ve been uh ... eight hours
on the road. Sid and I are going to pile it over to the Great Northern,
hook up the Winne’ and dine in the Timber Room. See ya’ in court.
JUDGE STERNWOOD leaves the room. SID closes the door behind herself as she
leaves with STERNWOOD. COOPER asks TRUMAN ...
COOPER
TRUMAN takes a drink from his coffee mug.
SHERIFF TRUMAN
COOPER looks back to the door where SID left.
COOPER
COOPER returns his attention to TRUMAN.
COOPER
Harry, is everything set for tonight?
SHERIFF TRUMAN
Lightning flashes the interior. SHERIFF TRUMAN looks toward the window as
thunder booms. COOPER takes a drink from his coffee mug.
CUT TO:
EXT. GREAT NORTHERN HOTEL - NIGHT
An establish shot. We view the hotel perched on the ledge near the falls. Under
the light of the moon a gush of mist from the falls blows in the air. Water can
be heard cascading from the falls.
CUT TO:
INT. GREAT NORTHERN HOTEL - NIGHT
MUSIC: DANCE OF THE DREAM MAN (NO SAX)
In the lobby of the hotel, a GROUP of young women walk through dressed
in one-piece yellow swim suits. BENJAMIN walks behind one of the young women and,
while pointing to the girl in front of her, asks ...
BENJAMIN
The YOUNG WOMAN nods her head for yes. BEN calls to her.
BENJAMIN
KATRINA turns around and stands beside the YOUNG WOMAN. SOMEONE stands
very close just to the right of our view but out of focus.
BENJAMIN
The DIRECTOR responsible for the girls walks up to them.
DIRECTOR
The DIRECTOR walks away with the girls BEN had been talking to. Straggling
behind, a LARGE GIRL dressed in a swim suit like the others rushes past
BEN. Disapproving of her, BEN looks away.
BENJAMIN
MR. TOJAMURA, a large Asian gentleman wearing a dark suit and holding a
briefcase, looks at BEN from afar. BEN notices MR. TOJAMURA, smiles and then politely
bows. MR. TOJAMURA returns the bow. BEN walks towards MR. TOJAMURA and past him,
starring each other down the whole way. Behind the registration counter,
LOUIS walks toward MR. TOJAMURA with some paperwork.
LOUIS
Alright Mr. Tojamura. We’re all set. Now what credit card do you want to put that on?
MR. TOJAMURA speaks in a low, gravely voice.
MR. TOJAMURA
LOUIS remembers the keyword and smiles.
LOUIS
MUSIC: DANCE OF THE DREAM MAN (WITH SAX)
LOUIS
(smiling) Fine. Where did you say you traveled
from sir?
MR. TOJAMURA
LOUIS
Seattle? Oh well that’s not such a long trip then.
(chuckles; smiles) Very
good Mr. Tojamura. The bellman will take you up to your suite.
LOUIS digs into her pocket and pulls out a business card.
LOUIS
And if you would like to treat yourself to some
of our outstanding local cuisine while you’re here I would recommend the
Double R Diner. Ask for Norma.
LOUIS hands the card to MR. TOJAMURA.
MR. TOJAMURA
MR. TOJAMURA walks off. LOUIS picks up the phone and dials a number.
LOUIS
(smiling) Norma, its Louis. I think the eagle
has landed.
LOUIS bends over the counter slightly to peer at MR. TOJAMURA.
MUSIC ENDS: DANCE OF THE DREAM MAN (WITH SAX)
CUT TO:
EXT. BLUE PINE LODGE - NIGHT
An establish shot. We view the front of the lodge. Bright lights emanate from the windows.
Thunder whips through the air.
JOSIE (OFF SCREEN)
Pete, meet my cousin Jonathan.
PETE (OFF SCREEN)
CUT TO:
INT. BLUE PINE LODGE - NIGHT
Just outside the kitchen, PETE holds a mounted scene of two stuffed
animals, a snake wrapped around a ferocious looking weasel. JOSIE stands
close to PETE and clings to his right arm as she introduces JONATHAN KUMAGAI.
JOSIE
You thinking cousin have some joe. After a long
flight it will help him set his biographical clock.
PETE nods his head to JONATHAN then quickly turns to JOSIE to correct her.
PETE
Mm-hmm, that’s biological.
JOSIE lets out a small laugh. PETE and JONATHAN smile.
PETE
I think so, I just made a fresh pot. Here.
PETE hands JONATHAN the mounted scene.
PETE
PETE turns to JOSIE once more.
PETE
JOSIE
JOSIE waves her index finger at PETE and lets out a small laugh. PETE walks
into the kitchen and closes the shutter doors behind himself.
MUSIC: LOVE THEME FROM TWIN PEAKS
JONATHAN walks slightly away from the door to a nearby window. Distant lighting
flashes inside.
JONATHAN
I don’t know how you lasted six years. Nothing
but hayseeds and manual laborers.
JONATHAN hands the mounted scene to JOSIE.
JOSIE
Well, we all got our job to do.
JONATHAN
Yours is nearly finished, to sell the mill and
the Packard lands.
JOSIE
Signing the contracts soon. I need Pete’s signature.
He’s Catherine’s heir.
JONATHAN
JOSIE
JONATHAN
JOSIE
JONATHAN
We’re expected back in Hong Kong. Mr. Eckhardt
wants very much to see you. Are there any other complications?
JOSIE walks away from JONATHAN and stands with her back to him.
JOSIE
There might be a problem with Hank.
JONATHAN
Huh, (smiles) I’ll
deal with him. Are we suspected?
JOSIE
JONATHAN
JOSIE looks down at the mounted scene.
JOSIE
JONATHAN
(sternly) That’s not what I asked you.
Lighting brightly flashes and thunder rattles.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
INT. ROADHOUSE - NIGHT
MUSIC: TWIN PEAKS THEME
From behind the bar we look out onto the bar floor. A BARMAID picks up a
bottle and a pitcher of beer. We PAN RIGHT and watch the BARMAID walk away
until we come upon AGENT COOPER, who is seated at the bar. In front of COOPER, on
the bar top, are a bunch of match sticks laid out parallel to the bar and
arranged to form an inverted triangle. A BARTENDER cleans the bar top nearby
by putting a bunch of scattered matches back into the bowl where they belong.
The BARTENDER then grabs one of two glasses of water laid out in front of
COOPER and dumps its contents into the other. This distracts COOPER as SHERIFF
TRUMAN, wearing a black leather jacket, walks in from the right and takes
a seat next to him.
SHERIFF TRUMAN
COOPER
SHERIFF TRUMAN
COOPER stares at TRUMAN. COOPER then slowly lifts his left arm, snaps his fingers
and points at TRUMAN. COOPER and TRUMAN laugh slightly. COOPER shakes his head.
SHERIFF TRUMAN
Are we in any ... particular hurry?
COOPER
Harry, let me buy you a beer. Bartender.
MUSIC ENDS: TWIN PEAKS THEME
FADE OUT:
FADE IN:
INT. DOUBLE R DINER - NIGHT
There is a loud KNOCK at the front door in the dark interior of the diner.
In his pajamas, HANK walks into the dark and empty diner towards the front door.
Lighting brightly flashes the interior.
HANK
ALRIGHT I’M COMING! ALRIGHT!
Thunder rattles as HANK reaches the front door of the diner and opens it.
HANK
There is nobody there. HANK looks around then closes the door and starts to
head back. Halfway past the island counter, the power goes out and all the
lights on the appliances and the interior go out. With light only coming in through
the windows from the outside, HANK opens a nearby cabinet drawer and retrieves a
large metal flashlight. HANK slams the flashlight into his hand and turns it on
just as a bright streak of lighting illuminates the interior. HANK quickly
turns around and points the light at the face of a PERSON standing in the
dark. Thunder roars and lighting brightens the interior as we FOCUS on the face
of JONATHAN, who is dressed in black with a black hat and dark sunglasses.
HANK
JONATHAN removes his sunglasses. HANK holds the flashlight up high in his
left hand and shines it down on JONATHAN’S face. HANK move out from the
island counter and towards JONATHAN.
HANK
Lighting fills the room. HANK throws a punch with his right hand. JONATHAN
quickly makes a move and throws HANK over the island counter. HANK gets
back up and leans on the counter.
HANK
HANK moves out from behind the island counter and towards JONATHAN. HANK swings
the metal flashlight at JONATHAN once and then twice. HANK throws another right
punch but JONATHAN makes another move that sends HANK flipping over onto
the floor. HANK’S feet hit a nearby table and knock down a basket full of
plates and utensils that break on the floor.
HANK quickly stands back up. HANK kicks his right foot into the air towards JONATHAN, misses
and then throws a right punch. JONATHAN grabs HANK’S right arm, punches him
in the stomach and then throws a punch into HANK’S face that sends him flying
into the air and onto his back. JONATHAN reaches down and picks up the flashlight.
HANK lifts his head from the floor but does not stand up. JONATHAN flashes the light down
on HANK’S face.
HANK
Listen, I think I’m just going to lay here for a while.
HANK stretches his hand out in front of his face to block the glare of the
flashlight from hitting his eyes. A small trail of blood runs from the corner
of his mouth.
HANK
JONATHAN leans down and runs his thumb over the blood at the corner of HANK’S
mouth. HANK quickly jerks away and grabs at JONATHAN’S hand. JONATHAN clenches
HANK’S fingers into his fingers and palm of his hand. JONATHAN and HANK’S
thumbs are pressed together with blood.
JONATHAN
Blood brother, next time I take your head off.
JONATHAN lifts the flashlight up high into the air and then quickly swings down and smashes it beside HANK.
FADE OUT:
CLOSE:
FADE IN:
MUSIC: LAURA PALMER’S THEME
We view LAURA PALMER’S homecoming picture as the end credits roll.
MUSIC ENDS: LAURA PALMER’S THEME
FADE TO BLACK:
