Episode 12 - The Orchid’s Curse
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
Sometimes nature plays tricks on us
and we imagine we are something other than what we truly are.
Is this a key to life in general? Or the case of the two-headed
schizophrenic? Both heads thought the other was following itself.
Finally, when one head wasn’t looking, the other shot the other
right between the eyes and, of course, killed himself.
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:
EXT. THE GREAT NORTHERN - DAY
An establish shot. The sky warms with an orange glow behind the mountain surroundings
as morning dawns a new day.
CUT TO:
INT. DALE COOPER’S HOTEL ROOM - DAY
We FOCUS on the bedstand as the alarm of a collapsible traveling
alarm clock goes off. FBI SPECIAL AGENT DALE COOPER extends his
hand and turns off the alarm.
MUSIC: FRESHLY SQUEEZED (0:40 - 3:48)
COOPER reaches out further and fumbles around for his miniature tape
recorder. COOPER picks it up, brings it to his mouth and clicks it
on.
COOPER
Diane, 6:42 am, approximately.
With some of his hair whipped up from his
sleeping position, COOPER gets up and sits on the edge of the bed
near the bedstand.
COOPER
I dreamed I was eating a large, tasteless
gumdrop.
COOPER picks up an ear plug off of the bedstand
and looks it over.
COOPER
I awoke to realize that I was aggressively
munching on one of my Ear Pillow silicone ear plugs. Hence the
tastelessness.
COOPER removes the other ear plug out of his
ear and places them both on the bedstand.
COOPER
Perhaps I should keep a closer eye
on my afternoon coffee consumption.
COOPER gets up and picks up a pillow.
COOPER
Uhmm, a persistent soreness in the
rib area which I’m treating each morning with fifteen extra minutes
of yoga discipline. After which, thankfully, the pain retreats
to a cul-de-sac in a distant suburb of my conscious mind.
COOPER walks around the bed to the other side
of the room and drops the pillow on the floor right next to the
wall.
COOPER
I’m going to begin today with a headstand.
COOPER bends down and places his miniature
tape recorder on the floor near the pillow. Next, COOPER places his
hands in front of the pillow and quickly bends his head down and
throws his legs up. With his back to the wall, COOPER balances himself.
COOPER
Ohh, Diane I am now upside down.
COOPER’S POV:
From COOPER’S POV we get an upside down and unfocused view underneath the bed.
COOPER (OFF SCREEN)
Ahh, mind becoming porous.
MUSIC ENDS: FRESHLY SQUEEZED (0:40 - 3:48)
Slowly our view come into focus.
MUSIC: FRESHLY SQUEEZED (0:40 - 3:48) (XYLOPHONE SOLO) 36K
COOPER (OFF SCREEN)
The day’s task coming into focus, objects
growing clearer.
Directly ahead, laying on the floor beneath the bed is a white envelope.
BACK TO SCENE:
COOPER lowers his legs and uprights himself to sit on the floor.
COOPER moves near the bed, reaches for the note and grabs it. Still
in his pajamas, COOPER takes a seat on the floor with his back to
the foot of the bed. COOPER picks up his mini tape recorder and looks
over the envelope.
COOPER
Diane, the Giant was right. I did forget
something.
COOPER’S POV:
MUSIC: LOVE THEME FROM TWIN PEAKS (0:14 - 1:14)
From COOPER’S POV, we view the front of the envelope. Written in script, the envelope is addressed to:
COOPER quickly opens the small envelope and unfolds a small note. It reads:
I've gone North.
Jack might have
the answer.
,Love Audrey
COOPER reads it out loud.
COOPER (OFF SCREEN)
I’ve gone North. Jack might have the
answer. Love Audrey.
MUSIC ENDS: FRESHLY SQUEEZED (0:40 - 3:48) (XYLOPHONE SOLO) 36K
BACK TO SCENE:
Still seated on the floor, COOPER muses over his find. This is
the note AUDREY slipped under COOPER’S hotel door in episode 6
before she left for One-Eyed Jacks.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS (0:14 - 1:14)
CUT TO:
EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
An establish shot. A patrol truck pulls into the parking lot of
the station and parks in front.
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
Wearing a concerned expression, DEPUTY TOMMY THE ‘HAWK’ HILL enters
the building. With a coffee mug in one hand and a donut in the
other, SHERIFF HARRY S. TRUMAN walks out from the coffee station
and up to HAWK.
SHERIFF TRUMAN
Hey, I thought we lost you to the Kalispell
woods.
HAWK
Two retired female school teachers
live in that house next to the Palmers. They have no memory of
a gray haired man.
TRUMAN eats his donut.
SHERIFF TRUMAN
HAWK
I had to drink three pots of chamomile
tea to find that out. Which reminds me, will you excuse me for
a minute.
SHERIFF TRUMAN
HAWK
HAWK rushes off. LUCY MORAN walks up to
SHERIFF TRUMAN.
SHERIFF TRUMAN
Mmm, keep looking for the one-armed
man. We’ve got to find him.
LUCY puts on a red coat.
LUCY
Excuse me sheriff, I just wanted to
say good-bye because, as you know, I’m going down to Tacoma for
today to visit my sister Gwen and her husband Larry, who had
a baby last week.
SHERIFF TRUMAN
LUCY
That is Gwen had the baby, Larry’s
the father. You remember it was a boy. Well anyway, as soon as
the candored temp girl gets here I’ll explain the phones and
the coffee and the ...
SHERIFF TRUMAN
LUCY
TRUMAN puts his coffee and donut down in
the coffee station.
SHERIFF TRUMAN
LUCY
SHERIFF TRUMAN picks up LUCY’S suitcase
and escorts her toward the front door.
SHERIFF TRUMAN
Lucy we’ve got it covered.
At the door, LUCY stops and looks at TRUMAN.
LUCY
No, she should have been here by now.
I can stay and at least show her ...
SHERIFF TRUMAN
Lucy don’t worry, just go.
COOPER appears at the first set of doors
at the entrance. SHERIFF TRUMAN extends the suitcase to LUCY.
LUCY
Sometimes the candor girls can’t. But
sheriff.
SHERIFF TRUMAN
LUCY grabs her suitcase and walks out.
Having not entered yet, COOPER holds the door open for LUCY. As
she passes him, COOPER says ...
COOPER
LUCY
LUCY walks off. TRUMAN holds the door open
for AGENT COOPER as he walks inside.
SHERIFF TRUMAN
COOPER
SHERIFF TRUMAN
What is the word on our delivery tonight?
COOPER
We won’t need it. We’ve got the jump
on them.
AGENT COOPER brandishes a smile.
COOPER
MUSIC: THE BOOKHOUSE BOYS (1:12 - 1:24)
CUT TO:
EXT. JOHNSON HOUSE - DAY
An establish shot. We view an exterior shot of the home.
MUSIC ENDS: THE BOOKHOUSE BOYS (1:12 - 1:24)
CUT TO:
INT. JOHNSON HOUSE - DAY
BOBBY BRIGGS sits in a wheelchair and has a harness around his
waist that is connected to a chain that is hooked to a small lifting
crane. MR. TIM PINKLE stands beside BOBBY adjusting the equipment
that operates the lifting crane. BOBBY’S interest lie in the magazine,
‘Shooting’ - a magazine about guns, he is holding as MR. PINKLE
rambles on about the lifting crane.
MR. PINKLE
You see the Porto-Patient will allow
you to fluently uh transport the unfortunate Mr. Johnson. Uh
allowing him to ... to even uh ...
SHELLY JOHNSON, well dressed in black and
smoking a cigarette, watches on.
MR. PINKLE
... go outside and - and sit and ...
and experience what he can of nature.
BOBBY diverts his attention to MR. PINKLE.
BOBBY
Mr. Pinkle I want my cousin Leo to
have the fullest possible experience of life.
MR. PINKLE takes the magazine from BOBBY
and tosses it aside. MR. PINKLE pats BOBBY on the back.
MR. PINKLE
Well that’s what we’re here for.
MR. PINKLE tugs the harness which gives
BOBBY a jerk.
MR. PINKLE
Okay let’s give it one more.
SHELLY
Mr. Pinkle are you going to install
the ramp?
SHELLY gestures to the front door.
MR. PINKLE
Well ... sure, of course ... uh of
course. As a matter of fact I already have some uh ... uh some
plywood ramp bo...
BOBBY snaps his fingers to correct him.
MR. PINKLE
... uh pinewood ramp boards that I’ll
install tomorrow. Absolutely, that is a very good suggestion.
Now I think we are ready to go. Finally, here we go alright.
MR. PINKLE moves over to the switch that
operates the crane and presses the button but the motor doesn’t work.
So MR. PINKLE presses it again and again.
INSERT: CLOSE-UP BELT AND MOTOR
We FOCUS on a CLOSE-UP of the belt and motor of the lifting crane as MR. PINKLE pushes
the button. The belt moves slightly as the motor engages but does not run completely.
BACK TO SCENE:
MR. PINKLE
MR. PINKLE turns to BOBBY.
MR. PINKLE
(whispered) I
can’t believe it it was working just so perfectly yesterday.
MR. PINKLE turns back to the switch and
hits it with the bottom of his fist.
MR. PINKLE
Come on, come ... sometimes you’ve
got to be tough with these things. You got to hit it hard. A
machine is like a woman we always say at the machine shop. Come
on.
MR. PINKLE continues to push the button.
Suddenly it roars to life and BOBBY unexpectedly gets jerked up
into the air and then dropped back into his seat.
SHELLY
BOBBY quickly stands up and wrestles with
the harness to remove it from himself.
BOBBY
Shelly, could you get Mr. Pinkle a
cold drink please?
MR. PINKLE
A diet soda please that would be great.
BOBBY walks over to MR. PINKLE and corners
him against the wall. Towering over MR. PINKLE, BOBBY snaps his
fingers from both hands around his face.
MUSIC: FRESHLY SQUEEZED (0:40 - 3:48)
BOBBY
Pinkle, Pinkle, Pinkle. This thing
is a death trap. I told you we have to keep him alive.
MR. PINKLE
Look the insurance companies don’t
exactly payoff like the slots you know. After we take our cuts
we have only money for this or a first rate wheel barrel.
BOBBY hits the wall with the palm of his
right hand. SHELLY returns with an open bottle of soda pop and
hands it over to MR. PINKLE.
MR. PINKLE
MR. PINKLE looks the bottle over.
MR. PINKLE
MR. PINKLE walks over to his tool case.
SHELLY
SHELLY motions to BOBBY to follow her to the next room.
SHELLY and BOBBY walk into the kitchen. They both stand close together face-to-face.
SHELLY
I’ve got to meet with this lawyer.
BOBBY
The hearings today right?
MR. PINKLE shouts from the next room.
MR. PINKLE (OFF SCREEN)
Be just another second folks!
SHELLY
BOBBY and SHELLY stare into each others
eye’s. BOBBY gently caresses her face and slowly moves in for
a kiss but is interrupted by MR. PINKLE in the next room.
We FOCUS on MR. PINKLE as he sits in the wheelchair wearing the harness
that is connected to the lifting crane. MR. PINKLE reaches over and turns
on the machine. Slowly, and noisily, MR. PINKLE gets lifted into the air.
MR. PINKLE
Oh that’s it. Come and take a look,
you can see it. Works just fine.
We FOCUS back on BOBBY and SHELLY. BOBBY smiles at SHELLY as he holds her jaw gently with his fingertips.
BOBBY
Come outside with me. He can let himself
out.
SHELLY turns around and BOBBY puts his hands on her shoulders as they walk off.
We FOCUS on MR. PINKLE suspended in the lifting harness as the lifting crane rotates the
crane to a position over the bed.
MR. PINKLE
Bobby we’re doing real good.
But the crane doesn’t stop over the bed and slams MR. PINKLE against the wall.
MR. PINKLE
Uh okay that’s enough uh.
After slamming MR. PINKLE against the wall the
crane rotates in the opposite direction and slams him into wall
again. Again, the lifting crane rotates in the opposite direction and slams MR. PINKLE
into the wall above the bed. As the crane swings MR. PINKLE around
once more, he tries to reach out to the controls.
MR. PINKLE
Hey Bobby uh Bob - Bob I can’t reach
the switch. Bobby I’ve got a problem here.
MUSIC ENDS: FRESHLY SQUEEZED (0:40 - 3:48)
CUT TO:
EXT. ROADHOUSE - DAY
We PAN over a CLOSE-UP of the red neon sign of the Roadhouse Bar. The sign has an
outline of a gun in neon and the alternating flashing words ‘Bang’.
CUT TO:
INT. ROADHOUSE - DAY
INSERT: CLOSE-UP GAVEL
We view a CLOSE-UP on a gavel as it is hammered three times.
BACK TO SCENE:
Seated behind a desk that is centered on the stage is JUDGE CLINTON
STERNWOOD. To the left of him is seated his law clerk, SID. To
the right of him is the COURT RECORDER. The stage has the red
curtains drawn behind them and two flags are positioned behind the
Judge’s desk.
JUDGE STERNWOOD
Mr. Palmer has pleaded not guilty to
the charge of murder in the first degree. The defense has requested
bail.
In the main room, all the tables have been
put aside and the chairs have been placed in rows facing the stage.
LELAND PALMER, dressed in a gray suit, sits in the front row.
MADELEINE FERGUSON and SARAH PALMER sit together two rows behind LELAND.
JUDGE STERNWOOD
This pretrial hearing is to determine
whether that bail will be granted.
Separated by an aisle, SHERIFF TRUMAN and
DEPUTY ANDY BRENNAN sit to the left of LELAND. AGENT COOPER sits
in the row behind ANDY. TOAD sits behind COOPER eating away at a hamburger.
JUDGE STERNWOOD
DISTRICT ATTORNEY DARYL LODWICK gets up
from his chair where he was seated at a table positioned between
the rows of chairs and the stage. To the right of him sits the
defense attorney at a different table. LODWICK walks near the
stage and paces as he speaks.
LODWICK
We the people of the state of Washington
move that the defendant be denied bail. On the basis of: one,
the great seriousness of the crime for which he has been accused;
two, the apparently premeditated nature of this act; and three,
the oft witnessed instability of Mr. Palmer during the period
following the death of his daughter.
SARAH looks at the expression on her husband’s face.
MUSIC: LOVE THEME FROM TWIN PEAKS (1:03 - 4:34)
JUDGE STERNWOOD
Sheriff Truman will speak for the defense.
SHERIFF TRUMAN stands up. ANDY is drawing on a sketch pad.
SHERIFF TRUMAN
Your honor, Leland Palmer is a well
known, well liked, well respected member of this community.
Pleased by the comment, LELAND looks over to SHERIFF TRUMAN as does SARAH.
SHERIFF TRUMAN
His roots go way back. His grandfather,
Joshua Palmer, brought the family here more than 75 years ago
Seated at the bar, BENJAMIN HORNE tosses peanuts into his mouth as he listens to the trial.
SHERIFF TRUMAN
Your honor, no one ... can know ...
what its like to lose a daughter the way Leland did. That’s all.
JUDGE STERNWOOD
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS (1:03 - 4:34)
SHERIFF TRUMAN sits back down.
JUDGE STERNWOOD
Mr. Lodwick uh would you care to present
...
ANDY
(whispered to TRUMAN) I thought I might
sell this to the gazette. They seem to like court room sketches.
SHERIFF TRUMAN looks over the sketch ANDY made.
INSERT: CLOSE-UP SKETCH
We view a CLOSE-UP of the sketch ANDY has been working on. The
sketch is a black outline of the back of LELAND’S head.
JUDGE STERNWOOD (OFF SCREEN)
... any further testimony?
There is no response.
JUDGE STERNWOOD (OFF SCREEN)
So witnesses for the defense, thank you gentlemen.
BACK TO SCENE:
COOPER bends forward and pokes his head between ANDY and TRUMAN to take a look at sketch.
SHERIFF TRUMAN
(whispered to ANDY) Well why don’t
you try for a little more face then that.
ANDY’S POV:
Through ANDY’S POV we look over to LELAND and see mostly the back end of his left profile.
JUDGE STERNWOOD (OFF SCREEN)
On the basis of this high standing
community and the pristine nature of his public and ...
SHERIFF TRUMAN (OFF SCREEN)
(whispered to ANDY) Just an idea.
INSERT: CLOSE-UP SKETCH
We FOCUS on a CLOSE-UP of the sketch ANDY is working on. The sketch is composed of the exact view ANDY is getting of LELAND.
JUDGE STERNWOOD (OFF SCREEN)
BACK TO SCENE:
ANDY
(whispered to TRUMAN) Good, thanks
sheriff.
JUDGE STERNWOOD
... and his respect for law, the defendant
is released on his own recognizance.
LELAND smiles. SARAH and MADELEINE are relieved.
JUDGE STERNWOOD
LELAND stands up.
JUDGE STERNWOOD
MUSIC: LAURA PALMER’S THEME (PIANO SOLO)
JUDGE STERNWOOD
... I will require you to remain in
town ...
BENJAMIN tosses another peanut into his
mouth, stands up and makes his way to the door - all the while
he casts an eye towards LELAND.
JUDGE STERNWOOD
... and making your whereabouts known
to the sheriff on a regular basis. Sid, check the calendar and
we’ll set a date for Mr. Palmer’s trial as soon as possible.
SID writes on her calendar. LELAND smiles as he stands.
MUSIC ENDS: LAURA PALMER’S THEME (PIANO SOLO)
CUT TO:
EXT. HAROLD SMITH’S APARTMENT - DAY
An establish shot. From the window, two fingers grab hold of single blade of the
venetian blinds and pull it down.
CUT TO:
INT. HAROLD SMITH’S APARTMENT - DAY
At the door, HAROLD SMITH unlocks the deadbolt and opens the door
to reveal DONNA HAYWARD holding a food tray. HAROLD holds a glass
of wine in his right hand. HAROLD smiles at DONNA.
HAROLD
DONNA
HAROLD
HAROLD grabs the tray from DONNA and places it
on top of a cabinet just to the left of her. HAROLD lifts the metal
cover off the plate of food.
HAROLD
Still standing by the door and facing each other, HAROLD takes a sip from his glass.
HAROLD
So, what’s behind those deep blue eyes
today?
DONNA
I’ve got a proposition for you. Share
my life with you, tell it to you, part of your living novel.
If you let me read Laura’s diary.
MUSIC: HAROLD’S THEME 32K
HAROLD walks into the room and thinks it over.
HAROLD
HAROLD turns back to face DONNA.
HAROLD
I’ll read it to you ... but it mustn’t
physically leave this room.
DONNA
HAROLD motions to DONNA to enter. They both walk into the room.
HAROLD
DONNA turns to face HAROLD.
DONNA
HAROLD
A bargain has been struck.
HAROLD gestures to DONNA to take a seat
on the chair. DONNA removes her long black coat, to reveal a pink
top and blue skirt, and takes a seat on the chair. HAROLD moves
over to the bookcase behind her and bends down. HAROLD positions his
right hand on a triangular headed wooden peg that holds a shelf
in place. He turns the peg and the shelf and backing move forward.
This small cache reveals half a dozen small books. HAROLD looks over
his shoulder to DONNA. DONNA had been watching and quickly turns
away. HAROLD grabs one book out of the cache and closes it back up.
HAROLD stands back up, grabs his glass of wine and walks over
to his desk that is positioned in front of DONNA. HAROLD smiles at
DONNA as he passes her. HAROLD takes a seat at the desk, grabs a pen,
and writes on the front of a Mead composition pad.
HAROLD
HAROLD opens the small book to the first page,
creases it down, places a fine cloth bookmark on that page and writes the date.
HAROLD
DONNA
Alright. I’m from Twin Peaks. Actually,
I was born here. My father delivered me, he’s a doctor. Where
are you from?
HAROLD is caught off guard by the question.
HAROLD
I grew up in Boston. (slightly embarrassed)
Well, actually, I grew up in books.
DONNA boldly leans forward.
DONNA
There’s things you can’t get in books.
HAROLD
There’s things you can’t get anywhere
... but we dream that they can be found in other people.
Slightly embarrassed, HAROLD smiles.
HAROLD
DONNA
Maybe our dreams are real.
HAROLD turns to look at DONNA, slightly amazed
by her statement. DONNA stares at HAROLD but quickly and unexpectedly
grabs LAURA’S diary from table.
DONNA
DONNA stands up and backs up toward the door. Concerned, HAROLD stands up.
HAROLD
DONNA
(smiling) Maybe I’ll read it out here
on the lawn.
HAROLD moves toward DONNA but she backs up closer to the door.
HAROLD
Please, we only just started.
DONNA
Why don’t you come with me. Come on,
what’s there to be afraid of?
DONNA opens the door and steps outside.
DONNA
MUSIC ENDS: HAROLD’S THEME 32K
HAROLD walks up to doorway.
MUSIC: HAROLD’S DARKNESS
HAROLD
Please, give that back to me.
HAROLD takes a step outside and reaches out
with his right hand. Teasingly, DONNA takes a step backward away
from him. HAROLD freezes in his tracks and looks at his right
hand as it begins to shake.
SOUND EFFECT: MUSICAL SHRIEK 7K
Still shaking, HAROLD looks up to the sky.
DONNA
Shaking, HAROLD falls to the ground.
MUSIC: SWOOPING AWARENESS 7K
DONNA
DONNA drops the book beside him and puts her hands around his head to try to comfort him.
DONNA
Laying in a nearly fetal position on the
ground, HAROLD continues to shake. HAROLD reaches over and grabs LAURA’S
diary off the ground and holds it to his chest.
MUSIC ENDS: HAROLD’S DARKNESS
FADE OUT:
FADE IN:
INT. ROADHOUSE - DAY
INSERT: CLOSE-UP GAVEL
We FOCUS on a CLOSE-UP of a gavel as it is hammered three times.
INSERT: CLOSE-UP ENLARGED PHOTOGRAPH
We FOCUS on a CLOSE-UP of an enlarged black and white photograph of LEO JOHNSON that is supported on an easle on the stage.
BACK TO SCENE:
JUDGE STERNWOOD sits behind a desk that is centered on the stage.
STERNWOOD’S law clerk, SID, sits to the left of him. The court recorder
sits to the right of STERNWOOD. The stage has the red curtains drawn
behind them and has two flags positioned behind the Judge’s desk.
JUDGE STERNWOOD
The defense will continue with its
evidence. If you would Mr. Racine.
DEFENSE ATTORNEY MR. RACINE stands up.
MR. RACINE and his female law clerk, who are oddly dressed in same the
brown suits and ribbon ties, are sitting together at a table
just in front of the stage. To the left of MR. RACINE sits the district
attorney at a different table. MR. RACINE holds up a computer print out.
RACINE
You can see from these EEG’s, this
chart here which is actually of my own head ...
INSERT: CLOSE-UP EEG CHART
We FOCUS on a CLOSE-UP of the EEG chart and see that lines that represent
brain activity are of varying scribbled wavy lines.
RACINE (OFF SCREEN)
... is intended to show normal brain activity ...
BACK TO SCENE:
MR. LODWICK stands up in protest.
LODWICK
Objection to the use of the word normal, your honor.
JUDGE STERNWOOD
Well he’s close enough. Objection overruled.
Disappointed, MR. LODWICK sits back down.
RACINE
This chart here is of Mr. Johnson and shows minimal activity.
INSERT: CLOSE-UP EEG CHART
We FOCUS on a CLOSE-UP of another EEG chart and see that lines that represent
brain activity are nearly straight lines instead of varying scribbled waves.
BACK TO SCENE:
MR. RACINE hands the EEG charts to SID who passes the charts to JUDGE STERNWOOD.
RACINE
Previously submitted medical reports
states that Mr. Johnson has suffered diffuse brain damage. He
doesn’t currently even have the perspicacity to take the standard
CST competency test.
MR. RACINE walks across the front of the
stage and up to the poster of LEO JOHNSON. MR. RACINE points to the enlarged
photograph of LEO’S picture while in a coma.
RACINE
We therefore submit that trying this
individual constitute a mockery of the justice system. A proceeding
that the unfortunate young man would not even faintly comprehend.
JUDGE STERNWOOD nods his approval of the argument.
JUDGE STERNWOOD
In the row of chairs behind the tables,
SHERIFF TRUMAN sits behind the prosecutor table. SHELLY sits behind
the table of the defense. AGENT COOPER sits behind SHELLY. MR. LODWICK
sternly looks at MR. RACINE, scratches his beard and then stands up.
LODWICK
I know Leo Johnson isn’t in very good
shape. On the surface it might seem ridiculous to make him stand
trial but the trial does more then just punish the wrongdoer.
It also brings a feeling of justice and retribution to a community.
JUDGE STERNWOOD rolls his eyes.
LODWICK
Among the various crimes Leo Johnson
is suspected of, the murder of Laura Palmer is the sort that
can wound an entire town. As long as Leo Johnson carries a breath
he is ...
JUDGE STERNWOOD
LODWICK
... as eminently deserving of a trial ...
JUDGE STERNWOOD
LODWICK
... as this community is of a sense of resolution!
JUDGE STERNWOOD
Alright! Now have a seat Mr. Lodwick.
Again disappointed, MR. LODWICK rubs his beard and takes a seat.
JUDGE STERNWOOD
Now you fellas can catch your breath.
Uh I uh ... am going to need to deliberate.
JUDGE STERNWOOD stands up.
JUDGE STERNWOOD
Uh Mr. Cooper, Sheriff Truman if I
could have the pleasure of your company.
COOPER raises his left hand.
We FOCUS on SID as she walks behind the bar of the Roadhouse. JUDGE STERNWOOD, SHERIFF TRUMAN and
AGENT COOPER walk over to the bar and take a seat.
JUDGE STERNWOOD
Sid, can you fix us up with three black
Yukon sucker punches?
SID
JUDGE STERNWOOD
Lodwick really planted his feet and
looked me in the eye. I didn’t expect him to press on the murder
charge.
COOPER passes out napkins.
JUDGE STERNWOOD
Cooper, is Leo Johnson our man?
COOPER
No sir, I don’t believe he is.
JUDGE STERNWOOD
Harry, what’s the temperature of the
town, uh do they want a trial or a lynching?
SHERIFF TRUMAN
They want the right man brought to
justice.
JUDGE STERNWOOD
Hmm well they don’t need a circus ...
and this poor bastard, he seems to be a heady cabbage. Thoughts
Cooper?
SID places a tall straight glass, half
filled with a dark liquid and the top half filled with a blue
foamy head, in front of each of them.
COOPER
I feel the killer with eventually be
apprehended.
JUDGE STERNWOOD
You have to watch these. They sneak
up on ya’.
JUDGE STERNWOOD and SHERIFF TRUMAN take
a drink. COOPER nervously eyes the glass and does not take a drink.
As TRUMAN continues to drink, JUDGE STERNWOOD turns his head to
look back into the room.
JUDGE STERNWOOD’S POV:
MUSIC: FRESHLY SQUEEZED (ORGAN SOLO)
From JUDGE STERNWOOD’S POV, SHELLY quietly sits alone.
BACK TO SCENE:
MUSIC ENDS: FRESHLY SQUEEZED (ORGAN SOLO)
JUDGE STERNWOOD
Well I’m going to declare Leo Johnson
to be not confident to stand trial and, when medically possible,
that he be shipped home. Harry, do you want to tell the little
lady yourself.
COOPER picks up the glass and looks at
its blue foamy contents. SHERIFF TRUMAN pats JUDGE STERNWOOD’S left arm.
SHERIFF TRUMAN
SHERIFF TRUMAN gets up and leaves the bar to tell SHELLY the news. COOPER smells the contents of his glass.
JUDGE STERNWOOD
Cooper, how long ya’ been here?
COOPER
We FOCUS on SHERIFF TRUMAN as he takes a seat next to SHELLY. Facing SHELLY, TRUMAN puts
a hand on top of her hands which she has crossed on her knee.
MUSIC: FRESHLY SQUEEZED (ORGAN SOLO)
SHERIFF TRUMAN
They're not going to try him.
SHELLY
SHERIFF TRUMAN
Treating it as good news, SHERIFF TRUMAN smiles.
COOPER and JUDGE STERNWOOD remain seated at the bar. COOPER has still not touched his drink.
JUDGE STERNWOOD
I’ll advise you to keep your eyes on
the woods. The woods are wondrous here ... but strange.
We FOCUS on SHELLY as she responds to TRUMAN.
SHELLY
SHERIFF TRUMAN pats SHELLY’S hand and leaves. SHELLY, however, isn’t happy with the news and
lets out a small sigh.
CUT TO:
EXT. BIG ED’S GAS FARM - DAY
An establish shot. We view the front of ‘BIG’ ED HURLEY’S gas station.
CUT TO:
INT. HURLEY HOUSE - DAY
JAMES HURLEY walks to the front door to open it but the door opens before
he gets there. In steps NADINE HURLEY and ‘BIG’ ED HURLEY.
MUSIC ENDS: FRESHLY SQUEEZED (ORGAN SOLO)
JAMES
Can I get you anything Nadine?
NADINE stares at JAMES.
NADINE
JAMES
BIG ED gestures with a head nod for JAMES
to move on. JAMES starts to walk off but NADINE reaches out and grabs his left arm.
NADINE
You go to the high school?
JAMES
NADINE
Yeah, it took me a second. You’re not in any of my classes.
BIG ED, holding NADINE’S arm, pushes her into the room.
BIG ED
Why don’t you sit down honey. Let me get you a drink.
NADINE
NADINE walks away with a bounce in her step
but before she reaches the kitchen she stops and then quickly
turns around. With a frightened expression on her face, NADINE asks ...
NADINE
Caught off guard by the question BIG ED nervously looks back to JAMES but quickly answers ...
BIG ED
Ohhhh uhhhhh, out of town.
NADINE
NADINE’S smile returns, turns around and hops into the kitchen as she sings ...
NADINE
You’re a jack and I’m a jack. A steeple jack ...
JAMES and BIG ED are now alone in the room.
JAMES
BIG ED wears a perplexed expression.
BIG ED
Doc Hayward said to roll with the punches.
JAMES
Have you thought about maybe taking
her to see Dr. Jacoby?
BIG ED
Nahhh, he’s in Hawaii recovering from
that heart attack.
A sudden SCREECH of wrenching metal and
a THUD comes from kitchen. BIG ED and JAMES look towards the doorway
of the kitchen as NADINE steps into the room holding the door
of the refrigerator, by its handle, in her left hand.
MUSIC: UNEASY FEELINGS
NADINE
Demonstrating, NADINE jerks the refrigerator
door into the air. Eyes wide open, JAMES and BIG ED stare in disbelief.
CUT TO:
EXT. THE GREAT NORTHERN - DAY
MUSIC ENDS: UNEASY FEELINGS
An establish shot. We view the highway as a logging truck drives
by. We PAN to the right to see the Great Northern Hotel and FOCUS
on the large sign of the hotel.
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
BENJAMIN enters his office carrying a briefcase. The telephone
on the desk is RINGING. Before BEN reaches his desk the speakerphone announces ...
BEN’S SECRETARY (OFF SCREEN)
(from speakerphone) Mr. Tojamora is here.
BENJAMIN
MR. TOJAMORA and an ASSISTANT enter the
office. MR. TOJAMORA helps himself to a chair in front of BEN’S
desk and sits down before BEN can sit down in his own chair.
BENJAMIN
Excuse me, uh ... do you have an appointment, mister ..?
MR. TOJAMORA has a gravely voice with an Asian accent.
TOJAMORA
Tojamora. I represent Asian investment
firm. We have superior offer for Ghostwood project.
The ASSISTANT opens a briefcase and hands some documents to MR. TOJAMORA. BEN checks his watch.
TOJAMORA
I have commitment letters from Tokyo
fax. Prepared to move immediately.
MR. TOJAMORA tosses the documents on BEN’S desk.
BENJAMIN
This all sounds very interesting uh
but unfortunately I have a very important conference call in
a couple of minutes ...
BEN checks his watch again.
TOJAMORA
The ASSISTANT opens the briefcase again and hands a check to MR. TOJAMORA.
BENJAMIN
TOJAMORA
MR. TOJAMORA tosses the check on top of the documents on BEN’S desk. BEN takes an
interest in the check. He picks it up and looks it over.
TOJAMORA
INSERT: CLOSE-UP CHECK
We FOCUS on a CLOSE-UP on the check to see that it is made out for 5,000,000 dollars.
BACK TO SCENE:
BEN smiles.
BENJAMIN
CUT TO:
INT. THE GREAT NORTHERN - DAY
MUSIC: ANDY’S THEME 48K
HANK JENNINGS walks up a hallway of the hotel. BOBBY walks discretely behind HANK,
keeping an eye on him. HANK looks over his shoulder and BOBBY quickly
ducks out of view. HANK walks on and BOBBY quickly moves up the
hallway and off to the side just as AGENT COOPER starts to walk
up the hallway. COOPER carries a duck call in his hand and blows
into it, creating a quack sound, as he casually walks up the hall.
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
HANK enters BEN’S office through the secret door in the corner of the
room near the desk but he quickly ducks back in as he sees that
BEN is busy with some people who are at the front doors of the office.
MUSIC ENDS: ANDY’S THEME 48K
BENJAMIN
I would like you to leave these with
me. Let my people have a look at them.
TOJAMORA
BEN bows to MR. TOJAMORA. MR. TOJAMORA returns the bow.
BENJAMIN
BEN bows to the ASSISTANT and he returns the bow. BEN closes the doors behind MR.
TOJAMORA and his ASSISTANT after they leave. BEN nervously rubs his hands as he walks over
to the secret back door. BEN opens it and HANK pokes his head through.
HANK
BEN quickly closes the door on HANK and walks over to his desk. The telephone RINGS.
INSERT: CLOSE-UP SPEAKERPHONE
We FOCUS on a CLOSE-UP of the speakerphone as BEN’S SECRETARY announces ...
BEN’S SECRETARY (OFF SCREEN)
(from speakerphone) Your
call from Canada, Mr. Horne.
BACK TO SCENE:
AGENT COOPER enters the office.
COOPER
BENJAMIN
BEN points at COOPER.
BENJAMIN
(scornfully) You
pushed it pretty close.
COOPER walks over to the couch, takes a seat in the middle and rests both of his arms stretched out
on the head of the couch.
BENJAMIN
BEN presses a button on the speakerphone. JEAN RENAULT speaks on the other line with a
French-Canadian accent.
JEAN (OFF SCREEN)
COOPER whispers an instruction to BEN.
COOPER
MUSIC: TWIN PEAKS AT NIGHT (0:00 - 0:10)
BENJAMIN
I want to talk to my daughter.
JEAN (OFF SCREEN)
That can wait for tonight. One time,
across the border, five mile east of Grand Fork on the road to
Castlegar.
BEN writes the instructions down.
JEAN (OFF SCREEN)
There’s a bar called the Colombian.
Behind it is a failed amusement park. Go to the merry-go-round.
Leave the briefcase beside the horse with no head. At midnight,
alone.
BENJAMIN
I’ll be sending my representative.
The line on the other end hangs up.
MUSIC ENDS: TWIN PEAKS AT NIGHT (0:00 - 0:10)
BEN reaches down beside his desk and picks up a briefcase. BEN
puts the briefcase on his desk and opens it.
BENJAMIN
Serialized denominations as you instructed.
BEN shows COOPER the money in the briefcase.
COOPER stands up to take a look. As COOPER reaches out for the
briefcase, BEN pulls it back away from him and points at COOPER
with the card with the instructions.
BENJAMIN
My daughter’s life is in your hands.
BEN throws the card in the briefcase and closes it. BEN hands the briefcase to COOPER.
MUSIC: RECUPERATIVE POWERS 8K
COOPER grabs the briefcase and heads toward the double doors of the office.
MUSIC ENDS: RECUPERATIVE POWERS 8K
Before COOPER leaves he turns back to BEN.
COOPER
MUSIC: LOVE THEME FROM TWIN PEAKS (DARK VERSION)
BEN pulls a cigar out of his interior suit pocket. BEN walks over
to the secret back door and knocks on it. HANK opens the door and walks out.
BENJAMIN
Follow him. Make sure he and the money
are neatly delivered. Bring Audrey back.
BEN lights his cigar.
HANK
Cooper’s not bringing her back?
BENJAMIN
Cooper isn’t coming back. If you can
manage it, bring back Audrey and the briefcase.
HANK leaves through the secret back door. BEN walks over to his desk, opens a
drawer and pulls out the check he just received from MR. TOJAMORA.
BENJAMIN
Five million dollars. Now that’s a
good days work.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS (DARK VERSION)
FADE OUT:
FADE IN:
EXT. HAYWARD HOUSE - NIGHT
MUSIC: LAURA PALMER’S THEME
An establish shot. We view the front of HAYWARD family home under a night sky.
CUT TO:
INT. HAYWARD HOUSE - NIGHT
MUSIC: A NEW LOOK 77K
DONNA and MADELEINE sit closely together at the dining room table as DONNA explains her plan.
DONNA
Alright, once you’re in Harold’s apartment move as fast as you can.
MADELEINE
MUSIC ENDS: A NEW LOOK 77K
DONNA
Laura’s diary is in a secret shelf
at the very bottom of the bookcase behind a row of fake books.
INSERT: CLOSE-UP PLAN
We FOCUS on a CLOSE-UP of a drawing of a floor plan of HAROLD’S apartment.
DONNA (OFF SCREEN)
Now I think that there is a doohickey
on the right hand side that ...
BACK TO SCENE:
DONNA
... somehow lets the shelf slide out
and down. All the notebooks look the same except for Laura’s,
her’s is smaller with a red cover.
MADELEINE
Well how are you going to get him to
go outside?
DONNA combs her hair.
DONNA
Not outside, just out of the front
room.
MUSIC: A NEW LOOK 77K
DONNA
Then I’ll signal you with a flashlight
through the window. The door will be open.
MUSIC ENDS: A NEW LOOK 77K
MADELEINE
I thought you liked this guy?
DONNA stops combing her hair as she thinks about the question.
DONNA
CUT TO:
EXT. ONE-EYED JACKS - NIGHT
MUSIC ENDS: LAURA PALMER’S THEME
MUSIC: FRESHLY SQUEEZED (DARK VARIANT) 40K
An establish shot. We view the large sign of a jack, from the
playing card, with a neon flashing ‘J’ and one pulsating, BUZZING neon eye.
SOUND EFFECT: BUZZING EYE 14K
CUT TO:
INT. ONE-EYED JACKS - NIGHT
BLACKIE ‘BLACK ROSE’ O’REILLEY straps a knife ejection device
to the left wrist and arm of JEAN RENAULT. Finished, he demonstrates it.
JEAN
Okay, Cooper hand me the briefcase. I take it.
Using his right hand, JEAN nudges a trigger
on his upper left arm that sets off a spring that juts the knife
out into a bowl full of fruit. The knife goes right through a strawberry.
BLACKIE
BLACKIE takes the strawberry off of the
knife and slowly eats at it. JEAN wipes the blades of the knife
with his fingers and then licks his fingers.
JEAN
Well, he give up control of One-Eyed
Jack’s. Its yours.
JEAN reloads the knife into its firing position.
BLACKIE
JEAN stands up.
JEAN
You know, you love a good steak ...
but you don’t want to know how it got on to your plate.
JEAN grabs at BLACKIE’S left arm.
JEAN
You must be serious about your business, Blackie.
BLACKIE shrugs him off.
BLACKIE
How are you going to do the girl?
There’s a KNOCK at the door. JEAN waves
a hand to a tray filled with a syringe needle, a bent spoon, a
knife, a rubber hose and three tiny bags of heroine.
JEAN
JEAN walks away to answer the door. Behind JEAN’ back, BLACKIE takes a tiny bag of heroine for herself.
NANCY O’REILLEY enters the room. NANCY and BLACKIE stare each other down. BLACKIE leaves the room. NANCY walks up to JEAN.
JEAN
NANCY
JEAN lays back on a day bed.
JEAN
Come, come, come, come to me.
JEAN pats the bed, a gesture for NANCY to come over and take a seat. NANCY sits down
next to JEAN. JEAN lifts NANCY’S western outfit to reveal her stockings.
JEAN
When we have room, the girl’s dreams
are viscous and dark like beds and bankroll weeds???.
JEAN pinches at her thighs.
NANCY
JEAN makes a tsk-tsk sound.
NANCY
If we are to fall in love ...
JEAN whips out NANCY knife out of her boot with a metallic RING.
JEAN
We’ll have our fun tonight.
Using the knife, JEAN rips into NANCY’S stockings.
JEAN
NANCY smiles and moves to JEAN to kiss him.
MUSIC ENDS: FRESHLY SQUEEZED (DARK VARIANT) 40K
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
INSERT: CLOSE-UP NAME PLATE
We FOCUS on a CLOSE-UP of the name plate for LUCY MORAN’S reception
office inside the sheriff’s department building. ANDY is on the telephone.
ANDY (OFF SCREEN)
ANDY hangs up the telephone.
BACK TO SCENE:
Seated at LUCY’S station, ANDY reaches into his shirt pocket and
pulls out a slip of paper. ANDY dials the telephone.
NURSE (OFF SCREEN)
(from telephone) Laboratory services.
We slowly ZOOM OUT to see that the office, and ANDY included, are covered with small yellow Post-It notes.
ANDY
Yeah, I’m calling for some test results.
Doc Hayward said I could just call ya’ up and ...
NURSE (OFF SCREEN)
(from telephone) Yes, what test
was it for sir?
ANDY
NURSE (OFF SCREEN)
(from telephone) Yes please, sir.
ANDY
ANDY nervously peers around.
ANDY
(whispers) ... semen’s analysis, Brennan ... Andy.
NURSE (OFF SCREEN)
(from telephone) I’m sorry I can’t
hear you sir.
ANDY
NURSE (OFF SCREEN)
(from telephone) Oh, the doctor’s
analysis is Oglio Spermia sir.
ANDY
Yes, could you go slower. I want to
write all of this down.
Holding the phone with his left hand, ANDY grabs a pencil and writes on a Post-It note with his right hand.
NURSE (OFF SCREEN)
(from telephone) Oglio Spermia.
ANDY
NURSE (OFF SCREEN)
(from telephone) That’s right.
ANDY
That sounds terrible. I have that?
NURSE (OFF SCREEN)
(from telephone) No sir, you had
that.
ANDY
NURSE (OFF SCREEN)
INSERT: CLOSE-UP POST-IT NOTE
We FOCUS on a CLOSE-UP of the Post-It note that ANDY is writing on as he writes:
NURSE (OFF SCREEN) & ANDY
NURSE (OFF SCREEN)
(from telephone) Very good sir.
BACK TO SCENE:
ANDY
NURSE (OFF SCREEN)
(from telephone) Uh, the doctor
says there’s not just three men ...
ANDY
The doc says there are not just three
men ...
NURSE (OFF SCREEN) and ANDY
NURSE (OFF SCREEN)
(from telephone) ... their a whole
damn town.
ANDY
... their a whole damn town.
NURSE (OFF SCREEN)
(from telephone) That’s right sir.
Do you understand?
ANDY
Yeah I know what that means. It means
their not really real people their ...
NURSE (OFF SCREEN)
(from telephone) You know, I’m
sorry sir I’ve got another ...
ANDY
NURSE (OFF SCREEN)
(from telephone) You’re welcome sir.
ANDY
Thank you, thank you very much.
NURSE (OFF SCREEN)
ANDY hangs up the phone. In the background, SHERIFF TRUMAN walks out from around the corner of the hallway.
ANDY
Overhearing ANDY, SHERIFF TRUMAN walks up to the open door of the reception office
where ANDY is seated.
ANDY
Oblivious to what is going on, SHERIFF TRUMAN simply smiles and nods his head. TRUMAN walks off. Elated,
ANDY shouts ...
ANDY
SHERIFF TRUMAN walks into his office and closes the door. AGENT COOPER, sitting at
TRUMAN’S desk, turns around and gives him a puzzled look as to what the shout was about.
SHERIFF TRUMAN
Don’t ask. Where were we?
On the desk, is a floor plan of One-Eyed Jacks that was drawn by COOPER. The various rooms in the plan
are labeled as COOPER points them out.
COOPER
Okay, main bar and greeting room here,
casino and get acquainted room.
There is a KNOCK at the door.
SHERIFF TRUMAN
What’s this, Blackie’s office?
The door opens and DEPUTY HAWK enters the office holding a small plastic bag.
COOPER
We’ll find out when we get there.
COOPER quickly flips the plan over to hide it from HAWK. SHERIFF TRUMAN moves behind
his desk as HAWK moves up to them.
HAWK
The one-armed man is staying at the
Robin’s Nest Motel on highway nine. Nobody’s seen him for at
least a day - day and a half. The room looks lived in. I found
this, same drug as last time.
HAWK open the plastic bag and smells its contents.
HAWK
HAWK hands the bag over to SHERIFF TRUMAN who opens it and smells its contents.
COOPER
We’re still waiting on Albert’s analysis,
good work Hawk.
SHERIFF TRUMAN
Hawk, see ya’ in the morning.
Suspicious of the two, HAWK nods to them and walks toward the door. Before he leaves, HAWK
takes one last look into the room. After the door has closed, COOPER flips the plan over and
continues to explain his approach to finding AUDREY.
COOPER
Okay, we’ll approach through the woods
to the rear door. Inside are stairs leading down to the working
rooms.
MUSIC: THE BOOKHOUSE BOYS (2:12 - 2:31)
COOPER
My guess is that is where Audrey is
being held.
SHERIFF TRUMAN
What kinda of muscle do they have?
COOPER
A couple of floor men in the casino probably more in the back.
SHERIFF TRUMAN
MUSIC ENDS: THE BOOKHOUSE BOYS (2:12 - 2:31)
SHERIFF TRUMAN gets up from his seat behind his desk and grabs
his coat and hat. AGENT COOPER rolls up the plan, grabs his coat
and walks out of the office. COOPER and TRUMAN pass by ANDY, in the
reception office, as they exit out the front door of the building.
COOPER
SHERIFF TRUMAN
See ya’ in the morning Andy, good work.
ANDY is too occupied to respond to COOPER and TRUMAN
as they leave. ANDY looks through all the yellow scraps of Post-It
notes he has scattered throughout the office. ANDY lifts a note
pad out of the way and finds what he was looking for on a card
marked:
ANDY
ANDY grabs the telephone and dials one of the telephone numbers. ANDY gets a connection.
SECRETARY (OFF SCREEN)
(from telephone) Seattle Abortion Clinic.
ANDY
SECRETARY (OFF SCREEN)
(from telephone) Seattle Abortion Clinic.
ANDY quickly hangs up the phone.
ANDY
CUT TO:
EXT. STREET INTERSECTION - NIGHT
MUSIC: COUNTRY #2 44K
At a lonely intersection the street lights, being blown in the wind, change signals from green to yellow.
CUT TO:
EXT. DOUBLE R DINER - NIGHT
An establish shot. We view a CLOSE-UP of the red neon ‘RR’ - the sign
for the Double R diner.
CUT TO:
INT. DOUBLE R DINER - NIGHT
Seated at the island counter, JAMES eats dinner with a cup of
coffee. MADELEINE walks inside and up to the counter. JAMES looks
at MADELEINE. MADELEINE quickly orders.
MADELEINE
Can I get a cup of coffee to go?
JAMES
MADELEINE
Hi. (to WAITRESS) Large please.
JAMES
So have you seen Donna today?
MADELEINE goes through her purse for some money.
MADELEINE
JAMES
No. So what’s with the coffee?
MADELEINE
Coffee? It - its for Uncle Leland.
JAMES
(rhetorical) You don’t have coffee
at home?
MADELEINE places two coins on the counter.
The WAITRESS places a large Styrofoam cup on the counter and grabs the change.
MADELEINE
James I can’t talk now. I need to go.
JAMES
You need to go. Where you going?
MADELEINE
MADELEINE grabs her purse and the coffee and leaves. Bothered by her lack of response JAMES mulls it over.
JAMES suddenly stands up, tosses some money on the counter and walks off.
MUSIC ENDS: COUNTRY #2 44K
FADE OUT:
FADE IN:
EXT. HAROLD SMITH’S APARTMENT - NIGHT
MADELEINE’S POV:
Surrounded by pine needles, a gloved hand reaches out and pushes
a branch down as an owl HOOTS nearby. We FOCUS directly ahead
on the doorway to HAROLD’S apartment.
BACK TO SCENE:
MADELEINE, holding the Styrofoam cup of coffee, is hiding in the numerous branches
of a pine tree close to HAROLD’S apartment.
CUT TO:
INT. HAROLD SMITH’S APARTMENT - NIGHT
Once again seated at the chair in front of HAROLD’S desk, DONNA
nervously rubs her hands.
INSERT: CLOSE-UP NOTEBOOK
On a blank page of a book, HAROLD SMITH reads aloud what he writes.
HAROLD
Donna Hayward, March 7th, Tuesday, second session.
BACK TO SCENE:
DONNA
Dear diary. (smiles) Uh this is from
a long time ago, is that okay?
HAROLD nods his head for yes.
DONNA
I was about thirteen years old, fourteen
maybe. Me and Laura put on our tightest, shortest skirts - too
tight. Laura talked me into it. We were going to the Roadhouse
to meet boys. Their names are Josh, Rick and Tim. They’re about
twenty years old and they’re nice to us.
DONNA grabs herself a cigarette, lights it up and deeply expels the smoke.
DONNA
And they make us feel like we’re older.
Rick asked if we want to go party and Laura says yes and all
of a sudden I feel this knot building up in my stomach. But when
Laura gets in the truck with Rick I go anyway. Stream in the
woods. Full moon I think. Its pale and light out.
MUSIC: LOVE THEME FROM TWIN PEAKS
Acting out the scene, DONNA stands up, holds out her arms and
slowly twirls around in the middle of the room. HAROLD stops writing
and watches her.
DONNA
Laura starts to dance around the boys.
DONNA stops and then moves her hips.
DONNA
She begins to move her hips ... back
and forth.
DONNA stops moving her hips and folds her arms to her chest.
DONNA
Rick starts to clap but Tim doesn’t
do anything he just watches. Somehow that makes me angry. So
I say, ‘lets go skinny dipping’. So we take off our clothes.
DONNA tugs at her top near the neckline. HAROLD stares at her intensely.
DONNA
I know the boys are watching. Laura
starts to kiss Josh and Rick. I don’t know what to do. So I swim
away.
DONNA backs up.
DONNA
I feel like I want to run but I don’t.
Tim swims out to me.
DONNA moves forward, holds her left hand up and closes her eyes.
DONNA
He kisses my hand and then me.
DONNA runs her fingers over her lips.
DONNA
I can still feel that kiss. His lips
are warm and sweet. My heart jumps. He’s talking to me but I
can’t hear him.
DONNA opens her eyes.
DONNA
A hug and a kiss. I never saw him again.
It was the first time I ever fell in love.
Tears form in DONNA’S eyes. DONNA sits back down in her chair.
DONNA
HAROLD
That was beautiful Donna.
INSERT: CLOSE-UP CIGARETTE
We FOCUS on a CLOSE-UP of the long undisturbed ash of DONNA’S cigarette
which quickly falls off and falls onto the chair.
CUT TO:
EXT. WOODS - NIGHT
We FOCUS on pine trees being blown in the wind.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
EXT. ONE-EYED JACK’S - NIGHT
An establish shot. We FOCUS on a CLOSE-UP of the large sign of a jack,
from the playing card, with a neon flashing and buzzing ‘J’.
AGENT COOPER and SHERIFF TRUMAN are walking in the woods just outside of the building.
COOPER quickly bends down and hides behind a large bush as he sees someone.
COOPER’S POV:
Through COOPER’S POV, a single GUARD, dressed in a suit, smokes a cigarette near the
door to the building.
BACK TO SCENE:
COOPER looks back at SHERIFF TRUMAN.
SHERIFF TRUMAN
SHERIFF TRUMAN walks off to take care of the GUARD. An owl HOOTS. AGENT COOPER looks up.
INSERT: CLOSE-UP OWL
We FOCUS on a CLOSE-UP on the face of a large owl in the tree that
is looking down at COOPER.
BACK TO SCENE:
COOPER becomes a little spooked at the sight of the owl.
We FOCUS on the GUARD at the back door to the building as he
continues to smoke his cigarette. The GUARD has no time
to react as SHERIFF TRUMAN walks up to his right side and grabs
his crotch - and grabs tightly. The GUARD freezes, raises his
head up and grunts in pain. TRUMAN quickly places a blue rubber
ball into his mouth, to gag him, and places some black tape over
his mouth. TRUMAN turns him around, grabs him by the back of his
hair and slams him head first into the double French doors of
the building, which open slightly as the GUARD’S head hits the
doors. The GUARD falls back on the ground out cold. COOPER quickly
comes out from behind the bushes and helps TRUMAN move the GUARD
inside the building.
CUT TO:
INT. ONE-EYED JACK’S - NIGHT
MUSIC: COUNTRY #2 44K
At the bottom of the stairs that lead to the rear exit,
a sign reads ‘Future Tiberain Baths’ and ‘Please Excuse Our
Mess.’ We PAN up and to the right as AGENT COOPER and SHERIFF
TRUMAN walk down the stairs. They pause as two ’52 PICK-UP girls
escort a CUSTOMER just past the end of the hall. The walls of
the hallway are covered with red drapes and there are small bronze
statues on pedestals positioned equidistant and across from each
other. COOPER and TRUMAN look around. COOPER unfolds his plan
of the building.
COOPER
SHERIFF TRUMAN follows COOPER into another
hallway that is wallpapered with a flower design. A doorway draped
with red curtains has several GENTLEMEN and WORKING GIRLS inside.
A ’52 PICK-UP and CUSTOMER #2 leave the room and enter the
hallway. COOPER and TRUMAN turn away so as to not be noticed.
The ’52 PICK-UP looks at them but pays them no bother. She and
her customer walk down the hall. All clear, COOPER and TRUMAN
walk down the hall.
MUSIC ENDS: COUNTRY #2 44K
COOPER and TRUMAN pass a bend in the hallway. COOPER checks his map. As COOPER
and TRUMAN pass a closed door they hear a woman gasp. COOPER stops and puts
his head near the door to listen if its a woman in trouble. The
woman giggles so COOPER and TRUMAN move on. COOPER and TRUMAN come to a fork
in the hallway.
COOPER
COOPER walks down one of the hallways as TRUMAN looks around as he waits at the fork
of the hallway. COOPER returns.
COOPER
With SHERIFF TRUMAN leading, COOPER and TRUMAN both
walk down the other fork of the hallway. As TRUMAN passes another
bend in the hallway he turns his head to look into a glass French
door. Alerted by people in that room he takes a quick step back
and holds out his left arm to warn and stop COOPER. TRUMAN carefully
peers into the room.
SHERIFF TRUMAN’S POV:
Through SHERIFF TRUMAN’S POV we look through the veiled glass
door and into BLACKIE’S office. With their backs to the door,
JEAN and BLACKIE are standing near her desk.
BACK TO SCENE:
TRUMAN turns to COOPER and holds up two fingers.
SHERIFF TRUMAN
COOPER
TRUMAN shakes his head for no. COOPER quickly points at his chest and then down
the hall - a nonverbal message that he’s going to walk down the hall. TRUMAN
nods his understanding. COOPER walks off. TRUMAN stays near the door and returns
to looking into BLACKIE’S office.
SHERIFF TRUMAN’S POV:
Again through SHERIFF TRUMAN’S POV we look through the veiled
glass door of BLACKIE’S office. To the left of BLACKIE’S desk is a monitor
which has the image of AGENT COOPER in his tuxedo, the night he
was looking for JACQUES RENAULT. We PAN to the right to see the
back of JEAN and BLACKIE still standing in front of her desk.
CUT TO:
INT. BLACKIE’S OFFICE - NIGHT
MUSIC: AUDREY’S DANCE
We FOCUS on a syringe needle as some fluid is push out to remove
air bubbles. We BACK UP to view JEAN capping the syringe and BLACKIE
pouring herself a drink from a fine glass liquor bottle.
BLACKIE
Not such a bad way to go, all things considered.
JEAN
No - no - no beautiful. Is she alone?
BLACKIE
JEAN grabs a glass.
JEAN
BLACKIE
What does she do for you I can’t?
JEAN
Angered by the comment BLACKIE cocks her
arm back slightly to throw her drink in his face. JEAN quickly
nudges her arm aside so that the liquid from the glass does not hit him.
JEAN
CUT TO:
CLOSE-UP WAXING CRESCENT MOON
We FOCUS on a CLOSE-UP on the waxing crescent moon in the dark night.
MUSIC ENDS: AUDREY’S DANCE
CUT TO:
EXT. HAROLD SMITH’S APARTMENT - NIGHT
MADELEINE, still hiding in bushy pine branches, slurps from her
Styrofoam cup of coffee as she waits for DONNA’S signal.
MADELEINE’S POV:
Surrounded by pine needles, we get MADELEINE’S POV as we FOCUS
directly ahead on the doorway to HAROLD’S apartment.
CUT TO:
INT. HAROLD SMITH’S APARTMENT - NIGHT
INSERT: CLOSE-UP ORCHID
We view a CLOSE-UP on the white petal of an orchid. We PAN UP and FOCUS on another petal.
HAROLD (OFF SCREEN)
Most people imagine orchids growing in exotic, steamy places but you can grow them anywhere.
CLOSE ON: DONNA’S EYE
We FOCUS on a CLOSE-UP of DONNA’S eye as she peers through a small
magnifying lens to look closely at the orchid.
HAROLD (OFF SCREEN)
Its all basically a matter of water and light, isn’t it.
BACK TO SCENE:
MUSIC: HAROLD’S THEME 68K
DONNA
Standing beside HAROLD in a room used as
a plant nursery, DONNA slowly returns the magnifying lens to HAROLD’S
chest where it is hanging from a string around his neck. DONNA
longingly looks at HAROLD as he reaches out and cuts the stem off a plant.
HAROLD
HAROLD holds the stem, that has several small orchid flowers on it, between himself and DONNA.
HAROLD
See humidity is paramount, well the
control of it I mean. Too much moisture is an invitation to disease.
INSERT: CLOSE-UP ORCHID
We FOCUS on a CLOSE-UP of the red and white flower of an orchid. HAROLD
points out the petals as he identifies them.
HAROLD
Three sepals and three petals and the
bottom petal shaped like a lower lip is called a labellum.
DONNA touches the labellum with the tip of her index finger.
DONNA
BACK TO SCENE:
HAROLD
Well its ah ... a landing platform,
really, for pollinating insects.
DONNA
HAROLD and DONNA look into each others eyes. HAROLD
touches DONNA’S hand and lifts her hand up. DONNA closes her eyes
as HAROLD kisses the palm of her hand. HAROLD slowly moves to DONNA’S
lips and gently kisses her. HAROLD kisses DONNA again with another small
touch on the lips. DONNA places a hand on his cheek as they kiss.
DONNA’S kiss becomes more passionate but HAROLD starts to back
off. DONNA leans forward as she continues to kiss him but HAROLD
finally breaks away.
HAROLD
Will you excuse me a minute.
MUSIC ENDS: HAROLD’S THEME 68K
HAROLD walks away. DONNA stares in his direction in confusion.
We FOCUS on DONNA as she walks into the dark main room of the apartment.
DONNA goes through her purse for a flashlight. DONNA picks up the flashlight,
walks over to the front window by the door and through the open
Venetian blinds repeatedly turns the flashlight on and off as
a signal for MADELEINE.
CUT TO:
EXT. HAROLD SMITH’S APARTMENT - NIGHT
MADELEINE is still hiding in the bushy pine branches. MADELEINE’S eyes
widen as she sees DONNA’S signal in the window.
MADELEINE’S POV:
Surrounded by pine needles, we get MADELEINE’S POV as the
flashlight blinks on and off in the window near the front door of the
apartment.
BACK TO SCENE:
MADELEINE moves out from her hiding place in the bushy pine branches.
MADELEINE walks over to the front door of the apartment.
CUT TO:
INT. ONE-EYED JACK’S - NIGHT
MUSIC: LAURA PALMER’S THEME
AGENT COOPER walks into the open door of a room. NANCY O’REILLEY
quickly walks up to him. COOPER puts on a friendly act as he smiles
and moves a hand out to shake hands with NANCY.
COOPER
Hi, would you take me to ...
As NANCY holds her hand out to shake his
hand, COOPER quickly grabs her hand, twirls her around and bends her arm behind her back.
COOPER
NANCY grimaces in pain. COOPER grabs NANCY’S other arm.
NANCY
Oww, I don’t think she available.
COOPER
MUSIC ENDS: LAURA PALMER’S THEME
CUT TO:
INT. AUDREY’S ROOM AT ONE-EYED JACK’S - NIGHT
A door swings open to reveal AGENT COOPER and NANCY. Still holding
her arm behind her back, COOPER pushes NANCY into the room. COOPER
spots AUDREY HORNE laying on a bed with her hands tied to the
bed post. Heavily drugged, AUDREY sleeps.
MUSIC: THE BOOKHOUSE BOYS (2:12 - 3:24)
COOPER throws NANCY into the room. COOPER walks over to AUDREY. NANCY
clings to a tall corner bed post at the foot of the bed. COOPER
kneels down close to AUDREY and touches her face.
NANCY
Its not my idea, okay. You’re nothing
but meat on a hook to these people.
COOPER quickly turns to NANCY.
COOPER
COOPER returns his attention to AUDREY.
COOPER
AUDREY groans and moves slightly. With
COOPER preoccupied with AUDREY and being partially concealed by
the red drapes on the bed post, NANCY bends down and pulls her
knife out of her boot. As NANCY gets her knife, COOPER looks over
his shoulder and with the help of a mirror against the wall spots
her actions but doesn’t react yet. AUDREY opens her eyes.
AUDREY
COOPER
Oh Audrey, I’m going to take you out
of here.
Holding the knife down in the right fist
of her hand, NANCY slowly moves from behind the red curtain and
over to COOPER. Without even looking back, COOPER reaches out
with his left hand and grabs NANCY’S wrist. Still on his knees,
he throws her against the wall and punches her in the stomach.
NANCY collapses to the floor. COOPER grabs NANCY’S knife and uses
it to cut the rope that ties AUDREY to the bedpost. COOPER picks
AUDREY up, tosses her over his shoulder and carries her out of
the room.
MUSIC ENDS: THE BOOKHOUSE BOYS (2:12 - 3:24)
CUT TO:
INT. ONE-EYED JACK’S - NIGHT
SHERIFF TRUMAN’S POV:
Through SHERIFF TRUMAN’S POV we look through the veiled glass
door and into BLACKIE’S office. JEAN and BLACKIE stand in the
middle of the room facing each other as they talk. JEAN slips
a rubber hose into his suit pocket.
BACK TO SCENE:
Bent down beside the door to BLACKIE’S office, SHERIFF TRUMAN
looks through the glass door of the office.
CUT TO:
INT. BLACKIE’S OFFICE - NIGHT
MUSIC: AUDREY’S DANCE
BLACKIE turns away from JEAN to walk off but he grabs her by her
left arm and jerks back to face him.
JEAN
No, when you leave me, with a kiss.
BLACKIE smiles. She puts her arms around his head.
BLACKIE
That’s the way you want to talk, that’s
fine.
BLACKIE leans against JEAN as they kiss.
CUT TO:
INT. ONE-EYED JACK’S - NIGHT
Bent down beside the door to BLACKIE’S office, SHERIFF TRUMAN
still looks inside the office through the glass door.
SHERIFF TRUMAN’S POV:
Through the veiled glass door of SHERIFF TRUMAN’S POV, JEAN and
BLACKIE embrace as they kiss. JEAN moves his left hand to her
waist. JEAN triggers the spring loaded knife on his arm and with
a metallic SCRATCHING sound the knife quickly stabs BLACKIE. At
JEAN’S lips, BLACKIE makes a small grunt and then falls limp in
his arms.
BACK TO SCENE:
Still bent down, SHERIFF TRUMAN quickly pulls out his revolver
after watching JEAN kill BLACKIE. TRUMAN remains at the door peering inside.
SHERIFF TRUMAN’S POV:
Through the veiled glass door of SHERIFF TRUMAN’S POV, JEAN slowly
moves BLACKIE’S body to the floor as he continues to kiss her on the lips.
MUSIC ENDS: AUDREY’S DANCE
BACK TO SCENE:
SHERIFF TRUMAN moves a little closer to the door to get a better look inside.
CUT TO:
INT. BLACKIE’S OFFICE - NIGHT
JEAN lays on BLACKIE’S body on the floor. As JEAN moves away from
her lips, blood flows from BLACKIE’S mouth. JEAN has blood on
his mouth. JEAN turns his head towards the door to the office.
JEAN’S POV:
Through JEAN’S POV, a MAN’S face peers inside the room through the glass door.
BACK TO SCENE:
JEAN quickly reacts by rolling off of BLACKIE’S body, reaching
for his gun in its shoulder harness, pointing it at the door and firing it.
CUT TO:
INT. ONE-EYED JACK’S - NIGHT
SHERIFF TRUMAN hops to the right side of the door frame as a silenced
bullet breaks through the glass. A second shot shatters another
frame of glass as it goes through the door. TRUMAN hops back in
front of door with his revolver firmly positioned ahead of him.
SHERIFF TRUMAN’S POV:
Through the veiled glass door of SHERIFF TRUMAN’S POV, we
PAN to the LEFT and RIGHT of the room looking for JEAN but he is nowhere
to be found.
BACK TO SCENE:
AGENT COOPER quickly walks up the hallway carrying AUDREY over
his shoulder. SHERIFF TRUMAN holds his left hand out for COOPER to halt
as he checks the office once more.
SHERIFF TRUMAN’S POV:
Through the veiled glass door of SHERIFF TRUMAN’S POV we scan
the room again and can see no one but BLACKIE dead on the floor.
BACK TO SCENE:
All clear, SHERIFF TRUMAN waves to COOPER to proceed. COOPER rushes
down the hallway from which they entered. TRUMAN runs right behind COOPER.
MUSIC: A???
As COOPER and TRUMAN enter the hallway with the red drapes that lead to the
stairs outside, a man dressed in a tuxedo, GUARD #2, stands waiting
for them near the stairs holding a gun pointed at them. SHERIFF
TRUMAN has his revolver drawn but not aimed to used so GUARD #2
tells him ...
GUARD #2
COOPER grits his teeth. TRUMAN reluctantly drops his gun on the floor.
GUARD #2
COOPER and TRUMAN don’t react right away
so GUARD #2 cocks his gun. Disappointed, COOPER and TRUMAN turn around.
MUSIC ENDS: A???
With the sound of a SWOOSH an object hits GUARD #2 in the back.
GUARD #2 grunts, freezes and then quickly falls forward onto the
floor dead to reveal a huge Bowie knife jutting out of his back.
Hearing the sound of GUARD #2 hitting the ground, COOPER and SHERIFF
TRUMAN turn around and are baffled. They look up the stairway
to see DEPUTY HAWK, dressed in civilian clothes, walking down the
stairs. HAWK stops halfway down the stairs and hunches over.
HAWK
Good thing you guys can’t keep a secret.
AGENT COOPER and SHERIFF TRUMAN look at each other and smile.
MUSIC: HANK’S THEME 39K
As COOPER and TRUMAN walk up the stairway, HAWK walks down the
stairs to retrieve his knife from GUARD #2’S back.
CUT TO:
EXT. ONE-EYED JACK’S - NIGHT
AGENT COOPER, carrying AUDREY, SHERIFF TRUMAN and DEPUTY HAWK run
away from the building. We PAN the scene until we FOCUS on HANK,
who is standing in the bushes watching them. With his hair blowing
in the wind, HANK talks into a cellular telephone.
HANK
There’s been gun fire. Truman and Cooper
are leaving with your daughter.
A gun moves up to HANK’S jaw. We PAN LEFT to reveal that JEAN RENAULT holds the gun at HANK’S
jaw with his right hand. JEAN’S left hand goes digging through HANK’S black
leather coat pocket.
JEAN
JEAN pulls out a wallet, opens it and looks at it.
INSERT: CLOSE-UP BADGE
We FOCUS on a CLOSE-UP on the wallet JEAN opened to view a badge that JEAN reads aloud.
JEAN
Mr. Lodwick, DA’s office eh.
This is the wallet that HANK stole in episode 11.
MUSIC ENDS: HANK’S THEME 39K
CUT TO:
INT. HAROLD SMITH’S APARTMENT - NIGHT
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:35)
Standing in the plant nursery portion of the apartment but looking
through the glass window into the next room, DONNA tries to direct
MADELEINE to the specific bookshelf by pointing down.
We FOCUS on MADELEINE, standing by the bookcase in the dark, as she looks at DONNA
and follows her gesture by bending down to the bottom bookshelf.
Nervously, DONNA peers over her shoulder to see if everything
is clear and then quickly returns to directing MADELEINE. Now
at the right bookshelf, DONNA gestures and quietly mouths go around for
MADELEINE to reach around the corner of the bookcase.
We FOCUS on MADELEINE as she looks around the corner of the bookcase.
DONNA stares into the dark room as HAROLD walks up behind her
and taps her on the back. DONNA nervously jerks around to face
HAROLD. DONNA breathes heavily and appears distressed, unaware of
what’s going on HAROLD holds up another orchid and asks ...
MUSIC: HAROLD’S THEME 68K
HAROLD
DONNA
No, you just frightened me that’s all.
We FOCUS on MADEILENE as she finds the peg and tries to turn it. MADEILENE looks back into
the plant nursery through the window and sees DONNA occupied with HAROLD.
DONNA tries to think of way to keep HAROLD occupied.
DONNA
Uh, come here. Tell me about this orchid, this one.
DONNA rushes over to a flower away from
the window. HAROLD can tell that something is wrong by DONNA’S sudden strange behavior.
We FOCUS on MADELEINE as she turns the peg that holds the bookshelf in place. MADELEINE
pulls the peg out of its hole. Next, MADELEINE pulls the bookshelf forward
but its loaded with so many books that the heavy bookshelf falls downward with a loud THUD.
HAROLD hears the loud THUD coming from the next room and looks
into the dark main room through the plant nursery window.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:35)
MUSIC ENDS: HAROLD’S THEME 68K
MUSIC: HAROLD’S DARKNESS
We FOCUS on MADELEINE as she finds the diary and picks it up. Knowing she has been
discovered, MADELEINE stands up and faces the plant nursery window.
Now realizing what was going on, HAROLD, still by the window,
lowers his head in disappointment. HAROLD turns around and faces DONNA.
DONNA
Harold no, you don’t understand.
HAROLD turns to his right and walks over
to a shelf where he places a flower vase with an orchid he had
been holding. HAROLD reaches for a pair of shears but then grabs a
hand gardening fork off of the shelf. HAROLD moves to walk into the
next room. DONNA sees the gardening fork and rushes to the next room.
DONNA
Two doors allow access into the plant nursery,
DONNA exits the door on the left and HAROLD exits the door on
the right. DONNA rushes over to MADEILENE and they cling to each
other before HAROLD gets there brandishing the hand fork.
DONNA
HAROLD backs off slightly.
HAROLD
(shouts) ARE YOU LOOKING FOR SECRETS!
DONNA and MADEILENE shake in fear as they hold each other. HAROLD has tears in his eyes.
HAROLD
(calmly) Is that what all this is about. Well
maybe I can help you. Do you know what the ultimate secret is?
Do you want to know ... what Laura did?
HAROLD holds the hand fork nears his face and closes his eyes.
HAROLD
The secret of knowing who killed you.
HAROLD drags the hand gardening fork down on his face. Blood seeps from the scratches.
MADELEINE screams and buries her head in DONNA’S shoulder.
MUSIC ENDS: HAROLD’S DARKNESS
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: