Episode 15 - Drive With a Dead Girl
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
Food is interesting. For instance,
why do we need to eat? Why are we never satisfied with just the
right amount of food to maintain good health and proper energy?
We always seem to want more and more. When eating too much, the
proper balance is disturbed and ill health follows. Of course,
eating too little food throws the balance off in the opposite
direction and there is the ill health coming at us again. Balance
is the key. Balance is the key to many things. Do we understand
balance? The word balance has seven letters. Seven is difficult
to balance, but not impossible if we are able to divide. There
are, of course, the pros and cons of division.
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. PALMER HOUSE - NIGHT
MUSIC: WALKING IN THE DARK (LAST PORTION) 40K
An establish shot. We view the front of the PALMER house, with
the porch light on, under a night sky. Conflicting the gentle
facade of the exterior, MADELEINE FERGUSON can be heard screaming
from inside the house.
MADELEINE (OFF SCREEN)
DISSOLVE TO:
EXT. PALMER HOUSE - DAY
As the last scene FADES OUT, we FADE IN to the next scene. We view the branches of a
treetop just outside the PALMER house. With birds chirping in the air, it is morning
but under a gray cloudy sky. We PAN DOWN to view the front of the house.
CUT TO:
INT. PALMER HOUSE - DAY
INSERT: CLOSE-UP HOMECOMING PHOTOGRAPH
We view a CLOSE-UP on the photograph of LAURA PALMER'S homecoming
queen picture. There is a TAPPING sound in the room. We slowly
PAN to the LEFT to view another photograph of LAURA as a young
girl and yet another of her as a very young teenager. We PAN DOWN
to a sofa chair that has golf balls and golf tees scattered on it. We PAN
DOWN further to the floor where a golf ball rolls by. As we PAN
the floor to the RIGHT, several more golf balls are revealed clumped
together near a small faux turf putting green rug. Someone in
a pair of black shoes and holding a golf club is putting at the
green.
BACK TO SCENE:
Standing in the living room, LELAND PALMER holds a golf club.
With a ball positioned on the green, he winds up and gives the
ball a pretty good whack that sends it flying into the wall and
bouncing back into the room. Using the golf club, LELAND pulls
a golf ball from the clump on the floor over to the putting green.
Again, he winds up and hits the ball. There is a KNOCK at the
front door. Still holding the golf club, LELAND moves over to
the door to answer it.
MUSIC ENDS: WALKING IN THE DARK (LAST PORTION) 40K
LELAND opens the door to reveal DONNA HAYWARD and JAMES HURLEY.
LELAND
DONNA
LELAND
JAMES
LELAND
LELAND walks back into the living room.
DONNA and JAMES follow right behind him.
DONNA
Uh we just came to say goodbye to Maddy.
LELAND turns to face them.
LELAND
Oh I'm sorry you just missed her. In
fact, I dropped her off at the bus station not ... twenty minutes
ago.
JAMES
LELAND
LELAND cocks an eyebrow at them.
LELAND
She thought that you were coming over
last night?
JAMES
Uhm, did she say anything?
LELAND
Well I would have to say that she was
uh just a little bit disappointed.
Standing near a corner halfway up the stairs, SARAH PALMER, with her hair all frazzled and wearing
a robe, calls out for LELAND.
SARAH
We FOCUS back on LELAND as he politely tells DONNA and JAMES ...
LELAND
LELAND walks off to tend to SARAH. Disappointed, JAMES turns to DONNA.
MUSIC: MONTAGE FROM TWIN PEAKS: LAURA PALMER'S THEME
JAMES and DONNA look into the living room. Golf balls are scattered all about the room. JAMES
and DONNA start to giggle at the sight of the odd mess.
We FOCUS on LELAND walking back down the stairs after tending to SARAH. LELAND stops for
a moment as he thinks of something and then brandishes a wicked smile before he continues
to walk down the stairs.
LELAND joins DONNA and JAMES in the living room.
LELAND
You know, if you'd like, you could
write her. I'm sure she'd be glad to hear from ya'.
DONNA
Yeah. Look, I'm sorry to have bothered
you.
LELAND
Hey no bother, no bother. (smiles)
Say hi to your folks for me Donna.
DONNA
LELAND
DONNA and JAMES head towards the door.
JAMES
LELAND
Bye James. Take it easy now.
JAMES
LELAND closes the door behind them. He
moves over to a mirror on the wall next to the door to adjust
his tie.
LELAND’S POV:
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:19)
Through LELAND’S CLOSE-UP POV on the mirror, LELAND looks at his
reflection as he adjusts his tie. As he stares into the mirror
his image is replaced with the image of BOB, a frightening long-haired
man wearing a jean jacket. The image of BOB fades away and LELAND'S
reflection in the mirror returns as he shakes his head.
BACK TO SCENE:
LELAND walks back toward the living room but SARAH shouts out to him
from the second floor.
SARAH (OFF SCREEN)
LELAND pauses right at doorway from the foyer. He grips his golf club before him with both hands like
a sword.
LELAND
SARAH (OFF SCREEN)
Remember to sign us up for the Grand
River Night at the Club.
LELAND
Oh, don't worry dear I won't forget.
LELAND turns around and moves back to the foyer.
BIRD’S-EYE POV:
From a view looking down inside a dark closet, we watch the door
open as LELAND reaches in and grabs a long coat. He puts the coat
on and then reaches down to grab a very large black golf bag.
LELAND unzips the bag to reveal a bloodied clear plastic and a
hand inside the bag. He stuffs his golf club inside the bag and
zips it back up.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:19)
LELAND carries the bag with a strap over his shoulder. Before he leaving the house, LELAND shouts to SARAH.
LELAND
SARAH replies from upstairs.
SARAH (OFF SCREEN)
MUSIC ENDS: MONTAGE FROM TWIN PEAKS: LAURA PALMER'S THEME
CUT TO:
EXT. PALMER HOUSE - DAY
LELAND places his large golf bag in trunk of his car. He closes
the large trunk lid of his blue convertible. Cold, he rubs his
gloved hands as he walks over to the driver side door but before
he steps inside he lifts his head up and exhales. LELAND whistles
a tune as he steps into his car and starts it up. He unlocks two
clasps that hold the convertible top down and activates a motor
that folds it back. As the top folds back, LELAND backs the car
out of the driveway as he hums the tune he was whistling.
CUT TO:
INT. SHERIFF’S DEPARTMENT CELL BLOCK - DAY
Behind the bars of a jail cell in the basement of the building,
BENJAMIN HORNE wipes at the dirty bars with his handkerchief.
He walks over to a small and very dirty sink in the corner of
the cell and whips his handkerchief at it to dust if off. Disgusted
BEN mumbles ...
BENJAMIN
LELAND grabs a toothbrush, applies toothpaste
to the bristles and proceeds to brush his teeth.
Just outside the main door to the cell block, JERRY HORNE is escorted
by a DEPUTY who unlocks and opens the door.
JERRY
It smells like a toilet in here!
With a Japanese flag attached to his lapel,
JERRY calls out to his brother BEN.
JERRY
The DEPUTY unlocks and opens the jail cell
door to BEN'S cell and lets JERRY in.
BENJAMIN
Jerry, what the hell took you so long?
BEN listens to JERRY as he brushes his
teeth.
JERRY
Oh jeez, datelines, time zones, I don't
even know where I am.
JERRY looks his brother BEN over, who is
unshaved and has his tie untied around his neck.
JERRY
BEN looks himself over.
BENJAMIN
BEN holds his arms out for a hug.
JERRY
JERRY holds his arms out and they both
hug each other and pat each other on the back.
JERRY
Well Ben, since your regular mouth
piece has been charged with murder himself, I'm going to be handling
your case personally. So, let's get started. Did you kill her?
BENJAMIN
JERRY takes a seat on the lower bed of
the bunk bed beside him.
JERRY
Sorry you’re right. The last thing a
good defense attorney needs to know is the truth.
JERRY opens his briefcase and pulls out a pipe and lighter. BEN finishes up with brushing his teeth at
the sink and cleans up. JERRY lights up his pipe.
BENJAMIN
Jerry can you get me out of here?
JERRY
They can only hold you for 24 hours
without charging you. Or is it 48?
BEN shakes his head and then takes a seat
next to JERRY on the bunk bed. JERRY reaches into his briefcase
and pulls out a book to check the right number of hours required.
BENJAMIN
Ohh, Jerry, Jerry I am in trouble here.
JERRY tosses the book to the ground.
JERRY
Under control big brother.
JERRY pats his brother BEN on the back
to comfort him.
JERRY
Okay, so where are we saying you were
on the night Laura died?
BENJAMIN
JERRY
That's not a good choice.
BEN grabs a cigar out of his interior suit
pocket and bites the end off.
BENJAMIN
It happens to be the truth.
BEN goes through all of his pockets looking
for a lighter.
JERRY
Oh dear. Is there any sign of her?
BEN finds his lighter. BEN nods his head
for no as he lights his cigar.
JERRY
Bone - bone fragments or teeth?
BEN nods his head for no again as he
mumbles ...
BENJAMIN
JERRY
(wisecrack) Charred corroborating note
regarding your whereabouts?
BEN again nods his head for no as he
puffs away at his cigar.
JERRY
JERRY stands up and walks away to the corner
of the cell where the sink is positioned. JERRY turns around to
BEN and, with a gleam in his eye, notices the ...
JERRY
JERRY moves to the bunk bed and climbs
to the top bunk by using the lower bunk bed as a foot ladder.
JERRY lies on his side.
JERRY
Do you remember our first room Ben?
Me on the top bunk and you on the bottom bunk ... and Louise
Dombrowski dancing on the hook rug with a flashlight.
BEN starts to smile as he recalls that
memory.
CUT TO:
INT. BEN & JERRY’S BEDROOM - NIGHT
MUSIC: HOOK RUG DANCE 172K
We view a STILTED SLOW MOTION scene. Light streams in from the
open doorway as LOUISE DOMBROWSKI, a young girl, steps inside
the dark bedroom. Holding a flashlight, LOUSIE, wearing a skirted
dress and no shoes, starts to sway and swing the flashlight around
as she dances on a hook rug in the middle of the room. A young
BENJAMIN HORNE sits on the floor next to the bunk bed where a
young JERRY HORNE is laying, on his stomach, as they watch her
dance. As the flashlight passes the faces of BEN and JERRY, who
are both wearing glasses, they smile brightly as LOUSIE sways
and moves to the music.
CUT TO:
INT. SHERIFF’S DEPARTMENT CELL BLOCK - DAY
BEN and JERRY both smile and chuckle at the happy childhood memory.
JERRY
Lord, what's become of us?
MUSIC ENDS: HOOK RUG DANCE 172K
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
At the outer set of double doors to the building, LUCY MORAN opens
the door for her sister GWEN who is holding her BABY, bundled
in a blue blanket, in her arms.
GWEN
You know the first time I went in they
thought it was my bladder, so they checked it again.
GWEN steps in and moves aside so that LUCY
can open the door to the inner set of double doors to the building.
Holding a teddy bear, a plush rabbit toy, a baby bottle and carrying
a bag over her shoulder, LUCY opens and holds the door so that
GWEN can pass.
GWEN
It was an infection. I hadn't even
been near a rust - rusty nail.
As LUCY steps inside the building she drops
the items in her arms to the floor. As her sister GWEN continues
to gab away, LUCY bends down to retrieve the items she dropped and then they both walk into the building.
GWEN
I mean, you remember that time my toe
turned purple right. So instead I took a bath in baking soda
and then my toe came around but I got the worst cramps like ...
As he walks out from the coffee station,
LUCY asks DEPUTY TOMMY ‘THE HAWK’ HILL ...
LUCY
GWEN
... I swallowed a cake whole or something.
GWEN asks HAWK a question before he can reply to LUCY.
GWEN
Oh you must be that native person I
heard so much about uhm Eagle Eye?
GWEN turns to LUCY as she guesses badly
at HAWK'S name. HAWK corrects her.
HAWK
HAWK asks LUCY ...
HAWK
LUCY
Oh yeah this is my sister Gwen. (to
GWEN) This is Hawk.
GWEN and HAWK shake hands.
GWEN
Oh, its a pleasure to meet you. God
how you must hate us white people after all we've done to you.
HAWK
Some of my best friends are white people.
HAWK shrugs slightly, turns around and
walks away down the hall. GWEN and LUCY walk up the hall. GWEN
returns to gabbing with LUCY
GWEN
Oh. Anyway, (to the somewhat restless
BABY in her arms) oh come on, (back to LUCY) my stomach ...
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
Looking down a hallway of the hotel, FBI SPECIAL AGENT DALE COOPER
and SHERIFF HARRY S. TRUMAN walk around the left corner at the
end of the hall.
We FOCUS on COOPER and TRUMAN as they walk up the hallway. COOPER talks into his mini tape recorder.
COOPER
Diane, 10:03 am, Great Northern Hotel.
Sheriff Truman and I have just been with the one-armed man or
what's left of him. In another time, another culture he may have
been a seer, a shaolin priest. In our world he's a shoe salesman
and lives among the shadows.
MUSIC: LOVE THEME FROM TWIN PEAKS
With the a CLICK, COOPER turns the recorder off.
AGENT COOPER and SHERIFF TRUMAN enter the lobby of the hotel.
COOPER’S POV:
MUSIC: BIG BAND
Through COOPER'S POV several people are in the room moving about
but we FOCUS on LELAND, holding a golf club in his hands, as he
prances and dances around the room. Dancing like Fred Astaire,
LELAND hops on a sofa chair with a foot at the head of the chair
and rides it down as the chair falls back.
BACK TO SCENE:
Standing just outside the hallway they came from and wearing a
puzzled look, COOPER points out ...
COOPER
Using his golf club like a cane, LELAND holds the club under his arm and dances backward and right in
front of a BELL HOP that has his hands full with several suitcases. As the BELL HOP tries to move
around LELAND, LELAND moves back and into his way.
BELL HOP
LELAND
The BELL HOP finally gets around LELAND
who continues to dance. A few people in the room watch LELAND
as he dances. COOPER and TRUMAN walk into the lobby.
COOPER
Does he know we arrested Ben Horne?
SHERIFF TRUMAN
COOPER
Harry, best if he heard it from you.
LELAND glides and tosses the club from
hand to hand as people walk by him. As the music comes to an end,
people in the room applaud his dancing.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
LELAND continues to dance until the music stops and his last few
dance steps land him right in front of SHERIFF TRUMAN and AGENT
COOPER.
MUSIC ENDS: BIG BAND
LELAND
(smiling) Hi Harry, Agent Cooper. Just
having a little fun.
LELAND grasps his golf club vertically
in his hands before him
SHERIFF TRUMAN
LELAND
LELAND laughs and smiles brightly. Straight
faced, TRUMAN puts a hand on LELAND'S shoulder.
SHERIFF TRUMAN
Leland, I'm sorry ... we didn't want
you to hear it from anyone else. We've arrested Ben Horne for
Laura's murder.
Shocked by the news LELAND loses his smile.
LELAND
SHERIFF TRUMAN
He hasn't been charged but we're holding
him.
LELAND
SHERIFF TRUMAN
Still surprised and with a skeptical chuckle
LELAND asks ...
LELAND
There must be some mistake Harry? Ben?
I thought that Jacques Renault had ...
COOPER
LELAND
You have a strong case against him?
SHERIFF TRUMAN
LELAND closes his eyes, bends his head
down to rest his forehead on the butt of the golf club but with
his eyes still closed lifts his head back up.
LELAND
COOPER
Will you be alright Leland?
LELAND
Uh ... yeah. The law will handle this.
COOPER
LELAND opens his eyes.
LELAND
Thanks Harry, Agent Cooper.
SHERIFF TRUMAN pats LELAND'S shoulder.
LELAND walks away. SHERIFF TRUMAN and AGENT COOPER turn to watch
him walk off.
COOPER’S POV:
Through AGENT COOPER'S POV, LELAND, with his head bowed down,
slowly walks toward the open double doors of an adjacent room.
Shaken, LELAND pauses and puts a hand out to lean on the doorway
before he enters the next room. By walking to his left, LELAND
moves out of view.
BACK TO SCENE:
In the room adjacent to the lobby, LELAND rests his forehead on
the butt of the golf club he clutches vertically in his hands
before him. LELAND grovels as he weeps in a snide fashion as he
remembers the death of his daughter.
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:15)
But with a grin, the groveling quickly turns to a wicked giggle
as LELAND lifts his head and peers up. LELAND shakes his head
slightly at the perverse joy in hearing that yet another person
is taking the blame for LAURA'S murder.
In the lobby, COOPER peers in the direction that LELAND walked off to.
COOPER
Harry, I'll catch up with you.
SHERIFF TRUMAN walks off. COOPER walks toward the adjacent room.
COOPER’S POV:
Through AGENT COOPER'S POV, COOPER slowly moves toward the doorway
to the next room, turns to the left and sees the back of LELAND.
LELAND, standing in front of a red curtain that covers a doorway,
has his head bowed down and appears to be groveling.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00-0:15)
COOPER
CLOSE ON: LELAND’S FACE
With a CLOSE-UP view of LELAND'S face, LELAND still wears a wicked
grin and snickers although its mistaken by COOPER as groveling.
Upon hearing COOPER, LELAND quickly loses the grin, stops snickering
and lifts his head up. With fear in his eyes that he might have
been caught laughing LELAND quickly replies ...
LELAND
COOPER
If you can remember anything unusual
about Mr. Horne's behavior the night of Laura's death would you
please let me know.
BACK TO SCENE:
LELAND turns to the side slightly as he answers ...
LELAND
CLOSE ON: LELAND’S FACE
LELAND returns his back to COOPER, peers up and brandishes a wicked grin.
COOPER
AGENT COOPER walks away. Overjoyed, LELAND
can hardly contain himself as he giggles tightlipped at the situation
he is in. LELAND expresses a thought with the jump in his brow
in the ways he could help AGENT COOPER. LELAND suppresses the
giggle and straightens himself up.
BACK TO SCENE:
In the mostly deserted lobby of the hotel, AGENT COOPER walks
up to SHERIFF TRUMAN.
SHERIFF TRUMAN
COOPER
COOPER and TRUMAN walk off.
MUSIC: WINDOM EARLE'S THEME
FOCUSING on the doorway to the adjacent room to the lobby, LELAND
steps out from the left and peers into the lobby.
LELAND’S POV:
Through LELAND'S POV into the lobby, AGENT COOPER and SHERIFF TRUMAN are gone.
BACK TO SCENE:
MUSIC: BIG BAND
With the coast clear, LELAND starts to dance like Fred Astaire
again using his golf club as a cane.
MUSIC ENDS: WINDOM EARLE'S THEME
MUSIC ENDS: BIG BAND
FADE OUT:
FADE IN:
INT. SHERIFF’S DEPARTMENT INTERROGATION ROOM - DAY
INSERT: CLOSE-UP PACKAGE
We view a CLOSE-UP on a white paper package as a pair of hands
unfold the paper back to reveal a new pair of disposable surgical
gloves.
BACK TO SCENE:
DR. WILL HAYWARD puts the surgical gloves
on and tugs on the end of the gloves, with the sound of SNAPPING
rubber, to fully seat his hands in the gloves. BENJAMIN HORNE
is seated at a table in the middle of the room. His brother JERRY
HORNE sits beside him. AGENT COOPER and SHERIFF TRUMAN stand in
a corner of the room facing BEN and JERRY. DR. HAYWARD grabs BEN'S
index finger and holds it.
DR. HAYWARD
JERRY stands up.
JERRY
Sheriff, I protest this brutal treatment
of my client after all this man has done for this town.
DR. HAYWARD
Holding BEN'S index finger with his left
hand and a needle in his right hand, DR. HAYWARD quickly pokes
the finger with the needle. Not aware until he feels it, BEN outbursts
slightly.
BENJAMIN
DR. HAYWARD squeezes the finger to draw
some blood. Using a syringe with a long, thin plastic tube, DR.
HAYWARD collects some of the blood for a test sample. As soon
as DR. HAYWARD releases the finger, BEN quickly puts it in his
mouth.
DR. HAYWARD
I'll have the results in a couple of
hours.
SHERIFF TRUMAN
DR. HAYWARD collects his things, puts them in his bag and leaves the room. JERRY leans on
BEN'S shoulder.
JERRY
Gentlemen, I demand that my client
either be released or charged. Never in all my years of practicing
law have I witnessed such a complete and utter disregard for
an accused man's constitutional rights.
COOPER
Jeremy Horne, Conzaga University, 1974.
Graduated last ...
MUSIC: CHERRY STEM KNOT 63K
COOPER
in his class of one-hundred and forty-two.
Passed the bar on his third attempt. License to practice revoked
in the states of Illinois, Florida, Alaska, Massachusetts.
With his pipe in his mouth, JERRY lifts
a hand to stop COOPER and then gestures to himself.
JERRY
Hey I'm not on trial here.
COOPER
JERRY takes a seat next to his brother
BEN. AGENT COOPER walks toward the table and tosses LAURA'S diary
on the tabletop.
COOPER
Mr. Horne do you know what this is?
JERRY moves over to BEN'S ear and whispers
...
JERRY
BEN answers to COOPER ...
BENJAMIN
BEN reaches into his coat pocket, pulls
out his eyeglasses and puts them on. COOPER picks the book up
and flips through the pages as he holds it in front of BEN so
that BEN can view its contents.
COOPER
BENJAMIN
BEN twiddles his thumbs and looks away as COOPER speaks.
COOPER
We all know about One-Eyed Jacks. So
did Laura. Some day I'm going to tell the world all about Ben
Horne. I'm going to tell them who he really is.
MUSIC ENDS: CHERRY STEM KNOT 63K
COOPER takes a seat on the tabletop and slyly looks at BEN.
MUSIC: LOVE THEME FROM TWIN PEAKS
COOPER
But she never got the chance did she?
Come on Ben, we're all adults here. Wild, young girl like Laura
Palmer, things spin out of control. She becomes a threat, not
just to you but to your business, your family.
Slightly angered, BEN points a finger at
COOPER.
BENJAMIN
COOPER
Well maybe you don't have anything
to hide. That's not what it says in here.
Irate, BEN stands up, points at COOPER
and blurts out ...
BENJAMIN
JERRY stands up to calm his brother.
JERRY
BENJAMIN
... talk to me like that!
JERRY
SHERIFF TRUMAN walks over to the table.
BENJAMIN
TRUMAN puts a hand on BEN'S shoulder and pushes him down.
SHERIFF TRUMAN
BENJAMIN
Starring at TRUMAN, BEN calms down and sits back down.
JERRY
Nice and easy, uh gentlemen I'd like
a moment alone with my brother uh with my client.
BEN straightens himself up by adjusting
his tie and his suit jacket.
MUSIC: CHERRY STEM KNOT 63K
JERRY
COOPER looks at JERRY and then to BEN,
who is looking away.
COOPER
AGENT COOPER and SHERIFF TRUMAN leave the
room.
MUSIC ENDS: CHERRY STEM KNOT 63K
BEN wipes perspiration from his forehead. Leaning on his brother's
shoulders, JERRY moves around to the front of BEN and kneels to
face him.
JERRY
Ben, Ben. Ben if you’re going to blurt
out a confession like that its going to make our options shrink
down to a tiny little knub.
BENJAMIN
Alright what are we going to do? What
are we going to do?
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
JERRY
Your alibi has been roasted.
Dismal, BEN stands up and walks to the
corner of the room.
JERRY
They can establish motive and your
blood may have Laura's fingerprints on it. Ben, as your attorney,
...
MUSIC: CHERRY STEM KNOT 63K
BEN walks back over to his brother and leans forward, face-to-face.
JERRY
... your friend and your brother, I
strongly suggest that you get yourself a better lawyer.
MUSIC ENDS: CHERRY STEM KNOT 63K
CUT TO:
INT. JOHNSON HOUSE - DAY
MUSIC: AUDREY'S DANCE
Sitting in the kitchen in front of a stereo tape player with a
microphone plugged in, BOBBY BRIGGS, wearing a bandanna on his
head and clutching a pen in his mouth, plays the contents of the
microaudiocassette he found in LEO'S boot on a handheld miniature
tape player.
BENJAMIN (OFF SCREEN)
Okay, one last chance Leo. Don't disappoint
me.
LEO (OFF SCREEN)
BOBBY stops the tape and rewinds it. He
depresses a button on the stereo tape player to record the audio
from the microcassette using the microphone. We hear the contents
on the tape as BOBBY turns the mini tape player on again.
BENJAMIN (OFF SCREEN)
Okay, one last chance Leo. Don't disappoint
me.
LEO (OFF SCREEN)
BENJAMIN (OFF SCREEN)
Keep it simple. Insurance investigators
should read arson, block letters about uh six feet high.
LEO (OFF SCREEN)
The deal as we discussed?
BOBBY stops the two tape players, grabs
the pen from his mouth and writes on a note pad on top of the
stereo tape player.
BOBBY
Ben Horne ... his voice and Leo Johnson's
voice.
Dumbfounded, BOBBY shakes his head at the
relation between the two men.
BOBBY
INSERT: CLOSE-UP NOTEPAD
We view a CLOSE-UP on the notepad that BOBBY is writing on. The
contents on the pad read ...
'Dear Ben,
Think we
should
TALK!'
BOBBY
Special delivery for Mr. Horne.
BACK TO SCENE:
BOBBY tears the note from the notepad, folds it up and stuffs
it into an envelope. SHELLY JOHNSON calls out from the next room ...
SHELLY (OFF SCREEN)
BOBBY looks into the next room but doesn't
see anything. He opens the tape deck on the stereo tape player,
removes the tape and places it in the envelope. From the kitchen,
a glass can be heard SHATTERING against the floor.
SHELLY (OFF SCREEN)
BOBBY licks the glue seal on the envelope
and closes it up. Wearing a blue silk nightgown, SHELLY, splattered
with pudding, walks over to BOBBY carrying a bowl of pudding.
SHELLY
He did it again. Its your turn to clean
him this time.
SHELLY puts the bowl by the sink. BOBBY
tosses the unaddressed letter to the cluttered and dirty kitchen
table. As BOBBY moves to kiss her neck below her jaw, SHELLY notices
the letter.
SHELLY
BOBBY
SHELLY
SHELLY picks the slightly soiled letter
up. BOBBY stands behind her with his hands resting on her shoulders.
BOBBY
Since our cash cow in the other room
has turned into a sink hole, I've decided to pursue a career
in business.
Using a towel, SHELLY wipes some of pudding
from her neck.
SHELLY
BOBBY kisses her hair and then the side
of her face.
BOBBY
Uhm no, I'm thinking more executive
suite.
SHELLY turns around to face him.
SHELLY
BOBBY
Using his index finger, BOBBY wipes a speck
of pudding from her chest and moves it to her lips.
SHELLY
SHELLY lightly and playfully bites the
tip of his finger before she licks the pudding off.
BOBBY
I'm going to give you ... anything
you want.
BOBBY cradles the bottom of her head. As
he touches her neck he gets some pudding on his thumb so he quickly
licks it off.
SHELLY
I want a full time nanny.
BOBBY
SHELLY
She playfully slaps his right arm. They
quickly and passionately kiss each other.
MUSIC ENDS: AUDREY'S DANCE
CUT TO:
EXT. DOUBLE R DINER - DAY
An establish shot. Under a lightly cloudy blue sky and with mountains
in the distance, we view the front of the diner as a truck loaded
with uncut logs rumbles by.
CUT TO:
INT. DOUBLE R DINER - DAY
MUSIC: COUNTRY #3 52K
NORMA JENNINGS carries a cup of coffee and a plate of carrots,
mashed potatoes and meatloaf over to TOAD, who is seated at the
island counter. TOAD stuffs a napkin into the top of his shirt
like a bib as NORMA puts the plate and cup before him. VIVIAN
NILES, the mother of NORMA with similar features, walks into the
diner and up to counter island next to TOAD.
VIVIAN
Surprised, NORMA smiles brightly.
NORMA
VIVIAN
I trust those are real potatoes and
not flakes?
NORMA
(nods yes) Real potatoes.
VIVIAN
TOAD shakes a bottle of ketchup. VIVIAN
pushes TOAD'S hand holding the ketchup as she grabs a fork and
helps herself to a sample of the mash potatoes on TOAD'S plate.
NORMA
What a nice ... surprise to see you
here.
VIVIAN
Hmm, hey those are good. I see they
taught Henry some skill in the stockade. Where is your charming
husband?
NORMA
Hank? He's not here right now.
VIVIAN quips a discerning eye.
VIVIAN
NORMA
Mother, I got your message but if you
don't mind my asking, what are you doing here?
The door to the diner chimes as ERNIE 'THE
PROFESSOR' NILES steps into the diner, walks next to VIVIAN and
puts his arm around her.
VIVIAN
I want to introduce you to my new husband.
NORMA
VIVIAN
ERNIE
NORMA and ERNIE shake hands.
VIVIAN
Giddy, VIVIAN and ERNIE smile and chuckle.
ERNIE
Norma I wonder if I could bother you
for a cup of coffee?
NORMA walks off to fetch the cup of coffee.
ERNIE tells VIVIAN ...
ERNIE
VIVIAN
ERNIE kisses VIVIAN on the temple and then
walks aside to talk into a cellular phone. NORMA listens to her mother as she pours a cup of coffee
near the coffee maker.
VIVIAN
Ernie's a financial analysis. I just
love what you've done with your diner darling. The flowers add
such a measure of cheer.
Busy on the phone, ERNIE turns around and
catches the last portion of VIVIAN'S sentence and mistakenly assumes
it about himself.
ERNIE
Oh thank you, thank you so much. Nice
to see those good looks haven't isolated themselves to one generation.
ERNIE walks away and returns to his phone
conversation.
ERNIE
Now let's go over those figures.
NORMA
NORMA cringes slightly and walks away to the cook order window. VIVIAN follows her.
VIVIAN
You still look very smart in that uniform.
Your figure's lovely it hasn't changed.
NORMA
Now I don't mean to be rude but how
long will you be staying?
NORMA grabs a handful of paper napkins
and a sugar dispenser.
VIVIAN
Uhm a couple of days. Ernie wanted
to see something of the country. Why?
NORMA walks back to the island counter
and refills a napkin dispenser. Still on the phone, ERNIE can be seen in the background.
NORMA
I just wish I had known that's all.
VIVIAN
Oh I didn't mean for you to go into
any fuss. You know me dear I'm easy. What's wrong?
NORMA
Nothing, its ... just that there's
a food critic coming and ... I'm short on help that's all.
VIVIAN
Food critic, ahh. So that's why you've
tried so hard to make the place look nice.
Twiddling with his phone in his right hand, ERNIE walks up to VIVIAN.
ERNIE
Norma, hoping to spend much more time
with ya'. If its alright with you Vivian we'd better check in.
I've got a Tokyo fax waiting for me at the desk.
VIVIAN
We'll be at the Great Northern. I'm
sorry we missed Henry. I'll call you later okay.
NORMA
VIVIAN
ERNIE
With his arm cradled behind her, ERNIE
and VIVIAN walk away and leave the diner. NORMA cleans the counter
and picks up the newspaper ERNIE left behind. As she picks it
up she notices some writing on the newspaper.
INSERT: CLOSE-UP NEWSPAPER
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:15)
We view a CLOSE-UP of the newspaper upon which are notes underlined and circled in a black marker ...
'$1000
on Houston
by 3 points'
MUSIC ENDS: COUNTRY #3 52K
CUT TO:
INT. ONE-ARMED MAN’S HOTEL ROOM - DAY
The ‘ONE-ARMED MAN’ PHILLIP MICHAEL GERARD is sleeping seated
up in a bed in a bedroom of the hotel. Suddenly, the ONE-ARMED
MAN'S left nub and shoulder move wildly. Unresponsive as she blows
her bubble gum, a NURSE seated at the foot of the bed looks at
the ONE-ARMED MAN as his left shoulder moves. The ONE-ARMED MAN
awakens in his ‘MIKE’ state and peers up into the room.
ONE-ARMED MAN
The ONE-ARMED MAN politely asks the NURSE, who is now standing at the foot of the bed ...
ONE-ARMED MAN
Could I have a glass of water please?
NURSE
The NURSE walks out of the room. As she
exits the hotel bedroom she passes a DEPUTY on guard, who is seated
and reading a newspaper. As the NURSE walks down the hall to retrieve
a glass of water, the DEPUTY stands up and checks her out. The
DEPUTY tosses his newspaper to his chair and slowly walks into
the open door of the hotel bedroom to check on the ONE-ARMED MAN.
As the DEPUTY walks past the corner of the bathroom and to the
foot of the bed, the ONE-ARMED MAN strikes a blow to the DEPUTY’S
head with a mounted ornament from the nightstand. The DEPUTY quietly
falls to floor. The ONE-ARMED MAN looks down on the DEPUTY.
ONE-ARMED MAN
We FOCUS on the DEPUTY on the floor as
he rubs his head. The ONE-ARMED MAN walks around him and toward an open window.
MUSIC: SWOOPING AWARENESS 7K
We PAN UP and FOCUS on the open window that the ONE-ARMED MAN
exited from as the sheer curtains blow in the wind.
MUSIC ENDS: SWOOPING AWARENESS 7K
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:15)
FADE OUT:
FADE IN:
INT. DOUBLE R DINER - DAY
MUSIC: COUNTRY #4 12K
Standing behind the island counter, NORMA slices into a pie as
HANK JENNINGS walks inside the diner through the front door. HANK
opens the flip-up island counter door and enters the island counter
area.
HANK
Hi Norma. I guess I'm a little late.
HANK closes the flip-up door behind himself and takes off his jacket.
NORMA
Forty-eight hours is not late Hank,
its missing.
HANK places his jacket on the counter and
moves to the center cabinet shelf to grab an apron.
HANK
I’m sorry it was some ... some business
I had to take care of.
Angry, NORMA turns to berate HANK.
NORMA
Business! No, this is business! This
is a place where you come to whether you feel like it or not.
NORMA turns back around to continue cutting
the pies. Working near the cook order window, VIVIAN turns to
listen in on the quarrel between HANK and NORMA.
HANK
HANK reaches out to hold NORMA’S shoulders
but she quickly turns around, pushing him away.
NORMA
PLEASE don’t sweet talk me I’m this
far away from telling you to take a hike.
NORMA indicates an inch with her hand.
VIVIAN walks closer but hides behind the giant coffee maker as
she listens and watches the two argue. NORMA turns back to finish
the pies.
HANK
Norma please don’t make that kind of
judgment till you hear me out. Because of the bad choices I’ve
made there are people out there ... people from my past who want
to see me fail. I’ve tried fighting them but I just get into
more trouble. I’ve tried running from them but there's always
somebody faster. I know its no way for a man to live his life
but sometimes its just best to hold up and wait for the storm
to past.
HANK strokes NORMA’S hair and then holds her shoulders.
HANK
I didn't mean to hurt you. I'm just
trying to keep my head above water.
NORMA turns around to face HANK.
NORMA
Maybe next time you'll ask for a little
help.
Relieved, HANK exhales and smiles.
HANK
VIVIAN walks out from behind the coffee
maker.
VIVIAN
Well, the prodigal son returns.
Surprised, HANK smiles.
HANK
VIVIAN
HANK walks up to VIVIAN.
HANK
VIVIAN
HANK and VIVIAN both reach out to hold
hands. HANK gives her a kiss on the cheek.
VIVIAN
HANK
Well uh (clears throat) ... that's
a long story.
VIVIAN
I'd like to hear it over dinner tonight.
I have a new husband.
Again surprised, HANK smiles and turns
to NORMA. NORMA walks up to HANK.
VIVIAN
HANK
NORMA
Oh - oh I - I don't think if I'll be
able to get there.
HANK places an arm behind NORMA and looks
at her.
HANK
HANK returns to VIVIAN.
HANK
8:30 sharp we'll be there.
MUSIC ENDS: COUNTRY #4 12K
CUT TO:
EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
An establish shot. We view the front entrance to the building,
a set of double glass doors with the 'Twin Peaks Sheriff's Department'
sign above.
CUT TO:
INT. SHERIFF’S TRUMAN’S OFFICE - DAY
SHERIFF TRUMAN stares out the window through a pair of binoculars.
PETE MARTELL stands in the reception area just outside the office as he peers
inside through the open doorway to TRUMAN’S office. PETE looks back into the reception
area and then sneaks into TRUMAN’S office.
PETE
Staying in his place with his gaze out
the window through the binoculars, SHERIFF TRUMAN answers.
SHERIFF TRUMAN
PETE walks up to TRUMAN.
PETE
SHERIFF TRUMAN
Woodpecker. Pileated I think.
PETE looks out the window.
SHERIFF TRUMAN
TRUMAN hands the binoculars to PETE. PETE uses the binoculars to look outside the window.
PETE’S POV:
Through PETE’S POV in the binoculars is a CLOSE-UP view of a red hared woodpecker that
is clinging to a tree. Using its long bill, the woodpecker taps at the tree.
PETE
BACK TO SCENE:
PETE lowers the binoculars from his eyes but still peers out the window at the woodpecker.
PETE
PETE turns to SHERIFF TRUMAN and returns the binoculars. TRUMAN uses the binoculars and looks at
the woodpecker. PETE twiddles with his hat in his hands.
PETE
SHERIFF TRUMAN
PETE
TRUMAN briefly looks at PETE and then returns to looking at the woodpecker with the binoculars.
SHERIFF TRUMAN
PETE
I came home from the late shift. She
left a note on the kitchen table, ...
TRUMAN turns to PETE.
PETE
... no explanation, no goodbyes. A
note.
SHERIFF TRUMAN
She sold the mill to Ben Horne.
PETE
SHERIFF TRUMAN
You don't have to explain.
TRUMAN pats PETE’S arm. TRUMAN returns to looking through the binoculars at the woodpecker.
PETE
TRUMAN lowers the binoculars and looks at PETE.
PETE
There I said it. No offense Harry.
SHERIFF TRUMAN
I loved her too. I stood there and
watched her go. Watched her assistant carry her bags away.
PETE gives TRUMAN a slightly puzzled look.
PETE
SHERIFF TRUMAN
Yeah Asian fellow. Never saw him before.
PETE
SHERIFF TRUMAN
Average height, medium build, pony
tail.
PETE
Oh that was her cousin Jonathan.
SHERIFF TRUMAN
She said it was her assistant Mr. Lee.
PETE
Befuddled and concerned, PETE gazes at the ground and then to TRUMAN.
PETE
Harry, I have a bad feeling.
SHERIFF TRUMAN
I'm right there with you Pete.
AGENT COOPER, wearing his coat, bursts into the office.
COOPER
MUSIC: NIGHT LIFE IN TWIN PEAKS(0:00-0:15)
COOPER
Gerard's missing, he knocked the deputy
out.
SHERIFF TRUMAN
Pete you'll have to excuse us.
TRUMAN pats PETE’S arm. Leaving PETE behind,
SHERIFF TRUMAN grabs his hat and coat as he follows COOPER out
of his office. TRUMAN and COOPER pass LUCY, who is watering the
plants, as they walk through the reception room.
SHERIFF TRUMAN
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS(0:00-0:15)
As TRUMAN and COOPER exit the building through the outer set of
double glass doors they meet DEPUTY ANDY BRENNAN, who is about
to enter the building.
ANDY
Hi sheriff, Agent Cooper.
TRUMAN and COOPER walk off. ANDY enters
the building and encounters LUCY holding a baby, wrapped in a
blue blanket, in her arms as she waters the plants in the reception
room. PETE leaves TRUMAN’S office and walks down the right corridor.
ANDY
LUCY stops watering the plants and stares
at ANDY'S reaction as she holds the baby. ANDY walks up to her.
Stunned, ANDY believes that LUCY is holding their baby.
ANDY
LUCY
Overwhelmed, ANDY sways slightly then faints
and falls straight backward to the ground.
LUCY
CUT TO:
INT. SHERIFF’S DEPARTMENT CELL BLOCK - DAY
Standing in the basement hallway, PETE peers into the cell block through the window in the door.
The coast clear, he opens the unlocked door, checks back
up the stairway and then enters the cell block. BENJAMIN
lies in his bunk with his hand draped over his face. As PETE closes
the door behind himself it CLANKS with a metallic noise. BENJAMIN
hears the door close and peers through his fingers over to the
door to see PETE. PETE laughs at the sight of BEN behind the bars.
BENJAMIN
PETE moves to the cell door and rattles it as he tries to open the jail cell door.
BENJAMIN
We desperate criminals are locked safely
in our cages.
PETE
I have a message for you.
BENJAMIN
Greetings from the boys down at the
mill?
PETE reaches into his knapsack and pulls out a portable tape player.
BENJAMIN
Ah but first a little music.
PETE holds the tape player towards BEN and presses the play button.
CATHERINE
Hello Benjamin. Oh I’m sorry I haven’t
dropped by for a visit dear but I have a strong aversion to prisons.
Uhm how awful ...
BEN stands up, puts his glasses on and moves to the jail cell door. Stunned, BEN grips
the bars of the jail cell door.
BENJAMIN
PETE laughs and then moves to his right. BEN follows him from behind the bars as he listens to the tape.
CATHERINE
... for both of you. The night we spent
together lost in love. When was that? Uhm it seems so long ago.
Almost like a dream. Oh yes I remember it was the night Laura
Palmer died.
Angered, BEN reaches out at PETE but PETE
safely backs away. PETE moves to the left and backs away from
the bars.
CATHERINE
Memory so unreliable finally maybe
it was a dream. Maybe it never happened. To tell you the truth
I can't be sure anymore.
BENJAMIN
CATHERINE
BEN extends his arm to lean on the bunk
bed.
BENJAMIN
I'll pay anything. What does she want!?
PETE
PETE chuckles.
MUSIC: LOVE THEME FROM TWIN PEAKS
CATHERINE
In exchange for my testimony dear you
will sign the mill and the Ghostwood Estates back over to me.
I will consider letting you keep your precious hotel.
Crushed, BEN takes a seat on the lower
bunk bed.
CATHERINE
A representative of mine will come
to you with the documents within twenty-four hours. If you won’t
cooperate, well I’m confident that you’ll go on from here to
excel in one or another of the many fine career opportunities
offered by the federal prison system.
Enjoying the moment, PETE boldly laughs.
CATHERINE
Ben, so nice to see you again.
PETE depresses the stop button on the tape
player, hugs the tape player to his cheek and kisses it.
PETE
Seated on the lower bunk bed, BEN’S dejected
feelings start to slowly turn to raging anger.
BENJAMIN
PETE
PETE laughs again.
BENJAMIN
PETE
She’s a cautioned isn’t she.
PETE throws BEN a stern stare and then
quickly opens the cell block door and leaves. BEN jumps to
his jail cell door and rattles it. Enraged, BEN flings a tin cup
on the sink to the ground. He grabs the mattress on the top bunk
and throws it on the ground. Next, he grabs the metal frame of
the bunk bed and jerks it back and forth.
BENJAMIN
BEN reaches down, grabs the pillows and
swings them against the bars of the cell which rips them open
and sends their contents of white goose feathers flying through
the air.
BENJAMIN
A DEPUTY peers through the window in the door to the
cell block to see what all the commotion is about. Still
enraged but winding down, BEN jerks the metal bunk bed frame again
and then slams it against the wall. BEN moves to the toilet,
slams the lid down and then takes a seat.
BENJAMIN
As the DEPUTY cautiously enters the cell block with feathers still
floating in the air, BEN straightens himself up a bit.
BENJAMIN
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
EXT. ROAD - DAY
Behind the wheel of his blue convertible with the top down, LELAND
sings as he erratically drives all over the road. The tires squeal
as he slowly swerves the car back and forth across the roadway.
LELAND
Chicks and ducks and geese better scurry.
When I take you out in a surrey.
When I take you out in the surrey with the frinnngge on top.
SHERIFF TRUMAN’S police cruiser drives on the same windy road
as LELAND but further up the road heading towards him.
CUT TO:
INT. TRUMAN’S POLICE CRUISER - DAY
SHERIFF TRUMAN drives as AGENT COOPER, coincidentally, whistles
the same tune as LELAND.
CUT TO:
INT. LELAND’S CONVERTIBLE - DAY
LELAND
When I take you out in a surrey.
When I take you out in the surrey ...
Another car honks its horn as it makes its way past LELAND’S swerving car.
LELAND
... with the frinnngge ooonn top.
CUT TO:
INT. TRUMAN’S POLICE CRUISER - DAY
COOPER looks at TRUMAN.
COOPER
Harry are driver education programs
mandatory in your school system?
SHERIFF TRUMAN
COOPER looks forward to see LELAND’S blue
convertible come into view as it turns around a bend in the road
and swerves from the left side of road, where he should be, to
right side and directly ahead of TRUMAN’S police cruiser.
COOPER
I think we got a drop out. Harry look
out!
CUT TO:
EXT. ROAD - DAY
SHERIFF TRUMAN banks his police cruiser hard to the right and
brakes as LELAND swerves his car back to the left. LELAND’S convertible
cleanly but closely drives by TRUMAN’S police cruiser. TRUMAN
quickly spins his police cruiser around, turns the police lights
and siren on and chases after LELAND’S convertible.
CUT TO:
INT. LELAND’S CONVERTIBLE - DAY
LELAND drives on but peers back into his rear view mirror as TRUMAN’S
police cruiser follows him with its police lights and siren on.
LELAND
LELAND slows down, pulls his car to the
side of the road and stops. TRUMAN’S police cruiser passes LELAND and
pulls off the road and parks in front of him. Though the police siren falls
silent the police lights stay on. LELAND closes his eyes and leans his head with a hand
to his brow. LELAND quietly finishes his song.
LELAND
LELAND puts his car into park.
CUT TO:
EXT. ROAD - DAY
SHERIFF TRUMAN and AGENT COOPER walk out of the police cruiser
and over to LELAND’S convertible. LELAND gestures I don’t know
what I was doing by placing his hands on his head and throwing
them out. Dumbfounded, SHERIFF TRUMAN holds his arms out and smiles
as he spots ...
SHERIFF TRUMAN
LELAND
Agent Cooper, Harry I’m sorry. Are
you two alright?
SHERIFF TRUMAN
Leland we’re fine how about you?
In the background next to the road is the country club golf course where a golfer is swing at a golf ball.
LELAND
Oh sure I’m fine, I’m fine. I was just
on my way to the club ...
LELAND points to the golf course.
LELAND
... to try out a new set of irons and uh ... I must
have started thinking about Ben. I guess my mind
just wandered.
COOPER
Its a good idea to leave your troubles
at home when operating a vehicle Leland.
LELAND nods his head for yes.
LELAND
You’re right of course. My apologies.
LELAND brightens and then points at COOPER.
LELAND
Ah, I did remember something as you
asked about the night Laura died. I was working late at the office
with Ben, it was about ten o’clock. He left the room to make
a phone call. I don't know who he was talking to but his voice
was raised, he was angry. I heard him mention something about
... a dairy.
Mystified, TRUMAN asks ...
SHERIFF TRUMAN
LELAND points at TRUMAN.
LELAND
COOPER
LELAND’S eyes brighten as he points at
COOPER.
LELAND
LUCY’S voice emanates over the police radio from TRUMAN’S police cruiser.
LUCY (OFF SCREEN)
Sheriff Truman, Sheriff Truman this
is Lucy are you there sheriff? I have an urgent message from
Hawk.
SHERIFF TRUMAN runs over to his police
cruiser to answer LUCY’S call. AGENT COOPER looks out at the golfers
on the golf course. LELAND slaps the top of his side rearview
mirror to get COOPER'S attention. COOPER looks down at LELAND.
LELAND
Do you play golf Agent Cooper?
COOPER
Uh yes Leland. I enjoy its precision.
LELAND
I'd like to invite you for a round
at the club some day. May I show you my new clubs?
LELAND opens his car door. LELAND hits
the horn by accident as he uses the steering wheel to push himself
up and out of his seat. In the background standing by the open
door of his police cruiser, SHERIFF TRUMAN talks into the microphone
of his police radio.
COOPER
COOPER follows LELAND as he walks to the
trunk of his car to open it. As LELAND lifts the trunk door, AGENT
COOPER quickly spins around as SHERIFF TRUMAN shouts out to him.
SHERIFF TRUMAN
Cooper, they found Gerard near the
water fall!
LELAND’S POV:
Through LELAND’S CLOSE-UP POV inside his trunk, LELAND opens his
large black golf bag. LELAND reaches inside to pull out a golf
club and walks away leaving the bag open with the hand of MADELEINE
FERGUSON and some bloodied clear plastic sheeting exposed.
SHERIFF TRUMAN (OFF SCREEN)
Better go, their waiting for us.
BACK TO SCENE:
LELAND stands behind COOPER rather menacingly gripping a golf
club in both of his hands like a sword.
COOPER
COOPER turns to LELAND.
COOPER
(politely) Leland, we’ll see those clubs another
time.
COOPER quickly waves bye and then walks away to the police cruiser.
LELAND
I understand Agent Cooper. You let
me know if there’s anything I can do to help.
COOPER
AGENT COOPER opens the door to the police cruiser and steps inside.
MUSIC: MONTAGE FROM TWIN PEAKS: LAURA PALMER’S THEME
LELAND tosses his golf club in the trunk, closes the trunk lid
and smirks as he watches TRUMAN’S police cruiser take off with
its police siren running. LELAND gets back inside his car and
adjusts his rear view mirror.
LELAND’S POV:
MUSIC: WINDOM EARL’S THEME
Through LELAND’S CLOSE-UP POV of his reflection in the rear view
mirror of his car is the scruffy image of BOB with a frightening grin.
CUT TO:
EXT. WHITE TAIL FALLS - DAY
We FOCUS on a CLOSE-UP on the cascading water fall, giving the illusion of drapes.
MUSIC ENDS: MONTAGE FROM TWIN PEAKS: LAURA PALMER’S THEME
MUSIC ENDS: WINDOM EARL’S THEME
FADE OUT:
FADE IN:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
At the inner set of double glass doors to the building, HAWK holds
the right arm of the ONE-ARMED MAN as HAWK escorts him into the building.
LUCY
HAWK briefly turns his head to the right
to see ANDY sitting on the floor with an ice pack on his head.
LUCY sits on the floor beside ANDY and holds the ice pack to his
head. GWEN sits in a nearby chair close to ANDY. HAWK returns
his gaze ahead. The ONE-ARMED MAN takes an interest in the scene
in reception room.
GWEN
You know, the exact same thing happened
to me when I first got pregnant.
Doing a doubletake, HAWK turns his head back at the scene to his right.
GWEN
I would be out shopping and then 'boom'
pass right out in the produce section.
HAWK and the ONE-ARMED MAN walk off up a corridor of the building.
GWEN
Then come to covered in bruises and
crushed fruit and strangers standing over me waiting to see if
I was dead. You see people want terrible things to happen to
you, I know.
Annoyed by the gabbing of GWEN, ANDY gives
GWEN a slightly stern and blank look before he turns to LUCY.
ANDY
(intimately whispers) I want to talk ...
Nosey, GWEN moves in closely to hear ANDY.
ANDY
... to you about my sperms.
GWEN
Interrupted, ANDY and LUCY turn to GWEN as she sits back and laughs.
GWEN
You know that is all men think about.
You know, I remember when little Carl was first born and they
laid him down on my breast and I look at him and I saw what kind
of a tiny little creature I was dealing with and I thought, to
myself I thought, my God just what the world needs another sperm
come running around loose, right. Women beware.
ANDY again sternly stares at GWEN and so does LUCY. GWEN senses it.
GWEN
ANDY turns to LUCY again but does a doubletake
of a brief stern look to GWEN.
ANDY
(intimately whispers) I had mine ...
Once again, GWEN bends down close to butt in and listen to ANDY.
ANDY
... counted twice. The first time they
we’re all dead.
ANDY and LUCY turn to GWEN as she interrupts.
GWEN
Oh man, if I had a nickel every time
I heard that one.
GWEN leans forward as ANDY quickly turns back to LUCY.
ANDY
(whispered) Second time ...
GWEN
ANDY
GWEN
ANDY
... jumping like - like salmon swimming
upstream.
Annoyingly, GWEN sits up and comments ...
GWEN
So of course all you could think of
was spawning!
GWEN laughs. ANDY and LUCY bluntly look at GWEN.
ANDY
LUCY
Wounded, GWEN walks away.
GWEN
Now undisturbed, ANDY turns to LUCY and finishes.
ANDY
So when you told me that you were pregnant
I didn’t think it could be me because mine were all dead supposedly
at the time.
Unsure considering the impact of ANDY’S story, LUCY mumbles ...
LUCY
ANDY
But they got better. I was misinformed.
I’m the father.
Confused, LUCY rests her head on the palm of her hand.
LUCY
ANDY
GWEN walks nearby with her baby in her
arms. LUCY and ANDY turn their heads to GWEN as they hear sounds from the baby.
GWEN
Oh yeah. Oh come here. You want to
see your mean Aunt Lucy.
GWEN snickers at ANDY and LUCY.
GWEN
Oh - ho what’d you make you little snooky-bookems.
CUT TO:
INT. SHERIFF’S DEPARTMENT INTERROGATION ROOM - DAY
SHERIFF TRUMAN and DEPUTY HAWK stand
behind AGENT COOPER as they watch the ONE-ARMED MAN, in his ‘MIKE’
state, walk around BENJAMIN HORNE. Up against the wall, JERRY
HORNE stands behind his brother.
ONE-ARMED MAN
The ONE-ARMED MAN walks up to COOPER.
ONE-ARMED MAN
JERRY walks away from the wall and up to COOPER but speaks over his shoulder to TRUMAN.
JERRY
Sheriff? Sheriff? Isn’t there something
that you'd like to share with us?
SHERIFF TRUMAN stands quietly and doesn’t
answer. Puzzled himself, TRUMAN exchanges a questioning glance
to HAWK. JERRY walks back to his brother but stops halfway as
he is bothered by the stare from the ONE-ARMED MAN.
JERRY
Oh great and will you tell this guy
to stop staring at me like I’m a dog biscuit.
After looking JERRY over the ONE-ARMED MAN remarks ...
ONE-ARMED MAN
JERRY asks TRUMAN ...
JERRY
Who’s Bob? I don’t know a Bob?
JERRY turns to BEN.
JERRY
BEN quietly nods for no. JERRY turns back around to TRUMAN and points at the ONE-ARMED MAN.
JERRY
Sheriff, no offense, but uh clearly
this man’s stairs do not reach the attic. Now your twenty-four
hours are up!
JERRY points at his brother BEN.
JERRY
You either charge my client or let
him go!
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:15)
SHERIFF TRUMAN grabs COOPER’S shoulder, moves him aside and boldly
steps forward.
SHERIFF TRUMAN
Ben Horne, I’m charging you with the
murder of Laura Palmer.
BEN wavers in disbelief.
BENJAMIN
Angered, BEN turns to his brother JERRY and quips ...
BENJAMIN
SHERIFF TRUMAN
(boldly commands) Hawk, take Mr.
Gerard back to the hotel.
Nail all the windows shut.
HAWK escorts the ONE-ARMED MAN, who wriggles in defiance wanting to continue the search for BOB.
ONE-ARMED MAN
SHERIFF TRUMAN
ONE-ARMED MAN
HAWK and the ONE-ARMED MAN leave the room.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:15)
MUSIC: WALKING IN THE DARK 32K
Enraged once more, BEN reaches out to TRUMAN. JERRY tries to hold BEN back.
BENJAMIN
You two bit lumberjack! You are finished
in this town!
JERRY
BEN grabs a hold of TRUMAN’S shirt collar.
TRUMAN defiantly stares down BEN as he gets jerked around slightly
but TRUMAN pushes BEN off.
BENJAMIN
JERRY slams BEN against the wall and finally calms him down.
JERRY
Calm down. What are you doing?
AGENT COOPER coolly walks up to TRUMAN.
COOPER
Harry, will you come outside please.
BENJAMIN
COOPER and TRUMAN walk out of the room,
close the door behind themselves and stand slightly away from the door.
COOPER
Harry, I think we’re saddling the horse
before we’re ready to ride.
SHERIFF TRUMAN
COOPER
I don’t think Ben Horne killed Laura
Palmer.
SHERIFF TRUMAN
COOPER
TRUMAN rests his left hand on COOPER’S
shoulder and animatedly moves his right hand as he speaks.
SHERIFF TRUMAN
Cooper? I’ve backed you every step
of the way but I’ve had enough of the mumbo-jumbo. I’ve had enough
of the dreams, the visions, the dwarfs, the giants, Tibet and
the rest of the hocus-pocus.
TRUMAN points at the interrogation room door.
SHERIFF TRUMAN
Now we’ve got hard evidence against
Ben Horne and its my job to lock him up.
COOPER
You’re right Harry. This is your back
yard sometimes an outsider can forget that.
COOPER walks away down the hall leaving
TRUMAN behind. SHERIFF TRUMAN ponders if he made the right decision.
MUSIC ENDS: WALKING IN THE DARK 32K
CUT TO:
EXT. GREAT NORTHERN HOTEL - NIGHT
An establish shot. We view a distant shot of the hotel under a
darkening sky as the last remnants of the glowing sunset remain.
Crickets chirp in the background.
CUT TO:
INT. TIMBER ROOM - NIGHT
VIVIAN’S POV:
Through VIVIAN’S CLOSE-UP POV of her plate of food, VIVIAN nudges
a portion of fish around on her plate with a fork.
VIVIAN
Well the salmon was fresh and firm
...
BACK TO SCENE:
MUSIC: DINNER MUSIC
Seated at a table in the dining area of the hotel, VIVIAN inspects
the fish as she pushes it around on her plate.
VIVIAN
... and uh just a little bit overdone.
Sitting across from VIVIAN, ERNIE adds his disappointment of the meal.
ERNIE
With his napkin tucked into the top of
his shirt and using both hands as he smacks away at his barbecue
ribs, HANK offers his own comment.
HANK
Slightly embarrassed by HANK, NORMA looks away and then stands up.
NORMA
Would you excuse me for a minute please?
VIVIAN
VIVIAN quickly follows NORMA. ERNIE stands
up politely as they leave.
ERNIE
With his hands covered in barbecue sauce,
HANK slowly rises in turn. ERNIE stares at HANK. HANK smiles and
pats ERNIE on the shoulder. Without looking, ERNIE wipes his shoulder
with his napkin. They both sit back down. ERNIE leans over to
HANK.
ERNIE
You’re not going to say anything are
ya’? If Vivian ever found out that I had been inside she’d uh
... she’d dropped me flat.
HANK
I like your new hair color.
They both smile at each other.
HANK
Ernie Niles. Ernie ‘the Professor’
Niles.
HANK licks his fingers on his right hand,
wipes them on his napkin and then shakes hands with ERNIE. HANK
wears a double four domino on his bolo tie.
ERNIE
HANK
Couple weeks ago. Let me tell you Ern,
without you in there to pal around with, the last six months
were sheer hell. (jokingly) Nobody to go to the library with.
Nobody to stamp out license plates with. So uh, what’s your angle
here with uh miss moneybags?
ERNIE
HANK
Hey come on buddy you don’t have any
secrets. Vivian’s rolling in dough.
ERNIE
I met Vivian at a Republican fund raiser.
We’re married.
HANK
You must have told her some tall tales,
a whopper.
ERNIE
I’m trying very hard to tell nothing
but the truth these days. Its uh ... therapeutic. And uh Vivian
wants me to handle all her investments.
HANK
Whew, what about yours? Interested
in being a loan shark.
ERNIE
I’m out of it, I’m out of it Hank.
I’m not gambling any more. I go to meetings. I go to church too.
HANK
So, what happens when Vivian finds
out that you ran off with the congregations picnic fund? Ha - ha.
ERNIE
I never stole from a church, it was
a savings and loan. I was sick, it was endless you know. I paid
my debt. Its a new life, a clean ...
ERNIE nervously checks over his right shoulder
to see if the ladies are on their way back.
ERNIE
HANK
So she really doesn’t know?
ERNIE
HANK removes his napkin from his shirt, wipes his mouth and places the napkin on the table.
HANK
Ernie this is interesting to me because
family is the most important thing in the world to me. One must
be prepared to pay any price ... to protect it. Don’t you agree?
ERNIE slyly looks at HANK.
ERNIE
Oh yeah - yeah, right, completely agree.
HANK and ERNIE notice the doors to the Timber Room swing open as VIVIAN and NORMA make their way back.
HANK
We’ll talk more later Ernie. I always
enjoy our talks in the yard, man-to-man, prisoner-to-prisoner.
HANK and ERNIE politely stand back up as VIVIAN and NORMA return to the table to take a seat.
VIVIAN
ERNIE
Everybody takes a seat at the table except HANK, who picks up his mug of beer.
HANK
I would like to propose a toast to
the newlyweds and their happiness.
VIVIAN
Thank you Henry. Its very generous.
HANK
To Ernie and Vivian ... to much success
in their future and all their future dealings.
VIVIAN
ERNIE
ERNIE, VIVIAN and NORMA pick up their wine
glasses and toast them together with HANK’S beer mug. They all
then drink from their glasses except for HANK, who slams down
his beer as he stands alone. Finished, HANK sits down, wipes his
mouth with his napkin and lets out a small burp. ERNIE shakes
his head slightly at HANK’S crudeness.
Suspicious that something is up between the two, NORMA stares
at HANK, moves her gaze over to ERNIE and then back to HANK.
MUSIC ENDS: DINNER MUSIC
CUT TO:
INT. DALE COOPER’S HOTEL ROOM - NIGHT
We FOCUS on the colorful window curtain near the floor as it sways
slightly in the breeze from the open window. We PAN UP to the
bedside cabinet where a slice of cherry pie, a glass of milk,
COOPER’S mini tape recorder, a lamp and a telephone reside. COOPER
reaches over and picks up his mini tape recorder. Wearing only
pants and the bandage around his ribs, COOPER moves the recorder
to his mouth and clicks it on to record.
COOPER
Diane, its 11:05 pm, I'm in the room
at the Great Northern Hotel. There's not a star in the sky tonight.
Ben Horne is in custody. The trail narrows Diane. I'm very close
but the last few steps are always the darkest and most difficult.
COOPER is interrupted by a KNOCK at the
door. He shuts the mini tape recorder off and puts it back on
the bedside cabinet. He stands up slowly, grabs a shirt and puts
the shirt on as he walks towards the door. COOPER grabs his gun
holster off the top of a dresser near the door and draws the revolver.
He opens the door to reveal AUDREY HORNE, standing with her hands
behind her back.
AUDREY
COOPER
AUDREY
COOPER
AUDREY notices the bandage around COOPER’S abdomen through his open shirt.
AUDREY
Ahh is that where you got shot?
COOPER
COOPER puts his gun back in its holster.
AUDREY
COOPER
COOPER walks into the room and turns to face AUDREY as he buttons his shirt.
MUSIC: MYSTERIES OF LOVE
AUDREY
COOPER
That’s for a court to decide.
AUDREY
COOPER
What I think doesn’t really matter
right now.
AUDREY leans against a wall of the bedroom.
AUDREY
Did you arrest him because of what
I said?
COOPER
AUDREY
COOPER
AUDREY
All I really wanted was for him to
love me.
COOPER
AUDREY
COOPER
AUDREY climbs onto the bed and sits in
the middle facing COOPER. Standing at the foot of the bed, COOPER
bends over towards AUDREY.
AUDREY
Agent Cooper, when I was in One-Eyed
Jacks I never, never let anyone ...
COOPER
Audrey, you don’t have to say anything.
AUDREY
COOPER
They stare at each other. The telephone
RINGS. A distance apart from each other, they continue to stare
at each other as the telephone RINGS again.
COOPER
AUDREY
MUSIC ENDS: MYSTERIES OF LOVE
AUDREY turns and kneels to face COOPER as he moves to answer the
phone at the bedside stand.
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:15)
COOPER
COOPER turns away from AUDREY.
COOPER
How long ago? (reply) I’m on my way.
COOPER hangs the phone up and grabs his mini tape recorder.
AUDREY
COOPER
Audrey I want you to go to your room
and lock the door.
COOPER bends over the bed towards AUDREY.
AUDREY
COOPER
No questions, do as I say.
AUDREY
AUDREY quickly gets off the bed. AGENT
COOPER grabs his gun holster and his coat and follows AUDREY out
the door.
CUT TO:
EXT. WHITE TAIL FALLS - NIGHT
CLOSE ON: WATER FALL
Looking like drapes, we view a CLOSE-UP on the cascading water fall.
BACK TO SCENE:
Multiple police lights flash red and blue from several police
cruisers parked in the dark woods near the grand water fall.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:15)
MUSIC: LOVE THEME FROM TWIN PEAKS
SHERIFF TRUMAN steps out of his police cruiser. As TRUMAN walks
forward he is met by AGENT COOPER. Using a flashlight, TRUMAN
and COOPER walk through the foggy woods as they descend to the
river. A DEPUTY runs by them in the opposite direction.
MUSIC: WINDOM EARL’S THEME
Reaching the river, several DEPUTIES work around the scene looking
for evidence. Three DEPUTIES help to pull a body wrapped in plastic
out of the river where it was lodged into a pile of tree debris.
The three DEPUTIES move the body wrapped in plastic to a clearing
by the riverside.
MUSIC ENDS: WINDOM EARL’S THEME
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
MUSIC: LAURA PALMER’S THEME
SHERIFF TRUMAN pushes the DEPUTIES aside as he moves over to the
body. TRUMAN kneels and removes the plastic sheeting from the
head of the body to reveal MADELEINE FERGUSON’S face. TRUMAN looks
up at COOPER.
SHERIFF TRUMAN
COOPER stares at the face of MADELEINE and then lifts his gaze up as he contemplates the scene.
CLOSE ON: MADELEINE’S FACE
We CLOSE with a CLOSE-UP on MADELEINE FERGUSON’S face surrounded by plastic.
MUSIC ENDS: LAURA PALMER’S THEME
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: