Episode 16 - Arbitrary Law
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
So now the sadness comes. The revelation. There is a depression after an answer is given. It was almost fun not knowing. Yes, now we know. At least we know what we sought in the beginning. But there is still the question, why? And this question will go on and on until the final answer comes. Then the knowing is so full there is no room for questions.
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. WOODS - NIGHT
MUSIC: THE MILL FIRE 16K
We FADE to a CLOSE-UP on MADELEINE FERGUSON’S pale white face, a death mask shrouded around plastic.
DISSOLVE TO: WOODS - DAY
As the last scene FADES OUT, we FADE IN to the next scene. From left to right, FBI SPECIAL AGENT ALBERT ROSENFIELD, FBI SPECIAL AGENT DALE COOPER, SHERIFF HARRY S. TRUMAN and DEPUTY TOMMY ‘THE HAWK’ HILL walk together side-by-side up a paved road.
INSERT: CLOSE-UP PINE TREE
As the CREDITS continue to roll we PAN DOWN on an UNFOCUSED CLOSE-UP of a pine tree. The music swells as the composer’s name ‘Angelo Badalamenti’ is shown. We PAN DOWN further until we FOCUS on ALBERT’S outstretched hand holding a small plastic packet containing evidence extracted from MADELEINE, a small, bloodied paper cutout of the letter ‘O.’
ALBERT
The short answer is, this is the work of the same ghoul who killed Laura.
BACK TO SCENE:
ALBERT hands the packet to AGENT COOPER, who is standing across from him with SHERIFF TRUMAN between them by their side. COOPER holds the packet up close for a better inspection.
ALBERT
More fan mail. The letter ‘O’ under Maddy’s ring finger nail. There were strands of fur clutched in her right hand.
COOPER
ALBERT
White Fox. The strands were laced with formaldehyde, a dead animal stuffed.
TRUMAN turns to face COOPER.
SHERIFF TRUMAN
I’ll make the phone calls. Leland will know how to get a hold of Maddy’s family.
COOPER
Harry, don’t make any calls. I need twenty-four hours.
SHERIFF TRUMAN
COOPER
ALBERT has backed away from the two. He calls out for ...
ALBERT
ALBERT motions with a jerk of his head for COOPER to walk over to him. Face-to-face ...
ALBERT
In observation, I don’t know where this is headed ... but the only one of us with the coordinates for this destination in hardware is you. Go on whatever vision quest you require. Stand on the rim of the volcano, stand ... alone and do your dance.
ALBERT grabs a hold on COOPER’S right arm as he finishes.
ALBERT
Just find this beast before he takes another bite.
Finished, ALBERT walks off towards his car. Standing a short distance from COOPER, SHERIFF TRUMAN and DEPUTY HAWK observe COOPER’S dazed stance.
COOPER
God help me, I don’t know where to start.
MUSIC ENDS: THE MILL FIRE 16K
HAWK
You’re on the path. You don’t need to know where it leads. Just follow.
Still perplexed, COOPER can only nod at the encouraging words.
CUT TO:
INT. DOUBLE R DINER - DAY
MUSIC: LOVE THEME FROM TWIN PEAKS (LIGHT DRAMATIC VERSION)
Bright, glowing sunlight drapes across DONNA HAYWARD as she sits alone at a booth. DONNA’S attention appears distant as she peers down at the ground. JAMES HURLEY, in his usual black leather jacket, quickly walks up to and takes a seat at DONNA’S booth. DONNA brightens with a smile. They reach out to holds hands across the table top as the two sit across from each other.
DONNA
I thought you’d never get here.
JAMES
I went for a ride this morning. God, the engine sounded like a thousand people singing.
DONNA
What were they singing about?
JAMES
DONNA
Last night? I could sing about last night.
JAMES
JAMES pulls his hands away from their embrace with DONNA’S as he moves to his pockets to retrieve an item. JAMES places a ring case on the table top.
JAMES
DONNA opens the ring case to expose a diamond ring. DONNA removes the ring from its case.
DONNA
JAMES takes the ring and DONNA holds out her hand palm down so that JAMES can slide the ring on.
JAMES
I didn’t know what size to get ... and the girl at the jewelry store had these really big hands. But I’ll bet.
JAMES slides the ring on DONNA’S finger.
JAMES
DONNA
The two smile at each other and then move to hold one hand together, raking their fingers together.
JAMES
I just think we should be together all the time.
DONNA
JAMES
DONNA
DONNA and JAMES reach over the table to kiss each other.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS (LIGHT DRAMATIC VERSION)
Working behind the island counter, NORMA JENNINGS places a milk shake container into the holster of a large blending machine and turns it on. NORMA turns around to work at the counter. Before her is her mother, VIVIAN NILES, who is seated at the counter eating breakfast. VIVIAN takes a bite from her omelet and then quickly spits it back out on to her plate.
VIVIAN
From whatever fowl did you take these eggs from?
NORMA turns the blender off and turns back to face her mother.
NORMA
Are we saying we don’t like it?
VIVIAN
I’m afraid I’m going to run into a thumbtack.
NORMA
Mother, can’t you ever say anything nice? I’ve tried so hard - I’ve tried so hard and nothing is good enough for you. Let me correct myself, nothing I do is ever good enough for you.
VIVIAN grabs one of the menus from the counter.
VIVIAN
Well that’s not true. The menus are very presentable.
Angered, NORMA turns away from her.
VIVIAN
Oh I’m joking. Honestly, let me make a suggestion. If you want to serve a truly memorable omelet, try white veal sausage and morel mushrooms.
NORMA
Thanks, I’ll go pick the mushrooms.
NORMA walks off.
Seated at the island counter, DEPUTY ANDY BRENNAN holds a fork laden with cherry pie taken from the slice of cherry pie before him. Sitting straight and tall on his stool, ANDY stares forward and recites ...
ANDY
J’ai une ... J’ai une âme solitaire. J’ai une âme soli ...
DONNA quickly walks beside him.
DONNA
Following DONNA, JAMES walks up to ANDY and stands opposite of DONNA.
ANDY
(quietly) Nothing. Hello Donna.
ANDY turns to face JAMES.
ANDY
DONNA
ANDY
DONNA
JAMES
Donna what’s the big deal?
ANDY
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
DONNA takes a seat next to ANDY.
DONNA
Do you know Mrs. Tremond?
ANDY
DONNA
Mrs. Tremond, her grandson does the magic tricks. He told me this.
ANDY
DONNA
ANDY
He left a suicide note. J’ai une ... you know, it means I am a lonely soul.
DONNA
I have to find Agent Cooper.
DONNA stands up and quickly walks out of the diner.
JAMES
JAMES runs off to catch up with DONNA.
JAMES
ANDY returns to his blank, distant stare.
ANDY
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
CUT TO:
EXT. APARTMENT COMPLEX - DAY
DEPUTY ANDY, AGENT COOPER and DONNA walk past the entrance gate to the apartment complex. ANDY scouts the area as COOPER and DONNA walk up the path towards MRS. TREMOND’S apartment.
DONNA
Mrs. Tremond’s the one who told me about Harold Smith. She has a grandson and he said this to me. The same words that are in Harold Smith’s suicide note.
COOPER
Well maybe the boy said the same thing to Harold?
DONNA
No, Harold’s world was in his words. The suicide note has to be a message. It all leads back here.
CUT TO:
EXT. MRS. TREMOND’S APARTMENT - DAY
DONNA knocks on the screen door to MRS. TREMOND’S apartment.
DONNA
She’s pretty old it might take a second if her grandson isn’t here.
MUSIC: LOVE THEME FROM TWIN PEAKS (DRAMATIC VERSION)
A large woman with red curly hair and wearing sunglasses walks up to the door.
MRS. TREMOND
DONNA
MRS. TREMOND
DONNA
Well it must have been your mother I spoke to.
MRS. TREMOND
My mother? She passed away three years ago. I live here alone honey.
DONNA
(confused) No she-she was here I spoke to her and her grandson, he was here too.
MRS. TREMOND
DONNA
But he was here. They both were.
COOPER
MRS. TREMOND
Donna? Are you Donna Hayward?
DONNA
MRS. TREMOND
MRS. TREMOND walks off into her house to retrieve something. DONNA turns to AGENT COOPER and says ...
DONNA
I’ve never seen her before in my life.
COOPER
I thought you delivered meals here?
DONNA turns her attention back to the door as MRS. TREMOND returns.
MRS. TREMOND
Uh the morning after poor Harold died I found this in my mail. I meant to turn it in. Its for you.
MRS. TREMOND opens the door and COOPER holds the door open as MRS. TREMOND hands the envelope to DONNA.
DONNA
DONNA walks off, COOPER gently closes the spring loaded screen door and then walks off to join DONNA.
CUT TO:
EXT. APARTMENT COMPLEX - DAY
DONNA looks down at the face of the envelope.
DONNA
Its Harold’s handwriting.
COOPER touches DONNA’S right arm.
COOPER
DONNA turns around to face COOPER. She opens the envelope and pulls out a folded sheet of paper.
DONNA
Its Laura’s diary, a page from her diary.
COOPER
DONNA
CLOSE ON: AGENT COOPER’S FACE
As DONNA reads the page from the diary, we FOCUS on AGENT COOPER’S face and slowly ZOOM IN on his right eye.
DONNA (OFF SCREEN)
Last night I had the strangest dream. I was in a red room with a small man dressed in red and an old man sitting in a chair.
MUSIC: DANCE OF THE DREAM MAN
SUPERIMPOSE:
INT. WAITING ROOM
Another scene is SUPERIMPOSED onto the CLOSE-UP of COOPER’S right eye. We view the contents of COOPER’S dream from episode 2 - the Waiting Room scene. A large, windowless, well-lit, sparsely furnished, red-draped room with a table and three easy chairs. DALE COOPER, twenty-five years older, sits in one of the chairs. A LITTLE MAN, three and a half feet tall, in a red suit, sit in an easy chair next to a BEAUTIFUL WOMAN who looked exactly like LAURA PALMER. A shadow of a bird passes in the background behind the red drapes as the LITTLE MAN rubs his hands together.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS (DRAMATIC VERSION)
DONNA (OFF SCREEN)
I tried to talk to him. I wanted to tell him who Bob is because I thought he could help me. But my words came out slow and odd.
BACK TO SCENE:
The Waiting Room scene from the dream ends leaving just the CLOSE-UP on AGENT COOPER’S right eye.
DONNA (OFF SCREEN)
It was frustrating trying to talk.
DISSOLVE TO:
INT. WAITING ROOM
The CLOSE-UP on COOPER’S right eye FADES OUT as the waiting room scene from the dream FADES IN. A light, like a strobelight, flashes on and off.
DONNA (OFF SCREEN)
I got up and walked to the old man. Then I leaned over and whispered the secret in his ear.
CUT TO:
EXT. APARTMENT COMPLEX - DAY
CLOSE ON: DONNA’S FACE
As DONNA reads the page from the diary, we FOCUS on DONNA’S face and slowly ZOOM IN on her lips.
MUSIC: LOVE THEME FROM TWIN PEAKS (XYLOPHONE SOLO)
MUSIC ENDS: DANCE OF THE DREAM MAN
DONNA
Somebody has to stop Bob. Bob’s only afraid of one man, he told me once. A man named Mike. I wonder if this was Mike in my dream. Even if it was only a dream I hope he heard me. No one in the real world would believe me.
BACK TO SCENE:
AGENT COOPER and DEPUTY ANDY quietly stand and listen to DONNA as she continues to read from the letter.
DONNA
(gently spoken) February 23. Tonight is the night that I die. I know I have to because its the only way to keep Bob away from me. The only way to tear him out from inside. I know he wants me, I can feel his fire. But if I die he can’t hurt me anymore.
Finished, sadness starts to overcome DONNA but she fights it off with a comforting smile.
COOPER
Laura and I had the same dream.
ANDY
COOPER
COOPER walks up to ANDY.
COOPER
Deputy, take Donna home. I got to see Gerard.
COOPER walks off to the apartment complex gate. DEPUTY ANDY escorts DONNA out behind COOPER.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS (XYLOPHONE SOLO)
FADE OUT:
FADE IN:
INT. ONE-ARMED MAN’S HOTEL ROOM - DAY
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:58)
We PAN RIGHT through the open door to the hotel bedroom where the ‘ONE-ARMED MAN’ PHILIP GERARD is being held at the Great Northern Hotel. DR. WILL HAYWARD and AGENT COOPER stand on opposite sides of the bed leaning over to the ONE-ARMED MAN. The ONE-ARMED MAN in his ‘MIKE’ state lays sitting up in the middle of the bed feverishly ill with a washcloth draped over his head as he moans and breathes heavily.
DR. HAYWARD
He’s completely dehydrated. His breathing is becoming more difficult. He needs that drug.
COOPER
Mike, Mike I need you to talk to me.
DR. HAYWARD
Any longer could kill him.
ONE-ARMED MAN
COOPER
COOPER holds the left hand of the ONE-ARMED MAN. COOPER gets the ONE-ARMED MAN’S attention.
COOPER
The ONE-ARMED MAN becomes agitated and grabs the washcloth off of his head.
COOPER
I need to know something. I need you to help me.
The ONE-ARMED MAN nods his head for yes.
COOPER
Bob was in my dream, Laura Palmer was in my dream, so were you. And Laura dreamt about me the night before she died.
The ONE-ARMED MAN nods his head again.
COOPER
The same dream that I had. I need to unlock that. I need the answer that’s inside of me.
ONE-ARMED MAN
Bob and I, when we were killing together, there was this - this perfect relationship; appetite, ...
The ONE-ARMED MAN holds up a clenched fist at COOPER and sticks his thumbs up.
ONE-ARMED MAN
Still holding the clenched fist with his thumb up, the ONE-ARMED MAN then extends his index finger up.
ONE-ARMED MAN
The ONE-ARMED MAN then extends all his fingers to reveal an open palm to COOPER.
COOPER
Grinning, the ONE-ARMED MAN moves the tip of his index finger to touch the tip of his thumb to form a circle.
COOPER
(realization) The ring. My ring. I gave my ring to the giant.
ONE-ARMED MAN
COOPER
ONE-ARMED MAN
As real as I. (laughs) He can help you find Bob.
COOPER
ONE-ARMED MAN
COOPER
ONE-ARMED MAN
Oh you have all the clues you need. The answer is not here my friend.
The ONE-ARMED MAN touches COOPER’S forehead.
ONE-ARMED MAN
The ONE-ARMED MAN touches COOPER’S chest and then sits back slightly writhing in pain.
COOPER
ONE-ARMED MAN
The ONE-ARMED MAN writhes in pain. DR. HAYWARD looks on in confusion. Disappointed, AGENT COOPER stands up straight and then leaves the room. Laying back on a pillow, the ONE-ARMED MAN has fallen quiet as he slowly lets out a breath.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:58)
CUT TO:
INT. THE GREAT NORTHERN HOTEL - DAY
Standing in the pine wood planked hallway of the hotel, AGENT COOPER appears distant as he mulls over the puzzling conversation.
MUSIC: DANCE OF THE DREAM MAN (W/O SAX)
COOPER’S POV:
Through COOPER’S POV we look down the hallway. The OLD WAITER, from episode 8 and labeled as ‘SENOR DROOLCUP’ by AGENT ALBERT, scampers from a perpendicular hallway. In his hands he carries a tray with a glass of milk.
SENOR DROOLCUP
BACK TO SCENE:
Puzzled, COOPER can only look on.
COOPER’S POV:
SENOR DROOLCUP
That milk will cool down on you but its getting warmer now.
SENOR DROOLCUP gives COOPER a thumbs up sign.
MUSIC ENDS: DANCE OF THE DREAM MAN (W/O SAX)
BACK TO SCENE:
MUSIC: HOLDING OUT 12K
COOPER
MUSIC ENDS: HOLDING OUT 12K
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
MUSIC: SWOOPING AWARENESS 8K
We FOCUS on a CLOSE-UP of a stuffed and mounted white fox in BENJAMIN HORNE’S office.
MUSIC ENDS: SWOOPING AWARENESS 8K
We PAN UP to AGENT COOPER, who is deep in thought as he stands in the middle of the office staring at the mounted white fox. DEPUTIES are moving all over the office looking for clues and evidence.
SHERIFF TRUMAN
I want you to check everything in these rooms, everything.
SHERIFF TRUMAN walks up to COOPER and holds out a document for him to see.
SHERIFF TRUMAN
Coop, we found his telephone records. Look at this, the night Laura died.
TRUMAN points out the evidence on the record sheet.
SHERIFF TRUMAN
The telephone call Leland told us about.
COOPER returns his attention to the white fox.
SHERIFF TRUMAN
Ben called her number from this office.
COOPER
TRUMAN looks over to the mounted white fox.
SHERIFF TRUMAN
Yeah; white, dead and stuffed. Maddy was here. I think Ben killed her in this office and then took her to the waterfall.
AGENT ALBERT walks up to COOPER.
SHERIFF TRUMAN
He killed Laura and he killed Maddy.
ALBERT
Madeleine Ferguson died the night before last between 10 pm and midnight.
SHERIFF TRUMAN
That fits. We didn’t take Ben in until after midnight.
ALBERT
That’s as close as I can cut it.
ALBERT hands COOPER an envelope.
ALBERT
COOPER opens the envelope and takes a look at the results on the document inside. After viewing the results he quietly passes the envelope to SHERIFF TRUMAN and returns to staring at the white fox.
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
In the reception area of the building just outside the coffee station, a WORKMAN stands on a ladder as he works on one of the fire sprinklers. LUCY MORAN stands besides the ladder watching and listening to him.
WORKMAN
‘Nother couple of minutes and I’ll have this baby right up to code. Tweaking the sensors mostly. Don’t want your sprinklers to be overly jumpy, gotta set it just so.
DEPUTY ANDY walks up to LUCY.
ANDY
I want to talk about my child, our baby.
LUCY
ANDY
LUCY
Maybe it is our baby and maybe it isn’t.
The WORKMAN can’t help but overhear and peers down at the two.
ANDY
Dick? (momentarily closes his eyes) Oh my lord, is he the father?
LUCY
At first I thought you were the father but then you said you didn’t have any sperms.
The WORKMAN looks down at ANDY. ANDY meets his gaze. Embarrassed, ANDY looks away.
LUCY
Then I thought it was Dick but now you say your sperms are back. So as far as I can tell it a fifty/fifty proposition.
Quietly, ANDY walks away.
LUCY
Andy where are you going? What are you doing?
ANDY walks into LUCY reception office, picks up the phone receiver and dials a number.
LUCY
ANDY
(boldly into the phone) I want to speak to Richard Tremaine, men’s fashions. (reply) Yes I’ll hold.
LUCY
You won’t hurt him will you Andy?
LUCY’S eyes brighten with prospect of ANDY fighting over her.
ANDY
(bold) Tremaine, Brennan, Andy Brennan. We need to talk. (cowers) That is if you’re not to busy.
LUCY throws her arms down in disappointment in the change of his tone.
CUT TO:
INT. SHERIFF’S DEPARTMENT CELL BLOCK - DAY
In a jail cell in the basement of the building, BENJAMIN HORNE, looking like a mess in his business suit, sits on the lower bunk bed. MR. TOJAMURA enters the small basement cell block room and walks up to BENJAMIN’S jail cell. BENJAMIN looks up and notices him.
BENJAMIN
BENJAMIN stands up. TOJAMURA bows in greeting to BENJAMIN.
BENJAMIN
How nice of you to come calling.
TOJAMURA speaks with a gravely voice.
TOJAMURA
BENJAMIN
Yes well ... a momentary inconvenience I assure you.
TOJAMURA holds a pen in his right hand and several documents in his left hand.
TOJAMURA
BENJAMIN
The Ghostwood contracts. Uh Tojamurason, I’m afraid there’s uh ... there’s been a snag.
TOJAMURA
BENJAMIN
Unforeseen difficulties, some legal in nature others uh ... I uh ... I am unable to uh sign the Ghostwood agreement at this time.
TOJAMURA walks right up to the jail cell bars.
TOJAMURA
Then you will return my five million doll-ars.
BENJAMIN
Well I ... I want to return your money. I want to sign the contracts.
BENJAMIN paces around in his jail cell as he speaks.
BENJAMIN
Tojamurason, as you can see I am incarcerated. Falsely accused but uhm ... my brother, (laughs slightly) the boy genius, is out looking for a better lawyer and until justice is done, until I am able to breathe ...
BEN lightly pounds his chest.
BENJAMIN
... the air that free men breathe, I plead with you for understanding.
BENJAMIN spreads out a white handkerchief on the lower bunk bed and takes a seat.
BENJAMIN
This is the long, dark night of my soul. Time to seek that ... tiny flickering flame within.
MR. TOJAMURA removes his foot from his shoe and sticks it through the bars of BEN’S jail cell to reveal red painted toenails!?
BENJAMIN
Forgive me, I’ve been very emotional lately.
Looking down at the floor, BENJAMIN does not notice the foot right away but he does look up and sees it. With his glasses off, BENJAMIN can’t clearly make it out.
MUSIC: DANCE OF THE DREAM MAN (UPBEAT VARIANT) 32K
MR. TOJAMURA wiggles his toes. BENJAMIN quickly puts his glasses on and looks closely at the foot. BENJAMIN peers up and squints as he looks at TOJAMURA’S face.
BENJAMIN
Speaking through ugly false teeth, CATHERINE MARTELL’S voice emanates from the disguise of TOJAMURA.
TOJAMURA / CATHERINE
(smiling) Benjamin Horne, you’re a slimy rat bastard and I tend to make whatever remains of your pathetic existence a living hell.
BEN is astonished and holds out his arms in joy.
BENJAMIN
BEN moves down to kneel on the floor at TOJAMURA / CATHERINE outstretched foot and kisses it.
BENJAMIN
Oh - ho, oh my god. You’ve come.
Gripping the bars of his jail cell, BEN climbs up from his crouched position to kneel up to TOJAMURA / CATHERINE.
BENJAMIN
Oh Catherine, Catherine - Catherine ... tell Sheriff Truman about the night that we spent together the night that Laura was killed.
TOJAMURA / CATHERINE stands quietly.
BENJAMIN
You want me to beg? You want me to beg? Because I’ll beg.
TOJAMURA / CATHERINE
Will you sign Ghostwood and the Mill over to me?
BEN quickly mulls it over.
BENJAMIN
TOJAMURA / CATHERINE passes BEN a fold of documents and a pen.
BENJAMIN
Oh clever disguise Catherine, really brilliant.
BEN quickly goes through the documents and signs on the bottom line of each one.
BENJAMIN
Oh signed, sealed and de-livered.
BEN quickly folds the documents up and passes them through the bars of the cell back to TOJAMURA / CATHERINE. BEN stands up, elated.
BENJAMIN
Now you’ll tell the sheriff, huh. You’ll tell the sheriff.
TOJAMURA / CATHERINE
(straight faced) I’ll consider it.
TOJAMURA / CATHERINE heads towards the doorway for the cell block. BEN reaches out with his left hand.
BENJAMIN
Catherine, Catherine wait a minute. Wait a minute. Its the truth after all.
With a grin, TOJAMURA / CATHERINE turns to BEN.
TOJAMURA / CATHERINE
Why Ben, we spent our entire adult lives lying to each other. Why spoil it with the truth now.
TOJAMURA / CATHERINE leaves the cell block.
BENJAMIN
BEN removes his handkerchief from his interior suit pocket and wipes the bars of the jail cell.
BENJAMIN
MUSIC ENDS: DANCE OF THE DREAM MAN (UPBEAT VARIANT) 32K
CUT TO:
INT. PALMER HOUSE - DAY
Having just let DONNA into his house, LELAND PALMER closes the front door and walks into the living room to talk to her.
LELAND
Donna, I’m so happy you stopped by. We haven’t had the time to just sit down and talk for so long. May I get you a glass of lemonade?
DONNA is wearing a long black coat and sunglasses.
DONNA
No thanks Mr. Palmer. I only have a minute.
LELAND
DONNA reaches into her coat pocket, pulls out an audio cassette tape and hands it to LELAND.
DONNA
Uh this is for Maddy. Its a tape of a song we did with James. I want her to have a copy.
LELAND holds the tape up to view its labeled side.
LELAND
That’s very sweet of you. She told me all about this. She said it was a very enjoyable experience.
LELAND puts the tape into his suit pocket.
DONNA
Well anyway, if you could mail it to her I’d really appreciate it.
Straight faced, LELAND stares at DONNA’S sunglasses.
LELAND
No it won’t be any problem at all.
DONNA notices LELAND’S stare.
DONNA
LELAND shakes his head for no.
LELAND
He then shakes his head for yes and points at DONNA’S sunglasses.
LELAND
DONNA
They were Laura’s. Maddy gave them to me.
LELAND
I thought they look familiar.
LELAND points at her glasses again and extends his hand as if he wanted to touch them. Uneased, LELAND quickly turns around and moves away from DONNA. DONNA reaches for and places a cigarette in her mouth. As LELAND stirs alone in thought, DONNA lights her cigarette with a lighter.
DONNA
Still distant, LELAND mutters an acknowledgment.
DONNA
Did you know that they found Laura’s secret diary.
LELAND
Diary? Yes, they took it from her room.
DONNA
No, not the one the police found. She had another one. I didn’t even know about did you?
Surprised by the news, LELAND’S eyes widen as he slowly turns to face DONNA.
LELAND
DONNA
She gave it to a man named Harold Smith. Harold killed himself a few day ago. The police found it in his apartment.
LELAND looks aside as he mutters, wide-eyed.
LELAND
Oh my god, I had no idea.
He quickly turns back to DONNA.
DONNA
I wish I knew what was in it don’t you?
LELAND nods yes.
DONNA
I think about Laura all the time.
MUSIC: WINDOM EARL’S THEME
LELAND brandishes a small grin and moves towards DONNA. Just as LELAND stands next to and looks down at DONNA, the telephone RINGS.
LELAND
LELAND walks to a phone near the front door and answers it.
LELAND
(into the phone) Hello. (reply) Yeah Beth, how are you? (reply) No, not since yesterday. (reply)
Overhearing the conversation over the phone, DONNA removes her sunglasses to focus on the telephone conversation.
LELAND
(into the phone) Of course Beth, I took Maddy to the bus station myself. (reply) Well I ... I’m sure there must be some perfectly reasonable explanation. (reply) Yes of course I’ll call you immediately, within the hour. Bye Beth.
LELAND hangs up the phone and turns to walk into the living room but stops in the doorway to reach into his suit jacket to remove a package of chewing gum. Cold and emotionless, LELAND stares into the living room.
DONNA
LELAND
(straight faced) Its the strangest thing, she never made it home.
LELAND unwraps a stick of gum.
DONNA
LELAND puts the stick of gum into his mouth. Worried, DONNA exhales. LELAND notices and comforts her with a smile.
LELAND
Ohh ... Donna, don’t you worry about a thing. I’ll get us some lemonade and ...
LELAND moves back into the foyer and walks up to a mirror near the doorway. LELAND uses the mirror to check and adjust his tie.
LELAND
... we’ll sit down and give it a think and we’ll work the problem out ...
CLOSE ON: LELAND’S PROFILE
We view a CLOSE-UP on LELAND’S profile as he chews his gum and adjusts his tie.
LELAND
SOUND EFFECT: SPIRIT PRESENCE RINGING 4K
We slowly PAN LEFT to a mirror hanging on the wall. Slowly, the reflection of BOB, the frightening man with long gray hair wearing a jean jacket and pants, is revealed. BOB performs the same actions as LELAND, straightening his tie and chewing gum.
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING 4K
MUSIC ENDS: WINDOM EARL’S THEME
FADE OUT:
FADE IN:
INT. PALMER HOUSE - DAY
MUSIC: BOB IS COMING 32K
DONNA stands in front of the fire place looking up at the homecoming picture of LAURA PALMER. We slowly ZOOM IN on DONNA. Unknown to DONNA, LELAND quietly walks up close behind her. LELAND extends his right hand, gently strokes her hair and then feels it in his fingers.
Startled, DONNA quickly spins around and pants slightly in alarm. Just as quickly as DONNA spun around, LELAND has moved to extend a glass of lemonade toward her. Panic and panting subsiding, DONNA smiles, reaches out and collects the glass of lemonade.
DONNA
I knew she was expecting us, I mean ... I guess I was selfish, I thought I could see her any time. I mean Missoula’s not that far away right?
In a supporting gesture, LELAND caress DONNA’S arms near the elbow.
LELAND
Oh Donna, you’re taking this much to much to heart. I’m sure she’s just fine.
LELAND removes his gentle hold, smiles and points at her.
LELAND
I know the cure for what ails you. Its simple really, it always makes me feel good.
MUSIC ENDS: BOB IS COMING 32K
LELAND walks away from DONNA and up to an antique record player. DONNA places her glass of lemonade on the mantel. LELAND opens the top of the player, lifts the stylus and places the needle on the vinyl record.
MUSIC: OLD TUNE 112K
An old song starts up. DONNA smiles at the pleasant tune.
INSERT: CLOSE-UP ANTIQUE RECORD PLAYER
We FOCUS on a CLOSE-UP of the antique record player as the record spins. We slowly PAN UP to view a man in a blue jean jacket - it is BOB, standing exactly where LELAND was standing. We FOCUS on BOB’S face. Slightly shaking in a quietly growing rage, BOB scowls in clenched teeth. As the music plays on, BOB suddenly explodes in a loud cry as thunder rattles and mysterious blue lightning streaks from outside to illuminate the frightening face of BOB.
BOB slowly turns around ...
BACK TO SCENE:
LELAND turns around from the record player to face DONNA. He cascades in a dance from side-to-side as he moves over to DONNA and extends a hand.
LELAND
May we have this dance please?
DONNA smiles and extends her hand to hold his. LELAND draws her to the center of the room and clasps her other hand as they mildly dance. DONNA smiles at LELAND as he dances with his eyes closed.
INSERT: CLOSE-UP RECORD NEEDLE
As the music plays, we view a CLOSE-UP on the needle of the antique record player as the black vinyl record spins.
BACK TO SCENE:
LELAND stares at DONNA as he holds her hands between them as they dance. DONNA looks down at LELAND’S grip on her hands and tugs slightly to remove herself from his grip.
MUSIC: WALKING IN THE DARK
All to quick, LELAND releases his grasps on her hands and throws his arms around DONNA, pulling her close to his chest like an embrace. DONNA tries to resist and push him away. LELAND nuzzles her neck.
The doorbell RINGS.
MUSIC ENDS: WALKING IN THE DARK
MUSIC: BOB IS COMING 32K
LELAND looks up and towards the door and then releases his close squeeze on DONNA. DONNA pants in fear from the sudden and disturbing outburst. LELAND pats her hair and holds one of her hands, which she pulls away from him, before walking away towards the record player.
LELAND lifts the needle off of the record and puts it in its harness to stop the music.
MUSIC ENDS: OLD TUNE 112K
LELAND turns to DONNA and points at her.
LELAND
As LELAND walks away to answer the door, DONNA caresses herself as she calms herself down and her breathing slowly returns to normal.
LELAND opens the front door and allows SHERIFF TRUMAN into the foyer. DONNA overhears their conversation from the nearby living room.
LELAND
SHERIFF TRUMAN
Leland we need your help.
LELAND
SHERIFF TRUMAN
I’m afraid there’s been another murder.
LELAND
DONNA
Now I can’t tell you why or how but we need your help and we need it right away.
LELAND
Alright anything, certainly. Let me get my coat.
LELAND retrieves his coat from a nearby hanger and walks out of the house right behind SHERIFF TRUMAN.
MUSIC ENDS: BOB IS COMING 32K
CUT TO:
EXT. WOODS - DAY
MUSIC: VISION OF YOU
Surrounded by tall pines on a sunny day, DONNA briskly walks up a paved road. Through swollen and red eyes, DONNA fights back tears.
CUT TO:
EXT. BLACK LAKE - DAY
Caressing herself, DONNA sits at a picnic table looking out at the lake. JAMES rides on his motorcycle up the paved road and stops near the picnic table. DONNA stands up and walks over to meet him. JAMES removes his sunglasses and walks over to DONNA.
JAMES
What’s the matter? What’s wrong?
DONNA
JAMES
DONNA
She’s dead. It was the same killer. The same one who killed Laura.
JAMES walks up to the lake. They both stand with their backs to each other.
DONNA
I heard Mr. Palmer get a phone call from her - from her mother and - and she said that she hadn’t gotten home yet and - and then they came over to talk to him ... Sheriff Truman.
JAMES turns to DONNA.
JAMES
(blurts out) We could of helped her.
DONNA turns to JAMES.
DONNA
JAMES
DONNA
JAMES
(angry tone) I don’t know.
JAMES throws his arms out.
JAMES
DONNA
What do you mean? Do you mean us?
JAMES looks away for a moment as he thinks about it. He turns back to DONNA.
JAMES
JAMES heads towards his motorcycle but stops to face DONNA.
DONNA
James its not our fault, don’t leave.
JAMES
It doesn’t matter, don’t you see, nothing we do matters. Nothing’s ever going to change. It doesn’t matter ... if we’re happy and the rest of the world goes to hell.
JAMES walks off to his motorcycle.
DONNA
JAMES gets on his motorcycle and starts it up.
DONNA
JAMES rides off leaving DONNA by herself as she cries.
CUT TO:
EXT. WOODS - DAY
Dark clouds swarm the sky as a storm brews. Clouds fan out as the music sweeps to an end.
MUSIC ENDS: VISIONS OF YOU
CUT TO:
EXT. WOODS - DAY
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
As sunlight declines, pine trees billow and sway from the winds of the growing storm.
CUT TO:
EXT. ROADHOUSE - DAY
An establish shot. We view the exterior of the Roadhouse under a dark and gloomy sky. Lightning streaks down and thunder crackles nearby.
CUT TO:
INT. ROADHOUSE - DAY
Eating peanuts from a bowl, BENJAMIN HORNE, is seated alone at one of the booths in the Roadhouse bar. AGENT COOPER and AGENT ALBERT sit together on barstools at the bar. ALBERT pours himself a drink into a glass from a flask.
BIRD’S-EYE POV:
From a BIRD’S-EYE POV looking down, we view COOPER and ALBERT as they sit together at the bar. We PAN LEFT to view the deserted interior of the Roadhouse bar.
Lightning flashes the dark room with bright blue light and distant thunder rumbles. LELAND PALMER and SHERIFF TRUMAN enter the building.
MUSIC: LAURA PALMER’S THEME
COOPER quickly moves to greet them. We slowly ZOOM IN on COOPER. LELAND looks over to BEN as COOPER greets SHERIFF TRUMAN.
COOPER
SHERIFF TRUMAN pats COOPER’S arm as he walks by and off towards the bar. LELAND turns to COOPER.
COOPER
LELAND
Why are we here, Agent Cooper?
BACK TO SCENE:
With the red drapes of the stage of the Roadhouse bar as a backdrop, LELAND asks ...
LELAND
(peering around) Is someone meeting us?
COOPER
LELAND looks COOPER in the eye.
LELAND
MUSIC ENDS: LAURA PALMER’S THEME
MUSIC: THE BOOKHOUSE BOYS (2:12 - 2:31)
COOPER
MUSIC ENDS: THE BOOKHOUSE BOYS (2:12 - 2:31)
LELAND walks off towards the stage. COOPER turns around to see ‘BIG’ ED HURLEY enter the building.
COOPER
BIRD’S-EYE POV:
We ZOOM OUT and return to the BIRD’S-EYE POV looking down into the Roadhouse bar interior.
COOPER
I need everyone’s help to clear the room! I need a large space in the center.
EVERYONE except BENJAMIN stands up and moves towards the center of the room to help move the table and chairs.
BENJAMIN
COOPER watches as the chairs and tables are dragged to the sides of the room. Lightning flashes and thunders crashes outside.
BACK TO SCENE:
MUSIC: THE BOOKHOUSE BOYS (2:12 - 2:31)
LEO JOHNSON, nearly comatose in a wheelchair, is wheeled inside through the front door by DEPUTY HAWK. BOBBY BRIGGS follows right behind them. Still cracking peanuts, BENJAMIN spots BOBBY, LEO and HAWK enter the building.
BENJAMIN
Hail - hail the gang’s all here.
COOPER points at LEO.
COOPER
Bobby why don’t you wheel Leo back over there.
COOPER points near the stage.
COOPER
Stay very, very quiet, you read me.
MUSIC ENDS: THE BOOKHOUSE BOYS (2:12 - 2:31)
BOBBY slaps HAWK on the back.
BOBBY
Give yourself a raise Hawk.
HAWK sneers at BOBBY and then yields LEO’S wheelchair. BOBBY hops on the back of the wheel chair and pushes himself forward to ride the wheelchair into the room and towards the stage. BOBBY hops off the back of the wheelchair and spins LEO around to face the void of the interior. COOPER turns around as he speaks to everyone in the room.
COOPER
Gentlemen, two days ago a young woman was found murdered by the same individual I believe responsible for the death of Laura Palmer. I have reason to believe that the killer is in this room. As a member of the bureau I spend most of my time seeking simple answers to difficult questions. In the pursuit of Laura’s killer I have employed bureau guidelines, deductive technique, Tibetan method, instinct and luck. But now I find myself in need of something new ... which for lack of a better word we shall call ... magic.
Lightning streaks and sizzles through the air outside flashing the interior with bright blue light. ALBERT looks up, a little mystified by the timing of the lighting. Everyone but BENJAMIN has listened intently.
BENJAMIN
Would you like us to hum? A Tibetan chant perhaps.
BENJAMIN laughs to himself. Seated at the bar next to SHERIFF TRUMAN, ALBERT remarks ...
ALBERT
I think its going terrifically well, (turns to TRUMAN) don’t you?
SHERIFF TRUMAN
COOPER
Harry I’m not completely sure.
COOPER looks around the room.
COOPER
INSERT: CLOSE-UP CLOCK
The clock CHIMES to the top of the hour with three RINGS for 3:00 pm.
BACK TO SCENE:
Flares of lightning brighten the interior with bluish light and thunder rumbles.
MUSIC: HOLDING OUT 12K
MAJOR GARLAND BRIGGS enters the building escorting SENOR DROOLCUP, the decrepit old waiter, by the hand. COOPER turns around to face them.
MAJOR BRIGGS
COOPER
Major Briggs, right on time.
MAJOR BRIGGS
I was on my way home. This kind gentleman flagged me down, asked if I could drive him here.
SENOR DROOLCUP quietly nods for yes. Looking at SENOR DROOLCUP, MAJOR BRIGGS motions with a head nod towards COOPER. Slowly, SENOR DROOLCUP walks towards AGENT COOPER. As he walks up to COOPER, SENOR DROOLCUP extends a package of chewing gum towards him and smiles brightly. COOPER reaches out and grabs himself a stick of gum. SENOR DROOLCUP quietly waves to him and walks off past him. Baffled, COOPER looks down at the stick of gum he holds in his hands. LELAND smiles and points at the gum as SENOR DROOLCUP moves to stand next to him.
LELAND
I know that gum. I used to chew it when I was a kid. That’s my most favorite gum in the world.
SENOR DROOLCUP
That gum you like is going to come back in style.
LELAND and SENOR DROOLCUP smile at each other. Bright blue lightning illuminates the interior. Time freezes and the expression of EVERYONE in the room is frozen like a photograph under a bright blue flash. AGENT COOPER is having a vision.
MUSIC ENDS: HOLDING OUT 12K
CUT TO:
INT. WAITING ROOM
SOUND EFFECT: SPIRIT PRESENCE RINGING 4K
MUSIC: DANCE OF THE DREAM MAN
Distant saxophone music from a dream waffles through the air. AGENT COOPER is having a flashback of the end of his dream with the LITTLE MAN FROM ANOTHER PLACE in a red suit as he dances a strange dance on a black and white sawtooth tiled floor in a room with red drapes. A light, like a strobelight, flashes on and off.
Seated in a chair, and being 25 years older with gray hair, AGENT COOPER watches a BEAUTIFUL WOMAN that looks exactly like, and probably is, LAURA PALMER bend down to softly whisper something into his ear.
LAURA
CUT TO:
INT. ROADHOUSE - DAY
Lightning flickers and brightens the room. The recount of the dream ends but the vision continues.
MUSIC ENDS: DANCE OF THE DREAM MAN
MUSIC: HOLDING OUT 12K
The GIANT that took COOPER’S ring and provided the three riddles materializes before him. The GIANT extends his arm out, palm up, to COOPER.
INSERT: CLOSE-UP RING
In the open palm of the GIANT is COOPER’S golden ring. The hand that holds the ring vanishes, as the GIANT dematerializes, and the ring falls to the ground. We FOCUS on the ring in SLOW MOTION as it gently falls to the ground, rebounds off the floor and comes to a rest.
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING 4K
BACK TO SCENE:
The vision ends and time returns to normal. AGENT COOPER moves the unwrapped stick of gum into his mouth and chews it. Suddenly he looks down, bends down to pick up his ring off of the floor and looks it over.
MUSIC ENDS: HOLDING OUT 12K
COOPER turns to face BENJAMIN.
MUSIC: WALKING IN THE DARK 32K
COOPER
Ben Horne, I’d like you to accompany me to the sheriff station.
SHERIFF TRUMAN quickly stands up and walks over to BENJAMIN. COOPER turns around to LELAND.
COOPER
You’d might like to bring along Leland Palmer as your attorney.
BENJAMIN drops a handful of peanuts into the bowl as DEPUTY HAWK and SHERIFF TRUMAN arrive at his booth to escort him back to jail. BENJAMIN stands up and HAWK and TRUMAN each grab an arm which BEN resists with a tug. As they reach the door, BENJAMIN jerks the two in quiet protest. HAWK and TRUMAN get a firm grip and haul him out of the building. LELAND and AGENT ALBERT follow right behind them.
MUSIC ENDS: WALKING IN THE DARK 32K
MAJOR BRIGGS walks over to the huddle with BOBBY, LEO and BIG ED as they watch the others leave.
MUSIC: HOLDING OUT 12K
AGENT COOPER heads out but suddenly turns around in the doorway to reveal a grin and flashes a thumbs up sign to SENOR DROOLCUP. Smiling brightly, SENOR DROOLCUP salutes AGENT COOPER.
MUSIC ENDS: HOLDING OUT 12K
FADE OUT:
FADE IN:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
MUSIC: LOVE THEME FROM TWIN PEAKS
AGENT ALBERT and DEPUTY HAWK escort BENJAMIN, who continues to struggle, through the double doors of the front entrance. AGENT COOPER, LELAND and SHERIFF TRUMAN follow right behind them.
COOPER
Let’s take him down to interrogation.
ALBERT and HAWK wrestle with BENJAMIN as they move him up the hall.
LELAND
Agent Cooper, is he going to be charged?
COOPER
LELAND
Then I think I would like to begin bail proceedings as soon as possible.
COOPER
He’ll have his day in court.
LELAND nods and walks off up the hallway. COOPER watches him walk off. SHERIFF TRUMAN starts to follow him but COOPER grabs him.
COOPER
COOPER whispers instructions to SHERIFF TRUMAN.
CUT TO:
INT. SHERIFF’S DEPARTMENT BASEMENT - DAY
In the basement of the building, ALBERT and HAWK escort BENJAMIN down the concrete block hall and up to one of the interrogation rooms. They wait as SHERIFF TRUMAN makes his way to the door to unlock it. LELAND stands nearby with AGENT COOPER behind him.
SHERIFF TRUMAN opens the door, takes a step back and puts a hand behind BENJAMIN to move into the room. LELAND steps up close to BENJAMIN at the doorway.
LELAND
Everything will be alright Ben.
With a physical outburst, SHERIFF TRUMAN throws BENJAMIN aside and he and AGENT COOPER grab LELAND, shove him into the interrogation room and slam the door locked.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
INT. INTERROGATION ROOM - DAY
Locked inside the interrogation room, LELAND / BOB grunts in furor. He throw his coat at the wall, rips off his suit jacket and hurls it at the wall. COOPER, TRUMAN and ALBERT squeeze together at the small, bar covered window in the door to the interrogation room. LELAND / BOB looks around the room, runs to his right and slams his body against the wall. In savage anger, LELAND / BOB turns, runs in the opposite direction and smashes into another wall.
MUSIC: NIGHT LIFE IN TWIN PEAKS
CUT TO:
INT. SHERIFF’S DEPARTMENT BASEMENT - DAY
In the hallway outside the door to the interrogation room, COOPER, TRUMAN, ALBERT and BENJAMIN huddle near the small window. COOPER turns around to BENJAMIN.
COOPER
Hawk take Ben upstairs and release him.
BENJAMIN
(looking through the window) Leland?!
HAWK
CUT TO:
INT. INTERROGATION ROOM - DAY
Standing in the middle of the empty room, LELAND / BOB shouts at the top of his lungs.
CUT TO:
INT. SHERIFF’S DEPARTMENT BASEMENT - DAY
DEPUTY HAWK escorts BENJAMIN away. SHERIFF TRUMAN backs away from the window and COOPER and ALBERT turn to him.
SHERIFF TRUMAN
COOPER
Laura told me ... in her dream.
SHERIFF TRUMAN
We need a lot stronger evidence than this.
COOPER
How about a confession Harry.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS
CUT TO:
INT. INTERROGATION ROOM - DAY
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
MUSIC: SWOOPING AWARENESS 8K
Inside the interrogation room in the basement of the Sheriff’s Department building, SHERIFF TRUMAN puts handcuffs on LELAND / BOB, who sits on a chair in the middle of the room. DEPUTY HAWK stands directly in front of LELAND / BOB with his revolver drawn and trained on him. AGENT ALBERT stands next to HAWK. Lightning illuminates the room from thin windows near the ceiling.
SHERIFF TRUMAN
You have the right to an attorney.
MUSIC ENDS: SWOOPING AWARENESS 8K
After placing the handcuffs on LELAND, SHERIFF TRUMAN steps back. HAWK puts his gun in its holster.
SHERIFF TRUMAN
If you can not afford an attorney one will be appointed for you.
Twisting his hands in the handcuffs, LELAND / BOB produces a wicked grin and an evil snicker. SHERIFF TRUMAN walks around LELAND / BOB and then takes a position next to AGENT COOPER at the door. AGENT COOPER walks around LELAND / BOB and stands behind him.
LELAND / BOB
Ah yeah, I suppose you wanna ask him some questions, huh.
Looking down at LELAND / BOB, COOPER asks ...
COOPER
Did you kill Laura Palmer?
LELAND cocks his head up and hoots ...
LELAND / BOB
WHOOO!!! WHOO-WHOO! HOO-HOO-HOO!! WHOOO!!! WHOO! HOO-HOO! WHOOO!!!
LELAND / BOB levels his head and calmly says ...
LELAND / BOB
COOPER
How about Madeleine Ferguson?
LELAND / BOB
COOPER
LELAND / BOB
COOPER
Shifting from an emotionless cold response to a childlike persona, LELAND / BOB rolls his head around slightly as he says ...
LELAND / BOB
Oh gosh gee-gee whiz I guess I kinda sorta did. I have this thing for knives.
LELAND / BOB grits his teeth and turns to COOPER.
LELAND / BOB
Just like what happened to you in Pittsburgh that time!
MUSIC: SWOOPING AWARENESS 8K
Frightened and surprised by the remark, COOPER takes a step back.
LELAND / BOB
MUSIC ENDS: SWOOPING AWARENESS 8K
LELAND / BOB holds his hands up and twists his wrists in their restraints.
LELAND / BOB
Oh Leland, Leland - Leland. You’ve been a good vehicle and I’ve enjoyed the ride but now he’s weak and full of holes. Its almost nearly time to shuffle off to Buffalo!
COOPER
Does Leland know what you’ve done?
LELAND / BOB
Leland’s a babe in the woods ... with a large hole where his conscious used to be. (lifts his head up, wide eyed) And when I go children I will pull that rip cord and you watch Leland, remember. Watch him! But not for long.
LELAND / BOB jerks his head with a grunt once, twice and then one last time before he slowly and quietly lowers his head. LELAND / BOB falls silent.
MUSIC: LOVE THEME FROM TWIN PEAKS
SHERIFF TRUMAN
With his hand at his gun, DEPUTY HAWK stands next to LELAND as SHERIFF TRUMAN unlocks the door. SHERIFF TRUMAN, AGENT ALBERT, AGENT COOPER and DEPUTY HAWK leave the room. LELAND / BOB remains silent in the interrogation room.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
At the reception window, RICHARD ‘DICK’ TREMAINE rings the bell unaware that LUCY is standing beside him.
LUCY
Dick, could you come with me please.
LUCY leads DICK to the conference room.
CUT TO:
INT. CONFERENCE ROOM - DAY
LUCY sits behind the long end of the conference table, near the window. Opposite her and seated together are DEPUTY ANDY and DICK.
LUCY
Okay, here’s how this is going to work. I’m going to keep my baby.
DICK
LUCY
That’s not open for discussion.
DICK
ANDY turns to DICK.
ANDY
(scornfully) Be quiet, let her talk.
DICK looks at ANDY and holds up a long gold, feminine cigarette holder.
DICK
ANDY checks his shirt pockets and then his pants pockets before he turns to DICK and renounces ...
ANDY
DICK grins at ANDY and then moves to retrieve his own lighter which he uses to light his cigarette.
DICK
(to LUCY) You were saying.
LUCY
There’s only one way to handle this. They have a test to determine the blood type of the father. (to DICK) It could be you.
DICK smiles at LUCY.
LUCY
(to ANDY) Or it could be you.
ANDY sits quietly. Holding is cigarette holder vertically, DICK turns to sneer at ANDY.
LUCY
They won’t be doing this test until after the baby is born. During which time I expect complete cooperation from each of you two gentlemen.
DICK
What ever you say Lucy. I mean it is your baby.
LUCY
We FOCUS on the cigarette holder that DICK is holding. We PAN UP the smoke from the cigarette as it rises up to the ceiling. At the ceiling is a smoke alarm.
CUT TO:
INT. SHERIFF’S DEPARTMENT BASEMENT - DAY
MUSIC: HOLDING OUT 12K
Just outside the door to the interrogation room, DEPUTY HAWK keeps a vigil on LELAND / BOB through the door’s window. AGENT ALBERT and SHERIFF TRUMAN stand together as they listen to AGENT COOPER.
COOPER
Ben Horne’s blood test, he’s the wrong type.
ALBERT lights himself a cigarette even though a sign painted in large red letters behind COOPER says ‘No Smoking’.
COOPER
Harry, the answer was right in front of me from the very beginning. What did the little man do in my dream?
SHERIFF TRUMAN
COOPER
After Laura’s death Leland danced compulsively. We were told that Bob the killer was a gray haired man. When Leland killed Jacques his hair turned gray overnight. Leland said when he was a child the gray haired man who lived next door was named Robertson. Mike said the people Bob inhabited were his children. Robertson, son of Robert. The letters under the finger nails ‘R’, ‘O’, ‘B’, ‘T’; Bob was spelling his name. The signature on a demon self-portrait.
SHERIFF TRUMAN
COOPER
Laura was writing about Bob in her diary. Leland found it, ripped out the pages. She knew he was on to her. It was Leland who placed that call from Ben Horne’s office to Laura the night she died. He was the third man outside Jacques cabin window. He took the girls to the train car. It was his blood we found not Ben Horne’s.
SHERIFF TRUMAN
COOPER
Maybe she reminded him of Laura. Maddy was going home perhaps he couldn’t bear to part with her. He wanted to relive the experience or maybe she realized Bob was the killer and he found out.
SHERIFF TRUMAN
Now this Bob ... he can’t really exist, I mean, Leland is just crazy right?
MUSIC ENDS: HOLDING OUT 12K
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
LELAND / BOB suddenly starts to shout from within the interrogation room. COOPER’S, ALBERT’S and TRUMAN’S attention is diverted to it. We ZOOM IN towards the door to the interrogation room.
LELAND / BOB
Through the dark of futures past! The magician longs to see! One chants out between two worlds!
CUT TO:
INT. INTERROGATION ROOM - DAY
LELAND / BOB had been pacing the room as he shouts ...
LELAND / BOB
He takes a seat on the chair in the middle of the room and shouts out ...
LELAND / BOB
I’LL CATCH YOU WITH MY DEATH BAG! YOU MAY THINK I’VE GONE INSANE BUT I PROMISE I WILL KILL AGAAAIIIN!!!
CUT TO:
INT. SHERIFF’S DEPARTMENT BASEMENT - DAY
AGENT COOPER, SHERIFF TRUMAN, AGENT ALBERT and DEPUTY HAWK huddle together, looking at each other as LELAND / BOB yells from the interrogation room. They shake their heads and then collectively walk up the hallway to get out of the basement. Listening on, COOPER is the last to leave and join the line out. However, just as AGENT COOPER starts to walk away a beeping alarm goes off. COOPER peers at the ceiling to find the source of the beeping. Suddenly the fire sprinkler system goes off and water pours from the ceiling sprinklers.
SOUND EFFECT: SPIRIT PRESENCE RINGING 4K
CUT TO:
INT. INTERROGATION ROOM - DAY
As the fire sprinklers drench him with water, LELAND / BOB stands up and shouts at the top of his lungs ...
LELAND / BOB
Lightning flashes into the room.
BIRD’S-EYE POV:
From a BIRD’S-EYE POV above where LELAND was standing, we look down on BOB, with the long gray hair and jean jacket, as he shouts with his eyes closed and his arms extended as he is drenched with water.
BOB
CUT TO:
INT. SHERIFF’S DEPARTMENT BASEMENT - DAY
At the top of the stairs, SHERIFF TRUMAN looks down into the basement through the shower of water falling from the fire sprinklers.
INSERT: CLOSE-UP FIRE SPRINKLER
We view a CLOSE-UP on a fire sprinkler at the ceiling as it spurts water.
CUT TO:
INT. INTERROGATION ROOM - DAY
Still standing in the middle of the room, LELAND / BOB bends down and looks towards the door of the interrogation room. He grimaces and then runs straight towards the door, head first. LELAND / BOB hits the door with a loud thud.
CUT TO:
INT. SHERIFF’S DEPARTMENT BASEMENT - DAY
AGENT COOPER runs to the window of the door, sees what LELAND is doing and then yells out for SHERIFF TRUMAN.
COOPER
LELAND / BOB continues to hit the metal door with his head. SHERIFF TRUMAN runs down the stairs and down the hallway. AGENT ALBERT and DEPUTY HAWK run behind him. As TRUMAN nears the door he slips on the wet floor and drops the keys.
COOPER
As LELAND continues to hammer his head at the door, SHERIFF TRUMAN scrambles to pick up the keys off the floor and to pick the right key, from the bunch, for the door. COOPER can only watch LELAND through the window.
COOPER
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING 4K
SHERIFF TRUMAN opens the door and AGENT COOPER, SHERIFF TRUMAN, AGENT ALBERT and DEPUTY HAWK rush inside. LELAND lays on the floor in the middle of the room with blood pouring from his head. The fire sprinklers continue to shower the room.
INSERT: CLOSE-UP DOOR
SOUND EFFECT: MUSICAL SHRIEK 8K
We view a CLOSE-UP on the interrogation room door as blood drips from the sharp metal edges around the window frame. Bits of bloodied scalp and hair cling to the top edge of the metal frame.
CUT TO:
INT. INTERROGATION ROOM - DAY
SHERIFF TRUMAN, AGENT ALBERT and AGENT COOPER kneel down to LELAND on the floor. COOPER holds LELAND’S head.
COOPER
(to HAWK) Call an ambulance.
LELAND
Oh god, Laura! I killed her. Oh my god, I killed my daughter! I didn’t know! Forgive me, forgive me. Oh god.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
MUSIC: LAURA PALMER’S THEME
COOPER sits down on the floor, picks LELAND up and leans LELAND’S shoulders on his thigh. COOPER looks down at LELAND and holds his hand.
LELAND
I was just a boy. I saw him in my dreams. He said he - he wanted to play. He opened me and I invited him and he came inside me.
COOPER
LELAND
When he was inside, I didn’t know and when he was gone I couldn’t remember. He made me do things, terrible things. He said he wanted lives, he wanted others. Others that they could use like they used me.
COOPER
LELAND
They wanted her. They wanted Laura ... but she was strong. She fought ‘em. She wouldn’t let them in. Oh god, they had me kill that girl Teresa. (strains in pain) And they ... and they said ... and if I didn’t give them Laura they’d have me kill her too.
COOPER
But she wouldn’t let them in?
LELAND
She said she die ... before she let ‘em. And then they made me kill her. Oh god have mercy on me. What have I done. What have I done. Oh god, I love her. I love her with all my heart. My angel forgive me.
COOPER turns to ALBERT, a questioning gaze about LELAND’S condition. ALBERT shakes his head as a reply, It’s not good. ALBERT can’t do anything to help LELAND. Frustrated, ALBERT stands up and leans on the wall. SHERIFF TRUMAN stands up and moves next to ALBERT. COOPER turns back to LELAND.
COOPER
Shivering, LELAND has his eyes closed and holds himself.
COOPER
Leland the time has come for you to seek the path. Your soul has set you face to face with the clear light and you are now about to experience it in its reality. Where in all things are like the void and cloudless sky and the naked, spotless intellect is like a transparent vacuum without circumference or center. Leland, in this moment, know yourself and abide in that state. Look to the light Leland. Find the light.
LELAND
COOPER
Into the light Leland. Into the light.
LELAND
I see ... her. She’s ... there.
COOPER
LELAND
COOPER
LELAND
LELAND opens his eyes and smiles.
COOPER
LELAND exhales deeply and then falls silent. The fire sprinklers are finally shut off and the falling water subsides. Still holding LELAND, AGENT COOPER uses his hand to throw his water soaked hair back.
MUSIC ENDS: LAURA PALMER’S THEME
CUT TO:
EXT. WOODS - DAY
MUSIC: THE MILL FIRE 16K
With the storm over and the clouds gone, AGENT COOPER, SHERIFF TRUMAN and AGENT ALBERT walk up a rock lined pathway in the woods under a sunny sky. MAJOR BRIGGS, in his usual Air Force uniform, awaits them up ahead on the path. COOPER, holding a cup of coffee and a small paper bag of donuts, nods to MAJOR BRIGGS as they meet up with him. SHERIFF TRUMAN takes a seat on the pine needle carpeted ground against a pine tree. ALBERT and COOPER lean up against pine trees.
SHERIFF TRUMAN
He was completely insane.
COOPER
ALBERT
But people saw Bob. People saw him in visions; Laura, Maddy, Sara Palmer.
MAJOR BRIGGS walks up closer to the group.
MAJOR BRIGGS
Gentlemen, there’s more in heaven and Earth than what’s dreamt up in our philosophy.
COOPER agrees and nods yes.
COOPER
SHERIFF TRUMAN
Well I lived in these old woods most of my life. I’ve seen some strange things but this is way off the map, I’m having a hard time ... believing.
COOPER
Harry is it easier to believe a man would rape and murder his own daughter ... any more comforting?
SHERIFF TRUMAN
MAJOR BRIGGS
An evil that great in ... in this beautiful world ... finally ... does it matter what the cause?
COOPER
Yes, because its our job to stop it.
MAJOR BRIGGS
MAJOR BRIGGS walks off down the path.
ALBERT
Maybe that’s all Bob is. The evil that men do. Maybe it doesn’t matter what we call it.
SHERIFF TRUMAN
Maybe not ... but if he was real, if he was here and we had him trapped and he got away, where’s Bob now?
AGENT COOPER drinks from his cup of coffee, unable to answer that question.
MUSIC ENDS: THE MILL FIRE 16K
CUT TO:
EXT. WOODS - NIGHT
SOUND EFFECT: SPIRIT PRESENCE RINGING 4K
With the sound of a thumping heart, a presence quickly scampers along the forest floor of the woods. Passing garbage and an old wrecked automobile the presence scurries over and under obstacles as it races to a bright light.
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING 4K
From the bright light a large owl flies out and meets the presence. The image of the descending owl fills the entire screen.
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:
