Episode 19 - The Black Widow


FADE IN:

INT. LOG LADY’S CABIN - DAY

MUSIC: CALL OF THE BLACK LODGE    272K

As she speaks directly to us, the ‘LOG LADY’ MARGARET LANTERMEN holds her wooden log in her arms like a baby.

LOG LADY

MUSIC ENDS: CALL OF THE BLACK LODGE    272K

FADE OUT:




INTRO:




FADE IN:

MUSIC: TWIN PEAKS THEME  

CREDITS run with the scenes of a bird in a tree, the mill machinery at work, the road into town with the welcome sign, the hotel by the falls and the river.

MUSIC ENDS: TWIN PEAKS THEME  

FADE OUT:




FADE IN:

INT. BENJAMIN HORNE’S OFFICE - DAY

MUSIC: ANDY’S THEME   48K

We FOCUS on the closed double-doors to the office. Just to the side of the door is a small brass deer statue. The doors open and BOBBY BRIGGS lets himself into the office and closes the door behind himself. BOBBY peers to the left wall where most of the furniture in the room has been assembled on top of each other in a symmetrical fashion. Starring at the wall, he walks into the office.

BOBBY

BOBBY walks around the desk, which sits in the middle of the room, and spots BENJAMIN HORNE. BEN, unshaven and wearing a robe with a loose odd necktie, sits quietly on the floor beside the assemblage of furniture.

BOBBY

Worried by BEN’S lack of response BOBBY gives his name in case he doesn’t remember him.

BOBBY

BENJAMIN

BOBBY shrugs.

BENJAMIN

MUSIC: AUDREY’S DANCE (SAX ONLY)

BENJAMIN

Holding a lit cigar, BEN stands up and walks up to BOBBY.

BENJAMIN

BEN points to the assemblage of furniture.

BENJAMIN

BEN walks over to the assemblage, climbs it and moves his wood carved nameplate, ‘BEN’, to a higher position on the assemblage.

BOBBY

Still standing on the assemblage, BEN turns and hunches down to BOBBY.

BENJAMIN

BOBBY rakes his fingers together as he puts his hands together.

BOBBY

BENJAMIN

BOBBY

BEN hops off the assemblage and stands next to BOBBY.

BENJAMIN


INSERT: FURNITURE ASSEMBLAGE

We FOCUS on the symmetrical furniture assemblage and PAN UP to the top.

BENJAMIN (OFF SCREEN)


BACK TO SCENE:

BENJAMIN

BEN takes a puff from his cigar. Baffled, BOBBY stares at the assemblage.

BOBBY

BENJAMIN

BEN points at BOBBY.

BENJAMIN

BOBBY turns to BEN.

BOBBY

Pleased, BEN extends an arm around BOBBBY and tugs at him.

BENJAMIN

BEN walks over to his desk, picks up a small brown leather case and opens it.

BENJAMIN

BEN removes a camera from the case and hands it to BOBBY.

BENJAMIN

BEN closes the leather case.

BENJAMIN

MUSIC ENDS: ANDY’S THEME   48K

MUSIC ENDS: AUDREY’S DANCE (SAX ONLY)




CUT TO:

INT. THE GREAT NORTHERN - DAY

In the hallway just outside the double doors to BENJAMIN’S office, LANA BUDDING MILFORD, in a white dress, screams and runs gingerly in high heels around a bend in the hallway. BOBBY has just stepped out of BEN’S office as LANA runs by him screaming. Feigning fear or danger, LANA only briefly looks at BOBBY as she runs past him. Baffled by the commotion, BOBBY just shakes his head.

As BOBBY starts to walk off, he is jerked back and the case with the camera falls to the floor. The strap had gotten caught on the door handle. BOBBY picks up the camera case and untangles the strap from the door handle.




CUT TO:

INT. SHERIFF’S DEPARTMENT CONFERENCE ROOM - DAY


COOPER’S POV:

Through DALE COOPER’S POV, we FOCUS on a manila folder with a photograph of a house pasted to it along with a description of the house, a realtor summary.

COOPER

We PAN RIGHT to another folder with a picture of a house on it with another realtor summary.


BACK TO SCENE:

Standing beside the end of the long desk in the conference room of the building, COOPER, dressed in khakis and a plaid flannel shirt, mulls through two different house selections in his hands. A chalk sketch of the map of Twin Peaks on a black board is a backdrop. Standing near COOPER, IRENE LITTLEHORSE, a realtor, asks ...

IRENE

COOPER

COOPER places the folders on the table and reaches into his pants pocket to retrieve a coin. With a flick of his thumb he tosses the coin up.


INSERT: COIN

We FOCUS on the coin as it flips around in the air in SLOW MOTION. The coin falls and ricochets off a plate of donuts on the table. The coin skips on the table top and comes to a rest on a folder scattered near a bunch of folders near IRENE.


BACK TO SCENE:

COOPER picks up the folder that the coin came to rest on. He catches the coin in his left hand as it slides off the top of the folder.

COOPER

IRENE

COOPER

IRENE

COOPER



CUT TO:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

RICHARD ‘DICK’ TREMAYNE, wearing a jean jacket and khaki shorts, enters the building through the double doors and walks into the waiting area of the reception room. DEPUTY ANDY BRENNAN, LUCY MORAN and JUDIE SWAYNE, wearing a black and red plaid suit jacket with a black skirt and holding a manila folder, stand together in the waiting area of the reception room.

DICK

ANDY

JUDIE

JUDIE extends a hand for greetings to DICK. DICK shakes her hand.

DICK

JUDIE

They all take a seat. JUDIE opens the folder she has been holding, pulls out several documents and hands them to DICK.

JUDIE

DICK

JUDIE

LUCY

JUDIE

ANDY

DICK

JUDIE

MUSIC: LOVE THEME FROM TWIN PEAKS

DICK

JUDIE

SHERIFF HARRY S. TRUMAN quickly steps out of his office that opens out to the waiting area of the reception room. As he puts on his jacket and hat, he calls out for ...

SHERIFF TRUMAN

ANDY stands up and follows SHERIFF TRUMAN out of the building.

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS




CUT TO:

INT. DOUGIE MILFORD’S HOTEL ROOM - DAY

In one of the bedrooms of the Great Northern hotel, we FOCUS on a CLOSE-UP of the frozen face of DOUGLAS ‘DOUGIE’ MILFORD as he lies dead in bed. We ZOOM OUT. DR. WILL HAYWARD stands beside the bed as he moves his hand over DOUGIE’S eyes to close them. DR. HAYWARD looks over to SHERIFF TRUMAN.

DR. HAYWARD

DEPUTY ANDY, standing next to DR. HAYWARD, reads aloud from a book he found in the room.

ANDY

ANDY looks up from the book and over to TRUMAN.

ANDY

ANDY moves the book over to DR. HAYWARD to show him the racy description.

SHERIFF TRUMAN

TRUMAN looks at the books on the bed and reads the titles out loud.

SHERIFF TRUMAN

ANDY looks inside an open suitcase on the bed that is filled with fetish sex toys. ANDY picks up a translucent plastic mask from the suitcase, puts it over his face.

ANDY

ANDY turns to DR. HAYWARD, who is instantly repelled at the sight of the mask. ANDY removes the mask as he and DR. HAYWARD turn their attention to the door of the room as MAYOR DWAYNE MILFORD, DOUGIE’S brother, enters.

MUSIC: HAROLD’S THEME   32K

Wearing a black suit and carrying a rain coat over his left arm, MILFORD walks up to the bed.

MAYOR MILFORD

Standing over his brother, MILFORD bemoans the loss.

MAYOR MILFORD

MILFORD touches his brother’s shoulder and his head. He looks down the bed and sees a book.


INSERT: CLOSE-UP BOOK

We FOCUS on a CLOSE-UP on the book ‘My Secret Life’ by Chris Gerrfey. MILFORD picks the book up.


BACK TO SCENE:

MILFORD passes the book to SHERIFF TRUMAN.

MAYOR MILFORD

MILFORD picks up his brother’s hand and gently places it on top of his brother’s chest. As he pats his brother’s hand, MILFORD remarks ...

MAYOR MILFORD

MILFORD turns to leave. DEPUTY ANDY places an arm around MILFORD to comfort him as ANDY escorts him out of the room.




CUT TO:

INT. THE GREAT NORTHERN HOTEL - DAY

Just outside DOUGIE’S hotel bedroom, DEPUTY TOMMY THE ‘HAWK’ HILL squats to the side of LANA MILFORD, who is seated in a chair, as he tries to comfort her. MAYOR MILFORD and DEPUTY ANDY step out of the bedroom and into the hall. DEPUTY HAWK stands up and grasps MILFORD’S left arm to help guide him. ANDY releases his hold and walks back into the bedroom. Spotting LANA, MILFORD points a finger at her.

MAYOR MILFORD

HAWK

Two nearby deputies, DEPUTY #1 and DEPUTY #2 grab an arm of MILFORD’S and slowly lead him up the hall away from LANA.

MAYOR MILFORD

The DEPUTIES lead MILFORD away. DEPUTY HAWK returns to a squat beside LANA and holds her hand to comfort her.

LANA

MUSIC ENDS: HAROLD’S THEME   32K

HAWK

LANA

MUSIC: LANA’S THEME   51K

LANA

HAWK

LANA

HAWK

HAWK boldly stands up and leans back on the door to DOUGIE’S bedroom.

HAWK

Suddenly the door to the bedroom opens and HAWK’S eyes widen as he loses his balance, falls to his left side and back into the bedroom. Perplexed, DEPUTY ANDY stands in the doorway and stares at LANA.

MUSIC ENDS: LANA’S THEME   51K




CUT TO:

EXT. TWIN PEAKS HIGH SCHOOL - DAY

An establish shot. We view the front of the high school with its green lawn where the school sign is perched.

COACH (OFF SCREEN)



CUT TO:

INT. GYMNASIUM - DAY

Inside the Twin Peaks High School gymnasium, we FOCUS on a CLOSE-UP on the face of the WRESTLING COACH as he stands before students of the high school and tells them a story.

COACH

We ZOOM OUT to see the WRESTLING COACH standing in the gymnasium. NADINE HURLEY, wearing a white Twin Peaks High School Physical Education T-shirt, quickly scampers down and stands beside the WRESTLING COACH.

COACH

MIKE NELSON stands up from his seat on the bleachers and walks up to the WRESTING COACH. Several WRESTLERS, standing and seated on the wrestling mat, clap and cheer for MIKE.

WRESTLERS

The COACH holds an arm over the shoulder’s of MIKE and NADINE as he boldly announces ...

COACH

The COACH tugs MIKE close.

WRESTLERS

The WRESTLING COACH stands at the edge of the mat with a whistle in his mouth as he acts as the referee. Facing each other hunched over, MIKE and NADINE square off in the middle of the wrestling mat. MIKE reaches out, grabs NADINE by the back of the neck and pulls her towards him until the top of her head rests on his left shoulder.

NADINE

MIKE reaches out for NADINE’S right hand, grabs it and throws it on his back shoulder. NADINE slides her right hand over to his neck.

MIKE

MIKE grabs her right hand again and places it back on the back of his left shoulder.

MIKE

MIKE and NADINE waddle together as they push each other around on the mat.

NADINE

MIKE

MIKE quickly releases his grip, moves behind NADINE, throws his arms around her waist and picks her up. MIKE looks over to his COACH, who appears disappointed by the move. Releasing his grip, NADINE reaches behind to her right, grabs a hold on MIKE and throws him down hard to the mat.

COACH

The WRESTLERS all mumble to themselves.

MIKE

NADINE

MIKE gets back up and moves back into a starting position by hunching over and extending his arms to grab NADINE. NADINE quickly grabs MIKE’S neck and places him in a headlock. She jerks him around slightly as she holds his neck tight.

MIKE

NADINE

NADINE jerks MIKE and throws him down hard to the mat. MIKE stumbles on the ground as he looks over to his WRESTLING COACH. NADINE picks MIKE up from the floor to stand him up. She then gets a grip on his leg and his shirt and lifts him up into the air and over her head.

NADINE

MIKE

The WRESTLING COACH quietly stares in awe as he watches NADINE spin MIKE around in the air.

MIKE

NADINE throws MIKE into the air and he falls hard onto the mat. Some of the WRESTLERS close their eyes with MIKE’S brutal collision with the floor.

WRESTLERS

NADINA pounces on MIKE’S chest and pins him to the mat. The COACH quickly walks up to the two and counts ...

COACH

NADINE

NADINE gets up from MIKE. Pained, MIKE lifts his head up to look at NADINE and then drops it back to the mat.

FADE OUT:




FADE IN:

INT. TWIN PEAKS HIGH SCHOOL - DAY

MUSIC: SHELLY’S TUNE   35K

The bell rings as students walk through the halls to reach different class rooms. DONNA HAYWARD walks to her locker and opens it to fetch some books. A sore and stiff MIKE NELSON walks up to DONNA and stands beside her.

DONNA

MIKE

DONNA grins at MIKE and jokingly asks ...

DONNA

MIKE

DONNA

MIKE

DONNA stares at him in disbelief.

DONNA

DONNA grabs the books she needs and closes her locker.

MIKE

DONNA walks up the hallway and MIKE follows behind her.

DONNA

MIKE

DONNA

MIKE

DONNA

DONNA walks off to the side. MIKE stops and calls out ...

MIKE

MUSIC ENDS: SHELLY’S TUNE   35K




CUT TO:

EXT. MARSH RESIDENCE GARAGE & SERVANT’S QUARTERS - DAY

MUSIC: THE BOOKHOUSE BOYS (1:12 - 2:11)

An establish shot. We view the front of the two-story building.




CUT TO:

INT. MARSH RESIDENCE SERVANT’S QUARTERS - DAY

Seated in a chair in a guest bedroom, JAMES HURLEY places ratchet wrench nuts back in order in their case. MALCOLM SLOAN, holding a glass half-filled with liquor, pokes his head in the doorway to the room before he steps inside. JAMES spots him.

JAMES

MALCOLM

MALCOLM extends his hand. JAMES and MALCOLM shake hands.

MALCOLM

JAMES

MALCOLM

MALCOLM grabs a chair and moves it over in front of JAMES. MALCOLM extends his arms out as he shows his uniform.

MALCOLM

MALCOLM sits down.

MALCOLM

MALCOLM takes a big swig from his glass.

MALCOLM

JAMES grins.

MALCOLM

MUSIC: LOVE THEME FROM TWIN PEAKS

JAMES

MUSIC ENDS: THE BOOKHOUSE BOYS (1:12 - 2:11)

MALCOLM

MALCOLM leans forward in his chair.

MALCOLM

JAMES

MALCOLM sits back in his chair.

MALCOLM

MALCOLM takes a swig from his glass and then stands up. Before he leaves he extends his hand towards JAMES.

MALCOLM

They shake hands. MALCOLM leaves the room.

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS




CUT TO:

EXT. DEAD DOG FARM - DAY

MUSIC: NIGHT LIFE IN TWIN PEAKS

We FOCUS on a red ‘For Sale’ sign that is nailed to a pine tree. We PAN RIGHT to view the front of the house. A four door Buick automobile pulls into the driveway and parks. IRENE steps out of the driver side of the car and COOPER, wearing a vest jacket, steps out of the passenger side. IRENE and COOPER walk toward the house as they look it over.

IRENE

COOPER

IRENE and COOPER stop at the front of the car as she explains ...

IRENE

COOPER looks down at the ground.

COOPER

IRENE

COOPER points at the ground.

COOPER


INSERT: TIRE TRACKS

We FOCUS on a CLOSE-UP on three different sets of tire tracks in the mud.


BACK TO SCENE:

IRENE and COOPER turn and walk toward the front door of the house.




CUT TO:

INT. DEAD DOG FARM - DAY

IRENE nudges open the front door which was already ajar. COOPER follows right behind her.

IRENE

COOPER

IRENE and COOPER scan the room. COOPER sniffs the air.

COOPER

COOPER walks up to the nearby kitchen table, an old Formica table from 50’s. He spots an ash tray filled with cigarettes.

COOPER

COOPER spots a small clear plastic envelope at the corner of the table. He picks up the envelope, looks at it and then walks over to the kitchen sink.

IRENE

COOPER grins as he looks at the bottom of the sink. He grabs the kitchen faucet handle and flips it up to turn it on but no water comes out.

COOPER

COOPER licks the end of his pinky finger. We FOCUS on COOPER’S hand and PAN DOWN as he moves his pinky into the bottom of the sink where there is a dusting of white powder in the drain. We PAN UP as COOPER returns his pinky to his mouth to taste the white powder that clung to the tip of his wet pinky. For a moment he tastes the powder and then realizes ...

COOPER

COOPER turns to the table, walks up to it and bends down as he carefully scans the edges of table.


COOPER'S POV:

Through COOPER’S POV we FOCUS on a CLOSE-UP on the edge of the table and an area of the floor as COOPER looks for any spilled white powder. Clear of any white powder we PAN the table edge and the floor until we come upon a chair where there is a dusting of white powder that fell from the table top.


BACK TO SCENE:

MUSIC: DANCE OF THE DREAM MAN (DRAMATIC VARIANT)

IRENE

COOPER

COOPER removes his wallet from his pants pocket, opens the wallet and takes out a credit card. He uses the credit card to scoop up some of the white powder from the chair. COOPER licks his index finger, touches the powder and tastes it. He turns to IRENE and identifies the white powder as ...

COOPER

MUSIC ENDS: DANCE OF THE DREAM MAN (DRAMATIC VARIANT)

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS




CUT TO:

EXT. DIRT ROAD - DAY

MUSIC: OLD TUNE   112K

RICHARD ‘DICK’ TREMAYNE, wearing a jean jacket and khaki shorts, sits on a plaid blanket that is spread out on the dirt road next to his BMW automobile. The scene looks more like a picnic with a coffee thermos, the car manual, tools and tire rim nuts laid out neatly on the blanket. With the right tire raised in the air with a car jack at the front right corner bumper, DICK, mechanically challenged, curiously works at removing the flat tire. As the flat tire pivots, DICK picks up the car manual to read the instructions for removing a tire. He returns his attention to the tire and attempts to grab one of the tire rim nuts but can’t because the tire keeping pivoting.

DICK


CLOSE ON: LITTLE NICKY

We FOCUS on NICHOLAS ‘LITTLE NICKY’ NEEDLEMAN seated in the driver's seat of the car. Turning the steering wheel of the car, LITTLE NICKY obeys DICK and stops turning the wheel. For only a short moment LITTLE NICKY sits still but then grins and returns to turning the steering wheel plus he turns on the windshield wipers.


BACK TO SCENE:

We FOCUS on DICK sitting on the ground next to the car tire. As the tire pivots, DICK unscrews one of the loosened tire rim nuts by hand and places it beside another tire rim nut on a rag on the blanket.

DICK

DICK puts the car manual down and looks at his index finger, which is streaked with black grease.

DICK

DICK gently blots the grease away from his index finger with a rag and then wipes his hands on the rag.

DICK

DICK tosses the rag to the blanket and shakes his head slightly at his predicament.

DICK

DICK returns to the pivoting tire to remove the next loosened tire rim nut.


CLOSE ON: LITTLE NICKY

We FOCUS on LITTLE NICKY seated in the driver's seat of the car. Grinning, LITTLE NICKY pounds the car horn and it BLARES loudly.


BACK TO SCENE:

We FOCUS on DICK as he squints, distressed from the loud car horn, and picks up the car manual.

DICK

DICK reads the car manual.


CLOSE ON: LITTLE NICKY

We FOCUS on LITTLE NICKY seated in the driver's seat of the car. LITTLE NICKY rolls his eyes.


BACK TO SCENE:

We FOCUS on DICK as he returns to unscrewing one of the tire rim nuts.


CLOSE ON: LITTLE NICKY

We FOCUS on LITTLE NICKY seated in the driver's seat of the car. Playing with the car, LITTLE NICKY turns the windshield wipers on and then slams the car horn again.


BACK TO SCENE:

We FOCUS on DICK as he jumps slightly at the loud annoying HONK of the horn. Having been irritated enough he blurts out ...

DICK


CLOSE ON: LITTLE NICKY

We FOCUS on LITTLE NICKY seated in the driver's seat of the car. Reluctantly, LITTLE NICKY opens the driver’s side door and steps out of the car.

DICK


BACK TO SCENE:

We FOCUS on DICK seated on the ground next to the car tire.

DICK

Dressed exactly like DICK in a jean jacket and khaki shorts, LITTLE NICKY walks around the rear of the car and over to DICK. DICK, still seated on the blanket next to the flat tire on the car, wipes grease from his hands.

LITTLE NICKY

DICK

LITTLE NICKY

LITTLE NICKY walks a short distance away to the side of the road. Grinning, DICK turns his grin into a scowl as LITTLE NICKY walks off.

MUSIC: LOVE THEME FROM TWIN PEAKS

DICK picks up the car manual and looks it over. He puts the manual back down and perches on one knee as he unscrews the next tire rim nut.

MUSIC ENDS: OLD TUNE   112K


CLOSE ON: LITTLE NICKY

We FOCUS on LITTLE NICKY standing beside the shoulder of the dirt road. LITTLE NICKY looks back over his right shoulder at DICK.


BACK TO SCENE:

We FOCUS on DICK as he removes another tire rim nut and places it next to the others on a rag laid out on the blanket. He picks up the manual and reads the instructions again. Without warning, the flat tire slides off the rim of the car and the car jack gives way. Barely missing DICK, the car and tire drop right beside him.

LITTLE NICKY

LITTLE NICKY runs up to DICK and hugs him. DICK grins and holds LITTLE NICKY.

DICK

LITTLE NICKY

DICK

DICK loses his grin as he realizes what has just transpired.

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS




CUT TO:

EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

An establish shot. We view the front of the building with a large sign ‘Twin Peaks Sheriff’s Department’ above the front doors. IRENE’S Buick automobile and SHERIFF TRUMAN’S police cruiser are parked in front.




CUT TO:

INT. SHERIFF TRUMAN’S OFFICE - DAY

Unaware of the GUEST at first, COOPER, carrying a cup of coffee, enters SHERIFF HARRY S. TRUMAN’S office and greets ...

COOPER

Seated behind his desk, SHERIFF TRUMAN stands up and gestures to COLONEL RILEY, who is seated in front of TRUMAN’S desk.

SHERIFF TRUMAN

COOPER

COOPER and RILEY greet each other and shake hands.

COLONEL RILEY

COOPER

COLONEL RILEY

COOPER

COLONEL RILEY

COOPER

MUSIC: HOLDING OUT   12K

COLONEL RILEY

SHERIFF TRUMAN

COOPER

COLONEL RILEY

RILEY points to a position on a map on top of TRUMAN’S desk.

COLONEL RILEY

COOPER

COLONEL RILEY

SHERIFF TRUMAN

Looking at TRUMAN, RILEY leans on TRUMAN’S desk.

COLONEL RILEY

COOPER can only contemplate over COLONEL RILEY’S limited information.

MUSIC ENDS: HOLDING OUT   12K




CUT TO:

INT. MARSH RESIDENCE GARAGE - DAY

Slightly smeared with grease, JAMES, holding a bottle of beer, takes a seat in the driver’s side of the car and starts it up. EVELYN MARSH, also holding a bottle of beer, walks up besides JAMES.

JAMES

JAMES shuts the engine off.

EVELYN

JAMES slides over to the passenger seat. EVELYN takes a seat in the driver’s seat. She stares longingly at JAMES.

JAMES

EVELYN

JAMES

MUSIC: LAURA PALMER’S THEME  

JAMES

MUSIC ENDS: LAURA PALMER’S THEME  

MUSIC: THE BOOKHOUSE BOYS (2:32 - 3:24)

EVELYN

JAMES

JAMES and EVELYN stare into each other’s eyes. JAMES moves to her and kisses her. He pulls back and again asks ...

JAMES

EVELYN

Again they stare at each other. EVELYN moves to JAMES and they kiss until a car HORN disturbs them.


EVEYLYN’S POV:

From EVELYN’S POV, we look out of the open garage door and onto the front gate where a Rolls Royce is parked. JEFFREY MARSH, EVELYN’S husband, steps out of the car and walks toward the house.

EVELYN


BACK TO SCENE:

EVELYN sits up in the driver’s seat to check her lipstick in the center rear view mirror of the car. She steps out of the car and turns to JAMES.

EVELYN

EVELYN walks off to join her husband. JAMES slides over to the driver’s seat as he watches the couple meet out in the yard.


JAMES’ POV:

Through JAMES’ POV, we watch EVELYN extend her arms out as she greets her husband JEFFREY. A CHAUFFER walks by them carrying suitcases.

EVELYN

JEFFREY


BACK TO SCENE:

JAMES quietly stews in the driver’s seat as he watches the couple meet.

MUSIC ENDS: THE BOOKHOUSE BOYS (2:32 - 3:24)

FADE OUT:




FADE IN:

EXT. THE GREAT NORTHERN - DAY

MUSIC: AUDREY’S DANCE

An establish shot. Under a gray cloudy sky, we view the hotel perched near the edge of a cliff.




CUT TO:

INT. THE GREAT NORTHERN - DAY

AUDREY HORNE leans back against a wall in a corner of the hallway. BOBBY BRIGGS, dressed in a suit and carrying the leather camera case, walks into the corridor holding a manila envelope. BOBBY doesn’t notice AUDREY as he walks up the hallway. AUDREY quickly walks up behind him, moves around his right side (BOBBY looks over his left shoulder as he hears footsteps) and faces BOBBY.

AUDREY

BOBBY

AUDREY

BOBBY

AUDREY slyly laughs as she playfully jabs BOBBY at his ribs.

AUDREY

AUDREY tugs at BOBBY’S arm. BOBBY stops walking, turns to AUDREY and holds before her the manila envelope he’s been carrying.

BOBBY

AUDREY

AUDREY reaches out for the manila envelope but BOBBY whips it out of her reach and holds it behind his back.

MUSIC: CHERRY STEM KNOT   63K

BOBBY

BOBBY touches AUDREY’S cheek.

BOBBY

BOBBY shows AUDREY the envelope again.

AUDREY

She reaches out for the envelope and BOBBY quickly slips it behind his back again.

BOBBY

AUDREY grabs BOBBY’S suit collar.

AUDREY

BOBBY moves his head towards AUDREY for a kiss but AUDREY moves aside. Missing the kiss and with his head bowed, BOBBY chuckles and then lifts his head back up. He points at AUDREY.

BOBBY

BOBBY walks off.

AUDREY

MUSIC ENDS: CHERRY STEM KNOT   63K

We FOCUS on BOBBY as he walks up to the double doors of BENJAMIN HORNE’S office, opens the door and enters.

Right behind BOBBY, but unbeknownst to him, AUDREY opens a secret door, just to the side wall of the double doors to BEN’S office, by pulling a ring in bedded in the wall. She squats down and enters the space between the walls.




CUT TO:

INT. BENJAMIN HORNE’S OFFICE - DAY

On top of BENJAMIN’S desk, in the center of the office, is a model of a hill complete with small trees and vegetation. A confederate flag on a flagpole stands next to the desk. From the top of the model hill, smoke billows up into the air. BOBBY walks into the office and up to the model.

BOBBY

BENJAMIN sits up from behind the model and places a tiny half-inch tall confederate soldier on the top of the hill on the model. Smoking a cigar, BEN is dressed in the gray uniform of a confederate soldier.

BOBBY

BENJAMIN

BOBBY

BOBBY extends the manila envelope to BEN. BEN smiles as he puts a small bottle of glue and his cigar down and grabs the envelope. BEN opens the envelope and pulls out several large 8.5 inch by 11 inch photographs.

BOBBY



CUT TO:

INT. AUDREY’S SECRET SPY HOLE - DAY

Standing in a small space within the walls between the hallway and BEN’S office, AUDREY looks through a small knot hole into BEN’S office and listens to BEN’S conversation.

BOBBY (OFF SCREEN)


AUDREY’S POV:

From AUDREY’S POV looking through the knot hole in the office wall, we see BENJAMIN standing next to BOBBY as they look through the photographs.

BENJAMIN

BOBBY

BENJAMIN


BACK TO SCENE:

We FOCUS on AUDREY as she stands close to the wall looking through the small knot hole into the office and listening in on BEN’S conversation.

BOBBY (OFF SCREEN)


AUDREY’S POV:

From AUDREY’S POV looking through the knot hole in the wall, we see BENJAMIN reach into his confederate uniform jacket pocket and pull out a wad of cash. BEN passes several bills to BOBBY.

BENJAMIN

BEN salutes BOBBY and then returns to looking at the photographs. Elated, BOBBY smiles and pats BEN on the back.

BOBBY

BOBBY walks off.

MUSIC ENDS: AUDREY’S DANCE


BACK TO SCENE:

We FOCUS on AUDREY as she replaces a board over the small knot hole. BEN whistles a confederate tune, ‘Dixieland’, in his office.




CUT TO:

INT. BLUE PINE LODGE - DAY

PETE MARTELL, wearing a dark blue robe, and CATHERINE MARTELL, wearing a fine white lace robe, are seated across from each other at the dining room table. PETE opens a bottle of champagne and the cork pops off and ricochets off the ceiling.

CATHERINE

PETE

PETE pours the champagne into tall, thin champagne glasses. CATHERINE smiles lovingly at PETE. They both stare into each other’s eyes. CATHERINE lifts her glass to her lips. PETE holds his glass up to CATHERINE.

PETE

CATHERINE abstains from drinking as she listens to PETE recite ...

PETE

CATHERINE

PETE

CATHERINE downs her glass of champagne.

PETE

CATHERINE

PETE

CATHERINE fills her empty glass.

CATHERINE

PETE

CATHERINE quickly cuts him off ...

CATHERINE

MUSIC: PACKARD THEME    31K

In the nearby kitchen, JOSIE PACKARD, dressed in a maid’s outfit, stops her work as she prepares the meal and walks over to the dining room table.

JOSIE

CATHERINE

Buzzed from the champagne, PETE smiles contently.

JOSIE

CATHERINE

JOSIE

JOSIE turns around to return to the kitchen.

CATHERINE

JOSIE turns to face CATHERINE, grabs her little maid’s cap off of the corner of the kitchen island counter and places it on her head. Before she returns to the kitchen, JOSIE smirks with a tilt to her head that shifts her maid’s cap.

PETE

CATHERINE

PETE

PETE stares into the bottom of his glass. CATHERINE lifts her glass up.

CATHERINE

PETE and CATHERINE touch glasses for the toast.

PETE

The two drink from their champagne glasses.

MUSIC ENDS: PACKARD THEME    31K




CUT TO:

INT. DALE COOPER’S HOTEL ROOM - DAY

MUSIC: LOVE THEME FROM TWIN PEAKS


CLOSE ON: COOPER’S LIPS

We FOCUS on a CLOSE-UP of COOPER’S lips as he speaks.

COOPER


COOPER’S POV:

Through COOPER’S POV, we FOCUS on a CLOSE-UP on the personnel section of a newspaper.

COOPER


BACK TO SCENE:

We FOCUS on COOPER sitting on his bed as he speaks into his mini-tape recorder.

COOPER

COOPER stops recording.


COOPER’ POV:

Through COOPER’S POV, we FOCUS on a CLOSE-UP of COOPER’S hands as he holds his mini-tape recorder in his left hand and a Bookhouse Boy’s patch, a round white patch with a pine tree and sword overlapping each other, in his right hand.


BACK TO SCENE:

There’s a KNOCK at the door. Sitting near the nightstand at the head of his bed, COOPER stands up to answer the door. He puts his mini-tape recorder in his flannel shirt pocket. COOPER opens the door to reveal AUDREY carrying a manila envelope.

AUDREY

COOPER

AUDREY walks inside. COOPER closes the door and walks up to her.

AUDREY

COOPER

AUDREY

COOPER smiles.

COOPER

He grabs the manila envelope from AUDREY.

COOPER

AUDREY

COOPER opens the envelope and pulls out several large black and white photographs.


COOPER’S POV:

Through COOPER’S POV we FOCUS on a CLOSE-UP of the black and white photographs. The photograph is taken from outside the Dead Dog Farm house where a group of four men, ERNIE NILES, HANK JENNINGS, RMCP PRESTON KING, and JEAN RENAULT, huddle together in a meeting. COOPER flips to the next photograph which is a zoom in shot of the meeting.


BACK TO SCENE:

AUDREY

COOPER

MUSIC: AUDREY’S DANCE

AUDREY brightens with a smile.

AUDREY

AUDREY takes a seat on a chair near the window.

AUDREY

There’s a knock at the door. COOPER moves over to the door to answer it. He opens the door to reveal DEA SPECIAL AGENT DENISE BRYSON, wearing a dark suit jacket and a skirt, standing in the hall.

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS

COOPER

DENISE

COOPER

COOPER hugs DENISE in the doorway. AUDREY stares in shock at the exchange between the two.

DENISE walks inside and COOPER closes the door. Surprised, off guard and even slightly jealous AUDREY asks ...

AUDREY

COOPER introduces DENISE to AUDREY ...

COOPER

AUDREY rises from her chair and walks over to DENISE. DENISE offers a hand to shake in greeting. AUDREY shakes hands with DENISE.

AUDREY

DENISE

AUDREY stares at DENISE in admiration. COOPER, standing next to DENISE, smiles at the reaction of the two.

COOPER

AUDREY

COOPER

AUDREY puts her hands on her hips as she continues to look at DENISE in awe. DENISE responds in kind, with hands at hips.

AUDREY

MUSIC: HAPPY THOUGHTS   18K

MUSIC ENDS: AUDREY’S DANCE

AUDREY walks up to COOPER, puts her hands on his shoulders and kisses him on the lips. She then quickly scampers to the door and lets herself out, taking a peak back into the room, with a smile on her face, as she closes the door.

MUSIC ENDS: HAPPY THOUGHTS   18K

Hiding a chuckle, DENISE smiles at COOPER as he composes himself and gathers his thoughts.

COOPER


COOPER’S POV:

Through COOPER’S POV we FOCUS on a CLOSE-UP of the black and white photographs AUDREY gave him. COOPER points to the individuals in the photograph as he names them off to DENISE.

COOPER


BACK TO SCENE:

As DENISE looks at the photographs, COOPER reaches over to the top of a dresser for the plastic envelope filled with the cocaine evidence he found at Dead Dog Farm. COOPER holds the plastic envelope in front of him as he explains ...

COOPER

DENISE grabs the plastic envelope, looks it over and turns to COOPER.

DENISE

COOPER

DENISE

MUSIC: DANCE OF THE DREAM MAN (W/O SAX)

DENISE

COOPER grabs DENISE’S left arm and leads to the door.

COOPER

COOPER opens the door.

DENISE

Standing near the open door, DENISE cups COOPER’S neck with a left hand.

DENISE

DENISE walks out of the room.

COOPER

COOPER closes the door and shakes his head at DENISE’S odd remark.

MUSIC ENDS: DANCE OF THE DREAM MAN (W/O SAX)




CUT TO:

INT. DOUBLE R DINER - DAY

We FOCUS on a plate of cherry pie as ‘BIG’ ED HURLEY, seated at the island counter, nudges at the pie with a fork.

NORMA

We PAN UP, NORMA JENNINGS walks around BIG ED and enters the service area of the island counter. She leans against the counter across from BIG ED. BIG ED puts his fork down and smiles at NORMA.

BIG ED

NORMA

BIG ED

BIG ED bows his head.

NORMA

BIG ED looks back up at NORMA.

BIG ED

MUSIC: TWIN PEAKS THEME  

BIG ED

NORMA slides her hand over to BIG ED’S hand and holds it.

MUSIC: HANK’S THEME   39K

MUSIC ENDS: TWIN PEAKS THEME  


HANK’S POV:

From HANK JENNING’S POV at the end of the island counter near the kitchen and behind the large blending machine, we watch the exchange between NORMA and BIG ED.

NORMA

HANK holds his double-three domino in his left hand. NORMA walks away from BIG ED. HANK puts his domino in his pocket and walks off.

MUSIC ENDS: HANK’S THEME   39K

FADE OUT:




FADE IN:

EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT

An establish shot. We view the front of the sheriff’s department. SHERIFF TRUMAN’S police cruiser is parked in front.




INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT

MUSIC: WINDOM EARLE’S THEME

RICHARD ‘DICK’ TREMAYNE enters the building shaking off a partially closed wet umbrella. LUCY sits at her station in the reception office. As she sees DICK enter, LUCY adjusts her hair. DICK peers into the reception area as he looks for ...

DICK

DICK walks over to DEPUTY ANDY, who is standing just outside the door to the conference room. LUCY stands up, surprised that he walked right by her without acknowledgment, and looks herself over.

ANDY

DICK

ANDY

DICK looks back at LUCY and then turns to ANDY.

DICK

ANDY

DICK and ANDY quietly whisper to each other.

DICK

ANDY

MUSIC ENDS: WINDOM EARLE’S THEME

MUSIC: PARANOIA

DICK


CLOSE ON: LUCY

We FOCUS on LUCY as she bends to the open window of her reception office as she strains to overhear the conversation between DICK and ANDY.

DICK (OFF SCREEN)


BACK TO SCENE:

DICK

ANDY

DICK

We ZOOM IN on DEPUTY ANDY.


SUPERIMPOSE: LITTLE NICKY AS DEVIL

We view a small image over the head of ANDY as he conjures up an image of LITTLE NICKY as the devil, with horns, a pitchfork and with flames around him.

MUSIC ENDS: PARANOIA




CUT TO:

INT. SHERIFF TRUMAN’S OFFICE - DAY

Carrying a manila folder, DR. HAYWARD walks through the open door of SHERIFF TRUMAN’S office. SHERIFF TRUMAN sits behind his desk. MAYOR MILFORD sits in a chair in front of TRUMAN’S desk.

DR. HAYWARD

DR. HAYWARD bends down to the side MILFORD.

DR. HAYWARD

MAYOR MILFORD

DR. HAYWARD

DR. HAYWARD stands up straight.

MAYOR MILFORD

SHERIFF TRUMAN

MAYOR MILFORD

DR. HAYWARD silently laughs.

MAYOR MILFORD

SHERIFF TRUMAN

TRUMAN looks at DR. HAYWARD, who has covered his mouth to keep from laughing.

MAYOR MILFORD

MILFORD walks out of TRUMAN’S office and into the reception area.

MAYOR MILFORD

MILFORD walks off without completing his thought. SHERIFF TRUMAN and DR. HAYWARD stand just outside TRUMAN’S office and watch MILFORD walk off. TRUMAN and DR. HAYWARD look at each other and smile over MILFORD’S amusing exchange.

At the next door to the left of TRUMAN’S office, DEPUTY HAWK stands in the doorway of the conference room with LANA, wearing a little black dress, standing behind him. HAWK asks ...

HAWK

MUSIC: LANA’S THEME   51K

SHERIFF TRUMAN and DR. HAYWARD walk up to DEPUTY ANDY and DICK, who are still standing in the reception area. The four stand together and stare longingly at LANA. LUCY walks out of her reception office and up to the commotion to see what’s going on.

DICK

Seeing that the commotion if over LANA, LUCY rolls her eyes and walks back to her office.

DICK

GROUP

HAWK turns to look at LANA, who beguilingly leans back against the doorframe. Unaware that she was there, HAWK gives the four in the reception area a dirty look. HAWK turns to LANA, nods at her, caresses her left arm and leads her back into the conference room.

The four continue to stand in the hall, entranced by LANA’S beauty.




DISSOLVE TO:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

As the last scene FADES OUT, we FADE IN to the next scene. LUCY walks around in the hall and peers into empty rooms. She walks into the deserted reception room and checks on the plants in the wall/planter divider. The telephone in LUCY’S reception office rings and LUCY walks to her office to answer it.

MUSIC ENDS: LANA’S THEME   51K

LUCY answers the telephone.

LUCY

LUCY presses a button to put the telephone call on hold and then presses another button to link to the intercom in SHERIFF TRUMAN’S office.

LUCY

LUCY gets no response. She moves to the building intercom microphone, depresses the switch three times (which makes an audible CLICKING sound over the speakers) and blows into the microphone.


INSERT: CLOSE-UP INTERCOM SPEAKER

We FOCUS on a CLOSE-UP of one of the intercom speakers in the building. Distortion rings from the speaker as LUCY blows on the microphone. LUCY’S voice emanates from the speaker.

LUCY (OFF SCREEN)


INSERT: CONFERENCE ROOM

We FOCUS on the dark and empty conference room of the building as LUCY’S voice streams from the intercom.

LUCY (OFF SCREEN)


BACK TO SCENE:

LUCY turns the intercom microphone off. No one responds. She picks up the telephone, presses a button and relays ...

LUCY

LUCY pushes a button to put the call on hold and hangs up the receiver. She hears distant LAUGHTER.

LUCY

LUCY walks out of her office and up to the closed door to SHERIFF TRUMAN’S office. She leans her head to the door and listens to LANA’S voice.

LANA (OFF SCREEN)

LUCY opens the door to the sounds of laughter. LANA sits on the back corner of TRUMAN’S desk. DICK stands leaning over the front of the desk, DEPUTY HAWK stands behind LANA, SHERIFF TRUMAN sits in his chair behind his desk and DR. HAYWARD stands to the right of DICK at the front corner of the desk.

MUSIC: LANA’S THEME   51K

LANA

The GROUP in the office break into laughter at the conclusion of LANA’S story.

DICK

LUCY becomes aghast at the site of DEPUTY ANDY sitting in a corner of the room. With his hands clumped together, ANDY stares at LANA with an enchanted yearning look on his face. ANDY stands up, grabs a pitcher of milk (sitting atop of TRUMAN’S desk), and fills a glass.

LANA

GROUP

ANDY passes the glass of milk to LANA.

LANA

LANA grabs the glass of milk and sets it down on the desk in front of her.

LANA

Ignored and jealous, LUCY bites her lip, takes a step back out of the TRUMAN’S office and SLAMS the door shut.

MUSIC ENDS: LANA’S THEME   51K




CUT TO:

INT. DOUBLE R DINER - DAY

MUSIC: COUNTRY #3   52K


CLOSE ON: FLOOR NEAR ENTRANCE

We FOCUS on the red and white checkered floor near the front door to the diner. A WOMAN, wearing high heels and a skirt, enters the diner.


BACK TO SCENE:

Facing the diner entry, we FOCUS on ERNIE NILES as he sits alone at a booth eating fried chicken.


CLOSE ON: WOMAN’S FEET

We FOCUS on the WOMAN’S feet as she walks into the diner.


BACK TO SCENE:

Holding a drumstick in his hands, ERNIE looks up as he sees the WOMAN walking towards him.


CLOSE ON: WOMAN’S FEET

We FOCUS on the WOMAN’S feet as she walks next to and then stops at ERNIE’S booth.


BACK TO SCENE:

We FOCUS on the face of the WOMAN standing next to ERNIE’S booth - it is AGENT DENISE. DENISE takes a seat opposite ERNIE at his booth. Puzzled, ERNIE looks around the diner and then asks ...

ERNIE

Sitting cross-legged on the corner of the bench seat, DENISE holds up the black and white photographs received from COOPER.

DENISE

DENISE places the pictures on the table and slides them over to ERNIE.

DENISE

DENISE flashes a DEA badge. ERNIE picks the photographs up and looks at them.

ERNIE

DENISE

DENISE grabs a compact mirror from the purse, opens the compact mirror and looks into it.

DENISE

DENISE grabs a lipstick from the purse.

DENISE

DENISE applies lipstick and continues to add ...

DENISE

MUSIC ENDS: COUNTRY #3   52K




CUT TO:

INT. DALE COOPER’S HOTEL ROOM - NIGHT

A fierce rain storm causes the lights to flicker and the room goes dark momentarily as blue lightning, which flashes the interior as thunder rumbles, disrupts the power service. We FOCUS on a CLOSE-UP of ERNIE’S face as he confesses ...

ERNIE

The room grows dark as another bolt of lightning disrupts the power and flashes the room with blue light. Thunder pounds outside and power returns to the interior.

ERNIE

Again the room becomes dark and lightning washes blue light into the room. Thunder rumbles outside. The interior lights return.

DENISE (OFF SCREEN)

We slowly ZOOM OUT and PAN RIGHT.

ERNIE

COOPER stands next to the left of ERNIE. Bright blue lightning flashes outside.

COOPER

ERNIE

The room becomes dark. Thunder rumbles and lightning flashes from the window. The lights in the room return. We slowly ZOOM OUT further.

ERNIE

ERNIE is sitting on a chair near the foot of the bed. DENISE sits on the log wood bed railing at the foot of the bed next to the right of ERNIE. COOPER sits on the corner of a short dresser.

DENISE

With the sound of pouring rain outside, the lights go out as lightning once again disrupts the power momentarily.

COOPER

ERNIE

COOPER

ERNIE

DENISE puts a hand on ERNIE’S right shoulder.

DENISE

The lights go out and then return again as they are disrupted by a bright flash of lightning followed by crashing thunder.

ERNIE

DENISE shrugs in disappointment. The lights briefly dim. Lightning flashes in the window.

COOPER

ERNIE

The intense storm darkens the room once more. Bright blue light illuminates the interior and a loud boom of thunder roars. After a short duration in the dark, the lights return to normal.

ERNIE

COOPER

ERNIE

ERNIE cowers in his seat. DENISE reaches out and picks up ERNIE’S right hand.

DENISE

Another close bolt of lightning shuts the power down and flashes the interior. After a quake of thunder, the power returns.

DENISE caresses ERNIE’S hand. ERNIE stares nervously at his hand and at DENISE.

DENISE

COOPER stands up and paces the floor behind ERNIE.

DENISE

ERNIE

The lights momentarily go out. Lightning flashes and thunder growls.

ERNIE

COOPER stops and looks at DENISE’S and ERNIE’S reaction.

DENISE

ERNIE jerks his hand out of DENISE’S grasp and looks at DENISE’S dress.

ERNIE

DENISE pats ERNIE on the right shoulder. ERNIE’S reaction generates a smile on DENISE’S face. ERNIE stands up.

ERNIE

COOPER watches ERNIE walk off to the bathroom.




CUT TO:

INT. MARSH RESIDENCE SERVANT’S QUARTERS - NIGHT


JAMES’S POV:

Through JAMES’S POV we FOCUS on a CLOSE-UP of the window looking outside towards the Marsh’s residence. Rain splatters the window and lightning flashes outside. JEFFREY’S voice can be heard shouting from inside the Marsh’s residence.

JEFFREY (OFF SCREEN)


BACK TO SCENE:

We FOCUS on JAMES as he lies awake in bed looking out the window. Lightning flashes the interior and thunder crackles. JAMES turns on the bedside lamp, gets out of bed and walks over to the window.

JEFFREY (OFF SCREEN)

EVELYN shouts back at JEFFREY.

JEFFREY (OFF SCREEN)

Lightning flashes blue light through the window.

JEFFREY (OFF SCREEN)

An object can be heard SHATTERING inside the Marsh’s residence.

MUSIC: SHORT ON TIME   78K


JAMES’S POV:

Through JAMES’S POV we FOCUS on a CLOSE-UP of the window looking outside towards the Marsh’s residence. As it pours outside, JEFFREY’S voice can be heard shouting from inside the Marsh’s residence.

JEFFREY (OFF SCREEN)


BACK TO SCENE:

We FOCUS on the door to JAMES’S room as it opens and MALCOLM steps inside carrying a glass half-filled with liquor. JEFFREY’S voice can still be heard shouting from the Marsh’s residence. MALCOLM looks towards the window where JAMES is standing.

JEFFREY (OFF SCREEN)

Lightning flashes the room with blue light. JAMES turns to MALCOLM.

JAMES

MALCOLM

Standing in the doorway, MALCOLM looks back into the other room.

MALCOLM

MALCOLM leans on the door jamb and looks back at JAMES.

MALCOLM

MALCOLM turns around and walks off. JAMES watches him leave and then turns to face the window just as a very bright flash of lightning illuminates the room.

MUSIC ENDS: SHORT ON TIME   78K




CUT TO:

EXT. BRIGGS HOUSE - NIGHT

An establish shot. In the pouring rain, we view the front of the house with a flag pole in the front yard.




CUT TO:

INT. BRIGGS HOUSE - NIGHT

Situated in the dark interior of the living room, we FOCUS on a window far at the end of the dining room. A FIGURE sits in the dark on a couch in the living room. Lightning flashes outside and illuminates the interior as the front door, to the left, opens. BOBBY walks into the house and across the room. The FIGURE watches BOBBY enter and moves to turn on a nearby lamp. Spooked, BOBBY jumps slightly and turns to see his mother, ELIZABETH BRIGGS, wearing a light blue robe, sitting on the couch.

BOBBY

The base of the lamp, on top of the endtable next to ELIZABETH, is a large ceramic white owl.

ELIZABETH

BOBBY

BOBBY places his car keys on a nearby table. He walks up to his mother and brushes his hair back with both hands.

ELIZABETH

BOBBY squats down and kneels just to the side of, but facing, his mother.

BOBBY

Holding a Kleenex tissue in her hands, ELIZABETH tries to hold a smile but she bows her head and lets out a whimper.

BOBBY

ELIZABETH quietly nods for yes. Thunder crackles for an extend time.

BOBBY

ELIZABETH

BOBBY reaches into his shirt pocket and grabs a packet of cigarettes. He quickly jerks the packet in his hands to dispel a cigarette that he grabs with his lips.

ELIZABETH looks out towards the window in the dining room as lightning flashes and thunder loudly rattles nearby.

BOBBY grabs his lighter and, with a flick of the wrist, opens it. He lights his cigarette and holds it aside.

BOBBY

MUSIC: VISION OF YOU

BOBBY

ELIZABETH smiles as she listens to BOBBY’S recall of the dream.

BOBBY

The room goes dark as a bolt of lightning interferes with the power service. Bright blue light flashes the dark interior. With the rumble of thunder the lights return.

BOBBY

ELIZABETH

BOBBY takes a drag on his cigarette.

BOBBY

BOBBY taps the side of his head.

BOBBY

ELIZABETH peers up as she recounts ...

ELIZABETH

Lightning flashes outside and thunder rustles. BOBBY reaches out and holds his mother’s left hand. ELIZABETH becomes upset and lets out a small cry as she recounts the memory of her husband.

ELIZABETH

The lights go out. Thunder crackles as a bright flash of blue light from a bolt of lightning illuminates the interior. ELIZABETH looks to her left, into the dining room, and is stunned by the sight of a FIGURE standing in the dark. Noting her reaction, BOBBY turns to look over his shoulder.

Another bolt of lightning brightens the dark interior and illuminates the FIGURE - its MAJOR GARLAND BRIGGS, dressed in a World War II aviator outfit.

MAJOR BRIGGS

ELIZABETH

MAJOR BRIGGS

The lights return as power is restored. MAJOR BRIGGS removes the aviator cap and a white scarf around his neck. ELIZABETH jumps up from her seat and rushes over to hug MAJOR BRIGGS. The two embrace each other. MAJOR BRIGGS kisses her cheek.

ELIZABETH

Stunned, BOBBY stands up. The lights flicker along with a crack of thunder. MAJOR BRIGGS looks at BOBBY.

MAJOR BRIGGS

BOBBY looks at the cigarette he holds in his left hand. He quickly turns around and puts it out into an ash tray on the coffee table. Wide-eyed, BOBBY walks up to his dad.

MAJOR BRIGGS

BOBBY

BOBBY walks off to fetch the drink. MAJOR BRIGGS and ELIZABETH still hold each other. They kiss. Lightning flashes.

ELIZABETH

MUSIC ENDS: VISION OF YOU

The lights flicker and then go out as thunder rattles the house.

MUSIC: NIGHT LIFE IN TWIN PEAKS

MAJOR BRIGGS

As lightning flashes the interior, MAJOR BRIGGS and ELIZABETH hold onto each other in the dark.




CUT TO:

EXT. STORMY SKY - NIGHT

We FOCUS up on the stormy sky as dark billowy clouds float by with streaks of blue lightning bolts jutting out with rumbling thunder.

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS

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: