Episode 2 - Zen, or the Skill to Catch a Killer
FADE IN:
INT. LOG LADY'S CABIN - DAY
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
Sometime ideas, like men, jump up and say hello.They
introduce themselves, these ideas, with words. Are they words? These
ideas speak so strangely. All that we see in this world is based on someone's
ideas. Some ideas are destructive, some are constructive. Some ideas can
arrive in the form of a dream. I can say it again. Some ideas arrive in
the form of a dream.
FADE OUT:
INTRO:
FADE IN:
TUNE: 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.
TUNE ENDS: TWIN PEAKS THEME
FADE OUT:
FADE IN:
INT. HORNE RESIDENCE - NIGHT
In the HORNE residence wing of the Great Northern Hotel, the HORNE family
sits quietly around the dinner table. BENJAMIN HORNE and SYLVIA HORNE sit
at opposite ends of a long dinner table while AUDREY HORNE and JOHNNY HORNE,
wearing an Indian headdress, sit opposite each other near the middle of
the table. Except for JOHNNY making a few odd sounds, the room is filled
with the sounds of tableware clanking as the family eats. Until the door
burst open and JERRY HORNE, BENJAMIN'S younger, wiry brother, walks in.
JERRY looks back out at the hall.
TUNE: FRESHLY SQUEEZED (0:00 - 0:26) (W/O SNAPS)
JERRY
No, no, no, not in my room, in here, IN HERE!
BENJAMIN
JERRY is followed by four BELLHOPS, carrying luggage into the dining room.
JERRY
JERRY shakes his head, turns back to the BELLHOPS and points down.
JERRY
Right THERE, no, no, right there! What is with you guys.
(the BELLHOPS place the baggage down) I've got a sandwich in there
and I want all those bags opened. We're looking till we find it.
The BELLHOPS hop to it, all the bags are opened and they are scattering
clothes around until they find several sandwiches wrapped in white paper.
JERRY has moved over to AUDREY.
JERRY
Hey Audrey, uncle Jerry's back. Sylvia.
JERRY moves to SYLVIA as if to kiss her.
SYLVIA
Benjamin! (repulsed and angered by JERRY)
JERRY backpedals away from SYLVIA.
JERRY
Oh-oh, ohh, okay, okay ... gone ... goodbye. (laughs)
JERRY walks over to the sandwiches, picks them all up, places them on the
table and unwraps one.
JERRY
Brother Ben, this is the best damn sandwich I
ever ate, it's a baguette, with brie and butter, I had four of these damn
things every day I was there. You gotta try this. (hands a sandwich to
BEN) Here, go ahead, eat it, go ahead, go ahead.
Very interested, BENJAMIN takes the sandwich and draws his nose over it
to smell it deeply.
BENJAMIN
BENJAMIN really likes the smell of the sandwich. Grabbing the long ends
of the sandwich, he takes a large bite out of it. With his mouth full he
hums in ecstasy. JERRY unwraps himself one and sits nearby at the fireplace.
JERRY'S mouth is soon full from a bite of his sandwich and is laughing at
BEN'S reaction.
BENJAMIN
(with his mouth full) Uhm, this is incredible,
Jerr.
JERRY continues to laugh with his mouth full as BENJAMIN madly takes another
big bite out of his own sandwich. SYLVIA is annoyed by their actions. BENJAMIN
and JERRY talk to each other with their mouths full.
BENJAMIN
You know what this reminds us of.
JERRY
BENJAMIN
(barely intelligible) Remember when we were kids.
JERRY
BENJAMIN
It reminds us of Jeanne and Jenny down by the
river. Do you remember? Hmm.
JERRY
BENJAMIN
Am I right, am I right. Hmm.
JERRY
BENJAMIN
They now both laugh and hum with satisfaction from their sandwiches. BENJAMIN
motions to JERRY to follow him.
BENJAMIN
BENJAMIN HORNE wipes his mouth, puts his napkin on the table, rises, smiles
and looks around at his family.
BENJAMIN
The rest of the HORNE family continue to eat silently at the table as BEN
and JERRY leave the room. They both leave carrying their sandwiches and
close the door to the dining room. SYLVIA has both of her hands to her bowed
head in frustration.
CUT TO:
INT. GREAT NORTHERN HOTEL - NIGHT
In the hallway just outside dining room, BEN and JERRY talk as JERRY continues
to eat his sandwich.
TUNE ENDS: FRESHLY SQUEEZED(0:00 - 0:26) (W/O SNAPS)
BENJAMIN
Leland's daughter was murdered and the Norwegians
left.
TUNE: NAUGHTY AUDREY 35K
TUNE ENDS: NAUGHTY AUDREY 35K
JERRY
BENJAMIN
JERRY
(two reactions with a sigh) We had those Vikings
by the horns, what happened?
BENJAMIN
We're not a hundred percent sure, they took the
translator with 'em.
JERRY
(sigh) Did you say Leland's daughter was murdered?
BENJAMIN
JERRY
TUNE: LOVE THEME FROM TWIN PEAKS (0:00 - 1:14)
BENJAMIN
I can fix that. There's a new girl at One-Eyed
Jacks, freshly scented ... from the perfume counter. And you, brother Jerr,
have a fifty-fifty chance of being first in line.
They both laugh slightly.
JERRY
I like those odds. All work and no play make Ben
and Jerry dull boys.
BENJAMIN
JERRY
BENJAMIN and JERRY walk away and we FOCUS on the wall they were standing
by. The wall has a painting of a lake surrounded by the woods.
MORPH TO:
EXT. BLACK LAKE - NIGHT
The cold, placid surface of Black Lake is illuminated by the moon. A 1942,
solid mahogany 22 foot Fitzgerald and Lee custom streamliner runabout cuts
through the water. BEN and JERRY sit together in the back seat as they are
being chauffeured.
TUNE ENDS: LOVE THEME FROM TWIN PEAKS (0:00 - 1:14)
CUT TO:
INT. HAYWARD HOUSE - NIGHT
We view a CLOSEUP on the fire in the fireplace.
CUT TO:
INT. HAYWARD HOUSE - NIGHT
In the living room, we see DONNA HAYWARD and JAMES HURLEY sitting on opposite
ends of the sofa. EILEEN HAYWARD is in her wheelchair near DONNA and DR.
WILL HAYWARD stands behind EILEEN.
JAMES
That's great huckleberry pie, Mrs. Hayward.
EILEEN
DR. HAYWARD
Well, Mrs. Hayward and I are going to say goodnight,
James.
EILEEN
JAMES
EILEEN
DONNA
Good night mom. Uh, don't worry about the dishes,
I'll clean up.
EILEEN
EILEEN steers herself into the kitchen.
DR. HAYWARD
Are you ... uh, coming to church with us in the
morning, Donna?
DONNA
DR. HAYWARD
DONNA
DR. HAYWARD
JAMES
DR. HAYWARD leaves. DONNA and JAMES are alone. We PAN to see, at a distance,
a grandfather clock near the front door.
CUT TO:
EXT. ONE-EYED JACKS - NIGHT
TUNE: LAURA PALMER'S THEME
We view a large sign of a one-eyed jack, from the playing card, with a neon
flashing 'J' and one pulsating, buzzing neon eye. A woman in a fur coat
stands next to the sign.
SOUND EFFECT: BUZZING EYE 14K
CUT TO:
EXT. ONE-EYED JACKS - NIGHT
The boat glides up slowly to the dock. The CHAUFFEUR tosses a line to a
SECURITY GUARD to tie the boat to dock. Standing and watching is a gorgeous
young female deckhand, SWABBIE, dressed in a skimpy, stylized sailor's uniform
BENJAMIN
SWABBIE
BENJAMIN walks over to the SWABBIE, extends his arms as does she, rubs his
hands over her elbows and smiles at her. JERRY comes up besides them.
JERRY
Now Ben, we're not gonna go into the casino first,
are we?
BENJAMIN
Jerr, I didn't come here to lose my shirt, I just
came to take it off.
JERRY
CUT TO:
INT. ONE-EYED JACKS - NIGHT
Over the phone, a female BARTENDER listens to SWABBIE.
SWABBIE
Kim, the Horne brothers are here.
BARTENDER
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
INT. ONE-EYED JACKS - NIGHT
The BARTENDER presses a button, that buzzes, to call BLACKIE. BEN and JERRY
enter by stairs to a plush, cozy warmly lit room with a small bar and a
pool table.
JERRY
BEN and JERRY approach the bar and JERRY orders the drinks from a scantily
clad female BARTENDER.
JERRY
Sweetheart, I'd like to order two drinks, one
double scotch on the rocks and my brother would like a double scotch on
the rocks. (winks)
BARTENDER
That's two double scotch on the rocks?
JERRY
Next stop, rocket science.
TUNE: FRESHLY SQUEEZED (DARK VARIANT)
Several of the establishment's sensational and extraordinary WORKING GIRLS,
known collectively as "The 52 Pick-Ups," enter the room one after
another. They luxuriously arrange themselves standing into two rows. BEN
and JERRY take note of them as they pick up their drinks. Through the middle
of the line of girls sweeps BLACKIE "THE BLACK ROSE" O'REILLY,
the Madam of the House, an intelligent, strikingly attractive woman in her
mid-thirties.
BENJAMIN
(whispered) Wow. Blackie.
BEN walks over to her with his arms extended out to her.
BLACKIE
BEN kisses her hand and walks around her as he recites ...
BENJAMIN
Shall I compare thee to a summer's day? Thou art
more lovely and more temperate. (BLACKIE is amused, JERRY is bored and
turns away to smile at the BARTENDER) Rough winds do not shake the darling
buds of May, and every fair from fair sometimes declines. By chance or
nature's changing course untrimm'd. But thy eternal summer shall not fade.
Nor lose possession of that fair thou ow'st, Nor shall death brag ...
JERRY walks up to them and interrupts by saying ...
JERRY
TUNE ENDS: FRESHLY SQUEEZED (DARK VARIANT)
BENJAMIN has stopped reciting and is holding BLACKIE.
TUNE: LAURA PALMER'S THEME
BLACKIE
When you really want love ... you'll find it waiting
for you.
A curtain opens, revealing a gorgeous young WOMAN with the face of an angel.
BEN and JERRY look at each other, then instantly back to the WOMAN. JERRY
takes a coin out of his pocket, flips it, catches it on his wrist and covers
it up. BENJAMIN calls it first.
BENJAMIN
JERRY and BENJAMIN look down at the coin: heads. BEN smiles, kisses Blackie,
pats his brother on the back, and starts towards the WOMAN.
TUNE: THE BOOKHOUSE BOYS (2:12 - 2:31)
As BENJAMIN slowly walks toward the WOMAN, she appears nervous and looks
away slightly. Near her, BEN extends his palms up for her to guide him into
the next room. The WOMAN'S nervousness disappears as she grabs his hands
and guides him into the next room. JERRY watches.
JERRY
BLACKIE
Come on, we'll take care of you Jerry.
JERRY, slightly depressed, is led to the bar by BLACKIE. JERRY looks at
the BARTENDER.
JERRY
TUNE ENDS: THE BOOKHOUSE BOYS (2:12 - 2:31)
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
INT. HAYWARD HOUSE - NIGHT
We view a CLOSEUP on the grandfather clock showing 12:00 midnight.
CUT TO:
INT. HAYWARD HOUSE - NIGHT
On the couch in the living room, DONNA and JAMES sit face to face in the
dark room lit only by the fireplace.
JAMES
Donna, I don't think that what we're feeling or
doing is wrong.
DONNA
TUNE: LAURA PALMER'S THEME
JAMES
Because it's the truth. Because I think it would
have turned out this way anyway.
DONNA
JAMES
Yes, I remember a time in school, in the hall,
we were suddenly alone and we looked at each other. I almost told you I
loved you then.
DONNA
JAMES
DONNA
Oh James, I guess because of Laura, I couldn't
say anything, I couldn't even let myself think it.
JAMES
DONNA
(tender and trembling) Are we going to be together
James? (she kisses him) Are we?
He kisses her.
DONNA
He slowly moves towards her. Kissing, very passionately.
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
EXT. WATERFALL - NIGHT
We view the waterfall lit by moonlight with the sound of cascading water.
CUT TO:
EXT. GREAT NORTHERN HOTEL - NIGHT
We view the hotel lit by moonlight.
CUT TO:
INT. DALE COOPER'S HOTEL ROOM - NIGHT
The door flies open and FBI SPECIAL AGENT DALE COOPER enters his room. Still
near the door he quickly pulls out his whittled whistle and blows twice
on it. The telephone rings, he goes over, sits on the bed and answers it.
COOPER
Special Agent Dale Cooper.
HAWK
(over the phone) Hello, its Hawk.
COOPER
Hey Hawk, how's Ronette Pulaski?
HAWK
(over the phone) Body and spirit are still far
apart.
COOPER
What did you find out from her parents?
HAWK
(over the phone) Ronette recently quit her job
at the perfume counter of Horne's department store. Everything else is
quiet except this afternoon there was a one-armed man snooping around intensive
care.
COOPER
(stands up) A one-armed man?
HAWK
COOPER
HAWK
(over the phone) Negative. I pursued, but he got
away.
COOPER
Maintain an around the clock watch on Ronette
and we'll speak in the morning.
There is a knock at the door just before COOPER hangs up the phone. COOPER
hangs up, moves to the door and finds a note on the floor near the door.
He picks it up, opens the door and looks around but finds nobody. He opens
the note and it reads ...
CUT TO:
NOTE
TUNE: DANCE OF THE DREAM MAN (INSTRUMENT SOLO)
We view a CLOSEUP of the note and read ...
"JACK WITH ONE EYE"
CUT TO:
INT. DALE COOPER'S HOTEL ROOM - NIGHT
COOPER sniffs the note and smiles.
TUNE ENDS: DANCE OF THE DREAM MAN (INSTRUMENT SOLO)
CUT TO:
EXT. WOODS - NIGHT
TUNE: FRESHLY SQUEEZED (DARK VARIANT)
BOBBY BRIGGS and MIKE NELSON pull up in BOBBY'S car next to a stand of trees.
BOBBY kills the engine and turn his headlights off.
BOBBY
MIKE pulls out switchblade from his pocket and opens the blade with a click.
BOBBY grabs a flashlight. They step out of the car and walk into the woods.
TUNE ENDS: FRESHLY SQUEEZED (DARK VARIANT)
CUT TO:
EXT. WOODS - NIGHT
TUNE: WALKING IN THE DARK 32K
BOBBY and MIKE walk slowly forward, MIKE lagging a step or two behind. They
reach a particular tree with a large hollow knot. BOBBY reaches into the
knot and pulls out a football.
TUNE ENDS: WALKING IN THE DARK 32K
TUNE: LAURA PALMER'S THEME
BOBBY
Supposed to leave it in this stupid football.
MIKE
BOBBY kneels down and reaches into a slit cut across the top of the hollow
football. He pulls out a small packet of white powder.
BOBBY
Behind a nearby tree, LEO JOHNSON turns on his flashlight and shines it
up towards his own face.
TUNE ENDS: LAURA PALMER'S THEME
LEO
LEO shines the light on BOBBY and MIKE and walks over to them. LEO is holding
a shotgun in his left hand. BOBBY and MIKE look startled.
MIKE
(whispered to BOBBY) He's got a gun.
BOBBY
MIKE
LEO, now facing BOBBY, shines his flashlight in his face. BOBBY sees someone
behind LEO near a tree. This person after being seen hides behind the tree.
BOBBY
Who's that? Is there someone with you.
LEO
Never mind, toss it over here, quarterback.
BOBBY tosses the football to LEO.
BOBBY
LEO
Is that right? Weren't you supposed to leave something
in there for me?
BOBBY
(holds up the bag of cocaine) This barely covers
what we paid for. Where's the rest?
LEO
Where's the rest of the money?
MIKE
There's a ... there's a problem.
LEO
(shines the light on MIKE) Problem? (moves the
light back to BOBBY)
BOBBY
Laura had the other half in a safety deposit box.
LEO
You think you got problems?
BOBBY
We can get it, Leo, just wait till everything
settles down.
LEO
You punks owe me ten grand. (shines his light
on his boots) Leo needs a new pair of shoes. (moves the light back to BOBBY)
BOBBY
Okay, we won't take delivery on the drugs until
you get the cash.
LEO
BOBBY
I appreciate your position, but this thing with
Laura, how could I anticipate that kind of thing.
LEO
(grabs BOBBY'S jacket) Hey man, Laura was a wild
girl.
BOBBY
LEO
LEO'S right next to BOBBY, MIKE is standing to the left side of BOBBY. MIKE
reaches into his pocket. Without taking his eyes off BOBBY, LEO slowly swivels
the shotgun around and trains it on MIKE and then places the light on his
face.
LEO
Take your hand out of your pocket, Mike.
MIKE slowly takes his hand out and lifts them up.
BOBBY
What is your problem, Leo?
LEO
(shines the light on his own face) Problem? You
want to know about problems?
BOBBY
LEO
Your on the road ... driving back and forth, gone
for days. You get back and guess what?
BOBBY
LEO
You find out your old lady's been givin' it away.
BOBBY
LEO
Yeah. Steppin' out, in your own damn bedroom.
That's a problem.
BOBBY
Yeah, I guess so. I guess it is. (LEO shines the
light on his face) Do you know who?
LEO
A man needs a clean house.
BOBBY
Sure yeah ... so do you know who?
LEO
(moves the light to MIKE) I'll take care of it.
BOBBY
Sure you will man and this other thing, hell,
we'll take care of that, don't you worry about that. We'll get the cash
and everything'll be square.
LEO shines the light on his own face and laughs. He pauses for a while and
stares at BOBBY then says ...
LEO
BOBBY
LEO drops the light, pumps the shotgun to load it and points it at BOBBY.
MIKE and BOBBY are frightened and slightly raise their hands.
LEO
BOBBY and MIKE back away from him.
MIKE
BOBBY
LEO
MIKE
LEO
BOBBY and MIKE
Okay, take it easy, man! Take it easy!
TUNE: RUNNING SCARED
LEO
BOBBY and MIKE turn and start running away from him, back towards the car.
We view BOBBY'S point of view as he runs helter-skelter through the woods
with his flashlight lighting the way.
As they reach the car, a football thuds onto the hood of the car, scaring
the shit out of MIKE and BOBBY. They look at each other.
MIKE
BOBBY
Let's get the hell out of here.
They jump into the car and speed off into the night.
TUNE ENDS: RUNNING SCARED
FADE OUT:
FADE IN:
EXT. HURLEY HOUSE - DAY
We view a CLOSEUP on the front door knob as 'BIG' ED HURLEY turns the knob
with his wrists because his hands are covered in black grease.
CUT TO:
INT. HURLEY HOUSE - DAY
On the living room floor, NADINE HURLEY, in workout gear, is vigorously
rowing on her rowing machine. Wearing a greasy gas station outfit, 'BIG'
ED HURLEY enters the house and stops when he sees NADINE rowing away. BIG
ED tries to tiptoe around behind NADINE so she doesn't see him but in doing
so he steps on the drape runners and cotton balls laid out on the floor.
Cotton balls and the drape runners scatter as BIG ED tries to keep from
falling. Some of the grease from his hands falls on the cotton balls. NADINE
hears the ruckus and stops rowing to see what has happened.
NADINE
BIG ED
I'm sorry, honey, I didn't see it there.
NADINE
You stepped on my drape runner.
BIG ED
Well, honey, it was right out in the middle of
the floor.
NADINE
You think that's an accident. I laid those out
there myself, I was up all night working on that invention. I'm going to
have the world's first 100% quiet runner!
BIG ED
Well I'm really sorry, Nadine.
NADINE
BIG ED nods and moves into the other room. NADINE starts to row again. Pumped
up with rage, NADINE grips the metal oars and pulls back on them. We hear
NADINE grunting along with the screech of rending steel as she bends the
oars back like willow sticks.
CUT TO:
EXT. TWIN PEAKS SHERIFF DEPARTMENT - DAY
TUNE: THE BOOKHOUSE BOYS (0:36 - 0:58)
In the woods, behind the station, LUCY MORAN is holding the end of a tape
measure to her nose. We follow the length of the tape measure to its other
end and see a small table set up near a blackboard. The table is covered
with stacked donuts of several varieties. At the other end of the tape measure
is SHERIFF HARRY S. TRUMAN and DEPUTY TOMMY 'THE HAWK' HILL. They are using
the tape measure to find the distance from LUCY to the nearby stump where
an empty milk bottle has been placed on top. COOPER, with coffee cup in
hand, is writing names with a piece of chalk on a blackboard near the table
of donuts. COOPER looks over to SHERIFF TRUMAN.
SHERIFF TRUMAN
That's it, exactly sixty feet, six inches.
COOPER
At the stump, HAWK whispers to the SHERIFF TRUMAN, who shakes his head and
answers.
HAWK
What do you think he's up to?
SHERIFF TRUMAN
TUNE ENDS: THE BOOKHOUSE BOYS (0:36 - 0:58)
CUT TO:
INT. JOHNSON HOUSE - DAY
TUNE: INVITATION TO LOVE 28K
We view, from a distance in the kitchen, of a television set in the living
room. We view the television program start as its lush tune swells over
a blue background and we hear...
ANNOUNCER
A beautiful, glowing white envelope is set down on the background.
CUT TO:
INT. JOHNSON HOUSE - DAY
In the incompletely built kitchen, SHELLY JOHNSON, in a robe, is watching
the television in the next room.
ANNOUNCER
Each day brings a new beginning ...
SHELLY moves into the living room toward the television.
ANNOUNCER
... and every hour holds a promise of an ...
On the television show, violins soar as the note is shown with a scarlet
red flowing script writes out the program's title on the virgin white paper.
ANNOUNCER
SHELLY turns off the television.
TUNE ENDS: INVITATION TO LOVE 28K
SHELLY
She looks at a picture of LEO on top of the television. A sudden, knocking
on the door startles her. SHELLY moves to the door.
SHELLY
BOBBY
Hey, baby, it's the big bad bobcat.
SHELLY
Are you crazy? What are you doing here?
BOBBY
I just passed Leo, he started to diesel up-out
North Bend. We got at least twenty minutes.
SHELLY
(whispered to herself) Oh god. (to BOBBY) Where's
your car?
BOBBY
Parked in the woods. Come on, open-says-me. Somebody
might see me out here and that'd be worse.
SHELLY decides to partially open the door and speak to him, keeping her
face out of view.
SHELLY
Bobby, you can not come by here like this. We
can't see each other for a while.
BOBBY gently squeezes himself inside the house. SHELLY turns away from him
but he gently grabs her and turns her around to see the bruises on her face.
TUNE: DARK TIMES
BOBBY
What the hell happened to you?
SHELLY
Leo Johnson happened to me. (turns around again)
BOBBY
He again grabs her and turns her around. She pushes him away.
SHELLY
Bobby, if he finds out about us he is going to
kill you, he'll kill us both.
He moves to her and cups her face in his hands.
BOBBY
If he ever does this to you again, I'll kill him.
I mean it.
They kiss tenderly. We view a CLOSEUP of them kissing.
TUNE ENDS: DARK TIMES
CUT TO:
INT. DOUBLE R DINER - DAY
TUNE: BIG ED AND NORMA’S SONG
38K
NORMA is leaning against a machine at the island counter as BIG ED walks
in the front door. NORMA sees him near the door as he smiles, raises his
left hand up as a greeting and says ...
BIG ED
BIG ED moves over and sits at the counter. NORMA places his coffee on the
counter and leans slightly over the counter, on one elbow, next to BIG ED.
BIG ED
Its not the first time, it won't be the last ...
but I'm in that dog house again.
NORMA
BIG ED
Well I popped a grease gun, stepped on a drape
runner and all hell broke loose.
NORMA
I ran into Nadine in the hardware store, that's
all she talked about were those drape runners.
BIG ED
She's got one big bee in her bonnet.
NORMA touches the bandage on his forehead.
BIG ED
Young Bobby sure gave me a good one didn't he.
NORMA
TUNE ENDS: BIG ED AND NORMA’S SONG
38K
CUT TO:
EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
TUNE: THE BOOKHOUSE BOYS (0:36 - 0:58)
In the woods, a large blackboard is set up behind the station. A table is
set up near the blackboard, covered with the fruits of LUCY'S morning donut
run. Four folding chairs are set up near the table. They are all carry mugs
of coffee. SHERIFF TRUMAN and HAWK are at the table of donuts. COOPER is
at the blackboard and has just placed the chalk down. DEPUTY ANDY BRENNAN
stands near COOPER with a galvanized metal bucket filled with round rocks.
ANDY
Where do you want these rocks?
COOPER
Put them right down there by the donuts, Deputy.
ANDY complies. LUCY picks up a coffee pot.
LUCY
EVERYONE
(severally) Ahh yeah, please ... thanks ... you
bet ... thanks Lucy.
They all move over for their cups to be refilled. After being served more
coffee, COOPER takes a sip and immediately spits it out on the floor. Everyone
looks at him.
COOPER
Damn good coffee ... and hot! Would everyone please
take a seat.
SHERIFF TRUMAN, HAWK, ANDY and LUCY sit on four folding chairs aligned facing
the blackboard. COOPER takes a telescoping pointer out of his coat pocket
and expands it to full length.
COOPER
By way of explaining what we're about to do, I'm
going to first talk to you a little bit about the country called Tibet.
COOPER flips the two-sided blackboard over, revealing a detailed map of
Tibet and surrounding countries tacked to it. The seated group all slowly
lean forward.
COOPER
An extremely spiritual country, for centuries
the leader of Tibet has been known as the Dalai Lama. In 1950, Communist
China invaded Tibet and while leaving the Dalai Lama nominally in charge,
they in fact seized control of the entire country. In 1959, after a Tibetan
uprising against the Chinese, the Dalai Lama was forced to flee to India
for his life, and has lived in exile ever since.
COOPER collapses his expanding pointer.
COOPER
Following a dream I had three years ago, I have
become deeply moved by the plight of the Tibetan people, and have been
filled with a desire to help them. I also awoke from the same dream realizing
that I had subconsciously gained knowledge of a deductive technique, involving
mind-body coordination operating hand-in-hand with the deepest level of
intuition.
We view a CLOSEUP on LUCY, ANDY, HAWK and TRUMAN. We see that they are all
intrigued, but completely mystified.
COOPER
Sheriff, Deputy Hawk, if you will please assist
me, I will now demonstrate.
SHERIFF TRUMAN and HAWK look at each other and stand up. The blackboard
is flipped to the other side. COOPER expands his pointer again.
COOPER
You will recall that on the day of her death,
Laura Palmer wrote the following entry in her diary.
COOPER points to where this line is written along the top left side of the
blackboard.
COOPER
Nervous about meeting 'J' tonight. Today we're
going to concentrate on the 'J's.
COOPER circles the 'J' with chalk. SHERIFF TRUMAN and HAWK stand near him.
COOPER
Harry, when I give the word, would you please
read aloud each of the names I've written on the blackboard.
SHERIFF TRUMAN
COOPER
Deputy Hawk, stand over here (points near the
bucket) and hold this bucket of rocks up near me where I can get at them.
Would you please put on the kitchen mittens?
HAWK complies.
COOPER
Deputy Andy, move down, stand by the bottle.
ANDY rises, places his coffee on the donut table, and runs towards the distant
rock, only too happy to help. HAWK now has the mittens on and is standing
with the bucket in his hands.
COOPER
Lucy, take this piece of chalk. (calls out to
ANDY) Not too near Andy!
ANDY moves over and LUCY takes the chalk from COOPER.
LUCY
Oh, I'm ... getting excited.
COOPER
And if I should strike the bottle after Sheriff
Truman says a particular name, make a check to the right of that name.
(turns to SHERIFF TRUMAN) Oh sheriff, I almost forgot, when you say the
name, also briefly state that person's relationship to Laura Palmer. Ready?
EVERYONE
COOPER picks out a rock and holds it. He nods to SHERIFF TRUMAN, who looks
over to HAWK before proceeding.
SHERIFF TRUMAN
WHITE OUT TO:
IMAGE of JAMES HURLEY.
SHERIFF TRUMAN
WHITE OUT TO:
EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
COOPER
(looks and speaks to the rock) James Hurley.
COOPER winds up and hurls the rock towards the bottle. It strikes the stump
well below the bottle. COOPER grabs another rock and nods at SHERIFF TRUMAN.
SHERIFF TRUMAN
WHITE OUT TO:
IMAGE of JOSIE PACKARD.
SHERIFF TRUMAN
... was instructed in English by Laura.
WHITE OUT TO:
EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
COOPER
(looks and speaks to the rock) Josie Packard.
COOPER throws the rock and it hits the bottom of the stump the bottle is
on.
LUCY
So there's no check next to either of these names?
COOPER
That's correct, please continue.
SHERIFF TRUMAN
WHITE OUT TO:
IMAGE of DR. LAWRENCE JACOBY.
SHERIFF TRUMAN
... Laura's psychiatrist..
WHITE OUT TO:
EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
COOPER
(looks and speaks to the rock) Dr. Lawrence Jacoby.
COOPER throws again and hits the bottle. It falls off the stump but doesn't
break.
LUCY
COOPER
Lucy, make a note that the bottle was struck but
did not break, very important. Andy, put that bottle back exactly where
it was!
LUCY and ANDY follow directions. COOPER nods to SHERIFF TRUMAN.
SHERIFF TRUMAN
WHITE OUT TO:
IMAGE of JOHNNY HORNE.
SHERIFF TRUMAN
... Laura was his special education tutor.
WHITE OUT TO:
EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
COOPER
He throws and clanks a fifty-gallon trash can, under a Douglas Fir. He grabs
another rock and nods to continue.
SHERIFF TRUMAN
WHITE OUT TO:
IMAGE of NORMA JENNINGS.
SHERIFF TRUMAN
... she helped Laura organize the Meals on Wheels
program.
WHITE OUT TO:
EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
COOPER
He throws and hits the dirt in front of the stump with the bottle on it.
SHERIFF TRUMAN
WHITE OUT TO:
IMAGE of SHELLY JOHNSON.
SHERIFF TRUMAN
... waitress at diner, friend.
WHITE OUT TO:
EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
COOPER
(looks and speaks to the rock) Shelly Johnson.
COOPER throws it again. The rock ricochets off a nearby tree, shoots off
and hits ANDY in the head. ANDY reaches up with a gloved hand to his head.
COOPER
LUCY
ANDY
(immediately reassuring) It didn't hurt ... it
didn't hurt a bit.
SHERIFF TRUMAN
Where there's no sense, there's no feeling, Andy.
Except for LUCY, they all laugh slightly, including ANDY. As COOPER picks
up another rock, SHERIFF TRUMAN pulls him aside to talk privately.
SHERIFF TRUMAN
Coop, tell me ... the idea for all this really
came from a dream?
COOPER
SHERIFF TRUMAN walks back over to his spot near the blackboard.
SHERIFF TRUMAN
(doesn't know who this is) Uh, Jack ... with One
Eye.
LUCY
Maybe its the letter 'i' ... but there's no 'i'
in Jack.
COOPER
I think perhaps it means he only had one eye,
Lucy.
HAWK
Sounds like uh ... Nadine, Big Ed Hurley's wife.
SHERIFF TRUMAN
No no no, there's a casino up North called One-Eyed
Jack's across the border on the Canadian side.
COOPER
That's it, we're gonna have to go up there and
check that place out.
SHERIFF TRUMAN
LUCY
Agent Cooper, I'm going to erase this because
it's a place and not a person. Actually, maybe the person could be in the
place. So should I erase it?
COOPER
LUCY
Yes, a person could be in the place or yes, I
should erase it.
SHERIFF TRUMAN
COOPER
(raises his left hand) Erase it Lucy. Next name
Harry.
SHERIFF TRUMAN
WHITE OUT TO:
IMAGE of LEO JOHNSON.
SHERIFF TRUMAN
... husband of Shelly, drives a truck, ...
WHITE OUT TO:
EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
SHERIFF TRUMAN
... connection with Laura ... (looks at HAWK)
unknown.
COOPER
(looks and speaks to the rock) Leo Johnson.
He throws the rock, hits the bottle and breaks it.
TUNE ENDS: THE BOOKHOUSE BOYS (0:36 - 0:58)
TUNE: LAURA PALMER'S THEME (DARK VARIANT)
LUCY jumps in excitement and check marks the name. COOPER stares at the
broken bottle as SHERIFF TRUMAN and HAWK look at him wondering what it means
and what is next.
TUNE ENDS: LAURA PALMER'S THEME (DARK VARIANT)
FADE OUT:
FADE IN:
EXT. MOUNTAIN PEAK - DAY
We view a shot of one of the snow covered peaks.
CUT TO:
EXT. DOUBLE R DINER - DAY
We view the front of the diner with the snow covered peak in the background.
CUT TO:
INT. DOUBLE R DINER - DAY
AUDREY enters the diner and walks to the jukebox which is right next to
the door. EILEEN, seated at a booth with DR. HAYWARD and DONNA, sees her
first. The HAYWARD family are having pie and coffee.
EILEEN
Little Audrey Horne just walked in.
DR. HAYWARD
(turns to look at AUDREY) Yeah, saw her at church.
I wonder what she's doing down here.
AUDREY places a coin in the jukebox.
TUNE: AUDREY'S DANCE
AUDREY moves over to the counter, removes her large black coat, folds and
places the coat on a seat and sits down in an adjacent seat. NORMA comes
over to take her order.
NORMA
AUDREY
Hi Norma, could I have a cup of coffee please.
NORMA
NORMA walks off to fetch her coffee. AUDREY turns to look at DONNA who is
staring at her with a bit of a scowl. DR. HAYWARD is once again eating his
pie and speaks to EILEEN.
DR. HAYWARD
Remind me to stop at the hardware store and get
those sixty watt bulbs.
NORMA places an empty cup in front of AUDREY and fills it from a pot of
coffee. NORMA looks her over, AUDREY appears preoccupied.
AUDREY
NORMA nods and walks off. AUDREY takes a sip of her coffee, places it back
down and wipes the lipstick from where she drank it. Once again, she turns
to look at DONNA. DONNA is still looking at her but without the scowl.
DONNA
DONNA walks over to AUDREY and sits beside her.
DONNA
AUDREY
DONNA
So my parents said they saw you at church today,
I didn't see you.
AUDREY
Yeah, I came by because of Laura.
DONNA
What do you mean? I didn't even think you liked
her.
AUDREY
There were things about Laura I didn't like, but
she did help take care of my brother Johnny. Guess I sort of loved her
for that.
AUDREY runs her finger around the rim of her coffee cup, staring into the
cup.
AUDREY
DONNA
Yeah, with cream and sugar.
AUDREY
Agent Cooper loves coffee.
DONNA
They both giggle.
AUDREY
But Agent Cooper likes his coffee black.
AUDREY continues to run her finger around the rim of her cup of coffee.
DONNA looks at her still grinning about what she said. AUDREY stops and
looks at DONNA somberly.
AUDREY
DONNA
AUDREY
Did Laura ever talk about my father?
DONNA
AUDREY
DONNA
AUDREY
He used to sing to her. (looks over to the jukebox)
God I love this music. (turns to DONNA) Isn't it too dreamy.
AUDREY gets up from her seat, walks over to an open area of the floor near
the jukebox and starts to seductively sway to the sound of the music. EILEEN
sees her dance and gestures to DR. HAYWARD to take a look. From her seat,
DONNA looks oddly at her as she moves to the music.
TUNE ENDS: AUDREY'S DANCE
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
Seated together in the conference room, SHERIFF TRUMAN opens a folder containing
a sealed plastic envelope with a small blood soaked towel inside and shows
it to COOPER.
SHERIFF TRUMAN
Can you believe this, Hawk found this half mile
down the tracks from the crime site.
Using tweezers, COOPER pulls the towel out of the bag and spreads it out.
COOPER
Oh, that's a nasty piece of work.
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
TUNE: THE BOOKHOUSE BOYS (0:36 - 0:58)
Three men in black suits, hats and sunglasses enter the building, each carrying
a stainless steel suitcase. The front man is AGENT ALBERT ROSENFIELD, a
brilliant, mannerless FBI forensics expert, the others are his ASSISTANTS.
LUCY looks up from behind the reception window with a book on Tibet in her
hands.
ALBERT
(abruptly) Tell Agent Cooper that Albert and his
team are here.
LUCY
ALBERT
a - l - b - e - r - t. Are we going to have to
stand here all afternoon?
LUCY
LUCY reaches over the intercom microphone but ALBERT interrupts her before
she can say anything.
ALBERT
Albert Rosenfield. r - o - s - e - n - f - i -
e - l - d.
LUCY
(presses the switch on the microphone) Sheriff,
this is Lucy, ...
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
In the conference room, COOPER looks over the bloody towel. An intercom
unit sits on table in front of SHERIFF TRUMAN.
LUCY
(from the speaker) ...is Agent Cooper with you?
SHERIFF TRUMAN presses a button on top of the intercom unit to reply.
SHERIFF TRUMAN
With his eyes still on the bloody towel, COOPER snap his fingers and points
to the intercom unit.
COOPER
Are Albert and his team here, Lucy?
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
At her seat in the reception office, LUCY is surprised he knows. ALBERT
is fidgeting with a cigarette in his hand.
LUCY
COOPER
(over the speaker) We're on our way.
LUCY
(to Albert) Agent Cooper will be right with you.
ALBERT
Yeah, I can hear perfectly well, curly.
ALBERT turns to one of his ASSOCIATES who lights his cigarette. None of
them see LUCY stick out her tongue at ALBERT.
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
Still seated in the conference room, COOPER turns to SHERIFF TRUMAN.
COOPER
Harry, Albert and his team are the cream of the
crop. Albert's a forensics genius.
SHERIFF TRUMAN
Working for you, I wouldn't expect anything less.
COOPER places his left hand on SHERIFF TRUMAN'S shoulder.
COOPER
But I gotta warn ya, Albert's lacking in some
of the social niceties.
SHERIFF TRUMAN
COOPER
SHERIFF TRUMAN looks over to his shoulder. COOPER quickly grabs his nose
with left hand and makes a 'quack' sound. They both laugh.
CUT TO:
INT. TWIN PEAKS SHERIFF DEPARTMENT - DAY
COOPER and SHERIFF TRUMAN walk into the reception area and up to ALBERT
and his team. COOPER is grinning as ALBERT says ...
ALBERT
What the hell kind of a two-bit operation are
they running out of this tree house, Cooper?
COOPER
Albert, this is Sheriff Truman.
ALBERT
I have seen some slipshod backwater burgs, but
this place takes the cake.
SHERIFF TRUMAN has a somewhat angered look on his face. COOPER knows ALBERT
well and keeps his cool with a large smile.
ALBERT
What are you waiting for, Christmas? We've got
work to do damn it. They're putting this girl in the ground tomorrow and
we've wasted half the day traveling out here to the middle of nowhere.
COOPER
Al ... Albert, I suggest you and your team should
get started.
SHERIFF TRUMAN
I'll have one of my men escort you over to the
morgue.
ALBERT
COOPER
(hands ALBERT a file) Results from the local pathologist's
report.
ALBERT
(scans it scornfully) Welcome to amateur hour.
(to his men) Looks like an all-nighter boys.
They pick up their suitcases.
SHERIFF TRUMAN
(moves to ALBERT) Albert, got a minute?
SHERIFF TRUMAN pulls ALBERT aside from the group to talk to him privately.
SHERIFF TRUMAN
I hear that you're real good at what you do.
ALBERT
SHERIFF TRUMAN
Well that's good, because normally if a stranger
walked into my station talking this kind of crap, he'd be looking for his
teeth two blocks up on queer street.
ALBERT and SHERIFF TRUMAN look eye-to-eye. ALBERT blinks first, puts on
his shades, and heads out. His men follow. LUCY enjoyed the confrontation
and smiles as they leave. SHERIFF TRUMAN looks at COOPER, who, with a smile,
gives him a thumbs up.
TUNE ENDS: THE BOOKHOUSE BOYS (0:36 - 0:58)
CUT TO:
EXT. BIG ED'S GAS FARM - NIGHT
We view a CLOSEUP on the red neon sign for BIG ED'S Gas Farm.
CUT TO:
EXT. BIG ED'S GAS FARM - NIGHT
We view the front of BIG ED'S Gas Farm from a distance and see that the interior lights are off.
CUT TO:
INT. HURLEY HOUSE - NIGHT
BIG ED enters his house as a FRIEND yells to him from outside.
FRIEND
BIG ED closes the door behind himself, walks to the living room and stops
when he hears NADINE yelling at him.
NADINE
BIG ED
NADINE
BIG ED
BIG ED is frightened at the tone of her voice. NADINE bursts into the room
and runs as if to tackle him. He's a little apprehensive as she approaches
but she runs into him and gives him a big hug.
NADINE
Oh Ed, I'm so happy, sweetheart, I have to thank
you.
BIG ED
She looks up at him, her eyes wide and bright.
NADINE
You don't know what you've done for me.
BIG ED
NADINE
Oh Ed, you big lug. When you tracked all that
grease into the house today, you spilled some on my cotton balls, but instead
of tossin' 'em out I put the greased ones on the runners ... and Ed, just
listen to this.
She moves over to the drapes, opens and closes the curtains and unlike before
they make no noise or sounds at all.
NADINE
BIG ED
NADINE
(tears of joy in her eyes) Oh Ed, we're going
to be so rich.
She embraces him again alarmingly hard and BIG ED grimaces with a smile.
CUT TO:
EXT. BLUE PINE LODGE - NIGHT
We view the front of the lodge with the sound of a distant foghorn.
CUT TO:
INT. BLUE PINE LODGE - NIGHT
In CATHERINE'S bedroom, PETE MARTELL, in a robe, is applying mink oil to
his boots while sitting on the edge of his wife's bed. CATHERINE sits at
her makeup dresser. She sniffs.
CATHERINE
Everything smells like fish around here.
PETE
Well you could wash your socks separately.
CATHERINE walks into the bathroom holding a small jar. PETE quietly rises,
silently picks up a small vase from the dresser, dumps the contents into
his hand and takes out a small key with a tag.
CATHERINE
(from the closet) What did that FBI man want up
here today?
PETE
Nice fella. Asked a few questions.
CATHERINE
PETE
He talked to Josie mostly. I had a problem with
a fish, took a liking to my percolator.
CATHERINE
What did he want to talk to Josie about?
PETE
TUNE: LOVE THEME FROM TWIN PEAKS
Cautiously peering to make sure CATHERINE does come out of the bathroom,
PETE walks to the bedroom door, opens it and hands the key over to JOSIE
PACKARD, who was waiting near the door. They whisper to each other.
PETE
Here's the key, the ledger inside.
JOSIE
PETE
PETE sits back down on CATHERINE'S bed and continues to wipe his boots as
CATHERINE reenters.
CATHERINE
Didn't he want to talk to me?
PETE
Yeah, but we told him you were on your world tour,
he should contact your press agent.
CATHERINE
(angrily) Get your boots off my bed and go to
your room!
PETE rises, collects his boots and mink oil.
PETE
I didn't want to get mink oil on my bedspread.
PETE walks to the door, opens it and turns to CATHERINE.
CATHERINE
You got mink oil in your head.
PETE exits and closes the door behind himself.
CUT TO:
INT. BLUE PINE LODGE - NIGHT
In the library, JOSIE swings out a book shelf panel / door to reveal a safe.
She unlocks the safe with the key, opens the door and is surprised to pull
out two books.
JOSIE
She briefly scans the contents of the books.
TUNE ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
EXT. PALMER HOUSE - NIGHT
We view the front of house.
CUT TO:
INT. PALMER HOUSE - NIGHT
We view a CLOSEUP of a painting of a deer.
CUT TO:
INT. PALMER HOUSE - NIGHT
In the living room, near an antique record player, LELAND PALMER snaps his
fingers to a tune in his head. LELAND lifts the stylus and drops the needle
on the record. A big band song starts up and with relief, tears spring into
his eyes.
SONG: PENNSYLVANIA 6-5000
He walks into the center of the room and then turns his head to LAURA'S
picture on a nearby table. LELAND moves to photograph and picks it up. Slowly,
at first, he starts to spin around in place holding the photo at arms length.
Faster and faster he spins and starts to moan and then wail. Startled by
the sound and the music, SARAH PALMER enters the room to see LELAND dancing
and wailing.
SARAH
(frightened) Leland? ... Leland? ... Stop it,
stop.
LELAND
We have to dance, we have to dance, Sarah. We
have to dance for Laura.
SARAH
Oh Leland, stop it, give it to me.
LELAND
SARAH
Leland, Leland give it to me.
SARAH tries to take the picture out of his hands as he continues to spin.
In the struggle they slam LAURA'S picture onto a table and cut themselves
on the broken glass. LELAND wipes the blood on SARAH'S and his own hand
and smears it on the photograph as he cries, thinking of his daughter.
SARAH
What is going on in this house!
SARAH screams and walks over to the record player and slaps the stylus away
from the record. The music stops.
SONG ENDS: PENNSYLVANIA 6-5000
SARAH
(screamed) LELAND, WHAT IS GOING ON IN THIS HOUSE!
LELAND moans as SARAH screams with her hands to her head.
TUNE: LAURA PALMER'S THEME
LELAND cries quietly as he looks at LAURA'S picture.
TUNE ENDS: LAURA PALMER'S THEME
FADE OUT:
FADE IN:
INT. DALE COOPER'S HOTEL ROOM - NIGHT
COOPER, in bed, adjusts his pillow and turns off the light.
CUT TO:
INT. DALE COOPER'S HOTEL ROOM - NIGHT
We see COOPER asleep in bed, sleeping fitfully. With a flash of light and
a thunderous like sound we see ...
FADE OUT:
FADE IN:
INT. WAITING ROOM
We see 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, stands with his back to COOPER, shaking violently.
A muffled voice repeatedly says 'Laura', a buzzing of electricity is heard
along with the sound of a ceiling fan circulating as we briefly see ...
CUT TO:
INT. PALMER HOUSE - DAY
In slow motion, SARAH runs down the staircase. We can see that the ceiling
fan circulating.
CUT TO:
INT. PALMER HOUSE - DAY
We view the man from SARAH'S vision crouched at the foot of LAURA'S bed
behind the bedpost staring up at us.
CUT TO:
INT. PALMER HOUSE - DAY
In slow motion, we finish watching SARAH run down the stairs with the ceiling
fan circulating above her.
CUT TO:
INT. ABANDONED TRAINCAR - DAY
We view a bloody towel laying on top of a cabinet lit by a flashlight in
the dark interior.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
We view LAURA'S face on the examining table in the morgue.
FADE OUT:
With the sound of electricity the screen FLASHES white and black.
FADE IN:
INT. DALE COOPER'S HOTEL ROOM - NIGHT
COOPER sleeps unrestly in bed, tossing and turning, with his room lit from
an unknown source. He continues to dream and we switch between views of
COOPER tossing and turning and of his dream ...
MORPH TO:
In a dimly lit room, a man, seen before walking through the hospital, with
one arm speaks.
ONE-ARMED MAN
Through the darkness of future past, the magician
longs to see. One chants out between two worlds ... fire ... walk with
me. ... We lived among the people. I think you say, convenience store.
We lived above it. I mean it like it is, like it sounds. I too have been
touched by the devilish one. Tattoo on the left shoulder ... oh, but when
I saw the face of god, I was changed. I took the entire arm off. My name
is Mike. His name is Bob.
MORPH TO:
In a basement we see the man from SARAH'S vision, BOB, a frightening long-haired
man, stands beside machinery in a dark room. He looks toward the ceiling
as he speaks.
BOB
Mike? Mike, can you hear me?
BOB, in the same surroundings, has one hand on his chest and the other pointing
at us as he speaks.
BOB
Catch you with my death bag. You make think I've
gone insane ... but I promise, I will kill again.
MORPH TO:
We view a mound of dirt surrounded by twelve lit candles. Suddenly they
are blown out.
MORPH TO:
We return to viewing COOPER tossing and turning in his bed and return to
the first portion of the dream ...
MORPH TO:
INT. WAITING ROOM
We see 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. Next to it is a coffee table with a model of Saturn.
A LITTLE MAN, three and a half feet tall, in a red suit, stands with his
back to COOPER, shaking violently. Two of the easy chairs are close together.
Beside them are two tall Saturn lamps. A BEAUTIFUL WOMAN who looks exactly
like LAURA PALMER sits across from COOPER in one of those chairs.
COPPER stares at the BEAUTIFUL WOMAN and she stares back at him. He turns
to look at the LITTLE MAN. The LITTLE MAN stops shaking, turns to COOPER
and claps his hands once.
LITTLE MAN
The LITTLE MAN moves over and sits in a chair beside the BEAUTIFUL WOMAN.
The LITTLE MAN closes his eyes and rubs his hands slowly together, a ringing
sound is produced.
SOUND EFFECT: SPIRIT PRESENCE RINGING 20K
COOPER looks at the BEAUTIFUL WOMAN, who is still staring
at him and smiles enigmatically. She slowly puts a finger to the side of
her nose and then slowly lowers her hand, almost pointing at him as it drops.
As the LITTLE MAN rubs his hands, a shadow of a bird passes in the background
behind the red drapes.
Both the LITTLE MAN'S and the BEAUTIFUL WOMAN'S speech is oddly stilted
but COOPER'S speech is normal. We see subtitles under them, with the correct
words. The LITTLE MAN stops rubbing his hands, opens his eyes, turns to
COOPER and says ...
LITTLE MAN
I've got good news! That gum you like is going
to ... come back in style.
COOPER sits quietly listening to him and turns to the BEAUTIFUL WOMAN. The
LITTLE MAN turns to look at the WOMAN and then back to COOPER.
LITTLE MAN
She's my cousin, ... but doesn't she look ...
almost exactly like Laura Palmer?
COOPER
But it is Laura Palmer. Are you Laura Palmer?
BEAUTIFUL WOMAN
I feel like I know her, (distressed) but sometimes
my arms bend back.
LITTLE MAN
She's filled with secrets. Where we're from,
the birds sing a pretty song ... and there's always music in the air.
TUNE: DANCE OF THE DREAM MAN
Strange saxophone music filters into the air. The LITTLE MAN hops off the
chair and begins to dance a strange dance. A light, like a strobelight,
flashes on and off. The BEAUTIFUL WOMAN rises, goes over, and gently kisses
COOPER on the mouth. She then softly whispers something in his ear.
CUT TO:
INT. DALE COOPER'S HOTEL ROOM - NIGHT
COOPER shoots up out of his bed, waking from this strange and disturbing
dream. He turn on the light, fumbles for the phone and dials.
COOPER
Harry, it's Cooper, meet me for breakfast, 7:00
am, at the hotel lobby. I know who killed Laura Palmer. (reply) No, this
can wait till morning.
He hangs up and starts to snap his fingers to the sound of the music from his
dream.
TUNE ENDS: DANCE OF THE DREAM MAN
FADE OUT:
CLOSE:
FADE IN:
INT. WAITING ROOM
TUNE: DANCE OF THE DREAM MAN
We watch a bird's-eye view of the LITTLE MAN dancing as the end credits
roll.
TUNE ENDS: DANCE OF THE DREAM MAN
FADE TO BLACK: