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

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

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

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

JERRY moves to SYLVIA as if to kiss her.

SYLVIA

JERRY backpedals away from SYLVIA.

JERRY

JERRY walks over to the sandwiches, picks them all up, places them on the table and unwraps one.

JERRY

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

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

JERRY

BENJAMIN

JERRY

BENJAMIN

JERRY

BENJAMIN

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

TUNE: NAUGHTY AUDREY   35K

TUNE ENDS: NAUGHTY AUDREY   35K

JERRY

BENJAMIN

JERRY

BENJAMIN

JERRY

BENJAMIN

JERRY

TUNE: LOVE THEME FROM TWIN PEAKS (0:00 - 1:14)

BENJAMIN

They both laugh slightly.

JERRY

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

EILEEN

DR. HAYWARD

EILEEN

JAMES

EILEEN

DONNA

EILEEN

EILEEN steers herself into the kitchen.

DR. HAYWARD

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

BENJAMIN

JERRY




CUT TO:

INT. ONE-EYED JACKS - NIGHT

Over the phone, a female BARTENDER listens to SWABBIE.

SWABBIE

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

BARTENDER

JERRY

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

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

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

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

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

TUNE: LAURA PALMER'S THEME  

JAMES

DONNA

JAMES

DONNA

JAMES

DONNA

JAMES

DONNA

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

HAWK

COOPER

HAWK

COOPER

HAWK

COOPER

HAWK

COOPER

HAWK

COOPER

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

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

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

LEO

BOBBY tosses the football to LEO.

BOBBY

LEO

BOBBY

LEO

MIKE

LEO

BOBBY

LEO

BOBBY

LEO

BOBBY

LEO

BOBBY

LEO

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

MIKE slowly takes his hand out and lifts them up.

BOBBY

LEO

BOBBY

LEO

BOBBY

LEO

BOBBY

LEO

BOBBY

LEO

BOBBY

LEO

BOBBY

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

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

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

NADINE

BIG ED

NADINE

BIG ED

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

COOPER

At the stump, HAWK whispers to the SHERIFF TRUMAN, who shakes his head and answers.

HAWK

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

SHELLY moves into the living room toward the television.

ANNOUNCER

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

SHELLY

BOBBY

SHELLY

BOBBY

SHELLY decides to partially open the door and speak to him, keeping her face out of view.

SHELLY

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

SHELLY

BOBBY

He again grabs her and turns her around. She pushes him away.

SHELLY

He moves to her and cups her face in his hands.

BOBBY

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

NORMA

BIG ED

NORMA

BIG ED

NORMA touches the bandage on his forehead.

BIG ED

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

COOPER

ANDY complies. LUCY picks up a coffee pot.

LUCY

EVERYONE

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

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

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

COOPER collapses his expanding pointer.

COOPER

We view a CLOSEUP on LUCY, ANDY, HAWK and TRUMAN. We see that they are all intrigued, but completely mystified.

COOPER

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

COOPER points to where this line is written along the top left side of the blackboard.

COOPER

COOPER circles the 'J' with chalk. SHERIFF TRUMAN and HAWK stand near him.

COOPER

SHERIFF TRUMAN

COOPER

HAWK complies.

COOPER

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

ANDY moves over and LUCY takes the chalk from COOPER.

LUCY

COOPER

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

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




WHITE OUT TO:

EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY

COOPER

COOPER throws the rock and it hits the bottom of the stump the bottle is on.

LUCY

COOPER

SHERIFF TRUMAN




WHITE OUT TO:

IMAGE of DR. LAWRENCE JACOBY.

SHERIFF TRUMAN




WHITE OUT TO:

EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY

COOPER

COOPER throws again and hits the bottle. It falls off the stump but doesn't break.

LUCY

COOPER

LUCY and ANDY follow directions. COOPER nods to SHERIFF TRUMAN.

SHERIFF TRUMAN




WHITE OUT TO:

IMAGE of JOHNNY HORNE.

SHERIFF TRUMAN




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




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




WHITE OUT TO:

EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY

COOPER

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

SHERIFF TRUMAN

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

COOPER

SHERIFF TRUMAN walks back over to his spot near the blackboard.

SHERIFF TRUMAN

LUCY

COOPER

HAWK

SHERIFF TRUMAN

COOPER

SHERIFF TRUMAN

LUCY

COOPER

LUCY

SHERIFF TRUMAN

COOPER

SHERIFF TRUMAN




WHITE OUT TO:

IMAGE of LEO JOHNSON.

SHERIFF TRUMAN




WHITE OUT TO:

EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY

SHERIFF TRUMAN

COOPER

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

DR. HAYWARD

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

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

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

AUDREY

DONNA

AUDREY

AUDREY runs her finger around the rim of her coffee cup, staring into the cup.

AUDREY

DONNA

AUDREY

DONNA

They both giggle.

AUDREY

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

DONNA

AUDREY

DONNA

AUDREY

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

Using tweezers, COOPER pulls the towel out of the bag and spreads it out.

COOPER




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

LUCY

ALBERT

LUCY

LUCY reaches over the intercom microphone but ALBERT interrupts her before she can say anything.

ALBERT

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

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




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

LUCY

ALBERT

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

SHERIFF TRUMAN

COOPER places his left hand on SHERIFF TRUMAN'S shoulder.

COOPER

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

COOPER

ALBERT

SHERIFF TRUMAN has a somewhat angered look on his face. COOPER knows ALBERT well and keeps his cool with a large smile.

ALBERT

COOPER

SHERIFF TRUMAN

ALBERT

COOPER

ALBERT

They pick up their suitcases.

SHERIFF TRUMAN

SHERIFF TRUMAN pulls ALBERT aside from the group to talk to him privately.

SHERIFF TRUMAN

ALBERT

SHERIFF TRUMAN

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

BIG ED

She looks up at him, her eyes wide and bright.

NADINE

BIG ED

NADINE

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

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

PETE

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

PETE

CATHERINE

PETE

CATHERINE

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

JOSIE

PETE

PETE sits back down on CATHERINE'S bed and continues to wipe his boots as CATHERINE reenters.

CATHERINE

PETE

CATHERINE

PETE rises, collects his boots and mink oil.

PETE

PETE walks to the door, opens it and turns to CATHERINE.

CATHERINE

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

LELAND

SARAH

LELAND

SARAH

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

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

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




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

BOB, in the same surroundings, has one hand on his chest and the other pointing at us as he speaks.

BOB




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

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

COOPER

BEAUTIFUL WOMAN

LITTLE MAN

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

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: