Episode 20 - Checkmate


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:

EXT. STARRY SKY - NIGHT

We FOCUS UP at the multitude of stars in the night sky.

VOICE (OFF SCREEN)

SOUND EFFECT: SPIRIT PRESENCE RINGING   4K

A comet-like object streaks straight down from the sky overhead. Three bright yellow triangles assembled together, to form a mark similar to the radiation hazard emblem, spin as one object as it rapidly descends.

SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING   4K




CUT TO:

CLOSE-UP EXPLOSION - NIGHT

The assembled triangle object EXPLODES into a ROARING wall of fire.




DISSOLVE TO:

EXT. WHITE LODGE - DAY

The wall of fire FADES OUT as the next scene FADES IN. Surrounded by the lush vegetation of a forest paradise, MAJOR GARLAND BRIGGS, wearing his military uniform, sits on a stone carved throne that is partially covered with vines. We SLOWLY ZOOM IN on the face of MAJOR BRIGGS.

MAJOR BRIGGS

DR. HAYWARD (OFF SCREEN)

MAJOR BRIGGS

COOPER (OFF SCREEN)

MAJOR BRIGGS

COOPER (OFF SCREEN)

SOUND EFFECT: LION ROAR




WHITE OUT TO: CLOSE-UP OWL

We FOCUS on a CLOSE-UP of an inversed image of an owl as it flaps its wings.




WHITE OUT TO: CLOSE-UP SCAR

We FOCUS on a CLOSE-UP on the back of MAJOR BRIGGS' neck. Behind his ear is a reddish-brown scar of three triangles joined at one point, similar to the object that crashed from the night sky.




WHITE OUT TO: CLOSE-UP POLAROID FLASH

We FOCUS on a CLOSE-UP on the flash of a Polaroid camera as it activates.




CUT TO:

INT. SHERIFF’S DEPARTMENT CONFERENCE ROOM - DAY

SOUND EFFECT: MUSICAL SHRIEK   8K

We FOCUS on a CLOSE-UP on the face of MAJOR BRIGGS. We ZOOM OUT.

COOPER (OFF SCREEN)

MAJOR BRIGGS

MAJOR BRIGGS, wearing his military uniform, is seated at the end of the long conference table with his hat lying on the table before him. With a chalk sketch of the map of the town of Twin Peaks as a backdrop on a blackboard, MAJOR BRIGGS nervously twiddles with his hands and stares off into the distance as he attempts to recall his incident. DALE COOPER, wearing a flannel shirt and khakis, stands to the left of MAJOR BRIGGS and DR. WILL HAYWARD, holding a Polaroid camera and a developing photograph, stands to the right of MAJOR BRIGGS. DR. HAYWARD walks over to COOPER and hands him the photograph.

DR. HAYWARD

DR. HAYWARD places the camera down on the corner of the table. COOPER puts the photograph on the table. Next to COOPER, SHERIFF HARRY S. TRUMAN sits on the edge of the tabletop.

SHERIFF TRUMAN

COOPER sits down at the table and leans over crossed arms to MAJOR BRIGGS.

MAJOR BRIGGS

MAJOR BRIGGS becomes more animated as he speaks with his hands.

MAJOR BRIGGS

MAJOR BRIGGS trembles, touches the tabletop using the index and pinky fingers on his left hand and looks at COOPER.

MAJOR BRIGGS

Puzzled, TRUMAN stares at MAJOR BRIGGS. COOPER looks down at the table in contemplation. Still trembling slightly, MAJOR BRIGGS rubs his hands together.

COOPER

MAJOR BRIGGS

COOPER

MAJOR BRIGGS

MAJOR BRIGGS gestures downward with his left hand. COOPER and TRUMAN look at each other, exchanging awareness from the information revealed by MAJOR BRIGGS.

MAJOR BRIGGS

MAJOR BRIGGS stops short of his thought as the door to conference room opens. MAJOR BRIGGS sits quietly and upright as two military policemen, M.P. #1 and M.P. #2, walk into the room.

M.P. #1

MAJOR BRIGGS

SHERIFF TRUMAN

SHERIFF TRUMAN stands up, walks up to MAJOR BRIGGS and stands between him and the M.P.'S.

M.P. #1

SHERIFF TRUMAN

As a friendly gesture, SHERIFF TRUMAN rests a hand on MAJOR BRIGGS left shoulder. MAJOR BRIGGS pats TRUMAN'S wrist for restraint.

MAJOR BRIGGS

COOPER and MAJOR BRIGGS stand up.

MAJOR BRIGGS

SHERIFF TRUMAN

MAJOR BRIGGS

MAJOR BRIGGS pats TRUMAN'S left arm and then walks out of the room with the two M.P.'S. DR. HAYWARD and SHERIFF TRUMAN watch MAJOR BRIGGS leave. COOPER turns to the photograph lying on the table. TRUMAN and DR. HAYWARD turn toward the table and quietly look at each other before they turn their attention to COOPER as he picks up the photograph.


COOPER'S POV:

Through COOPER'S POV we FOCUS on a CLOSE-UP of a Polaroid photograph taken of MAJOR BRIGGS' neck. Behind the ear is a reddish-brown scar of three triangles joined at one point, similar to the emblem for a radiation hazard.

Drops of water fall onto the photograph.


CLOSE ON: COOPER'S FACE

We FOCUS on a CLOSE-UP of COOPER'S face as he looks up from the photograph and towards the ceiling.


INSERT: CLOSE-UP FIRE SPRINKLER

We FOCUS on a CLOSE-UP of a fire sprinkler on the ceiling as drops of water slowly leak and fall from sprinkler.


BACK TO SCENE:

We FOCUS on a WIDE SHOT of the interior of the conference room. Peering upward at the fire sprinkler, COOPER, SHERIFF TRUMAN and DR. HAYWARD all quietly move their heads to look at each other. COOPER returns his attention to the photograph and wipes the water drops off. Mystified, TRUMAN and DR. HAYWARD look at each other once more before they too look back at the photograph.

SOUND EFFECT: SPIRIT PRESENCE RINGING   4K


INSERT: CLOSE-UP FIRE SPRINKLER

We FOCUS on a tight CLOSE-UP of the fire sprinkler on the ceiling as water leaks out and drips off.

SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING   4K




CUT TO:

INT. SHERIFF TRUMAN’S OFFICE - DAY

We FOCUS on a CLOSE-UP of a telephone perched on the edge of TRUMAN'S desk next to a plate laden with donuts. We ZOOM OUT. Sitting in a chair facing the phone, ERNIE NILES nervously reaches out for the phone but quickly pulls back. Standing by the window behind ERNIE, DEA AGENT DENISE BRYSON keeps an eye on ERNIE while using a finger nail file.

DENISE

ERNIE

From behind, DENISE walks up to ERNIE and pats his shoulders.

DENISE

DENISE cradles ERNIE'S neck with a right hand. Annoyed, ERNIE wiggles out of DENISE'S grasp.

The door to SHERIFF TRUMAN'S office opens and COOPER pokes his head inside. Holding a cup of coffee, COOPER asks ...

COOPER

DENISE

ERNIE

ERNIE boldly picks up the receiver and punches the buttons with his index finger as he dials the phone number. COOPER steps into the room and closes the door behind himself. ERNIE cups the mouth of the receiver and cowers ...

ERNIE

COOPER

COOPER walks up to the desk next to ERNIE, lifts the plate of donuts up and takes a seat on the desktop where the plate of donuts was resting. COOPER picks up a donut from the top of the stack and is alarmed at the sight of a bite taken out of it. Holding the donut, COOPER glares at ERNIE.

ERNIE

COOPER puts the bitten donut back on the plate, grabs another donut and takes a bite. Still standing behind ERNIE, DENISE runs a hand through ERNIE'S hair. Irked, ERNIE flinches and squirms in his chair.

ERNIE

With his mouth full, COOPER grins and gives ERNIE a big thumbs up sign.




CUT TO:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

Seated in her reception office, LUCY MORAN reads through the personal section of the newspaper. LUCY briefly looks up as she sees DEPUTY ANDY BRENNAN walk into the building.

ANDY

ANDY walks by LUCY'S reception window. As ANDY walks around the corner to his left he nearly bumps into RICHARD ‘DICK’ TREMAYNE. Dressed in an overcoat, DICK holds an index finger at his lips as a sign to be quiet and gestures to ANDY to follow him. DICK pulls the collar of his coat up to disguise himself as he walks past the reception office door. DICK leads ANDY into the locker room and closes the door for privacy.

MUSIC: AUDREY’S DANCE

DICK

ANDY

DICK

ANDY

DICK


CLOSE ON: LUCY

We FOCUS on LUCY seated in her reception office. LUCY overhears.

ANDY (OFF SCREEN)

DICK (OFF SCREEN)


BACK TO SCENE:

We FOCUS on DICK and ANDY through the glass window of the closed door to the locker room.

DICK

DICK points the way out with a gesture using his gloves. ANDY and DICK walk off.

LUCY scampers out of her reception office and looks into the empty locker room through the glass window in the door. LUCY looks into the reception area and meets COOPER as he walks up to her.

COOPER

LUCY

COOPER signals to LUCY to come near as he bends down to fetch himself a cup of water from the water fountain.

COOPER

LUCY

COOPER nods his head.

COOPER

COOPER walks off and LUCY returns to her reception office.

MUSIC ENDS: AUDREY’S DANCE




CUT TO:

EXT. DOUBLE R DINER - DAY

An establish shot. On a cloudy day, we view the front of the diner from a point across the street. An OLD MAN slowly walks by using a cane. A school bus drives by.




CUT TO:

INT. DOUBLE R DINER - DAY

MUSIC: COUNTRY #4    12K

Looking solemn, ‘BIG’ ED HURLEY sits alone in a booth of the diner. Holding a pot of coffee, NORMA JENNINGS, wearing a blue and white waitress uniform, walks up to BIG ED.

NORMA

BIG ED lifts his head up and smiles as he looks at NORMA.

BIG ED

BIG ED looks at his cup of coffee.


BIG ED'S POV:

Through BIG ED'S POV we FOCUS on a CLOSE-UP of the pot of coffee that NORMA is holding as she fills the coffee cup. We PAN UP NORMA'S outstretched arm and up to her smiling face and bright eyes.


BACK TO SCENE:

NORMA

BIG ED smiles wide.

BIG ED

NORMA returns the smile.

BIG ED

BIG ED passes a five dollar bill to NORMA.


NORMA'S POV:

Through NORMA'S POV, NORMA peeks under the five dollar bill to reveal a note written on the back of the diner bill.



BACK TO SCENE:

NORMA looks up at BIG ED and smiles.

NORMA

BIG ED

For an extended moment the two stare longingly into each other eyes before NORMA walks off.

MUSIC ENDS: COUNTRY #4    12K




DISSOLVE TO:

INT. JOHNSON HOUSE - DAY

MUSIC: INVITATION TO LOVE    28K

The scene at the diner FADES OUT as the next scene FADES IN. In the incomplete kitchen of the house, BOBBY BRIGGS paces around the kitchen table drinking a beer. LEO JOHNSON, in a vegetable state with his head slumped to one side, sits in wheel chair next to the table as SHELLY JOHNSON, wearing an apron over a purple sweater, feeds him pudding. The television is on and the television program Invitation to Love can be heard in the background.

SHELLY

ANNOUNCER (OFF SCREEN)

Splattering SHELLY and the table, LEO spits a spoonful of pudding into the air.

SHELLY

SHELLY slams the bowl of pudding on the table. Unconcerned, BOBBY grabs a newspaper and takes a seat at the table.

ANNOUNCER (OFF SCREEN)

SHELLY

SHELLY grabs a dishrag and wipes the pudding from her face, arms and apron.

ANNOUNCER (OFF SCREEN)

BOBBY

SHELLY

SHELLY slams the dishrag on top of the table. BOBBY looks up from his newspaper and over to SHELLY.

BOBBY

SHELLY removes her apron and throws it on top of the table. She picks up the dishrag and continues to wipe pudding off of herself.

SHELLY

BOBBY stands up and walks away from the table.

BOBBY

SHELLY

SHELLY tosses the dishrag to the table and walks over to BOBBY.

BOBBY

BOBBY puts on his black suit jacket.

BOBBY

SHELLY points to herself.

SHELLY

SHELLY holds her arms out.

SHELLY

BOBBY

SHELLY winds up and slaps BOBBY across the face. Solidly composed, BOBBY touches his left cheek and then quietly walks off towards the front door of the house.

CHET (OFF SCREEN)

SHELLY

CHET (OFF SCREEN)

SHELLY

BOBBY opens the door to the house and slams it closed behind himself as he exits.


CLOSE ON: LEO'S FACE

We FOCUS on a CLOSE-UP of LEO'S face. LEO'S location in the kitchen allows him to look at SHELLY. Due to some brain damage, LEO is unable to move but he does move his mouth slightly as he eats his pudding.

JADE (OFF SCREEN)

SHELLY (OFF SCREEN)


BACK TO SCENE:

Irritated, SHELLY throws her arms out in frustration.

CHET (OFF SCREEN)


CLOSE ON: LEO'S FACE

We FOCUS on a CLOSE-UP of LEO'S face. As pudding drips from his mouth, LEO'S left eye quivers.

JADE (OFF SCREEN)


BACK TO SCENE:

Speckled with pudding, SHELLY throws her arms out once more and shouts ...

SHELLY


CLOSE ON: LEO'S FACE

We FOCUS on a CLOSE-UP of LEO'S face. With his head slumped in his chair, LEO stares at SHELLY. Pudding oozes out of his mouth and drips off his chin.

MUSIC ENDS: INVITATION TO LOVE    28K




CUT TO:

EXT. MOUNTAINS NEAR TWIN PEAKS - DAY

MUSIC: LOVE THEME FROM TWIN PEAKS

Under an overcast sky, we PAN RIGHT and view the two peaks for which the town of Twin Peaks is named after. A telephone dial tone rings until the other line is picked up and answers ...

BIG ED (OFF SCREEN)



CUT TO:

INT. MARSH RESIDENCE GARAGE - DAY

JAMES HURLEY huddles at the back of the garage as he talks to his uncle on the phone.

JAMES

BIG ED (OFF SCREEN)

JAMES

Wearing sunglasses, EVELYN MARSH quietly glides through the open split door of the garage and leans against one of the closed doors as she listens in on JAMES'S telephone conversation.

BIG ED

JAMES

BIG ED (OFF SCREEN)

JAMES

JAMES looks into the garage and notices EVELYN.

BIG ED (OFF SCREEN)

JAMES

BIG ED (OFF SCREEN)

JAMES

BIG ED (OFF SCREEN)

JAMES

BIG ED (OFF SCREEN)

JAMES

BIG ED (OFF SCREEN)

JAMES

JAMES hangs up the phone and turns towards EVELYN.

EVELYN

JAMES

EVELYN

JAMES

EVELYN

JAMES

EVELYN walks up to JAMES.

EVELYN

JAMES

EVELYN

JAMES

JAMES walks away from EVELYN.

JAMES

EVELYN walks up to JAMES. JAMES turns to face her.

EVELYN

EVELYN holds JAMES'S chin.

EVELYN

JAMES cocks his head to the side and they kiss each other. JAMES runs his hand through her hair and then removes her wide rim sunglasses to reveal a bruised eye.

JAMES

EVELYN silences JAMES with a kiss.

A car can be heard pulling up outside the garage. EVELYN quickly turns her head to look outside.

EVELYN

MALCOLM SLOAN can be heard outside of the garage.

MALCOLM (OFF SCREEN)

JAMES

EVELYN

EVELYN rushes off outside. JAMES watches her leave and broods on her request.

JEFFREY MARSH and MALCOLM can be heard talking outside of the garage.

JEFFREY (OFF SCREEN)

MALCOLM (OFF SCREEN)

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS




CUT TO:

EXT. STREET INTERSECTION SIGNAL - DAY

We FOCUS on a CLOSE-UP of a street intersection signal as it displays red.




CUT TO:

EXT. DOUBLE R DINER - DAY

An establish shot. We FOCUS on a tight CLOSE-UP on the word Diner from the Double R Diner sign.




CUT TO:

INT. DOUBLE R DINER - DAY

MUSIC: YOUNG NADINE’S THEME    35K

Reading a newspaper with a cup of coffee before him, MIKE NELSON, wearing his red and white Twin Peaks high school letterman jacket, sits alone at the island counter. NADINE HURLEY, dressed in a red and white Twin Peaks high school cheerleader outfit, walks up to MIKE.

NADINE

NADINE takes a seat next to MIKE at the counter. MIKE turns to NADINE, becomes agitated and then quickly turns back.

MIKE

MIKE tosses his paper aside and rubs his forehead in frustration.

NADINE

MIKE

NADINE

NADINE stares longingly at MIKE. MIKE reaches out for his cup of coffee but stops short as NADINE blurts out ...

NADINE

MIKE faces NADINE and speaks with his hands as he retorts ...

MIKE

Heavyhearted, NADINE looks down at the island counter.

NADINE

Surprised, MIKE slumps back in his chair. NADINE reaches out with both hands, clasps MIKE'S head and kisses him. As NADINE continues to kiss MIKE she attracts the attention of some of the diners in the restaurant as she pushes him back until he is lying down on the next seat.

NADINE

NADINE lifts herself off of MIKE. MIKE grasps the island countertop to help lift himself up. Flustered and enthralled, MIKE looks around the diner.

We FOCUS on NORMA as she walks out of the kitchen and puts on a blue overcoat as she enters the island counter service area. Through a gap between the large and tall appliances on the center island service area, HANK JENNINGS, standing on the other side of the island counter service area, spots NORMA and asks ...

HANK

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)

NORMA

HANK

NORMA

NORMA smirks at HANK and walks off.

MUSIC ENDS: NIGHT LIGHT IN TWIN PEAKS (0:00 - 0:10)

NORMA exits the diner. HANK, with his hands full holding two laden plates of food, watches NORMA leave.

HANK

MUSIC ENDS: YOUNG NADINE’S THEME    35K

FADE OUT:




FADE IN:

EXT. BLUE PINE LODGE - DAY

MUSIC: PACKARD THEME    31K

An establish shot. From a distance we view the front of the cabin with a lush green lawn and tall pines in the background. With his police cruiser parked in the driveway, SHERIFF TRUMAN walks towards the front door. At the front door, TRUMAN knocks on the door.




CUT TO:

INT. BLUE PINE LODGE - DAY

In the kitchen, JOSIE PACKARD, wearing a maid's uniform, opens one of the swinging double doors that separates the foyer from the kitchen and walks up to the front door. As JOSIE opens the front door and spots TRUMAN she instantly retreats back into the kitchen. SHERIFF TRUMAN marches inside and follows JOSIE into the kitchen. JOSIE stands beside a chopping block at the kitchen island counter where she was chopping vegetables. TRUMAN walks up to JOSIE, removes his hat and demands ...

SHERIFF TRUMAN

JOSIE

SHERIFF TRUMAN

JOSIE

SHERIFF TRUMAN

JOSIE

SHERIFF TRUMAN

TRUMAN touches JOSIE'S arm. He cradles JOSIE'S neck with his right hand and moves behind her.

SHERIFF TRUMAN

TRUMAN kisses the back of her neck and runs his hand on her neck and down but JOSIE grabs his hand, holds it and then moves it aside.

JOSIE

Standing behind her, TRUMAN swings an arm over JOSIE'S shoulder, brushes her body and cradles her close as he kisses her neck.

SHERIFF TRUMAN

JOSIE

SHERIFF TRUMAN

JOSIE

SHERIFF TRUMAN

TRUMAN releases his grip, spins JOSIE around to face him and cradles her jaw with his hands. They look into each other's eyes and then kiss.

JOSIE touches TRUMAN'S jaw and pushes him away.

JOSIE

JOSIE pushes TRUMAN'S hands away from their embrace on her jaw.

JOSIE

TRUMAN reaches out and clasps his hands around JOSIE'S neck and jaw.

SHERIFF TRUMAN

With desire in their eyes, TRUMAN bends his head down and kisses JOSIE.

SHERIFF TRUMAN

TRUMAN brushes kisses on JOSIE'S lips as he slowly pushes her forward and up against a kitchen wall. As their passion grows, JOSIE runs her hands over his back and then cradles her arms around his neck. After a long and intense smooch, TRUMAN looks deeply into JOSIE'S eyes and then, as he holds her close, kisses her on her forehead. TRUMAN then returns to stroke kisses across JOSIE'S lips.




CUT TO:

EXT. THE GREAT NORTHERN - DAY

An establish shot. We FOCUS on the roaring water falls and then PAN UP and LEFT to the hotel perched on a cliff near the falls.

MUSIC ENDS: PACKARD THEME    31K




CUT TO:

INT. THE GREAT NORTHERN - DAY

MUSIC: HAPPY THOUGHTS    18K

SAM, a young blonde woman of the hotel staff, rushes out of BENJAMIN HORNE'S office wearing a white cloth wrapped around her head with a blotch of red to appear as a head wound bandage. SAM runs up the hallway carrying a drum, a pair of drumsticks, a bottle of ketchup and a clutch of white papers.

AUDREY HORNE meets SAM in the hallway.

AUDREY

MUSIC ENDS: HAPPY THOUGHTS    18K

SAM stops and momentarily looks at AUDREY. SAM looks down at the ground, lifts her head back up to reveal tears in her eyes and then runs off.

MUSIC: LOVE THEME FROM TWIN PEAKS

AUDREY

AUDREY watches SAM run off. BENJAMIN HORNE'S distant voice, with a Southern accent, flows into the hall from his office.

BENJAMIN

AUDREY peers in the direction of where BEN'S voice is emanating and then walks over to BEN'S office.




CUT TO:

INT. BENJAMIN HORNE’S OFFICE - DAY

AUDREY nudges the door open as it gives resistance from cardboard boxes littered behind the door.

BENJAMIN

AUDREY squeezes through the open door, peers at the mess of cardboard boxes on the ground and the closes the door behind herself. AUDREY sees her father sitting on the floor.

AUDREY

BENJAMIN

BENJAMIN wears a gray confederate uniform and holds a cigar clenched in his teeth as he plays with half-inch tall civil war toy soldiers. Lying close to the ground, in the middle of his office, BEN talks to the toy soldiers in his hands.

AUDREY

BENJAMIN

BEN animatedly points at the model on the floor.

AUDREY moves to the floor, kneels on the ground next to her father and grasps his right arm.

BENJAMIN

AUDREY

BEN turns to his right to look at AUDREY, lifts himself off the floor and removes his cigar from his mouth.

BENJAMIN

AUDREY

BENJAMIN

AUDREY

BEN gestures to the model.

BENJAMIN

AUDREY

BEN pats AUDREY'S hand at his arm.

BENJAMIN

AUDREY

BENJAMIN

AUDREY

BENJAMIN

AUDREY

BENJAMIN

BEN points to the floor near AUDREY'S knee. AUDREY stands up. A civil war toy soldier ridding a white horse is revealed from where AUDREY was squatting. BEN reaches out, picks up the toy soldier and dusts it with his hand.

BENJAMIN

MUSIC: BENJAMIN'S THEME

AUDREY scans the floor.

BENJAMIN

AUDREY steps on the model as she walks over to the telephone.

BEN becomes quite animate as he plays with his toy soldiers again, BEN pounds a fist on the model.

BENJAMIN

MUSIC ENDS: BENJAMIN'S THEME

AUDREY spots a telephone on the floor under a book. AUDREY tosses the book aside and dials a number on the telephone.

BEN points at his head.

BENJAMIN

As BEN shouts orders to his toy soldiers, AUDREY holds the telephone close and holds one hand over her exposed ear as she speaks into the telephone.

AUDREY

BEN reaches out, pulls a civil war saber from its sheath and waves it in the air.

BENJAMIN

AUDREY

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS




CUT TO:

INT. HURLEY HOUSE - DAY

BIG ED opens the front to his house and NORMA walks inside. BIG ED and NORMA speak at the same time.

BIG ED

NORMA

The two stop in midsentence realizing their nervous chatter. They both smile at each other. BIG ED closes the door, grasps NORMA'S arm and leads her into the living room.

BIG ED

NORMA and BIG ED stand facing each other in the living room.

MUSIC: TWIN PEAKS THEME (PIANO SOLO)

BIG ED

NORMA

BIG ED puts his hands on NORMA'S hips. NORMA puts her hands on BIG ED'S arms.

NORMA

BIG ED embraces NORMA and kisses her. As BIG ED lavishes her with another kiss NORMA interrupts.

NORMA

BIG ED

Desiring each other, NORMA and BIG ED hold each other close as they kiss. BIG ED reaches under NORMA'S blue overcoat and slides it off until it falls to the floor.

MUSIC ENDS: TWIN PEAKS THEME (PIANO SOLO)




CUT TO:

INT. SHERIFF TRUMAN’S OFFICE - DAY

MUSIC: ANDY’S THEME    49K

COOPER paces the floor near the door as DEPUTY TOMMY THE ‘HAWK’ HILL works at putting tape on a microphone to ERNIE NILES'S hairy chest. With his white shirt unbuttoned, ERNIE sits on the front edge of TRUMAN'S desk. SHERIFF TRUMAN sits behind his desk cleaning his rifle.

ERNIE

HAWK

HAWK throws his hands out to the ground to toss off the sweat on his hands. ERNIE towels himself off while HAWK grabs for some more white tape.

ERNIE

COOPER stops pacing and restrains ERNIE.

COOPER

COOPER points at ERNIE with his hands held out steady.

COOPER

HAWK wipes the sweat off his hands on ERNIE'S pants.

ERNIE

COOPER

COOPER returns to pacing the room.

ERNIE

COOPER stops and looks at SHERIFF TRUMAN.

COOPER

ERNIE

SHERIFF TRUMAN

SHERIFF TRUMAN opens a drawer of his desk, reaches inside, grabs an object and tosses it to COOPER. COOPER catches it.

SHERIFF TRUMAN

COOPER looks down at the badge in his hand.


COOPER'S POV:

Through COOPER'S POV we FOCUS on a CLOSE-UP of the deputy badge.


BACK TO SCENE:

COOPER

TRUMAN smiles and then returns to cleaning his rifle.

HAWK

Disgusted, HAWK wipes his hands off on the pant's leg of ERNIE'S pants.

ERNIE

HAWK stands up and walks off. ERNIE wipes himself off with a towel.

ERNIE

Newly deputized, COOPER pins his Twin Peaks Deputy badge on his flannel shirt front pocket.

COOPER

ERNIE

SHERIFF TRUMAN

ERNIE stands up.

ERNIE

SHERIFF TRUMAN

COOPER

ERNIE straightens himself up.

ERNIE

COOPER

SHERIFF TRUMAN

The door to the office opens and DEA AGENT DENNIS BRYSON steps inside. DENNIS has his hair combed back into a pony tail and is wearing a dark suit and pants.

DENNIS

DENNIS puts his hands on his hips and looks down at himself. DEPUTY COOPER turns to SHERIFF TRUMAN and grins brightly.

DENNIS

MUSIC ENDS: ANDY’S THEME    49K

DENNIS looks up and smiles. COOPER turns to DENNIS.

COOPER

TRUMAN responds to DENNIS’S sharp outfit.

SHERIFF TRUMAN



CUT TO:

EXT. WOODS - DAY

We FOCUS on a CLOSE-UP of a pine tree as its branches sway in a harsh blowing wind.




CUT TO:

EXT. DORRIT ORPHANAGE - DAY

An establish shot. We FOCUS on a CLOSE-UP of the sign for the orphanage building.

DICK (OFF SCREEN)



CUT TO:

INT. DORRIT ORPHANAGE - DAY

MUSIC: A NEW LOOK    77K

Standing in the hall just outside the records office door, DICK and DEPUTY ANDY look into the office through the glass window in the door. DICK looks like an investigator dressed in an overcoat and hat while ANDY just wears his deputy uniform.

DICK

ANDY reaches over, turns the door handle and opens the door.

DICK

ANDY

DICK

DICK walks up to a row of filing cabinets against a wall near the door. ANDY closes the door and keeps watch by looking through the glass window in the door to the hall.

DICK

DICK scans the labels of the cabinets.

DICK

DICK scampers across the room to a short filing cabinet.

DICK

DICK finds the correct filing cabinet, opens the cabinet drawer and thumbs through the folders.

DICK

DICK pulls out the thick folder from the filing cabinet and opens it.

ANDY

DICK

ANDY

DICK goes through the files in the folder.

DICK

DICK turns to another page.

DICK

ANDY

DICK flips through and scans several files in the folder.

DICK

ANDY nervously looks out through the window in the door and then turns back to DICK.

ANDY

Unbeknownst to ANDY, a COUPLE walks up to the office door.

DICK

ANDY turns to look out the window into the hall and spots the COUPLE waiving at him behind the door. ANDY turns to DICK.

ANDY

DICK turns his head and sees the COUPLE at the door. DICK quickly stands up, stashes the folder inside his coat and grabs his hat off of his head. The COUPLE, MR. and MRS. BRUNSTON open the office door and walk inside. The COUPLE smile at ANDY.

MR. BRUNSTON

Scared and confused as to what to do, ANDY stares at DICK and then quickly rushes over to DICK'S side.

MR. BRUNSTON

DICK

The COUPLE turn to each other, horrified. DICK quickly counters.

DICK

DICK and ANDY smile.

DICK

MR. BRUNSTON

DICK struggles to think of a reply. ANDY prods him to hurry.

ANDY

DICK

DICK looks at ANDY and supplies an alias for him.

DICK

DICK turns to the COUPLE.

DICK

MUSIC ENDS: A NEW LOOK    77K




CUT TO:

EXT. HURLEY HOUSE - DAY

An establish shot. We FOCUS on a CLOSE-UP on DONNA HAYWARD'S hand as she knocks on the door to BIG ED'S house.

DONNA



CUT TO:

INT. HURLEY HOUSE - DAY

BIG ED walks over to the front door.

DONNA (OFF SCREEN)

BIG ED opens the door and DONNA walks inside but stands near the open door.

DONNA

BIG ED

DONNA

BIG ED

BIG ED reaches out for an envelope sitting nearby.

BIG ED

DONNA

BIG ED

DONNA

BIG ED passes the envelope of cash to DONNA.

BIG ED

DONNA

DONNA kisses BIG ED goodbye on the cheek and leaves. BIG ED closes the door and walks into the living room. NORMA walks up to BIG ED.

NORMA

BIG ED

NORMA

BIG ED

NORMA puts a hand around BIG ED'S neck. They politely kiss. NORMA walks off towards the door.

NORMA

BIG ED

BIG ED watches NORMA leave and then turns to walk into the living room but meets ...

MUSIC: HANK’S THEME    39K

HANK

HANK winds up and punches BIG ED in the face. BIG ED'S head shakes as he falls backward and onto a wall. HANK walks up to BIG ED, grabs BIG ED and tosses him onto the living room floor. HANK walks over to BIG ED, bends down, lifts BIG ED off the floor by pulling at his shirt and punches BIG ED right in the face with a left hook.

The front door opens and NADINE, wearing her Twin Peaks high school cheerleader outfit and carrying pom-poms and a backpack, hops inside.

NADINE

NADINE closes the door and looks into the living room.

NADINE

MUSIC ENDS: HANK’S THEME    39K

MUSIC: AUDREY’S DANCE (DARK VARIANT)    46K

BIG ED is out cold on the floor as HANK holds a grip on his shirt. HANK freezes as he turns around and sees NADINE pounce into the living room swinging her backpack over her head.

NADINE

HANK'S eyes widen as NADINE walks closer to him swinging her backpack. NADINE sends the backpack crashing into HANK'S face. HANK flies off the floor and collides into the side of a sofa seat. NADINE picks HANK up and grips him by his black leather jacket. Completely dazed, HANK does nothing in response as NADINE begins to spin him around in her grip. NADINE roars in anger as she spins HANK around. NADINE stops spinning HANK and punches him with a hard right hook. She punches HANK a second time and then one last time that give him a bloody lip.

NADINE

NADINE slams HANK against a wall in the living room. In a fury, NADINE picks HANK up off the floor and lifts him by his leather jacket into the air. HANK yells as NADINE throws him into a wooden curio shelf / divider wall that divides the living room from the dining room. The curio shelf shatters into pieces as HANK crashes into it.

MUSIC ENDS: AUDREY’S DANCE (DARK VARIANT)    46K

HANK is out cold. With blood at his nose, BIG ED comes to and lifts himself up. NADINE rushes over to BIG ED'S side.

NADINE

BIG ED

BIG ED rests his head in NADINE arms.

NADINE

BIG ED

FADE OUT:




FADE IN:

EXT. WATERFALL - DAY

We FOCUS at the bottom of the falls where the water roars as it crashes into the river.




CUT TO:

INT. BENJAMIN HORNE’S OFFICE - DAY

MUSIC: BEN’S CIVIL WAR #1    24K

BOBBY BRIGGS, dressed in dark suit, stands before BENJAMIN. BEN, still wearing a gray confederate civil war uniform, sits in a chair on top of his desk. BOBBY nervously eyes the tip of a saber that BEN points and waves at him. BEN speaks with a Southern accent.

BENJAMIN

BEN stands up and points at model with his saber.

BENJAMIN

Still standing on top of his desk, BEN bends down, puts an arm around BOBBY and tugs at him.

BENJAMIN

BOBBY

BOBBY appears weary. BEN enthusiastically waves his saber towards the model and rants ...

BENJAMIN

BEN stands up and waves his saber.

BENJAMIN

The door to BEN'S office opens and AUDREY pokes her head inside. BOBBY sees AUDREY in the doorway and, apathetic, replies to BEN ...

BOBBY

AUDREY steps back into the hallway and closes the office door.

Atop his desk, BEN stands up straight holding his saber laid out before him in two hands. BEN bends down and hands the saber to the outstretched hands of BOBBY. BEN stands up straight and looks down at BOBBY.

BENJAMIN

BEN pops his lit cigar into his mouth and holds out two outstretched hands to receive the saber. BOBBY holds the saber at his side in his right hand.

BOBBY

BOBBY gestures to the door.

BOBBY

BOBBY walks towards the office door.

BENJAMIN

BOBBY stops at the door and turns to face BEN. BOBBY speaks animately by waving his arms and the saber.

BOBBY

Using his thumb, BOBBY points back to the door.

BOBBY

BOBBY walks out of the office but pokes his head back inside.

BOBBY

BOBBY steps back into the hallway and closes the office door. Still awaiting the saber by holding his arms out, BEN cries out ...

BENJAMIN

MUSIC ENDS: BEN’S CIVIL WAR #1    24K




CUT TO:

INT. THE GREAT NORTHERN - DAY

MUSIC: ANDY’S THEME    49K

With a distant shot down a long hallway of the hotel, AUDREY leans back against a wall near a bend in the hallway. Still holding the saber, BOBBY walks up to AUDREY and leans back against the wall beside her.

BOBBY

AUDREY stands up straight and walks up the hallway. BOBBY follows her.

AUDREY

AUDREY and BOBBY walk further up the hallway and out of view.

CATHERINE MARTELL steps into the hallway and watches AUDREY and BOBBY walk off.

BOBBY

AUDREY

Wearing a very colorful long wool jacket with a geometric native American Indian design, CATHERINE walks down the hall and towards BEN'S office.

MUSIC ENDS: ANDY’S THEME    49K




CUT TO:

INT. BENJAMIN HORNE’S OFFICE - DAY

MUSIC: BEN’S CIVIL WAR #2    12K


INSERT: CLOSE-UP OIL LAMP

We FOCUS on a CLOSE-UP of an oil lamp as BEN lights the wick with a cigarette lighter. BEN adjusts the brightness of the lamp by adjusting the height of the wick.


BACK TO SCENE:

We FOCUS on a WIDE SHOT of the interior of the office. Working on an oil lamp on his lap, BEN sits in a chair in the middle of his office. Appearing as small camp fires, small lit tea candles are laid out on the model.

There's a KNOCK at the door. BEN answers with a Southern accent.

BENJAMIN

BEN puts the oil lamp on top of his desk. One of the doors to BEN'S office opens and CATHERINE walks inside.

BEN drops the Southern accent.

BENJAMIN

CATHERINE closes the door behind herself.

CATHERINE

BENJAMIN

CATHERINE quietly listens.

BENJAMIN

CATHERINE walks towards BEN.

CATHERINE

CATHERINE walks behind BEN.

CATHERINE

MUSIC ENDS: BEN’S CIVIL WAR #2    12K

MUSIC: LOST LOVE    148K

Standing behind BEN, CATHERINE runs her hand through BEN'S hair.

CATHERINE

BENJAMIN

Standing beside BEN, CATHERINE puts her arms around him and hugs him.

CATHERINE

BEN turns to her.

BENJAMIN

CATHERINE

BEN kisses CATHERINE'S hand. Leaning beside him, CATHERINE leans her chin on BEN'S head.

CATHERINE

BEN and CATHERINE plant several kisses on each other's lips. CATHERINE opens her jacket and envelopes BEN. BEN snuggles between CATHERINE'S breasts.

BENJAMIN

MUSIC ENDS: LOST LOVE    148K




DISSOLVE TO:

EXT. MARSH RESIDENCE - DAY

The scene at BEN'S office FADES OUT as the next scene FADES IN. Wearing a minx coat and a blindfold, EVELYN is led from the Marsh residence over to the garage by JAMES. EVELYN carries two champagne glasses and JAMES holds a bottle of champagne.

EVELYN

JAMES

JAMES positions EVELYN so that she is standing on the driveway facing the garage. JAMES walks away.

EVELYN

JAMES

EVELYN removes her blindfold. Parked on the driveway, JAMES stands atop the step-up on the restored Jaguar automobile he had been working on. With a pop, JAMES removes the cork from the champagne bottle.

JAMES

EVELYN

EVELYN walks up to JAMES.

MUSIC: SHORT ON TIME    78K

JAMES

EVELYN

JAMES pours champagne into the glasses EVELYN holds. JAMES rests the bottle of champagne on the passenger seat in the car and grabs a glass of champagne from EVELYN. EVELYN proposes a toast.

EVELYN

Producing a crystal ringing sound, JAMES and EVELYN touch glasses and then take a sip.

EVELYN

JAMES

Flustered, JAMES uncontrollably smiles.

EVELYN

Embarrassed once more, JAMES grins.

EVELYN

JAMES

JAMES smiles and laughs.

EVELYN

EVELYN takes a seat on the side fender of the car.

EVELYN

JAMES

EVELYN

JAMES

EVELYN

JAMES

EVELYN

EVELYN runs a hand over JAMES'S chest.

EVELYN

JAMES grabs EVELYN'S champagne glass, tosses the contents of the champagne glasses onto the driveway and places the champagne glasses onto the passenger seat. JAMES slides EVELYN'S fur coat and her top off. The two hold each other and kiss.

As JAMES and EVELYN continue to kiss, we ZOOM OUT and back off down the driveway.

MUSIC ENDS: SHORT ON TIME    78K

MUSIC: LOVE THEME FROM TWIN PEAKS

Wearing his chauffeur uniform, MALCOLM SLOAN steps out of the bushes and looks up the driveway at JAMES and EVELYN. MALCOLM hums in fruition with the turn in events and then walks off.




CUT TO:

EXT. DEAD DOG FARM - DAY


COOPER’S POV:

Framed by the outline of binoculars we FOCUS on a 'For Sale' sign nailed to a pine tree in front of the house at Dead Dog Farm through DEPUTY COOPER'S POV. We PAN RIGHT and view the front door to the house. COOPER listens to the meeting from an earphone.

ERNIE


BACK TO SCENE:

A distance away from the house, we FOCUS on COOPER as he looks in the direction of the house using binoculars. JEAN speaks with a French-Canadian accent.

JEAN (OFF SCREEN)

ERNIE (OFF SCREEN)

JEAN (OFF SCREEN)


COOPER’S POV:

Framed by the outline of binoculars we FOCUS on the interior of the Dead Dog Farm house through a window from COOPER'S POV. JEAN RENAULT and the Royal Mounted Canadian Police officer PRESTON KING deal with ERNIE and DENNIS. We PAN RIGHT and peer into the other windows of the house. We PAN LEFT and return to the window where the meeting can be seen taking place.

PRESTON

JEAN

ERNIE



CUT TO:

INT. VAN - DAY

Seated next to recording equipment on the open tailgate of TRUMAN'S police cruiser, DEPUTY HAWK listens to the meeting taking place inside the house from the microphone planted on ERNIE. TRUMAN'S police cruiser is parked behind a tall dirt birm, pine trees and bushes. Screened by the dirt birm, SHERIFF TRUMAN trains his shotgun in the direction of the house and COOPER focuses on the meeting with binoculars.

ERNIE (OFF SCREEN)

PRESTON (OFF SCREEN)



CUT TO:

EXT. DEAD DOG FARM - DAY


COOPER’S POV:

Framed by the outline of binoculars we view the meeting through a window from COOPER'S POV. ERNIE nervously moves to the window and looks outside.

ERNIE

ERNIE’S nervous chatter gets cut off by DENNIS.

DENNIS


BACK TO SCENE:

We FOCUS on SHERIFF TRUMAN as he becomes worried as static starts to interfere with the eavesdropping on the meeting. Nearby, COOPER lowers his binoculars.

JEAN (OFF SCREEN)


COOPER'S POV:

From COOPER'S distant POV, without the binoculars, we FOCUS on the meeting through a window of the house.

PRESTON

JEAN reaches out and grabs DENNIS.

ERNIE

The eavesdropping stops as the earphone goes dead.


BACK TO SCENE:

We FOCUS on DEPUTY HAWK as he rushes over to SHERIFF TRUMAN and COOPER at the birm.

HAWK

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS

The front door to the house bursts open and JEAN jerks DENNIS outside holding a gun to DENNIS. PRESTON walks outside gripping ERNIE.

JEAN

COOPER

COOPER passes the binoculars to HAWK.

JEAN

COOPER climbs on top of the dirt birm. Surprised and uncertain, TRUMAN watches COOPER stand dangerously exposed on the top of the birm.

SHERIFF TRUMAN

COOPER

JEAN

TRUMAN aims his shotgun towards JEAN.

COOPER

JEAN

COOPER

JEAN

COOPER

COOPER removes his gloves.

JEAN

Surprised and worried, TRUMAN peers up at COOPER.

COOPER

SHERIFF TRUMAN

COOPER pulls his revolver out of its holster and holds his revolver in the air to show JEAN that he will come unarmed. COOPER places the handgun on the ground and then slowly walks towards the house.

SHERIFF TRUMAN

HAWK

SHERIFF TRUMAN

TRUMAN keeps his shotgun trained towards JEAN as HAWK runs off to TRUMAN'S police cruiser. HAWK runs up to the open door on the driver's side of the police cruiser and grabs the microphone of the police radio.

HAWK

MUSIC: SWOOPING AWARENESS    8K

HAWK

Disappointed by the turn of events, SHERIFF TRUMAN keeps an eye on the hostage situation at the Dead Dog Farm house.

MUSIC ENDS: SWOOPING AWARENESS    8K

FADE OUT:




FADE IN:

EXT. MARSH RESIDENCE SERVANT’S QUARTERS - NIGHT

MUSIC: SHORT ON TIME    78K

We FOCUS on a CLOSE-UP of the half-moon in the night sky.




CUT TO:

INT. MARSH RESIDENCE SERVANT’S QUARTERS - NIGHT

We FOCUS on the long drawn shadow of EVELYN'S nude body against a wall in JAMES'S room as she gets up from the bed and puts on a robe.

JAMES is asleep in bed. EVELYN walks to the door but before she leaves she takes one last peek back at JAMES.

In the hallway, MALCOLM sneaks up EVELYN as she slowly and quietly closes the door. EVELYN is spooked as she turns around and sees MALCOLM next to her.

MALCOLM

Standing beside EVELYN, MALCOLM brushes his hand through her hair and on her chin.

EVELYN

MALCOLM and EVELYN embrace and kiss.

MALCOLM

MALCOLM kisses EVELYN'S temple.

MALCOLM

Resting her head on MALCOLM'S shoulder in their embrace, EVELYN frowns unsure of her actions towards JAMES.

MUSIC ENDS: SHORT ON TIME    78K

FADE OUT:




CUT IN:

EXT. DEAD DOG FARM - NIGHT

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)

For protection, DEPUTY ANDY stands behind the open door of TRUMAN'S police cruiser with his revolver poised to shoot. We PAN RIGHT. The police lights of several cop vehicles flash blue and red lights. DEPUTY HAWK also stands ready for action behind the open door of TRUMAN'S police cruiser with his revolver drawn. SHERIFF TRUMAN walks briskly over to HAWK and stands next to him behind the open police cruiser door. Keeping his eyes on the house, HAWK remarks to TRUMAN ...

HAWK

TRUMAN looks over to ANDY.

SHERIFF TRUMAN

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)




CUT TO:

INT. DEAD DOG FARM - NIGHT


PRESTON’S POV:

Through PRESTON’S POV we get a view outside through the window and see a row of police cruisers with their red and blue siren lights flashing. A number of DEPUTIES hide behind the cars with handguns, shotguns and rifles pointed toward the house.

PRESTON


BACK TO SCENE:

We FOCUS on PRESTON, holding a handgun, as he kneels on the ground and peers out of the front window. To the right of the window is the front door to the house.

PRESTON

PRESTON sits down on the ground at the left corner of the room and looks up at JEAN.

PRESTON

JEAN lays against the edge of a wall that divides the kitchen from the hallway.

JEAN

COOPER sits on the floor between the front door and JEAN. COOPER has a bruised cut near his left eye.

COOPER

JEAN

JEAN looks over to PRESTON.

COOPER

JEAN loosely holds a gun pointed at COOPER.

JEAN

COOPER

JEAN

Sitting on the floor peering out the window, PRESTON turns to JEAN.

PRESTON

JEAN

COOPER

JEAN

COOPER

JEAN

COOPER

JEAN

JEAN squats down beside COOPER.

MUSIC: LAURA PALMER’S THEME (PIANO SOLO)

JEAN

MUSIC ENDS: LAURA PALMER’S THEME (PIANO SOLO)

PRESTON nervously looks out of the window. COOPER intently listens to JEAN.

JEAN

COOPER and JEAN glance up to PRESTON.

PRESTON

PRESTON looks out the window.


PRESTON'S POV:

From PRESTON'S POV out the window, we FOCUS on a WAITRESS holding a tray of food as she slowly walks towards the house.


BACK TO SCENE:

We FOCUS on PRESTON near the window.

PRESTON

JEAN

PRESTON

MUSIC: WALKING IN THE DARK    32K

JEAN

JEAN walks towards the center of the kitchen and looks outside through the glass window in the door. With his revolver ready, PRESTON stands up and moves to the door. JEAN holds a hand up to calm PRESTON.

JEAN

COOPER realizes the ploy.

JEAN



CUT TO:

EXT. DEAD DOG FARM - NIGHT

DEPUTY ANDY rushes beside SHERIFF TRUMAN behind the open door of the police cruiser. ANDY, TRUMAN and other DEPUTIES stand prepared with their guns, rifles and shotguns aimed towards the house.

The WAITRESS carrying a tray of food towards the house is AGENT DENNIS as DENISE in disguise wearing one of the short waitress uniforms from the Double-R Diner.




CUT TO:

INT. DEAD DOG FARM - NIGHT

PRESTON opens the door.

JEAN

Holding a tray of food, DENISE walks inside with a smile.

DENISE

COOPER recognizes DENISE and waits for the scheme to engage.

JEAN

DENISE passes the tray of food to JEAN. As JEAN holds the tray of food in both hands before himself, DENISE reaches down and slowly lifts the uniform skirt above the left knee to show the top of black stockings.

PRESTON stands unaware. JEAN smiles as he looks at DENISE'S leg. JEAN looks up and begins to study DENISE'S face.

JEAN


COOPER'S POV

From COOPER'S POV facing the back of DENISE, DENISE stands close by and as DENISE'S skirt rises a handgun is revealed tucked into the top of the black stocking. COOPER quickly reaches out and grabs the handgun.


BACK TO SCENE:

DENISE punches PRESTON and drives him back and to the floor.

COOPER hops back to a corner of the room near the door and aims the handgun at JEAN. With his hands occupied holding a tray of food, JEAN'S eyes widen in horror. COOPER fires the handgun twice directly at JEAN'S chest. JEAN drops the tray of food and rushes to his right to stumble into the hallway.




CUT TO:

EXT. DEAD DOG FARM - NIGHT

Leading the way, SHERIFF TRUMAN and several DEPUTIES run toward the house.




CUT TO:

INT. DEAD DOG FARM - NIGHT

DENISE picks PRESTON up and slams him against the wall.

COOPER stands up and directs his gun towards the hallway. With blood dripping from his mouth, JEAN slowly pokes his head through the kitchen entrance from the hallway. JEAN falls to his knees as he tries to position himself to return fire at COOPER. With his last breath, JEAN tries to reach for his gun in its shoulder harness under his suit jacket. COOPER calmly keeps his gun aimed at JEAN. JEAN wavers and falls to the ground dead.

DENISE cracks PRESTON across the jaw with two hard right punches.

SHERIFF TRUMAN leaps through the open front door and falls to one knee with his revolver drawn ready. With his gun drawn, DEPUTY ANDY rushes through the open door and falls to one knee beside TRUMAN. Having entered from the back of the house, DEPUTY HAWK stands over the body of JEAN as he holds a firing position into the kitchen.

DENISE holds PRESTON, vanquished, against a wall. Relieved, COOPER stands on one knee next to SHERIFF TRUMAN. TRUMAN turns to COOPER and asks ...

SHERIFF TRUMAN

COOPER

DENISE

ANDY, TRUMAN and COOPER stand up. COOPER looks at TRUMAN.

COOPER

MUSIC ENDS: WALKING IN THE DARK    32K

SHERIFF TRUMAN

MUSIC: THE BOOKHOUSE BOYS (0:00 - 0:05)

HAWK

With a puzzled expression, HAWK stands up after checking the body of JEAN RENAULT.

MUSIC ENDS: THE BOOKHOUSE BOYS (0:00 - 0:05)




CUT TO:

EXT. RIVER - NIGHT

From a distance we view the river as it meanders through the woods on a dark and quiet night.




CUT TO:

EXT. JOHNSON HOUSE - NIGHT

MUSIC: SHELLY’S TUNE    35K

An establish shot. On a very quiet night, we view the front of the house.




CUT TO:

INT. JOHNSON HOUSE - NIGHT


INSERT: CLOSE-UP RECORD PLAYER

We FOCUS on a CLOSE-UP of a vinyl record player as it plays a record. A nearby lamp starts to flicker and the music slows down as the power supply is disrupted. The lamp goes out and the music stops as the power gets cut off.

MUSIC ENDS: SHELLY’S TUNE    35K


BACK TO SCENE:

Laying on the couch wearing a brown robe, we FOCUS on SHELLY as she is awakened by the disturbance.

SHELLY

The power comes back on and the lights and the music return.

MUSIC: SHELLY’S TUNE    35K

SHELLY sits up and looks around the room. The lights flicker and the music winds down as the power supply is disrupted again. The lights go out and the music stops.

MUSIC ENDS: SHELLY’S TUNE    35K

SHELLY

The power quickly returns and the lights and music turn on.

MUSIC: SHELLY’S TUNE    35K


SHELLY'S POV:

From SHELLY'S POV, the lights dim and the music slows to a drawl as the power supply is disrupted. We look around the room. The lights glow brightly and the music plays smoothly. The shadow outline of LEO'S lifting harness, near LEO'S bed, sways slightly behind a hospital curtain wall divider. Once again the lights dim and the music gradually slows to almost shut off but returns back on.


BACK TO SCENE:

SHELLY stands up and walks towards LEO'S bed. The lights and music dim to nearly turn off before returning to normal.


SHELLY'S POV:

From SHELLY'S POV, we walk past the hospital curtain wall divider. LEO is not in bed but in his place is a toy clown doll laying on the pillow and is moving! LEO'S lifting harness sways slightly.


BACK TO SCENE:

Spooked, SHELLY calls out ...

SHELLY


SHELLY'S POV:

From SHELLY'S POV, we FOCUS on the toy clown doll as its arms move and a ball rotates on its nose. We moves away from LEO'S bed and back into the living room.

SHELLY (OFF SCREEN)

We PAN UP and FOCUS on a light bulb at a ceiling light fixture with a deflated red balloon hanging from it. The lights dim and the music slows down as the power goes out.

MUSIC ENDS: SHELLY’S TUNE    35K


BACK TO SCENE:

SHELLY walks into the kitchen. The lights flicker and the music struggles to play as power returns.

MUSIC: SHELLY’S TUNE    35K

LEO'S wheelchair sits next to the kitchen table with its back facing our view. SHELLY walks up to the wheelchair.

SHELLY

SHELLY spins the wheelchair around to face her and whips off the blanket lying on the back of the chair. The wheelchair is unoccupied! SHELLY freezes as she looks across the table. Standing with his back to the wall with his face covered with cake frosting and wearing a party cone hat, LEO sinisterly says ...

LEO

MUSIC ENDS: SHELLY’S TUNE    35K

SHELLY screams in shear terror.


INSERT: CLOSE-UP DEFLATED BALLOON

As SHELLY screams, we FOCUS on a deflated red balloon hanging from a light bulb at a ceiling light fixture. The light bulb dims and then goes out.

FADE OUT:




CUT IN:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT

DEPUTY COOPER, SHERIFF TRUMAN and LUCY walk up to the second set of double doors to the building.

SHERIFF TRUMAN

COOPER stops right at the door and peers inside the dark interior through the glass window in the door. COOPER turns around and listens to LUCY as she recalls the incident to TRUMAN.

LUCY

SHERIFF TRUMAN

DEPUTY HAWK walks by them and enters the dark interior of the building.

LUCY

COOPER

SHERIFF TRUMAN

LUCY

HAWK returns and interrupts LUCY as he hands out flashlights to everyone and remarks ...

HAWK

HAWK shakes head side-to-side.

HAWK

SHERIFF TRUMAN

HAWK walks back inside the building. COOPER peers through the window in the door.

LUCY

COOPER turns to LUCY.

COOPER

COOPER walks inside to the reception area.

LUCY

SHERIFF TRUMAN

LUCY

Standing near the second set of double doors to the building, we FOCUS on COOPER as he scans the dark interior. Though muffled, LUCY and SHERIFF TRUMAN can still be heard. COOPER reaches inside his coat pocket and removes a cigarette lighter.

LUCY

COOPER walks into the reception room, lights up the cigarette lighter and holds it up to view the interior.

LUCY

SHERIFF TRUMAN

Using the lighter to light his way, COOPER walks past the open door to SHERIFF TRUMAN'S office.

LUCY

COOPER looks around TRUMAN'S office.

LUCY

COOPER'S eyes widen as he focus on something in the room.

We FOCUS on LUCY and SHERIFF TRUMAN standing at the entrance. Through the glass window in the door at the entrance and the open door to TRUMAN'S office, COOPER can be seen standing inside TRUMAN'S office.

COOPER

TRUMAN opens the door and calls out ...

SHERIFF TRUMAN

COOPER

TRUMAN turns to LUCY.

SHERIFF TRUMAN

TRUMAN walks inside to the reception area.




CUT TO:

INT. SHERIFF TRUMAN’S OFFICE - NIGHT

We FOCUS on TRUMAN as he walks through reception area and past the open door to his office. As he shines his flashlight on the object in his office, TRUMAN'S eyes widen.

SHERIFF TRUMAN


COOPER'S POV:

From COOPER'S POV, we FOCUS on the object that caught COOPER'S attention. Seated at TRUMAN'S desk is a longhaired DEAD MAN gagged and wearing a dirty jean jacket and eyeglasses. The DEAD MAN is pointing at a square on a chessboard on top of TRUMAN'S desk. TRUMAN'S mounted deer head trophy is lying on its side on top of TRUMAN'S desk to the right of the DEAD MAN.

SHERIFF TRUMAN (OFF SCREEN)


BACK TO SCENE:

Wide eyed, COOPER and SHERIFF TRUMAN stare at the DEAD MAN. We ZOOM IN on COOPER'S face.

COOPER


CLOSE ON: DEAD MAN'S FACE

We FOCUS on a CLOSE-UP on the face of the DEAD MAN. We PAN DOWN the arm and FOCUS on the hand as it points to a white square on the chessboard where a coin rests.

SOUND EFFECT: MUSICAL SHRIEK   8K

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: