Episode 23 - The Condemned Woman
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. The LOG LADY sits with her back to the fireplace of her cabin and beside a table.
LOG LADY
A hotel. A nightstand. A drawer pull on the drawer. A drawer pull of a nightstand in the room of a hotel. What could possibly be happening on or in this drawer pull? How many drawer pulls exist in this world? Thousands, maybe millions? What is a drawer pull? This drawer pull - why is it featured so prominently in a life or in a death of one woman who was caught in a web of power?
CLOSE ON: LOG LADY
We FOCUS on a CLOSE-UP on the face of the LOG LADY.
LOG LADY
Can a victim of power end in any way connected to a drawer pull? How can this be?
MUSIC ENDS: CALL OF THE BLACK LODGE
272K
FADE OUT:
INTRO:
FADE IN:
MUSIC: TWIN PEAKS THEME
CREDITS run with the scenes of a bird in a tree, the mill machinery at work, the road into town with the welcome sign, the hotel by the falls and the river.
MUSIC ENDS: TWIN PEAKS THEME
FADE OUT:
FADE IN:
INT. SHERIFF TRUMAN’S OFFICE - DAY
MUSIC: WINDOM EARLE’S THEME
We FOCUS on a CLOSE-UP of an ornamental owl in a small glass case sitting on the corner edge of TRUMAN'S desk. WINDOM EARLE'S voice emanates from a recording.
WINDOM (OFF SCREEN)
Now Dale, listen carefully its your move. Please, put your heart into it will you.
We PAN RIGHT to a CLOSE-UP on a chessboard sitting atop TRUMAN'S desk.
WINDOM (OFF SCREEN)
I’ve noticed a certain tentative quality in your thinking as if your mind were occupied with issues other then those on the board before you.
We PAN RIGHT to a CLOSE-UP on a white mask, the mask taken from COOPER'S hotel room.
WINDOM (OFF SCREEN)
Such preoccupation not only weakens one’s resolve but one’s foresight as well.
We PAN RIGHT to a CLOSE-UP on the mini tape recorder WINDOM EARLE left along with the white mask in COOPER'S hotel room.
WINDOM (OFF SCREEN)
A deadly failing in any match you must agree but in this particular contest quite disastrous ...
We ZOOM OUT. SHERIFF HARRY S. TRUMAN sits behind his desk drinking a cup of coffee as he listens to WINDOM'S tape.
WINDOM (OFF SCREEN)
… as we play for grave stakes the likes of which you have no doubt surmised. Print your move in tomorrow’s paper or I will make it for you.
MUSIC ENDS: WINDOM EARLE’S THEME
Dressed in a plaid flannel shirt and khakis, DEPUTY DALE COOPER sits a chair in front of TRUMAN'S desk. COOPER reaches out and shuts off the mini tape player.
SHERIFF TRUMAN
Ah that tears it, Cooper I’m not letting you out of my sight.
COOPER
Harry if Windom wanted to kill me I’d already be dead.
TRUMAN nods his head for yes.
SHERIFF TRUMAN
COOPER
Better get Pete on the horn.
SHERIFF TRUMAN
TRUMAN slides the speakerphone unit over to himself and depresses a button.
SHERIFF TRUMAN
Lucy call Pete Martell. Get him over here right away. Then call the paper. Find out the latest possible deadline for tomorrow’s personal’s columns.
COOPER places his cup of coffee on top of TRUMAN'S desk and looks at the white mask lying on the table.
MUSIC: QUESTION IN A WORLD OF BLUE (NO VOCALS)
LUCY (OFF SCREEN)
(over the intercom) Paper and Pete, got it. I’ll do it alphabetically.
TRUMAN notices that COOPER is starring at the white mask.
SHERIFF TRUMAN
COOPER nods his head for yes slightly and then looks at TRUMAN.
COOPER
She was the love of my life Harry.
COOPER returns to starring at the white mask.
INSERT: CLOSE-UP WHITE MASK
We FOCUS on a CLOSE-UP of the delicate white plaster mask of CAROLINE POWELL EARLE'S face lying on TRUMAN'S desk.
DISSOLVE TO:
INT. BLUE PINE LODGE - DAY
As the last scene of the CLOSE-UP on the white mask FADES OUT, we FADE IN to the next scene. Standing in the kitchen, PETE MARTELL talks to LUCY MORAN on the telephone.
PETE
MUSIC ENDS: QUESTION IN A WORLD OF BLUE (NO VOCALS)
PETE
Oh - oh - okay yeah, just - just tell Harry I’ll be right there okay, right.
PETE hangs up the phone. PETE briefly looks over his shoulder and smiles before he picks up two plates of food from the kitchen counter. PETE carries the plates over to the dining room table. Grinning, PETE quietly places one of the plates of food before his wife CATHERINE MARTELL.
We PAN RIGHT as PETE holds the other plate in front of ANDREW PACKARD, who is sitting across the table from his sister CATHERINE. ANDREW erupts into laughter as he sees the plate of food. PETE laughs along with ANDREW. With his white hair a mess and dressed in a robe, having just woken up, ANDREW holds the plate out so that CATHERINE can see it.
INSERT: CLOSE-UP PLATE OF FOOD
We FOCUS on a CLOSE-UP of the plate of food ANDREW is holding. The food on the plate is arranged to form a face: two eggs sunny side up with a drop of Tabasco for eyes, cut toast for ears, strips of bacon for a mouth and a single prune for a nose.
ANDREW (OFF SCREEN)
(goading CATHERINE) Huh - huh.
BACK TO SCENE:
CATHERINE is not amused one bit but PETE and ANDREW laugh hysterically. CATHERINE breaks it up by commanding …
CATHERINE
PETE
PETE walks into the kitchen to fetch a salt and pepper shaker. ANDREW sets his plate down and starts eating. CATHERINE coldly looks over to ANDREW.
CATHERINE
You two bring out the worst in each other.
ANDREW
Oh Pete’s a prince of a man.
CATHERINE
PETE walks back to the table and sets a salt and pepper shaker on top of the table. PETE clasps his hands and announces …
PETE
Jokingly, PETE reaches out as if to kiss ANDREW goodbye. ANDREW quickly responds by leaning back, juts his right elbow and growls at PETE. PETE throws out his left shoulder and arm as if to hit ANDREW. The two quickly turn to laughing a little.
PETE walks to the other side of the table, kisses his palm and pats CATHERINE'S chin. PETE walks to the front door, grabs his hat and coat and put his hat and coat on.
PETE
(grinning) Goodbye you sweet Packards.
PETE leaves.
CATHERINE quietly grabs a roll and cuts it with a knife.
ANDREW
Oh Catherine. Catherine I’d always have hope that time and age would mellow that tempest raging inside you.
CATHERINE
Watching you two act like the Hardy Boy’s always brings on stormy weather. What’s happening with Ghostwood?
ANDREW
I talked to the investors. The meeting is set. I leave for Paris tomorrow.
The front door opens.
ANDREW
Wearing a long sleeve plaid flannel jacket and jeans, JOSIE PACKARD steps inside holding a bundle of kindling sticks. JOSIE does not immediately notice ANDREW as she closes the door behind herself.
ANDREW
MUSIC: PACKARD THEME
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JOSIE stops dead in her tracks as she sees ANDREW, who she thought was dead. Shocked, JOSIE drops the bundle of kindling sticks.
ANDREW
I’m home! Did you miss me?
JOSIE faints and falls to the floor.
ANDREW
CATHERINE, relishing the moment, boldly laughs.
CATHERINE
ANDREW
Oh she has her charms though.
CATHERINE
ANDREW erupts into a hard, gasping laughter.
CUT TO:
INT. SHERIFF TRUMAN’S OFFICE - DAY
We FOCUS on a CLOSE-UP on the edge of TRUMAN'S desk. We PAN UP. SHERIFF TRUMAN sits behind his desk reading a newspaper.
INSERT: CLOSE-UP NEWSPAPER
We FOCUS on a CLOSE-UP of the newspaper that TRUMAN is reading. There is an article in the paper about the murder of JONATHAN KUMAGI. The article has a photograph of JONATHAN and the headline reads …
There is a KNOCK at TRUMAN'S office door.
BACK TO SCENE:
We FOCUS on a WIDE SHOT of TRUMAN'S office interior.
SHERIFF TRUMAN
MUSIC ENDS: PACKARD THEME
31K
HANK JENNINGS, with the help of crutches, enters TRUMAN’S office. He is followed by DEPUTY TOMMY 'THE HAWK’ HILL.
HANK
SHERIFF TRUMAN
HANK
What happened? (jokingly) Did you get up on the wrong side of the bed this morning? So I broke parole, cry and eat liver.
SHERIFF TRUMAN
You crossed the border into Canada. You consorted with drug dealers at Dead Dog Farm. You tried to kill somebody. I’m charging you with the attempted murder of Leo Johnson
HANK
Ouch. Well I think its safe to assume that I was at the diner the night that Leo was plugged, but you’re welcome to call ...
SHERIFF TRUMAN
I’ve got a witness that puts you at the scene with the gun in your hand.
HANK
Harry you obviously seem serious about this so I’m going to propose a trade. How about information leading to the arrest and conviction of Andrew Packard’s murderer. Hank Jennings' witness ...
HANK snaps his fingers.
HANK
SHERIFF TRUMAN
HANK
You’re telling me you’re more interested in the attempted murder of Leo Johnson, felon, then Andrew Packard? How’s that going to sit with your constituents?
SHERIFF TRUMAN
HANK
My guess is Harry, not to well. Especially once they find out who pushed the button on Andrew and that you’re sleeping with her.
Teasingly, HANK makes a monkey sound, ‘Ooh-hoo ooh-hoo.’ SHERIFF TRUMAN is furious. Tight lipped, TRUMAN glances over to HAWK. HAWK senses his anger and takes it out on HANK by nonchalantly kicking away HANK’S left crutch. HANK falls face down on TRUMAN’S desk. HAWK pulls HANK up from the collar of his leather jacket.
HAWK
SHERIFF TRUMAN
MUSIC: PACKARD THEME
31K
SHERIFF TRUMAN
HAWK picks up HANK'S left crutch off the ground and hands it to HANK.
HANK
HANK jerks the crutch away from HAWK. HANK and HAWK leave the room.
Hot headed, SHERIFF TRUMAN punches his right fist into the open palm of his left hand.
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
We FOCUS on a CLOSE-UP of a clear plastic packet containing a bullet point that FBI SPECIAL AGENT ALBERT ROSENFIELD is holding.
ALBERT
This is the bullet we removed from you.
ALBERT holds into view another clear plastic packet containing a bullet point.
ALBERT
This is the one that was excavated from the dead man’s skull.
We ZOOM OUT. In the conference room of the building, DEPUTY COOPER stands next to AGENT ALBERT. ALBERT opens his metal briefcase, tosses the two packets inside and closes the briefcase.
ALBERT
Same bullets, same gun, same killer. Let’s go get her.
COOPER holds his right hand up to halt ALBERT.
COOPER
ALBERT
Coop, I appreciate any reluctance you might have for busting your pal’s old lady but the woman ventilated you and left you for dead.
COOPER
Albert, I don’t take it personally. What about the gloves, the powder tests?
ALBERT
News at five. Alright, fine you’re not mad but there’s an epidemic of multiple gunshot wounds following this chick around. She is a menace.
COOPER agrees and nods his head for yes.
COOPER
I’ll talk to her. Maybe she’ll confess, turn herself in.
ALBERT
(smartass) Maybe she’ll grow wings and join the circus.
ALBERT jerks his briefcase as he whips it off the conference tabletop and briskly leaves the room.
MUSIC ENDS: PACKARD THEME
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CUT TO:
INT. THE GREAT NORTHERN HOTEL - DAY
We FOCUS on a CLOSE-UP of the beautiful legs of a WOMAN standing in the lobby of the hotel. We PAN UP. Dressed in a tan business suit, AUDREY HORNE stands in the lobby clutching a manila folder atop of which is a document she briefly glances over.
AUDREY walks up to the concierge desk where the concierge, RANDY ST. CROIX, is seated. RANDY stands up as AUDREY walks up to him and hands him a document.
AUDREY
Randy, I’ve got a list of all our non-repeat guests. We’re going to send them a special invitation to The Great Northern.
RANDY tosses the document to the desktop.
RANDY
Your enthusiasm brings a salty tear to the eye. However, I think you’ll find my job requires a little more than a tight sweater and a perky attitude.
AUDREY
Randy I’m learning the business, every week a different department, I don’t want your job.
RANDY hands AUDREY a nametag.
RANDY
Yes, I look forward to your stint in housekeeping.
RANDY picks up an envelope from the desktop and hands it to AUDREY.
RANDY
This came for you this morning. (somewhat rudely) Good luck Miss Horne. You’ll need it.
RANDY walks off.
Disheartened, AUDREY takes a seat behind the concierge desk and sorts her notebooks on the desktop. She then grabs the nametag and pins it on her suit lapel.
MUSIC: JOHN WHEELER’S THEME
50K
A customer, JOHN JUSTICE WHEELER, walks up to the concierge desk.
JOHN
Hi ya’. I just checked into room 215.
Occupied with a foul mood from her conversation with RANDY, AUDREY fiddles with her nametag. As she ignores the customer, AUDREY grumbles ...
AUDREY
JOHN
Strange, they told me at the front desk that I should talk to you.
Still not having looked up and seen the customer, AUDREY rudely asks ...
AUDREY
Oh what is it I can do for you?
AUDREY finally looks up and is smitten by JOHN’S handsome looks.
JOHN
Sorry, I thought you were working.
JOHN starts to back off and walk away but AUDREY quickly answers.
AUDREY
I am working. I’m - I’m working. See?
AUDREY fiddles with some notebooks on her desk. JOHN returns to her desk.
JOHN
JOHN peers at her nametag.
JOHN
AUDREY looks down at her nametag and straightens it. John briefly studies AUDREY'S face and recognizes her.
JOHN
AUDREY
JOHN
I was wondering if you could send someone out to the airport. I’m traveling with some heavy equipment this trip and didn’t have enough room in the van.
AUDREY
AUDREY takes notes on a small black notepad.
JOHN
Uh my own. Uh I have a jet out there it shouldn’t be too hard to find.
AUDREY tilts her head in a saucy fashion.
AUDREY
Is there anything else I can do for you Mr. Rockefeller?
JOHN
Uh no thank you. (smiles) That’s funny.
He starts to walk away but quickly returns and answers.
JOHN
Yeah, I have a picture of you. You’re wearing a little durndurl??? skirt, you’ve got a white apron on you and you’ve got pigtails. Its unbelievably cute.
AUDREY
I don’t wear durndurl(???).
JOHN
You did then. It was right here ... at The Great Northern dining room.
JOHN closes his eyes.
JOHN
Close my eyes - I can almost see it. Little Audrey Horne ... (opens one eye and peers at AUDREY) as Heidi.
Slightly embarrassed, AUDREY peers down at her desk.
JOHN
Well anyway it was unforgettable.
As JOHN turns to walk away, he gazes back at AUDREY for a moment. AUDREY stares at her desktop as she recalls the memory JOHN revealed.
AUDREY
AUDREY looks up and sees that JOHN has walked away.
AUDREY
In the lobby, JOHN reaches down to the floor, picks up a brochure that an ELDERLY WOMAN has dropped and hands it to her. JOHN waves goodbye to AUDREY with a pair of gloves he holds in his left hand and walks off.
MUSIC ENDS: JOHN WHEELER’S THEME
50K
Disappointed, AUDREY returns her attention to her desktop. She finds the envelope RANDY handed her, rips off the short end's edge of the envelope, props it open and removes the letter from inside.
MUSIC: WINDOM EARLE’S THEME
INSERT: CLOSE-UP TORN LETTER
We FOCUS on a CLOSE-UP of the letter as AUDREY opens it to reveal that the letter is a torn segment. The torn letter has some handwriting in pencil.
high heaven
one another;
be forgiven
brother;
the earth
kiss the sea,
eet work worth?
me?
BACK TO SCENE:
We FOCUS on AUDREY as she shakes her head slightly, unable to make sense of the torn letter. AUDREY reads a note card, that came with the torn letter, aloud.
AUDREY
Save the one you love. Please attend gathering of angels tonight at the Roadhouse 9:30.
INSERT: CLOSE-UP NOTE CARD
We FOCUS on a CLOSE-UP of the note card. The note card is written in the same handwriting and pencil as the torn letter.
MUSIC ENDS: WINDOM EARLE’S THEME
CUT TO:
INT. HURLEY HOUSE - DAY
‘BIG’ ED HURLEY straightens out nick-nacks on the newly repaired shelving / divider. NADINE HURLEY enters the house.
BIG ED
Wearing her high school cheerleading outfit, NADINE gingerly walks into the room holding her books closes to her chest.
BIG ED
Honey what are you doing home from school?
BIG ED walks up to NADINE.
BIG ED
BIG ED puts his left hand on NADINE'S shoulder. NADINE gestures for BIG ED to stop.
NADINE
NADINE walks away slightly and then stops with her back to BIG ED.
BIG ED
MUSIC: TWIN PEAKS THEME
NADINE
Oh Eddie, we have to talk.
NADINE turns around to face BIG ED.
BIG ED
NADINE
NADINE lowers her head. For a moment, BIG ED mulls it over.
BIG ED
NADINE
I hope you're not hurt. I wouldn’t want to hurt you for anything in the world. Honest, you have to believe that, but Mike and I, on that wrestling trip, we had the most magical night together.
NADINE brandishes a distant look with a joyful smile.
BIG ED
(nearly whispered) All night?
NADINE drops the smile and looks at BIG ED.
NADINE
Well you and Norma did it.
BIG ED
Well that’s fair. So, what’s this mean?
NADINE
Eddie, we have to call a spade a spade. We’re breaking up. Eddie, I’m so sorry.
NADINE moves to BIG ED arms and holds him close. Stunned, BIG ED stares over NADINE'S head, wide-eyed.
MUSIC ENDS: TWIN PEAKS THEME
CUT TO:
INT. BLUE PINE LODGE - DAY
MUSIC: LAURA PALMER’S THEME
In the kitchen, we FOCUS on a CLOSE-UP of a closed wooden shutter. CATHERINE reaches out and opens the shutter to peer into the next room. In the next room, DEPUTY COOPER sits on the couch with JOSIE.
COOPER
Josie I want you to level with me about what happened in Seattle.
JOSIE
I told you. How many times do I have to say it. I escaped from Jonathan in airport and I don’t know what happened to him after that.
We FOCUS on a CLOSE-UP of CATHERINE'S face as she listens in on the conversation between COOPER and JOSIE.
COOPER
You understand I could arrest you right now.
CATHERINE smiles in delight of that news. CATHERINE walks off.
MUSIC ENDS: LAURA PALMER’S THEME
We FOCUS on a WIDE SHOT of the living room of the Blue Pine Lodge where COOPER and JOSIE are talking. COOPER is wearing a long sleeve plaid flannel shirt, jean pants and a sleeveless vest jacket. JOSIE is wearing her maid uniform. Two wooden ducks sit atop the coffee table in front of the couch.
MUSIC: VISION OF YOU (LIGHT DRAMATIC VARIANT)
80K
COOPER
I came here as a friend of Harry’s. Now I don’t know what place he occupies in your heart, but I do know that you own his. I would think that you would like a chance to explain yourself to him.
JOSIE
JOSIE stands up, with her back to COOPER.
COOPER
This is the end of it Josie, there are no other options. I want you at the station house by nine o’clock ... or I come and find you.
COOPER walks off and leaves. Slightly trembling, JOSIE is saddened by the confrontation.
MUSIC ENDS: VISION OF YOU (LIGHT DRAMATIC VARIANT)
80K
MUSIC: PACKARD THEME
31K
A side door opens and CATHERINE bursts into the room.
CATHERINE
(boisterous) Oh Josie, I just saw Agent Cooper leave. Was this a social call?
Still shaken, JOSIE breathes deeply.
CATHERINE
Dear, you look awful. Is everything alright?
JOSIE puts a hand on her chest and holds herself as she begins to tremble.
JOSIE
CATHERINE
Oh I’m sorry. I wish I had better news. I’ve spoken to Mr. Eckhardt again on your behalf, but he’s not entirely unsympathetic. He does insist on seeing you alone, tonight.
JOSIE
CATHERINE
To tell you the truth, my biggest worry is what he’s going to do when he finds out that Andrew is alive. Won’t Mr. Eckhardt think that you’ve betrayed him, but of course you can tell him that you didn’t. After all, you did actually think that Andrew was dead.
JOSIE
I don’t know. I don’t know. I don’t - know. Maybe you can help me? I think I’m going mad.
CATHERINE walks over to the nearby bookshelf.
CATHERINE
You will simply have to face Mr. Eckhardt, sooner or later. Tell him the truth.
JOSIE looks over to CATHERINE.
CATHERINE
Tell him whatever you want.
CATHERINE turns to the bookshelf and removes a book from the bookshelf. JOSIE peers into the cache revealed by CATHERINE. CATHERINE turns back to face JOSIE.
CATHERINE
Just pray that he leaves you.
CATHERINE turns back to the bookshelf and grabs a pair of keys from the cache.
CATHERINE
CATHERINE walks away from the bookshelf jiggling the keys as she passes by JOSIE, starring at her the whole while. CATHERINE walks up to the shutter wall/divider to the kitchen and pushes it open slightly. CATHERINE pauses to look back at JOSIE. JOSIE walks up to the bookshelf, reaches into the cache and pulls out a handgun. JOSIE smiles in relief and holds the gun close to her chest.
MUSIC ENDS: PACKARD THEME
31K
CUT TO:
EXT. WATERFALL - DAY
An establish shot. We FOCUS on the waterfall on a cold and cloudy day. We PAN UP and to the LEFT to FOCUS on the Great Northern Hotel perched on the nearby cliff.
CUT TO:
INT. BENJAMIN HORNE'S OFFICE - DAY
We FOCUS on a CLOSE-UP of a telephone on top of BENJAMIN HORNE'S desk. We ZOOM OUT. BOBBY BRIGGS, dressed in office attire, is on the phone as he looks at a document in an open folder. BENJAMIN HORNE, dressed in a jogging suit and eating a stalk of celery, stands nearby. BOBBY returns the phone to its cradle and relays a message ...
BOBBY
Mr. Wheeler, he must be on his way?
BENJAMIN
Thanks Bobby. Why don’t you join us.
BOBBY tosses the folder to the desktop, picks up his suit jacket and puts it on.
BOBBY
BENJAMIN
BENJAMIN puts an arm around BOBBY and leads him to office entrance where JERRY HORNE and AUDREY are standing.
BENJAMIN
You know, board meetings are usually nothing more then the gathering of self minded individuals.
BEN removes his arm from around BOBBY.
BENJAMIN
Each more intent then the other on financial gain.
The four are now huddled together. JERRY offers his drink to his brother BEN.
BENJAMIN
JERRY holds a tray of hors d’oeuvres in his right hand. BOBBY reaches out to grab the tray and JERRY passes it on. As BOBBY scans over the hors d'oeuvres, JERRY points out one he should try.
BENJAMIN
But today, today is going to be something completely different.
The doors to the office open and JOHN WHEELER steps inside.
JOHN
BENJAMIN
BEN walks up to JOHN.
JOHN
BENJAMIN
Happily reunited the two welcome each other with a big hug and a pat on the back.
BENJAMIN
You are a sight for sore eyes.
JOHN
BENJAMIN
Oh, we’ve taken good care of you?
JOHN
JOHN looks over to AUDREY.
JOHN
My luggage arrived, thank you Audrey.
AUDREY quietly nods yes. JERRY is stuffing his face with hors d’oeuvres. BEN smiles and points at AUDREY.
BENJAMIN
AUDREY
BENJAMIN
John Justice Wheeler. Used to be in construction. Came up the hard way.
AUDREY
(slightly sarcastic) How nice.
JOHN feels the remark as he looks over to her.
BENJAMIN
You remember my brother Jerry of course.
Holding the tray of hors d’oeuvres in his right hand and his drink in the left, JERRY walks up to JOHN and offers him an hors d’oeuvre.
JOHN
I missed Jerry. How are you?
JERRY
JOHN grabs an hors d’oeuvre from the tray and holds it in his left hand.
BENJAMIN
And this is uh ... my executive assistant, Bob Briggs.
JOHN
BOBBY
JOHN and BOBBY shake hands.
JOHN
BENJAMIN
Why don’t you all just take a seat.
JERRY, JOHN, AUDREY and BOBBY sit together on the couch in front of BEN'S desk. JOHN continues to hold his hors d’oeuvre in his left hand while JERRY munches away on the hors d’oeuvres on the tray.
BENJAMIN
I’ve uh ... I’ve asked Mr. Wheeler to join us on the board. Years ago I uh ... I made an investment in him. A pittance which he built into an empire.
BEN takes a seat next to his desk.
BENJAMIN
Now, I don’t take any credit but I believed in Jack even when he was a local boy pounding nails. I’ve asked him to return the favor and believe in me now.
JOHN
You're testing my well born modesty.
Unable to speak because his mouth is full, JERRY pats JOHN'S right shoulder and nods approval to him. BEN stands up and moves behind his desk.
BENJAMIN
Alright, suffice to say, Horne Industries Incorporated have fallen on hard times. The mill, the Ghostwood lands …
JOHN peers to his left where AUDREY is sitting and glances at her. He returns his attention to BEN.
BENJAMIN
… are now solely owned by Catherine Martell. I don’t begrudge her, the mill was and is after all her’s. So, in spite of these reversals and uh stripped of all …
AUDREY peers to her right and briefly glances at JOHN.
BENJAMIN
… the trappings of success, what are we left with? The human spirit.
MUSIC: FRESHLY SQUEEZED (0:27 - 3:48)
Puzzled, JERRY holds an odd expression as if frozen with a possible answer.
BENJAMIN
What is the greatest gift that one human being can give to another?
BOBBY holds a puzzled but disbelieving expression while AUDREY holds a puzzled but questioning expression.
BENJAMIN
The future. I give you ...
BEN throws the cover off of a large poster on an easel to reveal a black and white picture of a ferret.
BENJAMIN
... the little Pine Weasel.
BOBBY and AUDREY turn to look at each other, worried.
BENJAMIN
Found only in our tri-country area it is nearly extinct.
JERRY
They’re incredible roasted.
BEN clears his throat and points at the poster with his celery stalk as he speaks.
BENJAMIN
According to an environmental impact report, what few Pine Weasels remain will all be but wiped out by the Packard plans for Ghostwood development.
BOBBY
(disbelieving) So you want to uh ... save the weasel?
BEN sits down in a chair in front of the poster.
BENJAMIN
No Bobby, not just the weasel, but life as we know it. I want Twin Peaks to remain unspoiled in an era of vast environmental carnage.
JERRY
So we block Catherine’s development until the wheel turns and we get another shot. That’s brilliant Ben - that’s brilliant.
JERRY shakes his head slightly and laughs. JOHN looks at JERRY'S expression.
BENJAMIN
I plan to fight this Ghostwood development on every ground and with every available weapon.
BEN stands back up and points at the poster with his celery stalk.
BENJAMIN
The little Pine Weasel is about to become a household word.
BEN takes a bite from his celery stalk and walks over to the front of his desk.
AUDREY
BENJAMIN
Then ... I am considering ... a run for the senate.
BEN takes another loud, crunchy bite from his celery stalk.
MUSIC ENDS: FRESHLY SQUEEZED (0:27 - 3:48)
CUT TO:
EXT. DOUBLE R DINER - DAY
An establish shot. From a perspective across the street on a dark, cloudy day, a logging truck drives by as we FOCUS on the diner with a glimpse of it café sign to the side.
CUT TO:
INT. DOUBLE R DINER - DAY
MUSIC: BIG ED AND NORMA’S SONG
38K
SHELLY JOHNSON works the cash register as she handles the bill for an ELDERLY CUSTOMER.
SHELLY
The ELDERLY CUSTOMER waves goodbye and quietly walks off. SHELLY picks up empty soft drink bottles as she walks back to the kitchen. As she does so, she passes WINDOM EARLE who is in a thin disguise as he eats at the island counter. NORMA JENNINGS is on the telephone at the back of the island counter near the service window. WINDOM pays his bill and tosses the tip in change on the counter. Before he quietly leaves, WINDOM leaves behind an envelope addressed to SHELLY JOHNSON.
NORMA
Annie its no problem really. I’ve got plenty of room. Just get on the next bus okay and I will be waiting. (reply) Oh honey don’t cry.
SHELLY returns from the kitchen carrying a large but shallow plastic bin. She stands next to NORMA.
NORMA
Its gonna be alright. I’ll see you soon. (reply) I love you too, bye.
SHELLY
NORMA
SHELLY and NORMA walk over to the area where WINDOM was sitting. They clean up the area by placing the dirty dishes into the bin.
SHELLY
God, what do you have to do to get out of a convent?
NORMA
(chuckle) You just leave, its not a prison.
SHELLY
(smiles brightly) Sounds like prison to me: no TV, no boyfriends.
NORMA
You know, when she was little I always used to think that Annie was from another place in time. I guess the convent’s been good for her in a way. Hard to imagine her out in the world.
NORMA spots an envelope on the counter next to the dirty plate.
NORMA
Oh look, there’s something for you.
NORMA hands the envelope to SHELLY.
SHELLY
NORMA
I guess who ever was sitting there.
SHELLY rips the envelope open and pulls out a torn segment from a letter and a note card.
MUSIC: WINDOM EARLE’S THEME
SHELLY
INSERT: CLOSE-UP TORN SEGMENT
We FOCUS on a CLOSE-UP of the torn segment.
CLOSE ON: SHELLY'S FACE
We FOCUS on a CLOSE-UP of SHELLY'S face as she reads the torn segment aloud.
SHELLY
Mountains kiss; waves clasps; flowers, sunlight; the moon beams; is all this; thou not kiss. It doesn’t make sense.
BACK TO SCENE:
SHELLY casts a questioning gaze at NORMA. NORMA quietly looks over the torn segment in SHELLY'S hand. SHELLY reads the note card aloud.
SHELLY
Save the one you love. Please attend a gathering of the angels tonight at the Roadhouse 9:30.
NORMA
It sounds intriguing in a way but it sounds dangerous.
MUSIC ENDS: WINDOM EARLE’S THEME
NORMA picks up the tip, left in change, off the counter.
SHELLY
I wonder who this is from.
SHELLY checks the torn segment, the note card and the envelope for a name
The bell at the front door rings as BIG ED walks into the diner. NORMA glows with a wide smile as she spots him. BIG ED walks into the island counter service area by opening the flip-up counter door, walks behind NORMA, twirls her around and caresses her in his arms.
BIG ED
Norma Jennings I’ve loved you every day for the past twenty years and I dream about you every night. Its time for us to be together. Will you marry me?
NORMA
BIG ED
You deserve it, to be happy. Its our turn babe.
BIG ED holds NORMA close as they passionately kiss.
SHELLY, standing nearby, quietly walks off to give them some privacy but not without checking out the kiss between the two as she sneaks a peak back at them.
MUSIC ENDS: BIG ED AND NORMA’S SONG
38K
FADE OUT:
FADE IN:
EXT. EARLE'S CABIN - DAY
MUSIC: WINDOM EARLE’S THEME
We FOCUS on a large pine tree. We PAN DOWN to where LEO JOHNSON, wearing pajamas and a robe, is sitting at the end of a large pine log. LEO is whittling wood from a long thin piece of pine with a knife. FOCUSING on LEO, we MOVE LEFT until the front door of Earle's cabin comes into view.
Still wearing his disguise from the diner, WINDOM EARLE, wearing a baseball cap, dark blue sweater, jeans and a jacket, walks out of the cabin and up to LEO, singing ...
WINDOM
And all night long I held her in my arms just to keep her from the foggy, soggy dew.
MUSIC ENDS: WINDOM EARLE’S THEME
MUSIC: LAURA PALMER’S THEME
WINDOM
WINDOM pats LEO’S back
WINDOM
WINDOM grabs the stick LEO had been whittling and looks it over.
WINDOM
Mm-hmm. Just a few more and then we’ll eat. (recited dramatically) Fly to my breast, pierce me in colors. Otombno??? speak to me only of love.
WINDOM bends down to look LEO in the eye. LEO mindlessly continues to whittle on another stick of pine.
WINDOM
Leo you have an incomplete education. For instance, survival in the wilderness, ...
WINDOM stands back up.
WINDOM
... a relevant issue in your life my friend.
WINDOM reaches into his jacket pocket and fetches a metal arrowhead point.
WINDOM
Now this comes under the heading of practical instruction. Uh I hope you’ve been paying attention?
MUSIC ENDS: LAURA PALMER’S THEME
MUSIC: WINDOM EARLE’S THEME
As WINDOM twists the arrowhead point on the end of the long pine shaft LEO whittled, he pricks himself on the sharp edges.
WINDOM
With a childlike smile, LEO looks up at WINDOM.
WINDOM
Nature is cruel. This is also a lesson.
WINDOM stares at the arrow point as he slowly spins the shaft in his hands.
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
In the jail cellblock at the basement of the building, we FOCUS inside one of the jail cells at the end of a lower bunk bed. We PAN RIGHT. Starring at the ceiling, HANK JENNINGS lays quietly on his back in the lower bunk bed.
MUSIC ENDS: WINDOM EARLE’S THEME
MUSIC: BIG ED AND NORMA’S SONG
38K
From inside HANK'S jail cell, we FOCUS on the cellblock door near the floor as it opens. A WOMAN walks inside. All that is visible of her is a pair of white pump shoes and the trail of a long coat. We PAN UP. The WOMAN is NORMA JENNINGS.
HANK
NORMA moves closes to the bars at HANK'S cell.
NORMA
HANK
Well great ... now that you're here.
HANK feigns pain as he stands up and moves to NORMA.
NORMA
Hank I came here to ask you for a divorce.
HANK
Well uh first let me say I don’t blame you. You gave me a second chance and I blew it.
Recognizing his sweetened drivel, NORMA looks away.
HANK
I don’t know why I’m so self destructive, but I can see that that’s my priority in getting well. I’ve got a lot of work to do. In fact I’ve decided I’m going to try to go into therapy. I don’t want to be like this anymore.
NORMA
That’s very interesting Hank, but I have to get on with my life.
Gently, HANK reaches out and holds NORMA'S coat collar.
HANK
I know, I know you do. I just want you to be happy.
NORMA
HANK
I want you to do me one last favor. I want you to help me get out of here. If they send me back to prison I’ll die. I want you to tell the sheriff that I was at the restaurant the night Leo Johnson was shot. I was on my way home. I can’t prove it but you can.
NORMA
HANK
Its not lying, its trying to save my life.
NORMA
HANK
You’re killing me here Norma.
NORMA
Don’t blame this on me, don’t you dare!
HANK
NORMA looks away.
HANK
Is that who you're running to? Okay, then here’s the deal.
Still holding NORMA'S collar, HANK jerks her towards him to the cell bars.
MUSIC ENDS: BIG ED AND NORMA’S SONG
38K
MUSIC: LAURA PALMER’S THEME
HANK
You give me my alibi and I give you your divorce.
NORMA
I didn’t come here to negotiate with you. This is it, its over.
HANK releases his grip on NORMA.
HANK
HANK kisses his finger's and waves her off - a kiss goodbye.
HANK
NORMA
I’d rather be his whore than your wife.
NORMA walks off and leaves the jail cellblock. Furious, HANK grips his jail cell bars and rattles them wildly.
HANK
MUSIC ENDS: LAURA PALMER’S THEME
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
We FOCUS on a CLOSE-UP of a chessboard sitting on top of the conference room table. We ZOOM OUT.
PETE
Now there are four or five different ways of doing this thing, and they all have their virtues.
A tray laden with a variety of donuts sits on the tabletop near the chessboard along with several coffee mugs and a speakerphone. PETE stands at the short end of the conference room table. DEPUTY COOPER is standing to the right of the table and SHERIFF TRUMAN stands on the opposite side of the table. In the background is a chalkboard with a map of the town drawn in chalk.
PETE
Uh I remember Capablanca and Lascer, St. Petersburg 1914, ...
Chomping on a donut, COOPER raises a finger to stop PETE'S babble.
COOPER
(mouth full) Pete, we’ve only got five minutes.
PETE
PETE puts his coffee mug down on the table and slowly sits down in his chair as he looks over the chessboard. TRUMAN touches a switch on the speakerphone.
SHERIFF TRUMAN
LUCY (OFF SCREEN)
(from speakerphone) Sheriff?
SHERIFF TRUMAN
Get the Gazette on the phone. Tell them not to close out the personals. We need more time.
LUCY (OFF SCREEN)
(from speakerphone) The Gazette.
PETE
PETE moves a chess piece on the chessboard, P to QN-3.
PETE
That’s it. Guaranteed to cause some sleepless nights.
COOPER
As long as he can’t remove another piece from the board.
TRUMAN bends down to look closely at the chessboard.
PETE
He can’t do it, not at least for five - six more moves.
COOPER finishes his donut and wipes his face with a hanky.
SHERIFF TRUMAN
Maybe he’ll kill anyway, maybe just frustrate him.
COOPER neatly folds his hanky up and places it in his pants pocket.
COOPER
I don’t think so Harry. Earle has a perverse sense of honor about these things.
SHERIFF TRUMAN
I never heard of a man who murdered by the rules.
ALBERT
AGENT ALBERT, wearing a long raincoat and holding a steel briefcase, stands in the open doorway to the conference room. Having just arrived, ALBERT removes his sunglasses and motions for COOPER to join him outside the office.
COOPER
MUSIC: VISION OF YOU (LIGHT DRAMATIC VERSION)
80K
COOPER turns back to PETE and gives him a thumbs up hand sign. Worried about the news he brings, TRUMAN stares at ALBERT.
COOPER
COOPER walks off with ALBERT out of the office. SHERIFF TRUMAN stares at them as they leave.
Outside the conference room, COOPER and ALBERT walk up the hallway as they speak.
ALBERT
Here it is straight up. We’ve got a match on the gun that whacked you with the powder residue on Josie Packard’s gloves. Seattle police have also come up with an eye witness who positively ID Josie leaving the car where they found the stiff. Now if you ain’t going to bust this bitch I would consider it a personal ...
COOPER stops ALBERT in the hall.
COOPER
COOPER and ALBERT look back at the open doorway to the conference room as SHERIFF TRUMAN walks out, stops and looks up the hallway at them for a moment before walking off. ALBERT pats COOPER'S left arm and remarks …
ALBERT
CUT TO:
INT. BLUE PINE LODGE - DAY
We FOCUS on a mirror and the reflection of JOSIE PACKARD, wearing a delicate black robe and with her hair nicely styled, as she applies lipstick to her lips with a brush.
There's a knock at her bedroom door.
JOSIE turns her head to the door to answer.
JOSIE
CLOSE ON: JOSIE'S FACE
We FOCUS on CLOSE-UP of JOSIE'S face as she gasps slightly as the door opens.
BACK TO SCENE:
We FOCUS on a WIDE SHOT of the interior of JOSIE'S bedroom as JOSIE stands up to greet ANDREW PACKARD. Wearing a gray suit, ANDREW carries two filled champagne glasses.
ANDREW
I assume you still have a taste for bubbly.
ANDREW hands a glass to JOSIE.
ANDREW
We’ve killed enough bottles in our time.
ANDREW raises his glass for a toast.
ANDREW
To beginnings ... and endings and the wisdom to know the difference.
ANDREW takes a drink from his glass.
JOSIE
JOSIE lowers her head.
ANDREW
I hated you at first of course. Perfectly normal response.
ANDREW takes a seat in a nearby chair in the room and sets his glass down on an adjoining table.
ANDREW
As my anger diminished I recalled that Eckhardt has a way of persuading people to do anything. It was his idea of course?
JOSIE kneels on the ground before ANDREW.
JOSIE
Yes, he made me do it, and he said you never loved me. You just married me to get back at him.
ANDREW
That’s not true, I did love you very much. Of course the same can not be said for you.
JOSIE motions forward for a reply but is cut short.
ANDREW
Please Josie, there will be no more lies between us. You had a job to do and you did it. Now you're paying the price. Every action has its consequence my dear. The police are closing in, if you don’t take action you’ll be sleeping in a jail cell tonight.
JOSIE shakes her head for no.
JOSIE
What can I do? Please help me.
ANDREW
Again, JOSIE shakes her head for no.
ANDREW
Perhaps you were meant to be together all along. I’m sure he truly loves you. He doesn’t know I’m alive. He can get you out of this country.
ANDREW stands up and reaches out with left hand to delicately touch JOSIE'S chin.
ANDREW
MUSIC ENDS: VISION OF YOU (LIGHT DRAMATIC VERSION)
80K
MUSIC: PACKARD THEME
31K
ANDREW walks towards the bedroom door to leave. Before he exits the room, JOSIE calls out ...
JOSIE
Holding the door open, ANDREW turns to JOSIE and answers …
ANDREW
ANDREW leaves the room and closes the door behind himself. Still kneeling on the ground, JOSIE bows her head. Feeling the pressure of the situation she is in, JOSIE puts a hand to her forehead.
MUSIC ENDS: PACKARD THEME
31K
CUT TO:
EXT. WOODS - DAY
MUSIC: QUESTION IN A WORLD OF BLUE (NO VOCALS)
From a DISTANT SHOT we FOCUS on DONNA HAYWARD as she stands alone surrounded by the tall pines in the woods. JAMES HURLEY rides up the hill and next to DONNA in his motorcycle. JAMES parks his motorcycle and shuts the engine off.
DONNA
JAMES
JAMES gets down from his motorcycle, takes a look around the area and comments …
JAMES
DONNA
I wanted us to go some place we’ve never been before.
JAMES removes his gloves and stands next to DONNA.
DONNA
DONNA leads JAMES through the trees to a nearby picnic spot she has already laid out complete with a sheet covering the ground, a picnic basket and food.
DONNA
How’d it go with the police?
DONNA and JAMES take a seat on the picnic sheet.
JAMES
They asked a million questions that I didn’t know the answers to, but the ones I did must have been enough. Evelyn’s going to stand trial and I’ll be a witness.
DONNA stares and plays with the ring on her left hand. JAMES notices.
JAMES
DONNA
I know about you and Evelyn.
JAMES
I wouldn’t blame you if you hated me.
DONNA looks up into JAMES'S eyes.
DONNA
James, I know what you were feeling. I was feeling it too. Evelyn just took advantage of it.
JAMES
Well it was wrong and I should have known that.
DONNA
Look, its okay for you to feel bad about what happened to you, but I don’t want you to feel bad for me.
JAMES
If we could just start over again.
DONNA
Please come home with me.
JAMES
DONNA looks down at the ground.
DONNA
You’re right, you should go.
DONNA looks back up at JAMES and smiles.
JAMES
DONNA
Can’t worry about me anymore. I’ve been a part of all the horrible things that have happened. I want to be part of something good now. James go. Take all the time you need.
JAMES
DONNA
I’m gonna miss you like crazy, but you’ll go away and you’ll come back with great stories and none of ‘em are going to be about Laura or Maddy or Evelyn ... and I’ll be here.
JAMES
DONNA
JAMES
Well then I’ll - I’ll come back, I promise.
Teary eyed, DONNA stares longingly at JAMES. The two move to each other, embrace and kiss.
Pine needles twinkle from the surrounding trees as the sun filters through them, we ZOOM OUT as we FOCUS on JAMES and DONNA as they kiss.
MUSIC ENDS: QUESTION IN A WORLD OF BLUE (NO VOCALS)
CUT TO:
INT. BLUE PINE LODGE - NIGHT
Reading a book in her left hand and holding a cup of coffee in her right, CATHERINE sits in a sofa chair in the living room of the cabin. A distant fog horn blows. There's a knock at the front door. CATHERINE casts her gaze away from her book to her right. We PAN RIGHT to FOCUS on PETE as he sits in sofa chair working on a fly fishing lure with its clamp bench on his lap. PETE looks over to CATHERINE and notices that she's not budging. There's another knock at the door.
PETE
PETE picks the fly lure clamp bench off of his lap and puts it down on a small endtable next to the chair. There's another knock at the door. CATHERINE scowls slightly at PETE. PETE walks off to the front door.
PETE
PETE opens the door and SHERIFF TRUMAN bursts inside past PETE looking into the cabin.
SHERIFF TRUMAN
Pete I need to see Josie.
PETE
(sarcastic) Well come on in.
PETE closes the front door.
PETE
Uh I think she's gone out.
MUSIC: VISION OF YOU (LIGHT DRAMATIC VERSION)
80K
CATHERINE quickly joins PETE'S side.
CATHERINE
Yes its rather odd, she took my car with out saying a word.
PETE
Well, she told me The Great Northern.
CATHERINE casts a glare to PETE. PETE returns the gaze.
CATHERINE
Oh did she? Well she took a lot of things with her. I don’t know where she was going, but I ... I’d say she was planning to stay a while.
SHERIFF TRUMAN
What else did she say Pete?
CATHERINE stares at PETE.
PETE
Well, that she was going to see an old friend.
PETE returns CATHERINE'S stare.
SHERIFF TRUMAN
CATHERINE
Oh sheriff I suppose its been very hard on all of us learning the truth about Josie.
SHERIFF TRUMAN
MUSIC ENDS: VISION OF YOU (LIGHT DRAMATIC VERSION)
80K
MUSIC: PACKARD THEME
31K
PETE stares at CATHERINE as she answers …
CATHERINE
Eckhardt, Thomas Eckhardt.
SHERIFF TRUMAN quickly opens the front door and rushes off.
CATHERINE
PETE closes the front door and continues to stare at CATHERINE as she walks off into the room.
CUT TO:
INT. THE GREAT NORTHERN - NIGHT
The exterior door of the elevator opens. THOMAS ECKHARDT slides open the folding gate door to the elevator, steps inside and closes the folding door. Without looking at the elevator operator, THOMAS orders …
THOMAS
The exterior door of the elevator closes and the elevator moves up.
CLOSE ON: HAND
We FOCUS on a CLOSE-UP of a hand as it reaches out and operates the stop switch for the elevator, stopping the elevator between floors.
BACK TO SCENE:
We FOCUS on THOMAS as the operator, ANDREW PACKARD, steps forward.
ANDREW
THOMAS looks to his side and, with a grimaced, stunned expression, stares at ANDREW. ANDREW removes his eyeglasses.
ANDREW
THOMAS smiles and then looks away.
THOMAS
I don’t believe in ghosts.
ANDREW
Pity, its an appealing notion. The return of the grizzly phantom from the grave. You deserve haunting to be sure.
ANDREW bends close to THOMAS and stares into his eyes.
ANDREW
Look closer Thomas, (whisper volume) I’M ALIVE!
THOMAS looks at ANDREW only briefly.
THOMAS
ANDREW
Guess, its really very simple.
THOMAS
ANDREW
She warned me off herself. Couldn’t bare to see her beloved husband perish. Or more realistically I suppose she felt there was some advantage to be gained.
THOMAS
(whisper volume) She betrayed me!
ANDREW
We’re all familiar with betrayal.
THOMAS
Josie is mine. She belongs to me.
ANDREW
Oh ho - ho Thomas, love will break your heart. Happily, long ago, I lost interest, but Josie loses her heart with alarming regularity. The local sheriff of all people.
ANDREW laughs lightly. THOMAS twists in his footsteps.
THOMAS
I have taken care of that.
ANDREW
I don’t doubt it. Sometimes I wonder if our Josie does these twisted things deliberately. Don’t you?
ANDREW
ANDREW operates the switch that sends the elevator moving again.
ANDREW
... as someone who was once your friend, I come back with a warning.
ANDREW looks at THOMAS.
ANDREW
Josie’s coming back to you, be very careful.
THOMAS
(whisper volume) I am always careful!
A bell in the elevator rings signaling a stop at the designated floor. ANDREW peers up at the floor level indicator. The exterior door of the elevator opens automatically.
ANDREW
Well, here we are, the lobby. I’ll be going back down to the garage. My resurrection remains a well kept secret.
ANDREW opens the folding gate door of the elevator for THOMAS. THOMAS walks out of the elevator.
ANDREW
THOMAS stops and turns around to face ANDREW. ANDREW puts his eyeglasses back on.
ANDREW
ANDREW closes the folding gate door and presses the down switch. The exterior doors of the elevator closes. A little worried, THOMAS turns back around and faces the lobby.
MUSIC ENDS: PACKARD THEME
31K
CUT TO:
INT. TIMBER ROOM - NIGHT
MUSIC: LOVE THEME (PIANO SOLO)
Just finishing dessert, BENJAMIN, AUDREY and JOHN sit together at a round table near the fireplace in the dining area of the Great Northern hotel. A WAITRESS walks by as she handles an order for another table in the busy dining area. We ZOOM IN on the table BEN, AUDREY and JOHN are at.
BENJAMIN
I know ... (clears throat) that I have a lot to learn. Jack, you shall be my teacher. Think of me ... as an open book ... upon whose virgin pages you shall scribe.
AUDREY begins to cough at the mention of the word virgin. BEN and JOHN look to her as AUDREY grabs her glass of water to clear her throat.
BENJAMIN
AUDREY nods her head for yes.
AUDREY
So, Mr. Wheeler um ... what is it exactly you do do?
JOHN
First off, call me Jack please. I buy bankrupt, failing businesses, I stream line them, bring them back up to speed and then usually sell them.
BENJAMIN
At a substantial profit, but not, I should add, before making significant environmental concessions.
BEN lights up a cigar.
BENJAMIN
Now when Jack is finished, the waste is rerouted, the air ...
BEN looks at this cigar and then snuffs it out in the ashtray.
BENJAMIN
The air is cleaner and the people happier.
AUDREY looks at BEN and smiles.
JOHN
Ben, uh ... you’re making me sound like Santa Clause. I’m a businessman that’s all.
BEN takes a last bite of pie from his plate as a WAITER comes up to the table and whispers an urgent message into BEN’S ear.
BENJAMIN
Hmm you’ll have to excuse me. The chef just tried to stab Jerry.
BEN stands up.
BENJAMIN
BEN leans down towards AUDREY.
BENJAMIN
BEN walks off to attend to his brother.
AUDREY turns to JOHN. The two smile at each other. JOHN picks up his cup of coffee but before he can take a sip AUDREY asks …
AUDREY
So Mr. Wheeler, uh ... which is it, are we bankrupt or just failing?
JOHN
I came to do an old friend a favor, and its Jack.
AUDREY
My father’s friends are rarer then the Pine Weasel.
JOHN
Well let’s just say that Ben was once a very good friend to me.
JOHN takes a sip from his cup and puts it down.
AUDREY
So you came back to bring us all up to speed. You are Santa Clause Mr. Wheeler. (cute, smartass) I better hang up my stockings.
Discouraged, JOHN lowers his gaze. JOHN slyly looks at AUDREY.
JOHN
You don’t like me very much do you Audrey?
AUDREY
I don’t have an opinion either way.
JOHN
AUDREY
If I did, I’d say that the Horne’s have managed to take care of themselves just fine for more years then you can count, ...
JOHN smiles and nods his approval.
AUDREY
... and desperate though we may seem we’ll probably continue to do so in the foreseeable future.
MUSIC ENDS: LOVE THEME (PIANO SOLO)
AUDREY pats her lips with her cloth napkin. JOHN stares into AUDREY'S eyes.
JOHN
MUSIC: JOHN WHEELER’S THEME
50K
AUDREY
Where have you been all this time? I mean when you weren’t busy rescuing widows and orphans and making our world a better place to live in.
JOHN and AUDREY look deeply into each other eyes'.
JOHN
The far corners of the Earth. I tell you its glorious out there Audrey. All in all, its good to be home.
As he gazes at AUDREY, JOHN takes another sip from his cup of coffee.
AUDREY
JOHN bunches his eyebrows and leans his cheek against the palm of his right hand.
JOHN
And what exactly does that have to do with the price of eggs?
Embarrassed, AUDREY looks down at the table.
AUDREY
Nothing. Uhm ... (looks at her watch) god look at the time.
AUDREY stands up. JOHN politely stands up in turn.
AUDREY
I have an appointment, could you tell my father?
JOHN
AUDREY
JOHN
Feeling dejected once again, JOHN, still standing, looks down at the table. AUDREY walks off but stops a few steps away and turns around.
AUDREY
(smiling) I’ll see you later, Jack.
JOHN looks up, smiles and answers …
JOHN
AUDREY turns back around and leaves. Feeling better, JOHN continues to smile as he watches her leave.
MUSIC ENDS: JOHN WHEELER’S THEME
50K
CUT TO:
INT. ROADHOUSE - NIGHT
MUSIC: COUNTRY #3
49K
We FOCUS on a CLOSE-UP of two mugs of beer as the BARTENDER picks them up. We ZOOM OUT and PAN LEFT as the BARTENDER moves the mugs of beer to the bar counter. DONNA walks up to the bar. We PAN LEFT as we FOCUS on DONNA as she walks up to SHELLY. Wearing a brown leather jacket, SHELLY is sitting at the bar smoking a cigarette.
DONNA
SHELLY
DONNA
I’m okay. How are you doing?
SHELLY
SHELLY offers her cigarette to DONNA, who takes a drag off it.
SHELLY
Are you waiting for James?
DONNA
No. Actually I got this really weird note. Somebody wants me to meet them here. Is that strange?
DONNA reaches into her purse and takes out the torn segment from a letter she received.
SHELLY
That is strange, look what I have.
SHELLY shows DONNA a similarly torn segment from a letter that she already holds in her hand.
INSERT: CLOSE-UP TORN SEGMENTS
We FOCUS on a CLOSE-UP of the torn segments on the bar top as DONNA and SHELLY place their pieces together. AUDREY offers her torn segment and slides it next to the others.
AUDREY
Hey it looks like we all have something to talk about.
The three torn segments fit together, completing the letter.
BACK TO SCENE:
From the bartender's station, we FOCUS on AUDREY, SHELLY and DONNA at the bar as they look down at the assembled message.
DONNA
SHELLY reads the assembled message aloud.
MUSIC: WINDOM EARLE’S THEME
SHELLY
See the mountains kiss high heaven and the waves clasps one another. No sister flower would be forgiven if it disdained its brother. And the sun light clasps the Earth and the moon beams kiss the sea. What is all this sweet work worth if thou kiss not me?
SHELLY
DONNA
FOCUSING on SHELLY we MOVE LEFT to get a view down the bar. At the end of the bar sits WINDOM EARLE, in disguise, as he watches AUDREY, SHELLY and DONNA look over his puzzle.
MUSIC ENDS: COUNTRY #3
49K
MUSIC ENDS: WINDOM EARLE’S THEME
CUT TO:
EXT. WATERFALL - NIGHT
We FOCUS on a CLOSE-UP of the water from the falls as it cascades down.
CUT TO:
INT. DALE COOPER’S HOTEL ROOM - NIGHT
Sitting on his bed, DEPUTY COOPER looks at a book on fly fishing instruction in his left hand as he practices his fly fishing casting by constantly jerking a pine pole with a thick red yarn, as a practice fishing line, in his right hand. The telephone rings and COOPER continues to practice his casting as he drops the book on the bed to answer the phone.
COOPER
Cooper here. (reply) Yes Catherine.
COOPER stop casting, drops the pole on the bed and moves to sit on the edge of the bed.
COOPER
No - no I - I was just on my way over. (reply) She’s here? (reply) Thomas Eckhardt’s suite. I see.
COOPER hangs up the phone.
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
COOPER opens a drawer of the nightstand, takes out his revolver and checks that the gun is loaded.
CUT TO:
INT. THE GREAT NORTHERN - NIGHT
COOPER turns a corner and walks up a hallway in the hotel. Just outside the door to ECKHARDT’S suite, COOPER hears ...
JOSIE
THOMAS
JOSIE
COOPER opens his vest jacket and draws his revolver, tucked at the top of his pants.
THOMAS
Josie please. My darling please.
JOSIE
Oh don’t touch me, Don’t touch me! Don’t hurt me.
COOPER moves closer to the door to ECKHARDT'S suite and listens.
THOMAS
A gun shot blasts inside ECKHARDT'S suite. COOPER forces the door open by slamming his shoulder against the door.
CUT TO:
INT. THOMAS ECKHARDT’S HOTEL SUITE - NIGHT
With the door forced open COOPER rushes inside. He holds his position with his gun drawn and pointed at the couple in bed. JOSIE lays motionless beside THOMAS in bed. THOMAS moves his head and slowly gets up from the bed. As THOMAS stands up his robe opens and a blotch of red blood is revealed on his pajamas at his chest. Starring at COOPER, THOMAS chuckles slightly as he walks towards COOPER.
COOPER
THOMAS continues to laugh. Suddenly he takes two short gasping breathes and then falls to the floor, dead. Hiding behind THOMAS, as he was standing in front of COOPER, JOSIE is now kneeling in bed with a gun pointed at COOPER.
JOSIE
COOPER
Is that what you’ll say about me Josie. That I tried to kill you. What about Jonathan. Did he try to kill you too?
COOPER takes a step towards JOSIE.
JOSIE
He ... he was taking me back.
COOPER
Why did you shoot me Josie?
JOSIE
Because you came here. I knew this day was going to come. I’m not going to jail. I can’t.
SHERIFF TRUMAN enters through the open door and stands beside COOPER with his gun drawn and pointed at JOSIE.
SHERIFF TRUMAN
JOSIE
(trembling) Ah ... Harry!?
SHERIFF TRUMAN
JOSIE
Harry, forgive me. I never meant to hurt you.
In a nearly choking gasp, JOSIE holds the gun to her breast. She appears very distraught, pained, gasping for air.
JOSIE collapses to the bed. SHERIFF TRUMAN drops his gun, rushes to her, sits down on the bed beside her, picks her up and holds her close.
SHERIFF TRUMAN
Mystified, COOPER lowers his gun and quietly looks on. TRUMAN looks at JOSIE'S face.
SHERIFF TRUMAN
TRUMAN looks up at COOPER.
SHERIFF TRUMAN
For a moment, COOPER looks down at the ground in remorse. As COOPER looks back up, the image of TRUMAN holding JOSIE fades away and room becomes dark.
SOUND EFFECT: SPIRIT PRESENCE RINGING 2K
COOPER is having a vision. A spotlight brightens the room.
BOB
AAGGHHH!! AGHH!! AAGGHHH!!
BOB, the man with long grayish hair and wearing a jean jacket, slithers from underneath the bed and moves to kneel on the edge of the bed.
BOB
AGHH!! HAA - HAA!! COOP, WHAT HAPPENED TO JOSIE!! AAGGHHH!! AGHH!! AGHH!! AGHH!! HAA - HAA - HAA!! AAGGHHH!! AGHH!! HAA - HAA!!
BOB fades away.
MUSIC: DANCE OF THE DREAM MAN
The LITTLE MAN FROM ANOTHER PLACE, wearing a red suit, slowly materializes and dances in place on top of the bed to the music from COOPER'S dream. The LITTLE MAN FROM ANOTHER PLACE fades away.
MUSIC ENDS: DANCE OF THE DREAM MAN
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING
2K
The bright spotlight fades away and the room returns to normal as the vision comes to an end. The image of TRUMAN holding JOSIE returns.
COOPER blinks his eyes as he tries to comprehend what he just saw.
SHERIFF TRUMAN
TRUMAN weeps over the loss of his love as he holds JOSIE in his arms.
SHERIFF TRUMAN
Oh Josie? Oh god. Josie? Oh - ho, oh Josie.
FOCUSING on TRUMAN, we PAN RIGHT to the nightstand beside the bed and ZOOM IN on the drawer pull of the pine wood nightstand.
JOSIE'S face materializes on the knob of the drawer pull. JOSIE cries out, trapped within the confines of the wood. JOSIE'S face extends out of wooden knob, pushing the material outward as if it were plastic. JOSIE'S face turns and contorts as she shrieks and strains to get out.
SOUND EFFECT: WRETCHING WOOD
40K
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
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:
