Episode 24 - Wounds and Scars
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
Sometimes, well let’s say all times, things are changing. We are judged as human beings on how we treat our fellow human beings. How do you treat your fellow human beings? At night, just before sleep, as you lay by yourself in the dark, how do you feel about yourself? Are you proud of your behavior? Are you ashamed of your behavior? You know in your heart if you have hurt someone, you know. If you have hurt someone, don’t wait another day before making things right. The world could break apart with sadness in the meantime.
MUSIC ENDS: CALL OF THE BLACK LODGE
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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. THE BOOKHOUSE - DAY
MUSIC: LOST LOVE
148K
CLOSE ON: SHERIFF TRUMAN’S EYES
We FOCUS on a CLOSE-UP of SHERIFF HARRY S. TRUMAN’S despondent eyes.
We DISSOLVE to a CLOSE-UP image of the shadow of an empty shot glass in TRUMAN’S hand as he turns it around and around in place.
We DISSOLVE to an image of the late JOSIE PACKARD, smiling.
We DISSOLVE back to the CLOSE-UP image of the shadow of the empty shot glass being turned in place.
We DISSOLVE to an image of JOSIE as she falls back onto a couch with TRUMAN above her.
We DISSOLVE back to the CLOSE-UP image of the shadow of the empty shot glass being turned in place.
We DISSOLVE to an image of JOSIE being held in TRUMAN’S arms.
We DISSOLVE back to the CLOSE-UP image of the shadow of the empty shot glass being turned in place.
We DISSOLVE to an image of JOSIE displaying a thin, black camisole covering a thin, black negligee for TRUMAN.
We DISSOLVE back to the CLOSE-UP image of the shadow of the empty shot glass being turned in place.
We DISSOLVE to an image of JOSIE turning around in TRUMAN’S embrace to face him.
We DISSOLVE back to the CLOSE-UP image of the shadow of the empty shot glass being turned in place.
We DISSOLVE to an image of JOSIE and TRUMAN in a kissing embrace.
We DISSOLVE back to the CLOSE-UP image of the shadow of the empty shot glass and the lower half of the shot glass itself as it is turned in place.
CLOSE ON: SHERIFF TRUMAN’S EYES
We FOCUS on a CLOSE-UP of SHERIFF TRUMAN’S eyes as he looks up.
BACK TO SCENE:
DEPUTY TOMMY ‘THE HAWK’ HILL stands quietly in front of the table TRUMAN is sitting at. Dressed for duty, DEPUTY HAWK holds a plate with a metal cover over it in his right hand and a napkin with silverware in his left hand.
HAWK
One of Norma’s breakfasts, made special.
DEPUTY HAWK puts the plate down on the table in front of TRUMAN and takes the metal cover off to reveal: scrambled eggs, bacon, hash browns and a small container of ketchup.
Sitting at a round table in a dark corner of the building, holding a shot glass with half a bottle of Jack Daniel’s whiskey close by, TRUMAN breaks into a soft joyous laughter.
SHERIFF TRUMAN
God bless Norma. Maybe later, maybe later. Thanks. How’s things at the ... station?
HAWK
Earle’s chess game is the big concern. The man has a poor sense of recreation.
SHERIFF TRUMAN
HAWK
We’re holding up, for now.
SHERIFF TRUMAN
You and Cooper can handle it. It’s a pretty simple town, used to be. I guess ... the world’s just caught up to us.
HAWK flashes the secret sign of the Bookhouse Boys, an index finger dragged down the temple, and quietly leaves. TRUMAN grabs the whiskey bottle and fills the shot glass.
MUSIC ENDS: LOST LOVE
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CUT TO:
INT. DOUBLE R DINER - DAY
MUSIC: FRESHLY SQUEEZED (0:26 - 3:48)
ANNIE BLACKBURNE, NORMA JENNINGS’S sister with long, wavy blonde hair and blue eyes, steps through the front door of the diner. Carrying a suitcase in one hand and her black purse hanging over her right shoulder, ANNIE, wearing a long black coat, a light-blue shirt and a long plaid skirt, walks into the diner looking for her sister. As ANNIE walks into the diner and heads towards the kitchen she passes MAJOR GARLAND BRIGGS at the island counter.
NORMA smiles as she and SHELLY JOHNSON walk out from the kitchen and spot ANNIE.
NORMA
NORMA walks up to ANNIE while SHELLY walks over to the short order window to pick up an order.
ANNIE
NORMA
NORMA and ANNIE hug. NORMA looks over to SHELLY.
NORMA
Shelly, this is my sister Annie.
Holding a plate with a slice of pie, SHELLY pauses in the service area of the island counter near NORMA and ANNIE for greetings.
SHELLY
Hi Annie, welcome. Norma’s told me all about you.
SHELLY walks off to deliver the slice of pie. ANNIE turns to NORMA.
ANNIE
(slightly worried) All about me?
NORMA
Well, Shelly’s like family.
ANNIE
With our family that’s not exactly a character reference.
Facing each other, NORMA and ANNIE take a seat at the island counter.
NORMA
How did you and mom get along?
ANNIE
Well, we can talk about her or feel good about things. I vote for plan B.
NORMA
Me too. I’m glad you’re here.
ANNIE
It feels a little strange.
ANNIE looks around the diner.
ANNIE
The real world. Little things like I’d almost forgotten how to use money. The closest we get in the convent was bingo chips.
ANNIE looks straight eyed at NORMA.
ANNIE
No charity Norma, promise.
NORMA
(smiles) Don’t worry, I’m going to work you till you drop.
ANNIE returns the smile.
We FOCUS on SHELLY as she fills out the bill for MAJOR BRIGGS. Having taken a bite of his pie and now sampling it, MAJOR BRIGGS looks up at SHELLY and critiques the pie.
MAJOR BRIGGS
SHELLY looks up from the bill pad she is writing on and with her eyes open wide, politely nods her head for yes. SHELLY rips the bill from the pad, puts the bill down on the counter and slightly rolls her eyes as she walks away.
MUSIC ENDS: FRESHLY SQUEEZED (0:26 - 3:48)
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:55)
As MAJOR BRIGGS eats his pie, the LOG LADY walks up besides him and notices the reddish-brown scar of three triangles joined at one point at the back of his neck behind his right ear.
SOUND EFFECT: SWOOPING AWARENESS
8K
The LOG LADY reaches out and touches the scar. MAJOR BRIGGS turns towards the LOG LADY and she takes a seat next to him on his right side. MAJOR BRIGGS holds an enigmatic expression as the LOG LADY puts her log on top of the counter and drapes her right arm over it.
CUT TO:
EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
An establish shot. We view the front of the police station with its double set of swing glass doors and a large green sign above, ’Twin Peaks Sheriff’s Department.’
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
CLOSE ON: COOPER’S FACE
As he reads, we FOCUS on a CLOSE-UP of DEPUTY DALE COOPER’S eyes perch over a document labeled ’Interpol.’ COOPER’S right eyebrow perks up.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:55)
BACK TO SCENE:
Standing in front of TRUMAN’S desk, we FOCUS on HAWK.
HAWK
Harry’s about to hit bottom.
COOPER lowers the document.
COOPER
HAWK nods his head for no. COOPER frowns as he closes the folder holding the document he had been reading. COOPER is wearing a plaid flannel long sleeve shirt and green khakis. A picture of a quarter waning moon sits on a shelf of the bookshelf behind COOPER.
COOPER
When do you think he’ll come back to work?
HAWK
I guess we’ll find out soon.
HAWK looks at the scattering of paperwork across TRUMAN’S desk.
HAWK
COOPER
That’s a question I should be asking you.
HAWK
You’re the senior lawman Cooper. Let’s just let the rain fall as it has been. Besides, I hate paperwork.
COOPER looks over the scattered paperwork on the desktop.
COOPER
This is worse than the bureau with all this international documentation: Ekhardt, Josie.
COOPER grabs a manila folder from the pile of paperwork.
COOPER
This is the autopsy on her. Doc Hayward said he couldn’t determine cause of death.
COOPER hands the manila folder to HAWK. HAWK reaches out for it.
COOPER
The body only weighed 65 pounds.
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:30)
HAWK freezes his reach for the folder and looks directly at COOPER.
HAWK
COOPER pulls the folder back, marked ’AUTOPSY’ in big red letters, and glances over it before putting it down on the desktop.
COOPER
I don’t know. Maybe something to do with what I saw inside the room when she died.
HAWK
Maybe we better just whistle on our way past the graveyard.
COOPER
COOPER picks up his mug of coffee and takes a drink.
HAWK
COOPER
Trail’s stone cold. Still waiting for his response.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:30)
CUT TO:
EXT. WOODS - DAY
MUSIC: JAPANESE FLUTE
53K
We FOCUS down a deserted dirt road as a veil of sunlight filters down through the tall pine trees.
CUT TO:
EXT. EARLE’S CABIN - DAY
An establish shot. We FOCUS on an old, shoddy cabin used as a hideout by WINDOM EARLE. Smoke billows from the chimney of the cabin.
CUT TO:
INT. EARLE’S CABIN - DAY
Illuminating the slightly smoky interior, sunlight filters through the cracks of the warped boards of the cabin’s walls. Twirling a flower with white petals in the grip of his left hand, WINDOM EARLE sits in a sofa chair pinching his nose with his right hand as he practices his breathing exercises. LEO JOHNSON, wearing pajamas and a red robe, walks up to EARLE carrying a pair of slippers.
MUSIC: WINDOM EARLE’S THEME
LEO
WINDOM
Holding his breath, WINDOM points to the ground to show LEO where to put his slippers. LEO quietly complies and drops the slippers on the floor next to WINDOM’S feet. LEO wanders off.
MUSIC ENDS: JAPANESE FLUTE
53K
WINDOM
You know Leo, you can’t really appreciate how tonic country life is until you’re actually right here (deep breath) living it.
LEO returns and juts a smoking pipe in front of WINDOM’S face, surprising him.
WINDOM
WINDOM takes his pipe from LEO. LEO walks off. WINDOM puts the pipe in his mouth and blows on it.
WINDOM
WINDOM puts the pipe away in his shirt pocket and looks down at the flower he holds in his hands as he spins it in his fingertips by its stem.
WINDOM
Even if you’ve been to the country before, when you try to image what it would be like to go back the ... image is imperfect.
WINDOM pulls one of the petals off.
WINDOM
(slightly angry) The mental image is always imperfect.
WINDOM throws the petal away. LEO walks up to WINDOM holding a newspaper. WINDOM looks up at LEO.
WINDOM
Still holding the newspaper, LEO stands quietly looking down at WINDOM. WINDOM lowers his gaze to the flower and grins.
WINDOM
A passive agreement is acceptable Leo. Your silence speaks volumes.
WINDOM looks up at LEO.
WINDOM
Or if not volumes at least the occasional, punctuated paragraph, heh.
WINDOM puts the flower down.
WINDOM
Well, lets see what move our poor Cooper has come up with this time.
With the RUFFLING of newsprint, WINDOM rips the newspaper from LEO’S grip and opens the newspaper to the classifieds section. As WINDOM looks for the ad, LEO takes a seat next to WINDOM.
WINDOM
WINDOM finds the ad, reads the move, hastily folds the newspaper and holds on to it as he leans over to a nearby chessboard and moves a black pawn to queens-knight three. LEO stares at the chessboard.
WINDOM
(quickly realizes) This isn’t a move. This is a trick. He’s playing a stalemate game. Cooper doesn’t know the meaning of STALEMATE!
Furious, WINDOM swings the folded newspaper and whacks LEO hard. A distant SCREECH from an eagle bellows from outside the cabin.
WINDOM
WINDOM slams the folded newspaper to the ground and grabs his Japanese flute lying next to the chair. Holding the flute at its tip in his fist in his lap, WINDOM waves the flute in the air.
WINDOM
I can not tolerate people who do not play by the rules. People who shirk THE STANDARDS!
MUSIC ENDS: WINDOM EARLE’S THEME
Using the Japanese flute as a cudgel, WINDOM leashes out his anger by cracking LEO on the head and striking his chest. LEO winces in pain and shies away in fear but remains seated next to WINDOM. WINDOM returns to waving the flute from his lap.
WINDOM
Many people are going to regret this.
WINDOM takes a deep breath and shakes off his foul mood. WINDOM moves the flute to his lips and plays a tune.
MUSIC: JAPANESE FLUTE
53K
INSERT: CLOSE-UP RING
We FOCUS on a CLOSE-UP of a ring on WINDOM’S left hand. The ring is made of three wound loops of gold wire with the outer loop twisting into three small loops to form a crown for the ring.
CUT TO:
INT. TIMBER ROOM - DAY
We FOCUS on a gray carpeted floor and PAN UP on the legs of AUDREY HORNE, dressed in business attire with a gray skirt and her suit jacket draped over her right shoulder, as she gingerly walks up a constructed catwalk runway in the dining area of the hotel.
Two women, MODEL #1 and MODEL #2, watch AUDREY as she demonstrates the model’s catwalk on the runway.
MUSIC ENDS: JAPANESE FLUTE
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AUDREY
MODEL #1, a tall, shapely blonde, and MODEL #2, a short redhead, look at each other and roll their eyes. A BUSBOY works in the background folding up tablecloths.
MUSIC: BIG ED AND NORMA’S SONG
38K
We FAVOR ON the suave RICHARD ‘DICK’ TREMAYNE and PAN RIGHT around the models as he walks up and around the two models holding a long gold, feminine cigarette holder.
DICK
Ladies, may I say, you’re both ... delightfully ... represent ...
DICK looks at MODEL #1 chest and smiles.
DICK
... the sanctity ... of nature.
We FOCUS on DICK as he stands next to MODEL #1.
DICK
MODEL #1
I prefer to keep my chest clear.
DICK looks at down MODEL #1 chest and smiles.
DICK
Ahh, the great god, fitness.
MODEL #1
MODEL #1 grabs MODEL #2’S arm to lead her away. As they walk off they roll their eyes once more.
Several WORKERS are at work in the Timber Room: adjusting the lighting and moving tables and chairs.
AUDREY walks up to DICK, who is still starring at the MODELS.
AUDREY
Have you spoken to Pinkle?
DICK
DICK turns to face AUDREY.
AUDREY
He’s giving a talk on the Pine Weasel.
DICK gives a questioning gaze.
AUDREY
In the background, MR. TIM PINKLE slowly makes his way towards DICK and AUDREY.
DICK
Ohh, lovely. What is it, a raccoon or something?
AUDREY
Holding a stuffed model of a ferret, MR. PINKLE walks up to AUDREY.
MR. PINKLE
AUDREY
Ah great. You two should coordinate.
DICK
DICK rolls his eyes and walks away. Puzzled, MR. PINKLE follows after DICK. AUDREY opens her day planner and takes a note. Occupied with her day planner, AUDREY turns around and nearly walks into JOHN JUSTICE WHEELER, who is standing nearby watching the commotion in the Timber Room.
JOHN
Hello. Its like you’re trying to run lumber upstream.
MUSIC ENDS: BIG ED AND NORMA’S SONG
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MUSIC: AUDREY’S DANCE
AUDREY
Now how can I help you Mr. Wheeler?
JOHN
Horne, about the talk we had at dinner.
AUDREY
Gosh I’m sorry. I was rude wasn’t I?
JOHN and AUDREY nervously ramble over each other’s words.
JOHN
(concurrent) It was my fault entirely. I .. I’d ... Who am I to waltz in here out of nowhere. Except your father insisted I come and ...
AUDREY
(concurrent) Its just that when it comes to my family I get a little excitable that all. But we need help. Anyone can see that.
JOHN stops and listens to AUDREY.
AUDREY
And I can’t think of anyone better qualified for the job than you.
AUDREY looks up at JOHN. Nervousness aside, JOHN smiles and starts over.
JOHN
AUDREY
What were we talking about anyway?
JOHN
Well I was apologizing and you were apologizing. We were both really sorry about something. You wanna’ go out somewhere?
AUDREY quietly stares into JOHN’S eyes.
JOHN
AUDREY
(waxes enthusiastic) Oh no - no, its great.
JOHN
AUDREY
Uh ... uhm ... we need outdoor stuff: a basket, blanket.
JOHN
AUDREY looses her smile.
AUDREY
Uh ... I don’t know how to cook.
JOHN
I betcha’ someone in the kitchen does.
AUDREY smiles brightly.
MUSIC ENDS: AUDREY’S DANCE
MUSIC: BIG ED AND NORMA’S SONG
38K
We FOCUS on DICK and MR. PINKLE, still holding the ferret model, as they walk past WORKERS rearranging the interior of the Timber Room.
MR. PINKLE
This is just to show people what the Pine Weasel looks like.
DICK
I understand the concept perfectly, Mr. Dinkle.
MR. PINKLE
Pinkle, the name is Pinkle.
DICK stops and turns around to face MR. PINKLE. In the background, two WORKERS haul a totem pole.
DICK
Well what I’m trying to make clear is that using a stuffed animal to represent an endangered species as an ecological protest constitutes the supreme incongruity.
DICK smiles and walks away.
MR. PINKLE
MR. PINKLE rushes off to catch up with DICK.
MUSIC ENDS: BIG ED AND NORMA’S SONG
38K
CUT TO:
INT. THE BOOKHOUSE - DAY
Deeply depressed, SHERIFF TRUMAN sits quietly slouched in his chair at a round table in a dark corner of the building.
COOPER
TRUMAN sits up.
SHERIFF TRUMAN
TRUMAN takes a sip from his shot glass.
COOPER
We got Josie’s dossier in from Interpol.
TRUMAN nods his head from side-to-side.
SHERIFF TRUMAN
COOPER
In addition to killing Ekhardt, trying to kill me and killing Jonathan in Seattle.
TRUMAN again nods his head from side-to-side.
SHERIFF TRUMAN
COOPER
She’s also warranted for a variety of felonies in Hong Kong.
SHERIFF TRUMAN
I don’t need to hear this.
TRUMAN reaches out for the whiskey bottle to refill his shot glass.
COOPER
She’s also had two prostitution arrests, Harry.
About to refill his glass, TRUMAN freezes. A wave of inward anger flashes as TRUMAN grips the bottle and the glass hard but it passes quietly.
COOPER
Harry, eventually its going to help to know that she was a hardened criminal, a killer.
SHERIFF TRUMAN
COOPER
I know its not easy right now.
TRUMAN looks up COOPER.
SHERIFF TRUMAN
Just get out of here. GET OUT OF HERE, GO!!!
CUT TO:
INT. BLUE PINE LODGE - DAY
CATHERINE MARTELL sits at a desk flipping through large blueprint plans of the future Ghostwood Estates. An architectural rendering of Ghostwood Estates sits in the background on the bookshelf. We ZOOM IN to a CLOSE-UP on the profile of CATHERINE, who slowly turns her head to the side.
MUSIC: LAURA PALMER’S THEME (0:00 - 0:55)
JONES, a woman dressed in a black dress carrying a large black leather purse on her left shoulder, stands quietly a short distance from CATHERINE’S desk.
JONES
CATHERINE
(cold) A country habit. We’re all so trusting.
JONES
My name is Jones. I was the executive assistant to late Mr. Ekhardt.
CATHERINE nudges her head to the side and looks at a nearby chair - a gesture for JONES to approach and take a seat.
JONES
As JONES moves to the chair, her eyes never leave CATHERINE’S gaze. CATHERINE slowly slips her hands below the desktop, out of sight. Wearing a thin smile, JONES sits down in the chair in front of CATHERINE’S desk and sets her black bag on her lap.
JONES
I’ve come to expedite the transport of his body back to Hong Kong.
CATHERINE sits quietly.
JONES
Tragic what happened. You know, he really did love Josie.
CATHERINE
JONES
They’re going to be buried side-by-side.
CATHERINE
(eyebrows perked) So they can keep an eye on each other.
JONES
I guess you have your reasons to be bitter.
CATHERINE
Oh just call me a healthy skeptic.
CATHERINE raises her right hand from below the desktop holding a revolver pointed at JONES.
CATHERINE
Now why did you really come to see me?
JONES
I came here to give you a gift. May I?
JONES starts to open her bag but stops as CATHERINE quickly remarks.
CATHERINE
JONES freezes. Unblinking, CATHERINE orders.
CATHERINE
Without loosing eye contact with CATHERINE, JONES lifts a strap on the bag aside, reaches inside the bag, pulls out a glossy black box (roughly 8 inches by 12 inches in size) and places it on top of CATHERINE’S desk.
JONES
Still holding the revolver trained on JONES, CATHERINE sweeps her gaze across the black box.
JONES
I have a few things to tidy up and then I’ll be leaving tonight. (smiling, ominous) Good luck Mrs. Martell.
Emotionless, CATHERINE gazes at JONES. JONES slowly gets up from her chair and leaves. CATHERINE turns her head to see JONES leave but quickly returns her attention to the mysterious black box.
MUSIC ENDS: LAURA PALMER’S THEME (0:00 - 0:55)
CUT TO:
INT. HAYWARD HOUSE - DAY
Wearing a blue top and black skirt, DONNA HAYWARD opens the front door to the house to reveal WINDOM EARLE in disguise: a grayed moustache, grayed hair, a suit coat and a hat.
WINDOM
(politely) Uhm excuse me, I - I’m looking for Bill or Eileen Hayward?
DONNA
Well their not here right now. Can I help you?
WINDOM
Well I - I’m Dr. Gerald Craig, uh ... an old friend of - of Will’s from medical school and uh ... well see I - I have a convention in Spokane. So I just thought I’d swing by and surprise them. Uh ... which daughter are you?
A little embarrassed, DONNA cracks a smile.
DONNA
WINDOM
DONNA
Would you like to come in Dr. Craig?
WINDOM nods his head for yes.
WINDOM
WINDOM removes his hat as he walks inside the house.
MUSIC: FRESHLY SQUEEZED (0:38 - 3:48)
DONNA closes the front door and follows WINDOM into the living room. Standing by the sofa in the living room, WINDOM looks around the house. With her hands clutched behind her back, DONNA stands a few paces behind WINDOM.
DONNA
Can I get you something to drink Dr. Craig? A pop or something?
WINDOM turns around to face DONNA.
WINDOM
WINDOM looks down at the coffee table where a newspaper lies. An open bottle of Coke-Cola, with a straw in it, and a slice of pie on a plate are also on the coffee table.
WINDOM
Uh ... (nervous laugh) is this your local paper?
WINDOM bends over towards the coffee table and puts his hat down as he picks up the paper.
DONNA
Yeah, pretty small town huh.
WINDOM briefly looks at the front page of the newspaper.
WINDOM
Now don’t knock small towns until you’ve lived in the city.
WINDOM looks around the house.
WINDOM
Donna, you know ... it seems like Will has found himself a piece of heaven here.
WINDOM tosses the newspaper onto the coffee table and takes a seat on the couch.
WINDOM
Now, don’t you have two sisters?
DONNA
Yeah, they’re younger than me.
WINDOM
Are they both as beautiful as you?
Still standing, DONNA chuckles in embarrassment.
DONNA
DONNA takes a seat on the couch.
WINDOM
You know, your dad and I, we used to sit around and try to figure how our lives would work out.
WINDOM looks around the room.
WINDOM
Well it seems like he’s come a little closer to the mark then I have.
WINDOM looks at DONNA.
WINDOM
DONNA
WINDOM
Ha - ha, I felt exactly the same way. You know, high school is - is difficult, you know, you have no idea what you want to do with your life so it seems that absolutely none of it applies to your life.
In agreement, DONNA nods her head for yes.
DONNA
WINDOM
Well ... well don’t worry. It’ll all work out. For now you just enjoy it in all its absurdity.
DONNA nods her head.
DONNA
MUSIC ENDS: FRESHLY SQUEEZED (0:38 - 3:48)
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
WINDOM reaches into his suit jacket’s right hand pocket.
WINDOM
Oh I - I have a small gift for you dad. Now can I trust you ... not to open it.
WINDOM pulls out a small 4 inch by 3 inch black box tied closed with a white string with a note card attached.
DONNA
WINDOM
You know speaking of school, Will and I graduated 30 years ago this month. So I’d ...
WINDOM removes the note card from the black box and hands the black box to DONNA.
WINDOM
... just a small remembrance for him. Well I should be on my way.
WINDOM grabs his hat from the coffee table and puts his hat on as he stands up. DONNA also stands up.
WINDOM
WINDOM hands the note card to DONNA.
WINDOM
... oh - oh this is the number where I’m staying. I hope to see you ... later, Donna.
DONNA
WINDOM walks away towards the door. DONNA looks down at the small black box and slides the note card under the tie strings. DONNA watches WINDOM as he lets himself out.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
MUSIC: FRESHLY SQUEEZED (UPTEMPO VARIANT)
80K
We FOCUS on a CLOSE-UP of a portable card table that is covered with several different chess sets in play. PETE moves up from underneath the table to a kneeling position and looks down at a chess set, studying it. PETE picks up a white pawn, moves it, picks up a nearby note pad and takes a few notes. PETE briefly scans the chessboard before he ducks down and crawls over to another card table.
We PAN RIGHT over several chess sets to FOCUS on PETE as he surfaces from below the table. PETE perches over another chess set and briefly studies it before moving a white pawn.
CLOSE ON: COOPER’S FACE
We FOCUS on a CLOSE-UP of COOPER’S face as he rises from below the surface of a card table just across from PETE.
COOPER
CLOSE ON: PETE’S FACE
We FOCUS on a CLOSE-UP of PETE’S face.
PETE
I’ve been through every stalemate game in recorded history ...
CLOSE ON: COOPER’S FACE
We FOCUS on a CLOSE-UP of COOPER’S face. COOPER looks down at the chessboard.
PETE (OFF SCREEN)
... and I’ve jury rigged a few of these country standoffs that they don’t write about in books ...
CLOSE ON: PETE’S FACE
We FOCUS on a CLOSE-UP of PETE’S face.
PETE
... but its no use. There isn’t a stalemate game on Earth that you don’t lose at least a few foot soldiers.
PETE picks up a book about chess strategy.
PETE
I mean, the classic Earpsman, ...
BACK TO SCENE:
We FOCUS on a WIDE-SHOT of the reception area. PETE and COOPER kneel on the ground face-to-face on opposite sides of a card table with several chess sets between them. Several portable card tables, topped with chess sets, are scattered in the reception area. A poster of a chessboard hangs on the wall and several boxes of chess sets are scattered in the area.
PETE
... you wind up with six pieces. Now I can improve on that but even if I get there in half the time and wind up with twelve ... that means ... six people die.
CLOSE ON: COOPER’S FACE
MUSIC: LAURA PALMER’S THEME
We FOCUS on a CLOSE-UP of COOPER’S face.
COOPER
Do your best Pete. Windom Earle’s genius carries with it the vice of impatience. He doesn’t want pawns he wants royalty. Protect those, particularly the queen. Then we can frustrate him.
LUCY (OFF SCREEN)
COOPER looks to his left.
MUSIC ENDS: LAURA PALMER’S THEME
CLOSE ON: PETE’S FACE
We FOCUS on a CLOSE-UP of PETE’S face. Peering at the disturbance, PETE looks back at COOPER.
PETE
CLOSE ON: COOPER’S FACE
We FOCUS on a CLOSE-UP of COOPER’S face as he nods his understanding for LUCY’S remark.
BACK TO SCENE:
Inside LUCY MORAN’S reception office, LUCY and DEPUTY ANDY BRENNAN are playing a game chess. ANDY sits huddled over the chessboard as LUCY stands and talks to PETE through the open window of the reception office.
LUCY
Mr. Martell, Andy moved his knight without doing the little hook thing.
ANDY
You don’t have to do the little hook thing, that’s optional.
PETE
Andy, the knight has to do the little hook thing.
ANDY looks at PETE.
ANDY
PETE
It’s a privilege. No one else gets to make that move.
ANDY
ANDY corrects his move on the chessboard.
LUCY
I guess some people don’t know quite as much as they think they do.
LUCY moves a piece on the chessboard.
LUCY
CLOSE ON: COOPER’S FACE
We FOCUS on a CLOSE-UP of COOPER’S face as he turns to PETE and smiles.
CLOSE ON: PETE’S FACE
We FOCUS on a CLOSE-UP of PETE’S face as he turns to COOPER and grins in pride.
PETE diverts his attention to the front doors of the station as they open.
CLOSE ON: COOPER’S FACE
We FOCUS on a CLOSE-UP of COOPER’S face as he also turns his head to the front doors of the station.
BACK TO SCENE:
MUSIC ENDS: FRESHLY SQUEEZED (UPTEMPO VARIANT)
80K
MAJOR BRIGGS and the LOG LADY, holding her log in her arms, stand near the front doors to the building.
MAJOR BRIGGS
We thought it best we come see you.
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:50)
CUT TO:
INT. SHERIFF’S DEPARTMENT CONFERENCE ROOM - DAY
INSERT: CLOSE-UP SKETCH
We FOCUS on a CLOSE-UP of a chalk sketch of three triangles as COOPER draws it on the chalkboard.
MAJOR BRIGGS (OFF SCREEN)
As you know, that pattern ...
BACK TO SCENE:
MAJOR BRIGGS and the LOG LADY sit in two chairs facing the chalkboard. The LOG LADY holds her log in her arms. Several chess sets are scattered on the conference room table.
MAJOR BRIGGS
... on the back of my neck appeared during my experience with ... ’course no idea has to how it got there.
COOPER
(to the LOG LADY) And you noticed it today?
LOG LADY
My log noticed, I remember.
COOPER
What do you remember Margaret?
LOG LADY
Look at the back of my leg.
The LOG LADY shifts in her seat to show COOPER the back of her right leg. COOPER walks up to the LOG LADY and looks at a scar on the back of her leg just below the knee. Perplexed, COOPER returns to the chalkboard to draw an image of the scar.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:30)
MUSIC: THE MILL FIRE
16K
To the left of the sketch of the three triangles, COOPER draws the image of the LOG LADY’S scar, a simple drawing of two mountain peaks that mirror each other.
LOG LADY
I was seven years old. I went walking up in the woods and when I got back I was told that I had disappeared for a day. All I could recall was a flash of light and that mark was on my leg.
MAJOR BRIGGS speaks animatedly by waving his left hand.
MAJOR BRIGGS
We all three recall the light.
LOG LADY
And also ... the call of the owl.
COOPER
LOG LADY
The only other time I ... I saw that sign and heard that sound was right before my husband died ... in a fire.
COOPER stands quietly next to the chalkboard with the two sketches. MAJOR BRIGGS and the LOG LADY stare at the two sketches. COOPER turns to face the sketches on the chalkboard. MAJOR BRIGGS points at the chalkboard.
MAJOR BRIGGS
I’m connecting with something.
LOG LADY
COOPER
LOG LADY
The LOG LADY looks down at her log and pets it. MAJOR BRIGGS and COOPER continue to stare at the sketches.
MUSIC ENDS: THE MILL FIRE
16K
SOUND BRIDGE:
JOHN (OFF SCREEN)
(sung) Oh bury me not ... on the ol’ prairie.
CUT TO:
EXT. BLACK LAKE - DAY
JOHN WHEELER lays on his side across a picnic blanket as he serenades AUDREY. AUDREY sits in a kneeling position intimately close to JOHN. JOHN and AUDREY look longingly into each other’s eyes.
JOHN
(sung) Where the coyotes howl ... and the wind blows free. In a narrow grave ... six by three. Don’t bury me now ... on the lone prairie.
MUSIC: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)
AUDREY
Ah, no one’s ever sung a song to me before.
JOHN
You must have been serenaded at least once or twice?
AUDREY chortles.
AUDREY
I don’t inspire much singing. Most boys are afraid.
JOHN
Well they don’t know you then, not really.
AUDREY
I don’t think anybody really knows me.
JOHN
AUDREY
JOHN
Look, if there’s another guy.
AUDREY
Ssshh. There was someone but ... not anymore. There’s nobody.
JOHN
So what do you want to do now?
JOHN grins.
AUDREY
Do you know any more cowboy tricks?
JOHN smiles.
JOHN
If you have a lariat in that picnic basket I could lasso passing cattle.
AUDREY chortles.
AUDREY
I don’t think there’s a cow for miles.
JOHN
Stray dogs? Raccoons? Birds? ... (wide-eyed) Weasels?
AUDREY laughs.
We view a WIDE-SHOT of the area. As the day draws to a close, the sun casts an orange glow. Near the shore of the lake, AUDREY and JOHN sit on a checkered picnic blanket with a picnic basket of food next to them. In the lake, ducks swim by and QUACK. AUDREY reaches into the picnic basket, pulls out a green apple and holds it out for JOHN to take a bite. JOHN takes a bite and struggles slightly to bite through the apple. JOHN reaches out to support the apple but is able to chomp through.
MUSIC ENDS: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)
FADE OUT:
FADE IN:
EXT. HAYWARD HOUSE - DAY
An establish shot. We view the front of the house.
CUT TO:
INT. HAYWARD HOUSE - DAY
Carrying a bag of groceries, DR. WILL HAYWARD and EILEEN HAYWARD, with a small potted flower on her lap, enter the dining room. Drinking from a straw in a bottle of Coke-Cola, DONNA meets her parents as they enter the room.
DONNA
DR. HAYWARD
DR. HAYWARD puts the bag of groceries down on the dining room table.
DONNA
Somebody you went to medical school with named Gerald Craig.
DR. HAYWARD
DR. HAYWARD gives a puzzled look to EILEEN and then turns back to DONNA.
DR. HAYWARD
That’s not possible Donna.
MUSIC: WINDOM EARLE’S THEME
DONNA
Well yeah, he said he was on his way to a convention in Spokane. He knew everything about me.
Puzzled, DR. HAYWARD and EILEEN look at each other.
DONNA
Here’s his number and this.
DONNA hands DR. HAYWARD the small black box and the note card WINDOM gave her. DR. HAYWARD opens the note card and briefly reads it before passing it to EILEEN. EILEEN picks up the phone and dials the phone number on the card.
DR. HAYWARD
Gerald Craig was my roommate. He drowned on a rafting trip on the Snake River. I was there Donna, I tried to save him.
DONNA
DR. HAYWARD removes the white string from the small black box. Baffled by the response on the telephone, EILEEN remarks ...
EILEEN
DR. HAYWARD opens the small black box.
DR. HAYWARD’S POV:
Through DR. HAYWARD’S POV we FOCUS on a CLOSE-UP of the small black box as the cover is lifted to reveal a black knight from a chess set with a small tag attached to it that reads:
BACK TO SCENE:
DR. HAYWARD
Knight to kings-bishop three.
DR. HAYWARD slowly lifts his gaze from the small box and up to DONNA.
DR. HAYWARD
That man, he’s very dangerous don’t let him in here again. Do you understand?
DONNA
DR. HAYWARD turns to EILEEN.
DR. HAYWARD
I got to take this to Cooper.
DR. HAYWARD walks off.
MUSIC ENDS: WINDOM EARLE’S THEME
CUT TO:
EXT. BIG ED’S GAS FARM - DAY
An establish shot. We view the front of the lonely gas station with its colorful red neon sign. The Hurley residence sits behind the gas station.
CUT TO:
INT. HURLEY HOUSE - DAY
‘BIG’ ED HURELY and NADINE HURELY sit on the couch together. DR. LAWRENCE JACOBY sits on a chair facing BIG ED and NADINE.
BIG ED
Nadine uh ... what I’m here to say to you is uh ... uh seeing how you’re with Mike now ...
NADINE smiles.
NADINE
Its so cute the way you get embarrassed.
BIG ED
And uh ... since I have now found someone else ... Nadine I’m not sure you’re going to understand this.
NADINE
Of course I understand Eddie. This isn’t just a little spat.
DR. JACOBY leans over to NADINE.
DR. JACOBY
Nadine uhm ... do you know what Ed is suggesting?
NADINE
Its not too obvious. We’re not like talking relativity here. We’re breaking up. Major, final breakup.
DR. JACOBY
Well ... yes, technically I guess it - it is a breakup but uh ...
BIG ED
Well it’s a little more than that Nadine.
Uncomfortable, BIG ED stares at DR. JACOBY.
NADINE
Ed, you are so serious. These are the dating years. You’re acting like it some really big deal.
BIG ED wrings his hands together.
BIG ED
DR. JACOBY leans close to BIG ED.
DR. JACOBY
Ed, there are no secrets tricks or magic words. It - its like the dissolving of - of scar tissue around a wound. She’ll start to see reality again when her mind begins to feel safe.
BIG ED
DR. JACOBY
Well I can’t say. That tissue’s packed in there pretty hard.
BIG ED and DR. JACOBY turn to NADINE as she speaks.
NADINE
Okay, well one thing I really don’t want to see Ed. Are any incidents with Mike. No jealous rages. Well, maybe just one.
NADINE smirks with a smile but quickly looses the smirk as her eyes start to widen. BIG ED looks at DR. JACOBY.
BIG ED
DR. JACOBY
Nadine, you and Ed are about to get a divorce.
NADINE raises her left hand and puts it in front of her left eye, the eye with the black patch over it.
NADINE
I think I’ve gone blind in my left eye.
NADINE lowers her hand and blinks her right eye. Disconcerted, BIG ED and DR. JACOBY look at each other.
CUT TO
INT. HAYWARD HOUSE - DAY
We FOCUS on the empty living room. The door bell RINGS.
DONNA rushes down from her room on the second floor of the house but as she starts to descend the stairs she spots EILEEN quietly opening the front door of the house.
MUSIC: THE BOOKHOUSE BOYS (2:12 - 2:31)
DONNA backs up the stairs to stay out of view as she spies on her mother at the front door.
BENJAMIN HORNE steps into the house. Without saying a word, BEN gently grabs EILEEN’S hand at the doorknob and holds it in his hands. BEN bends down to kneel next to EILEEN’S wheelchair. BEN gestures with an index finger at his lips to be quiet. BEN moves close to EILEEN and whispers into her ear.
Disturbed, DONNA watches the exchange between her mother and BEN.
MUSIC ENDS: THE BOOKHOUSE BOYS (2:12 - 2:31)
CUT TO:
INT. DOUBLE R DINER - DAY
MUSIC: COUNTRY #5
We PAN UP from the floor of the island counter service area. Sitting at the island counter bar, NORMA smiles as she reads her mail. The letter NORMA is reading is an announcement for the Miss Twin Peaks pageant. NORMA turns the letter around so that the ad faces her.
NORMA
SHELLY stands bent over near the short order window as she fills out an order on her tab.
SHELLY
SHELLY walks over to NORMA.
NORMA
NORMA turns the letter around to show SHELLY. SHELLY reads the heading out loud.
SHELLY
NORMA’S eye’s brighten and she gestures to the letter by shaking the letter. NORMA wants SHELLY to take an interest in the pageant. SHELLY throws her head back as she scoffs at the ad.
SHELLY
Oh, you’ve got to be kidding me?
NORMA
There’s a cash prize and a scholarship. And I bet you could walk away with it.
NORMA folds the letter up. SHELLY shakes her head for no and rolls her eyes.
SHELLY
NORMA
Its easy, you give a speech, you answer a few questions.
SHELLY picks up a nearby spoon and holds it to her mouth like a microphone.
SHELLY
(wide-eyed, bold) Miss Double R Diner, what would you do to bring about world peace?
SHELLY smiles and thrusts the spoon/microphone towards NORMA as if to record her remark. SHELLY returns the spoon/microphone to her mouth and playfully speaks in a higher tone of voice.
SHELLY
Well, I would bring all the world leaders together, make them form a circle and join hands. Cause you can’t make a fist holding hands.
SHELLY cocks her head to the side and smiles.
NORMA
SHELLY
SHELLY clicks her heels as she walks away to pick up a plate at the short order window. After picking up the plate, SHELLY continues to joke around about the pageant by holding her hands up, palms up and sashay across the floor. Enjoying the prank, NORMA smiles at her the whole time.
SHELLY walks up the island counter service area on the opposite side of the counter where NORMA is seated. WINDOM EARLE sits at the counter disguised as a biker: black t-shirt, black bandana on his head, one black fingerless glove on his right hand and a long haired wig.
SHELLY
SHELLY puts a plate with a hamburger and fries down on the counter in front of WINDOM. WINDOM holds his mug of coffee near his mouth, cupped in both hands.
WINDOM
SHELLY
Oh - uh, my boss told me I should enter a pageant, Miss Twin Peaks.
WINDOM
Now you can kid about it but uh ...
WINDOM points at SHELLY.
WINDOM
... you are very pretty. I think you should enter.
SHELLY
Thanks but I don’t think of myself as pretty.
WINDOM gestures to his chest.
WINDOM
That’s an inner thing, you know.
SHELLY smiles politely and then quietly walks off. WINDOM watches SHELLY walk off as he holds his mug of coffee close to his face. The front door to the diner RINGS, as some enters the building. WINDOM shifts his gaze from SHELLY to the person entering the diner.
WINDOM’S POV:
SOUND EFFECT: SWOOPING AWARENESS
8K
Through WINDOM’S POV, COOPER, holding his attention on the book he is carrying, walks up to the island counter bar and takes a seat right across from WINDOM on the opposite side of the island counter bar. COOPER opens his book, about Tibet, to a bookmark, puts the bookmark aside and starts to read.
BACK TO SCENE:
Behind the island counter, ANNIE, dressed in one of the diner’s blue waitress uniforms, walks up to COOPER.
ANNIE
Would you like something to drink?
COOPER looks up from his book and is immediately smitten at the sight of ANNIE.
COOPER
Yes, I’d like a ... cup of deep black joe please.
ANNIE
ANNIE bends down and fetches a saucer with a coffee cup from a shelf below the counter. ANNIE puts the saucer with the inverted coffee cup on the counter next to COOPER. COOPER and ANNIE both reach out to turn the coffee cup right side up. ANNIE stops short of picking the cup up and looks at COOPER. COOPER smiles and pulls his hand back. ANNIE reaches out, picks up the cup and turns it right side up.
ANNIE bends down to fetch some utensils from the shelf under the counter. COOPER nervously fidgets his left arm as looks up at ANNIE, to the coffee cup and then back at ANNIE as she stands up.
COOPER
You must be Norma’s sister.
ANNIE stops and looks at COOPER.
ANNIE
I’m Annie. How’d you know?
COOPER extends his right hand out to shake hands with ANNIE.
COOPER
Dale Cooper, local law enforcement.
ANNIE shakes hands with COOPER.
ANNIE
Must keep you pretty busy.
COOPER
For a second there is an awkward moment of silence. COOPER interrupts before ANNIE walks off to get the pot of coffee.
COOPER
Are you uh ... staying in town for awhile?
ANNIE
I might be here quite awhile.
COOPER
ANNIE
Looks like its grown on you.
COOPER
Uh it has a way of doing that.
ANNIE smiles and then walks off.
WINDOM’S POV:
Through WINDOM’S POV, COOPER smiles as he watches ANNIE walk off.
BACK TO SCENE:
WINDOM quietly eats his french fries as he watches COOPER.
WINDOM’S POV:
Through WINDOM’S POV, COOPER bunches his brow and looks down at the counter as he senses something.
BACK TO SCENE:
ANNIE returns with a pot of coffee.
ANNIE
I made it a little strong.
COOPER
ANNIE fills COOPER’S cup with coffee.
COOPER’S POV:
Through COOPER’S POV, we FOCUS on a CLOSE-UP of a one-inch scar across the veins on ANNIE’S wrist.
BACK TO SCENE:
COOPER raises his left hand, palm forward for a halt gesture, to keep ANNIE from leaving after pouring him a cup of coffee. COOPER takes a sip of the coffee and smiles.
COOPER
You made it just right Annie.
Starring at COOPER, ANNIE briefly grins before walking off.
MUSIC ENDS: COUNTRY#5
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
COOPER takes another sip from his coffee cup and then peers across the island counter to the opposite side where WINDOM is seated.
COOPER’S POV:
Through COOPER’S POV, we view the island counter on the opposite side of where COOPER is seated. The counter is empty. WINDOM, in disguise, is nowhere to be found.
BACK TO SCENE:
COOPER shakes his head, discarding the odd intuitive sensation he had earlier and takes a sip from his cup of coffee.
DEPUTY HAWK walks up to COOPER.
HAWK
We’ve got a problem at the Bookhouse.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS(0:00 - 0:10)
CUT TO:
INT. BOOKHOUSE - DAY
A bit worried, DEPUTY ANDY stands quietly in a corner of the room near the entrance as he keeps a watch over SHERIFF TRUMAN.
COOPER and HAWK meet ANDY as they enter the room.
ANDY
Agent Cooper, Hawk, the sheriff’s gone off. He’s broken every piece of furniture not nailed down. I honestly don’t know what to do.
COOPER enters the room.
HAWK
MUSIC: LAURA PALMER’S THEME
With a bottle of whisky in his left hand and his revolver in his right hand, SHERIFF TRUMAN, unshaven and drunk, sits on a chair positioned on top of a round table. Furniture has been scattered around the room.
SHERIFF TRUMAN
Hey Deputy Dale, how’s business?
TRUMAN wavers in his chair.
COOPER
Well Harry it’s a little complicated at the moment.
SHERIFF TRUMAN
That’s the good thing about the law it DOES’T BREATH YOU CAN’T KILL IT!
COOPER walks closer to TRUMAN.
COOPER
Harry, I’ve got an idea. Why don’t you hand me that gun.
TRUMAN laughs and waves his revolver into the air.
SHERIFF TRUMAN
I don’t believe I’ve ever handed my gun over TO ANYBODY IN MY ENTIRE LIFE!!!
COOPER walks closer to TRUMAN and leans on an antique cabinet with a vinyl record player.
COOPER
(calm) This might be damn fine time to start.
SHERIFF TRUMAN
You know something else I’ve never done? I never crossed the ocean. Never got to China. She came to me ... and she made everything better. Everything, so much better.
MUSIC ENDS: LAURA PALMER’S THEME
COOPER walks up a closer to TRUMAN.
MUSIC: TWIN PEAKS THEME
COOPER
Harry, your life is still your own. Josie didn’t take that with her.
SHERIFF TRUMAN
I should have gotten her way. I SHOULD HAVE TAKEN HER AWAY FROM HERE!!! I loved her. She didn’t have to die.
TRUMAN lowers his head and slouches in his chair. COOPER moves to TRUMAN, pats his hand and hugs him.
SHERIFF TRUMAN
I don’t understand. There’s a whole lot I don’t understand.
COOPER nods an understanding.
COOPER
MUSIC ENDS: TWIN PEAKS THEME
FADE OUT:
FADE IN:
EXT. BOOKHOUSE - DAY
An establish shot. Under a darkening sky, we FOCUS on a CLOSE-UP of the blue neon sign of the building.
CUT TO:
INT. BOOKHOUSE - DAY
With the interior still in shambles, COOPER and HAWK move TRUMAN from the floor to a bed that had been brought in and positioned in the middle of the room. COOPER and HAWK face each other.
COOPER
Have somebody keep an eye on him tonight.
HAWK
I’ve never seen him like this. It was like taking a hike to your favorite spot and finding a hole where the lake used to be. Josie had power.
COOPER
A man who doesn’t love easily loves too much.
COOPER and HAWK turn to look down at TRUMAN.
COOPER
HAWK
SHERIFF TRUMAN
COOPER and HAWK look back at each other.
CUT TO
INT. THE GREAT NORTHERN HOTEL - NIGHT
MUSIC: AMBIANT MUSIC
An establish shot. The last bits of sunlight from the setting sun cast a reddish glow upon the sky over the hotel.
SOUND BRIDGE:
RANDY (OFF SCREEN)
That’s a special honeymoon suite, for ...
CUT TO:
INT. THE GREAT NORTHERN HOTEL - NIGHT
RANDY ST. CROIX stands behind the check in counter in the lobby. MIKE NELSON, wearing a suit and hat with a wool coat, and NADINE, hugging MIKE’S right arm and wearing sunglasses and a long, dark coat, try to pose as a couple.
RANDY
... Mr. and Mrs. ... Hinkmann?
MIKE
Uh that’s correct, yes. We’re from Bozeman originally but my - my wife thought it might be nice to see the countryside. And you know, you have some very pretty country here in Twin Peaks.
RANDY is not fooled one bit.
RANDY
(cynical) Will you be with us long?
NADINE
MIKE
No, just until tomorrow. If that’s - if that’s okay, because we’re going deep ... sea fishing.
NADINE hugs MIKE’S right arm a little tighter.
NADINE
MIKE
Okay, so we’ll just be going right up now, me and ... me and Mrs. Hinkmann.
A sign in the lobby points to a fashion show being held in the Timber Room. Two teenage girls walk into the lobby and up to the check in counter.
SUSAN
MIKE and NADINE turn around to face the two girls, SUSAN and her FRIEND.
MIKE
Susan, I ... how - how are you?
SUSAN
Fine, uh ... I’ll see you at school.
MIKE
SUSAN and her FRIEND walk off. MIKE is embarrassed. NADINE turns back to the check in counter and slams her hand down on the service bell, which produces short KLANKING RING.
NADINE
MIKE picks up the hotel room key from the counter top.
MIKE
I think we can handle the bags.
MIKE scrambles to pick up the bags. RANDY looks at the service bell.
RANDY’S POV:
Through RANDY’S POV, we FOCUS on a CLOSE-UP of the service bell which has been smashed in.
BACK TO SCENE:
MIKE and NADINE rush off and out of the lobby.
MUSIC ENDS: AMBIANT MUSIC
SOUND BRIDGE:
A crowd of people CLAP their hands.
BENJAMIN (OFF SCREEN)
CUT TO:
INT. TIMBER ROOM - NIGHT
Dressed in a tuxedo, BENJAMIN HORNE stands on the catwalk as he addresses the crowd and tosses ’Stop Ghostwood’ campaign buttons to the crowd. A huge banner, ’Stop Ghostwood: Save the Pine Weasel’, is draped in the background. Several large black and white posters of the pine weasel adorn the walls. A totem pole is decorated with small flashing white lights. We FAVOR ON BEN as we PAN RIGHT. The room is packed with people.
BENJAMIN
... I would like to thank all you for this uh ... marvelous turnout. Its very gratifying to see so many people who are ... sincere about their environment.
With a flash from a bulb, a PHOTOGRAPHER snaps a photograph of BEN.
MUSIC: FRESHLY SQUEEZED (0:26 - 3:48)
BENJAMIN
The stop Ghostwood campaign is a determined effort to keep the rapid development interests from trying to turn our beautiful Northwest forest into a monstrous amusement park. Destroying animal preserves which have been undisturbed for centuries. The little worlds of ... served as sanctums for several endangered species. Not the least of which is the little pine weasel.
BEN turns to point at the poster of the pine weasel.
BENJAMIN
Before moving along, I would just like to remind all of us that ecology is not a luxury science. It is not about pleasant appearances. It is about survival.
CLOSE ON: BEN
We FOCUS on a CLOSE-UP of BEN.
BENJAMIN
About whether we are all going to make it, period.
BACK TO SCENE:
BENJAMIN
But not to uh ... understate the value of visual pleasure, we come to ...
Some feedback interference comes from the speaker as BEN picks up the microphone stand and moves it back to the curtain that divides the catwalk from the backstage.
BENJAMIN
... the fashion show. Now if any of you think you recognize some of the models its because they are concerned members of the community who have graciously given of their time tonight. So ladies and gentlemen to kick things off, here is our host Richard Tremayne.
BEN and the crowd CLAP their hands. DICK walks out from behind the curtain and up to the microphone and bumps into BEN as he walks away from the microphone to head off behind the curtain. DICK adjusts the height of the microphone.
DICK
Oops. Thank you, splendid gathering.
A PHOTOGRAPHER snaps a photograph of DICK.
DICK
Our little Lucy is wearing a delightful mix ...
DICK pauses as LUCY steps out from behind the curtain. LUCY walks up the catwalk.
DICK
... of warm Northern comfort and Southern insouciance. An elegant worsted wool jacket over a plethora of plaid.
At the end of the catwalk, LUCY spins around and around in place. A PHOTOGRAPHER snaps her picture.
DICK
With a hint of polka-dot.
LUCY stops spinning and wavers slightly under the loss of balance from spinning. LUCY walks down the catwalk towards the curtain.
DICK
That’s fabulous isn’t it. A moonless night black, slim skirt for the look that always says, Hey world, I’m here.
Facing the audience, LUCY stands posed at the curtain. Finished, DICK motions LUCY to move along. LUCY raises her hand, sets a pose and then slips behind the curtain.
DICK
Mr. Brennan is wearing a fire engine red ...
ANDY steps out from behind the curtain and walks, rather stiffly, up the catwalk starring bug-eyed at the audience.
DICK
... turtle neck beneath an all plaid Pendleton shirt. He completes this look with his red and black buffalo check jumpers. For the man who wants to make a statement while retaining that casual feel whether he’s out mastering a task or riding the breeze of a chance meeting.
ANDY remains standing at the end of the catwalk starring at the crowd.
DICK
ANDY turns around and walks down the catwalk towards the curtain. The audience CLAP their hands. ANDY pauses at the curtain and, with a blank expression, turns to DICK. DICK gestures with a head nod to the curtain for ANDY to leave. ANDY shakes his head and then walks behind the curtain.
We FOCUS on AUDREY and MODEL #3 in the area back stage. MODEL #3, already dressed for the catwalk, adjusts her hair in a mirror. AUDREY helps the MODEL with her hair as she speaks to her.
AUDREY
At this rate we’re running late so if we could all sort of hurry Richard along with some quick movin’ out there.
MODEL #3 stands up and heads for the catwalk. Another model, MODEL #4, takes a seat at the mirror.
We FAVOR ON LUCY and PAN RIGHT as she walks into the back stage area.
ANDY (OFF SCREEN)
LUCY
You’re hot? I’m dressed like a sheep, all this wool.
ANDY walks behind LUCY and follows her to the door out of the Timber Room.
LUCY
And I think Mr. Tremayne is getting more than a little hot with all these girls.
We FOCUS on AUDREY as MODEL #4 gets up from the chair and heads off to the catwalk.
AUDREY
Another MODEL takes a seat in the chair in front of the mirror.
We FOCUS on BEN standing near the corner of the bar in the Timber Room as he dunks a cookie into a glass of milk. CATHERINE MARTELL walks up to the bar and takes a seat on a stool behind BEN.
CATHERINE
Well if it isn’t John York, friend of the redwoods.
BEN turns around to see CATHERINE.
BENJAMIN
Catherine, how good of you to come.
BEN eats his cookie.
CATHERINE
Ben darling who you kidding with all this?
BENJAMIN
I am absolutely, one-hundred percent sincere.
CATHERINE
Oh come on, look who you’re talking to. We’re in the same line of work. You’ve always been a little more obvious but this?
BENJAMIN
Catherine, have you ever in your entire life had an experience that truly changed you?
BEN takes a sip from his glass of milk.
CATHERINE
Please, spare me the born again sales pitch and level with me. You can’t help to stop my development plans so what do you actually expect to gain from all this?
BEN grins.
BENJAMIN
A first scrubbing ... on one of the dirtiest consciences in the entire Northwest. And hopefully, it will happen to you.
BEN removes his glasses and bends close to CATHERINE.
BENJAMIN
(softly) Catherine, I know what your plans for Ghostwood are and granted I used to see life exactly the way you do and no matter how many deals I make or how much money I make, inside I was still a black, miserable clod of dirt. I am finding that the one thing that really affords you joy in life, the only authentic thing is giving. Don’t wait until you’re on your deathbed to find that out.
CATHERINE
God help you. You actually sound like you mean it.
BENJAMIN
I do, for you, for me, the future. Catherine, why don’t you take this opportunity to transcend a lifetime of megalomania and egocentricity and write us a big, fat check to help stop Ghostwood.
CATHERINE boldly laughs. BEN joins CATHERINE’S laughter with a chuckle of his own. BEN walks around CATHERINE, kisses her cheek and walks away. CATHERINE is puzzled.
MUSIC ENDS: FRESHLY SQUEEZED (0:26 - 3:48)
MUSIC: FRESHLY SQUEEZED
We FOCUS on a WIDE-SHOT of the crowd and the catwalk in the Timber Room. DICK and the crowd CLAP as the last MODEL leaves the catwalk and walks backstage.
DICK
And now to introduce you to an endangered little critter who’s home is presently under attack by the proposed Ghostwood development project, Mr. Tim Pinkle.
DICK awaits MR. PINKLE’S entrance from the curtain door but MR. PINKLE walks up to DICK from the corner of the stage carrying a metal cage.
MR. PINKLE
Thank you kids. Thank you, thank you.
MR. PINKLE puts the cage down on the floor and, smiling brightly, moves to the microphone.
MR. PINKLE
Well hi, how’s everything goin’?
MR. PINKLE POV:
Through MR. PINKLE’S POV, the audience remains quiet.
BACK TO SCENE:
MR. PINKLE
That’s good. Uhm ladies and gentlemen, I have with me a little fella’ who doesn’t understand the peril that awaits him. (dramatic) An innocent in a world gone mad. A world ...
DICK throws his left shoulder forward and nudges MR. PINKLE’S back to move on. MR. PINKLE gets the message and skips the growing dramatic presentation.
MR. PINKLE
... gone mad. And without further adieu, ladies and gentlemen, I - I give you the endangered pine weasel.
MR. PINKLE bends down to the metal cage on the floor, opens it and pulls out a live pine weasel. MR. PINKLE stands back up and shows the pine weasel to the audience.
MR. PINKLE
Now this species is of the weasel family and not only is he non-aggressive to us humans and has beau-ti-ful fur ...
MR. PINKLE strokes the fur on the back of the pine weasel.
MR. PINKLE
... but also he is by nature an excellent controller of rodents. Unfortunately this little friendly fella’ is incredibly curious making him very easy for one to trap.
The pine weasel worms its way to face a large white campaign button pinned on DICK’S lapel. MR. PINKLE follows the pine weasel’s attention to the button.
MR. PINKLE
He is also attracted to bright, shiny objects.
The pine weasel worms its way to face the buttons of DICK’S shirt.
DICK
Must - must be my - my studs.
The pine weasel continues to wiggle its way in MR. PINKLE’S grasp to move to DICK’S chin.
MR. PINKLE
Yeah, oh ... and also, it is amazing, he is particularly attracted to various smells like, believe it or not, very cheap cologne.
MR. PINKLE follows the pine weasel’s attention to DICK’S face.
MR. PINKLE
Oh, what’s this - what’s ... I think he want to give you a kiss Dick.
DICK
MR. PINKLE
DICK looks towards the audience and smiles.
DICK’S POV:
Through DICKS’ POV, the audience quietly sits.
BACK TO SCENE:
MR. PINKLE
Its alright give him a kiss.
DICK
MR. PINKLE moves the pine weasel closer to DICK’S face. A bit weary, DICK leans back and stretches his left hand out near the pine weasel as if to grasp it.
MR. PINKLE
DICK
Hello there little pilgrim.
MUSIC ENDS: FRESHLY SQUEEZED
MUSIC: A???
The pine weasel BITES DICK on the nose. DICK SHOUTS and arches backward.
DICK
The pine weasel slips out of MR. PINKLE’S grasp as it remains clamped to DICK’S nose.
MR. PINKLE
With the pine weasel clamped to his nose, DICK runs up the catwalk SHOUTING in pain. MR. PINKLE follows DICK, trying to recapture the pine weasel.
MR. PINKLE
DICK pulls the pine weasel off the end of his nose and throws it down into the audience. The pine weasel lands on someone’s dinner plate. The PATRONS at that table panic, turn the table over as they rush to stand up and run away from the loose weasel. The pine weasel lands on the floor.
MUSIC ENDS: A???
MUSIC: B???
EVERYONE panics, stands up and runs around the room. Holding his nose, DICK runs backstage. A few people from the audience follow DICK backstage.
MR. PINKLE
Don’t panic. He’s completely harmless. He’s already endangered.
PINE WEASEL’S POV:
Through the pine weasel’s POV we get a jostled view close to the ground. People’s feet can be seen as they rush about the room.
BACK TO SCENE:
Amid people running by, the pine weasel scampers along the floor.
PINE WEASEL’S POV:
Through the pine weasel’s POV we bounce along the floor and come upon a PATRON, who is scared, lying flat on the floor.
PATRON #1
BACK TO SCENE:
ANDY and LUCY walk out from backstage and up the catwalk.
ANDY
Don’t - don’t panic anybody. Just don’t panic.
People continue to run around the room. Part of the structure holding up the curtain falls as people rush backstage. AUDREY rushes from backstage and up to the microphone near the catwalk.
ANDY (OFF SCREEN)
AUDREY
Everyone, calm down. Stay in your seat.
A MODEL, screaming in hysteria, rushes past the partially fallen curtain and knocks AUDREY off the catwalk platform. JOHN WHEELER catches AUDREY in his arms.
JOHN
Stunned, AUDREY stares into JOHN’S eyes.
AUDREY
JOHN
A lot of fuss over a loose weasel.
AUDREY
JOHN
I don’t know, looks like it might do this crowd some good.
AUDREY
Did - did you come for the fashion show?
JOHN
Carrying AUDREY in his arms, JOHN and AUDREY kiss amidst the confusion in the room.
CLOSE ON: MODEL
Standing at the end of the catwalk, the MODEL SCREAMS at the top of her lungs in hysteria.
MUSIC ENDS: B???
CUT TO:
INT. THE BOOKHOUSE - NIGHT
MUSIC: LAURA PALMER’S THEME
JONES’S POV:
Through JONES’S POV, the door to the room opens and we step inside. With his back to the door, a BOOKHOUSE BOY sits in a nearby chair reading a book. We quietly move closer and closer to the BOOKHOUSE BOY. JONES throws her left hand down hard on the side of the neck of the BOOKHOUSE BOY. The BOOKHOUSE BOY is knocked out cold, unconscious.
We move beside the bed where SHERIFF TRUMAN is sleeping. JONES puts a handgun down on a nearby table.
BACK TO SCENE:
JONES stands beside SHERIFF TRUMAN’S bed and removes a black scarf draped over her head. JONES unbuttons her black blouse and removes it to reveal a black silk slip. Next, JONES unbuttons and removes her skirt and removes a clip that bunches her hair at the back of her neck. JONES lifts the covers on the bed and slips into bed.
MUSIC ENDS: LAURA PALMER’S THEME
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: