Episode 3 - Rest in Pain
FADE IN:
INT. LOG LADY'S CABIN - DAY
Seated at a dining table beside a tea set we see a woman, 'LOG LADY' MARGARET
LANTERMEN. In her arms she carries a wooden log. She is speaking to us.
LOG LADY
There is a sadness in this world, for we are ignorant
of many things. Yes, we are ignorant of many beautiful things ... things
like the truth. So sadness, in our ignorance, is very real. The tears are
real. What is this thing called a tear? There are even tiny ducts, tear
ducts, to produce these tears should the sadness occur. Then the day when
the sadness comes ... then we ask. Will this sadness which makes me cry
... will this sadness that makes my heart cry out, will it ever end? The
answer, of course, is yes. One day the sadness will end.
FADE OUT:
INTRO:
FADE IN:
TUNE: TWIN PEAKS THEME
CREDITS run with the scenes of a bird in a tree, the mill machinery at work,
the road into town with the welcome sign, the hotel by the falls and the
river.
TUNE ENDS: TWIN PEAKS THEME
FADE OUT:
FADE IN:
EXT. GREAT NORTHERN HOTEL - DAY
TUNE: TWIN PEAKS THEME
Dawn breaks over the hotel. We PAN to the nearby waterfall and down its
cascading water.
TUNE ENDS: TWIN PEAKS THEME
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
TUNE: FRESHLY SQUEEZED (0:26 - 3:48)
AUDREY HORNE, wearing a red dress, lays against a wood pole in the lobby.
In the background, FBI SPECIAL AGENT DALE COOPER is moving up a hallway
toward the lobby. He is talking into his tape recorder.
COOPER
Diane, 7:15 am, I'll be heading to the sheriff's
after breakfast. Then we'll be going on to Laura Palmer's funeral.
AUDREY peers around the pole to look at him. With a smile, she turns back
and walks off.
CUT TO:
INT. TIMBER ROOM - DAY
We view a large carved wooden fish hanging above the fireplace wall in the
dining area. We PAN down to see AUDREY standing and waiting for COOPER,
who comes up to her. She salutes him and says ...
AUDREY
Good morning Colonel Cooper.
COOPER
Just agentAudrey, Special Agent.
AUDREY
COOPER
Would you care to join me for breakfast.
AUDREY
COOPER
He walks toward an open table then suddenly turns to her and says ...
COOPER
Audrey, that perfume your wearing is incredible.
AUDREY
COOPER
Yes I do. Please have a seat. And would you write
your name down for me. Here. (he gives her a pen and a napkin)
AUDREY
AUDREY writes her name down on a napkin and COOPER watches. From his pocket,
he removes the note that was slipped under his door and compares the handwriting
to AUDREY'S signature as she writes it.
COOPER
Audrey, there's something you'd like to tell me.
AUDREY
COOPER
You slipped this note underneath my door the night
before last.
AUDREY
(coyly) I did? (realizes the game is up) I wanted
to help you, for Laura.
COOPER
You said you and Laura weren't exactly friends.
AUDREY
We weren't friends but I understood her better
then the rest.
COOPER
AUDREY
Its a place up North. Men go there.
COOPER
AUDREY
(slightly embarrassed) Uh, women ... you know,
work there.
COOPER
AUDREY
I don't know. Laura worked at my father's department
store.
COOPER
AUDREY
(nods) He named it after himself.
COOPER
Where at Horne's Department Store?
AUDREY
COOPER
(realization) So did Ronette Pulaski.
AUDREY
COOPER
Audrey, that rightward slant in your handwriting
indicates a romantic nature. A heart that yearns, be careful.
AUDREY
From behind AUDREY, COOPER sees SHERIFF HARRY S. TRUMAN and LUCY MORAN enter
the dining area.
COOPER
I'm going to have to ask you to leave now. Police
business.
AUDREY
Thank you for talking to me.
AUDREY leaves. TRUDY, a waitress, comes by to take COOPER'S order as SHERIFF
TRUMAN and LUCY reach the table and take a seat.
TUNE ENDS: FRESHLY SQUEEZED (0:26 - 3:48)
COOPER
Trudy, two more coffees please. Harry, Lucy, it
is an absolutely beautiful morning. (to TRUDY) Shortstack of griddle cakes,
melted butter, maple syrup lightly heated, slice of ham. Nothing beats
the taste sensation when maple syrup (slaps his hands) collides with ham.
TRUDY
Griddle cakes, slice of ham.
SHERIFF TRUMAN
COOPER
(sips his coffee) Ahhh. Harry, let me tell you
about the dream I had last night.
SHERIFF TRUMAN
COOPER
No. You were there, Lucy so were you. Harry my
dream is a code waiting to be broken. Break the code solve the crime.
LUCY
(taking notes; repeats) Break the code ... solve
the ... crime.
SHERIFF TRUMAN looks at what LUCY is writing as she repeats the line. She
is a little embarrassed by it after she notices that she was being watched.
COOPER
In my dream, Sarah Palmer has a vision of her
daughter's killer. Deputy Hawk sketched his picture. I got a phone call
from a one-armed man, named Mike. The killer's name was Bob.
SHERIFF TRUMAN
COOPER
No, its different Mike and a different Bob. They
lived above a convenience store. They had a tattoo, fire walk with me.
Mike couldn't stand the killing any more so he cut off his arm. Bob vowed
to kill again so Mike shot him. Do you know where dreams come from?
SHERIFF TRUMAN
Not specifically. (he and LUCY nod no)
COOPER
Acetylcholine Neurons fire high voltage impulses
into the forebrain. These impulses become pictures, the pictures become
dreams but ... no one knows why we choose these particular pictures.
SHERIFF TRUMAN
Well, what was the end of this dream?
COOPER
Suddenly it was twenty five years later. I was
old sitting in a red room.
CUT TO:
TUNE: DANCE OF THE DREAM MAN
INT. WAITING ROOM
We review the last portion from COOPER'S dream as we hear his voice describing
the dream. A large, windowless, well-lit, sparsely furnished, red-draped
room with a table and three easy chairs. DALE COOPER, twenty-five years
older, sits in one of the chairs. A light, like a strobelight, flashes on
and off. A BEAUTIFUL WOMAN who looks exactly like LAURA PALMER, slowly moves
over to COOPER.
COOPER
There was a midget in a red suit and a beautiful
woman. The little man told me that my favorite gum was coming back into
style and didn't his cousin look exactly like Laura Palmer, which she did.
SHERIFF TRUMAN
In the replay of dream, the BEAUTIFUL WOMAN gently kisses COOPER on the
mouth and then whispers something in his ear.
COOPER
The beautiful woman. She's filled with secrets,
sometimes her arms bend back, where she's from the birds sing a pretty
song and there's always music in the air. The midget did a dance, Laura
kissed me and she whispered the name of the killer in my ear.
TUNE ENDS: DANCE OF THE DREAM MAN
CUT TO:
INT. TIMBER ROOM - DAY
SHERIFF TRUMAN
COOPER
(takes a sip of coffee) Ahh, I don't remember.
SHERIFF TRUMAN
LUCY
COOPER
Harry, our job is simple. Break the code, solve
the crime.
SHERIFF TRUMAN'S police radio buzzes for an incoming call, he answers it.
SHERIFF TRUMAN
Yeah. (reply over the radio) You hang on I'll
be right there. That was Andy, there's a fight over at the morgue.
COOPER
COOPER'S breakfast had just arrived and he scans it over knowing he won't
be able to enjoy it because he has to leave.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
We view a CLOSEUP of LAURA PALMER'S face. We ZOOM OUT to view that LAURA
PALMER'S body is on an examining table covered with a sheet. On the other
side of the table, in the background, BENJAMIN HORNE is looking down at
her. We are in an examination room of the hospital in the morgue. AGENT
ALBERT ROSENFIELD and DR. WILL HAYWARD stand near the table arguing. DEPUTY
ANDY BRENNAN is standing behind DR. HAYWARD and watches the two argue.
DR. HAYWARD
Your the most cold-blooded man I've ever seen.
I've never in my life met a man with so little regard for human frailty.
Have you no compassion?
ALBERT moves nearly face to face with DR. HAYWARD and points a surgical
tool onto his chest.
ALBERT
Oh, I've got compassion running out of my nose
pal. I'm the sultan of sentiment. Dr. Hayward, I have traveled thousands
of miles and apparently several centuries to this forgotten sink hole,
in order to perform a series of test. Now I do not ask you to understand
these test, I'm not a cruel man. I just ask you to get the hell out of
my way so that I can finish my work, is that clear!
DR. HAYWARD
Where here to conduct Laura Palmer's body to the
cemetery. If you think that for one minute we're going to leave here without
her (grabs ALBERT'S jacket) your out of your mind!
ALBERT and DR. HAYWARD grab and jerk each other around in anger. BENJAMIN
runs up between them and separates them. ANDY pulls DR. HAYWARD back.
BENJAMIN
Alright, alright, alright. Alright. Alright! Mr.
Rosenfield, please. (takes off his glasses and composes himself) Now, uh,
Leland Palmer couldn't be with us today but I know I speak for everyone,
the Palmer family included. When I say that uh ... we appreciate and understand
the value of your work but as their representative I ... I must insist
that we consider the feelings of the Palmer family as well. (puts his glasses
back on)
ALBERT
Mr. Horne, I realize that your position in this
fair community pretty well ... guarantees a venality and sincerity and
uh ... a rather irritating method of expressing yourself. Stupidity however,
(taps his surgical tool to BEN'S arm, it annoys him) is not a necessarily
inherent trait. Therefore, please listen closely. You can have a funeral
any ol' time. You dig a hole, you plant a coffin. I however can not perform
these test next year, (slams a tool in his hand to the table) next month,
next week or tomorrow. I must perform them now. (puts goggles over his
eyes, grabs a high speed pneumatic drill and triggers it on and off to
test it) I've got a lot of cutting and pasting to do gentlemen so please
why don't you return to your porch rockers and resume whittling.
ALBERT turns on the drill and moves over to LAURA'S head where he intends
to work.
DR. HAYWARD
That does it. (he pulls the pneumatic air supply
cable out of the pumping machinery) I'm taking charge of the body and you
don't touch Laura from this moment on.
ALBERT
ALBERT takes his goggles off, slams them to the ground, rushes over to DR.
HAYWARD and grabs at his jacket. They once again yell and jerk each other
around. SHERIFF TRUMAN and COOPER pull a room divider curtain aside and
see the two struggling.
COOPER
SHERIFF TRUMAN
ALBERT
ALBERT walks over to COOPER, on the other side of the table, grabs him by
the arm and pulls him over to DR. HAYWARD.
ALBERT
Cooper, this old fool is obstructing a criminal
investigation. Cuff him.
DR. HAYWARD
He won't release Laura's body for the funeral.
He's not human.
SHERIFF TRUMAN stands next to DR. HAYWARD.
SHERIFF TRUMAN
ALBERT
Please Cooper, I do not suffer fools gladly and
fools with badges never. I want no interference from this hulking boob,
is that clear.
SHERIFF TRUMAN
I've had just about enough of your insults.
ALBERT
Oh yeah, well I've had about enough of morons
and half wits, dolts, dunces, dullards and dumbbells ... and you chowder
head yokel, you blithering hayseed. You-you-you've had enough of me?
SHERIFF TRUMAN
SHERIFF TRUMAN winds up and hits ALBERT across the jaw that sends him spinning
and landing face to face on top of the body of LAURA PALMER. ALBERT turns
his head to face him and feels his sore jaw.
ALBERT
Oh that's nice. How appropriate.
SHERIFF TRUMAN moves towards ALBERT but COOPER stops him.
COOPER
ALBERT slowly gets himself off the table and SHERIFF TRUMAN leaves the room.
ALBERT
Thee ol' rustic sucker punch, huh. A hail of bullets
would be nice!
COOPER
That's enough! The sheriff didn't mean anything.
ALBERT
COOPER
Well I'm sure he meant to do that. Albert, I want
you to release this girl's body to her family immediately. I want your
test results by noon. Those are orders.
ALBERT walks out of the room.
DR. HAYWARD
TUNE: LOVE THEME FROM TWIN PEAKS
DR. HAYWARD leaves the room. COOPER walks over to the body of LAURA PALMER
and gently picks up her left arm, that is hanging off the table, and places
it on top of her chest.
TUNE ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
INT. PALMER HOUSE - DAY
TUNE: INVITATION TO LOVE 
28K
Sitting on a couch in front of the television set in the living room, LELAND
PALMER is given an injection in his right arm by a NURSE. They are both
viewing a television program which can be heard.
ANNOUNCER
... invitation to love. Starring Morton Hadley
as Chet, Selina Swift as Emerald and Jade. Evan St. Vincent as Jared Lancaster
...
The door bell rings and the NURSE gets up to answer it.
ANNOUNCER
... and Jason Dembo as Montana.
TUNE ENDS: INVITATION TO LOVE 28K
The front door of the PALMER HOUSE can be heard opening. We ZOOM IN on LELAND
as he continues to watch the television. From the television we hear one
of the programs characters, JARED.
JARED
My darling daughter Jade ... and Emerald. Because
of my financial difficulties I have decided to end it all tonight.
CUT TO:
CLOSEUP OF THE TELEVISION
At a desk, JARED writes a note as we hear his thoughts out loud.
JARED
I hope you can find the strength to go on without
me.Your loving father, Jared.
MADELEINE
(from the room not the television) Uncle Leland.
CUT TO:
INT. PALMER HOUSE - DAY
On the couch in front of the television with his right arm positioned to
hold a cotton ball at the needle cut, LELAND turns his attention from the
television to the woman calling his name. The woman is his niece, MADELEINE
FERGUSON. She has features similar to LAURA but has black, wavy hair and
wears large rim glasses.
The television show can still be heard in the background. From the program,
a knocking on a door can be heard. JADE speaks from outside the house on
the show.
JADE
(from the television) Daddy its Jade.
MADELEINE
JADE
(from the television) Daddy please I know your
in there. (doorbell buzzes)
LELAND
JARED
(from the television) Jade, what a surprise.
MADELEINE nods and smiles at him. LELAND turns off the television, stands
up and walks over to her.
LELAND
MADELEINE
Uncle Leland, I am so sorry.
He hugs her as she begins to cry.
FADE OUT:
FADE IN:
EXT. DOUBLE R DINER - DAY
TUNE: FRESHLY SQUEEZED (0:26 - 3:48)
We view the front of the diner and its neon sign under a cloudy sky with
a large truck rig parked outside loaded with lumber.
CUT TO:
INT. DOUBLE R DINER - DAY
At a booth in the diner, NORMA JENNINGS, in her waitress uniform, is seated
across from a parol officer, WILSON MOONIE. He shows her a prisoner picture,
the front and side views holding a prisoner number, of her husband.
MOONIE
I'm sure Hank appreciates your unwavering devotion.
Your husband has been a model prisoner. (puts the picture away in a folder)
An inspiration to god and inmate alike. He greets the day with a smile
and confound adversity with a kind word. Hank's parole hearing is scheduled
for tomorrow, baring unforeseen circumstance. With your full support, before
the board, he could be released shortly thereafter. Any questions?
NORMA
MOONIE
Will you help find the job that Hank needs to
effect a successful parole.
NORMA
MOONIE
NORMA
I own the Double R, Mr. Moonie.
MOONIE
Well. Your quite a girl Norma. I bet you get all
kind of Romeos in here begging for favors. How do you keep them from your
door?
NORMA
I usually tell them I have a homicidally jealous
husband who's doing 3 to 5 for manslaughter but expects to be a productive
member of society real soon.
MOONIE
That should conclude our session for today Mrs.
Jennings.
TUNE ENDS: FRESHLY SQUEEZED (0:26 - 3:48)
CUT TO:
EXT. BLACK LAKE - DAY
We view and hear ducks on the lake.
CUT TO:
EXT. JOHNSON HOUSE - DAY
SHERIFF TRUMAN and COOPER stand in front of LEO JOHNSON'S rig looking out
to the nearby lake.
COOPER
(amazed) Look at that. Ducks on the lake. (moves
on) So fill me in on Leo Johnson.
SHERIFF TRUMAN
Well Leo is one of those guys you keep on a list
and keep your eye on. So far we haven't caught him with the paws in the
cookie jar.
They both walk up to LEO who is chopping wood outside his house.
SHERIFF TRUMAN
LEO
Who the hell is he? (gestures to COOPER)
SHERIFF TRUMAN
This is Special Agent Cooper, FBI. We'd like to
ask you a couple of questions?
LEO
COOPER
Leo, is that short for Leonard.
LEO
COOPER
Did you know Laura Palmer?
LEO
COOPER
How well did you know her?
LEO
(aggressive tone) I said I didn't.
COOPER
LEO
I knew who she was alright, everybody did. (splits
a log)
COOPER
Do you have a criminal record Leo?
LEO
Nothing, you can look it up.
COOPER
Illegal U-turn, April 1986; drunk and disorderly,
November 1987; September '88, aggravated assault, charges dropped.
LEO
I paid my debt to society. (splits a log)
COOPER
Where were you the night of Laura Palmer's murder,
around midnight?
LEO
On the road, I called my wife Shelly around that
time from Butte Montana.
COOPER
LEO
(aggressive tone) She will if you ask her.
CUT TO:
EXT. BRIGGS HOUSE - DAY
TUNE: THE BOOKHOUSE BOYS (1:12 - 2:11)
We view the front of the house and see an American flag on a flagpole.
CUT TO:
INT. BRIGGS HOUSE - DAY
In the dining room, BOBBY BRIGGS, wearing a suit, is facing a christian
cross hanging on the wall. He is smoking a cigarette. At first he looks
at the cross and then stretches his arms out, imitating. Then he slowly
moves toward it, with both hands, as if to grab it. MAJOR GARLAND BRIGGS,
in his usual Air Force uniform, enters the room from the side.
MAJOR BRIGGS
Robert. (surprised, BOBBY turns to him) This may
be a good time for a brief discussion.
BOBBY
You want to talk about cigarettes, today!
MAJOR BRIGGS
No, but put it out. Its a filthy habit especially
for a varsity athlete.
BOBBY takes one last drag, turns to the table and extinguishes his cigarette
in a ash tray. He then takes a seat at the table. His father follows suit
next to him.
MAJOR BRIGGS
I have attended my share of funerals, too many.
Anytime a man dies in war, he dies too soon. (places his hand on BOBBY'S
shoulder, it annoys him) Laura died too soon as well.
BOBBY
MAJOR BRIGGS
But we have a responsibility to the dead, Robert.
Responsibility is the linch pin of our society. Each man responsible for
his own actions. Each action contributing to the greater good.
BOBBY starts to play with his cigarette lighter; opening it, lighting it
and closing it.
BOBBY
What's the good of putting someone in the ground.
BOBBY lights the cigarette lighter and places it on the table. As his father
speaks, BOBBY waves his hand over the flame.
MAJOR BRIGGS
Its man's way of achieving closure. The ceremony
begins understanding and the will to carry on without those we must leave
behind. Robert, in your life you must learn, you will learn, to carry on
without them.
BOBBY
MAJOR BRIGGS
I realize you experience an ongoing disinclination
to enter a meaningful exchange. This leads to stalemate ... the desire
on my part to pour certain wisdom upon you. This isn't necessarily a bad
thing, sometimes its the best course available. Son don't be afraid. We'll
all be there together.
BOBBY closes his lighter.
BOBBY
MAJOR BRIGGS
BOBBY
I'm not afraid of any damn funeral. Afraid? I
can hardly wait. AFRAID! I'M GOING TO TURN IT UPSIDE DOWN!
BOBBY is upset but composes himself. MAJOR BRIGGS sits with a disenchanted
look. BETTY BRIGGS, putting on handgloves, enters the room smiling completely
unaware of what has just conspired.
BETTY
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
COOPER and SHERIFF TRUMAN walk up a hallway in the building. DEPUTY TOMMY
'THE HAWK' HILL meets them as he enters the hall from a side door.
COOPER
HAWK
Agent Cooper, there's no sign of the man with
one arm.
COOPER
Keep trying he's out there somewhere.
HAWK splits. SHERIFF TRUMAN and COOPER walk up to the door to the conference
room.
SHERIFF TRUMAN
If anyone can find him, Hawk can.
COOPER
SHERIFF TRUMAN
COOPER
Together they enter the conference room where ALBERT is seated at the table.
COOPER
Okay Albert, what ya' got?
ALBERT
Enough forensic spade work to save your butt and
get mine out of this god forsaking burg.
COOPER and SHERIFF TRUMAN sit together opposite ALBERT. Next to ALBERT is
a television monitor and video cassette player along with a folder filled
with the materials he has collected in his investigation of LAURA'S body.
SHERIFF TRUMAN
ALBERT gives him a smirk.
ALBERT
Okay, first of all, contents of envelope found
in Palmer diary, cocaine. (throws a small packet to the table for them
to inspect) Toxicology results also positive. News flash, the little lady
had a habit. Next we got fibers of twine in bedded in her wrists and upper
arms. (throws another small packet to the table for them to inspect) Two
different kinds of twine. Fibers of twine found at railroad car match the
sample from her wrists. The same twine was used to bind the wrists of the
Pulaski girl. Conclusion, she was tied up twice and at different locations
on the night of her death. Once here (points to his wrists) and once here
(points to his upper arms) like this (places both arms behind his back).
COOPER is astonished as he remembers a line from the beautiful woman in
his dream.
COOPER
Sometimes my arms bend back.
ALBERT
Here we got traces of pumice found in standing
water outside the railroad car. (throws a small packet to the table for
them to inspect) Soap industrial strength. I found identical particles
in the back of Laura's neck. Its not her home use brand. My conclusion,
the killer washed his hands and then leaned in for a kiss like this.
ALBERT acts out his description by showing how the hand would be under her
neck to support it.
SHERIFF TRUMAN
ALBERT plays a video tape. The tape shows a closeup of scratches on LAURA'S
body that he points out.
ALBERT
Distinctive wounds found on Laura's neck and shoulder
appear to be ... claw marks. Bites of some kind.
SHERIFF TRUMAN
ALBERT
(smiles and points at TRUMAN; smartass) Look its
trying to think.
COOPER doesn't react to his smartass remark. ALBERT shuts the monitor off.
ALBERT
Finally a small plastic fragment from her stomach
partially dissolved by digestive acids. (throws a small packet with the
item for them to inspect) I'm taking it back to the lab for reconstruction
as the local facilities give new meaning to the word primitive. I note
with some interest what appears to be the letter 'J'.
COOPER
ALBERT
Couple more days with the body who know's what
else I might have found.
DEPUTY ANDY peers through the open door of the conference room.
ANDY
SHERIFF TRUMAN
Excuse us. We ... have got a funeral to get to.
SHERIFF TRUMAN leaves the room. COOPER also gets up to leave.
ALBERT
Cooper, may I have a word with you alone?
COOPER stops short of the door and closes it for privacy.
ALBERT
There's one more item. Its a report concerning
the physical assault on my person which you witnessed this morning. I think
you find that's its quite accurate. Requires your signature.
ALBERT hands him the document and COOPER scans it over.
COOPER
Albert, I'm not going to sign this.
ALBERT
COOPER
Albert, I hope you can hear me. I've only been
in Twin Peaks a short time but in that time I have seen decency, honor
and dignity. Murder is not a faceless event here. It is not a statistic
to be tallied up at the end of the day. Laura Palmer's death has affected
each and every man, woman and child because life has meaning here, every
life. That a way of living I thought had vanished from the Earth but it
hasn't Albert its right here in Twin Peaks.
ALBERT
Sounds like you've been snacking on some of the
local mushrooms.
COOPER
With your behavior towards these good people,
consider yourself lucky I do not file a report of my own that could bury
you in the building so deep in Washington you'd never see the sun.
ALBERT, disgruntled, collects his paperwork and leaves the room, closing
the door behind himself. COOPER, alone in the conference room, takes his
tape recorder out of his pocket and looks at his watch.
COOPER
Diane, its 12:27 pm. I'd like you to look into
my pension plan options regarding outside real estate investment. I may
look into purchasing a piece of property at what I assume will be a very
reasonable price.
TUNE: HAPPY THOUGHTS 18K
COOPER shuts his tape recorder off, puts the recorder back in his pocket,
places his hands behind his back and smiles at the idea.
TUNE ENDS: HAPPY THOUGHTS 18K
FADE OUT:
FADE IN:
INT. HURLEY HOUSE - DAY
TUNE: AUDREY'S DANCE
CLOSEUP and PAN of knick knacks on a wall divider/shelves near the living
room. One of the knick knacks is a porcelain figure of a women with a patch.
'BIG' ED HURLEY is staring at one of the knick knacks. NADINE HURLEY runs
into the room, throws her arm around him and kisses him.
NADINE
BIG ED
You bet. (touches the knick knack he's been staring
at) This a new one?
NADINE
Yes, isn't it beautiful. How do I look?
TUNE ENDS: AUDREY'S DANCE
BIG ED
Well, you look fine Nadine.
NADINE
Oh Ed, last night was wonderful. Oh my darling
Ed, you came back to me. Now I feel like we're really together again. At
high school I used to watch Norma and you at the football games. She was
so pretty and you made such a handsome couple. But I knew, even though
I was just ... a little nobody, just a little brown mouse. I always knew
inside ... once you got to know me ... that we be together forever.
NADINE hugs him and lays her head on his chest. BIG ED has a distant look
on his face. A motorcycle can be heard outside the house.
NADINE
That's not your bike is it Ed?
BIG ED
NADINE
JAMES enters the house and sees NADINE in BIG ED'S arms.
BIG ED
We don't want to be late. Are you ready?
JAMES
BIG ED
JAMES
BIG ED
JAMES walks out the house. The shout from BIG ED disturbs NADINE slightly
as she is resting in his arms.
CUT TO:
EXT. GREAT NORTHERN HOTEL - DAY
We view the sign outside the hotel with the sound of falling water from
the nearby falls which are not in view.
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
We view AUDREY HORNE exit BENJAMIN'S office, walk over to the closed doors
of the HORNE residence and lay her head against the door to listen in on
the conversation inside.
BENJAMIN
I don't care what the doctor says. If you keep
indulging him this way he is never going to change.
TUNE: LAURA PALMER'S THEME
SYLVIA
I don't think we should be discussing this while
Johnny's in the room.
BENJAMIN
Johnny, Johnny doesn't even now what day it is.
SYLVIA
We have to be patient Ben.
BENJAMIN
You be patient. I have been waiting twenty years
for some sign of intelligent life from him ...
TUNE ENDS: LAURA PALMER'S THEME
AUDREY moves from the door, down the hall and pulls a ring inbeded in the
wall that reveals a small panel door.
TUNE: BOOKHOUSE BOYS (2:12 - 2:31)
CUT TO:
INT. AUDREY'S SECRET SPYHOLE - DAY
She enters a small space within the walls between the hallway and the Horne
residency. Out of sight but in the HORNE residency of the hotel, BENJAMIN
and SYLVIA HORNE are arguing over JOHNNY HORNE who is being helped by DR.
LAWRENCE JACOBY.
BENJAMIN
... clear above this Sylvia I have my limits.
SYLVIA
BENJAMIN
Lies all straight and in my general direction.
SYLVIA
AUDREY removes a wood panel from the wall to reveal a knot hole in the wood
wall in the other room.
BENJAMIN
Taking it is the specialty of the house. Sylvia
I'm going to make it extremely simple for ya'. We can't take Johnny to
the funeral in that ridiculous getup.
We can hear BENJAMIN and SYLVIA continue to argue as we get AUDREY'S POV
of JOHNNY and DR. JACOBY as she peers through the knot hole. JOHNNY is sitting
on the floor wearing a large Indian headdress of feathers. DR. JACOBY sits
opposite of him, very close and nearly face to face, as he whispers to him.
DR. JACOBY
SYLVIA
Then let the great Dr. Jacoby see what he can
do.
DR. JACOBY tries to remove JOHNNY'S headdress.
JOHNNY
DR. JACOBY
SYLVIA
Am I going to have to call Dr. Jacoby every damn
time I have a problem with Johnny?
Slowly JOHNNY removes the headdress and puts it on the floor. DR. JACOBY
runs his hands through his hair to brush it down. JOHNNY is distressed and
DR. JACOBY leans his forehead against his to comfort him.
BENJAMIN
Thank god. Alright lets everyone just get in the
car.
AUDREY covers up the knot hole with the wood slat.
TUNE ENDS: BOOKHOUSE BOYS (2:12 - 2:31)
CUT TO:
EXT. GHOSTWOOD MEMORIAL PARK - DAY
We view a CLOSEUP of pine trees being blown in the wind with the sound of
it rustling.
CUT TO:
TUNE: LAURA PALMER'S THEME
EXT. GHOSTWOOD MEMORIAL PARK - DAY
We start with a CLOSEUP of REVEREND CLARENCE'S face as he gives the sermon.
Our view then switches to a bird's eye view of the crowd around casket.
As REVEREND CLARENCE BROCKLEHURST gives his sermon, we view several different
faces in the crowd starting with COOPER, DONNA HAYWARD, BOBBY and BIG ED.
Next as the sermon continues we view COOPER follow BOBBY'S eyes to JAMES
who has just arrived. BOBBY scornfully looks at JAMES. DONNA and JAMES look
at each other. PETE has tears in his eyes as he looks at the casket. AUDREY
and COOPER look at each other and smile.
REVEREND CLARENCE
I am the resurrection and the life. He that believe'th
in me, though he were dead, yet shall he live. And who shall ever live'th
and believe'th in me shall never die. For none of us live'th to himself
and no man die'th to himself. For if we live, we live unto the lord and
if we die, we die to the lord. Whether we live therefore or we die, we
are the lords. Blessed be the dead who die of the lord. Even so say'th
the spirit. For they rest from their labors. The lord be with thee. Let
us pray. Oh god entrust this child, Laura, to thy never failing care and
love and bring us all to thy heavenly kingdom. Through the same, thy son,
Jesus Christ our lord who live'th and reign'th with thee and the holy spirit.
One god now and forever, amen. I baptized Laura Palmer. I instructed her
in Sunday school and I, like the rest of you, came to love her with that
special love that we reserve for thee headstrong and the bold. Laura was
bright, she was beautiful, she was charming but most of all Laura was,
I think, impatient. She was impatient for her life to begin. For the world
to finally catch up to her dreams and ambitions. Laura used to say that
I talked to much. I'll not make that mistake today. Just let it be said
that I loved her and I will miss her the rest of my days.
JOHNNY
REVEREND CLARENCE
BOBBY
From the back of the crowd BOBBY moves himself forward pushing people out
of the way.
BOBBY
What ya' looking at? What are ya' waiting for?
You make me sick. You damn hypocrites make me SICK! Everybody knew she
was in trouble but we didn't do anything. All you good people, you wanna
know who killed Laura. YOU DID! We all did and pretty words aren't going
to bring her back man so save your prayers. She would've laughed at them
anyway.
From the other side of the crowd, behind the crowd, JAMES rushes over to
confront BOBBY. BOBBY sees him and reciprocates. MIKE NELSON also runs over.
We view the action as COOPER, SHERIFF TRUMAN, DEPUTY HAWK, MAJOR BRIGGS
and BIG ED rush to catch, and stop them from fighting.
BOBBY
You are dead man, your dead!
Our view of the scene is now SLOWED down as COOPER and BIG ED hold back
JAMES, SHERIFF TRUMAN and MAJOR BRIGGS hold BOBBY and HAWK holds MIKE back.
BOBBY
SHERIFF TRUMAN
That's enough Bobby, that's enough.
BOBBY
The action returns to NORMAL. JAMES stops his attempt as he is held back
by COOPER and BIG ED but he stares down BOBBY. BOBBY continues to wrestle
with his father and SHERIFF TRUMAN as he yells at JAMES.
BOBBY
Get off of me. You are a dead man, dead! You are
dead man, dead! Get off of me.
Near the casket, LELAND is crying heavily for his daughter. Suddenly he
spreads his arms out and throws himself onto the casket. SARAH PALMER screams.
The casket, being held above the bottom of the grave by straps connected
to a motor, starts to move down. The mechanical system is overwhelmed by
the extra weight and generates a screeching metal sound as it fails.
LELAND
LELAND hugs the casket as it slowly moves down into the grave but the mechanical
system kicks in again. It starts to raise the casket out of the grave but
fails again and the casket goes down again. Again and again the mechanical
system tries to lift the casket and fails producing the sound of screeching
metal each time. SHERIFF TRUMAN and COOPER try to grab LELAND.
SHERIFF TRUMAN
REVEREND CLARENCE
The whole thing has gone haywire.
SARAH
(to LELAND) Don't ruin this too.
LELAND
COOPER and SHERIFF TRUMAN try to reach for LELAND as the casket continues
to move up and down in the grave.
TUNE ENDS: LAURA PALMER'S THEME
FADE OUT:
FADE IN:
EXT. STREET INTERSECTION - NIGHT
We view a lonely street intersection with its lights changing signals with
the sound of blowing wind.
CUT TO:
EXT. DOUBLE R DINER - NIGHT
TUNE: DANCE OF THE DREAM MAN (VARIANT)
We view a CLOSEUP of the 'RR' red neon sign.
CUT TO:
INT. DOUBLE R DINER - NIGHT
At the counter, SHELLY JOHNSON retells the scene at the funeral to two customers
having a meal. Using a metal napkin dispenser and her hand, making an inverted
peace sign, she visually shows what happened.
SHELLY
This is the father (her hand) and this is the
daughter in the coffin (napkin dispenser).
With her hand, SHELLY uses it to look like a small man on the edge of the
counter. With her free hand she is holding the napkin dispenser off the
counter but to the edge. Next, she shows how LELAND jumped on the casket
by dropping her 'small man' onto the dispenser.
SHELLY
She finishes by raising and lowering the napkin dispenser with her 'small
man' on top. SHELLY also provides the sound effects of crying and of the
broken machinery. The two customers laugh at it all.
We PAN to a booth in the background were BIG ED, SHERIFF TRUMAN and DEPUTY
HAWK are seated. The table has three empty pie plates and cups of coffee.
BIG ED
I'm telling you Harry. He's just not going to
figure this out.
SHERIFF TRUMAN
Ed, that's a bet I'll take for the check. (COOPER
enters) He's right on time.
BIG ED
Harry, careful who you trust. He's just not one
of us.
SHERIFF TRUMAN
COOPER
Harry, I got your note. Hawk, Big Ed. (nods to
them)
SHERIFF TRUMAN
How would you like some fresh huckleberry pie?
BIG ED waves to NORMA.
COOPER
I would love a slice of pie. (NORMA arrives to
take a food order) Norma, slice of huckleberry pie, heated, vanilla ice
cream on the side, coffee.
NORMA
Before she leaves, she looks at BIG ED and smiles. BIG ED has been starring
at her and returns the smile. COOPER immediately makes the connection.
COOPER
Big Ed, how long have you been in love with Norma?
Completely surprised, BIG ED doesn't say a word. He just looks over to HAWK
and SHERIFF TRUMAN, who is smiling.
TUNE ENDS: DANCE OF THE DREAM MAN (VARIANT)
SHERIFF TRUMAN
Ed, looks like pie and coffee's on you.
BIG ED grabs the check on the table.
COOPER
Okay, what you fellas call me in to talk about
besides the highlights of the dinner menu?
BIG ED
SHERIFF TRUMAN
Somebody running drugs into Twin Peaks from across
the border. We've been working this for six months trying to set up a bust:
top to bottom, nobody walks.
COOPER
SHERIFF TRUMAN
Jacques Renault, bartender at the Roadhouse. We
figure him for the middle man. Now Ed's been doing some undercover. In
fact, the night you got into town he was staking Renault out. We think
Renault slipped him a mickey.
BIG ED
Felt like somebody hit me with a log splitter.
COOPER
Ed, I didn't know you were a deputy.
SHERIFF TRUMAN
COOPER looks at SHERIFF TRUMAN, a little surprised, then returns to BIG
ED.
COOPER
Well that's a little outside your jurisdiction,
don't you think?
BIG ED
Somebody selling drugs to high school kids and
I figure that's everybody's jurisdiction.
SHERIFF TRUMAN
I call Ed in when I need him. He's not the only
one I call.
NORMA arrives with COOPER'S pie and a pot of coffee. COOPER digs right into
his pie as she fills his cup with coffee.
SHERIFF TRUMAN
NORMA
COOPER
(relishing) Mmm, this must be where pies go when
they die. Mmm.
TUNE: LAURA PALMER'S THEME
COOPER
Okay Harry, would you please tell me why you really
called me in here.
SHERIFF TRUMAN
Cooper, your gonna have to go along with me on
this. Even if it sounds a little weird.
COOPER
SHERIFF TRUMAN
Twin Peaks is different, a long way from the world.
You've noticed that.
COOPER
SHERIFF TRUMAN
That's exactly the way we like it but there's
a ... back end to that that's kind of different too. Maybe that's the price
we pay for all the good things.
COOPER
SHERIFF TRUMAN
There's a sort of evil out there. Something very,
very strange in these old woods. Call it what you want. A darkness, a presence.
It takes many forms but ... its been out there for as long as anyone can
remember and we've always been here to fight it.
COOPER
SHERIFF TRUMAN
Men before us, men before them and after we're
gone.
COOPER
A secret society. (wide eyed, great interest)
SHERIFF TRUMAN
Why don't we take Agent Cooper for a little ride.
TUNE ENDS: LAURA PALMER'S THEME
COOPER
TUNE: WALKING IN THE DARK 32K
SHERIFF TRUMAN
BIG ED, SHERIFF TRUMAN and HAWK look at each other, raise an index finger
to their temple and drag it down. This is a secret sign for the Bookhouse
Boys.
TUNE ENDS: WALKING IN THE DARK 32K
CUT TO:
INT. BOOKHOUSE - NIGHT
BIG ED, HAWK, SHERIFF TRUMAN and COOPER enter the Bookhouse, a darkly lit
log building with a bar on one side of the room. Shelves, floor to ceiling,
loaded with books divide the space, opposite the bar, into compartments.
SHERIFF TRUMAN
This is where we get together. Going on twenty
years now.
COOPER
SHERIFF TRUMAN
The Bookhouse Boys. The coffee's free.
COOPER
I like the sound of that.
SHERIFF TRUMAN leads COOPER to a compartment where JAMES HURLEY and JOEY
PAULSON guard a young man tied up in a chair with a gag over his mouth.
The young man is BERNARD RENAULT a younger brother of JACQUES.
SHERIFF TRUMAN
JAMES
COOPER
SHERIFF TRUMAN
COOPER
JOEY nods to COOPER.
COOPER
SHERIFF TRUMAN
Bernard Renault, Jacques brother, janitor at the
Roadhouse. Bernard came across the border this morning with an ounce of
cocaine in his kitbag. I thought we'd ask him a few questions.
JOEY removes the gag over BERNARD'S mouth.
COOPER
Did you ever sell drugs to Laura Palmer?
BERNARD speaks with a heavy French-Canadian accent.
BERNARD
SHERIFF TRUMAN
How much does Jacques pay you to be the mule?
BERNARD
Jacques don't pay me nothing. I'm no mule.
SHERIFF TRUMAN
So that ounce you had that was for personal use?
BERNARD
COOPER
I guess you don't get a whole lot of sleep at
night then, huh Bernie.
SHERIFF TRUMAN
Your brother didn't come into work the last few
days. Where's he been?
BERNARD
I don't know. He got personal business.
SHERIFF TRUMAN
Who else is he dealing with?
BERNARD
Why don't you ask him yourself? He be back tonight,
in a minute.
SHERIFF TRUMAN
He's coming to work at the Roadhouse?
BERNARD
He the bartender isn't he.
COOPER
(leans toward BERNARD) Bernard, we got you tied
up in a chair. Your mixed up with your brother in a wide variety of felonies.
What I want to know is why in the world would you tell us where and when
to find him?
CUT TO:
EXT. ROAD - NIGHT
Along a road near the Roadhouse, JACQUES RENAULT, a fat man in jeans and
a plaid shirt, is walking. As he walks, he stops and looks at ...
CUT TO:
EXT. ROADHOUSE - NIGHT
We view JACQUES POV of the Roadhouse with its neon sign of a gun and the
words bang-bang blinking. On top of the roof a small red light is blinking.
CUT TO:
EXT. ROAD - NIGHT
We view a CLOSEUP of JACQUES fat face as he stares at the light.
CUT TO:
EXT. ROADHOUSE - NIGHT
We view a CLOSEUP of a red flashing light on the roof.
CUT TO:
EXT. ROAD - NIGHT
We view a CLOSEUP of JACQUES fat face as he recognizes the red beacon as
a warning. He turns around and runs off into the direction he came from.
CUT TO:
INT. JOHNSON HOUSE - NIGHT
TUNE: THE BOOKHOUSE BOYS (1:12 - 2:11)
LEO JOHNSON is working in the kitchen with a knife cutting the bottom of
a boot. The phone rings and he answers it while still working.
LEO
JACQUES
(over the phone) Leo, ...
CUT TO:
EXT. CASH N' CARRY - NIGHT
At a payphone on the outside wall of the convenience store, JACQUES speaks,
with a slight French-Canadian accent, to LEO.
JACQUES
LEO
(over the phone) What's up?
JACQUES
The light, the bust light's on. Bernard's in trouble.
CUT TO:
INT. JOHNSON HOUSE - NIGHT
LEO
JACQUES
(over the phone) I saw it man.
CUT TO:
EXT. CASH N' CARRY - NIGHT
JACQUES
You got to get me out of here Leo. Border run.
CUT TO:
INT. JOHNSON HOUSE - NIGHT
LEO
JACQUES
(over the phone) Phone booth by the Cash N' Carry.
CUT TO:
EXT. CASH N' CARRY - NIGHT
JACQUES
And I don't like waiting man.
CUT TO:
INT. JOHNSON HOUSE - NIGHT
LEO
SHELLY JOHNSON enters the kitchen through the back door of the house. LEO
puts the knife and boot down. He stares at her.
SHELLY
LEO grabs a bag and his jacket off the table and heads toward the door past
SHELLY.
SHELLY
LEO
LEO heads out the door. SHELLY places her purse on the kitchen table. LEO'S
Corvette can be heard starting up and take off outside with a squeal from
the tires. SHELLY removes a handgun from her purse and walks over to a cabinet.
She pries apart a small panel above the doors from the cabinet, lays the
gun inside beside the bloody shirt and replaces the panel.
TUNE ENDS: THE BOOKHOUSE BOYS (1:12 - 2:11)
CUT TO:
EXT. BLACK LAKE - NIGHT
We view the lake and the mountains beyond lit by moonlight with the sound
of a distant fog horn and crickets. Lights from cabins along the lake shore
can also be seen.
CUT TO:
EXT. BLUE PINE LODGE - NIGHT
We view the front of the lodge. Crickets can be heard.
CUT TO:
INT. BLUE PINE LODGE - NIGHT
In the living room seated on the couch, SHERIFF TRUMAN stares at JOSIE,
who looks down at the ground.
SHERIFF TRUMAN
Josie, Josie, what's wrong?
JOSIE
SHERIFF TRUMAN
JOSIE takes a drink from her wine glass. SHERIFF TRUMAN stares longingly
at her.
SHERIFF TRUMAN
She turns to him and smiles but returns to looking at the floor, somewhat
sad.
SHERIFF TRUMAN
Josie, there is something wrong. What is it? I
want you to tell me.
JOSIE
Something horrible is going to happen. They want
to hurt me. I know it.
SHERIFF TRUMAN
Who? Who want's to hurt you?
TUNE: LOVE THEME FROM TWIN PEAKS
JOSIE
Catherine, Catherine and Benjamin Horne.
SHERIFF TRUMAN
We PAN to a nearby house intercom panel on the wall just above SHERIFF TRUMAN.
JOSIE
CUT TO:
INT. BLUE PINE LODGE - NIGHT
In her bedroom, CATHERINE MARTELL listens in on the conversation from the
house intercom.
JOSIE
... on the phone saying I'd never suspect. Just
like with Andrew's death.
SHERIFF TRUMAN
Andrew's death was an accident.
JOSIE
Was it? Catherine keeps the mill account books
in her safe. Two books, different numbers.
TUNE ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
INT. BLUE PINE LODGE - NIGHT
JOSIE and SHERIFF TRUMAN walk into the library. JOSIE shows him where the
hidden safe is at behind a swing out section of the book shelves.
JOSIE
Andrew built this years ago. (using a key she
unlocks it) I don't think Catherine knows that I know its here. (turns
to look at TRUMAN, opens the door of the safe) Why do you think we have
two sets of books?
SHERIFF TRUMAN
The usual reasons would have something to do with
stealing maybe worse.
JOSIE looks into the safe and sees only one book, not the two she expects
to find. She pulls out the one book and hands it to SHERIFF TRUMAN, who
looks it over.
JOSIE
There were two. I saw them. You believe me don't
you.
SHERIFF TRUMAN
Of course I do. There's nothing unusual in this
one.
JOSIE
CUT TO:
INT. BLUE PINE LODGE - NIGHT
In her room, CATHERINE listens to JOSIE and SHERIFF TRUMAN over the intercom
while holding the missing account book.
JOSIE
(over the speaker) I swear there were two.
CATHERINE turns the intercom off and walks over to her desk. She lifts a
drop panel that reveals a secret, hidden compartment where she places the
corrupt account book. PETE MARTELL walks in and sees her at her desk. PETE
tries to back out unnoticed but she sees him. He knows he's been caught
but tries to cover it up.
PETE
Have ... have you seen my tackle box?
CATHERINE
The next time you and the merry widow want to
take a peek in my safe don't go through so much trouble. Be a man about
it Pete. Ask me to my face.
PETE
(stern face) Maybe I'll ... check the truck.
PETE backs up out the door and closes it behind him.
CUT TO:
EXT. GHOSTWOOD MEMORIAL PARK - NIGHT
We view COOPER standing in the graveyard.
CUT TO:
EXT. GHOSTWOOD MEMORIAL PARK - NIGHT
We view COOPER'S POV of LAURA PALMER'S grave from a distance as DR. JACOBY
walks up to it. LAURA'S grave has some flowers in vases. DR. JACOBY, wearing
a cape and hat, also brings flowers for her grave. He stands near her grave.
COOPER walks up to him. DR. JACOBY, unaware, is spooked by COOPER when he
speaks nearby to him.
COOPER
Dr. Jacoby. I didn't see you at the funeral today.
DR. JACOBY
I'm a terrible person Agent Cooper. I pretend
that I'm not ... but I am. Oh, I sit and listen to their problems day after
day. These people ... think of me as their friend. Truth is I really don't
care. I thought nothing, no one ... could ever reach me again. Laura changed
all that. I couldn't come today. I just couldn't. I hope she understands.
(slight cry) I hope she forgives me.
CUT TO:
TUNE: DARK TIMES
EXT. BLUE PINE LODGE - NIGHT
In the living room, JOSIE sits in SHERIFF TRUMAN'S arms with her back to
his chest. He leans his face against hers.
JOSIE
You think its possible? You think somebody killed
Andrew?
SHERIFF TRUMAN
JOSIE
I believe ... what they want is to take the mill
away from me. For Benjamin to have the land. If ... if it was true with
Andrew ... you think they'll kill me too.
TUNE ENDS: DARK TIMES
TUNE: TWIN PEAKS THEME
SHERIFF TRUMAN gently moves JOSIE around so that they are face to face.
He cups her face with his hands and says ...
SHERIFF TRUMAN
Josie. Nothing is going to happen to you not now,
not ever, not while I'm around.
JOSIE and SHERIFF TRUMAN kiss and kiss with a growing passion. They move
to the floor and continue kissing.
FADE OUT:
FADE IN:
EXT. FULL MOON - NIGHT
We view the full moon with a few thin clouds being blown in the sky. Cascading
water can be heard from the nearby falls.
CUT TO:
INT. TIMBER ROOM - NIGHT
In the dining area of the hotel, COOPER and DEPUTY HAWK sit back in their
chairs at a table drinking beers. They watch people dancing on the dance
floor adjacent to the tables in the dining area.
COOPER
Do you believe in the soul?
HAWK
COOPER
CUT TO:
INT. TIMBER ROOM - NIGHT
On the dance floor next to the dining area, we view LELAND standing, with
his eyes closed, in the middle of the dance floor as couples dance all around
him. We hear HAWK and COOPER as we watch LELAND.
HAWK
Blackfoot legend. Waking souls that give life
to the mind and the body. A dream soul that wanders.
COOPER
Dream souls? Where do they wander?
HAWK
Faraway places. The land of the dead.
COOPER
HAWK
Laura's in the ground, Agent Cooper. That's the
only thing I'm sure of.
TUNE ENDS: TWIN PEAKS THEME
TUNE: IN THE MOOD 28K
As a big band tune starts we see LELAND smile and start to dance in place
to the music.
CUT TO:
INT. TIMBER ROOM - NIGHT
At a table in the dining area, we view COOPER and HAWK.
COOPER
HAWK and COOPER touch bottles in remembrance for LAURA.
COOPER
CUT TO:
INT. TIMBER ROOM - NIGHT
On the dance floor, LELAND wanders from COUPLE to COUPLE on the dance floor
asking to dance. Each COUPLE he asks turns away, LELAND becomes frustrated
and beggingly asks to be danced with.
LELAND
Will you dance with me. Please.
COUPLE I
LELAND
Dance with me, please. (COUPLE shrugs) Dance with
me. (denied) Dance with me please, please, please.
COUPLE II
LELAND
Somebody dance with me. (sobs)
COOPER and HAWK see LELAND crying and upsetting people. They both get up
and walk over to him.
TUNE ENDS: IN THE MOOD 28K
When they reach him, LELAND is hunched over and crying.
COOPER
HAWK
LELAND straightens up and puts his hands on the shoulders of COOPER and
HAWK.
COOPER
LELAND
TUNE: LOVE THEME FROM TWIN PEAKS
COOPER and HAWK slowly lead him off the dance floor.
CUT TO:
EXT. TRAFFIC LIGHT - NIGHT
We view a CLOSEUP of a traffic light signaling red and moving slightly in
the breeze.
TUNE ENDS: LOVE THEME FROM TWIN PEAKS
FADE OUT:
CLOSE:
FADE IN:
TUNE: LAURA PALMER'S THEME
We view LAURA PALMER'S homecoming picture as the end credits roll.
TUNE ENDS: LAURA PALMER'S THEME
FADE TO BLACK:
