Episode 5 - Cooper's Dreams
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
I play my part on my stage. I tell what I can
to form the perfect answer. But that answer cannot come before all are
ready to hear. So I tell what I can to form the perfect answer. Sometimes
my anger at the fire is evident. Sometimes it is not anger, really. It
may appear as such, but could it be a clue? The fire I speak of is not
a kind fire.
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:
SONG: ICELANDERS I 14K
EXT. HALF-MOON - NIGHT
We view a CLOSEUP of a tree branch of pine needles and then FOCUS on the
background of the moon.
CUT TO:
INT. DALE COOPER'S HOTEL ROOM - NIGHT
In the dark, we hear men singing a song in a foreign language very loudly.
FBI SPECIAL AGENT DALE COOPER is roused from his sleep, turns on his light
by the bed, checks the time on his wristwatch and grabs his mini tape recorder.
Still in bed he turns it on and says ...
COOPER
Diane, it is 4:28 am, I have just been woken up
by the most god awful racket which you can probably hear over the sound
of my voice. (pauses to record the loud singing) Can you hear that? Up
until this moment, I've experienced nothing at the Great Northern Hotel
but the most pleasant, courteous service imaginable. However, it just goes
to prove a point that once a traveler leaves his home he loses almost 100%
of his ability to control his environment. Diane I was wondering if you
could overnight express to me two pairs of those Ear Pillow silicone ear
plugs which I used on my last trip to New York. Naturally I didn't bring
them with me on this trip because I didn't feel it would be necessary.
However.
COOPER holds the tape recorder up to record the loud song the men are singing.
Then he shuts it off.
SONG ENDS: ICELANDERS I 14K
CUT TO:
SONG: ICELANDERS II 21K
INT. THE TIMBER ROOM - DAY
Another loud song being sung by the same group of men permeates the building
as COOPER, who appears annoyed, walks into the dining area carrying a coffee
cup. A waitress, TRUDY, carrying a pot of coffee, walks up to him before
he takes a seat at a table. As he sits she asks ...
TRUDY
COOPER
She fills the cup he brought with him.
COOPER
What's with the choir practice?
TRUDY
Business junket from Iceland. Got in about three
this morning.
COOPER
(drinks his coffee) Ahh. Their on my floor.
SONG ENDS: ICELANDERS II 21K
The group of men stop singing and cheer.
TRUDY
TUNE: FRESHLY SQUEEZED (0:26 - 3:48)
AUDREY HORNE enters the dining area and slowly makes her way to COOPER.
COOPER
It'll take them a day or two to reset their biological
clocks.
He holds his cup out for her to refill it which she does.
TRUDY
Hope the hearing holds out.
COOPER
(as he takes another drink) Uhmm.
TRUDY walks away just as AUDREY arrives at the table. TRUDY smiles as she
walks away and sees AUDREY talk to COOPER.
AUDREY
COOPER
(sip of coffee) Ahh. Well Audrey, to be perfectly
honest, I'm tired and a little on edge.
AUDREY
AUDREY takes a seat opposite COOPER at the table.
AUDREY
COOPER
AUDREY
And I thought maybe now I could help you with
your case. Guess we're goi ...
COOPER raises his hand to interrupt her and stands up.
COOPER
Audrey you'll have to excuse me this morning.
I'm running late. I only have time for coffee.
AUDREY
(stands up) Well maybe I could go with you.
COOPER
Wednesdays were traditionally a school day when
I was your age.
AUDREY
(walks up to him, smiles and flirtingly says)
I can't believe you were ever my age.
COOPER
(flirtingly) I've got the pictures to prove it.
How old are you?
AUDREY
COOPER
Well, see you later Audrey.
AUDREY
See you later. (he walks off) Bye.
TUNE ENDS: FRESHLY SQUEEZED (0:26 - 3:48)
We watch COOPER walk off but before he exits the room we see JERRY HORNE
and MR. EINAR THORSON, leader of the Icelander group, enter the room. MR.
THORSON, carrying a mug of beer, appears to be drunk as he leans on JERRY'S
shoulder. JERRY is carrying some baggage.
JERRY
I'll see you later. (attempts to repeat in their
language) How do you say that?
MR. THORSON tells him how to say it in their language. He then pats JERRY
on the back and walks off. JERRY yells to him and the rest of group in the
other room.
JERRY
My brother ... my brother will love you guys!
CUT TO:
INT. BENJAMIN HORNE'S OFFICE - DAY
We FOCUS on a wood carved name of 'BEN', on top of the desk, and PAN to
BENJAMIN HORNE as he lights a cigar while sitting at his desk. Behind BEN
we see a poster board of the plans for the Ghostwood development project.
JERRY bursts into his office and tells him something in the Icelandic language
before he says ...
JERRY
Brother Ben, I bring you greetings from the fertile
treeless tundra of Iceland.
JERRY walks in and up to BEN'S desk. He puts his large bag on BENJAMIN'S
desk.
BENJAMIN
We have had complaints from nearly every guest
in the hotel.
BENJAMIN picks up JERRY'S bag and tosses it to the floor.
BENJAMIN
What are they on, nitrous oxide.
JERRY
They are 'insane' for the Ghostwood estates project.
(takes his jacket off and throws it on the couch) I have had more serious
fun in two days with these Nordic animals and Ben I'm in love. Her name
is Heba. (spins around) She's a giant snow queen with a smile like a sun
rise on an ice flow. You could go blind looking at this girl. Look at this.
JERRY opens one of his bags and pulls out a leg of lamb wrapped in plastic.
He walks over to BEN'S desk and puts it there.
JERRY
You see what she gave me. An entire leg of lamb.
Is that beautiful ...
BENJAMIN
Jerry. Jerry, come on. (hands him back his leg
of lamb)
JERRY
What? Look you crush some garlic, some fresh mint.
That's rotisserie heaven. Come on you got to meet her.
BENJAMIN
Jerr just ... grab some down time will ya'. (stands
up) We've laid in a gala reception for your fair haired boys tonight. All
of Twin Peak's best and brightest.
Still holding his leg of lamb, JERRY kisses it and holds it like a baseball
bat leaning on his shoulder.
JERRY
(smartass) We're holding it in a phone booth?
BENJAMIN
And if we still need a kicker to nail the sale.
(puts on his suit jacket) I'm thinking that maybe they might enjoy a little
road trip up to uh ...
BEN covers his left eye with his left hand.
BENJAMIN
JERRY
(smiles) Jacks. I am honored to know you.
Standing in front of the double doors to the office, the two brothers shake
hands.
TUNE: LAURA PALMER'S THEME
In the background we see, LELAND PALMER enter the office through the open
doors. He looks like a bit of a mess.
LELAND
BENJAMIN
Leland wha-wha-what are you doing here?
LELAND
Well I know there's a new investment group arriving
today. If there's anything I can do?
BEN walks up to LELAND and comfortingly grips his arms.
BENJAMIN
Leland, the best thing that you can do is follow
the doctor's orders. Go home, you need your rest.
LELAND
I-I-I just feel ... I just feel I need something
to occupy my mind. (lifts a hand to his head)
LELAND moves to the floor and sits. He starts to sob. The Icelander group
starts to sing again.
SONG: ICELANDER III
JERRY runs out of the office and into the hall to see what is going on.
BENJAMIN
Leland will you take some time off for god's sake.
Fly somewhere and take Sarah.
LELAND
I'm afraid to Ben. I'm afraid.
BENJAMIN gestures to JERRY to close the doors to that racket outside.
SONG ENDS: ICELANDER III
CUT TO:
EXT. JACQUES RENAULT'S APARTMENT BUILDING - DAY
We view SHERIFF TRUMAN'S police cruiser in the parking lot unoccupied but
we hear the police radio from it.
SHERIFF TRUMAN
(over the radio) Hawk, where here in Jacques Renault
apartment. Get over here as soon as you can.
In the background we see an officer walking up the steps to the second floor
of the apartment building.
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
TUNE: AUDREY'S DANCE (0:00 - 0:10 W/O SNAPS)
INT. JACQUES RENAULT'S APARTMENT - DAY
We FOCUS on a lamp fixture on the ceiling. We PAN down to SHERIFF HARRY
S. TRUMAN as he walks to the door that AGENT COOPER has just entered through.
COOPER
SHERIFF TRUMAN
COOPER
SHERIFF TRUMAN
Jacques Renault is a Canadian national. He worked
the lumber fields this side of the border. Until he put on a little excess
tonnage a couple of seasons ago. That's when he started bartending at the
Roadhouse.
As SHERIFF TRUMAN is speaking, COOPER wanders over to the kitchen where
a pink box of donuts sits. He opens the box and finds it empty.
COOPER
Harry are there any more donuts?
SHERIFF TRUMAN
SHERIFF TRUMAN gives DEPUTY ANDY BRENNAN an OK hand sign and a thumbs up
pointing to the side meant to be read as 'get more donuts'. COOPER sees
it and gives SHERIFF TRUMAN a thumbs up.
COOPER
I gotta wash that down with a cup of joe. I didn't
get too much sleep last night.
SHERIFF TRUMAN also gestures to ANDY a drinking motion before he leaves.
SHERIFF TRUMAN
Yeah you do look a little peaked.
TUNE ENDS: AUDREY'S DANCE (0:00 - 0:10 W/O SNAPS)
COOPER
There's a large group of insane men staying on
my floor. Jacques Renault turn up?
COOPER walks around the room and looks at what the officers are doing as
they do their forensic work. We can see DR. WILL HAYWARD on the phone.
SHERIFF TRUMAN
No one's seen him for two days. We compassed the
building and the Roadhouse. I've sent Hawk to rouse his brother but it
looks like Bernie's jumped bail on us, no sign.
COOPER looks up at the ceiling light fixture and stares at it. Soon he has
SHERIFF TRUMAN looking up as well.
DR. HAYWARD
COOPER
Now DR. HAYWARD is also looking up at the light fixture.
DR. HAYWARD
Um uh the blood on the shirt you found here is
AB-. Its not Laura's blood.
COOPER levels his head as he diverts his attention.
COOPER
So it was Jacques Renault's blood on Leo Johnson's
shirt.
DR. HAYWARD gives a puzzled look to SHERIFF TRUMAN, who is also mystified
by that statement. COOPER returns to staring at the light fixture. The phone
rings and DR. HAYWARD moves away to answer it. ANDY comes up to COOPER carrying
a donut and a cup of coffee.
COOPER
COOPER takes a bite of the donut and then a sip of coffee. He clearly relishes
it. SHERIFF TRUMAN looks up at the light fixture again and soon he has ANDY
doing the same thing.
COOPER
What about Leo Johnson? (to ANDY) Could you hold
this for a second?
COOPER hands his coffee and donut to ANDY to hold as he grabs a pair of
tweezers from his coat pocket.
SHERIFF TRUMAN
We think he went out last night. Nothing yet.
ANDY takes a bite of COOPER'S donut.
COOPER
Harry, could you give me a leg up here?
Out of sight we hear DR. HAYWARD on the phone.
DR. HAYWARD
(into phone) Oh, I need you to find out something
for me.
SHERIFF TRUMAN
DR. HAYWARD
(into phone) What's Jacques Renault's blood type?
SHERIFF TRUMAN cups his hands so COOPER can place his foot there. COOPER
sets his foot and SHERIFF TRUMAN lifts him up slightly as COOPER takes a
step up to reach the light fixture.
SHERIFF TRUMAN
We see DR. HAYWARD with a surprised look on his face as he says ...
DR. HAYWARD
Jacques Renault's blood is AB-.
COOPER
DR. HAYWARD
When COOPER comes back down he holds in his tweezers a copy of Fleshworld,
a swingers magazine.
TUNE: AUDREY'S DANCE (0:00 - 0:10 W/O SNAPS)
SHERIFF TRUMAN
Holy smoke, Fleshworld again.
COOPER
Yeah. Harry remember that ad with the picture
of Ronette Pulaski?
They both move over to a nearby table. COOPER thumbs through the magazine.
SHERIFF TRUMAN
We traced that ad. It came in a magazine in a
plain envelope, no name.
COOPER
The magazine's a clearing house. Readers write
letters in response to the ads and mail them into the magazine. The magazine
forwards them on to the advertisers. (finds an envelope in the magazine;
looks at TRUMAN) No direct contact. (looks at the envelope) Ronette received
her letters at this post office box.
SHERIFF TRUMAN
COOPER
Well my guess is that this post office box will
be registered under the name of Jacques Renault. (looks at TRUMAN) Lets
see who's writing to Ronette. Post marked Georgia
SHERIFF TRUMAN rolls his eyes and looks away. DR. HAYWARD walks up to them.
COOPER opens the envelope and pulls out a photograph that he and DR. HAYWARD
look at.
DR. HAYWARD
COOPER
I don't know. The beard sort of ruins the effect
of the lingerie. What do you think?
COOPER hands the photo to SHERIFF TRUMAN to look at it.
CUT TO:
PHOTOGRAPH
From SHERIFF TRUMAN'S POV we see the photograph. A bearded man, wearing
a light blue lingerie, laying in bed.
CUT TO:
INT. JACQUES RENAULT'S APARTMENT - DAY
SHERIFF TRUMAN
The guy's no Georgia peach.
SHERIFF TRUMAN tosses the photograph to the table.
COOPER
Poor bastard. By the way Harry, did you notice
the picture of Leo Johnson's truck on that page?
SHERIFF TRUMAN takes a closer look at the magazine.
CUT TO:
FLESHWORLD MAGAZINE
We see SHERIFF TRUMAN'S POV of the picture of LEO'S rig in the magazine
ad.
TUNE ENDS: AUDREY'S DANCE (0:00 - 0:10 W/O SNAPS)
MORPH TO:
EXT. JOHNSON HOUSE - DAY
We view the front of the house with LEO'S rig parked out front with the
sound of ducks in the background.
CUT TO:
TUNE: THE BOOKHOUSE BOYS (1:12 - 2:11)
INT. JOHNSON HOUSE - DAY
In the kitchen, we see SHELLY JOHNSON, wearing a robe, carrying two plates
of food to the table. BOBBY BRIGGS sits at table smoking a cigarette. She
places one of the plates in front of BOBBY and the other at an open chair
for herself.
BOBBY
I love it when you cook for me.
SHELLY
She returns to the stove.
BOBBY
Leo missed the boat with you baby. The biggest
mistake of your life was dropping out of the eleventh grade and marrying
that roadhog.
By the stove, she turns to face him, smiles and says ...
SHELLY
What would you do if he walked in right now?
BOBBY
SHELLY moves over to him.
BOBBY
He grabs the belt on her robe, pulls her next to him and sets her down on
his lap. She laughs slightly and he kisses her. He reaches into her robe
pocket and pulls out the gun she bought. He pretends to point it as if LEO
was across the table.
BOBBY
Hey Leo. How's it going man? (SHELLY laughs) What
a surprise. Now Leo, Shelly tells me that you don't like her cooking. I'll
tell you what. She and I, we're gonna sit here. While you cook breakfast
for us, you hump. And if you so much as utter one harsh syllable to this
... (turns to SHELLY) beautiful girl. (turns to pretend Leo) I'm going
to shoot your ugly face off, okay man.
TUNE ENDS: THE BOOKHOUSE BOYS (1:12 - 2:11)
They laugh until they hear a car door slams outside. Spooked, BOBBY and
SHELLY quickly look at each other, stand up and move to the window to see
who it is.
BOBBY
(relieved) Ohh, the sheriff's deputy. Now Shelly
do exactly what we said and everything gonna be fine. Okay.
SHELLY nods and they kiss. BOBBY starts to move away but returns to her
for one more kiss before he hides just outside behind the rear door. Nervous,
SHELLY takes a few puffs from a cigarette. The door bell rings and SHELLY
moves to answer it. BOBBY peers inside through a window in the door. SHELLY
turns to look at him before she opens the front door.
SHELLY
ANDY
(walks in) Hi Shelly. Do you know when Leo might
be back?
SHELLY
Uh-uh. Is he in some kind of trouble?
ANDY
No, we just want to talk to him.
As they talk, our view switches to seeing BOBBY smile as he watches them
and listens on.
SHELLY
This wouldn't be about Laura would it?
ANDY
SHELLY
Well I-I heard him talking to this guy Jacques
the night he left.
ANDY
SHELLY
Yeah, um they were outside arguing. I couldn't
hear exactly but they did seem to be arguing about her and then they drove
off together.
ANDY
Shelly, you call us the minute he gets in touch
with you.
SHELLY
Okay, I will. Thanks for stopping by.
ANDY walks out. SHELLY closes the door, leans against the back of the door
and smiles as she looks over to BOBBY. She walks over to BOBBY. He reenters
the kitchen. She hops into his arms, he picks her up and holds her.
SHELLY
BOBBY
In the kitchen, they spin around and kiss.
BOBBY
BOBBY moves to the kitchen counter by the sink and places her on the countertop.
ANDY'S police cruiser can be heard driving off outside. The phone rings.
BOBBY, kissing her neck, picks it up and holds it at SHELLY'S mouth and
ear for her to answer it.
SHELLY
Hello. (she grabs the phone and pushes BOBBY away)
Hi Leo. Where you calling from?
LEO
(over the phone) Did anybody come by?
Listening on, BOBBY motions to her to say 'no'.
SHELLY
What's that? Is anybody looking for you? Why would
anybody be looking for you?
LEO
(over the phone) Are you sure?
SHELLY
You know how paranoid you get when you been popping
vendies on the road a couple of days. So when are you coming home
LEO
(over the phone) Soon. Everything okay?
SHELLY
Yeah, everything fine Leo.
TUNE: I MISS YOU 18K
BOBBY puts the handgun he's been holding in SHELLY'S hand as she talks to
LEO.
SHELLY
LEO
Holding the gun in her hand, SHELLY looks it over as she say ...
SHELLY
TUNE ENDS: I MISS YOU 18K
CUT TO:
EXT. BIG ED'S GAS FARM - DAY
We view a lumber truck rig full of huge cut logs pull into the gas station.
It passes another truck also filled with logs parked at the station as it
drives in and sets off the entry bell. We PAN to see 'BIG ED' HURLEY, in
his shop overalls, working under the hood of a red truck. He lifts his head
and sees NORMA JENNINGS at a distance standing by her car.
BIG ED
Smiling, she moves toward BIG ED.
NORMA
Hope you don't mind my coming.
BIG ED
He walks to her and meets her halfway. Together they walk to a nearby tow
truck. NORMA has her hands in her coat pocket. BIG ED holds onto her left
arm as they walk.
BIG ED
Nadine won't be back from that patent attorney
over there in Fairvale for a couple of hours.
NORMA
The famous silent drape runners.
BIG ED
She's already spending the millions.
NORMA
Well I have to put gas in my car like everyone
else, right.
BIG ED
NORMA
I didn't want to tell you on the phone ... but
Hank got his parole.
BIG ED
Now behind the tow truck, they turn to face each other. They lose their
smiles. BIG ED looks disappointed.
NORMA
He'll be coming home. I mean back. I only saw
him a minute before the hearing. He seemed so hopeful. I didn't want to
say anything.
BIG ED
You don't have to explain.
NORMA
Have you said anything to Nadine yet?
BIG ED
NORMA
(grin) Waiting for me to go first?
BIG ED
No. It's just that uh ... Nadine's not well.
NORMA
TUNE: TWIN PEAKS THEME
BIG ED
NORMA
BIG ED moves a little closer to her.
BIG ED
I don't ever want to hurt you babe.
NORMA
Maybe that's our trouble Ed. We never want to
hurt anyone. We never just take what we want. There's a part of me that's
beginning to think that ... this is how it is when you get to the end of
your life ... and that you don't have anything to show for it.
BIG ED
NORMA
Don't call me. I mean ... not for a while, okay.
BIG ED
NORMA
NORMA walks away. BIG ED turns to watch her walk to her car.
TUNE ENDS: TWIN PEAKS THEME
FADE OUT:
FADE IN:
EXT. HORNE'S DEPARTMENT STORE - DAY
We view the front of the store, a three story masonry building with a covered
entry for the front door. A police cruiser drives by.
CUT TO:
INT. HORNE'S DEPARTMENT STORE - DAY
In an office, EMORY BATTIS, the store vice-president, talks with AUDREY.
EMORY is a stocky and bald man. He sits behind shelves of trophies and books.
In the corners of the room are two Saturn lamps.
EMORY
I can remember when you were just a little girl.
The door to the office is open and behind AUDREY we see a women moving a
large box on a shelf.
AUDREY
So did my father speak to you?
EMORY
Yes, yes he did and I can't tell you how excited
we are to have you come on board and put in a hitch with us down here at
our flagship.
AUDREY
So what did you have in mind for me?
EMORY
Well, Audrey. (looks over a file in his hands)
As for your father's suggestions, starting low, aiming high, ect. We thought
perhaps the um wrapping department; gifts, ect., part time, after school.
She looks up annoyed, objecting to the choices.
AUDREY
(pouty) No-no-no-no-no. Emory, ...
TUNE: MAY I SPEAK 35K
AUDREY
EMORY
She stands up and walks around behind EMORY.
AUDREY
EMORY
AUDREY
EMORY
One of our more uh ... sensitive areas; expensive
items, delicate customer relations.
AUDREY
I'm afraid I've got my heart set on it, Emory.
EMORY
(uneasy laugh) I'd-I'd have to talk about it to
your father.
She takes a seat on the corner of his desk.
AUDREY
Emory, here's what we're gonna do. Your gonna tell
my father that I'm busy as a bee wrapping boxes with the drums. Then your
gonna put me to work this afternoon behind the perfume counter. (grabs
his tie) Because if you don't I'm going to rip my dress in half and scream
at the top of my lungs and tell my father that you made a pass at me. Does
that help to clear things up for you?
A little bleary, EMORY mouths 'yeah' before clearly saying ...
EMORY
AUDREY
She lets go of her grip on his tie and straightens it.
EMORY
(serious tone) Yes Miss Horne.
TUNE: LOVE THEME FROM TWIN PEAKS
AUDREY gets off his desk and takes a seat back at the chair opposite EMORY.
AUDREY
Should we get started on the paper work?
TUNE ENDS: MAY I SPEAK 35K
CUT TO:
EXT. EASTER PARK - DAY
With Black Lake in the background, we watch DONNA walking past trees toward
the gazebo. She walks up the steps of the gazebo and says ...
DONNA
James, I got your note. Are you alright?
JAMES moves to her and they hug. They move apart slightly.
JAMES
Donna, there's some things I gotta say. I told
you that my dad died when I was ten. He didn't die. He was a musician.
We were living on the West coast. He was a bum and ran off on me and my
mom.
DONNA
JAMES
My mom is a writer. She was really good; poems
and short stories. She's an alcoholic. If you have a problem with this
I know you didn't ask to hear it.
DONNA
(nods no) I don't have a problem. You tell me.
JAMES
Its true, she was out of town this week but ...
she wasn't traveling. What she does is, she goes to another town, shacks
up in some cheap hotel with a couple of bottles and (look away) ... picks
up guys and ...
Tears form in his eyes. He walks away, still in the gazebo, to look at the
lake. DONNA moves to him and hugs him from behind.
DONNA
JAMES
I'm telling you this because I don't want to have
any secrets from you. I don't want there to be any lies between us. (turns
to face her) Its the secrets people keep that destroy any chance they have
of happiness and I don't want us to be like that.
DONNA
They kiss.
JAMES
We have to do what's right. What you said yesterday
was true. If we don't do everything we can to figure out what happened
to Laura. It will never go away our whole lives.
DONNA
JAMES puts his arm around her and leans his head against hers. They both
look out onto the lake.
JAMES
She's out there wandering like a restless spirit.
CUT TO:
EXT. BLACK LAKE - DAY
We view JAMES and DONNA'S POV of the still waters of Black Lake with trees
close to its shoreline.
DONNA
I feel it too. We owe it to her.
TUNE ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
INT. JACQUES RENAULT'S APARTMENT - DAY
We view GARY, an officer, working on the floor as he sweeps particles on
the floor with a small brush. Another OFFICER walks up to him with a plate
full of donuts and hands it to him.
OFFICER
These are fresh. Here ya' go Gary.
GARY
Oh thanks. Here ya' go Scott.
GARY grabs a donut for himself and then passes the plate to another nearby
officer, SCOTT.
SCOTT
Thank you. (grabs a donut for himself) Here ya'
are.
SCOTT puts the plate of donuts next to AGENT COOPER, who is working in the
kitchen. SCOTT walks off but we can still hear him talk in the background
as we watch AGENT COOPER grab a donut and take a bite.
SCOTT
Where do you want to mark this?
OFFICER
Mark it duplicate. Do we have one like it?
TUNE: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:30)
COOPER opens an upper cabinet door right in front of him.
CUT TO:
PHOTOGRAPHS
We view AGENT COOPER'S POV of a bunch of photographs taped to the inside
panel of the cabinet door. We see a black and white photograph of two men
dressed with suit jackets around their waist and a face painted on their
bellies. We still hear the other officers speaking in the background.
SCOTT
Um, yeah the same stain we got off the floor.
We PAN to another photograph of a cabin created from a cut portion of a
single gigantic log.
OFFICER
We PAN to another photograph of a cabin. In the windows of the cabin we
see ...
COOPER
TUNE ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:30)
CUT TO:
INT. JACQUES RENAULT'S APARTMENT - DAY
DEPUTY HAWK enters the kitchen and, standing next to SHERIFF TRUMAN, says
...
HAWK
That P.O. box was registered to Jacques Renault.
HAWK hands SHERIFF TRUMAN some mail he confiscated from the post office
box.
COOPER
Those are the letters responding to Ronette's
ad in the magazine. (SHERIFF TRUMAN hands them to him) Let's see if there's
something from someone we know. (scans the letters, something catches his
eye) Hawk hand me that magazine won't you.
SHERIFF TRUMAN
COOPER hands the letters to SHERIFF TRUMAN. HAWK hands the Fleshworld magazine
to COOPER, who flips through the pages.
COOPER
Two different ad numbers mailed to the same post
office address. Ronette's and one other. (stops flipping through the pages)
Yeah, here it is. (reads the ad's accompanying info) Young student requires
education in the ways of love only generous, mature men need apply.
TUNE: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:30)
COOPER pulls out a small magnifying glass from his pocket and looks at the
ad's photo.
COOPER
SHERIFF TRUMAN
You see some identifying mark?
COOPER holds his magnifying glass so SHERIFF TRUMAN can see the red drapes
behind the posed woman, LAURA PALMER.
COOPER
SHERIFF TRUMAN
COOPER turns to the cabinet door he was previously looking at and holds
his magnifying glass at the photograph so SHERIFF TRUMAN and DEPUTY HAWK
can see the red drapes in the windows of the cabin. We view a stepped profile
of DEPUTY HAWK, SHERIFF TRUMAN and AGENT COOPER as they look at the photograph.
CUT TO:
PHOTOGRAPH
We view COOPER'S POV of the photograph with a portion magnified through
his magnifying glass to see ...
COOPER
Red drapes Harry. From my dream.
CUT TO:
INT. JACQUES RENAULT'S APARTMENT - DAY
COOPER tosses the magazine he was holding to the countertop and picks up
a piece of paper.
COOPER
Now why would an apartment dweller like Jacques
buy fifty gallons of heating oil?
SHERIFF TRUMAN
(looks at COOPER) To heat a log cabin.
COOPER
HAWK
Jacques's brother said something about a place
up near the state line.
COOPER
Fellas lets pack a lunch. We're taking a walk
in the woods.
CUT TO:
EXT. DOUBLE R DINER - DAY
Under darkening skies, we view the front of the diner with its neon sign
on and a timber truck rig parked with a full load of tree logs.
CUT TO:
INT. DOUBLE R DINER - DAY
We see HANK JENNINGS bent over the jukebox. He puts a coin in and pushes
a button to play a tune from the jukebox.
TUNE: COUNTRY #3 52K
MADELEINE enters the diner and is called over by JAMES.
JAMES
MADELEINE
MADELEINE walks over to the booth where JAMES is standing by.
JAMES
DONNA stands up within the booth as MADELEINE comes by. The table has two
cups of coffee where JAMES and DONNA were seated. There is also a plate
of french fries.
MADELEINE
(to DONNA) Hi. I'm Madeleine Ferguson. My friends
call me Mady. This is really nice of you guys. (removes her jacket) I don't
really know anybody in town except aunt Sarah and uncle Leland (takes a
seat) and the mood at the house you can probably guess isn't that great
right now.
JAMES
Would you like something to drink?
MADELEINE
Uhm a cherry coke would be great. (smiles)
JAMES
JAMES walks off to order her drink. We see that DONNA cups her hands around
her cup of coffee.
DONNA
Madeleine, if I said that you can't really say
a word of this to anyone, not a soul. Not even your aunt or uncle. Would
that be okay with you?
MADELEINE
That sounds like some big secret.
DONNA
It is. James and I knew Laura better than anyone
did. She was in some kind of terrible trouble before she died. Worse then
any of us can imagine.
MADELEINE
JAMES returns and takes a seat next to DONNA. He hands MADELEINE her drink.
DONNA
Well I rather not say to much about things we
can't prove yet.
MADELEINE
You said you can't prove it 'yet'?
DONNA
We loved Laura. We're afraid that the truth might
never come out or that the person who killed her might never be caught.
We've sworn on her memory not to let that happen.
MADELEINE
(takes her glasses off) My god, you know who did
it?
JAMES
DONNA
We wanted to talk to you about this because we
need your help.
MADELEINE
What do you want me to do?
DONNA
Laura used to talk about a secret hiding place
she had somewhere in her house. Maybe in her room. I'm not really sure
but nobody else knew about it. We think she might have left something there
that could lead us to the killer.
MADELEINE
(nods yes) I'll help you.
DONNA
JAMES and DONNA look at each other, happy that MADELEINE will help.
MADELEINE
The day before she died ... I had a feeling that
Laura was in trouble. I've always felt close to her that's why I came here.
You know, I didn't really know Laura that well but I feel like I do.
JAMES, DONNA and MADELEINE collect their jackets, get up from the booth
and head out of the diner.
MADELEINE
My folks were always telling us how much alike
we were.
TUNE ENDS: COUNTRY #3 52K
TUNE: HANK'S THEME 39K
As they leave, we PAN to the booth next to them right behind where MADELEINE
was sitting. HANK is seated there holding his double three domino, drinking
coffee and with a newspaper set in front of him. He has been listening in
on their conversation. Our POSITION moves so that we can see HANK'S face
and still see DONNA, MADELEINE and JAMES leave in the background.
DONNA
Will you call me if there's anything I can do.
MADELEINE
I don't think it'll be any problem.
JAMES
We watch JAMES, DONNA and MADELEINE leave out the front door. They pass
NORMA and SHELLY as they enter the diner.
MADELEINE
DONNA
SHELLY giggles. SHELLY and NORMA both enter with a smile and sporting new
hairdos.
SHELLY
We're like a couple of refuge beauty queens.
NORMA
Oh you don't know how really good looking your
are Shelly.
SHELLY
Well I never felt so glamorous when I chip a nail
slinging plates around.
Unaware, NORMA and SHELLY nearly walk by HANK. HANK reaches out and grabs
NORMA'S coat.
HANK
NORMA
HANK
NORMA
TUNE ENDS: HANK'S THEME 39K
TUNE: COUNTRY #3 52K
SHELLY pats NORMA'S arm and walks off.
HANK
NORMA
HANK
That Leo ... so impulsive. Not much meat on her
though. (he and NORMA smile) Hey I don't expect a kiss or anything. I figure
I got to earn my way back into your heart ... but Norma ... I intend to
try. So ... where do I start?
NORMA
Washing dishes would be fine.
HANK
May I finish my coffee first ... boss?
He picks up his cup of coffee and slurps it down.
TUNE ENDS: COUNTRY #3 52K
CUT TO:
TUNE: LOVE THEME FROM TWIN PEAKS
INT. DOUBLE R DINER - DAY
From the kitchen, we see SHELLY peering at NORMA and HANK. She turns to
a nearby television that is showing the program 'Invitation to Love'.
CUT TO:
TELEVISION
We view the program 'Invitation to Love'. We see MONTANA, the brute, grabbing
the front of CHET'S, the nerd, suit and jerking him around. We also see
JARED, the father, tied with a gag in his mouth. MONTANA says something
to CHET, that we can't hear, and then starts to broadly slap him across
the face. MONTANA throws CHET to the ground and boldly laughs. The show
ends by displaying its title written in flowing script on a note laying
in a blue background.
TUNE ENDS: LOVE THEME FROM TWIN PEAKS
FADE OUT:
FADE IN:
INT. DR. JACOBY'S OFFICE - DAY
We view CLOSEUPS of BETTY BRIGGS and MAJOR GARLAND BRIGGS as they speak
about their son BOBBY.
BETTY
He's been spending more and more of his time alone
in his room.
MAJOR BRIGGS
It's become much more difficult to engage him
in conversation.
BETTY
MAJOR BRIGGS
We've been told by the school that his attendance
has become erratic at best.
BETTY
Then there's the matter of public fighting both
at the Roadhouse and at the funeral.
We see DR. LAWRENCE JACOBY laying back in his office chair with his hands
behind his head.
DR. JACOBY
Are you using drugs Bobby?
BOBBY is sitting slumped on the side corner of the couch playing with a
zipper on his jacket cuff.
BOBBY
MAJOR BRIGGS
BETTY
BOBBY
Well that's not what he meant.
BETTY
BOBBY
DR. JACOBY
BOBBY
DR. JACOBY
Well that's not for me to say.
BOBBY
Have you ever killed anybody?
DR. JACOBY
BOBBY
My father has. (points to him)
MAJOR BRIGGS
BETTY
BOBBY
DR. JACOBY
Perhaps I should spend uh ... a few minutes with
Bobby alone.
MAJOR BRIGGS
This is supposed to be family counseling.
BOBBY sighs.
DR. JACOBY
(sits up) Well then I'll need to spend some time
with each member of the family alone but uh ... Bobby first.
MAJOR BRIGGS
BETTY
MAJOR BRIGGS and BETTY collect their coats and head toward the door. BOBBY
yawns in boredom. Before they exit, MAJOR BRIGGS and BETTY turn to look
at their son. DR. JACOBY gets up from his chair and walks over to BOBBY.
BOBBY plays with the zipper on his jacket cuff again.
DR. JACOBY
Bobby lets just cut the crap, huh. Okay, so your
parents don't understand what your going through right now.
BOBBY
(laughs slightly) That's a good one.
DR. JACOBY
BOBBY
(mockingly; smartass) Okay lets talk about Laura.
DR. JACOBY
Bobby what happened the first time that ... you
and Laura made love?
DR. JACOBY gets his attention. BOBBY stops fiddling and turns to him.
BOBBY
What the hell kinda question is that?
DR. JACOBY
(leans down to him) Bobby did you 'cry'?
BOBBY
(little angered) Did I what?
BOBBY stands up and faces him.
DR. JACOBY
And then what did Laura do. Did she laugh at you?
TUNE: LAURA PALMER'S THEME
BOBBY turns and walks away from DR. JACOBY. DR. JACOBY walks up behind him
and puts a hand on his shoulder.
DR. JACOBY
We were very sad when Laura died.
BOBBY
DR. JACOBY
BOBBY lays down on DR. JACOBY'S lay back chair.
BOBBY
DR. JACOBY takes a seat next to BOBBY.
DR. JACOBY
What else did she tell you? Did she tell you there
... there was no goodness in the world?
BOBBY
She said ... people try to be good but their really
sick and rotten. Her most of all ... and every time she tried to make the
world a better place ... something terrible came up inside her and pulled
her back down into hell. Took her deeper and deeper into the blackest nightmare.
Every time it got harder to go back up to the light.
DR. JACOBY
Did you sometimes have the feeling that Laura
was harboring some ... awful secret?
BOBBY
DR. JACOBY
Bad enough that she wanted to die because of it?
BOBBY
DR. JACOBY
Bad enough that it drove her to consciously try
to find people's weakness and prey on them, tempt them, break them down,
make them do terrible, degrading things?
BOBBY
DR. JACOBY
Laura wanted to corrupt people because that how
she felt about herself.
BOBBY
DR. JACOBY
Is that what happened to you Bobby?
BOBBY starts to cry but he tries to suppress it.
DR. JACOBY
Is that what Laura did to you?
BOBBY
(emotional) She wanted so much. She made me sell
drugs so she could have'em.
MORPH TO:
EXT. HAWK - DAY
As the music soars we watch a hawk soaring through sky.
MORPH TO:
EXT. MOUNTAINS - DAY
We view distant mountains.
MORPH TO:
EXT. WOODS - DAY
DEPUTY HAWK, SHERIFF TRUMAN, AGENT COOPER and DR. HAYWARD are hiking in
the woods. HAWK leads the way. COOPER wears an FBI labeled jacket. SHERIFF
TRUMAN carries a rifle. DR. HAYWARD, wearing a hat and coat, follows several
paces behind using a large wooden pole, as a hiking stick, to help him along.
The area of forest they are walking through is desolate, hilly and has many
pine trees.
HAWK
SHERIFF TRUMAN
(jokingly) Watch your step there city boy.
COOPER
CUT TO:
EXT. RAVEN - DAY
We watch a raven land and perch onto a tree branch.
CUT TO:
EXT. WOODS - DAY
Leading the group, HAWK finds a very young pine tree snapped. A sign that
someone or something has passed by. HAWK put a hand up for them to stop.
SHERIFF TRUMAN
HAWK looks it over, turns to the group and then walks on. The group follows.
CUT TO:
EXT. CABIN - DAY
From a distance, we view a log cabin surrounded by the woods.
CUT TO:
EXT. WOODS - DAY
All but DR. HAYWARD, who is still trying to catch up, stand together looking
at the cabin.
COOPER
Not the cabin we're looking for.
HAWK
SHERIFF TRUMAN
Might want to hang back a step doc.
DR. HAYWARD
Huh, might want to anyway.
DR. HAYWARD stops just short of them and leans on his pole as he breathes
heavily. SHERIFF TRUMAN turns to check on him and shows some concern. DEPUTY
HAWK pulls his gun out of his holster.
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
EXT. CABIN - DAY
They all reach the side of the cabin and slowly, with guns drawn, walk outside
the exterior log wall toward the front of the cabin. As they pass a window
they duck down slightly. Unexpectedly, the 'LOG LADY' MARGARET LANTERMEN,
holding her log, walks around the corner and meets them face to face. Caught
off guard HAWK, TRUMAN and COOPER all point their weapons at her.
LOG LADY
'Bout time you got here. They move so slowly when
their not afraid.
She walks off around the corner. Under the porch of the cabin, she turns
and sees that HAWK, COOPER, SHERIFF TRUMAN and DR. HAYWARD are hanging back
a distance away.
LOG LADY
Come on then. My log does not judge.
She walks into her cabin.
CUT TO:
INT. LOG LADY'S CABIN - DAY
From inside the cabin we watch SHERIFF TRUMAN put his rifle down and DR.
HAYWARD puts his walking stick down on a bench just outside the door way.
A teapot can be heard whistling from the stove. HAWK, SHERIFF TRUMAN and
DR. HAYWARD enter but stand near the door. COOPER stands underneath the
doorway, just behind them. The LOG LADY pours the hot water from the kettle
into a teapot.
LOG LADY
I've got tea. I've got cookies. No cake.
COOPER
That's very kind of you ma'am but I don't believe
that we...
HAWK puts his hand up to silence COOPER.
HAWK
LOG LADY
Sugar. The owls won't see us in here.
HAWK turns to SHERIFF TRUMAN, nods and moves to take a seat at the table.
DR. HAYWARD follows suit.
DR. HAYWARD
(removes his hat) Cup'a tea would be very nice.
COOPER and SHERIFF TRUMAN are still at the door. COOPER moves to talk to
him but is interrupted by ...
LOG LADY
Shut your eyes and you'll burst into flames.
SHERIFF TRUMAN
(smiles) Thanks Margaret.
The LOG LADY places the teapot onto the table and sits down. SHERIFF TRUMAN
and COOPER move to take a seat at the table.
LOG LADY
COOPER moves to grab a sugar cookie from a nearby tray. The LOG LADY slaps
his hand as he touches a cookie.
LOG LADY
Wait for the tea. The fish aren't running.
HAWK grins at him.
SHERIFF TRUMAN
You've been expecting us Margaret?
LOG LADY
Your two days late ... but that's your concern.
My log saw something. Something significant.
COOPER
LOG LADY
Tea first. Then be ready.
She pours each of them a cup of tea.
SHERIFF TRUMAN
(after she pours him some tea) Thanks.
LOG LADY
My husband was a logging man.
COOPER
LOG LADY
He met the devil. Fire is the devil hiding like
a coward in the smoke.
DR. HAYWARD
It was the day after the wedding. Wasn't it Margaret?
HAWK
The wood holds many spirits. Doesn't it Margaret?
The LOG LADY picks up her log off the floor beside her, puts it in her arms
and holds it towards COOPER.
LOG LADY
COOPER looks to SHERIFF TRUMAN, who nods to him to go on. COOPER bends slightly
toward the log and says ...
TUNE: WALKING IN THE DARK (MIX)
COOPER
What did you see that night? The night Laura Palmer
was killed.
LOG LADY
Sshhh, (pats the log) I'll do the talking. Dark.
Laughing. The owls were flying. Many things were blocked. Laughing. Two
men, two girls. Flashlights pass by in the woods over the ridge. The owls
were near. The dark was-was pressing in on her. Quiet then. Later, footsteps.
One man pass by. Screams far away. Terrible, terrible. One voice.
COOPER
LOG LADY
Girl. Further up, over the ridge. The owls were
silent.
TUNE: WALKING IN THE DARK (MIX)
CUT TO:
EXT. WOODS - DAY
DEPUTY HAWK, SHERIFF TRUMAN, AGENT COOPER and DR. HAYWARD are again hiking
in the woods. HAWK leads the way and DR. HAYWARD still follows several paces
behind. A woodpecker pecking and a raven cawing can be heard.
SONG: INTO THE NIGHT
COOPER
The two girls were Laura and Ronette.
SHERIFF TRUMAN
The two men Jacques ... maybe Leo.
COOPER
SHERIFF TRUMAN
HAWK stops and they all follow suit.
HAWK
They all hear a song drifting through the air.
HAWK
CUT TO:
EXT. PERCHED RAVEN - DAY
We watch a raven, perched high on a tree top, fly off.
CUT TO:
EXT. WOODS - DAY
We see AGENT COOPER look down at a photograph he is carrying in his hand.
It is the photograph of the cabin with red drapes from JACQUES apartment.
CUT TO:
PHOTOGRAPH
We see COOPER'S POV of the photograph of a log cabin with red drapes in
its windows.
CUT TO:
EXT. WOODS - DAY
We view AGENT COOPER'S profile. One by one, SHERIFF TRUMAN, DEPUTY HAWK
and DR. HAYWARD step into view. The end result is a stacked view of each
of their profiles as they look at the cabin.
CUT TO:
EXT. CABIN - DAY
We view the front of the cabin. It looks exactly like the one in the photograph.
CUT TO:
RAVEN
We view a CLOSEUP of a raven's eye. We ZOOM OUT as we hear the song.
SONG LYRICS
Into the night. I cry out. I cry out your name.
CUT TO:
EXT. JACQUES RENAULT'S CABIN - DAY
They have come upon the cabin they were looking for. The cabin from the
photograph in JACQUES apartment. Just below it, near a stone foundation,
HAWK and TRUMAN point their guns at the ready. COOPER removes his gun from
his holster. SHERIFF TRUMAN gives DR. HAYWARD a hand signal to stay put.
DR. HAYWARD takes a seat on the ground to catch his breath as the rest move
toward the cabin with their guns drawn.
CUT TO:
INT. JACQUES RENAULT'S CABIN - DAY
The song comes to an end but the record player, with an automated stylus,
replays the song it has been playing. We watch HAWK, SHERIFF TRUMAN and
COOPER burst into the cabin with their guns drawn. They quickly scan the
room, find it empty and puts their guns away before scattering throughout
the cabin.
SONG LYRICS
Into the night. Shadows fall, shadows ...
COOPER moves to the record player. Using his tweezers he lifts the stylus
from the record, puts it in its cradle and says ...
SONG ENDS: INTO THE NIGHT
COOPER
And there's always music in the air.
SHERIFF TRUMAN lifts the cover off an object, where a bird can be heard,
and finds a mynah bird in its bird cage. The bird cage has a name plaque.
He reads it out loud.
SHERIFF TRUMAN
DEPUTY HAWK has moved over to a camera on a tripod. He opens the camera.
HAWK
Using a handkerchief, HAWK removes the film canister. We see COOPER put
on some latex gloves and move to the floor to inspect a roll of twine. HAWK
has now moved to another area and finds ...
HAWK
A cuckoo clock go off but the cuckoo clock bird is not popping out like
it should. SHERIFF TRUMAN walks up to it, opens one of the little doors
and a bunch of poker chips fall out. Kneeling on the floor, COOPER watches
one of the poker chips roll under a chair. COOPER walks over to it and picks
it up.
CUT TO:
TUNE: LOVE THEME FROM TWIN PEAKS
POKER CHIP
We see a CLOSEUP of the blue poker chip. Its from One-Eyed Jacks and it
has a notch in it at the 'J'. This is the chip where the fragment found
in LAURA'S stomach was taken from.
COOPER
TUNE ENDS: LOVE THEME FROM TWIN PEAKS
FADE OUT:
FADE IN:
SONG: HOME ON THE RANGE (SUNG BY ICELANDERS)
EXT. GREAT NORTHERN HOTEL - NIGHT
We view the glowing lights of the hotel in the dark.
CUT TO:
INT. BENJAMIN HORNE'S OFFICE - NIGHT
In the dark, we see someone seated at BENJAMIN'S desk smoking.
CUT TO:
INT. TIMBER ROOM - NIGHT
We view a sign above the double doors to the room. It says 'Timber Room'.
We PAN down to see a couple, MR. and MRS. SCHOLPF, open the doors to the
room. A HOSTESS, dressed in a Viking costume and wearing a Viking helmet,
stands by the door to greet and check people into the party. Behind her
we see the party being held to welcome the Icelandic business group to Twin
Peaks.
MR. SCHOLPF
Good evening, Mr. and Mrs. Scholpf.
The HOSTESS looks over the sheet and nods for them to enter. CATHERINE MARTELL
and PETE MARTELL are next to be greeted.
HOSTESS
CATHERINE
Catherine Martell and spouse.
PETE looks at her, bothered by the way she addressed him. They walk into
the room.
PETE
Go easy on the sauce tonight okay Cathy.
CATHERINE immediately picks up two glasses of champagne from a nearby tray
a waiter is holding. She downs one of the glasses, turns to PETE and says
...
CATHERINE
Couple of belts and even you may start to look
good to me.
She walks off. PETE, in his good natured way, just smiles. He looks around
the room.
CUT TO:
INT. TIMBER ROOM - NIGHT
We see PETE'S POV of the people singing by a piano.
SONG ENDS: HOME ON THE RANGE (SUNG BY ICELANDERS)
The song ends and people clap. We see that TRUDY was playing the piano.
CUT TO:
INT. TIMBER ROOM - NIGHT
At the buffet table MAJOR BRIGGS, as he serves himself food, speaks to the
Icelandic business group leader, MR. EINAR THORSON.
MAJOR BRIGGS
Of course the modern age has changed forever the
way your people live, Mr. Thorson. It would be my guess that there still
remains a tremendous vestigial of interest in the legends and folklore
of ancient Iceland.
MR. THORSON
CUT TO:
INT. TIMBER ROOM - NIGHT
JERRY talks to HEBA, a tall, beautiful blonde, who stands against a log
column holding a plate of food.
JERRY
Did you know that was an American figure of speech?
HEBA
No Yerry (accent mispronounces).
JERRY
Hepa, Hepa. You've never heard that before?
HEBA
CUT TO:
INT. TIMBER ROOM - NIGHT
We see LELAND enter the room. The HOSTESS smiles and nods to him. Expressionless,
he scans the party and brushes his hand through his hair.
CUT TO:
INT. TIMBER ROOM - NIGHT
Again, we watch JERRY talking to HEBA.
JERRY
Did you realize the incredible potential that
could result from our taking a mutual dip in each other's respective gene
pools. (HEBA laughs) Heba, I want to cook for you.
CUT TO:
INT. TIMBER ROOM - NIGHT
In bursting laughter, we see BENJAMIN talking to several members of the
Icelandic GROUP. From the bar, we see CATHERINE down another glass of champagne.
She grabs another glass and walks over to him.
BENJAMIN
So he says. What do you get when you cross a Norwegian
with a Swede? A socialist who wants to be king. (group laughs)
CATHERINE is now beside BENJAMIN, listening.
BENJAMIN
Well I can remember it was I think oh ... somewhere
in the '50s I came ... (CATHERINE tries to get his attention by clearing
her throat) I came through your country. Beautiful, beautiful. Not many
trees though you know but ...
From her glass, CATHERINE pours a little bit of her champagne on BENJAMIN'S
shoe. She gets his attention and group's as well as they all quiet down.
BENJAMIN looks down at his shoe and taps his wet foot. He turns to look
at CATHERINE and then back to the GROUP.
BENJAMIN
GROUP
(severally) Of course ... yeah ... sure.
BENJAMIN and CATHERINE walk together away from the GROUP.
BENJAMIN
Meet me at my office. Give me uh ... two minutes
to break away.
CATHERINE
BENJAMIN
He walks away from her. We PAN to see AUDREY, leaning against a wood column.
She has seen the incident with her father and CATHERINE. She watches CATHERINE
walk down the hallway toward her father's office. We hear BENJAMIN in the
background.
BENJAMIN
Ah, Thor. I've been meaning to ask you. Are you
familiar with the work of Knut Hamsun?
CUT TO:
TUNE: THE BOOKHOUSE BOYS (2:12 - 2:31)
INT. GREAT NORTHERN HOTEL - NIGHT
AUDREY moves down the hall near the HORNE residency and pulls a ring in
bedded in the wall that reveals a small panel door.
CUT TO:
INT. AUDREY'S SECRET SPY HOLE - DAY
She enters a small space within the walls between the hallway and the HORNE
residency. Out of sight but in BENJAMIN HORNE'S office we hear BENJAMIN
and CATHERINE as AUDREY moves within the small space to her spy hole. AUDREY
removes a wood panel from the wall to reveal a knot hole in the wood wall
in the other room.
BENJAMIN
We agreed. No scenes in front of the guests. Lets
keep the melodrama to a minimum. The next thing I know your polishing my
shoes with Dom Perigon. Fill me in. What's eating you?
We see AUDREY'S POV of CATHERINE speaking to BENJAMIN in his office.
CATHERINE
Why do you have this thousand poker chip from
you know where in your pants yesterday? I thought you preferred women with
a certain experience.
She holds it up for him to see. He takes the chip and looks it over as if
he wasn't sure what it was.
BENJAMIN
CATHERINE slaps him across the face with her right hand. We see AUDREY silently
laugh.
BENJAMIN
Its a good luck charm. I thought I lost it. I'm
so relieved ... that you found it.
CATHERINE slaps him across the face with her left hand.
BENJAMIN
Again she slaps him across the face but with her right hand.
CATHERINE
BENJAMIN
BENJAMIN grabs her by the arms and kisses her. They both hug each other,
kiss and CATHERINE lays back on his desk. AUDREY is no longer smiling as
she watches them.
CATHERINE
Oh, lets burn the mill. Lets do it tonight.
BENJAMIN
No my love. We'll give Josie one last chance to
sell, tomorrow. (moves off CATHERINE and stands up) Failing that, I have
retained the services of a qualified professional.
BENJAMIN reaches into his pocket and pulls out a packet of mints and offers
one to CATHERINE.
BENJAMIN
AUDREY replaces the wood slat cover. Disturbed by what she saw and heard,
she laughs to herself.
TUNE ENDS: THE BOOKHOUSE BOYS (2:12 - 2:31)
CUT TO:
SONG: ICELANDER IV
INT. TIMBER ROOM - NIGHT
PETE, holding a glass mug full of milk and wearing a napkin like a bib,
talks to MR. THORSON, who is holding a plate of food.
PETE
Now let me get this straight. Your entire country
is above the timber line.
They are interrupted as JERRY, using a microphone, gets the crowds attention.
HEBA stands behind him in the background.
JERRY
Folks, ladies and gentlemen can I have your attention
please.
SONG ENDS: ICELANDER IV
The singing stops and the crowd quiets down.
JERRY
Can I have your attention.
The microphone crackles. He taps it on a edge of a podium that generates
some amplified distortion but it all clears up. JERRY laughs.
JERRY
First off, I want to thank you all for turning
out to welcome our neighbors from the magical isle of Iceland. (says an
Icelander sentence then repeats it in English) We are all Icelanders.
The crowd claps and JERRY laughs. We see LELAND in the crowd listening on.
JERRY
The Ghostwood Estates project is an important
part of our future here in Twin Peaks and there's no one we'd rather ...
TUNE: IN THE MOOD 28K
As JERRY speaks, a big band tune unexpectedly and unintentionally starts
up. People in crowd look around unsure of what is going on. We see that
BENJAMIN and CATHERINE have returned to the party.
JERRY
... have as partners in our future then ... (looks
around) What?
We view LELAND cringe and moan at hearing the big band tune. He irrationally
begins to dance, holding his hands in place as if he was dancing with a
partner. Alone on the dance floor, people start to look at him. BENJAMIN
sees him and his furious. He doesn't want LELAND to upset or frighten his
guests so he tells CATHERINE ...
BENJAMIN
Dance with him. (she gives him a questioning look)
It is serious. Dance with him.
CATHERINE complies. She takes off her shoes, moves over to LELAND, grabs
his hands and starts to dance with him. People watch them and several of
them can be heard. BENJAMIN waves to JERRY to come over.
PARTY GUEST #1
Confused, JERRY puts the microphone down and walks over to BENJAMIN.
PARTY GUEST #2
PARTY GUEST #3
BENJAMIN
(to JERRY, now beside him) Get Jacoby, get a net
but get him (points of LELAND) out of my life.
LELAND stops dancing but he puts his hands to his head and starts to cry.
CATHERINE doesn't know what to do at first but, being a little drunk, mimics
him by placing her hands to her head. With both hands on her head she starts
to pat her head with both hands treating LELAND'S distress like some odd
dance move. HEBA, dancing with JERRY, sees them and start to duplicate the
dance. Soon everyone is doing it including BENJAMIN, who is dancing with
a women from the Icelandic group. Behind a wood column, AUDREY cries at
the sight of LELAND suffering on the dance floor.
CUT TO:
INT. BENJAMIN HORNE'S OFFICE - NIGHT
In the dark, we see someone seated at BENJAMIN desk smoking.
TUNE ENDS: IN THE MOOD 28K
CUT TO:
EXT. PALMER HOUSE - NIGHT
We view the front of the house.
CUT TO:
INT. PALMER HOUSE - NIGHT
In her striped pajamas, we watch MADELEINE quietly walk down the stairs
carrying a shoe box. In the dark living room, she takes a seat on the couch,
turns on a nearby lamp, picks the up phone and dials.
MADELEINE
Donna, its Mady. I was looking in Laura's room
and I remembered when we were younger she used to hide cigarettes in her
bed post. The top of one of the posts screws off. I found a tape in her
hiding place.
Speaking from upstairs, we can hear SARAH.
SARAH
Leland, where'd you ... where'd you go?
MADELEINE
I'll meet you and James tomorrow okay ... and
bring a tape recorder.
TUNE: LAURA PALMER'S THEME
MADELEINE quietly hangs up the phone, turns the light off and walks off.
In the background behind her we slowly ZOOM IN on the homecoming picture
of LAURA PALMER.
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
TUNE: IN THE MOOD 28K
INT. GREAT NORTHERN HOTEL - NIGHT
We watch BENJAMIN walking down the hallway to his office.
CUT TO:
INT. BENJAMIN HORNE'S OFFICE - NIGHT
In the dark, BENJAMIN walks into his office and closes the door behind himself.
He walks over to his desk and turns on the desk lamp. We see that the mysterious
person smoking in the dark is JOSIE PACKARD.
BENJAMIN
Did anyone see you come in here?
JOSIE
He takes a seat beside her on the corner of his desk.
BENJAMIN
You do realize the risk if anyone sees us.
TUNE ENDS: IN THE MOOD 28K
JOSIE
This was hidden in her desk where you said it
would be.
BENJAMIN picks up the ledger book, opens it and looks it over.
BENJAMIN
JOSIE
BENJAMIN
He picks up her hand and kisses it.
CUT TO:
TUNE: BAD DEEDS 34K
INT. JOHNSON HOUSE - NIGHT
We see SHELLY light up a cigarette by using the stove burner. Wearing a
robe, she nervously awaits the return of LEO. She looks out the window and
then takes a seat at the kitchen table where her handgun lays.
CUT TO:
EXT. JOHNSON HOUSE - NIGHT
In a truck, LEO parks, gets out and walks to the outside wall of his house.
He lifts a latch that opens a storage compartment built into the outside
wall. He pulls out two 5 gallon gasoline cans. He closes the storage doors,
picks up the gas cans, walks over to his truck and puts them in. As he turns
around, he is suddenly punched in the face, the stomach, again in the face
and then is jerked to the ground. LEO, flat on his back, lays quietly as
HANK, in a black leather jacket, stands over him grabbing at LEO'S jacket.
HANK
I told you to mind the store Leo not open your
own franchise.
LEO
HANK
Do as your told Leo. Next time, you watch me take
your little chippy apart before I kill ya'.
HANK lets go of his jacket and walks away nearly stepping on his head. LEO
coughs trying to catch his breath.
CUT TO:
INT. JOHNSON HOUSE - NIGHT
LEO walks inside through the kitchen entrance. As he enters we see that
his face has been cut up and is a little bloody. He moves to the kitchen
sink. SHELLY sees him and, shocked and concerned, rushes to him.
LEO
SHELLY
Honey what happened? Are you okay?
LEO
JUST GET ME A DAMN BEER! (shoves her to the ground)
SHELLY scrambles for the gun in the pocket of her robe. Still on the ground,
she pulls it out, holds it securely between both of her hands and aims it
at LEO.
LEO
LEO sees her with the gun and nearly starts to laugh.
LEO
(smiling) What the hell are you doing with that?
SHELLY
Your not going to hurt me again. Don't touch me.
Don't come near me Leo.
LEO
SHELLY cocks the gun to fire by pulling the hammer back with her thumb.
LEO
You haven't got the guts.
LEO starts to move towards her. SHELLY closes her eyes and pulls the trigger.
It discharges and hits LEO. Loudly, we hear LEO grunt like an animal in
pain. SHELLY throws the gun to the floor, covers her eyes and cries out
in fear. We hear the kitchen door slam shut.
CUT TO:
CEILING LIGHT FIXTURE
We view a CLOSEUP of the kitchen light fixture hanging from the ceiling as it
swings back and forth having been disturbed by the ruckus.
TUNE ENDS: BAD DEEDS 34K
MORPH TO:
EXT. WATER FALL - NIGHT
Lit by moonlight, we watch and listen to the cascading water fall.
CUT TO:
INT. GREAT NORTHERN HOTEL - NIGHT
We see DALE COOPER in his FBI jacket, returning from his hike in the woods,
walking down the hallway to his his hotel room. As he walks up the hallway
the Icelander group start to loudly sing again.
SONG: ICELANDER II 21K
Completely frustrated, he throws his hands out at having to deal with another
night of their loud singing. COOPER reaches his door and notices it is slightly
open. He immediately backs up, draws his gun and points it forward as he
slowly enters his dark hotel room.
CUT TO:
INT. DALE COOPER'S HOTEL ROOM - NIGHT
Inside his room, he notices a figure at his bed. The Icelander group finish
their song and clap.
SONG ENDS: ICELANDER II 21K
COOPER trains his gun on the figure and says ...
COOPER
Reach over and turn on the light.
The lamp near the bed is turned on and we see that it is AUDREY, undressed,
in his bed under the sheets. She has tears in her eyes. COOPER raises his
gun with a look of shock.
TUNE: LOVE THEME 25K
AUDREY
Don't make me leave. Please, don't make me leave.
TUNE ENDS: LOVE THEME 25K
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: