Episode 8 - May The Giant Be With You
FADE IN:
INT. LOG LADY’S CABIN - DAY
MUSIC: CALL OF THE BLACK LODGE
272K
As she speaks directly to us, the ‘LOG LADY’ MARGARET LANTERMEN holds her wooden
log in her arms like a baby. The LOG LADY sits with her back to the fireplace of her cabin and
beside a table.
LOG LADY
Hello again. Can you see through a wall? Can you
see through human skin? X-rays see through solid, or so-called solid objects.
There are things in life that exist, and yet our eyes cannot see them.
Have you ever seen something startling that others cannot see? Why are
some things kept from our vision? Is life a puzzle? I am filled with questions.
Sometimes my questions are answered. In my heart, I can tell if the answer
is correct. I am my own judge. In a dream, are all the characters really
you? Different aspects of you? Do answers come in dreams? One more thing:
I grew up in the woods. I understand many things because of the woods.
Trees standing together, growing alongside one another, providing so much.
I chew pitch gum. On the outside, let’s say of the ponderosa pine, sometimes
pitch oozes out. Runny pitch is no good to chew. Hard, brittle pitch is
no good. But in between there exists a firm, slightly crusted pitch with
such a flavor. This is the pitch I chew.
MUSIC ENDS: CALL OF THE BLACK LODGE
272K
FADE OUT:
INTRO:
FADE IN:
MUSIC: TWIN PEAKS THEME
CREDITS run with the scenes of a bird in a tree, the mill machinery at work,
the road into town with the welcome sign, the hotel by the falls and the river.
MUSIC ENDS: TWIN PEAKS THEME
FADE OUT:
FADE IN:
EXT. GREAT NORTHERN HOTEL - NIGHT
An establish shot. We view the hotel perched on the edge of cliff beside the roaring
cascade of water from the falls.
CUT TO:
INT. DALE COOPER’S HOTEL ROOM - NIGHT
On the floor near the foot of the bed, FBI SPECIAL AGENT DALE COOPER, dressed in a
tuxedo but without the jacket, is sprawled out face up. Bleeding from his abdomen,
COOPER lays motionless with his eyes closed.
DEPUTY ANDY BRENNAN’S voice can be heard from the telephone.
ANDY (OFF SCREEN)
(from the phone) Agent Cooper? Can you hear me?
Its Andy.
INSERT: CLOSE-UP PHONE
MUSIC: LAURA PALMER’S THEME
We FOCUS on a CLOSE-UP of the phone with the receiver laying beside it.
ANDY (OFF SCREEN)
(from the phone) Agent Cooper, its Andy.
BACK TO SCENE:
We FOCUS on AGENT COOPER laying on the floor. COOPER’S white dress shirt has two other
bullet holes from which no blood emerges.
ANDY (OFF SCREEN)
(from the phone) Can you hear me? Agent Cooper?
MUSIC ENDS: LAURA PALMER’S THEME
We FOCUS on the open doorway to COOPER’s room. A tall and thin man, an OLD WAITER,
slowly walks into view carrying a tray with a glass of warm milk that COOPER had
ordered. The OLD WAITER walks into the doorway and stops.
OLD WAITER
CLOSE ON: COOPER’S FACE
We FOCUS on a CLOSE-UP of AGENT COOPER’S face. With his eyes closed, COOPER’S
eyes squirm and his lips move.
BACK TO SCENE:
Slowly the OLD WAITER, still holding the tray, walks up to COOPER. Standing beside
him, the OLD WAITER bends slightly as he peers down at COOPER.
OLD WAITER
How ya’ doin’ down there?
COOPER moves his head slightly and cracks his eyes open to a small slit.
OLD WAITER
ANDY (OFF SCREEN)
(from the phone) Agent Cooper?
COOPER
Would you put it on the table please. And would you call a doctor.
OLD WAITER
The OLD WAITER slowly walks over to the telephone. The OLD WAITER puts the tray with the
glass of milk down beside the phone. Annoyed, the OLD WAITER sternly looks at the phone
as he hears ANDY constantly calling out.
ANDY (OFF SCREEN)
(from the phone) Are you all right? Can you hear
me? Agent Cooper? Agent Cooper? Agent Cooper?
INSERT: CLOSE-UP PHONE
We FOCUS on a CLOSE-UP of the telephone receiver.
ANDY (OFF SCREEN)
(from the phone) Its Andy, can you hear me? Are
you all right? Agent Cooper?
BACK TO SCENE:
Annoyed by the phone, the OLD WAITER shakes his head slightly. The OLD WAITER picks
up the receiver and tries to hang up the phone by putting the receiver in its cradle.
ANDY (OFF SCREEN)
(from the phone) Are you all right? Agent Cooper?
The OLD WAITER puts the receiver in the cradle crooked so it won’t hang up properly.
ANDY (OFF SCREEN)
(from the phone) Agent Cooper? Agent Cooper? Its
Andy. Its An ...
Fiddling with the receiver, the OLD WAITER pushes the receiver down until
it contacts one of the switches that disconnects the call. The OLD WAITER slowly turns
in place and bends over slightly to COOPER.
OLD WAITER
COOPER slowly turns his head toward the OLD WAITER and opens his eyes slightly.
COOPER
OLD WAITER
COOPER
The OLD WAITER gives COOPER a confused look.
COOPER
OLD WAITER
(confused) Uhhhh. Its hung up, the phone.
COOPER
OLD WAITER
The OLD WAITER turns around and grabs a pen and a small pad of paper, the
bill. The OLD WAITER turns back around, bends down and holds out the pen and the bill
towards COOPER. COOPER raises his left hand and grabs the pen.
COOPER
Does this include a gratuity?
OLD WAITER
COOPER signs the tab.
OLD WAITER
Thank you. Thank you kindly.
The OLD WAITER straightens up. The OLD WAITER turns to look at the tray and then turns
back to COOPER.
OLD WAITER
The milk will get cool on you. Pretty soon.
COOPER
Smiling, the OLD WAITER slowly heads toward the door.
The OLD WAITER stops and turns to COOPER.
OLD WAITER
COOPER moves his head and opens his eyes slightly to look at the OLD WAITER. The OLD
WAITER gives COOPER a thumbs up handsign. COOPER produces a tiny grin. The OLD WAITER
winks at COOPER. Smiling, the OLD WAITER turns back to the door, slowly
heads out of the room and out of view down the hallway.
COOPER looks at the ceiling.
A moment later the OLD WAITER returns and steps back inside the room.
OLD WAITER
(smiling) I’ve heard about you.
COOPER moves his head to look at the OLD WAITER. Again, the OLD WAITER gives COOPER
a thumbs up handsign. COOPER slowly moves his left hand up and gives the OLD WAITER a thumbs
up handsign also. Smiling, the OLD WAITER turns around, leaves the room and
moves out of sight down the hallway.
Once again, the OLD WAITER returns to stand in the doorway. The OLD WAITER winks and
flashes a thumbs up handsign. COOPER slowly lifts his left hand and waves at the
OLD WAITER with his index finger. The OLD WAITER nods, winks, turns and walks off down
the hall out of sight.
COOPER lays motionless on the floor. Suddenly, a RINGING can be heard.
SOUND EFFECT: SPIRIT PRESENCE RINGING 20K
A ghostly apparition of a GIANT man walks into the room and stands beside
COOPER. The GIANT loses his ghostly form and appears solid. The room
becomes dark. A bright spotlight falls on COOPER and the GIANT.
GIANT
I will tell you three things.
COOPER’S eyes open slightly.
GIANT
If I tell them to you and they come true, then will you believe me?
COOPER
GIANT
COOPER
The GIANT shakes his head gently from side-to-side.
GIANT
The question is, where have you gone? The first thing I will tell you is,
there’s a man ... in a smiling bag.
COOPER
(repeats) Man in a smiling bag.
GIANT
Second thing is, the owls are not what they seem.
Third thing is, without chemicals ... he points.
COOPER
What do these things mean?
GIANT
This is all I am permitted to say. Give me your
ring. I will return it to you when you find these things to be true.
The GIANT bends down. COOPER raises his left hand. The GIANT grips COOPER’S
hand and slowly removes his ring from COOPER’S pinkie finger.
GIANT
COOPER
GIANT
One last thing. Leo locked inside hungry horse.
There’s a clue at Leo’s house.
The GIANT looks at COOPER’S bullet wound.
GIANT
You will require medical attention.
COOPER gently nods his head for yes. The GIANT returns into a ghostly
apparition and disappears. The RINGING sound stops and the lights in the room
return to normal.
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING 20K
COOPER remains motionless on the floor.
CUT TO:
EXT. ONE-EYED JACKS - NIGHT
An establish shot. We view the large sign of a jack, from the playing card, with a neon flashing
‘J’ and one pulsating, buzzing neon eye.
SOUND EFFECT: BUZZING EYE 14K
CUT TO:
INT. ONE-EYED JACKS - NIGHT
In the tiny corridor between the door to the room and the main room, BENJAMIN HORNE knocks on the wall.
BENJAMIN
MUSIC: LAURA PALMER’S THEME
AUDREY scampers from the chair she was sitting on and jumps onto the bed.
AUDREY closes the red curtains that surround the tall bed posts and grips the
seam between them tightly.
BENJAMIN enters the main room.
BENJAMIN
Come on. Lets have a look at the new girl.
BEN moves to the bed and tries to open the curtains. BEN finds the seam and
sticks one of his hands inside. AUDREY slaps at BEN’S hand.
BENJAMIN
MUSIC ENDS: LAURA PALMER’S THEME
CUT TO:
INT. BLACKIE’S OFFICE - NIGHT
BLACKIE ‘THE BLACK ROSE’ O’REILLEY sits at her desk with JERRY HORNE standing nearby.
JERRY
BLACKIE
MUSIC: HOLDING OUT 11K
BLACKIE
Why’s he holding out on me?
JERRY
BLACKIE
Why’s he holding out on me?
JERRY
A little frightened, BLACKIE backs up in her chair.
JERRY
Who’s holding out on who?
BLACKIE
JERRY takes a seat in front of BLACKIE’S desk.
JERRY
JERRY tilts the lamp shade of the lamp sitting on BLACKIE’S desk to shine light onto
BLACKIE’S face. BLACKIE cringes slightly. JERRY looks BLACKIE over.
JERRY
You used to be so pretty. Blackie, Blackie.
JERRY reaches into his jacket pocket and pulls out a tiny bag of heroin.
JERRY kisses the tiny bag, extends it towards BLACKIE and drops it on the desk.
MUSIC ENDS: HOLDING OUT 11K
JERRY gets up to leave the room.
BLACKIE
Before exiting, JERRY turns to BLACKIE and waves. BLACKIE opens a desk drawer and
pulls out a rubber tube.
CUT TO:
INT. ONE-EYED JACKS - NIGHT
MUSIC: LAURA PALMER’S THEME
BENJAMIN, smoking a cigar, paces the floor beside the bed. AUDREY continues
to hold the drapes closed.
AUDREY
I think you should go now.
BENJAMIN
AUDREY
BENJAMIN
Uhm. Alright. If you insist.
MUSIC ENDS: LAURA PALMER’S THEME
MUSIC: THE BOOKHOUSE BOYS (2:12 - 2:31)
BEN walks to door, opens it and then closes it pretending to have left the room.
Holding the seam of the bed curtains, AUDREY listens.
BENJAMIN slowly walks to the bed.
AUDREY turns her head to look at the wall the bed is up against. AUDREY lets go
of the curtain seam and grabs a white mask that is hanging on the wall.
BENJAMIN jerks the bed curtains open.
BENJAMIN
BEN laughs. AUDREY is hiding under the bedspread with only her legs showing.
BENJAMIN
I will huff ... and puff ...
BEN yanks the bedspread away.
BENJAMIN
... and blow your house down.
AUDREY has her face covered with the white mask. AUDREY slowly sits up and moves
to a corner of bed away from her father. BEN reaches out to try to remove the mask.
BENJAMIN
Oh my - my. Aren’t you a sweet thing. Mmm. I gotta
see you. I must see you.
AUDREY slaps at BEN’S hands.
AUDREY
BENJAMIN
Didn’t they tell you who I was?
AUDREY
BENJAMIN
There is a KNOCK at the door.
JERRY (OFF SCREEN)
Ben, its Jerr. We got a situation.
BENJAMIN
JERRY (OFF SCREEN)
Brother Ben, we got a S - N - A - G.
BENJAMIN
Blast, I do have a situation.
JERRY KNOCKS on the door again.
JERRY (OFF SCREEN)
BENJAMIN
Coming Jerr. (to PRUDENCE/AUDREY) I like you.
AUDREY pulls the bed spread to cover her legs.
BENJAMIN
You know how to interest a man. That’s half the
battle. Next time we will play a different game. I will make the rules.
You’ll like it.
BEN walks around to the other side of the bed. AUDREY moves to puts some
distance between herself and BEN.
BENJAMIN
Fun game. Everybody wins.
BENJAMIN looks PRUDENCE/AUDREY over one last time and leaves. BEN straightens his suit
and tie before he exits the room.
MUSIC ENDS: THE BOOKHOUSE BOYS (2:12 - 2:31)
AUDREY moves to the corner of the bed nearest the door. AUDREY lowers the mask from her face,
holds onto the bed post and pushes the red drapes aside. AUDREY is on the verge of crying
as she ponders what she has witnessed.
CUT TO:
EXT. THE GREAT NORTHERN HOTEL - DAY
An establish shot. In the early morning dawn, we FOCUS on the hotel and the nearby falls with the
roaring sound of cascading water.
CUT TO:
INT. DALE COOPER’S HOTEL ROOM - DAY
Sprawled out on the floor, AGENT COOPER open his eyes slightly.
COOPER
Diane, my recorder is on the table. I’m unable
to reach it at this time. I can only hope that I inadvertently pressed
the voice activation button.
INSERT: CLOSE-UP TAPE RECORDER
We FOCUS on a CLOSE-UP of COOPER’S mini tape recorder. The mini tape recorder is on and recording.
COOPER (OFF SCREEN)
I’m lying on the floor of my room. I’ve been shot.
BACK TO SCENE:
COOPER
There’s a great deal of pain and a fair amount
of blood. Fortunately I was wearing my bullet proof vest last night per
bureau regulations when working undercover. I remember folding the vest
up trying to chase down a wood tick. If you can imagine the impact on your
chest of three bowling balls dropped from the height of about nine feet,
you might began to approximate the sensation. All things considered, being
shot is not as bad as I always thought it might be. As long as you can
keep the fear from your mind. But I guess you can say that about almost
anything in life. Its not so bad as long as you can keep the fear from
your mind.
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
SOUND EFFECT: SPIRIT PRESENCE RINGING 20K
COOPER moves his hands and his head to view his ring finger. COOPER sees that his
ring is missing.
COOPER
Oh my god. The ring is gone.
COOPER puts his hands and head back down and lays still.
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING 20K
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
COOPER
At a time like this, curiously, you began to think
of the things you regret or the things you might miss. I would like in
general to treat people with much more care and respect. I would like to
climb a tall hill. Not too tall. Sit in the cool grass. Not too cool. And
feel the sun on my face. I wished I could have cracked the Lindburg kidnapping
case. I would very much like to make love to a beautiful woman who I had
genuine affection for. And of course, it goes without saying, that I would
like to visit Tibet. I wish they could get their country back and the Dalai
Lama could return. Oh I would like that very much. All in all, a very interesting
experience.
At the open doorway, DEPUTY TOMMY ‘THE HAWK’ HILL, SHERIFF HARRY S. TRUMAN
and DEPUTY ANDY lurch into firing positions with their guns drawn and scan the room.
COOPER
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
AGENT COOPER’S POV:
Through AGENT COOPER’S POV, we get a stretched and distorted view of the ceiling
that slowly comes into focus. Standing around us and looking down at us
are LUCY MORAN, SHERIFF TRUMAN and DR. WILL HAYWARD.
BACK TO SCENE:
COOPER
My skin was itching. Wood tick was crawling. I
lifted my bullet proof vest. Three slugs. Point blank range.
DR. HAYWARD
DR. HAYWARD grabs a pair of tweezers and moves them into COOPER’S view above
his face.
AGENT COOPER’S POV:
Through AGENT COOPER’S POV, we FOCUS on a CLOSE-UP of the bullet taken from COOPER’S
abdomen being held by tweezers. The bullet has some blood on it and a wood tick.
BACK TO SCENE:
DR. HAYWARD
Hell of a way to kill a tick.
DR. HAYWARD drops the bullet into a metal bowl.
SHERIFF TRUMAN
Did you get a look at the gunman?
COOPER slowly turns his head to look at TRUMAN.
COOPER
I saw a masked face, muzzle flash.
SHERIFF TRUMAN
Lucy, you better bring Agent Cooper up to date.
LUCY glances over her notepad and reads it aloud.
MUSIC: UP TO DATE
LUCY
Leo Johnson was shot. Jacques Renault was strangled.
The mill burned. Shelly and Pete got smoke inhalation. Catherine and Josie
are missing. Nadine is in a coma from taking sleeping pills.
Perplexed, COOPER slowly turns his head to look at DR. HAYWARD.
COOPER
How long have I been out?
DR. HAYWARD
Its 7:45 in the morning. We haven’t had this much
action in one night since the Elk’s Club fire of ’59.
COOPER slowly turns his head back to TRUMAN.
COOPER
Harry, we need to get a search warrant for Leo
Johnson’s house.
SHERIFF TRUMAN
No need. Leo was shot in his own living room.
LUCY
Deputy Brennan found him.
DR. HAYWARD and SHERIFF TRUMAN look at LUCY because of her tone of voice.
COOPER, in obvious pain, slowly sits himself up. DR. HAYWARD places a hand on
COOPER’S right shoulder to try to stop him.
DR. HAYWARD
You’re not going anywhere.
COOPER raises his right hand.
COOPER
Doc, when the will is invoked, the recuperative
powers of the physical body are simply extraordinary.
COOPER slowly nudges himself off the examining table.
MUSIC: RECUPERATIVE POWERS 11K
COOPER
Just give me a couple of hours to get dressed.
MUSIC ENDS: RECUPERATIVE POWERS 11K
MUSIC ENDS: UP TO DATE
CUT TO:
EXT. PACKARD SAW MILL - DAY
MUSIC: THE MILL FIRE 18K
On a dark, cloudy day we view the charred and destroyed remains of mill.
CUT TO:
INT. SHELLY JOHNSON’S HOSPITAL ROOM - DAY
SHELLY’S POV:
Through SHELLY JOHNSON’S POV, we FOCUS on a CLOSE-UP of a television that is positioned
in the upper corner of a hospital room. On the television, we watch a TV REPORTER give a report
from the burned mill.
TV REPORTER
I’m standing just in front of where a massive
log storage area of the Packard Saw Mill burned to the ground. Under what
fire department investigators are calling mysterious circumstances.
MUSIC ENDS: THE MILL FIRE 18K
BACK TO SCENE:
Laying in a hospital bed, SHELLY wears an oxygen breathing tube at her nose. SHELLY weeps.
The television can still be heard in the background.
SHELLY
TV REPORTER (OFF SCREEN)
Now police officials have told me to have no ...
SHELLY
TV REPORTER (OFF SCREEN)
... apparent link to these two unseemingly related
tragedies. Reporting live from the Packard Saw Mill ...
MUSIC: THE BOOKHOUSE BOYS (1:12 - 2:11)
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
AGENT COOPER, adjusting his tie, and DR. HAYWARD walk in a hallway
of the hospital. SHERIFF TRUMAN and LUCY follow right behind them.
DR. HAYWARD
This is totally against my recommendations.
MUSIC ENDS: THE BOOKHOUSE BOYS (1:12 - 2:11)
COOPER
Alright doc, dually noted.
DR. HAYWARD
You’ve got two busted ribs. Your cartilage is
a mess. Who knows what else is wrong.
COOPER stops as he looks down another hallway.
COOPER
AGENT COOPER’S POV:
Through COOPER’S POV we look down a hallway in the building to see a black body bag being
moved on a cart by two men.
BACK TO SCENE:
DR. HAYWARD
COOPER
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
DR. HAYWARD looks at COOPER and then back down the hallway at the body bag.
AGENT COOPER’S POV:
Through COOPER’S POV we look back down the hallway to see a black body bag
as it is being moved on a cart around a corner in the hallway by two men.
SHERIFF TRUMAN (OFF SCREEN)
BACK TO SCENE:
COOPER, SHERIFF TRUMAN and DR. HAYWARD stare down the hallway where the cart with the body bag
is being moved. LUCY, twiddling with her red purse, looks down at the ground.
LUCY
What’s there to smile about.
COOPER, SHERIFF TRUMAN and DR. HAYWARD all turn their heads to look at LUCY.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
CUT TO:
INT. RONETTE PULASKI’S HOSPITAL ROOM - DAY
We FOCUS on a CLOSE-UP of a clinical record sheet that has the name, in large
bold letters, PULASKI, RONETTE.
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
We PAN to FOCUS on RONETTE lying in bed unconscious in her coma.
We ZOOM in on RONETTE.
SUPERIMPOSE: RONETTE AT THE BRIDGE
An additional scene is SUPERIMPOSED onto the current scene. Wearing a torn and dirty white slip,
RONETTE walks along the bridge where she was found.
BACK TO SCENE:
Slowly, RONETTE rouses from her coma and whispers:
RONETTE
RONETTE opens her eyes slightly but then falls quiet again.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
FADE OUT:
FADE IN:
EXT. PALMER HOUSE - DAY
An establish shot. We view the front of the house under a cloudy sky as a distant foghorn blows.
CUT TO:
INT. PALMER HOUSE - DAY
In the living room, MADELEINE FERGUSON, starring at the floor, sits on a chair with her hands wrapped
around a coffee mug.
MADELEINE’S POV:
Through MADELEINE’S POV we FOCUS on a CLOSE-UP of the carpet floor that she is starring at.
BACK TO SCENE:
MADELEINE continues to stare at the carpet floor. SARAH PALMER, wearing a robe, sits in a
nearby chair. SARAH notices MADELEINE’S distant gaze.
SARAH
MADELEINE
SARAH
Have you been missing your mom?
MADELEINE looks at SARAH.
MADELEINE
SARAH
MADELEINE
I had the strangest dream last night.
SARAH
MADELEINE turns to look at carpet floor.
MADELEINE
MADELEINE points to the area on the floor.
MADELEINE
Right from this angle where I’m sitting.
SARAH
In the background, we hear LELAND before we see him.
LELAND (OFF SCREEN)
(sung) Oh mairzy doats and dozy
doats and liddle lamzy divey. A kiddley divey too, wolden ewe.
LELAND pokes his head around the folding partition that is behind the two
chairs where SARAH and MADELEINE are seated. LELAND’S hair is all white?!
LELAND smiles as he sings.
LELAND
(sung) Oh, mairzy doats and
dozy doats and liddle lamzy divey. A kiddley divey too, wolden ewe.
LELAND moves between where SARAH and MADELEINE are sitting and squats
down. SARAH and MADELEINE notice LELAND’S white hair right away and are silently
shocked.
LELAND
(sung) Now if the words sound
queer and funny to your ear and a little bit jumble and jivy. Say, mare’s eat
oats and doe’s eat oats and little lambs eat iivvvvvyyyyy.
SARAH reaches out and touches LELAND’S hair.
SARAH
LELAND stands up and dances in place as he continues to sing.
LELAND
(sung) Oohhh, mairzy doats and
dozy doats and liddle lamzy divey a kiddley divey too, wolden ewe. A kid would
eat ivy too, wouldn’t you.
LELAND stretches out his arms as he finishes his song.
LELAND
(sung) A kid would eat ivy too,
wouldn’t yooouuuuuu.
LELAND taps SARAH and MADELEINE on the head.
LELAND
LELAND rushes off and continues to sing.
LELAND
(sung) Oh, mairzy doats and
dozy doats and liddle lamzy divey ...
SARAH
SARAH stands up.
LELAND (OFF SCREEN)
(sung) ... a kiddley divey
too, wolden ewe.
MADELEINE
Uncle Leland’s hair turned white?
LELAND (OFF SCREEN)
(sung) Mairzy doats and dozie
doats and liddle lamzy divey ...
SARAH
Oh Leland, come back here.
SARAH chases after LELAND.
LELAND (OFF SCREEN)
(sung) ... a kiddley divey
too, wolden ewe.
MADELEINE returns to looking down at the carpet.
MADELEINE’S POV:
Through MADELEINE’S POV we FOCUS on the carpet floor. A vision appears, a red stain
slowly spreads over an area of the carpet.
BACK TO SCENE:
MADELEINE shivers in fear of the vision and moves a hand to cover her mouth.
MADELEINE’S POV:
Through MADELEINE’S POV on the carpet floor, the vision of the red stain dissolves and disappears.
BACK TO SCENE:
MADELEINE continues to shiver in fright and is brought to tears.
MADELEINE
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
INSERT: CLOSE-UP FIREPLACE
We FOCUS on a CLOSE-UP of a roaring fire in the office fireplace.
BACK TO SCENE:
Standing in front of the fireplace with their backs to the open double doors
of the office, BEN talks to his brother JERRY.
BENJAMIN
Okay, agenda. One, I want a location on Catherine.
Keep our distance, just make sure she’s ready to take the fall. Two, I
want a complete medical on Leo Johnson and his prospects for recovery and a
satisfactory explanation from Hank Jennings why Leo isn’t being measured
for a plot in Ghostwood Memorial Park.
JERRY pats BEN’S right arm.
JERRY
Well begun he’s half done.
LELAND can be heard singing in the hallway, just outside the office.
LELAND (OFF SCREEN)
(sung) Oh, mairzy doats and
dozie doats and liddle lamzy divey a kiddley divey too, wolden ewe.
Puzzled, BEN and JERRY turn around to see LELAND in the doorway.
LELAND
(sung) Oh, mairzy doats and
dozie doats and liddle lamzy divey a kiddley divey too, wolden ewe.
BEN and JERRY walk towards LELAND. BEN snaps his fingers as LELAND continues
to sing.
LELAND
(sung) Now if the words sound
queer and funny to your ear and a little bit jumble and jivy.
BEN moves to the top of his desk and begins to dance. JERRY dances around
LELAND, dives to middle of the office floor, gets up and then dances some
more.
LELAND
(sung) Say, mare’s eat
oats and doe’s eat oats and little lambs eat ivy.
LELAND stops singing. BEN and JERRY stop dancing and look at LELAND. LELAND,
holds his arms out and smiles.
LELAND
I’m back. Back and ready.
CUT TO:
INT. JOHNSON HOUSE - DAY
A POLICE DETECTIVE, holding a large camera pointed at us,
takes a photograph and then move aside out of view. Several other police detectives
are at work in the background. A distant fog horn BLOWS in the background.
Beside a window, we FOCUS on SHERIFF TRUMAN as he holds up a small plastic packet containing
a bullet that he looks over.
SHERIFF TRUMAN
But the bullet came from outside.
SHERIFF TRUMAN’S POV:
Through SHERIFF TRUMAN’S POV we FOCUS on a CLOSE-UP of where the bullet came through
the window and broke the glass.
BACK TO SCENE:
SHERIFF TRUMAN
COOPER stands next to a large television that is positioned in the
corner of the room near the window.
COOPER
Sheriff, a picture is forming. Big axe on the
couch. These same geese were flying that evening.
COOPER points to a display of metal geese figures hanging on the wall behind TRUMAN.
SHERIFF TRUMAN turns around to look at them.
COOPER
Leo was trying to turn someone into kindling.
That person hit the TV, moved it. You can see the depression in the carpet.
COOPER points out the depressions in the carpet. SHERIFF TRUMAN bends down
to get a closer look at them. TRUMAN looks back up to COOPER.
SHERIFF TRUMAN
COOPER
(rhetorical) Shelly Johnson’s about 99 pounds
soaking wet. This is a big TV.
COOPER looks around the room as he describes the events as if he were seeing
them take place.
COOPER
Leo advanced, axe raised.
SHERIFF TRUMAN
COOPER snaps his fingers and points at the window.
COOPER
Bullet came through the window. Knocked Leo back
onto the couch.
SHERIFF TRUMAN
You think Shelly pulled the trigger?
COOPER looks at TRUMAN who is still knealing beside the television.
COOPER
Sheriff, get your mind off Shelly, for a moment.
We won’t know about Shelly until we find out what time she got to the mill.
SHERIFF TRUMAN stands up as DEPUTY HAWK walks beside him and drops a magazine
onto a nearby coffee table.
HAWK
SHERIFF TRUMAN picks up the magazine.
SHERIFF TRUMAN
HAWK
Still no cocaine ... here or in the truck. But
I found this in the truck. Leo’s duster.
HAWK hands the duster, a body length jacket, to COOPER. COOPER checks out the duster.
COOPER
SHERIFF TRUMAN
COOPER looks at TRUMAN then to HAWK.
COOPER
CUT TO:
EXT. JOHNSON HOUSE - DAY
Near the road, DEPUTY ANDY sifts through pine needles with a branch as a
car pulls up and parks. Out steps SPECIAL AGENT ALBERT ROSENFIELD and two of his
ASSISTANTS. All three are wearing dark sunglasses and jackets.
ANDY
Harry, do you know who it is! Harry!
CUT TO:
INT. JOHNSON HOUSE - DAY
AGENT COOPER peers to the ceiling as he hears someone yelling from outside
but he can’t make it out.
ANDY (OFF SCREEN)
(muffled) Harry! Harry,
do you know who it is!
COOPER
HAWK moves the drapes aside from a nearby window and looks outside.
HAWK
Its Andy. He seems pretty upset about something.
CUT TO:
EXT. JOHNSON HOUSE - DAY
ANDY runs toward the house, yelling:
ANDY
Harry, its Agent Rosenflower!
Perpendicular to ANDY’S running path to the house is a wooden walkway. ANDY
hops up to cross the walkway but as he sets his foot down on the wood plank
it breaks and a portion of the plank pops up and nails him right in the face.
CLOSE ON: ALBERT
We FOCUS on ALBERT as he walks away from his car. ALBERT shakes his head
after watching ANDY’S blunder.
BACK TO SCENE:
MUSIC: ANDY’S THEME 49K
SHERIFF TRUMAN, unaware of what is going on, walks out of house with a hand
on his gun in its holster. AGENT COOPER follows TRUMAN out of the house. TRUMAN and
COOPER both stop just outside the door as they spot ANDY.
SHERIFF TRUMAN’S POV:
Through SHERIFF TRUMAN’S POV, ANDY, dumbstruck, struggles to keep from falling.
ANDY was hit hard enough to knock him down cold but in a dazed condition
he is awkwardly standing with his knees bent and his arms out to keep his
balance. In the distant background, ALBERT and his team also stand and watch ANDY.
BACK TO SCENE:
SHERIFF TRUMAN and AGENT COOPER stand near the door to the house as they watch ANDY.
SHERIFF TRUMAN
SHERIFF TRUMAN’S POV:
Through SHERIFF TRUMAN’S POV, ANDY continues to struggle to keep from
falling. ALBERT and his team are still in the background, watching ANDY.
SHERIFF TRUMAN (OFF SCREEN)
BACK TO SCENE:
SHERIFF TRUMAN
SHERIFF TRUMAN’S POV:
Through SHERIFF TRUMAN’S POV, ANDY wavers as he struggles to keep from
falling. ANDY laughs a little and then tries to shake off his disorientation.
BACK TO SCENE:
Puzzled, SHERIFF TRUMAN and AGENT COOPER look at each other and then back at ANDY.
SHERIFF TRUMAN’S POV:
Through SHERIFF TRUMAN’S POV, ANDY continues to moves around slightly, struggling
to keep from falling. Dazed, ANDY laughs a little.
CLOSE ON: ALBERT
We FOCUS on a CLOSE-UP of ALBERT as he removes his sunglasses.
ALBERT
And its another great moment in law enforcement history.
BACK TO SCENE:
SHERIFF TRUMAN and AGENT COOPER look at each other then back at ANDY.
SHERIFF TRUMAN notices something near ANDY and moves closer to investigate.
SHERIFF TRUMAN’S POV:
Through SHERIFF TRUMAN’S POV we view a cache that has been uncovered by the propped plank.
Inside the cache is a bag of cocaine and a pair of black boots.
BACK TO SCENE:
SHERIFF TRUMAN bends down to the cache to get a closer look. COOPER stands right beside
TRUMAN. TRUMAN looks towards ALBERT and yells out.
SHERIFF TRUMAN
Hey Albert, looks like you were more right then you know!
CLOSE ON: ALBERT
ALBERT sternly and quietly looks on.
BACK TO SCENE:
COOPER reaches into the cache and picks up one of the boots. COOPER turns the boot
around to look at the sole of the boot.
AGENT COOPER’S POV:
Through COOPER’S POV we FOCUS on a CLOSE-UP on the sole of the boot. The sole of the
boot is marked:
COOPER
Looks like a new pair of boots and a lot of cocaine.
BACK TO SCENE:
COOPER places the boot back into the cache. SHERIFF TRUMAN looks at ANDY.
SHERIFF TRUMAN
CLOSE ON: ANDY’S FACE
ANDY produces a smile.
BACK TO SCENE:
COOPER gives ANDY a thumbs up and an odd smile because of ANDY’S condition.
CLOSE ON: ANDY’S FACE
Still dazed, ANDY smiles again and shakes his head trying to rid his disorientation.
MUSIC ENDS: ANDY’S THEME 49K
CUT TO:
EXT. DOUBLE R DINER - DAY
An establish shot. A timber truck loaded with logs pulls around a street corner
and passes the front of the diner.
CUT TO:
INT. DOUBLE R DINER - DAY
MUSIC: A NEW LOOK 77K
We FOCUS on a CLOSE-UP of a CUSTOMER’S face as he shouts:
CUSTOMER
Hot damn that pie is good!
We PAN RIGHT, HANK JENNINGS clears a tabletop.
We FOCUS on MADELEINE, who sits alone at one of the booths in the diner.
MADELEINE, wearing a pair of sunglasses, holds her pair of prescription
eyeglasses in her hands. The bell for the entrance RINGS and MADELEINE looks
towards the front door.
At the front door to the diner, we FOCUS on DONNA HAYWARD as she enters the diner.
We FAVOR ON DONNA as she walks over to the booth where MADELEINE is seated. DONNA takes a seat
opposite MADELEINE and removes her coat. MADELEINE removes her sunglasses.
MADELEINE
Here’s Laura’s glasses that you wanted.
MADELEINE hands the sunglasses to DONNA.
DONNA
DONNA looks at the sunglasses and then puts it on. DONNA peers around the diner
through the sunglasses and then takes it off.
DONNA
MADELEINE puts her prescription eyeglasses on.
MADELEINE
Donna, do you see these glasses that I’m wearing?
DONNA
MADELEINE removes her eyeglasses and bends them at the nose bridge, breaking
them.
MADELEINE
I hate them. I’m never wearing these again.
DONNA grabs herself a cigarette.
DONNA
MADELEINE
Using a lighter, DONNA lights her cigarette.
DONNA
He spent the night in jail.
MADELEINE
Do you think its because of what we did?
DONNA
Look, we don’t know if we did anything. My dad
said Jacoby got sick because he was attacked. All we did was send him a
tape.
MADELEINE
Maybe he wouldn’t have been attacked if we hadn’t.
DONNA
Maybe, maybe the sun won’t come up tomorrow if
you wash your hair. Think like that and you’re going to go crazy. What’s
done is done. The only way this won’t come back to haunt us is if we keep
quiet about what happened last night. I can assure you James is doing the same thing.
DONNA takes a drag from her cigarette.
DONNA
MADELEINE
(straight faced) Loud and clear.
MADELEINE changes her expression and her eyes widen.
MADELEINE
Uncle Leland’s hair ... turned white.
DONNA
MADELEINE nods her head for yes.
MADELEINE
DONNA
NORMA JENNINGS walks up to their booth.
NORMA
Donna, I have something for you. Came here to
the Double R yesterday.
NORMA hands DONNA an envelope.
DONNA
DONNA opens the letter and reads the note to herself.
DONNA
MADELEINE
DONNA places the note on the table and slides it towards MADELEINE.
MADELEINE’S POV:
Through MADELEINE’S POV, we FOCUS on a CLOSE-UP of the note. Written in
blue ink with plain block letters the note reads:
LOOK INTO THE MEALS ON WHEELS
MADELEINE (OFF SCREEN)
BACK TO SCENE:
MADELEINE
Puzzled, MADELEINE and DONNA stare at each other.
In a nearby booth, we FOCUS on the ‘LOG LADY’. Seated with a
cup of coffee before her on the table, the LOG LADY holds her log in her arms and
chews heavily on pine tree pitch gum. Abruptly and unexpectedly, the LOG LADY spits
out her gum onto the table. The LOG LADY picks the gum up and presses it onto the wall
beside the booth. The LOG LADY takes a drink of her coffee then reaches into her pocket,
retrieves a new piece of gum, puts it in her mouth and starts to chew again.
MUSIC ENDS: A NEW LOOK 77K
FADE OUT:
FADE IN:
EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
An establish shot. We view the front of the building.
CUT TO:
INT. SHERIFF’S DEPARTMENT CONFERENCE ROOM - DAY
MUSIC: ANDY’S THEME 49K
AGENT COOPER, shirtless but still wearing a gun holster, sits on the corner
of the conference room table as AGENT ALBERT looks over COOPER’S bandage.
ALBERT’S metal suitcase lies on the table nearby.
ALBERT
How simple can I make it Cooper. FBI agent gets
shot, FBI agent investigates. I’m in proximity working the Seattle lab.
I’m familiar with the underlying case.
Working around his rib cage, ALBERT touches a sensitive spot. COOPER GRUNTS in pain.
MUSIC ENDS: ANDY’S THEME 49K
ALBERT
COOPER
Yes. Albert the point is you’re not going to win
any local popularity contests.
ALBERT
No, the point is Gordon Cole ordered me back here.
ALBERT puts a stethoscope, that’s been hanging around his neck, to his ears
and applies the probe to COOPER chest.
ALBERT
Slowly and with some pain, COOPER takes a deep breath.
ALBERT
COOPER complies and takes another breath.
ALBERT
ALBERT removes his stethoscope and places it on top of his metal suitcase.
ALBERT
You were shot by a right handed person, five foot
six to five foot ten inches tall at a distances of less then three feet.
I’ll have ballistics later this afternoon. You’re still blank on the other
details?
COOPER
ALBERT
What was your vest doing riding up like that?
COOPER
ALBERT looks away and exhales heavily.
ALBERT
Meanwhile one of your principle suspects is killed
in his hospital bed and the other is shot in his living room. You tell
me, vigilantly justice or just clean country living?
COOPER
Albert, where does this attitude of general unpleasantness
come from?
ALBERT
I’ll have to get back to you on that.
COOPER
Well if you don’t want two black eyes on a regular
basis I suggest you make some kind of peace with rural life.
ALBERT
(smartass) Great. After the square dance maybe
we can all take a hayride.
There is a KNOCK at the door.
COOPER
DEPUTY ANDY enters the room, closes the door behind himself and walks up
to COOPER.
COOPER
ANDY
(smiling) Not a mark on it, only blood squirted
out.
ALBERT
(smartass) Where do they keep his water dish?
COOPER quickly turns to glare at ALBERT.
COOPER
ANDY
Agent Cooper, guess what, I have the answer to
the riddle that you told me this morning. I called Hungry Horse Montana.
The word locked, Leo Johnson was locked in a jail in Hungry Horse Montana.
COOPER
ANDY searches his shirt pockets, his front pants pockets and then his back
pants pockets where he finds his notepad. ANDY flips through a few pages of
the pad and then reads outloud:
ANDY
COOPER and ALBERT looks at each other and simultaneously say:
COOPER and ALBERT
COOPER
Looks like Leo has an alibi for the night Teresa
Banks was murdered. Good work Andy.
ANDY smiles brightly. ALBERT looks at ANDY.
ALBERT
ANDY losses his smile as he looks at ALBERT. COOPER scournfully looks at
ALBERT then turns to ANDY and nods to him. ANDY cracks a slight smile.
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
LUCY is busy applying some whiteout to a document as the ‘ONE-ARMED MAN’,
MR. PHILIP GERARD enters the building carrying a large suitcase. LUCY is
unaware that the ONE-ARMED MAN has just entered until he speaks.
ONE-ARMED MAN
LUCY looks up at the ONE-ARMED MAN.
ONE-ARMED MAN
LUCY
He is but he’s busy at the moment.
ONE-ARMED MAN
LUCY
ONE-ARMED MAN
I’m afraid I don’t have an appointment. The sheriff asked me to
stop by ... at my convenience. This was the first convenient moment.
The ONE-ARMED MAN lets off a friendly but nervous chuckle.
LUCY
May I ask what this is regarding?
ONE-ARMED MAN
Uh ... I’m here to sell him some shoes.
Again, the ONE-ARMED MAN lets off a friendly but nervous chuckle.
The ONE-ARMED MAN turns away from LUCY and, as he does, holds an ominous and frozen expression
of a smile with starring eyes. LUCY stares at the ONE-ARMED MAN, her interest piqued.
LUCY
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
CUT TO:
INT. SHERIFF’S DEPARTMENT INTERROGATION ROOM - DAY
We FOCUS on a tape recorder lying on a table. The tape recorder plays LAURA PALMER’S
audio cassette tape. As we listen to the tape, we SLOWLY ZOOM OUT.
LAURA (OFF SCREEN)
Uh-oh here comes mom with milk and cookies. Later Lawrence. Bye-bye.
SHERIFF TRUMAN presses the stop button to shut off the tape.
MUSIC: DELUSIONS (SHORT) 4K
SHERIFF TRUMAN
You got this tape from Dr. Jacoby’s office?
MUSIC ENDS: DELUSIONS (SHORT) 4K
We ZOOM OUT further, JAMES HURLEY is seated in the room.
JAMES
SHERIFF TRUMAN
That’s breaking and entering James.
JAMES
SHERIFF TRUMAN
How did you know Jacoby wouldn’t be there?
JAMES
I knocked, nobody answered.
SHERIFF TRUMAN
JAMES
SHERIFF TRUMAN
Okay, I know you were trying to help but there’s
some people that might not see it that way. Especially with three ounces
of cocaine in your gas tank.
JAMES
You know I didn’t put that there. I think it was
probably Mike and Bobby.
SHERIFF TRUMAN
JAMES
Harry, Laura talks on her tape about a mystery man.
SHERIFF TRUMAN
A red corvette, Leo Johnson.
JAMES
I think it was somebody else. Not Jacques Renault either.
SHERIFF TRUMAN
JAMES
I never put it together until I heard the tape.
Where she says this guy can really light my fire.
MUSIC: WALKING IN THE DARK 32K
JAMES
Well I remember this one night, when we first
started seeing each other, she was still doing drugs then. Well we were
in the woods and she started saying this scary poem over and over about
fire. And then she said. Would you like to play with fire little boy. Would
you like to play with Bob. Would you like to play with Bob.
SHERIFF TRUMAN
What did she mean by that?
JAMES
I don’t know. Laura said a lot of nutty stuff.
MUSIC ENDS: WALKING IN THE DARK 32K
JAMES
Half the time it just went right by you. This stuck though.
AGENT COOPER and DEPUTY HAWK enter the room. COOPER stands besides SHERIFF
TRUMAN as HAWK takes a position by the open door.
COOPER
James, I’ll get right to the point. I know you
have the other half of Laura Palmer’s necklace. I want it. Give it to me.
COOPER holds his hand out.
JAMES
JAMES stands up and digs into his pant’s pocket to get the necklace.
JAMES
Well this was in Jacoby’s office.
JAMES hands the necklace to COOPER. SHERIFF TRUMAN stands up.
JAMES
COOPER moves a little closer to JAMES to verify his response.
COOPER
COOPER quickly looks at TRUMAN then moves to look at HAWK.
COOPER
Hawk take James back to his cell.
HAWK complies. JAMES leaves the room with HAWK right behind him.
COOPER
SHERIFF TRUMAN
How did you know he had the necklace?
COOPER
Laura and James were in love. I figured he had
to have the other half of the necklace but if he had the other half of
the necklace he would have given it to us to help with the case. Then it
dawned on me. Something or someone frightened him off. He had to have it
so I asked him for it.
COOPER shakes his head.
COOPER
Jacoby? I didn’t figure he had anything to do with this at all.
COOPER smiles.
COOPER
Sometimes you just get lucky.
Still smiling, COOPER looks at SHERIFF TRUMAN. TRUMAN simply nods back.
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
MUSIC: DELUSIONS 77K
DONNA enters the building. DONNA is wearing LAURA PALMER’S sunglasses and
is smoking a cigarette. The ONE-ARMED MAN, still sitting and waiting in the reception
area but out of view, lets out a wolf whistle. DONNA moves to the reception window.
LUCY is stunned by DONNA’S new, mature image. Unsure if it is truly DONNA, LUCY asks.
LUCY
DONNA
DONNA takes a drag on her cigarette.
DONNA
CUT TO:
INT. SHERIFF’S DEPARTMENT CELL BLOCK - DAY
JAMES lies on his back in the bunk in his cell. JAMES gets up and
moves to the bars of his cell as he hears someone opening the main door to the
cell block. DEPUTY HAWK opens the cell block door and escorts DONNA, still
wearing the sunglasses, inside. HAWK walks back outside, closes the main cell door and walks
off.
MUSIC ENDS: DELUSIONS 77K
MUSIC: A NEW LOOK 77K
JAMES grips the bars to his cell as DONNA walks up to him and also clasps
the bars to the cell with a cigarette still clutched in the fingers on her
right hand. DONNA and JAMES stand face-to-face, very close with only the bars separating
them.
JAMES
DONNA
JAMES
Did you tell them anything?
DONNA
They haven’t asked me anything.
DONNA takes a drag from her cigarette.
JAMES
When did you start smoking?
DONNA
I smoke every once in a while. Helps me relieve tension.
JAMES
When did you get so tense?
DONNA
When I started smoking. Did you tell them anything?
JAMES
I didn’t tell them about you or Mady.
DONNA
Do they think Leo killed Laura?
JAMES
I don’t know what they think. How is Mady?
DONNA
She’s fine. She hasn’t said anything either.
DONNA takes one last drag on her cigarette then flicks it away to a corner
of the cell block.
DONNA
So don’t you want to kiss me?
DONNA and JAMES kiss. DONNA sends her right arm past the bars and cradles
JAMES’S head closer to her. JAMES backs off DONNA’S passionately growing
kiss.
DONNA
(breathing hard) What’s wrong?
JAMES
Clasping the bars of the cell DONNA leans back.
DONNA
Or is it just not okay for me to want you. Get
out soon James.
DONNA moves closer to JAMES and puts her mouth around the knuckle of his
index finger that is loosely clasped around one of the iron bars of the
jail cell. DONNA lightly bites down on JAMES’S finger then moves away and looks
up at him before she leaves. Having been driven a little sexually mad, JAMES
just rests his head against bars of the cell.
MUSIC ENDS: A NEW LOOK 77K
FADE OUT:
FADE IN:
EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
An establish shot. We view the front of the building.
CUT TO:
INT. SHERIFF’S DEPARTMENT CONFERENCE ROOM - DAY
AGENT COOPER walks into the room with DEPUTY ANDY following right behind him. COOPER greets:
COOPER
ANDY takes a seat next to LUCY at the conference table. COOPER stands between
the two. On the table is a box full of Fleshworld magazines.
COOPER
In these boxes is every edition of Fleshworld
published for the past three years.
COOPER pulls out a small photograph from his jacket and puts it on the table
between ANDY and LUCY.
COOPER
This is a picture of Teresa Banks. First victim
of our killer who was found murdered a year ago in the Southern part of
the state.
COOPER reaches into the box, pulls out a magazine and puts it in front of LUCY.
COOPER
Now Laura and Ronette’s photographs appeared in ads in the magazines ...
ANDY
You want us ... to look for a picture of Teresa
Banks.
COOPER
Andy, you’re way ahead of me.
ANDY smiles brightly until he looks at LUCY and drops his smile.
COOPER
Lucy, Sheriff Truman and I will be at the hospital.
Behave yourselves.
COOPER retrieves his mini tape recorder from his pocket and turns it on.
We FAVOR ON AGENT COOPER as he talks, walks out of the room and down the hall.
COOPER
Diane, just received the back issues of Fleshworld.
Good work. Its nice to see some cooperation with the law especially from
a company that preys on human weaknesses.
We FOCUS on ANDY and LUCY sitting quietly at the conference table, each with a magazine before them.
ANDY
Lucy, I sure - sure feel uncomfortable being in
this situation with you.
LUCY
Why? We’re both professionals.
LUCY boldly opens the magazine and lets off a GASP as she’s stunned by what she sees.
CUT TO:
EXT. CALHOUN MEMORIAL HOSPITAL - DAY
An establish shot. We view the front of the hospital as SHERIFF TRUMAN’S police cruiser drives
up and parks.
CUT TO:
INT. DR. LAWRENCE JACOBY’S HOSPITAL ROOM - DAY
Seated beside the hospital bed of DR. LAWRENCE JACOBY, DR. HAYWARD checks
JACOBY’S pulse using his watch. A NURSE stands next to DR. HAYWARD.
DR. HAYWARD
NURSE
Only what you prescribed.
DR. HAYWARD stands up and checks DR. JACOBY’S eyes.
NURSE
I think he did take a little bit of his food.
DR. HAYWARD
DR. JACOBY gives DR. HAYWARD a puzzled look and then slowly turns his head
to look at his food tray.
DR. JACOBY’S POV:
SOUND EFFECT: BLENDER 11K
Through DR. JACOBY’S POV we view his food tray. The bins of stainless steel food tray
are filled with unrecongizable yellowish and greenish goo.
BACK TO SCENE:
SHERIFF TRUMAN and AGENT COOPER walk up to DR. JACOBY’S bed.
DR. HAYWARD
Agent Cooper, why don’t you tell the psychiatrist
about your broken ribs and torn cartilage.
DR. HAYWARD and the NURSE leave. COOPER and SHERIFF TRUMAN take a seat next
to DR. JACOBY’S bed.
DR. JACOBY
Well well well. What happened to you?
COOPER slightly leans over to DR. JACOBY.
COOPER
I don’t want any baloney, magic tricks or psychological
mumbo-jumbo. I want you to tell us how you came into possession of this
...
COOPER holds the half heart necklace out so DR. JACOBY can see it.
COOPER
... or I am going to have to place you under arrest
for obstruction of justice.
DR. JACOBY gently grabs the necklace. COOPER lets him hold it.
DR. JACOBY
Look I ... I told you the ... the night after
Laura died I followed a man in a red corvette.
COOPER
DR. JACOBY
Correct. Leo alluded me somewhere ... near the
old saw mill road. As I ... sat there, cursing my ... my lack of horsepower,
a motorcycle drove by. Followed by a police cruiser. But you lost them.
They went into the woods. I saw them, I - I followed them in there on foot.
INSERT: DR. JACOBY’S RECOLLECTION
We view a recollection of the events DR. JACOBY describes as a flashlight
spot moves on the ground of the forest floor.
COOPER (OFF SCREEN)
BACK TO SCENE:
MUSIC: LAURA PALMER’S THEME
DR. JACOBY
Yes, they ... they spoke intently for a while
but I couldn’t hear what they were saying.
INSERT: DR. JACOBY’S RECOLLECTION
Again we view a recollection of the events DR. JACOBY describes. JAMES and
DONNA stand close together and then bend down towards the ground. JAMES
lifts a rock off the ground and digs below it. They place the necklace into
the hole and begin to cover it with dirt.
DR. JACOBY (OFF SCREEN)
I remember it was ... it was a cold night in the
woods. Finally, they ...
MUSIC: WALKING IN THE DARK 32K
DR. JACOBY (OFF SCREEN)
... they buried something in the ground under
a rock.
BACK TO SCENE:
DR. JACOBY
Ill advisedly perhaps, I took it as a keepsake.
INSERT: DR. JACOBY’S RECOLLECTION
Again we view a recollection of the events DR. JACOBY describes as a gloved
hand pulls out the half heart necklace buried in the dirt.
MUSIC ENDS: WALKING IN THE DARK 32K
BACK TO SCENE:
DR. JACOBY
It was her you see. The necklace, a divided heart.
Laura was ... was in fact, well she was living a double life. Two people.
Yeah but then ... then when I ... when I saw her ... that last time she,
I don’t know, she seemed to have reached a kind of ... peace with herself.
Now I believe that ... what she had in fact arrived at ... was a decision
to end her life.
SHERIFF TRUMAN
Are you saying Laura ... wanted to die?
COOPER
Doctor, Laura Palmer did not commit suicide.
DR. JACOBY
No, no ... but maybe she allowed herself to be killed.
INSERT: LAURA PALMER’S FACE
We view a CLOSE-UP of LAURA PALMER’S face as she was first found dead on the beach.
BACK TO SCENE:
COOPER grabs the necklace away from DR. JACOBY.
COOPER
One more thing. You were in intensive care last
night when Jacques Renault was killed.
DR. JACOBY
Yeah - yes but I mean come on fellas. I was heavily sedated.
SHERIFF TRUMAN
Did you see anything? Hear anything?
DR. JACOBY
I - I remember hearing a fire alarm go off but ...
its uh ... its all like a ... like a dream. There was a smell. Yeah, there
was a peculiar smell.
COOPER
Its usual in case of strangulation for the victim to void his bowels.
DR. JACOBY thinks it over. SHERIFF TRUMAN sternly looks at COOPER.
DR. JACOBY
No. No that wasn’t it. This ... this was a smell
like ... like oil ... scorched engine oil.
MUSIC ENDS: LAURA PALMER’S THEME
CUT TO:
INT. SHELLY JOHNSON’S HOSPITAL ROOM - DAY
BOBBY BRIGGS enters the open door to SHELLY’S hospital room.
NURSE (OFF SCREEN)
(from intercom) Dr. Bradley
call the operator. Dr. Bradley call the operator please.
BOBBY closes the door behind himself. SHELLY is asleep. A tray of pureed
hospital food sits untouched on a cart beside SHELLY’S bed. BOBBY moves towards SHELLY,
notices the tray and takes a whiff. BOBBY is immediately repulsed by the smell
of green and yellowish goo in the bins of the tray. BOBBY pulls the cart away from SHELLY
and moves it to a corner of the room. BOBBY reaches into his jacket and
pulls out a small bunch of flowers. BOBBY moves close to SHELLY and holds the
flowers to her nose.
BOBBY
SHELLY
(surprised, alleviated) Bobby!
SHELLY throws her arms around BOBBY and kisses him. Playfully, they tug at each
other’s hair and laugh.
SHELLY
What ya’ doing here? What if someone sees you.
BOBBY
I don’t care. I do not care any more.
SHELLY
Leo’s in the hospital. Somebody shot him.
BOBBY
Yeah I know. I mean I heard he is. There’s cops
outside his room.
SHELLY
BOBBY
I heard their going to bust him. He must of got
caught doing something, poor bastard. What happened to you?
SHELLY
Bobby, I was so afraid. Leo tried to kill me.
He knows about us. He took me up to the mill. He tied me up and started
the fire. Bobby, he told me he was going to kill you.
BOBBY
Fat chance. I won’t let him hurt us any more.
Are you alright?
SHELLY
Doctors seem to think so.
BOBBY
You know Shelly, hospitals are dangerous places.
First of all, they're crawling with sick people. And second of all, that
food can kill you.
SHELLY and BOBBY chuckle.
BOBBY
So if you want to get out of here, pronto. You’re going to have to
let Bobby be your doctor. So lets just have a look here Miss Shelly.
BOBBY lifts SHELLY’S hospital gown at her collar and takes a peek.
BOBBY
Oh we seem to be coming along splendidly.
SHELLY smiles. With the curtain pull cord in his hand, BOBBY places it under
her hospital gown and to her chest. SHELLY lets out a teasing squeal.
BOBBY
SHELLY plays along and takes a deep breath as she stares into BOBBY’S eyes.
BOBBY
I’d say you’re on your way to a complete recovery.
SHELLY and BOBBY kiss. A doctor and a nurse can be heard walking past the room. SHELLY
cautiously listens to them as they pass on by.
SHELLY
BOBBY
BOBBY gives SHELLY one last kiss and starts to back away but SHELLY grabs onto
his black leather jacket.
SHELLY
BOBBY
(stunned) I guess ... I love you too.
BOBBY gives SHELLY another kiss. Wide-eyed and still a little stunned, BOBBY slowly
backs up toward the door.
BOBBY
Yeah, I guess I love you too.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
MUSIC: DANCE OF THE DREAM MAN (W/O SAX)
Walking up a hallway in the hospital are AGENT COOPER, SHERIFF TRUMAN and
AGENT ALBERT. As they walk, they spot BOBBY down another corridor.
SHERIFF TRUMAN
COOPER
SHERIFF TRUMAN
ALBERT
(smartass) Sheriff Truman, to see this kind of
investigative genius at work ... its just a real treat for me.
MUSIC ENDS: DANCE OF THE DREAM MAN (W/O SAX)
The group of three walk a little further until they come upon ‘BIG’ ED HURLEY, who
is seated on a couch.
COOPER
Smoking a cigarette, BIG ED stands up.
BIG ED
How you doin’? I heard you stopped a couple.
COOPER
Uh, I’m okay. How’s Nadine?
BIG ED
Well, she’s in a coma. They say there’s nothing
we can do. She has to want to come back.
COOPER
BIG ED
Well, all I can do is sit here. Thinking about
the things I should have said or done.
COOPER
Ed, don’t be too hard on yourself.
BIG ED
I never believed in fate Agent Cooper. I always
felt; you make your own way, you take care of your own, you pick up after
yourself.
ALBERT
(smartass) Farmer’s Almanac?
COOPER
Albert, I would like to speak to Ed.
SHERIFF TRUMAN
Albert I’ll buy you a cup’a coffee.
SHERIFF TRUMAN and ALBERT walk to a nearby coffee station just across from
the couch. COOPER and BIG ED take a seat on the couch.
BIG ED
I saw this coming. I didn’t want to believe it.
What’s worse is I’m sitting here thinking that maybe that there’s a part
of me that ... didn’t want to stop her. And that’s a full load.
COOPER
When did you get married Ed?
ALBERT, after having just taken a drink and finding it distasteful, looks
into his coffee cup and then to SHERIFF TRUMAN. TRUMAN is pouring himself
a cup of coffee.
BIG ED
Right out of high school. Norma and I had been
together about four years. Everybody figured we get hitched. That be that.
I barely knew Nadine to say hello to.
ALBERT puts his cup of coffee aside, unable to drink it.
BIG ED
That spring, one bad weekend, Norma ran off with
Hank. I was so twisted up inside I couldn’t see straight. When I opened
my eyes there was Nadine right in front of me. There was something so sweet,
so helpless about her. We drove all night. Ended up in some little town
in Montana, out past Great Falls, and I asked her to marry me; half jokin’,
half drunk, half crazy. It was light before we found the justice of the
peace. Norma, well she hadn’t even slept with Hank. The look on her face
when she found out. Nadine and I, we went up to my dad’s old cabin up in
Eagle Pass. Honeymoon. I was hoping maybe we’d get to talking about a divorce,
annulment, something.
SHERIFF TRUMAN listens on but ALBERT is obviously bored with the story.
BIG ED
But Nadine was so happy. And you know by golly
... I shot out Nadine’s eye on that honeymoon.
ALBERT’S eyes brighten up with interest.
COOPER
BIG ED
Well the first day we were hunting pheasant. Nadine’s
a crack shot and we already had a couple of birds. And I felt good shooting.
Listening to the sound echoing, roll down those hills. I fired and ...
a piece of buckshot skipped off a rock and caught Nadine square in the
eye.
COOPER
BIG ED
She laid across my lap as we drove back to town.
ALBERT starts to silently laugh. SHERIFF TRUMAN looks at ALBERT. ALBERT tries
to compose himself.
BIG ED
She never cried. She never blamed me. She never hated me for it.
COOPER sternfully looks at ALBERT. ALBERT pulls out a hankerchief for the
tears the laughing has produced in his eyes.
BIG ED
Couple of months later Norma married Hank. So
I don’t believe in fate. You make your bed, you sleep in it.
ALBERT
ALBERT folds up his hankerchief. DEPUTY HAWK walks into the corridor with JAMES.
HAWK
Ed, someone here to see you.
BIG ED and COOPER stand up. COOPER moves to the side as BIG ED and JAMES
hug in grief for NADINE. AGENT COOPER walks away from the group.
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
SOUND EFFECT: SPIRIT PRESENCE RINGING 20K
COOPER slowly turns his head to look down another corridor. COOPER’S eyes widen.
COOPER walks down the corridor and up to an open doorway.
COOPER
AGENT COOPER’S POV:
Through COOPER’S POV we view a black body bag grasped at the ceiling by
two hooks that hold the ends of the bag. The bag sags in the middle
producing, what looks like, a smile.
BACK TO SCENE:
AGENT COOPER returns to the rest of the group.
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING 20K
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
SHERIFF TRUMAN tells HAWK:
SHERIFF TRUMAN
Take James right back to the station when you’re done here.
COOPER, SHERIFF TRUMAN and ALBERT walk up the corridor.
COOPER
SHERIFF TRUMAN
ALBERT
COOPER
Albert why don’t you take this opportunity to
check in at the Great Northern.
COOPER, ALBERT and TRUMAN walk off. In the distant hallway,
a DOCTOR walks up to a nurse’s station.
DOCTOR
Nurse, I really mean it, you better speak to that kitchen.
CUT TO:
INT. PETE MARTELL’S HOSPITAL ROOM - DAY
PETE MARTELL, wearing a hospital gown, sits back in a hospital
bed with an oxygen breathing tube at his nose. A cart with a
food tray with bins of green and yellowish goo is positioned before him.
PETE moves himself to sit up, leans to the tray and sniffs the air above the
goo. Unable to smell anything, PETE removes the oxygen breathing tube from
his nose, moves closer to the goo and takes a big whiff.
PETE
PETE is immediately repulsed and gags for air. PETE quickly repositions the
oxygen tube to his nose and breathes deeply.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
AGENT COOPER and SHERIFF TRUMAN walk up a hallway together as they talk to each other.
COOPER
Harry, when Albert finishes up at the Great Northern
we’ll meet back at the station. I’m ready to lay the whole thing out.
SHERIFF TRUMAN
COOPER
Chalk and blackboard will be just fine.
SHERIFF TRUMAN
COOPER
Harry, that goes without saying.
COOPER and SHERIFF TRUMAN walk off.
We FOCUS on an open doorway as NORMA backs out of SHELLY’S hospital room.
NORMA stands in the doorway as she speaks to SHELLY.
NORMA
I’ll come back later and I’ll bring you some soup.
The food in these places will kill you quicker then most diseases.
NORMA chuckles.
CUT TO:
INT. SHELLY JOHNSON’S HOSPITAL ROOM - DAY
MUSIC: TWIN PEAKS THEME
SHELLY laughs at NORMA’S comment about the hospital food.
SHELLY
So I hear. Now you know I have a sweet tooth too.
NORMA
I’ve got a chocolate-peanut butter pie.
SHELLY
Norma I’m serious. Bring the whole pie.
NORMA thinks it over.
NORMA
(jokingly) I may bring you two.
SHELLY
SHELLY brandishes a buoyant grin.
NORMA
SHELLY
NORMA
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
NORMA closes the door to SHELLY’S room and walks off down the hall. We FAVOR ON
NORMA as she walks down the hall and approaches the room where NADINE is being taken
care of. The door to NADINE’S room is open and NORMA sees BIG ED sitting by NADINE’S
side. BIG ED wears a worried expression as he holds NADINE’S hand and rubs it. NORMA walks off.
We FOCUS on NADINE as she lies unconscious in bed, connected to a breathing machine. NADINE still
wears her black eye patch. BIG ED continuously rubs NADINE’S hands.
MUSIC ENDS: TWIN PEAKS THEME
FADE OUT:
FADE IN:
INT. DOUBLE R DINER - DAY
MUSIC: THE BOOKHOUSE BOYS (1:12 - 2:11)
BOBBY BRIGGS enters the diner smoking a cigarette. BOBBY removes his
leather jacket and takes a seat at the island counter.
MUSIC ENDS: THE BOOKHOUSE BOYS (1:12 - 2:11)
The diner is busy with the booths filled with customers. In the background,
MAJOR GARLAND BRIGGS is seated at one of the booths. BOBBY waits to be served.
MAJOR BRIGGS turns his head and sees his son sitting at the counter.
MAJOR BRIGGS
BOBBY turns and see his father seated at a booth. BOBBY tries to hide his cigarette.
BOBBY
MAJOR BRIGGS
Would you ... care to join me?
With a slight sigh, BOBBY puts out his cigarette by snuffing it out in an ash tray on the counter.
BOBBY
BOBBY walks over to the booth where his father is seated and lays out on the open bench
opposite his father. Along with a cup of coffee, MAJOR BRIGGS is eating a slice of pie.
MAJOR BRIGGS
BOBBY is surprised by the question.
BOBBY
MAJOR BRIGGS
BOBBY
MAJOR BRIGGS
BOBBY sits up.
BOBBY
MAJOR BRIGGS
BOBBY
What is it that you do, exactly?
MAJOR BRIGGS
BOBBY
MAJOR BRIGGS
Bobby, would you care for a piece of pie? The huckleberries are
particularly delicious today. Particularly fresh and delicious.
BOBBY
MAJOR BRIGGS
Bobby, may I share something with you?
BOBBY
MUSIC: VISION OF YOU
MAJOR BRIGGS
A vision I ... had in my sleep last night. As
distinguished from a dream which is mere ... sorting and cataloging of
the day’s events by the subconscious. This was a vision. As clear as a
mountain stream. The mind revealing itself to itself. In my vision I was
on a veranda of a ... vast estate, a palazzo of some fantastic proportion.
There seemed to emanate from it ... a light from within this ... gleaming,
radiant marble. I’d known this place. I ... I in fact had been born and
raised there. This was my first return. A reunion with the ... deepest
well springs of my being.
BOBBY listens on but is a little bored.
MAJOR BRIGGS
Wandering about I noticed happily that the house
had been immaculately maintained. There’d been added a number of additional
rooms but ... in a way that blended so seamlessly with the original construction
one would never detect any difference. Returning to the house’s grand foyer,
came a knock on the door. My son was standing there.
BOBBY’S attention is grabbed.
MAJOR BRIGGS
He was happy and care free. Clearly living a life
of ... deep harmony and joy. We embraced. Warm and loving embrace, nothing
withheld. We were, in this moment, one. My vision ended and I awoke with
a ... tremendous feeling of ... optimism and confidence in ... you and
your future. That was my vision of you.
BOBBY has been listening intently and is now teary eyed.
BOBBY
MAJOR BRIGGS
I’m so .. glad to have had this opportunity to
share it with you.
MAJOR BRIGGS stands up.
MAJOR BRIGGS
I wish you nothing but ... the very best in all
things.
MAJOR BRIGGS and BOBBY shake hands.
BOBBY
MAJOR BRIGGS
BOBBY
MUSIC ENDS: VISION OF YOU
MAJOR BRIGGS walks off to the coat rack to collect his hat and coat.
At the counter, HANK turns towards MAJOR BRIGGS.
HANK
MAJOR BRIGGS turns to HANK.
HANK
MAJOR BRIGGS
HANK salutes MAJOR BRIGGS. MAJOR BRIGGS exits the diner through the front door but
as he does he passes NORMA, who enters the diner. NORMA enters the counter
island. HANK faces NORMA directly.
HANK
BOBBY overhears HANK and turns his head to look at him.
NORMA
NORMA passes HANK and walks straight into the kitchen. HANK yells to NORMA
as she enters the kitchen.
HANK
Well how she’d like the flowers!
MUSIC: HANK’S THEME 39K
HANK turns and meets eyes with BOBBY. HANK throws his arms up showing his
discord at NORMA’S lack of response. BOBBY waves to him an understanding.
HANK throws the towel in his hand up, catches it and walks away. BOBBY recollects
the events of the previous night ...
INSERT: BOBBY’S FLASHBACK
We view the contents of the events BOBBY experienced the previous night. Inside LEO JOHNSON’S
house, A shot RINGS out. A bullet smashes through the window and sends LEO flying
back onto the couch.
Through BOBBY’S POV we FOCUS on the bullet hole in the broken glass and
then FOCUS outside on HANK, wearing a black leather jacket, standing outside
as he looks towards the house. HANK walks off.
BACK TO SCENE:
BOBBY ponders on that memory.
MUSIC ENDS: HANK’S THEME 39K
CUT TO:
EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
An establish shot. We view the front doors of the building and the memorial plaque framed
between two parked police cruisers.
CUT TO:
INT. SHERIFF’S DEPARTMENT CONFERENCE ROOM - DAY
MUSIC: LAURA PALMER’S THEME (0:00 - 1:00)
AGENT COOPER sets at the short end of the conference table. Seated
near COOPER, on the long end of the table, is AGENT ALBERT followed by
SHERIFF TRUMAN and DEPUTY HAWK. The table is set up with nearly six
dozen varieties of donuts, two pots of coffee, a stack of napkins
and paper cups. DEPUTY ANDY sit opposite of COOPER on the other short end
of the table. LUCY stands in the corner near ANDY and alongside the chalkboard
which has a drawing of the map of the town. A collection of all the evidence
involved in the PALMER case lays on the table near ANDY.
COOPER
The night Laura Palmer was killed, it appeared
she made two appointments. In her diary she had written, ‘nervous about
meeting ‘J’ tonight.’ I now believe this was a reference to James Hurley.
She was nervous because she planned to tell him she didn’t want to see
him any more. Before she snuck out of the house she received a phone call.
ALBERT
We believe it was Leo Johnson making the second
appointment for sometime later that night.
COOPER
Laura met James, was with him until 12:30 ...
COOPER grabs himself a jelly donut. We PAN RIGHT to view the spread of donuts on the table.
COOPER
... when at the intersection of Sparkwood and 21 she jumped from the bike and ran
into the woods.
SUPERIMPOSE: PINE TREES
As we PAN RIGHT to view the spread of donuts an additional scene is SUPERIMPOSED.
We also view pine trees being blown in the wind.
COOPER (OFF SCREEN)
We believe it was there that she met up with Jacques
Renault, Leo Johnson and Ronette Pulaski. Together they drove to the foot
of the trail leading to Jacques’s cabin. They climbed the trail. They were
heard passing by the cabin of the Log Lady. They reached Jacques Renault’s
cabin at approximately 1 am. Drugs and alcohol were consumed. Laura was
tied up and had sexual relations with both Leo and Jacques.
SUPERIMPOSE DISSOVLE TO: STREET INTERSECTION LIGHT
Along with the PANNING shot of the spread of donuts the SUPERIMPOSED scene of
the blowing trees now gives way to a street intersection light that is showing red.
COOPER (OFF SCREEN)
Waldo the bird was let out of his cage and attacked
Laura. Leo and Jacques fought. Jacques went outside and passed out. When
he came to, Leo and the girls were gone. We believe Leo hiked back down the
trail to his corvette alone, leaving the girls behind.
SUPERIMPOSE DISSOVLE TO: TRAIN CAR
The SUPERIMPOSED scene of the street intersection light that is showing red
gives way to an exterior view of the train car where some of the grisly evidence
to the case was found. We continue to view the PANNING shot of the spread of donuts.
ALBERT (OFF SCREEN)
The reason being ... there was a third man.
COOPER (OFF SCREEN)
Deputy Hawk found evidence of a third man outside
the window of Jacques’s cabin.
SUPERIMPOSE DISSOVLE TO: BLOODY FLOOR AND HAMMER
The SUPERIMPOSED scene changes to a view inside the train car where a
flashlight spot illuminate a bloody floor and hammer. We continue to view
the PANNING shot of the spread of donuts.
ALBERT (OFF SCREEN)
The third man took Laura and Ronette to the train
car where they were tied up. Laura for the second time, Ronette for the
first.
COOPER (OFF SCREEN)
Using a blunt object, the killer hit Ronette and
knocked her unconscious. He must have been so intent on killing Laura he
didn’t realize that ...
SUPERIMPOSE DISSOVLE TO: RONETTE AT THE BRIDGE
The SUPERIMPOSED scene now changes to a view of RONETTE as she was first found
walking in a dirty slip on the bridge. We continue to view the PANNING shot
of the spread of donuts.
COOPER (OFF SCREEN)
... Ronette regained conscious and escaped.
ALBERT (OFF SCREEN)
Either he didn’t know or he didn’t care. He made
a small mound of dirt and put the half heart necklace of Laura’s on top.
SUPERIMPOSE DISSOVLE TO: MOUND OF DIRT
The SUPERIMPOSED scene changes back to a view inside the train car where
a flashlight spot illuminate a mound of dirt with the gold half heart
necklace on top. We continue to PAN the table but now view two pots of coffee.
ALBERT (OFF SCREEN)
He then placed a small cutout letter ‘R’ under
the nail of her left ring finger.
SUPERIMPOSE DISSOVLE TO: LETTER UNDER FINGERNAIL
The SUPERIMPOSED scene now shows COOPER as he was digging under LAURA’S fingernail
with some tweezers in the morge. We continue to SLOWLY PAN the table and view two
pots of coffee.
ALBERT (OFF SCREEN)
You’ll recall that he placed the letter ‘T’ under
the finger nail of Teresa Banks.
SUPERIMPOSE DISSOVLE TO: MOUND OF DIRT
The SUPERIMPOSED scene changes back to a view inside the train car where
we view a flashlight spot illuminate the mound of dirt with a torn, crumpled
piece of paper lying nearby.
ALBERT (OFF SCREEN)
He uh ... left a note written in blood, ‘fire walk with me.’
COOPER (OFF SCREEN)
Here’s the interesting thing. The blood on the note was tested. It
doesn’t match Leo’s, Jacques’s, Laura’s or Ronette’s.
MUSIC ENDS: LAURA PALMER’S THEME (0:00 - 1:00)
BACK TO SCENE:
The SUPERIMPOSED scene disappears. We view only a PANNING shot of the table
top which now bears a collection of the evidence: LAURA’S photograph, the
bloody towel, the twine, LAURA’S diary and copies of FleshWorld.
MUSIC: LOVE THEME FROM TWIN PEAKS (1:15 - 2:09)
ALBERT (OFF SCREEN)
So, we surmise the killer wrote the note in his
own blood. Its a rare type, AB-. The towel that Deputy Hawk found five
miles down the tracks was soaked in blood of that type. He also found,
near the towel, scraps of faded paper.
COOPER (OFF SCREEN)
These scraps may have been left by the killer.
They’ll be sent back to Washington D.C. for testing.
Holding a photograph of LAURA, ANDY begins to cry.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS (1:15 - 2:09)
ALBERT
(smartass) I know Andy. I know, I know, I know.
Its what we call a three hankie crime.
ANDY looks up from the photograph, looks at ALBERT, stands up and points
at ALBERT.
ANDY
Albert Rozerfeld, I don’t like the way you talk
smart about Sheriff Truman or anybody! You just shut your mouth!
ANDY walks out of the room and SLAMS the door behind himself. LUCY smiles
to herself. EVERYONE looks at ALBERT. SHERIFF TRUMAN grins. ALBERT just
rolls his eyes.
COOPER
Laura Palmer’s dead. Jacques Renault is dead.
Ronette Pulaski and Leo Johnson are in comas. Waldo the bird is dead. This
leaves only the third man.
CUT TO:
EXT. BLUE PINE LODGE - DAY
An establish shot. From the porch, we look out onto Black Lake as evening draws near.
CUT TO:
INT. BLUE PINE LODGE - DAY
MUSIC: LAURA PALMER’S THEME
INSERT: CLOSE-UP DEER HEAD TROPHY
We view a CLOSE-UP of a deer head trophy hanging high on the wall.
INSERT: CLOSE-UP 2ND DEER HEAD TROPHY
We view a CLOSE-UP of another deer head trophy hanging high on the wall.
BACK TO SCENE:
PETE and SHERIFF TRUMAN enter the house through the front door. PETE coughs as he slowly walks inside.
SHERIFF TRUMAN
You want this door closed?
PETE
Oh yeah - yeah. (jokingly) We’ll
frost our rooms. Oh, I sure do appreciate the ride Harry. Oh.
PETE finds an envelope on the kitchen counter.
SHERIFF TRUMAN
Well, I always appreciate your company.
MUSIC ENDS: LAURA PALMER’S THEME
PETE
Oh, this smoke inhalation ... is nasty business.
I feel like ... somebody taped my lips to the tailpipe of a bus.
SHERIFF TRUMAN
SHERIFF TRUMAN eases PETE into a chair. TRUMAN then pulls up a nearby chair
and takes a seat.
SHERIFF TRUMAN
So where the hell is Josie?
PETE
Oh, well maybe this will tell us.
PETE opens the envelope, pulls out and unfolds a letter. PETE reads it outloud
for SHERIFF TRUMAN.
PETE
Dear Pete. I had to leave the town on an emergency
of business to Seattle. I will phone you when I arrive. Hope you did a
good day at the mill. There is ginger beer in the refrig. Love Josie.
PETE folds the letter and returns it to its envelope.
PETE
SHERIFF TRUMAN
Is there a phone number there?
PETE
SHERIFF TRUMAN
Does she say where she’s staying?
PETE
No no, she goes off to Seattle once every three
months or so. You want my opinion, I think she goes over there to indulge
a secret vice.
PETE looks at TRUMAN. Worried, TRUMAN’S eyes widen.
SHERIFF TRUMAN
PETE
PETE chuckles.
PETE
Comes back with half a department store.
PETE laughs, which quickly becomes a slight nagging cough.
SHERIFF TRUMAN
Pete, we haven’t found Catherine.
PETE takes a deep breath.
PETE
Yeah. (deep breath) I figured.
SHERIFF TRUMAN
I know you want to hope for the best but ... you
ought to prepare for the worst.
PETE takes another deep breath.
PETE
Oh dear. (teary eyed, sniffling)
I always figured I’d be the one to go first. I mean if you was laying odds
on the last person standing after an atomic war I’d bet on her.
SHERIFF TRUMAN
Yeah, she was a tiger alright.
PETE
Ahh no use mincing words, she was plain hell to
live with. Plain hell. But once, there was a little bit of heaven there too.
SHERIFF TRUMAN
PETE
(whispered) Oh god. This will take
a little while to sink in I suppose.
SHERIFF TRUMAN
TRUMAN puts an understanding hand on PETE’S shoulder.
PETE
God help her miserable soul. (in tears) I loved
her.
The telephone RINGS. SHERIFF TRUMAN moves to the kitchen, picks up the receiver and answers:
SHERIFF TRUMAN
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
At a pay phone near the lobby of the hotel, JONATHAN KUMAGAI, a muscular
Asian man, talks on the phone to SHERIFF TRUMAN.
JONATHAN
Could I speak to Josie Packard please?
SHERIFF TRUMAN (OFF SCREEN)
(from the phone) Well she’s not here right now.
JONATHAN
Can you tell me when she’ll be back?
CUT TO:
INT. BLUE PINE LODGE - DAY
SHERIFF TRUMAN
Well she’s out of town. Who’s calling?
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
JONATHAN hangs up the phone and dials another number.
JONATHAN
I’d like to place international call please. Collect to Hong Kong.
We PAN RIGHT, BENJAMIN and JERRY walk out of an elevator.
JERRY is carrying a white box.
JERRY
Doesn’t that, doesn’t that sound? I mean I ate
it but I didn’t really know what it was. Then I read about it in this French
magazine and they take the entire head and dip it in a kind of aplomage
pudding. Then they roll it in oats.
BENJAMIN
JERRY
And stuff it full of walnuts and hot rocks and a spice cookie.
As BEN and JERRY walk through the lobby, HOTEL EMPLOYEES greet them.
HOTEL EMPLOYEE #1
JERRY
They wrap it in popingnon.
HOTEL EMPLOYEE #2
JERRY
You seal the edges with a - a sugar glaze.
BENJAMIN
HOTEL EMPLOYEE #3
JERRY
Then you bake it under glass.
BENJAMIN
Oh, that sounds incredible.
JERRY
BEN looks around the lobby.
BENJAMIN
Have you seen Audrey today?
JERRY
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
HANK stands alone in front of a roaring fire in the dark office.
The double doors to the office open and BEN and JERRY enter. HANK turns around to meet them.
BENJAMIN
HANK
Jerry and Benjamin Horne.
Smoking a cigar, BEN walks up to and stands besides HANK.
BENJAMIN
HANK
BENJAMIN
BEN and JERRY walk around HANK.
HANK
She wanted to put a little distance between her
and the smell of smoke.
JERRY roles up his shirt sleeves.
BENJAMIN
Sound strategy. Next business, Leo Johnson?
HANK
He’s in a coma. Looks like brain damage.
JERRY
With Leo how could they tell?
BENJAMIN
HANK
I caught him center shot with a .44. Couldn’t
risk going inside. The neighborhood was hot. I had to sneak past patrols
as it was.
BENJAMIN
HANK
Negative. He was chopping wood.
JERRY
HANK
JERRY gets in HANK’S face.
JERRY
Wait a minute. Chopping wood inside?!
HANK
JERRY shakes his head in bewilderment.
BENJAMIN
Alright, what’s next? Catherine. Dead?
HANK
My phone call put her in the drying shed when
the place went up. Sounds like buried with the wreckage.
JERRY
Heat like that, they’ll be lucky to find teeth.
BENJAMIN
And they were such pretty teeth. Marvelous. Marvelous.
Gentlemen, if they don’t hang the arson on the late lamented Catherine
... and her coconspirator Leo. I’ll give up sex.
Laughing, JERRY points at BEN.
JERRY
HANK
What do we do with the ledger?
BENJAMIN
Hank, you leave the creative thinking to the brothers
Horne. You’re a bicep. Relax until we say flex.
JERRY reaches out and squeezes HANK’S left arm. HANK immediately reacts
by jerking his arm around and shoving JERRY’S arm away. JERRY jerks his
arm right back.
JERRY
Now that really makes me mad.
JERRY takes his glasses off and he and HANK are once again face-to-face
until HANK suddenly breaks into laughter and throws his arms around BEN and JERRY.
HANK
Ha - ha - ha. You guys. Ha - ha - ha - ha - ha.
MUSIC: OWL CAVE
BEN and JERRY look at each other as HANK laughs.
CUT TO:
INT. BLACKIE’S OFFICE - NIGHT
There’s a knock at the door to the office. BLACKIE lays back in a day bed
as two of the establishment’s 52’ PICK-UP girls massage her neck and feet.
BLACKIE
The door opens and AUDREY, wearing black lingerie, walks inside with a large
man, dressed in a suit, escorting her.
MUSIC: AUDREY’S DANCE
AUDREY
Why is the door to my room locked? And who’s the refrigerator?
AUDREY points to her escort.
BLACKIE
The owner was a little disappointed in your performance last night.
MUSIC ENDS: AUDREY’S DANCE
AUDREY walks away.
AUDREY
Well the owner isn’t exactly my type.
BLACKIE stands up. AUDREY turns around to face BLACKIE. BLACKIE gestures
for AUDREY to come to her. AUDREY walks next to BLACKIE. BLACKIE moves close
to AUDREY and touches her hair.
BLACKIE
And what is your type exactly?
AUDREY
Not you. (chuckle) No offense.
BLACKIE nods to the GUARD. The GUARD moves behind AUDREY and grabs both of her arms.
AUDREY
BLACKIE
Let’s get one thing straight between us princess.
AUDREY
BLACKIE grabs AUDREY by the jaw with her right hand.
BLACKIE
I don’t want to hear another complaint about you.
When you work for me, everybody’s your type.
AUDREY turns her head to the side but BLACKIE, still holding her jaw, jerks
her head back to face her.
MUSIC ENDS: OWL CAVE
CUT TO:
EXT. HAYWARD HOUSE - NIGHT
An establish shot. We view the exterior of the house from the street as the streetlight illuminates
the rainy night.
CUT TO:
INT. HAYWARD HOUSE - NIGHT
MUSIC: LOVE THEME FROM TWIN PEAKS
DONNA is on the phone.
DONNA
Norma? Hi, its Donna. I’m calling about Meals
on Wheels. I’m going to take over Laura’s route if that’s okay with you.
(reply) Okay, great. Listen, can I
use the Double R station wagon? (reply)
Alright, great. Then I’ll see you tomorrow at nine.
The line on the other end hangs up. DONNA hangs up the phone.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
MUSIC: VISION OF YOU
In the dining room seated at the table are DR. HAYWARD, HARRIET
HAYWARD, LELAND, SARAH, EILEEN HAYWARD, DONNA and MADELEINE. Standing a
short distance from the table and facing the group is GERSTEN HAYWARD, the
youngest daughter in the family.
EILEEN
Gersten’s going to tell us about tonight’s proceedings.
She has some very good news. We’re all very proud of her.
GERSTEN
Good evening. I’m Gersten Hayward and I would
like to welcome you all to the Hayward supper club.
SARAH laughs.
GERSTEN
I’m going to be playing various selections of
music for you this evening. My good news is that I was chosen to be the
fairy princess in my school play. This is my special dress.
GERSTEN is wearing a tiara, a pink dress and is holding a wand.
GERSTEN
Also I got the highest scores in mathematics and
English this midseason term. Just as my sisters Harriet and Donna did before
me. (playfully, jokingly) So now I
don’t have to worry about being ashamed anymore. Before I play, Harriet would
like to read a poem about your daughter and our friend Laura.
HARRIET gets up from her seat and moves to where GERSTEN was standing. GERSTEN
has moved to the nearby piano. HARRIET nods to GERSTEN to begin playing.
LELAND, with a smile, and SARAH hold hands.
MUSIC: PIANO ???
HARRIET
Uhm. It was Laura and I saw her glowing. In the
dark woods I saw her smiling. We were crying and I saw her laughing. In
our sadness I saw her dancing. It was Laura living in my dreams. It was
Laura. The glow was life. Her smile was to say it was alright to cry. The
woods was our sadness. The dance was her calling. It was Laura and she
came to kiss me goodbye.
MUSIC ENDS: PIANO ???
SARAH has tears in her eyes. HARRIET returns to her seat but before she sits she gives LELAND a hug.
LELAND
That was wonderful thank you.
We PAN the room. EILEEN smiles at DONNA, who, with her arms crossed, slyly looks back.
EILEEN
GERSTEN
I’m now about to play Mendelhson’s ???.
MUSIC ENDS: VISION OF YOU
MUSIC: MENDELHSON’S ??? 91K
We PAN the room as GERSTEN plays the piano.
Time has passed and the GROUP are now eating. DONNA turns to MADELEINE and
privately whispers:
DONNA
I’ve got the list and map for Meals on Wheels.
I’m going to start tomorrow.
MADELEINE
As EVERYONE eats, LELAND looks at DR. HAYWARD who appears to be quite distant
as he quietly sits at the table starring at his plate of food.
LELAND
DR. HAYWARD wakes up and draws a smile. LELAND chuckles slightly.
DR. HAYWARD
I feel like I’ve sat through back to back operas.
In med school we learned to live on three hours a night and cat naps.
LELAND
Its terrible about the mill.
DR. HAYWARD
Yeah. They say more then a hundred and fifty jobs may be lost.
LELAND
DR. HAYWARD
I uh suppose this uh will open the door for Ben Horne and his uh big development plans.
LELAND
Well as his lawyer, and yours, of course I can’t comment.
DR. HAYWARD
Well as your doctor Leland, what the hell happened to your hair?
The GROUP laugh slightly.
LELAND
It is strange isn’t it. Well I just uh ... I woke up this morning and
looked in the mirror and there it was. It had literally changed overnight.
DR. HAYWARD
Well considering all you’ve been through.
LELAND
You know the funny thing about it is ... seeing it, I realized
I had ... turned a corner somehow. I feel a great deal of sadness still,
yes, but uh ... it wasn’t as overwhelming to me. I physically
felt as if ... a great wave had been lifted from my heart.
DR. HAYWARD
LELAND
(smiling) Perhaps it has, perhaps it has. God
I feel like singing.
DR. HAYWARD
(surprised, politely) That
would be very nice.
LELAND
No I really feel like singing a song.
LELAND stands up. DR. HAYWARD is surprised and is caught off guard by his
actions. SARAH is a little worried.
SARAH
LELAND
Come on everybody ... get happy.
MUSIC ENDS: MENDELHSON ??? 91K
GERSTEN stops playing the piano as LELAND moves to her and asks her to play:
LELAND
GERSTEN
LELAND
SONG: COME ON GET HAPPY
LELAND stands before the group at the table as he sings and dances slightly.
The GROUP at the table all smile and laugh a little as LELAND sings.
LELAND
Forget your troubles and just get happy.
You got to pack all your cares away.
Sing hallelujah come on get happy.
Get ready for the judgment day.
The sun is shining come on get happy.
The lord is waiting to take your hand.
Sing hallelujah come on get happy.
We’re going to that promised land.
With a hand across the river wash your sins away in the tide.
Its oh so peaceful on the other side.
Forget your troubles come on get happy.
You better chase all your cares away.
LELAND starts to sing faster and faster.
LELAND
Sing hallelujah come on get happy.
Get ready for the judgment day.
Sing hallelujah come on get happy.
Sing hallelujah come on get happy.
Get ready for the judgment day.
Sing hallelujah come on get happy.
LELAND’S singing becomes somewhat mad and strained.
LELAND
Get ready for the judgment da...
SONG ENDS: COME ON GET HAPPY
LELAND stops singing and falls to the floor.
DR. HAYWARD
DR. HAYWARD rushes to LELAND.
MUSIC: LOVE THEME FROM TWIN PEAKS
SARAH
MADELEINE is by LELAND’S side holding his hand.
GERSTEN
DR. HAYWARD
I’m sure its nothing serious.
DR. HAYWARD waves a bottle of smelling salts under LELAND’S
nose. LELAND quickly comes to and lifts his head up.
LELAND
Oh god. I feel happy. (chuckle) I feel happy.
Begin the Beguine
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
INT. DALE COOPER’S HOTEL ROOM - NIGHT
Ready for sleep dressed pajamas and under the sheets, AGENT
COOPER speaks into his mini tape recorder.
COOPER
Diane its ... 11:55 pm. Approximately nineteen
hours since the shooting incident which nearly caused me to make a premature
purchase of the proverbial farm. I am dog tired. A man can only go so long
without submitting to a period of rest. For as we know from experiments
conducted on American GI’s during the Korean war; sleep deprivation is
a one way ticket to temporary psychosis. And I’m working on a three day
jag. I got so goofy last night Diane, lying here wondering whether I was
going to live or die, that I thought I saw a giant in my room. Or perhaps
that’s a story that I’ll save for another time. This is me, Dale. Room
315 at the Great Northern Hotel signing off.
AGENT COOPER turns his mini tape recorder off and places it on the bedside
table. COOPER turns off the lights, lays back, comforts himself in his sheets
and exhales deeply.
CUT TO:
INT. ONE-EYED JACKS - NIGHT
MUSIC: VISION OF YOU
Lying on her back on a bed, we view a CLOSE-UP of AUDREY’S face. AUDREY holds
her hands together as if praying.
AUDREY
Special Agent. Special Agent. Special Agent. Special
Agent are you there? I left you a note. Didn’t you get my note?
INSERT:
As AUDREY pleas for her savior, we view AGENT COOPER’S current state, sleeping peacefully
in his bed at The Great Northern. We PAN DOWN to see an envelope lying on the floor beneath the bed.
AUDREY (OFF SCREEN)
I slipped it under your door you must have seen
it. I’m up here at One-Eyed Jacks.
BACK TO SCENE:
Dressed in a black nightgown, AUDREY lies on her back on a bed holding
her hands together as if praying.
AUDREY
To be perfectly honest I think I’m in a little over my head.
We SLOWLY ZOOM IN on AUDREY’S face. AUDREY fiddles with a small white pillow.
AUDREY
Not that I can’t handle it. I mean I’m going to
help you out with your investigations. I’m sure I’ll be put into situations
a lot more dangerous then this on a fairly regular basis. But its just
... you know, my first time out. I could use a little expert guidance.
Just so you know, there is a connection between Horne’s Department Store
and One-Eyed Jacks. Its my father, he owns the place. But a bald old sleaze
named Battis helps to recruit some of the girls from the perfume counter.
Tomorrow I’m going to try to find out if Laura and Ronette came up here.
I hope you won’t think any less of me for trying to help you. You know
I promised I’d only did it with the best of intentions. Then if there’s
any way ... if there’s any way in the world that you can hear my right
now. Please help me.
With tears in her eyes AUDREY clutches the pillow and with a slight cry in
her voice, whispers:
AUDREY
MUSIC ENDS: VISION OF YOU
CUT TO:
INT. DALE COOPER’S HOTEL ROOM - NIGHT
In the dark, COOPER sleeps with an arm draped over his eyes. A shadow
moves through the room. The shadow stands stationary and falls over the
sleeping form of AGENT COOPER.
SOUND EFFECT: SPIRIT PRESENCE RINGING 20K
A hand waves through the air above COOPER to see if he notices and is awake.
The hand is from the GIANT standing next to COOPER’S bed. The
GIANT walks away. COOPER sleeps peacefully alone in his dark room.
A bright light illuminates the room and the GIANT materializes by the foot
of the bed. COOPER awakens and moves his arm from his eyes. COOPER sees the GIANT.
GIANT
COOPER raises his head from the pillow.
COOPER
GIANT
I forgot to tell you something.
COOPER
You were right about the smiling bag.
GIANT
The things I tell you will not be wrong.
COOPER opens his mouth to say something but the GIANT raises his left
hand to stop him from speaking.
GIANT
Better to listen than to talk.
COOPER
GIANT
Don’t search for all the answers at once. A path
is formed by laying one stone at a time.
COOPER nod his head for yes.
GIANT
One person saw the third man. Three have seen him, yes, but not his body.
One only known to you. Ready now to talk. One more thing. You forgot something.
COOPER
The GIANT raises his left hand. A bright light fills the room. A ball of
light forms near the GIANT and flies toward COOPER.
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING 20K
The room falls dark again and the GIANT vanishes. COOPER slowly lays his
head back down and thinks it over.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - NIGHT
We FOCUS down an empty hallway of the hospital.
We FOCUS down another empty hallway of the hospital. Some of the fluorescent lights flicker.
We FOCUS down yet another empty hallway of the hospital.
Slowly, we begin to move down the hallway.
CUT TO:
INT. RONETTE PULASKI’S HOSPITAL ROOM - NIGHT
RONETTE sleeps in her hospital bed. Slowly, and unexpectedly, RONETTE’S arms begin to rise.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - NIGHT
We return to moving down an empty hallway but much faster than before.
CUT TO:
INT. RONETTE PULASKI’S HOSPITAL ROOM - NIGHT
RONETTE is still asleep in her hospital bed but her arms are raised slightly
in the air alongside her body.
RONETTE’S eyes snap open.
CUT TO:
EXT. ABANDONED TRAIN CAR - NIGHT
We view the exterior of an abandoned train car. The windows of the train
car glow from lights within. A THUMPING sound can be heard.
CUT TO:
INT. RONETTE PULASKI’S HOSPITAL ROOM - NIGHT
RONETTE starts to claw the air and flails her arms around. RONETTE is being
attacked by the vision of the events that occured the night LAURA died.
CUT TO:
INT. ABANDONED TRAIN CAR - NIGHT
BOB, the man with long grayish hair and wearing a jean jacket, kneels
on the floor next to the body of LAURA PALMER. LAURA is lying flat on the floor, face
up. BOB is looking in our direction and is yelling.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - NIGHT
We race down a hallway in the hospital as BOB runs towards us. BOB,
wearing a crazed smile, is yelling. We ZOOM IN on BOB’S face and continue
to ZOOM IN until we FOCUS on his teeth which bite down.
CUT TO:
INT. RONETTE PULASKI’S HOSPITAL ROOM - NIGHT
RONETTE screams as she flails her arms around clawing the air.
RONETTE
CUT TO:
INT. ABANDONED TRAIN CAR - NIGHT
We FOCUS on a CLOSE-UP of LAURA’S face. LAURA’S hair, face and teeth are
scattered with blood. LAURA screams a blood curdling scream.
SOUND EFFECT: LAURA’S SCREAM 20K
The light in the train car flickers like strobe light.
CUT TO:
INT. RONETTE PULASKI’S HOSPITAL ROOM - NIGHT
Lying in bed, RONETTE continues to flail her arms around as she is scared to death by the
recall of events.
CUT TO:
INT. ABANDONED TRAIN CAR - NIGHT
We FOCUS on BOB as he makes long vicious hammer blows at LAURA.
We FOCUS on LAURA as she screams a blood curdling scream.
SOUND EFFECT: LAURA’S SCREAM 20K
CUT TO:
INT. RONETTE PULASKI’S HOSPITAL ROOM - NIGHT
RONETTE continues to claw the air as she flails her arms around. We ZOOM
IN on RONETTE’S face as she struggles with the terror from the recalled events.
CUT TO:
INT. ABANDONED TRAIN CAR - NIGHT
BOB continues his vicious hammering.
CUT TO:
INT. RONETTE PULASKI’S HOSPITAL ROOM - NIGHT
RONETTE struggles and flails her arms around.
CUT TO:
INT. ABANDONED TRAIN CAR - NIGHT
We FOCUS on BOB as he continues to viciously hammer at LAURA.
We FOCUS on LAURA as her screaming subsides.
CUT TO:
INT. RONETTE PULASKI’S HOSPITAL ROOM - NIGHT
RONETTE continues to flail her arms, almost viciously clawing the air.
CUT TO:
INT. ABANDONED TRAIN CAR - NIGHT
We FOCUS on a CLOSE-UP of BOB’S face with his intense, madman-like eyes.
We FOCUS on a CLOSE-UP of LAURA’S face with lifeless eyes.
CUT TO:
INT. RONETTE PULASKI’S HOSPITAL ROOM - NIGHT
We view a CLOSE-UP of RONETTE’S face as she screams:
RONETTE
Slowly, RONETTE stops struggling.
CUT TO:
INT. ABANDONED TRAIN CAR - NIGHT
We FOCUS on a CLOSE-UP of LAURA’S face. LAURA is lying on her back, dead.
We FOCUS on a CLOSE-UP of a mound of dirt and a torn piece of paper with
the words, written in blood:
We FOCUS on a CLOSE-UP of LAURA’S face. A light source inside the train car flickers like
a strobe light. We PAN DOWN LAURA’S body. LAURA’S skin is slightly sweaty.
LAURA is wearing white lingerie that is dirty and slightly bloody.
We FOCUS on the figure kneeling beside LAURA’S body. We PAN UP the figure to see
that it is BOB. BOB looks up and lets out a loud animal-like HOWL.
SOUND EFFECT: BOB’S HOWL 39K
FADE OUT:
CLOSE:
FADE IN:
EXT. MOUNTAINS NEAR TWIN PEAKS - DAY
We view the mountains where LAURA had her picnic spot. Screen text:
DEDICATED TO THE MEMORY OF KEVIN YOUNG JR
FADE OUT:
FADE IN:
MUSIC: PIANO 2 ???
GERTRUDE HAYWARD, dressed in her fairy princess outfit, plays the piano as the end credits roll.
MUSIC ENDS: PIANO 2 ???
FADE TO BLACK:
