Episode 9 - Coma
FADE IN:
INT. LOG LADY’S CABIN - DAY
MUSIC: CALL OF THE BLACK LODGE
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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
As above, so below. The human being finds himself,
or herself, in the middle. There is as much space outside the human, proportionately,
as inside. Stars, moons and planets remind us of protons, neutrons and
electrons. Is there a bigger being walking with all the stars within? Does
our thinking affect what goes on outside us and what goes on inside us?
I think it does. Where does creamed corn figure into the workings of the
universe? What really is creamed corn? Is it a symbol for something else?
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 - DAY
An establish shot. We FOCUS on water cascading from the water fall and then slowly PAN LEFT
to the hotel perched on the cliff near the falls.
CUT TO:
INT. TIMBER ROOM - DAY
SONG: BARBER SHOP QUARTET
In the dining area of the Great Northern Hotel, FBI SPECIAL AGENT DALE COOPER
and AGENT ALBERT ROSENFIELD are having breakfast. In the background is a
barber shop quartet singing. The dining area is rather busy.
COOPER
Buddhist tradition first came to the land of snow
in the fifth century AD. The first Tibetan king to be touched by the Dharma
was King Hathatha Rignamputsan. He and succeeding kings were collectively
known as the Happy Generations. Now some historians place them in the
Water Snake Year, 213 AD. Others in the year of the water ox 173 AD. Amazing
isn’t it? The Happy Generations.
COOPER eats his breakfast.
ALBERT
Agent Cooper, I am thrilled to pieces that the
Dharma came to King Ho-Ho-Ho, I really am, but right now I’m trying hard
to focus on the more immediate problems of our own century right here in
Twin Peaks.
COOPER
Albert, you’d be surprised at the connection between
the two.
ALBERT
(sarcastic) Color me amazed.
COOPER
Ronette Pulaski has woken from her coma.
ALBERT
COOPER
I’m thinking she’s gonna have quite a story to
tell when she regains the ability to speak.
ALBERT
COOPER
Waking but silence, probably shock. I’m going
to show her the sketches of Leo Johnson and Bob, the man Sarah Palmer saw
in her vision. The man who came to me in my dream.
ALBERT
Has anyone seen Bob on Earth in the last few weeks?
COOPER
ALBERT grabs a nearby folder on the table and opens it.
ALBERT
Okay, I uh performed the autopsy on Jacques Renault.
Stomach contents revealed ... lets see: beer cans, a Maryland license plate,
half a bicycle tire, a goat and a small wooden puppet, goes by the name
of Pinocchio.
ALBERT puts the folder aside. COOPER turn to him, smiles and says ...
COOPER
ALBERT
I like to think of myself as one of the Happy
Generations.
ALBERT smirks.
ALBERT
And by the way, the fat boy wasn’t strangled.
Killer snuffed him with a pillow, he was wearing gloves. Tape used to bind
his wrists was stolen from the hospital supply closet and that is it. If
Jacques has any secrets he’ll be taking them underground.
COOPER
ALBERT
Well, preliminary suggests arson. I nominate Leo
Johnson.
COOPER
We’ll have to get a statement from Shelly Johnson.
ALBERT
Hospital says she’s well enough.
ALBERT looks at COOPER.
ALBERT
COOPER
ALBERT
I believe it’s customary to ask after the health
of one recently plugged three times.
COOPER
ALBERT turns away.
ALBERT
COOPER
ALBERT looks around the room.
ALBERT
My men are interrogating the hotel guests, the
usual bumper crop of rural know-nothings and drunken fly-fishermen. Nothing
so far. Oh, the world’s most decrepit room service waiter remembers nothing
out of the ordinary about the night in question, no surprise there. Señor
Droolcup has, shall we say, a mind that wanders?
COOPER raises his right hand.
COOPER
Albert, my ring is gone. One day here ... the
next day gone.
ALBERT
COOPER
I’m glad you’re with us Albert. We need the very
best.
ALBERT
Dedication to duty wasn’t the only thing that
brought me back here Cooper.
COOPER
ALBERT
COOPER looks at ALBERT.
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:35 - 1:00) (NO SAX)
COOPER
Agent Earle? He’s retired.
ALBERT
Yeah, to a nice comfy chair complete with wrist
restraints at the local laughing academy.
COOPER looks away.
COOPER
ALBERT
Nobody knows. Your former partner flew the coop,
Coop. He escaped, vanished into thin air.
COOPER
We PAN LEFT from the table COOPER and ALBERT are seated at. We PAN two other tables
until we FOCUS at a table where JONATHAN KUMAGAI sits. Peering over a newspaper,
JONATHAN looks across the room at COOPER and ALBERT.
JONATHAN’S POV:
Through JONATHAN’S POV we FOCUS on a CLOSE-UP of AGENT COOPER’S profile.
BACK TO SCENE:
JONATHAN lifts his newspaper to conceal himself.
SONG ENDS: BARBER SHOP QUARTET
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:35 - 1:00) (NO SAX)
CUT TO:
EXT. APARTMENTS - DAY
Wearing a jacket, DONNA HAYWARD walks down a pathway and up to one
of the apartments carrying a tray with two covered meals. The plates of food are concealed
under metal plate covers. DONNA walks up to the door of MRS. TREMOND’S apartment,
opens the screen door and KNOCKS on the small glass window of the door.
DONNA
CUT TO:
INT. TREMOND’S APARTMENT - DAY
MRS. TREMOND, an elderly woman, sits up in bed. MRS. TREMOND’S bed is positioned
against the left wall of the room. Dressed in a tuxedo, MRS. TREMOND’S GRANDSON
sits in a chair in the back right corner of the room. DONNA be heard outside.
DONNA (OFF SCREEN)
Mrs. Tremond! Meals on Wheels!
DONNA KNOCKS on the door again.
DONNA (OFF SCREEN)
MRS. TREMOND
CUT TO:
EXT. TREMOND’S APARTMENT - DAY
DONNA turns the knob of the front door, opens the door and enters.
CUT TO:
INT. TREMOND’S APARTMENT - DAY
CLOSE ON: MRS. TREMOND’S PROFILE
We FOCUS on a CLOSE-UP on MRS. TREMOND’S profile as she watches DONNA enter the room.
BACK TO SCENE:
DONNA walks into the room from the left corner of the apartment. Holding the tray, DONNA asks ...
DONNA
Mrs. Tremond, can I put your meal here?
DONNA gestures to a stack of newspapers that are piled right next to the bed.
MRS. TREMOND
DONNA sets the tray down on the stack of newspapers and takes a seat
on the nearby sofa, positioned alongside the left wall. DONNA doesn’t notice
the GRANDSON. MRS. TREMOND starts to cough, a long hacking cough. DONNA quietly
watches MRS. TREMOND move a tissue to her mouth as her cough subsides.
GRANDSON
Spooked, DONNA turns her head to see a young boy sitting in a chair, wearing
a tuxedo.
DONNA
GRANDSON
Sometimes things can happen just like this.
The GRANDSON snaps his fingers. MRS. TREMOND takes the cover off of her dish.
MRS. TREMOND
Cream corn!? Do you see cream corn on that plate?
Facing MRS. TREMOND, DONNA glimpses down at the plate.
DONNA’S POV:
Through DONNA’S POV we FOCUS on a CLOSE-UP on the plate of food. One third of the
plate has fried chicken, another third has mashed potatoes and the other
third is covered with cream corn.
BACK TO SCENE:
Wide-eyed, DONNA looks back up to MRS. TREMOND.
DONNA
MRS. TREMOND looks down at the plate of food.
MRS. TREMOND
I requested no cream corn.
MRS. TREMOND looks up to DONNA
MRS. TREMOND
Do you see cream corn on that plate?
Again DONNA glimpses down at the plate.
DONNA’S POV:
Through DONNA’S POV we FOCUS on a CLOSE-UP on the plate of food. One third of
the plate has fried chicken, another third has mashed potatoes and the other
third is clear.
BACK TO SCENE:
DONNA is stunned.
DONNA
DONNA quickly turns to the GRANDSON.
DONNA’S POV:
Through DONNA’S POV, the GRANDSON sits in his chair with his hands in his lap cradling cream corn.
BACK TO SCENE:
Bewildered, DONNA smiles at the GRANDSON.
INSERT: CLOSE-UP CREAM CORN
We FOCUS on a CLOSE-UP of the GRANDSON’S hands cradling cream corn.
BACK TO SCENE:
DONNA turns to look at the plate and then back to the GRANDSON.
DONNA’S POV:
Through DONNA’S POV, the GRANDSON moves his hands to his chest, no
longer cradling the cream corn!? The cream corn has disappeared!?
BACK TO SCENE:
Amused, DONNA looks back at MRS. TREMOND.
MRS. TREMOND
(waxing enthusiastic) My grandson is studying
magic.
DONNA
MRS. TREMOND looks at her GRANDSON. DONNA follows her gaze.
DONNA’S POV:
Through DONNA’S POV we FOCUS on a CLOSE-UP of the GRANDSON’S face as he quietly sits
starring back.
BACK TO SCENE:
MRS. TREMOND turns to DONNA and leans towards her.
MRS. TREMOND
DONNA
I - I’m taking over Laura Palmer’s place on the
Meals on Wheels.
As if DONNA didn’t know, MRS. TREMOND tells her ...
MRS. TREMOND
DONNA
MRS. TREMOND slightly turns away from DONNA.
MRS. TREMOND
CLOSE ON: GRANDSON’S FACE
We FOCUS on a CLOSE-UP of the GRANDSON’S face and read in his eyes that he reflects
over DONNA’S question.
BACK TO SCENE:
DONNA stands up.
DONNA
Okay, Mrs. Tremond. I’ll be back tomorrow to pick
this up and to bring your lunch.
DONNA starts to walk off but stops and turns to MRS. TREMOND as she adds ...
MRS. TREMOND
They used to bring me hospital food, that Jeanette.
DONNA politely listens and then heads out again. MRS. TREMOND calls to DONNA once more.
MRS. TREMOND
DONNA turns toward MRS. TREMOND.
MRS. TREMOND
You might ask Mr. Smith next door.
MRS. TREMOND gestures to a nearby apartment.
DONNA
DONNA points at the apartment for verification and MRS. TREMOND nods her head for yes.
MRS. TREMOND
DONNA turns to the GRANDSON as he suddenly speaks.
GRANDSON
DONNA ruminates over the GRANDSON’S statement.
MRS. TREMOND
Mr. Smith does not leave his house.
DONNA mulls over the information then turns around and leaves. MRS. TREMOND
and her GRANDSON look at each other.
CUT TO:
EXT. MRS. TREMOND’S APARTMENT - DAY
DONNA exits from the apartment and closes the door behind herself. DONNA considers
what to do based on the disclosure by the TREMONDS. DONNA turns around and
looks at MR. SMITH’S apartment. DONNA walks over to MR. SMITH’S
apartment and KNOCKS on the glass window pane of his door.
DONNA
CUT TO:
INT. MRS. TREMOND’S APARTMENT - DAY
MRS. TREMOND and her GRANDSON listen carefully to what is going on outside.
They overhear DONNA as she knocks on MR. SMITH’S door. The GRANDSON looks
at his grandmother, MRS. TREMOND.
GRANDSON
She seemed like a very nice girl.
CUT TO:
EXT. HAROLD SMITH’S APARTMENT - DAY
DONNA digs into her jacket pocket and produces a pad and pen. DONNA briefly looks
over her shoulder at MRS. TREMOND’S apartment. DONNA turns back towards
MR. SMITH’S APARTMENT and writes on the notepad.
DONNA’S POV:
Through DONNA’S POV we FOCUS on a CLOSE-UP of notepad as she writes.
BACK TO SCENE:
We FOCUS on a distant shot of DONNA as she continues to write on the notepad.
Finished, DONNA puts her pen and pad back in her coat pocket. DONNA bends down
and slides the note under MR. SMITH’S apartment door. We follow DONNA as
she turns around and walks on the path that heads back to her car.
We FOCUS on the MR. SMITH’S apartmentwindow as someone’s fingers push part
of the Venetian blinds apart, from inside the apartment, to look outside.
We FOCUS on DONNA as she turns around to look back at MR. SMITH’S apartment.
DONNA catches a glimpse of the gap in the blinds just before the peeping gap quickly closes
shut. DONNA turns back around and continues to walk away.
CUT TO:
EXT. CALHOUN MEMORIAL HOSPITAL - DAY
An establish shot. We view the front of the hospital surrounded by tall pines and green lawns.
A sign reads:
Calhoun Memorial Hospital
CUT TO:
INT. RONETTE’S HOSPITAL ROOM - DAY
CLOSE ON: RONETTE
We FOCUS on a CLOSE-UP of RONETTE PULASKI as she lies in bed awake.
BACK TO SCENE:
Positioned behind and to the right of RONETTE, SHERIFF TRUMAN opens
and holds the door for AGENT COOPER as he enters the room.
COOPER
COOPER and TRUMAN grab a stool from the corner of the room near the doorway.
COOPER and TRUMAN roll the stools next to RONETTE’S bedside. The wheels
on the stools roll NOISILY as the stools are moved.
COOPER
With the stools alongside RONETTE’S bed, COOPER tries to sit on it but he
and TRUMAN realize that the seat on the stools are too high. COOPER and TRUMAN
both attempt to lower the seat. SHERIFF TRUMAN spins the top of the seat
to try to screw it down. COOPER looks for a lever to push or pull to lower
the seat.
COOPER
I can’t get this thing to work.
COOPER continues to look for a way to lower the seat. COOPER looks over to RONETTE.
COOPER
TRUMAN bends down and finds preliminary instructions on the stool support.
TRUMAN reads the instructions outloud for COOPER, who is having a hard time bending down
due to his injuries.
SHERIFF TRUMAN
Stop. Read operating instructions beneath seat before using.
TRUMAN looks under the seat. COOPER listens on. TRUMAN finds the instructions
and reads them outloud.
SHERIFF TRUMAN
Stand next to chair or stool. Do not remain seated.
Place foot on base and pull seat all the way up until you hear a click.
COOPER follows the directions as TRUMAN reads them. As COOPER pulls the
seat all the way up he slightly strains himself and lets out a slight GRUNT.
COOPER looks at RONETTE.
COOPER
COOPER and TRUMAN successfully lower the seats on their stools. COOPER and TRUMAN sit
down. COOPER leans to RONETTE.
COOPER
Ronette, can you hear me?
As a response, RONETTE blinks her eyes once.
COOPER
Okay, I’m glad you’re feeling better. I don’t
want to upset you but we need your help. I’m going to show you some sketches.
We need to know if you’ve seen these men before. We need to know if these
are the men that hurt you, okay.
Again as a response, RONETTE blinks her eyes once. COOPER unrolls a sketch he brought.
COOPER
Do you recognize this man?
MUSIC: WALKING IN THE DARK (SLOW VARIANT)
COOPER holds the sketch in front on RONETTE.
COOPER
Is this the man that hurt you?
RONETTE grabs the sketch and moves it closer to get a better view.
RONETTE’S POV:
From RONETTE’S POV we FOCUS on a CLOSE-UP of the sketch as it slowly comes into focus. The sketch
is a charcoal sketch of LEO JOHNSON.
BACK TO SCENE:
RONETTE shakes her head for no, the sketch is not the man that hurt her. COOPER
and SHERIFF TRUMAN look at each other. COOPER grabs another sketch.
COOPER
COOPER holds a second sketch up for RONETTE to inspect. RONETTE slowly moves
to grab the sketch and moves it closer to her face.
RONETTE’S POV:
From RONETTE’S POV we FOCUS on a CLOSE-UP of the sketch as it slowly comes into
focus. The sketch is a charcoal sketch of the madman known as BOB, the man seen
wearing a jean jacket and having long gray dirty hair.
BACK TO SCENE:
RONETTE reacts immediately by pushing the sketch away and hopping around in
bed as if going into convulsions. RONETTE gasps and struggles to say ...
RONETTE
Uhh train uhh uhh train uhhm uh train uhh train,
train.
COOPER
SHERIFF TRUMAN rushes to the door. COOPER stands up and leans over to RONETTE.
RONETTE
(gasping) Uhh train, train, train.
TRUMAN calls out into the hall.
SHERIFF TRUMAN
COOPER
Train? Are you in the train car? Train car?
RONETTE
Train, train, train, train, train, train! Yeah,
yeah, yeah!
COOPER
A NURSE runs into the room and up to RONETTE’S side.
RONETTE
RONETTE smashes a nearby light. In the dark, RONETTE continues to mumble and squirm.
MUSIC ENDS: WALKING IN THE DARK (SLOW VARIANT)
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
We FOCUS on a CLOSE-UP of two green books vertically propped open on the floor
with the binding up. We PAN UP to JERRY HORNE who is squatting on the floor near the
books. JERRY holds a smoked cheese, in the shape of a pig, clenched in both hands
along with a knife in his right hand. JERRY savoringly looks over the smoked cheese pig.
JERRY
Brother Ben, we’ve got two ledgers and one smoked
cheese pig. Which one do we burn?
We FOCUS on a WIDE-SHOT of the office, BENJAMIN HORNE, holding a cigar, sits
next to JERRY on the floor. Behind BEN and JERRY is a small fire in the fireplace.
JERRY turns to BEN.
JERRY
And it ain’t gonna be my pig.
JERRY starts to naw on his cheese pig. BEN taps his index finger on the
green ledger closest to him.
BENJAMIN
The real ledger shows the mill slowly seeking
into bankruptcy, masterminded by Catherine. The one she faked, for public
consumption, shows the mill turning a healthy profit.
JERRY
JERRY returns to chewing on his cheese pig.
BENJAMIN
Catherine’s dead. We put all of our money on Josie.
Catherine takes the fall for the fire. Josie profits the insurance money,
sells us the mill and the land and ... nah, wait a minute.
BEN snaps his fingers.
BENJAMIN
First she has to get dear Pete to sign on the dotted line.
JERRY
Why does Pete have to sign?
BENJAMIN
Andrew’s will calls for Catherine or her heirs
to approve of any sale.
JERRY
JERRY returns to eating his cheese pig.
BENJAMIN
Once Josie sells us the mill we could get a better
price if it appears to be more profitable.
JERRY
BENJAMIN
On the other hand, the real one would hold up
under any future scrutiny.
JERRY
Depending upon on how one looks at the situation
it appears ... they both have merit.
BENJAMIN
BEN looks at JERRY.
BENJAMIN
Maybe we should burn both of them.
Smiling, JERRY looks at BEN.
JERRY
(amused tone) It looks
like we are one hundred percent certain that we’re not sure.
BENJAMIN
Jer, obviously something requires burning ...
and since we don’t want to set fire to your smoked ... cheese ... pig.
BEN stands up, pats his brother on the back and moves to his desk.
BENJAMIN
BEN opens a drawer of his desk.
BENJAMIN
BEN lifts up a bag of ...
JERRY
(excited) Marshmallows! Ben,
where are those hickory sticks?!
FADE OUT:
FADE IN:
EXT. DOUBLE R DINER - DAY
An establish shot. From the street, we view the front of the Double R diner. Parked in front
of the diner is a police cruiser and a logging truck. In the background we
can see two mountain peaks.
CUT TO:
INT. DOUBLE R DINER - DAY
DEPUTY ANDY BRENNAN is sitting on the floor beside the front door of the
diner. ANDY fumbles with some scotch tape that he has managed to get tangled
and pieced all around his hands and fingers. ANDY struggles to remove the tape but
can’t. A piece of scotch tape has even managed to wind up on his head. One of
the sheriff’s "Have you seen this man" wanted posters with the sketch
of BOB is tapped on the door.
MAJOR GARLAND BRIGGS sits with a mug of coffee at the island counter.
Hearing all the tape ruffling, MAJOR BRIGGS turns around to look at ANDY.
We FOCUS on ANDY as he struggle to remove the scotch tape from his fingers and hands.
MAJOR BRIGGS turns around once more and briefly looks at ANDY. MAJOR BRIGGS returns
back to his coffee and takes a sip.
We FOCUS on ANDY as he struggles to remove the scotch tape from his fingers and hands.
MAJOR BRIGGS turns around again and look at ANDY, trying to see exactly what is going on.
Having not improved his situation at all, we FOCUS on ANDY as he struggle to remove
the scotch tape. ANDY is interrupted as someone walks up to the door. ANDY moves aside
slightly and stares at the person as they enter the building.
MAJOR BRIGGS stares at his coffee mug. The person that entered the diner is the LOG LADY,
carrying her log and chewing pitch gum, and she takes a seat to the left of MAJOR BRIGGS.
NORMA JENNINGS, standing behind the island counter, walks up to the LOG LADY with a coffee
mug and a pot of coffee.
NORMA
Margaret, it’s always very nice to see you.
NORMA pours the LOG LADY a cup of coffee.
NORMA
But if you’re going to spit your sticky pitch
gum out in the diner, would you please use an ash tray and not the counter
or the booth like you did last time.
The LOG LADY stops chewing and stares at NORMA. The LOG LADY swallows her gum.
LOG LADY
NORMA walks off. The LOG LADY turns to MAJOR BRIGGS and looks him over.
LOG LADY
You wear shiny objects on your chest.
MAJOR BRIGGS looks down at his chest.
MAJOR BRIGGS
LOG LADY
MAJOR BRIGGS
No, achievement is its own reward. Pride obscures it.
For the LOG LADY’S coffee, MAJOR BRIGGS points to a canister of ...
MAJOR BRIGGS
The LOG LADY shies away, places a hand over her coffee mug and slides it
close to herself. MAJOR BRIGGS takes a sip from his coffee mug. The LOG LADY places
her hand back on her log and turns to MAJOR BRIGGS.
LOG LADY
My log has something to tell you. Do you know it?
MAJOR BRIGGS
(puzzled) I don’t
believe we’ve been introduced.
LOG LADY
(scornfully) I do not
introduce the Log. Can you hear it?
MAJOR BRIGGS looks at the log.
MAJOR BRIGGS
LOG LADY
The LOG LADY turns to her log.
LOG LADY
The LOG LADY looks at MAJOR BRIGGS.
LOG LADY
MAJOR BRIGGS nods his head.
MAJOR BRIGGS
Yes, ma’am. As a matter of fact I do.
MAJOR BRIGGS ponders over the message. MAJOR BRIGGS peers over to the LOG LADY, who
now quietly chews on some pitch gum. MAJOR BRIGGS thinks it over some more then peers
over to the LOG LADY again.
CUT TO:
EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
An establish shot. We FOCUS on a CLOSE-UP of the front doors of the building and
the sign above the entrance.
Twin Peaks Sheriff’s Deparment
CUT TO:
INT. TWIN PEAK SHERIFF’S DEPARTMENT - DAY
LUCY works at her desk in the reception office. A fly buzzes around and
distracts her attention. LUCY’S eyes track the fly as it buzzes around her office.
Just outside the front double doors of the building, ANDY paces back and forth.
Sitting still, LUCY watches the fly land. LUCY slowly gets up to try and
kill it but it starts to buzz around her office again. LUCY sits back down
and tracks it.
We FOCUS on ANDY as he continues to pace just outside the front double doors of the building.
LUCY tracks the fly as it buzzes around her office. Holding a pencil in her
hand LUCY watches the fly land and flings the pencil at, killing it.
ANDY enters the building and walks up to the reception office window. ANDY still
has a piece of scotch tape in his hair. At the window, ANDY sees LUCY bent
over as she looks for her pencil. ANDY nervously looks away. LUCY sits back
up and immediately notices the scotch tape in ANDY’S hair. ANDY slides open
the plexiglass window to LUCY’S office.
LUCY
(coldly and formally) No
messages, Deputy Brennan.
LUCY closes the window. ANDY opens it again.
ANDY
Listen to me, Lucy Moran. You just listen. The
Tacoma Sperm Bank was looking for donors, naturally I applied. It’s my
civic duty and I like whales. A routine physical examination revealed that
I’m sterile. Sure, I thought it meant I didn’t have to take a bath but
the doctors told me the truth. They told me I can’t have babies. So what
I want to know now is why you’re having one and how?
LUCY stares at ANDY, then she stands up and slowly leans forward to him. ANDY assumes
a kiss, so he leans forward, closes his eyes and puckers his lips. But LUCY
quickly reaches out with her right hand and pulls the scotch tape from ANDY’S
hair. LUCY quickly closes the window and takes a seat. Confused and disappointed,
ANDY walks off. LUCY now struggles to remove the scotch tape from her hands.
CUT TO:
INT. SHERIFF TRUMAN’S OFFICE - DAY
INSERT: CLOSE-UP DEER HEAD TROPHY
We FOCUS on a CLOSE-UP of a huge deer head trophy hanging on the wall. We PAN
down and see a wooden plaque chained to the trophy below it.
BACK TO SCENE:
HANK JENNINGS stands beside the desk and stares at the deer head trophy. HANK dangles a
keychain in his hand.
INSERT: CLOSE-UP DOUBLE THREE DOMINO
We FOCUS on a CLOSE-UP of a double three domino keychain that HANK is dangling
from his hand.
BACK TO SCENE:
SHERIFF TRUMAN and AGENT COOPER enter the office. TRUMAN walks up to his
desk, on the side opposite of HANK. HANK turns around to face TRUMAN.
SHERIFF TRUMAN
Hello, Hank. I bet Lucy asked you to wait outside.
HANK
(uncaring) Hmm ... might of.
HANK gestures to deer head trophy.
HANK
You know that’s an awfully cute buck, Harry.
HANK laughs. SHERIFF TRUMAN goes through some of his files on his desk.
SHERIFF TRUMAN
Let’s not waste our time.
HANK
TRUMAN opens a folder, checks it over and then tosses it on his desk next to HANK.
SHERIFF TRUMAN
Why don’t you ... just sign in like a good boy?
Keep your nose clean for another week.
HANK sternly looks at TRUMAN. HANK looks at COOPER and then grabs a pen. HANK smiles
and chuckles slightly as he signs with an ‘H’ and a period. HANK closes the
folder and chuckles again. Before he exits HANK turns to COOPER.
HANK
It’s really nice to see you again.
Straight faced, COOPER looks at HANK. HANK exits and shuts the door behind
himself. SHERIFF TRUMAN grabs the folder and looks it over.
COOPER
Interesting piece of work.
TRUMAN closes the folder.
COOPER
How long were you and Hank friends?
TRUMAN throws the folder to his desktop.
SHERIFF TRUMAN
We grew up together. Hank used to be a Bookhouse
Boy. Back then, Hank was one of the best of us.
The intercom BUZZES. TRUMAN looks down at the intercom unit on his desk.
LUCY’S voice eminates from the intercom speaker.
LUCY (OFF SCREEN)
Sheriff Truman, I have Ben Horne on the phone for you.
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
LUCY sits in her reception office as she talks into the intercom microphone.
LUCY
Would you like me to transfer him to you? Well,
not him but his phone call?
CUT TO:
INT. SHERIFF TRUMAN’S OFFICE - DAY
SHERIFF TRUMAN presses the switch on the intercom unit.
SHERIFF TRUMAN
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
LUCY picks up a phone.
LUCY
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
With a glass of wine in his left hand, BENJAMIN sits back in his chair
next to his office desk with a phone to his ear. LUCY can be heard over the telephone.
LUCY (OFF SCREEN)
I’m going to transfer you now to Sheriff Truman’s
office. He’s in there now with Special Agent Dale Cooper.
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
LUCY
LUCY puts the phone back and presses a button. LUCY returns to her intercom
microphone and presses a switch twice before speaking.
LUCY
Sheriff Truman, I’ve transferred Ben Horne to
you.
CUT TO:
INT. SHERIFF TRUMAN’S OFFICE - DAY
Frustrated, SHERIFF TRUMAN looks at COOPER as he listens to LUCY.
LUCY (OFF SCREEN)
It’s the line with the light that’s blinking.
TRUMAN picks up the phone.
SHERIFF TRUMAN
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
BENJAMIN
CUT TO:
INT. SHERIFF TRUMAN’S OFFICE - DAY
SHERIFF TRUMAN
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
BENJAMIN
For as much as uh ... maybe two days.
CUT TO:
INT. SHERIFF TRUMAN’S OFFICE - DAY
SHERIFF TRUMAN
TRUMAN places his hand over the mouthpiece and relays to COOPER ...
SHERIFF TRUMAN
We ZOOM IN on COOPER’S face as he stares a TRUMAN.
FADE OUT:
FADE IN:
INT. BENJAMIN HORNE’S OFFICE - DAY
Wearing sunglasses, JERRY enters the open double doors of the office
flapping a sheet of paper in his hand like a flying bird. JERRY walks up to
the desk and checks the document one last time. BENJAMIN sits behind the
desk with a glass of wine in his right hand.
JERRY
One insurance policy, unsigned.
BENJAMIN
JERRY tosses the document onto BEN’S desk.
JERRY
The agent said that Catherine was concerned about
certain irregularities, such as Josie being named chief beneficiary.
BEN looks at the document.
BENJAMIN
Agent wasn’t supposed to show it to her.
JERRY
Well, considering Catherine’s ... smoky fate,
for our side ... it’s all for the best.
BENJAMIN
Well, win a few lose a few. Let’s get those pickled
icemen on the blower.
JERRY walks around the desk to the phone and dials a number.
LELAND PALMER marches confidently through the open
double doors of the office and walks up to BEN’S desk.
LELAND
Gentlemen, I’ve been giving this a lot of thought.
This mill fire will no doubt put contract signing on hold for the moment.
So we must ensure that the moment, our moment, does not pass us by.
On the phone, JERRY gestures to LELAND to keep it down.
LELAND
I therefore recommend that we make a quick but
cordial follow up phone call to Iceland. Do a little gentle handling. Let
Einar know that we’re right on top of this thing.
JERRY hands the phone to BEN and somewhat scornfully tells LELAND ...
JERRY
BEN scornfully looks at LELAND.
BENJAMIN
Ben Horne for Einar Thornson.
LELAND
(surprised; elated) Oh,
now this is a coincidence.
JERRY leans down towards the phone and tries to listen to the conversation.
BENJAMIN
Blis blis Einar! (reply) What’s that?
BEN gestures to JERRY to move closer and listen.
BENJAMIN
Where did you hear about it?
BEN and JERRY scornfully look at LELAND.
BENJAMIN
Mr. Palmer called to tell you about the fire?
Smiling, LELAND nods his head for yes and points to himself. JERRY shakes his head
in disappointment at LELAND.
BENJAMIN
No, no I wouldn’t call it a disaster at all. It’s
just uh just one on those things, an unfortunate development. But I assure
you, Einar, that in no way will it affect our development plans.
JERRY grabs the phone from BEN. BEN scornfully looks at LELAND. LELAND nods
an understanding of his actions.
JERRY
Jerry Horne here Einar, kor die blesser. Full speed ahead! Eh, eh.
BENJAMIN grabs the phone from JERRY.
BENJAMIN
Yes, yes of course Einar. We will fax all pertinent
details to you. (reply) Yes, yes I promise.
LELAND nods his head to show his agreement.
MUSIC: SWOOPING AWARENESS 7K
Something catches LELAND’S eye. LELAND stares off in the distance at something.
LELAND’S POV:
From LELAND’S POV we FOCUS on one of the sheriff’s "Do you know this man?"
sketch posters laying on top of an endtable next to the couch.
BACK TO SCENE:
LELAND stares at the document from afar.
MUSIC ENDS: SWOOPING AWARENESS 7K
LELAND slowly moves towards the endtable.
MUSIC: LOVE THEME FROM TWIN PEAKS (0:14 - 1:10)
BENJAMIN
Listen, I don’t want you to worry your attractive
blonde head about this. Einar, I’m in a meeting I’ve got to go.
BEN hands the phone to JERRY. LELAND walks over to the end table next to
the couch. BEN looks at LELAND as he walks off.
BENJAMIN
Leland. Leland, here’s an idea. Let’s ...
LELAND’S POV:
Through LELAND’S POV we FOCUS on a CLOSE-UP of the sheriff’s wanted poster with the
sketch of BOB laying on top of the end table.
BENJAMIN (OFF SCREEN)
... take you off of damage control, let you concentrate
on something ...
BACK TO SCENE:
We FOCUS on LELAND’S profile as he picks up the wanted poster. In the background,
BEN and JERRY stand behind the desk as they stare at LELAND.
BENJAMIN
... you can handle, like my tax return.
MUSIC: SWOOPING AWARENESS 7K
LELAND gazes at the sketch of BOB.
MUSIC ENDS: SWOOPING AWARENESS 7K
LELAND points at the sketch.
LELAND
BENJAMIN
LELAND
My grandfather’s summer house on Pearl Lakes.
He lived right next door. I was just a little boy.
(stressing each word)
But I know him. I have to tell the sheriff about this right away.
LELAND walks out of the office with the flyer. BEN and JERRY, hunched over
the desk beside each other, stare into the office where LELAND was standing.
BENJAMIN
Jerry, please kill Leland.
JERRY
Is this real Ben ... or some strange and twisted dream?
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS (0:14 - 1:10)
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
LEO JOHNSON lies unconscious in a hospital bed, connected
to a life-support system which has tubes running to his mouth and sensors
on his chest. SHELLY JOHNSON, wearing a robe over her hospital gown, stands
a distance away from LEO’S bed. DR. WILL HAYWARD explains LEO’S situation
to SHELLY.
DR. HAYWARD
The bullet lodged in Leo’s spine ...
DR. HAYWARD notices SHELLY standing a distance away from LEO. DR. HAYWARD
persuades SHELLY to come closer.
DR. HAYWARD
It’s alright Shelly, come on.
SHELLY moves besides the foot of the bed. DR. HAYWARD stands at the head of
the bed. Between DR. HAYWARD and SHELLY is a mirror that reflects the image of LEO’S face.
DR. HAYWARD
The bullet lodged in his spine but we removed
it successfully. As for possible paralysis it’s too early to tell. Leo
lost a lot of blood, most of it before we had a chance to operate. I fear
the resulting oxygen deprivation starved his brain, induced the coma you
see here.
SHELLY
SHELLY looks at DR. HAYWARD.
SHELLY
DR. HAYWARD
He’s not in pain. Beyond that it’s hard to say.
SHELLY looks back at LEO.
SHELLY
DR. HAYWARD
We can maintain his current state: offer nutrition,
life-support. Beyond that the only ally we have is time. I’m sorry Shelly.
SHELLY
SHELLY looks at DR. HAYWARD.
SHELLY
Are they going to put him in prison?
DR. HAYWARD
I know he’s a suspect in several felonies.
SHELLY looks back at LEO.
SHELLY
I guess at the moment he’s kind of in prison anyway.
DR. HAYWARD
SHELLY becomes upset and begins to cry. DR. HAYWARD moves over to comfort her.
DR. HAYWARD
Come on, I’ll take you back to your room. Norma’s
waiting downstairs to drive you home.
DR. HAYWARD escorts SHELLY out. We ZOOM IN on the mirror reflecting the image of LEO’S face.
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT
LUCY sits in her office starring at her desk. The phone RINGS and LUCY answers it.
LUCY
Hello, Twin Peaks sheriff’s station. Who may I
say is calling, please? I’m sorry I can’t connect you with Sheriff Truman
unless you tell me what your name is. (reply) You won’t? (reply) I’m sorry
but I can’t connect you with Sheriff Truman unless you tell who you are.
(reply) I’m terribly sorry but I’m going to have to hang up now.
LUCY hangs up and dazes at the phone with a confused expression. LUCY returns
to starring at her desk.
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
INSERT: CLOSE-UP TIED HANDS
We FOCUS on a CLOSE-UP of a pair of hands that are tied up and are hanging by
the same rope that ties them. In the background we can hear a vacuum cleaner
RUNNING and a SQUEAKY sound.
INSERT: CLOSE-UP PAINTED TOES
We FOCUS on a CLOSE-UP of a foot that is also tied and rests on the back of a
chair. On the foot, the toes are kept apart by cotton balls and each toe
nail has been painted with red nail polish. We PAN LEFT and to FOCUS on the other foot
which is in the same situation.
BACK TO SCENE:
One of the establishments 52’ PICK-UP’S, a hospitality girl, walks up a
corridor carrying an ice bucket. A vacuum cleaner can still be heard RUNNING.
AUDREY HORNE, wearing a long black night gown, steps out into the hall,
stops the 52’ PICK-UP and reaches out for the ice bucket.
AUDREY
Hey I’ll take it from here.
52’ PICK-UP
(smiling) No, no you won’t.
AUDREY
The 52’ PICK-UP thinks it over and then relents. She hands AUDREY the ice
bucket.
52’ PICK-UP
Okay, but watch out for this one.
AUDREY
AUDREY walks up the corridor to an open door. AUDREY enters the room and, with
her hands full, shuts the door with her foot. EMORY BATTIS, the store
vice-president of Horne’s Department Store, is blindfolded and wearing a robe.
EMORY is lying on his back on a daybed with his hands tied together with rope
that is tied to the ceiling. With his head resting at the foot of the bed,
EMORY’S feet are tied and rest at the head of the bed. To the left of the bed,
another 52’ PICK-UP, with long red hair and wearing a western themed
outfit, pushes a vacuum cleaner that has very squeaky wheels.
Still carrying the ice bucket, AUDREY walks beside the daybed and gestures
with a nod to the 52’ PICK-UP to leave. The 52’ PICK-UP shakes her head for
no and continues to push the vacuum. AUDREY again nods and 52’ PICK-UP shakes
her head for no again. AUDREY puts the ice bucket down on a chair that lies against the back
wall of the room. AUDREY turns back to the 52’ PICK-UP and points to the door
for her to leave. The 52’ PICK-UP starts to say something to AUDREY but relents.
The 52’ PICK-UP lets go of the vacuum cleaner but leaves it on, presents the vacuum to AUDREY
and then walks out.
AUDREY walks around the room and looks down at EMORY. AUDREY pulls the vacuum’s electrical
cord out of the wall socket and the vacuum cleaner come to a quiet stop.
EMORY
Why is the vacuum cleaner off?!
AUDREY walks around EMORY, bends down and whispers in his ear ...
AUDREY
EMORY, unable to see her, turns his head towards AUDREY’S voice.
EMORY
AUDREY stands back up.
AUDREY
EMORY
(relaxed and excited) Frosty,
my little snowman. I feel the cold front moving in.
AUDREY, still holding the electrical cord from the vacuum cleaner, kneels
down and wraps the cord around EMORY’S neck.
AUDREY
AUDREY pulls off EMORY’S blindfold and pulls the electrical cord taut around his
neck. EMORY struggles to breathe.
AUDREY
Hi ya, Emory! Do you remember me, huh?
AUDREY looks at EMORY’S tied hands and feet.
AUDREY
It really looks like you got yourself in a fix
here, huh. Well guess what? I’m going to tell you a nice little bedtime
story. Are you ready?
MUSIC: THE BOOKHOUSE BOYS (2:12 - 3:24)
AUDREY
Once upon a time there was a sweet innocent girl
called Red, that’s me, and she met a bad old wolf, that’s you.
AUDREY tugs on the cord.
AUDREY
She kicked the crap out of that wolf and she told
her daddy all about it. Then she told the police and the bad old wolf went
to jail for a million years.
MUSIC: FRESHLY SQUEEZED (0:26 - 3:48) (VARIANT)
EMORY
(struggling to breathe) What do you want?
AUDREY tugs on the cord.
AUDREY
I want to know everything you know, Emory. Perfume
counter, Laura Palmer, Ronette Pulaski and One-Eyed Jacks.
EMORY
AUDREY
Ha - ha. I’m insane? Well I’m Audrey Horne and I
get what I want.
AUDREY tugs on the cord.
AUDREY
EMORY
(submissive) Yes, alright. I work for the owner
of One-Eyed Jacks.
AUDREY
EMORY
(resisting) I work for the owner of One-Eyed Jacks.
AUDREY
AUDREY tugs on the cord. Choking, EMORY gives in.
EMORY
Your father. He owns it all. Hell, he owns everything.
I run girls through the perfume counter. I recruited Ronette and Laura.
AUDREY
EMORY
One weekend. She was using drugs. We threw her
out. I never saw her again I swear.
AUDREY
AUDREY tugs on the cord.
AUDREY
... know that Laura was here?
EMORY
Yes, yes he did. Mr. Horne makes it his business
to entertain all the girls.
AUDREY
Did she know he owned this place?
EMORY
(last attempt to resist) Owned what?
AUDREY
(shouting) One-Eyed Jacks!
AUDREY tugs on the cord.
EMORY
Yes, yes probably she did! Laura always got her
way, understand? Just like you.
AUDREY lets go of the electrical cord.
MUSIC ENDS: FRESHLY SQUEEZED (0:26 - 3:48) (VARIANT)
MUSIC ENDS: THE BOOKHOUSE BOYS (2:12 - 3:24)
FADE OUT:
FADE IN:
EXT. RIVER - NIGHT
MUSIC: FRESHLY SQUEEZED (0:26 - 3:48) (VARIANT)
In the moonlight, through the branches of pine trees we FOCUS on a running river.
CUT TO:
INT. BOBBY BRIGGS’S CAR - NIGHT
SHELLY and BOBBY BRIGGS sit in his car, listening to the radio. SHELLY faces
BOBBY as she strokes his hair.
BOBBY
Why don’t you change the station.
SHELLY turns towards the radio.
INSERT: CLOSE-UP CAR RADIO
We FOCUS on a CLOSE-UP of the car radio as SHELLY turns the dial.
MUSIC ENDS: FRESHLY SQUEEZED (0:26 - 3:48) (VARIANT)
MUSIC: SHELLY’S TUNE 35K
BOBBY (OFF SCREEN)
BACK TO SCENE:
With her eyes closed, SHELLY and BOBBY sway slightly with the music.
SHELLY
BOBBY looks at SHELLY.
BOBBY
SHELLY looks at BOBBY.
BOBBY
... told them I was Leo’s cousin. Leo gets his
disability as long as he stays out of prison. It’s a lot of money Shelly.
Over five thousand a month but you only get if he stays at home.
SHELLY
I don’t care about the money. I don’t want Leo home.
BOBBY
SHELLY looks away.
BOBBY
You can sit him in a corner and hang donuts from his ears.
SHELLY
Sheriff Truman wants me to make a statement.
BOBBY
No way. Look, they can’t force you to testify
against your husband. All you’ve got to do is get Leo home, sit and collect
the checks.
BOBBY gently grasps SHELLY’S chin and turns her head toward his.
BOBBY
Leo owes you baby. Now we can really make him
pay. You want something nice? We can buy it. You want to go some place
special, sit in the sun? It’s on Leo. Understand?
SHELLY looks away and thinks it over.
SHELLY
I guess it would be nice not to have to worry about money.
SHELLY looks back at BOBBY.
SHELLY
I have a lot of bills I have to pay.
BOBBY
Bills? Forget about bills. I’m talking about a
new way of life.
SHELLY looks into BOBBY’S eyes and smiles.
SHELLY
BOBBY lifts SHELLY’S right hand up and kisses it.
BOBBY
SHELLY runs her right hand over BOBBY’S cheek and then runs her left hand through
his hair.
SHELLY
(smiling) I think I want to get comfortable.
BOBBY
That’s why I got my dad’s Continental.
BOBBY and SHELLY kiss. SHELLY continues to run her left hand through BOBBY’S hair and her right
hand on his chest.
SHELLY
Bobby Briggs, I’m going to eat you up.
BOBBY
SHELLY
BOBBY and SHELLY embrace and kiss. Still kissing, BOBBY lays SHELLY back onto the seat bench.
MUSIC ENDS: SHELLY’S TUNE 35K
CUT TO:
INT. DALE COOPER’S HOTEL ROOM - NIGHT
INSERT: CLOSE-UP NOTE
We FOCUS on a CLOSE-UP of an unopened envelope lying on the floor below the bed.
We PAN LEFT to see AGENT COOPER’S feet.
BACK TO SCENE:
Dressed in his pajamas, AGENT COOPER sits on the edge of his bed. COOPER holds
his mini tape recorder in his right hand as he speaks.
COOPER
Diane, I received some very bad news today. Windom
Earle has vanished. The disappearance of my former partner is extremely
troubling. I also learned that Audrey Horne is missing. Audrey’s absence
touches me in ways I could not predict. I find myself thinking not of clues
or of evidence but of the content of her smile.
There is a KNOCK at the door. COOPER presses the stop button on his mini recorder.
COOPER
MAJOR BRIGGS
It’s Major Briggs, Agent Cooper.
COOPER
(called out) Just a moment.
COOPER puts his mini recorder on the bed and slowly stands up. COOPER makes
his way over to the door, unlocks it and opens it.
COOPER
MAJOR BRIGGS
COOPER
MAJOR BRIGGS walks inside and COOPER shuts the door. MAJOR BRIGGS
is dressed in his usual Air Force uniform. MAJOR BRIGGS holds his hat in his right hand
with his jacket draped over his right arm. In his left hand, MAJOR BRIGGS carries a
briefcase. COOPER walks over to MAJOR BRIGGS.
MAJOR BRIGGS
I have a message for you.
COOPER
MAJOR BRIGGS
I’m not at liberty to reveal the nature of my
work. This secrecy pains me from time to time. Any bureaucracy that functions
in secret inevitably lends itself to corruption. But these rules I have
pledged to uphold. I believe a pledge is sacred.
COOPER
Speaking as a man and a fellow employee of the
Federal Government, so do I.
MAJOR BRIGGS
Well, I may reveal this much: among my many tasks
is the maintenance of deep space monitors aimed at galaxies beyond our
own.
MAJOR BRIGGS places his hat and jacket on a nearby chair and lays his briefcase
on the seat. MAJOR BRIGGS opens the briefcase.
MAJOR BRIGGS
We routinely receive various communications, space
garbage, to decode and examine.
MAJOR BRIGGS takes a computer printout sheet out of his briefcase and holds
it up in front of COOPER.
MAJOR BRIGGS
They look something like this ... radio waves
and gibberish, Agent Cooper.
MAJOR BRIGGS looks down at the file and then back to COOPER.
MAJOR BRIGGS
Till Thursday night, Friday morning to be exact.
COOPER
Around the time I was shot.
MAJOR BRIGGS
The readout took us by surprise.
MAJOR BRIGGS runs his finger over the lines of random numbers and letters.
MAJOR BRIGGS
Row after row of gibberish and all of a sudden
...
MAJOR BRIGGS points to one line on the page and runs his finger over it
as he reads it outloud.
MAJOR BRIGGS
The owls are not what they seem.
COOPER leans toward the printout to see for himself.
COOPER’S POV:
Through COOPER’S POV we FOCUS on a CLOSE-UP on the line of text that MAJOR BRIGGS
points out. Amongst the random numbers and letters, one line reads:
/K78/B676/G565/C454/N669/H6776/
/THE/OWLS/ARE/NOT/WHAT/THEY/SEEM/
/B789/W26/MN78/N78/H45/JR78/DP45/
BACK TO SCENE:
Amazed, COOPER looks up at MAJOR BRIGGS.
COOPER
Why did you bring this to me?
MAJOR BRIGGS
Because later in the morning ...
MAJOR BRIGGS flips the sheet over and points to one line amongst the gibberish
of random numbers and letters. MAJOR BRIGGS runs his finger over the words as he reads
them outloud.
MAJOR BRIGGS
Cooper ... Cooper ... Cooper.
COOPER’S POV:
Through COOPER’S POV we FOCUS on a CLOSE-UP on the line of text that MAJOR BRIGGS
points out. Amongst the random numbers and letters, one line reads:
/K987/M666/N987/M854/
/COOPER/COOPER/COOPER/
/C656/H767/N893/C342/
BACK TO SCENE:
Perplexed, COOPER looks at MAJOR BRIGGS.
COOPER
CUT TO:
EXT. HAYWARD HOUSE - NIGHT
An establish shot. From across the street we view the front of the house. JAMES HURLEY’S motorcycle
is parked in front by the sidewalk.
CUT TO:
INT. HAYWARD HOUSE - NIGHT
In the living room holding a guitar, JAMES HURLEY, sits in a chair while
DONNA and MADELEINE FERGUSON sit together on the floor beside a microphone.
JAMES
That was really good. Let’s try it again.
SONG: JUST YOU AND I 371K
JAMES plays a tune on the guitar. DONNA stares longing up at JAMES. MADELEINE
looks at DONNA and then to JAMES. JAMES plays the guitar and sings
into a microphone as DONNA and MADELEINE sing the back vocals (in italics) into
their microphone. The song is amplified over a speaker as they sing.
JAMES, DONNA & MADELEINE
Just you and I.
Just you and I.
Together.
Forever.
In love.
Just you Just you.
And I And I.
Just you Just you.
And I And I.
Together.
Forever.
In love.
In love In love.
We go strolling together In love.
In love In love.
JAMES and DONNA stare at each other.
JAMES, DONNA & MADELEINE
We go strolling forever.
Oh.
Just you and I.
Just you and I.
Together.
Forever.
In love.
Just you.
MADELEINE seductively looks at JAMES. JAMES looks at MADELEINE.
DONNA & MADELEINE
And I.
Just you.
And I.
Just you.
And I.
DONNA notices that JAMES is starring at MADELEINE. DONNA turns to MADELEINE
to see that she is starring at JAMES. DONNA becomes upset.
JAMES, DONNA & MADELEINE
Just you.
And I.
Just y...
DONNA stops singing and jealously runs off.
SONG ENDS: JUST YOU AND I 371K
MADELEINE watches DONNA run off. JAMES stops playing the guitar, puts it down
and run after DONNA.
JAMES
JAMES finds DONNA facing a wall in a small space near the staircase.
JAMES
DONNA
DONNA turns around, throws her arms around JAMES and kisses him.
JAMES
The telephone RINGS.
JAMES
DONNA kisses JAMES again.
DONNA
I’m trembling James. You made me.
Still holding him, DONNA repeatedly kisses JAMES.
JAMES
We FOCUS on MADELEINE as she sits alone on the floor in the living room. Slightly ashamed, MADELEINE folds her arms.
The telephone is answered by DR. HAYWARD upstairs.
DR. HAYWARD
DONNA
DR. HAYWARD
There’s a telephone call for you from a Harold
Smith!
DONNA
Oh, okay! I’ll get it in the hallway!
DONNA removes her arms from JAMES and walks off down the hallway. DONNA picks
up the phone and yells back upstairs.
DONNA
DR. HAYWARD
DONNA speaks on the phone.
DONNA
Hello, Mr. Smith. (reply) I received yours. (reply)
I wanted to talk to you.
JAMES walks into the hall and stares at DONNA as she talks on the phone.
DONNA
We can meet? (reply) Okay.
JAMES and DONNA stare at each other. The other line on the phone hangs up.
We FOCUS on MADELEINE as she sits alone on the floor in the living room. MADELEINE turns her head and looks
into the dining room. A vision unravels before her ...
MADELEINE’S POV:
MUSIC: WALKING IN THE DARK 32K
From MADELEINE’S POV we view the living room with dining room in the background.
In the distant background a MAN walks into the dining room from the right.
The MAN slowly walks forward, wearing a jean jacket and having long gray
dirty hair, the MAN is BOB.
BACK TO SCENE:
Frozen, MADELEINE sits on the floor as her face reveals an alarm but she looks on.
MADELEINE’S POV:
BOB enters the living room and slowly climbs over the couch. BOB wears
a frighteningly evil grin as he slithers over the coffee table.
BACK TO SCENE:
Shocked, MADELEINE, still sitting on the floor, looks on.
MADELEINE’S POV:
BOB is very close. BOB’S eyes pierce like a madman and his grin sends shivers
of terror. BOB comes closer and closer until his frightening image fills the screen.
BACK TO SCENE:
MADELEINE throws her hands to her mouth and screams. JAMES and DONNA quickly
rush to MADELEINE’S side. MADELEINE has become quite upset and shakes in fear. JAMES
and DONNA offer reassuring hands of support and comfort MADELEINE as best they
can. MADELEINE looks back into the dining room. JAMES and DONNA follow her gaze.
MADELEINE’S POV:
Through MADELEINE’S POV, the dining room and the living room are empty. BOB is nowhere to be seen.
BACK TO SCENE:
MADELEINE starts to calm down but is still visibly shaken.
MUSIC ENDS: WALKING IN THE DARK 32K
CUT TO:
INT. DALE COOPER’S HOTEL ROOM - NIGHT
In the dark, AGENT COOPER sleeps with an arm draped over his eyes.
The GIANT waves his hand through the air above COOPER to see if he notices and is awake.
There is the sound of a ceiling fan CIRCULATING.
We view images from COOPER’S dream.
CLOSE ON: RONETTE
In slow motion and in the dark, RONETTE jumps and squirms around in her
bed, at Calhoun Memorial Hospital, as if going into convulsions. We are witnessing
an event that happened earlier in the day when RONETTE reacted in fear after
viewing the sketch of BOB. There is the sound of a ceiling fan CIRCULATING.
CLOSE ON: BOB
We view a blurred form of what appears to be BOB walking in the dark. There is
the sound of a ceiling fan CIRCULATING.
GIANT (OFF SCREEN)
CLOSE ON: COOPER
We view another event that happened earlier. We view a polarized image
of COOPER, in his pajamas, as he talks to MAJOR BRIGGS. There is the
sound of a ceiling fan CIRCULATING.
GIANT (OFF SCREEN)
... are not what they seem.
BACK TO SCENE:
COOPER sleeps in his bed with an arm draped over his eyes. Suddenly a bright
light illuminates the room. There is the sound of a ceiling fan CIRCULATING.
MAJOR BRIGGS (OFF SCREEN)
CLOSE ON: COOPER
We view a polarized image of COOPER, in his pajamas, as he talks
to MAJOR BRIGGS. There is the sound of a ceiling fan CIRCULATING.
MAJOR BRIGGS (OFF SCREEN)
... are not what they seem.
CLOSE ON: GIANT
We view an image of the GIANT standing as he did when he spoke to COOPER the night before.
The GIANT is so tall his head nearly touches the ceiling and is next to the ceiling light
fixture. There is the sound of a ceiling fan CIRCULATING.
CLOSE ON: BOB
We view another past event, one of SARAH PALMER’S visions. We view an image
of BOB, with his long grayish hair and jean jacket, crouched behind a bedpost in
LAURA PALMER’S bedroom. BOB is starring right up at us. There is the sound of
a ceiling fan CIRCULATING.
Slowly, the image of an owl is superimposed over BOB’S frightening face.
CLOSE ON: SARAH PALMER
We view another past event. In slow motion, SARAH PALMER runs down
the staircase in her home. A ceiling fan, hanging over the stairs, circulates.
There is the sound of a ceiling fan CIRCULATING.
SARAH
Llaauurrrraaaa! Llaauurrrraaaa!
CLOSE ON: BOB
We return to the blurred image of what appears to be BOB walking toward
us in the dark. There is the sound of a ceiling fan CIRCULATING. Slowly, the image
of BOB comes into focus. BOB wears a frighteningly evil grin and terror inducing eyes.
BACK TO SCENE:
The phone RINGS and AGENT COOPER, with an arm draped over his eyes, wakes
up. Without getting up, COOPER reaches for the phone on the bedside table and answers it.
COOPER
CUT TO:
INT. ONE-EYED JACKS - NIGHT
With a backdrop of red drapes, AUDREY, teary eyed, cradles the phone close to her mouth.
AUDREY
COOPER (OFF SCREEN)
CUT TO:
INT. DALE COOPER’S HOTEL ROOM - NIGHT
COOPER
CUT TO:
INT. ONE-EYED JACKS - NIGHT
AUDREY
(almost crying) Why aren’t you here?
CUT TO:
INT. DALE COOPER’S HOTEL ROOM - NIGHT
COOPER
Audrey, this is no time for schoolgirl games.
I want you home now.
CUT TO:
INT. ONE-EYED JACKS - NIGHT
AUDREY
I saw you in your tuxedo. You looked like a movie star.
Following the telephone cord, we slowly PAN DOWN.
COOPER (OFF SCREEN)
(from phone) Audrey, if you’re in any kind
of trouble ...
We continue to PAN DOWN until we FOCUS on the telephone cradle.
AUDREY
I am in trouble but I’m gonna come home now ...
A hand reaches out and presses the phone cradle, hanging up the phone.
AUDREY’S telephone connection terminates. Scared, AUDREY quickly turns around to
see what happened.
CUT TO:
INT. DALE COOPER’S HOTEL ROOM - NIGHT
COOPER
CUT TO:
INT. ONE-EYED JACKS - NIGHT
BLACKIE ‘THE BLACK ROSE’ O’REILLY, the brothel’s madam, stands with a hand extended to the phone cradle.
EMORY stands behind her.
BLACKIE
Trouble Miss Horne? You don’t know what trouble is.
EMORY smiles.
BLACKIE
Scared and teary eyed, AUDREY can only quietly stand and await her fate.
FADE OUT:
CLOSE:
FADE IN:
MUSIC: LAURA PALMER’S THEME
We view LAURA PALMER’S homecoming picture as the end credits roll.
MUSIC ENDS: LAURA PALMER’S THEME
FADE TO BLACK:
