Episode 7 - The Last Evening
FADE IN:
INT. LOG LADYS CABIN - DAY
MUSIC: CALL OF THE BLACK LODGE
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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
A drunken man walks in a way that is quite impossible
for a sober man to imitate, and vice versa. An evil man has a way, no matter
how clever to the trained eye, his way will show itself. Am I being too
secretive? No. One can never answer questions at the wrong moment. Life,
like music, has a rhythm. This particular song will end with three sharp
notes, like deathly drumbeats.
MUSIC ENDS: CALL OF THE BLACK LODGE
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FADE OUT:
INTRO:
FADE IN:
MUSIC: TWIN PEAKS THEME
CREDITS run with the scenes of a bird in a tree, the mill machinery at work,
the road into town with the welcome sign, the hotel by the falls and the
river.
MUSIC ENDS: TWIN PEAKS THEME
FADE OUT:
FADE IN:
INT. DR. JACOBYS OFFICE - NIGHT
MUSIC: GENTLE WAVES
We FOCUS on a sandy beach with the a setting sun and hear the gentle WASH of ocean waves. But
the waves are not moving. We PAN RIGHT to see that we are looking at a picture
covering a wall. We continue to PAN RIGHT and move past the wall to see DONNA HAYWARD and JAMES HURLEY
enter the office.
MUSIC: LAURA PALMERS THEME
DONNA
JAMES
I dont know. Everywhere.
DONNA
MUSIC ENDS: LAURA PALMERS THEME
JAMES moves to a desk, opens a drawer and pulls out a shoe box.
JAMES
JAMES opens the box and finds it loaded with small paper umbrellas used to
garnish drinks.
JAMES
JAMES picks up one of the tiny umbrellas and looks at a tag that is attached to it.
JAMES
The Kohalla Hilton, July 1969, men on the moon.
DONNA picks one up and reads its tag.
DONNA
August 9th, 1974. I first lay eyes on Mimsy.
JAMES
DONNA
They both snicker. JAMES continues to search the desk. DONNA moves around
the room, spots a wall switch and moves to it. DONNA pushes the switch.
MUSIC ENDS: GENTLE WAVES
MUSIC: HAWAIIAN I
The music in the room changes from the sounds of sloshing waves on the beach
to a Hawaiian tune. DONNA is startled.
DONNA
JAMES rushes over to DONNA.
JAMES
DONNA
JAMES
DONNA pushes the button again.
MUSIC ENDS: HAWAIIAN I
MUSIC: HAWAIIAN II
11K
Another Hawaiian tune starts up. The tune is more upbeat and louder then
the previous one. JAMES and DONNA both wander around the room trying to find a control box.
JAMES
Theres gotta be a way to turn it off.
JAMES finds a control box on the shelves near the stereo. He fiddles with
several slider controls until the music stops.
MUSIC ENDS: HAWAIIAN II
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Near the wall switch, DONNA looks up at a coconut hanging from a small imitation palm tree.
MUSIC: LOVE THEME FROM TWIN PEAKS
DONNA
(whispered to herself) My little coconut.
DONNA removes the coconut from the tree.
DONNA
JAMES walks over to DONNA.
DONNA
Laura said something on her tape about a coconut.
DONNA opens the coconut and they find an audio cassette tape and the missing
half-heart gold necklace.
DONNA
CUT TO:
EXT. OFFICE BUILDING - NIGHT
JAMES and DONNA get on his motorcycle and drive off.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
Hiding in a dark corner of the building, BOBBY BRIGGS walks out and sees
them drive off. Smiling, BOBBY puts his hands together with his index fingers
pointed out like a gun and pretends to fire at them.
CUT TO:
EXT. EASTER PARK - NIGHT
DR. LAWRENCE JACOBYS POV:
From behind bushes and through DR. LAWRENCE JACOBYS POV, LAURA PALMER, actually
MADELEINE FERGUSON dressed as her, stands in the distance beside the gazebo. LAURA/MADELEINE
is facing away from us. A clock bell can be heard RINGING.
DR. JACOBY (OFF SCREEN)
Okay Laura. This is where you shot that video.
BACK TO SCENE:
Walking beside bushes, DR. LAWRENCE JACOBY slowly makes his way toward who he thinks is
LAURA PALMER. A clock bell can be heard RINGING.
DR. JACOBY
Now just tell me. Tell me, why you sent me to Sparkwood and 21.
MUSIC: LAURA PALMERS THEME
DR. LAWRENCE JACOBYS POV:
Through DR. JACOBYS POV from the bushes, LAURA/MADELEINE walks around
a tree and exposes her face.
BACK TO SCENE:
DR. JACOBY freezes in his steps as he sees LAURA/MADELEINES face.
DR. JACOBY
MUSIC ENDS: LAURA PALMERS THEME
SOUND EFFECT: MUSICAL SHRIEK
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Still gazing at LAURA/MADELEINE, DR. JACOBY is hit from behind by a MAN dressed in all black
including a black ski mask. Caught off guard, DR. JACOBY falls face down onto the ground.
We FOCUS on LAURA/MADELEINE as she hears something and turns to look in the direction from which she heard
the sound from.
We FOCUS back on DR. JACOBY. With the sound of a BEATING drum representing a hearbeat, DR. JACOBYS
heart begins to race. The unknown MAN continues to hit DR. JACOBY in the back with his gloved fists.
DR. JACOBY lifts his head to look at LAURA/MADELEINE in the distance as he GRUNTS with each hit.
DR. LAWRENCE JACOBYS POV:
Through DR. JACOBYS POV, JAMES and DONNA have arrived beside LAURA/MADELEINE.
DONNA gets off of JAMESS motorcycle.
BACK TO SCENE:
The unknown MAN stops beating DR. JACOBY and walks away. Lying on the ground near the bushes but still
starring at LAURA/MADELEINE, DR. JACOBY drags himself on the ground towards her.
DR. LAWRENCE JACOBYS POV:
From DR. JACOBYS POV, DONNA and LAURA/MADELEINE get into a station wagon parked nearby
and take off. The drum BEAT starts to slow down.
BACK TO SCENE:
As he sees them leave, DR. JACOBY reaches out in pain.
DR. JACOBY
DR. JACOBY moves himself to lay face up.
CLOSE ON: DR. JACOBY
We FOCUS a CLOSE-UP of DR. JACOBYS face as he lies motionless. We ZOOM IN
on DR. JACOBYS left eye as the BEATING sound of the drum representing his heart slows down
even more.
MATCH DISSOLVE TO: ROULETTE WHEEL
INT. ONE-EYED JACKS - NIGHT
As the last scene, the TIGHT FOCUS on DR. JACOBYS left eye, FADES OUT we FADE IN to FOCUS on a
top view of a spinning roulette wheel. A white marble is dropped in and bounces around for a while until
it stops in a marked crevice.
DEALER (OFF SCREEN)
BACK TO SCENE:
Beside the roulette table stands BIG ED HURLEY dressed in his undercover
garb of a western outfit, wig and moustache. Standing next to him is one the establishments
52 PICK-UPS, a hospitality girl.
52 PICK-UP #1
Sorry Mister, I guess our dates off.
BIG ED shrugs and walks away from the roulette table. People can be heard
placing bets and laughing. BIG ED passes FBI SPECIAL AGENT DALE COOPER as he
walks through the casino. AGENT COOPER is seated at a Black Jack table.
JACQUES RENAULT is the dealer. We FOCUS on COOPER and JACQUES as BIG ED walks
off. JACQUES speaks with a slight French-Canadian accent.
JACQUES
Sir are you absolutely sure you want another card?
COOPER
JACQUES pulls another card from the deck and places it face up, the deuce
of hearts. COOPER flips over his one card laying face down to reveal that
he has ...
COOPER
Twenty-one. Can you beat that?
JACQUES turns his one card laying face down to reveal a pair of kings for
20. COOPER wins the hand.
COOPER
Mother always said I was born lucky.
JACQUES shuffles the deck as a 52 PICK-UP #2, walks up to COOPER, cups
her hand around his ear and whispers something. COOPER reaches up and places
a poker chip in her hand.
COOPER
Maybe later. Thanks for asking.
She purses her lips and walks off. JACQUES grins and moves his eyebrows
up and down with a gesture to the woman.
COOPER
COOPER slides a poker chip on the table towards JACQUES. The poker chip is a
thousand dollar chip with a notch in it, the chip from his cabin. JACQUES looks it
over and his eyes brighten.
COOPER
JACQUES
COOPER
Buy you a cocktail Jacques?
CUT TO:
INT. BLACKIES OFFICE - NIGHT
INSERT: CLOSE-UP VIDEO MONITOR
On a black and white monitor we see AGENT COOPER, in his tuxedo, seated
at a Black Jack table.
BACK TO SCENE:
Two video surveillance monitors sit side-by-side on the corner of a BLACKIES desk.
One of the monitors is trained on COOPER at a Black Jack table.
Seated at her office desk, BLACKIE THE BLACK ROSE OREILLY is playing
a hand of solitaire.
BLACKIES office door opens and two of the establishment 52 PICK-UPS
enter and take positions beside the door as they escort AUDREY HORNE inside.
BLACKIE
AUDREY walks inside wearing white lingerie decorated with little red print bows,
white stockings and supporters, white shoes and a small, lacy coat.
BLACKIE
AUDREY complies and turns around.
BLACKIE
Yes. Very nice. Come over here.
MUSIC: WALKING IN THE DARK
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AUDREY walks towards BLACKIES desk. AUDREY notices the video monitor on BLACKIES desk.
AUDREYS POV:
Through AUDREY'S POV we view the monitor and see AGENT COOPER dressed in a tuxedo at a Black Jack table.
BACK TO SCENE:
BLACKIE
AUDREY
BLACKIE
This is a good night for you to break in.
AUDREYS POV:
Through AUDREYS POV we view the monitor and sees that AGENT COOPER has moved from the table
and that someone else has taken his place.
BLACKIE
The owners coming by tonight and he likes to
spend some time with all the new girls.
MUSIC ENDS: WALKING IN THE DARK
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MUSIC: LOVE THEME FROM TWIN PEAKS
AUDREY
BLACKIE
No names child. You dont offer and you dont ask.
AUDREY bows her head.
AUDREY
BLACKIE sweeps open a deck of cards face up on her desk.
BLACKIE
AUDREY picks a card by slowly nudging the surrounding cards away from one card and then nudging the surrounding cards on the other side.
MUSIC: HAPPY THOUGHTS
18K
The card is the queen of diamonds. AUDREY puts her finger on the card. BLACKIE
looks up, smiles and puts her own hand over AUDREYS.
MUSIC ENDS: HAPPY THOUGHTS
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MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
INT. POLICE VAN - NIGHT
Listening in on the conversation from the microphone planted on AGENT COOPER, we
see DEPUTY TOMMY THE HAWK HILL wearing headphones and seated around recording
equipment. BIG ED is seated beside him in the van. We can hear the conversation
between COOPER and JACQUES from the recording equipment.
COOPER (OFF SCREEN)
Jacques, how long have you been dealing Black
Jack?
JACQUES (OFF SCREEN)
Long enough to spot a card counter.
COOPER (OFF SCREEN)
Do you always let card counters buy you a drink?
JACQUES (OFF SCREEN)
I dont see tips like that every day.
CUT TO:
INT. ONE-EYED JACKS - NIGHT
Seated at a small table in a corner of the casino, we see AGENT COOPER talking
to JACQUES.
COOPER
Leo ever mention me to you?
Before he answers, JACQUES stares at a WAITRESS as she bends down towards
them and then walks away.
JACQUES
I dont know Mister. Who are you?
COOPER
I cant believe Leo never told you about me.
JACQUES
Or maybe he did. I dont know.
COOPER
Leo played you like a violin. Had you and your
brother taking all the risk running the product across the border. Never
cut you in on a piece of the action.
JACQUES
I dont know what youre talking about.
COOPER
Take that chip out of your pocket and take a look
at it. Go ahead. That chip is a special significance. A very special night
you spent up at your cabin. Heres a clue.
COOPER mimics WALDO the mynah bird.
COOPER
JACQUES remembers and quickly tries to leaves his seat. Being calm, COOPER holds JACQUESS
arm down to keep him from scampering away.
COOPER
Take it easy, take it easy. How do you think a
low rent hump like Leos been financing this little operation.
JACQUES
COOPER
JACQUES
He never mentioned your name.
COOPER
Of course not. Leo makes the buy with my cash.
You and your brother mule it across theborder. Did he ever tell you who
was distributing state-side?
JACQUES
Naw. Some high school kid. Thats all I know.
COOPER
Thats right. Were in sync now Jacques can you
feel it? Can you?
JACQUES grins.
JACQUES
COOPER
Good. Cause I got a job for you across the border tonight. No Leo. No middle man.
COOPER reaches into his pocket and pulls out a fold of cash.
COOPER
Its ten grand. Half now, half on completion. Hows that sound?
JACQUES snatches the wad of cash from COOPERS hand.
JACQUES
Sounds good. What are we doing?
COOPER
You meet me at the water processing plant on Black
Lake in two hours. Is that going to be a problem?
JACQUES
COOPER
JACQUES downs the rest of his beer.
COOPER
One more question Jacques. You know, Leo told
me all about that night up at the cabin with the girls. Im curious about
the chip. Howd that happen?
MUSIC: LOVE THEME FROM TWIN PEAKS
JACQUES LAUGHS slightly.
JACQUES
COOPER
JACQUES
It had a thing for Laura. Saying her name all
the time like hes in love or something. So were all partying, girls are
all getting pretty high, everybodys pretty crazy.
COOPER
JACQUES
Leo lets Waldo out of the cage and the bird, he lands on her shoulder.
JACQUES LAUGHS.
JACQUES
Laura, shes all tied up. Oh, she liked that. The bird, he starts pecking on her
shoulder. Pecking like love pecks or something, ...
JACQUES LAUGHS again.
JACQUES
... you know what I mean. So Leo, hes doing a number
on her and Laura shes screaming about that damn bird.
CLOSE ON: JACQUES MOUTH
We FOCUS on a CLOSE-UP of JACQUES mouth as he speaks. The scene is SLOW-DOWNED.
JACQUES
So Leo takes out a chip puts it in her mouth and
says bite the bullet baby, bite the bullet.
JACQUES LAUGHS.
BACK TO SCENE:
COOPER
Thanks for clearing that up.
JACQUES
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
COOPER
See you on the other side.
JACQUES stands up.
JACQUES
JACQUES leaves. COOPER raises his wrist to his mouth, where the microphone
is located.
COOPER
Got a trout on the line Hawk. This ones a keeper.
FADE OUT:
FADE IN:
INT. ONE-EYED JACKS - NIGHT
MUSIC: FRESHLY SQUEEZED (0:26 - 3:48) (SLOW VARIANT)
Inside one of the many bedrooms in the building, AUDREY looks at herself in a mirror and adjusts
the straps on her lingerie. AUDREY turns her head as she overhears two people in the next room.
JOHN (OFF SCREEN)
Im just going to sit right here, okay.
A WOMAN, 52 PICK-UP #3, LAUGHS.
52 PICK-UP #3 (OFF SCREEN)
JOHN (OFF SCREEN)
Looks like we got all night baby.
AUDREY looks the rooms over and moves to take a seat on the bed.
DISSOLVE TO:
INT. JOHNSON HOUSE - NIGHT
As the last scene FADES OUT we FADE IN on the next scene. In the kitchen, SHELLY JOHNSON picks up
a bottle of shampoo from the table and places it by the sink. SHELLY places a folded yellow bath towel
near the sink and a handgun beside it. At the kitchen sink, SHELLY begins to wash her hair.
MUSIC ENDS: FRESHLY SQUEEZED (0:26 - 3:48) (SLOW VARIANT)
MUSIC: LAURA PALMERS THEME
SHELLY has worked up a thick lather in her hair but as she works it in her hair she rubs some
of the soap into her right eye. The soap stings. SHELLY cant wipe her eyes with her
hands covered in soapy lather. Blindly, SHELLY reaches to the side for the bath towel.
MUSIC ENDS: LAURA PALMERS THEME
CLOSE ON: COUNTERTOP
We FOCUS on a CLOSE-UP of the countertop where the towel lays as SHELLY reaches over to
grab it but the towel is slowly being pulled away from her reach. SHELLY is being drawn away
from the handgun. SHELLY doesn't realize what is happening until it is too late as she scrambles
for the gun but her hand is grabbed and pulled away.
BACK TO SCENE:
LEO JOHNSON moves behind SHELLY and puts his other hand over her mouth. SHELLY cant
yell or escape. SHELLY cries into his hands as LEO yells.
LEO
You made me do this Shelly! YOU MADE ME!
CUT TO:
EXT. BLACK LAKE WATER PROCESSING PLANT - NIGHT
MUSIC: FRESHLY SQUEEZED (0:00 - 0:25) (W/ DRUMS)
An establish shot. Parked in the dark, SHERIFF TRUMAN sits behind the wheel of his police cruiser.
CUT TO:
INT. SHERIFF TRUMANS POLICE CRUISER - NIGHT
From a viewpoint in the back seat, SHERIFF TRUMAN and DEPUTY ANDY talk as they
wait for JACQUES to fall into their trap. Through the front window, the factory surroundings are dark.
SHERIFF TRUMAN
Is Lucy talking to you yet?
ANDY
As we say in the law enforcement game, its a cold trail.
SHERIFF TRUMAN
Over the police radio we hear DEPUTY HAWK.
HAWK (OFF SCREEN)
Harry, Hawk here. The trouts heading upstream towards the net.
SHERIFF TRUMAN picks up the microphone to reply.
SHERIFF TRUMAN
INSERT: BLACK LAKE WATER PROCESSING PLANT
We view the mechanical surroundings of the water processing plant as we listen to TRUMAN and HAWK.
SHERIFF TRUMAN (OFF SCREEN)
... hold the line. Well set the hook. You gotta 20 on Agent Cooper?
In the distance, a car drives up.
HAWK (OFF SCREEN)
Hes down stream about ten minutes. Hell probably miss the catch but
hell be there when we grill him.
BACK TO SCENE:
Directly ahead, the car comes to a stop and parks.
SHERIFF TRUMAN
Copy that. Well make our move as soon as the big fish shows his fins.
JACQUES RENAULT steps out of the car.
SHERIFF TRUMAN
ANDY
DISTANT VIEW POINT:
From a distance, TRUMANS police cruiser starts up and its police lights and siren
turn on as it quickly accelerates. Another police cruiser, a backup unit, follows right behind them.
BIRDS EVE VIEW:
We now get an OVERHEAD view as TRUMANS cruiser and the backup unit race toward JACQUESS car.
A third police cruiser, manned by DEPUTY FRED and DEPUTY #1, are also driving toward JACQUESS
car but opposite TRUMANS cruiser. Together they box JACQUESS car in.
BACK TO SCENE:
Completely off guard, JACQUES spins around and attempts getting into his car but SHERIFF TRUMAN
slams his brakes, jumps out of his cruiser, points his gun and yells.
SHERIFF TRUMAN
JACQUES! KEEP YOUR HANDS WHERE I CAN SEE EM! PUT EM ON THE ROOF OF THE CAR NOW!
FRED
DEPUTY #1
DEPUTY FRED moves behind JACQUES to cuff him. SHERIFF TRUMAN puts his gun in its holster.
SHERIFF TRUMAN
Youre under arrest ... for the attempted murder
of Ronette Pulaski and the murder of Laura Palmer.
SHERIFF TRUMAN turns away from JACQUES and heads toward his police cruiser.
DEPUTY FRED struggles with JACQUES to cuff his hands together.
FRED
Give me the other hand. Give me your other hand!
JACQUES throws his right elbow into FREDs gut. JACQUES frees himself of FREDs
grip and reaches for the gun on FREDs belt as he bends forward in pain.
JACQUES grabs the gun, grips it with both hands and aims it toward SHERIFF TRUMAN.
FRED
DEPUTY #1
SHERIFF TRUMAN spins around. A shot RINGS out. JACQUES RENAULT gets hit in the shoulder and falls
to the ground. SHERIFF TRUMAN is stunned as he sees JACQUES fall. TRUMAN turns his head and sees ANDY
forcibly poised as he points his gun toward JACQUES. DEPUTY HAWK and BIG ED have just arrived
in the white van. HAWK rushes over to JACQUES.
JACQUES (OFF SCREEN)
Stunned, TRUMAN stands blank faced.
SHERIFF TRUMAN
HAWK (OFF SCREEN)
Better call an ambulance.
ANDY
SHERIFF TRUMAN
In the background, DEPUTY HAWK stands next to JACQUES. BIG ED helps DEPUTY FRED.
HAWK
Shut up. Youre all right.
ANDY
Better call that ambulance.
HAWK
You have the right to remain silent.
Staring at ANDY, SHERIFF TRUMAN is still stunned.
SHERIFF TRUMAN
HAWK (OFF SCREEN)
Anything you say can and will be held against you in a court of law.
You have the right to an attorney.
MUSIC ENDS: FRESHLY SQUEEZED (0:00 - 0:25) (W/ DRUMS)
CUT TO:
INT. HAYWARD HOUSE - NIGHT
An establish shot. We view the front of the house.
CUT TO:
INT. HAYWARD HOUSE - NIGHT
From the dining room, DONNA peers into the next room. Out of view, we hear
a telephone RING and hear DR. HAYWARD answer it.
DR. HAYWARD (OFF SCREEN)
DONNA
DR. HAYWARD (OFF SCREEN)
Ill be there as soon as I can.
DONNA puts the tape they found in DR. JACOBYS office into a tape player
and pushes the play button. MADELEINE, DONNA and JAMES stand around the
dining room table as they listen to the tape.
MUSIC: LAURA PALMERS THEME
LAURA (FROM TAPE)
Hey, whats up, doc? Its Laura in case you havent guessed. Its Thursday the
twenty-third, and Im so bored. Actually, Im in kinda of a weird mood.
(slight cry in her voice) God, James is sweet ... but
hes so dumb ... and right now I can only take so much of sweet. Hey,
remember that mystery man I told you about. Well, if I tell you his name then youre gonna
be in trouble. He wouldnt be such a mystery man any more but you might be history
man. I think, a couple of times, hes tried to kill me. But guess what, as you know, I sure
got off on it. Hmm, isnt sex weird? This guy can really light my f - i - r - e as in red
corvette. Uh-oh, here comes mom with milk and cookies.
From the next room, DR. HAYWARD calls for ...
DR. HAYWARD (OFF SCREEN)
LAURA (FROM TAPE)
DONNA
LAURA (FROM TAPE)
DONNA stops the tape and moves into the next room to meet her father before
he find them. We PAN to look into the living room to see DONNA beside her
father as he puts on his jacket.
DR. HAYWARD
Donna Ive got an emergency at the hospital. I dont know
when Ill be back. See if your mother needs anything, huh.
DONNA
DR. HAYWARD
DONNA
DR. HAYWARD leaves the house. DONNA returns to the dining room and hugs JAMES.
DONNA
JAMES
Its okay. Im glad I heard her say it, Im glad.
I might have gone my whole life.
JAMES and DONNA turn to MADELEINE.
JAMES
Im sorry you had to hear that.
MADELEINE
JAMES
Jacoby didnt kill her. He was trying to help her.
DONNA turns to look at JAMES.
DONNA
Then howd he get the necklace?
MUSIC ENDS: LAURA PALMERS THEME
CUT TO:
INT. PACKARD SAW MILL - NIGHT
We FOCUS on a large rotary saw at work as it noisily slices into a log.
CUT TO:
EXT. PACKARD SAW MILL - NIGHT
An establish shot. From a distance, we view the mill as it expels smoke into the air from its machinery.
CUT TO:
EXT. PACKARD SAW MILL - NIGHT
LEO lifts two 5 gallon gas tanks out of the back of his truck, moves
to a door of the wood storage shed, kicks the door open and walks in.
CUT TO:
INT. PACKARD SAW MILL - NIGHT
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:35)
LEO places the two tanks, carrying gasoline, beside a pile of cut lumber. LEO moves to SHELLY,
who is gagged and tied to a wooden support column. LEO moves to the floor and picks up a mechanical
timer that he is using as a detonator. LEO sets the timer and moves it close to SHELLY.
LEO
You hear that? Youve got about one hour to think about what youve done to me ...
and think about it. Because by then, Bobby Briggs is gonna be dead.
LEO walks away. SHELLY cries into her gag.
LEO (OFF SCREEN)
CUT TO:
INT. HURLEY HOUSE - NIGHT
We FOCUS on the floor where a colorful plaid blanket is spread out onto the floor. NADINE HURLEY,
wearing a pink satin dress, moves to kneel on the blanket.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:35)
NADINE puts a silver tray on her lap and writes a note. NADINE puts the note in
a small envelope and puts it and the tray to the side.
MUSIC: REMEMBRANCES
Next, NADINE grabs a plastic bottle of water and fills a glass. NADINE turns slightly and places
the glass of water beside an empty bowl. NADINE then empties two prescription canisters of yellow
and pink pills into the bowl.
CLOSE ON: NADINES PROFILE
We FOCUS on a CLOSE-UP of a profile of NADINES face.
NADINE
MUSIC ENDS: REMEMBRANCES
DISSOVLE TO:
EXT. BLUE PINE LODGE - NIGHT
As the last scene FADES OUT we FADE IN to the next scene. An establish shot. We view the front of
the house. Crickets can be heard CHIRPING and a fog horn BLOWS in the distance.
CUT TO:
INT. BLUE PINE LODGE - NIGHT
We FOCUS on the reflection of a suitcase full of cash. A wrapped bundle of bills is thrown into
the case. We ZOOM out to see HANK JENNINGS close the suitcase. We ZOOM out further to see
JOSIE PACKARD leaning against the cabinet beside HANK.
HANK
Its all here. Youre very generous Josie. Sitting
in that concrete box all that time, ninety grand seemed like all the money
in creation. Kept me going. Its ... funniest thing, back in the world,
I dont know, ...
HANK lifts and bobs the suitcase up and down.
HANK
... it seems kinda light.
JOSIE
JOSIE walks away from HANK and over to the kitchen counter. JOSIE lights up a cigarette.
HANK follows JOSIE to the counter.
HANK
Oh Ive been going over this in my mind and ... see if you can follow my thinking.
Were all born into life and we have a certain number of years to move and breathe and
have our vein. Thats from a book on oriental philosophy I read when I was in the joint.
And maybe somebody, somewhere, knows how much time we have. I dont, do you?
JOSIE blows her cigarette smoke into HANKS face. HANK belligerently breathes it in deeply.
HANK
So, when a man gives up a certain portion of his life, eighteen months for instance. How does
he place a value on that time? Eighteen months, ninety thousand, whats that? Uh, five
thousand a month. Well thats not bad if youre going to live another forty or fifty
years but what if you only got another twenty or ten ... or some unforeseen event kills you
tomorrow. As in the case of the boating accident that killed your late husband Andrew.
JOSIE moves into the living room. HANK follows her. In the background, behind
HANK, is a deer head trophy. The horns of the trophy align with HANKS head
making it appear that the horns are sprouting from his head.
HANK
Or say, you just got out of prison. Where you went in for vehicular manslaughter as part of
an agreement to avoid being implicated in the commission of a much greater crime, murder. For
which in fact you were responsible. But now theres this threat, this possible threat,
that ... this fact could be discovered ... and in one stroke, ten or fifteen or twenty more
years of your life could be cut right off from underneath you. So Ive been asking myself.
What does that do to the market value of eighteen months?
JOSIE turns around to face HANK.
JOSIE
She walks back to the kitchen counter. Again, HANK follows her.
MUSIC: HANKS THEME
39K
HANK
And we still do sweetheart. Signed, sealed, delivered
... and I want to take care of everything we agreed to. You see, you want
a lot for your money ... and I want a lot for my time. You know theres
a saying in the joint. Its not oriental philosophy but it has a similar
kind of logic that appeals to my uh ...
JOSIE tries to walk away from him but HANK grabs her arms and turns her around to face him.
HANK
HANK grabs JOSIES right hand and clasps her fingers with the fingers on his
right hand with their thumbs sticking up.
HANK
Once youre in business with somebody youre in business for life, like a marriage.
Using his left hand, HANK pulls out a switch blade knife and clicks it open with a push of a
button. HANK moves the blade to JOSIES thumb and gently slashes it. JOSIE writhes slightly
in pain as blood oozes out of the cut. Next, HANK slashes his own thumb. HANK then presses his
bleeding thumb against JOSIES.
HANK
HANK releases his grip, moves his cut thumb to his mouth and licks the blood off with a smack.
JOSIE trembles in fear. HANK walks off and leaves. JOSIE, still trembling, moves her thumb to her
mouth and wipes the blood on her red lips.
MUSIC ENDS: HANKS THEME
39K
CUT TO:
EXT. PACKARD SAW MILL - NIGHT
An establish shot. We view the mill as smoke rises from its machinery.
CUT TO:
INT. PACKARD SAW MILL - NIGHT
In the accounting office, CATHERINE MARTELL frantically throws and slams files out of a filing
cabinet. From the open door of the office, two MILL WORKERS watch CATHERINE as she tosses the files
around. PETE MARTELL walks up to the open office door to see what the commotion is all about.
PETE throws a questioning glance to one of MILL WORKERS.
CATHERINE
Damn. Where? Where is it?
PETE steps into the office.
PETE
Holding files, CATHERINE turns to face PETE.
CATHERINE
The account ledger, have you seen it?
PETE closes the door behind himself.
PETE
Well dont you keep it in that little safe at home?
CATHERINE
No, its not in the safe at home. Its not here. Its not anywhere. Tell me you didnt take it?
PETE shrugs.
PETE
CATHERINE
Pete, tell me the truth. Youre not helping her to pull something here.
PETE notices that the two MILL WORKERS are still watching them. PETE moves
to close the horizontal blind to the window they are using to peer inside.
PETE
CATHERINE
PETE
PETE moves to close another horizontal blind to a window that the two nosy MILL WORKERS have moved to.
PETE
CATHERINE
Oh Peter. Forget everything that weve ever said or done to hurt each other.
PETE
PETE closes another horizontal blind.
CATHERINE
Temporarily. I know our marriage is a living train wreck but there used to be something
caring between us. The fella who caught my eye. The lumber jack that ... could scamper
up a tree like a ... cat.
PETE becomes tearyed eyed.
PETE
The bosss sister from that big house on the hill.
CATHERINE
A summers indiscretion and here we are.
PETE
(slightly embarrassed) Catherine.
MUSIC: TWIN PEAKS THEME
CATHERINE
Oh Peter. I never should have taken you to that house on the hill.
PETE
Oh I have no complaints about the house.
CATHERINE
As for me taking my principle pleasure in lashing out at the one person who was decent
enough to stand by me through all my foolishness.
PETE
I know things havent been easy for ya.
CATHERINE
Peter, somewhere under all that scar tissue theres the faintest flicker of what we
used to feel for each other. Im asking you to feel that now.
PETE
CATHERINE
(emotional) Because Im in trouble ... and given
what Ive become and the way Ive treated people theres no one else I
can turn to. I need your help.
PETE listens on with tears in his eyes. PETE rushes over to CATHERINE and gives her a big hug.
PETE
CATHERINE rolls her eyes and gently pats his back.
MUSIC ENDS: TWIN PEAKS THEME
CUT TO:
EXT. TWIN PEAKS SHERIFFS DEPARTMENT - NIGHT
An establish shot. We view the front of the building.
CUT TO:
INT. TWIN PEAKS SHERIFFS DEPARTMENT - NIGHT
Standing by the reception office, BIG ED retells the previous nights events to two DEPUTIES
plus DEPUTY FRED, DEPUTY ANDY and DEPUTY HAWK.
BIG ED
So, Fred starts to put the cuffs on him right. Now Harry, he turns to go. Now all of a
sudden Jacques throws an elbow at Fred like this.
BIG ED visually shows the group the move JACQUES made.
BIG ED
LUCY, with her back to group, is listening as she waters some plants in the reception area.
HAWK
And in one move he takes Freds gun and hes got the drop on Harry.
BIG ED
Harry is deader then a pound of road side stew.
HAWK
Then, all of a sudden, a single shot rings out.
ANDY puts his hands to together with his index fingers pointed out to resemble
a gun and reenacts his shooting of JACQUES. ANDY includes the sound effect
of the gun firing, Paa-kehhh. BIG ED, DEPUTY HAWK and the surrounding
DEPUTIES clap and cheer him on.
HAWK
LUCY turns to look at ANDY. Their eyes meet. LUCY smiles, shyly turns away
and quickly scampers into the coffee station.
BIG ED
HAWK pushes ANDY to talk to LUCY.
HAWK
Go ahead Andy. Give it your best shot. Go on.
ANDY tugs his belt up and walks to the coffee station. LUCY turns her head to look at ANDY and
quickly turns her head away. ANDY turns around and closes the accordion doors of the coffee station
for privacy. ANDY turns to LUCY, grabs her by the arms and turns her around to face him. Slowly,
they move to kiss. ANDY and LUCY both puts their arms around each other as they longingly kiss
each other. Still holding each other, LUCY and ANDY separate from the kiss to look at each other.
LUCY
ANDY
LUCY
ANDYS eyes widen. He remains silent. LUCY becomes irritated by his silence and expression.
ANDY opens the doors to the coffee station, slowly walks out and moves down the hall. BIG ED and HAWK
watch ANDY silently walk off.
HAWK
Carrying a watering pitcher, LUCY exits the coffee station and walks by
HAWK and BIG ED. Angry, LUCY stares at HAWK and BIG ED and barks.
LUCY
LUCY walks to her office. BIG ED and HAWK shake their heads and walk away. We PAN to see the other
DEPUTIES also walk off. We ZOOM in on the reception window to LUCYS office. In her office,
LUCYS telephone RINGS. Annoyed, LUCY rudely answers it.
MUSIC: FRESHLY SQUEEZED (0:26 - 3:48) (QUIET VERSION)
LUCY
PHONE
Let me talk to the sheriff.
LUCY
Im sorry the sheriff isnt in at the moment.
I expect him back shortly. Would you care to leave a message?
CUT TO:
EXT. EASTER PARK - NIGHT
BOBBY talks on a phone in a phone booth. BOBBY speaks in a lower tone to disguise his voice.
In the background, a clock bell can be heard RINGING.
BOBBY
You tell him Leo Johnson said to check out James Hurley. Hes an easy rider.
LUCY can be heard from the telephone.
LUCY (OFF SCREEN)
BOBBY
LUCY (OFF SCREEN)
Yes, Ive got that but Leo. Wait. Leo!
BOBBY hangs up the phone.
MUSIC ENDS: FRESHLY SQUEEZED (0:26 - 3:48) (QUIET VERSION)
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - NIGHT
We look down a hallway of the hospital as doctors and nurses work.
INTERCOM
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - NIGHT
Laying in a hospital bed, we see JACQUES with his left arm in a cast. SHERIFF
TRUMAN and AGENT COOPER, still in a tuxedo, stand beside his bed.
COOPER
Did you take Laura and Ronette up to your cabin that night?
JACQUES
Yeah, theyve both been up there before.
JACQUES cracks a slight joke.
JACQUES
COOPER
Is that where you took the pictures for Fleshworld?
JACQUES
Yeah, that was Lauras idea. She talked Ronette into uhm making them ads.
COOPER
What did you and Leo fight about that night?
JACQUES
That bastard, he hit me with a whiskey bottle.
SHERIFF TRUMAN
JACQUES
I dont know why. Thats why we fought.
JACQUES CHUCKLES slightly.
JACQUES
Im bleeding like this ... stuffed pig and hes laughing.
COOPER
So you used Leos shirt to stop the bleeding. What then?
JACQUES
I got sick. I go outside, pass out. I wake up, Im lying on the ground.
COOPER
JACQUES
Leo, the girls, they gooonnnne.
JACQUES LAUGHS.
SHERIFF TRUMAN
What about the train car?
Surprised by the question, COOPER looks at TRUMAN.
JACQUES
Uhm I dont know nothing about that. I come down the hill. Leos car is gone.
Had to walk fifteen miles back down to my own house.
JACQUES LAUGHS slightly before his eyes begin to close as the pain killers take effect.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - NIGHT
We FOCUS on a heart pulse monitor. We PAN RIGHT to view DR. JACOBYS face as he sleeps
in a hospital bed.
DR. JOHNSON
When they brought him in he was rambling incoherently.
DR. HAYWARD
These things he said to you there pretty incredible.
We PAN RIGHT to see DR. JOHNSON and DR. HAYWARD sitting together beside DR. JACOBYS hospital bed.
DR. JOHNSON
I know. Lets hope he pulls through.
DR. HAYWARD
Well hes stabilized anyway.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - NIGHT
In the same room with JACQUES, AGENT COOPER and SHERIFF TRUMAN walk across
to DR. JACOBYS bed. They stop short of the bed as they huddle to talk.
SHERIFF TRUMAN
So Leo had to take the girls to the train car by himself. Do you believe him?
COOPER
SHERIFF TRUMAN
Hell testify against Leo. We got him.
COOPER
We got to find Leo first.
DR. HAYWARD walks away from DR. JACOBYS bed and up to COOPER and TRUMAN.
COOPER
DR. HAYWARD
Hes out of the woods. Listen he uh ... he says he got a phone call from Laura Palmer.
He was on his way to see her when he was jumped. That brought on the heart attack.
COOPER
Any description of the assailant?
DR. HAYWARD
He didnt see him but he says he saw Laura Palmer standing by the gazebo in Easter Park.
Puzzled, COOPER and TRUMAN look at each other.
CUT TO:
INT. BLUE PINE LODGE - NIGHT
In the library of the house, CATHERINE grabs books off the shelf, quickly looks them
over and throws them to the ground.
CATHERINE
Its not here. Its not here. Its not here either. Damn.
On the other side of the room PETE grabs a book off the shelf, opens it and looks it over. PETE
moves to lean on a large stuffed bear trophy as he looks through the book.
PETE
Ohhh. Midge, Midge Johnson.
CATHERINE overhears PETE and turn to look at him.
CATHERINE
PETE slams the book shut in his hands.
PETE
Oh its uh ... my old high school year book.
PETE CHUCKLES.
PETE
I thought it was gone forever.
CATHERINE
PETE
The phone RINGS. CATHERINE moves to the phone, picks up the receiver and answers.
CATHERINE
HANK (OFF SCREEN)
CATHERINE
CUT TO:
INT. DOUBLE R DINER - NIGHT
On the pay phone at the corner of the diner, HANK talks on the phone.
HANK
MUSIC: LOVE THEME FROM TWIN PEAKS
HANK
Drying shed three near the North gate.
CUT TO:
INT. BLUE PINE LODGE - NIGHT
CATHERINE
Still on the phone and without looking at him, CATHERINE gestures for PETE
to leave the room. PETE starts to head out of the library.
PETE
Guess Ill look in the other room.
After PETE leaves the room, CATHERINE resumes talking into the phone.
CATHERINE
What do you want? Talk terms.
CUT TO:
INT. DOUBLE R DINER - NIGHT
HANK
HANK hangs up the phone.
CUT TO:
INT. BLUE PINE LODGE - NIGHT
CATHERINE hangs up the phone, walks to a nearby desk and opens a drawer. CATHERINE opens a box
and pulls out a revolver. CATHERINE flips open the barrel of the pistol to check that it is loaded and
then closes it back into position. CATHERINE places the revolver in her coat pocket.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
EXT. DOUBLE R DINER - NIGHT
An establish shot. We view an empty parking lot lit by the neon lights of the restaurant.
HANK (OFF SCREEN)
Hey Norma, do you still have the big down comforter on your bed?
NORMA (OFF SCREEN)
CUT TO:
INT. DOUBLE R DINER - NIGHT
Seated in a booth, NORMA JENNINGS works on some paper work as HANK, behind
the counter at the island station, talks to her.
HANK
The mattresses they give you on your bunk ... their probably oh ...
KANK uses his fingers to show about a one-inch thickness.
HANK
... yea thick, you know, and you lie there at night thinking. If this mattress is so skinny,
how theyd get all those rocks inside?
HANK and NORMA LAUGH slightly.
HANK
So uh, you forgive me if I tell ya that uh ... night after night I dream of you
lying there on that big feather bed.
NORMA looks away from HANK.
HANK
Oh, I guess the uh ... hired help shouldnt be so familiar with the boss lady, huh.
NORMA
I cant blame you for dreaming.
HANK
I wasnt just dreaming about being with you Norma. What I was trying ... I shouldnt
even be saying this much. Heck.
HANK throws his towel to the countertop.
NORMA
HANK
Naw, I havent earned the right Norma. Ive been back what, two days.
NORMA
Say what you want to say.
HANK
Ive been trying to picture a whole life with
you. With the diner. Making it soar. Making it blue sky.
NORMA turns away from him again.
HANK
I always talk too big. Thats one of my biggest faults. I learned that talking to my
counselor inside. This is new territory for me. But Im going to try Norma. You know,
its twenty years weve been together next month. Can you believe it? Maybe were
doing this all backwards. Maybe its the next twenty that counts.
MUSIC: HANKS THEME
39K
HANK
Give me time Norma. Ill make you proud of me yet.
Looking into her eyes, HANK slowly moves to NORMA and gives her a kiss.
MUSIC ENDS: HANKS THEME
39K
CUT TO:
INT. HURLEY HOUSE - NIGHT
BIG ED, still wearing the western outfit diguise but without the wig or moustache, enters his house.
BIG ED
Casually with his hands in his pockets, BIG ED peers into the dark living room. Lit by the
foyer light, BIG ED sees NADINE laying on the floor. BIG ED walks toward her.
BIG ED
MUSIC: TWIN PEAKS THEME
Realizing something is wrong, BIG ED rushes down to her.
BIG ED
Oh god Nadine, dont you do this.
BIG ED lightly slaps NADINES face hoping to awaken her.
BIG ED
BIG ED picks up a nearby phone and dials.
BIG ED
I need an ambulance. My wife has just taken some pills. 422 Riverside. For the love of god hurry.
BIG ED hangs up the phone, picks up NADINE and hold her close in his arms.
BIG ED
Stay with me Nadine. Please dont go. Stay with me.
MUSIC ENDS: TWIN PEAKS THEME
CUT TO:
EXT. TWIN PEAKS SHERIFFS DEPARTMENT - NIGHT
MUSIC: THE BOOKHOUSE BOYS (0:36 - 0:58)
An establish shot. SHERIFF TRUMANS police cruiser has just parked in front of the building.
SHERIFF TRUMAN jumps out of his cruiser and runs inside the building.
CUT TO:
INT. TWIN PEAKS SHERIFFS DEPARTMENT - NIGHT
AGENT COOPER, SHERIFF TRUMAN and DR. HAYWARD briskly walk up a hallway. COOPER is still in his tuxedo.
COOPER
Leo Johnsons gone underground. My bet is he holed up somewhere near his home.
LUCY walks out of her office.
LUCY
Sheriff, Leo Johnson called.
SHERIFF TRUMAN and COOPER stop to listen. DR. HAYWARD walks off.
SHERIFF TRUMAN
LUCY
About ten minutes ago. He left this message.
LUCY hands the note with the message to TRUMAN.
LUCY
And sheriff, in the background, when I spoke to him, I could hear a clock striking.
SHERIFF TRUMAN hands the note to COOPER.
COOPER
LUCY
It sounded like the clock at Easter Park.
Just entering, HAWK greets TRUMAN.
HAWK (OFF SCREEN)
SHERIFF TRUMAN turns to HAWK to return the greeting.
SHERIFF TRUMAN
SHERIFF TRUMAN turns back to LUCY.
SHERIFF TRUMAN
HAWK walks up beside the huddled group.
COOPER
Hawk, pull the surveillance off Leos house. I
want you to set up a perimeter around Easter Park.
HAWK
HAWK walks off to handle the new orders. SHERIFF TRUMAN follows him out.
SHERIFF TRUMAN
Ill radio. You get some cars over there.
JAMES enters the building and walks up to SHERIFF TRUMAN.
JAMES
Harry, Ive got to talk to you.
SHERIFF TRUMAN
COOPER
Harry, let me talk to James. You want to investigate this.
COOPER hands the note back to TRUMAN.
COOPER
SHERIFF TRUMAN, concerned, watches COOPER walk of with JAMES.
MUSIC ENDS: THE BOOKHOUSE BOYS (0:36 - 0:58)
LELAND PALMER enters the building and walks up to SHERIFF TRUMAN.
LELAND
Harry. Harry. Is it true? You found him. Youve got the killer?
SHERIFF TRUMAN
Weve arrested a suspect lead thats all.
LELAND
(ardent) But is it the man Harry? Is it him?
LELAND
We cant release any details right now. Im sorry, excuse me.
SHERIFF TRUMAN walks outside to check the message given on the note. DR. HAYWARD walks up to LELAND.
DR. HAYWARD
Leland, theres nothing you can do here. You should be home with Sarah now.
LELAND
Oh yes, youre right. Of course youre right. You - you going back to the hospital?
DR. HAYWARD
LELAND
DR. HAYWARD
DR. HAYWARD walks off. LELAND watches DR. HAYWARD leave and then turns back with an expressionless
face and unblinking glare. LELAND thinks outloud.
LELAND
CUT TO:
INT. TWIN PEAKS SHERIFFS DEPARTMENT - NIGHT
In the conference room standing beside a corner of the long conference table,
JAMES pulls a tape cassette from his pocket and holds it out to COOPER.
JAMES
I think you ought to listen to this tape.
COOPER
COOPER grabs the tape.
JAMES
It was Lauras. We found it. I think it will help you find who youre looking for.
COOPER
JAMES
Somebody with a red corvette.
COOPER
Dr. Jacobys in the hospital with a heart attack.
JAMES
COOPER
He said he saw Laura Palmer tonight. James, what kind of dangerous game have you been playing?
JAMES swallows hard.
JAMES
Is Jacoby going to be all right?
COOPER and JAMES turn to see SHERIFF TRUMAN standing in the door way holding up a cylindrical
object in his hands. SHERIFF TRUMAN enters the room and places the object on the conference
table. AGENT COOPER unfolds a handkerchief surrounding the gasoline soaked object.
MUSIC: THE BOOKHOUSE BOYS (2:12 - 2:31)
COOPER
Ive been very patient with you James. From here
on out, Im going to need a better set of answers.
Using tweezers, COOPER lifts the plastic object up which unrolls to reveal
that it is a plastic bag containing a white powder.
COOPER
Lets start with why this was in the gas tank of your bike?
Puzzled, JAMES looks to SHERIFF TRUMAN, to COOPER and then to the bag.
MUSIC ENDS: THE BOOKHOUSE BOYS (2:12 - 2:31)
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. BLACKIES OFFICE - NIGHT
INSERT: CONTRACT
We FOCUS on a CLOSE-UP of the contract for Ghostwood Estates.
MR. THORSON (OFF SCREEN)
BACK TO SCENE:
MR. EINAR THORSON, the Icelander group leader, is seated at BLACKIES desk
looking over the contract to the Ghostwood Estates in his hands. Behind
him is one of the establishments 52 PICK-UP girls. BENJAMIN is sitting
on the corner of the desk. Another 52 PICK-UP is pouring them a drink.
MR. THORSON
... fine, fine, okay, okay. Ghostwood, fantastic, I love it.
BEN LAUGHS slightly.
BENJAMIN
All your revisions are included.
The 52 PICK-UP pouring the drinks leaves the room.
MR. THORSON
MR. THORSON looks back to the 52 PICK-UP behind him.
MR. THORSON
I cant even say how much.
BENJAMIN
BEN LAUGHS slightly. BEN and MR. THORSON both pull pens from their jacket pocket and offer
to exchange it with each other.
MR. THORSON
BENJAMIN
BEN uncaps his pen. BEN and MR. THORSON exchange pens.
MR. THORSON
MR. THORSON LAUGHS.
The telephone on the desk RINGS. BENJAMIN answers the phone but briefly turns to MR. THORSON.
BENJAMIN
Excuse me. Benjamin Horne here.
CUT TO:
INT. DOUBLE R DINER - NIGHT
On the pay phone at the corner of the diner, HANK is on the phone.
HANK
Time to Black Flag that little fire bug.
CUT TO:
INT. ONE-EYED JACKS - NIGHT
HANKS voice can be heard from the telephone.
HANK (OFF SCREEN)
Leo Johnsons going to get a house call.
BENJAMIN
From the telephone we hear a CLICK, HANK has hung up the phone on his line. BENJAMIN hangs up
the phone and smiles.
CUT TO:
EXT. JOHNSON HOUSE - NIGHT
An establish shot. We view the front of the house.
CUT TO:
INT. JOHNSON HOUSE - NIGHT
BOBBY slowly opens the front door and enters the house.
BOBBY
Shelly? Shelly are you here?
MUSIC: ??? 1
After BOBBY enters, leaving the door open, the door swings to close to reveal LEO,
who was hiding behind the door, standing in the corner of the room.
LEO
BOBBY spins around. LEO has his hands behind his back.
BOBBY
Leo, man am I glad to see you.
LEO
Is there something I can help you with?
BOBBY
Actually it was you I was looking for. The cops man, theyre after you.
LEO
LEO kicks BOBBY to the ground. LEO swings an axe down at BOBBY but hits a coffee table as BOBBY quickly
jumps up to a nearby wall. LEO again swings the axe at BOBBY but hits the wall as BOBBY jumps away.
LEO
SHELLYS DEAD! YOU KILLED HER!
LEO swings his right arm out and smacks BOBBY in the jaw. BOBBY falls back
onto the television set and slides down to sit on the floor. BOBBY cries
out.
BOBBY
LEO moves to BOBBY, grips the axe, raises it and ... A shot RINGS out. A bullet
smashes through the window and sends LEO flying back onto the couch.
MUSIC ENDS: ??? 1
BOBBY moves up slightly to look out the window.
BOBBYS POV:
Through BOBBYS 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 inside the house. HANK walks off.
BACK TO SCENE:
BOBBY gets up and leaves. BOBBY passes LEO on his way out.
BOBBY
Still alive but unable to move or speak, LEO watches the television, which has been on.
LEOS POV:
Through LEOS POV we view television from a distance. The television program
Invitation to Love is on. On the television show, JARED stands behind CHET,
the nerd dressed in a white suit, holding him.
BACK TO SCENE:
We view a CLOSEUP of LEO. The bullet has hit him in the chest near the neck
and the shoulder.
LEOS POV:
Through LEOS POV we view a CLOSE-UP of the television. On the show, we view a CLOSE-UP
of a gun as it is fired. MONTANA, a scruffy bearded man wearing a black leather jacket and a
red bandana, is shot and falls back to a nearby wall. MONTANA turns his head to CHET in
surprise as he slowly slides down.
BACK TO SCENE:
We FOCUS on a CLOSE-UP of LEOS face with his eyes open as he struggles to breathe.
CUT TO:
INT. PACKARD SAW MILL - DAY
With tears in her eyes, SHELLY struggles to free herself of her binds.
INSERT: TIMER
We FOCUS on the TICKING timer placed on the floor a short distance from SHELLY.
DISTANT VIEW:
From a distance behind shelves of stacked lumber, SHELLY can be seen tied against a wood
column support. SHELLY wiggles in her binds as she tries to free herself. We FOCUS on a
CLOSE-UP of a gun as it is pushed into view.
BACK TO SCENE:
SHELLY freezes as she see CATHERINE, who is holding a gun in her hand. SHELLY
wiggles around in her binds and cries out, barely intelligible, through her gag.
SHELLY
CATHERINE
I cant understand a word youre saying you have a thing in your mouth.
The bell on the timer RINGS. It sets off a spark that ignites a rolled up
wad of gasoline soaked rags. The interior is now lit up by the flames.
MUSIC: ??? 2
SHELLY
(barely intelligible) Please get me out of here.
Ill die. Please help me.
CATHERINE moves to SHELLY and pulls her gag down from her mouth.
CATHERINE
SHELLY
CATHERINE
Do you know who called me here?
SHELLY
No, I dont know anything. Just please help me.
CATHERINE
MUSIC ENDS: ??? 2
In a large flare up, the burning rags near the timer ignite several gasoline
trails. The fire races through the trails of gasoline throughout the wood
storage building. The lumber immediately catches fire.
MUSIC: ??? 3
SHELLY
Oh god. Oh god. Oh god! Oh god!
CATHERINE grabs a small axe laying nearby and starts chopping at SHELLYS binds. The growing fire
surrounds them. A portion of the upper floor starts to give way. CATHERINE finally cuts SHELLYS
binds just in time to move away as a portion of the upper floor crashes to the ground.
SHELLY
CATHERINE grabs SHELLYS hand and the two run through the burning building trying
to find a way out.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - NIGHT
In an empty hallway of the hospital, we FOCUS on a gloved hand and it reaches out and smash the
glass of a fire alarm, activating it. The fire alarm comes to life and sounds throughout the hospital.
MUSIC ENDS: ??? 3
We PAN to look down another hallway where DOCTORS and NURSES scamper around.
With their back to us, the INDIVIDUAL who started the alarm walks up the hallway.
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - NIGHT
A privacy curtain is pulled away by a gloved hand to reveal JACQUES RENAULT, with
his left arm in a cast, asleep in bed. A gloved hand picks up JACQUESS
right arm and moves it beside the bed railing. Tape is tightly wrapped around
JACQUESS arm and the bed railing. The gloved hands pick up a nearby pillow
and places it over JACQUESS face.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
MUSIC: WALKING IN THE DARK
32K
JACQUES awakens and begins to GRUNT underneath the pillow. JACQUES tries to move his right arm but
he cant. JACQUES struggles to move his right arm but its bound to the railing. The heart rate
monitor beeps faster as JACQUESS heart races. JACQUES cant move his left arm because its
in a cast. JACQUES wiggles himself in bed but the pillow stays firmly in place. Suddenly, the heart
rate monitor falls silent. JACQUES fingers relax.
MUSIC ENDS: WALKING IN THE DARK
32K
We PAN UP the arms of the killer holding the pillow, the arms of LELAND PALMER. LELAND wears an
expression of intense grief and shock. The fire alarm falls silent. LELAND expression quickly changes
and he turns his head to look around. LELAND walks off.
CUT TO:
EXT. PACKARD SAW MILL - NIGHT
Drying Shed #3, a tall warehouse building, is on fire. PETE and a COWORKER, carrying a fire extinguisher,
walk toward the burning building.
PETE
Any of the boys still inside?
COWORKER
Not sure. The shift was over but ... were still trying to get a count.
PETE
COWORKER
PETE
They pass her all-terrain vehicle.
COWORKER
Geez, god. You think shes still inside?
PETE
Guess Im gonna have to find out.
COWORKER
Pete I dont think thats such a good idea.
PETE puts a pair of safety goggles over his eyes.
MUSIC: LAURA PALMERS THEME (DRAMATIC VERSION)
PETE
The COWORKER hands PETE the fire extinguisher. PETE runs over to the building
and looks it over. PETE kicks the door in and runs inside.
PETE
MUSIC ENDS: LAURA PALMERS THEME (DRAMATIC VERSION)
CUT TO:
INT. BLACKIES OFFICE - NIGHT
BENJAMIN signs his name on the Ghostwood contract, right below MR. THORSONS signature.
BENJAMIN
MR. THORSON
Ben, is this a great moment?
BENJAMIN
MR. THORSON
BEN stands up. BEN and MR. THORSON hug. Two 52 PICK-UPS, walk up to MR. THORSON
and cradle his arms. BENJAMIN grabs a tray of poker chips and hands it to MR. THORSON.
BENJAMIN
Einar, tonight you play on the house.
Wearing a smile, MR. THORSON checks out the WOMEN hanging on his arms.
MR. THORSON
This is ... marvelous huh
BEN places a cigar in EINARS coat pocket.
BENJAMIN
The two 52 PICK-UPS escort MR. THORSON out. In a salute, MR. THORSON holds up
the tray of poker chips.
MR. THORSON
BENJAMIN
To Ghostwood Estates and Country Club.
BENJAMIN pulls a cigar out of his pocket and bites the tip off. BEN walks
over to BLACKIE, who was standing off to the side.
BLACKIE
BLACKIE lights BENS cigar. Standing beside her, BEN holds BLACKIE close.
BENJAMIN
Blackie old pal, this calls for a celebration. Lets have a look ... at the new girl.
CUT TO:
INT. ONE-EYED JACKS - NIGHT
We FOCUS on a large card of the queen of diamonds. We ZOOM out to see an OLD LADY, with
a hunched back, sewing the card to the front of AUDREYS lingerie. There is a KNOCK
at the door. The OLD LADY scampers away.
OLD LADY
The OLD LADY exits the room through a hidden door.
BENJAMIN
AUDREYS POV:
Through AUDREYS POV we FOCUS on the reflection from a mirror of BENJAMIN as he enters
the room and closes the door behind himself.
BACK TO SCENE:
AUDREY, still seated, is stunned.
AUDREYS POV:
Through AUDREYS POV we FOCUS on the reflection from a mirror of BENJAMIN near the door to the
room behind a deep reveal.
BENJAMIN
This is such stuff that dreams are made of.
Still viewing his reflection in the mirror, BEN slowly walks into the room.
DISSOLVE TO:
INT. GREAT NORTHERN HOTEL - NIGHT
As the last scene FADES OUT the next scene FADES IN. In a hallway of the hotel, AGENT DALE COOPER
walk up the hall toward his room. With his tie undone, AGENT COOPER is carrying his tuxedo jacket
in his left hand over his shoulder. In his right hand COOPER carries his mini tape recorder which
he is talking into.
COOPER
Diane, 4:37 am. After a long investigative night, returning to my room at the Great Northern.
We have one suspect in custody and Leo Johnson, the man I believe was responsible for
Lauras death, wont be able to escape the drag net weve thrown up for him much longer.
AGENT COOPER pauses to listen and looks around.
COOPER
As you can hear from the ambient sound around me ... and I notice with some relief, that the
Icelandic group staying on my floor have either checked or passed out. I may not need the Ear
Pillow ear plugs. Which I did receive today Diane. Although I suspect I may put them to use
as a purely precautionary measure. I ordered some hot milk from room service. Heres
hoping that does the job and Ill be able to catch a few hours of quality sack time.
Twenty-four hour room service must be one of the premiere achievements of modern civilization.
COOPER turns off his mini tape recorder, unlocks the door to his room, opens it and enters.
CUT TO:
INT. DALE COOPERS HOTEL ROOM - NIGHT
Upon entering his hotel room COOPER spots a small envelope on the floor. COOPER picks up the
envelope. COOPER smiles as he reads aloud who the envelope is addressed to.
COOPER
The telephone RINGS. COOPER walks across the room to answer it.
COOPER
Cooper here. (reply) Who is this?
(reply) Could this wait till tomorrow morning?
There is a KNOCK at the door.
COOPER
Please excuse me I got room service.
COOPER places the receiver beside the phone as he moves to answer the door. ANDY can be heard
from the phone.
ANDY (OFF SCREEN)
(static) We found him. (clear) Its Andy, Deputy
Andy. Agent Cooper? We found Leo Johnson. Hes been shot. Agent Cooper?
COOPER opens the door.
COOPERS POV:
Through COOPERS POV the first thing he sees is a gun that DISCHARGES before he can do
anything.
BACK TO SCENE:
The gun is FIRED again and we see that the two shots have hit AGENT COOPER in the chest. The gun
DISCHARGES one more time.
FADE OUT:
AGENT COOPER can be heard falling to the ground with a THUD.
FADE IN:
TO BE CONTINUED ...
FADE OUT:
CLOSE:
FADE IN:
MUSIC: LAURA PALMERS THEME
We view LAURA PALMERS homecoming picture as the end credits roll.
MUSIC ENDS: LAURA PALMERS THEME
FADE TO BLACK: