Episode 12 - The Orchid’s Curse


FADE IN:

INT. LOG LADY’S CABIN - DAY

MUSIC: CALL OF THE BLACK LODGE    272K

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

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. THE GREAT NORTHERN - DAY

An establish shot. The sky warms with an orange glow behind the mountain surroundings as morning dawns a new day.




CUT TO:

INT. DALE COOPER’S HOTEL ROOM - DAY

We FOCUS on the bedstand as the alarm of a collapsible traveling alarm clock goes off. FBI SPECIAL AGENT DALE COOPER extends his hand and turns off the alarm.

MUSIC: FRESHLY SQUEEZED (0:40 - 3:48)

COOPER reaches out further and fumbles around for his miniature tape recorder. COOPER picks it up, brings it to his mouth and clicks it on.

COOPER

With some of his hair whipped up from his sleeping position, COOPER gets up and sits on the edge of the bed near the bedstand.

COOPER

COOPER picks up an ear plug off of the bedstand and looks it over.

COOPER

COOPER removes the other ear plug out of his ear and places them both on the bedstand.

COOPER

COOPER gets up and picks up a pillow.

COOPER

COOPER walks around the bed to the other side of the room and drops the pillow on the floor right next to the wall.

COOPER

COOPER bends down and places his miniature tape recorder on the floor near the pillow. Next, COOPER places his hands in front of the pillow and quickly bends his head down and throws his legs up. With his back to the wall, COOPER balances himself.

COOPER


COOPER’S POV:

From COOPER’S POV we get an upside down and unfocused view underneath the bed.

COOPER (OFF SCREEN)

MUSIC ENDS: FRESHLY SQUEEZED (0:40 - 3:48)

Slowly our view come into focus.

MUSIC: FRESHLY SQUEEZED (0:40 - 3:48) (XYLOPHONE SOLO)   36K

COOPER (OFF SCREEN)

Directly ahead, laying on the floor beneath the bed is a white envelope.


BACK TO SCENE:

COOPER lowers his legs and uprights himself to sit on the floor. COOPER moves near the bed, reaches for the note and grabs it. Still in his pajamas, COOPER takes a seat on the floor with his back to the foot of the bed. COOPER picks up his mini tape recorder and looks over the envelope.

COOPER


COOPER’S POV:

MUSIC: LOVE THEME FROM TWIN PEAKS (0:14 - 1:14)

From COOPER’S POV, we view the front of the envelope. Written in script, the envelope is addressed to:

COOPER quickly opens the small envelope and unfolds a small note. It reads:

COOPER reads it out loud.

COOPER (OFF SCREEN)
MUSIC ENDS: FRESHLY SQUEEZED (0:40 - 3:48) (XYLOPHONE SOLO)   36K


BACK TO SCENE:

Still seated on the floor, COOPER muses over his find. This is the note AUDREY slipped under COOPER’S hotel door in episode 6 before she left for One-Eyed Jacks.

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS (0:14 - 1:14)




CUT TO:

EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

An establish shot. A patrol truck pulls into the parking lot of the station and parks in front.




CUT TO:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

Wearing a concerned expression, DEPUTY TOMMY THE ‘HAWK’ HILL enters the building. With a coffee mug in one hand and a donut in the other, SHERIFF HARRY S. TRUMAN walks out from the coffee station and up to HAWK.

SHERIFF TRUMAN

HAWK

TRUMAN eats his donut.

SHERIFF TRUMAN

HAWK

SHERIFF TRUMAN

HAWK

HAWK rushes off. LUCY MORAN walks up to SHERIFF TRUMAN.

SHERIFF TRUMAN

LUCY puts on a red coat.

LUCY

SHERIFF TRUMAN

LUCY

SHERIFF TRUMAN

LUCY

TRUMAN puts his coffee and donut down in the coffee station.

SHERIFF TRUMAN

LUCY

SHERIFF TRUMAN picks up LUCY’S suitcase and escorts her toward the front door.

SHERIFF TRUMAN

At the door, LUCY stops and looks at TRUMAN.

LUCY

SHERIFF TRUMAN

COOPER appears at the first set of doors at the entrance. SHERIFF TRUMAN extends the suitcase to LUCY.

LUCY

SHERIFF TRUMAN

LUCY grabs her suitcase and walks out. Having not entered yet, COOPER holds the door open for LUCY. As she passes him, COOPER says ...

COOPER

LUCY

LUCY walks off. TRUMAN holds the door open for AGENT COOPER as he walks inside.

SHERIFF TRUMAN

COOPER

SHERIFF TRUMAN

COOPER

AGENT COOPER brandishes a smile.

COOPER

MUSIC: THE BOOKHOUSE BOYS (1:12 - 1:24)




CUT TO:

EXT. JOHNSON HOUSE - DAY

An establish shot. We view an exterior shot of the home.

MUSIC ENDS: THE BOOKHOUSE BOYS (1:12 - 1:24)




CUT TO:

INT. JOHNSON HOUSE - DAY

BOBBY BRIGGS sits in a wheelchair and has a harness around his waist that is connected to a chain that is hooked to a small lifting crane. MR. TIM PINKLE stands beside BOBBY adjusting the equipment that operates the lifting crane. BOBBY’S interest lie in the magazine, ‘Shooting’ - a magazine about guns, he is holding as MR. PINKLE rambles on about the lifting crane.

MR. PINKLE

SHELLY JOHNSON, well dressed in black and smoking a cigarette, watches on.

MR. PINKLE

BOBBY diverts his attention to MR. PINKLE.

BOBBY

MR. PINKLE takes the magazine from BOBBY and tosses it aside. MR. PINKLE pats BOBBY on the back.

MR. PINKLE

MR. PINKLE tugs the harness which gives BOBBY a jerk.

MR. PINKLE

SHELLY

SHELLY gestures to the front door.

MR. PINKLE

BOBBY snaps his fingers to correct him.

MR. PINKLE

MR. PINKLE moves over to the switch that operates the crane and presses the button but the motor doesn’t work. So MR. PINKLE presses it again and again.


INSERT: CLOSE-UP BELT AND MOTOR

We FOCUS on a CLOSE-UP of the belt and motor of the lifting crane as MR. PINKLE pushes the button. The belt moves slightly as the motor engages but does not run completely.


BACK TO SCENE:

MR. PINKLE

MR. PINKLE turns to BOBBY.

MR. PINKLE

MR. PINKLE turns back to the switch and hits it with the bottom of his fist.

MR. PINKLE

MR. PINKLE continues to push the button. Suddenly it roars to life and BOBBY unexpectedly gets jerked up into the air and then dropped back into his seat.

SHELLY

BOBBY quickly stands up and wrestles with the harness to remove it from himself.

BOBBY

MR. PINKLE

BOBBY walks over to MR. PINKLE and corners him against the wall. Towering over MR. PINKLE, BOBBY snaps his fingers from both hands around his face.

MUSIC: FRESHLY SQUEEZED (0:40 - 3:48)

BOBBY

MR. PINKLE

BOBBY hits the wall with the palm of his right hand. SHELLY returns with an open bottle of soda pop and hands it over to MR. PINKLE.

MR. PINKLE

MR. PINKLE looks the bottle over.

MR. PINKLE

MR. PINKLE walks over to his tool case.

SHELLY

SHELLY motions to BOBBY to follow her to the next room.

SHELLY and BOBBY walk into the kitchen. They both stand close together face-to-face.

SHELLY

BOBBY

MR. PINKLE shouts from the next room.

MR. PINKLE (OFF SCREEN)

SHELLY

BOBBY and SHELLY stare into each others eye’s. BOBBY gently caresses her face and slowly moves in for a kiss but is interrupted by MR. PINKLE in the next room.

We FOCUS on MR. PINKLE as he sits in the wheelchair wearing the harness that is connected to the lifting crane. MR. PINKLE reaches over and turns on the machine. Slowly, and noisily, MR. PINKLE gets lifted into the air.

MR. PINKLE

We FOCUS back on BOBBY and SHELLY. BOBBY smiles at SHELLY as he holds her jaw gently with his fingertips.

BOBBY

SHELLY turns around and BOBBY puts his hands on her shoulders as they walk off.

We FOCUS on MR. PINKLE suspended in the lifting harness as the lifting crane rotates the crane to a position over the bed.

MR. PINKLE

But the crane doesn’t stop over the bed and slams MR. PINKLE against the wall.

MR. PINKLE

After slamming MR. PINKLE against the wall the crane rotates in the opposite direction and slams him into wall again. Again, the lifting crane rotates in the opposite direction and slams MR. PINKLE into the wall above the bed. As the crane swings MR. PINKLE around once more, he tries to reach out to the controls.

MR. PINKLE

MUSIC ENDS: FRESHLY SQUEEZED (0:40 - 3:48)




CUT TO:

EXT. ROADHOUSE - DAY

We PAN over a CLOSE-UP of the red neon sign of the Roadhouse Bar. The sign has an outline of a gun in neon and the alternating flashing words ‘Bang’.




CUT TO:

INT. ROADHOUSE - DAY


INSERT: CLOSE-UP GAVEL

We view a CLOSE-UP on a gavel as it is hammered three times.


BACK TO SCENE:

Seated behind a desk that is centered on the stage is JUDGE CLINTON STERNWOOD. To the left of him is seated his law clerk, SID. To the right of him is the COURT RECORDER. The stage has the red curtains drawn behind them and two flags are positioned behind the Judge’s desk.

JUDGE STERNWOOD

In the main room, all the tables have been put aside and the chairs have been placed in rows facing the stage. LELAND PALMER, dressed in a gray suit, sits in the front row. MADELEINE FERGUSON and SARAH PALMER sit together two rows behind LELAND.

JUDGE STERNWOOD

Separated by an aisle, SHERIFF TRUMAN and DEPUTY ANDY BRENNAN sit to the left of LELAND. AGENT COOPER sits in the row behind ANDY. TOAD sits behind COOPER eating away at a hamburger.

JUDGE STERNWOOD

DISTRICT ATTORNEY DARYL LODWICK gets up from his chair where he was seated at a table positioned between the rows of chairs and the stage. To the right of him sits the defense attorney at a different table. LODWICK walks near the stage and paces as he speaks.

LODWICK

SARAH looks at the expression on her husband’s face.

MUSIC: LOVE THEME FROM TWIN PEAKS (1:03 - 4:34)

JUDGE STERNWOOD

SHERIFF TRUMAN stands up. ANDY is drawing on a sketch pad.

SHERIFF TRUMAN

Pleased by the comment, LELAND looks over to SHERIFF TRUMAN as does SARAH.

SHERIFF TRUMAN

Seated at the bar, BENJAMIN HORNE tosses peanuts into his mouth as he listens to the trial.

SHERIFF TRUMAN

JUDGE STERNWOOD

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS (1:03 - 4:34)

SHERIFF TRUMAN sits back down.

JUDGE STERNWOOD

ANDY

SHERIFF TRUMAN looks over the sketch ANDY made.


INSERT: CLOSE-UP SKETCH

We view a CLOSE-UP of the sketch ANDY has been working on. The sketch is a black outline of the back of LELAND’S head.

JUDGE STERNWOOD (OFF SCREEN)

There is no response.

JUDGE STERNWOOD (OFF SCREEN)


BACK TO SCENE:

COOPER bends forward and pokes his head between ANDY and TRUMAN to take a look at sketch.

SHERIFF TRUMAN


ANDY’S POV:

Through ANDY’S POV we look over to LELAND and see mostly the back end of his left profile.

JUDGE STERNWOOD (OFF SCREEN)

SHERIFF TRUMAN (OFF SCREEN)


INSERT: CLOSE-UP SKETCH

We FOCUS on a CLOSE-UP of the sketch ANDY is working on. The sketch is composed of the exact view ANDY is getting of LELAND.

JUDGE STERNWOOD (OFF SCREEN)


BACK TO SCENE:

ANDY

JUDGE STERNWOOD

LELAND smiles. SARAH and MADELEINE are relieved.

JUDGE STERNWOOD

LELAND stands up.

JUDGE STERNWOOD

MUSIC: LAURA PALMER’S THEME (PIANO SOLO)

JUDGE STERNWOOD

BENJAMIN tosses another peanut into his mouth, stands up and makes his way to the door - all the while he casts an eye towards LELAND.

JUDGE STERNWOOD

SID writes on her calendar. LELAND smiles as he stands.

MUSIC ENDS: LAURA PALMER’S THEME (PIANO SOLO)




CUT TO:

EXT. HAROLD SMITH’S APARTMENT - DAY

An establish shot. From the window, two fingers grab hold of single blade of the venetian blinds and pull it down.




CUT TO:

INT. HAROLD SMITH’S APARTMENT - DAY

At the door, HAROLD SMITH unlocks the deadbolt and opens the door to reveal DONNA HAYWARD holding a food tray. HAROLD holds a glass of wine in his right hand. HAROLD smiles at DONNA.

HAROLD

DONNA

HAROLD

HAROLD grabs the tray from DONNA and places it on top of a cabinet just to the left of her. HAROLD lifts the metal cover off the plate of food.

HAROLD

Still standing by the door and facing each other, HAROLD takes a sip from his glass.

HAROLD

DONNA

MUSIC: HAROLD’S THEME   32K

HAROLD walks into the room and thinks it over.

HAROLD

HAROLD turns back to face DONNA.

HAROLD

DONNA

HAROLD motions to DONNA to enter. They both walk into the room.

HAROLD

DONNA turns to face HAROLD.

DONNA

HAROLD

HAROLD gestures to DONNA to take a seat on the chair. DONNA removes her long black coat, to reveal a pink top and blue skirt, and takes a seat on the chair. HAROLD moves over to the bookcase behind her and bends down. HAROLD positions his right hand on a triangular headed wooden peg that holds a shelf in place. He turns the peg and the shelf and backing move forward. This small cache reveals half a dozen small books. HAROLD looks over his shoulder to DONNA. DONNA had been watching and quickly turns away. HAROLD grabs one book out of the cache and closes it back up.

HAROLD stands back up, grabs his glass of wine and walks over to his desk that is positioned in front of DONNA. HAROLD smiles at DONNA as he passes her. HAROLD takes a seat at the desk, grabs a pen, and writes on the front of a Mead composition pad.

HAROLD

HAROLD opens the small book to the first page, creases it down, places a fine cloth bookmark on that page and writes the date.

HAROLD

DONNA

HAROLD is caught off guard by the question.

HAROLD

DONNA boldly leans forward.

DONNA

HAROLD

Slightly embarrassed, HAROLD smiles.

HAROLD

DONNA

HAROLD turns to look at DONNA, slightly amazed by her statement. DONNA stares at HAROLD but quickly and unexpectedly grabs LAURA’S diary from table.

DONNA

DONNA stands up and backs up toward the door. Concerned, HAROLD stands up.

HAROLD

DONNA

HAROLD moves toward DONNA but she backs up closer to the door.

HAROLD

DONNA

DONNA opens the door and steps outside.

DONNA

MUSIC ENDS: HAROLD’S THEME   32K

HAROLD walks up to doorway.

MUSIC: HAROLD’S DARKNESS

HAROLD

HAROLD takes a step outside and reaches out with his right hand. Teasingly, DONNA takes a step backward away from him. HAROLD freezes in his tracks and looks at his right hand as it begins to shake.

SOUND EFFECT: MUSICAL SHRIEK   7K

Still shaking, HAROLD looks up to the sky.

DONNA

Shaking, HAROLD falls to the ground.

MUSIC: SWOOPING AWARENESS   7K

DONNA

DONNA drops the book beside him and puts her hands around his head to try to comfort him.

DONNA

Laying in a nearly fetal position on the ground, HAROLD continues to shake. HAROLD reaches over and grabs LAURA’S diary off the ground and holds it to his chest.

MUSIC ENDS: HAROLD’S DARKNESS

FADE OUT:




FADE IN:

INT. ROADHOUSE - DAY


INSERT: CLOSE-UP GAVEL

We FOCUS on a CLOSE-UP of a gavel as it is hammered three times.


INSERT: CLOSE-UP ENLARGED PHOTOGRAPH

We FOCUS on a CLOSE-UP of an enlarged black and white photograph of LEO JOHNSON that is supported on an easle on the stage.


BACK TO SCENE:

JUDGE STERNWOOD sits behind a desk that is centered on the stage. STERNWOOD’S law clerk, SID, sits to the left of him. The court recorder sits to the right of STERNWOOD. The stage has the red curtains drawn behind them and has two flags positioned behind the Judge’s desk.

JUDGE STERNWOOD

DEFENSE ATTORNEY MR. RACINE stands up. MR. RACINE and his female law clerk, who are oddly dressed in same the brown suits and ribbon ties, are sitting together at a table just in front of the stage. To the left of MR. RACINE sits the district attorney at a different table. MR. RACINE holds up a computer print out.

RACINE


INSERT: CLOSE-UP EEG CHART

We FOCUS on a CLOSE-UP of the EEG chart and see that lines that represent brain activity are of varying scribbled wavy lines.

RACINE (OFF SCREEN)


BACK TO SCENE:

MR. LODWICK stands up in protest.

LODWICK

JUDGE STERNWOOD

Disappointed, MR. LODWICK sits back down.

RACINE


INSERT: CLOSE-UP EEG CHART

We FOCUS on a CLOSE-UP of another EEG chart and see that lines that represent brain activity are nearly straight lines instead of varying scribbled waves.


BACK TO SCENE:

MR. RACINE hands the EEG charts to SID who passes the charts to JUDGE STERNWOOD.

RACINE

MR. RACINE walks across the front of the stage and up to the poster of LEO JOHNSON. MR. RACINE points to the enlarged photograph of LEO’S picture while in a coma.

RACINE

JUDGE STERNWOOD nods his approval of the argument.

JUDGE STERNWOOD

In the row of chairs behind the tables, SHERIFF TRUMAN sits behind the prosecutor table. SHELLY sits behind the table of the defense. AGENT COOPER sits behind SHELLY. MR. LODWICK sternly looks at MR. RACINE, scratches his beard and then stands up.

LODWICK

JUDGE STERNWOOD rolls his eyes.

LODWICK

JUDGE STERNWOOD

LODWICK

JUDGE STERNWOOD

LODWICK

JUDGE STERNWOOD

Again disappointed, MR. LODWICK rubs his beard and takes a seat.

JUDGE STERNWOOD

JUDGE STERNWOOD stands up.

JUDGE STERNWOOD

COOPER raises his left hand.

We FOCUS on SID as she walks behind the bar of the Roadhouse. JUDGE STERNWOOD, SHERIFF TRUMAN and AGENT COOPER walk over to the bar and take a seat.

JUDGE STERNWOOD

SID

JUDGE STERNWOOD

COOPER passes out napkins.

JUDGE STERNWOOD

COOPER

JUDGE STERNWOOD

SHERIFF TRUMAN

JUDGE STERNWOOD

SID places a tall straight glass, half filled with a dark liquid and the top half filled with a blue foamy head, in front of each of them.

COOPER

JUDGE STERNWOOD

JUDGE STERNWOOD and SHERIFF TRUMAN take a drink. COOPER nervously eyes the glass and does not take a drink. As TRUMAN continues to drink, JUDGE STERNWOOD turns his head to look back into the room.


JUDGE STERNWOOD’S POV:

MUSIC: FRESHLY SQUEEZED (ORGAN SOLO)

From JUDGE STERNWOOD’S POV, SHELLY quietly sits alone.


BACK TO SCENE:

MUSIC ENDS: FRESHLY SQUEEZED (ORGAN SOLO)

JUDGE STERNWOOD

COOPER picks up the glass and looks at its blue foamy contents. SHERIFF TRUMAN pats JUDGE STERNWOOD’S left arm.

SHERIFF TRUMAN

SHERIFF TRUMAN gets up and leaves the bar to tell SHELLY the news. COOPER smells the contents of his glass.

JUDGE STERNWOOD

COOPER

We FOCUS on SHERIFF TRUMAN as he takes a seat next to SHELLY. Facing SHELLY, TRUMAN puts a hand on top of her hands which she has crossed on her knee.

MUSIC: FRESHLY SQUEEZED (ORGAN SOLO)

SHERIFF TRUMAN

SHELLY

SHERIFF TRUMAN

Treating it as good news, SHERIFF TRUMAN smiles.

COOPER and JUDGE STERNWOOD remain seated at the bar. COOPER has still not touched his drink.

JUDGE STERNWOOD

We FOCUS on SHELLY as she responds to TRUMAN.

SHELLY

SHERIFF TRUMAN pats SHELLY’S hand and leaves. SHELLY, however, isn’t happy with the news and lets out a small sigh.




CUT TO:

EXT. BIG ED’S GAS FARM - DAY

An establish shot. We view the front of ‘BIG’ ED HURLEY’S gas station.




CUT TO:

INT. HURLEY HOUSE - DAY

JAMES HURLEY walks to the front door to open it but the door opens before he gets there. In steps NADINE HURLEY and ‘BIG’ ED HURLEY.

MUSIC ENDS: FRESHLY SQUEEZED (ORGAN SOLO)

JAMES

NADINE stares at JAMES.

NADINE

JAMES

BIG ED gestures with a head nod for JAMES to move on. JAMES starts to walk off but NADINE reaches out and grabs his left arm.

NADINE

JAMES

NADINE

BIG ED, holding NADINE’S arm, pushes her into the room.

BIG ED

NADINE

NADINE walks away with a bounce in her step but before she reaches the kitchen she stops and then quickly turns around. With a frightened expression on her face, NADINE asks ...

NADINE

Caught off guard by the question BIG ED nervously looks back to JAMES but quickly answers ...

BIG ED

NADINE

NADINE’S smile returns, turns around and hops into the kitchen as she sings ...

NADINE

JAMES and BIG ED are now alone in the room.

JAMES

BIG ED wears a perplexed expression.

BIG ED

JAMES

BIG ED

A sudden SCREECH of wrenching metal and a THUD comes from kitchen. BIG ED and JAMES look towards the doorway of the kitchen as NADINE steps into the room holding the door of the refrigerator, by its handle, in her left hand.

MUSIC: UNEASY FEELINGS

NADINE

Demonstrating, NADINE jerks the refrigerator door into the air. Eyes wide open, JAMES and BIG ED stare in disbelief.




CUT TO:

EXT. THE GREAT NORTHERN - DAY

MUSIC ENDS: UNEASY FEELINGS

An establish shot. We view the highway as a logging truck drives by. We PAN to the right to see the Great Northern Hotel and FOCUS on the large sign of the hotel.




CUT TO:

INT. BENJAMIN HORNE’S OFFICE - DAY

BENJAMIN enters his office carrying a briefcase. The telephone on the desk is RINGING. Before BEN reaches his desk the speakerphone announces ...

BEN’S SECRETARY (OFF SCREEN)

BENJAMIN

MR. TOJAMORA and an ASSISTANT enter the office. MR. TOJAMORA helps himself to a chair in front of BEN’S desk and sits down before BEN can sit down in his own chair.

BENJAMIN

MR. TOJAMORA has a gravely voice with an Asian accent.

TOJAMORA

The ASSISTANT opens a briefcase and hands some documents to MR. TOJAMORA. BEN checks his watch.

TOJAMORA

MR. TOJAMORA tosses the documents on BEN’S desk.

BENJAMIN

BEN checks his watch again.

TOJAMORA

The ASSISTANT opens the briefcase again and hands a check to MR. TOJAMORA.

BENJAMIN

TOJAMORA

MR. TOJAMORA tosses the check on top of the documents on BEN’S desk. BEN takes an interest in the check. He picks it up and looks it over.

TOJAMORA


INSERT: CLOSE-UP CHECK

We FOCUS on a CLOSE-UP on the check to see that it is made out for 5,000,000 dollars.


BACK TO SCENE:

BEN smiles.

BENJAMIN



CUT TO:

INT. THE GREAT NORTHERN - DAY

MUSIC: ANDY’S THEME   48K

HANK JENNINGS walks up a hallway of the hotel. BOBBY walks discretely behind HANK, keeping an eye on him. HANK looks over his shoulder and BOBBY quickly ducks out of view. HANK walks on and BOBBY quickly moves up the hallway and off to the side just as AGENT COOPER starts to walk up the hallway. COOPER carries a duck call in his hand and blows into it, creating a quack sound, as he casually walks up the hall.




CUT TO:

INT. BENJAMIN HORNE’S OFFICE - DAY

HANK enters BEN’S office through the secret door in the corner of the room near the desk but he quickly ducks back in as he sees that BEN is busy with some people who are at the front doors of the office.

MUSIC ENDS: ANDY’S THEME   48K

BENJAMIN

TOJAMORA

BEN bows to MR. TOJAMORA. MR. TOJAMORA returns the bow.

BENJAMIN

BEN bows to the ASSISTANT and he returns the bow. BEN closes the doors behind MR. TOJAMORA and his ASSISTANT after they leave. BEN nervously rubs his hands as he walks over to the secret back door. BEN opens it and HANK pokes his head through.

HANK

BEN quickly closes the door on HANK and walks over to his desk. The telephone RINGS.


INSERT: CLOSE-UP SPEAKERPHONE

We FOCUS on a CLOSE-UP of the speakerphone as BEN’S SECRETARY announces ...

BEN’S SECRETARY (OFF SCREEN)


BACK TO SCENE:

AGENT COOPER enters the office.

COOPER

BENJAMIN

BEN points at COOPER.

BENJAMIN

COOPER walks over to the couch, takes a seat in the middle and rests both of his arms stretched out on the head of the couch.

BENJAMIN

BEN presses a button on the speakerphone. JEAN RENAULT speaks on the other line with a French-Canadian accent.

JEAN (OFF SCREEN)

COOPER whispers an instruction to BEN.

COOPER

MUSIC: TWIN PEAKS AT NIGHT (0:00 - 0:10)

BENJAMIN

JEAN (OFF SCREEN)

BEN writes the instructions down.

JEAN (OFF SCREEN)

BENJAMIN

The line on the other end hangs up.

MUSIC ENDS: TWIN PEAKS AT NIGHT (0:00 - 0:10)

BEN reaches down beside his desk and picks up a briefcase. BEN puts the briefcase on his desk and opens it.

BENJAMIN

BEN shows COOPER the money in the briefcase. COOPER stands up to take a look. As COOPER reaches out for the briefcase, BEN pulls it back away from him and points at COOPER with the card with the instructions.

BENJAMIN

BEN throws the card in the briefcase and closes it. BEN hands the briefcase to COOPER.

MUSIC: RECUPERATIVE POWERS   8K

COOPER grabs the briefcase and heads toward the double doors of the office.

MUSIC ENDS: RECUPERATIVE POWERS   8K

Before COOPER leaves he turns back to BEN.

COOPER

MUSIC: LOVE THEME FROM TWIN PEAKS (DARK VERSION)

BEN pulls a cigar out of his interior suit pocket. BEN walks over to the secret back door and knocks on it. HANK opens the door and walks out.

BENJAMIN

BEN lights his cigar.

HANK

BENJAMIN

HANK leaves through the secret back door. BEN walks over to his desk, opens a drawer and pulls out the check he just received from MR. TOJAMORA.

BENJAMIN

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS (DARK VERSION)

FADE OUT:




FADE IN:

EXT. HAYWARD HOUSE - NIGHT

MUSIC: LAURA PALMER’S THEME  

An establish shot. We view the front of HAYWARD family home under a night sky.




CUT TO:

INT. HAYWARD HOUSE - NIGHT

MUSIC: A NEW LOOK   77K

DONNA and MADELEINE sit closely together at the dining room table as DONNA explains her plan.

DONNA

MADELEINE

MUSIC ENDS: A NEW LOOK   77K

DONNA


INSERT: CLOSE-UP PLAN

We FOCUS on a CLOSE-UP of a drawing of a floor plan of HAROLD’S apartment.

DONNA (OFF SCREEN)


BACK TO SCENE:

DONNA

MADELEINE

DONNA combs her hair.

DONNA

MUSIC: A NEW LOOK   77K

DONNA

MUSIC ENDS: A NEW LOOK   77K

MADELEINE

DONNA stops combing her hair as she thinks about the question.

DONNA



CUT TO:

EXT. ONE-EYED JACKS - NIGHT

MUSIC ENDS: LAURA PALMER’S THEME  

MUSIC: FRESHLY SQUEEZED (DARK VARIANT)   40K

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

BLACKIE ‘BLACK ROSE’ O’REILLEY straps a knife ejection device to the left wrist and arm of JEAN RENAULT. Finished, he demonstrates it.

JEAN

Using his right hand, JEAN nudges a trigger on his upper left arm that sets off a spring that juts the knife out into a bowl full of fruit. The knife goes right through a strawberry.

BLACKIE

BLACKIE takes the strawberry off of the knife and slowly eats at it. JEAN wipes the blades of the knife with his fingers and then licks his fingers.

JEAN

JEAN reloads the knife into its firing position.

BLACKIE

JEAN stands up.

JEAN

JEAN grabs at BLACKIE’S left arm.

JEAN

BLACKIE shrugs him off.

BLACKIE

There’s a KNOCK at the door. JEAN waves a hand to a tray filled with a syringe needle, a bent spoon, a knife, a rubber hose and three tiny bags of heroine.

JEAN

JEAN walks away to answer the door. Behind JEAN’ back, BLACKIE takes a tiny bag of heroine for herself.

NANCY O’REILLEY enters the room. NANCY and BLACKIE stare each other down. BLACKIE leaves the room. NANCY walks up to JEAN.

JEAN

NANCY

JEAN lays back on a day bed.

JEAN

JEAN pats the bed, a gesture for NANCY to come over and take a seat. NANCY sits down next to JEAN. JEAN lifts NANCY’S western outfit to reveal her stockings.

JEAN

JEAN pinches at her thighs.

NANCY

JEAN makes a tsk-tsk sound.

NANCY

JEAN whips out NANCY knife out of her boot with a metallic RING.

JEAN

Using the knife, JEAN rips into NANCY’S stockings.

JEAN

NANCY smiles and moves to JEAN to kiss him.

MUSIC ENDS: FRESHLY SQUEEZED (DARK VARIANT)   40K




CUT TO:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY


INSERT: CLOSE-UP NAME PLATE

We FOCUS on a CLOSE-UP of the name plate for LUCY MORAN’S reception office inside the sheriff’s department building. ANDY is on the telephone.

ANDY (OFF SCREEN)

ANDY hangs up the telephone.


BACK TO SCENE:

Seated at LUCY’S station, ANDY reaches into his shirt pocket and pulls out a slip of paper. ANDY dials the telephone.

NURSE (OFF SCREEN)

We slowly ZOOM OUT to see that the office, and ANDY included, are covered with small yellow Post-It notes.

ANDY

NURSE (OFF SCREEN)

ANDY

NURSE (OFF SCREEN)

ANDY

ANDY nervously peers around.

ANDY

NURSE (OFF SCREEN)

ANDY

NURSE (OFF SCREEN)

ANDY

Holding the phone with his left hand, ANDY grabs a pencil and writes on a Post-It note with his right hand.

NURSE (OFF SCREEN)

ANDY

NURSE (OFF SCREEN)

ANDY

NURSE (OFF SCREEN)

ANDY

NURSE (OFF SCREEN)


INSERT: CLOSE-UP POST-IT NOTE

We FOCUS on a CLOSE-UP of the Post-It note that ANDY is writing on as he writes:

NURSE (OFF SCREEN) & ANDY

NURSE (OFF SCREEN)


BACK TO SCENE:

ANDY

NURSE (OFF SCREEN)

ANDY

NURSE (OFF SCREEN) and ANDY

NURSE (OFF SCREEN)

ANDY

NURSE (OFF SCREEN)

ANDY

NURSE (OFF SCREEN)

ANDY

NURSE (OFF SCREEN)

ANDY

NURSE (OFF SCREEN)

ANDY hangs up the phone. In the background, SHERIFF TRUMAN walks out from around the corner of the hallway.

ANDY

Overhearing ANDY, SHERIFF TRUMAN walks up to the open door of the reception office where ANDY is seated.

ANDY

Oblivious to what is going on, SHERIFF TRUMAN simply smiles and nods his head. TRUMAN walks off. Elated, ANDY shouts ...

ANDY

SHERIFF TRUMAN walks into his office and closes the door. AGENT COOPER, sitting at TRUMAN’S desk, turns around and gives him a puzzled look as to what the shout was about.

SHERIFF TRUMAN

On the desk, is a floor plan of One-Eyed Jacks that was drawn by COOPER. The various rooms in the plan are labeled as COOPER points them out.

COOPER

There is a KNOCK at the door.

SHERIFF TRUMAN

The door opens and DEPUTY HAWK enters the office holding a small plastic bag.

COOPER

COOPER quickly flips the plan over to hide it from HAWK. SHERIFF TRUMAN moves behind his desk as HAWK moves up to them.

HAWK

HAWK open the plastic bag and smells its contents.

HAWK

HAWK hands the bag over to SHERIFF TRUMAN who opens it and smells its contents.

COOPER

SHERIFF TRUMAN

Suspicious of the two, HAWK nods to them and walks toward the door. Before he leaves, HAWK takes one last look into the room. After the door has closed, COOPER flips the plan over and continues to explain his approach to finding AUDREY.

COOPER

MUSIC: THE BOOKHOUSE BOYS (2:12 - 2:31)

COOPER

SHERIFF TRUMAN

COOPER

SHERIFF TRUMAN

MUSIC ENDS: THE BOOKHOUSE BOYS (2:12 - 2:31)

SHERIFF TRUMAN gets up from his seat behind his desk and grabs his coat and hat. AGENT COOPER rolls up the plan, grabs his coat and walks out of the office. COOPER and TRUMAN pass by ANDY, in the reception office, as they exit out the front door of the building.

COOPER

SHERIFF TRUMAN

ANDY is too occupied to respond to COOPER and TRUMAN as they leave. ANDY looks through all the yellow scraps of Post-It notes he has scattered throughout the office. ANDY lifts a note pad out of the way and finds what he was looking for on a card marked:

ANDY

ANDY grabs the telephone and dials one of the telephone numbers. ANDY gets a connection.

SECRETARY (OFF SCREEN)

ANDY

SECRETARY (OFF SCREEN)

ANDY quickly hangs up the phone.

ANDY



CUT TO:

EXT. STREET INTERSECTION - NIGHT

MUSIC: COUNTRY #2   44K

At a lonely intersection the street lights, being blown in the wind, change signals from green to yellow.




CUT TO:

EXT. DOUBLE R DINER - NIGHT

An establish shot. We view a CLOSE-UP of the red neon ‘RR’ - the sign for the Double R diner.




CUT TO:

INT. DOUBLE R DINER - NIGHT

Seated at the island counter, JAMES eats dinner with a cup of coffee. MADELEINE walks inside and up to the counter. JAMES looks at MADELEINE. MADELEINE quickly orders.

MADELEINE

JAMES

MADELEINE

JAMES

MADELEINE goes through her purse for some money.

MADELEINE

JAMES

MADELEINE

JAMES

MADELEINE places two coins on the counter. The WAITRESS places a large Styrofoam cup on the counter and grabs the change.

MADELEINE

JAMES

MADELEINE

MADELEINE grabs her purse and the coffee and leaves. Bothered by her lack of response JAMES mulls it over. JAMES suddenly stands up, tosses some money on the counter and walks off.

MUSIC ENDS: COUNTRY #2   44K

FADE OUT:




FADE IN:

EXT. HAROLD SMITH’S APARTMENT - NIGHT


MADELEINE’S POV:

Surrounded by pine needles, a gloved hand reaches out and pushes a branch down as an owl HOOTS nearby. We FOCUS directly ahead on the doorway to HAROLD’S apartment.


BACK TO SCENE:

MADELEINE, holding the Styrofoam cup of coffee, is hiding in the numerous branches of a pine tree close to HAROLD’S apartment.




CUT TO:

INT. HAROLD SMITH’S APARTMENT - NIGHT

Once again seated at the chair in front of HAROLD’S desk, DONNA nervously rubs her hands.


INSERT: CLOSE-UP NOTEBOOK

On a blank page of a book, HAROLD SMITH reads aloud what he writes.

HAROLD


BACK TO SCENE:

DONNA

HAROLD nods his head for yes.

DONNA

DONNA grabs herself a cigarette, lights it up and deeply expels the smoke.

DONNA

MUSIC: LOVE THEME FROM TWIN PEAKS

Acting out the scene, DONNA stands up, holds out her arms and slowly twirls around in the middle of the room. HAROLD stops writing and watches her.

DONNA

DONNA stops and then moves her hips.

DONNA

DONNA stops moving her hips and folds her arms to her chest.

DONNA

DONNA tugs at her top near the neckline. HAROLD stares at her intensely.

DONNA

DONNA backs up.

DONNA

DONNA moves forward, holds her left hand up and closes her eyes.

DONNA

DONNA runs her fingers over her lips.

DONNA

DONNA opens her eyes.

DONNA

Tears form in DONNA’S eyes. DONNA sits back down in her chair.

DONNA

HAROLD


INSERT: CLOSE-UP CIGARETTE

We FOCUS on a CLOSE-UP of the long undisturbed ash of DONNA’S cigarette which quickly falls off and falls onto the chair.




CUT TO:

EXT. WOODS - NIGHT

We FOCUS on pine trees being blown in the wind.

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS




CUT TO:

EXT. ONE-EYED JACK’S - NIGHT

An establish shot. We FOCUS on a CLOSE-UP of the large sign of a jack, from the playing card, with a neon flashing and buzzing ‘J’.

AGENT COOPER and SHERIFF TRUMAN are walking in the woods just outside of the building. COOPER quickly bends down and hides behind a large bush as he sees someone.


COOPER’S POV:

Through COOPER’S POV, a single GUARD, dressed in a suit, smokes a cigarette near the door to the building.


BACK TO SCENE:

COOPER looks back at SHERIFF TRUMAN.

SHERIFF TRUMAN

SHERIFF TRUMAN walks off to take care of the GUARD. An owl HOOTS. AGENT COOPER looks up.


INSERT: CLOSE-UP OWL

We FOCUS on a CLOSE-UP on the face of a large owl in the tree that is looking down at COOPER.


BACK TO SCENE:

COOPER becomes a little spooked at the sight of the owl.

We FOCUS on the GUARD at the back door to the building as he continues to smoke his cigarette. The GUARD has no time to react as SHERIFF TRUMAN walks up to his right side and grabs his crotch - and grabs tightly. The GUARD freezes, raises his head up and grunts in pain. TRUMAN quickly places a blue rubber ball into his mouth, to gag him, and places some black tape over his mouth. TRUMAN turns him around, grabs him by the back of his hair and slams him head first into the double French doors of the building, which open slightly as the GUARD’S head hits the doors. The GUARD falls back on the ground out cold. COOPER quickly comes out from behind the bushes and helps TRUMAN move the GUARD inside the building.




CUT TO:

INT. ONE-EYED JACK’S - NIGHT

MUSIC: COUNTRY #2   44K

At the bottom of the stairs that lead to the rear exit, a sign reads ‘Future Tiberain Baths’ and ‘Please Excuse Our Mess.’ We PAN up and to the right as AGENT COOPER and SHERIFF TRUMAN walk down the stairs. They pause as two ’52 PICK-UP girls escort a CUSTOMER just past the end of the hall. The walls of the hallway are covered with red drapes and there are small bronze statues on pedestals positioned equidistant and across from each other. COOPER and TRUMAN look around. COOPER unfolds his plan of the building.

COOPER

SHERIFF TRUMAN follows COOPER into another hallway that is wallpapered with a flower design. A doorway draped with red curtains has several GENTLEMEN and WORKING GIRLS inside. A ’52 PICK-UP and CUSTOMER #2 leave the room and enter the hallway. COOPER and TRUMAN turn away so as to not be noticed. The ’52 PICK-UP looks at them but pays them no bother. She and her customer walk down the hall. All clear, COOPER and TRUMAN walk down the hall.

MUSIC ENDS: COUNTRY #2   44K

COOPER and TRUMAN pass a bend in the hallway. COOPER checks his map. As COOPER and TRUMAN pass a closed door they hear a woman gasp. COOPER stops and puts his head near the door to listen if its a woman in trouble. The woman giggles so COOPER and TRUMAN move on. COOPER and TRUMAN come to a fork in the hallway.

COOPER

COOPER walks down one of the hallways as TRUMAN looks around as he waits at the fork of the hallway. COOPER returns.

COOPER

With SHERIFF TRUMAN leading, COOPER and TRUMAN both walk down the other fork of the hallway. As TRUMAN passes another bend in the hallway he turns his head to look into a glass French door. Alerted by people in that room he takes a quick step back and holds out his left arm to warn and stop COOPER. TRUMAN carefully peers into the room.


SHERIFF TRUMAN’S POV:

Through SHERIFF TRUMAN’S POV we look through the veiled glass door and into BLACKIE’S office. With their backs to the door, JEAN and BLACKIE are standing near her desk.


BACK TO SCENE:

TRUMAN turns to COOPER and holds up two fingers.

SHERIFF TRUMAN

COOPER

TRUMAN shakes his head for no. COOPER quickly points at his chest and then down the hall - a nonverbal message that he’s going to walk down the hall. TRUMAN nods his understanding. COOPER walks off. TRUMAN stays near the door and returns to looking into BLACKIE’S office.


SHERIFF TRUMAN’S POV:

Again through SHERIFF TRUMAN’S POV we look through the veiled glass door of BLACKIE’S office. To the left of BLACKIE’S desk is a monitor which has the image of AGENT COOPER in his tuxedo, the night he was looking for JACQUES RENAULT. We PAN to the right to see the back of JEAN and BLACKIE still standing in front of her desk.




CUT TO:

INT. BLACKIE’S OFFICE - NIGHT

MUSIC: AUDREY’S DANCE

We FOCUS on a syringe needle as some fluid is push out to remove air bubbles. We BACK UP to view JEAN capping the syringe and BLACKIE pouring herself a drink from a fine glass liquor bottle.

BLACKIE

JEAN

BLACKIE

JEAN grabs a glass.

JEAN

BLACKIE

JEAN

Angered by the comment BLACKIE cocks her arm back slightly to throw her drink in his face. JEAN quickly nudges her arm aside so that the liquid from the glass does not hit him.

JEAN



CUT TO:

CLOSE-UP WAXING CRESCENT MOON

We FOCUS on a CLOSE-UP on the waxing crescent moon in the dark night.

MUSIC ENDS: AUDREY’S DANCE




CUT TO:

EXT. HAROLD SMITH’S APARTMENT - NIGHT

MADELEINE, still hiding in bushy pine branches, slurps from her Styrofoam cup of coffee as she waits for DONNA’S signal.


MADELEINE’S POV:

Surrounded by pine needles, we get MADELEINE’S POV as we FOCUS directly ahead on the doorway to HAROLD’S apartment.




CUT TO:

INT. HAROLD SMITH’S APARTMENT - NIGHT


INSERT: CLOSE-UP ORCHID

We view a CLOSE-UP on the white petal of an orchid. We PAN UP and FOCUS on another petal.

HAROLD (OFF SCREEN)


CLOSE ON: DONNA’S EYE

We FOCUS on a CLOSE-UP of DONNA’S eye as she peers through a small magnifying lens to look closely at the orchid.

HAROLD (OFF SCREEN)


BACK TO SCENE:

MUSIC: HAROLD’S THEME   68K

DONNA

Standing beside HAROLD in a room used as a plant nursery, DONNA slowly returns the magnifying lens to HAROLD’S chest where it is hanging from a string around his neck. DONNA longingly looks at HAROLD as he reaches out and cuts the stem off a plant.

HAROLD

HAROLD holds the stem, that has several small orchid flowers on it, between himself and DONNA.

HAROLD


INSERT: CLOSE-UP ORCHID

We FOCUS on a CLOSE-UP of the red and white flower of an orchid. HAROLD points out the petals as he identifies them.

HAROLD

DONNA touches the labellum with the tip of her index finger.

DONNA


BACK TO SCENE:

HAROLD

DONNA

HAROLD and DONNA look into each others eyes. HAROLD touches DONNA’S hand and lifts her hand up. DONNA closes her eyes as HAROLD kisses the palm of her hand. HAROLD slowly moves to DONNA’S lips and gently kisses her. HAROLD kisses DONNA again with another small touch on the lips. DONNA places a hand on his cheek as they kiss. DONNA’S kiss becomes more passionate but HAROLD starts to back off. DONNA leans forward as she continues to kiss him but HAROLD finally breaks away.

HAROLD

MUSIC ENDS: HAROLD’S THEME   68K

HAROLD walks away. DONNA stares in his direction in confusion.

We FOCUS on DONNA as she walks into the dark main room of the apartment. DONNA goes through her purse for a flashlight. DONNA picks up the flashlight, walks over to the front window by the door and through the open Venetian blinds repeatedly turns the flashlight on and off as a signal for MADELEINE.




CUT TO:

EXT. HAROLD SMITH’S APARTMENT - NIGHT

MADELEINE is still hiding in the bushy pine branches. MADELEINE’S eyes widen as she sees DONNA’S signal in the window.


MADELEINE’S POV:

Surrounded by pine needles, we get MADELEINE’S POV as the flashlight blinks on and off in the window near the front door of the apartment.


BACK TO SCENE:

MADELEINE moves out from her hiding place in the bushy pine branches.

MADELEINE walks over to the front door of the apartment.




CUT TO:

INT. ONE-EYED JACK’S - NIGHT

MUSIC: LAURA PALMER’S THEME  

AGENT COOPER walks into the open door of a room. NANCY O’REILLEY quickly walks up to him. COOPER puts on a friendly act as he smiles and moves a hand out to shake hands with NANCY.

COOPER

As NANCY holds her hand out to shake his hand, COOPER quickly grabs her hand, twirls her around and bends her arm behind her back.

COOPER

NANCY grimaces in pain. COOPER grabs NANCY’S other arm.

NANCY

COOPER

MUSIC ENDS: LAURA PALMER’S THEME  




CUT TO:

INT. AUDREY’S ROOM AT ONE-EYED JACK’S - NIGHT

A door swings open to reveal AGENT COOPER and NANCY. Still holding her arm behind her back, COOPER pushes NANCY into the room. COOPER spots AUDREY HORNE laying on a bed with her hands tied to the bed post. Heavily drugged, AUDREY sleeps.

MUSIC: THE BOOKHOUSE BOYS (2:12 - 3:24)

COOPER throws NANCY into the room. COOPER walks over to AUDREY. NANCY clings to a tall corner bed post at the foot of the bed. COOPER kneels down close to AUDREY and touches her face.

NANCY

COOPER quickly turns to NANCY.

COOPER

COOPER returns his attention to AUDREY.

COOPER

AUDREY groans and moves slightly. With COOPER preoccupied with AUDREY and being partially concealed by the red drapes on the bed post, NANCY bends down and pulls her knife out of her boot. As NANCY gets her knife, COOPER looks over his shoulder and with the help of a mirror against the wall spots her actions but doesn’t react yet. AUDREY opens her eyes.

AUDREY

COOPER

Holding the knife down in the right fist of her hand, NANCY slowly moves from behind the red curtain and over to COOPER. Without even looking back, COOPER reaches out with his left hand and grabs NANCY’S wrist. Still on his knees, he throws her against the wall and punches her in the stomach. NANCY collapses to the floor. COOPER grabs NANCY’S knife and uses it to cut the rope that ties AUDREY to the bedpost. COOPER picks AUDREY up, tosses her over his shoulder and carries her out of the room.

MUSIC ENDS: THE BOOKHOUSE BOYS (2:12 - 3:24)




CUT TO:

INT. ONE-EYED JACK’S - NIGHT


SHERIFF TRUMAN’S POV:

Through SHERIFF TRUMAN’S POV we look through the veiled glass door and into BLACKIE’S office. JEAN and BLACKIE stand in the middle of the room facing each other as they talk. JEAN slips a rubber hose into his suit pocket.


BACK TO SCENE:

Bent down beside the door to BLACKIE’S office, SHERIFF TRUMAN looks through the glass door of the office.




CUT TO:

INT. BLACKIE’S OFFICE - NIGHT

MUSIC: AUDREY’S DANCE

BLACKIE turns away from JEAN to walk off but he grabs her by her left arm and jerks back to face him.

JEAN

BLACKIE smiles. She puts her arms around his head.

BLACKIE

BLACKIE leans against JEAN as they kiss.




CUT TO:

INT. ONE-EYED JACK’S - NIGHT

Bent down beside the door to BLACKIE’S office, SHERIFF TRUMAN still looks inside the office through the glass door.


SHERIFF TRUMAN’S POV:

Through the veiled glass door of SHERIFF TRUMAN’S POV, JEAN and BLACKIE embrace as they kiss. JEAN moves his left hand to her waist. JEAN triggers the spring loaded knife on his arm and with a metallic SCRATCHING sound the knife quickly stabs BLACKIE. At JEAN’S lips, BLACKIE makes a small grunt and then falls limp in his arms.


BACK TO SCENE:

Still bent down, SHERIFF TRUMAN quickly pulls out his revolver after watching JEAN kill BLACKIE. TRUMAN remains at the door peering inside.


SHERIFF TRUMAN’S POV:

Through the veiled glass door of SHERIFF TRUMAN’S POV, JEAN slowly moves BLACKIE’S body to the floor as he continues to kiss her on the lips.

MUSIC ENDS: AUDREY’S DANCE


BACK TO SCENE:

SHERIFF TRUMAN moves a little closer to the door to get a better look inside.




CUT TO:

INT. BLACKIE’S OFFICE - NIGHT

JEAN lays on BLACKIE’S body on the floor. As JEAN moves away from her lips, blood flows from BLACKIE’S mouth. JEAN has blood on his mouth. JEAN turns his head towards the door to the office.


JEAN’S POV:

Through JEAN’S POV, a MAN’S face peers inside the room through the glass door.


BACK TO SCENE:

JEAN quickly reacts by rolling off of BLACKIE’S body, reaching for his gun in its shoulder harness, pointing it at the door and firing it.




CUT TO:

INT. ONE-EYED JACK’S - NIGHT

SHERIFF TRUMAN hops to the right side of the door frame as a silenced bullet breaks through the glass. A second shot shatters another frame of glass as it goes through the door. TRUMAN hops back in front of door with his revolver firmly positioned ahead of him.


SHERIFF TRUMAN’S POV:

Through the veiled glass door of SHERIFF TRUMAN’S POV, we PAN to the LEFT and RIGHT of the room looking for JEAN but he is nowhere to be found.


BACK TO SCENE:

AGENT COOPER quickly walks up the hallway carrying AUDREY over his shoulder. SHERIFF TRUMAN holds his left hand out for COOPER to halt as he checks the office once more.


SHERIFF TRUMAN’S POV:

Through the veiled glass door of SHERIFF TRUMAN’S POV we scan the room again and can see no one but BLACKIE dead on the floor.


BACK TO SCENE:

All clear, SHERIFF TRUMAN waves to COOPER to proceed. COOPER rushes down the hallway from which they entered. TRUMAN runs right behind COOPER.

MUSIC: A???

As COOPER and TRUMAN enter the hallway with the red drapes that lead to the stairs outside, a man dressed in a tuxedo, GUARD #2, stands waiting for them near the stairs holding a gun pointed at them. SHERIFF TRUMAN has his revolver drawn but not aimed to used so GUARD #2 tells him ...

GUARD #2

COOPER grits his teeth. TRUMAN reluctantly drops his gun on the floor.

GUARD #2

COOPER and TRUMAN don’t react right away so GUARD #2 cocks his gun. Disappointed, COOPER and TRUMAN turn around.

MUSIC ENDS: A???

With the sound of a SWOOSH an object hits GUARD #2 in the back. GUARD #2 grunts, freezes and then quickly falls forward onto the floor dead to reveal a huge Bowie knife jutting out of his back.

Hearing the sound of GUARD #2 hitting the ground, COOPER and SHERIFF TRUMAN turn around and are baffled. They look up the stairway to see DEPUTY HAWK, dressed in civilian clothes, walking down the stairs. HAWK stops halfway down the stairs and hunches over.

HAWK

AGENT COOPER and SHERIFF TRUMAN look at each other and smile.

MUSIC: HANK’S THEME   39K

As COOPER and TRUMAN walk up the stairway, HAWK walks down the stairs to retrieve his knife from GUARD #2’S back.




CUT TO:

EXT. ONE-EYED JACK’S - NIGHT

AGENT COOPER, carrying AUDREY, SHERIFF TRUMAN and DEPUTY HAWK run away from the building. We PAN the scene until we FOCUS on HANK, who is standing in the bushes watching them. With his hair blowing in the wind, HANK talks into a cellular telephone.

HANK

A gun moves up to HANK’S jaw. We PAN LEFT to reveal that JEAN RENAULT holds the gun at HANK’S jaw with his right hand. JEAN’S left hand goes digging through HANK’S black leather coat pocket.

JEAN

JEAN pulls out a wallet, opens it and looks at it.


INSERT: CLOSE-UP BADGE

We FOCUS on a CLOSE-UP on the wallet JEAN opened to view a badge that JEAN reads aloud.

JEAN

This is the wallet that HANK stole in episode 11.

MUSIC ENDS: HANK’S THEME   39K




CUT TO:

INT. HAROLD SMITH’S APARTMENT - NIGHT

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:35)

Standing in the plant nursery portion of the apartment but looking through the glass window into the next room, DONNA tries to direct MADELEINE to the specific bookshelf by pointing down.

We FOCUS on MADELEINE, standing by the bookcase in the dark, as she looks at DONNA and follows her gesture by bending down to the bottom bookshelf.

Nervously, DONNA peers over her shoulder to see if everything is clear and then quickly returns to directing MADELEINE. Now at the right bookshelf, DONNA gestures and quietly mouths go around for MADELEINE to reach around the corner of the bookcase.

We FOCUS on MADELEINE as she looks around the corner of the bookcase.

DONNA stares into the dark room as HAROLD walks up behind her and taps her on the back. DONNA nervously jerks around to face HAROLD. DONNA breathes heavily and appears distressed, unaware of what’s going on HAROLD holds up another orchid and asks ...

MUSIC: HAROLD’S THEME   68K

HAROLD

DONNA

We FOCUS on MADEILENE as she finds the peg and tries to turn it. MADEILENE looks back into the plant nursery through the window and sees DONNA occupied with HAROLD.

DONNA tries to think of way to keep HAROLD occupied.

DONNA

DONNA rushes over to a flower away from the window. HAROLD can tell that something is wrong by DONNA’S sudden strange behavior.

We FOCUS on MADELEINE as she turns the peg that holds the bookshelf in place. MADELEINE pulls the peg out of its hole. Next, MADELEINE pulls the bookshelf forward but its loaded with so many books that the heavy bookshelf falls downward with a loud THUD.

HAROLD hears the loud THUD coming from the next room and looks into the dark main room through the plant nursery window.

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:35)

MUSIC ENDS: HAROLD’S THEME   68K

MUSIC: HAROLD’S DARKNESS

We FOCUS on MADELEINE as she finds the diary and picks it up. Knowing she has been discovered, MADELEINE stands up and faces the plant nursery window.

Now realizing what was going on, HAROLD, still by the window, lowers his head in disappointment. HAROLD turns around and faces DONNA.

DONNA

HAROLD turns to his right and walks over to a shelf where he places a flower vase with an orchid he had been holding. HAROLD reaches for a pair of shears but then grabs a hand gardening fork off of the shelf. HAROLD moves to walk into the next room. DONNA sees the gardening fork and rushes to the next room.

DONNA

Two doors allow access into the plant nursery, DONNA exits the door on the left and HAROLD exits the door on the right. DONNA rushes over to MADEILENE and they cling to each other before HAROLD gets there brandishing the hand fork.

DONNA

HAROLD backs off slightly.

HAROLD

DONNA and MADEILENE shake in fear as they hold each other. HAROLD has tears in his eyes.

HAROLD

HAROLD holds the hand fork nears his face and closes his eyes.

HAROLD

HAROLD drags the hand gardening fork down on his face. Blood seeps from the scratches. MADELEINE screams and buries her head in DONNA’S shoulder.

MUSIC ENDS: HAROLD’S DARKNESS

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: