Episode 15 - Drive With a Dead Girl


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. PALMER HOUSE - NIGHT

MUSIC: WALKING IN THE DARK (LAST PORTION)   40K

An establish shot. We view the front of the PALMER house, with the porch light on, under a night sky. Conflicting the gentle facade of the exterior, MADELEINE FERGUSON can be heard screaming from inside the house.

MADELEINE (OFF SCREEN)



DISSOLVE TO:

EXT. PALMER HOUSE - DAY

As the last scene FADES OUT, we FADE IN to the next scene. We view the branches of a treetop just outside the PALMER house. With birds chirping in the air, it is morning but under a gray cloudy sky. We PAN DOWN to view the front of the house.




CUT TO:

INT. PALMER HOUSE - DAY

INSERT: CLOSE-UP HOMECOMING PHOTOGRAPH

We view a CLOSE-UP on the photograph of LAURA PALMER'S homecoming queen picture. There is a TAPPING sound in the room. We slowly PAN to the LEFT to view another photograph of LAURA as a young girl and yet another of her as a very young teenager. We PAN DOWN to a sofa chair that has golf balls and golf tees scattered on it. We PAN DOWN further to the floor where a golf ball rolls by. As we PAN the floor to the RIGHT, several more golf balls are revealed clumped together near a small faux turf putting green rug. Someone in a pair of black shoes and holding a golf club is putting at the green.


BACK TO SCENE:

Standing in the living room, LELAND PALMER holds a golf club. With a ball positioned on the green, he winds up and gives the ball a pretty good whack that sends it flying into the wall and bouncing back into the room. Using the golf club, LELAND pulls a golf ball from the clump on the floor over to the putting green. Again, he winds up and hits the ball. There is a KNOCK at the front door. Still holding the golf club, LELAND moves over to the door to answer it.

MUSIC ENDS: WALKING IN THE DARK (LAST PORTION)   40K

LELAND opens the door to reveal DONNA HAYWARD and JAMES HURLEY.

LELAND

DONNA

LELAND

JAMES

LELAND

LELAND walks back into the living room. DONNA and JAMES follow right behind him.

DONNA

LELAND turns to face them.

LELAND

JAMES

LELAND

LELAND cocks an eyebrow at them.

LELAND

JAMES

LELAND

Standing near a corner halfway up the stairs, SARAH PALMER, with her hair all frazzled and wearing a robe, calls out for LELAND.

SARAH

We FOCUS back on LELAND as he politely tells DONNA and JAMES ...

LELAND

LELAND walks off to tend to SARAH. Disappointed, JAMES turns to DONNA.

MUSIC: MONTAGE FROM TWIN PEAKS: LAURA PALMER'S THEME

JAMES and DONNA look into the living room. Golf balls are scattered all about the room. JAMES and DONNA start to giggle at the sight of the odd mess.

We FOCUS on LELAND walking back down the stairs after tending to SARAH. LELAND stops for a moment as he thinks of something and then brandishes a wicked smile before he continues to walk down the stairs.

LELAND joins DONNA and JAMES in the living room.

LELAND

DONNA

LELAND

DONNA

LELAND

DONNA and JAMES head towards the door.

JAMES

LELAND

JAMES

LELAND closes the door behind them. He moves over to a mirror on the wall next to the door to adjust his tie.


LELAND’S POV:

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:19)

Through LELAND’S CLOSE-UP POV on the mirror, LELAND looks at his reflection as he adjusts his tie. As he stares into the mirror his image is replaced with the image of BOB, a frightening long-haired man wearing a jean jacket. The image of BOB fades away and LELAND'S reflection in the mirror returns as he shakes his head.


BACK TO SCENE:

LELAND walks back toward the living room but SARAH shouts out to him from the second floor.

SARAH (OFF SCREEN)

LELAND pauses right at doorway from the foyer. He grips his golf club before him with both hands like a sword.

LELAND

SARAH (OFF SCREEN)

LELAND

LELAND turns around and moves back to the foyer.


BIRD’S-EYE POV:

From a view looking down inside a dark closet, we watch the door open as LELAND reaches in and grabs a long coat. He puts the coat on and then reaches down to grab a very large black golf bag. LELAND unzips the bag to reveal a bloodied clear plastic and a hand inside the bag. He stuffs his golf club inside the bag and zips it back up.

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:19)

LELAND carries the bag with a strap over his shoulder. Before he leaving the house, LELAND shouts to SARAH.

LELAND

SARAH replies from upstairs.

SARAH (OFF SCREEN)

MUSIC ENDS: MONTAGE FROM TWIN PEAKS: LAURA PALMER'S THEME




CUT TO:

EXT. PALMER HOUSE - DAY

LELAND places his large golf bag in trunk of his car. He closes the large trunk lid of his blue convertible. Cold, he rubs his gloved hands as he walks over to the driver side door but before he steps inside he lifts his head up and exhales. LELAND whistles a tune as he steps into his car and starts it up. He unlocks two clasps that hold the convertible top down and activates a motor that folds it back. As the top folds back, LELAND backs the car out of the driveway as he hums the tune he was whistling.




CUT TO:

INT. SHERIFF’S DEPARTMENT CELL BLOCK - DAY

Behind the bars of a jail cell in the basement of the building, BENJAMIN HORNE wipes at the dirty bars with his handkerchief. He walks over to a small and very dirty sink in the corner of the cell and whips his handkerchief at it to dust if off. Disgusted BEN mumbles ...

BENJAMIN

LELAND grabs a toothbrush, applies toothpaste to the bristles and proceeds to brush his teeth.

Just outside the main door to the cell block, JERRY HORNE is escorted by a DEPUTY who unlocks and opens the door.

JERRY

With a Japanese flag attached to his lapel, JERRY calls out to his brother BEN.

JERRY

The DEPUTY unlocks and opens the jail cell door to BEN'S cell and lets JERRY in.

BENJAMIN

BEN listens to JERRY as he brushes his teeth.

JERRY

JERRY looks his brother BEN over, who is unshaved and has his tie untied around his neck.

JERRY

BEN looks himself over.

BENJAMIN

BEN holds his arms out for a hug.

JERRY

JERRY holds his arms out and they both hug each other and pat each other on the back.

JERRY

BENJAMIN

JERRY takes a seat on the lower bed of the bunk bed beside him.

JERRY

JERRY opens his briefcase and pulls out a pipe and lighter. BEN finishes up with brushing his teeth at the sink and cleans up. JERRY lights up his pipe.

BENJAMIN

JERRY

BEN shakes his head and then takes a seat next to JERRY on the bunk bed. JERRY reaches into his briefcase and pulls out a book to check the right number of hours required.

BENJAMIN

JERRY tosses the book to the ground.

JERRY

JERRY pats his brother BEN on the back to comfort him.

JERRY

BENJAMIN

JERRY

BEN grabs a cigar out of his interior suit pocket and bites the end off.

BENJAMIN

BEN goes through all of his pockets looking for a lighter.

JERRY

BEN finds his lighter. BEN nods his head for no as he lights his cigar.

JERRY

BEN nods his head for no again as he mumbles ...

BENJAMIN

JERRY

BEN again nods his head for no as he puffs away at his cigar.

JERRY

JERRY stands up and walks away to the corner of the cell where the sink is positioned. JERRY turns around to BEN and, with a gleam in his eye, notices the ...

JERRY

JERRY moves to the bunk bed and climbs to the top bunk by using the lower bunk bed as a foot ladder. JERRY lies on his side.

JERRY

BEN starts to smile as he recalls that memory.




CUT TO:

INT. BEN & JERRY’S BEDROOM - NIGHT

MUSIC: HOOK RUG DANCE   172K

We view a STILTED SLOW MOTION scene. Light streams in from the open doorway as LOUISE DOMBROWSKI, a young girl, steps inside the dark bedroom. Holding a flashlight, LOUSIE, wearing a skirted dress and no shoes, starts to sway and swing the flashlight around as she dances on a hook rug in the middle of the room. A young BENJAMIN HORNE sits on the floor next to the bunk bed where a young JERRY HORNE is laying, on his stomach, as they watch her dance. As the flashlight passes the faces of BEN and JERRY, who are both wearing glasses, they smile brightly as LOUSIE sways and moves to the music.




CUT TO:

INT. SHERIFF’S DEPARTMENT CELL BLOCK - DAY

BEN and JERRY both smile and chuckle at the happy childhood memory.

JERRY

MUSIC ENDS: HOOK RUG DANCE   172K




CUT TO:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

At the outer set of double doors to the building, LUCY MORAN opens the door for her sister GWEN who is holding her BABY, bundled in a blue blanket, in her arms.

GWEN

GWEN steps in and moves aside so that LUCY can open the door to the inner set of double doors to the building. Holding a teddy bear, a plush rabbit toy, a baby bottle and carrying a bag over her shoulder, LUCY opens and holds the door so that GWEN can pass.

GWEN

As LUCY steps inside the building she drops the items in her arms to the floor. As her sister GWEN continues to gab away, LUCY bends down to retrieve the items she dropped and then they both walk into the building.

GWEN

As he walks out from the coffee station, LUCY asks DEPUTY TOMMY ‘THE HAWK’ HILL ...

LUCY

GWEN

GWEN asks HAWK a question before he can reply to LUCY.

GWEN

GWEN turns to LUCY as she guesses badly at HAWK'S name. HAWK corrects her.

HAWK

HAWK asks LUCY ...

HAWK

LUCY

GWEN and HAWK shake hands.

GWEN

HAWK

HAWK shrugs slightly, turns around and walks away down the hall. GWEN and LUCY walk up the hall. GWEN returns to gabbing with LUCY

GWEN



CUT TO:

INT. GREAT NORTHERN HOTEL - DAY

Looking down a hallway of the hotel, FBI SPECIAL AGENT DALE COOPER and SHERIFF HARRY S. TRUMAN walk around the left corner at the end of the hall.

We FOCUS on COOPER and TRUMAN as they walk up the hallway. COOPER talks into his mini tape recorder.

COOPER

MUSIC: LOVE THEME FROM TWIN PEAKS

With the a CLICK, COOPER turns the recorder off.

AGENT COOPER and SHERIFF TRUMAN enter the lobby of the hotel.


COOPER’S POV:

MUSIC: BIG BAND

Through COOPER'S POV several people are in the room moving about but we FOCUS on LELAND, holding a golf club in his hands, as he prances and dances around the room. Dancing like Fred Astaire, LELAND hops on a sofa chair with a foot at the head of the chair and rides it down as the chair falls back.


BACK TO SCENE:

Standing just outside the hallway they came from and wearing a puzzled look, COOPER points out ...

COOPER

Using his golf club like a cane, LELAND holds the club under his arm and dances backward and right in front of a BELL HOP that has his hands full with several suitcases. As the BELL HOP tries to move around LELAND, LELAND moves back and into his way.

BELL HOP

LELAND

The BELL HOP finally gets around LELAND who continues to dance. A few people in the room watch LELAND as he dances. COOPER and TRUMAN walk into the lobby.

COOPER

SHERIFF TRUMAN

COOPER

LELAND glides and tosses the club from hand to hand as people walk by him. As the music comes to an end, people in the room applaud his dancing.

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS

LELAND continues to dance until the music stops and his last few dance steps land him right in front of SHERIFF TRUMAN and AGENT COOPER.

MUSIC ENDS: BIG BAND

LELAND

LELAND grasps his golf club vertically in his hands before him

SHERIFF TRUMAN

LELAND

LELAND laughs and smiles brightly. Straight faced, TRUMAN puts a hand on LELAND'S shoulder.

SHERIFF TRUMAN

Shocked by the news LELAND loses his smile.

LELAND

SHERIFF TRUMAN

LELAND

SHERIFF TRUMAN

Still surprised and with a skeptical chuckle LELAND asks ...

LELAND

COOPER

LELAND

SHERIFF TRUMAN

LELAND closes his eyes, bends his head down to rest his forehead on the butt of the golf club but with his eyes still closed lifts his head back up.

LELAND

COOPER

LELAND

COOPER

LELAND opens his eyes.

LELAND

SHERIFF TRUMAN pats LELAND'S shoulder. LELAND walks away. SHERIFF TRUMAN and AGENT COOPER turn to watch him walk off.


COOPER’S POV:

Through AGENT COOPER'S POV, LELAND, with his head bowed down, slowly walks toward the open double doors of an adjacent room. Shaken, LELAND pauses and puts a hand out to lean on the doorway before he enters the next room. By walking to his left, LELAND moves out of view.


BACK TO SCENE:

In the room adjacent to the lobby, LELAND rests his forehead on the butt of the golf club he clutches vertically in his hands before him. LELAND grovels as he weeps in a snide fashion as he remembers the death of his daughter.

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:15)

But with a grin, the groveling quickly turns to a wicked giggle as LELAND lifts his head and peers up. LELAND shakes his head slightly at the perverse joy in hearing that yet another person is taking the blame for LAURA'S murder.

In the lobby, COOPER peers in the direction that LELAND walked off to.

COOPER

SHERIFF TRUMAN walks off. COOPER walks toward the adjacent room.


COOPER’S POV:

Through AGENT COOPER'S POV, COOPER slowly moves toward the doorway to the next room, turns to the left and sees the back of LELAND. LELAND, standing in front of a red curtain that covers a doorway, has his head bowed down and appears to be groveling.

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00-0:15)

COOPER


CLOSE ON: LELAND’S FACE

With a CLOSE-UP view of LELAND'S face, LELAND still wears a wicked grin and snickers although its mistaken by COOPER as groveling. Upon hearing COOPER, LELAND quickly loses the grin, stops snickering and lifts his head up. With fear in his eyes that he might have been caught laughing LELAND quickly replies ...

LELAND

COOPER


BACK TO SCENE:

LELAND turns to the side slightly as he answers ...

LELAND


CLOSE ON: LELAND’S FACE

LELAND returns his back to COOPER, peers up and brandishes a wicked grin.

COOPER

AGENT COOPER walks away. Overjoyed, LELAND can hardly contain himself as he giggles tightlipped at the situation he is in. LELAND expresses a thought with the jump in his brow in the ways he could help AGENT COOPER. LELAND suppresses the giggle and straightens himself up.


BACK TO SCENE:

In the mostly deserted lobby of the hotel, AGENT COOPER walks up to SHERIFF TRUMAN.

SHERIFF TRUMAN

COOPER

COOPER and TRUMAN walk off.

MUSIC: WINDOM EARLE'S THEME

FOCUSING on the doorway to the adjacent room to the lobby, LELAND steps out from the left and peers into the lobby.


LELAND’S POV:

Through LELAND'S POV into the lobby, AGENT COOPER and SHERIFF TRUMAN are gone.


BACK TO SCENE:

MUSIC: BIG BAND

With the coast clear, LELAND starts to dance like Fred Astaire again using his golf club as a cane.

MUSIC ENDS: WINDOM EARLE'S THEME

MUSIC ENDS: BIG BAND

FADE OUT:




FADE IN:

INT. SHERIFF’S DEPARTMENT INTERROGATION ROOM - DAY

INSERT: CLOSE-UP PACKAGE

We view a CLOSE-UP on a white paper package as a pair of hands unfold the paper back to reveal a new pair of disposable surgical gloves.


BACK TO SCENE:

DR. WILL HAYWARD puts the surgical gloves on and tugs on the end of the gloves, with the sound of SNAPPING rubber, to fully seat his hands in the gloves. BENJAMIN HORNE is seated at a table in the middle of the room. His brother JERRY HORNE sits beside him. AGENT COOPER and SHERIFF TRUMAN stand in a corner of the room facing BEN and JERRY. DR. HAYWARD grabs BEN'S index finger and holds it.

DR. HAYWARD

JERRY stands up.

JERRY

DR. HAYWARD

Holding BEN'S index finger with his left hand and a needle in his right hand, DR. HAYWARD quickly pokes the finger with the needle. Not aware until he feels it, BEN outbursts slightly.

BENJAMIN

DR. HAYWARD squeezes the finger to draw some blood. Using a syringe with a long, thin plastic tube, DR. HAYWARD collects some of the blood for a test sample. As soon as DR. HAYWARD releases the finger, BEN quickly puts it in his mouth.

DR. HAYWARD

SHERIFF TRUMAN

DR. HAYWARD collects his things, puts them in his bag and leaves the room. JERRY leans on BEN'S shoulder.

JERRY

COOPER

MUSIC: CHERRY STEM KNOT   63K

COOPER

With his pipe in his mouth, JERRY lifts a hand to stop COOPER and then gestures to himself.

JERRY

COOPER

JERRY takes a seat next to his brother BEN. AGENT COOPER walks toward the table and tosses LAURA'S diary on the tabletop.

COOPER

JERRY moves over to BEN'S ear and whispers ...

JERRY

BEN answers to COOPER ...

BENJAMIN

BEN reaches into his coat pocket, pulls out his eyeglasses and puts them on. COOPER picks the book up and flips through the pages as he holds it in front of BEN so that BEN can view its contents.

COOPER

BENJAMIN

BEN twiddles his thumbs and looks away as COOPER speaks.

COOPER

MUSIC ENDS: CHERRY STEM KNOT   63K

COOPER takes a seat on the tabletop and slyly looks at BEN.

MUSIC: LOVE THEME FROM TWIN PEAKS

COOPER

Slightly angered, BEN points a finger at COOPER.

BENJAMIN

COOPER

Irate, BEN stands up, points at COOPER and blurts out ...

BENJAMIN

JERRY stands up to calm his brother.

JERRY

BENJAMIN

JERRY

SHERIFF TRUMAN walks over to the table.

BENJAMIN

TRUMAN puts a hand on BEN'S shoulder and pushes him down.

SHERIFF TRUMAN

BENJAMIN

Starring at TRUMAN, BEN calms down and sits back down.

JERRY

BEN straightens himself up by adjusting his tie and his suit jacket.

MUSIC: CHERRY STEM KNOT   63K

JERRY

COOPER looks at JERRY and then to BEN, who is looking away.

COOPER

AGENT COOPER and SHERIFF TRUMAN leave the room.

MUSIC ENDS: CHERRY STEM KNOT   63K

BEN wipes perspiration from his forehead. Leaning on his brother's shoulders, JERRY moves around to the front of BEN and kneels to face him.

JERRY

BENJAMIN

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS

JERRY

Dismal, BEN stands up and walks to the corner of the room.

JERRY

MUSIC: CHERRY STEM KNOT   63K

BEN walks back over to his brother and leans forward, face-to-face.

JERRY

MUSIC ENDS: CHERRY STEM KNOT   63K




CUT TO:

INT. JOHNSON HOUSE - DAY

MUSIC: AUDREY'S DANCE

Sitting in the kitchen in front of a stereo tape player with a microphone plugged in, BOBBY BRIGGS, wearing a bandanna on his head and clutching a pen in his mouth, plays the contents of the microaudiocassette he found in LEO'S boot on a handheld miniature tape player.

BENJAMIN (OFF SCREEN)

LEO (OFF SCREEN)

BOBBY stops the tape and rewinds it. He depresses a button on the stereo tape player to record the audio from the microcassette using the microphone. We hear the contents on the tape as BOBBY turns the mini tape player on again.

BENJAMIN (OFF SCREEN)

LEO (OFF SCREEN)

BENJAMIN (OFF SCREEN)

LEO (OFF SCREEN)

BOBBY stops the two tape players, grabs the pen from his mouth and writes on a note pad on top of the stereo tape player.

BOBBY

Dumbfounded, BOBBY shakes his head at the relation between the two men.

BOBBY


INSERT: CLOSE-UP NOTEPAD

We view a CLOSE-UP on the notepad that BOBBY is writing on. The contents on the pad read ...


BOBBY


BACK TO SCENE:

BOBBY tears the note from the notepad, folds it up and stuffs it into an envelope. SHELLY JOHNSON calls out from the next room ...

SHELLY (OFF SCREEN)

BOBBY looks into the next room but doesn't see anything. He opens the tape deck on the stereo tape player, removes the tape and places it in the envelope. From the kitchen, a glass can be heard SHATTERING against the floor.

SHELLY (OFF SCREEN)

BOBBY licks the glue seal on the envelope and closes it up. Wearing a blue silk nightgown, SHELLY, splattered with pudding, walks over to BOBBY carrying a bowl of pudding.

SHELLY

SHELLY puts the bowl by the sink. BOBBY tosses the unaddressed letter to the cluttered and dirty kitchen table. As BOBBY moves to kiss her neck below her jaw, SHELLY notices the letter.

SHELLY

BOBBY

SHELLY

SHELLY picks the slightly soiled letter up. BOBBY stands behind her with his hands resting on her shoulders.

BOBBY

Using a towel, SHELLY wipes some of pudding from her neck.

SHELLY

BOBBY kisses her hair and then the side of her face.

BOBBY

SHELLY turns around to face him.

SHELLY

BOBBY

Using his index finger, BOBBY wipes a speck of pudding from her chest and moves it to her lips.

SHELLY

SHELLY lightly and playfully bites the tip of his finger before she licks the pudding off.

BOBBY

BOBBY cradles the bottom of her head. As he touches her neck he gets some pudding on his thumb so he quickly licks it off.

SHELLY

BOBBY

SHELLY

She playfully slaps his right arm. They quickly and passionately kiss each other.

MUSIC ENDS: AUDREY'S DANCE




CUT TO:

EXT. DOUBLE R DINER - DAY

An establish shot. Under a lightly cloudy blue sky and with mountains in the distance, we view the front of the diner as a truck loaded with uncut logs rumbles by.




CUT TO:

INT. DOUBLE R DINER - DAY

MUSIC: COUNTRY #3   52K

NORMA JENNINGS carries a cup of coffee and a plate of carrots, mashed potatoes and meatloaf over to TOAD, who is seated at the island counter. TOAD stuffs a napkin into the top of his shirt like a bib as NORMA puts the plate and cup before him. VIVIAN NILES, the mother of NORMA with similar features, walks into the diner and up to counter island next to TOAD.

VIVIAN

Surprised, NORMA smiles brightly.

NORMA

VIVIAN

NORMA

VIVIAN

TOAD shakes a bottle of ketchup. VIVIAN pushes TOAD'S hand holding the ketchup as she grabs a fork and helps herself to a sample of the mash potatoes on TOAD'S plate.

NORMA

VIVIAN

NORMA

VIVIAN quips a discerning eye.

VIVIAN

NORMA

The door to the diner chimes as ERNIE 'THE PROFESSOR' NILES steps into the diner, walks next to VIVIAN and puts his arm around her.

VIVIAN

NORMA

VIVIAN

ERNIE

NORMA and ERNIE shake hands.

VIVIAN

Giddy, VIVIAN and ERNIE smile and chuckle.

ERNIE

NORMA walks off to fetch the cup of coffee. ERNIE tells VIVIAN ...

ERNIE

VIVIAN

ERNIE kisses VIVIAN on the temple and then walks aside to talk into a cellular phone. NORMA listens to her mother as she pours a cup of coffee near the coffee maker.

VIVIAN

Busy on the phone, ERNIE turns around and catches the last portion of VIVIAN'S sentence and mistakenly assumes it about himself.

ERNIE

ERNIE walks away and returns to his phone conversation.

ERNIE

NORMA

NORMA cringes slightly and walks away to the cook order window. VIVIAN follows her.

VIVIAN

NORMA

NORMA grabs a handful of paper napkins and a sugar dispenser.

VIVIAN

NORMA walks back to the island counter and refills a napkin dispenser. Still on the phone, ERNIE can be seen in the background.

NORMA

VIVIAN

NORMA

VIVIAN

Twiddling with his phone in his right hand, ERNIE walks up to VIVIAN.

ERNIE

VIVIAN

NORMA

VIVIAN

ERNIE

With his arm cradled behind her, ERNIE and VIVIAN walk away and leave the diner. NORMA cleans the counter and picks up the newspaper ERNIE left behind. As she picks it up she notices some writing on the newspaper.


INSERT: CLOSE-UP NEWSPAPER

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:15)

We view a CLOSE-UP of the newspaper upon which are notes underlined and circled in a black marker ...


MUSIC ENDS: COUNTRY #3   52K




CUT TO:

INT. ONE-ARMED MAN’S HOTEL ROOM - DAY

The ‘ONE-ARMED MAN’ PHILLIP MICHAEL GERARD is sleeping seated up in a bed in a bedroom of the hotel. Suddenly, the ONE-ARMED MAN'S left nub and shoulder move wildly. Unresponsive as she blows her bubble gum, a NURSE seated at the foot of the bed looks at the ONE-ARMED MAN as his left shoulder moves. The ONE-ARMED MAN awakens in his ‘MIKE’ state and peers up into the room.

ONE-ARMED MAN

The ONE-ARMED MAN politely asks the NURSE, who is now standing at the foot of the bed ...

ONE-ARMED MAN

NURSE

The NURSE walks out of the room. As she exits the hotel bedroom she passes a DEPUTY on guard, who is seated and reading a newspaper. As the NURSE walks down the hall to retrieve a glass of water, the DEPUTY stands up and checks her out. The DEPUTY tosses his newspaper to his chair and slowly walks into the open door of the hotel bedroom to check on the ONE-ARMED MAN. As the DEPUTY walks past the corner of the bathroom and to the foot of the bed, the ONE-ARMED MAN strikes a blow to the DEPUTY’S head with a mounted ornament from the nightstand. The DEPUTY quietly falls to floor. The ONE-ARMED MAN looks down on the DEPUTY.

ONE-ARMED MAN

We FOCUS on the DEPUTY on the floor as he rubs his head. The ONE-ARMED MAN walks around him and toward an open window.

MUSIC: SWOOPING AWARENESS   7K

We PAN UP and FOCUS on the open window that the ONE-ARMED MAN exited from as the sheer curtains blow in the wind.

MUSIC ENDS: SWOOPING AWARENESS   7K

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:15)

FADE OUT:




FADE IN:

INT. DOUBLE R DINER - DAY

MUSIC: COUNTRY #4   12K

Standing behind the island counter, NORMA slices into a pie as HANK JENNINGS walks inside the diner through the front door. HANK opens the flip-up island counter door and enters the island counter area.

HANK

HANK closes the flip-up door behind himself and takes off his jacket.

NORMA

HANK places his jacket on the counter and moves to the center cabinet shelf to grab an apron.

HANK

Angry, NORMA turns to berate HANK.

NORMA

NORMA turns back around to continue cutting the pies. Working near the cook order window, VIVIAN turns to listen in on the quarrel between HANK and NORMA.

HANK

HANK reaches out to hold NORMA’S shoulders but she quickly turns around, pushing him away.

NORMA

NORMA indicates an inch with her hand. VIVIAN walks closer but hides behind the giant coffee maker as she listens and watches the two argue. NORMA turns back to finish the pies.

HANK

HANK strokes NORMA’S hair and then holds her shoulders.

HANK

NORMA turns around to face HANK.

NORMA

Relieved, HANK exhales and smiles.

HANK

VIVIAN walks out from behind the coffee maker.

VIVIAN

Surprised, HANK smiles.

HANK

VIVIAN

HANK walks up to VIVIAN.

HANK

VIVIAN

HANK and VIVIAN both reach out to hold hands. HANK gives her a kiss on the cheek.

VIVIAN

HANK

VIVIAN

Again surprised, HANK smiles and turns to NORMA. NORMA walks up to HANK.

VIVIAN

HANK

NORMA

HANK places an arm behind NORMA and looks at her.

HANK

HANK returns to VIVIAN.

HANK

MUSIC ENDS: COUNTRY #4   12K




CUT TO:

EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY

An establish shot. We view the front entrance to the building, a set of double glass doors with the 'Twin Peaks Sheriff's Department' sign above.




CUT TO:

INT. SHERIFF’S TRUMAN’S OFFICE - DAY

SHERIFF TRUMAN stares out the window through a pair of binoculars.

PETE MARTELL stands in the reception area just outside the office as he peers inside through the open doorway to TRUMAN’S office. PETE looks back into the reception area and then sneaks into TRUMAN’S office.

PETE

Staying in his place with his gaze out the window through the binoculars, SHERIFF TRUMAN answers.

SHERIFF TRUMAN

PETE walks up to TRUMAN.

PETE

SHERIFF TRUMAN

PETE looks out the window.

SHERIFF TRUMAN

TRUMAN hands the binoculars to PETE. PETE uses the binoculars to look outside the window.


PETE’S POV:

Through PETE’S POV in the binoculars is a CLOSE-UP view of a red hared woodpecker that is clinging to a tree. Using its long bill, the woodpecker taps at the tree.

PETE


BACK TO SCENE:

PETE lowers the binoculars from his eyes but still peers out the window at the woodpecker.

PETE

PETE turns to SHERIFF TRUMAN and returns the binoculars. TRUMAN uses the binoculars and looks at the woodpecker. PETE twiddles with his hat in his hands.

PETE

SHERIFF TRUMAN

PETE

TRUMAN briefly looks at PETE and then returns to looking at the woodpecker with the binoculars.

SHERIFF TRUMAN

PETE

TRUMAN turns to PETE.

PETE

SHERIFF TRUMAN

PETE

SHERIFF TRUMAN

TRUMAN pats PETE’S arm. TRUMAN returns to looking through the binoculars at the woodpecker.

PETE

TRUMAN lowers the binoculars and looks at PETE.

PETE

SHERIFF TRUMAN

PETE gives TRUMAN a slightly puzzled look.

PETE

SHERIFF TRUMAN

PETE

SHERIFF TRUMAN

PETE

SHERIFF TRUMAN

PETE

Befuddled and concerned, PETE gazes at the ground and then to TRUMAN.

PETE

SHERIFF TRUMAN

AGENT COOPER, wearing his coat, bursts into the office.

COOPER

MUSIC: NIGHT LIFE IN TWIN PEAKS(0:00-0:15)

COOPER

SHERIFF TRUMAN

TRUMAN pats PETE’S arm. Leaving PETE behind, SHERIFF TRUMAN grabs his hat and coat as he follows COOPER out of his office. TRUMAN and COOPER pass LUCY, who is watering the plants, as they walk through the reception room.

SHERIFF TRUMAN

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS(0:00-0:15)

As TRUMAN and COOPER exit the building through the outer set of double glass doors they meet DEPUTY ANDY BRENNAN, who is about to enter the building.

ANDY

TRUMAN and COOPER walk off. ANDY enters the building and encounters LUCY holding a baby, wrapped in a blue blanket, in her arms as she waters the plants in the reception room. PETE leaves TRUMAN’S office and walks down the right corridor.

ANDY

LUCY stops watering the plants and stares at ANDY'S reaction as she holds the baby. ANDY walks up to her. Stunned, ANDY believes that LUCY is holding their baby.

ANDY

LUCY

Overwhelmed, ANDY sways slightly then faints and falls straight backward to the ground.

LUCY



CUT TO:

INT. SHERIFF’S DEPARTMENT CELL BLOCK - DAY

Standing in the basement hallway, PETE peers into the cell block through the window in the door. The coast clear, he opens the unlocked door, checks back up the stairway and then enters the cell block. BENJAMIN lies in his bunk with his hand draped over his face. As PETE closes the door behind himself it CLANKS with a metallic noise. BENJAMIN hears the door close and peers through his fingers over to the door to see PETE. PETE laughs at the sight of BEN behind the bars.

BENJAMIN

PETE moves to the cell door and rattles it as he tries to open the jail cell door.

BENJAMIN

PETE

BENJAMIN

PETE reaches into his knapsack and pulls out a portable tape player.

BENJAMIN

PETE holds the tape player towards BEN and presses the play button.

CATHERINE

BEN stands up, puts his glasses on and moves to the jail cell door. Stunned, BEN grips the bars of the jail cell door.

BENJAMIN

PETE laughs and then moves to his right. BEN follows him from behind the bars as he listens to the tape.

CATHERINE

Angered, BEN reaches out at PETE but PETE safely backs away. PETE moves to the left and backs away from the bars.

CATHERINE

BENJAMIN

CATHERINE

BEN extends his arm to lean on the bunk bed.

BENJAMIN

PETE

PETE chuckles.

MUSIC: LOVE THEME FROM TWIN PEAKS

CATHERINE

Crushed, BEN takes a seat on the lower bunk bed.

CATHERINE

Enjoying the moment, PETE boldly laughs.

CATHERINE

PETE depresses the stop button on the tape player, hugs the tape player to his cheek and kisses it.

PETE

Seated on the lower bunk bed, BEN’S dejected feelings start to slowly turn to raging anger.

BENJAMIN

PETE

PETE laughs again.

BENJAMIN

PETE

PETE throws BEN a stern stare and then quickly opens the cell block door and leaves. BEN jumps to his jail cell door and rattles it. Enraged, BEN flings a tin cup on the sink to the ground. He grabs the mattress on the top bunk and throws it on the ground. Next, he grabs the metal frame of the bunk bed and jerks it back and forth.

BENJAMIN

BEN reaches down, grabs the pillows and swings them against the bars of the cell which rips them open and sends their contents of white goose feathers flying through the air.

BENJAMIN

A DEPUTY peers through the window in the door to the cell block to see what all the commotion is about. Still enraged but winding down, BEN jerks the metal bunk bed frame again and then slams it against the wall. BEN moves to the toilet, slams the lid down and then takes a seat.

BENJAMIN

As the DEPUTY cautiously enters the cell block with feathers still floating in the air, BEN straightens himself up a bit.

BENJAMIN

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS




CUT TO:

EXT. ROAD - DAY

Behind the wheel of his blue convertible with the top down, LELAND sings as he erratically drives all over the road. The tires squeal as he slowly swerves the car back and forth across the roadway.

LELAND

SHERIFF TRUMAN’S police cruiser drives on the same windy road as LELAND but further up the road heading towards him.




CUT TO:

INT. TRUMAN’S POLICE CRUISER - DAY

SHERIFF TRUMAN drives as AGENT COOPER, coincidentally, whistles the same tune as LELAND.




CUT TO:

INT. LELAND’S CONVERTIBLE - DAY

LELAND

Another car honks its horn as it makes its way past LELAND’S swerving car.

LELAND



CUT TO:

INT. TRUMAN’S POLICE CRUISER - DAY

COOPER looks at TRUMAN.

COOPER

SHERIFF TRUMAN

COOPER looks forward to see LELAND’S blue convertible come into view as it turns around a bend in the road and swerves from the left side of road, where he should be, to right side and directly ahead of TRUMAN’S police cruiser.

COOPER



CUT TO:

EXT. ROAD - DAY

SHERIFF TRUMAN banks his police cruiser hard to the right and brakes as LELAND swerves his car back to the left. LELAND’S convertible cleanly but closely drives by TRUMAN’S police cruiser. TRUMAN quickly spins his police cruiser around, turns the police lights and siren on and chases after LELAND’S convertible.




CUT TO:

INT. LELAND’S CONVERTIBLE - DAY

LELAND drives on but peers back into his rear view mirror as TRUMAN’S police cruiser follows him with its police lights and siren on.

LELAND

LELAND slows down, pulls his car to the side of the road and stops. TRUMAN’S police cruiser passes LELAND and pulls off the road and parks in front of him. Though the police siren falls silent the police lights stay on. LELAND closes his eyes and leans his head with a hand to his brow. LELAND quietly finishes his song.

LELAND

LELAND puts his car into park.




CUT TO:

EXT. ROAD - DAY

SHERIFF TRUMAN and AGENT COOPER walk out of the police cruiser and over to LELAND’S convertible. LELAND gestures I don’t know what I was doing by placing his hands on his head and throwing them out. Dumbfounded, SHERIFF TRUMAN holds his arms out and smiles as he spots ...

SHERIFF TRUMAN

LELAND

SHERIFF TRUMAN

In the background next to the road is the country club golf course where a golfer is swing at a golf ball.

LELAND

LELAND points to the golf course.

LELAND

COOPER

LELAND nods his head for yes.

LELAND

LELAND brightens and then points at COOPER.

LELAND

Mystified, TRUMAN asks ...

SHERIFF TRUMAN

LELAND points at TRUMAN.

LELAND

COOPER

LELAND’S eyes brighten as he points at COOPER.

LELAND

LUCY’S voice emanates over the police radio from TRUMAN’S police cruiser.

LUCY (OFF SCREEN)

SHERIFF TRUMAN runs over to his police cruiser to answer LUCY’S call. AGENT COOPER looks out at the golfers on the golf course. LELAND slaps the top of his side rearview mirror to get COOPER'S attention. COOPER looks down at LELAND.

LELAND

COOPER

LELAND

LELAND opens his car door. LELAND hits the horn by accident as he uses the steering wheel to push himself up and out of his seat. In the background standing by the open door of his police cruiser, SHERIFF TRUMAN talks into the microphone of his police radio.

COOPER

COOPER follows LELAND as he walks to the trunk of his car to open it. As LELAND lifts the trunk door, AGENT COOPER quickly spins around as SHERIFF TRUMAN shouts out to him.

SHERIFF TRUMAN


LELAND’S POV:

Through LELAND’S CLOSE-UP POV inside his trunk, LELAND opens his large black golf bag. LELAND reaches inside to pull out a golf club and walks away leaving the bag open with the hand of MADELEINE FERGUSON and some bloodied clear plastic sheeting exposed.

SHERIFF TRUMAN (OFF SCREEN)


BACK TO SCENE:

LELAND stands behind COOPER rather menacingly gripping a golf club in both of his hands like a sword.

COOPER

COOPER turns to LELAND.

COOPER

COOPER quickly waves bye and then walks away to the police cruiser.

LELAND

COOPER

AGENT COOPER opens the door to the police cruiser and steps inside.

MUSIC: MONTAGE FROM TWIN PEAKS: LAURA PALMER’S THEME

LELAND tosses his golf club in the trunk, closes the trunk lid and smirks as he watches TRUMAN’S police cruiser take off with its police siren running. LELAND gets back inside his car and adjusts his rear view mirror.


LELAND’S POV:

MUSIC: WINDOM EARL’S THEME

Through LELAND’S CLOSE-UP POV of his reflection in the rear view mirror of his car is the scruffy image of BOB with a frightening grin.




CUT TO:

EXT. WHITE TAIL FALLS - DAY

We FOCUS on a CLOSE-UP on the cascading water fall, giving the illusion of drapes.

MUSIC ENDS: MONTAGE FROM TWIN PEAKS: LAURA PALMER’S THEME

MUSIC ENDS: WINDOM EARL’S THEME

FADE OUT:




FADE IN:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

At the inner set of double glass doors to the building, HAWK holds the right arm of the ONE-ARMED MAN as HAWK escorts him into the building.

LUCY

HAWK briefly turns his head to the right to see ANDY sitting on the floor with an ice pack on his head. LUCY sits on the floor beside ANDY and holds the ice pack to his head. GWEN sits in a nearby chair close to ANDY. HAWK returns his gaze ahead. The ONE-ARMED MAN takes an interest in the scene in reception room.

GWEN

Doing a doubletake, HAWK turns his head back at the scene to his right.

GWEN

HAWK and the ONE-ARMED MAN walk off up a corridor of the building.

GWEN

Annoyed by the gabbing of GWEN, ANDY gives GWEN a slightly stern and blank look before he turns to LUCY.

ANDY

Nosey, GWEN moves in closely to hear ANDY.

ANDY

GWEN

Interrupted, ANDY and LUCY turn to GWEN as she sits back and laughs.

GWEN

ANDY again sternly stares at GWEN and so does LUCY. GWEN senses it.

GWEN

ANDY turns to LUCY again but does a doubletake of a brief stern look to GWEN.

ANDY

Once again, GWEN bends down close to butt in and listen to ANDY.

ANDY

ANDY and LUCY turn to GWEN as she interrupts.

GWEN

GWEN leans forward as ANDY quickly turns back to LUCY.

ANDY

GWEN

ANDY

GWEN

ANDY

Annoyingly, GWEN sits up and comments ...

GWEN

GWEN laughs. ANDY and LUCY bluntly look at GWEN.

ANDY

LUCY

Wounded, GWEN walks away.

GWEN

Now undisturbed, ANDY turns to LUCY and finishes.

ANDY

Unsure considering the impact of ANDY’S story, LUCY mumbles ...

LUCY

ANDY

Confused, LUCY rests her head on the palm of her hand.

LUCY

ANDY

GWEN walks nearby with her baby in her arms. LUCY and ANDY turn their heads to GWEN as they hear sounds from the baby.

GWEN

GWEN snickers at ANDY and LUCY.

GWEN



CUT TO:

INT. SHERIFF’S DEPARTMENT INTERROGATION ROOM - DAY

SHERIFF TRUMAN and DEPUTY HAWK stand behind AGENT COOPER as they watch the ONE-ARMED MAN, in his ‘MIKE’ state, walk around BENJAMIN HORNE. Up against the wall, JERRY HORNE stands behind his brother.

ONE-ARMED MAN

The ONE-ARMED MAN walks up to COOPER.

ONE-ARMED MAN

JERRY walks away from the wall and up to COOPER but speaks over his shoulder to TRUMAN.

JERRY

SHERIFF TRUMAN stands quietly and doesn’t answer. Puzzled himself, TRUMAN exchanges a questioning glance to HAWK. JERRY walks back to his brother but stops halfway as he is bothered by the stare from the ONE-ARMED MAN.

JERRY

After looking JERRY over the ONE-ARMED MAN remarks ...

ONE-ARMED MAN

JERRY asks TRUMAN ...

JERRY

JERRY turns to BEN.

JERRY

BEN quietly nods for no. JERRY turns back around to TRUMAN and points at the ONE-ARMED MAN.

JERRY

JERRY points at his brother BEN.

JERRY

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:15)

SHERIFF TRUMAN grabs COOPER’S shoulder, moves him aside and boldly steps forward.

SHERIFF TRUMAN

BEN wavers in disbelief.

BENJAMIN

Angered, BEN turns to his brother JERRY and quips ...

BENJAMIN

SHERIFF TRUMAN

HAWK escorts the ONE-ARMED MAN, who wriggles in defiance wanting to continue the search for BOB.

ONE-ARMED MAN

SHERIFF TRUMAN

ONE-ARMED MAN

HAWK and the ONE-ARMED MAN leave the room.

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:15)

MUSIC: WALKING IN THE DARK   32K

Enraged once more, BEN reaches out to TRUMAN. JERRY tries to hold BEN back.

BENJAMIN

JERRY

BEN grabs a hold of TRUMAN’S shirt collar. TRUMAN defiantly stares down BEN as he gets jerked around slightly but TRUMAN pushes BEN off.

BENJAMIN

JERRY slams BEN against the wall and finally calms him down.

JERRY

AGENT COOPER coolly walks up to TRUMAN.

COOPER

BENJAMIN

COOPER and TRUMAN walk out of the room, close the door behind themselves and stand slightly away from the door.

COOPER

SHERIFF TRUMAN

COOPER

SHERIFF TRUMAN

COOPER

TRUMAN rests his left hand on COOPER’S shoulder and animatedly moves his right hand as he speaks.

SHERIFF TRUMAN

TRUMAN points at the interrogation room door.

SHERIFF TRUMAN

COOPER

COOPER walks away down the hall leaving TRUMAN behind. SHERIFF TRUMAN ponders if he made the right decision.
MUSIC ENDS: WALKING IN THE DARK   32K




CUT TO:

EXT. GREAT NORTHERN HOTEL - NIGHT

An establish shot. We view a distant shot of the hotel under a darkening sky as the last remnants of the glowing sunset remain. Crickets chirp in the background.




CUT TO:

INT. TIMBER ROOM - NIGHT


VIVIAN’S POV:

Through VIVIAN’S CLOSE-UP POV of her plate of food, VIVIAN nudges a portion of fish around on her plate with a fork.

VIVIAN


BACK TO SCENE:

MUSIC: DINNER MUSIC

Seated at a table in the dining area of the hotel, VIVIAN inspects the fish as she pushes it around on her plate.

VIVIAN

Sitting across from VIVIAN, ERNIE adds his disappointment of the meal.

ERNIE

With his napkin tucked into the top of his shirt and using both hands as he smacks away at his barbecue ribs, HANK offers his own comment.

HANK

Slightly embarrassed by HANK, NORMA looks away and then stands up.

NORMA

VIVIAN

VIVIAN quickly follows NORMA. ERNIE stands up politely as they leave.

ERNIE

With his hands covered in barbecue sauce, HANK slowly rises in turn. ERNIE stares at HANK. HANK smiles and pats ERNIE on the shoulder. Without looking, ERNIE wipes his shoulder with his napkin. They both sit back down. ERNIE leans over to HANK.

ERNIE

HANK

They both smile at each other.

HANK

HANK licks his fingers on his right hand, wipes them on his napkin and then shakes hands with ERNIE. HANK wears a double four domino on his bolo tie.

ERNIE

HANK

ERNIE

HANK

ERNIE

HANK

ERNIE

HANK

ERNIE

HANK

ERNIE

ERNIE nervously checks over his right shoulder to see if the ladies are on their way back.

ERNIE

HANK

ERNIE

HANK removes his napkin from his shirt, wipes his mouth and places the napkin on the table.

HANK

ERNIE slyly looks at HANK.

ERNIE

HANK and ERNIE notice the doors to the Timber Room swing open as VIVIAN and NORMA make their way back.

HANK

HANK and ERNIE politely stand back up as VIVIAN and NORMA return to the table to take a seat.

VIVIAN

ERNIE

Everybody takes a seat at the table except HANK, who picks up his mug of beer.

HANK

VIVIAN

HANK

VIVIAN

ERNIE

ERNIE, VIVIAN and NORMA pick up their wine glasses and toast them together with HANK’S beer mug. They all then drink from their glasses except for HANK, who slams down his beer as he stands alone. Finished, HANK sits down, wipes his mouth with his napkin and lets out a small burp. ERNIE shakes his head slightly at HANK’S crudeness.

Suspicious that something is up between the two, NORMA stares at HANK, moves her gaze over to ERNIE and then back to HANK.

MUSIC ENDS: DINNER MUSIC




CUT TO:

INT. DALE COOPER’S HOTEL ROOM - NIGHT

We FOCUS on the colorful window curtain near the floor as it sways slightly in the breeze from the open window. We PAN UP to the bedside cabinet where a slice of cherry pie, a glass of milk, COOPER’S mini tape recorder, a lamp and a telephone reside. COOPER reaches over and picks up his mini tape recorder. Wearing only pants and the bandage around his ribs, COOPER moves the recorder to his mouth and clicks it on to record.

COOPER

COOPER is interrupted by a KNOCK at the door. He shuts the mini tape recorder off and puts it back on the bedside cabinet. He stands up slowly, grabs a shirt and puts the shirt on as he walks towards the door. COOPER grabs his gun holster off the top of a dresser near the door and draws the revolver. He opens the door to reveal AUDREY HORNE, standing with her hands behind her back.

AUDREY

COOPER

AUDREY

COOPER

AUDREY notices the bandage around COOPER’S abdomen through his open shirt.

AUDREY

COOPER

COOPER puts his gun back in its holster.

AUDREY

COOPER

COOPER walks into the room and turns to face AUDREY as he buttons his shirt.

MUSIC: MYSTERIES OF LOVE

AUDREY

COOPER

AUDREY

COOPER

AUDREY leans against a wall of the bedroom.

AUDREY

COOPER

AUDREY

COOPER

AUDREY

COOPER

AUDREY

COOPER

AUDREY climbs onto the bed and sits in the middle facing COOPER. Standing at the foot of the bed, COOPER bends over towards AUDREY.

AUDREY

COOPER

AUDREY

COOPER

They stare at each other. The telephone RINGS. A distance apart from each other, they continue to stare at each other as the telephone RINGS again.

COOPER

AUDREY

MUSIC ENDS: MYSTERIES OF LOVE

AUDREY turns and kneels to face COOPER as he moves to answer the phone at the bedside stand.

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:15)

COOPER

COOPER turns away from AUDREY.

COOPER

COOPER hangs the phone up and grabs his mini tape recorder.

AUDREY

COOPER

COOPER bends over the bed towards AUDREY.

AUDREY

COOPER

AUDREY

AUDREY quickly gets off the bed. AGENT COOPER grabs his gun holster and his coat and follows AUDREY out the door.




CUT TO:

EXT. WHITE TAIL FALLS - NIGHT


CLOSE ON: WATER FALL

Looking like drapes, we view a CLOSE-UP on the cascading water fall.


BACK TO SCENE:

Multiple police lights flash red and blue from several police cruisers parked in the dark woods near the grand water fall.

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:15)

MUSIC: LOVE THEME FROM TWIN PEAKS

SHERIFF TRUMAN steps out of his police cruiser. As TRUMAN walks forward he is met by AGENT COOPER. Using a flashlight, TRUMAN and COOPER walk through the foggy woods as they descend to the river. A DEPUTY runs by them in the opposite direction.

MUSIC: WINDOM EARL’S THEME

Reaching the river, several DEPUTIES work around the scene looking for evidence. Three DEPUTIES help to pull a body wrapped in plastic out of the river where it was lodged into a pile of tree debris. The three DEPUTIES move the body wrapped in plastic to a clearing by the riverside.

MUSIC ENDS: WINDOM EARL’S THEME

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS

MUSIC: LAURA PALMER’S THEME  

SHERIFF TRUMAN pushes the DEPUTIES aside as he moves over to the body. TRUMAN kneels and removes the plastic sheeting from the head of the body to reveal MADELEINE FERGUSON’S face. TRUMAN looks up at COOPER.

SHERIFF TRUMAN

COOPER stares at the face of MADELEINE and then lifts his gaze up as he contemplates the scene.


CLOSE ON: MADELEINE’S FACE

We CLOSE with a CLOSE-UP on MADELEINE FERGUSON’S face surrounded by plastic.

MUSIC ENDS: LAURA PALMER’S THEME  

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: