Episode 19 - The Black Widow

FADE IN:

INT. LOG LADY’S CABIN - DAY

MUSIC: CALL OF THE BLACK LODGE

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As she speaks directly to us, the ‘LOG LADY’ MARGARET LANTERMEN holds her wooden log in her arms like a baby.

LOG LADY

Is a dog man’s best friend? I had a dog. The dog was large. It ate my garden, all the plants, and much earth. The dog ate so much earth it died. Its body went back to the earth. I have a memory of this dog. The memory is all that I have left of my dog. He was black and white.

MUSIC ENDS: CALL OF THE BLACK LODGE

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FADE OUT:

INTRO:

FADE IN:

MUSIC: TWIN PEAKS THEME

CREDITS run with the scenes of a bird in a tree, the mill machinery at work, the road into town with the welcome sign, the hotel by the falls and the river.

MUSIC ENDS: TWIN PEAKS THEME

FADE OUT:

FADE IN:

INT. BENJAMIN HORNE’S OFFICE - DAY

MUSIC: ANDY’S THEME

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We FOCUS on the closed double-doors to the office. Just to the side of the door is a small brass deer statue. The doors open and BOBBY BRIGGS lets himself into the office and closes the door behind himself. BOBBY peers to the left wall where most of the furniture in the room has been assembled on top of each other in a symmetrical fashion. Starring at the wall, he walks into the office.

BOBBY

Mr. Horne.

BOBBY walks around the desk, which sits in the middle of the room, and spots BENJAMIN HORNE. BEN, unshaven and wearing a robe with a loose odd necktie, sits quietly on the floor beside the assemblage of furniture.

BOBBY

Mr. Horne? Your secretary said to come in.

Worried by BEN’S lack of response BOBBY gives his name in case he doesn’t remember him.

BOBBY

Bobby Briggs?

BENJAMIN

Bobby do you know what you have to have in this life? Hmm?

BOBBY shrugs.

BENJAMIN

Guts.

MUSIC: AUDREY’S DANCE (SAX ONLY)

BENJAMIN

Distance. Symmetry

Holding a lit cigar, BEN stands up and walks up to BOBBY.

BENJAMIN

Look.

BEN points to the assemblage of furniture.

BENJAMIN

Its a beautiful thing isn’t it? Hmm?

BEN walks over to the assemblage, climbs it and moves his wood carved nameplate, ‘BEN’, to a higher position on the assemblage.

BOBBY

Uhh Mr. Horne, did you listen to that tape I sent you?

Still standing on the assemblage, BEN turns and hunches down to BOBBY.

BENJAMIN

Yes I listened to your tape Bobby. Frankly, I am surprised that Leo could master the technology. (laughs) Damb it Bobby what do you want? Hmm?

BOBBY rakes his fingers together as he puts his hands together.

BOBBY

Mr. Horne I have a great admiration for you.

BENJAMIN

Admiration is for poets and dairy cows, Bobby.

BOBBY

I uh ... don’t know what you mean. I uh ...

BEN hops off the assemblage and stands next to BOBBY.

BENJAMIN

Bobby, you’re standing in front of a mammoth sky scraper.

INSERT: FURNITURE ASSEMBLAGE

We FOCUS on the symmetrical furniture assemblage and PAN UP to the top.

BENJAMIN (OFF SCREEN)

A leviathan that rips a hole in the clouds.

BACK TO SCENE:

BENJAMIN

Now, what is the first question that comes to your mind?

BEN takes a puff from his cigar. Baffled, BOBBY stares at the assemblage.

BOBBY

Uhmm.

BENJAMIN

The first question that you ask yourself is; ‘what’s on the top floor, who’s up there in the penthouse and why.’ Now that’s who I am.

BEN points at BOBBY.

BENJAMIN

Are you?

BOBBY turns to BEN.

BOBBY

Yeah, of course I am, yes.

Pleased, BEN extends an arm around BOBBBY and tugs at him.

BENJAMIN

Bobby (laughs) opportunity knocks.

BEN walks over to his desk, picks up a small brown leather case and opens it.

BENJAMIN

I want you to follow Hank Jennings.

BEN removes a camera from the case and hands it to BOBBY.

BENJAMIN

I want you to chronicle his existence.

BEN closes the leather case.

BENJAMIN

Show me something ... that I don’t already know.

MUSIC ENDS: ANDY’S THEME

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MUSIC ENDS: AUDREY’S DANCE (SAX ONLY)

CUT TO:

INT. THE GREAT NORTHERN - DAY

In the hallway just outside the double doors to BENJAMIN’S office, LANA BUDDING MILFORD, in a white dress, screams and runs gingerly in high heels around a bend in the hallway. BOBBY has just stepped out of BEN’S office as LANA runs by him screaming. Feigning fear or danger, LANA only briefly looks at BOBBY as she runs past him. Baffled by the commotion, BOBBY just shakes his head.

As BOBBY starts to walk off, he is jerked back and the case with the camera falls to the floor. The strap had gotten caught on the door handle. BOBBY picks up the camera case and untangles the strap from the door handle.

CUT TO:

INT. SHERIFF’S DEPARTMENT CONFERENCE ROOM - DAY

COOPER’S POV:

Through DALE COOPER’S POV, we FOCUS on a manila folder with a photograph of a house pasted to it along with a description of the house, a realtor summary.

COOPER

Hmm ... I’d like to see both.

We PAN RIGHT to another folder with a picture of a house on it with another realtor summary.

BACK TO SCENE:

Standing beside the end of the long desk in the conference room of the building, COOPER, dressed in khakis and a plaid flannel shirt, mulls through two different house selections in his hands. A chalk sketch of the map of Twin Peaks on a black board is a backdrop. Standing near COOPER, IRENE LITTLEHORSE, a realtor, asks ...

IRENE

Very good, which one would you like to see first?

COOPER

Well.

COOPER places the folders on the table and reaches into his pants pocket to retrieve a coin. With a flick of his thumb he tosses the coin up.

INSERT: COIN

We FOCUS on the coin as it flips around in the air in SLOW MOTION. The coin falls and ricochets off a plate of donuts on the table. The coin skips on the table top and comes to a rest on a folder scattered near a bunch of folders near IRENE.

BACK TO SCENE:

COOPER picks up the folder that the coin came to rest on. He catches the coin in his left hand as it slides off the top of the folder.

COOPER

What is this?

IRENE

I thought I’d taken that out. That property is called Dead Dog Farm and its worse than it sounds.

COOPER

What is it?

IRENE

A puzzle, no one ever really stays there long.

COOPER

(smiling) When can I see it?

CUT TO:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

RICHARD ‘DICK’ TREMAYNE, wearing a jean jacket and khaki shorts, enters the building through the double doors and walks into the waiting area of the reception room. DEPUTY ANDY BRENNAN, LUCY MORAN and JUDIE SWAYNE, wearing a black and red plaid suit jacket with a black skirt and holding a manila folder, stand together in the waiting area of the reception room.

DICK

Sorry I’m late but the little nipper is so excited about our camping trip I just couldn’t coax him out of the car.

ANDY

Richard this is Judie Swayne from the Happy Helping Hands Organization.

JUDIE

I’m Little Nicky’s case manager.

JUDIE extends a hand for greetings to DICK. DICK shakes her hand.

DICK

(smiles) Charmed I’m sure. Shall we?

JUDIE

Sit down. Okay (clears her throat.)

They all take a seat. JUDIE opens the folder she has been holding, pulls out several documents and hands them to DICK.

JUDIE

Uhm as I was about to tell your uh friends, the number one thing to know about Nicky is that throughout his brief life he has been very confused and perhaps traumatized by a persistent random misfortune.

DICK

Looks like he’s bounced around quite a bit.

JUDIE

Oh yeah, well yes he has.

LUCY

Poor child.

JUDIE

Yes, an orphan you know.

ANDY

Really, what happened did his parents die?

DICK

(smiles at ANDY) Nicely deduced Andrew. (to JUDIE) Persistent random misfortune?

JUDIE

Uh they were killed.

MUSIC: LOVE THEME FROM TWIN PEAKS

DICK

How were they killed Miss Swayne?

JUDIE

Uh mysterious circumstances. I’m afraid the uh orphanage has never provided us with that information.

SHERIFF HARRY S. TRUMAN quickly steps out of his office that opens out to the waiting area of the reception room. As he puts on his jacket and hat, he calls out for ...

SHERIFF TRUMAN

Andy let’s go, emergency at the Great Northern.

ANDY stands up and follows SHERIFF TRUMAN out of the building.

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS

CUT TO:

INT. DOUGIE MILFORD’S HOTEL ROOM - DAY

In one of the bedrooms of the Great Northern hotel, we FOCUS on a CLOSE-UP of the frozen face of DOUGLAS ‘DOUGIE’ MILFORD as he lies dead in bed. We ZOOM OUT. DR. WILL HAYWARD stands beside the bed as he moves his hand over DOUGIE’S eyes to close them. DR. HAYWARD looks over to SHERIFF TRUMAN.

DR. HAYWARD

Looks like a heart attack.

DEPUTY ANDY, standing next to DR. HAYWARD, reads aloud from a book he found in the room.

ANDY

Once stimulated the female will respond in such a way that the skin around her ...

ANDY looks up from the book and over to TRUMAN.

ANDY

... oh my god.

ANDY moves the book over to DR. HAYWARD to show him the racy description.

SHERIFF TRUMAN

Looks like Dougie went out with his boots on.

TRUMAN looks at the books on the bed and reads the titles out loud.

SHERIFF TRUMAN

Love poems of Lord Byron, the Kamasutra, Hookers and Handmaidens.

ANDY looks inside an open suitcase on the bed that is filled with fetish sex toys. ANDY picks up a translucent plastic mask from the suitcase, puts it over his face.

ANDY

Sheriff look at this.

ANDY turns to DR. HAYWARD, who is instantly repelled at the sight of the mask. ANDY removes the mask as he and DR. HAYWARD turn their attention to the door of the room as MAYOR DWAYNE MILFORD, DOUGIE’S brother, enters.

MUSIC: HAROLD’S THEME

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Wearing a black suit and carrying a rain coat over his left arm, MILFORD walks up to the bed.

MAYOR MILFORD

Well the falling out was here.

Standing over his brother, MILFORD bemoans the loss.

MAYOR MILFORD

Doug. Oh I hate to say it, but I told you so.

MILFORD touches his brother’s shoulder and his head. He looks down the bed and sees a book.

INSERT: CLOSE-UP BOOK

We FOCUS on a CLOSE-UP on the book ‘My Secret Life’ by Chris Gerrfey. MILFORD picks the book up.

BACK TO SCENE:

MILFORD passes the book to SHERIFF TRUMAN.

MAYOR MILFORD

Here sheriff. This is it, the murder weapon. She might as well as blown his brains out with a rifle.

MILFORD picks up his brother’s hand and gently places it on top of his brother’s chest. As he pats his brother’s hand, MILFORD remarks ...

MAYOR MILFORD

He never could say no to a woman. You old fool.

MILFORD turns to leave. DEPUTY ANDY places an arm around MILFORD to comfort him as ANDY escorts him out of the room.

CUT TO:

INT. THE GREAT NORTHERN HOTEL - DAY

Just outside DOUGIE’S hotel bedroom, DEPUTY TOMMY THE ‘HAWK’ HILL squats to the side of LANA MILFORD, who is seated in a chair, as he tries to comfort her. MAYOR MILFORD and DEPUTY ANDY step out of the bedroom and into the hall. DEPUTY HAWK stands up and grasps MILFORD’S left arm to help guide him. ANDY releases his hold and walks back into the bedroom. Spotting LANA, MILFORD points a finger at her.

MAYOR MILFORD

You sexual adventurous. You’ll burn in hell for this!

HAWK

Take it easy Mr. ...

Two nearby deputies, DEPUTY #1 and DEPUTY #2 grab an arm of MILFORD’S and slowly lead him up the hall away from LANA.

MAYOR MILFORD

I’m going to shout till ... to ... wake the dead ... she murdered my brother. She - she’s - she’s a witch.

The DEPUTIES lead MILFORD away. DEPUTY HAWK returns to a squat beside LANA and holds her hand to comfort her.

LANA

He’s right. I’m cursed.

MUSIC ENDS: HAROLD’S THEME

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HAWK

Don’t be silly.

LANA

No, no its true. It all started in high school. Prom night, my date went to kiss me, ...

MUSIC: LANA’S THEME

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LANA

... it was his first day with his new braces and they gleamed in the moon light, (slight cry in her voice) and his rubber band snapped and his jaw locked up and we ended up in the emergency room and - and the doctors had to break his jaw in three places to get it to shut and its just gotten worse ever since.

HAWK

A curse needs a cure. I know a bit about these things.

LANA

Are you the sheriff?

HAWK

Let’s just say ...

HAWK boldly stands up and leans back on the door to DOUGIE’S bedroom.

HAWK

... when something really big goes down, I’m the man.

Suddenly the door to the bedroom opens and HAWK’S eyes widen as he loses his balance, falls to his left side and back into the bedroom. Perplexed, DEPUTY ANDY stands in the doorway and stares at LANA.

MUSIC ENDS: LANA’S THEME

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CUT TO:

EXT. TWIN PEAKS HIGH SCHOOL - DAY

An establish shot. We view the front of the high school with its green lawn where the school sign is perched.

COACH (OFF SCREEN)

Boys, there’s a story about a great football coach, ...

CUT TO:

INT. GYMNASIUM - DAY

Inside the Twin Peaks High School gymnasium, we FOCUS on a CLOSE-UP on the face of the WRESTLING COACH as he stands before students of the high school and tells them a story.

COACH

... whose name escapes me at this time, who was dead set against having a black players on his team. Until somebody brought him the finest black halfback anyone had ever seen. And when what’s his name saw him run fifty yards and no one lay a hand on him he shouted, ‘look at that indian go.’ That coach accepted that athlete’s desire to compete. Nadine.

We ZOOM OUT to see the WRESTLING COACH standing in the gymnasium. NADINE HURLEY, wearing a white Twin Peaks High School Physical Education T-shirt, quickly scampers down and stands beside the WRESTLING COACH.

COACH

Now today the story applies to this woman’s ... (corrects himself) this young girl’s right to compete. In addition to it being her moral and constitutional right. Mike Nelson, could you step up here for a second.

MIKE NELSON stands up from his seat on the bleachers and walks up to the WRESTING COACH. Several WRESTLERS, standing and seated on the wrestling mat, clap and cheer for MIKE.

WRESTLERS

(severally) Yeah ... ooh ... yeah get em’ killer ... come on Mike.

The COACH holds an arm over the shoulder’s of MIKE and NADINE as he boldly announces ...

COACH

Now Nadine has chosen to prove herself to us by taking on our very best. Our very own district champion, Mike Nelson.

The COACH tugs MIKE close.

WRESTLERS

(severally) Yeah ... come on ... oh-ho ... alright ... go Mike.

The WRESTLING COACH stands at the edge of the mat with a whistle in his mouth as he acts as the referee. Facing each other hunched over, MIKE and NADINE square off in the middle of the wrestling mat. MIKE reaches out, grabs NADINE by the back of the neck and pulls her towards him until the top of her head rests on his left shoulder.

NADINE

Hi Mike.

MIKE reaches out for NADINE’S right hand, grabs it and throws it on his back shoulder. NADINE slides her right hand over to his neck.

MIKE

Put your hand here.

MIKE grabs her right hand again and places it back on the back of his left shoulder.

MIKE

No here. Alright now just push against me. I’ll try not to hurt ya’.

MIKE and NADINE waddle together as they push each other around on the mat.

NADINE

Want to go out tonight?

MIKE

This is called a Tie Hand.

MIKE quickly releases his grip, moves behind NADINE, throws his arms around her waist and picks her up. MIKE looks over to his COACH, who appears disappointed by the move. Releasing his grip, NADINE reaches behind to her right, grabs a hold on MIKE and throws him down hard to the mat.

COACH

Oh yeah.

The WRESTLERS all mumble to themselves.

MIKE

You stupid ...

NADINE

What did you say Mike?

MIKE gets back up and moves back into a starting position by hunching over and extending his arms to grab NADINE. NADINE quickly grabs MIKE’S neck and places him in a headlock. She jerks him around slightly as she holds his neck tight.

MIKE

(straining) You’re breaking my neck.

NADINE

You’re right this is sort of like necking.

NADINE jerks MIKE and throws him down hard to the mat. MIKE stumbles on the ground as he looks over to his WRESTLING COACH. NADINE picks MIKE up from the floor to stand him up. She then gets a grip on his leg and his shirt and lifts him up into the air and over her head.

NADINE

What about tonight?

MIKE

Coach?

The WRESTLING COACH quietly stares in awe as he watches NADINE spin MIKE around in the air.

MIKE

Hey coach?

NADINE throws MIKE into the air and he falls hard onto the mat. Some of the WRESTLERS close their eyes with MIKE’S brutal collision with the floor.

WRESTLERS

(severally) Oh ... get up ... oh god.

NADINA pounces on MIKE’S chest and pins him to the mat. The COACH quickly walks up to the two and counts ...

COACH

One, two and three.

NADINE

Now will you go out with me?

NADINE gets up from MIKE. Pained, MIKE lifts his head up to look at NADINE and then drops it back to the mat.

FADE OUT:

FADE IN:

INT. TWIN PEAKS HIGH SCHOOL - DAY

MUSIC: SHELLY’S TUNE

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The bell rings as students walk through the halls to reach different class rooms. DONNA HAYWARD walks to her locker and opens it to fetch some books. A sore and stiff MIKE NELSON walks up to DONNA and stands beside her.

DONNA

What happened to you?

MIKE

I got beat up by a girl.

DONNA grins at MIKE and jokingly asks ...

DONNA

Whatcha’ do to her?

MIKE

Donna, I’m not kidding. Now you’ve got to help me. Its bad enough getting stomped on in front of the whole team but she likes me.

DONNA

Who?

MIKE

Mrs. Hurley.

DONNA stares at him in disbelief.

DONNA

Nadine?

DONNA grabs the books she needs and closes her locker.

MIKE

Its not funny.

DONNA walks up the hallway and MIKE follows behind her.

DONNA

I don’t know, maybe an older woman is just what you need.

MIKE

I don’t want to go out with anyone who can body slam me.

DONNA

Well what do you want me to do about it?

MIKE

Talk to her or something, pretend you’re still my girlfriend.

DONNA

Sorry Mike I’m not that good of an actress.

DONNA walks off to the side. MIKE stops and calls out ...

MIKE

Donna this is serious. I’m going to end up in traction.

MUSIC ENDS: SHELLY’S TUNE

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CUT TO:

EXT. MARSH RESIDENCE GARAGE & SERVANT’S QUARTERS - DAY

MUSIC: THE BOOKHOUSE BOYS (1:12 - 2:11)

An establish shot. We view the front of the two-story building.

CUT TO:

INT. MARSH RESIDENCE SERVANT’S QUARTERS - DAY

Seated in a chair in a guest bedroom, JAMES HURLEY places ratchet wrench nuts back in order in their case. MALCOLM SLOAN, holding a glass half-filled with liquor, pokes his head in the doorway to the room before he steps inside. JAMES spots him.

JAMES

May I help you?

MALCOLM

Hang up a local servants rebellion. I wonder if you’d help me bundle up loose sticks and burn their master. (introduces himself) Malcolm.

MALCOLM extends his hand. JAMES and MALCOLM shake hands.

MALCOLM

Malcolm Sloan, as in brother to Evelyn. Mr. Marsh’s driver as in, ‘bring that car around James.’ So, how badly did she damage the jag.

JAMES

Its repairable.

MALCOLM

Well that’s the nice thing about ... things. You know when she and Jeffrey fell in love he gave her a whole new life that’s for sure, ...

MALCOLM grabs a chair and moves it over in front of JAMES. MALCOLM extends his arms out as he shows his uniform.

MALCOLM

... and I got a nice uniform.

MALCOLM sits down.

MALCOLM

And the keys to the liquor cabinet.

MALCOLM takes a big swig from his glass.

MALCOLM

God I hope I don’t sound ungrateful because ... compared to life I was living, want and dissipation is a step up.

JAMES grins.

MALCOLM

And Evelyn she learned a lot herself; defensive postures, masking bruises, vicious cycles.

MUSIC: LOVE THEME FROM TWIN PEAKS

JAMES

What are you talking about?

MUSIC ENDS: THE BOOKHOUSE BOYS (1:12 - 2:11)

MALCOLM

I’m sorry, am I being obscure?

MALCOLM leans forward in his chair.

MALCOLM

Once a fortnight Jeffrey pounds her mercilessly and she tries to get even by breaking one of his things. So it perpetuates a cycle.

JAMES

She’s your sister, why don’t you stop him?

MALCOLM sits back in his chair.

MALCOLM

Sonny boy nobody stops Mr. Marsh. That’s the golden rule around here. You can jot that down and put it under your pillow.

MALCOLM takes a swig from his glass and then stands up. Before he leaves he extends his hand towards JAMES.

MALCOLM

I’ve got to get back. Hey ... thanks. I mean that.

They shake hands. MALCOLM leaves the room.

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS

CUT TO:

EXT. DEAD DOG FARM - DAY

MUSIC: NIGHT LIFE IN TWIN PEAKS

We FOCUS on a red ‘For Sale’ sign that is nailed to a pine tree. We PAN RIGHT to view the front of the house. A four door Buick automobile pulls into the driveway and parks. IRENE steps out of the driver side of the car and COOPER, wearing a vest jacket, steps out of the passenger side. IRENE and COOPER walk toward the house as they look it over.

IRENE

Well, its still standing. Almost by force of habit.

COOPER

Well habit can provide a strong foundation. Dead Dog Farm hmm?

IRENE and COOPER stop at the front of the car as she explains ...

IRENE

Yeah its an old legend. Of all the people in the world the best and the worst are drawn to a dead dog. Most turn away. Only those with the purest of heart can feel its pain ... and somewhere in between the rest of us struggle.

COOPER looks down at the ground.

COOPER

Irene have you shown this property to anyone else recently?

IRENE

I don’t think anyone asked to see it this last year.

COOPER points at the ground.

COOPER

Hmm three vehicles; a jeep, a four wheeler and uh a luxury sedan.

INSERT: TIRE TRACKS

We FOCUS on a CLOSE-UP on three different sets of tire tracks in the mud.

BACK TO SCENE:

IRENE and COOPER turn and walk toward the front door of the house.

CUT TO:

INT. DEAD DOG FARM - DAY

IRENE nudges open the front door which was already ajar. COOPER follows right behind her.

IRENE

Its open?

COOPER

Hello!

IRENE and COOPER scan the room. COOPER sniffs the air.

COOPER

There’s been a meeting here.

COOPER walks up to the nearby kitchen table, an old Formica table from 50’s. He spots an ash tray filled with cigarettes.

COOPER

In the past few hours.

COOPER spots a small clear plastic envelope at the corner of the table. He picks up the envelope, looks at it and then walks over to the kitchen sink.

IRENE

What are you seeing?

COOPER grins as he looks at the bottom of the sink. He grabs the kitchen faucet handle and flips it up to turn it on but no water comes out.

COOPER

They forgot there was no running water.

COOPER licks the end of his pinky finger. We FOCUS on COOPER’S hand and PAN DOWN as he moves his pinky into the bottom of the sink where there is a dusting of white powder in the drain. We PAN UP as COOPER returns his pinky to his mouth to taste the white powder that clung to the tip of his wet pinky. For a moment he tastes the powder and then realizes ...

COOPER

Baby laxative.

COOPER turns to the table, walks up to it and bends down as he carefully scans the edges of table.

COOPER'S POV:

Through COOPER’S POV we FOCUS on a CLOSE-UP on the edge of the table and an area of the floor as COOPER looks for any spilled white powder. Clear of any white powder we PAN the table edge and the floor until we come upon a chair where there is a dusting of white powder that fell from the table top.

BACK TO SCENE:

MUSIC: DANCE OF THE DREAM MAN (DRAMATIC VARIANT)

IRENE

More white powder.

COOPER

Mmm-hm.

COOPER removes his wallet from his pants pocket, opens the wallet and takes out a credit card. He uses the credit card to scoop up some of the white powder from the chair. COOPER licks his index finger, touches the powder and tastes it. He turns to IRENE and identifies the white powder as ...

COOPER

Cocaine. (grins) Irene, we have to notify the sheriff.

MUSIC ENDS: DANCE OF THE DREAM MAN (DRAMATIC VARIANT)

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS

CUT TO:

EXT. DIRT ROAD - DAY

MUSIC: OLD TUNE

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RICHARD ‘DICK’ TREMAYNE, wearing a jean jacket and khaki shorts, sits on a plaid blanket that is spread out on the dirt road next to his BMW automobile. The scene looks more like a picnic with a coffee thermos, the car manual, tools and tire rim nuts laid out neatly on the blanket. With the right tire raised in the air with a car jack at the front right corner bumper, DICK, mechanically challenged, curiously works at removing the flat tire. As the flat tire pivots, DICK picks up the car manual to read the instructions for removing a tire. He returns his attention to the tire and attempts to grab one of the tire rim nuts but can’t because the tire keeping pivoting.

DICK

Nicky stop that please.

CLOSE ON: LITTLE NICKY

We FOCUS on NICHOLAS ‘LITTLE NICKY’ NEEDLEMAN seated in the driver's seat of the car. Turning the steering wheel of the car, LITTLE NICKY obeys DICK and stops turning the wheel. For only a short moment LITTLE NICKY sits still but then grins and returns to turning the steering wheel plus he turns on the windshield wipers.

BACK TO SCENE:

We FOCUS on DICK sitting on the ground next to the car tire. As the tire pivots, DICK unscrews one of the loosened tire rim nuts by hand and places it beside another tire rim nut on a rag on the blanket.

DICK

Nicky stop it.

DICK puts the car manual down and looks at his index finger, which is streaked with black grease.

DICK

I can’t understand this at all.

DICK gently blots the grease away from his index finger with a rag and then wipes his hands on the rag.

DICK

I just had the car checked and gassed. They told me it was in perfect working order. Perfect working order.

DICK tosses the rag to the blanket and shakes his head slightly at his predicament.

DICK

This is all so ... technical.

DICK returns to the pivoting tire to remove the next loosened tire rim nut.

CLOSE ON: LITTLE NICKY

We FOCUS on LITTLE NICKY seated in the driver's seat of the car. Grinning, LITTLE NICKY pounds the car horn and it BLARES loudly.

BACK TO SCENE:

We FOCUS on DICK as he squints, distressed from the loud car horn, and picks up the car manual.

DICK

Please Nicky, Uncle Dick is trying to read.

DICK reads the car manual.

CLOSE ON: LITTLE NICKY

We FOCUS on LITTLE NICKY seated in the driver's seat of the car. LITTLE NICKY rolls his eyes.

BACK TO SCENE:

We FOCUS on DICK as he returns to unscrewing one of the tire rim nuts.

CLOSE ON: LITTLE NICKY

We FOCUS on LITTLE NICKY seated in the driver's seat of the car. Playing with the car, LITTLE NICKY turns the windshield wipers on and then slams the car horn again.

BACK TO SCENE:

We FOCUS on DICK as he jumps slightly at the loud annoying HONK of the horn. Having been irritated enough he blurts out ...

DICK

NICHOLAS GET OUT OF THE CAR!

CLOSE ON: LITTLE NICKY

We FOCUS on LITTLE NICKY seated in the driver's seat of the car. Reluctantly, LITTLE NICKY opens the driver’s side door and steps out of the car.

DICK

Nicholas, out of the car right now! OUT OF THE CAR!

BACK TO SCENE:

We FOCUS on DICK seated on the ground next to the car tire.

DICK

Did you hear me!?

Dressed exactly like DICK in a jean jacket and khaki shorts, LITTLE NICKY walks around the rear of the car and over to DICK. DICK, still seated on the blanket next to the flat tire on the car, wipes grease from his hands.

LITTLE NICKY

Are you mad at me Uncle Dick?

DICK

(smiles) Of course I’m not made at you. Why should I be mad at you?

LITTLE NICKY

(smiles) Scared you didn’t I?

LITTLE NICKY walks a short distance away to the side of the road. Grinning, DICK turns his grin into a scowl as LITTLE NICKY walks off.

MUSIC: LOVE THEME FROM TWIN PEAKS

DICK picks up the car manual and looks it over. He puts the manual back down and perches on one knee as he unscrews the next tire rim nut.

MUSIC ENDS: OLD TUNE

112K

CLOSE ON: LITTLE NICKY

We FOCUS on LITTLE NICKY standing beside the shoulder of the dirt road. LITTLE NICKY looks back over his right shoulder at DICK.

BACK TO SCENE:

We FOCUS on DICK as he removes another tire rim nut and places it next to the others on a rag laid out on the blanket. He picks up the manual and reads the instructions again. Without warning, the flat tire slides off the rim of the car and the car jack gives way. Barely missing DICK, the car and tire drop right beside him.

LITTLE NICKY

Uncle Dick!

LITTLE NICKY runs up to DICK and hugs him. DICK grins and holds LITTLE NICKY.

DICK

Don’t worry - don’t worry, I’m alright Little Nicky.

LITTLE NICKY

What if you died. You’re not going to die are you?

DICK

Of course not, don’t be silly.

DICK loses his grin as he realizes what has just transpired.

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS

CUT TO:

EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

An establish shot. We view the front of the building with a large sign ‘Twin Peaks Sheriff’s Department’ above the front doors. IRENE’S Buick automobile and SHERIFF TRUMAN’S police cruiser are parked in front.

CUT TO:

INT. SHERIFF TRUMAN’S OFFICE - DAY

Unaware of the GUEST at first, COOPER, carrying a cup of coffee, enters SHERIFF HARRY S. TRUMAN’S office and greets ...

COOPER

Harry!

Seated behind his desk, SHERIFF TRUMAN stands up and gestures to COLONEL RILEY, who is seated in front of TRUMAN’S desk.

SHERIFF TRUMAN

Cooper, this is Colonel Riley. He’s heading up the Air Force’s investigation into Briggs’ disappearance.

COOPER

Colonel.

COOPER and RILEY greet each other and shake hands.

COLONEL RILEY

Cooper. You were with Briggs when we lost our coordinates on him?

COOPER

Yes I was.

COLONEL RILEY

When you were at the sight did you notice any wildlife in the area?

COOPER

Wildlife?

COLONEL RILEY

Birds, owls ...?

COOPER

Yes, yes just moments before the Major disappeared I heard an owl.

MUSIC: HOLDING OUT

12K

COLONEL RILEY

Any visual contact?

SHERIFF TRUMAN

Look Colonel, (RILEY turns to TRUMAN) Garland Briggs is a good friend of mine. Be a lot better if you’d just leveled with us.

COOPER

We know about the monitors and the messages from deep space that you received pertaining to me.

COLONEL RILEY

You may know something but ... you’d best get your facts straight. Our monitors are pointed at deep space but the messages we intercepted, that Briggs showed you, were sent from right here in these woods.

RILEY points to a position on a map on top of TRUMAN’S desk.

COLONEL RILEY

And where they were sent to is another question.

COOPER

Might this have something to do with a place called the white lodge?

COLONEL RILEY

That’s classified.

SHERIFF TRUMAN

Colonel, we’d like to help you but you need to give us a little more to go on here.

Looking at TRUMAN, RILEY leans on TRUMAN’S desk.

COLONEL RILEY

Garland Briggs is the best pilot I’ve ever known. He was born with hardware most of us only dream about. I can tell you this, his disappearance has implications that go so far beyond national security ... the cold war seems like a case of the sniffles.

COOPER can only contemplate over COLONEL RILEY’S limited information.

MUSIC ENDS: HOLDING OUT

12K

CUT TO:

INT. MARSH RESIDENCE GARAGE - DAY

Slightly smeared with grease, JAMES, holding a bottle of beer, takes a seat in the driver’s side of the car and starts it up. EVELYN MARSH, also holding a bottle of beer, walks up besides JAMES.

JAMES

Your engine’s fine. The axle should be okay.

JAMES shuts the engine off.

EVELYN

How’d you get so good at this?

JAMES slides over to the passenger seat. EVELYN takes a seat in the driver’s seat. She stares longingly at JAMES.

JAMES

Oh my Uncle Ed. You think I’m good? You should see him he can fix anything. I was uh talking to your brother today a little bit about your situation.

EVELYN

Look James, mind your own business.

JAMES

Are you afraid?

MUSIC: LAURA PALMER’S THEME

JAMES

Are you afraid of your husband? Are you?

MUSIC ENDS: LAURA PALMER’S THEME

MUSIC: THE BOOKHOUSE BOYS (2:32 - 3:24)

EVELYN

There’s nothing to talk about.

JAMES

I know what’s it like to be alone

JAMES and EVELYN stare into each other’s eyes. JAMES moves to her and kisses her. He pulls back and again asks ...

JAMES

You are afraid of him aren’t you? Why don’t you just leave?

EVELYN

Its complicated.

Again they stare at each other. EVELYN moves to JAMES and they kiss until a car HORN disturbs them.

EVEYLYN’S POV:

From EVELYN’S POV, we look out of the open garage door and onto the front gate where a Rolls Royce is parked. JEFFREY MARSH, EVELYN’S husband, steps out of the car and walks toward the house.

EVELYN

Oh my god its him. I’ve got to go.

BACK TO SCENE:

EVELYN sits up in the driver’s seat to check her lipstick in the center rear view mirror of the car. She steps out of the car and turns to JAMES.

EVELYN

Its not as bad as I made it out to be.

EVELYN walks off to join her husband. JAMES slides over to the driver’s seat as he watches the couple meet out in the yard.

JAMES’ POV:

Through JAMES’ POV, we watch EVELYN extend her arms out as she greets her husband JEFFREY. A CHAUFFER walks by them carrying suitcases.

EVELYN

Jeffery darling how was your trip?

JEFFREY

Fine, fine.

BACK TO SCENE:

JAMES quietly stews in the driver’s seat as he watches the couple meet.

MUSIC ENDS: THE BOOKHOUSE BOYS (2:32 - 3:24)

FADE OUT:

FADE IN:

EXT. THE GREAT NORTHERN - DAY

MUSIC: AUDREY’S DANCE

An establish shot. Under a gray cloudy sky, we view the hotel perched near the edge of a cliff.

CUT TO:

INT. THE GREAT NORTHERN - DAY

AUDREY HORNE leans back against a wall in a corner of the hallway. BOBBY BRIGGS, dressed in a suit and carrying the leather camera case, walks into the corridor holding a manila envelope. BOBBY doesn’t notice AUDREY as he walks up the hallway. AUDREY quickly walks up behind him, moves around his right side (BOBBY looks over his left shoulder as he hears footsteps) and faces BOBBY.

AUDREY

(big smile) Well look who’s here. Did daddy have a change of heart?

BOBBY

Daddy just made the smartest decision that he’s made all year.

AUDREY

Oh yeah, that doesn’t say much. What’d he do?

BOBBY

He put me on the pay roll.

AUDREY slyly laughs as she playfully jabs BOBBY at his ribs.

AUDREY

Bobby, you junior achiever you.

AUDREY tugs at BOBBY’S arm. BOBBY stops walking, turns to AUDREY and holds before her the manila envelope he’s been carrying.

BOBBY

And uh this right here (manila envelope) this is my first assignment.

AUDREY

Ah, anything I can help you with?

AUDREY reaches out for the manila envelope but BOBBY whips it out of her reach and holds it behind his back.

MUSIC: CHERRY STEM KNOT

63K

BOBBY

Maybe. Maybe you could help me celebrate ...

BOBBY touches AUDREY’S cheek.

BOBBY

... after I show this to the boss.

BOBBY shows AUDREY the envelope again.

AUDREY

Want to know what I think Bobby Briggs?

She reaches out for the envelope and BOBBY quickly slips it behind his back again.

BOBBY

Tell.

AUDREY grabs BOBBY’S suit collar.

AUDREY

I think ... that we should think ... about doing ... business ... together.

BOBBY moves his head towards AUDREY for a kiss but AUDREY moves aside. Missing the kiss and with his head bowed, BOBBY chuckles and then lifts his head back up. He points at AUDREY.

BOBBY

Audrey, I like the way you think.

BOBBY walks off.

AUDREY

Thank you.

MUSIC ENDS: CHERRY STEM KNOT

63K

We FOCUS on BOBBY as he walks up to the double doors of BENJAMIN HORNE’S office, opens the door and enters.

Right behind BOBBY, but unbeknownst to him, AUDREY opens a secret door, just to the side wall of the double doors to BEN’S office, by pulling a ring in bedded in the wall. She squats down and enters the space between the walls.

CUT TO:

INT. BENJAMIN HORNE’S OFFICE - DAY

On top of BENJAMIN’S desk, in the center of the office, is a model of a hill complete with small trees and vegetation. A confederate flag on a flagpole stands next to the desk. From the top of the model hill, smoke billows up into the air. BOBBY walks into the office and up to the model.

BOBBY

Hey Mr. Horne, how’s it going?

BENJAMIN sits up from behind the model and places a tiny half-inch tall confederate soldier on the top of the hill on the model. Smoking a cigar, BEN is dressed in the gray uniform of a confederate soldier.

BOBBY

What uh ... is this that you’re doing here exactly?

BENJAMIN

Gettysburg, day one. The South is winning.

BOBBY

I followed Hank. I got those pictures you wanted.

BOBBY extends the manila envelope to BEN. BEN smiles as he puts a small bottle of glue and his cigar down and grabs the envelope. BEN opens the envelope and pulls out several large 8.5 inch by 11 inch photographs.

BOBBY

You see, I - I don’t know what he’s up to but I’m sure its no good.

CUT TO:

INT. AUDREY’S SECRET SPY HOLE - DAY

Standing in a small space within the walls between the hallway and BEN’S office, AUDREY looks through a small knot hole into BEN’S office and listens to BEN’S conversation.

BOBBY (OFF SCREEN)

I mean I’ve never seen these guys before (jokingly) but there not exactly from the rotary. You know what I mean?

AUDREY’S POV:

From AUDREY’S POV looking through the knot hole in the office wall, we see BENJAMIN standing next to BOBBY as they look through the photographs.

BENJAMIN

I like you Bobby.

BOBBY

Well I - I like you too.

BENJAMIN

How much am I paying you?

BACK TO SCENE:

We FOCUS on AUDREY as she stands close to the wall looking through the small knot hole into the office and listening in on BEN’S conversation.

BOBBY (OFF SCREEN)

Uh well - well we haven’t actually discussed money.

AUDREY’S POV:

From AUDREY’S POV looking through the knot hole in the wall, we see BENJAMIN reach into his confederate uniform jacket pocket and pull out a wad of cash. BEN passes several bills to BOBBY.

BENJAMIN

Uh huh, well consider this your first raise. Now you come back tomorrow and we will discuss a full time position.

BEN salutes BOBBY and then returns to looking at the photographs. Elated, BOBBY smiles and pats BEN on the back.

BOBBY

Thank you. Ben, I won’t let you down.

BOBBY walks off.

MUSIC ENDS: AUDREY’S DANCE

BACK TO SCENE:

We FOCUS on AUDREY as she replaces a board over the small knot hole. BEN whistles a confederate tune, ‘Dixieland’, in his office.

CUT TO:

INT. BLUE PINE LODGE - DAY

PETE MARTELL, wearing a dark blue robe, and CATHERINE MARTELL, wearing a fine white lace robe, are seated across from each other at the dining room table. PETE opens a bottle of champagne and the cork pops off and ricochets off the ceiling.

CATHERINE

Ooh.

PETE

Nectar of the gods my dear.

PETE pours the champagne into tall, thin champagne glasses. CATHERINE smiles lovingly at PETE. They both stare into each other’s eyes. CATHERINE lifts her glass to her lips. PETE holds his glass up to CATHERINE.

PETE

Its the bubbles.

CATHERINE abstains from drinking as she listens to PETE recite ...

PETE

Wine comes in at the mouth. Love comes in at the eye. I touch my glass to my lips. I look at you and sigh.

CATHERINE

(smiling brightly) Thank you Pete. That’s very lyrical.

PETE

Its Yates.

CATHERINE downs her glass of champagne.

PETE

He’s a poet.

CATHERINE

Yes, I know.

PETE

The only other toast I know was a limerick.

CATHERINE fills her empty glass.

CATHERINE

No really, really Pete that was very touch- ...

PETE

There once was a lady from Galloway. Who ...

CATHERINE quickly cuts him off ...

CATHERINE

Josie!

MUSIC: PACKARD THEME

31K

In the nearby kitchen, JOSIE PACKARD, dressed in a maid’s outfit, stops her work as she prepares the meal and walks over to the dining room table.

JOSIE

Yes.

CATHERINE

We’ll have our appetizers now.

Buzzed from the champagne, PETE smiles contently.

JOSIE

Yes.

CATHERINE

Oh Josie, I just want you to know that even though your station in this household has changed I intend to show you all the respect and affection that you deserve.

JOSIE

Thank you Catherine ... and I’ll try to do the same.

JOSIE turns around to return to the kitchen.

CATHERINE

Oh and put on your little maid’s cap.

JOSIE turns to face CATHERINE, grabs her little maid’s cap off of the corner of the kitchen island counter and places it on her head. Before she returns to the kitchen, JOSIE smirks with a tilt to her head that shifts her maid’s cap.

PETE

Catherine, don’t you think maybe you’re being a little hard on her? I mean she is still part of the family.

CATHERINE

Josie had a hand in Andrew’s death and she did everything in her power to destroy me. She’s lucky she not hanging from a tree.

PETE

(shrugs) I don’t believe it. Not the Josie I know.

PETE stares into the bottom of his glass. CATHERINE lifts her glass up.

CATHERINE

I would like to propose a toast to Ben Horne’s double cross, here’s to Josie Packard’s dirty deeds and here’s to the woman who brought them down. Here’s to me.

PETE and CATHERINE touch glasses for the toast.

PETE

Here’s to you Poodle.

The two drink from their champagne glasses.

MUSIC ENDS: PACKARD THEME

31K

CUT TO:

INT. DALE COOPER’S HOTEL ROOM - DAY

MUSIC: LOVE THEME FROM TWIN PEAKS

CLOSE ON: COOPER’S LIPS

We FOCUS on a CLOSE-UP of COOPER’S lips as he speaks.

COOPER

Diane I’m holding in my hand a nationally distributed newspaper.

COOPER’S POV:

Through COOPER’S POV, we FOCUS on a CLOSE-UP on the personnel section of a newspaper.

... witnessing the assault at Hec-
tor’s Burrito Heaven last night, please
Call 555-8905
______________________________________

ADVENTURE SEEKERS
MY JUNK
YOUR TREASURE
______________________________________

EARLE: P to Q4
______________________________________

LOOKING FOR PEN-PAL
The service has me stationed someplace
in the middle of nowhere. And it gets
a little lonely out here. Not much
for scenery just a lot of white stuff.
I’M IN MIDDLE 20’S
BLACK HAIR, HAZEL EYES
HEIGHT - 5'5" - WEIGHT - 115lbs.
MEASUREMENTS - 43-32-38
OH BY THE WAY I’M A FEMALE
______________________________________

TELEMARKETING
...

COOPER

My opening move responding to Windom Earle’s opening move was ...

BACK TO SCENE:

We FOCUS on COOPER sitting on his bed as he speaks into his mini-tape recorder.

COOPER

... printed in the personal columns per my instructions, but I’ve already received his response to this ... yesterday. He anticipated my response to his opening move perfectly. He’s toying with my Diane. I wonder where he is, what he’s planning. Meanwhile I’ve spent the past two days without badge and gun the best way I know how; occupying both body and spirit. Looked into some real estate, what the local agent charitably refers to as a fixer upper. None the less its the kind of place where a man might make a home, raise a family. Which is something, in spite of my past, I still hope I’m able to do. However, as is the case here in Twin Peaks, even this bucolic hideaway is filled with secrets. Secrets that may be connected to my trouble at the bureau and the cocaine that was found in my automobile. Agent Hardy’s deliberations will soon be completed and if I’m not adequately able to defend myself there’s a very real possibility of imprisonment.

COOPER stops recording.

COOPER’ POV:

Through COOPER’S POV, we FOCUS on a CLOSE-UP of COOPER’S hands as he holds his mini-tape recorder in his left hand and a Bookhouse Boy’s patch, a round white patch with a pine tree and sword overlapping each other, in his right hand.

BACK TO SCENE:

There’s a KNOCK at the door. Sitting near the nightstand at the head of his bed, COOPER stands up to answer the door. He puts his mini-tape recorder in his flannel shirt pocket. COOPER opens the door to reveal AUDREY carrying a manila envelope.

AUDREY

Hello Agent Cooper.

COOPER

Audrey?

AUDREY walks inside. COOPER closes the door and walks up to her.

AUDREY

This is for you. I stole it.

COOPER

Don’t you think you better give it back?

AUDREY

Not until you look at what’s inside.

COOPER smiles.

COOPER

Okay.

He grabs the manila envelope from AUDREY.

COOPER

What am I going to find in here Audrey?

AUDREY

Pictures my father paid for.

COOPER opens the envelope and pulls out several large black and white photographs.

COOPER’S POV:

Through COOPER’S POV we FOCUS on a CLOSE-UP of the black and white photographs. The photograph is taken from outside the Dead Dog Farm house where a group of four men, ERNIE NILES, HANK JENNINGS, RMCP PRESTON KING, and JEAN RENAULT, huddle together in a meeting. COOPER flips to the next photograph which is a zoom in shot of the meeting.

BACK TO SCENE:

AUDREY

(starring at COOPER) I did good didn’t I?

COOPER

Audrey, you did better than good. (looks at AUDREY) You may have saved my life.

MUSIC: AUDREY’S DANCE

AUDREY brightens with a smile.

AUDREY

Good.

AUDREY takes a seat on a chair near the window.

AUDREY

So that’s makes us even now right?

There’s a knock at the door. COOPER moves over to the door to answer it. He opens the door to reveal DEA SPECIAL AGENT DENISE BRYSON, wearing a dark suit jacket and a skirt, standing in the hall.

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS

COOPER

Denise.

DENISE

Hi Coop.

COOPER

Come in.

COOPER hugs DENISE in the doorway. AUDREY stares in shock at the exchange between the two.

DENISE walks inside and COOPER closes the door. Surprised, off guard and even slightly jealous AUDREY asks ...

AUDREY

Sorry, am I interrupting something?

COOPER introduces DENISE to AUDREY ...

COOPER

Special Agent Denise Bryson, Drug Enforcement Agency. (gestures to AUDREY) This is a very good friend of mine, Audrey Horne.

AUDREY rises from her chair and walks over to DENISE. DENISE offers a hand to shake in greeting. AUDREY shakes hands with DENISE.

AUDREY

They have women agents?

DENISE

More or less.

AUDREY stares at DENISE in admiration. COOPER, standing next to DENISE, smiles at the reaction of the two.

COOPER

Audrey if you’ll excuse us, agency business.

AUDREY

I - I thought you were suspended?

COOPER

I am. Thanks again, good night.

AUDREY puts her hands on her hips as she continues to look at DENISE in awe. DENISE responds in kind, with hands at hips.

AUDREY

(smiling, giddy) Thank you. Well - well you’re welcome.

MUSIC: HAPPY THOUGHTS

18K

MUSIC ENDS: AUDREY’S DANCE

AUDREY walks up to COOPER, puts her hands on his shoulders and kisses him on the lips. She then quickly scampers to the door and lets herself out, taking a peak back into the room, with a smile on her face, as she closes the door.

MUSIC ENDS: HAPPY THOUGHTS

18K

Hiding a chuckle, DENISE smiles at COOPER as he composes himself and gathers his thoughts.

COOPER

Here are photographs of an abandoned property on the outskirts of town.

COOPER’S POV:

Through COOPER’S POV we FOCUS on a CLOSE-UP of the black and white photographs AUDREY gave him. COOPER points to the individuals in the photograph as he names them off to DENISE.

COOPER

Jean Renault, Hank Jennings, Norma Jennings' stepfather and Sargent King Mounted Police. They were at the scene earlier today.

BACK TO SCENE:

As DENISE looks at the photographs, COOPER reaches over to the top of a dresser for the plastic envelope filled with the cocaine evidence he found at Dead Dog Farm. COOPER holds the plastic envelope in front of him as he explains ...

COOPER

In the kitchen I found traces of cocaine in a baby laxative used to step it out. I think if you compare this which is taken from the farm with the stuff found from my automobile you find it to be a match.

DENISE grabs the plastic envelope, looks it over and turns to COOPER.

DENISE

That’s good news Coop.

COOPER

Yeah.

DENISE

Now can we talk about something more important?

MUSIC: DANCE OF THE DREAM MAN (W/O SAX)

DENISE

Exactly how old is that girl?

COOPER grabs DENISE’S left arm and leads to the door.

COOPER

Denise, I would assume you were no longer interested in girls?

COOPER opens the door.

DENISE

Coop I may be wearing a dress ... but I still put my panties on one leg at a time.

Standing near the open door, DENISE cups COOPER’S neck with a left hand.

DENISE

If you know what I mean.

DENISE walks out of the room.

COOPER

Not really.

COOPER closes the door and shakes his head at DENISE’S odd remark.

MUSIC ENDS: DANCE OF THE DREAM MAN (W/O SAX)

CUT TO:

INT. DOUBLE R DINER - DAY

We FOCUS on a plate of cherry pie as ‘BIG’ ED HURLEY, seated at the island counter, nudges at the pie with a fork.

NORMA

Are you going to eat that pie or just push it around?

We PAN UP, NORMA JENNINGS walks around BIG ED and enters the service area of the island counter. She leans against the counter across from BIG ED. BIG ED puts his fork down and smiles at NORMA.

BIG ED

I guess I ain’t all that hungry.

NORMA

Wanna talk about it?

BIG ED

Oh you don’t want to hear my problems.

BIG ED bows his head.

NORMA

We used to talk about everything. We can still talk Ed.

BIG ED looks back up at NORMA.

BIG ED

Remember when we were kids? All those plans we made.

MUSIC: TWIN PEAKS THEME

BIG ED

It was like uh ... we were just waiting for our lives to begin. Planning all that stuff that we’d do when we did. Somehow, life starts before you know it. Suddenly you’re half way through living and all those plans they just don’t mean a damn thing. Living my life Norma, I just don’t like it much.

NORMA slides her hand over to BIG ED’S hand and holds it.

MUSIC: HANK’S THEME

39K

MUSIC ENDS: TWIN PEAKS THEME

HANK’S POV:

From HANK JENNING’S POV at the end of the island counter near the kitchen and behind the large blending machine, we watch the exchange between NORMA and BIG ED.

NORMA

We can make new plans.

HANK holds his double-three domino in his left hand. NORMA walks away from BIG ED. HANK puts his domino in his pocket and walks off.

MUSIC ENDS: HANK’S THEME

39K

FADE OUT:

FADE IN:

EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT

An establish shot. We view the front of the sheriff’s department. SHERIFF TRUMAN’S police cruiser is parked in front.

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT

MUSIC: WINDOM EARLE’S THEME

RICHARD ‘DICK’ TREMAYNE enters the building shaking off a partially closed wet umbrella. LUCY sits at her station in the reception office. As she sees DICK enter, LUCY adjusts her hair. DICK peers into the reception area as he looks for ...

DICK

(smiles) Andrew.

DICK walks over to DEPUTY ANDY, who is standing just outside the door to the conference room. LUCY stands up, surprised that he walked right by her without acknowledgment, and looks herself over.

ANDY

What is it Dick?

DICK

May I have a word with you?

ANDY

Sure.

DICK looks back at LUCY and then turns to ANDY.

DICK

(whispers) I feel we may have a problem.

ANDY

What problem?

DICK and ANDY quietly whisper to each other.

DICK

Its our mutual friend Little Nicky.

ANDY

Yes?

MUSIC ENDS: WINDOM EARLE’S THEME

MUSIC: PARANOIA

DICK

How should I put this, well ...

CLOSE ON: LUCY

We FOCUS on LUCY as she bends to the open window of her reception office as she strains to overhear the conversation between DICK and ANDY.

DICK (OFF SCREEN)

... he’s ... he’s ... Andy I believe that Little Nicky, incredible as it may ...

BACK TO SCENE:

DICK

... seem, may in fact be the devil.

ANDY

The devil?

DICK

Or at the very least homicidal in the first degree. Andy we’ve got to find out what happened to his parents.

We ZOOM IN on DEPUTY ANDY.

SUPERIMPOSE: LITTLE NICKY AS DEVIL

We view a small image over the head of ANDY as he conjures up an image of LITTLE NICKY as the devil, with horns, a pitchfork and with flames around him.

MUSIC ENDS: PARANOIA

CUT TO:

INT. SHERIFF TRUMAN’S OFFICE - DAY

Carrying a manila folder, DR. HAYWARD walks through the open door of SHERIFF TRUMAN’S office. SHERIFF TRUMAN sits behind his desk. MAYOR MILFORD sits in a chair in front of TRUMAN’S desk.

DR. HAYWARD

I’ve got the uh autopsy report.

DR. HAYWARD bends down to the side MILFORD.

DR. HAYWARD

Dwayne, Dougie died of natural causes, heart attack. No evidence of foul play.

MAYOR MILFORD

Hmm-hmm, did you check him for witchcraft?

DR. HAYWARD

That’s uh not the kind of thing that shows up in an autopsy.

DR. HAYWARD stands up straight.

MAYOR MILFORD

I want to press charges.

SHERIFF TRUMAN

Now Dwayne you know I can’t press charges if there hasn’t been a crime.

MAYOR MILFORD

Well she ... killed him with sex.

DR. HAYWARD silently laughs.

MAYOR MILFORD

And uh ... how much clearer does it have to be?

SHERIFF TRUMAN

Dwayne its been a long, hard day why don’t you just go home and try to get some rest.

TRUMAN looks at DR. HAYWARD, who has covered his mouth to keep from laughing.

MAYOR MILFORD

You want me to go to sleep? Not until that ... murdering hussy is behind bars whe-where she belongs. I’ll sue her. I’ll - I’ll file ... civil suits. She’ll not get her hands on any of Dougie’s money ... as long as I have a breath. (stands up) Not one single red cent! Not ... not ...

MILFORD walks out of TRUMAN’S office and into the reception area.

MAYOR MILFORD

I’ll ... I’ll ...

MILFORD walks off without completing his thought. SHERIFF TRUMAN and DR. HAYWARD stand just outside TRUMAN’S office and watch MILFORD walk off. TRUMAN and DR. HAYWARD look at each other and smile over MILFORD’S amusing exchange.

At the next door to the left of TRUMAN’S office, DEPUTY HAWK stands in the doorway of the conference room with LANA, wearing a little black dress, standing behind him. HAWK asks ...

HAWK

Harry, do you still have that bottle of Irish in your office? I want to put some in a little warm milk for the widow Milford.

MUSIC: LANA’S THEME

51K

SHERIFF TRUMAN and DR. HAYWARD walk up to DEPUTY ANDY and DICK, who are still standing in the reception area. The four stand together and stare longingly at LANA. LUCY walks out of her reception office and up to the commotion to see what’s going on.

DICK

Oh she doth teach the torches to burn bright.

Seeing that the commotion if over LANA, LUCY rolls her eyes and walks back to her office.

DICK

It seems she hangs against the cheek of night like a rich jewel in an Ethiop’s ear.

GROUP

Beauty to rich for use. For Earth too dear.

HAWK turns to look at LANA, who beguilingly leans back against the doorframe. Unaware that she was there, HAWK gives the four in the reception area a dirty look. HAWK turns to LANA, nods at her, caresses her left arm and leads her back into the conference room.

The four continue to stand in the hall, entranced by LANA’S beauty.

DISSOLVE TO:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

As the last scene FADES OUT, we FADE IN to the next scene. LUCY walks around in the hall and peers into empty rooms. She walks into the deserted reception room and checks on the plants in the wall/planter divider. The telephone in LUCY’S reception office rings and LUCY walks to her office to answer it.

MUSIC ENDS: LANA’S THEME

51K

LUCY answers the telephone.

LUCY

Twin Peaks sheriff station this is Lucy speaking. (reply) One moment please.

LUCY presses a button to put the telephone call on hold and then presses another button to link to the intercom in SHERIFF TRUMAN’S office.

LUCY

Sheriff Truman. Sheriff?

LUCY gets no response. She moves to the building intercom microphone, depresses the switch three times (which makes an audible CLICKING sound over the speakers) and blows into the microphone.

INSERT: CLOSE-UP INTERCOM SPEAKER

We FOCUS on a CLOSE-UP of one of the intercom speakers in the building. Distortion rings from the speaker as LUCY blows on the microphone. LUCY’S voice emanates from the speaker.

LUCY (OFF SCREEN)

Sheriff Truman, Sheriff Truman you have a ...

INSERT: CONFERENCE ROOM

We FOCUS on the dark and empty conference room of the building as LUCY’S voice streams from the intercom.

LUCY (OFF SCREEN)

... telephone call, line three.

BACK TO SCENE:

LUCY turns the intercom microphone off. No one responds. She picks up the telephone, presses a button and relays ...

LUCY

One moment please.

LUCY pushes a button to put the call on hold and hangs up the receiver. She hears distant LAUGHTER.

LUCY

Hmm.

LUCY walks out of her office and up to the closed door to SHERIFF TRUMAN’S office. She leans her head to the door and listens to LANA’S voice.

LANA (OFF SCREEN)

And so then they hung them on the back.

LUCY opens the door to the sounds of laughter. LANA sits on the back corner of TRUMAN’S desk. DICK stands leaning over the front of the desk, DEPUTY HAWK stands behind LANA, SHERIFF TRUMAN sits in his chair behind his desk and DR. HAYWARD stands to the right of DICK at the front corner of the desk.

MUSIC: LANA’S THEME

51K

LANA

So wait it gets better. And then I said well what do you think underpants are for anyway?

The GROUP in the office break into laughter at the conclusion of LANA’S story.

DICK

Tell us another one, please Lana. One more.

LUCY becomes aghast at the site of DEPUTY ANDY sitting in a corner of the room. With his hands clumped together, ANDY stares at LANA with an enchanted yearning look on his face. ANDY stands up, grabs a pitcher of milk (sitting atop of TRUMAN’S desk), and fills a glass.

LANA

This one time I had this cousin who was a clown in this rodeo, you know, and they just had all these really big horses, you know, and you will not believe what they made him do.

GROUP

(several) What?

ANDY passes the glass of milk to LANA.

LANA

They made him, thank you.

LANA grabs the glass of milk and sets it down on the desk in front of her.

LANA

They made him stand in the middle and take his clown costume completely off.

Ignored and jealous, LUCY bites her lip, takes a step back out of the TRUMAN’S office and SLAMS the door shut.

MUSIC ENDS: LANA’S THEME

51K

CUT TO:

INT. DOUBLE R DINER - DAY

MUSIC: COUNTRY #3

52K

CLOSE ON: FLOOR NEAR ENTRANCE

We FOCUS on the red and white checkered floor near the front door to the diner. A WOMAN, wearing high heels and a skirt, enters the diner.

BACK TO SCENE:

Facing the diner entry, we FOCUS on ERNIE NILES as he sits alone at a booth eating fried chicken.

CLOSE ON: WOMAN’S FEET

We FOCUS on the WOMAN’S feet as she walks into the diner.

BACK TO SCENE:

Holding a drumstick in his hands, ERNIE looks up as he sees the WOMAN walking towards him.

CLOSE ON: WOMAN’S FEET

We FOCUS on the WOMAN’S feet as she walks next to and then stops at ERNIE’S booth.

BACK TO SCENE:

We FOCUS on the face of the WOMAN standing next to ERNIE’S booth - it is AGENT DENISE. DENISE takes a seat opposite ERNIE at his booth. Puzzled, ERNIE looks around the diner and then asks ...

ERNIE

Can I help you?

Sitting cross-legged on the corner of the bench seat, DENISE holds up the black and white photographs received from COOPER.

DENISE

Mr. Niles I don’t want to put the squeeze on you.

DENISE places the pictures on the table and slides them over to ERNIE.

DENISE

You’ve been to prison. I don’t need to paint you any pictures.

DENISE flashes a DEA badge. ERNIE picks the photographs up and looks at them.

ERNIE

What’s this all about?

DENISE

For starters, you’re guilty of a serious parole violation.

DENISE grabs a compact mirror from the purse, opens the compact mirror and looks into it.

DENISE

Ah.

DENISE grabs a lipstick from the purse.

DENISE

Enough to put you back inside.

DENISE applies lipstick and continues to add ...

DENISE

Now unless you cooperate I intend to do everything in my power to (finished with lipstick, smiles) make sure you stay there.

MUSIC ENDS: COUNTRY #3

52K

CUT TO:

INT. DALE COOPER’S HOTEL ROOM - NIGHT

A fierce rain storm causes the lights to flicker and the room goes dark momentarily as blue lightning, which flashes the interior as thunder rumbles, disrupts the power service. We FOCUS on a CLOSE-UP of ERNIE’S face as he confesses ...

ERNIE

My name is Ernie Niles and I confess. I’m guilty.

The room grows dark as another bolt of lightning disrupts the power and flashes the room with blue light. Thunder pounds outside and power returns to the interior.

ERNIE

I guess I’m terribly guilty. Against my will of course.

Again the room becomes dark and lightning washes blue light into the room. Thunder rumbles outside. The interior lights return.

DENISE (OFF SCREEN)

Mr. Niles were not really interested in all that ...

We slowly ZOOM OUT and PAN RIGHT.

ERNIE

They held me at gun point. They beat me. They threatened me with physical violence. These men are animals they’ll stop at nothing.

COOPER stands next to the left of ERNIE. Bright blue lightning flashes outside.

COOPER

Mr. Niles just ...

ERNIE

They wanted me to sell drugs for them. I tried to resist but my family means everything to me.

The room becomes dark. Thunder rumbles and lightning flashes from the window. The lights in the room return. We slowly ZOOM OUT further.

ERNIE

They threatened my family and when they threatened my wife well I weakened you know. Look I’m terribly terribly sorry. I guess I did wrong but love ... love makes a guy do foolish things, you know, illegal things.

ERNIE is sitting on a chair near the foot of the bed. DENISE sits on the log wood bed railing at the foot of the bed next to the right of ERNIE. COOPER sits on the corner of a short dresser.

DENISE

Ernie Ernie Ernie, will you shut up.

With the sound of pouring rain outside, the lights go out as lightning once again disrupts the power momentarily.

COOPER

Mr. Niles we appreciate the trials you’ve been through. We sympathize with you.

ERNIE

You do?

COOPER

That’s why we’re here.

ERNIE

Oh - oh you are?

DENISE puts a hand on ERNIE’S right shoulder.

DENISE

Yes, now tell us everything you know.

The lights go out and then return again as they are disrupted by a bright flash of lightning followed by crashing thunder.

ERNIE

Yes Mrs. uh ... well they tortured me and the thing was that they’re filthy, horrible, disgusting ...

DENISE shrugs in disappointment. The lights briefly dim. Lightning flashes in the window.

COOPER

Mr. Niles please, just the information pertaining to the selling of drugs if you please.

ERNIE

Oh that yeah, yeah well they got uhm ... 4 kilos of cocaine to sell so uh ... they’re looking for a buyer.

The intense storm darkens the room once more. Bright blue light illuminates the interior and a loud boom of thunder roars. After a short duration in the dark, the lights return to normal.

ERNIE

So to protect my family I uh told them I’d go find one.

COOPER

Have you?

ERNIE

Oh me (laughs) are you kidding I don’t know anybody that would do anything like that.

ERNIE cowers in his seat. DENISE reaches out and picks up ERNIE’S right hand.

DENISE

You do now.

Another close bolt of lightning shuts the power down and flashes the interior. After a quake of thunder, the power returns.

DENISE caresses ERNIE’S hand. ERNIE stares nervously at his hand and at DENISE.

DENISE

A major drug trafficker will arrive from Seattle tomorrow.

COOPER stands up and paces the floor behind ERNIE.

DENISE

You will set up a meet with these men at the Dead Dog Farm.

ERNIE

I will? How will I uh ...

The lights momentarily go out. Lightning flashes and thunder growls.

ERNIE

... how will I know him?

COOPER stops and looks at DENISE’S and ERNIE’S reaction.

DENISE

You’re looking at him.

ERNIE jerks his hand out of DENISE’S grasp and looks at DENISE’S dress.

ERNIE

Him?

DENISE pats ERNIE on the right shoulder. ERNIE’S reaction generates a smile on DENISE’S face. ERNIE stands up.

ERNIE

Excuse me, I’ve got a nervous bladder.

COOPER watches ERNIE walk off to the bathroom.

CUT TO:

INT. MARSH RESIDENCE SERVANT’S QUARTERS - NIGHT

JAMES’S POV:

Through JAMES’S POV we FOCUS on a CLOSE-UP of the window looking outside towards the Marsh’s residence. Rain splatters the window and lightning flashes outside. JEFFREY’S voice can be heard shouting from inside the Marsh’s residence.

JEFFREY (OFF SCREEN)

The Jag why! Why!

BACK TO SCENE:

We FOCUS on JAMES as he lies awake in bed looking out the window. Lightning flashes the interior and thunder crackles. JAMES turns on the bedside lamp, gets out of bed and walks over to the window.

JEFFREY (OFF SCREEN)

Why would you drive it! Its a stick for Christ’s sake!

EVELYN shouts back at JEFFREY.

JEFFREY (OFF SCREEN)

You could of driven it then!

Lightning flashes blue light through the window.

JEFFREY (OFF SCREEN)

You could of driven it then!

An object can be heard SHATTERING inside the Marsh’s residence.

MUSIC: SHORT ON TIME

78K

JAMES’S POV:

Through JAMES’S POV we FOCUS on a CLOSE-UP of the window looking outside towards the Marsh’s residence. As it pours outside, JEFFREY’S voice can be heard shouting from inside the Marsh’s residence.

JEFFREY (OFF SCREEN)

Its a challenge for you!

BACK TO SCENE:

We FOCUS on the door to JAMES’S room as it opens and MALCOLM steps inside carrying a glass half-filled with liquor. JEFFREY’S voice can still be heard shouting from the Marsh’s residence. MALCOLM looks towards the window where JAMES is standing.

JEFFREY (OFF SCREEN)

You know something ...

Lightning flashes the room with blue light. JAMES turns to MALCOLM.

JAMES

Is she gonna be okay?

MALCOLM

The first time he beat her I swore revenge, something violent and noble.

Standing in the doorway, MALCOLM looks back into the other room.

MALCOLM

She beg me not to hurt him, made me promise, said it was for both our sakes.

MALCOLM leans on the door jamb and looks back at JAMES.

MALCOLM

That was four years ago. One day I’ll swear I’ll kill him. No matter what it costs.

MALCOLM turns around and walks off. JAMES watches him leave and then turns to face the window just as a very bright flash of lightning illuminates the room.

MUSIC ENDS: SHORT ON TIME

78K

CUT TO:

EXT. BRIGGS HOUSE - NIGHT

An establish shot. In the pouring rain, we view the front of the house with a flag pole in the front yard.

CUT TO:

INT. BRIGGS HOUSE - NIGHT

Situated in the dark interior of the living room, we FOCUS on a window far at the end of the dining room. A FIGURE sits in the dark on a couch in the living room. Lightning flashes outside and illuminates the interior as the front door, to the left, opens. BOBBY walks into the house and across the room. The FIGURE watches BOBBY enter and moves to turn on a nearby lamp. Spooked, BOBBY jumps slightly and turns to see his mother, ELIZABETH BRIGGS, wearing a light blue robe, sitting on the couch.

BOBBY

Geez Ma give me a heart attack.

The base of the lamp, on top of the endtable next to ELIZABETH, is a large ceramic white owl.

ELIZABETH

I’m sorry.

BOBBY

What are you doing here sitting alone in the dark?

BOBBY places his car keys on a nearby table. He walks up to his mother and brushes his hair back with both hands.

ELIZABETH

Nothing, just sitting here.

BOBBY squats down and kneels just to the side of, but facing, his mother.

BOBBY

Well read a book or something mom, its creepy.

Holding a Kleenex tissue in her hands, ELIZABETH tries to hold a smile but she bows her head and lets out a whimper.

BOBBY

(concerned) Its dad right?

ELIZABETH quietly nods for yes. Thunder crackles for an extend time.

BOBBY

He’ll be back. You know he will. This is just some of that top secret jazz.

ELIZABETH

I’m not so sure this time.

BOBBY reaches into his shirt pocket and grabs a packet of cigarettes. He quickly jerks the packet in his hands to dispel a cigarette that he grabs with his lips.

ELIZABETH looks out towards the window in the dining room as lightning flashes and thunder loudly rattles nearby.

BOBBY grabs his lighter and, with a flick of the wrist, opens it. He lights his cigarette and holds it aside.

BOBBY

I was at the Double R a couple of weeks ago, Dad and I, we ... had this talk ...

MUSIC: VISION OF YOU

BOBBY

... about this dream he had. It was a big house made of white marble and lots of lights. Dad was there and I was there too.

ELIZABETH smiles as she listens to BOBBY’S recall of the dream.

BOBBY

Living a life of deep harmony and joy, or something like that, and there was all this stuff about my future, good stuff.

The room goes dark as a bolt of lightning interferes with the power service. Bright blue light flashes the dark interior. With the rumble of thunder the lights return.

BOBBY

Kinda’ nuts ... but I think he’s cool.

ELIZABETH

Your father is an extraordinary human being.

BOBBY takes a drag on his cigarette.

BOBBY

My father is a deeply weird individual, but he has a lot more going ...

BOBBY taps the side of his head.

BOBBY

... on in his head than most people that’s for sure.

ELIZABETH peers up as she recounts ...

ELIZABETH

Sometimes when I’m sleeping ... he runs his fingers through my hair ...

Lightning flashes outside and thunder rustles. BOBBY reaches out and holds his mother’s left hand. ELIZABETH becomes upset and lets out a small cry as she recounts the memory of her husband.

ELIZABETH

... and he thinks I don’t notice that.

The lights go out. Thunder crackles as a bright flash of blue light from a bolt of lightning illuminates the interior. ELIZABETH looks to her left, into the dining room, and is stunned by the sight of a FIGURE standing in the dark. Noting her reaction, BOBBY turns to look over his shoulder.

Another bolt of lightning brightens the dark interior and illuminates the FIGURE - its MAJOR GARLAND BRIGGS, dressed in a World War II aviator outfit.

MAJOR BRIGGS

How long have I been gone?

ELIZABETH

Two days.

MAJOR BRIGGS

Strange, it seemed much shorter.

The lights return as power is restored. MAJOR BRIGGS removes the aviator cap and a white scarf around his neck. ELIZABETH jumps up from her seat and rushes over to hug MAJOR BRIGGS. The two embrace each other. MAJOR BRIGGS kisses her cheek.

ELIZABETH

Garland oh!

Stunned, BOBBY stands up. The lights flicker along with a crack of thunder. MAJOR BRIGGS looks at BOBBY.

MAJOR BRIGGS

Bobby I want you to put out that cigarette.

BOBBY looks at the cigarette he holds in his left hand. He quickly turns around and puts it out into an ash tray on the coffee table. Wide-eyed, BOBBY walks up to his dad.

MAJOR BRIGGS

Then I’d like you to fix me a cocktail. A strong one if you don’t mind.

BOBBY

Sure dad.

BOBBY walks off to fetch the drink. MAJOR BRIGGS and ELIZABETH still hold each other. They kiss. Lightning flashes.

ELIZABETH

Is everything alright?

MUSIC ENDS: VISION OF YOU

The lights flicker and then go out as thunder rattles the house.

MUSIC: NIGHT LIFE IN TWIN PEAKS

MAJOR BRIGGS

No dear, not exactly.

As lightning flashes the interior, MAJOR BRIGGS and ELIZABETH hold onto each other in the dark.

CUT TO:

EXT. STORMY SKY - NIGHT

We FOCUS up on the stormy sky as dark billowy clouds float by with streaks of blue lightning bolts jutting out with rumbling thunder.

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS

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: