Episode 20 - Checkmate
FADE IN:
INT. LOG LADY’S CABIN - DAY
MUSIC: CALL OF THE BLACK LODGE
272K
As she speaks directly to us, the ‘LOG LADY’ MARGARET LANTERMEN holds her wooden log in her arms like a baby.
LOG LADY
My husband died in a fire. No one can know my sorrow. My love is gone. Yet, I feel him near me. Sometimes I can almost see him. At night when the wind blows, I think of what he might have been. Again I wonder: why? When I see a fire, I feel my anger rising. This was not a friendly fire. This was not a forest fire. It was a fire in the woods. This is all I am permitted to say.
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. STARRY SKY - NIGHT
We FOCUS UP at the multitude of stars in the night sky.
VOICE (OFF SCREEN)
SOUND EFFECT: SPIRIT PRESENCE RINGING 4K
A comet-like object streaks straight down from the sky overhead. Three bright yellow triangles assembled together, to form a mark similar to the radiation hazard emblem, spin as one object as it rapidly descends.
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING 4K
CUT TO:
CLOSE-UP EXPLOSION - NIGHT
The assembled triangle object EXPLODES into a ROARING wall of fire.
DISSOLVE TO:
EXT. WHITE LODGE - DAY
The wall of fire FADES OUT as the next scene FADES IN. Surrounded by the lush vegetation of a forest paradise, MAJOR GARLAND BRIGGS, wearing his military uniform, sits on a stone carved throne that is partially covered with vines. We SLOWLY ZOOM IN on the face of MAJOR BRIGGS.
MAJOR BRIGGS
I remember stepping from the flames, a vague shape in the dark, then nothing. Till I found myself standing by the cold remains of our campfire, two days later.
DR. HAYWARD (OFF SCREEN)
(distorted speech) Major, there are some new techniques that might help us break through your amnesia.
MAJOR BRIGGS
My memories are immune from regression uh ... I can feel them: palatable, the smells, the sensation. Everything is known to me yet somehow beyond my reach.
COOPER (OFF SCREEN)
(distorted speech) Do you remember anything else?
MAJOR BRIGGS
Very little, save for one disturbing image of ... a giant owl, vervasive.
COOPER (OFF SCREEN)
SOUND EFFECT: LION ROAR
WHITE OUT TO: CLOSE-UP OWL
We FOCUS on a CLOSE-UP of an inversed image of an owl as it flaps its wings.
WHITE OUT TO: CLOSE-UP SCAR
We FOCUS on a CLOSE-UP on the back of MAJOR BRIGGS' neck. Behind his ear is a reddish-brown scar of three triangles joined at one point, similar to the object that crashed from the night sky.
WHITE OUT TO: CLOSE-UP POLAROID FLASH
We FOCUS on a CLOSE-UP on the flash of a Polaroid camera as it activates.
CUT TO:
INT. SHERIFF’S DEPARTMENT CONFERENCE ROOM - DAY
SOUND EFFECT: MUSICAL SHRIEK 8K
We FOCUS on a CLOSE-UP on the face of MAJOR BRIGGS. We ZOOM OUT.
COOPER (OFF SCREEN)
MAJOR BRIGGS
Enough to cloud my mind and memory.
MAJOR BRIGGS, wearing his military uniform, is seated at the end of the long conference table with his hat lying on the table before him. With a chalk sketch of the map of the town of Twin Peaks as a backdrop on a blackboard, MAJOR BRIGGS nervously twiddles with his hands and stares off into the distance as he attempts to recall his incident. DALE COOPER, wearing a flannel shirt and khakis, stands to the left of MAJOR BRIGGS and DR. WILL HAYWARD, holding a Polaroid camera and a developing photograph, stands to the right of MAJOR BRIGGS. DR. HAYWARD walks over to COOPER and hands him the photograph.
DR. HAYWARD
Three triangular scars behind the right ear in perfect proportion.
DR. HAYWARD places the camera down on the corner of the table. COOPER puts the photograph on the table. Next to COOPER, SHERIFF HARRY S. TRUMAN sits on the edge of the tabletop.
SHERIFF TRUMAN
Major Briggs, exactly what does your work involve?
COOPER sits down at the table and leans over crossed arms to MAJOR BRIGGS.
MAJOR BRIGGS
That information ... as I’ve repeated innocently to myself, classified. Keeping secrets ... means less meaningful to me now.
MAJOR BRIGGS becomes more animated as he speaks with his hands.
MAJOR BRIGGS
Perhaps there are sources of information that’s no longer important, that can transcend the need to conspire. Information of such weight that pertains not ...
MAJOR BRIGGS trembles, touches the tabletop using the index and pinky fingers on his left hand and looks at COOPER.
MAJOR BRIGGS
... oh god ... is this meant for the soul ... my soul?
Puzzled, TRUMAN stares at MAJOR BRIGGS. COOPER looks down at the table in contemplation. Still trembling slightly, MAJOR BRIGGS rubs his hands together.
COOPER
Major, perhaps you better start back at the beginning?
MAJOR BRIGGS
Are you familiar with project Blue Book?
COOPER
Yes sir I am, the Air Force investigation into the phenomena of unidentified flying objects.
MAJOR BRIGGS
Officially it disbanded in 1969, but there are those of us who ... continue an unofficial capacity, examining the heavens as before. In the case of Twin Peaks the Earth below.
MAJOR BRIGGS gestures downward with his left hand. COOPER and TRUMAN look at each other, exchanging awareness from the information revealed by MAJOR BRIGGS.
MAJOR BRIGGS
We are searching for a place called the white lodge ...
MAJOR BRIGGS stops short of his thought as the door to conference room opens. MAJOR BRIGGS sits quietly and upright as two military policemen, M.P. #1 and M.P. #2, walk into the room.
M.P. #1
MAJOR BRIGGS
SHERIFF TRUMAN
Now hold on just a minute fellows.
SHERIFF TRUMAN stands up, walks up to MAJOR BRIGGS and stands between him and the M.P.'S.
M.P. #1
SHERIFF TRUMAN
I don’t care what orders you got this is my station and Major Briggs happens to be a friend of mine ...
As a friendly gesture, SHERIFF TRUMAN rests a hand on MAJOR BRIGGS left shoulder. MAJOR BRIGGS pats TRUMAN'S wrist for restraint.
MAJOR BRIGGS
COOPER and MAJOR BRIGGS stand up.
MAJOR BRIGGS
I’m afraid we’ll will have to continue this discussion at a later date.
SHERIFF TRUMAN
Are you sure you want to go with them?
MAJOR BRIGGS
MAJOR BRIGGS pats TRUMAN'S left arm and then walks out of the room with the two M.P.'S. DR. HAYWARD and SHERIFF TRUMAN watch MAJOR BRIGGS leave. COOPER turns to the photograph lying on the table. TRUMAN and DR. HAYWARD turn toward the table and quietly look at each other before they turn their attention to COOPER as he picks up the photograph.
COOPER'S POV:
Through COOPER'S POV we FOCUS on a CLOSE-UP of a Polaroid photograph taken of MAJOR BRIGGS' neck. Behind the ear is a reddish-brown scar of three triangles joined at one point, similar to the emblem for a radiation hazard.
Drops of water fall onto the photograph.
CLOSE ON: COOPER'S FACE
We FOCUS on a CLOSE-UP of COOPER'S face as he looks up from the photograph and towards the ceiling.
INSERT: CLOSE-UP FIRE SPRINKLER
We FOCUS on a CLOSE-UP of a fire sprinkler on the ceiling as drops of water slowly leak and fall from sprinkler.
BACK TO SCENE:
We FOCUS on a WIDE SHOT of the interior of the conference room. Peering upward at the fire sprinkler, COOPER, SHERIFF TRUMAN and DR. HAYWARD all quietly move their heads to look at each other. COOPER returns his attention to the photograph and wipes the water drops off. Mystified, TRUMAN and DR. HAYWARD look at each other once more before they too look back at the photograph.
SOUND EFFECT: SPIRIT PRESENCE RINGING 4K
INSERT: CLOSE-UP FIRE SPRINKLER
We FOCUS on a tight CLOSE-UP of the fire sprinkler on the ceiling as water leaks out and drips off.
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING 4K
CUT TO:
INT. SHERIFF TRUMAN’S OFFICE - DAY
We FOCUS on a CLOSE-UP of a telephone perched on the edge of TRUMAN'S desk next to a plate laden with donuts. We ZOOM OUT. Sitting in a chair facing the phone, ERNIE NILES nervously reaches out for the phone but quickly pulls back. Standing by the window behind ERNIE, DEA AGENT DENISE BRYSON keeps an eye on ERNIE while using a finger nail file.
DENISE
Oh go ahead Ernie. It won’t bite.
ERNIE
A lot you know pal. These men are dangerous thugs. Not that I haven’t met plenty of their kind before. Jean Renault is a hard man but I’ve known men that would make him quiver.
From behind, DENISE walks up to ERNIE and pats his shoulders.
DENISE
Ernie, come on, make the call.
DENISE cradles ERNIE'S neck with a right hand. Annoyed, ERNIE wiggles out of DENISE'S grasp.
The door to SHERIFF TRUMAN'S office opens and COOPER pokes his head inside. Holding a cup of coffee, COOPER asks ...
COOPER
Well, have we set the buy yet?
DENISE
Trying to. Ernie’s a wee bit gun shy.
ERNIE
Gun shy! Ernie Nile’s is as bold as can be, let me at him.
ERNIE boldly picks up the receiver and punches the buttons with his index finger as he dials the phone number. COOPER steps into the room and closes the door behind himself. ERNIE cups the mouth of the receiver and cowers ...
ERNIE
Please, don’t make do this. This is suicide I know please I’m begging you please for everybody’s sake please.
COOPER
COOPER walks up to the desk next to ERNIE, lifts the plate of donuts up and takes a seat on the desktop where the plate of donuts was resting. COOPER picks up a donut from the top of the stack and is alarmed at the sight of a bite taken out of it. Holding the donut, COOPER glares at ERNIE.
ERNIE
Hello. (reply) May I speak to Jean Renault please.
COOPER puts the bitten donut back on the plate, grabs another donut and takes a bite. Still standing behind ERNIE, DENISE runs a hand through ERNIE'S hair. Irked, ERNIE flinches and squirms in his chair.
ERNIE
Hi Jean, yeah I’ve got that big out of town buy here.
With his mouth full, COOPER grins and gives ERNIE a big thumbs up sign.
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
Seated in her reception office, LUCY MORAN reads through the personal section of the newspaper. LUCY briefly looks up as she sees DEPUTY ANDY BRENNAN walk into the building.
ANDY
ANDY walks by LUCY'S reception window. As ANDY walks around the corner to his left he nearly bumps into RICHARD ‘DICK’ TREMAYNE. Dressed in an overcoat, DICK holds an index finger at his lips as a sign to be quiet and gestures to ANDY to follow him. DICK pulls the collar of his coat up to disguise himself as he walks past the reception office door. DICK leads ANDY into the locker room and closes the door for privacy.
MUSIC: AUDREY’S DANCE
DICK
(agitated whisper) Where have you been Andrew?
ANDY
There was a cat in a tree.
DICK
Police officer’s (rolls his eyes) work is never done. Fortunately for us my efforts have bore more palatable fruit. I paid the Happy Helping Hand Adoption Agency a visit where several blue haired ladies were only too happy to sup from my open palm. Unfortunately, Little Nicky’s records have been sealed and returned to the orphanage.
ANDY
We’ll never know what really happened to Little Nicky’s parents.
DICK
Oh courage Andrew, do not despair dear boy. Next stop, that self said orphanage and Little Nicky’s records within.
CLOSE ON: LUCY
We FOCUS on LUCY seated in her reception office. LUCY overhears.
ANDY (OFF SCREEN)
(muffled) Maybe we should tell Lucy.
DICK (OFF SCREEN)
(muffled) Absolutely not.
BACK TO SCENE:
We FOCUS on DICK and ANDY through the glass window of the closed door to the locker room.
DICK
Listen dear boy, this is strictly a man’s job. Ready?
DICK points the way out with a gesture using his gloves. ANDY and DICK walk off.
LUCY scampers out of her reception office and looks into the empty locker room through the glass window in the door. LUCY looks into the reception area and meets COOPER as he walks up to her.
COOPER
LUCY
COOPER signals to LUCY to come near as he bends down to fetch himself a cup of water from the water fountain.
COOPER
LUCY
I checked the personals columns and every national newspaper on the list and I didn’t see anything that looked like a chess deal or find any mention of the name Windom Earle. I’m sorry.
COOPER nods his head.
COOPER
COOPER walks off and LUCY returns to her reception office.
MUSIC ENDS: AUDREY’S DANCE
CUT TO:
EXT. DOUBLE R DINER - DAY
An establish shot. On a cloudy day, we view the front of the diner from a point across the street. An OLD MAN slowly walks by using a cane. A school bus drives by.
CUT TO:
INT. DOUBLE R DINER - DAY
MUSIC: COUNTRY #4
12K
Looking solemn, ‘BIG’ ED HURLEY sits alone in a booth of the diner. Holding a pot of coffee, NORMA JENNINGS, wearing a blue and white waitress uniform, walks up to BIG ED.
NORMA
BIG ED lifts his head up and smiles as he looks at NORMA.
BIG ED
BIG ED looks at his cup of coffee.
BIG ED'S POV:
Through BIG ED'S POV we FOCUS on a CLOSE-UP of the pot of coffee that NORMA is holding as she fills the coffee cup. We PAN UP NORMA'S outstretched arm and up to her smiling face and bright eyes.
BACK TO SCENE:
NORMA
Is everything alright Ed?
BIG ED smiles wide.
BIG ED
NORMA returns the smile.
BIG ED
BIG ED passes a five dollar bill to NORMA.
NORMA'S POV:
Through NORMA'S POV, NORMA peeks under the five dollar bill to reveal a note written on the back of the diner bill.
BACK TO SCENE:
NORMA looks up at BIG ED and smiles.
NORMA
BIG ED
For an extended moment the two stare longingly into each other eyes before NORMA walks off.
MUSIC ENDS: COUNTRY #4
12K
DISSOLVE TO:
INT. JOHNSON HOUSE - DAY
MUSIC: INVITATION TO LOVE
28K
The scene at the diner FADES OUT as the next scene FADES IN. In the incomplete kitchen of the house, BOBBY BRIGGS paces around the kitchen table drinking a beer. LEO JOHNSON, in a vegetable state with his head slumped to one side, sits in wheel chair next to the table as SHELLY JOHNSON, wearing an apron over a purple sweater, feeds him pudding. The television is on and the television program Invitation to Love can be heard in the background.
SHELLY
Come on Leo. That’s a good Leo.
ANNOUNCER (OFF SCREEN)
(television) Each day brings a new beginning and every hour ...
Splattering SHELLY and the table, LEO spits a spoonful of pudding into the air.
SHELLY
SHELLY slams the bowl of pudding on the table. Unconcerned, BOBBY grabs a newspaper and takes a seat at the table.
ANNOUNCER (OFF SCREEN)
(television) ... brings a promise of an ...
SHELLY
It was your turn to feed him Bobby.
SHELLY grabs a dishrag and wipes the pudding from her face, arms and apron.
ANNOUNCER (OFF SCREEN)
(television) ... invitation to love.
BOBBY
SHELLY
SHELLY slams the dishrag on top of the table. BOBBY looks up from his newspaper and over to SHELLY.
BOBBY
Baseball, our national pastime.
SHELLY removes her apron and throws it on top of the table. She picks up the dishrag and continues to wipe pudding off of herself.
SHELLY
Fine, you can clean when you get back.
BOBBY stands up and walks away from the table.
BOBBY
SHELLY
SHELLY tosses the dishrag to the table and walks over to BOBBY.
BOBBY
You’re looking at Ben Horne’s brand new boy.
BOBBY puts on his black suit jacket.
BOBBY
Do the words golden opportunity mean anything to you? This is my big break Shelly, you think I’ve got anything better to do then to give Leo Johnson a bubble bath?
SHELLY points to herself.
SHELLY
Well what about me Bobby?
SHELLY holds her arms out.
SHELLY
Do I not have anything better to do?
BOBBY
SHELLY winds up and slaps BOBBY across the face. Solidly composed, BOBBY touches his left cheek and then quietly walks off towards the front door of the house.
CHET (OFF SCREEN)
SHELLY
CHET (OFF SCREEN)
(television) For days I’ve waited for you.
SHELLY
BOBBY opens the door to the house and slams it closed behind himself as he exits.
CLOSE ON: LEO'S FACE
We FOCUS on a CLOSE-UP of LEO'S face. LEO'S location in the kitchen allows him to look at SHELLY. Due to some brain damage, LEO is unable to move but he does move his mouth slightly as he eats his pudding.
JADE (OFF SCREEN)
(television) Days? Where were you that day?
SHELLY (OFF SCREEN)
BACK TO SCENE:
Irritated, SHELLY throws her arms out in frustration.
CHET (OFF SCREEN)
(television) You used to be kind, loving. Its not like you.
CLOSE ON: LEO'S FACE
We FOCUS on a CLOSE-UP of LEO'S face. As pudding drips from his mouth, LEO'S left eye quivers.
JADE (OFF SCREEN)
(television) Not like me?
BACK TO SCENE:
Speckled with pudding, SHELLY throws her arms out once more and shouts ...
SHELLY
CLOSE ON: LEO'S FACE
We FOCUS on a CLOSE-UP of LEO'S face. With his head slumped in his chair, LEO stares at SHELLY. Pudding oozes out of his mouth and drips off his chin.
MUSIC ENDS: INVITATION TO LOVE
28K
CUT TO:
EXT. MOUNTAINS NEAR TWIN PEAKS - DAY
MUSIC: LOVE THEME FROM TWIN PEAKS
Under an overcast sky, we PAN RIGHT and view the two peaks for which the town of Twin Peaks is named after. A telephone dial tone rings until the other line is picked up and answers ...
BIG ED (OFF SCREEN)
(over the phone) Big Ed’s gas farm.
CUT TO:
INT. MARSH RESIDENCE GARAGE - DAY
JAMES HURLEY huddles at the back of the garage as he talks to his uncle on the phone.
JAMES
BIG ED (OFF SCREEN)
JAMES
Wearing sunglasses, EVELYN MARSH quietly glides through the open split door of the garage and leans against one of the closed doors as she listens in on JAMES'S telephone conversation.
BIG ED
(over the phone) Where are you? You alright?
JAMES
Oh I’m okay. Uh look I need a favor. Uhm I need you to get all the money out of my savings account.
BIG ED (OFF SCREEN)
(over the phone) That’s only twelve dollars James.
JAMES
Well whatever’s left and send in care of me to Walley’s, its this bar on I-96.
JAMES looks into the garage and notices EVELYN.
BIG ED (OFF SCREEN)
(over the phone) Are you in trouble?
JAMES
Uhm no I really can’t talk about it.
BIG ED (OFF SCREEN)
(over the phone) James are you ...
JAMES
Listen I really can’t talk right now.
BIG ED (OFF SCREEN)
JAMES
Uhm we’ll talk about it soon.
BIG ED (OFF SCREEN)
(over the phone) Take care.
JAMES
BIG ED (OFF SCREEN)
(over the phone) Call soon.
JAMES
JAMES hangs up the phone and turns towards EVELYN.
EVELYN
JAMES
EVELYN
JAMES
EVELYN
Tell me about Twin Peaks.
JAMES
EVELYN walks up to JAMES.
EVELYN
You could start with why you left. Its a woman as I recall. No you said it was a few of them.
JAMES
I loved a girl who died. Her name was Laura. I thought I knew her but I didn’t. I guess nobody did.
EVELYN
JAMES
My life used to make sense, you know. I didn’t like it all the time but it ... was mine, and I felt like it belonged to me. And then, and then Laura died ... and my life belonged to something else, to Laura.
JAMES walks away from EVELYN.
JAMES
And no matter what I did, no matter how much I tried to help, another girl got murdered. And I just wanted to get on my bike and ride away, take off and just go as far from Twin Peaks as the day will take me.
EVELYN walks up to JAMES. JAMES turns to face her.
EVELYN
I know the feeling James.
EVELYN holds JAMES'S chin.
EVELYN
JAMES cocks his head to the side and they kiss each other. JAMES runs his hand through her hair and then removes her wide rim sunglasses to reveal a bruised eye.
JAMES
(gently) Why do you let him hurt you?
EVELYN silences JAMES with a kiss.
A car can be heard pulling up outside the garage. EVELYN quickly turns her head to look outside.
EVELYN
Jeffrey’s leaving, (turns to JAMES) I need you. Will you help me?
MALCOLM SLOAN can be heard outside of the garage.
MALCOLM (OFF SCREEN)
JAMES
EVELYN
EVELYN rushes off outside. JAMES watches her leave and broods on her request.
JEFFREY MARSH and MALCOLM can be heard talking outside of the garage.
JEFFREY (OFF SCREEN)
Put the bags in the back and only one.
MALCOLM (OFF SCREEN)
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
EXT. STREET INTERSECTION SIGNAL - DAY
We FOCUS on a CLOSE-UP of a street intersection signal as it displays red.
CUT TO:
EXT. DOUBLE R DINER - DAY
An establish shot. We FOCUS on a tight CLOSE-UP on the word Diner from the Double R Diner sign.
CUT TO:
INT. DOUBLE R DINER - DAY
MUSIC: YOUNG NADINE’S THEME
35K
Reading a newspaper with a cup of coffee before him, MIKE NELSON, wearing his red and white Twin Peaks high school letterman jacket, sits alone at the island counter. NADINE HURLEY, dressed in a red and white Twin Peaks high school cheerleader outfit, walks up to MIKE.
NADINE
Good morning Mike Nelson.
NADINE takes a seat next to MIKE at the counter. MIKE turns to NADINE, becomes agitated and then quickly turns back.
MIKE
MIKE tosses his paper aside and rubs his forehead in frustration.
NADINE
You wanna share a soda? How about a nice, big piece of cherry pie, two forks?
MIKE
Mrs. Hurley, Nadine I want my own piece of cherry pie. In fact, I want two pieces of cherry pie by myself.
NADINE
NADINE stares longingly at MIKE. MIKE reaches out for his cup of coffee but stops short as NADINE blurts out ...
NADINE
MIKE faces NADINE and speaks with his hands as he retorts ...
MIKE
No, cherry pie and coffee. In fact, I want sixteen cups of coffee. I don’t want to talk with you, I don’t want to walk with you, I don’t want to see you, I don’t want to know you. Is that clear enough to understand? Or do I need a court order to get my point across.
Heavyhearted, NADINE looks down at the island counter.
NADINE
Mike Nelson, you are the handsomest boy I’ve ever known, (looks up at MIKE) and I would really like it if you and I could go out on a date.
Surprised, MIKE slumps back in his chair. NADINE reaches out with both hands, clasps MIKE'S head and kisses him. As NADINE continues to kiss MIKE she attracts the attention of some of the diners in the restaurant as she pushes him back until he is lying down on the next seat.
NADINE
I’m sorry, sometimes I can’t help myself.
NADINE lifts herself off of MIKE. MIKE grasps the island countertop to help lift himself up. Flustered and enthralled, MIKE looks around the diner.
We FOCUS on NORMA as she walks out of the kitchen and puts on a blue overcoat as she enters the island counter service area. Through a gap between the large and tall appliances on the center island service area, HANK JENNINGS, standing on the other side of the island counter service area, spots NORMA and asks ...
HANK
Hey Norma, where ya’ going?
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
NORMA
Oh I have to run some errands.
HANK
Its a little early for errands, isn’t it? We still have most of the breakfast crowd.
NORMA
Just you and a kitchen full of scrambled eggs. I’ll be right back. Just think of it as a test Hank.
NORMA smirks at HANK and walks off.
MUSIC ENDS: NIGHT LIGHT IN TWIN PEAKS (0:00 - 0:10)
NORMA exits the diner. HANK, with his hands full holding two laden plates of food, watches NORMA leave.
HANK
MUSIC ENDS: YOUNG NADINE’S THEME
35K
FADE OUT:
FADE IN:
EXT. BLUE PINE LODGE - DAY
MUSIC: PACKARD THEME
31K
An establish shot. From a distance we view the front of the cabin with a lush green lawn and tall pines in the background. With his police cruiser parked in the driveway, SHERIFF TRUMAN walks towards the front door. At the front door, TRUMAN knocks on the door.
CUT TO:
INT. BLUE PINE LODGE - DAY
In the kitchen, JOSIE PACKARD, wearing a maid's uniform, opens one of the swinging double doors that separates the foyer from the kitchen and walks up to the front door. As JOSIE opens the front door and spots TRUMAN she instantly retreats back into the kitchen. SHERIFF TRUMAN marches inside and follows JOSIE into the kitchen. JOSIE stands beside a chopping block at the kitchen island counter where she was chopping vegetables. TRUMAN walks up to JOSIE, removes his hat and demands ...
SHERIFF TRUMAN
Now you’re moving into my place.
JOSIE
SHERIFF TRUMAN
What happened? What the hell ya’ doing here?
JOSIE
SHERIFF TRUMAN
Home? After everything Catherine’s done to you.
JOSIE
SHERIFF TRUMAN
TRUMAN touches JOSIE'S arm. He cradles JOSIE'S neck with his right hand and moves behind her.
SHERIFF TRUMAN
TRUMAN kisses the back of her neck and runs his hand on her neck and down but JOSIE grabs his hand, holds it and then moves it aside.
JOSIE
Standing behind her, TRUMAN swings an arm over JOSIE'S shoulder, brushes her body and cradles her close as he kisses her neck.
SHERIFF TRUMAN
Josie, let me take care of you.
JOSIE
SHERIFF TRUMAN
JOSIE
Listen, I’m safe here ... and when I’m here you’re safe too.
SHERIFF TRUMAN
TRUMAN releases his grip, spins JOSIE around to face him and cradles her jaw with his hands. They look into each other's eyes and then kiss.
JOSIE touches TRUMAN'S jaw and pushes him away.
JOSIE
JOSIE pushes TRUMAN'S hands away from their embrace on her jaw.
JOSIE
Look at me, I’m Catherine’s maid. I’m no good for you.
TRUMAN reaches out and clasps his hands around JOSIE'S neck and jaw.
SHERIFF TRUMAN
You are good for me. I love you.
With desire in their eyes, TRUMAN bends his head down and kisses JOSIE.
SHERIFF TRUMAN
TRUMAN brushes kisses on JOSIE'S lips as he slowly pushes her forward and up against a kitchen wall. As their passion grows, JOSIE runs her hands over his back and then cradles her arms around his neck. After a long and intense smooch, TRUMAN looks deeply into JOSIE'S eyes and then, as he holds her close, kisses her on her forehead. TRUMAN then returns to stroke kisses across JOSIE'S lips.
CUT TO:
EXT. THE GREAT NORTHERN - DAY
An establish shot. We FOCUS on the roaring water falls and then PAN UP and LEFT to the hotel perched on a cliff near the falls.
MUSIC ENDS: PACKARD THEME
31K
CUT TO:
INT. THE GREAT NORTHERN - DAY
MUSIC: HAPPY THOUGHTS
18K
SAM, a young blonde woman of the hotel staff, rushes out of BENJAMIN HORNE'S office wearing a white cloth wrapped around her head with a blotch of red to appear as a head wound bandage. SAM runs up the hallway carrying a drum, a pair of drumsticks, a bottle of ketchup and a clutch of white papers.
AUDREY HORNE meets SAM in the hallway.
AUDREY
MUSIC ENDS: HAPPY THOUGHTS
18K
SAM stops and momentarily looks at AUDREY. SAM looks down at the ground, lifts her head back up to reveal tears in her eyes and then runs off.
MUSIC: LOVE THEME FROM TWIN PEAKS
AUDREY
AUDREY watches SAM run off. BENJAMIN HORNE'S distant voice, with a Southern accent, flows into the hall from his office.
BENJAMIN
... Yes sir. I want you to lead the charge on Little Roundtop. Yes sir.
AUDREY peers in the direction of where BEN'S voice is emanating and then walks over to BEN'S office.
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
AUDREY nudges the door open as it gives resistance from cardboard boxes littered behind the door.
BENJAMIN
Yes sir! And where’s General Stuart and his cavalry? He’s comin’ sir. Damn his eyes. He’s comin’ sir, I know it.
AUDREY squeezes through the open door, peers at the mess of cardboard boxes on the ground and the closes the door behind herself. AUDREY sees her father sitting on the floor.
AUDREY
BENJAMIN
He’s coming here undoubtedly ...
BENJAMIN wears a gray confederate uniform and holds a cigar clenched in his teeth as he plays with half-inch tall civil war toy soldiers. Lying close to the ground, in the middle of his office, BEN talks to the toy soldiers in his hands.
AUDREY
BENJAMIN
... for all our sakes. Cause the enemy, he’ll meet the enemy here.
BEN animatedly points at the model on the floor.
AUDREY moves to the floor, kneels on the ground next to her father and grasps his right arm.
BENJAMIN
When we meet them before morning. We’ll meet them here.
AUDREY
BEN turns to his right to look at AUDREY, lifts himself off the floor and removes his cigar from his mouth.
BENJAMIN
AUDREY
BENJAMIN
There’s a war going at the top.
AUDREY
BEN gestures to the model.
BENJAMIN
A war between the states.
AUDREY
Daddy I think you need some help.
BEN pats AUDREY'S hand at his arm.
BENJAMIN
No, I’m alright darlin’. I just need a little time. This is a very important day.
AUDREY
Yes daddy this is a very important day. We’re going to save ...
BENJAMIN
AUDREY
... the business, you and I.
BENJAMIN
AUDREY
BENJAMIN
You are standing on General Stuart.
BEN points to the floor near AUDREY'S knee. AUDREY stands up. A civil war toy soldier ridding a white horse is revealed from where AUDREY was squatting. BEN reaches out, picks up the toy soldier and dusts it with his hand.
BENJAMIN
MUSIC: BENJAMIN'S THEME
AUDREY scans the floor.
BENJAMIN
General Lee? General Lee? Yes sir. Oh Jeff, he’s a comin’.
AUDREY steps on the model as she walks over to the telephone.
BEN becomes quite animate as he plays with his toy soldiers again, BEN pounds a fist on the model.
BENJAMIN
Oh I don’t need any more wagons, ...
MUSIC ENDS: BENJAMIN'S THEME
AUDREY spots a telephone on the floor under a book. AUDREY tosses the book aside and dials a number on the telephone.
BEN points at his head.
BENJAMIN
... with my eyes and my ears beside me. Give me General Stuart.
As BEN shouts orders to his toy soldiers, AUDREY holds the telephone close and holds one hand over her exposed ear as she speaks into the telephone.
AUDREY
Hi this is Audrey. Look I need you to get me Jerry Horne.
BEN reaches out, pulls a civil war saber from its sheath and waves it in the air.
BENJAMIN
Give me General Stuart and ready the good men of the Alabama Fifthteenth.
AUDREY
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
INT. HURLEY HOUSE - DAY
BIG ED opens the front to his house and NORMA walks inside. BIG ED and NORMA speak at the same time.
BIG ED
(concurrently) Norma I figured if you ...
NORMA
(concurrently) I’ve been waiting to talk about ...
The two stop in midsentence realizing their nervous chatter. They both smile at each other. BIG ED closes the door, grasps NORMA'S arm and leads her into the living room.
BIG ED
NORMA and BIG ED stand facing each other in the living room.
MUSIC: TWIN PEAKS THEME (PIANO SOLO)
BIG ED
NORMA
Okay. You’re the last thing I think of when I go to sleep at night, and you’re the first thought on my mind when I get up in the morning. I know this world is going to pieces and feels like its designed to keep us apart, but we love each other Ed.
BIG ED puts his hands on NORMA'S hips. NORMA puts her hands on BIG ED'S arms.
NORMA
I want to be with you. I want to be with you no matter what happens.
BIG ED embraces NORMA and kisses her. As BIG ED lavishes her with another kiss NORMA interrupts.
NORMA
BIG ED
Desiring each other, NORMA and BIG ED hold each other close as they kiss. BIG ED reaches under NORMA'S blue overcoat and slides it off until it falls to the floor.
MUSIC ENDS: TWIN PEAKS THEME (PIANO SOLO)
CUT TO:
INT. SHERIFF TRUMAN’S OFFICE - DAY
MUSIC: ANDY’S THEME
49K
COOPER paces the floor near the door as DEPUTY TOMMY THE ‘HAWK’ HILL works at putting tape on a microphone to ERNIE NILES'S hairy chest. With his white shirt unbuttoned, ERNIE sits on the front edge of TRUMAN'S desk. SHERIFF TRUMAN sits behind his desk cleaning his rifle.
ERNIE
Ouch! Will you mind the chest hair, will ya’.
HAWK
You’re sweating like a pig Mr. Niles.
HAWK throws his hands out to the ground to toss off the sweat on his hands. ERNIE towels himself off while HAWK grabs for some more white tape.
ERNIE
Oh thanks a lot, huh. That’s nervous perspiration man, hyperhydrosus, a childhood condition. I didn’t notice it until the war, Korea, remember that theater. I was leading a battalion towards the 49th parallel. We were just a bunch of fresh faced kids, I didn’t know what kind of hell we were stepping into.
COOPER stops pacing and restrains ERNIE.
COOPER
COOPER points at ERNIE with his hands held out steady.
COOPER
Ernie I want you to focus on the here and now. Repeat your instructions to me step-by-step.
HAWK wipes the sweat off his hands on ERNIE'S pants.
ERNIE
Okay. Uhh I take Denise up to ... Dead Dog Farm. I introduce her to Renault.
COOPER
COOPER returns to pacing the room.
ERNIE
I uhh take Renault through the buy, complete the transaction and get the hell out of there, huh.
COOPER stops and looks at SHERIFF TRUMAN.
COOPER
Good. Harry, that’s when you come in. (grins) By golly I sure wish I could join you fellas’, but I’ve temporarily lost my enforcement franchise.
ERNIE
SHERIFF TRUMAN
Well, I’ve been giving that some thought.
SHERIFF TRUMAN opens a drawer of his desk, reaches inside, grabs an object and tosses it to COOPER. COOPER catches it.
SHERIFF TRUMAN
Consider yourself deputized. The bureau’s loss is my gain.
COOPER looks down at the badge in his hand.
COOPER'S POV:
Through COOPER'S POV we FOCUS on a CLOSE-UP of the deputy badge.
BACK TO SCENE:
COOPER
I hope I can live up to this.
TRUMAN smiles and then returns to cleaning his rifle.
HAWK
He’s done. You might want to towel him off before we go.
Disgusted, HAWK wipes his hands off on the pant's leg of ERNIE'S pants.
ERNIE
HAWK stands up and walks off. ERNIE wipes himself off with a towel.
ERNIE
Uhh how long will that uh ... take you guys to storm the farm house after uh I complete the buy?
Newly deputized, COOPER pins his Twin Peaks Deputy badge on his flannel shirt front pocket.
COOPER
ERNIE
Can I - can I ask you a question?
SHERIFF TRUMAN
ERNIE stands up.
ERNIE
(cowers) Don’t make me do this. This isn’t my line of work, I’m a coward. I don’t do this kind of thing, I’m a CPA.
SHERIFF TRUMAN
COOPER
ERNIE straightens himself up.
ERNIE
Just a momentary relapse I’m okay, I’m cool. Let’s go do it huh.
COOPER
(puzzled expression) Where’s Denise?
SHERIFF TRUMAN
The door to the office opens and DEA AGENT DENNIS BRYSON steps inside. DENNIS has his hair combed back into a pony tail and is wearing a dark suit and pants.
DENNIS
DENNIS puts his hands on his hips and looks down at himself. DEPUTY COOPER turns to SHERIFF TRUMAN and grins brightly.
DENNIS
Oh I don’t know somehow it seemed ... more appropriate.
MUSIC ENDS: ANDY’S THEME
49K
DENNIS looks up and smiles. COOPER turns to DENNIS.
COOPER
TRUMAN responds to DENNIS’S sharp outfit.
SHERIFF TRUMAN
CUT TO:
EXT. WOODS - DAY
We FOCUS on a CLOSE-UP of a pine tree as its branches sway in a harsh blowing wind.
CUT TO:
EXT. DORRIT ORPHANAGE - DAY
An establish shot. We FOCUS on a CLOSE-UP of the sign for the orphanage building.
DICK (OFF SCREEN)
Our investigation must proceed subprosa.
CUT TO:
INT. DORRIT ORPHANAGE - DAY
MUSIC: A NEW LOOK
77K
Standing in the hall just outside the records office door, DICK and DEPUTY ANDY look into the office through the glass window in the door. DICK looks like an investigator dressed in an overcoat and hat while ANDY just wears his deputy uniform.
DICK
We may have to pick the lock, tricky business.
ANDY reaches over, turns the door handle and opens the door.
DICK
ANDY
DICK
DICK walks up to a row of filing cabinets against a wall near the door. ANDY closes the door and keeps watch by looking through the glass window in the door to the hall.
DICK
Here we are, the case files.
DICK scans the labels of the cabinets.
DICK
DICK scampers across the room to a short filing cabinet.
DICK
DICK finds the correct filing cabinet, opens the cabinet drawer and thumbs through the folders.
DICK
Nails, Nestor, Netherbey, Needlmen, Nicholas Needlmen our Little Nicky.
DICK pulls out the thick folder from the filing cabinet and opens it.
ANDY
(nervously) We can read it in the car.
DICK
ANDY
DICK goes through the files in the folder.
DICK
Sshhh useful background information. Hmm birthplace.
DICK turns to another page.
DICK
ANDY
DICK flips through and scans several files in the folder.
DICK
First of several it seems.
ANDY nervously looks out through the window in the door and then turns back to DICK.
ANDY
Unbeknownst to ANDY, a COUPLE walks up to the office door.
DICK
Ahh the plot thickens. What are thy secrets Little Nicky.
ANDY turns to look out the window into the hall and spots the COUPLE waiving at him behind the door. ANDY turns to DICK.
ANDY
DICK turns his head and sees the COUPLE at the door. DICK quickly stands up, stashes the folder inside his coat and grabs his hat off of his head. The COUPLE, MR. and MRS. BRUNSTON open the office door and walk inside. The COUPLE smile at ANDY.
MR. BRUNSTON
Scared and confused as to what to do, ANDY stares at DICK and then quickly rushes over to DICK'S side.
MR. BRUNSTON
We’re the Brunstons. I know we’re a little early I - I ... its just that we're so darn eager to see him. Can we see him? Where is Donny?
DICK
Uh - uh little Donny is uh ... dead.
The COUPLE turn to each other, horrified. DICK quickly counters.
DICK
Dead - dead tired I mean.
DICK and ANDY smile.
DICK
I ... I’m afraid little Donny, he isn’t feeling up to snuff.
MR. BRUNSTON
Well he was in perfect health only yesterday.
DICK struggles to think of a reply. ANDY prods him to hurry.
ANDY
DICK
DICK looks at ANDY and supplies an alias for him.
DICK
Woody, let me finish helping these good people.
DICK turns to the COUPLE.
DICK
MUSIC ENDS: A NEW LOOK
77K
CUT TO:
EXT. HURLEY HOUSE - DAY
An establish shot. We FOCUS on a CLOSE-UP on DONNA HAYWARD'S hand as she knocks on the door to BIG ED'S house.
DONNA
CUT TO:
INT. HURLEY HOUSE - DAY
BIG ED walks over to the front door.
DONNA (OFF SCREEN)
(from outside) Ed its Donna.
BIG ED opens the door and DONNA walks inside but stands near the open door.
DONNA
BIG ED
Well what can I do for you honey?
DONNA
Well I’ve been looking for James. He hasn’t been in school, no one’s seen him at the diner. I even went by his house but I can’t find him.
BIG ED
Oh listen James is fine, he called.
BIG ED reaches out for an envelope sitting nearby.
BIG ED
He asked me to send him some money in care of a bar out on (highway) ninety-six. We didn’t talk long, that’s all I know.
DONNA
BIG ED
DONNA
I’ll explain, they’ll understand.
BIG ED passes the envelope of cash to DONNA.
BIG ED
DONNA
DONNA kisses BIG ED goodbye on the cheek and leaves. BIG ED closes the door and walks into the living room. NORMA walks up to BIG ED.
NORMA
BIG ED
NORMA
We have a lot to talk about.
BIG ED
NORMA puts a hand around BIG ED'S neck. They politely kiss. NORMA walks off towards the door.
NORMA
BIG ED
BIG ED watches NORMA leave and then turns to walk into the living room but meets ...
MUSIC: HANK’S THEME
39K
HANK
Oh Ed, the things we do for love.
HANK winds up and punches BIG ED in the face. BIG ED'S head shakes as he falls backward and onto a wall. HANK walks up to BIG ED, grabs BIG ED and tosses him onto the living room floor. HANK walks over to BIG ED, bends down, lifts BIG ED off the floor by pulling at his shirt and punches BIG ED right in the face with a left hook.
The front door opens and NADINE, wearing her Twin Peaks high school cheerleader outfit and carrying pom-poms and a backpack, hops inside.
NADINE
Eddie I’m home. Oh practice was ...
NADINE closes the door and looks into the living room.
NADINE
MUSIC ENDS: HANK’S THEME
39K
MUSIC: AUDREY’S DANCE (DARK VARIANT)
46K
BIG ED is out cold on the floor as HANK holds a grip on his shirt. HANK freezes as he turns around and sees NADINE pounce into the living room swinging her backpack over her head.
NADINE
HANK'S eyes widen as NADINE walks closer to him swinging her backpack. NADINE sends the backpack crashing into HANK'S face. HANK flies off the floor and collides into the side of a sofa seat. NADINE picks HANK up and grips him by his black leather jacket. Completely dazed, HANK does nothing in response as NADINE begins to spin him around in her grip. NADINE roars in anger as she spins HANK around. NADINE stops spinning HANK and punches him with a hard right hook. She punches HANK a second time and then one last time that give him a bloody lip.
NADINE
(loathsome) Hanky, you big bully!
NADINE slams HANK against a wall in the living room. In a fury, NADINE picks HANK up off the floor and lifts him by his leather jacket into the air. HANK yells as NADINE throws him into a wooden curio shelf / divider wall that divides the living room from the dining room. The curio shelf shatters into pieces as HANK crashes into it.
MUSIC ENDS: AUDREY’S DANCE (DARK VARIANT)
46K
HANK is out cold. With blood at his nose, BIG ED comes to and lifts himself up. NADINE rushes over to BIG ED'S side.
NADINE
Eddie? Oh, can you hear me?
BIG ED
BIG ED rests his head in NADINE arms.
NADINE
Nadine’s here. Don’t you worry about a thing baby. Nadine will take care of everything.
BIG ED
FADE OUT:
FADE IN:
EXT. WATERFALL - DAY
We FOCUS at the bottom of the falls where the water roars as it crashes into the river.
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
MUSIC: BEN’S CIVIL WAR #1
24K
BOBBY BRIGGS, dressed in dark suit, stands before BENJAMIN. BEN, still wearing a gray confederate civil war uniform, sits in a chair on top of his desk. BOBBY nervously eyes the tip of a saber that BEN points and waves at him. BEN speaks with a Southern accent.
BENJAMIN
Colonel Chamberlain in the Twentyth Maine were trapped at the summit of Little Roundtop. Now his only chance is to maneuver ...
BEN stands up and points at model with his saber.
BENJAMIN
... his left flank down the hillside like a swinging gate, but we were waiting for him Bobby. Ha-ha. And Chamberlain’s desperate maneuver failed.
Still standing on top of his desk, BEN bends down, puts an arm around BOBBY and tugs at him.
BENJAMIN
BOBBY
BOBBY appears weary. BEN enthusiastically waves his saber towards the model and rants ...
BENJAMIN
Little Roundtop Bobby was ours. From that vantage point we were able to roll back the federal lines setting the stage for Pickett’s mighty charge Bobby ...
BEN stands up and waves his saber.
BENJAMIN
The door to BEN'S office opens and AUDREY pokes her head inside. BOBBY sees AUDREY in the doorway and, apathetic, replies to BEN ...
BOBBY
AUDREY steps back into the hallway and closes the office door.
Atop his desk, BEN stands up straight holding his saber laid out before him in two hands. BEN bends down and hands the saber to the outstretched hands of BOBBY. BEN stands up straight and looks down at BOBBY.
BENJAMIN
General Mead, you have suffered a noble defeat and I accept your unconditional surrender.
BEN pops his lit cigar into his mouth and holds out two outstretched hands to receive the saber. BOBBY holds the saber at his side in his right hand.
BOBBY
Okay, tell you what Mr. Horne, I’m going to go ...
BOBBY gestures to the door.
BOBBY
... and talk to President Lincoln first, okay. So you just ... wait right here and ...
BOBBY walks towards the office door.
BENJAMIN
BOBBY stops at the door and turns to face BEN. BOBBY speaks animately by waving his arms and the saber.
BOBBY
... and uh I’ll get back to you on this whole ... surrender thing.
Using his thumb, BOBBY points back to the door.
BOBBY
BOBBY walks out of the office but pokes his head back inside.
BOBBY
Don’t want to uh keep the President waiting.
BOBBY steps back into the hallway and closes the office door. Still awaiting the saber by holding his arms out, BEN cries out ...
BENJAMIN
MUSIC ENDS: BEN’S CIVIL WAR #1
24K
CUT TO:
INT. THE GREAT NORTHERN - DAY
MUSIC: ANDY’S THEME
49K
With a distant shot down a long hallway of the hotel, AUDREY leans back against a wall near a bend in the hallway. Still holding the saber, BOBBY walks up to AUDREY and leans back against the wall beside her.
BOBBY
Baby I’ve got some good news and I’ve got some bad news. The bad news is that your old man just bought a condo in flip city. The good news is that he’s about to win the civil war.
AUDREY stands up straight and walks up the hallway. BOBBY follows her.
AUDREY
I know, Uncle Jerry said he was coming home on the next plane. Dr. Jacoby said he would come over tomorrow. I think daddy needs an injection. God we got to help him.
AUDREY and BOBBY walk further up the hallway and out of view.
CATHERINE MARTELL steps into the hallway and watches AUDREY and BOBBY walk off.
BOBBY
Don’t worry baby, Bobby’s on the case.
AUDREY
Wearing a very colorful long wool jacket with a geometric native American Indian design, CATHERINE walks down the hall and towards BEN'S office.
MUSIC ENDS: ANDY’S THEME
49K
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
MUSIC: BEN’S CIVIL WAR #2
12K
INSERT: CLOSE-UP OIL LAMP
We FOCUS on a CLOSE-UP of an oil lamp as BEN lights the wick with a cigarette lighter. BEN adjusts the brightness of the lamp by adjusting the height of the wick.
BACK TO SCENE:
We FOCUS on a WIDE SHOT of the interior of the office. Working on an oil lamp on his lap, BEN sits in a chair in the middle of his office. Appearing as small camp fires, small lit tea candles are laid out on the model.
There's a KNOCK at the door. BEN answers with a Southern accent.
BENJAMIN
BEN puts the oil lamp on top of his desk. One of the doors to BEN'S office opens and CATHERINE walks inside.
BEN drops the Southern accent.
BENJAMIN
CATHERINE closes the door behind herself.
CATHERINE
BENJAMIN
You’ve come here to gloat haven’t you, huh? To uh celebrate my demise.
CATHERINE quietly listens.
BENJAMIN
Well you go ahead and you laugh. You’ve defeated me, as I have defeated General Mead.
CATHERINE walks towards BEN.
CATHERINE
Its true, I did come here to gloat. You double crossed me, you tried to kill me and I wanted to bury you so deeply that ... future generations would unearth and ...
CATHERINE walks behind BEN.
CATHERINE
... exhibit your remains: slimy rat bastard Americanus, do not feed, ...
MUSIC ENDS: BEN’S CIVIL WAR #2
12K
MUSIC: LOST LOVE
148K
Standing behind BEN, CATHERINE runs her hand through BEN'S hair.
CATHERINE
BENJAMIN
I suppose that uh ... I’m not that trustworthy.
Standing beside BEN, CATHERINE puts her arms around him and hugs him.
CATHERINE
Despite everything I know about you, I find myself here with you, wanting you.
BEN turns to her.
BENJAMIN
CATHERINE
I love you Ben. Horrifying as it seems I can’t escape it.
BEN kisses CATHERINE'S hand. Leaning beside him, CATHERINE leans her chin on BEN'S head.
CATHERINE
Oh you, you make my body hum. Mmm kiss me General Lee.
BEN and CATHERINE plant several kisses on each other's lips. CATHERINE opens her jacket and envelopes BEN. BEN snuggles between CATHERINE'S breasts.
BENJAMIN
MUSIC ENDS: LOST LOVE
148K
DISSOLVE TO:
EXT. MARSH RESIDENCE - DAY
The scene at BEN'S office FADES OUT as the next scene FADES IN. Wearing a minx coat and a blindfold, EVELYN is led from the Marsh residence over to the garage by JAMES. EVELYN carries two champagne glasses and JAMES holds a bottle of champagne.
EVELYN
Hurry up Jim the champagne is getting warm.
JAMES
Don’t call me Jim. Alright, alright - alright - alright.
JAMES positions EVELYN so that she is standing on the driveway facing the garage. JAMES walks away.
EVELYN
JAMES
EVELYN removes her blindfold. Parked on the driveway, JAMES stands atop the step-up on the restored Jaguar automobile he had been working on. With a pop, JAMES removes the cork from the champagne bottle.
JAMES
Any place you want to go?
EVELYN
Jeffrey'd be home by midnight. Doesn’t leave us a lot of time.
EVELYN walks up to JAMES.
MUSIC: SHORT ON TIME
78K
JAMES
Well I’ll take what we can get.
EVELYN
JAMES pours champagne into the glasses EVELYN holds. JAMES rests the bottle of champagne on the passenger seat in the car and grabs a glass of champagne from EVELYN. EVELYN proposes a toast.
EVELYN
To handsome strangers and rebuilt engines.
Producing a crystal ringing sound, JAMES and EVELYN touch glasses and then take a sip.
EVELYN
You know I never thought I’d see it drive again. You’re a miracle worker.
JAMES
(embarrassed, smiles) No, honest.
Flustered, JAMES uncontrollably smiles.
EVELYN
You’re being too modest. Oh go on, you deserve it. You’re strong and you’re kind. You have a wonderfully honest face James.
Embarrassed once more, JAMES grins.
EVELYN
Don’t laugh its quite rare. Every time I look at you I can tell exactly what you’re thinking.
JAMES
Well I better be careful about what I’m thinking.
JAMES smiles and laughs.
EVELYN
Don’t be too careful, not on my account.
EVELYN takes a seat on the side fender of the car.
EVELYN
JAMES
I don’t really have any plans.
EVELYN
JAMES
EVELYN
JAMES
EVELYN
I don’t want you to leave. Give me some more time James.
EVELYN runs a hand over JAMES'S chest.
EVELYN
I can think of a hundred reasons for you to stay.
JAMES grabs EVELYN'S champagne glass, tosses the contents of the champagne glasses onto the driveway and places the champagne glasses onto the passenger seat. JAMES slides EVELYN'S fur coat and her top off. The two hold each other and kiss.
As JAMES and EVELYN continue to kiss, we ZOOM OUT and back off down the driveway.
MUSIC ENDS: SHORT ON TIME
78K
MUSIC: LOVE THEME FROM TWIN PEAKS
Wearing his chauffeur uniform, MALCOLM SLOAN steps out of the bushes and looks up the driveway at JAMES and EVELYN. MALCOLM hums in fruition with the turn in events and then walks off.
CUT TO:
EXT. DEAD DOG FARM - DAY
COOPER’S POV:
Framed by the outline of binoculars we FOCUS on a 'For Sale' sign nailed to a pine tree in front of the house at Dead Dog Farm through DEPUTY COOPER'S POV. We PAN RIGHT and view the front door to the house. COOPER listens to the meeting from an earphone.
ERNIE
(from earphone) You sure you don’t want to wait for Hank? He told me this morning he wanted to be in on all this. I think we should wait a minute ...
BACK TO SCENE:
A distance away from the house, we FOCUS on COOPER as he looks in the direction of the house using binoculars. JEAN speaks with a French-Canadian accent.
JEAN (OFF SCREEN)
(from earphone) We start without him.
ERNIE (OFF SCREEN)
(from earphone) Alright, okay.
JEAN (OFF SCREEN)
COOPER’S POV:
Framed by the outline of binoculars we FOCUS on the interior of the Dead Dog Farm house through a window from COOPER'S POV. JEAN RENAULT and the Royal Mounted Canadian Police officer PRESTON KING deal with ERNIE and DENNIS. We PAN RIGHT and peer into the other windows of the house. We PAN LEFT and return to the window where the meeting can be seen taking place.
PRESTON
(from earphone) You’re sweating.
JEAN
(from earphone) Something wrong?
ERNIE
(from earphone) No its hyperhydrosus, its a childhood condition.
CUT TO:
INT. VAN - DAY
Seated next to recording equipment on the open tailgate of TRUMAN'S police cruiser, DEPUTY HAWK listens to the meeting taking place inside the house from the microphone planted on ERNIE. TRUMAN'S police cruiser is parked behind a tall dirt birm, pine trees and bushes. Screened by the dirt birm, SHERIFF TRUMAN trains his shotgun in the direction of the house and COOPER focuses on the meeting with binoculars.
ERNIE (OFF SCREEN)
(from earphone) During Guam I contracted Yellow Fever. The effects were vicious you know. Sweating is one of the more socially unacceptable ...
PRESTON (OFF SCREEN)
(from earphone) Sit down Ernie. Take a deep breathe.
CUT TO:
EXT. DEAD DOG FARM - DAY
COOPER’S POV:
Framed by the outline of binoculars we view the meeting through a window from COOPER'S POV. ERNIE nervously moves to the window and looks outside.
ERNIE
(from earphone) Uh socially unacceptable ...
ERNIE’S nervous chatter gets cut off by DENNIS.
DENNIS
(from earphone) Alright, everything seems to be in order. You think we can hurry this up I’ve got a plane to catch.
BACK TO SCENE:
We FOCUS on SHERIFF TRUMAN as he becomes worried as static starts to interfere with the eavesdropping on the meeting. Nearby, COOPER lowers his binoculars.
JEAN (OFF SCREEN)
(from earphone with static) Hurry huh? What’s the ...
COOPER'S POV:
From COOPER'S distant POV, without the binoculars, we FOCUS on the meeting through a window of the house.
PRESTON
(from earphone with static) Jean, Jean take a look. His shirt is smoking.
JEAN reaches out and grabs DENNIS.
ERNIE
(from earphone with static) I’ve ...
The eavesdropping stops as the earphone goes dead.
BACK TO SCENE:
We FOCUS on DEPUTY HAWK as he rushes over to SHERIFF TRUMAN and COOPER at the birm.
HAWK
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
The front door to the house bursts open and JEAN jerks DENNIS outside holding a gun to DENNIS. PRESTON walks outside gripping ERNIE.
JEAN
COOPER
COOPER passes the binoculars to HAWK.
JEAN
COOPER climbs on top of the dirt birm. Surprised and uncertain, TRUMAN watches COOPER stand dangerously exposed on the top of the birm.
SHERIFF TRUMAN
COOPER
JEAN
I want safe passage to the border.
TRUMAN aims his shotgun towards JEAN.
COOPER
First release the hostages.
JEAN
For the cross purposes Cooper.
COOPER
We’ll kill you if you don’t.
JEAN
COOPER
COOPER removes his gloves.
JEAN
Surprised and worried, TRUMAN peers up at COOPER.
COOPER
Ernie Niles and Agent Bryson for me.
SHERIFF TRUMAN
COOPER pulls his revolver out of its holster and holds his revolver in the air to show JEAN that he will come unarmed. COOPER places the handgun on the ground and then slowly walks towards the house.
SHERIFF TRUMAN
HAWK
SHERIFF TRUMAN
TRUMAN keeps his shotgun trained towards JEAN as HAWK runs off to TRUMAN'S police cruiser. HAWK runs up to the open door on the driver's side of the police cruiser and grabs the microphone of the police radio.
HAWK
Lucy its Hawk. Patch me through ...
MUSIC: SWOOPING AWARENESS
8K
HAWK
Disappointed by the turn of events, SHERIFF TRUMAN keeps an eye on the hostage situation at the Dead Dog Farm house.
MUSIC ENDS: SWOOPING AWARENESS
8K
FADE OUT:
FADE IN:
EXT. MARSH RESIDENCE SERVANT’S QUARTERS - NIGHT
MUSIC: SHORT ON TIME
78K
We FOCUS on a CLOSE-UP of the half-moon in the night sky.
CUT TO:
INT. MARSH RESIDENCE SERVANT’S QUARTERS - NIGHT
We FOCUS on the long drawn shadow of EVELYN'S nude body against a wall in JAMES'S room as she gets up from the bed and puts on a robe.
JAMES is asleep in bed. EVELYN walks to the door but before she leaves she takes one last peek back at JAMES.
In the hallway, MALCOLM sneaks up EVELYN as she slowly and quietly closes the door. EVELYN is spooked as she turns around and sees MALCOLM next to her.
MALCOLM
Standing beside EVELYN, MALCOLM brushes his hand through her hair and on her chin.
EVELYN
Sound asleep, and dreaming of love.
MALCOLM and EVELYN embrace and kiss.
MALCOLM
Lucky - lucky - lucky - lucky boy.
MALCOLM kisses EVELYN'S temple.
MALCOLM
Lucky - lucky - lucky ...
Resting her head on MALCOLM'S shoulder in their embrace, EVELYN frowns unsure of her actions towards JAMES.
MUSIC ENDS: SHORT ON TIME
78K
FADE OUT:
CUT IN:
EXT. DEAD DOG FARM - NIGHT
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
For protection, DEPUTY ANDY stands behind the open door of TRUMAN'S police cruiser with his revolver poised to shoot. We PAN RIGHT. The police lights of several cop vehicles flash blue and red lights. DEPUTY HAWK also stands ready for action behind the open door of TRUMAN'S police cruiser with his revolver drawn. SHERIFF TRUMAN walks briskly over to HAWK and stands next to him behind the open police cruiser door. Keeping his eyes on the house, HAWK remarks to TRUMAN ...
HAWK
They moved him to the center room.
TRUMAN looks over to ANDY.
SHERIFF TRUMAN
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
CUT TO:
INT. DEAD DOG FARM - NIGHT
PRESTON’S POV:
Through PRESTON’S POV we get a view outside through the window and see a row of police cruisers with their red and blue siren lights flashing. A number of DEPUTIES hide behind the cars with handguns, shotguns and rifles pointed toward the house.
PRESTON
BACK TO SCENE:
We FOCUS on PRESTON, holding a handgun, as he kneels on the ground and peers out of the front window. To the right of the window is the front door to the house.
PRESTON
PRESTON sits down on the ground at the left corner of the room and looks up at JEAN.
PRESTON
JEAN lays against the edge of a wall that divides the kitchen from the hallway.
JEAN
Will they let us run Agent Cooper?
COOPER sits on the floor between the front door and JEAN. COOPER has a bruised cut near his left eye.
COOPER
JEAN
So you think they - they will deal?
JEAN looks over to PRESTON.
COOPER
JEAN loosely holds a gun pointed at COOPER.
JEAN
COOPER
JEAN
Sitting on the floor peering out the window, PRESTON turns to JEAN.
PRESTON
JEAN
No, but first we - we must decide to give up quietly or (looks at COOPER) to kill him.
COOPER
JEAN
COOPER
Is my death so important to you?
JEAN
My two brothers die. I hold you responsible.
COOPER
JEAN
JEAN squats down beside COOPER.
MUSIC: LAURA PALMER’S THEME (PIANO SOLO)
JEAN
Before you came here, Twin Peak was a simple place. My brothers deal dope to the teenagers and the truck drivers. One-Eyed Jack welcome the businessman and the tourist. Quiet people live a quiet life. Then a pretty girl die and you arrive and everything change.
MUSIC ENDS: LAURA PALMER’S THEME (PIANO SOLO)
PRESTON nervously looks out of the window. COOPER intently listens to JEAN.
JEAN
My brother Bernardo shot and left to die in the ... the woods. A grieving father smother my remaining brother with a ... a pillow. Kidnapping, dead. Suddenly the quiet people they’re quiet no more. Suddenly the ... the simple dream become the nightmare. So, if you die maybe you will be the last to die. Maybe you brought the ... the nightmare with you and maybe the nightmare will die with you.
COOPER and JEAN glance up to PRESTON.
PRESTON
I don’t know what the hell you’re talking about, but I do know we’ve got a damn problem here. And if you’re not going to solve it I will.
PRESTON looks out the window.
PRESTON'S POV:
From PRESTON'S POV out the window, we FOCUS on a WAITRESS holding a tray of food as she slowly walks towards the house.
BACK TO SCENE:
We FOCUS on PRESTON near the window.
PRESTON
JEAN
PRESTON
Take a look at this. Did you order any food?
MUSIC: WALKING IN THE DARK
32K
JEAN
JEAN walks towards the center of the kitchen and looks outside through the glass window in the door. With his revolver ready, PRESTON stands up and moves to the door. JEAN holds a hand up to calm PRESTON.
JEAN
No - no - no, let her come.
COOPER realizes the ploy.
JEAN
Let her come, its just a girl.
CUT TO:
EXT. DEAD DOG FARM - NIGHT
DEPUTY ANDY rushes beside SHERIFF TRUMAN behind the open door of the police cruiser. ANDY, TRUMAN and other DEPUTIES stand prepared with their guns, rifles and shotguns aimed towards the house.
The WAITRESS carrying a tray of food towards the house is AGENT DENNIS as DENISE in disguise wearing one of the short waitress uniforms from the Double-R Diner.
CUT TO:
INT. DEAD DOG FARM - NIGHT
PRESTON opens the door.
JEAN
Holding a tray of food, DENISE walks inside with a smile.
DENISE
COOPER recognizes DENISE and waits for the scheme to engage.
JEAN
DENISE passes the tray of food to JEAN. As JEAN holds the tray of food in both hands before himself, DENISE reaches down and slowly lifts the uniform skirt above the left knee to show the top of black stockings.
PRESTON stands unaware. JEAN smiles as he looks at DENISE'S leg. JEAN looks up and begins to study DENISE'S face.
JEAN
COOPER'S POV
From COOPER'S POV facing the back of DENISE, DENISE stands close by and as DENISE'S skirt rises a handgun is revealed tucked into the top of the black stocking. COOPER quickly reaches out and grabs the handgun.
BACK TO SCENE:
DENISE punches PRESTON and drives him back and to the floor.
COOPER hops back to a corner of the room near the door and aims the handgun at JEAN. With his hands occupied holding a tray of food, JEAN'S eyes widen in horror. COOPER fires the handgun twice directly at JEAN'S chest. JEAN drops the tray of food and rushes to his right to stumble into the hallway.
CUT TO:
EXT. DEAD DOG FARM - NIGHT
Leading the way, SHERIFF TRUMAN and several DEPUTIES run toward the house.
CUT TO:
INT. DEAD DOG FARM - NIGHT
DENISE picks PRESTON up and slams him against the wall.
COOPER stands up and directs his gun towards the hallway. With blood dripping from his mouth, JEAN slowly pokes his head through the kitchen entrance from the hallway. JEAN falls to his knees as he tries to position himself to return fire at COOPER. With his last breath, JEAN tries to reach for his gun in its shoulder harness under his suit jacket. COOPER calmly keeps his gun aimed at JEAN. JEAN wavers and falls to the ground dead.
DENISE cracks PRESTON across the jaw with two hard right punches.
SHERIFF TRUMAN leaps through the open front door and falls to one knee with his revolver drawn ready. With his gun drawn, DEPUTY ANDY rushes through the open door and falls to one knee beside TRUMAN. Having entered from the back of the house, DEPUTY HAWK stands over the body of JEAN as he holds a firing position into the kitchen.
DENISE holds PRESTON, vanquished, against a wall. Relieved, COOPER stands on one knee next to SHERIFF TRUMAN. TRUMAN turns to COOPER and asks ...
SHERIFF TRUMAN
COOPER
(nods yes) Yeah. Great thinking Denise.
DENISE
(smiles, jokes) It was just my legs. Thank Sheriff Truman it was his idea.
ANDY, TRUMAN and COOPER stand up. COOPER looks at TRUMAN.
COOPER
MUSIC ENDS: WALKING IN THE DARK
32K
SHERIFF TRUMAN
Well sometimes you’ve got to improvise.
MUSIC: THE BOOKHOUSE BOYS (0:00 - 0:05)
HAWK
With a puzzled expression, HAWK stands up after checking the body of JEAN RENAULT.
MUSIC ENDS: THE BOOKHOUSE BOYS (0:00 - 0:05)
CUT TO:
EXT. RIVER - NIGHT
From a distance we view the river as it meanders through the woods on a dark and quiet night.
CUT TO:
EXT. JOHNSON HOUSE - NIGHT
MUSIC: SHELLY’S TUNE
35K
An establish shot. On a very quiet night, we view the front of the house.
CUT TO:
INT. JOHNSON HOUSE - NIGHT
INSERT: CLOSE-UP RECORD PLAYER
We FOCUS on a CLOSE-UP of a vinyl record player as it plays a record. A nearby lamp starts to flicker and the music slows down as the power supply is disrupted. The lamp goes out and the music stops as the power gets cut off.
MUSIC ENDS: SHELLY’S TUNE
35K
BACK TO SCENE:
Laying on the couch wearing a brown robe, we FOCUS on SHELLY as she is awakened by the disturbance.
SHELLY
The power comes back on and the lights and the music return.
MUSIC: SHELLY’S TUNE
35K
SHELLY sits up and looks around the room. The lights flicker and the music winds down as the power supply is disrupted again. The lights go out and the music stops.
MUSIC ENDS: SHELLY’S TUNE
35K
SHELLY
The power quickly returns and the lights and music turn on.
MUSIC: SHELLY’S TUNE
35K
SHELLY'S POV:
From SHELLY'S POV, the lights dim and the music slows to a drawl as the power supply is disrupted. We look around the room. The lights glow brightly and the music plays smoothly. The shadow outline of LEO'S lifting harness, near LEO'S bed, sways slightly behind a hospital curtain wall divider. Once again the lights dim and the music gradually slows to almost shut off but returns back on.
BACK TO SCENE:
SHELLY stands up and walks towards LEO'S bed. The lights and music dim to nearly turn off before returning to normal.
SHELLY'S POV:
From SHELLY'S POV, we walk past the hospital curtain wall divider. LEO is not in bed but in his place is a toy clown doll laying on the pillow and is moving! LEO'S lifting harness sways slightly.
BACK TO SCENE:
Spooked, SHELLY calls out ...
SHELLY
SHELLY'S POV:
From SHELLY'S POV, we FOCUS on the toy clown doll as its arms move and a ball rotates on its nose. We moves away from LEO'S bed and back into the living room.
SHELLY (OFF SCREEN)
We PAN UP and FOCUS on a light bulb at a ceiling light fixture with a deflated red balloon hanging from it. The lights dim and the music slows down as the power goes out.
MUSIC ENDS: SHELLY’S TUNE
35K
BACK TO SCENE:
SHELLY walks into the kitchen. The lights flicker and the music struggles to play as power returns.
MUSIC: SHELLY’S TUNE
35K
LEO'S wheelchair sits next to the kitchen table with its back facing our view. SHELLY walks up to the wheelchair.
SHELLY
SHELLY spins the wheelchair around to face her and whips off the blanket lying on the back of the chair. The wheelchair is unoccupied! SHELLY freezes as she looks across the table. Standing with his back to the wall with his face covered with cake frosting and wearing a party cone hat, LEO sinisterly says ...
LEO
MUSIC ENDS: SHELLY’S TUNE
35K
SHELLY screams in shear terror.
INSERT: CLOSE-UP DEFLATED BALLOON
As SHELLY screams, we FOCUS on a deflated red balloon hanging from a light bulb at a ceiling light fixture. The light bulb dims and then goes out.
FADE OUT:
CUT IN:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT
DEPUTY COOPER, SHERIFF TRUMAN and LUCY walk up to the second set of double doors to the building.
SHERIFF TRUMAN
A bomb? What do you mean bomb? Start at the beginning Lucy.
COOPER stops right at the door and peers inside the dark interior through the glass window in the door. COOPER turns around and listens to LUCY as she recalls the incident to TRUMAN.
LUCY
Well the voice on the phone said there was a bomb planted in the woods.
SHERIFF TRUMAN
DEPUTY HAWK walks by them and enters the dark interior of the building.
LUCY
Now it didn’t say which woods, and all of a sudden there was this huge explosion and all the lights went out. So then I called the fire department.
COOPER
SHERIFF TRUMAN
LUCY
Two of them: first there was one at the fire station but most of the fire ...
HAWK returns and interrupts LUCY as he hands out flashlights to everyone and remarks ...
HAWK
I’m going to check on the generator, ...
HAWK shakes head side-to-side.
HAWK
... something's not right.
SHERIFF TRUMAN
HAWK walks back inside the building. COOPER peers through the window in the door.
LUCY
We’re playing bingo and I’m trying to get everybody together then ...
COOPER turns to LUCY.
COOPER
COOPER walks inside to the reception area.
LUCY
... there was the big explosion I told you about.
SHERIFF TRUMAN
LUCY
It sounded like it was right up stairs, so we all got out of here.
Standing near the second set of double doors to the building, we FOCUS on COOPER as he scans the dark interior. Though muffled, LUCY and SHERIFF TRUMAN can still be heard. COOPER reaches inside his coat pocket and removes a cigarette lighter.
LUCY
Well it turned out to be a transformer up a pole, right behind and above the building. Well we had to wait before we could come back inside ...
COOPER walks into the reception room, lights up the cigarette lighter and holds it up to view the interior.
LUCY
... because it was shooting sparks everywhere and we were afraid that the station was going to catch on fire too, but it didn’t.
SHERIFF TRUMAN
Using the lighter to light his way, COOPER walks past the open door to SHERIFF TRUMAN'S office.
LUCY
Suspicious in nature, that’s what Chief Kimball said. He was suffering from smoke inhalation at the time so he sounded a little horse.
COOPER looks around TRUMAN'S office.
LUCY
You should hear his cough. I’m going to make him some chicken soup.
COOPER'S eyes widen as he focus on something in the room.
We FOCUS on LUCY and SHERIFF TRUMAN standing at the entrance. Through the glass window in the door at the entrance and the open door to TRUMAN'S office, COOPER can be seen standing inside TRUMAN'S office.
COOPER
TRUMAN opens the door and calls out ...
SHERIFF TRUMAN
COOPER
You better take a look at this, alone.
TRUMAN turns to LUCY.
SHERIFF TRUMAN
TRUMAN walks inside to the reception area.
CUT TO:
INT. SHERIFF TRUMAN’S OFFICE - NIGHT
We FOCUS on TRUMAN as he walks through reception area and past the open door to his office. As he shines his flashlight on the object in his office, TRUMAN'S eyes widen.
SHERIFF TRUMAN
COOPER'S POV:
From COOPER'S POV, we FOCUS on the object that caught COOPER'S attention. Seated at TRUMAN'S desk is a longhaired DEAD MAN gagged and wearing a dirty jean jacket and eyeglasses. The DEAD MAN is pointing at a square on a chessboard on top of TRUMAN'S desk. TRUMAN'S mounted deer head trophy is lying on its side on top of TRUMAN'S desk to the right of the DEAD MAN.
SHERIFF TRUMAN (OFF SCREEN)
BACK TO SCENE:
Wide eyed, COOPER and SHERIFF TRUMAN stare at the DEAD MAN. We ZOOM IN on COOPER'S face.
COOPER
I don’t know. Its a chess game. Windom Earle’s next move.
CLOSE ON: DEAD MAN'S FACE
We FOCUS on a CLOSE-UP on the face of the DEAD MAN. We PAN DOWN the arm and FOCUS on the hand as it points to a white square on the chessboard where a coin rests.
SOUND EFFECT: MUSICAL SHRIEK 8K
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:
