Episode 24 - Wounds and Scars


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. The LOG LADY sits with her back to the fireplace of her cabin and beside a table.

LOG LADY

MUSIC ENDS: CALL OF THE BLACK LODGE    272K

FADE OUT:




INTRO:




FADE IN:

MUSIC: TWIN PEAKS THEME  

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

MUSIC ENDS: TWIN PEAKS THEME  

FADE OUT:




FADE IN:

INT. THE BOOKHOUSE - DAY

MUSIC: LOST LOVE    148K


CLOSE ON: SHERIFF TRUMAN’S EYES

We FOCUS on a CLOSE-UP of SHERIFF HARRY S. TRUMAN’S despondent eyes.


We DISSOLVE to a CLOSE-UP image of the shadow of an empty shot glass in TRUMAN’S hand as he turns it around and around in place.


We DISSOLVE to an image of the late JOSIE PACKARD, smiling.


We DISSOLVE back to the CLOSE-UP image of the shadow of the empty shot glass being turned in place.


We DISSOLVE to an image of JOSIE as she falls back onto a couch with TRUMAN above her.


We DISSOLVE back to the CLOSE-UP image of the shadow of the empty shot glass being turned in place.


We DISSOLVE to an image of JOSIE being held in TRUMAN’S arms.


We DISSOLVE back to the CLOSE-UP image of the shadow of the empty shot glass being turned in place.


We DISSOLVE to an image of JOSIE displaying a thin, black camisole covering a thin, black negligee for TRUMAN.


We DISSOLVE back to the CLOSE-UP image of the shadow of the empty shot glass being turned in place.


We DISSOLVE to an image of JOSIE turning around in TRUMAN’S embrace to face him.


We DISSOLVE back to the CLOSE-UP image of the shadow of the empty shot glass being turned in place.


We DISSOLVE to an image of JOSIE and TRUMAN in a kissing embrace.


We DISSOLVE back to the CLOSE-UP image of the shadow of the empty shot glass and the lower half of the shot glass itself as it is turned in place.


CLOSE ON: SHERIFF TRUMAN’S EYES

We FOCUS on a CLOSE-UP of SHERIFF TRUMAN’S eyes as he looks up.


BACK TO SCENE:

DEPUTY TOMMY ‘THE HAWK’ HILL stands quietly in front of the table TRUMAN is sitting at. Dressed for duty, DEPUTY HAWK holds a plate with a metal cover over it in his right hand and a napkin with silverware in his left hand.

HAWK

DEPUTY HAWK puts the plate down on the table in front of TRUMAN and takes the metal cover off to reveal: scrambled eggs, bacon, hash browns and a small container of ketchup.

Sitting at a round table in a dark corner of the building, holding a shot glass with half a bottle of Jack Daniel’s whiskey close by, TRUMAN breaks into a soft joyous laughter.

SHERIFF TRUMAN

HAWK

SHERIFF TRUMAN

HAWK

SHERIFF TRUMAN

HAWK flashes the secret sign of the Bookhouse Boys, an index finger dragged down the temple, and quietly leaves. TRUMAN grabs the whiskey bottle and fills the shot glass.

MUSIC ENDS: LOST LOVE    148K




CUT TO:

INT. DOUBLE R DINER - DAY

MUSIC: FRESHLY SQUEEZED (0:26 - 3:48)

ANNIE BLACKBURNE, NORMA JENNINGS’S sister with long, wavy blonde hair and blue eyes, steps through the front door of the diner. Carrying a suitcase in one hand and her black purse hanging over her right shoulder, ANNIE, wearing a long black coat, a light-blue shirt and a long plaid skirt, walks into the diner looking for her sister. As ANNIE walks into the diner and heads towards the kitchen she passes MAJOR GARLAND BRIGGS at the island counter.

NORMA smiles as she and SHELLY JOHNSON walk out from the kitchen and spot ANNIE.

NORMA

NORMA walks up to ANNIE while SHELLY walks over to the short order window to pick up an order.

ANNIE

NORMA

NORMA and ANNIE hug. NORMA looks over to SHELLY.

NORMA

Holding a plate with a slice of pie, SHELLY pauses in the service area of the island counter near NORMA and ANNIE for greetings.

SHELLY

SHELLY walks off to deliver the slice of pie. ANNIE turns to NORMA.

ANNIE

NORMA

ANNIE

Facing each other, NORMA and ANNIE take a seat at the island counter.

NORMA

ANNIE

NORMA

ANNIE

ANNIE looks around the diner.

ANNIE

ANNIE looks straight eyed at NORMA.

ANNIE

NORMA

ANNIE returns the smile.

We FOCUS on SHELLY as she fills out the bill for MAJOR BRIGGS. Having taken a bite of his pie and now sampling it, MAJOR BRIGGS looks up at SHELLY and critiques the pie.

MAJOR BRIGGS

SHELLY looks up from the bill pad she is writing on and with her eyes open wide, politely nods her head for yes. SHELLY rips the bill from the pad, puts the bill down on the counter and slightly rolls her eyes as she walks away.

MUSIC ENDS: FRESHLY SQUEEZED (0:26 - 3:48)

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:55)

As MAJOR BRIGGS eats his pie, the LOG LADY walks up besides him and notices the reddish-brown scar of three triangles joined at one point at the back of his neck behind his right ear.

SOUND EFFECT: SWOOPING AWARENESS    8K

The LOG LADY reaches out and touches the scar. MAJOR BRIGGS turns towards the LOG LADY and she takes a seat next to him on his right side. MAJOR BRIGGS holds an enigmatic expression as the LOG LADY puts her log on top of the counter and drapes her right arm over it.




CUT TO:

EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

An establish shot. We view the front of the police station with its double set of swing glass doors and a large green sign above, ’Twin Peaks Sheriff’s Department.’




CUT TO:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY


CLOSE ON: COOPER’S FACE

As he reads, we FOCUS on a CLOSE-UP of DEPUTY DALE COOPER’S eyes perch over a document labeled ’Interpol.’ COOPER’S right eyebrow perks up.

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:55)


BACK TO SCENE:

Standing in front of TRUMAN’S desk, we FOCUS on HAWK.

HAWK

COOPER lowers the document.

COOPER

HAWK nods his head for no. COOPER frowns as he closes the folder holding the document he had been reading. COOPER is wearing a plaid flannel long sleeve shirt and green khakis. A picture of a quarter waning moon sits on a shelf of the bookshelf behind COOPER.

COOPER

HAWK

HAWK looks at the scattering of paperwork across TRUMAN’S desk.

HAWK

COOPER

HAWK

COOPER looks over the scattered paperwork on the desktop.

COOPER

COOPER grabs a manila folder from the pile of paperwork.

COOPER

COOPER hands the manila folder to HAWK. HAWK reaches out for it.

COOPER

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:30)

HAWK freezes his reach for the folder and looks directly at COOPER.

HAWK

COOPER pulls the folder back, marked ’AUTOPSY’ in big red letters, and glances over it before putting it down on the desktop.

COOPER

HAWK

COOPER

COOPER picks up his mug of coffee and takes a drink.

HAWK

COOPER

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:30)




CUT TO:

EXT. WOODS - DAY

MUSIC: JAPANESE FLUTE    53K

We FOCUS down a deserted dirt road as a veil of sunlight filters down through the tall pine trees.




CUT TO:

EXT. EARLE’S CABIN - DAY

An establish shot. We FOCUS on an old, shoddy cabin used as a hideout by WINDOM EARLE. Smoke billows from the chimney of the cabin.




CUT TO:

INT. EARLE’S CABIN - DAY

Illuminating the slightly smoky interior, sunlight filters through the cracks of the warped boards of the cabin’s walls. Twirling a flower with white petals in the grip of his left hand, WINDOM EARLE sits in a sofa chair pinching his nose with his right hand as he practices his breathing exercises. LEO JOHNSON, wearing pajamas and a red robe, walks up to EARLE carrying a pair of slippers.

MUSIC: WINDOM EARLE’S THEME

LEO

WINDOM

Holding his breath, WINDOM points to the ground to show LEO where to put his slippers. LEO quietly complies and drops the slippers on the floor next to WINDOM’S feet. LEO wanders off.

MUSIC ENDS: JAPANESE FLUTE    53K

WINDOM

LEO returns and juts a smoking pipe in front of WINDOM’S face, surprising him.

WINDOM

WINDOM takes his pipe from LEO. LEO walks off. WINDOM puts the pipe in his mouth and blows on it.

WINDOM

WINDOM puts the pipe away in his shirt pocket and looks down at the flower he holds in his hands as he spins it in his fingertips by its stem.

WINDOM

WINDOM pulls one of the petals off.

WINDOM

WINDOM throws the petal away. LEO walks up to WINDOM holding a newspaper. WINDOM looks up at LEO.

WINDOM

Still holding the newspaper, LEO stands quietly looking down at WINDOM. WINDOM lowers his gaze to the flower and grins.

WINDOM

WINDOM looks up at LEO.

WINDOM

WINDOM puts the flower down.

WINDOM

With the RUFFLING of newsprint, WINDOM rips the newspaper from LEO’S grip and opens the newspaper to the classifieds section. As WINDOM looks for the ad, LEO takes a seat next to WINDOM.

WINDOM

WINDOM finds the ad, reads the move, hastily folds the newspaper and holds on to it as he leans over to a nearby chessboard and moves a black pawn to queens-knight three. LEO stares at the chessboard.

WINDOM

Furious, WINDOM swings the folded newspaper and whacks LEO hard. A distant SCREECH from an eagle bellows from outside the cabin.

WINDOM

WINDOM slams the folded newspaper to the ground and grabs his Japanese flute lying next to the chair. Holding the flute at its tip in his fist in his lap, WINDOM waves the flute in the air.

WINDOM

MUSIC ENDS: WINDOM EARLE’S THEME

Using the Japanese flute as a cudgel, WINDOM leashes out his anger by cracking LEO on the head and striking his chest. LEO winces in pain and shies away in fear but remains seated next to WINDOM. WINDOM returns to waving the flute from his lap.

WINDOM

WINDOM takes a deep breath and shakes off his foul mood. WINDOM moves the flute to his lips and plays a tune.

MUSIC: JAPANESE FLUTE    53K


INSERT: CLOSE-UP RING

We FOCUS on a CLOSE-UP of a ring on WINDOM’S left hand. The ring is made of three wound loops of gold wire with the outer loop twisting into three small loops to form a crown for the ring.




CUT TO:

INT. TIMBER ROOM - DAY

We FOCUS on a gray carpeted floor and PAN UP on the legs of AUDREY HORNE, dressed in business attire with a gray skirt and her suit jacket draped over her right shoulder, as she gingerly walks up a constructed catwalk runway in the dining area of the hotel.

Two women, MODEL #1 and MODEL #2, watch AUDREY as she demonstrates the model’s catwalk on the runway.

MUSIC ENDS: JAPANESE FLUTE    53K

AUDREY

MODEL #1, a tall, shapely blonde, and MODEL #2, a short redhead, look at each other and roll their eyes. A BUSBOY works in the background folding up tablecloths.

MUSIC: BIG ED AND NORMA’S SONG    38K

We FAVOR ON the suave RICHARD ‘DICK’ TREMAYNE and PAN RIGHT around the models as he walks up and around the two models holding a long gold, feminine cigarette holder.

DICK

DICK looks at MODEL #1 chest and smiles.

DICK

We FOCUS on DICK as he stands next to MODEL #1.

DICK

MODEL #1

DICK looks at down MODEL #1 chest and smiles.

DICK

MODEL #1

MODEL #1 grabs MODEL #2’S arm to lead her away. As they walk off they roll their eyes once more.

Several WORKERS are at work in the Timber Room: adjusting the lighting and moving tables and chairs.

AUDREY walks up to DICK, who is still starring at the MODELS.

AUDREY

DICK

DICK turns to face AUDREY.

AUDREY

DICK gives a questioning gaze.

AUDREY

In the background, MR. TIM PINKLE slowly makes his way towards DICK and AUDREY.

DICK

AUDREY

Holding a stuffed model of a ferret, MR. PINKLE walks up to AUDREY.

MR. PINKLE

AUDREY

DICK

DICK rolls his eyes and walks away. Puzzled, MR. PINKLE follows after DICK. AUDREY opens her day planner and takes a note. Occupied with her day planner, AUDREY turns around and nearly walks into JOHN JUSTICE WHEELER, who is standing nearby watching the commotion in the Timber Room.

JOHN

MUSIC ENDS: BIG ED AND NORMA’S SONG    38K

MUSIC: AUDREY’S DANCE

AUDREY

JOHN

AUDREY

JOHN and AUDREY nervously ramble over each other’s words.

JOHN

AUDREY

JOHN stops and listens to AUDREY.

AUDREY

AUDREY looks up at JOHN. Nervousness aside, JOHN smiles and starts over.

JOHN

AUDREY

JOHN

AUDREY quietly stares into JOHN’S eyes.

JOHN

AUDREY

JOHN

AUDREY

JOHN

AUDREY looses her smile.

AUDREY

JOHN

AUDREY smiles brightly.

MUSIC ENDS: AUDREY’S DANCE

MUSIC: BIG ED AND NORMA’S SONG    38K

We FOCUS on DICK and MR. PINKLE, still holding the ferret model, as they walk past WORKERS rearranging the interior of the Timber Room.

MR. PINKLE

DICK

MR. PINKLE

DICK stops and turns around to face MR. PINKLE. In the background, two WORKERS haul a totem pole.

DICK

DICK smiles and walks away.

MR. PINKLE

MR. PINKLE rushes off to catch up with DICK.

MUSIC ENDS: BIG ED AND NORMA’S SONG    38K




CUT TO:

INT. THE BOOKHOUSE - DAY

Deeply depressed, SHERIFF TRUMAN sits quietly slouched in his chair at a round table in a dark corner of the building.

COOPER

TRUMAN sits up.

SHERIFF TRUMAN

TRUMAN takes a sip from his shot glass.

COOPER

TRUMAN nods his head from side-to-side.

SHERIFF TRUMAN

COOPER

TRUMAN again nods his head from side-to-side.

SHERIFF TRUMAN

COOPER

SHERIFF TRUMAN

TRUMAN reaches out for the whiskey bottle to refill his shot glass.

COOPER

About to refill his glass, TRUMAN freezes. A wave of inward anger flashes as TRUMAN grips the bottle and the glass hard but it passes quietly.

COOPER

SHERIFF TRUMAN

COOPER

TRUMAN looks up COOPER.

SHERIFF TRUMAN



CUT TO:

INT. BLUE PINE LODGE - DAY

CATHERINE MARTELL sits at a desk flipping through large blueprint plans of the future Ghostwood Estates. An architectural rendering of Ghostwood Estates sits in the background on the bookshelf. We ZOOM IN to a CLOSE-UP on the profile of CATHERINE, who slowly turns her head to the side.

MUSIC: LAURA PALMER’S THEME (0:00 - 0:55)  

JONES, a woman dressed in a black dress carrying a large black leather purse on her left shoulder, stands quietly a short distance from CATHERINE’S desk.

JONES

CATHERINE

JONES

CATHERINE nudges her head to the side and looks at a nearby chair - a gesture for JONES to approach and take a seat.

JONES

As JONES moves to the chair, her eyes never leave CATHERINE’S gaze. CATHERINE slowly slips her hands below the desktop, out of sight. Wearing a thin smile, JONES sits down in the chair in front of CATHERINE’S desk and sets her black bag on her lap.

JONES

CATHERINE sits quietly.

JONES

CATHERINE

JONES

CATHERINE

JONES

CATHERINE

CATHERINE raises her right hand from below the desktop holding a revolver pointed at JONES.

CATHERINE

JONES

JONES starts to open her bag but stops as CATHERINE quickly remarks.

CATHERINE

JONES freezes. Unblinking, CATHERINE orders.

CATHERINE

Without loosing eye contact with CATHERINE, JONES lifts a strap on the bag aside, reaches inside the bag, pulls out a glossy black box (roughly 8 inches by 12 inches in size) and places it on top of CATHERINE’S desk.

JONES

Still holding the revolver trained on JONES, CATHERINE sweeps her gaze across the black box.

JONES

Emotionless, CATHERINE gazes at JONES. JONES slowly gets up from her chair and leaves. CATHERINE turns her head to see JONES leave but quickly returns her attention to the mysterious black box.

MUSIC ENDS: LAURA PALMER’S THEME (0:00 - 0:55)  




CUT TO:

INT. HAYWARD HOUSE - DAY

Wearing a blue top and black skirt, DONNA HAYWARD opens the front door to the house to reveal WINDOM EARLE in disguise: a grayed moustache, grayed hair, a suit coat and a hat.

WINDOM

DONNA

WINDOM

A little embarrassed, DONNA cracks a smile.

DONNA

WINDOM

DONNA

WINDOM nods his head for yes.

WINDOM

WINDOM removes his hat as he walks inside the house.

MUSIC: FRESHLY SQUEEZED (0:38 - 3:48)

DONNA closes the front door and follows WINDOM into the living room. Standing by the sofa in the living room, WINDOM looks around the house. With her hands clutched behind her back, DONNA stands a few paces behind WINDOM.

DONNA

WINDOM turns around to face DONNA.

WINDOM

WINDOM looks down at the coffee table where a newspaper lies. An open bottle of Coke-Cola, with a straw in it, and a slice of pie on a plate are also on the coffee table.

WINDOM

WINDOM bends over towards the coffee table and puts his hat down as he picks up the paper.

DONNA

WINDOM briefly looks at the front page of the newspaper.

WINDOM

WINDOM looks around the house.

WINDOM

WINDOM tosses the newspaper onto the coffee table and takes a seat on the couch.

WINDOM

DONNA

WINDOM

Still standing, DONNA chuckles in embarrassment.

DONNA

DONNA takes a seat on the couch.

WINDOM

WINDOM looks around the room.

WINDOM

WINDOM looks at DONNA.

WINDOM

DONNA

WINDOM

In agreement, DONNA nods her head for yes.

DONNA

WINDOM

DONNA nods her head.

DONNA

MUSIC ENDS: FRESHLY SQUEEZED (0:38 - 3:48)

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)

WINDOM reaches into his suit jacket’s right hand pocket.

WINDOM

WINDOM pulls out a small 4 inch by 3 inch black box tied closed with a white string with a note card attached.

DONNA

WINDOM

WINDOM removes the note card from the black box and hands the black box to DONNA.

WINDOM

WINDOM grabs his hat from the coffee table and puts his hat on as he stands up. DONNA also stands up.

WINDOM

WINDOM hands the note card to DONNA.

WINDOM

DONNA

WINDOM walks away towards the door. DONNA looks down at the small black box and slides the note card under the tie strings. DONNA watches WINDOM as he lets himself out.

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




CUT TO:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

MUSIC: FRESHLY SQUEEZED (UPTEMPO VARIANT)    80K

We FOCUS on a CLOSE-UP of a portable card table that is covered with several different chess sets in play. PETE moves up from underneath the table to a kneeling position and looks down at a chess set, studying it. PETE picks up a white pawn, moves it, picks up a nearby note pad and takes a few notes. PETE briefly scans the chessboard before he ducks down and crawls over to another card table.

We PAN RIGHT over several chess sets to FOCUS on PETE as he surfaces from below the table. PETE perches over another chess set and briefly studies it before moving a white pawn.


CLOSE ON: COOPER’S FACE

We FOCUS on a CLOSE-UP of COOPER’S face as he rises from below the surface of a card table just across from PETE.

COOPER


CLOSE ON: PETE’S FACE

We FOCUS on a CLOSE-UP of PETE’S face.

PETE


CLOSE ON: COOPER’S FACE

We FOCUS on a CLOSE-UP of COOPER’S face. COOPER looks down at the chessboard.

PETE (OFF SCREEN)


CLOSE ON: PETE’S FACE

We FOCUS on a CLOSE-UP of PETE’S face.

PETE

PETE picks up a book about chess strategy.

PETE


BACK TO SCENE:

We FOCUS on a WIDE-SHOT of the reception area. PETE and COOPER kneel on the ground face-to-face on opposite sides of a card table with several chess sets between them. Several portable card tables, topped with chess sets, are scattered in the reception area. A poster of a chessboard hangs on the wall and several boxes of chess sets are scattered in the area.

PETE


CLOSE ON: COOPER’S FACE

MUSIC: LAURA PALMER’S THEME  

We FOCUS on a CLOSE-UP of COOPER’S face.

COOPER

LUCY (OFF SCREEN)

COOPER looks to his left.

MUSIC ENDS: LAURA PALMER’S THEME  


CLOSE ON: PETE’S FACE

We FOCUS on a CLOSE-UP of PETE’S face. Peering at the disturbance, PETE looks back at COOPER.

PETE


CLOSE ON: COOPER’S FACE

We FOCUS on a CLOSE-UP of COOPER’S face as he nods his understanding for LUCY’S remark.


BACK TO SCENE:

Inside LUCY MORAN’S reception office, LUCY and DEPUTY ANDY BRENNAN are playing a game chess. ANDY sits huddled over the chessboard as LUCY stands and talks to PETE through the open window of the reception office.

LUCY

ANDY

PETE

ANDY looks at PETE.

ANDY

PETE

ANDY

ANDY corrects his move on the chessboard.

LUCY

LUCY moves a piece on the chessboard.

LUCY


CLOSE ON: COOPER’S FACE

We FOCUS on a CLOSE-UP of COOPER’S face as he turns to PETE and smiles.


CLOSE ON: PETE’S FACE

We FOCUS on a CLOSE-UP of PETE’S face as he turns to COOPER and grins in pride.

PETE diverts his attention to the front doors of the station as they open.


CLOSE ON: COOPER’S FACE

We FOCUS on a CLOSE-UP of COOPER’S face as he also turns his head to the front doors of the station.


BACK TO SCENE:

MUSIC ENDS: FRESHLY SQUEEZED (UPTEMPO VARIANT)    80K

MAJOR BRIGGS and the LOG LADY, holding her log in her arms, stand near the front doors to the building.

MAJOR BRIGGS

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:50)




CUT TO:

INT. SHERIFF’S DEPARTMENT CONFERENCE ROOM - DAY


INSERT: CLOSE-UP SKETCH

We FOCUS on a CLOSE-UP of a chalk sketch of three triangles as COOPER draws it on the chalkboard.

MAJOR BRIGGS (OFF SCREEN)


BACK TO SCENE:

MAJOR BRIGGS and the LOG LADY sit in two chairs facing the chalkboard. The LOG LADY holds her log in her arms. Several chess sets are scattered on the conference room table.

MAJOR BRIGGS

COOPER

LOG LADY

COOPER

LOG LADY

The LOG LADY shifts in her seat to show COOPER the back of her right leg. COOPER walks up to the LOG LADY and looks at a scar on the back of her leg just below the knee. Perplexed, COOPER returns to the chalkboard to draw an image of the scar.

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:30)

MUSIC: THE MILL FIRE    16K

To the left of the sketch of the three triangles, COOPER draws the image of the LOG LADY’S scar, a simple drawing of two mountain peaks that mirror each other.

LOG LADY

MAJOR BRIGGS speaks animatedly by waving his left hand.

MAJOR BRIGGS

LOG LADY

COOPER

LOG LADY

COOPER stands quietly next to the chalkboard with the two sketches. MAJOR BRIGGS and the LOG LADY stare at the two sketches. COOPER turns to face the sketches on the chalkboard. MAJOR BRIGGS points at the chalkboard.

MAJOR BRIGGS

LOG LADY

COOPER

LOG LADY

The LOG LADY looks down at her log and pets it. MAJOR BRIGGS and COOPER continue to stare at the sketches.

MUSIC ENDS: THE MILL FIRE    16K


SOUND BRIDGE:

JOHN (OFF SCREEN)



CUT TO:

EXT. BLACK LAKE - DAY

JOHN WHEELER lays on his side across a picnic blanket as he serenades AUDREY. AUDREY sits in a kneeling position intimately close to JOHN. JOHN and AUDREY look longingly into each other’s eyes.

JOHN

MUSIC: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)

AUDREY

JOHN

AUDREY chortles.

AUDREY

JOHN

AUDREY

JOHN

AUDREY

JOHN

AUDREY

JOHN

JOHN grins.

AUDREY

JOHN smiles.

JOHN

AUDREY chortles.

AUDREY

JOHN

AUDREY laughs.

We view a WIDE-SHOT of the area. As the day draws to a close, the sun casts an orange glow. Near the shore of the lake, AUDREY and JOHN sit on a checkered picnic blanket with a picnic basket of food next to them. In the lake, ducks swim by and QUACK. AUDREY reaches into the picnic basket, pulls out a green apple and holds it out for JOHN to take a bite. JOHN takes a bite and struggles slightly to bite through the apple. JOHN reaches out to support the apple but is able to chomp through.

MUSIC ENDS: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)

FADE OUT:




FADE IN:

EXT. HAYWARD HOUSE - DAY

An establish shot. We view the front of the house.




CUT TO:

INT. HAYWARD HOUSE - DAY

Carrying a bag of groceries, DR. WILL HAYWARD and EILEEN HAYWARD, with a small potted flower on her lap, enter the dining room. Drinking from a straw in a bottle of Coke-Cola, DONNA meets her parents as they enter the room.

DONNA

DR. HAYWARD

DR. HAYWARD puts the bag of groceries down on the dining room table.

DONNA

DR. HAYWARD

DR. HAYWARD gives a puzzled look to EILEEN and then turns back to DONNA.

DR. HAYWARD

MUSIC: WINDOM EARLE’S THEME

DONNA

Puzzled, DR. HAYWARD and EILEEN look at each other.

DONNA

DONNA hands DR. HAYWARD the small black box and the note card WINDOM gave her. DR. HAYWARD opens the note card and briefly reads it before passing it to EILEEN. EILEEN picks up the phone and dials the phone number on the card.

DR. HAYWARD

DONNA

DR. HAYWARD removes the white string from the small black box. Baffled by the response on the telephone, EILEEN remarks ...

EILEEN

DR. HAYWARD opens the small black box.


DR. HAYWARD’S POV:

Through DR. HAYWARD’S POV we FOCUS on a CLOSE-UP of the small black box as the cover is lifted to reveal a black knight from a chess set with a small tag attached to it that reads:



BACK TO SCENE:

DR. HAYWARD

DR. HAYWARD slowly lifts his gaze from the small box and up to DONNA.

DR. HAYWARD

DONNA

DR. HAYWARD turns to EILEEN.

DR. HAYWARD

DR. HAYWARD walks off.

MUSIC ENDS: WINDOM EARLE’S THEME




CUT TO:

EXT. BIG ED’S GAS FARM - DAY

An establish shot. We view the front of the lonely gas station with its colorful red neon sign. The Hurley residence sits behind the gas station.




CUT TO:

INT. HURLEY HOUSE - DAY

‘BIG’ ED HURELY and NADINE HURELY sit on the couch together. DR. LAWRENCE JACOBY sits on a chair facing BIG ED and NADINE.

BIG ED

NADINE smiles.

NADINE

BIG ED

NADINE

DR. JACOBY leans over to NADINE.

DR. JACOBY

NADINE

DR. JACOBY

BIG ED

Uncomfortable, BIG ED stares at DR. JACOBY.

NADINE

BIG ED wrings his hands together.

BIG ED

DR. JACOBY leans close to BIG ED.

DR. JACOBY

BIG ED

DR. JACOBY

BIG ED and DR. JACOBY turn to NADINE as she speaks.

NADINE

NADINE smirks with a smile but quickly looses the smirk as her eyes start to widen. BIG ED looks at DR. JACOBY.

BIG ED

DR. JACOBY

NADINE raises her left hand and puts it in front of her left eye, the eye with the black patch over it.

NADINE

NADINE lowers her hand and blinks her right eye. Disconcerted, BIG ED and DR. JACOBY look at each other.




CUT TO

INT. HAYWARD HOUSE - DAY


We FOCUS on the empty living room. The door bell RINGS.

DONNA rushes down from her room on the second floor of the house but as she starts to descend the stairs she spots EILEEN quietly opening the front door of the house.

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

DONNA backs up the stairs to stay out of view as she spies on her mother at the front door.

BENJAMIN HORNE steps into the house. Without saying a word, BEN gently grabs EILEEN’S hand at the doorknob and holds it in his hands. BEN bends down to kneel next to EILEEN’S wheelchair. BEN gestures with an index finger at his lips to be quiet. BEN moves close to EILEEN and whispers into her ear.

Disturbed, DONNA watches the exchange between her mother and BEN.

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




CUT TO:

INT. DOUBLE R DINER - DAY

MUSIC: COUNTRY #5

We PAN UP from the floor of the island counter service area. Sitting at the island counter bar, NORMA smiles as she reads her mail. The letter NORMA is reading is an announcement for the Miss Twin Peaks pageant. NORMA turns the letter around so that the ad faces her.

NORMA

SHELLY stands bent over near the short order window as she fills out an order on her tab.

SHELLY

SHELLY walks over to NORMA.

NORMA

NORMA turns the letter around to show SHELLY. SHELLY reads the heading out loud.

SHELLY

NORMA’S eye’s brighten and she gestures to the letter by shaking the letter. NORMA wants SHELLY to take an interest in the pageant. SHELLY throws her head back as she scoffs at the ad.

SHELLY

NORMA

NORMA folds the letter up. SHELLY shakes her head for no and rolls her eyes.

SHELLY

NORMA

SHELLY picks up a nearby spoon and holds it to her mouth like a microphone.

SHELLY

SHELLY smiles and thrusts the spoon/microphone towards NORMA as if to record her remark. SHELLY returns the spoon/microphone to her mouth and playfully speaks in a higher tone of voice.

SHELLY

SHELLY cocks her head to the side and smiles.

NORMA

SHELLY

SHELLY clicks her heels as she walks away to pick up a plate at the short order window. After picking up the plate, SHELLY continues to joke around about the pageant by holding her hands up, palms up and sashay across the floor. Enjoying the prank, NORMA smiles at her the whole time.

SHELLY walks up the island counter service area on the opposite side of the counter where NORMA is seated. WINDOM EARLE sits at the counter disguised as a biker: black t-shirt, black bandana on his head, one black fingerless glove on his right hand and a long haired wig.

SHELLY

SHELLY puts a plate with a hamburger and fries down on the counter in front of WINDOM. WINDOM holds his mug of coffee near his mouth, cupped in both hands.

WINDOM

SHELLY

WINDOM

WINDOM points at SHELLY.

WINDOM

SHELLY

WINDOM gestures to his chest.

WINDOM

SHELLY smiles politely and then quietly walks off. WINDOM watches SHELLY walk off as he holds his mug of coffee close to his face. The front door to the diner RINGS, as some enters the building. WINDOM shifts his gaze from SHELLY to the person entering the diner.


WINDOM’S POV:

SOUND EFFECT: SWOOPING AWARENESS    8K

Through WINDOM’S POV, COOPER, holding his attention on the book he is carrying, walks up to the island counter bar and takes a seat right across from WINDOM on the opposite side of the island counter bar. COOPER opens his book, about Tibet, to a bookmark, puts the bookmark aside and starts to read.


BACK TO SCENE:

Behind the island counter, ANNIE, dressed in one of the diner’s blue waitress uniforms, walks up to COOPER.

ANNIE

COOPER looks up from his book and is immediately smitten at the sight of ANNIE.

COOPER

ANNIE

ANNIE bends down and fetches a saucer with a coffee cup from a shelf below the counter. ANNIE puts the saucer with the inverted coffee cup on the counter next to COOPER. COOPER and ANNIE both reach out to turn the coffee cup right side up. ANNIE stops short of picking the cup up and looks at COOPER. COOPER smiles and pulls his hand back. ANNIE reaches out, picks up the cup and turns it right side up.

ANNIE bends down to fetch some utensils from the shelf under the counter. COOPER nervously fidgets his left arm as looks up at ANNIE, to the coffee cup and then back at ANNIE as she stands up.

COOPER

ANNIE stops and looks at COOPER.

ANNIE

COOPER extends his right hand out to shake hands with ANNIE.

COOPER

ANNIE shakes hands with COOPER.

ANNIE

COOPER

For a second there is an awkward moment of silence. COOPER interrupts before ANNIE walks off to get the pot of coffee.

COOPER

ANNIE

COOPER

ANNIE

COOPER

ANNIE smiles and then walks off.


WINDOM’S POV:

Through WINDOM’S POV, COOPER smiles as he watches ANNIE walk off.


BACK TO SCENE:

WINDOM quietly eats his french fries as he watches COOPER.


WINDOM’S POV:

Through WINDOM’S POV, COOPER bunches his brow and looks down at the counter as he senses something.


BACK TO SCENE:

ANNIE returns with a pot of coffee.

ANNIE

COOPER

ANNIE fills COOPER’S cup with coffee.


COOPER’S POV:

Through COOPER’S POV, we FOCUS on a CLOSE-UP of a one-inch scar across the veins on ANNIE’S wrist.


BACK TO SCENE:

COOPER raises his left hand, palm forward for a halt gesture, to keep ANNIE from leaving after pouring him a cup of coffee. COOPER takes a sip of the coffee and smiles.

COOPER

Starring at COOPER, ANNIE briefly grins before walking off.

MUSIC ENDS: COUNTRY#5

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)

COOPER takes another sip from his coffee cup and then peers across the island counter to the opposite side where WINDOM is seated.


COOPER’S POV:

Through COOPER’S POV, we view the island counter on the opposite side of where COOPER is seated. The counter is empty. WINDOM, in disguise, is nowhere to be found.


BACK TO SCENE:

COOPER shakes his head, discarding the odd intuitive sensation he had earlier and takes a sip from his cup of coffee.

DEPUTY HAWK walks up to COOPER.

HAWK

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




CUT TO:

INT. BOOKHOUSE - DAY

A bit worried, DEPUTY ANDY stands quietly in a corner of the room near the entrance as he keeps a watch over SHERIFF TRUMAN.

COOPER and HAWK meet ANDY as they enter the room.

ANDY

COOPER enters the room.

HAWK

MUSIC: LAURA PALMER’S THEME  

With a bottle of whisky in his left hand and his revolver in his right hand, SHERIFF TRUMAN, unshaven and drunk, sits on a chair positioned on top of a round table. Furniture has been scattered around the room.

SHERIFF TRUMAN

TRUMAN wavers in his chair.

COOPER

SHERIFF TRUMAN

COOPER walks closer to TRUMAN.

COOPER

TRUMAN laughs and waves his revolver into the air.

SHERIFF TRUMAN

COOPER walks closer to TRUMAN and leans on an antique cabinet with a vinyl record player.

COOPER

SHERIFF TRUMAN

MUSIC ENDS: LAURA PALMER’S THEME  

COOPER walks up a closer to TRUMAN.

MUSIC: TWIN PEAKS THEME  

COOPER

SHERIFF TRUMAN

TRUMAN lowers his head and slouches in his chair. COOPER moves to TRUMAN, pats his hand and hugs him.

SHERIFF TRUMAN

COOPER nods an understanding.

COOPER

MUSIC ENDS: TWIN PEAKS THEME  

FADE OUT:




FADE IN:

EXT. BOOKHOUSE - DAY

An establish shot. Under a darkening sky, we FOCUS on a CLOSE-UP of the blue neon sign of the building.




CUT TO:

INT. BOOKHOUSE - DAY

With the interior still in shambles, COOPER and HAWK move TRUMAN from the floor to a bed that had been brought in and positioned in the middle of the room. COOPER and HAWK face each other.

COOPER

HAWK

COOPER

COOPER and HAWK turn to look down at TRUMAN.

COOPER

HAWK

SHERIFF TRUMAN

COOPER and HAWK look back at each other.




CUT TO

INT. THE GREAT NORTHERN HOTEL - NIGHT


MUSIC: AMBIANT MUSIC

An establish shot. The last bits of sunlight from the setting sun cast a reddish glow upon the sky over the hotel.


SOUND BRIDGE:

RANDY (OFF SCREEN)



CUT TO:

INT. THE GREAT NORTHERN HOTEL - NIGHT

RANDY ST. CROIX stands behind the check in counter in the lobby. MIKE NELSON, wearing a suit and hat with a wool coat, and NADINE, hugging MIKE’S right arm and wearing sunglasses and a long, dark coat, try to pose as a couple.

RANDY

MIKE

RANDY is not fooled one bit.

RANDY

NADINE

MIKE

NADINE hugs MIKE’S right arm a little tighter.

NADINE

MIKE

A sign in the lobby points to a fashion show being held in the Timber Room. Two teenage girls walk into the lobby and up to the check in counter.

SUSAN

MIKE and NADINE turn around to face the two girls, SUSAN and her FRIEND.

MIKE

SUSAN

MIKE

SUSAN and her FRIEND walk off. MIKE is embarrassed. NADINE turns back to the check in counter and slams her hand down on the service bell, which produces short KLANKING RING.

NADINE

MIKE picks up the hotel room key from the counter top.

MIKE

MIKE scrambles to pick up the bags. RANDY looks at the service bell.


RANDY’S POV:

Through RANDY’S POV, we FOCUS on a CLOSE-UP of the service bell which has been smashed in.


BACK TO SCENE:

MIKE and NADINE rush off and out of the lobby.

MUSIC ENDS: AMBIANT MUSIC


SOUND BRIDGE:

A crowd of people CLAP their hands.

BENJAMIN (OFF SCREEN)



CUT TO:

INT. TIMBER ROOM - NIGHT

Dressed in a tuxedo, BENJAMIN HORNE stands on the catwalk as he addresses the crowd and tosses ’Stop Ghostwood’ campaign buttons to the crowd. A huge banner, ’Stop Ghostwood: Save the Pine Weasel’, is draped in the background. Several large black and white posters of the pine weasel adorn the walls. A totem pole is decorated with small flashing white lights. We FAVOR ON BEN as we PAN RIGHT. The room is packed with people.

BENJAMIN

With a flash from a bulb, a PHOTOGRAPHER snaps a photograph of BEN.

MUSIC: FRESHLY SQUEEZED (0:26 - 3:48)

BENJAMIN

BEN turns to point at the poster of the pine weasel.

BENJAMIN


CLOSE ON: BEN

We FOCUS on a CLOSE-UP of BEN.

BENJAMIN


BACK TO SCENE:

BENJAMIN

Some feedback interference comes from the speaker as BEN picks up the microphone stand and moves it back to the curtain that divides the catwalk from the backstage.

BENJAMIN

BEN and the crowd CLAP their hands. DICK walks out from behind the curtain and up to the microphone and bumps into BEN as he walks away from the microphone to head off behind the curtain. DICK adjusts the height of the microphone.

DICK

A PHOTOGRAPHER snaps a photograph of DICK.

DICK

DICK pauses as LUCY steps out from behind the curtain. LUCY walks up the catwalk.

DICK

At the end of the catwalk, LUCY spins around and around in place. A PHOTOGRAPHER snaps her picture.

DICK

LUCY stops spinning and wavers slightly under the loss of balance from spinning. LUCY walks down the catwalk towards the curtain.

DICK

Facing the audience, LUCY stands posed at the curtain. Finished, DICK motions LUCY to move along. LUCY raises her hand, sets a pose and then slips behind the curtain.

DICK

ANDY steps out from behind the curtain and walks, rather stiffly, up the catwalk starring bug-eyed at the audience.

DICK

ANDY remains standing at the end of the catwalk starring at the crowd.

DICK

ANDY turns around and walks down the catwalk towards the curtain. The audience CLAP their hands. ANDY pauses at the curtain and, with a blank expression, turns to DICK. DICK gestures with a head nod to the curtain for ANDY to leave. ANDY shakes his head and then walks behind the curtain.

We FOCUS on AUDREY and MODEL #3 in the area back stage. MODEL #3, already dressed for the catwalk, adjusts her hair in a mirror. AUDREY helps the MODEL with her hair as she speaks to her.

AUDREY

MODEL #3 stands up and heads for the catwalk. Another model, MODEL #4, takes a seat at the mirror.

We FAVOR ON LUCY and PAN RIGHT as she walks into the back stage area.

ANDY (OFF SCREEN)

LUCY

ANDY walks behind LUCY and follows her to the door out of the Timber Room.

LUCY

We FOCUS on AUDREY as MODEL #4 gets up from the chair and heads off to the catwalk.

AUDREY

Another MODEL takes a seat in the chair in front of the mirror.

We FOCUS on BEN standing near the corner of the bar in the Timber Room as he dunks a cookie into a glass of milk. CATHERINE MARTELL walks up to the bar and takes a seat on a stool behind BEN.

CATHERINE

BEN turns around to see CATHERINE.

BENJAMIN

BEN eats his cookie.

CATHERINE

BENJAMIN

CATHERINE

BENJAMIN

BEN takes a sip from his glass of milk.

CATHERINE

BEN grins.

BENJAMIN

BEN removes his glasses and bends close to CATHERINE.

BENJAMIN

CATHERINE

BENJAMIN

CATHERINE boldly laughs. BEN joins CATHERINE’S laughter with a chuckle of his own. BEN walks around CATHERINE, kisses her cheek and walks away. CATHERINE is puzzled.

MUSIC ENDS: FRESHLY SQUEEZED (0:26 - 3:48)

MUSIC: FRESHLY SQUEEZED

We FOCUS on a WIDE-SHOT of the crowd and the catwalk in the Timber Room. DICK and the crowd CLAP as the last MODEL leaves the catwalk and walks backstage.

DICK

DICK awaits MR. PINKLE’S entrance from the curtain door but MR. PINKLE walks up to DICK from the corner of the stage carrying a metal cage.

MR. PINKLE

MR. PINKLE puts the cage down on the floor and, smiling brightly, moves to the microphone.

MR. PINKLE


MR. PINKLE POV:

Through MR. PINKLE’S POV, the audience remains quiet.


BACK TO SCENE:

MR. PINKLE

DICK throws his left shoulder forward and nudges MR. PINKLE’S back to move on. MR. PINKLE gets the message and skips the growing dramatic presentation.

MR. PINKLE

MR. PINKLE bends down to the metal cage on the floor, opens it and pulls out a live pine weasel. MR. PINKLE stands back up and shows the pine weasel to the audience.

MR. PINKLE

MR. PINKLE strokes the fur on the back of the pine weasel.

MR. PINKLE

The pine weasel worms its way to face a large white campaign button pinned on DICK’S lapel. MR. PINKLE follows the pine weasel’s attention to the button.

MR. PINKLE

The pine weasel worms its way to face the buttons of DICK’S shirt.

DICK

The pine weasel continues to wiggle its way in MR. PINKLE’S grasp to move to DICK’S chin.

MR. PINKLE

MR. PINKLE follows the pine weasel’s attention to DICK’S face.

MR. PINKLE

DICK

MR. PINKLE

DICK looks towards the audience and smiles.


DICK’S POV:

Through DICKS’ POV, the audience quietly sits.


BACK TO SCENE:

MR. PINKLE

DICK

MR. PINKLE moves the pine weasel closer to DICK’S face. A bit weary, DICK leans back and stretches his left hand out near the pine weasel as if to grasp it.

MR. PINKLE

DICK

MUSIC ENDS: FRESHLY SQUEEZED

MUSIC: A???

The pine weasel BITES DICK on the nose. DICK SHOUTS and arches backward.

DICK

The pine weasel slips out of MR. PINKLE’S grasp as it remains clamped to DICK’S nose.

MR. PINKLE

With the pine weasel clamped to his nose, DICK runs up the catwalk SHOUTING in pain. MR. PINKLE follows DICK, trying to recapture the pine weasel.

MR. PINKLE

DICK pulls the pine weasel off the end of his nose and throws it down into the audience. The pine weasel lands on someone’s dinner plate. The PATRONS at that table panic, turn the table over as they rush to stand up and run away from the loose weasel. The pine weasel lands on the floor.

MUSIC ENDS: A???

MUSIC: B???

EVERYONE panics, stands up and runs around the room. Holding his nose, DICK runs backstage. A few people from the audience follow DICK backstage.

MR. PINKLE


PINE WEASEL’S POV:

Through the pine weasel’s POV we get a jostled view close to the ground. People’s feet can be seen as they rush about the room.


BACK TO SCENE:

Amid people running by, the pine weasel scampers along the floor.


PINE WEASEL’S POV:

Through the pine weasel’s POV we bounce along the floor and come upon a PATRON, who is scared, lying flat on the floor.

PATRON #1


BACK TO SCENE:

ANDY and LUCY walk out from backstage and up the catwalk.

ANDY

People continue to run around the room. Part of the structure holding up the curtain falls as people rush backstage. AUDREY rushes from backstage and up to the microphone near the catwalk.

ANDY (OFF SCREEN)

AUDREY

A MODEL, screaming in hysteria, rushes past the partially fallen curtain and knocks AUDREY off the catwalk platform. JOHN WHEELER catches AUDREY in his arms.

JOHN

Stunned, AUDREY stares into JOHN’S eyes.

AUDREY

JOHN

AUDREY

JOHN

AUDREY

JOHN

Carrying AUDREY in his arms, JOHN and AUDREY kiss amidst the confusion in the room.


CLOSE ON: MODEL

Standing at the end of the catwalk, the MODEL SCREAMS at the top of her lungs in hysteria.

MUSIC ENDS: B???




CUT TO:

INT. THE BOOKHOUSE - NIGHT

MUSIC: LAURA PALMER’S THEME  


JONES’S POV:

Through JONES’S POV, the door to the room opens and we step inside. With his back to the door, a BOOKHOUSE BOY sits in a nearby chair reading a book. We quietly move closer and closer to the BOOKHOUSE BOY. JONES throws her left hand down hard on the side of the neck of the BOOKHOUSE BOY. The BOOKHOUSE BOY is knocked out cold, unconscious.

We move beside the bed where SHERIFF TRUMAN is sleeping. JONES puts a handgun down on a nearby table.


BACK TO SCENE:

JONES stands beside SHERIFF TRUMAN’S bed and removes a black scarf draped over her head. JONES unbuttons her black blouse and removes it to reveal a black silk slip. Next, JONES unbuttons and removes her skirt and removes a clip that bunches her hair at the back of her neck. JONES lifts the covers on the bed and slips into bed.

MUSIC ENDS: LAURA PALMER’S THEME  

FADE OUT:




CLOSE:




FADE IN:

MUSIC: LAURA PALMER’S THEME  

We view LAURA PALMER’S homecoming picture as the end credits roll.

MUSIC ENDS: LAURA PALMER’S THEME  

FADE TO BLACK: