Episode 27 - The Path To The Black Lodge
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
There are clues everywhere, all around us. But the puzzle maker is clever. The clues, although surrounding us, are somehow mistaken for something else. And the something else, the wrong interpretation of the clues, we call our world. Our world is a magical smoke screen. How should we interpret the happy song of the meadowlark or the robust flavor of a wild strawberry?
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. EASTER PARK - NIGHT
MUSIC: MILL FIRE
16K
We PAN DOWN.
CLOSE ON: RUSTY TOMASKI
We FOCUS on a CLOSE-UP of RUSTY TOMASKI’S frozen expression peering out through the facial cavity of a large black pawn built by WINDOM EARLE. The pawn begins to move back and forth.
DEPUTY #1 (OFF SCREEN)
DEPUTY #2 (OFF SCREEN)
DEPUTY #1 (OFF SCREEN)
DEPUTY #2 (OFF SCREEN)
BACK TO SCENE:
In the gazebo of Easter Park, seven LAWMEN work at rocking the giant black pawn. A DEPUTY jumps up and over the railing to the gazebo to lend a hand. The LAWMEN continue to rock the giant black pawn until it leans heavily to one side toward the exit.
DEPUTY #1
Okay, watch it. Hold it - hold it.
DEPUTY #2
DEPUTY #1
Collectively, the LAWMEN work to pick the giant pawn up and move it out of the gazebo.
DEPUTY #2
Put it on your shoulder - on your shoulder.
DEPUTY #3
DEPUTY TOMMY ‘THE HAWK’ HILL removes a tie of yellow police cautionary tape from the gazebo railing.
DEPUTY #1
Watch your step - watch your step.
DEPUTY #2
DEPUTY #3
If you need some help down there say something.
DEPUTY #1
DEPUTY #3
DEPUTY #1
You look out and see if I’m going to fast.
DEPUTY #2
Woah - woah - woah - woah. Easy.
We FAVOR ON the LAWMEN and PAN LEFT as they now zigzag past parked police cruisers, with their lights flashing, as they move the giant black pawn towards a trailer.
DEPUTY #1
DEPUTY #3
Yeah, it hit me in the eye.
DEPUTY #1
Look - look, what’s going on?
DEPUTY #2
Come on. That’s it. Hold it.
DEPUTY #1
DEPUTY #2
Oh, watch where you step.
As the LAWMEN continue to move the giant black pawn in the background, we FOCUS on a huddle between FBI SPECIAL AGENT DALE COOPER, SHERIFF HARRY S. TRUMAN, DEPUTY ANDY BRENNAN and RUSTY’S friend, a HEAVY METAL ROADIE. The HEAVY METAL ROADIE wears a red baseball cap and a black leather vest over a jean jacket over a black concert shirt.
HEAVY METAL ROADIE
COOPER
What was Rusty’s last name?
HEAVY METAL ROADIE
Tomaski. He got me in with the band. I - I’m a roady.
SHERIFF TRUMAN
What are you doing in Twin Peaks?
HEAVY METAL ROADIE
We were supposed to play a gig in Knife River but a tire on the van crapped out.
COOPER
HEAVY METAL ROADIE
Yeah, this guy - this guy came out of the woods, like Big Foot or something, and uhm he was wearing a weird suit and we talked to him for a while and he said he had some brew. You know, like we uh - uh like some. So Rusty went with him. I - I didn’t see him after that.
SHERIFF TRUMAN
We’ll need to get in touch with Rusty’s parents.
DEPUTY #2
ANDY begins to get choked up, saddened by the story. HEAVY METAL ROADIE speaks with a growing nervous chuckle.
HEAVY METAL ROADIE
Rusty hated his parents. He’s staying with his uncle in Moses Lake. Until we were - we were gonna ... move. We were gonna move to LA.
ANDY begins to cry. Caught up in his emotions, the HEAVY METAL ROADIE begins to cry also.
SHERIFF TRUMAN
In the background the LAWMEN continue to wrestle with the giant black pawn in the trailer.
DEPUTY #2
DEPUTY #1
DEPUTY #2
SHERIFF TRUMAN pats ANDY’S shoulder and gestures that he should lead the HEAVY METAL ROADIE away.
DEPUTY ANDY escorts the HEAVY METAL ROADIE away.
COOPER
He’s taken another pawn Harry but he didn’t tell us his move. Windom Earle’s playing off the board.
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
We FOCUS on a CLOSE-UP of a chess set lying on LUCY MORAN’S reception office counter. Seated nearby, LUCY reaches out and picks up the white queen from the chess set.
We PAN UP and RIGHT. LUCY is sitting in her reception office in front of the open office window. In the background, two DEPUTIES work on collecting clues from the dismantled giant black pawn in the reception area.
MUSIC ENDS: MILL FIRE
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SHERIFF TRUMAN enters the building and, wearing a smile, taps the counter at the reception office window twice.
SHERIFF TRUMAN
LUCY
AGENT COOPER follows right behind SHERIFF TRUMAN. Smiling, COOPER crouches slightly and also taps the counter at the reception office window, three times.
COOPER
LUCY
SHERIFF TRUMAN and AGENT COOPER head towards TRUMAN’S office. DEPUTY ANDY follows right behind them carrying two pink boxes of donuts.
TRUMAN and COOPER stop short as LUCY speaks to them.
LUCY
Deputy Hawk is in your office sheriff. He’s with somebody I’ve never seen before but he looks really sad so Hawk is feeding him breakfast.
SHERIFF TRUMAN waves an index finger on his left hand - quietly gesturing that he’s got it.
TRUMAN, COOPER and ANDY walk off towards the office.
LUCY
Still holding the donut boxes, ANDY stops, turns towards LUCY and walks up to her reception office window.
ANDY
LUCY
What do you know about saving our planet?
ANDY
I know its in a lot of trouble.
LUCY
Andy, I’m taking fate into my own hands, mostly because the suspense is too much for me.
LUCY hands ANDY the photocopy ad for the Miss Twin Peaks contest.
LUCY
Tomorrow is D-Day, dad day. In twenty-four hours I will choose the father of my child: Deputy Andy Brennan ...
ANDY smiles brightly.
LUCY
... or clothing salesman Richard Tremayne.
ANDY drops his smile.
ANDY
What does that have to do with the Miss Twin Peaks contest?
LUCY
LUCY looks down at her abdomen and tugs at her shirt.
LUCY
... could use the money. We could also use a father. So I have to make a speech about saving our planet. Which is a great concept but I have no idea how to go about it, yet.
ANDY
I do know that people have got to stop sinking their beer cans in Pearl Lake when they’re fishing.
LUCY grabs a pencil and a pad of paper to take notes.
LUCY
ANDY
And uhm ... Styrofoam never dies for as long as you live.
Stunned by that information, LUCY looks up to ANDY, wide-eyed.
LUCY
CUT TO:
EXT. THE GREAT NORTHERN HOTEL - DAY
An establish shot. On a cold, gray day, we FOCUS on the falls. We PAN UP and LEFT to FOCUS on the hotel perched on the nearby cliff.
CUT TO:
INT. THE GREAT NORTHERN HOTEL - DAY
In the quiet lobby, a BUSBOY carries firewood over to the roaring fire in the fireplace. RANDY ST. CROIX is at work behind the lobby counter.
MUSIC: JOHN WHEELER’S THEME
50K
JOHN JUSTICE WHEELER briskly walks up to the lobby counter.
JOHN
Randy, has Audrey returned?
RANDY
In the background, a tall blonde WOMAN enters the lobby.
JOHN
RANDY
JOHN
Could you send someone up for my bags please.
RANDY
Before he rushes off, JOHN briefly eyes the WOMAN as she passes behind him.
MUSIC ENDS: JOHN WHEELER’S THEME
50K
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
MUSIC: OWL CAVE
We FOCUS on the Native American Indian painting of a large face on the pine log wall behind BENJAMIN’S desk.
We PAN LEFT. In a corner of the room stands an easel with a large poster of an enlarged black and white photo of the pine weasel.
BENJAMIN HORNE sits shirtless as DR. WILL HAYWARD examines him.
MUSIC ENDS: OWL CAVE
MUSIC: LOVE THEME FROM TWIN PEAKS
BENJAMIN
The insurance company has sent me so many forms that I could get a heart attack just lifting them.
DR. HAYWARD walks over to his medical bag, lying on top of BEN’S desk, to put away is stethoscope.
DR. HAYWARD
DR. HAYWARD turns around to face BEN.
DR. HAYWARD
Its what’s in your heart you should be worried about.
BENJAMIN
I know that I’ve given you reason to doubt me ... but I’m only interested in doing the right thing for everybody.
DR. HAYWARD walks towards BEN.
DR. HAYWARD
Then stay away from Eileen.
BENJAMIN
I can’t. Not as long as the lie survives.
DR. HAYWARD walks up to BEN.
DR. HAYWARD
Damn it Ben its not that simple. I believe you. I applaud your desire to do the right thing but goodness in you is ... is like a time bomb. There’s nothing good about ruined lives.
BENJAMIN
It is a confusing and difficult process but I must continue. Sorry Will.
There’s a KNOCK at the door.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
BENJAMIN
Ah, excuse me. Jack, come on in.
BEN stands up and walks towards the door.
The door to the office opens and JOHN WHEELER steps inside. BEN shakes JOHN’S hand in greeting and points to DR. HAYWARD.
BENJAMIN
JOHN walks up to DR. HAYWARD and they shake hands.
JOHN
Yes, hello. I’ve met your daughter she’s a lovely girl.
DR. HAYWARD
Yeah, uh I should be getting back to my office.
DR. HAYWARD walks back to BEN’S desk to retrieve his medical bag. BEN puts his shirt back on.
DR. HAYWARD
Nice to see you again John.
DR. HAYWARD makes his way out of the office but before he leaves he turns back to BEN.
DR. HAYWARD
DR. HAYWARD leaves through the open office door.
JOHN
BENJAMIN
She should be back any minute.
JOHN
Ben I gotta’ go. They’re gassing up the jet as we speak.
BENJAMIN
Well, you can call her when you get to uh wherever it is you are in such a hurry to get to.
JOHN
A friend of mine, well he was more than a friend he was a partner, he’s been murdered.
CUT TO:
INT. HAYWARD HOUSE - DAY
MUSIC: LOVE THEME FROM TWIN PEAKS
In the dusty attic of the house, we FOCUS on a distant attic fan as it slowly turns. We PAN LEFT and MOVE FORWARD until we come upon DONNA HAYWARD who is seated in front of an old chest and is reading her birth certificate.
DONNA
Female child. Mother: Eileen Hayward.
DONNA’S POV:
Through DONNA’S POV we FOCUS on a CLOSE-UP of the birth certificate that she reads aloud.
DONNA (OFF SCREEN)
Daughter: Donna Marie. Father: ...
The section for the father is blank.
BACK TO SCENE:
DONNA sits quietly, perplexed.
DONNA’S POV:
Through DONNA’S POV we FOCUS on a CLOSE-UP of the birth certificate. DONNA turns the page to a photo album. We FOCUS on a photograph of DR. HAYWARD and his wife EILEEN HAYWARD. Both are dressed in costumes. We PAN RIGHT to another photograph where EILEEN and DR. HAYWARD are seated at a table with BENJAMIN HORNE standing behind them holding his hands behind their heads with two fingers on each hand raised - mocking donkey ears.
A telephone from downstairs RINGS and is quickly answered.
EILEEN (OFF SCREEN)
BACK TO SCENE:
EILEEN (OFF SCREEN)
DONNA
EILEEN (OFF SCREEN)
Deputy Hawk is on the phone!
DONNA
EILEEN (OFF SCREEN)
DONNA’S POV:
Through DONNA’S POV we FOCUS on the photo album DONNA has been looking through. DONNA turns the page to another set of photographs.
BACK TO SCENE:
DONNA centers on one specific photo in the album.
DONNA’S POV:
Through DONNA’S POV we FOCUS on the photo she is staring at. The photo is of BENJAMIN feeding EILEEN cake in a 4th of July celebration.
BACK TO SCENE:
DONNA SIGHS and closes the album.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
INT. THE GREAT NORTHERN HOTEL - DAY
Carrying a suitcase, AUDREY HORNE, wearing a black and white checkered suit jacket and a black skirt, enters the lobby. A BUS BOY passes in front of her pulling a cart loaded with suitcases. DEPUTY HAWK sits in the reception area reading a magazine. Behind the check-in counter, RANDY ST. CROIX spots and greets AUDREY.
RANDY
Miss Horne. Several messages.
Hearing AUDREY’S name mentioned, DEPUTY HAWK stands up.
RANDY hands AUDREY several envelopes.
AUDREY
RANDY
AUDREY lifts her suitcase to RANDY. RANDY grabs the suitcase and puts it behind the counter.
AUDREY
Peering at her messages, AUDREY starts to walk away from the counter. DEPUTY HAWK walks up to AUDREY.
HAWK
Audrey, Agent Cooper would like to see you at the Sheriff’s station.
AUDREY
Oh, well I have a lot of work to do. Maybe this afternoon?
HAWK
AUDREY
AUDREY walks back out of the lobby escorted by DEPUTY HAWK.
CUT TO:
INT. BENJAMIN HORNE’S OFFICE - DAY
BEN and JOHN sit on the steps leading to the double set of office doors.
BENJAMIN
But what about Stop Ghostwood? How - how am I supposed to get a hold of you? And at what time?
JOHN
A brave man is dead. He’s my friend and I have to take his place.
BENJAMIN
You aren’t coming back aren’t you.
JOHN doesn’t answer.
BENJAMIN
Ahh damn this rainforest business anyway.
JOHN
You can handle this without me.
BENJAMIN
I don’t know. I’m afraid that I’m weak.
JOHN
Ben Horne weak? I find that hard to believe.
BENJAMIN
Strive for goodness. Huh? Tell the hardest truth first.
JOHN
Just do the best you can. Its all you really can do.
MUSIC: JOHN WHEELER’S THEME
50K
BENJAMIN
Well I’m sorry that Audrey wasn’t here.
JOHN reaches inside his jacket to his shirt pocket.
JOHN
I want you to give her something for me. Tell her ... just give it to her. Will ya’?
JOHN hands an envelope to BEN, stands up, and leaves the office through the open door.
BENJAMIN
MUSIC ENDS: JOHN WHEELER’S THEME
50K
CUT TO:
INT. SHERIFF TRUMAN’S OFFICE - DAY
We FOCUS on a Styrofoam cup, with a nibbled lip, that is used to hold three pencils. MAJOR GARLAND BRIGGS grabs and pulls out a pencil from the cup. We PAN LEFT and then UP to FOCUS on MAJOR BRIGGS and CAPPY, one of the BOOKHOUSE BOYS.
MAJOR BRIGGS
See if any of these symbols have to do with harvest schedules or ancient calendars. Look for any curious nomenclature.
MAJOR BRIGGS hands CAPPY a notepad.
CAPPY
CAPPY takes the notepad, grabs a few more notes and walks off. As he is about to leave the office he bumps into SHERIFF TRUMAN.
SHERIFF TRUMAN
TRUMAN pats CAPPY on the shoulder before letting him leave. SHERIFF TRUMAN walks up to MAJOR BRIGGS. AGENT COOPER follows right behind TRUMAN. Both are carrying cups of coffee.
SHERIFF TRUMAN
MAJOR BRIGGS
MAJOR BRIGGS and SHERIFF TRUMAN shake hands.
SHERIFF TRUMAN
MAJOR BRIGGS
MAJOR BRIGGS shakes hands with AGENT COOPER.
COOPER
MAJOR BRIGGS
Well I spent the night obtaining and perusing the Project Blue Book files regarding Windom Earle. I found it impossible to sleep after.
COOPER
MAJOR BRIGGS
Earle was the best and brightest among us. But when our attention turned from outer space to the wooded area surrounding Twin Peaks he became destructively obsessive. Earle acted in an overzealous and secretive manner, possessive of his assignments, finally violent. He was removed from the project. I found this in the project archives.
MAJOR BRIGGS turns around to a nearby television and plays a video. MAJOR BRIGGS steps back. AGENT COOPER and TRUMAN move closer to get a better view. The tape plays a black and white recording of WINDOM EARLE who is dressed in a white coat and is speaking to several people off screen.
WINDOM
These uh, these evil sorcerers uhm, Dugpas they’re called, they uh cultivate evil for - for the sake of evil, nothing else. They uh ... express themselves in darkness for darkness without leveling motive. Uh now this - this ardent purity allows them to access a secret place where the cultivation of evil precedes in exponential fashion and with it the furtherance of evil’s resulting power. This - this place of power is tangible and as such it can be found, entered and perhaps utilized in some fashion. The - the Dugpas have - have many names for them but chief among them ... is the uh is the Black Lodge.
Perturbed, AGENT COOPER looks up to MAJOR BRIGGS.
WINDOM
You don’t believe me do you? You think I’m mad, overworked. Go away.
COOPER presses rewind button on the VCR. As the tape rewinds the image of EARLE on the monitor plays backwards very fast. COOPER exhales a sigh of burden.
COOPER
Gentlemen, when Windom Earle arrived in Twin Peaks I assumed he had come for vengeance, for me. But I miss calculated. He has insinuated himself into the lives of people I care for. He has murdered innocents. He has engaged us in subterfuge and red herring.
COOPER drops his serious demeanor for a moment.
COOPER
A fish I don’t particularly care for.
MAJOR BRIGGS raises his eyebrows in response to COOPER’S odd remark.
COOPER stares at the television.
COOPER
But all of these acts are merely camouflage. He’s been after something else all along, the Black Lodge. Fella’s, we need to find out what this ...
COOPER points to the television monitor.
COOPER
... the Black Lodge has to do with that.
COOPER points to the sketch of the Owl Cave petroglyph on the blackboard.
MUSIC: OWL CAVE
INSERT: OWL CAVE SKETCH
We FOCUS on a CLOSE-UP of the Owl Cave petroglyph on the blackboard.
BACK TO SCENE:
SHERIFF TRUMAN
You really believe there’s a connection?
TRUMAN walks towards the blackboard sketch to get a closer look.
COOPER
CAPPY returns to the office. COOPER looks down at the scattering of files on the desktop. COOPER commandingly puts his coffee mug down.
COOPER
Alright, Harry we’re going to go through these files from top to bottom. Cappy, I want you to dig up everything you can about the Dugpas. Major, I think you better hit the sack.
MAJOR BRIGGS
I could use a good stretch. Perhaps a walk in the woods to clear my mind.
MAJOR BRIGGS heads out of the office. TRUMAN pats MAJOR BRIGGS on the shoulder.
SHERIFF TRUMAN
Good idea. Don’t forget the bread crumbs.
MAJOR BRIGGS
AGENT COOPER gives a thumbs up hand sign.
COOPER
MUSIC ENDS: OWL CAVE
MUSIC: WINDOM EARLE’S THEME
We PAN DOWN and RIGHT to FOCUS on a Banzai tree sitting atop TRUMAN’S desk.
CUT TO:
INT. EARLE’S CABIN - DAY
CLOSE ON: WINDOM EARLE’S RIGHT EAR
We FOCUS on a CLOSE-UP of WINDOM EARLE’S RIGHT EAR where he listens in on the conversation in TRUMAN’S office from the electronic bug implanted on the Banzai tree from which he hears through an earphone speaker.
WINDOM boldly LAUGHS.
BACK TO SCENE:
Dressed in all black, WINDOM removes the earphone speaker. LEO JOHNSON walks by, still wearing pajamas and a robe, carrying firewood.
WINDOM
You know Leo, the only thing that Columbus discovered was that he was lost.
WINDOM LAUGHS.
WINDOM
Cooper and the gang haven’t even left the snide yet.
WINDOM stands up and walks over to his computer.
WINDOM
(chirps) I know something they don’t know. I know something young Dale merely suspects.
WINDOM types a few commands into his briefcase computer that loads a series of images of the Owl Cave petroglyph onto a nearby monitor.
WINDOM
Project Blue Book, little men, pea wits loaded with optimism.
WINDOM CHUCKLES. We PAN SLOWLY LEFT to a monitor which has an enlarged image of the Owl Cave petroglyph.
WINDOM
They were a deterrent so slight it was practically encouragement. Yet I would like to ask Major Briggs a question or three. Polish up that bald nub of his and see what shines.
We continue to PAN LEFT, passing the monitor and a printer until we momentarily FOCUS on a chess set.
WINDOM quickly swipes a hand across the chess set and scatters the chess pieces, knocking them off the board. WINDOM then slaps down two enlarged transparency prints and some other paper onto the cleared chess set board.
We SLOWLY PAN UP.
WINDOM (OFF SCREEN)
Perhaps Leo we too should venture out for a good stretch.
We PAN UP a small pile of thick paperback books and FOCUS on WINDOM’S remote switching device used to trigger the electric shocks, sitting atop the stack of books.
WINDOM (OFF SCREEN)
Wouldn’t it be fun to have a Project Blue Book reunion: ...
LEO walks up to the desk and beside the pile of books. LEO reaches out and quickly, and quietly, grabs the remote device and puts it in the pocket of his robe.
WINDOM (OFF SCREEN)
... wine, cheese, talk about old times, trade hilarious antidotes of the good old days.
We PAN UP.
WINDOM (OFF SCREEN)
I wonder what amongst my detriness I could use to spice up Briggs’ies life.
We FOCUS on LEO’S face as he cautiously stares at WINDOM. LEO looks down at the ground.
LEO’S POV:
Through LEO’S POV we FOCUS on the floor near LEO’S feet where he then lifts his foot to reveal the king chess piece lying on the floor.
WINDOM (OFF SCREEN)
BACK TO SCENE:
LEO returns his attention to WINDOM.
WINDOM (OFF SCREEN)
If you were outside you’d have trouble with pigeons.
MUSIC ENDS: WINDOM EARLE’S THEME
CUT TO:
INT. DOUBLE R DINER - DAY
INSERT: CHERRY PIE
We FOCUS on a slice of cherry pie as a CUSTOMER, using her fingers, scoots a portion onto her fork.
BACK TO SCENE:
Warmly dressed in a coat and a knitted cap and seated at the island counter, the CUSTOMER brings the fork to her mouth and eats its. Suddenly, the CUSTOMER’S right hand begins to uncontrollably shake.
SOUND EFFECT: SPIRIT PRESENCE RINGING
2K
The CUSTOMER drops her fork and alarmingly stares at her shivering hand. With her left hand, the CUSTOMER reaches out and grabs her trembling right hand.
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING
2K
We PAN LEFT and FOCUS on a booth in the background where SHELLY JOHNSON and BOBBY BRIGGS, dressed in a dark suit with a yellow tie, sit together. SHELLY reads a written speech out loud.
SHELLY
And that’s the only way we’re ever going to save the trees. Its time to stand up and kick some butt for our environment before its too late for all of us.
Finished with the speech, SHELLY lifts her head and comments.
SHELLY
I’d say its beautiful, letter perfect.
BOBBY lifts his head from its leaning position on the table.
BOBBY
I don’t know about the kick butt part. How about uhm ... fight, its time to stand up and fight for our environment.
SHELLY
BOBBY
Shelly, I’ve been thinking.
A bit annoyed, SHELLY rolls her head.
SHELLY
Oh Bobby, I know - I know - I know, the speech counts double.
BOBBY
Forget about the contest. I’ve been thinking about us.
SHELLY
BOBBY
I know that I have not been paying the right kind of attention to you lately. I got busy with Mr. Horne. I started wearing suits okay. And suddenly I’m walking around like I’m more important then everybody else.
SHELLY
BOBBY lowers his head.
SHELLY smiles.
SHELLY
BOBBY lifts his head back up.
SHELLY
I miss all the things we used to do together.
MUSIC: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)
BOBBY
When I saw you kissing that guy ...
BOBBY takes a deep breath and shakes his head slightly.
BOBBY
... something snapped. It was like ... my brain rolled over and ... I could see all the stuff that was special to me. All the stuff that matters.
BOBBY and SHELLY stare into each other’s eyes.
BOBBY
I love you Shelly. And I want to spend my time with that.
A bit embarrassed, BOBBY lowers his head.
BOBBY
I mean, you know, if that’s okay with you. I’d like to do that either way.
SHELLY smiles, leans over the table and moves close to BOBBY’S face.
SHELLY
Bobby, what do you think?
SHELLY and BOBBY kiss.
A telephone RINGS.
Still close, face-to-face, BOBBY whispers.
BOBBY
SHELLY lets off a short, quiet chortle and then kisses BOBBY once more.
HEIDI (OFF SCREEN)
Shelly, telephone! Agent Cooper’s on the line! He need’s to talk to you! Now, Shelly! He says its important!
SHELLY rolls her eyes over the disruption. They break their kiss. SHELLY stands up but before she walks away she bends down and kisses BOBBY once more.
CUT TO:
INT. ROADHOUSE - DAY
Hand circular power saws ROAR as several WORKERS prepare the interior displays for the beauty contest. MAYOR MILFORD steps inside the building through front entrance and looks around the interior before darting off.
MUSIC ENDS: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)
We FOLLOW ON MAYOR MILFORD as he walks past scattered WORKERS and walks up to a booth where LANA MILFORD, wearing a red dress, is seated. MAYOR MILFORD takes a seat next to LANA.
MAYOR MILFORD
LANA
MAYOR MILFORD
Its going to be Norma Jennings and Richard Tremayne. Tremayne is the third judge. Its in the bag.
MAYOR MILFORD lets off a short and distinguished laugh.
LANA
Well now I have to be sure. Baby, I have to be sure I’m going to win.
MAYOR MILFORD
Oh my god this - this guy is uh British or - or Bohemian or something. He’s bound to fall for your charms. We’ll find some way to get you two together alone and then you put on a dress with a slit oh-ho ...
MAYOR MILFORD looks LANA over.
MAYOR MILFORD
... a slit cut halfway up to Seattle.
MILFORD LAUGHS.
MAYOR MILFORD
And then nestle in real close to him ...
MAYOR MILFORD scoots closer to LANA.
LANA
MAYOR MILFORD
... when he gets a look at those ...
MAYOR MILFORD looks down at LANA’S legs.
MAYOR MILFORD
MAYOR MILFORD momentarily lifts his gaze and rolls his eyes in delight. LANA and MAYOR MILFORD stare into each other’s eyes.
MAYOR MILFORD
... and smells that French perfume dripping off you and then ... becomes lost in those ... brown eyes ... oh-ho-ho-ho.
LANA pats several kisses on MAYOR MILFORD’S lips.
MAYOR MILFORD turns away.
MAYOR MILFORD
Oh-ho-ho, stop it. Stop it.
LANA caresses MAYOR MILFORD’S head and continues to plant kisses on his face.
MAYOR MILFORD
Stop it you vixen you. I can’t stand it anymore. Why can’t we just elope and - and ...
LANA backs away.
LANA
No. Now not until I’ve won darlin’.
MAYOR MILFORD
LANA
Then, and only then, I will marry you.
MAYOR MILFORD
Oh-ho-ho. Oh you’re so strict darling. But I am the blasted heir.
LANA puts her arm around MAYOR MILFORD and pulls him close to her for a hug.
LANA
Oh baby, come here. Its okay.
As he cries a bit like a baby, MAYOR MILFORD leans on LANA’S shoulder.
LANA
CUT TO:
EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
An establish shot. We view the front of the building.
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
In an interrogation room of the building, we get a bird’s-eye view from above looking down upon AGENT COOPER, AUDREY, DONNA and SHELLY as they sit together around a small square table. Laid out on the table in front of COOPER are the three torn strips of the poem given separately to AUDREY, DONNA and SHELLY. We ZOOM IN.
COOPER
Each of you received a piece of this poem, each in a curious manner, along with this invitation.
COOPER picks up the invitation card.
MUSIC: WINDOM EARLE’S THEME
AUDREY
We all went to the Roadhouse. Nobody showed up.
COOPER
Have any of you had contact recently with a stranger? Someone who struck you as peculiar, personable or just plain puzzling?
We PAN and FOCUS on DONNA.
DONNA
There was this strange guy who said he was a friend of my father’s.
We PAN LEFT and FOCUS on SHELLY.
SHELLY
The same day I got the poem I got a ten dollar tip for a cup of coffee. That’s unusual.
We PAN RIGHT slightly and FOCUS on AUDREY.
AUDREY
There was a funny old guy at the library who asked me to read the poem to him.
We PAN RIGHT and FOCUS on AGENT COOPER.
COOPER
All three. Shelly, take a closer look. Does this handwriting look familiar to you?
COOPER slides the aligned torn slips of paper to SHELLY.
SHELLY’S POV:
Through SHELLY’S POV we FOCUS on a CLOSE-UP of the three torn strips of the poem. SHELLY draws the strips together providing a better view of the writing.
BACK TO SCENE:
Surprised, SHELLY looks up to COOPER
SHELLY
We FOCUS tightly on COOPER but as he talks we PAN RIGHT to move behind him.
COOPER
Listen carefully, I want each of you to check in with the sheriff twice a day: nine o’clock in the morning, nine o’clock at night.
We continue to PAN RIGHT and momentarily FOCUS on DONNA.
COOPER
I want your parents to know your whereabouts at all times.
We PAN LEFT to momentarily FOCUS on AUDREY.
COOPER
If you walk to school? If you drive to work? Make sure that you don’t do so alone.
We PAN LEFT and once again move behind COOPER as we PAN to FOCUS on SHELLY.
COOPER
Please believe me when I tell you to be very careful. You’re in danger. We all are.
MUSIC ENDS: WINDOM EARLE’S THEME
FADE OUT:
FADE IN:
INT. EARLE’S CABIN - DAY
MUSIC: WINDOM EARLE’S THEME
We FOCUS on a CLOSE-UP of a circular table saw. LEO JOHNSON wipes away sawdust from the saw’s table top. We PAN LEFT and UP.
WINDOM (OFF SCREEN)
You would have appreciated the Dugpas Leo. Ancient sorcerers bent on evil.
WINDOM LAUGHS.
We FOLLOW ON LEO as he continues to wipe away sawdust.
WINDOM (OFF SCREEN)
Rather like the Kali worshippers in India. Another fine bunch of zannies I can tell you. Blood for breakfast, blood for lunch.
WINDOM LAUGHS again. LEO stares at the collection of queen cards with the head shot images of AUDREY, DONNA and SHELLY pinned to a ceiling joist.
WINDOM (OFF SCREEN)
Those were the good old days.
LEO points to the card with his wife’s image.
LEO
LEO’S POV:
Through LEO’S POV we FOCUS on a CLOSE-UP of the card with SHELLY’S image.
WINDOM (OFF SCREEN)
Very good Leo, you remember.
BACK TO SCENE:
WINDOM sits in a chair cleaning a crossbow.
WINDOM
MUSIC ENDS: WINDOM EARLE’S THEME
LEO’S POV:
MUSIC: LAURA PALMER’S THEME
Through LEO’S POV we FOCUS on a CLOSE-UP of the card with SHELLY’S image.
LEO (OFF SCREEN)
BACK TO SCENE:
WINDOM
Just between you and me old boy, your wife has some very modern views on marital fidelity.
WINDOM puts the crossbow down and clasps his hands together.
WINDOM
But no matter, she’s still fit for a queen.
LEO continues to stare at the card.
WINDOM
Would you mourn her passing Leo? I doubt it.
WINDOM stands up and walks towards LEO.
WINDOM
Her death Leo, Shelly’s emanate demise, its very simple really.
WINDOM stands a short distance from LEO.
WINDOM
Shelly wins Miss Twin Peaks ...
WINDOM waves his right hand and SNAPS his fingers.
WINDOM
WINDOM waves his left hand and SNAPS his fingers.
We FOCUS on LEO has he continues to stare at SHELLY’S card.
WINDOM (OFF SCREEN)
Maybe you’d like to help?
LEO
LEO turns around to face WINDOM and furnishes the remote switching device used to trigger the electric shocks.
LEO
MUSIC ENDS: LAURA PALMER’S THEME
MUSIC: WINDOM EARLE’S THEME
LEO turns around and aims the remote towards WINDOM.
WINDOM
Good god, what you got there?
Feigning fear, WINDOM backs up as LEO slowly walks towards him.
WINDOM
WINDOM puts his hands together in a praying fashion.
WINDOM
Have pity, have mercy Leo.
LEO
LEO presses the button on the remote and the electric shock collar around his neck come to life sending crackling high voltages of pain into his body.
LEO
LEO releases the button and the shocks stop. LEO stares at the remote and at his hands in confusion. LEO points the remote at WINDOM once more and pushes the button. Once again, the shocking pain strikes at LEO’S collar.
LEO
A bit amused WINDOM walks towards LEO.
The pain is so great that it knocks LEO down backwards to the floor. Shaking in agony on the floor, LEO releases the button.
WINDOM LAUGHS in perverse joy over LEO’S confused, self-inflicted torment.
In desperation, LEO pushes the button one last time.
LEO
LEO shakes in piercing pain on the floor.
WINDOM continues to LAUGH. LEO finally releases the button on the remote. WINDOM walks over to a nearby shelf and grabs a pair of lockable metal restraints.
WINDOM
LEO MOANS in pain on the floor. WINDOM walks up to LEO.
WINDOM
We are all love’s fools more or less. But you will learn as I have the value of ...
WINDOM SNAPS open the metal clasp of the restraints.
WINDOM
MUSIC ENDS: WINDOM EARLE’S THEME
CUT TO:
INT: THE GREAT NORTHERN HOTEL - DAY
AUDREY walks into the lobby of the hotel and meets PETE MARTELL, who is quietly standing by a bookshelf. PETE politely removes his hat as he greets AUDREY.
PETE
AUDREY smiles brightly.
AUDREY
AUDREY walks off. PETE turns and watches AUDREY walk by. PETE tips his head, appreciating her beauty, and then walks off.
We FOCUS on the door to the nearby elevator in the background as the door slides open. Out of the elevator steps JOHN WHEELER carrying two suitcases.
MUSIC: JOHN WHEELER’S THEME
50K
JOHN briskly walks into the lobby and has to sidestep to make way for a WOMAN passing by. JOHN stands and looks around the lobby before walking off.
CUT TO:
INT: BENJAMIN HORNE’S OFFICE - DAY
A bit depressed, BENJAMIN sits behind his desk with his chin resting on the desktop at the corner of his desk.
In the background, there is a KNOCK at the door to the office. BENJAMIN turns towards the door as it opens and AUDREY steps inside.
AUDREY
BENJAMIN
MUSIC ENDS: JOHN WHEELER’S THEME
50K
BENJAMIN stands up to greet his daughter.
BENJAMIN
AUDREY
BEN and AUDREY pat a kiss on the lips in greeting.
AUDREY
I got back this morning but Agent Cooper needed to see me, so.
AUDREY puts her purse on top of BEN’S desk.
BENJAMIN
AUDREY removes her checkered black and white jacket and holds it folded on her arm.
AUDREY
Some creep sent me a poem. Uhm, I tried to call Jack’s room but he wasn’t there. Do you know where he is?
BEN waves a finger at AUDREY and then paces the floor in front of her.
BENJAMIN
Audrey, while you were gone, ...
BEN stands still in front of AUDREY.
BENJAMIN
... I had the most incredible brain storm.
AUDREY
BENJAMIN
The Stop Ghostwood movement needs a spokesperson. Someone with a highly visible profile to be able to inspire our community to action, hmm.
AUDREY
BENJAMIN
You can do it Audrey. As Miss Twin Peaks you could be that spokesperson ...
AUDREY LAUGHS.
AUDREY
BENJAMIN
... and you could use your public platform ...
AUDREY
BENJAMIN
... as a forum for environmental debate.
BENJAMIN grabs AUDREY’S upper arms.
BENJAMIN
Audrey listen, you can do it. Only you can take our message to the people.
AUDREY
Daddy, where is John Justice Wheeler?
BENJAMIN closes his eyes.
MUSIC: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)
BENJAMIN
AUDREY
BENJAMIN turns to his desk and leans over it.
BENJAMIN
Some tragedy in Brazil demanded his immediate attention.
Bending over his desk, BENJAMIN reaches for a letter.
BENJAMIN
He left a letter for you. I have it here somewhere.
AUDREY
BENJAMIN finds the letter and hands it to AUDREY. Slightly upset, AUDREY scans the front of the letter before turning back to her father.
AUDREY
BENJAMIN
A few minutes ago, the airport.
AUDREY rushes off to the door of the office.
BENJAMIN
Audrey?! What about Miss Twin Peaks?
Standing in the doorway, AUDREY turns to BENJAMIN.
AUDREY
Daddy I’ll talk with you about this later okay.
BENJAMIN moves toward AUDREY, pleading with his arms held out.
BENJAMIN
AUDREY
BENJAMIN
AUDREY leaves and closes the door behind herself.
BENJAMIN
Dejected, BENJAMIN kneels at the footsteps leading to the double front set of doors to his office.
MUSIC ENDS: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)
SOUND EFFECT: SPIRIT PRESENCE RINGING
2K
Still kneeling, BENJAMIN quickly turns his head to look over his shoulder and into his office. BENJAMIN’S eyes widen.
CUT TO:
INT. THE GREAT NORTHERN HOTEL - DAY
In the lobby, PETE stands in front of a roaring fireplace with his right hand held out as he stares at a painting on the mantel above the fireplace.
PETE
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING
2K
AUDREY walks into the lobby and we FOLLOW ON her as she walks up to RANDY, who is standing next to the lobby counter.
AUDREY
RANDY
AUDREY pauses as she reconsiders her question. AUDREY spots PETE standing by the fireplace.
AUDREY
AUDREY quickly walks up to PETE. PETE turns to AUDREY.
AUDREY
PETE
A truck, runs like a dream.
AUDREY
AUDREY grabs PETE’S hand and leads him out of the lobby. Surprised, PETE quietly follows AUDREY.
PETE
PETE removes himself of AUDREY’S grip so that he can retrieve his hat. A MAN seated in a chair with his feet resting on a table cuts off PETE’S access to his hat sitting on an endtable.
PETE
The MAN lowers his legs so that PETE can pass and grab his hat. PETE puts his hat on and then stares back up at the painting above the fireplace. AUDREY walks up to PETE and grabs his arm.
AUDREY
AUDREY locks arms with PETE and leads him out of the lobby. PETE waves goodbye to the painting.
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY
MUSIC: OWL CAVE
We FOCUS on the sketch of the Owl Cave map on the blackboard. We ZOOM OUT. DEPUTY ANDY walks up to the blackboard and looks it over. SHERIFF TRUMAN walks around the desk in his office.
COOPER
Well the symbols suggest a time. Seems clear.
TRUMAN takes a seat on the edge of his desk and faces the sketch.
SHERIFF TRUMAN
We view the entire office. AGENT COOPER also sits atop TRUMAN’S desk on the opposite corner.
COOPER
I don’t know. First I thought it was a signpost. Perhaps its an invitation.
SHERIFF TRUMAN
COOPER
SHERIFF TRUMAN
He should be here by now. Andy, give Mrs. Briggs a call. See if the Major’s home yet.
DEPUTY ANDY leaves the room.
MUSIC ENDS: OWL CAVE
AGENT COOPER walks up to the closed blinds of TRUMAN’S office window. Birds can be heard cheerfully CHIRPING outside. COOPER spreads a gap in the horizontal blinds with his right hand to get a view outside. As COOPER peers outside, TRUMAN diverts his attention from the Owl Cave map sketch and notices COOPER’S distraction.
SHERIFF TRUMAN
COOPER
Oh just thinking about Annie Blackburn.
TRUMAN smiles.
SHERIFF TRUMAN
Well bless your heart. I’ve never known your mind to wander.
COOPER
Oh Harry I’ve been feeling this way all day. You know, I proceed as usual, my mind clear and focused, ...
COOPER removes his hand from propping the gap in the blinds.
COOPER
... then suddenly out of nowhere I see her face and I hear her voice.
For a moment TRUMAN lowers his head as he remembers his lost love.
COOPER turns to TRUMAN.
COOPER
Naturally I try to reorient myself, come back to the task at hand, but the image remains. Sometimes I actually feel dizzy.
COOPER smiles giddily. TRUMAN grins at COOPER’S response.
SHERIFF TRUMAN
Man in love supposed to feel that way.
TRUMAN reverts to thinking about JOSIE.
COOPER
Well my symptoms suggest the onset of malaria but I’ve never felt better in my life.
COOPER drops his smile and turns back to the window.
COOPER
I’m sorry Harry, that sounds foolish.
SHERIFF TRUMAN
No, no man ... it sounds lucky.
Once again, COOPER props open a gap in the horizontal blinds with his right hand and looks outside.
SOUND EFFECT: SPIRIT PRESENCE RINGING
2K
COOPER’S right hand begins to tremble, shaking the blinds slightly. COOPER pulls his trembling hand towards himself and for only a moment looks at it. Unable to stop the trembling, COOPER grips his right hand securely with his left hand. The shaking stops.
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING
2K
CUT TO:
EXT. WOODS - DAY
On a clear, sunny day, MAJOR BRIGGS, WHISTLING a tune, carelessly walks alone through the forest. MAJOR BRIGGS stops whistling and looks over a tall tree on his path. Admiringly, MAJOR BRIGGS walks up to the tree and pats one of its limbs.
MAJOR BRIGGS
Suddenly the MAJOR senses something and moves his right hand to the back of his head behind his right ear.
CLOSE ON: SCAR
We FOCUS on a CLOSE-UP of a reddish-brown scar of three triangles joined at one point at the back of MAJOR’S BRIGGS neck behind his right ear. MAJOR BRIGGS touches the scar.
We ZOOM OUT. MAJOR BRIGGS turns around.
BACK TO SCENE:
Singing Home On The Range, WINDOM EARLE and LEO JOHNSON walk in tandem towards MAJOR BRIGGS concealed within a black and white horse costume.
WINDOM
Oh home on the range.
Where the deer and the antelope play.
MAJOR BRIGGS stands silently, confused by the approaching horse costume.
WINDOM
Where seldom is heard.
A discouraging word ...
WINDOM and LEO, still concealed in the horse costume, stop right in front of MAJOR BRIGGS.
WINDOM
MUSIC: NIGHT LIFE IN TWIN PEAKS
WINDOM opens the front of the costume, right below the horse’s head, and sticks out his right hand brandishing a dart gun. WINDOM quickly aims the dart gun at MAJOR BRIGGS and fires it.
A dart hits MAJOR BRIGGS in the chest. In shock, MAJOR BRIGGS looks down at the dart protruding from his chest before quickly pulling it out. Stunned, MAJOR BRIGGS looks at the dart in his hand.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS
WINDOM
And the skies are not cloudy all day.
MAJOR BRIGGS begins to tremble as the drug takes affect. MAJOR BRIGGS looks at the horse costume and realizes its WINDOM EARLE in disguise but he is now powerless to react.
WINDOM HUMS the rest of the song he had been SINGING.
Under the growing effects of the dart’s drug, MAJOR BRIGGS stumbles and falls to the ground on his back.
WINDOM
Long time no see Briggsie!
MAJOR BRIGGS points and murmurs his distress at WINDOM.
MUSIC: NIGHT LIFE IN TWIN PEAKS
WINDOM removes the costume’s horse head and throws it to the ground. WINDOM turns to the back end of the horse.
WINDOM
Leo, looks like you finally found your calling.
MAJOR BRIGGS finally succumbs to the drug and collapses flat on the ground.
WINDOM revels in the moment by LAUGHING in sheer ecstasy.
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS
CUT TO BLACK:
FADE IN:
EXT. TWIN PEAKS AIRPORT - DAY
We FOCUS on a pair of tire blocks as a GROUND CREW MEMBER removes them from around a tire and walks off. We PAN UP. JACK WHEELER walks up the steps to his jet but before he closes the door to the jet he turns around one last time in hopes of spotting AUDREY. JACK closes the door.
CUT TO:
INT. DOUBLE R DINER - DAY
MUSIC: COUNTRY #6
As ANNIE BLACKBURN prepares to wipe the counter clean, we FOCUS on a mess on top of the island counter with a slightly soiled Miss Twin Peaks Pageant leaflet nearby. ANNIE wipes the counter and places the dirty towel onto the leaflet and crumples the mess together to throw it out. AGENT COOPER steps up to the counter, reaches out and holds ANNIE’S hand.
COOPER
Couldn’t hurt to give it a shot.
We PAN UP to view ANNIE’S bright eyes and smile as she speaks to COOPER.
ANNIE
COOPER
Annie there’s a whole world out there, jump in.
COOPER takes a seat at the island counter.
COOPER
Hear the other side, see the other side.
ANNIE finishes wiping the counter.
ANNIE
COOPER points at ANNIE, You’ve got it.
ANNIE
COOPER
ANNIE walks off to the coffee station near the short order window at the back of the diner. COOPER spins around on his stool.
As COOPER stares at the counter, ANNIE returns with a coffee cup, a pot of coffee and a silverware set. ANNIE lays out the silverware on a napkin and slides it over in front of COOPER.
ANNIE
Something’s troubling you?
ANNIE pours a cup of coffee.
We VERY SLOWLY begin to ZOOM OUT.
COOPER
ANNIE
Would you like to talk about it?
COOPER
Annie I’m involved in a very complicated investigation requiring my complete attention. Yet I spend most of my time thinking of you.
The bell to the front door RINGS as a CUSTOMER exits the diner.
ANNIE
I know the feeling. I’ve been seeing your face in fried eggs all this morning.
ANNIE and COOPER LAUGH. COOPER grabs his cup of coffee.
COOPER
You know there are those who believe in a scientific bases for attraction, its a chemical.
COOPER takes a sip of coffee.
ANNIE
Another WAITRESS walks by and goes into the kitchen.
COOPER
I don’t know. Hard to comprehend without perspective.
COOPER puts his coffee cup down.
ANNIE
Yeah, I spent five years trying to comprehend it.
ANNIE lets off a nervous CHUCKLE.
COOPER
ANNIE
Its hard for me but I have faith in you. In us, as I understand it.
The WAITRESS walks out of the kitchen. The swinging door CREAKS like a rusty hinge spring.
MUSIC ENDS: COUNTRY #6
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
COOPER
ANNIE
COOPER
ANNIE
What we observe is not nature itself but nature exposed to our method of questioning.
Recognizing the quote, COOPER SLAPS the countertop.
COOPER
ANNIE nods her head, You’ve got it.
COOPER picks up his coffee cup and takes a sip.
ANNIE
Maybe we should go bowling?
The WAITRESS walks away from the short order window with a plate of food.
COOPER
ANNIE
COOPER puts his cup down and stands up.
COOPER
I’ll teach you, its easy.
ANNIE
COOPER
We STOP ZOOMING OUT. We can now view a good portion of the interior of the diner. Now in the distance, COOPER and ANNIE stare into each other’s eyes. COOPER and ANNIE lean over the counter to kiss.
CLOSE ON: ANNIE and COOPER
We view a CLOSE-UP of ANNIE and COOPER as they lean close together over the island counter, kissing. COOPER backs from the kiss and, belated, looks around the diner to check if anybody is gawking at them. With the coast clear, COOPER resumes kissing ANNIE.
The sound of BREAKING GLASS disrupts ANNIE’S and COOPER’S kiss. COOPER leans farther over the island counter to view the source of the noise.
COOPER’S POV:
Through AGENT COOPER’S POV we view the floor behind the island counter where a bin of plates and glasses sitting on a shelf under the island counter has fallen to the floor. All the plates and glasses have shattered.
INSERT: DRIPPING SYRUP
SOUND EFFECT: COFFEE DRIPPING
29K
Through SLOW MOTION, we FOCUS on CLOSE-UP of coffee as it slowly, almost painfully, drips from one of the broken plates. Drip by drip ECHOS.
SOUND EFFECT ENDS: COFFEE DRIPPING
29K
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
CUT TO:
EXT. TWIN PEAKS AIRPORT - DAY
MUSIC: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)
BIRD’S-EYE VIEW:
We FOLLOW ON PETE MARTELL’S powder blue Packard Mill pick-up truck as he races down the runway.
AUDREY
As JOHN’S jet begins to pull out onto the runway it gets cut off by PETE’S truck as PETE brakes hard right in front of the jet.
BACK TO SCENE:
AUDREY quickly gets out of the truck, runs up to JOHN’S plane and waves her arms.
AUDREY
Slightly upset, AUDREY begins to smile as she sees JOHN’S reaction. In the background, PETE moves his truck out of the way.
Seated in the cockpit, JOHN smiles and waves at AUDREY. JOHN opens the door to his jet and walks out.
JOHN
I guess a simple goodbye was out of the question.
JOHN spreads his arms out as AUDREY rushes up to him. They embrace each other, pull away and then kiss deeply.
Teary eyed, AUDREY looks into JOHN’S eyes.
AUDREY
JOHN
JOHN runs his left hand through AUDREY’S hair.
AUDREY
JOHN
AUDREY
JOHN
AUDREY
JOHN
AUDREY
I want you to make love with me.
JOHN smiles.
JOHN
AUDREY
JOHN
JOHN kisses AUDREY. Holding AUDREY’S hands, JOHN backs up towards his plane but, dazed, walks straight back into his plane. JOHN waves AUDREY to pass into his jet. AUDREY enters the jet and JOHN follows right behind her, closing the door behind himself.
PETE’S POV:
From PETE’S POV a distance away from the jet we watch JOHN step into the plane and close the door.
BACK TO SCENE:
Sniffling, PETE is teary eyed after watching the relieved exchange between JOHN and AUDREY. PETE rubs his teary right eye.
SOUND EFFECT: SPIRIT PRESENCE RINGING
2K
PETE becomes alarmed as his right hand begins to tremble. PETE stares at his right hand as it shakes uncontrollably. PETE reaches out with his left hand and grabs his right hand. The shaking stops.
MUSIC ENDS: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING
2K
PETE looks back out towards the jet.
CUT TO:
EXT. EARLE’S CABIN - DAY
An establish shot. Surrounded by the woods, we view the front of the rickety old, gray cabin with smoke billowing out of its chimney.
CUT TO:
INT. EARLE’S CABIN - DAY
MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
With only one foot on the ground, MAJOR BRIGGS, dressed in his usual Air Force uniform, lies tied to a large archery shooting target against a wall of rectangular hay bales that line the back of the cabin wall. Standing a distance away, WINDOM EARLE, dressed in all black, loads an arrow into his small crossbow.
WINDOM
When did you first see the symbol in Owl Cave?
WINDOM feels the point of the sharp arrow.
MAJOR BRIGGS
I’m not at liberty to divulge that information.
WINDOM points the crossbow towards MAJOR BRIGGS.
WINDOM
LEO, still wearing his red robe, stands next to WINDOM. WINDOM aims the crossbow and fires.
Scaring MAJOR BRIGGS, the arrow hits the wall just a few inches away from his head.
LEO hands WINDOM another arrow. WINDOM bends down as he pulls back the tension string.
WINDOM
What does the cave painting mean?
WINDOM installs the arrow into the crossbow.
MAJOR BRIGGS
I’m not at liberty to divulge that information.
With the crossbow pointed at MAJOR BRIGGS, WINDOM looks at LEO.
WINDOM
Damn but I love the military mind.
Without aiming or even looking at MAJOR BRIGGS, WINDOM pulls the trigger and fires the arrow.
The arrow lands right beside MAJOR BRIGGS ribs on his right side, close enough for the MAJOR to GRUNT.
WINDOM puts the crossbow down and walks up to MAJOR BRIGGS.
WINDOM
What is the capital of North Carolina?
MAJOR BRIGGS
WINDOM turns around.
WINDOM
Fat lot of good that’ll do me.
WINDOM reaches into his coat pocket and pulls out a hypodermic syringe and a vial.
WINDOM
Major, I admire your fortitude.
INSERT: HYPODERMIC SYRINGE
We FOCUS on a CLOSE-UP of the hypodermic syringe as WINDOM charges it with the contents of the vial, a bright yellow liquid.
WINDOM
Had I the time and patience we might continue this game indefinitely.
BACK TO SCENE:
WINDOM
While he backs up towards MAJOR BRIGGS, WINDOM taps the syringe to remove air bubbles.
WINDOM
WINDOM viciously plunges the needle into MAJOR BRIGGS’ chest and injects its contents.
WINDOM turns towards LEO. WINDOM mocks throwing the hypodermic syringe like a dart towards LEO.
WINDOM
Scared to death, LEO quickly scrambles backward.
WINDOM GIGGLES in delight. Still smiling at LEO, WINDOM puts the syringe back into this coat pocket and brushes his hands. WINDOM spins to MAJOR BRIGGS and salutes him.
WINDOM
LEO walks back out of his defensive position.
MAJOR BRIGGS
WINDOM stands right next to MAJOR BRIGGS.
WINDOM
Garland, what do you fear most in the world.
MAJOR BRIGGS
The possibility that ... love is not enough.
WINDOM LAUGHS.
WINDOM
Oh Garland please, I shall weep.
WINDOM points at MAJOR BRIGGS as he asks the next question.
WINDOM
How much does your wife weigh?
As the drug takes effect, MAJOR BRIGGS begins to move his head back and forth.
MAJOR BRIGGS
One-hundred fifteen pounds.
WINDOM
WINDOM touches MAJOR BRIGGS’ face and waves his right hand about in a S formation, signifying feminine curves. Again, WINDOM points at MAJOR BRIGGS as he asks the next question.
WINDOM
Now, when did you first see the petroglyph in Owl Cave?
LEO moves a bit closer.
MAJOR BRIGGS
WINDOM
MAJOR BRIGGS
I was night fishing with ... Agent Cooper. There was a light ... a guardian beyond it. I was taken ... but my mind ... still I recognized the signs.
WINDOM
MAJOR BRIGGS
There’s a time ... if Jupiter and Saturn meet ... they will receive you.
MAJOR BRIGGS uncontrollably begins to speak.
MAJOR BRIGGS
Tat - mok - nuie - neya - nemok - nea ...
WINDOM gently slaps MAJOR BRIGGS’ face.
WINDOM
LEO still watches cautiously from a distance.
WINDOM
Garland? Garland, I ... I was hoping for a lengthy conversation. Leo, put the Major to bed.
LEO walks up to MAJOR BRIGGS and removes the binds that hold him up against the wall.
WINDOM
I’m afraid his mind has begun to wander.
WINDOM walks away as he gathers what MAJOR BRIGGS has revealed.
WINDOM
There is a time. If Jupiter and Saturn meet ...
MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)
FADE OUT:
FADE IN:
INT. BLUE PINE LODGE - DAY
ANDREW’S POV:
Through ANDREW PACKARD’S POV, we FOCUS on a CLOSE-UP of a white circle, a circle representing the new moon on the black puzzle box.
CATHERINE (OFF SCREEN)
His woman servant, Jones, delivered this to me shortly after he died.
We ZOOM OUT. The other, nearby moon phases can be seen.
ANDREW rubs his finger over the white circle and then to the left over a waning phase of the moon.
ANDREW
Ekhardt’s last request? A clergy(???) perhaps?
BACK TO SCENE:
Standing together at the dining room table, CATHERINE MARTELL and ANDREW look over the puzzle box.
ANDREW
Or something of value. Try this.
ANDREW walks off to the kitchen.
CATHERINE
No you see, there’s a secret to opening each of these boxes.
CATHERINE puts the box on the table and carefully slides it to her right.
ANDREW returns with a heavy wooden rolling pin.
CATHERINE
And this one is about to drive me mad.
CATHERINE takes a seat in front of the box.
CATHERINE’S POV:
Through CATHERINE’S POV, we FOCUS on a CLOSE-UP of the puzzle box with its circular arrangement of twelve phases of the moon and the twelve symbols of the zodiac. CATHERINE brushes her hands along the side of the box.
BACK TO SCENE:
Frustrated, CATHERINE folds her arms and turns to ANDREW.
CATHERINE
Oh Andrew, tell me something good.
ANDREW puts the rolling pin down on the table and picks up the puzzle box.
ANDREW
Our foreign investors are jumpy a bit from Paris to Beijing. You’re going to get your golf course Catherine right next to the Great Northern Hotel.
ANDREW presses the new moon phase symbol. Intrigued and annoyed, CATHERINE stands up and reaches for the puzzle box.
CATHERINE
And Benjamin is doing everything he can to stop us.
ANDREW
CATHERINE grabs hold of the box and ANDREW relents his hold.
ANDREW
While the project was still in his possession Ben cleared every possible hurdle: the zoning, the impact statements.
ANDREW grabs the box again and begins to push several of the moon phase symbols.
ANDREW
He was and is ... his own worst enemy.
ANDREW’S POV:
Through ANDREW’S POV, we FOCUS on the puzzle box as he pushes several of the symbols for the moon phases.
CATHERINE
Not always. What - what are doing?
ANDREW
Uh nothing Catherine. I’m just trying a few simple ...
CATHERINE
ANDREW
BACK TO SCENE:
CATHERINE tugs at the box in ANDREW’S grasp.
CATHERINE
ANDREW jerks the box away from CATHERINE’S hold.
ANDREW
Rolling her eyes, CATHERINE relents.
MUSIC: LOVE THEME FROM TWIN PEAKS
ANDREW studies the symbols on the box.
ANDREW
ANDREW’S POV:
Through ANDREW’S POV, we FOCUS on the puzzle box as he pushes the waxing moon at Sagittarius and the waning moon at Capricorn.
ANDREW
ANDREW pushes the waning moon at Pisces and the waxing moon at Sagittarius.
BACK TO SCENE:
Disbelieving, CATHERINE smiles slyly at ANDREW.
ANDREW’S POV:
Through ANDREW’S POV, we FOCUS on the puzzle box as he pushes several of the symbols for the moon phases.
ANDREW
The day the gift arrived.
ANDREW pushes the new moon at Aries, the full moon at Libra and the half moon at Cancer.
BACK TO SCENE:
A compartment at the bottom of the puzzle box SPRINGS open.
ANDREW
CATHERINE
CATHERINE grabs the box.
ANDREW YELLS his excitement in CATHERINE’S ear.
ANDREW
CATHERINE slides open the bottom compartment of the puzzle box to reveal another black puzzle box. CATHERINE lifts the smaller box up and examines it.
CATHERINE
ANDREW
ANDREW grabs the smaller puzzle box, puts it on the table, grabs the rolling pin and, with both hands, lifts the rolling pin over his head. As ANDREW swings the rolling pin down we are left FOCUSING on a mounted mountain goat’s head trophy hanging on the wall.
INSERT: SMALL PUZZLE BOX
We FOCUS on a CLOSE-UP of the small puzzle box as the rolling pin swings down and shatters it into pieces.
CATHERINE (OFF SCREEN)
INSERT: MOUNTED MOUNTAIN GOAT TROPHY
We FOCUS on the mounted mountain goat’s head trophy hanging on the wall.
BACK TO SCENE:
MUSIC: PACKARD THEME
31K
From the shattered remains of the small black puzzle box, an even smaller, rectangular aluminum box is revealed.
CATHERINE picks up the small aluminum box and holds its between herself and ANDREW for closer inspection.
CATHERINE
ANDREW
MUSIC ENDS: PACKARD THEME
31K
CUT TO:
EXT. BLUE PINE LODGE - DAY
As the day comes to a close we view the front of the lodge from a distance along the shore of the lake.
MUSIC ENDS: LOVE THEME FROM TWIN PEAKS
FADE OUT:
FADE IN:
INT. THE ROADHOUSE - DAY
MUSIC: QUESTIONS IN A WORLD OF BLUE (PIANO & SAX VARIANT; NO VOCALS)
144K
We PAN LEFT and survey the interior. A large sign centered above the stage reads, "Miss Twin Peaks, 20th Anniversary." While several COUPLES slow dance on the floor, WORKERS continue to put the finishing touches on the stage.
WORKER #1
Okay take that uh table down.
WORKER #2
WORKER #1
I am too. Its hot in here.
We continue to PAN LEFT. Several WAITRESSES walk by with platters of drink orders.
We PAN LEFT until we FOCUS on ANNIE and then ZOOM IN on her face. ANNIE, in a blue dress, sits at the bar facing the dance floor.
ANNIE’S POV:
Through ANNIE’S POV we view the dancing COUPLES on the dance floor. In the background, AGENT COOPER slowly makes his way forward. Dressed in a dark suit, COOPER stands, with his hands in his pants pockets, a distance away and smiles.
BACK TO SCENE:
Tight lipped, ANNIE smiles.
ANNIE’S POV:
Through ANNIE’S POV, COOPER extends his right hand for her to come join him on the dance floor.
BACK TO SCENE:
A bit embarrassed, ANNIE head motions slightly for no.
ANNIE’S POV:
Through ANNIE’S POV, COOPER, a bit dejected, puts his hands back in his pants pocket and waits for ANNIE to join him on the dance floor.
BACK TO SCENE:
Though smiling, ANNIE nervously eyes the dancing COUPLES and remains seated.
ANNIE’S POV:
Through ANNIE’S POV, COOPER, a bit impatient, motions with a hand wave for her to join him on the dance floor.
BACK TO SCENE:
ANNIE gets up from her stool at the bar and walks over to COOPER.
COOPER smiles as ANNIE finally makes her way towards him.
In the background, WORKERS arrange the stage and setup the microphone.
COOPER and ANNIE hold hands as they meet on the dance floor.
ANNIE
I’m not completely prepared for this.
COOPER
Just think of it as a walking embrace, alright.
COOPER puts his right hand on ANNIE’S back and extends his left hand, gripping ANNIE’S hand, outward.
COOPER
Two people stepping as one would step.
COOPER and ANNIE begin to dance, moving together slowly while turning in place.
ANNIE
COOPER LAUGHS a little.
COOPER
ANNIE
COOPER
ANNIE
Its genetic memory. Mom and dad danced the Lindy.
ANNIE moves a little closer to COOPER, leaning on him.
COOPER
COOPER closes his eyes as they dance, leaning on each other.
COOPER
Your body feels nice against mine.
ANNIE
I’m just thinking the same thing.
COOPER pulls back slightly.
COOPER
Listen, if I’m being too forward ...
ANNIE quiets COOPER by kissing him.
ANNIE
I want more than your kisses.
COOPER
ANNIE
Testing the microphone on the stage, MAYOR MILFORD’S voice BOOMS from the speaker system disrupting ANNIE’S intimate discussion with COOPER.
MAYOR MILFORD
The dance music is cut off by a SWIPE of the needle off of a vinyl record player.
MUSIC ENDS: QUESTIONS IN A WORLD OF BLUE (PIANO & SAX VARIANT; NO VOCALS)
144K
Distortion WHINES out from the sound system.
MAYOR MILFORD
Welcome to this final night of festivities celebrating the Miss Twin Peaks ...
The microphone nearly cuts out.
COOPER, ANNIE and the COUPLES on the dance floor strain to hear MAYOR MILFORD speak.
MAYOR MILFORD
... pageant. As some of you ...
Frustrated, MAYOR MILFORD looks at the microphone.
MAYOR MILFORD
... damnation. Is this damn thing on?!
A WORKER who had been setting up the microphone rushes onto the stage and immediately starts to adjust the height of the microphone.
The dance music is turned back on.
MUSIC: QUESTIONS IN A WORLD OF BLUE (PIANO & SAX VARIANT; NO VOCALS)
144K
In the background, COUPLES return to dancing.
While ANNIE looks at MAYOR MILFORD on the stage we ZOOM IN on her face as she speaks to COOPER.
ANNIE
What I mean is, I - I understand why you hesitate, why you treat me with care. The convent evokes the image of helpless women fearful of the thought of any emotion other than those derived from scripture and prayer but when you hold me, when we kiss, I feel safe and eager.
ANNIE turns to COOPER.
ANNIE
I’m not afraid of anything you make me feel or want.
ANNIE and COOPER gently lean towards each other and kiss. But, with a RING of distortion, the kiss is held short as MAYOR MILFORD again disrupts them as he tests the sound system.
MAYOR MILFORD
Is this on? Eh? Is this on?
COOPER
I’m beginning to tire of his interruptions.
MAYOR MILFORD (OFF SCREEN)
ANNIE
I don’t know, I think he’s cute.
ANNIE looks towards the MAYOR.
MAYOR MILFORD (OFF SCREEN)
COOPER
COOPER follows ANNIE’S gaze towards the MAYOR.
MAYOR MILFORD
The MAYOR is unable to continue his speech as the telescoping stand of the microphone slowly begins to slide down. MAYOR MILFORD bends down with the microphone as it descends.
ANNIE
I think that maybe I will enter after all.
COOPER
The Miss Twin Peaks contest?
ANNIE
Why not? Hear the other side, see the other side.
Reciting COOPER’S quote from the diner, ANNIE smiles and points at him.
ANNIE
There’s worst places to start than Miss Twin Peaks. Its like a fairy tale.
COOPER
COOPER brushes his left hand along ANNIE’S cheek.
The room falls dark and a spotlight falls on COOPER. COOPER looks towards the stage.
MUSIC ENDS: QUESTIONS IN A WORLD OF BLUE (PIANO & SAX VARIANT; NO VOCALS)
144K
On the stage, MAYOR MILFORD taps at the microphone. The stage falls dark.
SOUND EFFECT: SPIRIT PRESENCE RINGING
2K
A spotlight lights the stage to reveal, in SLOW MOTION, a vision of the GIANT frantically waving his arms back and forth and silently mouthing the words NO.
DISSOLVE TO:
EXT. TWIN PEAKS AIRPORT - DAY
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING
2K
As the last scene FADES OUT, we FADE IN on a CLOSE-UP of the front end of PETE’S powder blue pick-up truck. We PAN UP. PETE is sleeping, and SNORING a little, behind the wheel of his parked truck.
The ROAR of a jet rouses PETE out of his slumber but the flash of the jet’s headlights brightening his window scares him. Mistakenly fearing a crash, PETE thrusts his arms out towards the window.
PETE’S POV:
Through PETE’S POV a speeding jet lifts off the runway.
BACK TO SCENE:
PETE gets out of his truck and runs towards a parked plane a short distance away from the runway.
PETE’S POV:
Through PETE’S POV we FOCUS on the jet flying in the sky.
BACK TO SCENE:
PETE stands behind a parked plane as he watches the jet fly off.
In the background, AUDREY walks up to and stands beside PETE.
MUSIC: JOHN WHEELER’S THEME
50K
PETE is caught by surprise and does a double take of looking towards the jet and back to AUDREY.
Teary eyed, AUDREY stands with her arms crossed as she watches the jet fly off.
AUDREY
What a gyp. I finally meet the man of my dreams the next thing I know he’s on a plane to Brazil.
PETE shakes his head from side-to-side.
PETE
He’ll be back one day. He promised.
AUDREY
Yeah. He also promised to take me fishing and we never did.
PETE’S interest is piqued.
AUDREY
PETE
AUDREY
Yeah, Pearl Lake or something.
PETE
I have some tackle in the truck.
AUDREY
PETE
AUDREY’S POV:
Through AUDREY’S POV the jet appears smaller as it flies away into the distance.
PETE (OFF SCREEN)
... there are many cures for a broken heart ...
BACK TO SCENE:
PETE
... but nothing quite like a trout’s leap in the moonlight.
PETE extends his right arm for AUDREY to lean on.
PETE
AUDREY looks at PETE and GIGGLES before smiling brightly.
AUDREY
MUSIC ENDS: JOHN WHEELER’S THEME
50K
CUT TO:
INT. EARLE’S CABIN - NIGHT
GRUNTING in throbbing madness, LEO, seated in a chair, holds his left hand at his left temple.
LEO
AAAGGGGHHHHHH!!! AAAGGGGHHHHHH!!!
MAJOR BRIGGS, also distraught and twitching, lies on the floor next to LEO.
WINDOM joyfully CROONS.
WINDOM (OFF SCREEN)
When Jupiter and Saturn meet
Oh what a crop of mummy wheat.
WINDOM is at his desk working at a computer.
WINDOM
The planets and babbling the Major spoke of are more than distant orbs. They are in fact a ...
WINDOM’S POV:
Through WINDOM’S POV we view the computer monitor as the image of the Owl Cave Map is rotated clockwise.
WINDOM (OFF SCREEN)
... clock. A clock that tells a time ...
BACK TO SCENE:
WINDOM stands up and looks at LEO.
WINDOM
WINDOM mimics the TICK-TOCK sound from an old cuckoo clock and then sits back down in front of his computer.
WINDOM
... time draws nearer with each ticking-tock.
WINDOM’S POV:
Through WINDOM’S POV we view the computer monitor as the image of the Owl Cave Map is reduced in size.
WINDOM (OFF SCREEN)
Young Dale wasn’t far wrong, ...
BACK TO SCENE:
WINDOM
... the cave painting is an invitation of sorts telling us when the revels begin ...
WINDOM hits a key on the keyboard.
WINDOM’S POV:
Through WINDOM’S POV we view the computer monitor as a color image of the map for the town of Twin Peaks loads up.
WINDOM (OFF SCREEN)
... but what Dale doesn’t know is where to find it.
BACK TO SCENE:
We view a CLOSE-UP on WINDOM’S face.
WINDOM
For you see, the cave painting is not only an invitation ...
WINDOM’S POV:
Through WINDOM’S POV we view the computer monitor as the Owl Cave Map is enlarged and superimposed over the map for the town of Twin Peaks.
WINDOM (OFF SCREEN)
BACK TO SCENE:
WINDOM
A map to the Black Lodge!
WINDOM’S POV:
Through WINDOM’S POV we view the computer monitor as a red line blinks on the screen that identifies a common line between the Owl Cave Map and the map for the town of Twin Peaks.
WINDOM CACKLES loudly in delight.
BACK TO SCENE:
We ZOOM IN on WINDOM’S mouth as he LAUGHS madly to himself.
MUSIC: OWL CAVE
DISSOLVE TO:
INT. THE ROADHOUSE - NIGHT
As the image of the last scene FADES OUT, we FADE IN to a CLOSE-UP of COOPER’S face highlighted by a spotlight in the dark as he continues to stare towards the stage.
The vision of the GIANT waving his arms fades away to black.
MUSIC ENDS: OWL CAVE
MUSIC: QUESTIONS IN A WORLD OF BLUE (PIANO & SAX VARIANT; NO VOCALS)
144K
The stage brightens to reveal MAYOR MILFORD tapping at the microphone trying to get it to work.
ANNIE leans close to COOPER. As COOPER turns to ANNIE he meets her kiss, is overwhelmed and forgets the vision.
MAYOR MILFORD (OFF SCREEN)
CUT TO:
EXT. THE ROADHOUSE - NIGHT
From a distance we view the building with no signs of activity outdoors except the red neon sign on the building of a gun alternately flashing the displaced word ‘Bang.’
MAYOR MILFORD (OFF SCREEN)
That isn’t right. There’s something wrong here.
MUSIC ENDS: QUESTIONS IN A WORLD OF BLUE (PIANO & SAX VARIANT; NO VOCALS)
144K
CUT TO:
EXT. STREET INTERSECTION - NIGHT
We view a lonely, quiet street intersection. The signal lights, hanging by a wire, sway in the breeze.
CUT TO:
EXT. DOUBLE R DINER - NIGHT
Closed for the day, we view the front of diner and its cafe sign. The interior lights are off but florescent yellow lights under the roofline illuminate the breezy exterior where leaves have gathered.
CUT TO:
INT. TWIN PEAKS HIGH SCHOOL - NIGHT
We MOVE FORWARD through a dimly lit, deserted hallway in the high school.
CUT TO:
INT. THE GREAT NORTHERN - NIGHT
We MOVE FORWARD through a barely lit, quiet hallway in the hotel.
CUT TO:
INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT
We FOCUS on the empty reception area. A telephone RINGS. We PAN LEFT to the empty hallway.
CUT TO:
INT. SHERIFF TRUMAN’S OFFICE - NIGHT
MUSIC: OWL CAVE
We FOCUS on the Owl Cave map sketch on the blackboard.
MUSIC ENDS: OWL CAVE
We ZOOM IN on Owl Cave map sketch.
DISSOLVE TO:
EXT. GLASTONBERRY GROVE - NIGHT
As the image of the last scene FADES OUT, we FADE IN on a pine tree swaying in the breeze. We PAN RIGHT.
We FOCUS on a circle of twelve young sycamore trees. In the center of the circle of trees is a ring of small round stones similar to a campfire enclosure.
SOUND EFFECT: SPIRIT PRESENCE RINGING
2K
Illuminating a spot of light on a pine tree in the background, a spotlight is cast just above the circle of stones.
A hand, lit by the spotlight, juts out of thin air right above the circle of stones. The whole right arm now juts out of thin air. The hand shakes, twists and feels its way out in the open air.
Its BOB, the man with the dirty gray hair and the jean jacket. BOB, contorting his hand in a spotlight, has now fully materialized.
BOB pulls his arm out of the spotlight and GROWLS.
BOB
SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING
2K
We PAN DOWN to the ash covered rough circle of stones on the ground. In the center of the circle is a pool of black oil.
MUSIC: DANCE OF THE DREAM MAN
In the reflection of the black oil is an image of shimmering red drapes.
MUSIC ENDS: DANCE OF THE DREAM MAN
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:
