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First Draft: January 16 ,1991
Second Draft/General Distribution: January 24, 1991
Revised: January 25, 1991 - Blue
Revised: January 29, 1991 - Pink
Revised: January 30, 1991 - Green
Revised: January 31, 1991 - Yellow
Revised: January 31, 1991 - Cherry
Revised: February 7, 1991 - Goldenrod
Lynch/Frost Productions, Inc.
7700 Balboa Boulevard
Van Nuys, CA 91406
1. INT. OWL CAVE - DAY
OPEN ON the interior of Owl Cave, dark and silent. Suddenly: VOICES coming closer.
This way... careful Andy...
Flashlight beams illuminate the scene. AGENT COOPER, SHERIFF TRUMAN, DEPUTY HAWK and DEPUTY ANDY enter. Cooper and Truman carry flashlights, backpacks filled with excavation equipment. Hawk holds a bright lantern. Andy is armed with sketch pad, pencils. All pause, turn toward the cave symbol. Cooper reacts with a curse.
The painting has been tampered with, ten dowels, with obscure symbols attached, now extend from it, seemingly abstract, without obvious intent or meaning.
Hawk kneels at the base of the painting, casts lantern light upon the cave floor. He's examining fresh tracks left in the dirt. Cooper steps toward him.
I saw the same tracks outside the power station. Weight
shift to the left foot. A break in the heel.
What would Earle be doing here?
That's a frightening question to contemplate.
(turns to face the others)
Andy. I need an accurate, large scale rendering of this
painting. Harry, we need to speak to Major Briggs
(mystified, but supportive)
Whatever you say, Coop. I'll call from the jeep.
Cooper nods assent. Truman exits. Hawk steps to Andy, casts additional light upon the painting as the deputy draws and copies. Copper pivots, gazes at the mysterious image. As if to wonder where it might lead him.
2. INT. WINDOM EARLE'S CABIN - DAY
START CLOSE on WINDOM EARLE. Seated in an armchair, pipe in hand, avuncular in aspect, he begins:
Once upon a time, there was a place of great goodness
called the White Lodge. Fawns gamboled there amidst
happy laughing spirits. The sounds of innocence and
laughter filled the air. When it rained it rained sweet
nectar that paralyzed the heart with the desire to live
one's life in truth and beauty.
Generally speaking, a ghastly place reeking of virtue's
sour smell, engorged with the whispered prayers of
kneeling mothers, mewling newborns, and fools young
and old compelled to do good without reason. But, I
am pleased to note, our story does not end in this place
of saccharine excess.
As he speaks, CAMERA PANS from Earle, travels toward his unseen audience, revealing LEO JOHNSON seated cross-legged on the floor, as if listening to a bedtime story.
For there is another place, its opposite, of almost
unimaginable power, chock full of dark forces and
vicious secrets. No prayers dare penetrate this frightful
maw. Spirits there care not for good deeds and priestly
invocations. They are as like to rip the muscle from
our bones as greet you with a happy g'day. And, if
harnessed, these spirits, this hidden land of unmuffled
screams and broken hearts, will offer up a power so vast
that its bearer might reorder the earth itself to his liking.
This place I speak of, is known as the Black Lodge. And
I intend to find it.
CAMERA CONTINUES to PAN, reveals a dull-witted YOUTH seated at Leo's school desk. Long stringy hair, head band, a vacant stare. Some sullen refugee from a speed metal talent show.
Listen, man. The story's cool. But you promised me
beer. Besides, you told me there was gonna be a party up
here. Black Lodge, White Lodge, like what's the big
CAMERA CONCLUDES its move, HOLDS ON Earle's computer screen, where we see a computer rendering of the hieroglyph from Owl Cave.
In time, young man. Everything in time.
3. EXT. BLUE PINE LODGE - DAY
4, INT. BLUE PINE LODGE - DAY
PETE MARTELL sits at his chess board, peering silently at the pieces, morose, mournful.
I think I shall never see, a girl as lovely as Josie...
(pauses, starts again; he's composing a poem)
When she walked into the flowers stood up
Room... doom... fume... gloom...
I think I shall never see, a girl as lovely as Josie, when she
walked into the room, the flowers were all abloom...
Pete's poetic reverie is interrupted when CATHERINE MARTELL storms into the room. She's carrying the mysterious black box Eckhardt gave her.
Pete! Stop your incessant moping and give me a hand
with this damn box.
What exactly do you want me to do?
Open it. I've been trying all morning. Thomas
Eckhardt left this box to me when he died. I want it
opened and I want it opened now.
(taking box into his hands)
Well ... let's take a look-see... do you have a key?
If I had a key, it would be be open already, don't you
'Course there's no key hole...
(he plays with the sides and edges of the box,
pieces that interact as if part of a larger puzzle)
It's a puzzle box. Saw one of these at a crafts emporium
in Guam. I was taking a little R and R with the
Doolittle twins, there was this monkey show that you
wouldn't believe, and Dale Doolittle, he was the larger
of the two, come to think of it, for twins they didn't
look at all alike...
(returns to the box, the slats and sections)
The trick is to fit the pieces together just so...
(with renewed hope)
Yes. And how long is that going to take?
Pete concentrates on the puzzle box, brow furrowed, lips pursed. A long beat.
This could take years.
5. EXT. DOUBLE R DINER - DAY
6. INT. DOUBLE R DINER - DAY
BOBBY BRIGGS and SHELLY JOHNSON sit in a booth. Shelly is in uniform, she's got tables to attend to - but Bobby insists:
Shel, I've been thinking about the future, about what it
takes to get ahead in this world. I'm reading up,
watching TV: suddenly it comes to me. Boom. The
secret to success.
(leaning closer, dead serious)
Beautiful people get everything they want.
Think about it. When's the last time a pretty blonde
went to the electric chair? You arc very beautiful, Shelly,
and I think it's time we took advantage of the Beautiful
Know any senators I can marry?
(pulling pamphlet from his jacket)
Check it out. Miss Twin Peaks. Once we get that crown
on your head, the sky's the limit.
(a little weary of pipedreams)
Dream on, Bobby. I got tables to wait on...
Don't argue. Bobby's in charge, understand? You gotta
enlist by this afternoon.
It's an order, not a request. Bobby holds out the brochure. Shelly pauses, wounded by his attitude. He doesn't care what she thinks. But Shelly takes the brochure nonetheless.
7. ANOTHER BOOTH
MAYOR MILFORD and LANA BUDDING-MILFORD share a booth nearby.
There's something I want you to do for me. Darling.
I'll do anything mind and body can stand. Surely the
last few days have been proof of that. You just name it.
I want to win the Miss Twin Peaks contest.
You just name it.
I want to win the Miss Twin Peaks contest.
Of course. I've given a speech or two in my time. I'll.
coach you day and night.
Dear, that's not what I'm thinking about. You're one of
(to the point one more time)
You can guarantee it.
(after a long beat)
But... but... but... but... it would be wrong.
(reaching out to caress)
Oh, darling. It would be love. That's all.
Mayor Milford grumbles, looks about, then back into the eyes of the woman he loves.
I'll do anything for you, Lana. You know that.
Yes, lover. I do.
8. AT THE COUNTER
ANNIE BLACKBURNE carries a pot of coffee, offers a refill or two. She reaches the cash register ... and finds Cooper waiting for her. Annie brightens like the sun.
Sorry. I've got a police cruiser full of hungry lawmen
waiting in the parking lot. A box of donuts, to go. And
a cup of hot coffee for the road.
Coming right up.
Annie turns to retrieve, a little disappointed. Cooper watches her calls out.
(off her look, unusually awkward)
I was wondering if you were available later for a little
nature study. Together.
Nature study? Sure.
When I speak to you I get am odd tingling sensation in
my stomach and toes.
Interesting. I'll get those donuts.
Annie steps away. Shelly rings up a sale on the cash register, frowns as Bobby steps to the door without a goodbye. Then, at last, he turns to face her.
You're beautiful, Shelly. Got it? So take advantage.
Bobby makes her feel like it's a curse. Bobby exits. Shelly sighs, quotes:
What is all this sweet work worth, if thou kiss not me?
Shelly turns to see Cooper staring at her. He looks as though he's seen a ghost.
What did you say?
Someone sent me a poem. It was anonymous.
I need to see that poem immediatley, Shelly. Please.
Shelly reaches under the counter, retrieves her purse. She hands her third of the poem to Cooper. He inspects it.
We each got a piece. Donna, Audrey, and me.
I'll have to take this with me.
Shelly nods assent. Annie returns bearing donuts and coffee.
One dozen to go. Cup of coffee.
Thank you very much.
Cooper pays in a hurry, turns for the door without another word.
(off his look)
I'll meet you here. Four o'clock sharp.
With that, he vanishes, clutching Shelly's poem along with the donuts and joe. HOLD ON Shelly and Annie. They exchange a look, wonder what's on his mind.
FADE TO BLACK.
END ACT ONE
9. INT. SHERIFF'S STATION - DAY
OPEN ON Deputy Andy in the station conference room. He stands at the blackboard, painstakingly reproduces the cave painting upon it. Andy erases, alters, draws primitive lines on the slate.
10. SHERIFF TRUMAN'S OFFICE
Agent Cooper and Sheriff Truman confer in the latter's office. Truman examines the poem fragment Shelly gave to Cooper.
Mountains kiss... waves clasp... what's this all about,
It's part of a poem, torn into thirds. Sent to Shelly
Johnson, Audrey Horne, and Donna Hayward... by
Earle's contacted all three? Are you sure?
(quoting the poem from memory)
See the mountains kiss high Heaven
And the waves clasp one another;
No sister-flower would be forgiven
If it disdained its brother...
I sent this same poem to Caroline once.
I don't like the sound of this.
It may be nothing more than a taunt. Earle takes a sick
pride in his ability to insinuate himself into innocent lives.
And if it's not?
Let's talk to the girls as soon as possible. See what they
Deputy Hawk enters.
Major Briggs is here. Conference room.
(offering manila envelope)
Donna Hayward's poem. Audrey Horne is in Seattle
Cooper opens the envelope, removes another fragment, aligns it with the first on Truman's desk. He peers at the poem for a beat, preoccupied, an idea forming. Hawk turns to exit.
(off his look)
Bring me Leo Johnson's arrest report. Anything that
might have his handwriting on it.
Hawk, nods, exits. Truman wonders:
What's the connection?
(staring at poem fragments)
There isn't one. Yet.
11. CONFERENCE ROOM
Major Briggs watches Deputy Andy transcribe the cave painting with fascination. As Andy connects two figures, the Major suddenly interrupts:
Deputy Brennan? As I remember, the line you are
drawing should proceed downward, not across.
Andy checks the original rendering on his sketch pad. Andy erases, redraws. Then it hits him. He turns to Major Briggs, mystified.
How did you know that?
Cooper and Truman enter.
Major Briggs. We need your help. Yet I find it
difficult to accurately describe why or how.
(on the same wave length)
The Twin Peaks Sheriffs department is currently
involved in several disparate investigations. The
disappearance of a known felon, Leo Johnson. The
appearance of my former partner, a murderer, Windom
Earle. And the discovery of an ancient hieroglyph in a
place called Owl Cave.
Logic demands that these investigations remain separate
entities. But recent developments suggest otherwise. I
believe that these mysteries are not separate entities, but
are in fact complimentary verses of the same song. I
cannot hear the song yet, Major Briggs. But I can feel it.
And that is enough for me to proceed.
As a military man, I am familiar with damage done by
blind adherence to logic. How exactly may I help you?
I need to know everything there is to know about
Windom Earle's work with Project Blue Book.
That would involve accessing classified Air Force
Yes, it would.
My security clearance was revoked shortly after my
And your ability to access the Blue Book files?
The issue is not one of access. There are, however,
certain moral judgements I must consider.
Will this information help you to prevent future loss of
Can you gain this intelligence without my intervention?
Pause. Briggs rises, steps to the blackboard. Andy's rendering of the cave painting upon it.
Is this a copy of the hieroglyph you found in Owl Cave?
Yes. Do you know it?
I have dreamed it. Or seen it. Somewhere. Somehow.
Briggs stares at the hieroglyph for a long beat. Then turns to face Cooper and the rest.
I will do what you ask.
Deputy Hawk enters with a file, hands it to Cooper.
Leo Johnson's arrest report.
Cooper takes the file, opens it. He finds examples of Johnson's handwriting. As the others look on, Cooper arrays the sample next to the poem fragments. As he works:
The damage Leo suffered would no doubt alter certain
handwriting characteristics. But his basic style remains
(putting the pieces together, turning to the others)
This poem, sent by Windom Earle, was transcribed by
Leo's working for Earle?
(looking back at poem)
Yes. Or is his captive.
HOLD ON this tableau for a beat. Cooper, Truman, Hawk, Andy, and Major Briggs. The evidence before them. Verses to the same song.
12. INT. THE GREAT NORTHERN HOTEL - DAY
START CLOSE on DICK TREMAYNE carefully adjusting an unwieldy nose bandage. Tremayne frowns, sniffs. Then spots someone OFF-SCREEN.
(a rather nasal quality)
Tremayne hurries to intercept BEN HORNE as he passes through the dining room.
Mr. Horne as you are no doubt aware there are but scant
hours until our wine tasting benefit begins and I cannot
find your daughter anywhere.
Audrey is spending the day in Seattle. However, I'm
sure our concierge will be happy to assist.
The concierge. Yes, capital. Thank you Mr. Horne.
Tremayne rushes on. But Horne calls after.
(doesn't know his name)
Excuse me. You there.
(turning to face him)
Richard Tremayne, sir. Men's fashions.
Of course. Tell me, how is your nose?
Oh, Mr. Horne. Think nothing of it. A nose is a small
price to pay in the service of a greater good.
We'll of course take care of your medical expenses.
(sycophant and conniver both)
How kind. One might also think worker's compensation
of some variety will be involved...
Capital, Mr. Horne. I'll alert my attorney.
Tremayne scurries off. Horne frowns, sighs.
Sometimes the urge to do bad is nearly overpowering.
(mimicking nasal Trumayne)
I'll alert my attorney.
Ben sighs, extracts a carrot from his pocket. Stalks away.
14. EXT. WINDOM EARLE'S CABIN - DAY
15. INT. WINDOM EARLE'S CABIN - DAY
Windom Earle opens a beer, hands it to Leo, speaks to the heavy metal youth, OFF-SCREEN.
Drink up, friend. We celebrate.
Leo carries the beer to the youth, now revealed INSIDE a huge papier mache CHESS PIECE.
Celebrate? I can barely move my arms.
Leo carefully puts the can to the youth's lips, offers a hearty swallow. Earle places the last few pieces upon the wire frame, effectively encasing the heavy metal youth inside.
You have lived your short life in odium and obscurity.
But now, at the end, you will step upon the larger stage.
I must confess, I envy you. Your journey begins at a point
beyond imagining. Who knows where you might travel
I'm pumped. Is this for the Lilac Parade or what?
Not a parade, my friend. Not exactly.
Well I'm real cool about helpin' out and everything. But
how do I get out of this thing?
Earle reaches into a chest, produces a wooden bow. He turns to Leo, orders.
Leo. Fetch me an arrow.
Leo pauses - he's been feeding beer to the youth all along - turns to regard him.
Arrow. Whoa, man. I do not appreciate practical jokes.
Leo. The arrow.
Leo sets the can of beer upon a table, faces Earle. And does not move. He manages:
Earle doesn't hesitate. He grabs the shock collar remote, presses the appropriate button. Leo shivers and falls, struck down by its power.
Jeez, don't zap the geek. How'm I supposed to get my
Earle zaps Leo a second time, lifting him clear of the floor. Leo moans, crawls to his knees.
Oh, dude ... that's gotta hurt...
Fetch me... an arrow.
Leo staggers, stands. And walks to a basket near his makeshift bed. He retrieves an arrow - whittled to perfection, armed with a wicked steel point - and brings it back to Earle.
(wounded and fearful)
Thank you, Leo.
Earle turns back to the papier mache chess piece, the youth trapped inside.
What's with the arrow, man... what are you doing?! This
isn't funny, man. This is not funny.
Please. Be still.
What the hell are you doing...?!?
(loading arrow as the youth continues to plead)
Think of all the hapless sinners, wondering where their
soul's destination lies? Think of the prayers and the
doubt, the gut-sucking fear that visits late at night. And
for what? To gain the answer to a simple question.
Where will my spirit wake? What life am I given after
my life? This grave question has plagued man's sorry
conscience for eons. And you, lucky boy, have the
Earle UNLEASHES the arrow, it tears through the air, pierces the heart of the papier mache chess piece... and the heart of the heavy metal youth inside.
ANGLE ON CHESS PIECE
The arrow buried up to the hilt. A small trickle of blood seeping from the hole it makes.
ANGLE ON LEO
Watching the later with undisguised shock and horror. Wakened from one nightmare to
FADE TO BLACK.
END ACT TWO
16. INT. ROADHOUSE - DAY
A rectangular table on stage at the roadhouse. MAYOR MILFORD, DOC HAYWARD, PETE MARTELL sit facing BEN HORNE. Doc gavels the small committee to order.
The "Miss Twin Peaks Judging and Rules" committee is
hereby in session.
This is going to be a very exciting year. A very exciting
year. A very exciting year.
Thank you, Dwayne. First order of business; Ben Horne
has asked to address the committee as a Friend of the
I don't have any objection to that.
Address away, Ben.
Thank you. And Dwayne, may I congratulate you on
your recent engagement.
Think you very much.
She's a lovely girl and I wish you much happiness.
Thank you very much.
Gentlemen. My purpose is simple. The age of the
ogling, swimsuited jiggle festivals of the past is dead.
Miss Twin Peaks, I believe rightly, is now a celebration
of the totality of a woman's qualities. Beauty has taken
on a broader definition that includes mind, values, ideas
and for taking that step, gentlemen, I applaud you.
What's he selling? What are you selling?
Let me get night to the point. The centerpiece of your
voting procedure is the Contestants Address to the
Town. Miss Twin Peaks is an event in search of a theme.
What I propose is simple: the to pic of this year's
speeches should be; How to Save Our Forests.
(pause, for effect)
It's now, it's relevant, it's global, it's, to put it plainly,
gentlemen ... us.
Pause. The committe members look at each other.
'Course your opposition to the Ghostwood development
plans wouldn't have anything to do with this.
Pete, I have to say I resent your implication. The
environmental issues here clearly dwarf any parochial
business concern that I or you or anyone else might be
We'll take it under advisement.
We'll take it under advisement.
The best I could hope for. Thank you, gentlemen, for
Ben rises and briskly exits.
Thinks he can pull a fast one.
The idea has merit. The idea has merit.
I'm in favor of it, myself
As am I. Good topic. Lively material.
Okay, okay. Let's start processing the candidates, I
gotta get back to the chess board.
17. INT. ROADHOUSE - DAY
Ben Horne exits past the dozen or so waiting applicants, who include LANA BUDDING- MILFORD, Donna and Shelly, who's there with Bobby. Reluctantly.
(to the passing Ben)
Bobby. Wine tasting party, eight o'clock.
With bells on.
Donna watches Ben carefully. Ben nods to her, exits. Pete announces to the waiting group.
Would the first candidate please approach the
(cutting through the red tape)
Lana? Come on up honey.
Lana sashays up to the stage, sits in font of the committee.
I smell a fix.
I don't know if I can do this, Bobby. I've never given a
s speech in my life. I had to give a book report in Mrs.
Gardner's class in fourth grade and I passed out right in
front of the whole room.
You'll be great, doll. I'm gonna be your speechwriter.
It's not as hard as you think, Shelly.
I could sure use that scholarship money.
MIKE NELSON and NADINE enter. Nadine moves to Donna.
Donna, are you entering too?
Uh, yeah. You too, huh?
Wouldn't miss it for the world. Isn't it exciting?
Bobby gestures to Mike, takes him aside.
Mikey, Mikey, Mikey.
(trying to affect nonchalance)
Hey, long time no see.
I'd ask where you been keeping yourself but I think I
(a look at Nadine)
This is very scary, Mike.
It's not what you think.
It's not what I think? What do you think I think?
You think I'm going out with an older woman.
I think I don't know where you got this sudden interest
in the life of fossils.
(a knowing smile)
Yeah, I know. It's not what you think.
Mike. Big favor. Clear this up for me.
I wouldn't expect you to understand.
I will strive to be understanding.
(decides to confide)
Do you have any idea what a combination of sexual
maturity and superhuman strength can result in?
Bobby looks at him, a glimmer of comprehension forming. Mike whispers something more elaboarte and descriptive in his ear.
(almost a scream)
Everyone in the room turns to look at him.
Nadine winks at Mike. Mike winks back. Bobby understands.
18. EXT. BLUE PINE LODGE - DAY
19. INT. BLUE PINE LODGE STUDY - DAY
Harry Truman sits with Catherine.
If there's anything you can tell me about her at all.
Anything to help me understand.
What did she want? Why did she do the things she did?
I'm asking myself a lot of the same questions.
I want to know. I want to believe she wasn't all bad.
There was something good there. Decent.
I think early in her life she must have learned the lesson
that she could survive by being what other people wanted
to see. Showing them that. It was probably something
she had no choice about. And I think that eventually
became the largest truth in her life. In time even she no
longer knew who she truly was. She, I don't know quite
how to say this ... she lost her ... center. What was left of
her private self she may never have shown anyone.
So the lies, all the stories ...
Who knows? They may not have seemed untrue to her.
What she needed to believe was always shifting to suit
the moment. A ball of knots. Knotted, tangled string.
In spite of everything she tried to do to me and my
family I find it's curiously hard to hate her for it.
... she was so beautiful.
Catherine looks at him.
Maybe there's some clue we can both benefit from.
Catherine removes the box from her desk.
Thomas Eckhardt left this for me when he died. It
occured to me it might have something to do with her.
I don't know. I haven't been able to open it.
Let me see.
Truman takes the box. Runs his hands over the intricate filligree work.
There's no handle or lid.
Sound of a door opening. Pete enters, under a head of enthusiastic steam.
Wowee Bob, we got some beauties in the contest this
year, hello, Harry, seems like every gal in town's lining
up to take a shot at the - say, any luck with this thing?
Pete takes the box from Harry.
(with a sigh)
Pete drops the box on the floor.
(kneeling to retrieve it)
Pete's not listening. He's staring at the mysterious box. A seamless top lid is slowly,
automatically sliding open.
Holy moley ...
What is it?
Pete looks inside, pulls out a small version of the larger box. This one has a finely filigreed lid, the twelve signs of the zodiac inscribed on its surface.
Give it to me.
(an idea forms)
Just a sec, Poodle...
Pete carefully drops the second box, as if certain it will open if dropped like the first. No such luck. Undaunted, Pete retrieves it, means to drop the box again.
I held it just so, and then I...
Catherine growls, grabs the box from Pete's hands. All peer at the mysterious gift, wonder what they might find inside.
20. EXT. LAKE - DAY
Establish. A small wooden rowboat in the distance. Cooper and Annie inside.
21. EXT. LAKE - DAY
The small rowboat. Cooper pulls in the oars, they'll drift together.
I used to swim out here when I was a kid. Every
summer. Two, three times a week.
I can understand why. It's beautiful.
I guess even then I felt a closer connection nature than
I did to people. I was kind of a weird kid.
That's what people used to say. Never had many
friends. Norma was Miss Popularity. Seemed like she
was always moving towards the world. I was always
moving away from it. I lived in my head, mostly.
Not a bad neighborhood.
Well there were some pretty strange neighbors.
No. No. I ... well, I had one.
Anything to do with your going into the convent?
I'm sorry, do you mind if we don't talk about it?
We can talk about whatever you like.
(slowly, trying to be resolute)
I want to come back to the world. I was so frightened
for so long. Of everything. Of life. I thought I'd be
safe there. Everybody here thought I was nuts. And when
I think about it, it was such a weird nineteenth century
thing to do. To think I could remove myself, as if that
could stop the noise in my head, when the problem
was me, it was always in ... me ...
(softly, looking at her)
Silence. Prayer. It wasn't the religion. It could have
been a Buddhist retreat. Walden Pond. A quiet room.
(she turns to him)
But you sit in a room like that long enough and you
realize, I realized that I was just hiding and that running
away from my fear didn't make the fear go away ...
It made it stronger.
(a tear in her eye)
Yes. So I had to face it. I had to face myself. And I
have to do it here. Where everything went so wrong.
Cooper takes her hand. She lets him hold it. He touches the scars on her wrists. She doesn't withdraw the hand. Looks at him.
(his way of asking why)
I know how hopeless things can seem. I know the kind of
dark tunnel you can fall into.
(decides to tell him this much)
It happened before I went away. It happened because of
that boy. I went away because of it. That's all you need
Annie, I ... I had a similar experience. Not the same.
Similar. I'd like to ... help you ... in any way I can ...
She kisses him. They speak very quietly.
I don't know you very well.
I'm trying to learn how to trust my instincts.
What are they telling you?
There's no hurry.
I think maybe there is.
I think I have a lot of catching up to do.
22. POV BINOCULAR
Cooper and Annie in the distance upon the bright water. Cooper rows to shore. Annie laughs as he helps her out of the rowboat. They step toward the familiar gazebo, now stop, embrace and kiss.
23. WINDOM EARLE
Hidden in a tree, Earle lowers the binoculars. He's watching every move.
FADE TO BLACK
END ACT THREE
23A. EXT. DOUBLE R DINER - NIGHT
23B. INT. DOUBLE R DINER - NIGHT
GORDON COLE and Shelly Johnson share a booth. They speak quietly, over the remains of dinner. Agent Cooper and Annie enter.
Then I said to him, take one more step and I'll ventilate
you. Nothing like a colorful verb to strike, fear in the
heart of a common criminal.
(fascinated by his manly tale)
What happened next?
It was a brief, but touching funeral.
(spots Cooper entering)
DALE! GLAD I CAUGHT UP WITH YOU. THE
RENTAL'S FIRED UP AND I'M ABOUT TO HIT
We'll miss you, Gordon. Hurry back You remember
OF COURSE I DO. THE WORLD IS FULL OF
(aside, to Shelly)
Though only one I can hear.
JOIN US FOR PIE.
Cooper and Annie sit down opposite. A WAITRESS delivers two slices of cherry pie.
(distributing silverware, plates)
All right if we share?
(enjoying his attentions)
(as they eat pie)
COOP, I'M TOLD LOVE MAKES THE WORLD
GO ROUND. DRIVES A MAN INSANE. AND
MAKES PEOPLE WHO NEED PEOPLE THE
LUCKIEST PEOPLE IN THE WORLD. BUT NO
ONE EVER MENTIONED A THING ABOUT A
CURE FOR HEARING LOSS.
You're a miracle worker. A goddess sent from heaven.
I'm a waitress in a diner that no one ever compared to a
Some people just don't know their own value.
SHE'S A RARE AND PRECIOUS INDIVIDUAL
DON'T YOU THINK?
Yes, Gordon. She is.
Shelly, turn and face me before I lose my nerve.
Shelly looks up from her pie, faces him.
I'm about to leave Twin Peaks. I don't know when I'll
return. But I want you to know that meeting you has been
more than a privilege. It has touched my heart and soul.
And I know that if I don't kiss you now I will regret it
the rest of my days.
There's something sweet and kind in this dizzy oration. When Gordon leans close to kiss her, Shelly receives him without hesitation. Cooper looks on with a smile: The whole world is in love. just then: Bobby Briggs enters, stops and stares.
What the hell is going on here...?
Cole breaks from the kiss, regards the angry youth, grins.
TWO ADULTS ARE SHARING A TENDER
MOMENT, WHAT DOES IT LOOK LIKE?
Poor kid acts like he never saw a kiss before.
WATCH CLOSELY, SON. IT GOES LIKE THIS.
(trying to avoid scene)
Too late. Cole kisses Shelly again, with gusto. Bobby watches, open-mouthed, stunned silent. Who is this guy?
24. EXT. HAYWARD HOUSE - NIGHT
25. INT. HAYWARD HOUSE - NIGHT
Doc Hayward, Eileen, and Donna at dinner. The mood is quietly tense, nobody willing to say what's on their mind. Food is passed, plates filled. But little is eaten.
Would you pass the peas, Donna?
Mom, can I ask you a question?
(meaning to intercept)
How well do you know Ben Horne?
(to the rescue)
Eileen, I told Donna about the Heal the Planet Benefit
you re working on.
(she's never heard of it)
Heal the Planet...?
With Ben Horne.
I was here when he came to the house. You went to see
(groping in the dark)
Oh. Well, yes. Ben has offered some of his time.
I know he favors several of the local charities.
Maybe the charity sent Mom's roses.
I put them by the bed.
Roses. That's nice.
(anything to stop this conversation)
Donna, would you pass the peas?
I think roses are romantic, don't you?
Donna, pass your mother the peas.
(receives the platter)
(a long beat, then grudgingly)
Just great. All the girls are real excited about Miss
It's a fine tradition. I've worked with the pageant for
Really? But you never...
Why not? I could use the scholarship money to study
She means away from here. Eileen and Doc exchange a look. Donna simmers between.
26. INT. GREAT NORTHERN BAR AREA - NIGHT
Still wearing the cumbersome nose bandage, Dick Tremayne taps a wine glass with a knife, calling the wine tasting party to order. A dozen or so people sit in the bar area, including Ben Horne, Andy, Lucy, Lana Budding and a few of the models from the fashion show. Everyone has two wine glasses in front of them and a spit bucket. On the table in front of Dick are a number of wine bottles, covered in bags.
Good evening. Evening all. Welcome to our
oenophiliac soiree, another in a continuing series of
public events, sponsored by Horne Industries, to benefit
the Stop Ghostwood Development movement.
Something to do with wine.
When my good friend, Ben Horne, asked me how would
I like to contribute to the Good Fight, I said to myself,
Dick, I said, you're a former sommelier why not try to
bring a little culture to the proceedings? I replied ... but
of course: a wine-tasting parry. Uplift the general level
of quality of life at the same time we're putting money
into the fight to save our trees. Voila!
(small, polite, smattering of applause)
I should of course mention that our wines this evening are
all courtesy of the Great Northern's wine cellar, thank
you, Ben, and now ... to the tasting! Lana, Lucy, if you'd
help me pour, please.
Lana and Lucy jump up to help him pour out the contents of the first tasting. Dick flirts rather obviously with Lana, which Lucy can't fail to notice. She simmers as she pours.
(as they pour)
Our first wines tonight are reds. There are some schools
of thought who of course say there are no other wines but
Andy raises his hand.
(he's been studying)
There are also white wines and sparkling wines.
Thank you, Andy.
(watching his charges; warmly)
Very good, Lana.
(not as warmly)
Don't pour quite so much, Lucy.
Another cold look from Lucy to Lana and Dick.
Now that we're all poured, let's first examine -
(to Andy, who's drinking)
Don't taste it, yet, Andy, for heaven's sake.
Andy has a mouthful of wine.
Spit it out.
Andy spits into the bucket.
That's all right. That's what we're here for: to learn.
Now, to the wine. First we must examine the nose of the
wine, to see what it can tell about its bouquet. And
we do that by ...
(the prize pupil)
Very good, Lana.
Another look from Lucy.
Lift the glass thusly ...
(lifting it to his nose, now talking into the glass)
And while vigorously rolling the wine around in the
glass, we breathe deeply and fully.
Unbeknownst to him, the wine seeps into the gauze bandage on Tremayne's nose and a crimson blotch starts to creep cellularly upwards.
That's good. Now, procedurally, we take our first
taste, a big, boisterous gulp and roll it energetically
around our entire palate, trying to involve those hard to
reach taste buds, tucked away in the back of our tongues.
Remembering not to swallow ...
The class takes a sip and rolls it around in their mouths.
Excellent. And now ... we ... spit.
As one, the group spits noisily into their buckets.
27. INT. BAR AREA - NIGHT
By the fireplace in the other room, Jack Wheeler enters and sits near a pensive Dale Cooper, nursing a drink, staring into the fire. A beat. Wheeler emits a rueful sigh, thinking of Audrey. A beat. Cooper allows a happy little whistle of satisfaction. He's thinking about Annie. A beat. Wheeler sighs again. Cooper whistles. Both gradually aware of the other. Then, at last, more to himself:
Love is hell.
Love. It's hell.
The Hindus say love is the ladder to heaven.
We're both right.
"Proof of heaven, while we're living."
The Hindus have also been known to take a hike on hot
coals for recreational purposes.
(a mild correction)
Self- discipline and love are a bad match.
(agreeing; what he's facing)
What other kind is there?
When you're in it, none.
It hits you like an eighteen-wheeler. And there's no
It makes you feel more alive.
And you feel more of everything. Pain included.
Can't think of anything but her.
She goes away, it's like a part of you's ripped out of its
(a look at him)
Sounds like you've got a pretty serious case.
I am roped, tied and branded.
She feel the same way?
(lifts his drink)
Cooper lifts his drink in support.
How 'bout you? You on the critical list, too?
I feel like someone's taken a crowbar to my heart.
That's not bad.
No. I think maybe it's been locked away long enough.
Then that's good.
(lifts his drink)
Here's to you.
They drink. A beat. A VOICE interrupts:
Mr. Wheeler, telegram for you, sir.
A BELLMAN holds out a telegram. Wheeler takes it, tips him. He opens the telegram. We SEE it's from Brazil. Grim news.
(to Bellman as he exits)
The Bellman stops, turns to regard him.
Tell the desk I'll be checking out. Thanks.
The Bellman exits. Wheeler collects his thoughts, rises.
(to Cooper, mind elsewhere)
Cooper nods, watches as Wheeler steps away.
28. INT. BAR - NIGHT
The wine-tasting continues. Dick is hovering over Lana.
All right, class, what did that sip reveal to us? What
flavors are we enjoying?
Tastes kind of woody.
No, not really. Anyone else? Lana?
Yes, there is a hint of banana, that's the metachloric acid,
very good. What else?
(under her breath)
Correct, Andy, there is another acid, hydroxinine, which
is present in both flavors.
Why don't we just skip the wine and have a banana split?
Registering, Lucy's mood, Dick pours more into Lana's glass, doting on her.
Let's have another sip, shall we, swallowing this time
and let's see what else we can discern.
Gosh, Dick, I never knew wine could have so many
Amazing, isn't it A really fine wine is like a
symphony. Strings, woodwinds, brass, percussion,
they're all present, playing in harmony.
Everyone sips. Dick turns to Lucy with a prefunctory tone.
And what reaction do you have Lucy?
She spits the wine out in his face.
I'm pregnant. I'm not supposed to drink.
They look at each other.
30. EXT. GAZEBO - NIGHT
Police cars. Cops. Lights trained on the gazebo, where a large box sits in the center. Cooper drives up, is greeted by Truman. They move towards the gazebo.
We thought at first it might be a bomb. We don't
exactly have a bomb squad. It's weird.
What did you do?
Andy brought his metal detector. If it is a bomb it's
not metallic and there's no ticking sound, so...
Be careful, Coop, I think it is meant for you.
I doubt it Harry. Windom is too precise. This will
have to do with some other itinerary on his peculiar
journey. When he tries to kill me it will be face to face
and far removed from chicanery or subtrafuge.
Cooper moves confidently up to the gazebo. Finds a small rope emerging from the top, with a ring attached and a sign that reads, 'Pull Me."
Let's see what he's up to.
He pull the ring. A moment later all four sides of the box begin to fall to the ground.
(to the group)
Cooper doesn't move as the box falls apart. Revealed inside is a large black, papier-mache chess piece, a pawn. Sticking out of the top is the very dead head of Windom Earle's victim.
A sign on the pawn reads, "NEXT TIME. IT WILL BE SOMEONE YOU KNOW."