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First Draft: February 5 ,1991
Second Draft/Dist. to Dept. Heads: February 8,1991
Revised/General Distribution: February 14, 1991 - Blue
Revised: February 14, 1991 - Pink
Revised: February 20, 1991 - Green
Revised: February 21, 1991 - Yellow
Revised: February 22, 1991 - Cherry
Lynch/Frost Productions, Inc.
7700 Balboa Boulevard
Van Nuys, CA 91406
ACT ONEFADE IN:
1. INT. WINDOM EARLE'S CABIN - DAY
LEO JOHNSON and MAJOR BRIGGS sit captive against a wall. Leo slowly looks around the room. Does so again. Apparently satisfied , he rises to his feet and moves until the ankle chain snaps him to a halt. Straining forward, he is able to lean over a table, and takes something from its drawer. He then returns to beside Briggs, who still looks very dazed, unconscious of his surroundings. Leo, with great effort, fits his new possession into the lock of Briggs's handcuffs. Briggs is released. But doesn't realize it. Leo shakes him.
Save Shelly ...
Leo is looking up at the wall with Shelly's photo. Enough internal fog clears for Briggs to realize he is now free. He gets up unsteadily and stumbles away. CLOSE ON the wall photos.
MATCH CUT TO:
2. SAME PHOTOS - LATER
SOUND of a door closing. Footsteps. EXPAND TO show WINDOM EARLE coming in to see Briggs is gone.
Why, who in the world let Major Briggs loose, Leo? It
couldn't have been you, could it?
Leo cringes, expecting another shock. None comes.
No, no punishment little Leo. It's to late for that to
do us any harm. And I have a new game for you.
He holds up a burlap bag. Something's moving inside.
3. INT. DINER - DAY
Over by the kitchen, SHELLY and ANNIE are sorting silverware, when they're joined by NORMA, who carries over a tray of freshly baked pies.
Here's our contribution to the Miss Twin Peaks Gala
Buffet. And I fully expect to see one of you up there
tonight in the winner's circle.
Dream on, Norma.
Don't sell yourself short, kid. This is one of the biggest
days of the year for us and we need somebody up there
who deserves that title. Especially this year.
... Laura Palmer.
A day of healing and coming together.
We could use more than a day.
Norma, is it true they're going to honor you tonight?
Twentieth anniversary of when you won?
If you entered you could win today.
Listen to her, working on the judge already.
Since you brought it up ...
Good question: who are you going to vote for?
Ahelly and Annie put an arm around each other and present a united front.
Maybe they'll let you split your vote.
We have a customer.
ANGLE ON DALE COOPER entering the diner. It's clear whose customer he is: to Shelly's intrigued glance, Annie walks over toward the counter.
Looks like a staff meeting of the Double R brain trust.
We're trying to decide who's going to win tonight.
No question about it. You are.
You're not exactly objective -
I am completely objective.
I think you're not as objective as you think you are.
Perhaps that's why it seems so important to me that we
(affectionate, not shy)
You impetuous boy. We have an audience.
I know this violates multiple laws of physics, but at his
moment, Annie, and I mean this quite literally... you are
the only person in the room.
Annie beams. They lean across the counter to kiss. Shelly and Norma look on, smile, look away.
4. INT. GREAT NORTHERN - DAY
AUDREY HORNE stands pensively, her face half-lit by the fireplace glow. BEN HORNE enters, arms filled with books they nearly obscure him. Audrey manages a smile.
(pausing by the fire, nearly losing hold of a
Audrey. The most intelligent face I've seen all day. You
make the rest of us look like primates.
What's with all the books?
(listing each and every one)
The Koran, the Bhagavad-Gita, the Talmud, the Bible,
New and Old Testaments, the Tao-te-ching ... I have in
my arms those holy books that constitute the fundamental
framework of man's philosophies of good. Somewhere in
here are the answers I seek. I intend to read them, cover
to cover until find ...
Audrey's attention has wandered back to the fire. Ben Finally stops rambling, sees the sad expression on her face.
Listen to me, prattling on. It's Jack, isn't it?
He's only been gone a day. I ask myself how much will it
hurt next week?
Let me give you a piece of ageless wisdom culled from
these volumes: time heals all wounds.
(she starts to reply)
I know what it feels like. Believe me, I know. He'll be
We barely had time to realize how we felt ...
But what you had was highly concentrated.
It's the concentrate they make concentrate from.
I'm afraid I'll never see him again.
Jack's a man of his word. If he said he'll be back, he'll be
back, I promise you.
You can't promise. But thanks for wanting to. I actually
came in here to update you on my Seattle trip.
(closes the book)
(slowly turning her mind to business)
The Packards are using Twin Peaks Savings and Loan to
funnel cash for the Ghostwood Project, but the bank's
keeping a very low profile. They don't want the bad
Bad publicity is exactly what they're going to get.
Audrey, have you given any more thought to the Miss
Twin Peaks pageant?
Daddy, from the bottom of my heart, I don't want to be
the town bathing beauty.
Audrey, Miss Twin Peaks is the ultimate local forum. It
would be truly inspirational to have a winner with a
political sensibility that extends beyond makeup
strategies and recipes for cherry pie.
(the Horne twinkle)
And as you know, each contestant makes a speech to the
asembled town. This year's theme concerns our
immediate environment. And what we must do to
HOLD ON Audrey for a beat. Considering brand new strategies.
Maybe I'd better take a look through those books myself.
5. INT. SHERIFF'S STATION - CONFERENCE ROOM
START ON the cave painting reproduced on the blackboard: a cluttered concentration of various symbols, stick figures, stars, hieroglyphs. PULL BACK to ANDY BRENNAN standing myopically close to this drawing, staring at it with his own personal brand of awe. Cooper and TRUMAN, looking sleepless, re-enter the room carrying their coffees.
Has he taken his eyes off it yet?
(Andy's beat; moving on)
We've still got people out combing the forest for Major
Harry, given their mutual connection to the Blue Book
Project, I'm afraid Earle may have targeted the Major.
They look over at Andy, who is still completely engrossed in the painting. Cooper and Truman are in proximity to the bonsai tree.
I don't know yet. All of this appears to be flowing
together. Earle's been seeking access to the Black Lodge
as far back as 1965. This chess game may involve more
pieces than we'd begun to imagine. And then there's the
peculiar circumstances of Josie's death to consider.
Consider them how?
When Josie died ... I'm sorry I haven't mentioned this
before, Harry, but I had to take into account your mental
What is it?
She was trembling with fear. Quaking, like an animal. I
might even venture a guess to say that it was fear that
killed her. And in the moment of her death ... I saw Bob.
As if he'd slipped in through a crevice in time. Upon
reflection, I believe there's a connection between his
appearance and Josie's fear. He was attracted by it. He
may even feed off it.
You see any connection between Bob and the Black Lodge?
I think it's where he comes from. I believe the Black
Lodge is the source of what you've traditionally referred
to here as the evil in the woods. If that's what Earle is
seeking, it's imperative that we find our way in before he
does. There's a source of power in that place far beyond
our ability to comprehend.
6. INT. WINDOM EARLE'S CABIN
Windom Earle, listening in on his shortwave set, springs out of his chair in excitement.
Eureka! Dale, I could kiss your pointy little head. It's
fear! It's fear, Leo, that's the key!
(begins packing one of his silver briefcases)
My favorite emotional state and all this time it's been
staring me in the kisser. Leo, it's marvelous, a
perfect fit. These night creatures that hover on the edge of
our nightmares are drawn to us when we radiate fear, it's
their bread and butter, a perfect symbiosis. And to gain
entrance to their realm, a simple offering, the suffering of
innocence, Oh, nature, perfect in design and aspect, you
do not disappoint. Leo, look lively, victory is at hand.
We know where the entrance is. We know when the lock
appears and now we hold the key in our hands.
He takes the photos down and packs them, then closes the suitcase. He lifts the other case.
Forgive my hasty departure, dear one. But the time has
come to gather my beloved Queen and embark upon our
dark honeymoon. I haven't been this excited since I
punctured Caroline's aorta.
Leo, we must share a final sentiment ...
We still cannot see Leo.
During our time together in this verdant bower, I must
confess I've developed something of a fondness for you.
Sounding board, companion. Ever obedient and faithful.
An all-around "A" for effort, Leo. Though I'm still a
trifle miffed at your release of Major Briggs. But then
You'll have plenty of time to reflect upon that, won't you?
Goodbye, Leo. And good luck.
As he goes, we PAN DOWN to Leo, who is very tightly shackled. He is holding the end of a string taut in his mouth. We FOLLOW the string directly above his head and see that it is holding a large suspended plastic bag shut. Inside the bag are dozens of deadly spiders.
END ACT ONE
7. INT. ROADHOUSE - DAY
A line of Miss Twin Peaks contestants in black dance leotards rehearse the opening number. They include, amongst some faces we do not know, DONNA, Shelly, Annie, LUCY, Audrey, NADINE and LANA. Standing before them, sleeves up, a cigarette bobbing in his mouth, is the impresario and choreographer, the ubiquitous TIM PINKLE. The piano player, TRUDY, jumps back into a show tune and the girls begin their chorus line dance.
Okay, one and two.. and three...
(doing the moves with them)
Step forward one and over and two....
The girls continue on their own as Pinkle steps over to a table and takes a large pull off his submarine sandwich.
(through his chewing)
Let the mood carry you... don't be afraid to be
vulnerable... and give me just a little more leg...
Now bend forward, like sap in the... er, sapling in the
wind... a little further... very good... hold it for me... then
up... and out.
The song ends. Audrey eyes their trainer warily.
You girls'll need a lot of work...
...but if you stay with it, I think I can make dancers out of
(taking her aside)
Especially you, Miss Horne.
What kind of dance was this, Mr. Pinkle?
A nature dance, my little friend. A celebration.
What are we celebrating when you have us all bending
Don't question the vision of your choreographer. You're
but a petal on the rose.
(aside to Shelly)
Later it'll be the pistils and the stamens.
Pistils and what?
We're on stage at last. That's all that matters.
This is the weirdest thing I have ever seen.
I think it't just the greatest thing that ever happened.
Once more with feeling, girls. I only have three things to
say: energy, energy, energy.
ANGLE OFF them over to a booth where the three judges, Norma, TREMAYNE, and Milford sit watching, and discussing.
If talent's to be any part of our deliberations, we'd best
close our eyes until Pinkie's done wrecking havoc.
I love a chorus line.
(beat, a look at them both)
If we can focus here for a second, I have to get back to the
(back to the printed agenda of their discussion)
"What qualities do we think best examplify Miss Twin
Beauty and power.
(drawing their look)
That's how I like 'em.
Poise. And... God help us... sophistication and breeding.
I think a major factor should be originality.
Wouldn't that fall under talent?
Always nice when it does.
Personally, I've always been big on style.
That should be enough to work with. I'll make up the
score sheets this afternoon. I've really got to go.
She goes. Milford eyes Tremayne. Business time.
Score sheets, shmore sheets. We're set on this, aren't we
Set on ... ?
She looks lovely today, doesn't she?
If looks could kill ...
(off Milford's hrumph)
Sorry Insensitive of me.
She'd make a great Miss Twin Peaks.
Wouldn't she just. But my vote is of course something I
hold sacred and will exercise with the greatest care and
consideration. As you well know, being a man who's been
charged with the awesome responsibility of running this
(Still negotiating, voice lowered)
Alright, I can give you three hundred, but not a penny
Lana, as if on cue (and quite possibly so), comes over. Milford signals her over Tremayne's shoulder.
Hello, Dick. We're on break.
Do you think you could help me find something in the
The storage room.
We're missing a very important prop.
The Mayor signals his approval to Lana.
8. INT. STORAGE ROOM
All light comes from the hall. Two silhouettes enter. She shuts the door, closing them into DARKNESS.
I'm having trouble.
Just flick it.
A moment. His flashlight goes on. Its light nervously scans the little room.
Now, what exactly did you need to find?
The flashlight goes off
Oh, did I do that?
The flashlight goes back on.
What are we looking for?
I don't know the exact, technical name for it..
Well, does anything in here look like it ...
The flashlight goes off.
I think this might be it.
Oh. By George, I think you've got it.
10. INT. GREAT NORTHERN/COOPER'S ROOM - DAY
Cooper sits crosslegged on the floor, perfectly still, eyes closed: he is deep in meditation.
Slowly he opens his eyes. Holds for a moment, takes a deep breath. Smiles broadly. Still crosslegged, he reaches over and flips on his tape recorder.
Diane, it's 1:15 PM. I've just concluded my second
meditations of the day in lieu of sleep. I am completely
refreshed and struck again by the realization that we all
live at a fraction of our potential. We've been working
round the clock on the cave hieroglyph. I know the
answer is in that crude etching and I am now convinced
that Windom Earle is searching for the same thing we are,
and for diametrically opposite reasons. If I'm correct in
my assumptions about the power of that unholy place ...
God help us if he gets there first.
Cooper pauses, clearly shaken by the implication. Then, quietly:
I want to make specific mention of Annie Blackburne.
Diane, she is a completely original human being. Her
responses are as pure as a child's. To be honest, I haven't
felt this way about anyone since Caroline. It's taken
meeting someone like Annie to realize how gray my life
has been since Caroline's death, how cold and solitary -
A knock on the door. Cooper rises to answer it.
Although occasionally there is something to be said for
He flips off the recorder, opens the door. Annie stands before him. He admits her.
You have nearly perfect timing.
That's not what our choreographer says.
What can I do for you, Annie?
I have to give a speech in six hours. I haven't written a
word and I don't have a thought in my hand. I am in a
complete, sweaty-palmed panic and I needed to talk to
someone, namely you.
What's the topic?
"What You Can Do to Save Our Local Forests." So what
am I supposed to do, stand up there like a deranged
Barbie Doll, "make sure you're campfires are completely
out, kind of like my brain."
You're I terrified of public speaking.
Our forests need saving because of the way people regard
If the Ghostwood development were going to cost
thousands of lives, would it have even the slightest chance
of going forward?
Trees aren't the same as people ...
But they're alive.
(extending the metaphor)
Your forest ... is beautiful and very peaceful.
Part of it's been damaged. I've tried to replant, but
nothing's taken root ...
They kiss. Tentatively at first. Then with greater fervor.
Let's not talk anymore about trees.
To be honest, that's not really why I'm here. The speech.
The way I feel transcends metaphor. Obliterates it.
How do you feel? I mean, usually. I only ask because ...
well, actually, I want to know.
(an analytic detour)
My habit is to construct and control my emotions with
great precision. Everything ordered and in its place.
What I am feeling now has steamrollered every barrier
I've ever, if you'll excuse the expression, erected. I don't
know what I know or don't know. I only know ...
(happily jumbled, he sighs)
I want to make love with you, Annie. That's all I know.
Do you feel the same...?
Annie begins to unbutton her blouse. A gentle ritual.
(beat, she removes her blouse)
I am eager ... and full of grace.
That's good enough for me.
Cooper reaches for her. HOLD ON Annie and Cooper for a long beat. As they begin to make love.
9. INT. HURLEY HOUSE - LIVING ROOM - DAY
START ON a standing screen in the dark living room of the Hurley house. Slides projected upon it. just now: Nadine in wrestling garb, slamming some hapless opponent to the mat.
... and this is me with last year's regional champion from
Yakima. He was cute. But a little slow. Next!
The slide changes. Nadine now appears atop a dazed opponent, a referee counts beside them, about to slam his hand on the to mat to signal "pin".
NADINE seated, peers proudly at the screen. MIKE, ED, and Norma are arrayed on the couch behind her. All equally uncomfortable, but determined to play along. DR. JACOBY runs the slide projector. Nadine continues, blissfully unaware:
And this is me with Brock Farmington, Triple A
champion from Spokane. Unbeaten in eighty previous
matches, superior upper body strength, thighs like bridge
(a little sigh, sometimes it's too easy)
I pinned him in a minute five. Next!
One last slide. Nadine with an armful of trophies.
And this is me with all the stuff I won.
Nadine turns to the couch, beams, curtsies. Ed leads the others in polite applause.
(the enthusiasm of the sexually sated)
Way to go, babe!
Nadine leaps upon the couch next to Mike, gives him a big kiss. She takes his hand, holds it close to her breast. Jacoby turns on the lights, addresses the resulting foursome.
(to all, but to Nadine in particular)
Thank you, Nadine. You're probably wondering why
we're gathered here today. I have found that when a
couple contemplates divor -
- er, breaking up, it is sometimes easier to talk about our
feelings in the company of others. Nadine, maybe you
would like to begin.
Okay. Uhm. I guess it all started when I noticed Mike's
buns in the hall at school.
And... how are you feeling now?
(toying with Mike's hand as she speaks)
Well. A little guilty, I guess. I mean Mike and I are
hot. Miss Twin Peaks is tonight and Mr. Pinkle thinks
I'm a show business natural. I mean because I'm so happy.
I worry about Ed being sad.
Ed, are you sad?
(god knows he's confused)
Nadine. How does that make you feel?
It makes me feel like maybe it's time for us to get on
with our lives the best way we know how. And leave the
past behind us.
It's a startlingly clear-headed pronouncement. Nadine gives Mike's hand a brief, affirming kiss. Jacoby nods approval. He turns to Ed, prods:
Ed? Do you have something you would like to tell
(clears throat, takes the plunge)
Nadine. Norma and I are planning to get married.
A beat. All regard Nadine. Wait for her reaction. Finally:
Really? That's wonderful, Eddie. 'Cause Mike and me
are getting married too.
That's news to Mike. Nadine squeezes his hand with superhuman strength. Mike's mouth opens in a silent scream. Then he flat out HOWLS.
11. EXT. COUNTRYSIDE
START CLOSE ON dirtied shoes, footsteps stumbling up a ridge with great difficulty. Up a step, then another, then sliding down: the attempt to climb by a body that must struggle just to keep balance.
12. INT. RANGER TRUCK
HAWK drives a country road. SHOT ROTATES away from him until we look out the windshield, where SUDDENLY.
A MAN steps out into the road, groping, arms extended skyward; he has no sense he's stepping out in front of a vehicle. As Hawk CAREENS and SLAMS on the BRAKES, he watches the zombi-like face of Major Briggs passing by.
Hawk pulls over gets out of the jeep and walks over to Briggs, who clearly does not recognize him.
END ACT TWO
13. INT. SHERIFF'S OFFICE - DAY
Still very disoriented, Briggs sits across from Truman as Cooper rushes in.
I waited for you.
Not that he's too talkative.
A beat on Briggs.
He checks out okay physically. Doc ran a blood test ...
He's been shot up with haloperidol.
Garland ... did Windom Earle do this to you?
Garland. What an odd name ...
Was it Windom Earle?
He was God, I suppose.
Where did he take you?
Can you be a little more specific?
They were lovely, dark and deep.
The King of Romania was unable to attend.
Hopeless. Cooper and Truman pull away.
This might take awhile.
How much time have we got?
Andy enters, and without a word, walks straight past Briggs and up to the cave painting.
Not enough. Let's leave him in here with us. Maybe
something will bubble up. Harry, we're in trouble. If the
door to the Black Lodge does exist, it probably exists
only in time. An object like a door normally exists at a
point in space and time. By way of contrast, a shooting
star exists for us at a point in time over a continuim in
space, but looking at it from the star's point of view
might be an entirely different experience.
Sorry, you lost me.
If we're not at the right place at exactly the right time
we'll never find the way in.
They both look over at Andy, who remains fixated on the drawing.
Could the 4H Club have anything to do with all this?
Andy continues staring. Cooper stands.
(a touch awkward)
Harry, you'll have to excuse me. I left someone waiting
in the other room.
(a glance at Andy)
We'll be here.
14. EXT. SHERIFF'S STATION - DAY
Cooper and Annie exit, taking slow steps out into the day.
I'm sorry about this. I mean work. Having to be here
instead of ... you know ...
Guess this isn't a good day to fall in love.
It's a great day. I'm just not used to feeling such discord
between my professional and personal concerns.
I'm not used to feeling what I feel right now either.
Like a force of nature.
I think I may have found the inspiration for my speech.
I think we may have found a lot of things ...
Don't say too much. You don't want to jinx us.
No. I just don't want to lose you.
(she kisses him)
Go back to work. My heart will start beating again when
next we meet. My knight in shining armor.
He smiles. Watches her go. Hooked.
15. INT. BLUE PINE LODGE - DAY
The room is spread with power tools, hand tools, gloves, soldering irons. PAN UP to a counter converted into a work bench, and on to a vice containing a small black box. Standing around the clamp are CATHERINE MARTELL, ANDREW PACKARD and PETE MARTELL.
This has to be the last one. Look at it.
I can't take any more of this. Boxes inside boxes...
What's in there could be worth a fortune.
Maybe it's not a box at all. Maybe it's just a block of
Eckhardt's last little joke.
Be a good one.
(rolling her eyes)
Let's channel some of that high wit into the job.
I just don't believe a little crumb like that can stand up to
this Cram Jack All Duty Vise.
Pete sits up on the counter, Andrew standing beside him. Pete locks his hands across the vise's leverage bar. Andrew leans against his brother-in-law, both hands pulling down on his shoulders.
On three. One.. two... three.
Pete paratroops down off the counter, with his whole body weight against the vise bar. Andrew yanks down on his shoulders, but one hand slips free, causing Pete's vise grip to loosen for an instant, sending both Pete and Andrew to the floor behind the counter. Andrew stands back up and yanks the box free of the vise and throws it to the floor in front of Catherine.
The infernal box. It's heinous. It is slowly driving me
Oh, good, Andrew, perhaps if you yell long and loud
enough it will open by itself.
Do you have any better ideas, Catherine?
Pete pulls himself back up from behind the counter using the handle of the vise for balance. He comes back down on the vise, which slams shut against Andrew's hand.
Pete loosens the vise, freeing Andrew's left hand. The man is in indescribable pain. He looks down at his hand. Pain instantly turns to rage. He pulls out a gun we didn't know he had. Pete's eyes bug out.
What are you doing? He didn't mean it...
There it is.
The tiny box. Halfway across the room. Andrew fires. It flies. He fires again. And again.
And again. And again. He puts the gun down.
Pete comes out from behind the counter and walks over to the far corner of the room, into which are lodged the box's remains.
Well, look at this.
They come over. Three people are bending into a tiny comer. They rise. In Pete's hand is a key.
Where there's a key, there's a lock.
This should be kept safe.
(with a suspicious look at Andrew)
And in plain sight.
You two don't trust each other?
A look at Pete. Then each other.
Of course we do.
Like brother and sister.
How about here.
(to the desk)
Under this bell jar. On the desk. In plain sight.
(she places it there)
So ... we have a key.
Yes. We do.
She sits down beside the desk. Andrew sits on the other side of the desk. A beat. They'll wait each other out. Pete, watching all this, shakes his head and walks out.
16. INT. HAYWARD HOUSE - DAY
Donna comes down the stairs in a black sequined gown, hair and makeup meticulously done. She enters the living room where Doc and EILEEN HAYWARD gaze at her proudly.
(a trace wistful)
You look truly beautiful.
Read us your speech.
But Donna's expression reveals a completely different agenda.
Right now, I'd prefer to talk about the truth.
What truth is there?
Something is going on between you and Ben Home. I
want to know what it is.
Donna, don't talk to your mother that way -
This isn't child-parent. This is eye-to-eye. I want to
Donna, I understand your feelings. There are things you
have to trust in. You're young and you don't see any
I now the limitations of lies. I know you raised me to
tell the truth. I expect the same from you.
Pause. Eileen and Doc look at each other, agonized.
If you won't tell me, I'll have to find out what I want
from Ben Horne.
Then tell me.
Silence. Eileen looks away.
Understand. This is your choice, not mine. And you've
She heads for the door. Doc comes to his feet.
But she is gone.
17. INT. CONFERENCE ROOM - DAY
Deputy Andy brings fresh coffee into the conference room. He pauses to resume his contemplation of the cave painting on the blackboard. Andy sets down the coffee, moves even closer. Truman and Cooper confer nearby. Cooper has surrounded himself with various books and charts. He finds something.
Andy, take a look at this: it's what you mistook for the
4H Club; the 4 and H are astrological symbols -
You mean like planets?
Yes, they're the symbols for Jupiter and Saturn. Some of
these other symbols are planetary as well. What this
paticular part of the puzzle seems to signify is a specific
planetary position: Jupiter and Saturn in conjunction.
What's that supposed to mean?
Historically, when Jupiter and Saturn are conjunct, large
shifts occur in power and fortune. Jupiter is expansive in
its influence; Saturn, contractive. Conjunction suggests a
state of concentration, intensification. What we have
indicated here is something potentially explosive.
Taking into account the earth's rotation, planetary
positions are specific down to the last second ...
(searching through books)
... and according to the Ephemeris, taking the other
planetary positions on the wall into account, this
conjunction will occur in our part of the world ...
His finger stops. Cooper looks up. Surprised, concerned.
Tonight. At midnight.
(an intuitive leap)
My God, Harry, the door to the Lodge, that's when it
opens. That's what the puzzle's telling us.
Protect ... the Queen ...
If the door is open tonight then something else here must
tell us where. We need to decipher the rest of this,
immediately. Think, anything that looks familiar ...
They look intently.
Fear and love ... open the doors.
What did he say?
He said "Fear and love open the doors."
Two Lodges, two doors. Fear opens one, the Black.
Love, the other.
What does that mean?
I don't know exactly. It just came to me.
(a looped smile: Hamlet)
"How does the Queen?"
Cooper and Truman exchange looks. Cooper's on a roll.
Of course: the Queen.
No. The chess game's final piece. Follow my thinking.
Earle takes the Queen ...
The game's not over until you take the King.
That depends on where he takes her. Maybe he takes her to
the doorway when it opens ...
Which Queen are we talking about?
Andy, as if psychically awakened by this climate of collective revelation, suddenly goes dumbstruck. For the first time, he looks away from the board, over at Cooper and Truman.
Agent Cooper ...
Not now, Andy. Tonight ... the Queen. But who? A
Queen. A crown ...
Miss twin Peaks.
Oh my God.
The two of them spring from their seats.
Agent Cooper, please -
Andy comes over, crying to get their attention, and knocks over the Bonsai plant. Truman respectfully kneels to pick it up, and discovers...
This plant... has a bug.
He pulls out and holds up the electronic device.
This Bonsai wasn't from Josie. It was from Earle.
He's way ahead of us, Harry. And we've been working for
Earle from the start. What time does that conest start?
We've got to hurry.
They bolt for the door. Andy, ignored, calls after.
END ACT THREE
18. INT. ROADHOUSE/STAGE - NIGHT
BEGIN ON the exuberant, concentrated expression of Nadine as she lands to the downbeat. TRACKING SHOT of the other contestants, who all form a chorus line in their leotards and dancing pumps. A small band plays the opening number as we INTERCUT amongst the girls: Audrey's detachment, Shelly's enjoyment, Donna's preoccupation, Annie's awkwardness, Lana's sultriness, Lucy's disorientation, Nadine's hopefulness, and the enthusiastic, nameless faces of others. INTERCUT through the audience, showing the three judges, Norma, Tremayne and Milford, the troubled Doc Hayward, the inebriated Pinkle, then finally PANNING OVER to where the LOG LADY stands, watching.
The number ends to generous applause. Doc Hayward pauses in the wings, staring at Donna, hoping garner her attention. But she stares ahead, will not meet his gaze. Hayward steps to the microphone. He's got a lot on his mind.
Good evening, everyone. Hope you've all had a good
holiday. And welcome to the Miss Twin Peaks Pageant,
in which one of these lovely, talented young citizens will
be crowned Miss Twin Peaks.
Now, commencing the talent segment of the show is Lucy
Lucy steps forward, to the piano intro of Off Broadway. She looks awkwardly into the audience, shrugs, then breaks into a jazz dance that is shockingly good. The stagelight narrows to enclose her.
Backstage, BOBBY BRIGGS, tomorrow's superstar, wanders about in a loose-fitting suit scoping out the crowd for possible opportunity. Not much. At a distance, he sees the Log Lady and shakes his head.
Turning his head in another direction, he then sees... the Log Lady. He quickly turns back to the prior spot: no one. Thoroughly confused, he marches on over to the second Log lady, who is standing off in a corner, working quietly and efficiently at a power junction box.
Excuse me.. did you invite family to this thing?
The question is met with a deep stare. Suddenly the Log Lady hefts her log, CRACKS Bobby across the head, knocking him over, and out. CLOSE ON the 'Log Lady' until we can see, behind her glasses, the eyes of Windom Earle.
19. STAGE - LATER
Doc Hayward returning to the microphone.
Our next entry is Lana Budding-Milford, who will
perform a dance of..
(checking his card)
... contortionistic Jazz exotica. Lana?
Lana steps forward, to some recorded sensual Near East rhythms.
20. INT. ROADHOUSE ENTRANCE
Cooper and Truman hurry into the Roadhouse. Already planning, eyes scanning the crowd for trouble.
We're pulling in deputies from all over to surround the
place. They should be here within the hour.
It's essential that whoever wins this contest receive full
police protection: 24-hour guard, house surveillance,
Soon as she's announced.
Truman heads one way, Cooper the other. HOLD SHOT as Andy now arrives, frustrated.
... as Lana swings into the beginning of some overpowering rhythm stretches.
22. AUDIENCE REACTIONS
Hawk and Andy stand in awe of this exhibition. Trying to follow Lana's movement, their heads slowly, simultaneously tip in opposite directions.
In the judge's booth, Tremayne's mouth hangs open. Milford leans in close to him.
That, my friend, is an artist.
Tremayne is close to tears. PAN over to Norma, forehead in hand.
23. AUDIENCE - LATER
Cooper moves carefully through the crowd, eyes right and left. Then he pauses, looks up. And spots a catwalk overhead. He pauses to wonder. Then turns his eyes back to the stage.
24. STAGE - LATER
Audrey in the middle of her pageant theme speech.
There is only one way to save a forest, an idea, or
anything of value: and that is by refusing to stand by and
watch it die. There is a law of nature which is more
fundamental to life than the laws of man. And when
something you care about is in danger, you must act to
save it, or lose it forever.
And that is what I, as Miss Twin Peaks or as Audrey
Horne, intend to do.
Andy, continuing his search for Cooper, happens upon the still disguised Earle.
Hello, Miss Log Lady.
No reply. Earle is just hoping he'll go away.
Have you or your log seen Agent Cooper? I've got to find
LOG LADY (EARLE)
What was that?
LOG LADY (EARLE)
Oh. Sorry. It's just that I've got to find Agent Cooper as
soon as possible. Maybe you could ask your log to be
extra, on guard ...
The Log Lady/Earle stomps away. Andy looks after, puzzled, frustrated. Something's not quite right. He spots someone across the room.
(back to the races)
Andy races off. CAMERA REMAINS. And reveals what Andy just missed. A siren horn attached to the backstage wall, new wiring, a timing device. Carefully installed by Windom Earle.
26. STAGE - LATER
Annie giving her speech.
... and to illustrate my point, I'd like to read these words
from Chief Seattle, leader of the Suquamish tribe:
"Your dead... are soon forgotten and never return. Our
dead never forget the beautiful world that gave them
being. They still love its verdant valleys, its murmuring
rivers, its magnificent mountains, sequestered vales and
verdant lined lakes and bay and even yearn in tender, fond
affection over the lonely hearted living, and often return
from the Happy Hunting Ground to visit, guide, console
and comfort them."
A hush has fallen over the crowd. She folds up her paper.
27. CUTAWAY - CATWALK
Windom Earle, now undisguised, darts along the catwalk overhead. He attaches another device to a sandbag line, sets the timer. That's when Annie's voice catches his attention from below. Earle pauses, peers down at her with rapt expression.
28. BACK TO SCENE
Why have we all lost touch with this beauty? We tell
ourselves the world is not alive so that we won't feel its
pain. But instead we feel it all the more. Maybe saving a
forest starts with preserving the little feelings that die
inside us every day. Those parts of ourselves we deny.
Because if that interior land is not honored, then neither
will we honor the land we walk. Thank you very much.
She walks off to a salvo of applause. INTERCUT to show Cooper, who has been conferring
with a deputy, pausing to watch her exit with evident emotion. And Tremayne, who looks
swept away, and finally ... Windom Earle, in the catwalks above.
29. EARLE'S POV
His careful psychopathic eye SCANS the row of ladies, pausing a moment on Shelly; then Donna, and Audrey. We then PAN over to, and HOLD on, Annie.
30. BACK TO SCENE
Doc Hayward walks back on the stage.
Thanks to our contestants. The balloting will now
commence and we will then announce our winner.
Lucy has succeeded in pulling aside Andy and Tremayne.
Have you both forgotten what day this is?
The two men look at each other. The answer seems too obvious.
Miss Twin Peaks Day?
Today is the day my unborn child receives a father
It was right on the tip of my tongue.
I have decided that regardless of which individual is
biologically responsible ...
(looking into Tremayne)
... that I want Andy to be the father of my child.
Both men attempt to digest this. Tremayne is tremendously relieved.
I'm sorry, Dick, but I have to do what's best for little
what's his name.
Not at all. A sound choice. Heartiest congratulations,
Andrew. Now if you'll excuse me, I do have a vote to
cast myself ...
(his signature smile)
Here's to the children.
He goes. Not quite the moment Lucy expected. She glares after him.
Don't sound so disappointed.
My God Lucy, I am so honored you made this decision
and I promise I will be a great father, but right now, I
have to find Agent Cooper.
He runs off. Lucy remains standing there.
32. ANOTHER PART OF BACKSTAGE
Donna searches for, spots and approaches Ben Horne. Her emotions are near the breaking point.
I want to know what's going on between you and my
(sincere, aware of others looking on)
Donna, I believe the wisest course would be for all of us
to sit down together and talk this out.
(trying to comfort)
Old pictures and Horne bearer bonds in the attic. Love
letters to my mom.
Donna, I want to tell you the truth. I want to do the right
A birth certificate with no father's name on it. What the
hell is going on, Mr. Horne? Why won't anyone tell me
Tears form in Ben's eyes. Stunned, silent, overcome. He reaches for her. At that moment she, knows.
Donna your mother and I ...
Oh God. You're my father.
Donna runs away. Ben calls after, he doesn't care who hears.
The girls stand in a line back near the curtain as Doc Hayward speaks into the microphone.
It's now time to make the announcement. The winner of
the contest and our new Miss Twin Peaks, is ...
(opens a paper and reads)
Congratulatory screams of other contestants, who now hug the startled Annie. On the floor, the crowd reacts with generous applause. Cooper freezes, understands the danger she is in. Alert, he looks about the Roadhouse, determined to protect. Cooper remembers the catwalk, his premonition. He looks up. Someone is standing in the shadows overhead. Windom Earle. Cooper leaps forward. Meanwhile, an uproar from the judge's booth. Mayor Milford.
This is an outrage. She's been living in this town for about
What the hell got into you?
(very nearly genuine)
She gave a beautiful speech, inherent in her message were
words even the most craven among us can ill afford to
She stole half of it off a dead Indian, she plagiarized that
She didn't plagiarize, she quoted.
You voted for your own sister!
And you voted for your girl friend!
34. ON THE CATWALK
Cooper climbs up to the catwalk, hurls himself atop it. He draws his gun, looks ahead. Windom Earle stands at the other end, grinning from ear to ear. As the pandemonium continues below:
Windom. Don't move.
Cooper takes careful steps along the catwalk, gun aimed at Earle's chest. Looking out for traps, deadly surprises. Oddly, Earle says nothing, merely grins. A ghoulish apparition positioned in the far shadows.
Dear heart. You are, if nothing else, consistent. As you
have no doubt realized, our little game of four-
dimmensional chess has concluded. And once, dear,
dim, Dale - you have left your Queen unprotected.
(a manic giggle)
Forgive me. I amuse myself. You see, twenty years ago I
made a promise. And tonight, I keep it ... in the Black
Farewell. I must be going.
Earle holds up his arms to conduct an invisible orchestra. Then he slashes downward - and SUDDENLY the lights go out. MUTED SOUNDS of little explosives going off: smoke bombs. A COLORED STROBE LIGHT begins flashing, exposing in pulsations the growing pall of smoke. A SIREN then starts wailing through the room. Screams erupt in concordance, people are now scurrying about in panic. On the catwalk, Cooper races forward, lights flashing, smoke obscuring... only to find that Windom Earle is gone. On stage, pandemonium, the girls huddle in fright. A sandbag falls from above, LANDS on Nadine's head. More pandemonium, screams. CLOSE ON Annie, her own acute fear. Suddenly she hears a voice in the dark.
Don't be afraid. Let me help you.
A hand reaches out to her. Annie takes it, tentative. Once in its grasp, Annie is JERKED forward. Face to face with her captor, Windom Earle. Annie tries to SCREAM. Earle whips her away into the dark.
Cooper leaps down from the catwalk, now searching for Annie as well as his nemesis.
Suddenly: the siren STOPS. Chaos everywhere. Cooper fights his way through the crowd, eyes searching. Annie is nowhere in sight.
Truman hurries over. Cooper stares out into the darkness, hopeless. The strobe dies. Smoke is clearing.
He took Annie. He took Annie.
I'll get everybody on it. Bastard won't get half a mile
Truman moves off purposefully. Cooper continues staring out ahead. Andy arrives, at wit's end.
Agent Cooper, I've been looking all over, for you....
Andy, they're going to need you outside.
This is important, that cave painting in the office, I
finally figured it out.
I knew I'd seen it someplace before. I know where it's
telling us to go, it's not a puzzle at all ... it's a map.
Galvanized, Cooper stares at the unlined, boundless face of Andy Brennan.