Twin Peaks - Episode 6 - Realization Time FADE IN: INT. LOG LADY’S CABIN - DAY Seated at a dining table beside a tea set we see a woman, ‘LOG LADY’ MARGARET LANTERMEN. In her arms she carries a wooden log. She is speaking to us. LOG LADY Beauty is in the eye of the beholder. Yet there are those who open many eyes. Eyes are the mirror of the soul, someone has said. So we look closely at the eyes to see the nature of the soul. Sometimes when we see the eyes, those horrible times when we see the eyes, eyes that ... that have no soul. Then we know a darkness, then we wonder. Where is the beauty? There is none if the eyes are soulless. 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. GREAT NORTHERN HOTEL - NIGHT INSERT: HALF MOON We FOCUS on a CLOSE-UP of the half moon glowing in the night sky. BACK TO SCENE: An establish shot. We view the lights of the hotel perched on the cliff near falls. The falls ROAR with the sound of cascading water. CUT TO: INT. DALE COOPER’S HOTEL ROOM - NIGHT FBI SPECIAL AGENT DALE COOPER sits at the corner of his bed as he speaks somberly and gently to AUDREY HORNE, who is undressed and in his bed under the sheets. COOPER Audrey your a high school girl. I’m an agent of the FBI. MUSIC: TWIN PEAKS THEME AUDREY is teary eyed. AUDREY So do you want me to leave or what? COOPER takes a deep breath as he ponders what to say. COOPER What I want and what I need are two different things Audrey. COOPER takes another deep breath. COOPER When a man joins the bureau he takes an oath to uphold certain values. Values that he’s sworn to live by. This is wrong Audrey, we both know it. AUDREY But don’t you like me? COOPER I like you very much. Your beautiful, intelligent, desirable. Your everything a man wants in his life. But what you need right now, more then anything else, is a friend. Someone who will listen. AUDREY wipes tears from her eyes. COOPER reaches into his pocket and pulls out a handkerchief for her. AUDREY Friends huh. COOPER nods yes. AUDREY brightens with a smile. COOPER returns with a smile. COOPER Now I’m going to go down and get us two malts and some fries downstairs. Then I want you to tell me all your troubles. AUDREY That could take all night. COOPER The night is young. COOPER stands up. COOPER Now I’m going to get the food ... and your going to get dressed. AUDREY I can’t tell you all my secrets. COOPER Secrets are dangerous things Audrey. AUDREY Do you have any? COOPER No. AUDREY Laura had a lot of secrets. COOPER Finding those out is my job. AUDREY watches COOPER leave the room. COOPER closes the door behind himself. AUDREY breathes a sigh of relief. MUSIC ENDS: TWIN PEAKS THEME CUT TO: EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY An establish shot. We view the front of building with SHERIFF TRUMAN’S police cruiser parked in the parking lot. Another police cruiser pulls into the station parking lot. CUT TO: INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY DEPUTY ANDY BRENNAN slowly enters the building. ANDY peers to the reception window before he passes the second set of glass double doors, clears his throat and walks toward the reception window. LUCY MORAN, in the reception office, greets ANDY but tries not to look at him. LUCY Good morning Officer Brennan. ANDY I’d sure wish you’d stop calling me Officer Brennan. LUCY Officer Andy this is peak activity time at the station switchboard. So its really not convenient for me to talk right now. The phone beside LUCY RINGS and, as a distraction, she quickly answers it. LUCY Twin Peaks Sheriff’s station. May I help you? (reply) One moment please. LUCY puts her hand over the receiver and stares at ANDY. ANDY walks off. LUCY returns to the phone. LUCY Dr. Stonacheck. Yes its me. (reply) Oh. (reply) Ah-ha. (reply) Well thank you doctor. (reply) No, I’m fine. (reply) Bye. LUCY hangs up the phone. COOPER enters the building through the front doors, blowing his whittled WHISTLE. COOPER Mornin’ Lucy. I heard that you were out sick yesterday. Depressed, LUCY doesn’t look up at COOPER as she answers. LUCY I’m much better today, thanks. COOPER notices but doesn’t get involved. Politely, COOPEr simply nods. COOPER Good. COOPER walks to the conference room. CUT TO: INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY In the conference room, SHERIFF HARRY S. TRUMAN stands beside the table opposite a bird cage. DR. WILL HAYWARD stands at the end of the table bent over an encyclopedia. Near the table hanging from a stand is a bird cage with WALDO, the mynah bird, from JACQUES RENAULT’S cabin. AGENT COOPER walks into the room and stands near the window and the bird cage. DR. HAYWARD Alright I found it. Gracula Religiosa. Commonly known as the hill mynah. Native to Southeast Asia-Indonesia. Feeds on fruit mainly. Some invertebrates. Its ability to mimic the human voice is amazing. SHERIFF TRUMAN Yeah well so far we haven’t heard a peep. SHERIFF TRUMAN walks to the bird cage. SHERIFF TRUMAN Hey Waldo what’s up. DR. HAYWARD Well it says here that mimicry is a kind of play with the mynah. But this one’s in a weakened condition; starved, dehydrated. I’d say he’s feeling anything but playful. DR. HAYWARD picks up a grape. DR. HAYWARD Here ya’ go little fella. DR. HAYWARD moves to feed the grape to WALDO but sees COOPER staring at the bird. DR. HAYWARD Oh, you wanna feed him Agent Cooper? COOPER I don’t like birds. SHERIFF TRUMAN When do you think he’ll start talking again? DR. HAYWARD Well, according to the book his urge to mimic should return with his good health. COOPER If it does then we got a witness. DR. HAYWARD Well we better keep feeding him. DR. HAYWARD sourly looks at the grape and then turns to SHERIFF TRUMAN. DR. HAYWARD You got any apples? SHERIFF TRUMAN Yeah. There’s some at the bottom of the fridge. DR. HAYWARD These grapes are right on the edge. DEPUTY TOMMY ‘THE HAWK’ HILL enters the room carrying a file. HAWK These just came in from your office. HAWK hands the file to COOPER, who looks it over. COOPER moves over to SHERIFF TRUMAN. COOPER Hmm. Forensics confirms that Jacques Renault had three guests to his cabin; Laura Palmer, Ronette Pulaski and Leo Johnson. COOPER looks at the back of a large photograph. The photograph is marked with a stamp as evidence. COOPER flips the photograph over to look at the image. COOPER This is the only exposed negative on that roll of film Harry. Look familiar? COOPER hands the photo to SHERIFF TRUMAN. SHERIFF TRUMAN scans the photograph and smiles. SHERIFF TRUMAN That’s our Waldo. COOPER No Harry, the girl. That’s Laura. SHERIFF TRUMAN gives a puzzled look and looks at the photograph again. SHERIFF TRUMAN’S POV: Through SHERIFF TRUMAN’S POV we view a CLOSE-UP of the photograph. The picture is of WALDO perched on the shoulder of a WOMAN with blonde hair. BACK TO SCENE: Unsure which end is up, SHERIFF TRUMAN turns the photograph around as he continues to look it over. COOPER Well, now we know who and when. We don’t know why. COOPER stacks some books under the bird cage. COOPER then pulls his mini tape recorder out of his pocket and shows it to SHERIFF TRUMAN. COOPER Voice activated Harry. With a CLICK, COOPER turns the mini recorder on. COOPER When the bird talks maybe we’ll get some answers. MUSIC: FRESHLY SQUEEZED (0:26 - 3:48) (SLOW VARIANT) 77K COOPER places his mini tape recorder on the stack of books right below the bird cage. COOPER picks up a file from the folder and hands it to SHERIFF TRUMAN. Paper clipped to the file is a plastic bag containing the notched poker chip. COOPER Albert confirmed that this matches the fragment found in Laura’s stomach. SHERIFF TRUMAN Thousand dollar chip from One-Eyed Jacks. HAWK Jacques Renault’s working there. Dealing in the casino. COOPER Well, I think a little field work is in order. SHERIFF TRUMAN Jacks is over the border. A little out of our jurisdiction. COOPER Well I know that Harry. That’s why I was thinking this would be a good job for the Bookhouse Boys. SHERIFF TRUMAN understands and smiles. MUSIC ENDS: FRESHLY SQUEEZED (0:26 - 3:48) (SLOW VARIANT) 77K CUT TO: EXT. JOHNSON HOUSE - DAY An establish shot. In the woods a short away distance from the house, BOBBY BRIGGS drives up and parks his car. BOBBY gets out of his car and heads toward the house. DISTANT POV: MUSIC: DARK TIMES??? Through binocular sights from someone’s distant POV, BOBBY walks up to the house. BACK TO SCENE: In the woods a distance away from the house and from the open door of the passenger side of his truck, LEO JOHNSON watches BOBBY through a pair of binoculars. A radio in the truck is on and is tuned to the police band. DEPUTY (OFF SCREEN) Better call Hawk on that one. LEO’S POV: Through the binocular sights of LEO’S POV, BOBBY walks up to the front door of the house. BOBBY Shelly! SHELLY JOHNSON opens the door. SHELLY and BOBBY embrace. BACK TO SCENE: Sitting in his truck, LEO puts the binoculars away. LEO Bobby Briggs. LEO reaches for his rifle. LEO pulls his rifle out and aims it toward the house. Using his damaged arm to hold up the long end of the rifle, LEO peers through the rifle’s telescoping sight. LEO’S POV: Through LEO’S POV, BOBBY and SHELLY just barely walk inside the house. BACK TO SCENE: LEO Come on lover boy. Leo’s waiting. MUSIC ENDS: DARK TIMES??? CUT TO: INT. JOHNSON HOUSE - DAY SHELLY, wearing a robe, moves to the kitchen. BOBBY follows SHELLY into the kitchen. SHELLY I called you but your dad answered it. I didn’t know what to say. BOBBY Bobby’s here baby, Bobby’s here. SHELLY uncontrollably starts to cry in fear. SHELLY (distraught) I shot him Bobby. I know I did. He just screamed and screamed. He sounded like an animal. BOBBY He what? Slow down Shelly. Talk to me. SHELLY (distraught) He’s out there ... and now he’s going to kill me. Bobby he’s going to kill me. BOBBY stands in front and close to SHELLY. BOBBY Shelly. Shelly. Start over. Go real slow. BOBBY cradles his hands around SHELLY’S neck and head. SHELLY Leo came home late last night. He was all beat up. He had blood all over him. I told him ... I was never ... ever gonna let him hurt me again but he came at me. SHELLY becomes even more upset. SHELLY So I pulled the trigger. I shot him Bobby. What am I going to do? Where am I going to hide? BOBBY Shelly, Leo Johnson is history. Understand? MUSIC: DARK TIMES??? BOBBY I’m taking care of you from now on. I’m going to deal with Leo. I’m going to deal with James. Bobby’s going to deal with everything. SHELLY kisses BOBBY. SHELLY rests her head on BOBBY’S chest. BOBBY cradles SHELLY’S head and gives an intense glare as he thinks. CUT TO: EXT. JOHNSON HOUSE - DAY LEO sits in his truck with his rifle pointed at the house. LEO listens to the police band radio as he waits for BOBBY or SHELLY to exit. Over the police band on the radio, LUCY can be heard. LUCY (OFF SCREEN) Birdseed? No this bird eats fruit. The sheriff says its a witness. Shocked, LEO looks at his radio. LUCY (OFF SCREEN) Naw, not just because it saw something, because it talks and it needs to be ... LEO remembers the bird and immediately reacts. LEO puts his rifle away, closes the door, walks to the other side of the truck, enters and drives off. MUSIC ENDS: DARK TIMES??? CUT TO: INT. HAYWARD HOUSE - DAY We FOCUS on a piano and a black vase. A CLICK from a depressed button is heard followed by the voice of LAURA PALMER from an audio tape. We PAN RIGHT to the dining room table where DONNA HAYWARD and MADELEINE FERGUSON are seated. On the table is a tape player. JAMES HURLEY paces the floor beside the table as he listens. MUSIC: LAURA PALMER’S THEME LAURA (FROM TAPE) What’s up doc. Just a few words before I go to sleep. I feel like I’m going to dream tonight. Big bad ones, you know, the kind you like. Its easier talking into the recorder. I guess I feel I can say anything. All my secrets. The naked ones. I know you like those doc. I know you like me too. That’ll be my little secret okay. Just like your coconut. Why is it so easy to make men like me? And I don’t even have to try very hard. Maybe ... if it was harder ... MUSIC ENDS: LAURA PALMER’S THEME JAMES stops the tape. MADELEINE picks up an empty cassette case from a shoe box beside her. MADELEINE This one’s empty. MADELEINE hands the empty case to JAMES. JAMES reads the label on the empty case. JAMES February 23. The night Laura died. JAMES hands the empty case back to MADELEINE. DONNA looks in the shoe box for an unboxed tape cassette. DONNA The tape’s not in there. JAMES He must still have it. I mean she died, he never returned it. MADELEINE God, do you think Dr. Jacoby killed her? JAMES We’re going to find that tape. Tonight. DONNA Where? JAMES Jacoby’s office. MADELEINE What if he’s there. JAMES We’ll get him out. DONNA How? JAMES Maybe he gets a phone call. From Laura. JAMES rewinds the tape and then pushes the play button. Again we hear LAURA’S voice from the tape player. LAURA What’s up doc? MUSIC: LAURA PALMER’S THEME LAURA Just a few words before I go to sleep. I feel like I’m going to dream tonight. MUSIC ENDS: LAURA PALMER’S THEME CUT TO: EXT. HORNE’S DEPARTMENT STORE - DAY MUSIC: FRESHLY SQUEEZED (0:26- 3:48) An establish shot. We view the exterior of the store. CUT TO: INT. HORNE’S DEPARTMENT STORE - DAY Standing behind the perfume counter, AUDREY handles a CUSTOMER. AUDREY Here try this. It smells like a forest. AUDREY hands the CUSTOMER a bottle of perfume to smell. CUSTOMER This won’t do. I want something more fruity. AUDREY Fruity. CUSTOMER As in fruit. MR. EMORY BATTIS, the store vice-president, walks up to the perfume counter and talks to JENNY, a salesgirl working with AUDREY. AUDREY searches for another fragrance for the CUSTOMER but, standing near JENNY, is more interested in listening in on JENNY’S and BATTIS’S discussion. EMORY Could I see you in my office in five minutes? JENNY Sure. EMORY walks off. CUSTOMER I’m not making myself clear. I want a scent that makes a statement. AUDREY Maybe you should try hanging it around your neck. Its a perfume, its a fashion accessory. Two statements for the price of one. CUSTOMER I don’t appreciate your attitude. The CUSTOMER walks away. AUDREY (playfully) Well thank you for shopping Horne’s Department Store. AUDREY walks over to JENNY. AUDREY I’m gonna use the little girl’s room. JENNY Okay. AUDREY walks off. CUT TO: INT. HORNE’S DEPARTMENT STORE - DAY Outside EMORY’S office, AUDREY tries to sneak inside the empty office but a STOCK BOY is moving boxes on a shelf nearby. In her mischievous way, AUDREY leans against the shelves and tells a lie to rid the STOCK BOY. AUDREY You know there’s a real bad accident outside. Sounded like a bus or something. The STOCK BOY silently heads out to take a look. AUDREY grins and enters EMORY’S office. CUT TO: INT. EMORY’S OFFICE - DAY AUDREY opens a cigarette case, helps herself to one of EMORY’S cigarettes and lights it up. AUDREY opens one of EMORY’S desk drawers but hears EMORY in the hall and calmly moves to a closet, steps inside and closes the door. The closet door has a window shutter-like screen made of thin horizontal wood slats allowing AUDREY to see into the office. EMORY Right this way Jen. ... got something really special about ... AUDREY’S POV: Through AUDREY’S POV from the closet, EMORY and JENNY enter the office. EMORY Come right in. My, my you look lovely. Sit, sit. JENNY Thank you Mr. Battis. MUSIC ENDS: FRESHLY SQUEEZED (0:26- 3:48) EMORY This is for you Jenny. A reward for a job well done. EMORY hands JENNY a small present. JENNY unwraps the present, opens the box and removes the wrapping tissue to reveal a small glass unicorn. EMORY Its a unicorn, ancient symbol of purity. Tamed only by the young at heart. JENNY Wow, a unicorn. EMORY Jenny, you had a good time at the club last week didn’t you? JENNY Yeah, yeah I had a great time, Mr. Battis. EMORY They were very pleased with you as well, I must say. They’d like you to continue and believe me Jenny not many girls qualify. JENNY Really? EMORY Yes. Now the variety of work is completely up to you. Hostess, cocktail waitress or, if you are chosen, hospitality girl. JENNY What’s that? MUSIC: FRESHLY SQUEEZED (0:26- 3:48) EMORY Hospitality girl’s escort ... important guests, VIP’s. It’s a lucrative opportunity Jenny. Tending to wealthy men in need of a little company. BACK TO SCENE: In the closet, AUDREY smiles to herself at hearing EMORY’S definition of the job. AUDREY’S POV: JENNY That sounds cool as long as their wealthy. EMORY Jenny, your attitude will take you far in this life. EMORY hands JENNY a business card. EMORY Call this number. Ask for Black Rose. Now why don’t we make a trip to evening wear and find you something elegant. JENNY Elegant sounds great Mr. Battis. Elegant. EMORY escorts JENNY out of the office. BACK TO SCENE: AUDREY drops her cigarette to the floor, puts it out by stepping on it, exits the closet and walks over to EMORY’S desk. AUDREY picks up a small black book laying on top of the desk. AUDREY opens the book and flips through the pages. The pages list several different names of women. Beside each name are hearts that rank each girl. On one page AUDREY finds the name of: AUDREY Ronette Pulaski. AUDREY puts the book back. Before she leaves, AUDREY picks up the glass unicorn that JENNY left on the desk. MUSIC: FRESHLY SQUEEZED (0:26- 3:48) CUT TO: EXT. DOUBLE R DINER - DAY An establish shot. We view the front of diner as a timber truck rig pass by with a full load of cut logs. CUT TO: INT. DOUBLE R DINER - DAY MUSIC: COUNTRY #4 NORMA JENNINGS steps halfway past the door from the kitchen. NORMA stops as she sees her husband HANK JENNINGS, holding a pot of coffee, talking to SHELLY. A country tune plays on the jukebox. HANK When your in prison you remember faces from home. They all seem like friends somehow. Even the ones you barely knew, like something to hang on to I guess. SHELLY hands a customer their order of a cherry pie. SHELLY It must have been hard on you. HANK I paid my debt. That’s what counts. You know your a really big help around here and I want to thank you for that. For getting Norma through. NORMA steps back into the kitchen. SHELLY Your welcome Hank. SHELLY pats HANK’S arm. SHELLY No problem. HANK She told me in her letters how much you meant and how much Pete helped uh ... SHELLY fetches a cup of coffee for a customer. SHELLY Who? HANK Uh ... yeah ... no, not Pete uh ... SHELLY Oh you mean Ed. HANK Yeah Big Ed. SHELLY Yeah. HANK Yeah, I’m a little better at faces then names I guess. The COOK rings the service bell and SHELLY moves off to pick up the order. HANK (sinisterly) Yeah, Big Ed. HANK looks down at the counter where he sees a lighter someone had left behind their plate of food. With his shifty eyes, HANK glances around, casually moves his hand, picks up the lighter and puts it in his back pocket. HANK then moves the dirty plates to a bin. At the front door, SHERIFF TRUMAN and AGENT COOPER enter the diner. SHERIFF TRUMAN spots HANK. SHERIFF TRUMAN Hello Hank. HANK Hi Harry. Glad to see me? HANK moves up the island counter towards SHERIFF TRUMAN. HANK (jokingly) You uh ... you lookin’ for a free lunch ... I recommend the meatloaf. SHERIFF TRUMAN Save it. I’m looking for you. HANK Harry? HANK jokingly puts up both of his hands. HANK I’m innocent. SHERIFF TRUMAN What you are is on parole Hank. SHELLY watches and listens to SHERIFF TRUMAN. SHERIFF TRUMAN That means pay your case officer a visit once a week, Fridays. You miss a visit. You go to jail. MUSIC ENDS: COUNTRY #4 HANK Thanks for the reminder sheriff. Stop in any time. HANK stares at SHERIFF TRUMAN and then walks away. SHERIFF TRUMAN You think people ever change Cooper? I don’t. SHELLY walks up to them. SHELLY Oh, afternoon guys. Would you like some coffee? COOPER smiles brightly. COOPER Afternoon Shelly, yes. SHERIFF TRUMAN We should be on our way. SHELLY moves to the coffee dispenser. COOPER and SHERIFF TRUMAN are still standing by the counter as they talk. COOPER Harry, I’m going to let you in on a little secret. Everyday, once a day, give yourself a present. Don’t plan it, don’t wait for it, just let it happen. SHELLY places two cups of coffee on the counter near them. COOPER It could be a new shirt at the men store, a catnap in your office chair or ... COOPER gestures to the cups of coffee on the counter before them. COOPER ... two cups of good hot black coffee. Like this. COOPER wears a large grin. SHERIFF TRUMAN grins back. SHERIFF TRUMAN A present? Like Christmas? COOPER nods yes. COOPER and SHERIFF TRUMAN both move to the counter and take a seat where their coffee has been placed. COOPER grabs his cup and takes a sip. SHERIFF TRUMAN watches COOPER. COOPER Ahh man that hits the spot. SHERIFF TRUMAN grins at COOPER’S reaction. SHERIFF TRUMAN hasn’t touched his cup yet. COOPER slides it over to him. COOPER Nothing like a great cup of black coffee. MUSIC: FRESHLY SQUEEZED (0:26 - 3:48) CUT TO: INT. HORNE’S DEPARTMENT STORE - DAY AUDREY stands behind the perfume counter as JENNY, carrying a bag with the dress she just received, prepares to leave for the day. JENNY Bye Audrey. AUDREY So did Battis get you a dress? JENNY Yeah he did. AUDREY I met him yesterday. I’ll be working as hostess this weekend. JENNY Oh really? AUDREY Yeah. JENNY Cool. AUDREY Did you get one of these too? AUDREY shows JENNY the small glass unicorn she had swiped earlier. JENNY Yeah, what am I going to do with a horned horse? AUDREY LAUGHS. AUDREY Ditto. I bet he’s got cartons of them. JENNY He probably does. AUDREY Jenny I did a real dumb thing um I lost that number that he gave me for Black Rose. Do you have it? A little unsure, JENNY pauses before she retrieves the card. JENNY Yeah, I got it. AUDREY Great. JENNY hands the card to AUDREY, who copies the number down. AUDREY Thanks. JENNY Okay, I talk to you later. AUDREY Okay, see ya’ tomorrow. JENNY walks off. AUDREY moves to a nearby phone and immediately dials the number. MUSIC ENDS: FRESHLY SQUEEZED (0:26 - 3:48) FADE OUT: FADE IN: INT. HURLEY HOUSE - DAY In her living room seated at the couch, NADINE HURLEY is watching the television and eating chocolate bonbons. NADINE’S POV: Through NADINE’S POV we view the television program ‘Invitation to Love’. CHET, a nerdy looking man wearing a white suit, is holding a gun. CHET has the gun pointed at MONTANA, a scruffy looking man wearing a black leather jacket and a bandana, who stands with his hands up in the air. CHET I wasn’t fooling Montana. BACK TO SCENE: NADINE You show ’em Chet. You show all of them. NADINE’S POV: Through NADINE’S POV, CHET shoots MONTANA. MONTANA spins to a nearby wall. The wall supports him as he slowly slides down. BACK TO SCENE: ‘BIG’ ED HURLEY enters the house and sees his wife, NADINE, on the couch. NADINE looks at her wrists. The television program comes to an end and its rich theme music starts up. MUSIC: INVITATION TO LOVE 28K ANNOUNCER (FROM TELEVISION) Tune in tomorrow for Invitation to Love. NADINE looks up and sees BIG ED. NADINE Ed, I’m eating bonbons. NADINE offers by holding up the box of bonbons towards BIG ED. BIG ED grabs the box and puts it on the coffee table. BIG ED takes a seat next to NADINE. NADINE is very sad and is close to tears. BIG ED Come on honey its not that bad. NADINE You don’t know how bad it is. You don’t know all the things I was going to do ... for us. BIG ED I know. NADINE A new TV. I was gonna do that. I already looked at a motorboat. BIG ED Sweetheart. NADINE It wasn’t just things I was going to buy. It was a new life we were gonna lead. BIG ED Nadine there’s plenty of patent attorneys. We’re just gonna have to keep on looking on till we find one that understands drape runners. NADINE Rejected. Rejected, that what he said. Nobody else is gonna say anything different. BIG ED holds NADINE. BIG ED Nadine, don’t you give up. Don’t you dare. MUSIC ENDS: INVITATION TO LOVE 28K CUT TO: EXT. BLUE PINE LODGE - DAY An establish shot. We view the front of house. *** CUT TO: INT. BLUE PINE LODGE - DAY In the dining room, SHERIFF TRUMAN looks at a mounted fish trophy laying on the table. PETE walks up beside him. PETE I just got that baby back from Tim and Tom’s Taxidermy. When I caught him he was this big. (waves his hand above the side of the fish to show it original thickness) But I guess by the time they take the innards out and put the stuffing in ... it uh ... loses something in the translation. SHERIFF TRUMAN Yeah well Pete it still a fine looking trophy. No matter what the size. PETE (chuckle) Well size isn’t everything I guess. PETE walks away carrying his trophy. JOSIE enters and walks up to SHERIFF TRUMAN. JOSIE Harry, I didn’t expect you to be here. (kisses him) I’m late for the mill but I’ll make time for us. (he stares at her) What’s wrong? SHERIFF TRUMAN What were you doing at the Timber Falls Motel, Tuesday? JOSIE Oh, (kisses him) Tuesday I was at the mill. SHERIFF TRUMAN Hawk saw you. I know you were there. JOSIE (worried) Oh, Harry. SHERIFF TRUMAN You can tell me anything. Josie, you can tell me anything. JOSIE (looking to the ground) I was there ... because ... Ben and Catherine were there together. I followed them and I took pictures. She opens her purse, pulls out some pictures and shows them to him. The pictures are of BENJAMIN HORNE and CATHERINE MARTELL entering a room together at the motel. SHERIFF TRUMAN What’s this ... all about? JOSIE You asked me for proof last time ... and I followed them and I took pictures. MUSIC: LOVE THEME FROM TWIN PEAKS JOSIE The other night I heard Catherine talking on the phone. Something about an accident, a fire. A fire at the mill. A fire at Andrew’s mill. My mill. I’m not going to let this happen. No. Tears form in her eyes and run down her cheek. TRUMAN wipes away the tear on her cheek with his thumb. SHERIFF TRUMAN Neither will I. I won’t let it happen. They embrace each other. MUSIC ENDS: LOVE THEME FROM TWIN PEAKS FADE OUT: FADE IN: INT. TIMBER ROOM - NIGHT We watch AGENT COOPER enter the dining area and walk over to the bar where SHERIFF TRUMAN and BIG ED are waiting for him. COOPER is dressed in a tuxedo. BIG ED is wearing a western theme outfit. As COOPER approaches them, BIG ED and TRUMAN look his suit over. SHERIFF TRUMAN Well now. COOPER Evening Harry, Ed. You all set. BIG ED (sour look) Is that what your wearing? SHERIFF TRUMAN Its pretty spiffy Cooper. COOPER Do you like to gamble Ed? BIG ED Well I went to Reno once but I never felt to lucky. COOPER Your gonna be lucky tonight. (pulls out a wad of cash from his pocket) It ten thousand dollars of the bureau’s money. Whenever I gamble with the company stake I always like to bring back a ten to fifthteen percent return. (to ED) How much would you like to start with? (ED shrugs but smiles) How about three hundred. And Ed, the suit is perfect. BIG ED (smiling) Well Harry would like to talk with you. (puts his cup of coffee down on the bar) So why don’t I see you outside. BIG ED leaves. COOPER Yeah Harry, what’s on your mind? COOPER and TRUMAN lean against the bar as they talk. SHERIFF TRUMAN I’m worried about Josie. She’s been real afraid. COOPER About what? SHERIFF TRUMAN Ben Horne and Catherine Martell. Now they’ve been seeing each other on the side, its been going on for years. MUSIC: LOVE THEME FROM TWIN PEAKS SHERIFF TRUMAN Josie just found out. She thinks their planning to burn down the saw mill and somehow get rid of her too. COOPER Do you believe her? SHERIFF TRUMAN I know Ben Horne wants that land for the Ghostwood development and I know Josie won’t sell. Yeah. Yeah, I believe her. COOPER How much do you know about her? Where she’s from, who she was before? SHERIFF TRUMAN Whatta ya’ getting at? COOPER The truth Harry. That’s my job. SHERIFF TRUMAN I know all I need to know. I love her and she’s in trouble. COOPER That’s good enough for me. Let’s look into it. SHERIFF TRUMAN Thanks. TRUMAN pats COOPER’S arm, puts his cup of coffee down and picks up his hat. The two walk away from the bar. COOPER Is Hawk ready? MUSIC ENDS: LOVE THEME FROM TWIN PEAKS SHERIFF TRUMAN Yeah, he’s outside in the van. MUSIC: FRESHLY SQUEEZED (0:26 - 3:48) SHERIFF TRUMAN Oh, I got that brand new Cadillac you wanted. COOPER Good its perfect for our cover. SHERIFF TRUMAN High rollers from the tri-cities. COOPER Oral surgeons, Harry. Big spenders vacationing among the firs. They exit the room. MUSIC ENDS: FRESHLY SQUEEZED (0:26 - 3:48) AUDREY enters and looks around the room. She moves to the bar and dials the phone. AUDREY Yeah, has Agent Cooper returned yet? (reply) I need to leave another message. Tell him that Audrey called again. (reply) Yes, its still urgent. She hangs up the phone. CUT TO: INT. BLUE PINE LODGE - NIGHT We see CATHERINE walking with MR. NEV, an insurance salesman, toward the dining room. MR. NEV I’m glad you agreed to see me Mrs. Martell. CATHERINE That’s quite alright. MR. NEV Normally I’d never think to compose this late. CATHERINE That’s fine. Now what’s this about? MR. NEV Every agent is instructed five signatures. Its really the first thing we learn and ... somehow ... we missed one. He places his briefcase on the table and opens it. CATHERINE Now refresh my memory. What policy is this? He pulls out an expanding folder from his briefcase and takes out a document. MR. NEV Your new life insurance. Since the binder takes effect at midnight tonight I really had no choice. You see, it just couldn’t wait until tomorrow. He pulls a pen from his shirt pocket, clicks out the pen tip, marks an ‘X’ by the line for her to sign by and hands her the pen. MR. NEV Right here please. CATHERINE takes a seat as she looks over the document. MR. NEV Is everything in order Mrs. Martell? CATHERINE Yes, it just that ... CUT TO: INSURANCE DOCUMENT MUSIC: LAURA PALMER’S THEME (DARK VERSION) We view a CLOSEUP of document from CATHERINE POV and we see that the beneficiary of this insurance policy is JOSIE PACKARD. CUT TO: INT. BLUE PINE LODGE - NIGHT CATHERINE This was handled without our actually meeting each other and I ... I almost forgotten. MR. NEV To be perfectly honest with you Mrs. Martell I withheld that last page myself. CATHERINE Did you? MR. NEV I have to admit I thought it a little ... unusual. Life insurance when the client is too busy ... to be involved. (smiling) I mean, you did know about this policy didn’t you? CATHERINE Are you suggesting that there’s something ... irregular at work here? MR. NEV I certainly never got that idea from Mrs. Packard, no. Or from Mr. Horne for that matter either. When he offered to collect your signatures I thought it was fine. Just with a new account, I like to be certain to (gestures with the pen as if to cross a ‘T’) cross every ‘T’. Again he shows her where to sign on the document. MR. NEV Right here please. CATHERINE You know, I’m noticing that there’s some ... minor changes that I asked my attorney to make that are not included in this draft. I think what I’d like to do is go over this with him on the phone in the morning, and initial the changes and get the completed documents to you at that time. MR. NEV If there’s anything that I can do to help you ... with the policy or anything at all? CATHERINE (staring at him with a straight face) Are you an ambitious man Mr. Nev. MR. NEV One likes to think so. CATHERINE One never knows. There may be a few ‘T’s left to cross. Good night. MR. NEV Mrs. Martell. (closes his briefcase) I’ll see myself out. He walks away and out. CATHERINE (whispered to herself) Think. Think. CUT TO: INT. BLUE PINE LODGE - NIGHT In her bedroom, CATHERINE opens the secret compartment at her desk and finds that it is empty. She lets out a slight whine at the sight of the missing doctored ledger. MUSIC ENDS: LAURA PALMER’S THEME (DARK VERSION) CUT TO: INT. GREAT NORTHERN HOTEL - NIGHT MUSIC: FRESHLY SQUEEZED (0:26 - 3:48) (SAX VARIANT) We FOCUS on a hand that slips a note under COOPER’S hotel room door. We PAN up to see that it is AUDREY. As she straightens up she brushes her hand against his door. She walks off down the hall. As she does, she spots a new hotel guest, a thin ASIAN MAN, being helped to his room by a BELL BOY. As she passes him, the ASIAN MAN bows his head to her. MUSIC ENDS: FRESHLY SQUEEZED (0:26 - 3:48) (SAX VARIANT) CUT TO: EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT We view the front of the station on a stormy night as rain falls and lighting flashes. A police cruiser drives by. CUT TO: INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT In COOPER’S office, we FOCUS on a briefcase on his desk. COOPER Ed, why don’t you open that up. BIG ED opens a briefcase laying on the table. Inside the briefcase we see several moustaches and wigs. BIG ED Wow, look at all this. We PAN to see AGENT COOPER and HAWK. COOPER lets out an ‘ouch’ as HAWK applies tape to a microphone wire on his upper left arm. HAWK Sorry. We ZOOM out to see them all. COOPER There’s a curly haired wig in there Ed. It’s gonna work like gangbusters ... and I’ll help you out with one of those moustaches. BIG ED Think it’ll fit? I’ve got a big head. HAWK finishes installing COOPER microphone. HAWK Okay, give it a try. BIG ED moves the curly wig to his head to try it on. COOPER rolls his long sleeve shirt down, lifts his wrist near to his mouth and says ... COOPER Testing one two. The speaker from the receiver duplicates what he says but ends with a very loud swoop of distortion from over amplification. COOPER grabs his wrist and all remain silent. CUT TO: INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT In the conference room, we FOCUS on a spread of donuts laid out on the conference table. We PAN up to see WALDO, the mynah bird, in its cage. The room is empty except for flashes of lighting and the sound of booming thunder. CUT TO: INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT We view a CLOSEUP of AGENT COOPER’S mini tape recorder as it turns on automatically to the sound of ... WALDO Laura ... Laura. CUT TO: INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT We view an old black and white photograph hanging on the wall of the conference room. WALDO lets out a wolf whistle and a caw. The photograph is of a man standing next to a huge cut section of a tree, nearly a tall as him, laying on its side. A gunshot rings into the room and shatters the glass on the photograph. CUT TO: INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT In COOPER’S office, COOPER, HAWK and BIG ED look at each other after they hear the gunshot. HAWK and COOPER grab their guns and head toward the conference room. CUT TO: EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT From a distance in the pouring rain just outside the building we see a man run away carrying a rifle. The man runs to a truck and we see that it is LEO JOHNSON. He throws his rifle inside, gets in and peels out as he drives off. CUT TO: INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT In the conference room, we FOCUS on the spread of donuts, see bits of bird feathers around them and blood dripping onto the donuts. We PAN up to see that WALDO is not longer perched in his cage, which is swinging. Blood and feathers are also scattered in the cage. CUT TO: INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT With their guns drawn, SHERIFF TRUMAN and AGENT COOPER meet in the hallway near the door to the conference room. They enter the conference room and lower their guns as they see what was shot, WALDO. DEPUTY HAWK, DEPUTY ANDY, BIG ED and LUCY follow behind them. BIG ED What happened? SHERIFF TRUMAN Somebody shot Waldo. Ah geez. ANDY Poor Waldo. COOPER picks up his mini tape recorder that was set to automatically record on voice activation. He rewinds the tape a bit and plays it. From the tape recorder we hear ... BIG ED What happened? SHERIFF TRUMAN Somebody shot Waldo. COOPER stops the tape, rewinds it some more and hits play. We hear ... LUCY Birdie birdie birdie. Want some orange? Come on lets share. LUCY, standing by the window with ANDY, looks away slightly embarrassed. Again COOPER stops the tape, rewinds it and hits play. This time we hear ... WALDO No Waldo... MUSIC: LAURA PALMER’S THEME WALDO ... (caw; wolf whistle) ... Laura... Laura... Don’t go there... Hurting me... Hurting me... Stop it... COOPER and SHERIFF TRUMAN look at each other. WALDO Stop it... (caw) Stop it... Leo no... Leo no. MUSIC ENDS: LAURA PALMER’S THEME FADE OUT: FADE IN: EXT. ONE-EYED JACKS - NIGHT We view a CLOSEUP of the neon sign of a jack from a deck of cards with its one eye blinking on and off. SOUND EFFECT: BUZZING EYE 14K CUT TO: INT. ONE-EYED JACKS - NIGHT MUSIC: COUNTRY #1 11K AGENT COOPER, dressed in a tuxedo and wearing eyeglasses, and BIG ED, wearing a curly haired wig and a fake moustache, walk through the building. They pass several men who are with the establishments working women. They stop and stand in a bar room with a pool table. One of the ’52 PICK-UP girls walks by and eyes them. COOPER and BIG ED return the stare as she walks by. COOPER Casino’s probably in the back. If Jacques dealing that’s where we’ll find him. BIG ED I’ll give you the high sign and clear out. COOPER spots BLACKIE "THE BLACK ROSE" O’REILLY walking toward them. COOPER Here comes something. BLACKIE Evening fellas. They call me Blackie. COOPER Glad to know you Blackie. I like your style. BLACKIE Most do. First time here? COOPER Yeah, its our rookie season. BLACKIE Well you just think of tonight as spring training. With a little luck you just might make the team. BLACKIE looks BIG ED over. BLACKIE You look like a cop. COOPER smiles and moves over slightly to BIG ED. COOPER I’m the cop. BLACKIE grins and runs her fingers under COOPER’S lapel. BLACKIE You look like Cary Grant. Got a name? COOPER Barney and Fred. Just in from the tri-cities. BLACKIE Well, Fred what’s you line? BIG ED Own a gas station. COOPER, grinning, looks at BIG ED. BIG ED Uhm, I’m an oral surgeon. BLACKIE Ah, I’ve got a Chevy parked out back with a serious root canal problem. Wanna take a look? BIG ED Well I was hoping you might need a little gum work. Cause I sure like to get a look under your hood. BLACKIE (smiles) Fred’s okay. COOPER (looks at BIG ED) Fred’s a prince. BLACKIE So boys, what your pleasure? COOPER Cards. Dice. BIG ED For starters. BLACKIE Casino’s that way. (gestures with a nod to her left) This just might be your lucky night. BIG ED Luck has nothing to do with it. BLACKIE grins at BIG ED and then walks off. COOPER Not bad Ed. Not bad at all. COOPER and BIG ED walk off in the direction she gestured to towards the casino. They pass two 52’ PICK-UPS laying against a railing awaiting a customer. MUSIC ENDS: COUNTRY #1 11K CUT TO: INT. ONE-EYES JACKS - NIGHT In a corner of the casino room, COOPER lifts is hand to his head as if to adjust his glasses but he is actually moving the microphone under his shirt sleeve closer to his mouth so he can speak clearly to ... COOPER Hawk we have a small casino room ... CUT TO: EXT. POLICE VAN - NIGHT Parked in the woods near One-Eyed Jacks, we see a white van. CUT TO: INT. POLICE VAN - NIGHT DEPUTY HAWK, wearing earphones, is seated beside sound recording equipment. He listens to COOPER. COOPER ... with the usual games of chance. Bar’s at the far end and there’s stairs to who know’s where. Everybody’s having a good time. CUT TO: INT. ONE-EYED JACKS - NIGHT COOPER No sign of Jacques Renault. Ed’s going to head over to the craps table. I’m going to play some Black Jack. (puts his arm down) Ed, lets gamble. CUT TO: INT. PALMER HOUSE - NIGHT In the dark, we see MADELEINE slowly and quietly walk down the stairs. She is wearing her large rimmed glasses and LAURA’S thick, warm clothing. Her dark hair is tied back and she is carrying a paper bag. The only sound in the house is a grandfather clock chiming. At the bottom of the stairs she passes the living room. Our view FOCUSES on the living room as she walks on and out the front door. In the darkness of the living room we see a figure sitting on the couch. MUSIC: LAURA PALMER’S THEME The figure moves into the light brought in by the window and we see that it is LELAND PALMER, who has turned his head to see who has left the house. CUT TO: EXT. EASTER PARK - NIGHT Near the gazebo, we see JAMES watch a car pull up. A blonde woman exits from the passenger side and walks toward JAMES with her face hidden by the shadows. JAMES stares at the woman as her features become more visible. He meets her halfway and is in awe as he sees her face. The woman looks exactly like LAURA PALMER but its MADELEINE wearing a blonde wig and LAURA’S clothes. DONNA, wearing a heavy coat and sporting a baseball cap, exits from the driver’s side and walks up to them carrying a video camera. MUSIC ENDS: LAURA PALMER’S THEME CUT TO: INT. BENJAMIN HORNE’S OFFICE - NIGHT MUSIC: 99 BOTTLES OF BEER (ICELANDER VERSION) JERRY, HEBA, MR. THORSON and several of the Icelander group are singing. They all swing mugs of beer in their hands as they sing. BENJAMIN is standing behind his desk with a container of ice cream in one hand and a spoon in the other. With his mouth full of ice cream, he conducts the group with his spoon. JERRY Hey! Lovely song. BEN puts the tub of ice cream down and waves them to quiet down. The group quiets down and stops singing. MUSIC ENDS: 99 BOTTLES OF BEER (ICELANDER VERSION) BENJAMIN You simply have got to teach me some of these incredible songs. GROUP (severally; they laugh) Hey ... incredible ... hey. BENJAMIN (to JERRY) Maybe you’d like to take some of our guests down to uh ... the dining room. JERRY tells them to go to the dining room in their language. He kisses HEBA, who is standing right beside him, on both cheeks. JERRY I’ll be with ya’ in half a tick. The Icelander group leave the room. JERRY, holding a very large pine cone in his left hand, takes a seat on BEN’S desk. JERRY (laughs slightly) You should have seen them at the si- ... tour of the site. The treesBen. JERRY puts the pine cone down on BEN’S desk, grabs the tub of ice cream and a spoon and starts eating. BENJAMIN Jerry. JERRY They worship them. BENJAMIN Jerry. JERRY I caught a couple of them hugging pines. BENJAMIN Jerry. When are they signing the contracts? JERRY (sampling the ice cream) This needs more pecan. Their ready Ben. Their poised with their pen in their hand. BEN moves the pine cone on his desk closer to JERRY and grabs the tub of ice cream. BENJAMIN Uh-huh. Yeah. So, what’s the catch? BEN and JERRY are now both spooning out ice cream from the same tub. JERRY More fun. Signing party. They wanna finalize the deal at One-Eyed Jacks. BEN pulls the tub of ice cream away from JERRY as he moves his spoon towards it. BENJAMIN How’d they find out about Jacks? JERRY (rolls his eyes) I take full responsibility. BENJAMIN Ahh. Jerry, Jerry. Get ’em back on the van. (nods and smiles) JERRY (laughs, shouts to the next room) OKAY! EVERYBODY BACK ON THE VAN! JERRY throws his spoon in the tub of ice cream and picks up his mug of beer. As JERRY walks toward the door he trips on a step but regains his balance. He looks at BEN and laughs at himself. JERRY ROAD TRIP! ROAD TRIP! From the next room the Icelander group can be heard yelling. GROUP (severally) Road trip! BENJAMIN takes one last spoonful of ice cream, drops his spoon in the tub and puts it aside. He picks up his phone on the desk and dials. We hear JOSIE’S voice answer the phone. JOSIE Hello. BENJAMIN Is she there? CUT TO: INT. BLUE PINE LODGE - NIGHT In the kitchen, we see JOSIE leaning with her elbows on the counter next to the phone on the wall. MUSIC: HANK’S THEME 39K JOSIE I just came back. She’s gone. CUT TO: INT. BENJAMIN HORNE’S OFFICE - NIGHT BENJAMIN We need her at the mill. CUT TO: INT. BLUE PINE LODGE - NIGHT We ZOOM out and see HANK beside her leaning with his back to the counter. JOSIE I’ll get her there. Is it set for tonight? BENJAMIN (over the phone) Yes. JOSIE You shouldn’t call here for a while. BENJAMIN (over the phone) I know the drill. JOSIE hangs up the phone. HANK turns around, waves a finger at her and takes off his black leather jacket. MUSIC ENDS: HANK’S THEME 39K CUT TO: INT. BLACKIE’S OFFICE - NIGHT MUSIC: COUNTRY #1 11K The door to office opens and we see a blonde 52’ PICK-UP escort AUDREY, wearing a black dress, into the room. The 52’ PICK-UP closes the door and takes a position to the side of the room near the door. AUDREY walks up to BLACKIE’S desk, where BLACKIE is seated, and hands her a resumé. MUSIC ENDS: COUNTRY #1 11K BLACKIE Your not a shy one are you sweetheart. AUDREY I’m not shy. BLACKIE scans the resumé. AUDREY, standing right next to BLACKIE’S desk, begins to fidget and hum a tune. Bothered by it, BLACKIE looks up at her. AUDREY stops humming but continues to fidget. BLACKIE Hester Prune. Pretty name. April house in Vancouver. Boys in Chicago. Calgary Stampede ’87 through ’89. Where did you work in Calgary darling? AUDREY Around. BLACKIE Can you give me a name? AUDREY takes a seat in a chair positioned in front of the desk. AUDREY The Lost Dude Ranch. BLACKIE Big Amos still running things out there? AUDREY Uhm, bigger and better. BLACKIE Hm. BLACKIE crumples her resumé in her hand. BLACKIE (chuckle) Big Amos is the name of my dog. I read the Scarlet Letter in high school just like you did. Give me one good reason why I shouldn’t air mail your bottom back to civilization? AUDREY stands up, moves to the desk, slowly reaches over BLACKIE’S desk and picks out a maraschino cherry, by its stem, from BLACKIE’S drink. MUSIC: CHERRY STEM KNOT 63K AUDREY lifts the cherry to her mouth, bites the cherry off and eats it while still holding onto the cherry stem. Next, she puts the cherry stem into her mouth. Her eyes roll and her lips squirm as she contorts her tongue into weaving the cherry stem into a knot. Finished, she pulls out the knotted stem and places it on the napkin the drink was on. BLACKIE interest has been piqued. She bends forward to take a closer look, sits back and pulls out a document and pen from one of her desk drawers. MUSIC ENDS: CHERRY STEM KNOT 63K BLACKIE slides the document toward AUDREY. BLACKIE Sign here. MUSIC: LAURA PALMER’S THEME BLACKIE Welcome to One-Eyed Jacks, Hestor. MUSIC ENDS: LAURA PALMER’S THEME CUT TO: INT. ONE-EYED JACKS - NIGHT At a Black Jack table, we watch COOPER turn over a card revealing a king. He says ... COOPER Twenty-one again, ’nother winner. The dealer, a Jamaican, collects the deck of cards. BIG ED walks next to COOPER. COOPER How’d you do? BIG ED Do I have to pay you back? COOPER We’ll take it out of my winnings. Care to sit in? BIG ED Black Jack is not my game. COOPER Ed, can you count to ten? The current dealer leaves and another person, JACQUES RENAULT, takes his place. BIG ED (jokingly) On a good night. COOPER Then you can win at Black Jack. BIG ED looks over to the dealer and notices that it is JACQUES. He looks at COOPER and gives him the high sign, the Bookhouse Boys sign of an index finger drawn down one’s temple on the forehead. BIG ED turns and walks away. JACQUES deals out a hand. He is wearing a name tag, ‘JACQUES’. JACQUES Gentlemen, place your bets. COOPER Jacques is it? JACQUES That’s me. CUT TO: INT. DR. JACOBY’S OFFICE - NIGHT We see DR. LAWRENCE JACOBY sitting by his desk in a rocking chair. He sits with his legs crossed and is drinking a cocktail, that is decorated with fruit and a little umbrella. He is watching the television program ‘Invitation to Love’. CUT TO: TELEVISION We see JADE, a woman, seated and dressed in a sweater. A hand holding a drink moves in front of her face. We hear ... MONTANA Jade, here’s to old times. Should old acquaintance be forgot. CUT TO: EXT. EASTER PARK - NIGHT At a pay phone by the gazebo, we see MADELEINE, DONNA and JAMES. JAMES places a coin into the pay phone and dials. CUT TO: INT. DR. JACOBY’S OFFICE - NIGHT The telephone rings. The television program ‘Invitation to Love’ can be heard in the background. MONTANA (from the television) Come on baby. Bottoms up. One for the road. For old times sake. DR. JACOBY answers the phone. DR. JACOBY Helloha. CUT TO: EXT. EASTER PARK - NIGHT JAMES hands the phone to MADELEINE CUT TO: INT. DR. JACOBY’S OFFICE - NIGHT DR. JACOBY listens to what sounds like LAURA PALMER’S voice but its MADELEINE duplicating her voice. MADELEINE (over the phone) Hey, what’s up doc? I feel like I’m going to dream tonight. Big bad ones, ... CUT TO: EXT. EASTER PARK - NIGHT MADELEINE ... you know, the kind you like. CUT TO: INT. DR. JACOBY’S OFFICE - NIGHT DR. JACOBY Who is this? CUT TO: EXT. EASTER PARK - NIGHT MADELEINE Who do you think it is silly? I want to see you. CUT TO: INT. DR. JACOBY’S OFFICE - NIGHT DR. JACOBY Your not Laura. MADELEINE (over the phone) Okay doc. CUT TO: EXT. EASTER PARK - NIGHT MADELEINE First thing you have to do is go to the door. CUT TO: INT. DR. JACOBY’S OFFICE - NIGHT MADELEINE (over the phone) Go on. DR. JACOBY opens a drawer at his desk. MADELEINE There’s something waiting for you. He reaches into the drawer and pulls out a revolver. He puts the phone receiver down on his desk, gets out of his chair and walks to the door. DR. JACOBY opens the door and scans the hallway with his gun ready. He looks down and sees a large manila envelope beside the door. He picks it up, scans the envelope for any identifying marks, opens it, pulls out a video cassette and scans it for any identifying marks. DR. JACOBY walks back inside and to his video player. He puts the tape in, picks up the remote and returns to his seat. MUSIC: LOVE THEME FROM TWIN PEAKS CUT TO: TELEVISION The tape plays and we see LAURA PALMER, actually MADELEINE dressed as her, holding the day’s newspaper. CUT TO: INT. DR. JACOBY’S OFFICE - NIGHT DR. JACOBY picks up the telephone. MADELEINE (over the phone) That’s today’s paper doc. Now do you believe me? CUT TO: EXT. EASTER PARK - NIGHT MADELEINE Meet me at Sparkwood and 21. In ten minutes. DR. JACOBY (over the phone) No, wait. MADELEINE hangs up the phone. JAMES You think he bought it? MADELEINE nods yes and in her own lower voice says ... MADELEINE I think so. I think he did. DONNA Okay, wait here for us. MUSIC ENDS: LOVE THEME FROM TWIN PEAKS CUT TO: EXT. EASTER PARK - NIGHT MUSIC: THE BOOKHOUSE BOYS (1:12 - 2:11) We see BOBBY poke his head out of a bush that he is using for cover as he watches JAMES and DONNA leave on the motorcycle while MADELEINE stands by the pay phone. MUSIC ENDS: THE BOOKHOUSE BOYS (1:12 - 2:11) CUT TO: EXT. EASTER PARK - NIGHT SOUND EFFECT: MUSICAL SHRIEK 7K MUSIC: NIGHT LIFE IN TWIN PEAKS (0:30 - 0:45) From a different POV but from someone’s POV roughly in the trees, we see BOBBY crouched behind a bush watching JAMES and DONNA leave on the motorcycle while MADELEINE stands by the phone. A heavy breathing can be heard. MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:30 - 0:45) CUT TO: MUSIC: THE BOOKHOUSE BOYS (1:12 - 2:11) BOBBY’S eyes widen as he sees MADELEINE look astonishingly just like LAURA PALMER. JAMES’S motorcycle can be heard driving off into the distance. MUSIC ENDS: THE BOOKHOUSE BOYS (1:12 - 2:11) CUT TO: SOUND EFFECT: MUSICAL SHRIEK 7K MUSIC: NIGHT LIFE IN TWIN PEAKS (0:30 - 0:45)BR> Again from an unknown person’s POV roughly in the trees, we see BOBBY crouched behind a bush staring at MADELEINE. A heavy breathing can be heard. We watch BOBBY walk off and leave the area. MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:30 - 0:45) CUT TO: INT. DR. JACOBY’S OFFICE - NIGHT MUSIC: LOVE THEME FROM TWIN PEAKS DR. JACOBY replays the tape. He moves from his chair to the ground, closer to his television set, in an attempt to view the paper LAURA/MADELEINE is holding in her hands. He pauses the tape where he sees a gazebo beside her in the background. DR. JACOBY Gazebo. CUT TO: EXT. OFFICE BUILDING - NIGHT Outside the building, we see DR. JACOBY rush down the stairs from the second floor. His car is parked within a fenced in parking area. MUSIC ENDS: LOVE THEME FROM TWIN PEAKS MUSIC: FRESHLY SQUEEZED (0:26 - 3:48) (VARIANT) Outside the fenced area, we PAN to see JAMES and DONNA hiding behind some garbage cans. They watch DR. JACOBY get into his car, start it up and quickly drive off, peeling out in the process. With DR. JACOBY gone, JAMES and DONNA get up from behind the trash cans and rush up the stairs into office building. With JAMES and DONNA gone, BOBBY walks out from behind a corner of the building and sneaks over to JAMES’S motorcycle which is parked by the trash cans. He bends down to remove a plastic bag of cocaine from his sock. He unscrews the gas tank cap, stuffs the rolled up plastic bag of cocaine into the tank and replaces the gas cap. He taps the gas tank with his hand and says ... BOBBY Say goodbye James. MUSIC ENDS: FRESHLY SQUEEZED (0:26 - 3:48) (VARIANT) CUT TO: EXT. EASTER PARK - NIGHT SOUND EFFECT: MUSICAL SHRIEK 7K MUSIC: NIGHT LIFE IN TWIN PEAKS (0:30 - 0:45) From someone’s POV in the trees, we see MADELEINE standing alone by a pay phone. Heavy breathing can be heard. MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:30 - 0:45) 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: