Episode 5 - Cooper's Dreams


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

FADE OUT:




INTRO:




FADE IN:

TUNE: 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.

TUNE ENDS: TWIN PEAKS THEME  
FADE OUT:




FADE IN:

SONG: ICELANDERS I  
EXT. HALF-MOON - NIGHT

We view a CLOSEUP of a tree branch of pine needles and then FOCUS on the background of the moon.




CUT TO:

INT. DALE COOPER'S HOTEL ROOM - NIGHT

In the dark, we hear men singing a song in a foreign language very loudly. FBI SPECIAL AGENT DALE COOPER is roused from his sleep, turns on his light by the bed, checks the time on his wristwatch and grabs his mini tape recorder. Still in bed he turns it on and says ...

COOPER

COOPER holds the tape recorder up to record the loud song the men are singing. Then he shuts it off.

SONG ENDS: ICELANDERS I  



CUT TO:

SONG: ICELANDERS II  
INT. THE TIMBER ROOM - DAY

Another loud song being sung by the same group of men permeates the building as COOPER, who appears annoyed, walks into the dining area carrying a coffee cup. A waitress, TRUDY, carrying a pot of coffee, walks up to him before he takes a seat at a table. As he sits she asks ...

TRUDY

COOPER

She fills the cup he brought with him.

COOPER

TRUDY

COOPER

SONG ENDS: ICELANDERS II  
The group of men stop singing and cheer.

TRUDY

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

AUDREY HORNE enters the dining area and slowly makes her way to COOPER.

COOPER

He holds his cup out for her to refill it which she does.

TRUDY

COOPER

TRUDY walks away just as AUDREY arrives at the table. TRUDY smiles as she walks away and sees AUDREY talk to COOPER.

AUDREY

COOPER

AUDREY

AUDREY takes a seat opposite COOPER at the table.

AUDREY

COOPER

AUDREY

COOPER raises his hand to interrupt her and stands up.

COOPER

AUDREY

COOPER

AUDREY

COOPER

AUDREY

COOPER

AUDREY

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

We watch COOPER walk off but before he exits the room we see JERRY HORNE and MR. EINAR THORSON, leader of the Icelander group, enter the room. MR. THORSON, carrying a mug of beer, appears to be drunk as he leans on JERRY'S shoulder. JERRY is carrying some baggage.

JERRY

MR. THORSON tells him how to say it in their language. He then pats JERRY on the back and walks off. JERRY yells to him and the rest of group in the other room.

JERRY




CUT TO:

INT. BENJAMIN HORNE'S OFFICE - DAY

We FOCUS on a wood carved name of 'BEN', on top of the desk, and PAN to BENJAMIN HORNE as he lights a cigar while sitting at his desk. Behind BEN we see a poster board of the plans for the Ghostwood development project. JERRY bursts into his office and tells him something in the Icelandic language before he says ...

JERRY

JERRY walks in and up to BEN'S desk. He puts his large bag on BENJAMIN'S desk.

BENJAMIN

BENJAMIN picks up JERRY'S bag and tosses it to the floor.

BENJAMIN

JERRY

JERRY opens one of his bags and pulls out a leg of lamb wrapped in plastic. He walks over to BEN'S desk and puts it there.

JERRY

BENJAMIN

JERRY

BENJAMIN

Still holding his leg of lamb, JERRY kisses it and holds it like a baseball bat leaning on his shoulder.

JERRY

BENJAMIN

BEN covers his left eye with his left hand.

BENJAMIN

JERRY

Standing in front of the double doors to the office, the two brothers shake hands.

TUNE: LAURA PALMER'S THEME  
In the background we see, LELAND PALMER enter the office through the open doors. He looks like a bit of a mess.

LELAND

BENJAMIN

LELAND

BEN walks up to LELAND and comfortingly grips his arms.

BENJAMIN

LELAND

LELAND moves to the floor and sits. He starts to sob. The Icelander group starts to sing again.

SONG: ICELANDER III

JERRY runs out of the office and into the hall to see what is going on.

BENJAMIN

LELAND

BENJAMIN gestures to JERRY to close the doors to that racket outside.

SONG ENDS: ICELANDER III




CUT TO:

EXT. JACQUES RENAULT'S APARTMENT BUILDING - DAY

We view SHERIFF TRUMAN'S police cruiser in the parking lot unoccupied but we hear the police radio from it.

SHERIFF TRUMAN

In the background we see an officer walking up the steps to the second floor of the apartment building.

TUNE ENDS: LAURA PALMER'S THEME  



CUT TO:

TUNE: AUDREY'S DANCE (0:00 - 0:10 W/O SNAPS)

INT. JACQUES RENAULT'S APARTMENT - DAY

We FOCUS on a lamp fixture on the ceiling. We PAN down to SHERIFF HARRY S. TRUMAN as he walks to the door that AGENT COOPER has just entered through.

COOPER

SHERIFF TRUMAN

COOPER

SHERIFF TRUMAN

As SHERIFF TRUMAN is speaking, COOPER wanders over to the kitchen where a pink box of donuts sits. He opens the box and finds it empty.

COOPER

SHERIFF TRUMAN

SHERIFF TRUMAN gives DEPUTY ANDY BRENNAN an OK hand sign and a thumbs up pointing to the side meant to be read as 'get more donuts'. COOPER sees it and gives SHERIFF TRUMAN a thumbs up.

COOPER

SHERIFF TRUMAN also gestures to ANDY a drinking motion before he leaves.

SHERIFF TRUMAN

TUNE ENDS: AUDREY'S DANCE (0:00 - 0:10 W/O SNAPS)

COOPER

COOPER walks around the room and looks at what the officers are doing as they do their forensic work. We can see DR. WILL HAYWARD on the phone.

SHERIFF TRUMAN

COOPER looks up at the ceiling light fixture and stares at it. Soon he has SHERIFF TRUMAN looking up as well.

DR. HAYWARD

COOPER

Now DR. HAYWARD is also looking up at the light fixture.

DR. HAYWARD

COOPER levels his head as he diverts his attention.

COOPER

DR. HAYWARD gives a puzzled look to SHERIFF TRUMAN, who is also mystified by that statement. COOPER returns to staring at the light fixture. The phone rings and DR. HAYWARD moves away to answer it. ANDY comes up to COOPER carrying a donut and a cup of coffee.

COOPER

COOPER takes a bite of the donut and then a sip of coffee. He clearly relishes it. SHERIFF TRUMAN looks up at the light fixture again and soon he has ANDY doing the same thing.

COOPER

COOPER hands his coffee and donut to ANDY to hold as he grabs a pair of tweezers from his coat pocket.

SHERIFF TRUMAN

ANDY takes a bite of COOPER'S donut.

COOPER

Out of sight we hear DR. HAYWARD on the phone.

DR. HAYWARD

SHERIFF TRUMAN

DR. HAYWARD

SHERIFF TRUMAN cups his hands so COOPER can place his foot there. COOPER sets his foot and SHERIFF TRUMAN lifts him up slightly as COOPER takes a step up to reach the light fixture.

SHERIFF TRUMAN

We see DR. HAYWARD with a surprised look on his face as he says ...

DR. HAYWARD

COOPER

DR. HAYWARD

When COOPER comes back down he holds in his tweezers a copy of Fleshworld, a swingers magazine.

TUNE: AUDREY'S DANCE (0:00 - 0:10 W/O SNAPS)

SHERIFF TRUMAN

COOPER

They both move over to a nearby table. COOPER thumbs through the magazine.

SHERIFF TRUMAN

COOPER

SHERIFF TRUMAN

COOPER

SHERIFF TRUMAN rolls his eyes and looks away. DR. HAYWARD walks up to them. COOPER opens the envelope and pulls out a photograph that he and DR. HAYWARD look at.

DR. HAYWARD

COOPER

COOPER hands the photo to SHERIFF TRUMAN to look at it.




CUT TO:

PHOTOGRAPH

From SHERIFF TRUMAN'S POV we see the photograph. A bearded man, wearing a light blue lingerie, laying in bed.




CUT TO:

INT. JACQUES RENAULT'S APARTMENT - DAY

SHERIFF TRUMAN

SHERIFF TRUMAN tosses the photograph to the table.

COOPER

SHERIFF TRUMAN takes a closer look at the magazine.




CUT TO:

FLESHWORLD MAGAZINE

We see SHERIFF TRUMAN'S POV of the picture of LEO'S rig in the magazine ad.

TUNE ENDS: AUDREY'S DANCE (0:00 - 0:10 W/O SNAPS)




MORPH TO:

EXT. JOHNSON HOUSE - DAY

We view the front of the house with LEO'S rig parked out front with the sound of ducks in the background.




CUT TO:

TUNE: THE BOOKHOUSE BOYS (1:12 - 2:11)

INT. JOHNSON HOUSE - DAY

In the kitchen, we see SHELLY JOHNSON, wearing a robe, carrying two plates of food to the table. BOBBY BRIGGS sits at table smoking a cigarette. She places one of the plates in front of BOBBY and the other at an open chair for herself.

BOBBY

SHELLY

She returns to the stove.

BOBBY

By the stove, she turns to face him, smiles and says ...

SHELLY

BOBBY

SHELLY moves over to him.

BOBBY

He grabs the belt on her robe, pulls her next to him and sets her down on his lap. She laughs slightly and he kisses her. He reaches into her robe pocket and pulls out the gun she bought. He pretends to point it as if LEO was across the table.

BOBBY

TUNE ENDS: THE BOOKHOUSE BOYS (1:12 - 2:11)

They laugh until they hear a car door slams outside. Spooked, BOBBY and SHELLY quickly look at each other, stand up and move to the window to see who it is.

BOBBY

SHELLY nods and they kiss. BOBBY starts to move away but returns to her for one more kiss before he hides just outside behind the rear door. Nervous, SHELLY takes a few puffs from a cigarette. The door bell rings and SHELLY moves to answer it. BOBBY peers inside through a window in the door. SHELLY turns to look at him before she opens the front door.

SHELLY

ANDY

SHELLY

ANDY

As they talk, our view switches to seeing BOBBY smile as he watches them and listens on.

SHELLY

ANDY

SHELLY

ANDY

SHELLY

ANDY

SHELLY

ANDY walks out. SHELLY closes the door, leans against the back of the door and smiles as she looks over to BOBBY. She walks over to BOBBY. He reenters the kitchen. She hops into his arms, he picks her up and holds her.

SHELLY

BOBBY

In the kitchen, they spin around and kiss.

BOBBY

BOBBY moves to the kitchen counter by the sink and places her on the countertop. ANDY'S police cruiser can be heard driving off outside. The phone rings. BOBBY, kissing her neck, picks it up and holds it at SHELLY'S mouth and ear for her to answer it.

SHELLY

LEO

Listening on, BOBBY motions to her to say 'no'.

SHELLY

LEO

SHELLY

LEO

SHELLY

TUNE: I MISS YOU  
BOBBY puts the handgun he's been holding in SHELLY'S hand as she talks to LEO.

SHELLY

LEO

Holding the gun in her hand, SHELLY looks it over as she say ...

SHELLY

TUNE ENDS: I MISS YOU  



CUT TO:

EXT. BIG ED'S GAS FARM - DAY

We view a lumber truck rig full of huge cut logs pull into the gas station. It passes another truck also filled with logs parked at the station as it drives in and sets off the entry bell. We PAN to see 'BIG ED' HURLEY, in his shop overalls, working under the hood of a red truck. He lifts his head and sees NORMA JENNINGS at a distance standing by her car.

BIG ED

Smiling, she moves toward BIG ED.

NORMA

BIG ED

He walks to her and meets her halfway. Together they walk to a nearby tow truck. NORMA has her hands in her coat pocket. BIG ED holds onto her left arm as they walk.

BIG ED

NORMA

BIG ED

NORMA

BIG ED

NORMA

BIG ED

Now behind the tow truck, they turn to face each other. They lose their smiles. BIG ED looks disappointed.

NORMA

BIG ED

NORMA

BIG ED

NORMA

BIG ED

NORMA

TUNE: TWIN PEAKS THEME  
BIG ED

NORMA

BIG ED moves a little closer to her.

BIG ED

NORMA

BIG ED

NORMA

BIG ED

NORMA

NORMA walks away. BIG ED turns to watch her walk to her car.

TUNE ENDS: TWIN PEAKS THEME  
FADE OUT:




FADE IN:

EXT. HORNE'S DEPARTMENT STORE - DAY

We view the front of the store, a three story masonry building with a covered entry for the front door. A police cruiser drives by.




CUT TO:

INT. HORNE'S DEPARTMENT STORE - DAY

In an office, EMORY BATTIS, the store vice-president, talks with AUDREY. EMORY is a stocky and bald man. He sits behind shelves of trophies and books. In the corners of the room are two Saturn lamps.

EMORY

The door to the office is open and behind AUDREY we see a women moving a large box on a shelf.

AUDREY

EMORY

AUDREY

EMORY

She looks up annoyed, objecting to the choices.

AUDREY

TUNE: MAY I SPEAK  
AUDREY

EMORY

She stands up and walks around behind EMORY.

AUDREY

EMORY

AUDREY

EMORY

AUDREY

EMORY

She takes a seat on the corner of his desk.

AUDREY

A little bleary, EMORY mouths 'yeah' before clearly saying ...

EMORY

AUDREY

She lets go of her grip on his tie and straightens it.

EMORY

TUNE: LOVE THEME FROM TWIN PEAKS

AUDREY gets off his desk and takes a seat back at the chair opposite EMORY.

AUDREY

TUNE ENDS: MAY I SPEAK  



CUT TO:

EXT. EASTER PARK - DAY

With Black Lake in the background, we watch DONNA walking past trees toward the gazebo. She walks up the steps of the gazebo and says ...

DONNA

JAMES moves to her and they hug. They move apart slightly.

JAMES

DONNA

JAMES

DONNA

JAMES

Tears form in his eyes. He walks away, still in the gazebo, to look at the lake. DONNA moves to him and hugs him from behind.

DONNA

JAMES

DONNA

They kiss.

JAMES

DONNA

JAMES puts his arm around her and leans his head against hers. They both look out onto the lake.

JAMES




CUT TO:

EXT. BLACK LAKE - DAY

We view JAMES and DONNA'S POV of the still waters of Black Lake with trees close to its shoreline.

DONNA

TUNE ENDS: LOVE THEME FROM TWIN PEAKS




CUT TO:

INT. JACQUES RENAULT'S APARTMENT - DAY

We view GARY, an officer, working on the floor as he sweeps particles on the floor with a small brush. Another OFFICER walks up to him with a plate full of donuts and hands it to him.

OFFICER

GARY

GARY grabs a donut for himself and then passes the plate to another nearby officer, SCOTT.

SCOTT

SCOTT puts the plate of donuts next to AGENT COOPER, who is working in the kitchen. SCOTT walks off but we can still hear him talk in the background as we watch AGENT COOPER grab a donut and take a bite.

SCOTT

OFFICER

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

COOPER opens an upper cabinet door right in front of him.




CUT TO:

PHOTOGRAPHS

We view AGENT COOPER'S POV of a bunch of photographs taped to the inside panel of the cabinet door. We see a black and white photograph of two men dressed with suit jackets around their waist and a face painted on their bellies. We still hear the other officers speaking in the background.

SCOTT

We PAN to another photograph of a cabin created from a cut portion of a single gigantic log.

OFFICER

We PAN to another photograph of a cabin. In the windows of the cabin we see ...

COOPER

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




CUT TO:

INT. JACQUES RENAULT'S APARTMENT - DAY

DEPUTY HAWK enters the kitchen and, standing next to SHERIFF TRUMAN, says ...

HAWK

HAWK hands SHERIFF TRUMAN some mail he confiscated from the post office box.

COOPER

SHERIFF TRUMAN

COOPER hands the letters to SHERIFF TRUMAN. HAWK hands the Fleshworld magazine to COOPER, who flips through the pages.

COOPER

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

COOPER pulls out a small magnifying glass from his pocket and looks at the ad's photo.

COOPER

SHERIFF TRUMAN

COOPER holds his magnifying glass so SHERIFF TRUMAN can see the red drapes behind the posed woman, LAURA PALMER.

COOPER

SHERIFF TRUMAN

COOPER turns to the cabinet door he was previously looking at and holds his magnifying glass at the photograph so SHERIFF TRUMAN and DEPUTY HAWK can see the red drapes in the windows of the cabin. We view a stepped profile of DEPUTY HAWK, SHERIFF TRUMAN and AGENT COOPER as they look at the photograph.




CUT TO:

PHOTOGRAPH

We view COOPER'S POV of the photograph with a portion magnified through his magnifying glass to see ...

COOPER




CUT TO:

INT. JACQUES RENAULT'S APARTMENT - DAY

COOPER tosses the magazine he was holding to the countertop and picks up a piece of paper.

COOPER

SHERIFF TRUMAN

COOPER

HAWK

COOPER




CUT TO:

EXT. DOUBLE R DINER - DAY

Under darkening skies, we view the front of the diner with its neon sign on and a timber truck rig parked with a full load of tree logs.




CUT TO:

INT. DOUBLE R DINER - DAY

We see HANK JENNINGS bent over the jukebox. He puts a coin in and pushes a button to play a tune from the jukebox.

TUNE: COUNTRY #3  
MADELEINE enters the diner and is called over by JAMES.

JAMES

MADELEINE

MADELEINE walks over to the booth where JAMES is standing by.

JAMES

DONNA stands up within the booth as MADELEINE comes by. The table has two cups of coffee where JAMES and DONNA were seated. There is also a plate of french fries.

MADELEINE

JAMES

MADELEINE

JAMES

JAMES walks off to order her drink. We see that DONNA cups her hands around her cup of coffee.

DONNA

MADELEINE

DONNA

MADELEINE

JAMES returns and takes a seat next to DONNA. He hands MADELEINE her drink.

DONNA

MADELEINE

DONNA

MADELEINE

JAMES

DONNA

MADELEINE

DONNA

MADELEINE

DONNA

JAMES and DONNA look at each other, happy that MADELEINE will help.

MADELEINE

JAMES, DONNA and MADELEINE collect their jackets, get up from the booth and head out of the diner.

MADELEINE

TUNE ENDS: COUNTRY #3  
TUNE: HANK'S THEME  
As they leave, we PAN to the booth next to them right behind where MADELEINE was sitting. HANK is seated there holding his double three domino, drinking coffee and with a newspaper set in front of him. He has been listening in on their conversation. Our POSITION moves so that we can see HANK'S face and still see DONNA, MADELEINE and JAMES leave in the background.

DONNA

MADELEINE

JAMES

We watch JAMES, DONNA and MADELEINE leave out the front door. They pass NORMA and SHELLY as they enter the diner.

MADELEINE

DONNA

SHELLY giggles. SHELLY and NORMA both enter with a smile and sporting new hairdos.

SHELLY

NORMA

SHELLY

Unaware, NORMA and SHELLY nearly walk by HANK. HANK reaches out and grabs NORMA'S coat.

HANK

NORMA

HANK

NORMA

TUNE ENDS: HANK'S THEME  
TUNE: COUNTRY #3  
SHELLY pats NORMA'S arm and walks off.

HANK

NORMA

HANK

NORMA

HANK

He picks up his cup of coffee and slurps it down.

TUNE ENDS: COUNTRY #3  



CUT TO:

TUNE: LOVE THEME FROM TWIN PEAKS

INT. DOUBLE R DINER - DAY

From the kitchen, we see SHELLY peering at NORMA and HANK. She turns to a nearby television that is showing the program 'Invitation to Love'.




CUT TO:

TELEVISION

We view the program 'Invitation to Love'. We see MONTANA, the brute, grabbing the front of CHET'S, the nerd, suit and jerking him around. We also see JARED, the father, tied with a gag in his mouth. MONTANA says something to CHET, that we can't hear, and then starts to broadly slap him across the face. MONTANA throws CHET to the ground and boldly laughs. The show ends by displaying its title written in flowing script on a note laying in a blue background.

TUNE ENDS: LOVE THEME FROM TWIN PEAKS

FADE OUT:




FADE IN:

INT. DR. JACOBY'S OFFICE - DAY

We view CLOSEUPS of BETTY BRIGGS and MAJOR GARLAND BRIGGS as they speak about their son BOBBY.

BETTY

MAJOR BRIGGS

BETTY

MAJOR BRIGGS

BETTY

We see DR. LAWRENCE JACOBY laying back in his office chair with his hands behind his head.

DR. JACOBY

BOBBY is sitting slumped on the side corner of the couch playing with a zipper on his jacket cuff.

BOBBY

MAJOR BRIGGS

BETTY

BOBBY

BETTY

BOBBY

DR. JACOBY

BOBBY

DR. JACOBY

BOBBY

DR. JACOBY

BOBBY

MAJOR BRIGGS

BETTY

BOBBY

DR. JACOBY

MAJOR BRIGGS

BOBBY sighs.

DR. JACOBY

MAJOR BRIGGS

BETTY

MAJOR BRIGGS and BETTY collect their coats and head toward the door. BOBBY yawns in boredom. Before they exit, MAJOR BRIGGS and BETTY turn to look at their son. DR. JACOBY gets up from his chair and walks over to BOBBY. BOBBY plays with the zipper on his jacket cuff again.

DR. JACOBY

BOBBY

DR. JACOBY

BOBBY

DR. JACOBY

DR. JACOBY gets his attention. BOBBY stops fiddling and turns to him.

BOBBY

DR. JACOBY

BOBBY

BOBBY stands up and faces him.

DR. JACOBY

TUNE: LAURA PALMER'S THEME  
BOBBY turns and walks away from DR. JACOBY. DR. JACOBY walks up behind him and puts a hand on his shoulder.

DR. JACOBY

BOBBY

DR. JACOBY

BOBBY lays down on DR. JACOBY'S lay back chair.

BOBBY

DR. JACOBY takes a seat next to BOBBY.

DR. JACOBY

BOBBY

DR. JACOBY

BOBBY

DR. JACOBY

BOBBY

DR. JACOBY

BOBBY

DR. JACOBY

BOBBY

DR. JACOBY

BOBBY starts to cry but he tries to suppress it.

DR. JACOBY

BOBBY




MORPH TO:

EXT. HAWK - DAY

As the music soars we watch a hawk soaring through sky.




MORPH TO:

EXT. MOUNTAINS - DAY

We view distant mountains.




MORPH TO:

EXT. WOODS - DAY

DEPUTY HAWK, SHERIFF TRUMAN, AGENT COOPER and DR. HAYWARD are hiking in the woods. HAWK leads the way. COOPER wears an FBI labeled jacket. SHERIFF TRUMAN carries a rifle. DR. HAYWARD, wearing a hat and coat, follows several paces behind using a large wooden pole, as a hiking stick, to help him along. The area of forest they are walking through is desolate, hilly and has many pine trees.

HAWK

SHERIFF TRUMAN

COOPER




CUT TO:

EXT. RAVEN - DAY

We watch a raven land and perch onto a tree branch.




CUT TO:

EXT. WOODS - DAY

Leading the group, HAWK finds a very young pine tree snapped. A sign that someone or something has passed by. HAWK put a hand up for them to stop.

SHERIFF TRUMAN

HAWK looks it over, turns to the group and then walks on. The group follows.




CUT TO:

EXT. CABIN - DAY

From a distance, we view a log cabin surrounded by the woods.




CUT TO:

EXT. WOODS - DAY

All but DR. HAYWARD, who is still trying to catch up, stand together looking at the cabin.

COOPER

HAWK

SHERIFF TRUMAN

DR. HAYWARD

DR. HAYWARD stops just short of them and leans on his pole as he breathes heavily. SHERIFF TRUMAN turns to check on him and shows some concern. DEPUTY HAWK pulls his gun out of his holster.

TUNE ENDS: LAURA PALMER'S THEME  



CUT TO:

EXT. CABIN - DAY

They all reach the side of the cabin and slowly, with guns drawn, walk outside the exterior log wall toward the front of the cabin. As they pass a window they duck down slightly. Unexpectedly, the 'LOG LADY' MARGARET LANTERMEN, holding her log, walks around the corner and meets them face to face. Caught off guard HAWK, TRUMAN and COOPER all point their weapons at her.

LOG LADY

She walks off around the corner. Under the porch of the cabin, she turns and sees that HAWK, COOPER, SHERIFF TRUMAN and DR. HAYWARD are hanging back a distance away.

LOG LADY

She walks into her cabin.




CUT TO:

INT. LOG LADY'S CABIN - DAY

From inside the cabin we watch SHERIFF TRUMAN put his rifle down and DR. HAYWARD puts his walking stick down on a bench just outside the door way. A teapot can be heard whistling from the stove. HAWK, SHERIFF TRUMAN and DR. HAYWARD enter but stand near the door. COOPER stands underneath the doorway, just behind them. The LOG LADY pours the hot water from the kettle into a teapot.

LOG LADY

COOPER

HAWK puts his hand up to silence COOPER.

HAWK

LOG LADY

HAWK turns to SHERIFF TRUMAN, nods and moves to take a seat at the table. DR. HAYWARD follows suit.

DR. HAYWARD

COOPER and SHERIFF TRUMAN are still at the door. COOPER moves to talk to him but is interrupted by ...

LOG LADY

SHERIFF TRUMAN

The LOG LADY places the teapot onto the table and sits down. SHERIFF TRUMAN and COOPER move to take a seat at the table.

LOG LADY

COOPER moves to grab a sugar cookie from a nearby tray. The LOG LADY slaps his hand as he touches a cookie.

LOG LADY

HAWK grins at him.

SHERIFF TRUMAN

LOG LADY

COOPER

LOG LADY

She pours each of them a cup of tea.

SHERIFF TRUMAN

LOG LADY

COOPER

LOG LADY

DR. HAYWARD

HAWK

The LOG LADY picks up her log off the floor beside her, puts it in her arms and holds it towards COOPER.

LOG LADY

COOPER looks to SHERIFF TRUMAN, who nods to him to go on. COOPER bends slightly toward the log and says ...

TUNE: WALKING IN THE DARK (MIX)

COOPER

LOG LADY

COOPER

LOG LADY

TUNE: WALKING IN THE DARK (MIX)




CUT TO:

EXT. WOODS - DAY

DEPUTY HAWK, SHERIFF TRUMAN, AGENT COOPER and DR. HAYWARD are again hiking in the woods. HAWK leads the way and DR. HAYWARD still follows several paces behind. A woodpecker pecking and a raven cawing can be heard.

SONG: INTO THE NIGHT

COOPER

SHERIFF TRUMAN

COOPER

SHERIFF TRUMAN

HAWK stops and they all follow suit.

HAWK

They all hear a song drifting through the air.

HAWK




CUT TO:

EXT. PERCHED RAVEN - DAY

We watch a raven, perched high on a tree top, fly off.




CUT TO:

EXT. WOODS - DAY

We see AGENT COOPER look down at a photograph he is carrying in his hand. It is the photograph of the cabin with red drapes from JACQUES apartment.




CUT TO:

PHOTOGRAPH

We see COOPER'S POV of the photograph of a log cabin with red drapes in its windows.




CUT TO:

EXT. WOODS - DAY

We view AGENT COOPER'S profile. One by one, SHERIFF TRUMAN, DEPUTY HAWK and DR. HAYWARD step into view. The end result is a stacked view of each of their profiles as they look at the cabin.




CUT TO:

EXT. CABIN - DAY

We view the front of the cabin. It looks exactly like the one in the photograph.




CUT TO:

RAVEN

We view a CLOSEUP of a raven's eye. We ZOOM OUT as we hear the song.

SONG LYRICS




CUT TO:

EXT. JACQUES RENAULT'S CABIN - DAY

They have come upon the cabin they were looking for. The cabin from the photograph in JACQUES apartment. Just below it, near a stone foundation, HAWK and TRUMAN point their guns at the ready. COOPER removes his gun from his holster. SHERIFF TRUMAN gives DR. HAYWARD a hand signal to stay put. DR. HAYWARD takes a seat on the ground to catch his breath as the rest move toward the cabin with their guns drawn.




CUT TO:

INT. JACQUES RENAULT'S CABIN - DAY

The song comes to an end but the record player, with an automated stylus, replays the song it has been playing. We watch HAWK, SHERIFF TRUMAN and COOPER burst into the cabin with their guns drawn. They quickly scan the room, find it empty and puts their guns away before scattering throughout the cabin.

SONG LYRICS

COOPER moves to the record player. Using his tweezers he lifts the stylus from the record, puts it in its cradle and says ...

SONG ENDS: INTO THE NIGHT

COOPER

SHERIFF TRUMAN lifts the cover off an object, where a bird can be heard, and finds a mynah bird in its bird cage. The bird cage has a name plaque. He reads it out loud.

SHERIFF TRUMAN

DEPUTY HAWK has moved over to a camera on a tripod. He opens the camera.

HAWK

Using a handkerchief, HAWK removes the film canister. We see COOPER put on some latex gloves and move to the floor to inspect a roll of twine. HAWK has now moved to another area and finds ...

HAWK

A cuckoo clock go off but the cuckoo clock bird is not popping out like it should. SHERIFF TRUMAN walks up to it, opens one of the little doors and a bunch of poker chips fall out. Kneeling on the floor, COOPER watches one of the poker chips roll under a chair. COOPER walks over to it and picks it up.




CUT TO:

TUNE: LOVE THEME FROM TWIN PEAKS

POKER CHIP

We see a CLOSEUP of the blue poker chip. Its from One-Eyed Jacks and it has a notch in it at the 'J'. This is the chip where the fragment found in LAURA'S stomach was taken from.

COOPER

TUNE ENDS: LOVE THEME FROM TWIN PEAKS

FADE OUT:




FADE IN:

SONG: HOME ON THE RANGE
(SUNG BY ICELANDERS)


EXT. GREAT NORTHERN HOTEL - NIGHT

We view the glowing lights of the hotel in the dark.




CUT TO:

INT. BENJAMIN HORNE'S OFFICE - NIGHT

In the dark, we see someone seated at BENJAMIN'S desk smoking.




CUT TO:

INT. TIMBER ROOM - NIGHT

We view a sign above the double doors to the room. It says 'Timber Room'. We PAN down to see a couple, MR. and MRS. SCHOLPF, open the doors to the room. A HOSTESS, dressed in a Viking costume and wearing a Viking helmet, stands by the door to greet and check people into the party. Behind her we see the party being held to welcome the Icelandic business group to Twin Peaks.

MR. SCHOLPF

The HOSTESS looks over the sheet and nods for them to enter. CATHERINE MARTELL and PETE MARTELL are next to be greeted.

HOSTESS

CATHERINE

PETE looks at her, bothered by the way she addressed him. They walk into the room.

PETE

CATHERINE immediately picks up two glasses of champagne from a nearby tray a waiter is holding. She downs one of the glasses, turns to PETE and says ...

CATHERINE

She walks off. PETE, in his good natured way, just smiles. He looks around the room.




CUT TO:

INT. TIMBER ROOM - NIGHT

We see PETE'S POV of the people singing by a piano.

SONG ENDS: HOME ON THE RANGE
(SUNG BY ICELANDERS)


The song ends and people clap. We see that TRUDY was playing the piano.




CUT TO:

INT. TIMBER ROOM - NIGHT

At the buffet table MAJOR BRIGGS, as he serves himself food, speaks to the Icelandic business group leader, MR. EINAR THORSON.

MAJOR BRIGGS

MR. THORSON




CUT TO:

INT. TIMBER ROOM - NIGHT

JERRY talks to HEBA, a tall, beautiful blonde, who stands against a log column holding a plate of food.

JERRY

HEBA

JERRY

HEBA




CUT TO:

INT. TIMBER ROOM - NIGHT

We see LELAND enter the room. The HOSTESS smiles and nods to him. Expressionless, he scans the party and brushes his hand through his hair.




CUT TO:

INT. TIMBER ROOM - NIGHT

Again, we watch JERRY talking to HEBA.

JERRY




CUT TO:

INT. TIMBER ROOM - NIGHT

In bursting laughter, we see BENJAMIN talking to several members of the Icelandic GROUP. From the bar, we see CATHERINE down another glass of champagne. She grabs another glass and walks over to him.

BENJAMIN

CATHERINE is now beside BENJAMIN, listening.

BENJAMIN

From her glass, CATHERINE pours a little bit of her champagne on BENJAMIN'S shoe. She gets his attention and group's as well as they all quiet down. BENJAMIN looks down at his shoe and taps his wet foot. He turns to look at CATHERINE and then back to the GROUP.

BENJAMIN

GROUP

BENJAMIN and CATHERINE walk together away from the GROUP.

BENJAMIN

CATHERINE

BENJAMIN

He walks away from her. We PAN to see AUDREY, leaning against a wood column. She has seen the incident with her father and CATHERINE. She watches CATHERINE walk down the hallway toward her father's office. We hear BENJAMIN in the background.

BENJAMIN




CUT TO:

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

INT. GREAT NORTHERN HOTEL - NIGHT

AUDREY moves down the hall near the HORNE residency and pulls a ring in bedded in the wall that reveals a small panel door.




CUT TO:

INT. AUDREY'S SECRET SPY HOLE - DAY

She enters a small space within the walls between the hallway and the HORNE residency. Out of sight but in BENJAMIN HORNE'S office we hear BENJAMIN and CATHERINE as AUDREY moves within the small space to her spy hole. AUDREY removes a wood panel from the wall to reveal a knot hole in the wood wall in the other room.

BENJAMIN

We see AUDREY'S POV of CATHERINE speaking to BENJAMIN in his office.

CATHERINE

She holds it up for him to see. He takes the chip and looks it over as if he wasn't sure what it was.

BENJAMIN

CATHERINE slaps him across the face with her right hand. We see AUDREY silently laugh.

BENJAMIN

CATHERINE slaps him across the face with her left hand.

BENJAMIN

Again she slaps him across the face but with her right hand.

CATHERINE

BENJAMIN

BENJAMIN grabs her by the arms and kisses her. They both hug each other, kiss and CATHERINE lays back on his desk. AUDREY is no longer smiling as she watches them.

CATHERINE

BENJAMIN

BENJAMIN reaches into his pocket and pulls out a packet of mints and offers one to CATHERINE.

BENJAMIN

AUDREY replaces the wood slat cover. Disturbed by what she saw and heard, she laughs to herself.

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




CUT TO:

SONG: ICELANDER IV

INT. TIMBER ROOM - NIGHT

PETE, holding a glass mug full of milk and wearing a napkin like a bib, talks to MR. THORSON, who is holding a plate of food.

PETE

They are interrupted as JERRY, using a microphone, gets the crowds attention. HEBA stands behind him in the background.

JERRY

SONG ENDS: ICELANDER IV

The singing stops and the crowd quiets down.

JERRY

The microphone crackles. He taps it on a edge of a podium that generates some amplified distortion but it all clears up. JERRY laughs.

JERRY

The crowd claps and JERRY laughs. We see LELAND in the crowd listening on.

JERRY

TUNE: IN THE MOOD  
As JERRY speaks, a big band tune unexpectedly and unintentionally starts up. People in crowd look around unsure of what is going on. We see that BENJAMIN and CATHERINE have returned to the party.

JERRY

We view LELAND cringe and moan at hearing the big band tune. He irrationally begins to dance, holding his hands in place as if he was dancing with a partner. Alone on the dance floor, people start to look at him. BENJAMIN sees him and his furious. He doesn't want LELAND to upset or frighten his guests so he tells CATHERINE ...

BENJAMIN

CATHERINE complies. She takes off her shoes, moves over to LELAND, grabs his hands and starts to dance with him. People watch them and several of them can be heard. BENJAMIN waves to JERRY to come over.

PARTY GUEST #1

Confused, JERRY puts the microphone down and walks over to BENJAMIN.

PARTY GUEST #2

PARTY GUEST #3

BENJAMIN

LELAND stops dancing but he puts his hands to his head and starts to cry. CATHERINE doesn't know what to do at first but, being a little drunk, mimics him by placing her hands to her head. With both hands on her head she starts to pat her head with both hands treating LELAND'S distress like some odd dance move. HEBA, dancing with JERRY, sees them and start to duplicate the dance. Soon everyone is doing it including BENJAMIN, who is dancing with a women from the Icelandic group. Behind a wood column, AUDREY cries at the sight of LELAND suffering on the dance floor.




CUT TO:

INT. BENJAMIN HORNE'S OFFICE - NIGHT

In the dark, we see someone seated at BENJAMIN desk smoking.

TUNE ENDS: IN THE MOOD  



CUT TO:

EXT. PALMER HOUSE - NIGHT

We view the front of the house.




CUT TO:

INT. PALMER HOUSE - NIGHT

In her striped pajamas, we watch MADELEINE quietly walk down the stairs carrying a shoe box. In the dark living room, she takes a seat on the couch, turns on a nearby lamp, picks the up phone and dials.

MADELEINE

Speaking from upstairs, we can hear SARAH.

SARAH

MADELEINE

TUNE: LAURA PALMER'S THEME  
MADELEINE quietly hangs up the phone, turns the light off and walks off. In the background behind her we slowly ZOOM IN on the homecoming picture of LAURA PALMER.

TUNE ENDS: LAURA PALMER'S THEME  



CUT TO:

TUNE: IN THE MOOD  
INT. GREAT NORTHERN HOTEL - NIGHT

We watch BENJAMIN walking down the hallway to his office.




CUT TO:

INT. BENJAMIN HORNE'S OFFICE - NIGHT

In the dark, BENJAMIN walks into his office and closes the door behind himself. He walks over to his desk and turns on the desk lamp. We see that the mysterious person smoking in the dark is JOSIE PACKARD.

BENJAMIN

JOSIE

He takes a seat beside her on the corner of his desk.

BENJAMIN

TUNE ENDS: IN THE MOOD  
JOSIE

BENJAMIN picks up the ledger book, opens it and looks it over.

BENJAMIN

JOSIE

BENJAMIN

He picks up her hand and kisses it.




CUT TO:

TUNE: BAD DEEDS  
INT. JOHNSON HOUSE - NIGHT

We see SHELLY light up a cigarette by using the stove burner. Wearing a robe, she nervously awaits the return of LEO. She looks out the window and then takes a seat at the kitchen table where her handgun lays.




CUT TO:

EXT. JOHNSON HOUSE - NIGHT

In a truck, LEO parks, gets out and walks to the outside wall of his house. He lifts a latch that opens a storage compartment built into the outside wall. He pulls out two 5 gallon gasoline cans. He closes the storage doors, picks up the gas cans, walks over to his truck and puts them in. As he turns around, he is suddenly punched in the face, the stomach, again in the face and then is jerked to the ground. LEO, flat on his back, lays quietly as HANK, in a black leather jacket, stands over him grabbing at LEO'S jacket.

HANK

LEO

HANK

HANK lets go of his jacket and walks away nearly stepping on his head. LEO coughs trying to catch his breath.




CUT TO:

INT. JOHNSON HOUSE - NIGHT

LEO walks inside through the kitchen entrance. As he enters we see that his face has been cut up and is a little bloody. He moves to the kitchen sink. SHELLY sees him and, shocked and concerned, rushes to him.

LEO

SHELLY

LEO

SHELLY scrambles for the gun in the pocket of her robe. Still on the ground, she pulls it out, holds it securely between both of her hands and aims it at LEO.

LEO

LEO sees her with the gun and nearly starts to laugh.

LEO

SHELLY

LEO

SHELLY cocks the gun to fire by pulling the hammer back with her thumb.

LEO

LEO starts to move towards her. SHELLY closes her eyes and pulls the trigger. It discharges and hits LEO. Loudly, we hear LEO grunt like an animal in pain. SHELLY throws the gun to the floor, covers her eyes and cries out in fear. We hear the kitchen door slam shut.




CUT TO:

CEILING LIGHT FIXTURE

We view a CLOSEUP of the kitchen light fixture hanging from the ceiling as it swings back and forth having been disturbed by the ruckus.

TUNE ENDS: BAD DEEDS  



MORPH TO:

EXT. WATER FALL - NIGHT

Lit by moonlight, we watch and listen to the cascading water fall.




CUT TO:

INT. GREAT NORTHERN HOTEL - NIGHT

We see DALE COOPER in his FBI jacket, returning from his hike in the woods, walking down the hallway to his his hotel room. As he walks up the hallway the Icelander group start to loudly sing again.

SONG: ICELANDER II  
Completely frustrated, he throws his hands out at having to deal with another night of their loud singing. COOPER reaches his door and notices it is slightly open. He immediately backs up, draws his gun and points it forward as he slowly enters his dark hotel room.




CUT TO:

INT. DALE COOPER'S HOTEL ROOM - NIGHT

Inside his room, he notices a figure at his bed. The Icelander group finish their song and clap.

SONG ENDS: ICELANDER II  
COOPER trains his gun on the figure and says ...

COOPER

The lamp near the bed is turned on and we see that it is AUDREY, undressed, in his bed under the sheets. She has tears in her eyes. COOPER raises his gun with a look of shock.

TUNE: LOVE THEME  
AUDREY

TUNE ENDS: LOVE THEME  
FADE OUT:




CLOSE:




FADE IN:


TUNE: LAURA PALMER'S THEME  
We view LAURA PALMER'S homecoming picture as the end credits roll.

TUNE ENDS: LAURA PALMER'S THEME  

FADE TO BLACK: