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#2.004
FIRST DRAFT: August 8, 1990 REVISED: August 13, 1990 - BLUE 770 Balboa Boulevard Van Nuys, CA 91406 Tel: 818-909-7900 Fax: 818-909-0700
ACT ONE FADE IN: 1. INT. SHERIFF'S INTERROGATION ROOM - DAY START CLOSE on LELAND PALMER, his face a dark mask of grief. SHERIFF TRUMAN'S voice is heard: Leland, you have the right to an attorney. (beat) Leland ... ? LELAND (with a wave of the hand) No, no. I waive that right. I'm a lawyer ... VOICE I'm going to ask you some questions. Anything you say may be held against you in a court of law. Do you understand? LELAND Yes. Of course. TRUMAN'S VOICE (after a beat) On Friday morning, March third, did you go to Calhoun Memorial Hospital? Leland answers quietly, intent, as if commenting on the actions of someone else. Yes TRUMAN'S VOICE Why did you go there? LELAND I was looking for someone. TRUMAN'S VOICE Who were you looking for? LELAND The man who killed my daughter. TRUMAN'S VOICE Did you know his name? LELAND No. Yes. I do now. Jacques Renault. TRUMAN What made you think he killed Laura? LELAND (steadfast) You arrested him. TRUMAN Leland ... did you kill Jacques Renault? LELAND (his eyes shine with unshed tears) He killed my Laura. The things he did to her... have you ever experienced ... absolute loss? COOPER (gently) I doubt any of us is a stranger to grief. LELAND (looking into his heart) It's more than grief. So deep inside you, every cell screams. You hear nothing else. (beat) Yes I killed him. Yes, Yes, Yes ... Leland Palmer breaks down and cries. Truman, Cooper, and DOC HAYWARD arrayed about the weeping man. HOLD ON this tableau for a beat. CUT TO: 2. INT. SHERIFF'S STATION HALLWAY - DAY Cooper and Doc Hayward exit interrogation and walk down a station hallway. He'll plead temporary insanity. HAYWARD We'll need a psychiatric exam. I can tell you this. Parents should not bury their children. Anyone who's suffered what Leland has ... (shrugs, lets the implication linger) COOPER (gently) Do you approve of murder, Doctor Hayward? HAYWARD No. But in this case, his tone suggests, he's considered the exception. CUT TO: 3. INT. SHERIFF'S RECEPTION AREA - DAY DEPUTY ANDY BRENNAN fidgets in the reception area. Tries hard not to look like he's waiting for someone. When Doc Hayward and Cooper enter, Andy nearly shouts. Hey Doc! HAYWARD How are you, Andy? ANDY Fine. Great. Fine. Andy's smile is false. A beat. HAYWARD What the problem? ANDY (looking left and right) It's sort of personal. HAYWARD I'm your doctor, Andy. Andy hesitates. This is quite difficult for him. At last, almost in a whisper. It's about my sperms test. HAYWARD (prompting) Yes ...? ANDY You know ... I flunked. HAYWARD That's not the precise term for it ... ANDY Well I was just wonderin' if it's the kind of test you can take over, you know, like a driver's exam? I mean I've been wearing boxer shorts every day like you told me - HAYWARD You'd like to give it another shot. ANDY Yes sir I would. HAYWARD Well then I'll need a sample to take with me. Hayward sifts through his Gladstone, hands Andy a small sample jar. Andy pales. Right now? HAYWARD Put it in a brown paper bag. I'll wait in the car. Doc exits. Andy glances wildly about the reception room. No one's looking. He spots the box full of "FLESH WORLD" magazines. CUT TO: 4. INT. SHERIFF'S STATION HALLWAY - DAY Coming around a corner, Andy and LUCY MORAN nearly collide. She's lugging a coffeemaker. He's toting a couple of FLESH WORLDS, which he promptly drops. Lucy spots the pornography, then peers over Andy's shoulder, his destination beyond. The MEN'S ROOM. Lucy shakes her head sadly and storms off Andy watches her vanish with a wince. CUT TO: 5. INT. RECEPTION - DAY Truman and Cooper sit in reception with coffee, taking a breather. Cooper cases himself into a chair with a grimace, as Truman runs down the day's business. Our judge is scheduled to arrive this afternoon. Clinton Sternwood. Travels the circuit in a Winnebago. COOPER Outdoors enthusiast? TRUMAN Last of the frontiersmen. They broke the mold. COOPER Bail hearing for Leland. Leo's competency examination. TRUMAN That's the agenda. Does Leland get bail? COOPER That's up to your state prosecutor. TRUMAN Daryl Lodwick. Also on his way. COOPER What do we hear from Hawk? TRUMAN (off notes) Called this morning. County says nobody by the name of 'Robertson' ever lived next to the Palmers. Got a forwarding address on the last occupants; Kalispell. He'll check it by afternoon. (a little disappointed by the paucity of leads) That's it. Cooper sips his coffee. CUT TO: 5A. INT. HALLWAY - DAY Andy exits the bathroom, holding a small paper bag. He hurries around the corner, bumps into a coatrack and drops the bag. The bag opens and the sample rolls away down the hall, coming to rest under a chair in reception. Andy hurries after it, diving past Cooper and Truman to retrieve it. Cooper sees the bottom of Andy's new boots. Andy, don't move - (Andy freezes, his hand on the sample) Andy, where did you get those? ANDY (frightened) Don't make me say where they came from. COOPER Andy - ANDY Please, Agent Cooper, this is extremely personal business. COOPER Your shoes. ANDY Oh. I'm sorry. Phillip Gerard sold 'em to me yesterday when he was waiting. Sorry. COOPER (pointing out the sole to Truman) These are the same brand of shoe we found at Leo Johnson's. The giant said There was a clue out there. TRUMAN I thought it was cocaine. COOPER Harry, we've got to find Phillip Gerard. ANDY Can I go now? Agent Cooper, I don't know how much time I've got. CUT TO: 6. EXT. GREAT NORTHERN HOTEL - DAY Establish. CUT TO: 7. INT. GREAT NORTHERN HOTEL LOBBY - DAY BEN HORNE steps through the lobby. A DESK CLERK appears at his side. Mr. Horne? BEN Walk with me and talk. CLERK Okay, so this friend of mine works for the Seattle Post Dispatch, actually my sister went to college with her, but she's kind of a friend of mine too. Anyway she called me this morning with a hot tip. Top secret. M.T. Wentz is coming to Twin Peaks. BEN M.T. Wentz ... M.T. Wentz ... CLERK M.T. Wentz, the travel writer - BEN Yes. M.T. Wentz. The travel writer. CLERK Wentz travels incognito, using only cash. No credit cards, no way to trace his identity. Or hers. No one at the paper even knows who he or she is. BEN (figuring the benefit) A favorable Wentz review can spell big business. CLERK (so excited) He's coming, he's coming he's coming - BEN (interrupting) Keep an eye on registration. I want hourly updates. Scrutinize every check-in - DESK CLERK Especially if they pay cash. HORNE (smiles, checks his watch) It's not even nine thirty and you've already done a good day's work. Ben turns on his heels, walks away without another word. CUT TO: 8. INT. BEN HORNE'S OFFICE - DAY Ben enters his office, stops short. JEAN RENAULT sits on his desk, beside a portable television set, complete with built-in video cassette player. (quiet, nearly whispered) Mr. Horne. You look well. BEN (taking a closer look) What can I do for you? RENAULT We've met. I sell 'insurance' to small businesses. Like One-Eyed Jack's. The mention catches Ben's attention. He closes the door behind him. Steps closer. BEN Jean Renault. What's the occasion? Are my premiums about to be raised? Renault produces a video tape, inserts it into the television. Presses PLAY. Ben stops suddenly, pales: Audrey appears on screen, drugged, incoherent. Her wrists visibly bound. You bastard. RENAULT Don't make a mistake, Mr. Horne. I'm just the messenger. BEN For whom? Renault shakes his index finger. He will dictate the terms of their discussion from this point on. Renault FREEZE-FRAMES Audrey's image, continues: There are terms. Would you like to hear them? BEN Yes. RENAULT They request a large sum of money - BEN How much? RENAULT I require something else, entirely. BEN They should bear the cost of their own middleman - RENAULT They can't give me what I want. Would you like to hear what I want? BEN Yes. RENAULT Number one your business up there is run by pickpockets and fools. Every dollar earned, there's a dollar stolen. Are you aware of that? BEN (beat, doesn't want to appear disadvantaged) I have my suspicions. RENAULT What you need is a partner. Who could take care of your little problem. BEN I already have a partner. RENAULT Okay. Do you want my help or not? BEN Yes. Yes. RENAULT One more thing. Renault presses FAST-FORWARD on his remote. He stops the tape at a familiar image: Cooper in tuxedo, seated at one of the casino's blackjack tables. Ben reacts to Cooper's image with surprise, trepidation. What's Cooper doing in his casino? I want this man to deliver the ransom. BEN Why? That man's a Federal agent. RENAULT Do you want your daughter back? BEN Of course, but I can't involve - RENAULT (counts on his fingers) Cash. Partners. FBI man. BEN (he can't help himself) That's supposed be an equitable exchange? Jean smiles. He can't help but appreciate Ben's venality under pressure. This could turn out well. I'll leave the video. It could help clarify your thinking. Expect a call tomorrow. Noon. He exits. A long beat. And Ben steps to his desk, picks up the the phone, punches a button: Janet, find Agent Cooper for me, please. It's urgent. FADE TO BLACK END ACT ONE 9. INT. THE DOUBLE R DINER - DAY HANK JENNINGS carries two covered Meals On Wheels trays from kitchen to counter. DONNA HAYWARD waits to receive them. You're looking real pretty today, Donna. DONNA (neutral) Thanks. HANK (re trays) Special occasion? DONNA Lunch with ... someone I met on my route. HANK (cheery) Bed pans and shut-ins. Who's to meet? DONNA You wouldn't understand. Donna reacts to the slight with muted anger. As if to defend the absent Harold Smith. She grabs the trays, heads for the door. HANK eyes her figure as she exits. NORMA JENNINGS hurries into view, interrupts his reverie: Hank, listen to this: Louie called from the Northern. M.T. Wentz is coming to Twin Peaks. HANK Empty who? NORMA Only the most powerful restaurant critic in the state. A good review in a Seattle paper could mean a lot of business. He's going to try and send him our way. HANK (perking up) What's he look like? NORMA Nobody knows. It's a secret I guess. But he thinks he's arriving today. HANK (newly determined, takes off his kitchen apron) Then we've still got time. NORM For what? HANK I'll pick up some flowers, maybe some candles and tableclothes - now what could we put on the menu, some specials maybe - NORMA I've always wanted to do some regional dishes - HANK Babe, we're gonna trick this joint out like Christmas in July. Hank grabs some cash from the register, gives Norma a kiss, steps toward the door. Norma smiles, moved by his boyish enthusiasm. It's the man with whom she fell in love. Oh, and I think you ought to give Big Ed a call. NORMA (not ready for this) Why? HANK (seeming innocence) You're still friendly, right? So maybe this Wentz fella stops in for gas, suggest the Double R to any new faces he sees. NORMA (careful) I'll call him. HANK Good. You do that. For just an instant, almost imperceptibly, a chill passes through Hank's voice. Norma and Big Ed. Hank leavens the latter with a smile, turns and steps out the door. CUT TO: 10. INT. HAROLD SMITH'S APARTMENT DAY HAROLD SMITH carefully sets Donna's trays atop a blanket before her. He's turned his living room into an indoor picnic; silverware and plates, he's even produced a wicker basket. Donna watches, impressed. (quiet charm) How many agoraphobics do you know who own a picnic basket? DONNA Not too many, I guess. Smith sits across from her, cross-legged, with a smile. The food looks delicious. Thank you. DONNA I wanted it to be special. SMITH It is. Very. What am I thinking? We should have wine. Smith leaps up, energized, he steps toward a door, opens it to reveal a wine rack inside. Any requests? DONNA (quietly admiring) Don't ask me. All the boys I know drink beer. SMITH I'll select something appropriate. The Germans practically invented picnic wine. Sprechen Sie Deutsch? DONNA Parlez vous Francais? SMITH Of course; you speak a Romance language. Smith opens the wine with subtle ceremony, pours a little into a glass for Donna to sample. She looks at him, wonders. He nods, prompts. Donna takes a little sip. Wow. (more adult) It's very good. Thanks. Smith smiles, pours the rest. He holds up his glass. What shall we drink to? DONNA (after a beat) To Laura. SMITH To Laura. In our hearts and memories. They touch glasses. A spark passes between them. Smith reaches toward an end table, grasps Laura's diary. The one Donna spotted there previously. Donna reacts. Smith looks at her; can see the eager curiosity in her eyes. Her diary. Did I tell you I had this? DONNA (masking) Laura's diary? SMITH Would you like me to read? It seems appropriate. DONNA Please. Smith turns through the diary, selects a page. He begins. "But still I'm afraid to tell her of my fantasies and my nightmares; sometimes she's good at understanding, other times she just giggles, and I don't have the nerve to ask why things like that are funny to her." Donna reacts. She knows exactly to whom Laura is referring. Smith continues: "So I feel badly again and shut up about it for a long time. I love Donna very much, but sometimes I worry that she wouldn't be around me at tall if she knew what my insides were like. Black and dark, and soaked with dreams of big, big men and different ways they might hold me and take me into their control ..." Smith reads the latter without emotion, an even odder twist to Laura's musing. Donna reacts, saddened, embarrassed somehow. She wants Smith to stop and he can see it. Is something wrong? DONNA I'm just thinking, I mean, isn't that evidence? Shouldn't we give it to Sheriff Truman? SMITH No. (less intense) I've read this from cover to cover, Donna. There are no solutions here. Besides, she gave it it to me. DONNA Why? SMITH Safekeeping. Laura knew about my work. DONNA (working on him) I don't know anything about it. SMITH (a small smile) No. You don't. (beat) I'm a collector. Smith rises, steps to a bookshelf. Of what? SMITH Lives. People come to me and tell me their stories. About the world outside. I take their stories and place them in a ... larger context. A sort of living novel. DONNA Who tells you? SMITH Friends. Lovers (beat) Maybe you will too, someday Donna shivers. With a quiet thrill, some anticipation. And just a sliver of fear. CUT TO: 11. INT. BEN HORNE'S OFFICE - DAY Cooper and Horne look at the small television/VCR on the desktop. You were right. Her kidnappers contacted me this morning. Damn me, but you were right. COOPER (reaching for the phone) I'll call the sheriff - HORNE (stopping him) God no. They'll kill her at the first sign of police involvement. That's why I called you. COOPER That's no reason to circumvent normal channels. BEN Normal channels won't bring my daughter back alive. Ben turns to the small television, presses PLAY. Audrey's image appears on the screen. Cooper stares at the screen with evident emotion. Ben's got him right where he wants him. (Softly) You and Audrey have a special relationship. You of all people understand her value to me. They want to make the exchange tomorrow. Audrey for one hundred and twenty-five thousands dollars. Cash. But I must ask you; will you take it there. HOLD ON Cooper for a beat. Starring at Audrey, helpless on the video screen. CUT TO: 12. EXT. THE BLUE PINE LODGE - DAY Establish. CUT TO: 13. THE BLUE PINE LODGE - DAY START ON the kitchen door. Someone turns the knob, kicks it open. A figure steps inside, face hidden by the absurd number of shopping bags, hatboxes, etc. that they are carrying. ANOTHER ANGLE reveals s JOSIE PACKARD behind the boxes and bags. She sets the loot down or the kitchen table. PETE MARTEL enters, sees her. Josie. They enter into a warm embrace. Oh, Pete. I'm so sorry. PETE Me too. JOSIE I keep thinking about Andrew. What he would have done about the fire. Thank goodness Catherine was here to handle everything. Pete's face falls. She doesn't know. Josie sees it. What is it? PETE (after a beat) Josie, Catherine died in the fire. JOSIE Oh my God. PETE We're planning a service. They haven't found the body ... Pete cannot continue. Josie pulls him back into their embrace. This time to heal. Or perhaps to hide her own delight at Catherine's passing. Oh, Pete. PETE (quietly) In a couple days, we'll go ahead. I don't know exactly what we'll bury. (pulls back, embarrassed by emotions) JOSIE I feel so guilty. Shopping in Seattle. Everyone must have been wondering - PETE Harry'd sure liked to hear from you, I know that. JOSIE Yes. I'll call him. PETE And you got a strange message on the phone yesterday. Man talked real quiet. Wouldn't give his name. JOSIE (alert) Did you write it down? PETE Didn't have to. It was so strange I remembered it. "In 1997 Hong Kong will be returned to the mainland." What the heck do you suppose that was about? JOSIE (lying effectively) I'm sure I don't know. CUT TO: 14. INT. ONE-EYED JACK'S OFFICE - DAY EMORY BATTIS roughly escorts Audrey into Blackie's office. Jean Renault sits at her desk. Audrey tries to focus, look at the man before her. But she's weak, barely coherent. C'mon, Dreamboat, daddy's waiting. Emory shoves her down into a chair. Renault reacts with a frown. Miss Home has been a very bad girl. Refusing to take her medicine. AUDREY (faintly) No more. Please. Battis scoffs. But Renault surprises him. Audrey, have you been mistreated? Battis reacts. What the hell is this? Audrey pauses, then looks hard at Battis. (the best she can manage) He hit me. BATTIS I did not hit her. If that's what you're thinking. I didn't. RENAULT (only to Audrey) That was wrong. It will never happen again. For as long as you are with me. Do you understand? (Audrey manages a nod) I spoke to your father this morning. You're in no danger. Everything's going to be fine. You do trust me, don't you Audrey? Renault's voice is hypnotically soothing. His concern seems genuine. Audrey feels safe somehow. Battis steps back to Audrey, sits in a chair beside her. As if to rejoin the team. You see, Audrey, in a situation like this, people have to handle themselves in a professional manner. We're all reasonable people. Something reasonable can be worked out whenever reasonable people put their minds to it - Renault casually pulls out a silenced .38 and shoots Battis three times. A beat. Battis, quite dead, and his chair, fall over backwards. Audrey recoils in horror. Renault holds her. There, there. There, there. HOLD ON Audrey for a beat. The nightmare begins again. FADE TO BLACK: END ACT TWO 15. INT. HAYWARD HOUSE - DAY DOC HAYWARD sits on the sofa, on the phone, refers to some notes he's taken. Ed, I just talked with the Saeger-Swenson Clinic in Seattle. Nadine's problems might be related to something called pheochromo crytoma; effects the adrenal gland, it could account for her strength and, uh, erratic behavior. I'll let you know. As Doc is hanging up Donna a defiant descent of the stairs, hoping her father will notice her. Takes out a cigarette and lights it. I'd like to talk to you, Donna. DONNA I gotta go. HAYWARD Meeting James? DONNA Writing a book? Hayward points to a chair and Donna begrudgingly sits. You missed two days of school last week. Without an excuse. DONNA I had ... I was busy. HAYWARD Donna, we've always been able to talk. If there's something going on you'd like to share with - DONNA There's nothing going on - HAYWARD I have to reluctantly admit I don't believe you - and there've been other things as well, both your mother and I are concerned - DONNA I don't know. Since Laura died everything's different - HAYWARD You may feel that it is but - DONNA Dad, I'm sorry, I can't talk about this right now - HAYWARD I think it's very important that. we talk about it - DONNA It doesn't have anything to do with you - HAYWARD Donna, don't shut us out of your life - DONNA I have to, I'm sorry - HAYWARD Donna - Donna puts her cigarette out and leaves. Pause. Doc empties the ashtray into a waste basket. CUT TO: 16. INT. RECEPTION AREA - DAY Lucy is making coffee when Andy comes in. She gives him no focus. Cooper enters the station behind them. Lucy? (silence) Lucy, we need to talk - LUCY (furious) I thought you preferred the company of your MAGAZINES! Andy cowers. Her raised voice brings Truman out of the CONFERENCE ROOM. Lucy slams coffee paraphenalia around. Andy, maybe you'd like to get some air. Andy obediently steps outside. Lucy, I think we're at the point where it would be healthier for everyone if you got whatever was eating you out in the open. LUCY (nods, pause) Andy and I used to go out. COOPER That much I've gathered. LUCY For a year and a half until I began to notice things about him. They weren't big things. They were little things. He never exercises. He never washes his car, and he doesn't own a sports coat. COOPER Uh-huh, and did you do something about this? LUCY After watching a television show, I decided I needed some "me" time, during which we didn't see each other, during which period I met Dick Tremayne, Horne's Department Store, Men's Fashions. He had many coats and keeps himself and his car in good shape. Most of his behavior was asinine, but at least he was different. COOPER Are you still seeing this Dick? LUCY No. COOPER Do you want to get back with Andy? LUCY I don't know. COOPER Well, then Lucy, what exactly do you want? LUCY (a strangulated cry) I don't know! Lucy ends in loud, protracted tears and wanders off. Cooper is completely stumped. Shrugs to Truman. Truman shakes his head. I was trying to help. TRUMAN It's a nice thought. But it's like trying to fix the potholes on Highway 9. One heavy rain ... COOPER I see. You've been down this road before. Truman nods. Cooper remembers something, checks the hallway for privacy. Harry, I've got a dangerous situation. I've examined it from every possible angle. Front to back, top to bottom. And I believe there is only one way to proceed. (beat) I'm asking a favor. Strictly between us. TRUMAN What's up? COOPER I need one of the Bookhouse Boys. Your best man. It would be better if you didn't know why. TRUMAN I've stayed clear when you asked me to and helped when you needed it. But Coop, I've got to put my oar in here. COOPER What do you mean? TRUMAN You're not getting a little too personal with your work, are you? COOPER Absolutely not. TRUMAN Say no more. I'll set it up; nine-thirty at the Roadhouse? COOPER Harry S. Truman, you're a citizen. CUT TO: 17. INT. DOUBLE R DINER - NIGHT Norma and Hank are putting finishing touches on a cosmetic overhaul; tablecloths, candles and flowers in every booth. Hank wears a starched shirt. A nondescript, portly MAN appears at the diner door, briefcase in hand. Norma calls Hank attention to him. Could be. HANK Here we go. Norma moves to him. Good evening, sir, welcome to the Double R. MAN Thanks. Could I get a booth? NORMA Right this way, please. She leads him to a booth, he settles in, she hands him a menu. I'll be back to tell you about the specials. MAN No need. I want a cheeseburger, medium, a coke and some fries. NORMA (hiding her disappointment) Very good. The Man's back is to a PORTLY CUSTOMER in the booth behind him, sloppily and noisily hoovering a hamburger, using his shirt for a napkin. Hank causally strolls past the Man, picks up the Portly Customer's plate and takes him by the arm towards the kitchen. Why don't we finish up in the kitchen. Hank ushers him into the kitchen. OFF CAMERA a number of pots and pans crash. Hank reemerges, meets Norma behind the counter, as Norma puts the order on the service wheel. All he wanted was a cheeseburger. HANK Must be some sort of food critic trick. The Man gets up and comes towards Hank and Norma. They smile nervously. Bathroom? HANK Right this way, sir. Hank shows him to the bathroom. On his way back, Hank straightens out some of the little bouquets in each of the booths making his way to the "critic's" booth. The Man has left his sports coat on the seat. Hank reaches in and TAKES OUT A WALLET. CUT TO: 18. MADDY IN A BOOTH Maddy sits and eyes the door. She's nervous. Donna enters, steps toward her. There is much tension between them. Hi. (Donna nods) Thanks for coming. I didn't know ... DONNA (as she sits) Know what? MADDY I didn't know if you were mad or not. How mad. DONNA I'll survive. Donna lights a cigarette. Maddy pauses. She's not used to Donna's tough-girl poses. Donna, there's going on between me and James. DONNA (calmly) What if there is? I mean who said James and I couldn't see other people? I certainly didn't. MADDY Are you saying you're seeing someone? Donna pauses to exhale a little smoke. She eyes Maddy for a moment. Then: Maddy, I need your help. MADDY How? DONNA Harold Smith has Laura's diary. MADDY (with disbelief) But I thought the Sheriff has Laura's diary. DONNA Harold says Laura had a second diary she never told me about and he's got it. MADDY God. We should tell James about this. DONNA (firm) This has nothing to do with James,. MADDY But he's been a part of this all along - DONNA (tamping out her cigarette) If Laura did have a secret diary and he's got it, I'm going to get it. With or without your help. Donna rises, exits without another word. Maddy sighs, watches her go. Donna steps past Hank, behind the counter. He seizes a quiet moment to open the wallet. An identification card inside reads: ASSISTANT DISTRICT ATTORNEY STATE DEPARTMENT OF JUSTICE Hank reacts; disappointment and opportunity. CUT TO: 19. OMITTED 20. INT. BLUE PINE LODGE - NIGHT Josie models a new negligee. Truman sits stoically. I know I paid too much for it, but I fell in love with it ... I heard the salesman say, "The only reason we're still in business is because Josie Packard buys retail." TRUMAN It's nice. Josie kisses him. Truman doesn't respond. She feels his check and then his hands. You're so cold. TRUMAN Josie, I have to ask you this ... were you really in Seattle? JOSIE Yes. Why are you so suspicious? Look at these boxes, you think I got these at the Cash and Carry? (it's not selling; changes tactics) Besides, you know I had to get away. I was afraid. TRUMAN Afraid of Catherine. JOSIE You know why. TRUMAN And now Catherine is dead. She looks at him. Startled, almost amused. Harry, you don't think I ... TRUMAN I don't know what I think. JOSIE You think that I could bum the mill? That I would deliberately ruin everything of mine? TRUMAN There's insurance money. Pause. My God ... how could you? How could you think such terrible things?. How could you hurt me so? She turns away. Weeps quietly. Truman melts. TRUMAN Josie ... Josie? She turns back. He holds her. It complicates into a kiss, then passion. I want you... I want you to take me. They kiss again. Truman starts to lose himself. Josie ... JOSIE Tear it. Tear it. She bites his neck. He rips the back of her negligee. She gasps, trembling. He grabs her violently by the shoulders. What do I mean to you? JOSIE I love you. I need you. TRUMAN Don't play with me. JOSIE I want you. She proves it. Truman slowly loses to his passion. JOSIE I want you ... more than my own life. They kiss, without control. They roll over and over again until they are below a draped window. The CAMERA MOVES UP the drapes. Behind the blinds in the kitchen, watching and enjoying is Jonathan, the Asian Man. FADE OUT: END ACT THREE 21. EXT. SHERIFF'S STATION - NIGHT Establish. CUT TO: 22. INT. SHERIFF'S RECEPTION AREA - NIGHT In walks His Honor CLINTON STERNWOOD, early sixites, tall, rough-hewn, ramrod straight, in Western wear. Sees Lucy in the kitchenette. (fondly) Say good lookin', who do you have to grease to get a cup of coffee around here? LUCY Judge Sternwood, hello Your Honor. STERNWOOD Lucy, you're a cool drink of water to road-weary eyes. What is your secret? LUCY (a nerve touched) I'd rather not talk about it sir. STERNWOOD (instantly knows what she needs) Give us a hug. (she does; a warm, comforting embrace) Life is hard, dear. (she nods) Still and all, harder in most places than Twin Peaks. Truman enters the station. Clinton, sorry I'm late - STERNWOOD I've only just arrived. What's her name, Harry? TRUMAN What? STERNWOOD You've got the look of a man with filly trouble, son. If she won't take the saddle you've got two options. I won't bore you with either one of 'em - Cooper enters from Truman's office. Judge Clinton Sternwood, this is Dale Cooper, FBI. COOPER (instantly respectful) Your Honor. STERNWOOD How are you, lad? TRUMAN You two should have a lot in common. Lucy hands Sternwood a coffee. Thank you, dear. Harry, break the seal on that bottle of Irish you've got stashed for me and let's put our feet up. Sid'll bring in the calender soon as the Winnebago's tanked up. (they move towards the conference room) Mr. Cooper, how do you find our little corner of the world? COOPER Heaven, sir. STERNWOOD This week heaven includes arson, multiple homicides and an attempt on the life of a federal agent. COOPER Heaven's a large and interesting place. STERNWOOD Let's hope so, son. Harry, where's that bottle? They're inside. We stay with LUCY, as she returns to her post. The door opens, RICHARD TREYMAYNE enters, raincoated, romantic and rushed. Lucy ... LUCY Dick? TREYMAYNE Lucy, I haven't slept, I can't eat, I've been absolutely miserable LUCY (brightening) You have? TREYMAYNE I've been a fool, a cad, the way I've behaved. I am deeply, deeply ashamed. LUCY You are? TREYMAYNE I must have been over it in my mind a million times and what I've come to is this: I have to, no, I must ... do the right thing. LUCY You must? TREYMAYNE (gives her an envelope) It's everything I could scrape together, dear. I am completely knackered. Lucy looks in the envelope. Cash. What is this? TREYMAYNE Six hundred and fifty. I, uh, called around. I'm told this should be more than adequate. LUCY For what? TREYMAYNE For the ... to take care of the ... you know ... (she wants to hear him say it) ... little problem. LUCY (struggling for control) Richard, here's what you're going to do ... (hands him back the envelope) Take your money, put it back in your pocket or your wallet, turn right, step through both sets of doors, the second ones stick sometimes, go out to the parking lot, get into your car, turn the key - AND NEVER SPEAK TO ME AGAIN FOR AS LONG AS YOU LIVE. (he tries to speak) Say one more word I'm going to scream. Leave, please. TREYMAYNE I - She fiercely puts her fingers to her lips and closes her eyes. He slinks out. She goes into Truman's office and closes the door, from where we can hear muffled sobs. Moments later, Andy appears in the corridor, leading a handcuffed Leland. They pass by the office. Andy hears Lucy. They proceed to the conference room. CUT TO: 23. INT. CONFERENCE ROOM - NIGHT Truman, Cooper and Sternwood, as Andy enters with Leland. Judge Sternwood. STERNWOOD Leland ... take those cuffs off him please, Deputy ... (Andy complies) Leland, this is most difficult. My deepest condolances for your heartbreaking loss. LELAND Thank you, sir. STERNWOOD You've appeared before me many times. I know you to be a fine and decent man and a capable attorney. To see you under these circumstances is dreadful for us all. The law provides a structure to guide us through perilous and trying times; but it requires our submission to its Missing Pages/Scenes 26. CONTINUED: Peter, this is my cousin, Jonathan. PETE Pleasure to meet you, Jonathan. JONATHAN (thick accent; shy and halting) Thank you, Mr. Pete. Josie has told so much about you. PETE So you've come over to visit us from Hong Kong. JONATHAN Yes. Hong Kong. PETE Josie tells me you run the best little fish market in town. JONATHAN I don't know. Very competitive. JOSIE I'm afraid cousin is in need of some good old American how-now. PETE That's know-how, all you need, Jon, is a good contact here can air cargo you some King salmon, fresh, daily. Run those other rascals right out of business. Jonathan laughs, smiles shyly, toes the carpet. Pete, could cousin have some joe? After his long flight it will help him reset his biographical clock. PETE (a half-whisper) Biological. Cup 'a joe, coming right up. Pete exits. Jonathan drops the act. His voice is lower; accent Brtisih, clipped, urbane. I don't know how you've lasted six years. Nothing but hayseeds and manual laborers. JOSIE (drops her act as well) We all have our job to do. JONATHAN Yours is nearly finished. The sale of the mill and the Packard lands? JOSIE Signing contracts soon. I need Pete's signature. He's Catherine's heir. JONATHAN Will that be difficult? JOSIE No. JONATHAN How long? JOSIE Two days. JONATHAN We're expected back in Hong Kong. (she doesn't respond) Mr. Eckhardt wants very much to see you. (Josie doesn't respond) Are there any other ... complications? JOSIE There may be a problem with Hank. JONATHAN I'll deal with him. Are we suspected? JOSIE Certainly not. JONATHAN What about this sheriff? JOSIE He means nothing to me. JONATHAN (reading between the lines) That's not what I asked you. Pete returns with some coffee. Josie and Jonathan resume their roles. Here we go, fresh pot. Help yourself to cream and sugar. JONATHAN Thank you, Mr. Pete. PETE And I can promise you, it hasn't been anywhere near a fish. (a blank look from Jonathan; Pete and Josie smile) Private joke. CUT TO: 27. EXT. ROADHOUSE - NIGHT Establish. CUT TO: 28. INT. ROADHOUSE - NIGHT Cooper sits at the bar by himself. He checks his watch. Nine-thirty. Swivels on his seat one way. When he swivels back the other way, Harry Truman's sitting next to him, out of uniform. Just about nine-thirty. COOPER (looks around) Is he here? TRUMAN He's here. Cooper snaps his fingers and points at Truman. We in any particular hurry? COOPER Harry ... let me buy you a beer. CUT TO: 29. INT. DOUBLE R DINER - NIGHT The darkened interior of the diner after hours. A doorbell is HEARD. A beat. Hank Jennings steps into the room wearing sweats, a sleepy expression, turns on an interior light, opens the front door. Nobody's there. Mutters, turns off the lights, and heads back to bed. A beat. And the doorbell RINGS a second time. A quiet noise is heard. And appliance lights, dim illumination, go dark in the shadows. What the ...? Hank Jennings stumbles back into view. He tries the light switch. But this time nothing. The room remains dark. Hank fumbles through a drawer, produces a flashlight. He turns it on. Suddenly: the beam reveals Jonathan, the Asian Man. Hank reacts with surprise. He keeps the beam trained on the Asian Man's face, as if to blind him. (cool and calm) Okay. What's the deal? What do you want? Hank makes his move. He swings the heavy flashlight at the Asian Man's head. But the Asian Man dodges the weapon with ease, catches Hank at the elbow, directs him forward, crashing into tables and chairs. The flashlight rolls on the floor, Hank retrieves it, gets to his feet and aims a high kick at the Asian Man's head. It's a glancing blow, but enough to knock the man off-balance. Hank attacks, the Asian man avoids his rush, sends him flying into a large refrigerator. Hank gasps, regroups. And charges again. This time the Asian Man plows a fist into his midsection, adds a blow to the back of Hank's neck. Hank lies still on the floor, huffs and puffs. Listen, I'm just gonna ... lie here for a while. The Asian Man kneels, retrieves the flashlight, aims it at him, steps toward Hank. Silent. What? What? The Asian Man stands over Hank, the flashlight aimed at his eyes. Hank puts up his arms to defend. But the Asian Man simply grabs him by the hand, brings their thumbs together - a bloodless approximation of Hank and Josie's partner ritual. Bloodbrother. Next time I'll take off your head. He smashes the flashlight against a counter. CUT TO BLACK: THE END |
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