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#2.008 by Scott Frost
FIRST DRAFT - Dept. Heads Only: September 12, 1990 REVISED: September 14, 1990 - BLUE REVISED: September 20, 1990 - PINK REVISED: September 26, 1990 - GREEN Lynch/Frost Productions 770 Balboa Boulevard Van Nuys, CA 91406 (818) 909-7900 ACT ONE FADE IN: 1. EXT. PALMER HOUSE - MORNING Establish. CUT TO: 2. INT. PALMER HOUSE LIVING ROOM - MORNING The camera slowly moves across the room, picking up family portraits, and the photograph of Laura as Homecoming Queen. Off camera Leland can be heard softly humming. We pull back, Leland, stands in the middle of the floor holding a golf club preparing to swing... he let's one go. The door bell rings. He walks off camera to answer it. It's DONNA and JAMES. Donna, James, come on in ... They enter the living room We just came by to say goodbye to Maddy. LELAND Oh, I'm sorry, you just missed her. I dropped her off at the bus station not twenty minutes ago. JAMES (slightly stunned) She's gone? Donna looks, at James, trying to get a read on his reaction. Yes. She thought you were coming by last night. James and Donna glance at each other. Did she say anything? LELAND I'd have to say she was a little disappointed - Sarah calls from upstairs. Leland? He goes halfway up the stairs. Donna and James look at each other. I'm glad we were together last night, and I'm not sorry we missed her, are you? JAMES No. Leland returns. You could try writing, I'm sure she'd love to hear from you. Do you have her address? DONNA Yes. Sorry to have bothered you. LELAND No bother, say hi to your folks for me, Donna. She nods, Leland walks them to the door and they leave. From off screen ... Leland? Something else? Leland closes the closet door. Yes, dear? SARAH'S VOICE Remember to sign us up for Glenn Miller night at the club. LELAND I won't forget. Call you later. Leland turns to the door. CUT TO: 3. INT. LELAND'S CAR - MORNING Leland drives out of his driveway and down the street. He starts to sing. "Chicks and ducks and geese better scurry ... When I take you out in the surrey ... When I take you out in the surrey with the fringe on top ... (beat) Nosy folks will peer through the shutters ... and their eyes ... will ... pop ... CUT TO: 4. OMITTED 5. INT. DOUBLE R DINER - DAY (a bit stunned) Mother? Norma sets the plate down in front of TOAD. Vivian inspects it. I trust those are real potatoes and not flakes. NORMA Real potatoes. What a nice ... what a surprise. Before Toad can take a bite Vivian reaches over, takes a fork from the counter and tests his potatoes. Hmm, very good. I see they taught Henry a skill in the stockade. Where is your charming husband? NORMA Hank's ... not here right now. VIVIAN I see. Vivian starts to walk along the counter, checking out the place. Mother, if you don't mind my asking, what are you doing here? VIVIAN I wanted to introduce you to my husband. Ernie, this is Norma. Ernie's a financial analyst. Ernie waves from his cellular phone. Hi, how are you? NORMA Husband...? VIVIAN (blithe, secure) We're honeymooning. Norma reels just a little. But before she has a chance to question or reply: Norma, could I trouble you for a cup of coffee? Norma nods, gets the coffee. Vivian sits at the counter. I just love what you've done to your little diner, Norma. The plastic flowers add such a nice measure of cheer. (brushing crumbs off the counter) And the tablecloths are most attractive. Norma takes the coffee to Ernie. Thanks so much - nice to see those good looks didn't isolate themselves to one generation. (winks sweetly, then yells in the phone) No, I need London gold figures, I've got a trader in Tokyo with petrodollars to burn. (more trouble with the phone) Damn... reception's terrible out here. (line goes dead) It went "roam" again. Norma rejoins her mother. You still look very smart in that uniform, Norma. Such a nice figure and you've kept it well. NORMA Mother, I don't mean to be rude; how long are you going to be here? VIVIAN In town? A few days. Ernie wanted to spend some time in the county. Why? NORMA I wish you'd let me know you were coming* VIVIAN I didn't want you to make a fuss. You know me, dear, I'm easy. What's wrong? NORMA Nothing. There's a food critic coming and I'm a little short handed, that's all. VIVIAN Food critic? Oh, that's why you've tried so hard to make everything look nice. Norma takes a shot at a smile, comes up a little short. Ernie's off the phone, comes over, sets his paper and cup down on the counter. Norma, looking forward to spending more time with you. Do they have cellular service in the car. Vivian, if it's all right with you we should check in, there's a Tokyo fax wait for me at the desk. VIVIAN We'll be at the Northern, dear. Sorry we missed Henry. I'll call later. Vivian and Ernie leave. Norma picks up the paper Ernie left behind. Notices that he wasn't looking at the Dow Jones, but rather the spread sheet from the USA TODAY sports section where he has circled his choices with a magic marker. We can see "Houston, 3 1/2, take the points." CUT TO: 6. INT. GREAT NORTHERN LOBBY - DAY Cooper and Truman step through the Great Northern Lobby. Cooper speaks quietly, into his recorder. Diane... 10:00 a.m. at the Great Northern. I've just been in a hotel room with the One-armed Man... or what's left of him. In another time, another culture, this man would have been a seer, a shaman priest... possibly a leader. In our world, he's a shoe peddler, and lives in the shadows. As he speaks, Cooper notices someone up ahead. He pauses, shuts off the recorder. It's Leland Palmer. Leland Palmer. CLOSE on LELAND, holding a golf club, doing a soft shoe routine for a group of entralled CHEERLEADERS. He slowly slides his foot around in a wide circle. Cooper and Truman exchange a look. They stop and watch. Leland finishes, the girls applaud. He sees Cooper and Truman, starts over. Does he know we've arrested Ben Horne? TRUMAN Doesn't look like it. COOPER Best that he hear it from you. Harry nods, Leland arrives. Harry, Agent Cooper. It takes Harry a moment to get it out. Leland, we've arrested Ben Horne for Laura's murder. He hasn't been charged yet, but we're holding him. LELAND Ben? There must be some mistake ... I thought Jacques Renault ... COOPER No. LELAND (that brings him back) Is there a strong case against him? TRUMAN (a look at Cooper) I think so. LELAND I see. Leland seems to be struggling with powerful emotions. Are you all right? Mr. Palmer? LELAND (nods, shaken) The law will handle this. COOPER (a mild rebuke) As it should be. LELAND (a look at Cooper) Thank you, Harry. Leland turns and walks away. Cooper and Truman starts out, then stops, turns around and watches Leland walks around the corner. He senses something but isn't sure what. FADE OUT: END ACT ONE 9. INT. JAIL - DAY BEN HORNE sits on the bunk in his cell holding a pillow and sniffing It. It's clearly disgusting The detention area door opens, Ben stands up, JERRY HORNE is led in to see his brother. He carries an enormous brief case, stuffed with papers. Jerry, what the hell took you so long? They stand and look at each other through the bars for a moment. Date lines, time zones, I don't even know where I am. God, you look terrible. The deputy opens the cell door. Jerry hands him a small Japanese flag. Jerry, steps inside. The deputy closes the door and leaves. The Brothers look at each other for a long moment. Jerry ... JERRY Ben ... They suddenly embrace long and hard, then step back. Ben, since your regular mouthpiece has been charged with murder himself, I'm going to handle your case personally. Let's get started: did you kill her? BEN (upset) Jerry! JERRY Sorry, you're right, the last thing a good defense attorney needs to know is the truth. BEN Can you get me out? JERRY They, can only hold you for 24 hours without charging you ... or is it 48. BEN Jer, I'm in trouble here! JERRY Under control big brother. Okay, so where are we saying you were the night Laura died? BEN I was with Catherine. JERRY Not a good choice. BEN It happens to be the truth. JERRY Oh dear, Any sign of her? Bone fragments, teeth, a charred corroborating note regarding your whereabouts? (Ben shakes his head no) I'm so depressed. A dejected Ben sits down on the bottom bunk. Jerry starts to bang his head on the bunk bed. He suddenly realizes what his head is hitting. (smiles) Bunk beds. He jumps up onto the upper bunk, stretches out. Neither says a thing for a moment. Do you remember our first room, Ben? BEN (remembering a simpler time) Yes ... JERRY Me on the top bunk, you on the bottom ... Louise Dombrowski dancing on the hook rug with the flashlight ... Lord, what's become of us? BEN What is that smell? Jerry takes an enormous ginger root out of his pocket and hands it down to his brother. Ginger root. I'm supposed to take a bath in it when I get home. Then dry my right side with my right hand and my left with my left hand. Cures jet lag. Little trick I picked up from a Geisha named Meko. She boiled my shirts. Wish you'd been there, Ben ... she had the cutest little feet. Ben looks at the strange shaped root, breaks it in half. CUT TO: 10. INT. SHERIFF'S STATION - DAY LUCY walks into the station house, several steps behind is her sister, GWEN, a gum snapping, dyed hair, walking and talking disaster area. She carries her new BABY. ... no, the first time I went in they thought it was my bladder, and they wanted my urine. Infection? I hadn't been near a rusty nail. You remember that time my toe turned purple? So instead I took a bath in baking soda. My toe came around but I got the worst cramps, like you swallowed a kinked hose - HAWK walks by. Hawk? Have you seen Andy? Before he can answer ... Oh, You must be that native person I've heard so much about. Eagle Eye? HAWK Hawk. Sister? LUCY Gwen. GWEN God, after all we've done to you, how you must hate us white people. Hawk looks at Gwen. Dead pan. Some of my best friends are white people. CUT TO: 11. INT. INTERROGATION ROOM - DAY Close on the sharp point of a small surgical instrument. This won't hurt a bit. We pull back. Doc Hayward is about to take a blood sample from Ben Horne's index finger. Jerry and Truman look on. Cooper stands back in the room, out of the light. Sheriff, I protest this brutal treatment of my client. After all this man has done for this town. Hayward looks at Jerry, jabs the lancet into Ben's Finger, a bit harder than is usual. Ow! Hayward smears blood onto a slide He sticks a cotton ball on Ben's finger. (to Truman and Cooper) I'll have results in a couple of hours. Hayward leaves. Jerry tries to take charge. Gentlemen, I demand that my client be released or charged. Never! in all my years practicing law have I witnessed such complete and utter disregard for an accused man's constitutional rights ... From the corner of the room comes... Jeremy Horne, Gonzaga University 1974, graduated last in a class of 162, passed bar on the third attempt, licence to practice revoked in Illinois, Florida, Alaska JERRY Hey, I'm not on trial here. COOPER Sit ... down. Jerry does. From the shadows, Cooper tosses Laura's diary onto the table, then steps into the light. Do you know what this is, Mr. Horne? BEN A ... book. COOPER Look at it closely. He does. (cautiously) A ... diary. Cooper lays out a playing card - a one-eyed jack. They stare at it. We know all about One Eyed Jacks ... so did Laura. Cooper picks up the diary, reads from it. "I'm going to tell the world about Ben Horne. I'm going to tell them who Ben Horne really is." (puts the diary down) But she never got the chance, did she? (pause) Come on, Ben, we're all grown-ups here ... a wild, young girl like Laura. Things spin out, of control. She becomes a threat. Not just to you, your business ... your family. Ben explodes, stands up shouting. You are out of line! COOPER Maybe you don't have anything to hide? (picks up the diary again) That's not what it says in here - BEN (shouting, out of control) You can't talk to me like this! It's all Jerry can do to control his brother. Ben, ssshhh, Ben, let's sit down, nice and easy, right here. Truman steps around the table and helps Ben into his chair. Sit down, Mr. Horne. They all try to catch their breath for a moment. Gentlemen, I'd like a moment alone with my brother, with my client. ... if you don't mind. Truman looks at Cooper, he nods "Yes". You have your moment. Cooper picks up the diary, and exits the room with Harry. Jerry rubs Ben's shoulders. Ben, Ben, Ben ... if you're going to blurt out a confession our options shrink down to a tiny little nub. BEN (dejected) What do we do? Jerry walks over and sits across the table from his brother. Your alibi has been roasted, they can establish motive. And your blood may have Laura's finger prints on it. They look at each other, think a moment. Ben, as your attorney, friend and brother ... I strongly suggest that you get yourself a better lawyer. Ben's eyes grow stalks. CUT TO: 12. INT. LEO JOHNSON'S HOUSE - DAY Close on a dual cassette deck. As the cassette spins in one deck, we pull back. BOBBY BRIGGS looms above. He holds a small micro-recorder to the built-in microphone of the cassette deck. Ben Horne's and Leo's voice's are heard from the micro-recorder. Burn the mill? BEN (TAPE) Keep it simple. Insurance investigator should read "arson," block letters, about uh, six feet high. LEO (TAPE) The deal we discussed? BEN (TAPE) The rest on delivery. Bobby turns off the dual recorder and his small micro-recorder, his fingers dancing over the tape decks. He removes the cassette from the deck and lays it on the table. (to himself) That's Ben Horne's voice... Ben Horne and Leo ... think, Bobby. SHELLY calls from the other room. (pleading) Bobby! ... Bobby picks up a pen and writes a note in big black letters. "I think we should talk." He then slips one of the cassettes and the note in a large envelope, seals it, gives it a kiss. Bobby turns, Shelly stands there, covered in baby food. Bobby smiles wickedly, walks over, removes a glob of food from her neck with a long sensuous lick. Shelly doesn't seem to notice. He did it again ... it's your turn to clean him this time. Bobby cools off. Shelly walks over to the table, fingers the envelope. What's this? BOBBY Our ship. SHELLY What? BOBBY Since our cash cow in the other room has turned into a sink hole ... (slowly advances on her) I've decided to pursue a career in business. SHELLY Really? ... Like a salesman? BOBBY I'm thinking management. Shelly's eyes light up. SHELLY Oh, Bobby, that sounds great. He reaches her, picks her up and sits her on the table. You're going to have everything you've ever wanted. Bobby moves in for a kiss. (excited) A cloth diaper service. Bobby freezes: how did I get into this mess, and how do I get out? CUT TO: 13. INT. GREAT NORTHERN HOTEL ROOM - DAY Close on the face of the ONE-ARMED MAN, lying in bed. His eyes are closed, he seems to be resting comfortably, then begins to twitch. His eyes suddenly open. "Mike" is back. We pull back, a NURSE, sitting next to the door. (to himself) He's close ... The Nurse hears him, puts down her knitting, walks over to him. Could you get me some ice water? She hesitates a moment, then nods "yes." His eyes follow her as she walks out of the room and closes the door. CUT TO: 14. INT. HALLWAY - DAY The Nurse exits the room, walks over to a DEPUTY sitting across the hall from the door. She tells him she's going for the ice and walks off. The Deputy gets up, walks toward the door. POV of the Deputy, as he reaches the door, pushes it open, and enters. The bed is empty, curtains blow in an open window. Gerard/Mike steps out from the shadows behind the door. We pull back as he raises a blunt instrument in the air and brings it down on the unsuspecting Deputy's head. Voices are heard in the hallway, Mike turns, looks toward the open window. We move in, the curtains blow wildly in a gust of wind, as the Nurse's scream echoes through the Great Northern. FADE TO BLACK END ACT TWO 15. INT. DOUBLE R DINER - DAY HANK JENNINGS enters the diner, stops when he sees Norma behind the cash register. (tries to bluster his way through it) Hi, Norma. Guess I'm a little late. NORMA 48 hours is not late, Hank, it's missing. He grabs an apron, starts to put it on as he sweet talks her. Sorry, I had some business I had to take care of. NORMA Business? No, this is a business Hank. A business is where you go every day whether you feel like it or not. HANK (reaching for her) Norma - NORMA Save the sweet talk. I am this far from telling you to take a hike. HANK (dripping with sincerity) Please. Please don't make that kind of judgment without hearing me out. She looks at him, still seething. He sees a crack of daylight. Norma, because of the bad choices I made, there are people out there, people from my past, who want to see me fail. I've tried fighting them. That just got me in more trouble. I've tried running, but there's always someone faster. I know it's no way for a man to live his life, bur sometimes it's best just to hole up and wait for the storm to pass. I didn't mean to hurt you, I'm just trying to keep my head above water ... NORMA Maybe next time, you should ask for help. They look at each other for a moment. Next time I will. Norma smiles. Hank turns, comes face to face with Norma's Mother. So, the prodigal son returns. HANK (not loosing a stride) Vivian. You ... look ... great. VIVIAN (not fooled for a second) Prison treat you well? HANK That's a long story. VIVIAN Why don't we hear it over dinner tonight? The Great Northern, say ... eight-thirty. HANK We'd love to. NORMA I don't know if I can get away. HANK It'll be fine, honey, we'll be there, eight-thirty sharp. Vivian smiles, looks at Hank, exits. Norma gives Hank a look. Hey, she's family, Norma. Norma walks to the kitchen. We move in on Hank, the wheels turning. CUT TO: 16. EXT. SHERIFF'S STATION - DAY Establish. CUT TO: 17. INT. TRUMAN'S OFFICE - DAY CLOSE ON Truman, looking intently out the window through binoculars. A beat. A throat is cleared behind him at the office door. It's PETE MARTELL. A little uncertain, hat in hand. Harry? TRUMAN (gazing through binoculars) Hello, Pete. PETE (stepping closer, re binoculars) Whatcha got? TRUMAN Woodpecker. Pillared, I think. PETE (with a smile) A Pillared Woodpecker. Outstanding. (beat) Harry...? Truman turns from the window, sets the binoculars upon his desk. What's up? PETE (after a beat, kneading hat in hands) Josie's gone. TRUMAN I know. PETE (sad and lonely) I came back from the late shift. She left a note on the kitchen table. No goodbyes. No explanation. A note. TRUMAN She sold the mill to Ben Horne. PETE (thinking of Catherine's rebirth) Well, not exactly... TRUMAN You don't have to explain. PETE (mind wandering back to Josie) I loved her. There, I said it. No offense, Harry. TRUMAN I loved her too. I stood there and watched her go. Watched her assistant carry out her bags. PETE (the fog clears) Assistant? TRUMAN Asian fella. Never seen him before? Lee? PETE What'd he look like? TRUMAN Average height. Medium build. Pony tail. PETE That was her cousin. Jonathan. TRUMAN She said he was her assistant. British accent - PETE This guy could barely speak English. TRUMAN (knows in his heart) Pete, this was the same guy. PETE Harry, I've got a bad feeling. TRUMAN I'm right there with you. Just then: the door opens, Cooper hurries into the room. Harry! (beat) Gerard's escaped from the hotel. TRUMAN (man of action) You'll have to excuse me, Pete. (to Cooper, crossing to retrieve jacket) I'll put out an all points. COOPER He won't get far. If he does, maybe he'll lead us to "Bob." Cooper and Truman make a hasty, exit. Pete remains behind, forgotten. A beat. He reaches into his jacket pocket, pulls out a small tape recorder. Then, steeling himself for what is to come: Ben Horne... CUT TO: 18. INT. SHERIFF'S STATION - DAY Cooper and Truman bolt out of Harry's office and exit the station. A moment later Andy walks in and comes face to face with Lucy, carrying her sister's baby. Neither says a word for a moment, Andy can't take his eyes off of the child. (stunned) Lucy ... LUCY What? Andy's eyes widen, then he passes out cold. The baby breaks into a wild fit of crying. CUT TO: 19. INT. JAIL - DAY The door to the cell area is opened, PETE MARTELL peeks his head in and looks around, clearly not comfortable in a place so devoid of wood. He cautiously steps inside. Ben's been watching. Step right in Pete. We desperate criminal's are all safely locked in our cages. Pete walks over, tests the door to the cell, makes sure it's locked. I have a message for you. BEN Ah, greetings From the boys down at the mill? Pete grunts his disapproval, then takes a small cassette player out of a pocket in his jacket. This sparks Ben's interest, though he won't show it. But first, a little music ... He starts to turn away, Pete turns on the tape. Hello, Benjamin ... Ben freezes, then swings around, too stunned to speak. Cat got your tongue? Ben looks at Pete, who smiles. Sorry I haven't dropped by for a visit, dear, but I have a strong aversion to prisons. BEN (a realization) She's alive. CATHERINE (TAPE) Benjamin, darling, you don't look too well, why don't you sit down? He does. How often I've thought of you. You and that night we spent together lost in love ... when was that? Yes, I remember, it was the night Laura Palmer died. It seems so long ago, almost like a dream. Memory's so unreliable finally, maybe it was a dream, maybe it never happened. To tell you the truth, I can't be sure anymore. Ben springs out of the bunk over to the bars. What does she want? I'll pay it ... anything. Pete chuckles. In exchange for my testimony, you will sign the mill and Ghostwood estates back over to me. I will consider letting you keep your precious hotel. PETE You okay there, Benjy? Ben's pale as a sheet. A representative of mine will come to you with the documents within 24 hours If you won't cooperate, I'm confident you'll go on from here to excel at one of the many fine career opportunities offered by the federal prison system. Ben, so nice to see you again. PETE (chuckling) That Catherine ... BEN (stunned) She set me up. She set me up. PETE She's a caution, isn't she? Pete leaves. We move in on Ben, a slow burn. He turns around, grabs a pillow from the bed, wildly attacks the bars with it. (out of control, a frightening violent rage) No!... no .... no ... no ... no ... no ... nooooo! We pull back, feathers floating everywhere. Ben stands in the middle of it. Lost for the first time in his life. CUT TO: 20. EXT. ROAD - DAY Big Ed Hurley's pickup truck swerves wildly down the middle of a country road. CUT TO: 21. INT. TRUMAN'S BRONCO DAY Cooper sees the oncoming car in their lane before Harry. Are driver education programs compulsory in your school system? Harry has seen it, nods "yes." Yep ... COOPER Think we've got a drop out. Look out, Harry! The truck doesn't pull over, Harry drives off the road. They're startled, but neither they or the car are damaged. They look at each other a moment. Did they see who they think they saw? Big, Ed? CUT TO: 22. INT. CAR - DAY Close on Big Ed behind the wheel. The sheriff approaches from behind, lights and siren blaring. Ed smiles, waves to them, obeys their instructions to pull over to the side of the road. CUT TO: 23. ROAD - DAY Truman and Cooper step out of the Bronco, as does Ed out of his truck. (concerned) Harry, Agent Cooper, are you all right? TRUMAN We're fine, Ed, you? ED I'm fine. I was, was just on my way out to the club to break in out some new irons. Boron. Graphite shafts. I started thinking about Laura. I guess my mind wandered. COOPER It's a good practice to leave your troubles behind when you sit behind the wheel of a vehicle. ED Yes, of course, you're quite right. My apologies. Truman and Cooper are ready to leave it there. Oh. Oh, I did remember something. As you'd asked? The night Laura died. I was working late at the station. Around ten. Ben Horne shows up in his fancy car. He looks real agitated, talking to himself. I heard him say something about a 'dairy.' TRUMAN A dairy? ED Yes, I think so. COOPER A diary? ED (thinks) That might've been it. Ed notices that Cooper is looking at the back of his pickup. Truman's radio crackles with a call. He goes to answer it. Are you a golfer, Agent Cooper? COOPER Yes. I enjoy its precision. ED (smiles) May I show you my new clubs? Ed walks over to the back of his pickup. Ed picks up a club, as if it were a weapon, turns, and starts toward Cooper. Truman steps out of the Bronco. They found Gerard, near the waterfall. COOPER Let's go get him. He turns to Ed, who abruptly stops. Ed, afraid I'll hive to take a look at those clubs another time. ED I understand. Anything I can do to help, please let me know. COOPER (studies him for a moment) We will.. Cooper and Truman get in the Bronco and drive off. Ed watches them, then begins to laugh wickedly as he walks back-to the rear, throws the club inside. He climbs in behind the wheel, looks in the rear view mirror. It's "Bob." FADE TO BLACK: END ACT THREE 24. INT. SHERIFF'S STATION - DAY 24. Hawk walks through the station doors escorting Gerard, who's one arm is handcuffed to his belt. As they pass the reception area we pick up Lucy putting a cold compress on Andy's forehead. Her sister sits next to them holding the baby, keeping up a running dialogue. - the same thing used to happen to me when I first got pregnant, I'd be out shopping, and boom, pass right out in the produce section, then come to covered with bruises and crushed fruit and strangers standing over waiting to see if I was dead; people want terrible things to happen to you, I know - Andy, who's been attempting to follow the story stares at Gwen for a moment, then turns to Lucy. I want to talk to you about my sperms. GWEN Sperms, that's all men think about; I remember when Little Kal was born they laid him on my breast I looked down and saw what kind of a tiny creature we were dealing with and I thought, good god, just what the world doesn't need, another sperm running around loose, women beware. They both stare at her. Well I did. ANDY (to Lucy) I had mine counted. Twice. The first time they were all dead. GWEN If I had a nickel for every time I heard that. ANDY The second time they were jumping like salmon swimming upstream. GWEN So of course all you could think of was spawning. They both turn to Gwen. Shut up! She moves away. Andy and Lucy turn to each other. So when you told me that you were pregnant I didn't think it could be me because mine were all dead supposedly at the time. LUCY Uh-huh. ANDY But they got better. I was misinformed. (beaming) I'm the father. LUCY (knows it's more complicated) Oh brother ... ANDY (starting to crestfall) Aren't I? They look at each other. Lucy puts her head in her hands. CUT TO: 25. INT. INTERROGATION ROOM - NIGHT Ben Horne stands in the middle of the dimly light room. The One-Armed Man slowly circling him like a blood hound. Cooper, Truman and Jerry Horne are also in the room. Gerard stops, pale and weak turns away from Ben, sits, speaks softly to Cooper and Truman. He has been close ... Bob is not here now ... Jerry moves to them. Sheriff, isn't there something you'd like to share With us? Gerard stares at him. And would you please ask this guy to stop staring at me like I'm a dog biscuit? Gerard wipes his forehead, growing weaker. Bob has been very close. JERRY Who's Bob? I don't know a Bob. (to Ben) Do we know a Bob? (grandstanding) Sheriff, no offense, but clearly this man's stairs don't reach all the way to the attic. Now your 24 hours are up; you either charge my client or let him. Hawk walks into the room, hands Truman a note. He reads it then hands it to Cooper. Truman walks over and leans on the table, glares at Ben. I'm charging you with the murder of Laura Palmer. BEN Good move, Jerry. GERARD No, no ... TRUMAN Hawk, take Mr. Gerard back to the hotel. Nail the windows shut, I want two men on his door Hawk takes Gerard and escorts him out. No ... no ... They leave. Ben cooly eyes Truman. You two bit lumberjack, you're finished in this town! COOPER (with authority) Be quiet! Everyone is. Cooper looks at Harry and smiles. Harry, I think we better talk outside. Truman hesitates, finally nods yes, and walks out, followed by Cooper. Jerry starts to rub Ben's shoulder's, speaking softly in warm soothing tones. CUT TO: 26. INT. DOWNSTAIRS CORRIDOR - NIGHT Cooper and Truman step into the corridor. Harry, I think we're saddling the horse here before we're ready to ride. TRUMAN I don't follow. COOPER I don't think Ben Horne killed Laura Palmer. TRUMAN What? COOPER We should release him. TRUMAN (very frustrated) Coop, look, I've tried to help you every step of the way, I've stood by you. But I have had just about enough of giants, dwarfs, dreams and throwing rocks at Tibetan milk bottles. Somebody does a crime, it's my job to lock 'em up. And I cannot in good conscience let a man walk from my jail who I think is a killer! I can't do it. Cooper looks at Harry, smiles. You're right. This is your backyard. Sometimes an outsider can forget that. Cooper pats Harry on the arm. Walks away. We move in on Truman, wondering how and why he won that battle so easily. CUT TO: 27. EXT. GREAT NORTHERN - NIGHT Establish. CUT TO: 28. INT. GREAT NORTHERN DINING ROOM - NIGHT Close on Hank, gnawing on a huge beef rib, staring at Ernie. Vivian takes a bite of her salmon, tastes it carefully. Firm ... fresh ... just a little overcooked. ERNIE Mine too. Hank smiles, barbecue sauce on his chin. Just right. Norma stands. The evening is not going well. Will you excuse me for a moment? VIVIAN I'll join you. Ernie stands as they leave. Hank hurriedly rises as well, wiping off his chin. Ladies ... hurry back. They leave. Ernie stands for a moment then sits back down. Hank sets down the rib. They study each other for a moment. You're not going to say anything, are you? If Vivian ever found out I was "inside," she'd leave me flat. Hank begins to chuckle. Ernie Niles. Ernie "The Professor" Niles. ERNIE So... when .. did you ...? HANK Couple weeks. But let me tell you Ernie, without you to pal around with, those last six months were sheer hell. Nobody to go to the library with... nobody to stamp license plates with... Hank puts a hand on Ernie's shoulder, gives him a rough shake. Ernie tries to smile, but Hank clearly makes him nervous. So what's the angle here with Miss Moneybags, anyway? ERNIE There's no angle. HANK Come on, buddy, we never had any secrets. Vivian's rolling in dough. ERNIE Vivian and I met at a Republican fundraiser. We're married. HANK (admiring) You musta told her some tall tale. A whopper. ERNIE I am trying very hard to tell nothing but the truth these days. It's therapeutic. (as if to prove the benefit) Vivian wants me to handle all her investments. HANK What about yours? You gonna introduce her to your loansharks? ERNIE I'm out of it, Hank. I don't gamble anymore. I go to meetings. I go to church, too. HANK So does Vivian know you ran off with the congregation's picnic fund? ERNIE (waffling) I would never steal from a church. It was a savings and loan. I was sick, it was an illness and I've paid my debt. It's a new life. A clean slate. HANK So she doesn't know. (Ernie's look confirms it) You know, Ernie, this is interesting to me because family is the most important thing in the world to me. And one must be prepared to pay any price ... to protect it. Wouldn't you agree? ERNIE (weakly) I completely agree. HANK We'll talk some more, Ernie. I always enjoyed our talks out in the yard - Man to man, prisoner to prisoner. Norma and Vivian return, Ernie rises abruptly. Hank more leisurely. We're back. HANK (raises his glass) I'd like to propose a toast ... to the newlyweds and their happiness. VIVIAN (less than sincere) Thank you, Henry. What a nice gesture. HANK To Ernie and Vivian ... may the future bring them much success. (he looks at Ernie) ... in all their future dealings. They all drink, Hank gulps his. We move in on Norma watching Hank and Ernie's reaction. She senses something's up. CUT TO: 29. INT. HALLWAY GREAT NORTHERN - NIGHT POV: Moving slowly down the hallway toward a door, we stop, room 315. CUT TO: 30. INT. COOPER'S ROOM - NIGHT We pull back from the curtains, blowing in the wind, pass over an untouched piece of pie, stop on a shirtless Cooper, changing the dressing on his wound, still wearing his shoulder holster. He picks up his mini recorder. Diane, 11:05, pm. Great Northern Hotel. Not a star in the sky tonight. Ben Horne's in custody. If the Great Northern grieves it bears its sadness in silence ... the trail narrows, Diane. I'm close, but the last few steps are always the darkest and most difficult ... A gust of wind wildly blows the curtains. Cooper, turns looks at it, there's a knock on the door. He turns off the recorder, picks up his gun from the table. Cautiously walks to the door. Opens it. AUDREY stands looking at a shirtless Cooper, holding a gun. Audrey. They look at each other for a moment. Can I come in? Talk? COOPER Of course. She enters. Cooper reholsters his gun, Audrey looks at his wound. Is that where you got shot? COOPER Yes. She wants to reach out and touch it, but doesn't. Then embarrassed, turns around and looks out the window. You arrested him? COOPER Yes. AUDREY Did he do it? COOPER That's for the court to decide. AUDREY What do you think? COOPER What I think ... doesn't matter right now. AUDREY Did you arrest him because of... what I said? COOPER (trying to be kind) Only in part. AUDREY But I helped. COOPER (pause, can't be) Yes. AUDREY (pause) All I ever really wanted was for him to love me. COOPER I'm sure he does. AUDREY (emotionally) He's ashamed of me ... COOPER No. AUDREY (needs forgiveness from somewhere) Agent Cooper, when I was at One Eyed Jacks, I never ... I never let anyone ... COOPER You don't have to say anything. AUDREY Just so you know - COOPER (strong) I know. She looks at him longingly. Starts to reach out to touch him. The phone rings. Pause. I have to get that. AUDREY (almost speechless) OK. Cooper answers the phone. Hello. (immediate concern) Where? How long ago? I'm on my way. He hangs up, reaches for his shirt. Audrey senses the seriousness of the call. What's wrong? (galvanized, hiding levels of concern) Audrey, want you to go to your room and lock the door. Stay there. AUDREY Why? COOPER No questions. Do this for me. She looks into his eyes. All right. CUT TO: 31. EXT. WATERFALL NIGHT Water rushing, misting. A pool near the bottom of the falls. Flashlights. Hawk, Cooper, Truman. Ambulance attendants. A body, alive or dead we're not sure, being pulled from the water and laid on a stretcher. Coop ... it's Maddy Ferguson. They watch the stretcher being carried away. FADE TO BLACK: THE END |
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