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(Episode 2.014) by Scott Frost
FIRST DRAFT: November 5, 1990 SECOND DRAFT - General Distribution: November 14, 1990 REVISED: November 16, 1990 - BLUE REVISED: November 26, 1990 - PINK REVISED: November 27, 1990 - GREEN REVISED: November 28, 1990 - YELLOW Lynch/Frost Productions, Inc. 770 Balboa Boulevard Van Nuys, CA 91406 (818) 909-7900 ACT ONE FADE IN: 1. INT. SHERIFF TRUMAN'S OFFICE - NIGHT Close on the fibers of a fabric tape. We slowly pull back revealing that it is the tape covering the mouth of the DEAD MAN. A surgical gloved hand reaches into the frame and slowly pulls the tape off the mouth, inside the mouth attached to the tape is a black chess piece - a pawn. We pull back to DOC HAYWARD, AGENT COOPER. Good Lord. Cooper reaches in, removes the chess piece and examines it: it's a match to the pieces on the chess board set up on the table. HARRY enters the room. No one saw a thing. The blackout and fire drew everyone out of the building. COOPER Andy, we'll need this dusted for prints ... Cooper drops the chess piece in a bag and hands it to ANDY standing inside the door with his eyes closed so he won't see the body and cry. He reaches out for the bag, misses it. Truman puts it in Andy's hand. Andy turns to leave and walks into to the wall with a thud. Andy peeks, adjusts his trajectory and makes it. How long has he been dead, Doc? HAYWARD Hard to tell; we'll need an autopsy. COOPER Doc, open the victim's shirt. I believe you will find an incision, a stab wound one inch beneath the sternum, penetrating upwards, severing the aorta. Hayward and Truman exchange a look then Doc opens the shirt. Cooper was right. You've seen this before. COOPER (nods, examines the floor) No blood stains. Cooper picks a pine needle up off the floor. Then walks to the middle windowsill, examines with magnifier. HAWK comes in the door. Hawk, footprints? HAWK Two sets, same boots; one coming, one leaving. Heavier impressions on the way down. COOPER Carrying the body. TRUMAN We should get molds made of those before it rains. COOPER He'll have been wearing the wrong size shoe, untraceable and already destroyed. HAWK I followed them to the granite stream up the ridge, lost them on the rocks. COOPER He knows how to mask a trail ... any cars stolen in town recently? TRUMAN There was one a couple of days ago, from the Cash and Carry on Sparkwood. No witnesses. Cooper, you're sure Windom Earle's behind this? Cooper nods, steps to the window, looks into the darkness. A short time ago, a vagrant ... our victim was befriended and offered a lift. He was given some cheap wine and a cigarette. The victim was then driven to a location up behind the ridge, you'll find the car still up there. He was stabbed, once, managed to run at least fifty yards, cutting his hands and face on brush before collapsing. Earle engineered the explosion that caused the power failure, created the diversionary fire that drew everyone outside the station, then brought the body in through this window. (turns, Faces them) Windom Earle has been in this room. I can still feel his presence. There aren't going to be any fingerprints in here, Harry. No slip-ups, oversights, no mistakes. Everything he does has its own rationale, precision and intelligence. Windom Earle is a genius. And he's taken his first pawn. In a very sick game. CUT TO: 2. EXT. GREAT NORTHERN - NIGHT Establish. 3. INT. GREAT NORTHERN LOBBY - NIGHT AUDREY and BOBBY sit at a small round table. The power is out. Candlelight illuminates the scene. They have drinks between them. Plus a bucket of ice. Audrey drops a few cubes into Bobby's glass and a few into hers. Listen carefully, Bobby Briggs, here's what we're gonna do. If I have learned anything from my father before he flipped his wig it's that a business relationship is a sacred pact, equaled only by the closest of personal relationships ... where nothing is held back. BOBBY Right. AUDREY Do you want to get rich, Bobby? BOBBY Immediately. AUDREY Maybe I can help. This is the last of the ice cubes till the power comes back on. She reaches over and picks an ice cube out of Bobby's drink. Now, pretend this is my father. She closes her hand around it. An ice cube? AUDREY Right. And our job now is to help my father find his way back from Limbo-Land so he doesn't melt away and leave me with a handful of nothing. She reopens her hand, the cube is melted. We wouldn't want that to happen, would we? BOBBY No. AUDREY From now on Bobby I'm the one you suck up to. She licks up the melted water. (a moment of conscience) What about Shelly? AUDREY What about Shelly? Bobby's eyes grow stalks. He finishes his drink. CUT TO: 4. EXT. LEO JOHNSON'S HOUSE - NIGHT Establish, not a light on. CUT TO: 5. INT. LEO JOHNSON'S HOUSE - NIGHT POV, moving frantically through the darkened kitchen into the living room and to the door. We pull back, SHELLY desperately tries to open the door but it's been locked from the out side. (screaming) No! She looks back into the kitchen, it's pitch black, she can't see a thing. (pleading) Oh, God ... please no. The sound of a creaking wheel on the wheelchair is heard. Leo? Out of the darkness comes Leo's wheelchair directly toward her, it knocks over a lamp, comes closer and closer. She jumps out of the way as it crashes into the door. Shelly starts for a window, something flies through the air and lands at her feet. She freezes; a bar of soap in a sock lays on the floor. A guttural laugh rises out of the darkness. Don't do this, Leo. From the darkness comes. (slurred, and bursting with pride that he's e's back) Le...O. Le...O. The refrigerator door swings open. The light from inside illuminates a grinning crazed- looking LEO. F-u-n-s o-v-e-r. Leo laughs again. The refrigerator slowly closes. From the darkness comes the sound of a foot dragging across the floor. Shelly makes a break for it, out of the darkness Leo's hand grabs Shelly by the neck, pulls her close to him. Le-o go-od. He smiles, then throws her across the table, sending her and everything on the table crashing into the corner. Fu-n. Leo shuffles toward Shelly, his left leg and arm not quite up to snuff. He stops, reaches up and turns on the radio. Le-o like mu-sic. Shelly picks up a toaster and hurls it at him, bouncing it off his chest. Leo looks at the toaster, then down at his chest. Ow. Shelly tries to run again, no luck, Leo has her, grabs her by the throat. He starts to spin her around, his grip tightening on her throat as he does. Shelly tries to pull away, but even with only one good arm Leo it too much, desperately close to passing out she strikes, gouging at his eyes. Leo erupts in a rage, throws her into the living room where she crashes against the wall. Leo then flips the kitchen table over and lets out an animal like howl. CUT TO: 6. EXT. LEO'S BACK DOOR - NIGHT Bobby steps up to the door, still buzzed from the evening with Audrey, takes in a deep breath of the fresh night air, and hears Leo's howl. CUT TO: 7. INT. LEO'S A bruised and battered Shelly cowers in the corner as Leo slowly approaches, a silent monster. CUT TO: 8. EXT. LEO'S - NIGHT Bobby tries the door but it won't open, then bangs on it. Shelly? Shelly? Bobby walks over to the window and looks in, rubs on the glass to get a clearer view. Shelly pulls herself up to the glass, bruised and crying. (immediate concern) Shelly? We hear the howl again, then Leo's fist comes crashing through the window. Bobby tumbles away from the window in terror. (stunned) Leo? From inside we hear Shelly scream, as Leo grabs her. (screaming) Bobby! Bobby races to the door and tries to break it in, no luck. CUT TO: 9. INT. LEO'S - NIGHT Leo has Shelly by the hair and is dragging her toward the living room. Off screen we can hear the frantic pounding and shouts of Bobby. They reach the kitchen and Leo drops her onto the floor. Stands over her for a long moment. Good-bye wi-fe. He raises up his big boot above her face, a tear falls from his eye, he's going to crush her. Shelly screams. Bobby bursts through the back door and is on Leo before he can react. They tumble to the floor, for a moment Bobby has an advantage. You bastard! Leo suddenly reaches up with tremendous strength, grabs a surprised Bobby by the neck and flips him on to the floor, then is on top of him. Leo smiles. Hell-o Bob-by. Leo begins to laugh, then tightens his grip. Bobby gags, the throat is beginning to go. Bobby manages to reach into a pocket and pull out his lighter, flicks it on. Leo stares at the flame, transfixed. Bobby moves the lighter close to Leo's face. Leo smiles, transfixed. Bobby then adjusts the flame and it shoots up into Leo's face, he erupts in a scream and covers his face with his hands. (screaming) Ahhhh! He stands, bounces off the walls knocking things down, then runs out into the darkness. Bobby crawls over to Shelly, takes her in his arms, a tear falls from her eyes. Bobby. BOBBY It's okay now, he's gone. SHELLY Don't leave me again, please, Bobby, please. BOBBY I'm here, baby, everything's all right now. From out of the darkness we hear another one of Leo's howls. We move in on the open door, creaking on it's hinges. FADE OUT: END ACT ONE 10. INT. SHERIFF TRUMAN'S OFFICE - MORNING A flashbulb whites out the scene. When it clears, we are on a white sheet being draped over the dead man laying on a stretcher. We pull back to Cooper looking tired from a long night of forensic work which is winding up. No prints, no fibers. You were right. If it's Earle, he didn't miss a beat. (hands Cooper a cup of coffee) Did you hear from Denise, uh, Agent Bryson? COOPER (nods assent) The DEA and the Bureau have cleared me of all criminal charges. But the suspension stands. I'm waiting to hear from Gordon TRUMAN In the meantime you're still my deputy. This case is your's if you want it. Cooper looks at the body as it's carried out. I want it, Harry. Hawk enters. Found that stolen car on a logging road just as you said ... no prints. And just so you know, Hank Jennings missed the buy at Dead Dog because he was in the hospital. Claims he was hit by a bus. I cuffed him to the bed and booked him for parole violation. One more thing: Shelly Johnson just called. She says Leo Johnson came to last night, attacked her and ran off into the woods. Harry and Cooper react. Another flashbulb goes off. CUT TO: 11. INT. SHERIFF'S STATION, RECEPTION AREA - MORNING Close on Andy trying desperately to pull off the surgical gloves he is wearing. He yanks, he pulls, one last try and it shoots off across the room, sticking to the sliding window of Lucy's office. Lucy looks up as Andy peels it off the glass. (whispering) Lucy, we need to talk... It's about Nicky. LUCY Little Nicky? ANDY Dick and I have been doing some thinking and some looking and we think he's a ... he's a ... LUCY A what? The stretcher with the body is slowly wheeled out by TWO ATTENDANTS. One of the wheels squeaks incredibly loudly. Both Andy and Lucy's eyes are glued to the body as it slowly passes and exits. (looks around to make sure no one is listening) We think he murdered his parents. LUCY He's nine years old. ANDY I know. We think he was six at the time of the crime - LUCY (slow boil) I met little Nicky. I talked to little Nicky. If you two think, for one second that I'll believe a little defenseless orphan is a murderer ... the both of you aren't fit to be fathers to a chimp! Lucy reaches out, grabs one of the fingers on the glove Andy has on, stretches it out several feet and lets go... wap! I'm going to get to the bottom of this, right now. She storms out. CUT TO: 12. OMITTED 13. OMITTED 14. EXT. MARSH ESTATE - DAY POV: Looking under the hood of the Jaguar. JAMES moves out from under the hood, finds a smiling Jeffrey and EVELYN. I'm Jeffrey Marsh, James. I've been hearing very good things about your work from Evelyn. JAMES See how you feel when you drive it. JEFFREY I'm sure it will be fine. Sounds like it's lucky we found you. James can't place this pleasant man with the one who beats his wife. He feels like hell. Lucky for me too. JEFFREY I hear you're on the road. JAMES Yeah. Will be again soon, I guess. JEFFREY No itinerary, no deadlines ... I'm envious. Wish I was going with you. Evelyn locks her eyes on James who can feel the heat. Jeffrey opens the door to the car. Maybe after I take her out for a spin we'll talk shop. Sounds like we have a mutual love. (slams the door) Cars? JAMES Yeah, I don't know, I'm kind of overdue already... EVELYN Of course he'll stay. There are plenty of things I can find for him to do... right James? JAMES Yeah, maybe. (her look devours him) Excuse me. James leaves, heads for his room. Nice kid. He looks at Evelyn. He's done a fine job on the car. Jeffrey slides into the car and ignites the engine. Races the motor. Let's see what it will do on the open road. Evelyn kisses him through the car window. Bye... Jeffrey. CUT TO: 15. INT. BEN'S OFFICE GREAT NORTHERN - DAY Close on the flames in the fireplace. We pull back. BEN HORNE, dressed as General Lee, puffs on a cigar as he sights a small cannon. On the floor of the office are toy soldiers in marching columns and an elaborate train set. DOCTOR JACOBY sits across the battle field, pencil and note pad in hand. The office doors swing open, Audrey enters with JERRY. Ben? JACOBY He prefers General. AUDREY He's marching on Washington. We think he's getting close. BEN (elated) Jeb! Jerry looks at Audrey. He thinks you're General Jeb Stuart. JACOBY (Soto) You're with the cavalry. BEN Jeb, a great day is upon us. By dawn our troops will be on the outskirts of Washington. By mid-day it will fall, and we will once again walk on my cherished fields in Arlington. (he looks at Jerry very solemnly) Only God can stop us now. And it is my firm belief, Jeb, that the almighty is a Southerner. Ben moves back to his soldiers. Jerry looks at Audrey, then back at his brother, tries to smile. Hallelujah ... Jerry glances over to Jacoby, motions him over to join Audrey and himself. You think it's a good idea for Ben to be carrying a sword? JACOBY Your brother is suffering from delusions brought about by emotional collapse. He thinks he's on a forced march to Washington. He's crossing the Maryland border as we speak. AUDREY He's nuts. JERRY (pats her condescendingly on the head) Why don't you let your uncle Jer decide that for himself. Ben picks up the flag and waves it. (distraught) Oh, Ben. JACOBY Actually what he is doing is quite healthy. By reversing the South's defeat in the civil war he will in turn reverse his own setbacks. What he needs now is both your understanding, a confederate victory, and a good price for his cotton. Metaphorically speaking. Jacoby smiles. Jerry looks over at Ben. Men of the South, from this day to the ending of the earth we who fight shall be remembered. For our bravery. For the battle scars we bear. We few. We happy few. We band of brothers. Onwards... to Washington. CUT TO: 16. INT. TRUMAN'S OFFICE - DAY Close on the chess board set found with the body. We slowly circle it, coming to Cooper, intently staring at it. Coffee cup in hand. Harry joins him. How does chess figure into all this? Cooper studies the board for a moment, then looks at Harry. Because we played a game every day for three years. Windom felt all of life could be found in the patterns and conflicts created on the board. And because I never beat him, and we both know it. Now I have to make my next move. I'll publish it in the Twin Peaks Chronicle tomorrow. That should do it. He's close. TRUMAN Coop, I think I need some more information here. COOPER Harry, I've brought some baggage to town with me I haven't told you about. TRUMAN (not demanding) Well, as your superior - Cooper turns to Harry. The coffee cup shakes in his hand. Both notice. For the first time Truman sees fear in Cooper's eyes. Windom Earle was my first partner. Everything I know about the law and the bureau I owe to him. Four years ago we drew the assignment of protecting a material witness in a federal crime. She was a very gentle, very beautiful woman. Her name was Caroline. She and I ... fell in love. TRUMAN What happened? COOPER One night, I failed in my vigilance. An attack was made. I was wounded, stabbed, lost consciousness. When I awoke, Caroline was in my arms. She was dead. She had also been stabbed. TRUMAN (putting it together) The wounds on the vagrant? COOPER Identical. The killer was never caught. My wounds healed. Windom Earle ... went mad. Institutionalized, until his recent escape. TRUMAN So why is he after you now? COOPER (a beat) Harry, Caroline was Windom Earle's wife. Harry takes a seat. So he blames you for her death. COOPER No. It's worse than that - much worse. I think he killed her. And I think he also committed the murder that she originally witnessed. He used to beat her, Harry, that's what I found out when I ... (can't continue for a moment) Windom's mind is ... like a diamond. It's cold and hard and brilliant and at some point he stopped caring about right and wrong. I also believe Windom feigned the insanity that sent him away. You don't know what he's capable of. You don't know. CUT TO: 17A. EXT. MARSH ESTATE - DAY Wind whips thru the trees. MOVE DOWN to discover the Marsh House. CUT TO: 17. INT. JAMES ROOM, MARSH ESTATE - DAY CLOSE ON James' saddlebags, his things laying next to them on the bed, ready to be packed. Evelyn stands looking over them, fingering the clothes as James walks out of the bathroom. He stops when he sees her. Don't you knock? EVELYN I'm sorry. Are you leaving? JAMES Yeah. He walks over to his bags. You were good with Jeffrey. JAMES It didn't feel like good. EVELYN I can change that. She kisses him passionately, then begins to pull his shirt off. James pulls back. Look, I can't do this, it's wrong. EVELYN Love isn't wrong, James, it's just complicated ... James walks over to the window, then turns and looks at her. The look melts her, and she realizes it. Please ... don't leave me. Don't leave me alone with him. They stare for a moment. I have to check my bike. James walks out. We move in on Evelyn as she turns and looks at James' saddlebags. CUT TO: 18. EXT. GARAGE - DAY James walks over to his bike, tries to gather himself. Then picks up a wrench. He wants to throw it but doesn't. CUT TO: 18A. JAGUAR WHEEL: The wheel fills the frame, slowly begins to spin faster and faster until it reaches a blur. CUT TO: 18B. THE WRENCH: Flying through the air, smashing a MODEL OF MARSH'S JAGUAR sitting on a shelf. We pull back to James, he's in trouble. (PRODUCTION NOTE: shoot alternate take without the jaguar model.) FADE TO BLACK: END ACT TWO 19. EXT. WALLY'S BAR - DAY Establish. CUT TO: 20. INT. WALLY'S - DAY Close on a jukebox as a record is lowered onto the turntable. We pull back as DONNA stands at the door. She moves to the bar. Coffee, please. The BARTENDER goes for the coffee. Donna takes in the scene. Sitting at the other end of the bar is Evelyn. The bartender returns. I'm looking for a biker. His name is James. James Hurley. He's expecting me. He's expecting this. She holds up an envelope. The Bartender looks her over, then glances at Evelyn and nods. Donna takes out a cigarette. She strikes a match, we follow it up to the cigarette. You look like someone in need of help. Donna studies her for a moment. Do I? EVELYN How old are you? DONNA Eighteen. EVELYN (moves down the bar towards her) Maybe I can help. DONNA I can take care of myself EVELYN You on the road by yourself? A long beat. Donna senses something about Evelyn. I'm looking for someone. Evelyn smiles, studies her for a moment. What's his name? DONNA James. EVELYN James. James Hurley? DONNA Yes, do you know him? Know where he is? EVELYN He did some work for me recently. DONNA What kind of work? EVELYN He fixed my husband's car. Donna tries to decide if this woman is a threat. Where is he? EVELYN He left, yesterday. On his bike. DONNA Where'd he go? EVELYN He said something about the ocean. Mexico. I'm not sure. DONNA (wind out of her sails) That's all? Evelyn shakes her head. Seems to really feel for Donna. Are you what he's running away from? Donna doesn't say anything, holds onto her coffee. Evelyn finishes her drink. Why don't you go home, dear ... a girl like you ... he'll be back. (touches her shoulder, she puts a dollar on the bar) Coffee's on me. Evelyn walks away, Donna looks at the dollar bill, then turns as the bar doors swing shut. We move in as she stares at the swinging doors. CUT TO: 21. EXT. DOUBLER DINER - DAY Establish. CUT TO: 22. INT. DOUBLE R - DAY We follow NORMA taking a huge plate of potatoes and roast beef over to BIG ED, who's seated with DOC HAYWARD. Extra potatoes. Norma smiles, she and Ed hold the look for a long moment. Thanks. She leaves. Doc notices the look between them. Where's Nadine, Ed? BIG ED She's got a wrestling match up at Knife River. Doc, Nadine's what I wanted to talk to you about. You're a father, girl in high school ... (this is difficult) Doc, Nadine wants to start dating other boys, and I, well, I don't know what to say. DOC Is she sexually active? BIG ED Active? I wake up every morning feeling like I've been run over by a lumber truck. DOC The extra adrenaline. BIG ED It's downright dangerous. She's liable to kill a young kid. I don't know what to do. DOC Be patient. And tell her to be home by nine o'clock on school nights. (Ed smiles, Doc rises) Ed, Donna took the van this morning, said something about going to look for James. Is there anything I need to be worried about? BIG ED He's out west a couple of hours, just trying to clear his head, I think. Donna's taking him some money. DOC It's not easy being a parent is it? BIG ED It sure ain't. Doc leaves, Norma walks over with a piece of pie. Slides in across from Ed. Hank's in the hospital. He says a tree fell on him. (she reaches out and touches a bruise on his face) Doesn't have anything to do with this, does it? BIG ED The tree was a redwood named Nadine. (Norma doesn't quite get it) Honey, after you left yesterday, Hank jumped me, right in my own living room. The truth is, if Nadine hadn't walked in when she did, it'd be me in the hospital or someplace worse. NORMA Nadine took out Hank? BIG ED Yep. And it wasn't pretty. Norma sits back, they study each other. Harry called, they're arresting Hank for a parole violation. When he's well, he could be going back to prison. I think it's time I start correcting a few of the mistakes I've made. He reaches out, takes her hand. We could start by getting a cabin, a bottle of sparkling wine and some venison steaks. NORMA People will find out. Ed grips her hand. Let'em. Norma smiles, we move in on their fingers lacing around each other's. CUT TO: 23. INT. SHERIFF STATION - DAY CLOSE ON the the face of an exhausted MAJOR BRIGGS, standing at the front door, we pull back. The Major is a wreck, barely makes it to Lucy's desk. Major Briggs? BRIGGS I need to see the Sheriff. He looks at her, and slowly sinks to the floor. CUT TO: 24. INT. TRUMAN'S OFFICE - DAY The Major, Harry and Cooper all gulp very large glasses of water. Lucy stands by with a large pitcher for refills. They all finish at the same time. More? COOPER I'm fine. TRUMAN Fine. BRIGGS Fine. Lucy leaves. Truman and Cooper turn their attention to Briggs. Major, what happened? BRIGGS As men who have dedicated their lives to service, I know you are able to understand how sacred I hold a pledge of allegiance. And the cost one must pay when breaking a pledge. COOPER It can be very great. BRIGGS The Air Force, I thought was not unlike other societies of men, dedicated to the fight for good. Harry and Cooper look at each other wondering. Briggs gets up from his chair. Gentlemen, frankly I'm worried. When my superiors questioned me about my disappearance they exhibited a degree of suspicion and intolerance bordering on the paranoic. I must now admit that their motivation in the search for the White Lodge is not ideologically pure. (turns to them) I believe that during my disappearance I was taken to the White Lodge. I remember virtually nothing, but I have the clear intuitive sense that there is much trouble ahead. COOPER What kind of trouble? BRIGGS I am not aware of the form it will take. (straightens himself up, back to form) I will return. Until that time, I will be in the shadows if you need me. Good day, gentlemen. On that note he leaves. Harry and Cooper are left a little dumbstruck. The shadows?... Can you beat that. COOPER Nope. Andy knocks and enters. Excuse me, Sheriff, Agent Cooper, may I show you something? He leaves, Truman and Cooper follow. CUT TO: 25. INT. CONFERENCE ROOM - DAY Truman and Cooper enter, join Hawk and Andy. At the other end of the room stand Jacoby and LANA. Good, I wanted everyone to hear this. I have just spent most of the last twenty four hours with this charming young lady. And as you can see, I have no bruises, no broken bones. Any claims by her deceased husband's brother that she is cursed and somehow responsible for a death is nonsense. What she does possess is a heightened sexual drive and a working knowledge of technique, anatomy, and touch, few men have ever had the pleasure of experiencing, or the skill to match. Lana blushes, smiles. Looks them all over. Pause. Is it warm in here? EVERYONE Yes. Cooper steps forward, extends his hand. Lana, let me be the first to congratulate you. LANA Thank you. I could never have done it without Dr. Jacoby. JACOBY Okay. Well, then, we're going bowling. Jacoby and Lana walk out. They all look at each other for a moment. Cooper whistles, as in "Put your lips together and blow." Amen. A moment later we HEAR a scream. CUT TO: 26. INT. HALLWAY - DUSK Jacoby and Lana are staring down the barrel of a huge shotgun, held by DWAYNE MILFORD. Truman, Cooper, Hawk and Andy rush into the hall. Their guns drawn. Don't anybody move. Shoot and I'll take'em both with me. TRUMAN Mr. Mayor, put the gun down. FADE TO BLACK: END ACT THREE 27. INT. SHERIFF'S STATION - NIGHT POV: looking down the barrel of the shotgun pointed at Lana and Jacoby. The gun then moves across Harry and the rest of the assembled. Anybody moves and I'll blast her to kingdom come. The gun swings back to Lana and Jacoby. And the hippie too. We pull back. Mr. Mayor, this is not going to solve anything. DWAYNE She killed my brother! JACOBY Mr. Mayor, Lana has killed no one. DWAYNE Horse dung. Come over here, Lana. Come over here. No one moves. Cooper steps up. Fellas, why don't we let the Mayor and Lana talk this over alone. DWAYNE I don't want to talk, I want to shoot. COOPER You can always shoot later, Dwayne. Talk first. (he motions into the conference room) Right in here. Go ahead, Lana, it'll be fine. Dwayne backs into the conference room with a reluctant Lana and closes the door. What do we do now? COOPER Wait. EVERYONE Wait? Cooper nods. Pause. Are you sure? COOPER Nope. They wait; it's not as easy as it sounds. After several silent moments, Jacoby starts to chuckle, then stops. Several long moments pass. Everyone is getting fidgety. (whispers) It's kind of hard ... waiting. Everyone nods. Several more moments pass. Jacoby chuckles again. More silence, then Cooper steps over to the door of the conference room and listens. OK. He motions Hawk to the other door, they all take out their guns, then burst in. CUT TO: 28. INT. CONFERENCE ROOM - NIGHT All guns are trained on Dwayne ... with Lana sitting in his lap in the middle of a deep, passionate kiss. The guns are all holstered. Dwayne, covered in lipstick, finishes the kiss and looks up, beaming. We've decided to adopt a child. Lana kisses him again. He's so much like Dougie, I feel like my husband's been brought back to life. DWAYNE I've been lonely and selfish. I hope you'll all forgive my boorish behavior. Come along, dear. They get up and walk out, leaving everyone a little stunned. I could use a drink. COOPER This might be a good time for it. CUT TO: 29. OMITTED 29A. EXT. BLUE PINE - NIGHT Establish. 29B. INT. BLUE PINE KITCHEN - NIGHT PETE stares intently at a piece of paper on the kitchen counter, takes a long thoughtful drink of coffee, looks down at the paper again, then starts to take another drink , but stops and breaks into a smile, and points at the sheet of paper. Hot dogs, we forgot hot dogs. CATHERINE enters, studies the scene for a moment. Did Josie go shopping yet? PETE Yep, but we forgot the wienies. All beef, with the skin on. CATHERINE If I can tear you away from this high-level executive decision making for just a moment, I've got something to show you. Catherine walks over to the office doors, Pete follows several feet behind. They stand at the closed doors for a moment. Have you asked yourself, Pete, how I survived after the fire? How I was able to effect my transformation into Tojamura and marshall the resources I needed to defeat Ben and win back the mill? PETE Now that you mention it ... yeah. Catherine opens the doors, revealing ANDREW PACKARD. Pete is speechless. (affectionately) If it isn't sneaky Pete Martell. PETE (slow to read) Andrew ... I saw the boat ... you ... you ... ANDREW (off his stuttering stupification) Take all the time you need. Good old Pete. CATHERINE As you can surmise, I had Andrew's help. PETE So, let me get this straight, you didn't die in the boat accident. ANDREW We didn't tell you, Pete, with apologies beforehand, because you didn't need to know. And frankly ... we didn't want you to. PETE Okay. Well, if you're bringing anybody else back from the dead, I vote for Veronica Lake. ANDREW We discovered the attempt on my life was coming and arranged for this little deception. PETE Lord, who tried to push the button on you, Andy? CATHERINE Does the name Thomas Eckhardt mean anything to you? PETE (a long deliberation) No. ANDREW Eckhardt and I were business partners. I knew lumber, he knew Hong Kong. We made a lot of money, had some fun ... then I got the better of him in a piece of business and he tried to stab me in the back ... PETE Really? ANDREW In a manner of speaking. He's a very dangerous and powerful opponent. CATHERINE He plotted Andrew's death for six years. After he thought Andrew was dead he came after me. PETE Does Josie know you're alive, Andy? Catherine and Andrew glance at each other. As if talking to a child. Pete, dear, Josie worked for Eckhardt. PETE That's right. She did? My God ... is she still? CATHERINE We'll find out when Eckhardt arrives. PETE He's coming here? Andrew nods. I've never known Josie's seductive powers to fail. He'll come for her... Like a rat for cheese. CUT TO: 29C. INT. SHERIFF STATION, LUCY'S AREA - NIGHT The fax machine begins to beep. Truman steps behind the desk to retrieve the incoming message. We see concern on his face. Andy and Cooper sit behind him. Lucy walks in with Doc Hayward and DICK TREMAYNE. Everyone stops, sizes up the situation. A stern Doc zeros in on Andy. Andy, in here, we're going to talk. Andy dutifully follows Doc into Truman's office. Truman studies the fax. Troubled. Coop, we've got another problem. I need to ask you a favor. That brings him back. Harry, there's something we have to get straight. You're in charge, I work for you now. You say jump, I'll jump. Cooper smiles, so does Harry. This just came over the wire from Seattle. He shows him a clipping from a Seattle newspaper. MURDERED MAN FOUND IN ALLEY NEAR AIRPORT. And a picture of Jonathan, the Asian man. Murdered. She told me she got away from him. COOPER You think she is responsible for this? TRUMAN (sadly) I guess that's what I need you to find out. Cooper studies the fax. CUT TO: 30. INT. TRUMAN'S OFFICE - NIGHT Close on Andy and Dick seated next to each other. Doc stands above them, his arms folded across his chest. Lucy vigorously paces the room. When Lucy told me about your "theory" I called the orphanage and cut through the red tape. I immediately got to the bottom of things because I was there when it all begin. Little Nicky is no more a murderer than Lucy or I. TREMAYNE I believe pathological was the phrase we used, Doc - HAYWARD Dick, I didn't drop you on your head when I brought you into this world, don't give me cause to regret that. ANDY Doc, it's just - HAYWARD Shut up and listen, the both of you. Lucy smacks a bug with a flyswatter like it's a baseball. Little Nicky entered this world through the back door where hope and promise never saw the light. His mother was a poor immigrant chambermaid at the Great Northern. Nicky was conceived during an assault by a man in a back alley who fled across the border. She never reported it to the police, but when she started to show she reported it to me. But Nicky's mother had a dream for a better life, for herself and her child. It was the dream that brought her to this country. She decided to carry that child. The poor wretch never saw the boy. She died just as Nicky took his first breath. I delivered that woman's baby. We buried her in Potter's Field and sent the infant to the orphanage. For several years he was shuttled from one state home to another. Then one day, hope finally shined on little Nicky. A young childless couple brought him into their lives. They were loving, caring parents. It all collapsed in one terrible moment on an icy highway. There was a crash. Six year old Nicky managed to pull both his parents from the burning wreck, but it was too late, and Nicky was alone once again, as he is today. LUCY I hope you two are happy! We move to Andy and Dick who are weeping uncontrollably. CUT TO: 31. EXT. GREAT NORTHERN - NIGHT Establish. 32. INT. GREAT NORTHERN LOBBY - NIGHT CLOSE ON a hand coming down on the bell on the reception desk. The CLERK approaches. Good evening, how may I help you. We pull back to reveal a tall, very muscular woman named JONES. I have two suites reserved. CLERK Name? JONES Eckhardt. Jones turns and looks across the lobby. Standing by the fireplace is Thomas Ekhardt, a mysterious, severe looking man, wearing sunglasses. The Clerk studies them for a moment, sensing something different about these two people. Welcome to Twin Peaks. Jones nods to Eckhardt. We move in on him as he turns toward the fireplace. The flames reflect in his glasses, we move in tight as the sound of the flames becomes louder and louder. CUT TO: 33. INT. JAMES ROOM - MARSH ESTATE - NIGHT James is packing his saddlebag when the door opens and Evelyn enters. Her concern is immediate when she sees that he is packing. James? What are you doing? JAMES What does it look like I'm doing? EVELYN Are you leaving? Are you leaving? She walks over and runs her hands up his back to his shoulders. James spins around and grabs her by the wrists. (angry) I can't stay here anymore. EVELYN I don't understand - JAMES It's wrong. She pulls away from him. Because ... because I'm married. JAMES Yes. Yes. She walks over to the window, looks out. A police car pulls up. (softly) I love you, James. JAMES Save it. EVELYN I've never said that to anyone in my life, but I'm saying it to you now. ANGLE OUT WINDOW, as two OFFICERS exit the car. BACK ON EVELYN, she turns from the window, there are tears in her eyes. There's been an accident. Jeffery is dead. A light bulb goes off in James's head as she walks toward him. His car? EVELYN Yes. JAMES You killed him. She reaches him, tries to hold him. No. No. JAMES My God. You set me up. EVELYN It was Malcolm's idea... He's not my brother. (like a slap in the face, James gets it) Hurry, the police are outside. James rushes over to the window and looks out. Another car pulls up. Go find that young girl who loves you. James rushes over and picks up his bag, looks at her for a moment. Go. James goes to the back door, opens it and starts out. 33A. EXT. MARSH HOUSE James runs for the woods. Donna's voice stops him. James - JAMES Donna? Donna comes out from hiding. They hug. This way. We've got to hurry. They start to run into the woods, but James runs back for a moment to see Evelyn moving towards the arriving POLICE OFFICERS. Donna pulls James along. CUT TO: 34. EXT. WOODS - NIGHT The wind blows the trees, it's a wild night. CUT TO: POV: Someone moving clumsily through the trees, smashing and breaking branches. Heavy labored breathing can be heard. Then a wolf howls, we spin around looking for it. The gentle sounds of a flute become audible drifting through the forest. We pull back. It's Leo, he starts to follow the music. CUT TO: A CABIN, a candle in the window. The music drifts out. Leo crashes through some brush, and sees it. An owl hoots. CUT TO: 35. INT. CABIN - NIGHT The cabin is in shadow except for the candle by the window. We SEE a hand set down an ornate wooden flute, then pick up a gun. The door swings open. Leo stands there, panting, damaged. (mumbling) Bar ... bar of soap ... bad girl... Leo laughs, focuses on the figure in the doorway, the gun. He takes a step backward. No, no. Come in. (very soothing) It's all right, I'm a friend. Come in. Leo tentatively steps in. You look like you've had a very hard night. Leo nods, grunts. Come, sit. I will help you. What's your name? Leo struggles with concept of friendship. Leo... The MAN steps into the candlelight. Well, Leo, you can call me Windom. Windom Earle. A gust of wind rushes through the cabin. We pan to a chess board set up on a table, the wind knocks over a piece, then blows out the candle. FADE TO BLACK: END ACT FOUR |
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