FIRST DRAFT DATE: November 20, 1990
SECOND DRAFT: November 26, 1990
GENERAL DISTRIBUTION: November 27, 1990
REVISED: December 4, 1990 - BLUE
REVISED: December 5, 1990 - PINK
REVISED: December 6, 1990 - GREEN
REVISED: December 7, 1990 - YELLOW
REVISED: December 11, 1990 - CHERRY
Lynch/Frost Productions, Inc.
7700 Balboa Boulevard
Van Nuys, CA 91406
1. EXT. MARSH HOUSE - NIGHT
POLICE CARS in the driveway.
2. INT. MARSH HOUSE, VESTIBULE IN FRONT OF THE STAIRS - NIGHT
A COP stands at the door with MALCOLM. A few other COPS look around the house. EVELYN MARSH sits on the steps behind them playing the grieving widow.
His room is completely empty.
He's a drifter. I'm sure he was long gone once Mr. Marsh
pulled out of the driveway.
Would you know his full name?
I barely knew the kid. Jim... ah, Jim -
(from across the room)
James Hurley. He said he was from Twin Peaks.
Work here long?
Mrs. Marsh hired him to fix the Jaguar.
How did you meet him, Mrs. Marsh?
Jeffrey's Jaguar broke down near Wally's. I went inside
to use the phone and he offered to help.
We'll check there.
(moves to the door)
Malcolm shows them out. Closing the door he walks to Evelyn.
And so we bid adieu to James Hurley.
Give it a rest.
Careful, Evelyn. I really couldn't tolerate a nervous co-
I just want it over with, alright?
Whatever you say, Mrs. Marsh.
Evelyn turns her back on him. Malcolm laughs and walks up the stairs.
3. INT. WALLY'S BAR - NIGHT
JAMES and DONNA slide quietly, nervously into a booth in the bar.
We can't get out of this by ourselves, James. We've got
to get someone to help us.
But I didn't do anything. Malcolm killed Mr. Marsh.
I'm being framed
It doesn't make any difference. We can't just wait for
cops to catch us. I think you should call Big Ed.
No, my only chance is to talk to Evelyn. If she told me
this was a set up, maybe she'll tell the police, too.
You wouldn't have a chance. The police will be waiting
for you. We've got to keep moving.
But she'd listen to me. I know she would.
(suspecting it all)
Would she? Why?
His look tells her about his relationship with Evelyn.
I'm gonna call Ed. Stay here.
Donna moves quickly to the phone. Dials. It takes awhile for ED to answer.
Ed, it's Donna. I don't have much time. James is in lots
of trouble. He was working for this woman, repairing a
car and there was an accident - James thinks -
The COP from the Marsh House enters the bar. Donna stares at the cop and then at James who also watches the cop. James slides out of the bar. Donna is about to run after him when the Cop moves suspiciously towards her. She changes the subject.
- so, tell me about your new boyfriend, Janie - he's
really cure, isn't he? He lettered in football? What
position does he play?
The cop walks over to the bartender. They are obviously talking about James. MOVE BACK to the receiver sitting on top the pay phone. Donna is gone. On the other end is Ed's voice.
Donna, Donna -
5. INT. SHERIFF'S STATION, CONFERENCE ROOM - DAY
Shelly and Bobby sit in chairs across the table from Cooper and Truman. Mid-interrogation with Bobby getting steamed.
What were you doing at Shelly's house last night, Bobby?
I almost get killed and suddenly I'm on trial.
We just want to know why Leo would attack you?
Here's the deal. Shelly and I are together, okay? We
have been for a long time, since before Laura died.
Before and after Leo went into his drool mode.
(sees an opening)
Bobby, where were you the night the mill burned?
What's that got to do with this?
Leo tried to kill you. Maybe you shot him that night.
No way. I went to Shelly's house the night of the fire
because I was worried about her. Leo was waiting for
me. He was about to play Paul Bunyan on me when Hank
Jennings shot him through the window.
You sure it was Hank?
Is this true Shelly?
What about the insurance money?
Just a happy accident. I figure Leo owed us that.
Where do you think Leo went?
You tell me.
Bobby has no intention of saying anything else.
That will be all for now, Bobby. Shelly you be careful.
As Shelly and Bobby leave they bump into ALBERT ROSENFIELD in the doorway. Cooper is genuinely happy to see him.
Another trip on the Seattle to Twin Peaks Shuttle. I'll
confess to you gentlemen, coming down here today I
toyed with singing "Ninety-Nine Bottles of Beer on the
(opens his briefcase and drops a picture of Earle
on the table)
My invite back to Twin Peaks. Direct orders from
Gordon Cole. As he so succinctly put it,
(shouts like Cole)
"I'M WORRIED ABOUT COOP.
(spreads out a map, pointing out a pattern
marked on it)
Biloxi, Houston, Oklahoma City, Salina, Lincoln,
Chicago. Earle's been sending gift wrapped packages to
police departments and offices of major law
enforcement agencies. Each look like mail bombs, but
turn out to be harmless. Deliveries are paid for with
phony credit cards signed "Windom Earle." Cole's
doing the follow up on this. He should run up here after
One article of clothing in each.
A white net veil, a garter, a pair of white slippers, a
string of pearls, and, finally, a wedding dress.
He's got the DEA, FBI, Treasury, Postal Service and
the Mississippi, Oklahoma, and Illinois state patrols
looking for him. Invited all of them to the party, but
my guess is he won't dance with anyone but you, Coop.
Cooper is unnerved. Albert retrieves more work from his case.
The vagrant in the office died from a knife wound
severing the aorta. He'd been dead for two days.
But it's finger was pointing to the chess board? How did
he manage that with the rigamortis?
Rigamortis goes from head to toe but after two days
leaves the body toe to head. Earle waited for it to leave
the arms and fingers so that he could maneuver them on
the chess board.
And then he played Zeus at the power station.
How do you know?
He left us this map. Taped under a table.
Cooper moves away from the map. Stares our the window. Albert worries for his friend.
(picks up a piece off the chess game)
He's making his move. Most definitely.
Albert moves to the door. Tries to cheer Cooper up.
About the uniform, Coop. Replacing the elegance of the
dark suit and tie with the casual indifference of a mouse
brown work outfit is a form of fashion suicide, but, call
me crazy, I like it.
Albert goes out. Truman studies the frightened Cooper.
6. INT. WINDOM EARLE'S CABIN - DAY
LEO JOHNSON in bed with his wounds from the night before freshly dressed. WINDOM EARLE sits next to him playing an antique wooden flute. Five stainless steel square suitcases rest near him. The chess board is set up on the table. A small school desk sits by the door. On one wall is a Earle's high tech command module - computer, modem, monitoring devices, police scanners. Leo awakes to the haunting flute music.
Ah, you are awake, then.
(stands over him)
I trust you've slept well.
(goes to his computer returns with Leo's picture
and a police APB)
While you slept I've learned all about you.
(holds up Leo's picture)
(takes out Leo's sheet)
The police would like to see you as soon as possible.
"Drug trafficking, arson, attempted murder."
(studies the next item)
"Domestic violence." I'm partial to that.
Leo tries to make a bolt for the door. Earle slams his wound with his flute. Leo falls back.
Well, Leo, I have cleansed your wounds. You're on the
mend. I've removed the proverbial thorn from your paw.
Leo. Leo the Lion.
(plays a trill on the flute)
I want you to help me. And obey me. Will you do
Leo hesitates. Earle shows the flute to Leo.
In thirteenth century Japan the Samurai were stripped of
their weaponry. But they discovered that the aged and
treated bamboo of their Shaku hachi flute made an
(smacks Leo again, then walks back to the table)
This flute is truly an instrument of pleasure, don't you
Leo tries to make a run for it, but merely allows Earle to have more fun with his flute. It ends with Earle standing over Leo near the doorway. He takes a dog collar out of his coat.
I wanted to save this necklace for an "occasion," but now
you've ruined it.
He wraps the collar around Leo's neck. Attached is a round object that looks like a beer can.
Now, come over here. I've made you some gruel.
As Earle returns to the table, Leo scrambles for the door. He stops short. Struggling with an electrical shock coming from the collar. He falls backwards. Stunned. Earle sits at his table.
Come here, Leo. Come on.
Leo struggles towards the table as Earle plays his flute.
END ACT ONE
7. INT. HURLEY HOUSE - DAY
ED HURLEY and NORMA JENNINGS lie in bed. Norma snuggles next to Ed.
Almost twenty years, Norma. One day we're talking
about a graduation party and the next day we're here. In
between nothing but hurt.
I tried not to think about it. Spent more and more time
in the diner trying to make the place work because there
was nothing else. We were open everyday so that I
wouldn't have another life. No birthdays, no Fourth of
July, no Christmas.
I turned all my Christmases into a week full of
Mondays. When that didn't work I'd spend my time
thinking about presents I never got to buy you. Never got
to give you.
I bought you a present last Christmas. An onyx and
turquoise bolo tie. I walked over to your house to give it
to you, but I just stood there and waited to see you
through a window. I should have just walked right in. I
don't know why I didn't. I'm sorry I didn't.
All the time that you should have been in my home. My
It's about the future now, Ed, and what we are going to
do about it.
I want you to pick me up after I close the diner, tonight,
and I want you to take me home.
You're right, it's all ahead of us.
They kiss again.
Plenty of time.
Ed rolls on top of Norma with a kiss. As Norma responds they are interrupted by a crash from the next room.
Eddie ... Eddie? ...
Norma scrambles to get her clothes on, but Ed stops her.
Don't Norma. I may as well talk to her now.
Before they can get up, NADINE HURLEY walks into the room. She sits dejectedly on the bed. She carries a trophy.
Got all the way to the District Finals at Knife River
only to find out the airplane slam is illegal. I was
(holds up the trophy)
Second Place. What a drag.
That's a tough break, alright.
Nadine stares at Norma for a moment.
I owe you an apology, Norma. I mean I really pounded
Hank and I am sorry. But I thought he was going to do
something to Eddie and I sort of got mad.
Nadine gets up and walks to the door. Turns back.
(sad but honest)
I know about you guys. And it's really, really okay.
Cause now, I don't feel so guilty about me and Mike.
You and Mike.
I don't want to get into it, but I have to tell you, it is
really, really serious.
(another look at them)
So you two should do whatever you want. I am
completely cool about all of this. Really.
Nadine slowly exits leaving a baffled Norma and Ed.
8. INT. BLUE PINE LODGE OFFICE - DAY
Truman and Cooper sit across a table from JOSIE PACKARD who is in her maid's outfit. The newspaper clipping with Jonathan's picture lies between them.
Josie, this is it. I have to tell the police in Seattle
something. They asked me to question you. They know
you're connected with Jonathan.
How did he die? Was it a robbery?
(pressing the point)
He was shot three times in the back of the head.
Josie begins to cry. Uneasy, Cooper checks his coffee cup
I think I'll get another cup of joe.
Cooper walks to the kitchen area. Truman presses Josie.
If you were ever going to tell the truth, Josie, this would
be an ideal time.
Josie trembles with fear.
9. INT. BLUE PINE LODGE, KITCHEN AREA - DAY
Cooper pours himself a cup of coffee. PETE MARTELL struggles in the door with a huge load of DRY CLEANING.
I get over to the "Clean and Save" and Jeanie Pombelek was working
the counter. She doesn't speak a word of English. Nada. Zip. She's
from Budapest. We just stood there and looked at each other like we
were made of wood.
Something in the laundry catches Cooper's eye.
Who does all this belong to?
Catherine's runnin' her into the ground so I offered to stop by
the dry cleaner and pick up Josie's stuff.
(back to his problem)
The only words I know in Hungarian are paprika and goulash.
It took me twenty minutes to get this stuff.
Cooper takes a COAT out of the dry cleaning.
This is Josie's?
The phone rings. Pete answers it.
Hello ... Just a minute.
It's for Josie, she here?
In the other room.
Pete moves into the next room.
Josie, it's for you.
Cooper moves quickly to the coat and taking out his pocket knife cuts away a small piece of fabric from the Vicuna coat. He then opens the coat and there are a pair of gloves pinned to the hanger. He takes the gloves.
BACK IN THE OTHER ROOM
With Truman and Pete in the background Josie answers the phone.
10. INT. GREAT NORTHERN HOTEL, THOMAS ECKHARDT'S ROOM - DAY
ECKHARDT has placed the call to Josie.
Josie, it's Thomas. I'm so glad I've found you. I'm
wondering if we can get together.
Terrified, Josie stands frozen with the phone in her hand.
Did you hear about what's happened to Jonathan?
11. INT. BLUE PINE LODGE - ANOTHER PHONE IN THE HOUSE
CATHERINE listens on an extension. She hangs up the phone.
Welcome to Twin Peaks, Mr. Eckhardt.
12. ECKHARDT'S ROOM - DAY
Eckhardt hangs up the phone. JONES stands behind him.
She's run back to Catherine Martell. I am disappointed.
She's become predictable.
I warned you not to trust her.
Jones returns to some suitcases on the bed and her unpacking. There are maps, blue prints, pictures of Catherine, Josie in her maid's outfit, and Pete. A hand gun, high tech photography equipment, a high powered rifle waiting to be assembled and a parabolic microphone.
13. INT. GREAT NORTHERN LOBBY - DAY
BEN HORNE talks to a stunned group of HOTEL STAFF. He sits on a saddle draped over a STUFFED HORSE. Young JOHNNY HORNE stands nearby, arms folded, Indian headdress on, mind blank and jumbled. DR. JACOBY stands to one side. Observing.
So I said to Stonewall Jackson. "What would you like
to do when we run the Yanks up to Canada?" And he says,
"Follow them. I'd like to be the Duke of Montreal."
And I say to Stonewall, "Then we'd have to fight the
French?" And then he just gives me that Stonewall look
of his and says, 'What are we waiting for?"
Ben laughs heartily. Johnny gives a hearty howl. The Hotel staff reacts with ashen silence. Jacoby walks to the back of the room to confer with a bemused JERRY HORNE and a concerned AUDREY.
What do you think, Dr. Jacoby?
Letting him out to mingle with the public does not seem
to have helped.
We can't just leave him like this.
Well, you have to admit he's kind'a fun this way.
(turning to Jacoby)
Dr. Jacoby I want you to bring my father back.
To the office?
To the real world.
I think it's time for implementation of the Appomatox
All pause to consider this desperate measure. Just then. BOBBY BRIGGS rushes past Ben and the staff and up to Aubrey. He is dressed as a CONFEDERATE BUGLE BOY.
Sorry, I'm late boss.
HOLD ON this incongrous tableau, as Ben chatters on in the background...
I asked Stonewall what I should do with Lincoln and he
said, "Honest Abe is going to be about as useful to you
as a spittoon cleaner in a whorehouse."
Ah, but Stonewall is gone from me now. His life cut
short by a cruel hail of Yankee lead. He died alone.
Without my comfort.
14. INT. WALLY'S BAR - DAY
Evelyn Marsh wobbles back from the juke box. Sits at the bar and dumps down another martini. Donna, who's been waiting near the back, approaches her.
Evelyn stares at her through a haze.
I'm Donna Hayward. James' friend.
I remember you.
(to the barkeeper)
Get the lady here a drink with an umbrella in it.
(looks at Donna, pats the stool next to her)
It's alright, dear, sit down.
Why are you doing this to James?
Don't you realize how good he is?
He was good at two things. The car and me. He's a lot
of fun. But then, I hope you already know that.
You don't get it do you? I'm talking about our lives.
Life will be rosy if you can just get out of one silly little
jam. Maybe. Maybe not.
(takes another drink)
Talk to me in a couple of years when you're whole life
has turned to crap. Cause that's what happens, you know.
Life turns to crap.
Because you've made a mess of your life we have to pay.
Are you looking for that pure heart that beats within the
evil vixen? Dial on. He's going over.
You make everything sound so pointless and stupid.
(takes another drink)
If there was a reason to climb out of the primeval swill,
believe me, dear, I'd know it.
Would you? Really?
Before they can go any further Malcolm appears behind them. Moves to Evelyn quickly, but quietly.
Here you are.
Takes her strongly by the hand.
Get in the car.
Evelyn obediently weaves towards the door. Malcolm turns to Donna. Takes her firmly by her shoulders and whispers.
There is nothing you can do for your friend, honey. So
trundle back to your little town safe in the knowledge
that if you come here again, I will kill you.
Malcolm goes to the door.
Don't do this to him. Please.
Donna watches them go out.
END ACT TWO
15. EXT. SHERIFFS STATION - DAY
16. INT. CONFERENCE ROOM - DAY
Cooper enters the conference room. Agent Rosenfield sits at an overhead projector.
(re first slide)
The vicuna thread sample taken from Josie's coat.
(re second slide)
The traces found on the floor outside your room.
Cooper turns out the lights. Albert is illuminated by the projector's glow. He places two slides upon the overhead plate. Images cast upon the blackboard wall.
(he already knows the answer)
Did they come from the same coat?
A microscopic comparision of the two slides.
Let me put it to you this way, Coop. Either Josie
Packard pulled the trigger, or she's loaning her winter
wear to the wrong kind of people.
(looking up at Cooper)
A perfect match.
Cooper sits opposite with a sigh. Considers Josie. And Sheriff Truman.
What about the gloves?
Still checking for powder burns. I'll have the results by
Did you look into the Seattle homicide?
Albert produces crime photos from a folder on the tabletop, slides them to Cooper.
Locals are looking for a "beautiful Asian Woman", late
twenties in connection with the murder of one Jonathan
Kumaguy. Mr. Kumaguy has an Interpol sheet as long as
your arm...and three holes in the back of his head. I'm
betting the bullets will match the slugs we took out of
(looking at photos)
Coop, as you know, Truman and I have had our
differences in the past. But the big lug's got his heart in
the heart in the right place if nothing else. And I'm not above
feeling a little sympathy for the stalwart and the dull.
What's your point?
Speaking frankly...our Sheriff's got a serious problem
with his girlfriend.
(rising to exit)
Albert. Not one word until we're certain.
17. INT. SHERIFF TRUMAN'S OFFICE - DAY
Cooper enters. Sheriff Truman sits at his desk, a fax before him. A chess board has been set up nearby. Cooper pauses, Albert's information weighs heavily on him.
(referring to fax)
Our John Doe has a name. Erik Powell. Transient.
Former Merchant Marine by his prints. Other than that...
Yeah. Ring a bell?
Caroline. Windom Earle's wife. Powell was her
Do you think this Powell is a relative?
(stepping to chess board, shaken)
No. Earle's playing a game of chess according to his
own rules. Every move sends a message. The name
Powell tells me he hasn't forgotten a thing that happened
between us. The marine is the first pawn removed from
the board. Murder committed for my benefit.
(figuring, re board)
So whenever he takes a piece here ...
(nodding toward window/outside)
Someone dies out there ...
(turning to gaze at chess board)
I never beat him.
(after a beat)
Coop, if it's a chess expert you need ... we've got one of
the best right here in in Twin Peaks.
I could use the help, Harry. But Earle is a genius.
I'll arrange a demonstration.
18. INT. THE DOUBLE R DINER - DAY
START CLOSE on three small chess boards set up on the counter. A pair of hands move swiftly from one to the next. We HEAR.
Check ... Mate ... Check...
ANOTHER ANGLE reveals PETE MARTELL wrapping up a trio of speed chess games in brilliant fashion. He stands across the counter from his three opponents - Cooper, DOC HAYWARD, and a bespectacled TOAD - moving effortlessly from board to board, a picture of focus and concentration. Truman looks on with evident satisfaction.
Toad mutters, shakes his head. He's the first to lose. Doc Hayward makes a rather timid move. Pete pounces with a friendly grin.
(pauses, waits for Cooper)
Pete, frankly, I'm impressed.
I owe it all to the immortal Master: Jose Raoul
Capablanca. If there's chessboards in heaven, you'll find
Jose sittin' across from the Lord.
(Pete points at Hayward's board, exclaims)
The Caro-Karin defense. A Classic.
They don't come any better. Doc?
(still staring at the board)
The mind reels.
(smiling at Pete)
One of these days...
Pete, I need your help. I'm playing a chess match of
considerable importance. I can't tell you any more than
that. I want to put the game into a stalemate while
losing the least number of pieces possible. None, if you
can arrange it.
(after a beat)
Agent Cooper, I'd be honored to serve. Chess being my
Thanks, Pete. Great players are either far or few.
Pete puffs up with pride. He nearly salutes.
19. NORMA JENNINGS
Norma cleans the counter, glances at the chess games, SEES, Shelly Johnson step into view.
Shelly. I heard about Leo. Are you okay?
(not so sure)
Sure. Bobby's looking after me, so I guess I'm safe and
I wanted to come right over. But with Hank gone, it's a
madhouse around here.
Well ... do you need any help? I've got plenty of time
now... I'd feel better during the day, you know, if I was
Shelly's asking for her old job back. And Norma knows it.
Are you kidding? Things aren't the same without you.
When can you start?
I don't know, I guess I could start ... now.
Welcome back, sweetheart.
They hug. A nice beat. Truman interrupts:
Excuse me, Norma? Can I talk to you for a minute?
(she knows what this is about)
Your apron's in the back.
Shelly beams, steps off Truman and Norma speak privately:
Hank's nearly well enough to leave the hospital. I
figured you should know.
What about his parole violations? Harry, this time I
don't want him back.
I wouldn't worry. Hank's next stop is a jail cell. We're
charging him with the attempted murder of Leo Johnson.
Add that to breaking parole...it looks like Hank's going
away for a long, long time.
(after a beat)
Pete is HEARD shouting checkmate off-screen. Another speedy triumph.
20. EXT. THE BLUE PINE LODGE - NIGHT
Establish. Night falls.
21. INT. THE BLUE PINE LODGE - NIGHT
JOSIE PACKARD, in servant's uniform, places the last piece of silver upon a large dinner table set for two situated at the center of the Blue Pine living room. CATHERINE MARTELL, dressed to entertain, supervises Josie's lowly chores with relish.
Josie, please. Give the fork a little room.
(Josie sighs, rearranges)
Put it right there. Perfect. Now you may prepare to
(eyes on the empty chairs)
Who will be joining you this evening?
That is secret.
Just then: the DOORBELL rings. Josie reacts with a start.
The door ... ?
Josie nods, steps to answer it. She opens the door, goes white with fear. THOMAS ECKHARDT stands before her. He stares at Josie with dark soulless eyes. Catherine chirps from the rear.
Ahh, Mister Eckhardt. Welcome.
Josie reacts with a trembling panic, uncertain whether to stay or flee. Eckhardt finally turns his gaze from her, smiles at Catherine as she approaches.
Josie, where are your manners? Help our guest with his
Eckhardt turns back to Josie. Catherine smiles. HOLD ON Josie as she reaches for Eckhardt's coat. Trapped by their civility.
DISSOLVE TO:22. INT. BLUE PINE LIVING ROOM - NIGHT
START CLOSE on a pair of trembling hands opening a bottle of wine, then setting it upon a serving tray. ANOTHER ANGLE reveals Josie in the kitchen, carrying the tray toward the living room. Josie steps toward Catherine and Eckhardt seated at the large circular dinner table. They converse, run forks through salads on fine china.
(to Catherine, sardonic throughout)
I must confess I received your invitation with some
Word travels fast in Twin Peaks. It seemed fitting that
I dine with my late brother's business rival. Some wine,
Eckhardt listens to Catherine's charter, now looks up at Josie as she steps toward them
(an easy charm)
Your brother was not always my rival. We were friends.
Andrew was a witty, intelligent, and charming man.
Plaudits no doubt employed to describe his sister as well.
(ignoring the compliment)
But your friendship soured.
Sadly. Men of business frequently find their personal
lives disrupted by the larger portraits they paint.
(matching his sardonic tone)
You consider yourself an artist?
Of a sort. Your brother was as well.
(cool and careful)
I wonder, Mister Eckhardt. When you had him killed,
was it for art or money? Don't stand there, Josie, pour.
Josie nearly drops her bottle of wine. But Eckhardt betrays no reaction. He simply turns his gaze from Josie to Catherine. Catherine's playing a dangerous game. Eckhardt will play along ... for now. Josie pours blood-red wine into crystal glasses with a shaking hand.
(a gentle tone)
Call me Thomas. Your brother did.
Thomas. We'll have the h'or d'ouerves now, Josie.
Josie moves off to fetch them. As the conversation continues:
One does not kill for art or money. They are
commodities easily lost, but just as easily gained.
However, one -
(small smile, moving from general to particular)
- rather, I, would find reason to kill for love.
Did you love her that much?
Josie returns, offering a tray of canapes. Eckhardt's tone has been cratonic throughout. But now he pauses. looks at Josie. Takes a small confection from the tray. And speaks quietly:
Eckhardt pops the canape in his mouth. Josie nearly drops the tray. Catherine speaks evenly, as if describing a prized possession.
(finally giving this love a name)
Josie has the most incredible hands. They effect a sort
of porcelain grace. Each finger a thing of beauty.
Eckhardt reaches out to touch Josie's hand. Josie stands up with a start, freezes. Eckhardt never takes his eyes from her.
I wonder. What shall we do with her now?
(eyes to Josie, effecting neutrality)
You've come so far to Twin Peaks. It would be a shame
to leave us empty-handed.
On the other hand, Josie is almost completely
untrustworthy. She'll betray you again. And again.
I have managed to find pleasure in even that repetition.
Of course I'll miss her cheery disposition. We've
become the very best of friends. Two girls chatting over
Perhaps you should purchase an animal of some kind. A
cat or a dog.
But if I give her to you. What will you give me in
How can one put a value to something so precious.
But you will ... try?
(after a beat)
Josie stands mute, trapped in this waking nightmare. She can barely manage a whisper:
Thomas and I will have our main course now.
HOLD ON Josie for a beat.
23. EXT. MARSH HOUSE - NIGHT
24. INT. MARSH HOUSE - NIGHT
Evelyn Marsh steps through the dark living room. She carries drink and cigarette, sits upon a large sofa. Evelyn drinks deeply. Blows smoke-rings toward the shadows that ripple across the ceiling. Just then: a VOICE in the dark.
Why did you do it?
Evelyn reacts, startled. James steps out of the black.
I've been givin' it a lot of thought. And I still don't
James pauses, pent up, full of anger. Evelyn stands to meet him.
James, you're not safe here. If Malcom finds you...
For money, is that it? No, wait. I got it: Malcom's a
wrong guy and he made you play along, right? I can
believe that. Make me believe it, Evelyn. Tell me a
story. 'Cause I'm all mixed up and I just want to know
why you did this to me.
(reaching for him)
(cold with fury)
Don't touch me.
Evelyn pauses. A long beat, then she whispers:
What did you expect? Apology? A hidden heart of
I did it all. Everything. I found you I lured you in.
And I kept you here while Malcom planned a nice, neat
For the money. Out of fear. Because I wanted to.
Her words chill him. James' anger subsides. He expected excuses, regret. Anything but this.
That's not exactly what you want to hear, is it, James?
The truth hurts. I know.
James stares into her eyes. Evelyn moves closer. The truth hurts her too:
You're good and you're honest. I'm not. But that doesn't
mean there weren't moments when I truly wanted you
here. Not for the money or for Malcom. But for me.
For the good and honest way you taste.
A long beat. And despite everything she's told him, or perhaps, in some odd way, because of it...James steps toward Evelyn's arms.
I wanted you too.
They exchange a gentle kiss. A beat. Footsteps behind them, a sudden leap ... AND MALCOLM APPEARS, STRIKES JAMES ON THE HEAD. James slips to the floor, lies still. Evelyn looks at his inert form with shock, then to Malcolm.
Malcolm speaks quietly, words for Evelyn to commit to memory. Her story, her alibi, a tale to be told to the police.
James broke into the house. He was angry, he was crazy.
He killed Jeffrey and now he came back to kill you. A
poor, helpless widow. But you were ready for him,
Evelyn. You got your gun ... and you shot James until he
HOLD ON Evelyn for a beat. Malcolm before her. James helpless on the floor.
FADE TO BLACK.
END ACT THREE
25. EXT. WINDOM EARLE'S CABIN - NIGHT
26. INT. WINDOM EARLE'S CABIN - NIGHT
A fire burns in the hearth casting warm light about the cabin. Windom Earle peers into a mirror, carefully affixes a false mustache to his face, other concealing facial hair. He speaks aloud as he prepares his disguise:
Work slowly and with care. Everything must be written
in a steady, uncompromising hand.
Leo sits at a small wooden school desk, concentrates on a piece of writing paper before him. He painstakingly copies from an open book of poetry, produces a version in his own hand. The shock-collar still hangs about his neck. Earle steps behind him, peers over Leo's shoulder. He uses his flute as a yard stick or marker.
No, no, no. Terrible.
(pointing to offending section)
Earle produces the shock collar control, presses a button. A low-grade SHOCK shivers through Leo's body. Leo reacts with a shudder. Then erases in haste, looks up at Earle with plaintive expression.
Now. Try again. Concentrate.
Leo looks back to the paper. As if it was responsible for the shocks that course through him. He puts pen to paper. But he errs again.
(with manic disgust)
Oh, Leo. For heaven's sake.
Another stinging shock. Leo turns, as if to flee. But Earle is upon him. He grabs Leo's hand in an iron grip.
Let me show you.
Earle guides Leo's hand to the paper. And carefully leads him through the difficult section. There is something odd and tender about Earle's actions. As teacher to pupil. Father to son.
See? Like this. There you go. Much better. Now you
A beat. Leo proceeds, afraid, but more determined somehow. Earle watches with satisfaction as Leo completes the unseen document. He gives Leo a friendly pat on the head.
I am proud of you, Leo.
Leo looks up it Earle, eager to curry his favor, whispers.
Windom ... Earle...
Earle picks up Leo's work. THREE child-like VALENTINES. In the center of each heart is a picture: Shelly, Donna, and Aubrey. They are surveillance photos. Leo has written their names on each valentine.
Pretty words for pretty girls. Which one will be my
(fairly mindless repetition)
Earle carefully tears the page into vertical thirds . Leo reacts with a protesting groan.
Earle looks at him sharply. Leo cowers at his school-desk. Earle produces three identical envelopes, one for each torn third.
27. INT. BEN HORNE'S OFFICE - NIGHT
START CLOSE ON Aubrey dressed as Scarlett O'Hara, in hoop skirt and bonnet. A surreal tableau follows. Grant's surrender as enacted by Ben Horne (as the victorious General Lee), Dr. Jacoby (as the vanquished General Grant), Jerry Horne (as Wilmer McLean), Aubrey (as daughter McLean) and Bobby (as the miserable Bugle Boy).
Ben pauses, midroom, surveys the small table at its center, the players grouped about him. Aubrey steps forward with a smile.
(playing it up, and playing it well)
Welcome to our humble home, General Lee.
Thank you. You are ...?
Scarlett McLean. This is my father.
Aubrey gestures toward Jerry in his farmer's suit. But Jerry misses his cue, stands frozen with stage fright. So Aubrey repeats:
(a little louder)
This is my father.
Jerry reacts, hurries forward, still clutching Ben's sword.
(the world's worst southern accent)
Wilmer McLean at your service. I'm indeed honored to
make your extremely suitable acquaintance.
(offers the stagiest of bows)
Why are you armed with my sword?
(stumped, remaining in bowed posture)
I ... like your sword. Sire.
Ben frowns, surrounded by idiots no matter which universe he inhabits. Aubrey ushers Jerry to the side.
Thank you, Daddy.
(checking his watch, anachronism be damned)
Where is General Grant?
(doing his best/worst to contribute)
General Grant's a-comin', sire. I know'd it.
An awkward beat. Jacoby remains in hiding. Someone's missed their cue. Jerry looks at Aubrey. Aubrey frowns, shoots a look at Bobby. Bobby plays a hasty toot on the bugle. The cue Jacoby's been waiting for. A beat. And he steps forward, with as much diginity as stepping from behind a curtain allows, into the room. Ben reacts to the odd entrance, ignores it. And extends a hand.
Please, gentlemen. Sit down.
She gestures toward the small round table. They sit.
We once met during the Mexican War. Do you
(calling upon high school drama training,
sticking to the script)
I have come to surrender the North.
Ben reacts. Is he the only sane man in the room?
(trying to carry on an actual conversation)
The Mexican War. Do you remember?
(backing and filling)
It was a good war as I remember.
Nonsense. All wars are nothing more than madness
disguised as the patriotic ventures of politicians too old
or cowardly to participate in them. I have no love of
war. And even less for politicians.
(a little dazed by the outburst)
(wondering if this can possibly be Grant)
But as for the men who fight them...
(living the moment)
Well. They have my eternal respect and sympathy.
(with a sigh)
Very well, General. Enough fruitless conversation. My
terms. Federal officers may keep their side arms and
general possessions. Officers and men claiming to own
horses may keep them too. And each officer and man
will be allowed to return to his home, not to be
disturbed by the Confederate States' authorities.
(eager to complete the process)
Ben pauses. Rewriting history wasn't supposed to be like this. He sighs.
Of course you do. The articles ... ?
Ben looks about, no paper on the desk. Jerry hurries forward, having missed his cue.
The articles, sire.
(retreats bowing and scraping)
(offering him a pen)
General Grant. You will sign?
(finally rising to the occasion)
And may I add that you have been a valiant opponent of
both noble bearing and fine character. Qualities happily
reflected in the hearts and minds of your brave men.
Jacoby signs. He hands the pen to Ben. Ben signs as well. Jerry reveals a harmonica, begins to PLAY the Battle Hymn of the Republic in the background.
BOBBY AND AUDREY look on from the perimeter. Bobby turns to Aubrey.
I thought the North won the Civil War...
Aubrey rolls her eyes. Ben and Jacoby stand, shake hands a second time. Jerry steps closer, playing loudly now. Ben gets fully into the spirit of the moment, tears gather in his eyes, he's at the pinnacle again, he's triumphed over inestimable odds ... and FAINTS dead away.
Jerry, Jacoby, and Aubrey gather about the fallen General. Jacoby loosens his collar. Bobby stands just behind them.
Give him room.
Daddy, can you hear me? Daddy?
A beat. Then, a long last, Ben's eyes flutter ... and open. He speaks:
Where am I?
(gazing up at them)
I had the strangest dream. You were there, and you, and you...
(he spots Bobby behind them)
Who are you?
Bobby Briggs. Sir.
(back to the dream)
It was incredible. There was a war. And I was a
General. General Lee. And somehow, despite
incredible odds against me, I won. It ... well. I know
it's impossible. But you were all there. And I was too.
Bur you're back now, Daddy. You're home.
Yes. I am.
Atta boy, Ben.
How do you feel? Any aftereffects. Dizziness?
To tell you the truth...
(beat, as if to check)
I feel terrific. I feel like...
What is it, Daddy?
What in the world are you doing in those clothes?
Jerry does a little impromptu dance of celebration. Aubrey hugs her father. Dr. Jacoby sits back on his heels, still wearing his tattered uniform. Bobby plays a rolling figure on his trumpet.
28. EXT. MARSH HOUSE - NIGHT
CAMERA TRACKS toward the house, a moving POV, now peering through a window inside. Evelyn kneels by James on the floor. Malcom enters the living room carrying a pistol in his right hand. ANOTHER ANGLE reveals Donna looking through the window, reacting to the horrifying scene within.
29. INT. MARSH HOUSE - NIGHT
Malcom holds the gun toward Evelyn, grip-end first.
The story rings a little truer with your fingerprints on the
(rising to her feet)
No. I can't...
Just your prints. Leave the rest to me.
Malcom forces the gun into Evelyn's hand. Then produces a glove, slips it on his right hand.
I'll do my best to imitate the actions of a hysteric. Five
shots, tightly grouped. Like the gun went off in your
Glove on, Malcom holds out his hand for the gun. But Evelyn hesitates, steps back from him.
Just then: Donna races into the living room.
Malcom whirls about. Donna races to James, kneels to hold him in her arms. To protect him from further harm. James stirs, barely conscious.
(looking up at Malcom and Evelyn)
Don't hurt him. Please. Don't hurt him anymore.
(eyes on Donna and James, holds out hand)
The gun, Evelyn.
(pleading for their lives)
I called the police. They're coming. You'll never get
away with this...
She's lying. Give me the gun.
(directing her whispered plea toward Evelyn)
Don't do it. Please don't let us die.
(holding out gloved hand for the gun)
(after a beat, softly)
Malcom whirls about. Finds Evelyn gawking fondly at the young lovers. The gun held tightly in her hand.
I can't do it. I won't.
There is a transcendant determination in her voice. A soul reclaimed. Malcom darkens.
He steps forward, means to wrest the gun from Evelyn's hands. But Evelyn FIRES, a bullet slams into Malcom's chest. He staggers, looks down at the wound with surprise. He steps toward Evelyn, the gun smoking in her outstretched hand. But his legs fail him. Malcom staggers, Malcom falls dead to the floor. A beat. Donna weeps, cradles James in her arms. Evelyn drops the gun. And in a voice totally devoid of emotion, begins to recite the story Malcom taught her.
He was angry, he was crazy. He killed Jeffrey and he
came back to kill me. But I was ready for him. I got
my gun. And I shot him. I shot him until he was dead...
A distant siren wails.
30. EXT. GREAT NORTHERN HOTEL - NIGHT
31. INT. GREAT NORTHERN LOBBY - NIGHT
A man pauses in the hotel lobby. It is Windom Earle in disguise. Earle looks about, reacts. He SEES Agent Cooper step into view. Earle walks quickly to a pillar nearby, hides behind it.
Meanwhile, Cooper steps through the lobby after a long day. He walks past Earle in hiding, continues. Then reacts, as if he'd felt someone's eyes upon him. Cooper turns, takes a closer look... but there is no one to be seen. Earle has moved on. Cooper shrugs, steps inside the waiting elevator.
A beat. Earle steps to reception, pleased with his subterfuge. He watches the elevator door close, turns to hand an envelope to the night clerk.
For Miss Audrey Horne.
32. INT. GREAT NORTHERN ROOM - NIGHT
Cooper enters his room, removes jacket and gun. Then he pauses, notices something ahead. A strange shape beneath his bedspread where the pillow lies. Cooper steps closer, carefully pulls it back.
A plaster deathmask has been set upon his pillow. The face of a beautiful woman. Caroline.
Cooper stares at the mask for a long, long beat. His heart floods with sad memory. Then, careful not to break it, Cooper lifts the mask off his bed. Beneath it ... a small tape recorder, now activated by the mask's removal. Cooper reacts, waits. And hears the familiar VOICE of Windom Earle.
Breathtaking, wasn't she? A truly beautiful woman,
Caroline. Funny, after all this time, after all that
happened in Pittsburgh ... I still love her. And I know
that you do too ...
Now, Dale. Listen carefully. It's your move ...
FADE TO BLACK.