First Draft/Distribution to Dept. Heads: January 9 ,1991
Second Draft/General Distribution: January 15, 1991
Revised: January 16, 1991 - BLUE
Revised: January 21, 1991 - PINK
Revised: January 22, 1991 - GREEN
Revised: January 23, 1991 - YELLOW
Revised: January 24, 1991 - CHERRY
Lynch/Frost Productions, Inc.
7700 Balboa Boulevard
Van Nuys, CA 91406
1. INT. BOOKHOUSE - NIGHT
Truman in a cot turns restlessly in his drunken sleep. He rolls over. A naked woman snuggles close to him. In Truman's dreams it is Josie.
Truman kisses the woman who responds. It is JONES. She moves under the sheets. Massaging. Whispers.
Do you like that?
Yes, Josie. Yes.
Jones' hands slide under him - massaging. Then she rolls over on top of Truman who responds with passion. The wheeze of the wire from the BRACELET GAROTTE wakes Truman. She tightens the strangle line around his neck while she sits on top of him.
Jones bends over him and kisses him passionately. Truman uses this moment to flip her off him. But at the same time Jones pulls the magnesium wire tighter. Truman fights to breathe and free her hands from the garotte.
Truman manages to stand. Jones wraps her legs around him. Truman tears at her trying to get a grip. Carrying her to a wall, Truman pounds her again and again against it. Jones is nearly unconscious. Finally, her hands drop away from him. Truman keeps pounding, about to kill her. Then stops himself. Looks down at the naked woman lying below him.
2. INT. GREAT NORTH
JOHN JUSTICE WHEELER pores over some books, maps, and in elaborate model for a complicated irrigation system. A knock on the door.
The door opens. Wheeler remains completely absorbed in what he is doing. Not noticing that it is AUDREY HORNE who brings in his breakfast. Without looking up he retrieves a money clip to give her a tip. Then notices it is Audrey. Surprised and pleased.
AUDREY (seductress relapse)
I trust your sleep was untroubled? Here at the Great
Northern, we aim to make your stay as comfortable and
enjoyable as we can - we take the concept of room
service very seriously -
Wheeler comes over to the bed, gently puts a finger to her lips to silence her.
Audrey ... did you know your grandfather?
(fingers still on her lips, becoming caress)
Colorful old guy, but the wisest man I've ever met. He
always used to say, "If you bring a hammer, you better
AUDREY (taking his fingers in hand)
What's that supposed to mean?
It means the next time you come into my room and sit
on my bed and carry on like this you had better be ready
to finish whatever it is you're trying to start.
Maybe I'm ready now.
Then be yourself.
This is myself.
You're a beautiful, intelligent, young woman. You don't
have to sneak in here and flirt like a high school girl.
Audrey fixes Wheeler with an challenging stare. Then:
"If you bring a hammer, you better bring nails."
I'm not the only one who flirts.
WHEELER (beat, he smiles)
You're right. I stand corrected.
This could get confusing.
AUDREY (with humor)
Well, if I'm always worrying about being myself, and
you're always worrying, and I'm checking to see if you're
being yourself, but then you've got to keep an eye on you
We'll be lucky if we can carry on a simple conversation.
AUDREY (her point exactly)
WHEELER (beat, he moves closer)
Audrey, I have a plan. It involves a plane ride at sunset
and dinner for two.
The sunset part or the dinner part?
AUDREY (she moves closer too)
I've got to go to the library, and my father wanted to
meet with me some time today -
If you're busy I'll understand...
Yes. I mean yes I'm busy. And yes I'll go.
3. INT. SHERIFFS STATION, INTERROGATION ROOM DAY
Truman exits the room where Jones sits at the table, meets Cooper in the hallway.
Not a word. Wants to speak to the South African
My guess would be there's a half-dozen countries
looking to extradite her.
Why would Eckhardt want me dead?
(as if he hadn't considered it)
You think he needed a more rational reason? It's good
to have you back, Harry.
(a hell of a hangover)
Take me a day or so to get my sea legs.
To be honest, Harry you look like hell. Maybe you
ought to recuperate at home.
All I need's some coffee and maybe some food.
Cooper stops him.
Sure cure for a hangover, Harry. You start with a nearly
frozen, unstrained glass of tomato juice. Drop a couple
of oysters in there and chug it down. Breathe deeply.
Next a heaping mound of sauteed sweetbreads with
chestnuts and Canadian bacon. Finally some biscuits and
a bucket of gravy, and here's where it gets tricky, you're
gonna need some anchovies -
Truman, growing green, stops him outside the men's room door.
Truman rushes into the bathroom. Cooper, having acheived the desired stomach-pump effect, gives a thumbs-up.
4. INT. TRUMAN'S OFFICE - DAY
Cooper enters to find DOC HAYWARD admiring a BONSAI TREE that sits on Truman's desk. A bow is wrapped around the base of the plant.
Multi-trunk bonsai. The ultimate miniature.
A shakey Truman enters a moment later, Cooper hands him a glass.
Bicarbonate of soda.
Thanks. Where'd this come from?
Truman takes the card from the plant. Reads it. Grows even paler.
It was delivered this morning.
It's from Josie.
Truman sits down trying to hold onto his composure. To Cooper, Doc indicates the package that Windom Earle left at his house, which Cooper has already seen. Cooper gets the message: involve Harry. He urges Doc to speak.
Harry, Windom Earle was at my house.
Windom Earle was?
He left this with Donna.
Truman takes out a chess piece that is tagged with a chess move. It reads "Kn to KB3." Another note reads "Trying for a Stalemate?"
What do we do?
We've got to publish our next move today.
DALE COOPER, A SIGHT FOR SORE EYES IF EVER
THERE WAS ONE. GIMME THE GLAD HAND.
Gordon Cole moves into the room.
HEY, FELLAS. I BROUGHT THE REST OF THE
WINDOM EARLE DOSSIER.
He hands Cooper a large folder. As Cole continues we MOVE IN on the Bonsai plant. Closer and closer till an ELECTRONIC BUG is visible.
5. INT. EARLE'S CABIN - DAY
WINDOM EARLE fiddles with a deck of cards, as he sits and listens to the conversation. LEO JOHNSON, filthy rag over his arm ala a butler, pours Earle a drink from a can of beer.
Enter Gordon Cole. This is so galling, Leo. Young
Dale is continually refusing to play fair.
As Cooper flips through Earle's file, Cole narrates.
WHEN EARLE WENT BOY - YOY - YOING THE
DOCTORS DISCOVERED HE WAS ON
The drug the one armed man, Gerard, was on.
YOU GOT IT. BUT THEY SUSPECT HE WAS
USING IT TO FAKE HIS ILLNESS. DEFINITE
Cooper stares at the next file. Flipping a page back and forth. Confused and fearful.
"Project Blue Book." How could he have been working on that..?
WE LOANED HIM OUT TO THE AIR FORCE
IN '65. REPORTS ON HIS TWO-YEAR HITCH
ARE BLACKED OUT. NATIONAL SECURITY.
TRUMAN (picking up on Cooper's concern)
Wait a minute, Earle was investigating UFO's?
Another worry for the group.
Some curious linkages here, Gordon.
THE WORD LINKAGE REMINDS ME OF
SAUSAGES. NEVER LIKED LINK SAUSAGES,
THOUGH. PREFER PATTIES. BREAKFAST IS
A GOOD IDEA.
(moves to the plant)
BONSAI. REMEMBER THOSE WORLD WAR
(right next to the plant)
Cole's yelling has buried the needle. The cards shoot out of Earle's hands. He brings his hands to his ears.
Doc and Truman exit. Cole watches them go. Pulls Cooper back and gives him a package. Cooper reaches into the package. He takes out his BADGE, GUN, and CREDENTIALS.
KEEP THIS ON THE QT, COOP, BUT WITH
EARLE ROLLING AROUND LOOSE ON DECK,
WE NEED YOU BACK ON THE TEAM.
(Cooper looks at the gun)
BRAND NEW ISSUE. MORE ACCURATE AND
EFFICIENT. SMITH AND WESSON, TEN
MILLIMETER. MOD 1076. ALL STAINLESS
STEEL. IT'S QUITE A BEAUTIFUL WEAPON.
(takes out his badge, studies it)
Thank you, Gordon.
WE'RE GOING TO FIND EARLE, COOP. WE
WILL PURSUE, CAPTURE, AND
Cooper peers at Cole for a beat. Then, quite serious, gives him the Bureau thumb's up.
6. INT. EARLE'S CABIN - DAY
Earle shuffles a deck of cards in front of Leo, then spreads them before him.
Leo picks cards out of the deck. Earle flips the cards over. THREE QUEENS. On the faces are pictures of DONNA, SHELLY, and AUDREY.
Good. Now find the king.
Leo picks another card and flips it over. A king is there with Cooper's face glued on it.
And now we need one more Queen.
Earle picks out a Queen without a face.
The Queen of Hearts.
He picks up a brochure for the MISS TWIN PEAKS CONTEST.
Miss Twin Peaks. What do you get if you win. A
dozen roses, a college scholarship, the accolades of your
(picks up the queen without a face)
Oh and I know you got to die. A royal execution.
Earle spreads the rest of the deck out.
And Cooper gets to watch.
Flips them all over on their faces. They are all JOKERS.
END ACT ONE
7. EXT. GREAT NORTHERN - DAY
The parking lot. A van pulls up. A ramp lowers. EILEEN HAYWARD wheels herself away from the van.
Some distance away, Donna watches from the driver's seat of a car. She gets out and follows her mother.
8. INT. GREAT NORTHERN LOBBY/CORRIDOR - DAY
Eileen wheels through the lobby and down the tile corridor. Donna follows at a distance. Stops and moves out of sight when she sees BEN HORNE greet her at the far end of the corridor. He helps move her around the corner out of sight.
9. INT. GREAT NORTHERN LOBBY - DAY
NADINE HURLEY with MIKE NELSON are checking out. He's got the blissful, glazed look of a sexual train wreck victim. Nadine holds onto his arm.
How was everything sir?
Donna comes up to the desk.
Is Audrey Horne here?
She's in back, I'll get her for you.
(no hint of worry, a big smile)
Mike picks up his empty suitcase, he and Nadine stroll off towards the exit, arm in arm. Donna watches this curious exit, when Audrey appears in front of her.
(indicating a need for privacy)
Hi, can I talk to you for a second?
They move away.
I feel kind of funny asking you this.
Do you know any reason why my mom would be visiting
Not off hand.
He came to see her yesterday at the house. And today
she drove here to see him.
Maybe she's helping with the Stop Ghostwood campaign.
If she was she'd have said something to me and she hasn't
said a word.
(a mischevious look)
Is she here now?
I think they're in his office together. Why?
11. DONNA'S POV
Eileen and Ben Horne are in the middle of a heated discussion. She's trying to give him a small packet.
- no, I won't accept them, they're yours, they were
written to you -
I don't want them. I won't have them in the house any
You've kept them twenty years, why now?
I'm asking you the same question: why now? All you'll
succeed in doing is ripping apart old wounds. I can't
bear the thought of it.
She's nearly overcome. He tries to comfort her.
Eileen, Eileen, why won't you believe me?
Words aren't good enough.
I want my actions to speak for me. Haven't you been
listening? I've been wrong all this time, I'm trying to
make up for it -
Sometimes making up for something only makes it
Have you told her?
God no. No and I never will. You must promise me the
(pause, more pleading)
I'll never ask anything of you again.
All right. All right.
(handing the letters again)
Take them. Please.
Pause. He does.
You mustn't call. You mustn't come to the house again.
I should hope you do. Goodbye, Ben.
Eileen wheels herself towards the door. Ben moves to help her. They move out of sight.
12. INT. AUDREY'S PEEPHOLE
Audrey's taken Donna to her secret lair. They stand at the peephole, having witnessed part of the latter.
What the hell was that all about?
I don't know. But I'm going to find out.
13. EXT. DOUBLE R DINER - DAY
14. INT. DOUBLER DINER - DAY
Truman, Cooper and Cole enter, Cole in mid-shout.
- BEST CURE I EVER CAME ACROSS FOR A
HANGOVER WAS RAW MEAT AND PLENTY
OF IT. BREAK AN EGG ON IT. TABASCO
AND WORCHESTERSHIRE SAUCE.
(growing green again)
I'll be right with you guys.
IF YOU WANT WE CAN ORDER SOME UP FOR
Truman heads for the bathroom again. The others sit in a booth. Most of the diner is listening.
NOW THAT I COME TO MENTION IT, YOU
KNOW WHAT I'M IN THE MOOD FOR? A
STEAK SO RARE YOU COULD SELL IT AT
Gordon, you've come to the right place.
SHELLY JOHNSON appears behind the counter. Gordon spots her.
HOLY SMOKES, WHO IS THAT?
(in his ear)
Her name's Shelly Johnson.
WHAT A BEAUTY. REMINDS ME OF THAT
STATUE, THE BABE WITHOUT THE ARMS.
Venus de Milo.
THE NAME WAS MILO BUT THAT'S BESIDE
THE POINT. THAT'S THE KIND OF GIRL
THAT MAKES YOU WISH YOU
KNEW A LITTLE FRENCH.
(slides out of the booth)
EXCUSE ME, WHILE I TRY MY HAND AT A
LITTLE COUNTER ESPERANTO.
Cole floats away. We follow him over to where Shelly continues to clean up the counter. Cole sits near her.
HELLO. I'M WONDERING IF I MIGHT
TROUBLE YOU FOR A CUP OF STRONG
BLACK COFFEE AND IN THE PROCESS
ENGAGE YOU WITH AN ANECDOTE OF NO
She smiles. Looks over at Cooper, who gives her an OK sign.
THE NAME'S GORDON COLE AND I
COULDN'T HELP BUT NOTICE YOU FROM
THE BOOTH AND WELL, I SUDDENLY FEEL
LIKE I HAVE A BELLY FULL OF SPIROKEETS.
You don 't have to shout, sir, I can hear you perfectly
I HEARD THAT.
(occurs to him that he did)
I HEARD THAT.
Would you like anything besides coffee?
(growing more agitated)
I HEARD YOU PERFECTLY.
And I can hear you. Honest. You don't have to shout.
YOU DON'T UNDERSTAND -
She shusses him, amused.
- you don't understand, Miss Johnson, do you see these?
He points to his hearing aids.
Yes I do.
I've spent the last twenty years asking folks to speak up,
but for some weird reason I can hear you clear as a bell.
(takes out his hearing aids)
Say something else.
Would you like some pie with your coffee?
Good Lord, I can hear every word you say. This is
some kind of a miracle, a-a-a phenomenom.
The LOG LADY, who has been sitting at the counter, chimes in.
My log thinks the cherry pie is a miracle as well.
(can't hear her)
The cherry pie.
I heard you. I heard you again.
So would you like some pie?
Massive. Massive quantities. And a glass of water,
sweetheart, my socks are on fire.
COLE sits there with an absolute grin.
15. COOPER AND TRUMAN
ANNIE BLACKBURNE moves to the booth to take their order. They're staring out the window. Annie does as well.
Chickadee - sitting on a Dodge Dart.
Think it's a finch - sitting on a Dodge Dart..
Nope. Chickadee. On a Dodge Dart.
Cooper turns back to see Annie smiling at him.
What's good for a hangover?
Teetotaling and prayer.
Anyway, a cure might make you feel better and you're
supposed to suffer for your sins, remember?
That's a great comfort to me. I'll try coffee.
How are you today?
I'm fine. Actually, I'm weird. I'm disoriented. I'm
not sure where I am exactly. I mean I know but it feels
odd, being here. I'm okay.
Gosh, listen to me, I've been out of circulation so long
I've completely forgotten about social niceties. I mean,
you ask me how I am, I'm not really supposed to say how
I am, I'm supposed to say, "I'm fine, thanks, how are you?"
Cooper smiles. He likes her a lot and he can't hide it.
You must think I'm really strange.
Not at all.
But I mean, with due consideration to the social niceties,
even if I asked you and you did think I was strange, you
wouldn't say so, would you?
If I thought you were strange, I would tell you.
And you don't. Think so.
Not for a second.
Truman's been watching this like a ping-pong match.
Okay. Good. Glad we cleared that up. So. What'll
Chicken pot pie. And a glass of milk.
Good choice. All the major food groups represented.
Turkey sandwhich. Whole wheat. Lettuce. A hair of
mayonaise. And I've got a joke for you: a couple of
penguins are walking across an iceberg and the first one
says to the second, "You look like you're wearing a
I heard that.
Wait, I'll be right back.
I wasn't quite finished.
How long have you been in love with her?
Who said anything about love?
Coop, you just tried to tell her a joke.
Cooper is nailed. Maybe Truman's right. Not sure what to say. Annie comes back.
Okay, what did the second penguin say?
(resuming with enthusiasm)
The first one says, "You look like you're wearing a
tuxedo." And the second one says, "Maybe I am."
(after a millenium passes)
The defense rests.
That was cute.
Pause. They look at each other. Annie realizes what she's doing, glances down at his napkin, where Cooper's been doodling.
What are you drawing?
Cooper looks down at his napkin.
He's doodling the tattos on the Log Lady and Major Briggs.
Oh. Nothing. A couple of tattoos.
(a longer look)
Funny. Looks like the rocks in Owl Cave.
She moves off. Cooper watches her go, a little moonstruck. Another look at the napkin, then Cooper snaps back on the beam.
Owl Cave? What's Owl Cave?
It's up near Pearl Lakes. Old Indian territory.
Supposed to be sacred ground. We used to go there
when we were kids.
(takes the napkin)
My God it does. It does look like it.
Sounds like we better go there now.
They exchange a smile. Move in on the napkin.
END ACT TWO
17. INT. HAYWARD HOUSE - DAY
Donna steps through the living room, leafing through a handful of afternoon mail. She stops suddenly, stares at a postcard, SAN FRANCISCO emblazoned across a rendering of the Golden Gate bridge. Donna turns the card over, reads. We HEAR:
Dear Donna. You were right. I had to go. Everything
feels different when you're on the road. It feels better.
San Francisco is really cool. Next stop, Mexico. I'll be
back with a million stories. Promise. I love you, James.
Donna looks up, tearful. DOC HAYWARD enters the room, sees the postcard in her hands.
James? How is he?
He's good. He's doing what he needed to do.
Hayward putters with at the table. Donna watches him for a beat.
Dad? Can I ask you something?
How does Mom know Ben Horne?
Hayward tries to hide the jolt her question brings. He looks into his daughter's eyes, and lies.
I doubt that she does, Donna. Not very well.
(knows he's lying)
But he was over here yesterday. They were talking like
(compounding the lie)
Your mother works with the local charities. I'm sure
even Ben contributes once in a while.
She drove to the Great Northern this morning. And she
saw him again.
Probably something to do with a fundraiser ...
I don't think so.
... yes, that's it. Eileen mentioned it to me at breakfast.
One of those Heal The Planet things.
She never said anything about it to me.
(very firm, end of discussion)
Well that's exactly what it is. Your mother told me so.
Donna pauses, uncertain. Just then: the doorbell RINGS.
I'll get it.
Donna steps to the door, off-screen. Hayward watches his daughter with evident concern. When Donna returns, she holds a bouquet of flowers in her arms.
They're for Mom. No card.
HOLD ON Donna for a beat. A blossom for every lie her father told her.
18. INT. TWIN PEAKS CITY LIBRARY - DAY
Audrey walks between dark library stacks, thinking about Wheeler, energized. She mounts a short ladder, inspects a row of dusty books. She removes one, leafs through it, eyes seeking pertinent information. Audrey begins to read, when ... SUDDENLY a footfall, Audrey looks up. A man stands close by in the shadows. Startled, Audrey nearly tips the ladder. But the quick-handed stranger grabs and steadies it.
Sorry. My fault.
It's okay. I didn't hear you coming...
One should never allow both mind and foot to wander at
the same time. Edward Perkins. Again, my apologies.
(pleased to meet a fellow seeker)
Audrey Horne. Pleased to meet you, Mister Perkins,
ANOTHER ANGLE reveals that she is shaking the hand of Windom Earle. He is dressed as a absent-minded academic. Trousers, shirt, cardigan sweater, wire-rim glasses. He eyes Audrey closely throughout, just short of rudeness, as if measuring her for some future use.
What brings you to the library?
Research. On civil disobedience.
Good for you. It is incumbent on the young to disobey.
Are you a professor?
I teach. Poetry is my area of expertise.
You're kidding. Someone sent me a poem. Wait.
She reaches into her jacket, pulls out the poem Windom sent to his three queens, now taped together. She holds it out for him to inspect. But Earle quietly demurs.
You read it.
(after a beat)
See the montains kiss high Heaven
And the waves clasp one another,
No sister flower would be forgiven
If it disdained its brother;
And the sunlight clasps the earth
And the moonbeams kiss the sea...
What is this sweet work worth
If thou kiss not me?
Yes ... you know it.
Oh yes. Shelly.
Earle says it softly, wistful. He peers at Audrey with an intense expression. She wonders:
Gazing at you, perched on that ladder, reciting Shelly's
verse ... you look very much like a Queen.
(a little spooked)
Oh. Thanks. Well. I better go.
(descends, means to walk away)
Nice to meet you Mr. Perkins.
Perhaps we'll meet again someday.
Earle watches Audrey carry her book into the shadows.
19. INT. SHERIFF'S STATION - DAY
Cooper leads Andy and Hawk through the station. The deputies carry armloads of equipment - safety helmets, flashlights, pick-axes and rope. LUCY MORAN sits at her post, watches them pass. She sees Andy and sighs. He looks bold, dashing, ready for adventure.
Andy lingers. Cooper and Hawk continue to the Sheriff's office.
I want to thank you for helping out during the Weasel
Riot yesterday which is more than I can say for a certain
Dick we both know.
Keeping the peace is part of my job.
Where are you going with all of that gear?
Is it dangerous, spelunking?
Promise me something?
I know you'll be strong. And I know you'll be brave.
But I want you to promise me you'll be careful.
(never more manly)
I'll be careful, Lucy. You have my word.
HOLD ON them for a beat. Love rekindled, or nearly so.
20. INT. SHERIFF TRUMAN'S OFFICE - DAY
Truman peers down at the chess board as if to visualize the battle Cooper and Earle are fighting there. He reaches out to touch a piece when the door to his office OPENS. Truman, still suffering from a world class hangover, turns to face Cooper as he enters.
Pete just called in our next move.
Truman hands a piece of paper to Cooper. Cooper reads it, steps to the board, moves the appropriate piece. He considers the resulting formation.
We expose a pawn to his bishop.
Want me to hold off?
No. If he takes the pawn he'll forfeit the bishop and
most of his initial advantage. Feeling any better, Harry?
Like someone pounded a railroad spike into my ear.
Then a descent into a cool, subteranean cave may be just
what the doctor ordered.
Cooper tosses the helmet to Truman. He catches it cleanly.
21. EXT. DOUBLE R DINER - DAY
22. INT. DOUBLER DINER - DAY
The diner is quiet, nearly empty. Annie cleans the counter, pauses to retrieve a flyer. It reads: THE MISS TWIN PEAKS PAGEANT, our Twentieth Anniversary. Shelly steps into view, reads it over Annie's shoulder.
Thinking of entering?
I think the real world's strange enough without getting up
on stage and parading around in a bathing suit and heels'
Guess they're not too big on that kind of stuff in the
That's a good guess.
Is it strange, you know, being back in civilization?
(a little defensive)
It wasn't as if they kept us locked up in the attic. We
had newspapers. We even had cable TV. Every time I
tell someone where I've been they act like I'm out on
(pause, an admission)
You know what's weird? Being around men again.
You don't have to spend time in a convent to feel that.
(pause, trying to sound idle)
What do you know about Agent Cooper?
Are you interested?
It's like anthropology. Examing the native flora and
fauna. For educational purposes
So. Tell me about him.
Okay. He's a few years older than you. Handsome, but
not too handsome. He's really, really smart. He's in the
FBI. He loves Twin Peaks. He loves pie and coffee.
Good. Now I won't have to send to Washington for his
And judging from the look on his face when he saw you
today, I'd say you have a major opporunity.
Who said anything about that?
Shelly walks away, with a knowing smile.
Sorry, you've got it wrong, I'm not even remotely
23. EXT. GREAT NORTHERN HOTEL - DAY
24. INT. BEN HORNE'S OFFICE - DAY
Ben paces, taking bites from a carrot. Audrey, sits upon the office sofa, looks on with an admiring smile.
Audrey, when Jack Kennedy entered the White House, he
took his brother with him, because he trusted Bobby to
tell him the truth even when it wasn't pretty. When the
Bay of Pigs went up in smoke, Bobby was there. When
the Russians moved missiles into Fidel's backyard,
Bobby helped his brother shoulder through.
Sort of like Jerry's been for you?
The unvarnished truth is what I am looking for. I
believe you are the best man for the job.
(surprise and delight)
Ben kneels down before her, pauses. This is a new Ben. This comes straight from the heart.
Audrey, I haven't always been a good father to you. Oh,
hell, who am I kidding? When was I ever anything but a
sleazy rapacious heel?
Well. When I was little, maybe... I...
Audrey shrugs. Ben lived a life devoid of any and all goodness.
Exactly. But I've changed. And I'm determined to do
better. To be the kind of father you'll respect some day.
I think about Laura. I think about the mistakes I've
(this is hard for him)
I want to build a life in happiness. For the whole
Won't you help me? Please?
AUDREY (through her tears)
Daddy, I'm your man.
A warm beat. Ben rises, beaming.
Sensational. Audrey, pack a bag get out to the
airport. Your plane leaves in an hour.
(from tears to confusion)
John! Just the man I want to see.
John Wheeler pauses in the open doorway, enters. Audrey turns to meet his gaze, remembers their plans for this evening. Her plane?!
Audrey, you'd better get moving. One hour.
Audrey's flying to Seattle tonight. She's having a
breakfast confab with the Sierra Club. We're going
national with this Pine Weasel thing.
I'm not sure I can leave on such short ...
(not listening, handing her a file)
Here are the particulars. Time, place, and so on. Bring
us back some good news.
(inspecting file, heart sinking)
Audrey looks up. Her father beaming. Wheeler thinking about tonight. All the things they cannot say to Ben just yet. Or to each other.
(collecting her thoughts)
I'd better go.
(glances at Wheeler, a helpless shrug)
Ben, unaware, wraps his daughter in a big farewell hug.
Bless you, Audrey. Safe passage.
Audrey takes one last look at Wheeler and walks out the door. A beat. And Ben slumps down on the sofa with a mighty sigh.
What's wrong, Ben?
I am filled to the brim with goodness. Like a
Christmas tree all lit up inside me. But at the end of the
day, when I look in the mirror, I have to face the fact
that I don't really know how to be good.
(sitting down beside him)
You're off to a pretty fair start.
How do you do it, John? What's your secret? Can I learn
to be good too?
I don't see why not. Keep an eye on your heart. Always
tell the truth.
(the concept is wondrous)
Always tell the truth.
Tell the hardest truth first.
Terrific. Tell the hardest truth first. I love that. jack,
this truth business is clearly at the forefront of goodness.
I'm falling in love with your daughter.
Now there's a hard truth.
It is the truth.
A long beat. Ben pats Wheeler on the knee. Father to son.
(with kindness and approval)
Ahh, Jack. What a wonderful world we live in.
HOLD ON Ben and Wheeler for a beat. Side by side upon the sofa. Ben offers Wheeler a carrot. Wheeler accepts.
FADE TO BLACK.
END ACT THREE
25. EXT. OWL CAVE - NIGHT
Two police vehicles parked in the dark, their lights shining brightly upon the rock formations that enclose Owl Cave.
26. INT. OWL CAVE - NIGHT
START CLOSE on a pair of gloved hands desperately seeking purchase on a rocky wall. Flashlight beams illuminate the scene. Encouraging voices are HEARD:
That's it, Andy. Careful. One hand at a time.
CAMERA PULLS back to reveal Andy's head pressed against the wall, grimacing with effort, and not a little afraid. He grunts, hand over hand, as Truman and the others shout instructions from below. Then, finally, with one last moan ... Andy sinks out of frame like a stone.
Andy lands with a thud on the floor of Owl Cave. Flashlight beams criss-cross his features as Cooper, Truman, and Hawk huddle about him
Are you all right?
(determined to be the man of action)
They part, help Andy to his feet. And turn their lights on the interior of the cave. It is a large, airy space filled with rocky outcroppings, strange shapes in the dark.
As the beams of light trip across the cave walls, Hawk intones:
We used to play here when I was a kid. Pretend it was
haunted by fierce ghosts.
Truman kicks something in the dark, picks it up. A beer can.
Beer drinkers, by the look of it.
(fascinated by every detail)
Where is the symbol?
Hawk swings his flashlight beam across the cave, illuminates the far wall. And a ROCKY SHAPE upon it. Cooper and Truman aim their beams as well, step closer.
The rocky symbol is a rough-hewn rendering of Cooper's drawing. An easily discernable shape extruding from the cave wall. It does not appear to be man-made.
Two symbols combined into a larger whole. But for
I don't know, Coop. It's similar, there's no denying that.
It's more than similar, Harry. The tattoos are a
question. And this, somehow, is the answer.
Andy listens gravely, pick-axe over his shoulder, afraid. He flashes his light upon the symbol, forces himself a little closer. As if determined to contribute despite his fears.
Why do they call it Owl Cave?
SUDDENLY: an owl's SHRIEK to wake the dead, the FLAPPING of enormous wings, something passes through the shadows overhead. Several things happen simultaneously:
Cooper, Hawk, and Truman whip their flashlights toward the passing sounds, but find nothing.
Andy yips, panics, and whirls about. His pick-axe STRIKING the cave symbol with a mighty blow. Rocks chip and tumble, a sort of whooshing rumble is heard ... and a small LANDSLIDE tumbles down upon his head.
All rush to his side, claw through the rocks and detritus. Andy lays beneath, bruised, stunned, but essentially unharmed.
What was that?
(he stands, preoccupied)
I'm sorry. I destroyed a national monument.
Forget it, Andy. It's just a rock. The important thing -
(notices Cooper's expression)
Cooper isn't listening. He's shining his light on the cave wall, the section revealed by the slide. His eyes are filled with wonder.
What is it?
I'm not sure.
Cooper steps forward, their beams join his to illuminate the wall. And there, partially obscured by the rock that remains, is a CAVE PAINTING of startling color and design.
(reaching out to touch it)
It appears to be a hieroglyph. We'll need the proper
tools to excavate. Harry, I have no idea where this will
lead us. But I have a feeling, a definite feeling, it will
be a place both wonderful and strange.
Cooper reaches out to touch the mysterious design. HOLD ON the cave painting for a beat. The rocky formation that once hid it from view.
28. EXT. THE GREAT NORTHERN - NIGHT
Establish. Piano music is heard.
28A. INT. CORRIDOR NEAR DINING ROOM
Cooper returns, speaking into his recorder.
Diane. Wednesday night, late. Have just returned from from
a place called Owl Cave. How I got there is a long and
complicated story, but I will try to recount it
accurately. It all began with a pair of matching
Cooper stops, looks off. He sees someone familiar in the dining room/bar.
29. INT. GREAT NORTHERN BAR - NIGHT
Annie Blackburne enters and sits alone at the bar, curious, uncertain. Will she ever be a part of this world? Annie raises an arm, tentative, to flag the bartender. Her actions are not those of someone timid or shy. But rather the first halting steps of a stranger new to a strange land.
(off his look)
I'd like something to drink. I'm not exactly sure what.
Ladies seem to like rum.
Rum. I'll have one, please. With...?
The bartender steps off to fetch and pour. Annie turns her eyes back to the smokey room: couples seated at tables, talking, intimate and close. Annie watches with fascination and regret. A familiar VOICE penetrates her reverie. Agent Cooper.
Could I get you...
Annie notices the bartender has left her a cocktail.
No, thank you. I have rum and tonic.
One of the Sister's put rum in her tea. I've never tasted it
before, but it sounds exotic. so I ...
(off his look)
I lived in a convent for five years. I might as well be
You're doing fine. You're here, on your own. And you
have rum and tonic.
Cooper speaks with quiet humor and affection. Just the support Annie needs. She smiles appreciatively, lifts the glass to her lips, takes a drink. Reacts curiously. Not unpleasant.
Cooper watches her gazing at the room, the wonder and doubt in her eyes. Annie senses him watching her, Cooper wonders:
It's all new to you. Everything.
I feel constantly amazed ... stunned. Music, people.
The way they laugh and talk. Some of them so clearly
in love. It's like a foreign language to me. I know just
enough of the words to realize how little I understand.
I'd like to see the world through your eyes.
There are things I would do differently if I had the
chance to start over again.
Annie pauses, as if to consider a painful memory. She reaches for her glass of water, her sleeve slips up, reveals scars on her wrist. Cooper sees it, says nothing. But Annie knows he saw them.
The thing is, I've failed before. I'm afraid I might fail
Do you want to talk about it?
(simply, without rancor)
A beat. Cooper peers at Annie, feels something turn inside his heart. He falls in love.
Can I help you, Annie?
Show you the world. Will you let me?
(after a beat)
I'm stubborn. Extremely willful.
I can handle that.
Some people think I'm weird.
I know the feeling.
I can't promise you I'd always make sense, or do the
things you expect me to.
I don't expect anything.
(beat, then a big smile)
Then I accept your kind and generous offer.
Cooper smiles in kind, reaches out to touch Annie's hand and hold it, just below the scars. He's wanted to touch her from the first moment they met.
30. INT. OWL CAVE - NIGHT
SUDDENLY - CAMERA follows a flashlight beam as it pierces the darkness inside Owl Cave. The beam splashes light upon the cave's rocky walls, then, finally, holds on the landslide aftermath, the symbol's fragment, the cave painting revealed beneath.
A beat. ANOTHER ANGLE reveals the man holding onto the flashlight, now staring intently at the cave painting. It is Windom Earle.
(peering at painting)
My, my, my. What have we here?
FADE TO BLACK.