I ventured onto the Internet part of the way through the series, and the first fan fiction I ever read online was Twin Peaks fan fiction, viewed through an ancient copy of Mosaic. It wasn’t very good. The best story (Passion Play) was never finished. And there was an extremely dubious X-Files crossover.

I think that there is a Twin Peaks fanfic archive somewhere, but it’s dusty with neglect and contains only fiction from the early nineties. I think that Twin Peaks deserves better than this. It’s taken television ten years to catch up with David Lynch and Mark Frost’s vision, ten years before Buffy and The X-Files brought intelligent viewing back to the unwashed masses. Twin Peaks was a show of unparralelled invention, and stands alongside the Prisoner as a being one of the few shows to make a nation go “Huh?” in unison as they tried to work out what the hell was going on in their cathode ray tube.

This is my tribute to a great show. I wanted to co-write a whole virtual season, but I fear that there just isn’t an audience. This was my first attempt at a proper script, and is rather technical and rough around the edges. There are a number of familiarly twisted scenes, Twin Peaks-isms, jokes and arc plotting, and in some respects it isn’t bad, but I certainly don’t think it’s anything special. I hope you all enjoy it anyway. As usual all feedback can be directed to me. I await your “You wrote this and you had the cheek to give me [1/5]?” mails eagerly. Oh, and if you haven’t seen Twin Peaks through in its entirety, *don’t* expect to understand it.

DISCLAIMER: The following script uses characters and situations owned by Mark Frost and David Lynch. No copyright infringement is meant by this. No money will be made from this. Ask me for permission before reposting anywhere.

OPENING TITLES

COME UP FROM BLACK to EXT. GREAT NORTHERN and WATERFALL, DAY. ZOOM IN on WATERFALL.

We hear COOPER’S final refrain from the previous episode.

COOPER: (VO, reverb) How’s Annie? How’s Annie? How’s Annie?

DISSOLVE to

EXT. TWIN PEAKS SAVINGS AND LOAN, DAY. TRACK IN.

DISSOLVE to

INT. TWIN PEAKS SAVINGS AND LOAN, DAY.

Here we can see a CLERK sleeping and DELL tottering slowly from the bank vault, tipping his head to AUDREY HORNE as he shuffles around her. She smiles encouragingly at him.

CUT to

VAULT

We see ANDREW PACKARD and PETE MARTELL standing in front of a wall of safety deposit boxes, with ANDREW PACKARD opening one up with a key. As it is opened we see a bomb and a piece of paper with the words "Got you, Andrew, Love, Thomas." on it. There is a blinding flash of light.

ANDREW: Oh SH-! (screams, puts his hands to his eyes and collapses on the floor)

PETE: (looks down at ANDREW, concerned) Andrew?

Angle on DELL, who slowly turns around and shuffles back into the vault.

Angle on PETE, who crouches down beside ANDREW, blinking away the flash.

Angle on AUDREY, who lets DELL pass and opens the gate to see what is going on.

Angle on PETE

PETE: Andrew, are you okay.

In the background we hear a BEEPING.

ANDREW: Blast him! I can’t see! Pete, help me up. (flails his arms to try and find PETE)

PETE: (grabbing an arm and helping him up) Sure thing, Andrew. (he is rather bemused by what is going on)

DELL: (in a raised voice) Is something wrong? You can’t see?

(DELL shuffles slowly across the vault, taking his glasses off and holding them in out in front of him)

DELL: Will these help?

One of ANDREW’S flailing arms catches the glasses and knocks them into the box. DELL starts after them but PETE, still steadying ANDREW, reaches towards the box to pick them up. He halts, one arm tucked under ANDREW’S armpit, the other halfway to the box.

Angle on BOMB DISPLAY

The display reads :52, :51, :50

PETE: (OS) It’s a bomb.

Angle on ANDREW

He stops moving, his eyes still screwed up. He tilts his head to hear the BEEPING.

Angle on PETE

He turns to face the camera, his face radiating panic. The background seems to move into the distance.

PETE: It’s a bomb!

Angle on VAULT

DELL makes a rasping noise in the back of his throat and raises his arms in despair. He slowly shuffles towards the VAULT’S entrance.

Angle on AUDREY.

AUDREY looks worried and starts to rattle her CHAINS, straining to break them.

Angle on ANDREW and PETE

ANDREW: (reaching blindly for PETE’S shoulder) For God’s sake help me, Pete!

PETE puts an arm around ANDREW’S shoulders and moves him towards the door.

Angle on BANK

DELL is still shuffling towards the door of the bank with his hands in the air. As ANDREW and PETE pass AUDREY, she looks imploringly at PETE.

PETE: Just you hang on in there, Audrey.

They pass Dell and reach the door.

EXT. TWIN PEAKS SAVINGS AND LOAN, DAY.

PETE carries ANDREW through the door. Outside there are some people milling about, including a WORKER with a TOOLBOX working on some nearby power lines. They look questioningly at PETE.

PETE: There’s a bomb!

The people start to scream and run as PETE unceremoniously dumps ANDREW on a patch of grass. He takes a deep breath and looks around, sees the TOOLBOX and grabs it.

WORKER: Hey!

PETE runs back into the BANK

INT. TWIN PEAKS SAVINGS AND LOAN, DAY.

PETE enters the room and runs to AUDREY. DELL has made a little progress. In the background we can still hear the BEEPING.

Angle on VAULT DOOR.

PETE kneels beside AUDREY and rummages through the TOOLBOX, throwing various tools hither and thither.

AUDREY: Hurry!

Angle on DELL passing the CLERK

Angle on VAULT DOOR.

PETE finally finds something of use, a BOLT CUTTER.

PETE: Stand back!

AUDREY stands as far back as possible as PETE cuts the CHAIN. There is a CRACKLE of electricity. It starts to fall off and AUDREY tugs herself free. She kisses PETE on the cheek and runs for the DOOR.

Angle on DELL.

He is almost out of the BANK as AUDREY passes him by.

Angle on VAULT DOOR.

PETE grabs the TOOLBOX and looks at the BOX. He turns and runs towards the DOOR, passing the CLERK. He turns back and tries to wake up the CLERK, but to no avail. He tries to pick her up but she is too heavy. He gives up and runs from the bank.

Angle on BOMB DISPLAY. :03, :02, :01.

EXT. TWIN PEAKS SAVINGS AND LOAN, DAY.

The bomb explodes and blows out the windows.

Angle on DELL shuffling across the road to the grass where ANDREW and AUDREY are, PETE moving him along.

Angle on SMOKING REMAINS.

Angle on GROUP as DELL and PETE join them. They look at the REMAINS.

ANDREW: Thank you, Pete.

PETE: There was a woman still in there. I couldn’t wake her up.

AUDREY: (patting his arm) You did your best. You saved me.

Angle on REMAINS.

We see an AMBULANCE pull up outside the REMAINS.

Angle on GROUP.

DELL: They’ve arrived!

PETE: (looking at DELL) Why are *they* here?

DELL: Ah, Mrs Calloway, one of our clerks, died of a heart attack this morning. I had so much to do I couldn’t telephone the hospital until just before you arrived.

AUDREY smiles. PETE looks relieved.

Angle on REMAINS. PARAMEDICS are getting out of the AMBULANCE and looking bewilderedly at them. A BANK GUARD runs on screen.

Angle on GROUP.

The BANK GUARD joins the group and beams at them. He looks at the remains and then back at them.

GUARD: (ecstatic) I’m a father!

GROUP look at one another.

CUT to

ECU on GRASS.

DELL’S GLASSES land on the GRASS, followed by spinning dollars.

FADE OUT

FADE IN

INT. HOSPITAL, DAY. ANNIE BLACKBURN’S ROOM.

ANNIE BLACKBURN is laying comatose on a hospital bed. She is wearing a hospital gown with short sleeves. Sitting on a stool by the side of the bed is AGENT COOPER. Standing in the doorway, semi- silhouetted against the light from the corridor outside is SHERIFF TRUEMAN. AGENT COOPER holds ANNIE BLACKBURN’S hand, stroking it, while looking at her closed eyes. He is obviously grief stricken.

TRACK RIGHT.

DISSOLVE to

INT. RR DINER, DAY.

The diner is almost empty. At the counter sits WOMAN WITH WOOLEN HAT. She is being served on the other side of the counter by SHELLY JOHNSON.

TRACK RIGHT.

DISSOLVE to

INT. WINDOM EARLE’S HUT, DAY.

LEO JOHNSON lays dead on the floor, spiders all over him.

TRACK RIGHT

DISSOLVE to

INT. BRIGGS’ RESIDENCE, DAY. LOUNGE.

BOBBY BRIGGS and BETTY BRIGGS sit side by side on the sofa in exactly the same position: leaned over, elbows on knees, hands on chins, listening intently. MAJOR BRIGGS stands in front of them, hands gesturing as he relates to them a story.

TRACK RIGHT.

DISSOLVE to

INT. HURLEY RESIDENCE, DAY. BEDROOM

ED HURLEY and NORMA JENNINGS lay in bed, huddled up to each other.

TRACK RIGHT.

DISSOLVE to

EXT. GHOSTWOOD, DAY. MAKEOUT POINT

MIKE’S car is bouncing up and down as some couple make frantic love within..

TRACK RIGHT.

DISSOLVE to

INT. TWIN PEAKS SHERRIF’S STATION

DEPUTY HAWK sits on a chair reading, his feet up on a table. LUCY and DEPUTY ANDY sit either side of the receptionist’s hatch, playing a game of battleships.

TRACK RIGHT.

DISSOLVE to

INT. HAYWARD RESIDENCE, DAY. DINING ROOM.

All the HAYWARD family is home and seated around a table eating a meal. They are laughing and joking.

TRACK RIGHT.

DISSOLVE to

EXT. GREAT NORTHERN, DAY.

CUT to

INT. GREAT NORTHERN, DAY. HORNE’S DINING ROOM.

At their long table sit BEN HORNE, SYLVIA HORNE and JOHNNY HORNE (in Native American outfit), all eating their meal in silence. There is the occasional clank of cutlery on plate.

Suddenly, in bursts JERRY HORNE.

JERRY: My one and only family! So glad to see you again.

BEN: (patting mouth with serviette and standing) Jer!

Angle on JERRY

JERRY: (throws open arms in greeting) Brother Ben! You look G-R-E-A-T!

Angle on BEN, lapping up the praise. He has a sticking plaster on his forehead.

JERRY: So healthy! Sylivia!

Angle on DINING ROOM

JERRY walks over to SYLVIA and bends down, pretending to kiss her cheek.

CU on JERRY and SYLVIA.

JERRY whispers into SYLVIA’S EAR.

JERRY: (whispering) He’s not still insane, is he?

SYLVIA: (looks at him, shocked. Then looks pointedly at her husband) Ben!

Angle on DINING ROOM.

JERRY walks jauntily over to BEN, pausing to pat JOHNNY on the head dress. He gurgles appreciatively.

Angle on BEN and JERRY

JERRY: (grabbing BEN’S arms and looking concerned) How are you, Ben. How’re things? What were you doing last- ah, yes. Saving the Little Pine Weasel.

BEN: And putting a stop to the development of Ghostwood.

JERRY: And putting a stop to the development of Ghostwood. Because (is obviously reciting something he has learnt off by heart) such an area of natural beauty is too precious to be destroyed.

BEN: Exactly!

Angle on DINING ROOM.

SYLVIA puts down her knife and fork and leaves the room in a huff.

Angle on BEN and JERRY.

JERRY turns his head to watch her leave, then turns back to his brother. He looks at him strangely.

JERRY: Ben . . .

BEN: Jer . . .

ECU on BEN’S sticking plaster. JERRY’S index finger points to it.

JERRY: How on Earth did you do that.

BEN: You know, Jer, it’s the funniest thing. I woke up this morning . . .

CU on BEN

BEN: . . . and I felt this terrible pain, right here (points to sticking plaster), on my head. I got up and went to the bathroom. Looked in a mirror and there it was.

CU on JERRY

JERRY: (bemused) The band aid?

CU on BEN

BEN: No. (whispers) What is *under* the band aid.

CU on JERRY

JERRY: (whispers) And what *is* under the band aid, Ben?

CU on BEN

BEN: There was a wound, clotted over. It was quite bad at the time; still bleeding a little. I put the band aid on right after I saw it. And I don’t know how it got there. (pulls out a carrot from his blazer pocket and looks at it for a while, rolling it between finger and thumb before putting it away again. He looks hard at JERRY)

Angle on BEN and JERRY.

(beat)

JERRY: (breaks into a grin) You old dog!

BEN: (smiles puzzledly) What?

JERRY: Benjamin Horne, always the talent scout!

BEN: (smile straining) I don’t understand, Jer.

JERRY: Last night! Miss Twin Peaks! Find some fresh meat for ol’ One Eyed Jacks! Boy, you must have had such a wild night you can’t remember who or what hit you.

BEN: (tries to interrupt him) Jer . . .

JERRY: . . . not the first time either. I remember some nights with L-P, R-I-P that . . .

BEN: Jer!

JERRY: . . . that . . . (notices BEN) What?

BEN: Nothing happened, Jerry. Nothing happened, (looks confused) last night. In fact I can’t remember last night at all. (mutters to himself) Owls? The lights went out . . .

JERRY: I bet they did. (takes his arm and leads him away) Let’s go sit by a big log fire and talk about saving those trees.

CUT to

EXT. RR DINER, DAY.

CUT to

INT. RR DINER, DAY.

The Diner is still almost empty. SHELLEY is slouched over the counter, looking utterly bored. In front of her is the WOMAN WITH WOOLEN HAT. She is devouring a piece of cherry pie with great speed, shovelling it in with a fork and pushing it around with the fingers of her other hand.

HAT WOMAN: (through mouthful) This sure is a good piece of pie.

SHELLEY: (bored) It’s the best in the Tri-counties.

HAT WOMAN: Well, I wouldn’t go *that* far. But it is good.

She tucks away the last bite and skates a finger across the plate to mop up the remainder of the syrup.

HAT WOMAN: I’ll have another piece, thank you.

SHELLEY sighs and takes the empty plate away.

Angle on DOOR.

The door opens with the JANGLE of it’s bell, and AUDREY HORNE walks in. She sits three seats down from the HAT WOMAN.

Angle on HAT WOMAN.

She is rummaging through a moth-eaten old purse to find some money, and pulls out a tatty note. She looks up at AUDREY.

Angle on AUDREY

AUDREY: (smiles) Hi.

AUDREY smiles at the woman, who sniffs and hides her purse away under her coat. SHELLEY returns with another plate of pie, and sees AUDREY.

SHELLEY: Oh, hi Audrey.

AUDREY: Hi.

SHELLEY: I’ll be with you in a minute, okay?

AUDREY: Sure.

SHELLEY places the pie down in front of the HAT WOMAN, who grudgingly offers her the NOTE. SHELLEY takes it, holding it out in badly disguised disgust. She walks over to the register.

HAT WOMAN: (getting to work on the pie) I want some change out of that, mind you. It’s a twenty.

SHELLEY: It’s a ten, and you’ve already had six pieces.

HAT WOMAN: (grudgingly) If you say so. Damn government. Money shrinking all the time.

She opens her mouth to display her cherry stained teeth, which she points to.

HAT WOMAN: (through teeth) In league with aliens that drill your teeth!

She continues with her pie.

HAT WOMAN: (through mouthful) Can’t trust anyone, these days.

SHELLEY walks over to AUDREY.

Angle on SHELLEY and AUDREY.

AUDREY: Friend of yours?

SHELLEY: (screams under her breath) She just sits there, eating pie after pie, telling me her wacky conspiracy stories. Says aliens are drilling her teeth. Says that the government is poisoning her water to make her hands shake. Usually, a customer that just sits there shovelling it in would be great, but Norma’s out with Big Ed Hurley and I’m supposed to be going over to Bobby’s place tonight to have dinner with his parents. I should have left by now. I need some time to get changed.

AUDREY: (a little boastful) Well I’ve just come from the Savings and Loan and it was bombed.

SHELLEY: Bombed?

Angle on DINER.

HAT WOMAN: It’s the government I tell you.

Both girls heads turn as she speaks.

HAT WOMAN: Might as well reinstate Nixon.

Angle on SHELLEY and AUDREY.

They continue their conversation

AUDREY: I was almost blown up.

SHELLEY: Really?

AUDREY: Really! Anyway, I’d really like a chocolate malted.

SHELLEY starts to make the milk shake.

SHELLEY: (formulating an idea) How’d you like all the shakes you can drink for free, bomb girl.

AUDREY: Sounds great. What’s the catch?

SHELLEY looks at her, then at the HAT WOMAN.

AUDREY turns to look at the HAT WOMAN.

FOCUS on HAT WOMAN.

HAT WOMAN: (not looking up) I can see you.

Angle on AUDREY and SHELLEY.

They both turn back to each other.

AUDREY: (realising) Oh, no. No way.

SHELLEY: Oh, come on. Just this once. It’d mean so much to me.

AUDREY: (finally) Okay. But free shakes, right?

SHELLEY: You bet! You’re the best!

She finishes making the shake and scoops up her coat. AUDREY opens the hatch and steps through.

AUDREY: Of course.

Angle on DOOR.

SHELLEY pauses in front of the DOOR looks at the HAT WOMAN . . .

Angle on HAT WOMAN

Angle on DOOR

. . . gives a relieved smile, and leaves, the DOOR’S bell JANGLING.

Angle on DINER.

AUDREY stands in front of the HAT WOMAN with her shake. After a while she speaks to her.

AUDREY: You know, my daddy is Ben Horne and he’s gonna run for the senate.

The HAT WOMAN stops her chewing and looks at her for a while. She swallows her mouthful.

HAT WOMAN: I was just leaving.

She leaves the DINER.

AUDREY smiles to herself and sucks on the straw of her milk shake.

CUT to

EXT. TWIN PEAKS SHERIFF’S STATION, DAY.

CUT to

INT. TWIN PEAKS’ SHERIFF’S STATION, DAY. INTERROGATION ROOM

AGENT COOPER sits at the long table with PETE MARTELL, ANDREW PACKARD and AUDREY HORNE on the opposite side. SHERIFF HARRY TRUEMAN stands to one side behind COOPER.

Angle on COOPER

ANDREW: So she gave Catherine a box . . .

PETE: A puzzle box.

ANDREW: . . . and inside was another box . . .

PETE: *Another* puzzle box.

ANDREW: . . . and inside that one was a box . . .

Angle on PETE, ANDREW and AUDREY

ANDREW: . . . and inside *that* one was the last box.

PETE: And inside that one was a key.

ANDREW: and we took it to the bank.

PETE: It was a key to a safety deposit box.

AUDREY: And I was there for civil disobedience.

ANDREW: And inside the safety deposit box was the bomb.

AUDREY: And Pete saved us.

Angle on COOPER.

COOPER: Pete saved you.

(beat)

COOPER: Lots of boxes.

Angle on ANDREW, PETE and AUDREY.

ANDREW: Yes.

PETE: Yeah.

AUDREY: Yes.

Angle on INTERROGATION ROOM.

There is silence for a while.

Angle on HARRY

HARRY: This woman. Was she tall, blonde . . ?

Angle on ANDREW et all

ANDREW: I didn’t see her. The box went directly to Catherine.

Angle on COOPER

COOPER: Then we had better call Catherine in. Good day. (He stands and turns to leave, before half-turning as though remembering something) Commiserations Audrey, on not winning the pageant. There were so many great women . . .

Angle on AUDREY, standing to leave.

AUDREY: What pageant?

COOPER: (confused) Right.

He leaves the room and HARRY looks after him, concerned.

HARRY: Thanks for telling us; you know the way out. Pete, could you tell Catherine to come in when she comes home?

PETE: (leaving the room) You betcha, Harry.

As ANDREW is about to exit the room, HARRY puts a hand on his shoulder.

ANDREW: Something the matter, Harry?

HARRY: Uh, Andrew, aren’t you - dead?

ANDREW: Rumours of my death have been greatly exaggerated, my boy.

HARRY: But the funeral. I was there. I saw the coffin.

ANDREW: Ah, the many uses of heavy rocks. Truly they are man’s best friend. No, the fact of the matter was that I knew that I was going to be killed . . .

HARRY: (uncomfortably) By Josie.

ANDREW: Eckhardt through Josie, yes. I hid away in our family’s old cabin by Pearl Lakes for a while until the fuss had died down a little. I went on an expedition to Hong Kong, acquired some money and returned to Twin Peaks, biding my time.

HARRY: Biding your time ‘til what?

ANDREW: (sighs) I never found out, things started to happen fast enough to carry me along in their current. I was there to help my sister, though. I suppose that must count for something.

HARRY: The Packards are a hard family to kill.

ANDREW: That they are, Harry. (in a lower voice) Harry, I know that you were fond of Josie- we all were. I may be leaving soon, but anything I find of hers, anything at all; it’s yours.

HARRY: Thanks, Andrew. I appreciate it.

ANDREW: We’ve known each other far too long to let a woman come between us. I really believe that, come the end, she loved you. Until our paths cross again.

ANDREW leaves HARRY standing by the door, a little choked. He straightens up and leaves the room, closing the door behind him.

CUT to

INT. TWIN PEAKS’ SHERIFF’S STATION, DAY. RECEPTION.

ANDY and LUCY are still playing Battleships.

Angle on RECIPTIONIST’S KIOSK

LUCY: B four.

ANDY: (sits for a while looking at the board) counts the rows and columns to B4 under his breath) A, B. B. One, two, three, four. B four. Miss. (happily) Miss! My go!

LUCY: (sighs. She is starting to get angry) Andy! I’ve checked everywhere else. There are four spaces left. Your battleship *has* to be there! There is nowhere else *for* it to go!

ANDY: Lucy, I know battleships. They are ships that have battles. And sometimes the battles are far away, so they have to move to them. Maybe my battleship has moved.

LUCY: (exasperated) Andy! They aren’t *allowed* to move! It’s against the rules!

ANDY: (in a small voice) Then how do they get to the battles?

LUCY gives an exasperated cry.

CUT to

INT. TWIN PEAKS’ SHERIFF’S STATION, DAY. SHERIFF’S OFFICE.

CU on HARRY’S mounted buck.

CU on COOPER’S face.

Angle on COOPER

COOPER is staring intently at the bucks head. Somewhere in the background we hear a faint HUMMING.

Angle on DOOR.

The DOOR opens and HARRY pokes his head in. The HUMMING ceases.

Angle on COOPER.

He is smiling maniacally.

HARRY: Coop?

COOPER: (turning his head, slightly) Come in, Harry.

Angle on HARRY

HARRY walks in and looks worriedly at COOPER.

Angle on COOPER

COOPER: (inclining his head the other way) You know, Harry, if I listen hard enough I can almost hear the buck breathing.

Angle on HARRY

HARRY: (strictly) Coop you haven’t slept since God knows when. Your girlfriend is in a coma. And last night I saw . . .

Angle on COOPER

COOPER: (turning his head, his face in shadow) What, Harry? What did you see last night?

Angle on HARRY

HARRY: (shakes his head) I don’t know what I saw.

(beat)

HARRY: I know that this whole Windom Earle, Black Lodge affair has effected you more than anyone else. You need some rest.

Angle on COOPER

COOPER: I need some rest . . .

Angle on HARRY

HARRY: Yeah.

Angle on OFFICE

COOPER stands up and faces HARRY. He beams at him.

COOPER: You’re a good man, Harry; one of the best. (bangs his hand on HARRY’S DESK) Rest it is, then.

He leaves the room.

Angle on CORRIDOR.

We see Cooper walking briskly down the corridor, turning off past the reception where ANDY and LUCY are arguing about the rules of tabletop warfare.

ANDY: (OS) Well if my boats aren’t allowed to move, are yours?

LUCY: (OS) No!

COOPER: (OS) ‘Bye Lucy. Andy.

ANDY: (OS) Goodbye Agent Cooper.

LUCY: (OS) Goodbye Agent Cooper.

Angle on HARRY.

He shuts the door and walks over to his desk, sitting down on the chair. He then notices something on the desk where COOPER slammed his hand down. He moves closer and moves his hand to it.

ECU on HARRY’S HAND

HARRY picks up the GREEN BUTT SKUNK fishing fly he gave to COOPER. He turns it over in his hand.

Angle on HARRY.

He looks at the fly, and then at the door. He is about to set the fly down again when there is a ringing noise and he sees something on the desk.

HARRY: My God!

CUT to

INT. BRIGGS’ RESIDENCE, EVENING. DINING ROOM.

BETTY BRIGGS, MAJOR GARLAND BRIGGS, BOBBY BRIGGS and SHELLEY JOHNSON are sat around a small square table, eating a roast chicken dinner. The camera PANS around so we see GARLAND and BETTY are smiling encouragingly while SHELLEY is nervous and playing with her food.

CU on GARLAND

GARLAND: So, Shelley. (swallows his food) I understand that you are married.

CU on SHELLEY

SHELLEY shoots a nervous look at BOBBY, who smiles at her.

SHELLEY: Uh, yes sir (tries to smile brightly), yes sir I am.

CU on BOBBY

BOBBY: (breaking in, through a mouthful) Her husband was a bully. Leo beat her.

CU on BETTY

BETTY: (gasps) My, is this true?

Angle on SHELLEY

SHELLEY nods, a little guiltily.

Angle on BETTY

BETTY: Oh, you poor thing. My sister Kate had exactly the same problem with her second husband Ralph. He would get so drunk with his friends and come home and beat the living daylights out of her. She used to call me, crying her heart out . . .

Angle on GARLAND

GARLAND: And she was not an emotional woman.

Angle on BETTY

BETTY: . . . and I would tell her she *had* to leave him. (pause while she shovels another forkful in) In the end she killed him.

Angle on SHELLEY, looking astonished. She looks to BOBBY for confirmation.

PAN RIGHT to BOBBY.

BOBBY grins and takes a fork of food.

FOCUS on SHELLEY

BETTY: (OS) The court understood, of course.

Angle on BETTY

BETTY: It was self protection. She was innocent.

Angle on GARLAND.

GARLAND: Usually I’d say that killers deserve the worst punishment. But Kate was as sweet a person as you could hope to meet. Ralph was a monster.

Angle on DINING ROOM

While the BRIGGSES tuck into their meals, SHELLEY sits in a stunned silence.

Angle on SHELLEY

SHELLEY: Uh, how did she, uh, do it.

Angle on BOBBY

BOBBY: With a knife.

Angle on GARLAND

GARLAND: We don’t need to go into the gory details, son. Suffice to say that it was painful.

Angle on SHELLEY

She tries to smile, despite the fact that she is obviously alarmed.

Angle on DINING ROOM

The meal continues. After a while:

BETTY: (not looking up) Aren’t you hungry, Shelley?

Angle on SHELLEY.

SHELLEY: (under her breath) Not any more.

She smiles brightly and endeavours to continue with her meal.

CUT to

EXT. ROADHOUSE, EVENING.

Insects chirrup and mix in with the music coming from inside the bar.

CUT to

INT. ROADHOUSE, EVENING.

Angle on DOORWAY.

PULL BACK

Through the smoky atmosphere we see BEN HORNE and a not too pleased JERRY HORNE entering the ROADHOUSE. BEN nods and waves to a few people who exclaim "Ben!" They walk towards the bar.

Angle on BEN and JERRY at the bar.

BEN: A cola for me and . . .

JERRY: Scotch on the rocks.

BEN: . . . and a scotch on the rocks for my brother here.

BARTENDER: Right away Mr Horne.

BEN: Ben, please.

The BARTENDER prepares their drinks.

CU on JERRY talking quietly to BEN.

JERRY: Ben. Why are we here? You have your own hotel and bar and Jack’s is free of the vermin known as Canadius Renaultus now. The girls are just waiting, nay, *aching* for us to return.

BEN: Well, then (to BARTENDER) Thank you. (to JERRY) They will have to ache for quite a while. I am no longer the well known rat I was.

MCU on BEN and JERRY at bar.

BEN: I am now a well known . . . (thinks)

JERRY: (suggesting) Weasel?

BEN: Saviour. A saviour is what I am, Jer. One man who will fight for one and all. Fight to *SAVE*, this wonderful planet we inhabit from destruction.

There is a pause while BEN sips his COLA and JERRY considers this.

JERRY: But Ben. What about Jacks?

BEN: Jerry, I no longer suffer such vices as drink. As smoking. As sex. (turns expansively and roars victoriously) I am no longer a slave of that evil demon known as sex!

Angle on TABLES

At this some heads turn to see what BEN is going on about.

Angle on JERRY.

JERRY winces.

Angle on BEN and JERRY.

BEN is nodding his head, and seems quite pleased with himself.

JERRY: In that case, brother Ben . . .

BEN: Yes, Jer.

JERRY: Can I have Jacks?

BEN stops lifting his glass to his mouth and looks at JERRY for a while. He then sees someone at the door.

BEN: Bill!

Angle on DOORWAY

We can see the HAYWARD clan coming through the DOORWAY, all five of them. They were laughing and joking until BEN’S voice cuts through their conversation. DONNA starts to look suspicious. WILLIAM and EILEEN look dismayed.

BEN: (OS) Bill! Eileen! Come and have a drink with Jerry and I.

PAN following WILLIAM until BEN and JERRY are in frame.

WILLIAM: Uh, Ben. We’d prefer a table. The whole family is home for the first time in quite a while, and . . .

BEN cuts him off by banging his cola glass on the bar.

BEN: In that case we’ll join you, won’t we Jer.

JERRY: Uh, sure. I’ll be over in just a minute.

As BEN stands up and walks to the HAYWARDS, EILEEN shoots a stern look at WILLIAM, who shrugs helplessly. They all walk over to an empty table and BEN pulls a couple of extra chairs from a nearby table.

Angle on JERRY

He takes his as yet untouched glass of Scotch and drains it.

JERRY: (to the BARTENDER) Hit me again.

The BARTENDER pours him another Scotch and he downs this one too, before standing, belching, and turning with a fake smile.

Angle on THE HAYWARDS’ TABLE

The family and uninvited guest are all sat.

WILLIAM: I’d better go and get some drinks. Lemonades all round?

DONNA: Fine.

GURSTEN and HARRIET nod in agreement.

EILEEN: (looking warily at BEN) Uh, gin and tonic, please.

WILLIAM: (stands and looks warily at BEN) I think I’ll get myself some whisky.

He leaves, passing JERRY who sits on WILLIAM’S vacated seat, between DONNA and HARRIET.

JERRY: Heaven! Surrounded by lovely ladies!

HARRIET giggles while DONNA looks away, disgusted.

BEN: My my my; how time doth fly. I haven’t seen you (points to GURSTEN) nor you (points to HARRIET) in quite a while. Now you are young women that the boarding school hides away from sight. A pianist and a poet. How are you processing in your (takes a sip from his glass) respective skills.

HARRIET: I won a school prize for poetry last semester; a cup.

GURSTEN: And my piano teacher, Mr Ivors, says that I’m the best pupil he’s ever worked with. He says that I have raw talent.

BEN: (to Eileen) You must be very proud.

EILEEN: William and I are very proud of all three of our children.

There is an awkward pause.

JERRY: How about you Donna. What are you good at?

DONNA: (standing) You must excuse me. I have to go to the bathroom.

BEN stands, ever the gentleman. DONNA stalks off.

BEN sits and looks at EILEEN

CUT TO

EXT. SPARKWOOD AND TWENTY ONE, NIGHT.

CU on traffic light stuck on red.

FADE OUT.

FADE IN

EXT. HAYWARD RESIDENCE, NIGHT.

SHELLEY: (OS) . . . and I stood in front of all the class, my book report in my hands, though I thought I had it completely memorised.

INT. HAYWARD RESIDENCE, NIGHT. LOUNGE.

The BRIGGS family is sitting listening to SHELLEY relating a story, BOBBY next to her; BETTY and GARLAND on another settee.

SHELLEY: I began to speak and I couldn’t get the first line out. I looked at the report, looked at the teacher, looked at the room- and fainted dead away.

BETTY: I know exactly what you mean! I was in a Christmas play when I was seven, playing the Angel Gabriel, if you ever, and I was so nervous I was sick into the crib just before the curtains were pulled back. Of course, I never told anyone. Miriam Shelby, she was playing the Virgin Mary, she pulled the doll of Jesus from the manger and it was dripping with vomit.

SHELLEY: (laughs) Really?

BETTY: (laughs) Really! And you know what? I was so scared that the Lord would strike me down for blaspheming that I could hardly sleep for a month!

The family laughs for a while.

BOBBY: Mom, how come you never told me that story before?

BETTY: I’m not sure, honey. I guess I never had a reason to tell it before.

SHELLEY takes a glass of wine from the coffee table between the settees, and has a sip.

SHELLEY: What about you, Major Briggs? I bet you have some exciting tales to tell, what with you being in the Airforce and all.

GARLAND: Yes, Shelley, I do. (looks at BETTY) But I’m afraid that they are classified. For the moment.

SHELLEY: Some other time, perhaps.

GARLAND: Perhaps.

There is a moments silence, through which is heard the ticking of a clock. SHELLEY looks at the clock.

SHELLEY: Uh, I . . . thank you very much for the dinner, for everything, but I’ve got work tomorrow and I really have to tidy the place up. It looks like a tornado hit it.

BETTY: I understand completely. (to GARLAND) We really must do this again.

SHELLEY: Uh, yes. (smiles brightly) I’d like that.

BOBBY: (standing) I’ll get your coat. (to his parents) I’ll be staying over at Shelley’s tonight, just in case Leo decides to show his face again.

GARLAND: Certainly, son.

BOBBY leaves the room, closely followed by GARLAND. We hear FOOTSTEPS on a staircase. BETTY and SHELLEY stand.

SHELLEY: Well, Mrs Briggs . . .

BETTY: Oh, Betty, please.

SHELLEY: Betty. I’ll be off.

BETTY smiles sadly, then gives her a big hug. SHELLEY is understandably quite taken with this.

CU on BETTY’S FACE

BETTY: (tears starting to trickle down her face) Take care, Shelley.

CU on SHELLEY’S FACE

She is bewildered.

Angle on DOORWAY.

BOBBY has SHELLEY’S coat on. He is pulling it to try and get a better fit.

GARLAND: (OS) Bobby!

BOBBY hurriedly pulls off the coat, throwing it on the floor. He is wearing his leather jacket underneath. We see GARLAND walking down the stairs.

GARLAND: Bobby.

BOBBY: Uh, I’m just getting Shelley’s coat, Dad.

GARLAND: (now standing by his son) Son, I’d like you to have this.

He hands BOBBY the gun BOBBY had given SHELLEY.

BOBBY: A gun?

GARLAND: I’ve had this gun for nigh on thirty years now. Some time ago I found that it had gone missing. Of course, my first suspect for its theft was you.

BOBBY: Dad, I can explain everything.

GARLAND: No need, son. I received it through the post a few days ago, in a plain brown envelope. The handwriting the address was written in was one very familiar to me: it was Shelley’s, wasn’t it.

BOBBY: Yes, it was.

GARLAND: I knew the hand from the diner. (confidentially) Son, what you did was a noble thing: the man who beats his wife just isn’t a man at all. But next time, tell me. There is no need to steal from your father. (hands gun to BOBBY) The gun is now yours. Use it wisely and it will always protect you.

BOBBY: (grateful) Thanks, Dad.

SHELLEY and BETTY join the scene. BOBBY picks up the coat and opens the door.

SHELLEY: Well, thanks for a great evening.

GARLAND: Don’t mention it.

SHELLEY: (leaving through the door and giving a small wave of her hand) ‘Bye.

GARLAND and BETTY stand on the doorstep and watch as BOBBY and SHELLEY leave.

EXT. BRIGGS RESIDENCE, NIGHT.

Angle on BOBBY’S CAR.

SHELLEY and BOBBY get into his car, and he drives it away.

Angle on DOORWAY

GARLAND and BETTY are waving goodbye.

BETTY: Oh, Garland, isn’t she wonderful?

GARLAND: A fine, upstanding woman.

(beat)

BETTY: (looks at her husband) Do you think that Clara would have grown up to be like that?

GARLAND looks thoughtful for a while. He then turns and kisses his wife on the forehead.

GARLAND: Let’s go inside.

They go inside and shut the door.

CUT to

EXT. ROADHOUSE, NIGHT.

CUT to

INT. ROADHOUSE, NIGHT.

Angle on THE HAYWARD’S TABLE.

WILLIAM and EILEEN look depressed and embarrassed. DONNA and BEN are absent from the table. JERRY is obviously drunk, and is singing his heart out while GURSTEN and HARRIET are laughing, not a little nervously.

JERRY: (singing) I am sailing, I am sailing, ‘Cross the ocean, ‘Cross the sea . . .

He wildly gestures with his hands, portraying his words in action.

TRACK around the table to where DONNA is chatting to JOEY PAULSON.

TRACK past them to a booth where ED HURLEY and NORMA JENNINGS are quietly sitting.

ED: Have you told anyone yet?

NORMA: Well, Shelley knows; she was there when you proposed. I told Annie (looks a little puzzled), that’s it. How about you?

ED: No one. Just the girl it matters to.

NORMA: (laughs) Ed, I’m hardly a girl any more. (teases) If you prefer them young, perhaps you had better stay with Nadine.

ED: Don’t even joke about it. That poor woman’s so screwed up inside- and she’s marrying that Mike now. I dread to think what would happen if she ever came around.

NORMA: (softly) You really loved her, didn’t you Ed.

ED: No. Maybe. When you went off with Hank, it was like a blindfold had been wrapped around my heart. Nadine helped through the bad times, but she was more like a crutch than . . .

NORMA: Than what?

ED: Than a wife. There were times that I loved her so much that I wished that we had never tied the knot. Like when I shot out her eye.

NORMA: That could have easily been me.

ED: You’d ‘a’ looked good in an eye patch.

NORMA: (laughs, then goes quiet) Ed, I saw you in the hospital, after she had taken the overdose. I was visiting Shelley and I saw you sitting there with her. You were looking at her like you were drowning and she was the only thing that was keeping you afloat.

She begins to cry.

ED: Norma . . .

NORMA: I saw you sitting there and there was nothing I could do: You were hers. That was all there was to it.

ED: Well, honey now I’m yours, and we’ll be together until the day we bury each other. Nadine’s got herself a man she can relate to. Nadine’s happy. We can be happy too.

NORMA: Oh, Ed!

They kiss over the table.

Track back to the HAYWARD’S TABLE

JERRY is still singing, and WILLIAM is becoming increasingly tired of him.

JERRY: (singing). . . take one down, pass it around, twenty nine bottles of beer on the wall.

WILLIAM: (interrupting) Uh, Jerry, we really have to be going home now. The girls are tired and we have an early start tomorrow.

JERRY: (slurred) Hey, Doc, stick around. It’s not like you have to be up for the dawn chorus. Wait, maybe you do! We can sing in the new day together! (singing) Oh . . .

BEN has returned to the table and interrupts his brother.

BEN: That’s quite enough, Jerry. (to WILLIAM) I’m afraid that my brother cannot hold his drink. I apologise for this, *and* his terrible singing voice.

JERRY: (slurred) C’mon, Ben. Join in!

WILLIAM: (standing) Come on, girls. We’re leaving.

The HAYWARD GIRLS stand and leave. EILEEN wheels herself off. WILLIAM shoots a dirty look at BEN and leaves.

Angle on DONNA and JOEY PAULSON.

WILLIAM walks on camera.

WILLIAM: Come along, Donna.

DONNA: (to WILLIAM) I’m coming. (to JOEY) Okay, bye.

She stands and leaves with her father.

Angle on BEN and JERRY.

JERRY tries to stand, but fails.

JERRY: (slurred) Where’d they all go, Ben?

BEN sits down and puts his head in his hands.

CUT to

INT. TWIN PEAKS HOSPITAL, NIGHT. ANNIE BLACKBURN’S WARD

ANNIE lays in bed in a coma. Her head is bruised and pail and she looks, to all intents and purposes, dead. Only the steady BEEPING of a heart monitor proves that she is still in the land of the living.

The camera TRACKS around her, eventually ZOOMING IN on her face.

INT. THE BLACK LODGE

THE camera ZOOMS OUT to reveal that ANNIE’S image is in reflection in a CUP of coffee.

DISSOLVE to

INT. THE BLACK LODGE

Angle on COOPER

TRACK BACKWARDS

COOPER is standing with his back to the curtains, looking at the CUP from a distance. His face is filled with anguish.

Angle on CUP

TRACK BACKWARDS

The light flickers as we hear electricity CRACKLING.

Angle on COOPER

COOPER is standing in silhouette against light from behind the curtains as the light in the room goes out. It flickers randomly to the CRACKLING.

ECU on LITTLE MAN’S MOUTH

LITTLE MAN: (strangely) See the time . . .

Angle on COOPER’S SILHOUETTE

We see another form walk along behind the curtains and take up the same stance as COOPER.

We hear a whispered voice.

VOICE: (OS, whispered) Judy.

CUT to

EXT. GHOSTWOOD, NIGHT.

MCU of PINES blowing in the wind.

CUT to

EXT. LOG LADY’S CABIN, NIGHT.

The lights are on in the cabin . .

CUT to

INT. LOG LADY’S CABIN, NIGHT.

. . . but no one is home.

CUT to

EXT. GHOSTWOOD, NIGHT. DEEP FOREST.

FAST JERKY TRACK FORWARD.

We hear FOOTSTEPS and someone PANTING as they run through the forest. Torch light illuminates the trees, bouncing with the footfalls.

Angle on MARGERET LANTERMAN, THE LOG LADY.

She is the runner. Trees stream past as she continues on her way. In one hand is a flashlight torch, aimed vaguely ahead. The other is cradled around the LOG which she holds to her chest.

Angle on PINES

MARGERET keeps running for a while, and comes to a clearing. There is just enough light to see that there is a cabin in front of her. It is unlit but for the torch.

EXT. WINDHAM EARLE’S CABIN, NIGHT.

MARGERET cautiously approaches the CABIN, her torch held in front of her. She cradles the LOG tighter.

MARGERET: I’m here. Where now?

CUT to

EXT. PACKARD LODGE, NIGHT.

CUT to

INT. PACKARD LODGE, NIGHT. KITCHEN.

PETE MARTELL and ANDREW PACKARD are sat at the kitchen table, eating sandwiches hugely piled with filling. ANDREW is relating a story.

ANDREW: . . .so when we come back from the trip the first thing mother did was call in our local doctor, Doctor Hayward . . .

PETE: (disbelieving) Doc Hayward?

ANDREW: Yes.

PETE: *Bill* Hayward?

ANDREW: Oh, no. Justin was his name.

PETE: (realising) Oh. Right. I remember Catherine saying something about him, now. Bill’s father. Bill Hayward is *my* doctor.

ANDREW: Ah, yes. Doctoring and the Haywards go back for many generations. Anyway, Catherine was not very amused at missing out on a clarinet lesson . . .

PETE: I’ll bet.

ANDREW: . . . and while the doctor was seeing to me she threw a crying fit. Well the doctor couldn’t continue my eye examination, and he had a word with mother. The next thing I knew was that there was a terrible silence. I couldn’t hear anything, I couldn’t see anything- I thought that I was dead!

They both laugh heartily.

PETE: (laughing) What . . . what had happened?

ANDREW: Well, unbeknownst to me he had taken a syringe and plugged Catherine in the backside with it. Injected her with ten see sees of I don’t know what, put her to sleep for the rest of the day!

PETE roars with laughter, and a piece of sandwich catches in her throat. He starts choking violently, his face turning purple. ANDREW makes a fist and thumps him on the back until the choking subsides.

After a little while they start laughing again.

ANDREW: Well, the doctor did some tests, wrote some results, and didn’t come up with anything. To this day I don’t know what the condition is. Hyper sensitivity to light. Retinae that are too slow. (takes a bite of his sandwich and speaks through a mouthful) Mmm, this is delicious! Where on earth did you get this mayonnaise?

PETE: It’s home made. (a little sadly) Josie taught me how to make it.

ANDREW: Ah, yes. I thought the taste familiar. Heavenly.

They contemplate the mayonnaise and JOSIE for a while. PETE giggles.

ANDREW: What?

PETE: I’m just remembering a little incident, something that happened around the time that that girl died. I found the body and Harry and that FBI man, Cooper came around to talk to me. Me, Josie and Catherine.

ANDREW: (stands and goes to make himself a cup of coffee) Continue.

PETE: Well Josie asks if they want a drink; Cooper asks for some joe so I go and make some. Bring it in. Turns out Catherine had decided to play a little prank on me. There was a fish in the percolator.

ANDREW: A fish?

PETE: A beautiful rainbow trout. I run in to warn them but it was too late. (laughs) Man, they must have been belching trout all week.

We hear the door open and CATHERINE MARTELL walks in.

PETE: Hello, poodle.

CATHERINE: I’m expecting an important call tomorrow. If you field it and I’m not here, find me.

PETE: If the call is so important, why don’t you stay here to get it?

She stops in front of him and gives him a long, hard look. He shrinks under it’s intensity.

PETE: I’ll find you, poodle.

CATHERINE: Good.

Angle on LOUNGE

She continues on her way, passing through the kitchen to the lounge area where she hangs up her coat. She then returns to the table and sits down.

CATHERINE: Pete, I’ve had a hard day, finalities on Ghostwood. Make me a cup of coffee, and take the coffee from *my* bag. You know how I hate that slop *you* usually drink . . .

She notices the cake saver.

CATHERINE: Where is the key?

PETE: Ah, there’s quite a long story behind that. Y’see, Andrew and I . . .

CATHERINE: (worried) You?

ANDREW: (OS) I’ll make your coffee, Catherine. Is this it in the . . .

Angle on ANDREW.

He is holding a small painted china jar.

ANDREW: (looks at the jar) . . . exquisitely painted antique china jar.

Angle on CATHERINE. She looks a little faint.

Angle on ANDREW

He removes the lid and smells the jar.

ANDREW: (sniffs) No, this is your tea.

He puts it back on the work surface.

Angle on CATHERINE

ANDREW: (OS) Ah, here it is. Right next door. When you drink coffee, you like it strong.

Angle on PETE and CATHERINE.

CATHERINE: (faintly) Pete, what happened today.

PETE: Well Andrew and I took the key, and it was for one of those safety deposit box doohickeys. We took it to the bank.

CATHERINE: To the bank.

PETE: The Twin Peaks Savings and Loan. (explaining) Well you were so busy with Ghostwood; we didn’t know when you were going to be able to get to it. (resuming his story) Anyway we get there and talk to old Dell Shannon, you *must* remember him. We open the box and BOOM! There was a bomb inside!

Angle on ANDREW

ANDREW: (joining the couple with his and PETE’S coffee) Pete risked his life to save me.

Angle on PETE, a little embarrassed.

ANDREW: (OS) Not just me either. There was a young girl there, chained to the vault.

Angle on CATHERINE.

She is quite overwhelmed by this.

ANDREW: (OS) Quite striking, she was.

CATHERINE: How did you get out?

Angle on KITCHEN

ANDREW: There was a brilliant camera flash that really messed up my eyes, just like when Thomas went camping with us when we were young.

CATHERINE: I remember . . .

ANDREW: Thomas was many things, but his links to me were straight as rules. He would never kill innocents; his morals may have been twisted, but at the end of the day, they were still morals.

PETE: It was a warning.

ANDREW: And Pete saved us all! You are married to a quite remarkable man, Catherine.

CATHERINE: Yes. Yes I know.

ANDREW and PETE sip at their coffee for a while.

ANDREW: Well, it’s late. Time to hit the hay. (stands) Good night, sister. Good night, brother in law.

PETE: Good night, brother in law.

ANDREW leaves.

PETE: I’d best be off, too. (a little sarcastically) Expecting an important ‘phone call tomorrow.

He stands and pats CATHERINE on a cheek.

PETE: Night night, poodle.

He leaves CATHERINE alone. The room is silent but for the sound of PERCOLATING COFFEE.

CU on CATHERINE.

Her eyes are red around the rims. A solitary tear runs down the cheek that PETE patted. She whimpers and wipes it away.

A few seconds later we hear a RINGING. CATHERINE’S brow furrows as she looks at the kitchen table, at first in confusion. Then her eyes widen in astonishment. She puts a hand to her mouth and gasps.

CUT to

EXT. GREAT NORTHERN, NIGHT.

CUT to

INT. GREAT NORTHERN, NIGHT. COOPER’S ROOM.

COOPER has changed into his regulation pyjamas and is standing looking at his bed. His tape recorder sits on a bedside cabinet, untouched.

CU on COOPER’S FACE

It is grinning maniacally.

Angle on COOPER’S BATHROOM.

We see that the smashed mirror is yet to be replaced.

CU on SINK.

Once again it is filled with the discharge of a tube of TOOTHPASTE. The tap is running.

ECU on TOOTHPASTE

The TOOTHPASTE is slowly being washed away.

CUT to

INT. GREAT NORTHERN, NIGHT. CORRIDOR.

The CORRIDOR is empty, but we can hear JERRY HORNE singing from a distance that grows less and less. The brothers HORNE appear at the end of the CORRIDOR, BEN supporting his younger brother as he half drags him along to a door. He pulls a set of keys from a pocket, unlocks and opens the door and drags JERRY inside.

JERRY: (OS, slurred) . . . Ben, where am I. Where am I, Ben?

BEN comes back into view and shuts the door. There is a sudden absence of sound.

BEN: Thank the lord for sound proofing. (looks at the door) Next time I take him for a drink, I’ll have to put a muzzle on him.

He continues on his way.

CUT to

INT. GREAT NORTHERN, NIGHT. BEN’S OFFICE.

All is dark. Then the doors are opened and we see BEN’S silhouette on the doorway. He throws a switch and the lights come on. His office furniture is now back in its original positions. He walks over to his chair and sits down.

BEN: (sighs) Water, water, every where. (takes a carrot from his pocket) And every drop is drank.

He thoughtfully takes a bite of the carrot, and then stops.

Angle on COUCH

On BEN’S COUCH lays AUDREY.

Angle on BEN.

He looks a little confused, but stands and walks over to her. He goes to pick her up and she stirs.

AUDREY: Daddy?

BEN: Yes, sweetheart.

AUDREY: I’ve been waiting for you most of the day. I went to the bank and . . .

BEN: (interrupts) Did you call the paper?

AUDREY: I didn’t have time. There was a bomb . . .

BEN: (eyes wide) A bomb?

AUDREY: Yeah. I got out okay. When I came back here I though that I’d wait for you. (sits up, looking around) When it got dark I lit a candle. I guess it went out when I fell asleep.

BEN pulls a handkerchief from his pocket and mops his brow.

BEN: (fevered) A bomb. Dear Lord.

AUDREY: I’d better be off to bed. (looks around) I have a book here somewhere . . .

BEN: You can get it in the morning.

AUDREY stands and kisses her father on the cheek.

AUDREY: ‘Night, Daddy.

BEN: (sitting on couch) Goodnight, Audrey.

Angle on DOORWAY.

AUDREY is about to leave the room.

Angle on BEN.

He has his head in his hands.

BEN: Audrey?

Angle on AUDREY.

AUDREY: Yes, Daddy?

Angle on BEN

BEN: Shut the lights off, please. I want to see the darkness.

Angle on AUDREY.

She flicks the switch and the room is plunged into darkness.

Angle on BEN

He is just visible by the light from the DOORWAY.

BEN: Thank you, Audrey.

Angle on DOORWAY.

AUDREY: Okay.

She leaves the room and shut the door, leaving BEN alone in the dark.

FADE OUT.

FADE IN.

EXT. WINDHAM EARLE’S CABIN, NIGHT.

CUT to

INT. WINDHAM EARLE’S CABIN, NIGHT.

The interior of the CABIN is dark and only lit by moonlight.

TRACK over the floor of the CABIN

We see a number of CHESS PIECES, the SHOCKER’S REMOTE, WINDHAM’S COMPUTER, a BONSEI TREE, a CAN OF GASOLINE, the remains of the CAGE and LEO JOHNSON, dead on the floor. On his neck sits a large, evil looking black SPIDER. It runs from view as there is a SLOSH of liquid and GASOLINE is poured onto the body.

TRACK UP

We see that a lit flashlight is sitting on the table. MARGERET is pouring GASOLINE onto the floor of the CABIN. In one hand she holds a large can; the other clutches the LOG.

CUT to

EXT. WINDHAM EARLE’S CABIN, NIGHT.

CU on an OWL

The OWL bobs its head as it watches the CABIN.

CUT to

EXT. JOHNSON RESIDENCE, NIGHT.

The lights are on and here is a sound of general activity coming from within.

INT. JOHNSON RESIDENCE, NIGHT.

PAN across the rooms.

The place has been transformed. All rubbish has been tidied away. The surfaces are spotless. The whole house looks immaculate.

PAN to KITCHEN.

BOOBY BRIGGS is on hands and knees, scrubbing away at the vinyl flooring.

Angle on KITCHEN

We see SHELLEY JOHNSON sitting back on a chair, wearing her dressing gown. She has a steaming mug in her hands and her feet up on BOBBY’S back.

SHELLEY: (playful) Faster, slave!

BOBBY: (good natured) Quit it. I’m working as hard as I possibly can, already.

SHELLEY: Oh! Do you know what they used to do to slaves to make them work harder?

BOBBY: (stops and thinks) And exactly who is that a punishment to?

SHELLEY prods him with a toe and he goes back to work.

SHELLEY: God, if Leo could see this place now. Everyday he would shout and hit me, saying how everything was so untidy.

BOBBY: If my *Mom* could see this place. The floor of my room disappeared when I hit puberty.

He puts a last little effort into cleaning, then stands up.

BOBBY: There. That’s it.

SHELLEY: Are you claiming your reward?

BOBBY: Are you offering one?

They kiss long and passionately. He scoops her up in his arms.

SHELLEY: (giggles) Look at the muscle man.

BOBBY: Shelley. For too long you’ve been a servant instead of a wife. It’s time for me to show you the whole point of having a husband.

CUT to

EXT. JOHNSON RESIDENCE, NIGHT.

PULL OUT.

The lights go out and we hear laughter as the young couple go to bed.

DISSOLVE to

EXT. GHOSTWOOD, NIGHT.

Angle on PINES, blowing in the breeze.

CUT to

EXT. BRIGGS RESIDENCE, NIGHT.

CUT to

INT. BRIGGS RESIDENCE, NIGHT. GARLAND AND BETTY’S BEDROOM.

Angle on BED

BETTY is sleeping peacefully, but GARLAND tosses and turns.

CU on GARLAND’S FACE.

It is troubled and turns from one side to the other.

There is a RINGING, and a SHADOW WIPES over GARLAND diagonally, then back again.

ZOOM IN FAST on GARLAND’S FACE.

CUT to

INT. RR DINER, DAY.

BETTY and GARLAND are sitting opposite SARAH PALMER, still in her night dress.

CU on GARLAND’S FACE

He is concerned

CU on SARAH’S FACE

She is speaking, but her voice is not the one that is heard.

WINDHAM EARLE: (VO, strange) I’m in the Black Lodge with Agent Cooper . . .

CUT to

EXT. WHITE LODGE

GARLAND is sitting on an overgrown stone throne in the middle of a jungle.

TRACK IN SLOWLY

WINDHAM EARLE: (VO, strange) I’m waiting for you.

Angle on BLACKBIRD.

A BLACKBIRD flies through the sky and lands on one arm of the throne.

CU on BLACKBIRD.

It is holding a RING in it’s beak. It drops it into GARLAND’S HAND.

CUT to

INT. BLACK LODGE.

AGENT COOPER is standing by the LITTLE MAN. He is wearing the RING.

TRACK IN

COOPER: (urgent) Major Briggs. Major Briggs. Find the diary.

CUT to

EXT. WHITE LODGE

The GIANT is standing in front of GARLAND, holding a COOPER DOPPLEGANGER by the arm.

DOPPLEGANGER: (urgent) Find the diary.

CU on GARLAND’S FACE.

He is listening intently, and is very concerned.

CUT to

EXT. TWIN PEAKS HOSPITAL

CUT to

INT. TWIN PEAKS HOSPITAL. ANNIE BLACKBURN’S ROOM

TRACK IN

As we hear the BEEPING of her heart monitor, we can also hear two nurses talking outside the room.

NURSE 1: Carla’s not in again.

NURSE 2: Again?

NURSE 1: Well, you know her history. Some patients are complaining about missing watches, purses, and you remember that food incident.

NURSE 2: Uh, Denise. That was *my* fault.

NURSE 1: No!

CUT to

EXT: WINDHAM EARLE’S CABIN, NIGHT.

CUT to

INT: WINDHAM EARLE’S CABIN, NIGHT.

The whole place is sodden with gasoline. MARGERET has finished her job and is moving towards the door, picking up her flash light.

CU on SPIDER.

Just above the door is one of the SPIDERS

Angle on MARGERET

It jumps down on her. She screams.

CU on SPIDER.

We see it crawling on her neck, where it pauses before biting her.

Angle on MARGERET.

She screams again and drops the flashlight.

CU on FLASHLIGHT.

SLOW MOTION

The camera FOLLOWS the FLASHLIGHT as it tumbles over and over until it hits the floor and breaks.

Angle on CABIN.

There is a ROAR and the place bursts into flames.

MARGERET falls over onto the floor, convulsing amid the flames. She tries to stand but keeps falling down.

Angle on MARGERET.

She convulses some more, and curls protectively around the LOG.

PULL OUT.

CUT to

EXT WINDHAM EARLE’S CABIN, NIGHT.

Angle on CABIN

Already the place is ablaze.

Angle on OWL

The OWL takes off and flies into the night.

FADE OUT

END CREDITS