script24.pdf

TWIN PEAKS #24

(Episode 2.017)

Barry Pullman

Scanned by runningdog.

Original formatting duplicated as closely as possible. For

clarification all duplicate pages removed. Special note: this is a

faithful duplication that includes the original spelling, formatting and

series related errors.

First Draft: December 11, 1990

Second Draft: December 19, 1990

Revise/General Distribution: January 7, 1991

Revised: January 7, 1991 - BLUE

Revised: January 8, 1991 - PINK

Revised: January 10, 1991 - GREEN

Revised: January 11, 1991 - YELLOW

Lynch/Frost Productions, Inc.

7700 Balboa Boulevard

Van Nuys, CA 91406

(818) 909-7900

Revised 1-10-91, Green

#2.017

ACT ONE

FADE IN:

1. EXT. BOOKHOUSE - DAY

Establish.

2. INT. BOOKHOUSE

OPEN ON TRUMAN sitting at a table in the bookshelved alcove. Playing from the bar

area, we HEAR Muddy Waters, I Just Want to Make Love to You . Truman is sleepless and

unshaven; his thoughts also appear to be growing a little wild. Before him is a half-empty

bottle of Canadian whiskey and an overturned, unused shot glass, which Truman lazily twirls.

HAWK enters carrying a box which he places in front the sheriff. He opens the box: it's a

packed Diner breakfast. Truman looks up at Hawk indifferently.

HAWK

One of Norma's breakfasts. Made special.

TRUMAN

(pushing it aside, he takes a drink)

Maybe later.

Hawk says nothing, but his look lingers for a moment.

TRUMAN

How's things at the station?

HAWK

Earle's chess game is the big concern. Man has a poor sense

of recreation.

A brief beat. As these are his vacation days, the same could obviously be said of Truman.

HAWK

We're holding up. For now.

TRUMAN

Cooper can handle it.

(beat)

It's a pretty simple town. Used to be, anyway. Maybe

the world's just caught up to it.

And perhaps also to Truman. Hawk gives the sheriff a Bookhouse salute, and goes, his receding

bootsteps slowed by concern.

CUT TO:

3. OMITTED

#2.017

4. INT. DOUBLE R DINER - DAY

START ON an attractive YOUNG WOMAN as she enters the Double R carrying a small

suitcase. She looks about, tentative, then spots NORMA stepping into view.

Norma!

YOUNG WOMAN

NORMA

(sees her, brightens)

Annie ...

It's Norma's sister, ANNIE BLACKBURNE. Norma comes around the counter to offer a

welcoming embrace. Annie receives it with relief, some hesitation. She's got a lot on her

mind. SHELLY comes out from the kitchen, carrying an order.

NORMA

Shelly, this is my sister, Annie.

SHELLY

Welcome, Annie. Norma's told me all about you.

Shelly, with an order in hand, spins away. Annie looks at her sister.

ANNIE

(a rueful smile)

All ... about me?

NORMA

Shelly's like family.

ANNIE

With our family that's not exactly a character reference.

NORMA

(gets the idea)

How did you and mom get along?

ANNIE

We can talk about her, or we can feel good about things.

I vote for plan B.

NORMA

Me, too. I'm glad you're here.

ANNIE

Feels a little strange. The real world. Little things.

Like I'd almost forgotten how to use money. Closest

we'd get in the convent was bingo chips.

(severe)

No charity, Norma. Promise.

(CONTINUED)

Revised 1-11-91, YELLOW

#2.017

4. CONTINUED:

NORMA

(smiles)

I'll work you 'till you drop.

CAMERA DRIFTS OVER to Shelly, who's just lowered the special in front of her customer,

MAJOR BRIGGS, and has waited a moment for him to sample.

(nods)

Compelling.

BRIGGS

Reasonably satisfied this isn't a complaint, she tentatively smiles and moves away. The LOG

LADY enters, passing behind Briggs at the counter and slowing to sit next to him. She then

suddenly stops behind the Major, staring down into his neck.

5. LOG LADY'S POV - BRIGGS

On the back of his neck, just above the high military collar, is a strange small marking,

consisting of three joined inverted triangles.

The Log Lady stares at the marking for a long beat. Then, as if touching some ancient rune,

reaches out, places two fingers upon it. Major Briggs feels her touch, swivels to face her.

6. INT. SHERIFF'S STATION - TRUMAN'S OFFICE - DAY

CUT TO:

DALE COOPER, in full deputy dress, sits at Truman's desk, looking over several piles of

paperwork. At a corner of the desk is a copy of the Twin Peaks Gazette, opened to the

Personals section. Hawk enters.

HAWK

Harry's about to hit bottom.

Is he eating?

(Hawk shakes his head)

His vacation days'll be used up soon. Think he'll come

back to work?

COOPER

HAWK

Guess we'll find out. Give you a hand?

COOPER

That's a question I should be asking you.

HAWK

You're the senior lawman, Cooper. Let's let the rain fall

as it has been.

(eyeing the desk)

Besides. I hate paperwork.

(CONTINUED)

#2.017

6. CONTINUED:

COOPER

This is worse than the bureau, all the international

documentation. Eckhardt... Josie...

(reaches for a folder)

Have you seen Doc Hayward's autopsy on her? Says he

couldn't determine cause of death. And the body

weighed sixty-five pounds.

HAWK

How is that possible?

COOPER

I don't know. Maybe something to do with what I saw in

the room when she died.

HAWK

Maybe we'd better just whistle on our way past the

graveyard.

Yeah.

COOPER

HAWK

Anything on Earle?

COOPER

That trail's completely cold.

(grimly)

We'll have to wait for his response.

7. INT. GREAT NORTHERN DINING ROOM - DAY

CUT TO:

Hectic preparations for tonight's fashion show benefit for Stop Ghostwood. Amidst the

workers still building the runway, AUDREY HORNE rehearses and directs the models.

RICHARD TREMAYNE, the peacockish host, is accomplishing nothing outside of a skillful

job of smoking. He sidles up to a couple idle MODELS, who stand in requisite boredom,

awaiting further instructions, or romantic rescue.

TREMAYNE

Ladies, may I say you'll both delightfully represent the

sanctity of nature.

(the models just look at him)

Cigarette?

MODEL

I like to keep my chest clear.

(CONTINUED)

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