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TWIN PEAKS #26
(Episode 2.019)
by
Mark Frost
&
Harley Peyton
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: January 16 ,1991
Second Draft/General Distribution: January 24, 1991
Revised: January 25, 1991 - Blue
Revised: January 29, 1991 - Pink
Revised: January 30, 1991 - Green
Revised: January 31, 1991 - Yellow
Revised: January 31, 1991 - Cherry
Revised: February 7, 1991 - Goldenrod
Lynch/Frost Productions, Inc.
7700 Balboa Boulevard
Van Nuys, CA 91406
(818) 909-7900
#2.019
ACT ONE
FADE IN:
1.
INT. OWL CAVE - DAY
OPEN ON the interior of Owl Cave, dark and silent. Suddenly: VOICES coming closer.
COOPER, TRUMAN, etc.
This way... careful Andy...
Flashlight beams illuminate the scene. AGENT COOPER, SHERIFF TRUMAN,
DEPUTY HAWK and DEPUTY ANDY enter. Cooper and Truman carry flashlights,
backpacks filled with excavation equipment. Hawk holds a bright lantern. Andy is armed
with sketch pad, pencils. All pause, turn toward the cave symbol. Cooper reacts with a curse.
Dammit.
COOPER
1.
The painting has been tampered with,
ten dowels, with obscure symbols attached, now extend
from it, seemingly abstract, without obvious intent or meaning.
But who...?
TRUMAN
Hawk kneels at the base of the painting, casts lantern light upon the cave floor. He's examining
fresh tracks left in the dirt. Cooper steps toward him.
HAWK
I saw the same tracks outside the power station. Weight
shift to the left foot. A break in the heel.
COOPER
Windom Earle.
TRUMAN
What would Earle be doing here?
COOPER
That's a frightening question to contemplate.
(turns to face the others)
Andy. I need an accurate, large scale rendering of this
painting. Harry, we need to speak to Major Briggs
immediately.
TRUMAN
(mystified, but supportive)
Whatever you say, Coop. I'll call from the jeep.
Cooper nods assent. Truman exits. Hawk steps to Andy, casts additional light upon the
painting as the deputy draws and copies. Copper pivots, gazes at the mysterious image. As if
to wonder where it might lead him.
CUT TO:
#2.019
2.
INT. WINDOM EARLE'S CABIN - DAY
START CLOSE on WINDOM EARLE. Seated in an armchair, pipe in hand, avuncular in
aspect, he begins:
EARLE
Once upon a time, there was a place of great goodness
called the White Lodge. Fawns gamboled there amidst
happy laughing spirits. The sounds of innocence and
laughter filled the air. When it rained it rained sweet
nectar that paralyzed the heart with the desire to live
one's life in truth and beauty.
(beat)
Generally speaking, a ghastly place reeking of virtue's
sour smell, engorged with the whispered prayers of
kneeling mothers, mewling newborns, and fools young
and old compelled to do good without reason. But, I
am pleased to note, our story does not end in this place
of saccharine excess.
As he speaks, CAMERA PANS from Earle, travels toward his unseen audience, revealing
LEO JOHNSON seated cross-legged on the floor, as if listening to a bedtime story.
EARLE
For there is another place, its opposite, of almost
unimaginable power, chock full of dark forces and
vicious secrets. No prayers dare penetrate this frightful
maw. Spirits there care not for good deeds and priestly
invocations. They are as like to rip the muscle from
our bones as greet you with a happy g'day. And, if
harnessed, these spirits, this hidden land of unmuffled
screams and broken hearts, will offer up a power so vast
that its bearer might reorder the earth itself to his liking.
(beat)
This place I speak of, is known as the Black Lodge. And
I intend to find it.
CAMERA CONTINUES to PAN, reveals a dull-witted YOUTH seated at Leo's school
desk. Long stringy hair, head band, a vacant stare. Some sullen refugee from a speed metal
talent show.
YOUTH
Listen, man. The story's cool. But you promised me
beer. Besides, you told me there was gonna be a party up
here. Black Lodge, White Lodge, like what's the big
deal?
CAMERA CONCLUDES its move, HOLDS ON Earle's computer screen, where we see
a
computer rendering of the hieroglyph from Owl Cave.
(CONTINUED)
2.
#2.019
2.
CONTINUED:
EARLE
In time, young man. Everything in time.
CUT TO:
3.
3.
EXT. BLUE PINE LODGE - DAY
Establish.
4,
INT. BLUE PINE LODGE - DAY
CUT TO:
PETE MARTELL sits at his chess board, peering silently at the pieces, morose, mournful.
PETE
(nearly whispered)
I think I shall never see, a girl as lovely as Josie...
(pauses, starts again; he's composing a poem)
When she walked into the flowers stood up
and...
(seeking rhyme)
Room... doom... fume... gloom...
(beat)
I think I shall never see, a girl as lovely as Josie, when she
walked into the room, the flowers were all abloom...
(tearing up)
Oh Josie...
Pete's poetic reverie is interrupted when CATHERINE MARTELL storms into the room.
She's carrying the mysterious black box Eckhardt gave her.
CATHERINE
Pete! Stop your incessant moping and give me a hand
with this damn box.
PETE
What exactly do you want me to do?
CATHERINE
Open it. I've been trying all morning. Thomas
Eckhardt left this box to me when he died. I want it
opened and I want it opened
now.
PETE
(taking box into his hands)
Well ... let's take a look-see... do you have a key?
CATHERINE
If I had a
key,
it would be be open already, don't you
think?
(CONTINUED)
#2.019
4.
CONTINUED:
PETE
'Course there's no key
hole...
(he plays with the sides and edges of the box,
pieces that interact as if part of a larger puzzle)
It's a puzzle box. Saw one of these at a crafts emporium
in Guam. I was taking a little R and R with the
Doolittle twins, there was this monkey show that you
wouldn't believe, and Dale Doolittle, he was the larger
of the two, come to think of it, for twins they didn't
look at all alike...
PETE!!!
CATHERINE
4.
PETE
Sorry, Poodle.
(returns to the box, the slats and sections)
The trick is to fit the pieces together just so...
CATHERINE
(with renewed hope)
Yes. And how long is that going to take?
Pete concentrates on the puzzle box, brow furrowed, lips pursed. A long beat.
PETE
This could take years.
5.
EXT. DOUBLE R DINER - DAY
Establish.
6.
INT. DOUBLE R DINER - DAY
CUT TO:
CUT TO:
BOBBY BRIGGS and SHELLY JOHNSON sit in a booth. Shelly is in uniform, she's got
tables to attend to - but Bobby insists:
BOBBY
Shel, I've been thinking about the future, about what it
takes to get ahead in this world. I'm reading up,
watching TV: suddenly it comes to me. Boom. The
secret
to success.
(leaning closer, dead serious)
Beautiful people get everything they want.
Oh, Bobby...
SHELLY
(CONTINUED)

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