Mostrando postagens com marcador [Screenplay]. Mostrar todas as postagens
Mostrando postagens com marcador [Screenplay]. Mostrar todas as postagens

sexta-feira, 18 de março de 2005

[Lost] Script do episódio piloto

OBSERVAÇÃO
Hoje eu resolvi colocar p/vcs o script original no episódio piloto, evidentemente este post não tem spoiler, visto que tanto no Brasil como no EUA, o episódio piloto já passou, mas mesmo sem spoiler, penso que este post é bem interessante. Em breve voltarei aos perfis, já tenho 4 prontos, mas irei coloca-los pouco a pouco...
A propósito, se algum(a) leitor(a) quiser traduzir o script e me mandar, será postado com os devidos créditos, eu não irei fazer pois tomaria muito tempo e no meu tempo livre eu quero trazer novidades para cá e não bater nas mesmas teclas...
Ultreya!

Episode 1 - Pilot (Part 1 & 2)
Written By: J.J. Abrams & Damon Lindelof
Directed By: J.J. Abrams


[Shot of Jack's eye opening, looking up at the bamboo. Overhead shot panning out to show Jack is lying injured on the ground. Jack sees a dog, slowly gets up, in pain. Finds a little liquor bottle in his pocket. Then he runs though the bamboo and ends up at the beach. People screaming. He sees the wreckage. People limping and calling for help. Shot of the engine still spinning. Charlie getting too close to it. Jin screaming. Michael calling for Walt.]
  • Redshirt: Stay away from the gas. Stay there.

[Shannon screaming. Jack looks up at the wing.]

  • Redshirt #2 (trapped under the piece with the still moving engine): Help. Help. Somebody help me. Ahh, my leg.
  • Jack: Give me a hand. You, c'mon, come over here. Give me a hand. [A group of redshirts (and Locke) gather around to lift the metal piece that's trapping the man.] On the count of 3: 1, 2, 3.

[Jack pulls the man out from under. One leg is bloody. Jack starts ripping the man's pants to get to the wound. Jack uses his tie as a tourniquet.]

  • Claire: Help. Somebody please help me. Please help me.

[We see Claire is pregnant and on her hands and knees. Jack sees her.]

  • Jack (to a redshirt and Locke): Okay, get him out of here. Get him away from the engine. Get him out of here.

[He runs over to Claire through a lot of wreckage.]

  • Claire: Help me please. I'm having contractions.
  • Jack: How many months pregnant are you?
  • Claire: I'm nearly 8 months.

[Jack looks over and sees Boone doing CPR on Rose.]

  • Jack (to Claire): How far apart are they coming?
  • Claire: I don't know, a few just happened.

[Shot of Locke and Redshirt carrying bad-leg-guy away. Another guy starts walking in front of the engine and Locke sees him.]

  • Locke: Hey, hey, get away:

[The guy gets sucked into the engine and the engine explodes. Shot of people running. Jack sort of falls on top of Claire to protect her.]

  • Jack: Listen to me, we're gonna: you're going to be okay, understand me. But you have to sit absolutely still.

[Jack looking at Boone giving Rose mouth-to-mouth.]

  • Jack (to Hurley): Hey, you, come here. I need you to get this woman away from these fumes. Take her over there and stay with her. If her contractions occur any closer than 3 minutes apart call out to me.
  • Hurley: Oh, you've got to be kidding me. (Jack starts running off). Hey, what's your name?
  • Jack: Jack.

[Jack runs up to Boone and Rose.]

  • Jack: Stop. Her head's not tilted far back enough. You're blowing air into her stomach.
  • Boone: You sure?

[Jack starts giving her mouth-to-mouth. ]

  • Boone: That's exactly what I was doing. I'm a lifeguard. I'm licensed.
  • Jack: Yeah, well, you need to seriously think about giving that license back.
  • Boone: Maybe we should do one of those hole things. You know, stick the pen in the throat?
  • Jack: Yeah, good idea, you go get me a pen.

[Boone runs off to get pens.]

  • Jack (doing CPR): C'mon, c'mon.

[Rose breathes.]

  • Jack: Big deep breaths, take breaths.

[Sound of metal. Jack looks up to see a big piece of metal high up (the wing) on some of the wreckage starting to wobble. Claire and Hurley are right under where it would fall. Jack runs over to them. ]

  • Jack (as he's running): Move, move, move. Get her up. Get her out of there.

[Jack, Hurley, and Claire run out of way as there is a huge explosion. A big piece of burning debris lands near Charlie.]

  • Jack (to Claire): You okay?
  • Claire: Yeah.
  • Jack (to Hurley): You?... (Hurley sort of nods laying on the ground) Stay with her.
  • Hurley: Dude, I'm not going anywhere.

[Jack sort of stumbling around the beach, looks into the fuselage. Takes a moment to steady himself, almost crying.]

  • Boone (walking up holding out a handful of pens): I didn't know which one would work best.
  • Jack: They're all good. Thanks.

[Shot of Jack going through a suitcase, and finding a sewing kit. Jack going to a deserted part of the beach and taking his jacket and shirt off. He has a big gash on his side. Kate comes walking by, doesn't know Jack is there. Kate rubbing her wrist.]

  • Jack: Excuse me. Did you ever use a needle?
  • Kate: What?
  • Jack: Did you ever: patch a pair of jeans?
  • Kate: I, um, I made the drapes in my apartment.
  • Jack: That's fantastic. Listen, do you have a second. I could use a little help here.

[Kate walks over to him.]

  • Kate: Help with what?

[Jack shows her the wound, and she grimaces.]

  • Jack: Look, I'd do it myself, I'm a doctor, but I just can't reach it.
  • Kate: You want me to sew that up?
  • Jack: It's just like the drapes, same thing.
  • Kate: No, with the drapes I used a sewing machine.
  • Jack: No, you can do this. I'm telling you. If you wouldn't mind.

[Jack looks at her pleadingly.]

  • Kate: Of course I will.
  • Jack: Thank you.
  • Jack (handing her the little liquor bottle from his pocket): It's for your hands. Save me some for the, for the wound.

[Kate picks up the little sewing kit.]

  • Kate: Any color preference?
  • Jack (laughing): Standard black.

[Jack dumps the vodka on his wound.]

[Shot of Sawyer lighting up a cigarette. Looking around. Then walking away, looks like he tosses his smoke down, disgusted-like.
Claire standing by the shore.
Hurley stacking airline food.
Locke sitting alone looking out toward the ocean.
Boone getting a ≥no service≤ signal on his cell phone.]

  • Boone: C'mon.

[Shot of Sayid adding wood to a big fire.]

  • Sayid (to Charlie): Hey you, what's your name?
  • Charlie: Me? Charlie.
  • Sayid: Charlie. We need help with the fire. No one will see it if it isn't big.
  • Charlie: Okay, I'm on it. What's your name?
  • Sayid: Sayid.
  • Charlie: Sayid. I'm on it, Sayid.

[Shot of Rose kissing the ring on her necklace. Kate sewing up Jack's wound.]

  • Kate: I might throw up on you.
  • Jack (shaking his head): You're doing fine.
  • Kate: ou don't seem afraid at all. I don't understand that.
  • Jack: Well, fear's sort of an odd thing. When I was in residency my first solo procedure was a spinal surgery on a 16 year old kid, a girl. And at the end, after 13 hours, I was closing her up and I, I accidentally ripped her dural sac, shredded the base of the spine where all the nerves come together, membrane as thin as tissue. And so it ripped open and the nerves just spilled out of her like angel hair pasta, spinal fluid flowing out of her and I: and the terror was just so crazy. So real. And I knew I had to deal with it. (He's crying). So I just made a choice. I'd let the fear in, let it take over, let it do its thing, but only for 5 seconds, that's all I was going to give it. So I started to count, 1, 2, 3, 4, 5. Then it was gone. I went back to work, sewed her up and she was fine.
  • Kate: If that had been me, I think I would have run for the door.
  • Jack: No, I don't think that's true. You're not running now.

[Shot of stars in night sky. Charlie writing F.A.T.E. on his taped fingers, sitting next to Sayid.]

  • Sayid: You think they would have come by now.
  • Charlie: Huh? Who?
  • Sayid: Anyone.

[Shot of Shannon painting her toenails. Boone comes up, offers her a candy bar.]

  • Shannon: As if I'm going to start eating chocolate.
  • Boone: Shannon, we may be here for awhile.
  • Shannon: The plane had a black box, idiot. They know exactly where they are, they're coming. I'll eat on the rescue boat. [He offers the chocolate again]. I'll eat on the rescue boat. [Boone eats the chocolate.]

[Shot of Claire sitting on a piece of wreckage. Hurley comes up with a tray of airplane food.]

  • Hurley: Hungry?
  • Claire: Yeah, thanks.
  • Hurley: Anymore, you know, baby stuff?
  • Claire: No. I'm okay.
  • Hurley: Well, hang in there.
  • Claire: Yeah, you too.

[Hurley's arm comes back into the shot and gives her another meal. Close up of Michael]

  • Michael: You sure you're warm enough?

[Shot of Walt lying on the beach under a blanket. He just nods, with a far-off look.
Shot of Jin and Sun.]

  • Jin (subtitles from Korean): You must not leave my sight. You must follow me wherever I go. Do you understand? [Sun nods]. Don't worry about the others. We need to stay together.

[Shot of Kate standing over Jack while he's working on the Marshall, examining the Marshall's wound.]

  • Kate: Do you think he's going to live?
  • Jack: Do you know him?
  • Kate: He was sitting next to me.

[Shot of a leaf torn into the shape of an airplane.]

  • Jack [can't see Jack yet, just the leaf-plane]: We must have been at about 40,000 feet when it happened. Hit an air pocket. Dropped, maybe, 200 feet. The turbulence was: I blacked out.
  • Kate: I didn't. I saw the whole thing. I knew that the tail was gone, but I couldn't bring myself to look back. And then the, the front of the plane broke off.
  • Jack: Well, it's not here on the beach. Neither is the tail. We need to figure out which way we came in.
  • Kate: Why?
  • Jack: Because there's a chance we could find the cockpit. If it's intact, we might be able to find a transceiver. We might be able to send out a signal, help the rescue party find us.
  • Kate: How do you know all that?
  • Jack: Took a couple flying lessons: wasn't for me.
  • Kate: I saw some smoke, just through the valley. If you're thinking about going for the cockpit, I'm going with you.
  • Jack: I don't know your name.
  • Kate: I'm Kate.
  • Jack: Jack.

[Metal/weird sound coming from the jungle. Everyone on the beach is looking. Kate looks.
Locke looks (the camera pans forward toward him for a close up). Walt looks.
Shannon and Boone look.]

  • Shannon: What was that?

[Kate looks back at Jack. Charlie and Sayid look.]

  • Charlie:That was weird, right?
  • Walt: Was that Vincent?

[Walt gets up and goes toward it.]

  • Michael (getting up to follow): It's not Vincent.

[Shot of trees moving/getting smashed down.]

  • Claire (coming into the frame) : Did anybody see that?
  • Hurley (in disbelief): Yeah.

[Boone gets up, moves off.]

  • Shannon: Boone!?

[Everyone moving toward the sound, except Michael who backs off. Everyone looking out at the trees moving/getting smashed.]

  • Charlie: Terrific.

[Shot out of airplane window over wing above clouds. Shot of jack. Sound of cart rolling up.]

  • Flight Attendant: So, how's the drink?
  • Jack: It's good.
  • FA: That wasn't a very strong reaction.
  • Jack: Well, it's not a very strong drink.
  • FA [hands him two more bottles.]: Shhh. Just don't tell anyone.
  • Jack: This of course breaks some critical FAA regulations.

[Jack puts one of the bottles in his coat pocket and drinks the other. He stands up, then Charlie comes by him in the aisle.]

  • Charlie: Excuse me.
  • Rose (looking at Charlie, then at Jack): Guess he really had to go.
  • Flight Attendant (in background): Sir, excuse me.

[Two FA's running by.]

  • FA: Sir, excuse me.

[Jack sits back down. Then there is turbulence. Jack putting on seatbelt.]

  • FA: Ladies and gentleman, the pilot has put on the fasten seatbelt signs. Please return to your seats and fasten your seatbelts.
  • Jack (to Rose): It's normal.
  • Rose: Oh, I know. I've just never been a very good flyer. My husband keeps reminding me that planes want to be in the air.
  • Jack: Well, he sounds like a very smart man.
    Rose: I'll be sure and tell him that when he gets back from the bathroom.

[The plane is really shaking now.]

  • Jack: Well, I'll keep you company until he does. Don't worry it's going to be over:

[There's a sudden lurch and one passenger goes flying out of his seat and hits the ceiling. More shaking and screaming. The oxygen masks come down. Jack and Rose put their masks on. Shot of another guy putting his mask on. Shot of ocean, then Jack looking out at the ocean. Rose and a bunch of redshirts in the background.]

  • Redshirt: It didn't sound like an animal, not exactly.
  • Rose: That sound that it made, I keep thinking that there was something really familiar about it.
  • Redshirt #2: Really? Where are you from?
  • Rose: The Bronx.
  • Redshirt: Might be monkeys. It's monkeys.
  • Redshirt [that sounds like Hurley]: Technically, you know, we don't even know if we're on: (an island?)
  • Kate [coming up behind Jack]: You ready?
  • Jack: Kate you showed me where the smoke was. I can get there myself.
  • Kate: I'm coming.
  • Jack (smiling): Well, you're going to need better shoes.

[Shot of a dead body's feet. Kate reaches down to take hiking boots, checks the size. She looks at Locke, who's looking at her. He gives her the ≥orange≤ smile. He keeps eating the orange and looks away. She looks slightly freaked out/disgusted. Shot of a group: Michael, Walt, Charlie, Sayid, Boone and Shannon, with Hurley walking up.]

  • Michael: Whatever it was, it wasn't natural.
  • Charlie: Does anyone have any sun block?
  • Shannon: Yeah, I do.
  • Hurley: Oh, so, I was just looking inside the fuselage, it's pretty grim in there. Do you think we should do something about the [stopping and looking at Walt] b-o-d-y-s?
  • Michael: What are you spelling, man? Bodies?
  • Walt: B-o-d-i-e-s.
  • Sayid: Sounds like a good idea.
  • Shannon: No, they'll deal with it when they get here.
  • Jack (coming up): We're going to go out and look for the cockpit, see if we can find a transceiver to send a distress signal to help the rescue team. (To Boone) You're going to need to keep an eye on the wounded. If the guy in the suit wakes up, try to keep him calm, but don't let him remove that piece of shrapnel, you understand?
  • Boone: Yeah, got it. What about the guy with the leg, the tourniquet?
  • Jack: I stopped the bleeding. I took it off last night. He should be alright.
  • Boone: Yeah, cool. Good job.
  • Charlie: I'll come with you. I want to help.
  • Jack: I don't need any more help.
  • Charlie: No, it's cool, I don't really feel like standing still, so. [Jack nods]. Excellent.

[Shot of valley looking out toward sea. You can see Jack, Charlie, and Kate in the distance coming toward camera.]

  • Kate: Can I ask you something?
  • Charlie: Me? I'd be thrilled. I've been waiting.
  • Kate: Have we ever met anywhere?
  • Charlie: No, that would be unlikely. I look familiar, though, right?
  • Kate: Yeah.
  • Charlie: Can't quite place it?
  • Kate: No, I can't.
  • Charlie: Yeah, I think I know.
  • Kate: You do?
  • Charlie (singing): You all everybody. You all everybody. You've never heard that song?
  • Kate: I've heard it. I just don't know what the hell:
  • Charlie: That's us. Driveshaft. Look, the ring. Second (something something?). You've never heard of Driveshaft?
  • Kate (incredulous): The band?
  • Charlie: Yeah, the band.
  • Kate: You were in Driveshaft?
  • Charlie: I am in Driveshaft. I play bass.
  • Kate: Serious.
  • Charlie: Yeah, Charlie. Track 3, you know, I do backing vocals.
  • Kate: My friend Beth would freak. She loved you guys.
  • Charlie: Give me Beth's number, I'll call her: I'd love to.
  • Jack: Hey!
  • Kate: Have you ever heard of Driveshaft?
  • Charlie (singing): You all everybody
  • Jack (shakes his head): We've got to keep moving.
  • Kate: You were good.
  • Charlie: We are good. Back together. In the middle of a comeback.

[Camera pans down to reveal Vincent. Shot of Locke alone on the beach looking out to sea. We see clouds forming, sound of thunder. Shot of Kate, Charlie, Jack in the jungle in the rain.]

  • Charlie: Hey guys, is this normal? Day turning into night, you know? End of the world type weather. Is this: guys?

[Shot of Locke sitting on the beach with people running around to get out of the rain. Locke just sits there. Jin kicks a guy out from Jin and Sun's little overhang of debris. Hurley runs past Boone and says something (?). Shot of Michael holding something up (some kind of tarp?) under some debris, puts his arm on Walt's shoulder. Shot of Locke alone on the beach in a sort of meditation pose (music is sort of bittersweet). Locke holds his arms out, turns his face up to the rain, seems happy. Shot of the monster in the jungle by the beach. Claire and Rose see it.]

  • Claire: There it is again.
  • Rose: Oh my god.

[Shot of Jack, Kate, Charlie coming upon the cockpit. They all look a bit scared.]

  • Jack: Well, let's do this.

[Shot of Jack, Kate, and Charlie making their way to the cockpit wreckage. Weird, kind of blue lighting.]

  • Charlie: Let's get this trans...
  • Jack: Transceiver.
  • Charlie: Transceiver thing and get out, then.

[Climbing ≥up,≤ through the front of the plane. There are dead bodies. Jack can't open the cockpit door, bangs on it with a fire extinguisher. It opens and body comes falling out.]

  • Jack (to Kate): You okay?
  • Kate: Yeah.
  • Charlie: I'm fine. Charlie's fine, by the way. I'm okay.
  • Jack (to Kate): Hey, you don't have to come up here.
  • Kate: No, I'm good.

[Kate and Jack get inside the cockpit.]

  • Kate: So, what does a transceiver look like?
  • Jack: Complicated walkie-talkie.

[Kate's climbing over the pilot looking for the transceiver when suddenly the pilot takes a breath.]

  • Jack: Hey, can you hear me? (to Kate) I need that water. (He gives the pilot some water) Here you go, take it.
  • Pilot: How many survived?
  • Jack: At least 48. Does anything feel broken?
  • Pilot: No. My head's a little dizzy, that's all.
  • Jack: It's probably a concussion.
  • Pilot: How long has it been?
  • Jack: 16 hours.
  • Pilot: 16 hours? Has anybody come?
  • Jack: Not yet.
  • Pilot: 6 hours in. Our radio went out, no one could see us. We turned back to land in Fiji, by the time we hit turbulence we were 1000 miles off course. They're looking for us in the wrong place.
  • Jack: Do you have a transceiver?

[The pilot moves to go get it.]

  • Jack: Good, that's what we were hoping. Look, you shouldn't try to move.
  • Pilot: No, no. I'm okay. It's okay. Transceiver's right there. It's right there.

[Kate gets it and hands it to the pilot.]

  • Jack (to Kate): Where's Charlie?

[Kate goes to look for Charlie. The pilot is fiddling with the transceiver.]

  • Pilot: It's not working.
  • Kate [going through cabin, seeing dead bodies]: Charlie?

[Charlie comes out of the bathroom.]

  • Kate: What were you doing in the bathroom?
  • Charlie: What?

[The plane starts shaking. We hear the monster sounds. Shot of pilot, Kate and Charlie, Pilot and Jack reacting.]

  • Pilot: What the hell was that?
  • Jack: Kate.

[Shot of Kate going back into Cockpit with Charlie's help.]

  • Kate: It's right outside.
  • Pilot: What, what's right outside?
  • Jack: Shhhh.

[Kate looks terrified. Shadow of monster going past window. Jack tries to look out the window to see it. The pilot goes up to try and see it and climbs part way out. Charlie comes into the cockpit. The pilot gets snatched out of a broken window. There's blood all over the window.]

  • Charlie: What the hell just happened?

[Big crashing and shaking. Jack reaches for the transceiver. which the pilot put down in the co-pilot's seat, just it before it falls. The cockpit falls to the ground from it's inclined position. Jack is reaching for the transceiver.]

  • Kate: Jack, c'mon.
  • Charlie: Just leave it.

[Jack grabs it. They run. Monster sounds, running, anxious music. Charlie falls. His leg is trapped in some vines. Jack goes back to rescue him. Kate keeps running and ends up alone.]

  • Kate (terrified): J-j-Jack. [Big door slamming sound/big footstep sounds? Kate is trying to compose herself] 1-2-3-4-5.

[Shot of Kate, she hears something and looks off. Charlie comes up behind her, she turns to find him and knocks him down.]

  • Kate: Where the hell's Jack?
  • Charlie: I don't know.
  • Kate: You see him?
  • Charlie: Yeah, he pulled me up.
  • Kate: Where is he?
  • Charlie: I don't know.
  • Kate: How can you not know?
  • Charlie: We got separated. Look, I fell down. He came back for me, that thing was:
  • Kate: Did you see it?
  • Charlie: No, no, it was right there. We were dead, it was right there. I was, and then Jack came back and he pulled me up. I don't where he is.

[Kate looks around.]

  • Kate: We have to go back for him.
  • Charlie: Go back. There? Kate, there's a certain gargantuan quality about this thing.
  • Kate: Then don't come.

[Kate walks off, Charlie gets up to follow (reluctantly).]

  • Charlie: Kate.

[Shot of jungle. Kate and Charlie walking around.]

  • Charlie: I heard you shout. I heard you shout, Jack. I'm Charlie by the way.

[Kate sees something.]

  • Charlie: What is that?

[Kate picks up ≥pilot's≤ wings from the muddy ground. Shot shifts focus from wings to the reflection in the water where they see the pilot's body in the tree above them.]

  • Charlie: What is:?
  • Jack (coming up): It's the pilot.
  • Kate: Did you see it?
  • Jack: No. It was right behind me, but I dove into the bushes.
  • Charlie (pointing up to the pilot in the tree): Guys, how does something like that happen?

[Shot of bloody pilot in the treetop, bloody and with face-skin torn off, but not eaten.]

[Shot of Kate, Charlie, Jack walking in woods. No rain or clouds. Jack is trying the transceiver.]

  • Charlie: Anything?
  • Jack: You keep asking me if there's anything.
  • Charlie: Pardon me for sounding desperate, but before the pilot was ripped from the cockpit, he did say that no one was going to find us unless we get that transceiver working. So, is there anything?
  • Jack: No.
  • Charlie: Okay.
  • Kate (to Charlie): What were you going in the bathroom?
  • Charlie: I thought you could tell. I was getting sick. Puking. My one tangible contribution to the trek.
  • Kate: No, I'm glad you came, Charlie.
  • Charlie: Every trek needs a coward.
  • Kate: You're not a coward.

[Long shot of Charlie's reaction. We hear a tapping sound. Flashback to Charlie on the airplane, tapping his ring again the seat's armrest, looking miserable.]

  • FA: Are you alright, sir.
  • Charlie: I'm good. Thanks.
  • FA: Can I get you a water
  • Charlie (irritatedly): I'm fine. Thank you. Please.
  • FA (nodding, but looking unconvinced): Alright.

[Shot of Charlie looking back down the aisle to the FAs talking in the back. FA starts walking back toward him and Charlie bolts (this is where he bumps into Jack). Charlie's trying to get into a bathroom, but they are locked. He bolts again away from the FA's that are following him. He's goes through the row where Shannon and Boone are. Shannon says, Excuse me, in an annoyed voice. The turbulence starts. FA makes her announcement about returning to your seat. Charlie gets into a bathroom and locks the door. Takes off his shoe to reveal a baggy of heroine.]

  • FA (through the bathroom door): Sir, are you alright?
  • Charlie: Just a minute.
  • Charlie takes some of the drugs. [Knocking sound]
  • Charlie: Just a minute.
  • FA: I'm going to have to ask that you open the door, please.

[Charlie looking into the mirror with a drugged out/relieved look on his face. (Knocking sound]

  • FA: Open the door now, sir.

[Charlie drops the drugs into the sink, then goes to open the cabinet beneath (presumably to make the drugs fall down there?) Suddenly, a big bump of turbulence, and Charlie goes flying into the ceiling. He opens the door and falls down with a food cart rolling toward him. He rolls out of the way just in time, crawls to a seat and puts the seatbelt on. Puts the mask on.]

[Shot of Shannon sunbathing. Boone walks up. ]

  • Boone: Hey, we're going through some clothes, sorting them. I see you found your bag. C'mon, you want to give us a hand?
  • Shannon: Not really. You're wasting your time, they're coming.

[Boone walks away.]

  • Claire (sitting next to Shannon out of frame): Is that your boyfriend?
  • Shannon: My brother, Boone. God's friggin' gift to humanity.
  • Claire: I used to have a stomach.
  • Shannon: You know what it is?
  • Claire: Not yet. I haven't felt the baby move since yesterday.

[Shot of tide pool. Jin getting an urchin. Sun looking on. Michael comes up.]

  • Michael: Excuse me. Hey, have you seen my boy?
  • Sun: Says something in Korean.

[Jin says something and motions for Sun to button her top button which she does.]

  • Michael: Sorry. [Walks off camera] Walt! Walt!

[Shot of Walt with leash.]

  • Walt: Vincent. Vincent. Come here boy.

[Walt finds handcuffs lying on the ground.]

  • Michael (running up): Hey, what did I tell you, after everything's that's happened?
  • Walt: I thought that maybe Vincent would be around.
  • Michael: I told you to stay on the beach.
  • Walt: This is so close to the beach I thought that this would be okay.
  • Michael: Don't do that. You listen to me. I mean what I say. Do you understand?

[Walt gives him a dirty look. Michael looks down to see the handcuffs in Walt's hands.]

  • Michael: What is this?
  • Walt: I just found them.

[Shot of Michael looking around, worried.]

  • Michael (putting a protective arm around Walt): Come here.

[Fight between Sawyer and Sayid on the beach. People standing around watching.]

  • Michael: Hey guys, c'mon.
  • Jack: Hey, break it up. Break it up.

[Some words said between Sayid and Sawyer.]

  • Sayid: Tell everyone what you told me. Tell them that I crashed the plane. Go on, tell them
  • Sawyer: The shoe fits, buddy.
  • Jack: What is going on?

[More words between Sawyer and Sayid (I can't really understand.)]

  • Michael (handing the handcuffs to Jack): My kid found these in the jungle.
  • Sawyer: This guy was sitting in the back row of business class the whole flight, never got up. Hands folded underneath a blanket. And for some reason, just pointing this out, the guy I saw next to him didn't make it.
  • Sayid: Thank you so much for observing my behavior.
  • Sawyer: You don't think I saw them pull you out of line before we boarded.

[Sayid's trying to get to Sawyer again, to hit him.]

  • Sawyer: Bring it.
  • Kate: Stop.

[Sayid backs off.]

  • Kate: We found the transceiver but it's not working. Can anybody help?
  • Sayid: Yes. I might be able to.
  • Sawyer: Oh great, let's trust this guy.
  • Hurley: Hey, we're all in this together, man. Let's treat each other with a little respect.
  • Sawyer: Shut up, lardo.
  • Jack: Hey. Give it a break.
  • Sawyer: Whatever you say, doc. You're the hero.
  • Boone: You guys found the cockpit?

[Jack nods.]

  • Boone: Any survivors?
  • Jack: No.
  • Sayid (looking at the transceiver): It's dual-band military spec. Chances are the battery is good, but the radio is dead.
  • Kate: Can you fix it?
  • Sayid: I need some time.
  • Rose (coming up): Doctor, the man with the shrapnel, I think you should take a look at him.

[Shot of Sayid sitting on the beach, opening the transceiver. Hurley walks up.]

  • Hurley: Chain-smoking jackass.
  • Sayid: Some people have problems.
  • Hurley: Some people have problems? Us. Him. You're okay. I like you.
  • Sayid: You're okay, too.
  • Hurley: Hurley. [He reaches out to shake Sayid's hand, then sees he's busy with the transceiver and puts it down]
  • Sayid (reaching to shake hands): Sayid.
  • Hurley: How do you know how to do all that?
  • Sayid: I was a military communications officer.
  • Hurley: Oh yeah? You ever see battle?
  • Sayid: I fought in the Gulf War.
  • Hurley: No way. I have a buddy who fought over there. He was in the 104th Airborne. What were you, Air force, Army?
  • Sayid: The Republican Guard.

[Shot of the ocean. Kate taking a sexy bath. Sun comes up and says something in Korean pointing off to tell Kate she's wanted somewhere. Shot of Kate walking to Sayid on the beach, drying her hair.]

  • Kate: Is it working?
  • Sayid: Seems to be, except we're not picking up a signal.
  • Kate: Why are you trying to pick up a signal, aren't we trying to send one?
  • Sayid: Yes, but what you want to see here is little bars. Bars would show the radio's getting reception.
  • Kate: We need the bars?
  • Sayid: We could broadcast blind, hope that someone, maybe a ship somewhere picks up our distress call. But that would be a waste of the battery. It might not last for long. There is one thing we could try.
  • Kate: What?
  • Sayid: Seeing if we could get a signal from high ground.
  • Kate: How high?

[Sayid looks up. Camera pans high up the mountain. Shot of Marshall with shrapnel, Jack is working on him. Suddenly Kate is there, and Jack seems surprised.]

  • Kate: How is he? Can you do anything?
  • Jack: Pull out the shrapnel.
  • Kate: But you said yesterday that
  • Jack: I know, but that was yesterday. I was hoping he'd be at a hospital by now. If I leave him like this he'll be dead within a day. If I open him up, and I can control the bleeding, and if he doesn't go into sepsis, and if I can find some antibiotics, he might be alright.
  • Kate: I'm going on a hike.
  • Jack: Sorry?
  • Kate: Sayid fixed the transceiver but we can't use it. Not from here.
  • Jack: Kate, wait a minute.
  • Kate: You said that we have to send out a signal.
  • Jack: Look, you saw what that thing did to the pilot.
  • Kate: Yeah, I did. What makes you think we're any safer here than we are in the jungle?
  • Jack: Wait for me, I don't know how long: [looking at the Marshall.]
  • Kate: Sayid said the batteries won't last.
  • Jack: Alright, if you see or hear anything, anything: run.

[Shot of Sun and Jin at the beach. Jin is cutting up the urchin. Sun reaches for a piece and he slaps her hand. He takes off with a tray of it. She looks disgusted and undoes her top button.
Shot of Jin offering urchin to Hurley.]

Hurley: What. that? What? Eat that? Dude, dude, I'm starving, but I'm nowhere near that hungry. No. No thank you. No way, no.

[Shot of comic book with polar bear. Comic book is in Spanish.]

  • Michael: The comic's in Spanish. Do you read Spanish?
  • Walt: No. I found it.
  • Michael: Tell you what, when we get home I'll get you another dog.

[Walt walks away. Shot of Charlie getting his drugs out. Shot of Hurley on the beach, Jack comes up.]

  • Jack: Hey, need your help.
  • Hurley: Okay.
  • Jack: I need you to help go through the luggage. I need any kind of prescription medications you can find, especially things ending in -myacin and -cillin, those are antibiotics.
  • Hurley: What's this for?

[Shot of Charlie doing drugs. Shot of Shannon almost crying. Boone comes up.]

  • Boone: What are you doing?
  • Shannon: I think I was mean to him.
  • Boone: What?
  • Shannon: To that guy from the gate, he wouldn't let us have our seats in first class. He saved our lives.
  • Boone: C'mon Shannon. We're trying to clear some of the wreckage. You should come and help out. You're just being worthless over here.
  • Shannon: I'm being what?
  • Boone: What do you want me to say? You're sitting on your ass staring at bodies.
  • Shannon: I've just been through a trauma here, okay?
  • Boone: We've all been through a trauma. The only difference is, is that since the crash you've actually given yourself a pedicure.
  • Shannon: You know what, it is so easy to make fun of me. You're good at it. I get it.
  • Boone: I wish I didn't have to waste my time making fun of you. I wish I didn't have a reason. And yeah, it is easy, Shannon.
  • Shannon: Screw you, you don't have the slightest idea: of what I am thinking.
  • Boone: I have more of an idea than you think I do.
  • Shannon: No, you don't.
  • Boone: Okay, Shannon. Then what are you thinking?

[Shannon sees Kate and Sayid preparing to leave.]

  • Shannon: I'm going with them, on the hike.
  • Boone: Yeah?
  • Shannon: Yep. I'm going.
  • Boone: No you're not. Shannon. Shannon!
  • Shannon (walking up to Kate and Sayid): I'd like to come with you.
  • Boone: She's not going: this is what she does.
  • Shannon: The hell I'm not:. You don't know what the hell I do.
  • Boone: She makes really bad decisions that upset her family, which at the moment is me.
  • Shannon: Shut up, and stop trying to be charming. (To Kate and Sayid) I'm coming with you.
  • Kate: I don't know if that's such a good idea.
  • Shannon: What are you 2 years older than me, please. (To Charlie who has just come up) You're going, aren't you?
  • Charlie: Yeah, are you?
  • Shannon: Yep.
  • Charlie: Yeah, I'm definitely going.
  • Kate: Look, everybody can come, but we're leaving now.
  • Charlie (to Shannon about Kate): You couldn't tell from that, but she's actually really nice.

[Shot of Sawyer smoking, reading his letter. He sees the others walking off. Shot of all them walking, Sawyer is with them.]

  • Kate: You decided to join us.
  • Sawyer: I'm a complex guy, sweetheart.

[Shot of them making their way up a steep mountain. (Crazy, nice score here). Shot of Michael on the beach where Walt left him. Jack comes into the frame and opens a make-up type bag, looking for something.]

  • Michael: What are you looking for?
  • Jack: Some sort of blade. How's your son?
  • Michael: Walt? Yeah, I think he'll be alright.
  • Jack: How old is he?
  • Michael: 9: 10. 10. Walt's more worried about his dog than anything. The dog was on the plane, so: kids, you know.
  • Jack: Is it a Lab?
  • Michael: Yeah.
  • Jack: Yeah? I saw him yesterday in the jungle.
  • Michael: What? Where?
  • Jack: Over there. A couple hundred yards in or so. He looked good.

[Jack finds a straight-edge razor. Shot of Locke with the Backgammon pieces. Walt comes up, curious.]

  • Walt: What is it, like checkers?
  • Locke: Not really, it's a better game than checkers. You play checkers with your Pop?
  • Walt: No, I live in Australia with my mom.
  • Locke: You've got no accent.
  • Walt: Yeah, I know. We move a lot. She got sick. She died a couple of weeks ago.
  • Locke: You're having a bad month.
  • Walt: I guess.
  • Locke: Backgammon's the oldest game in the world. Archeologists found sets when they excavated the ancient ruins of Mesopotamia. 5,000 years old. That's older than Jesus Christ.
  • Walt: Did they have dice and stuff?
  • Locke (nods): But their dice weren't made of plastic. Their dice were made of bones.
  • Walt: Cool.
  • Locke: Two players. Two sides. One is light, one is dark. Walt, do you want to know a secret?

[Shot of Claire writing in her diary. Jin comes up and offers her some urchin. She shakes her head, but then gives in and takes some.]

  • Claire: No, no thank you. That's okay. [Jin keeps insisting] Okay, thanks.

[She eats some and then feels her baby move. She jumps up and makes Jin touch her belly.]

  • Claire: Oh, I just felt it. Come here, feel this. [Claire keeps insisting]. Please. Do you feel that; it's a kick. There, right there, there's a foot. Hey, he's moving around. He. He. I guess I think you're a he.

[Shot of group in jungle.]

  • Sawyer: Okay, wide open space. You should check the radio, see if we're good.
  • Sayid: We're not going to have any reception here.
  • Sawyer: Just try it.
  • Sayid: I don't want to waste the batteries.
  • Sawyer: I'm not asking you to keep it on all day.
  • Sayid: We're still blocked by the mountain.
  • Sawyer: Just check the damn radio.
  • Sayid: If I just check we might not have any juice left when we get to:

[They all turn toward a sound they hear. Sounds of growling, movement.]

  • Shannon: Oh my god.
  • Boone: What the hell is that?
  • Kate: Something's coming.
  • Charlie: It's coming towards us I think.
  • Kate: C'mon, let's move.

[They all start running off.]

  • Shannon (screaming): I shouldn't have come on this hike.

[Shot of them running, but Sawyer is standing there to face it.]

  • Kate (turning to go back): Sawyer
  • Sayid (grabbing Kate): Let him go.

[Sawyer pulls out a gun and shoots like 10 times. The bear drops just as almost gets to Sawyer.]

  • Shannon: That's a big bear.
  • Boone: Think that's what killed the pilot?

[Kate looks at Charlie.]

  • Charlie: No that's a tiny, teeny version compared to that.
  • Kate: Guys this isn't just a bear. It's a polar bear.

[Shot of Jack and Hurley with the Marshall getting ready to take out the shrapnel.]

  • Hurley: Sure he's out?
  • Jack: He's out.
  • Hurley: How do you know he won't wake up when you yank that thing out?
  • Jack: I don't.
  • Hurley: Hey, guy, are you awake? Hey, there's a rescue plane, we're saved. Yay! Yeah, he's out. So what's...?
  • Jack: Look, it's unlikely he'll regain consciousness but the pain might bring him around. And if it does I need you to hold him down.
  • Hurley: I'm not so good around blood.
  • Jack: Then don't look.
  • Hurley: Yeah, but I'm not so good around blood.
  • Jack: Just do the best you can, okay? Don't look.
  • Hurley: Okay (looks like he's praying or something, mumbling something to himself)

[Jack pulls the shrapnel out.]

  • Hurley: Oh. No. Dude.
  • Jack: Hand me those strips.
  • Hurley: Dude.
  • Jack: Just hand me the strips I need to get this bleeding stopped.
  • Hurley: I don't think I can. Oh, what, what, what's going on? [Hurley looks down]
  • Jack: Just hand me the strips, give them to me. [Hurley looks sick]. Hurley, don't even think about it. Hey! [Hurley passes out on the Marshall] Damn it!

[Shot of the group in the jungle.]

  • Boone: That can't be a polar bear.
  • Sayid and Kate (at the same time): It's a polar bear.
  • Shannon: Yeah, but polar bears don't usually live in a jungle.
  • Charlie: Spot on.
  • Sayid: Polar bears don't live near this far south.
  • Boone: This one does.
  • Sawyer: Did. It did.
  • Kate (to Sawyer re: the gun): Where did that come from?
  • Sawyer: Probably bear village. How the hell would I know?
  • Kate: Not the bear, the gun.
  • Sawyer: I got if off one of the bodies.
  • Sayid: One of the bodies.
  • Sawyer: Yeah, one of the bodies.
  • Kate: People don't carry guns on planes.
  • Sawyer: They do if they're a U.S. Marshall, sweet cheeks. There was one on the plane.
  • Kate: How do you know that?
  • Sawyer: I saw a guy lying there with an ankle holster so I took the gun. I thought it might come in handy. Guess what? I just shot a bear.
  • Kate: So why do you think he's a Marshall?
  • Sawyer: Because he had a clip on badge. (He holds it up). I took that too, thought it was cool.
  • Sayid: I know who you are. You're the prisoner.
  • Sawyer: I'm the what?
  • Sayid: You found a gun on a U.S. Marshall? Yes, I believe you did. You knew who he was because you were the one he was bringing back to the States. Those handcuffs were on you. That's how you knew there was a gun.
  • Sawyer: Piss off.
  • Sayid: That's who you are you son-of-a-bitch.
  • Sawyer: You're as suspicious of me as I am of you.
  • Sayid: But you are the prisoner.
  • Sawyer: Fine, I'm the criminal. You're the terrorist. We can all play a part. (To Shannon) Who you want to be?

[As Sawyer turns, Kate grabs the gun and turns it on him.]

  • Kate: Does anybody know how to use a gun?
  • Charlie: I think you just pull the trigger.
  • Sayid: Don't use the gun.
  • Kate: I want to take it apart.
  • Charlie: Oh.
  • Sayid: There's a button on the grip. Push that, it will eject the magazine. There's still a round in the chamber, hold the grip, pull the top part of the gun.

[Kate gives the magazine to Sayid and the gun to Sawyer.]

  • Sawyer (grabs Kate's arm): I know your type.
  • Kate: I'm not so sure.
  • Sawyer: Yeah, I've been with girls like you.
  • Kate: Not girls exactly like me.

[Kate walks off to a flashback. Shot of Kate on the plane.]

  • FA: Can I get you a refill?
  • Kate: No. I'm fine with this. Thank you.
  • FA: You sir, can I get you anything? Cocktail? Soda?
  • Marshall: Just coffee sweetheart, black.
  • FA (looking disgusted by the ≥sweetheart≤): Coffee, sure.
  • Marshall: You look worried. I'd be worried, too, I was you. But you've got to stay positive, kiddo. You know, there's always that off chance that they'll believe your story. I know I sure did.
  • Kate: I don't care what you believe.
  • Marshall: Oh, I know that's true. That has always been true. You sure you don't want some more juice?
  • Kate: Yeah, I'm sure.

[Shot of Kate with hands cuffed. Then the turbulence starts to happen. FA's seatbelt announcement.]

  • Kate: I have one favor to ask.
  • Marshall: Really? This ought to be good!

[The big drop with woman hitting the ceiling. A big black/silver case hits the Marshall on the head. He passes out. The masks come down and Kate can't reach because of the handcuffs. She gets the key from the Marshall's pocket. Undoes the handcuffs. Puts her mask on and then puts a mask on the Marshall. The back of the plane rips off.]

  • Sayid: We should keep moving.

[Shot of Jack with the Marshall. The Marshall wakes up and grabs Jack's shirt.]

  • Marshall: Where is she?
  • Jack: Who?

[Shot of Kate walking with the group. Sayid getting the transceiver out.]

  • Sawyer: Oh, now's a good time to check the radio. Not before, but now.
  • Sayid: We're up higher.
  • Sawyer: Yes, we are.
  • Sayid: Hey, we've got a bar. Mayday, mayday. [Sound of feedback]
  • Kate: What is that?
  • Sayid: Feedback.
  • Kate: Feedback from what? What would do that?
  • Sayid: I don't know.
  • Sawyer: I'll tell you what would do that. This guy not fixing the radio. This thing doesn't even work.
  • Sayid: No, no, no, no, no. It's not broken. We can't transmit because something else is already transmitting.
  • Charlie: Transmitting from where?
  • Shannon: What?
  • Sayid: Somewhere close. The signal's strong.
  • Charlie: Somewhere close, you mean on the island, that's great.
  • Boone: Maybe it's other survivors?
  • Shannon: From our plane, how would they even:
  • Sawyer: What kind of transmission is it?
  • Sayid: It could be a SAT 4 (?), maybe a radio signal
  • Kate: Can we listen to it?
  • Sayid: Let me get the frequency first, hold on.
  • Sawyer: There's no transmission.
  • Kate: Shut up.
  • Charlie: The rescue party, it has to be. [They hear the transmission]. It's French, the French are coming. I've never been so happy to hear the French.
  • Kate: I never took French, what is she saying?
  • Sayid: Does anyone speak French?
  • Boone: She does.
  • Shannon: No, I don't. What?
  • Boone: What the hell are you talking about? You spent a year in Paris.
  • Shannon: Drinking, not studying.
  • Charlie: Okay, what's that?
    Sayid: Oh, no, no, no, no.
  • Kate: No, no, no, What?
  • Sayid: The batteries are dying.
  • Kate: How much time do we have?
  • Sayid: Not much.
  • Boone: I've heard you speak French listen to this. Listen to it.
  • Shannon: I can't.
  • Sawyer: You speak French or not, because that would be nice.
    Iteration 17:.
  • Charlie: That voice is weird. What is that?
  • Boone, Sayid, and Kate (to Shannon): C'mon!

[We can hear some of the transmission. ≥Il est dore.≤]

  • Shannon: It's repeating.
  • Sayid: She's right.
  • Boone: What?
  • Sayid: It's a loop. Iteration, it's repeating the same message. The counter, the next number will end 533. (Iteration: 17294533).
  • Sawyer: Does anyone know what the hell he's talking about?
  • Sayid: It's a running count of the number of times the message has repeated. It's roughly 30 seconds long so, how long:. (trying to figure it out in his head).
  • Sawyer: Don't forget to carry the 1, chief.
  • Shannon: She's saying: she's saying: please help me, please come get me.
  • Sawyer: Or, she's not. You don't even speak French.
  • Kate: Let her listen.
  • Boone: Shut up man.
  • Charlie: The battery. The battery.
    Iteration 17294535.
  • Shannon: I'm alone now, on the island alone. Please someone come. The others, they're, they're dead. It killed them. It killed them all.
  • Boone: That was good.
  • Sayid: 16 years.
  • Sawyer: What?
  • Sayid: 16 years and 5 months, that's the count.
  • Boone: What the hell are you talking about?
  • Sayid: The iterations. It's a distress call, a plea for help, a mayday. If the count is right it's been playing over and over for 16 years.
  • Boone: Someone else was stranded here?
  • Kate: Maybe they came for them?
  • Sawyer: If someone came why is it still playing?
  • Charlie: Guys, where are we?

Por ora é só, aguardem os novos perfis... Ouvi dizer que o próximo será de Kate... Alias, aguardem também, participações de pessoas especiais, comentando sobre outras séries tb especiais!

Ultreya!!

segunda-feira, 10 de junho de 1991

[TWIN PEAKS] S02E21 - Screenplay



Retirado na integra do site: http://www.glastonberrygrove.net/


MISS TWIN PEAKS


by
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 and series related errors.



First Draft: February 5 ,1991
Second Draft/Dist. to Dept. Heads: February 8,1991
Revised/General Distribution: February 14, 1991 - Blue
Revised: February 14, 1991 - Pink
Revised: February 20, 1991 - Green
Revised: February 21, 1991 - Yellow
Revised: February 22, 1991 - Cherry



Lynch/Frost Productions, Inc.
7700 Balboa Boulevard
Van Nuys, CA 91406
(818) 909-7900


--------------------------------------------------------------------------------



ACT ONE

FADE IN:

1. INT. WINDOM EARLE'S CABIN - DAY

LEO JOHNSON and MAJOR BRIGGS sit captive against a wall. Leo slowly looks around the room. Does so again. Apparently satisfied , he rises to his feet and moves until the ankle chain snaps him to a halt. Straining forward, he is able to lean over a table, and takes something from its drawer. He then returns to beside Briggs, who still looks very dazed, unconscious of his surroundings. Leo, with great effort, fits his new possession into the lock of Briggs's handcuffs. Briggs is released. But doesn't realize it. Leo shakes him.


LEO
Save Shelly ...


Leo is looking up at the wall with Shelly's photo. Enough internal fog clears for Briggs to realize he is now free. He gets up unsteadily and stumbles away. CLOSE ON the wall photos.


MATCH CUT TO:


2. SAME PHOTOS - LATER

SOUND of a door closing. Footsteps. EXPAND TO show WINDOM EARLE coming in to see Briggs is gone.


EARLE
Why, who in the world let Major Briggs loose, Leo? It
couldn't have been you, could it?


Leo cringes, expecting another shock. None comes.


EARLE
No, no punishment little Leo. It's to late for that to
do us any harm. And I have a new game for you.


He holds up a burlap bag. Something's moving inside.

CUT TO:


3. INT. DINER - DAY

Over by the kitchen, SHELLY and ANNIE are sorting silverware, when they're joined by NORMA, who carries over a tray of freshly baked pies.


NORMA
Here's our contribution to the Miss Twin Peaks Gala
Buffet. And I fully expect to see one of you up there
tonight in the winner's circle.

ANNIE
Dream on, Norma.

NORMA
Don't sell yourself short, kid. This is one of the biggest
days of the year for us and we need somebody up there
who deserves that title. Especially this year.

ANNIE
... Laura Palmer.

NORMA
A day of healing and coming together.

SHELLY
We could use more than a day.
(pause, then)
Norma, is it true they're going to honor you tonight?
Twentieth anniversary of when you won?

NORMA
(playful)
Hush.

SHELLY
If you entered you could win today.

NORMA
Listen to her, working on the judge already.

SHELLY
Since you brought it up ...

ANNIE
Good question: who are you going to vote for?


Ahelly and Annie put an arm around each other and present a united front.


ANNIE
Maybe they'll let you split your vote.

NORMA
(laughing)
We have a customer.


ANGLE ON DALE COOPER entering the diner. It's clear whose customer he is: to Shelly's intrigued glance, Annie walks over toward the counter.


COOPER
Looks like a staff meeting of the Double R brain trust.

ANNIE
We're trying to decide who's going to win tonight.

COOPER
No question about it. You are.

ANNIE
You're not exactly objective -

COOPER
I am completely objective.

ANNIE
(softly flirtatious)
I think you're not as objective as you think you are.

COOPER
Perhaps that's why it seems so important to me that we
kiss.

ANNIE
(affectionate, not shy)
You impetuous boy. We have an audience.

COOPER
I know this violates multiple laws of physics, but at his
moment, Annie, and I mean this quite literally... you are
the only person in the room.


Annie beams. They lean across the counter to kiss. Shelly and Norma look on, smile, look away.

CUT TO:


4. INT. GREAT NORTHERN - DAY

AUDREY HORNE stands pensively, her face half-lit by the fireplace glow. BEN HORNE enters, arms filled with books they nearly obscure him. Audrey manages a smile.


AUDREY
Hi, Daddy.

BEN
(pausing by the fire, nearly losing hold of a
tome)
Audrey. The most intelligent face I've seen all day. You
make the rest of us look like primates.

AUDREY
What's with all the books?

BEN
(listing each and every one)
The Koran, the Bhagavad-Gita, the Talmud, the Bible,
New and Old Testaments, the Tao-te-ching ... I have in
my arms those holy books that constitute the fundamental
framework of man's philosophies of good. Somewhere in
here are the answers I seek. I intend to read them, cover
to cover until find ...


Audrey's attention has wandered back to the fire. Ben Finally stops rambling, sees the sad expression on her face.


BEN
Listen to me, prattling on. It's Jack, isn't it?

AUDREY
He's only been gone a day. I ask myself how much will it
hurt next week?

BEN
Let me give you a piece of ageless wisdom culled from
these volumes: time heals all wounds.
(she starts to reply)
I know what it feels like. Believe me, I know. He'll be
back.

AUDREY
We barely had time to realize how we felt ...

BEN
But what you had was highly concentrated.

AUDREY
It's the concentrate they make concentrate from.
(sigh)
I'm afraid I'll never see him again.

BEN
Jack's a man of his word. If he said he'll be back, he'll be
back, I promise you.

AUDREY
(moved)
You can't promise. But thanks for wanting to. I actually
came in here to update you on my Seattle trip.

BEN
(closes the book)
Update away.

AUDREY
(slowly turning her mind to business)
The Packards are using Twin Peaks Savings and Loan to
funnel cash for the Ghostwood Project, but the bank's
keeping a very low profile. They don't want the bad
publicity.

BEN
Bad publicity is exactly what they're going to get.
Audrey, have you given any more thought to the Miss
Twin Peaks pageant?

AUDREY
Daddy, from the bottom of my heart, I don't want to be
the town bathing beauty.

BEN
Audrey, Miss Twin Peaks is the ultimate local forum. It
would be truly inspirational to have a winner with a
political sensibility that extends beyond makeup
strategies and recipes for cherry pie.
(the Horne twinkle)
And as you know, each contestant makes a speech to the
asembled town. This year's theme concerns our
immediate environment. And what we must do to
preserve it.


HOLD ON Audrey for a beat. Considering brand new strategies.


AUDREY
Maybe I'd better take a look through those books myself.



CUT TO:


5. INT. SHERIFF'S STATION - CONFERENCE ROOM

START ON the cave painting reproduced on the blackboard: a cluttered concentration of various symbols, stick figures, stars, hieroglyphs. PULL BACK to ANDY BRENNAN standing myopically close to this drawing, staring at it with his own personal brand of awe. Cooper and TRUMAN, looking sleepless, re-enter the room carrying their coffees.


COOPER
Has he taken his eyes off it yet?

TRUMAN
Not today.
(Andy's beat; moving on)
We've still got people out combing the forest for Major
Briggs.

COOPER
Harry, given their mutual connection to the Blue Book
Project, I'm afraid Earle may have targeted the Major.

TRUMAN
For what?

ANDY
Interesting.


They look over at Andy, who is still completely engrossed in the painting. Cooper and Truman are in proximity to the bonsai tree.


COOPER
I don't know yet. All of this appears to be flowing
together. Earle's been seeking access to the Black Lodge
as far back as 1965. This chess game may involve more
pieces than we'd begun to imagine. And then there's the
peculiar circumstances of Josie's death to consider.

TRUMAN
Consider them how?

COOPER
When Josie died ... I'm sorry I haven't mentioned this
before, Harry, but I had to take into account your mental
state -

TRUMAN
What is it?

COOPER
She was trembling with fear. Quaking, like an animal. I
might even venture a guess to say that it was fear that
killed her. And in the moment of her death ... I saw Bob.
As if he'd slipped in through a crevice in time. Upon
reflection, I believe there's a connection between his
appearance and Josie's fear. He was attracted by it. He
may even feed off it.

TRUMAN
You see any connection between Bob and the Black Lodge?

COOPER
I think it's where he comes from. I believe the Black
Lodge is the source of what you've traditionally referred
to here as the evil in the woods. If that's what Earle is
seeking, it's imperative that we find our way in before he
does. There's a source of power in that place far beyond
our ability to comprehend.



CUT TO:


6. INT. WINDOM EARLE'S CABIN

Windom Earle, listening in on his shortwave set, springs out of his chair in excitement.


EARLE
Eureka! Dale, I could kiss your pointy little head. It's
fear! It's fear, Leo, that's the key!
(begins packing one of his silver briefcases)
My favorite emotional state and all this time it's been
staring me in the kisser. Leo, it's marvelous, a
perfect fit. These night creatures that hover on the edge of
our nightmares are drawn to us when we radiate fear, it's
their bread and butter, a perfect symbiosis. And to gain
entrance to their realm, a simple offering, the suffering of
innocence, Oh, nature, perfect in design and aspect, you
do not disappoint. Leo, look lively, victory is at hand.
We know where the entrance is. We know when the lock
appears and now we hold the key in our hands.


He takes the photos down and packs them, then closes the suitcase. He lifts the other case.


EARLE
Forgive my hasty departure, dear one. But the time has
come to gather my beloved Queen and embark upon our
dark honeymoon. I haven't been this excited since I
punctured Caroline's aorta.
(beat)
Leo, we must share a final sentiment ...


We still cannot see Leo.


EARLE
During our time together in this verdant bower, I must
confess I've developed something of a fondness for you.
Sounding board, companion. Ever obedient and faithful.
An all-around "A" for effort, Leo. Though I'm still a
trifle miffed at your release of Major Briggs. But then
You'll have plenty of time to reflect upon that, won't you?
Goodbye, Leo. And good luck.


As he goes, we PAN DOWN to Leo, who is very tightly shackled. He is holding the end of a string taut in his mouth. We FOLLOW the string directly above his head and see that it is holding a large suspended plastic bag shut. Inside the bag are dozens of deadly spiders.


FADE OUT:

END ACT ONE




ACT TWO

FADE IN:

7. INT. ROADHOUSE - DAY

A line of Miss Twin Peaks contestants in black dance leotards rehearse the opening number. They include, amongst some faces we do not know, DONNA, Shelly, Annie, LUCY, Audrey, NADINE and LANA. Standing before them, sleeves up, a cigarette bobbing in his mouth, is the impresario and choreographer, the ubiquitous TIM PINKLE. The piano player, TRUDY, jumps back into a show tune and the girls begin their chorus line dance.


PINKLE
Okay, one and two.. and three...
(doing the moves with them)
Step forward one and over and two....


The girls continue on their own as Pinkle steps over to a table and takes a large pull off his submarine sandwich.


PINKLE
(through his chewing)
Let the mood carry you... don't be afraid to be
vulnerable... and give me just a little more leg...
(beat)
Now bend forward, like sap in the... er, sapling in the
wind... a little further... very good... hold it for me... then
up... and out.


The song ends. Audrey eyes their trainer warily.


PINKLE
You girls'll need a lot of work...
(belch)
...but if you stay with it, I think I can make dancers out of
you.
(taking her aside)
Especially you, Miss Horne.

AUDREY
What kind of dance was this, Mr. Pinkle?

PINKLE
A nature dance, my little friend. A celebration.

AUDREY
What are we celebrating when you have us all bending
over?

PINKLE
Don't question the vision of your choreographer. You're
but a petal on the rose.

DONNA
(aside to Shelly)
Later it'll be the pistils and the stamens.

LUCY
Pistils and what?

SHELLY
(ruefully)
Don't ask.

NADINE
We're on stage at last. That's all that matters.

ANNIE
This is the weirdest thing I have ever seen.

LANA
I think it't just the greatest thing that ever happened.

PINKLE
(moving back)
Once more with feeling, girls. I only have three things to
say: energy, energy, energy.


ANGLE OFF them over to a booth where the three judges, Norma, TREMAYNE, and Milford sit watching, and discussing.


TREMAYNE
If talent's to be any part of our deliberations, we'd best
close our eyes until Pinkie's done wrecking havoc.

MILFORD
(entranced)
I love a chorus line.

NORMA
(beat, a look at them both)
If we can focus here for a second, I have to get back to the
diner:
(back to the printed agenda of their discussion)
"What qualities do we think best examplify Miss Twin
Peaks?"

MILFORD
Beauty and power.
(drawing their look)
That's how I like 'em.

TREMAYNE
Poise. And... God help us... sophistication and breeding.

NORMA
I think a major factor should be originality.

TREMAYNE
Wouldn't that fall under talent?

MILFORD
Always nice when it does.

TREMAYNE.
Personally, I've always been big on style.

NORMA
That should be enough to work with. I'll make up the
score sheets this afternoon. I've really got to go.

TREMAYNE
Terrific.


She goes. Milford eyes Tremayne. Business time.


MILFORD
Score sheets, shmore sheets. We're set on this, aren't we
Dick?

TREMAYNE
Set on ... ?

MILFORD
She looks lovely today, doesn't she?

TREMAYNE
If looks could kill ...
(off Milford's hrumph)
Sorry Insensitive of me.

MILFORD
She'd make a great Miss Twin Peaks.

TREMAYNE
Wouldn't she just. But my vote is of course something I
hold sacred and will exercise with the greatest care and
consideration. As you well know, being a man who's been
charged with the awesome responsibility of running this
town.

MILFORD
(Still negotiating, voice lowered)
Alright, I can give you three hundred, but not a penny
more.


Lana, as if on cue (and quite possibly so), comes over. Milford signals her over Tremayne's shoulder.


LANA
(silkenly)
Hello, Dick. We're on break.

TREMAYNE
H-hi, Lana.

LANA
Do you think you could help me find something in the
storage room?

TREMAYNE
The storage room.

LANA
We're missing a very important prop.


The Mayor signals his approval to Lana.

CUT TO:


8. INT. STORAGE ROOM

All light comes from the hall. Two silhouettes enter. She shuts the door, closing them into DARKNESS.


TREMAYNE
I'm having trouble.

LANA
Just flick it.


A moment. His flashlight goes on. Its light nervously scans the little room.


TREMAYNE
Now, what exactly did you need to find?

The flashlight goes off

TREMAYNE
Lana?...

LANA
Oh, did I do that?


The flashlight goes back on.


TREMAYNE
(a wreck)
What are we looking for?

LANA
I don't know the exact, technical name for it..

TREMAYNE
Well, does anything in here look like it ...


The flashlight goes off.


LANA
I think this might be it.

TREMAYNE
Oh. By George, I think you've got it.



CUT TO:


10. INT. GREAT NORTHERN/COOPER'S ROOM - DAY

Cooper sits crosslegged on the floor, perfectly still, eyes closed: he is deep in meditation.

Slowly he opens his eyes. Holds for a moment, takes a deep breath. Smiles broadly. Still crosslegged, he reaches over and flips on his tape recorder.


COOPER
Diane, it's 1:15 PM. I've just concluded my second
meditations of the day in lieu of sleep. I am completely
refreshed and struck again by the realization that we all
live at a fraction of our potential. We've been working
round the clock on the cave hieroglyph. I know the
answer is in that crude etching and I am now convinced
that Windom Earle is searching for the same thing we are,
and for diametrically opposite reasons. If I'm correct in
my assumptions about the power of that unholy place ...
God help us if he gets there first.


Cooper pauses, clearly shaken by the implication. Then, quietly:


COOPER
I want to make specific mention of Annie Blackburne.
Diane, she is a completely original human being. Her
responses are as pure as a child's. To be honest, I haven't
felt this way about anyone since Caroline. It's taken
meeting someone like Annie to realize how gray my life
has been since Caroline's death, how cold and solitary -


A knock on the door. Cooper rises to answer it.


COOPER (CONTINUED)
Although occasionally there is something to be said for
solitude.


He flips off the recorder, opens the door. Annie stands before him. He admits her.


COOPER
You have nearly perfect timing.

ANNIE
That's not what our choreographer says.

COOPER
What can I do for you, Annie?

ANNIE
I have to give a speech in six hours. I haven't written a
word and I don't have a thought in my hand. I am in a
complete, sweaty-palmed panic and I needed to talk to
someone, namely you.

COOPER
What's the topic?

ANNIE
"What You Can Do to Save Our Local Forests." So what
am I supposed to do, stand up there like a deranged
Barbie Doll, "make sure you're campfires are completely
out, kind of like my brain."

COOPER
You're I terrified of public speaking.

ANNIE
Yes.

COOPER
(amused)
Our forests need saving because of the way people regard
them.

ANNIE
Expendable.

COOPER
If the Ghostwood development were going to cost
thousands of lives, would it have even the slightest chance
of going forward?

ANNIE
Trees aren't the same as people ...
(answering herself)
But they're alive.

COOPER
(extending the metaphor)
Your forest ... is beautiful and very peaceful.

ANNIE
Part of it's been damaged. I've tried to replant, but
nothing's taken root ...


They kiss. Tentatively at first. Then with greater fervor.


COOPER
Let's not talk anymore about trees.

ANNIE
To be honest, that's not really why I'm here. The speech.

COOPER
The way I feel transcends metaphor. Obliterates it.

ANNIE
How do you feel? I mean, usually. I only ask because ...
well, actually, I want to know.

COOPER
(an analytic detour)
My habit is to construct and control my emotions with
great precision. Everything ordered and in its place.
What I am feeling now has steamrollered every barrier
I've ever, if you'll excuse the expression, erected. I don't
know what I know or don't know. I only know ...
(happily jumbled, he sighs)
I want to make love with you, Annie. That's all I know.

ANNIE
Good.

COOPER
Do you feel the same...?


Annie begins to unbutton her blouse. A gentle ritual.


ANNIE
(beat, she removes her blouse)
I am eager ... and full of grace.

COOPER
That's good enough for me.


Cooper reaches for her. HOLD ON Annie and Cooper for a long beat. As they begin to make love.

CUT TO:


9. INT. HURLEY HOUSE - LIVING ROOM - DAY

START ON a standing screen in the dark living room of the Hurley house. Slides projected upon it. just now: Nadine in wrestling garb, slamming some hapless opponent to the mat.


NADINE'S VOICE
... and this is me with last year's regional champion from
Yakima. He was cute. But a little slow. Next!


The slide changes. Nadine now appears atop a dazed opponent, a referee counts beside them, about to slam his hand on the to mat to signal "pin".

ANOTHER ANGLE

NADINE seated, peers proudly at the screen. MIKE, ED, and Norma are arrayed on the couch behind her. All equally uncomfortable, but determined to play along. DR. JACOBY runs the slide projector. Nadine continues, blissfully unaware:


NADINE
And this is me with Brock Farmington, Triple A
champion from Spokane. Unbeaten in eighty previous
matches, superior upper body strength, thighs like bridge
supports...
(a little sigh, sometimes it's too easy)
I pinned him in a minute five. Next!


One last slide. Nadine with an armful of trophies.


NADINE
And this is me with all the stuff I won.


Nadine turns to the couch, beams, curtsies. Ed leads the others in polite applause.


NORMA
Congratulations, Nadine.

MIKE
(the enthusiasm of the sexually sated)
Way to go, babe!


Nadine leaps upon the couch next to Mike, gives him a big kiss. She takes his hand, holds it close to her breast. Jacoby turns on the lights, addresses the resulting foursome.


JACOBY
(to all, but to Nadine in particular)
Thank you, Nadine. You're probably wondering why
we're gathered here today. I have found that when a
couple contemplates divor -
(catches himself)
- er, breaking up, it is sometimes easier to talk about our
feelings in the company of others. Nadine, maybe you
would like to begin.

NADINE
Okay. Uhm. I guess it all started when I noticed Mike's
buns in the hall at school.

JACOBY
And... how are you feeling now?

NADINE
(toying with Mike's hand as she speaks)
Well. A little guilty, I guess. I mean Mike and I are
hot. Miss Twin Peaks is tonight and Mr. Pinkle thinks
I'm a show business natural. I mean because I'm so happy.
I worry about Ed being sad.

JACOBY
Ed, are you sad?

ED
(god knows he's confused)
No.

JACOBY
Nadine. How does that make you feel?

NADINE
It makes me feel like maybe it's time for us to get on
with our lives the best way we know how. And leave the
past behind us.


It's a startlingly clear-headed pronouncement. Nadine gives Mike's hand a brief, affirming kiss. Jacoby nods approval. He turns to Ed, prods:


JACOBY
Ed? Do you have something you would like to tell
Nadine?

ED
(clears throat, takes the plunge)
Nadine. Norma and I are planning to get married.


A beat. All regard Nadine. Wait for her reaction. Finally:


NADINE
Really? That's wonderful, Eddie. 'Cause Mike and me
are getting married too.


That's news to Mike. Nadine squeezes his hand with superhuman strength. Mike's mouth opens in a silent scream. Then he flat out HOWLS.

CUT TO:


11. EXT. COUNTRYSIDE

START CLOSE ON dirtied shoes, footsteps stumbling up a ridge with great difficulty. Up a step, then another, then sliding down: the attempt to climb by a body that must struggle just to keep balance.

12. INT. RANGER TRUCK

HAWK drives a country road. SHOT ROTATES away from him until we look out the windshield, where SUDDENLY.

A MAN steps out into the road, groping, arms extended skyward; he has no sense he's stepping out in front of a vehicle. As Hawk CAREENS and SLAMS on the BRAKES, he watches the zombi-like face of Major Briggs passing by.

Hawk pulls over gets out of the jeep and walks over to Briggs, who clearly does not recognize him.


FADE OUT:

END ACT TWO




ACT THREE

FADE IN:

13. INT. SHERIFF'S OFFICE - DAY

Still very disoriented, Briggs sits across from Truman as Cooper rushes in.


TRUMAN
I waited for you.

COOPER
Thanks, Harry.

TRUMAN
Not that he's too talkative.


A beat on Briggs.


TRUMAN
He checks out okay physically. Doc ran a blood test ...

COOPER
He's been shot up with haloperidol.

TRUMAN
Right.

COOPER
Garland ... did Windom Earle do this to you?

BRIGGS
Garland. What an odd name ...

COOPER
Was it Windom Earle?

BRIGGS
(shrugs)
He was God, I suppose.

COOPER
Where did he take you?

BRIGGS
The woods?

COOPER
Can you be a little more specific?

BRIGGS
They were lovely, dark and deep.
(to Cooper)
The King of Romania was unable to attend.


Hopeless. Cooper and Truman pull away.


COOPER
This might take awhile.

TRUMAN
How much time have we got?


Andy enters, and without a word, walks straight past Briggs and up to the cave painting.


COOPER
Not enough. Let's leave him in here with us. Maybe
something will bubble up. Harry, we're in trouble. If the
door to the Black Lodge does exist, it probably exists
only in time. An object like a door normally exists at a
point in space and time. By way of contrast, a shooting
star exists for us at a point in time over a continuim in
space, but looking at it from the star's point of view
might be an entirely different experience.

TRUMAN
Sorry, you lost me.

COOPER
If we're not at the right place at exactly the right time
we'll never find the way in.

ANDY
Sheriff?...


They both look over at Andy, who remains fixated on the drawing.


ANDY
Could the 4H Club have anything to do with all this?

TRUMAN
Doubtful, Andy.


Andy continues staring. Cooper stands.


COOPER
(a touch awkward)
Harry, you'll have to excuse me. I left someone waiting
in the other room.

TRUMAN
(a glance at Andy)
We'll be here.



CUT TO:


14. EXT. SHERIFF'S STATION - DAY

Cooper and Annie exit, taking slow steps out into the day.


COOPER
I'm sorry about this. I mean work. Having to be here
instead of ... you know ...

ANNIE
Guess this isn't a good day to fall in love.

COOPER
It's a great day. I'm just not used to feeling such discord
between my professional and personal concerns.

ANNIE
I'm not used to feeling what I feel right now either.

COOPER
Like a force of nature.

ANNIE
I think I may have found the inspiration for my speech.

COOPER
I think we may have found a lot of things ...

ANNIE
Don't say too much. You don't want to jinx us.

COOPER
No. I just don't want to lose you.

ANNIE
(she kisses him)
Go back to work. My heart will start beating again when
next we meet. My knight in shining armor.


He smiles. Watches her go. Hooked.

CUT TO:


15. INT. BLUE PINE LODGE - DAY

The room is spread with power tools, hand tools, gloves, soldering irons. PAN UP to a counter converted into a work bench, and on to a vice containing a small black box. Standing around the clamp are CATHERINE MARTELL, ANDREW PACKARD and PETE MARTELL.


ANDREW
This has to be the last one. Look at it.

CATHERINE
I can't take any more of this. Boxes inside boxes...
What's in there could be worth a fortune.

ANDREW
Maybe it's not a box at all. Maybe it's just a block of
stainless steel.
(beat)
Eckhardt's last little joke.

PETE
Be a good one.

CATHERINE
(rolling her eyes)
Let's channel some of that high wit into the job.

PETE
I just don't believe a little crumb like that can stand up to
this Cram Jack All Duty Vise.

ANDREW
Again?

PETE
Again.


Pete sits up on the counter, Andrew standing beside him. Pete locks his hands across the vise's leverage bar. Andrew leans against his brother-in-law, both hands pulling down on his shoulders.


PETE (CONT'D)
On three. One.. two... three.


Pete paratroops down off the counter, with his whole body weight against the vise bar. Andrew yanks down on his shoulders, but one hand slips free, causing Pete's vise grip to loosen for an instant, sending both Pete and Andrew to the floor behind the counter. Andrew stands back up and yanks the box free of the vise and throws it to the floor in front of Catherine.


ANDREW
(yelling)
The infernal box. It's heinous. It is slowly driving me
mad.

CATHERINE
Oh, good, Andrew, perhaps if you yell long and loud
enough it will open by itself.

ANDREW
Do you have any better ideas, Catherine?


Pete pulls himself back up from behind the counter using the handle of the vise for balance. He comes back down on the vise, which slams shut against Andrew's hand.

Packard SCREAMS.


PETE
Sorry, Andrew.


Pete loosens the vise, freeing Andrew's left hand. The man is in indescribable pain. He looks down at his hand. Pain instantly turns to rage. He pulls out a gun we didn't know he had. Pete's eyes bug out.


CATHERINE
What are you doing? He didn't mean it...

ANDREW
Where's it?

CATHERINE
Where's what?

ANDREW
There it is.


The tiny box. Halfway across the room. Andrew fires. It flies. He fires again. And again.


CATHERINE
Andrew, no!!


And again. And again. He puts the gun down.


ANDREW
Damned boxes.


Pete comes out from behind the counter and walks over to the far corner of the room, into which are lodged the box's remains.


PETE
Well, look at this.


They come over. Three people are bending into a tiny comer. They rise. In Pete's hand is a key.


ANDREW
A key.

CATHERINE
Where there's a key, there's a lock.

ANDREW
This should be kept safe.

CATHERINE
(with a suspicious look at Andrew)
And in plain sight.

PETE
You two don't trust each other?


A look at Pete. Then each other.


CATHERINE
Of course we do.

ANDREW
Like brother and sister.

CATHERINE
How about here.
(to the desk)
Under this bell jar. On the desk. In plain sight.

ANDREW
Splendid.
(she places it there)
So ... we have a key.

CATHERINE
Yes. We do.


She sits down beside the desk. Andrew sits on the other side of the desk. A beat. They'll wait each other out. Pete, watching all this, shakes his head and walks out.

CUT TO:


16. INT. HAYWARD HOUSE - DAY

Donna comes down the stairs in a black sequined gown, hair and makeup meticulously done. She enters the living room where Doc and EILEEN HAYWARD gaze at her proudly.


DOC
(a trace wistful)
You look truly beautiful.

EILEEN
Read us your speech.


But Donna's expression reveals a completely different agenda.


DONNA
Right now, I'd prefer to talk about the truth.

EILEEN
What truth is there?

DONNA
Something is going on between you and Ben Home. I
want to know what it is.

DOC
Donna, don't talk to your mother that way -

DONNA
This isn't child-parent. This is eye-to-eye. I want to
know. Now.

EILEEN
Donna, I understand your feelings. There are things you
have to trust in. You're young and you don't see any
limitations -

DONNA
I now the limitations of lies. I know you raised me to
tell the truth. I expect the same from you.


Pause. Eileen and Doc look at each other, agonized.


DONNA
If you won't tell me, I'll have to find out what I want
from Ben Horne.

EILEEN
No ...

DONNA
Then tell me.


Silence. Eileen looks away.


DONNA
Understand. This is your choice, not mine. And you've
made it.


She heads for the door. Doc comes to his feet.


DOC
Donna -


But she is gone.

CUT TO:


17. INT. CONFERENCE ROOM - DAY

Deputy Andy brings fresh coffee into the conference room. He pauses to resume his contemplation of the cave painting on the blackboard. Andy sets down the coffee, moves even closer. Truman and Cooper confer nearby. Cooper has surrounded himself with various books and charts. He finds something.


COOPER
Andy, take a look at this: it's what you mistook for the
4H Club; the 4 and H are astrological symbols -

ANDY
You mean like planets?

COOPER
Yes, they're the symbols for Jupiter and Saturn. Some of
these other symbols are planetary as well. What this
paticular part of the puzzle seems to signify is a specific
planetary position: Jupiter and Saturn in conjunction.

TRUMAN
What's that supposed to mean?

COOPER
Historically, when Jupiter and Saturn are conjunct, large
shifts occur in power and fortune. Jupiter is expansive in
its influence; Saturn, contractive. Conjunction suggests a
state of concentration, intensification. What we have
indicated here is something potentially explosive.
(mind racing)
Taking into account the earth's rotation, planetary
positions are specific down to the last second ...
(searching through books)
... and according to the Ephemeris, taking the other
planetary positions on the wall into account, this
conjunction will occur in our part of the world ...


His finger stops. Cooper looks up. Surprised, concerned.


TRUMAN
When?

COOPER
Tonight. At midnight.
(an intuitive leap)
My God, Harry, the door to the Lodge, that's when it
opens. That's what the puzzle's telling us.

BRIGGS
Protect ... the Queen ...

COOPER
(hyperfocused)
If the door is open tonight then something else here must
tell us where. We need to decipher the rest of this,
immediately. Think, anything that looks familiar ...


They look intently.


BRIGGS
Fear and love ... open the doors.

COOPER
What did he say?

TRUMAN
He said "Fear and love open the doors."

COOPER
(another flash)
Two Lodges, two doors. Fear opens one, the Black.
Love, the other.

TRUMAN
What does that mean?

COOPER
I don't know exactly. It just came to me.

BRIGGS
(a looped smile: Hamlet)
"How does the Queen?"


Cooper and Truman exchange looks. Cooper's on a roll.


COOPER
Of course: the Queen.

TRUMAN
Romania?

COOPER
No. The chess game's final piece. Follow my thinking.
Earle takes the Queen ...

TRUMAN
The game's not over until you take the King.

COOPER
That depends on where he takes her. Maybe he takes her to
the doorway when it opens ...

TRUMAN
Which Queen are we talking about?


Andy, as if psychically awakened by this climate of collective revelation, suddenly goes dumbstruck. For the first time, he looks away from the board, over at Cooper and Truman.


ANDY
Agent Cooper ...

COOPER
Not now, Andy. Tonight ... the Queen. But who? A
Queen. A crown ...

ANDY
Agent Cooper?

COOPER
Miss twin Peaks.

TRUMAN
Oh my God.


The two of them spring from their seats.


ANDY
Agent Cooper, please -


Andy comes over, crying to get their attention, and knocks over the Bonsai plant. Truman respectfully kneels to pick it up, and discovers...


TRUMAN
This plant... has a bug.


He pulls out and holds up the electronic device.


COOPER
This Bonsai wasn't from Josie. It was from Earle.
(doomsday pronouncement)
He's way ahead of us, Harry. And we've been working for
Earle from the start. What time does that conest start?

TRUMAN
Any minute.

COOPER
We've got to hurry.


They bolt for the door. Andy, ignored, calls after.


ANDY
Agent Cooper!!



FADE OUT:

END ACT THREE




ACT FOUR

FADE IN:

18. INT. ROADHOUSE/STAGE - NIGHT

BEGIN ON the exuberant, concentrated expression of Nadine as she lands to the downbeat. TRACKING SHOT of the other contestants, who all form a chorus line in their leotards and dancing pumps. A small band plays the opening number as we INTERCUT amongst the girls: Audrey's detachment, Shelly's enjoyment, Donna's preoccupation, Annie's awkwardness, Lana's sultriness, Lucy's disorientation, Nadine's hopefulness, and the enthusiastic, nameless faces of others. INTERCUT through the audience, showing the three judges, Norma, Tremayne and Milford, the troubled Doc Hayward, the inebriated Pinkle, then finally PANNING OVER to where the LOG LADY stands, watching.

The number ends to generous applause. Doc Hayward pauses in the wings, staring at Donna, hoping garner her attention. But she stares ahead, will not meet his gaze. Hayward steps to the microphone. He's got a lot on his mind.


DOC
Good evening, everyone. Hope you've all had a good
holiday. And welcome to the Miss Twin Peaks Pageant,
in which one of these lovely, talented young citizens will
be crowned Miss Twin Peaks.
(applause)
Now, commencing the talent segment of the show is Lucy
Moran.


Lucy steps forward, to the piano intro of Off Broadway. She looks awkwardly into the audience, shrugs, then breaks into a jazz dance that is shockingly good. The stagelight narrows to enclose her.

Backstage, BOBBY BRIGGS, tomorrow's superstar, wanders about in a loose-fitting suit scoping out the crowd for possible opportunity. Not much. At a distance, he sees the Log Lady and shakes his head.


BOBBY
Strictly small-town.


Turning his head in another direction, he then sees... the Log Lady. He quickly turns back to the prior spot: no one. Thoroughly confused, he marches on over to the second Log lady, who is standing off in a corner, working quietly and efficiently at a power junction box.


BOBBY
Excuse me.. did you invite family to this thing?


The question is met with a deep stare. Suddenly the Log Lady hefts her log, CRACKS Bobby across the head, knocking him over, and out. CLOSE ON the 'Log Lady' until we can see, behind her glasses, the eyes of Windom Earle.

CUT TO:


19. STAGE - LATER

Doc Hayward returning to the microphone.


DOC
Our next entry is Lana Budding-Milford, who will
perform a dance of..
(checking his card)
... contortionistic Jazz exotica. Lana?


Lana steps forward, to some recorded sensual Near East rhythms.

CUT TO:


20. INT. ROADHOUSE ENTRANCE

Cooper and Truman hurry into the Roadhouse. Already planning, eyes scanning the crowd for trouble.


TRUMAN
We're pulling in deputies from all over to surround the
place. They should be here within the hour.

COOPER
It's essential that whoever wins this contest receive full
police protection: 24-hour guard, house surveillance,
everything.

TRUMAN
Soon as she's announced.


Truman heads one way, Cooper the other. HOLD SHOT as Andy now arrives, frustrated.


ANDY
Agent Cooper...



CUT TO:


21. STAGE

... as Lana swings into the beginning of some overpowering rhythm stretches.


INTERCUT:


22. AUDIENCE REACTIONS

Hawk and Andy stand in awe of this exhibition. Trying to follow Lana's movement, their heads slowly, simultaneously tip in opposite directions.

In the judge's booth, Tremayne's mouth hangs open. Milford leans in close to him.


MILFORD
That, my friend, is an artist.


Tremayne is close to tears. PAN over to Norma, forehead in hand.

CUT TO:


23. AUDIENCE - LATER

Cooper moves carefully through the crowd, eyes right and left. Then he pauses, looks up. And spots a catwalk overhead. He pauses to wonder. Then turns his eyes back to the stage.


DISSOLVE TO:


24. STAGE - LATER

Audrey in the middle of her pageant theme speech.


AUDREY
There is only one way to save a forest, an idea, or
anything of value: and that is by refusing to stand by and
watch it die. There is a law of nature which is more
fundamental to life than the laws of man. And when
something you care about is in danger, you must act to
save it, or lose it forever.
(beat)
And that is what I, as Miss Twin Peaks or as Audrey
Horne, intend to do.


Applause.

CUT TO:


25. BACKSTAGE

Andy, continuing his search for Cooper, happens upon the still disguised Earle.


ANDY
Hello, Miss Log Lady.


No reply. Earle is just hoping he'll go away.


ANDY
Have you or your log seen Agent Cooper? I've got to find
him.

LOG LADY (EARLE)
(murmurs)
No.

ANDY
What was that?

LOG LADY (EARLE)
(hoarsely)
NO.

ANDY
Oh. Sorry. It's just that I've got to find Agent Cooper as
soon as possible. Maybe you could ask your log to be
extra, on guard ...


The Log Lady/Earle stomps away. Andy looks after, puzzled, frustrated. Something's not quite right. He spots someone across the room.


ANDY
(back to the races)
Agent Cooper.


Andy races off. CAMERA REMAINS. And reveals what Andy just missed. A siren horn attached to the backstage wall, new wiring, a timing device. Carefully installed by Windom Earle.

CUT TO:


26. STAGE - LATER

Annie giving her speech.


ANNIE
... and to illustrate my point, I'd like to read these words
from Chief Seattle, leader of the Suquamish tribe:
"Your dead... are soon forgotten and never return. Our
dead never forget the beautiful world that gave them
being. They still love its verdant valleys, its murmuring
rivers, its magnificent mountains, sequestered vales and
verdant lined lakes and bay and even yearn in tender, fond
affection over the lonely hearted living, and often return
from the Happy Hunting Ground to visit, guide, console
and comfort them."


A hush has fallen over the crowd. She folds up her paper.

27. CUTAWAY - CATWALK

Windom Earle, now undisguised, darts along the catwalk overhead. He attaches another device to a sandbag line, sets the timer. That's when Annie's voice catches his attention from below. Earle pauses, peers down at her with rapt expression.

28. BACK TO SCENE


ANNIE
Why have we all lost touch with this beauty? We tell
ourselves the world is not alive so that we won't feel its
pain. But instead we feel it all the more. Maybe saving a
forest starts with preserving the little feelings that die
inside us every day. Those parts of ourselves we deny.
Because if that interior land is not honored, then neither
will we honor the land we walk. Thank you very much.


She walks off to a salvo of applause. INTERCUT to show Cooper, who has been conferring
with a deputy, pausing to watch her exit with evident emotion. And Tremayne, who looks
swept away, and finally ... Windom Earle, in the catwalks above.


INTERCUT:


29. EARLE'S POV

His careful psychopathic eye SCANS the row of ladies, pausing a moment on Shelly; then Donna, and Audrey. We then PAN over to, and HOLD on, Annie.

30. BACK TO SCENE

Doc Hayward walks back on the stage.


DOC
Thanks to our contestants. The balloting will now
commence and we will then announce our winner.



CUT TO:


31. BACKSTAGE

Lucy has succeeded in pulling aside Andy and Tremayne.


LUCY
Have you both forgotten what day this is?


The two men look at each other. The answer seems too obvious.


ANDY
Miss Twin Peaks Day?

LUCY
Today is the day my unborn child receives a father

TREMAYNE
It was right on the tip of my tongue.

LUCY
I have decided that regardless of which individual is
biologically responsible ...
(looking into Tremayne)
... that I want Andy to be the father of my child.


Both men attempt to digest this. Tremayne is tremendously relieved.


ANDY
Really?

LUCY
I'm sorry, Dick, but I have to do what's best for little
what's his name.

TREMAYNE
Not at all. A sound choice. Heartiest congratulations,
Andrew. Now if you'll excuse me, I do have a vote to
cast myself ...
(his signature smile)
Here's to the children.


He goes. Not quite the moment Lucy expected. She glares after him.


LUCY
Don't sound so disappointed.

ANDY
(remembering)
My God Lucy, I am so honored you made this decision
and I promise I will be a great father, but right now, I
have to find Agent Cooper.


He runs off. Lucy remains standing there.


LUCY
Men.



CUT TO:


32. ANOTHER PART OF BACKSTAGE

Donna searches for, spots and approaches Ben Horne. Her emotions are near the breaking point.


DONNA
I want to know what's going on between you and my
mother.

BEN
(sincere, aware of others looking on)
Donna, I believe the wisest course would be for all of us
to sit down together and talk this out.

DONNA
NO.

BEN
(trying to comfort)
Donna -

DONNA
Old pictures and Horne bearer bonds in the attic. Love
letters to my mom.

BEN (overlapping)
Donna, I want to tell you the truth. I want to do the right
thing -

DONNA
A birth certificate with no father's name on it. What the
hell is going on, Mr. Horne? Why won't anyone tell me
the truth?!?


Tears form in Ben's eyes. Stunned, silent, overcome. He reaches for her. At that moment she, knows.


BEN
Donna your mother and I ...

DONNA
Oh God. You're my father.


Donna runs away. Ben calls after, he doesn't care who hears.


BEN
Donna.



CUT TO:


33. STAGE

The girls stand in a line back near the curtain as Doc Hayward speaks into the microphone.


DOC
It's now time to make the announcement. The winner of
the contest and our new Miss Twin Peaks, is ...
(opens a paper and reads)
Annie Blackburne.


Congratulatory screams of other contestants, who now hug the startled Annie. On the floor, the crowd reacts with generous applause. Cooper freezes, understands the danger she is in. Alert, he looks about the Roadhouse, determined to protect. Cooper remembers the catwalk, his premonition. He looks up. Someone is standing in the shadows overhead. Windom Earle. Cooper leaps forward. Meanwhile, an uproar from the judge's booth. Mayor Milford.


MILFORD
This is an outrage. She's been living in this town for about
fifteen minutes!
(to Tremayne)
What the hell got into you?

TREMAYNE
(very nearly genuine)
She gave a beautiful speech, inherent in her message were
words even the most craven among us can ill afford to
ignore -

MILFORD
She stole half of it off a dead Indian, she plagiarized that
speech -

NORMA
She didn't plagiarize, she quoted.

MILFORD
You voted for your own sister!

NORMA
And you voted for your girl friend!


34. ON THE CATWALK

Cooper climbs up to the catwalk, hurls himself atop it. He draws his gun, looks ahead. Windom Earle stands at the other end, grinning from ear to ear. As the pandemonium continues below:


COOPER
Windom. Don't move.


Cooper takes careful steps along the catwalk, gun aimed at Earle's chest. Looking out for traps, deadly surprises. Oddly, Earle says nothing, merely grins. A ghoulish apparition positioned in the far shadows.


EARLE
Dear heart. You are, if nothing else, consistent. As you
have no doubt realized, our little game of four-
dimmensional chess has concluded. And once, dear,
dim, Dale - you have left your Queen unprotected.
(a manic giggle)
Forgive me. I amuse myself. You see, twenty years ago I
made a promise. And tonight, I keep it ... in the Black
Lodge.
(whispered, antic)
Farewell. I must be going.


Earle holds up his arms to conduct an invisible orchestra. Then he slashes downward - and SUDDENLY the lights go out. MUTED SOUNDS of little explosives going off: smoke bombs. A COLORED STROBE LIGHT begins flashing, exposing in pulsations the growing pall of smoke. A SIREN then starts wailing through the room. Screams erupt in concordance, people are now scurrying about in panic. On the catwalk, Cooper races forward, lights flashing, smoke obscuring... only to find that Windom Earle is gone. On stage, pandemonium, the girls huddle in fright. A sandbag falls from above, LANDS on Nadine's head. More pandemonium, screams. CLOSE ON Annie, her own acute fear. Suddenly she hears a voice in the dark.


VOICE
(supernaturally gentle)
Don't be afraid. Let me help you.


A hand reaches out to her. Annie takes it, tentative. Once in its grasp, Annie is JERKED forward. Face to face with her captor, Windom Earle. Annie tries to SCREAM. Earle whips her away into the dark.

Cooper leaps down from the catwalk, now searching for Annie as well as his nemesis.


COOPER
ANNIE!


Suddenly: the siren STOPS. Chaos everywhere. Cooper fights his way through the crowd, eyes searching. Annie is nowhere in sight.

Truman hurries over. Cooper stares out into the darkness, hopeless. The strobe dies. Smoke is clearing.


TRUMAN
Everyone's okay.

COOPER
He took Annie. He took Annie.

TRUMAN
I'll get everybody on it. Bastard won't get half a mile
from here.


Truman moves off purposefully. Cooper continues staring out ahead. Andy arrives, at wit's end.


ANDY
Agent Cooper, I've been looking all over, for you....

COOPER
Andy, they're going to need you outside.

ANDY
This is important, that cave painting in the office, I
finally figured it out.

COOPER
What's that?

ANDY
I knew I'd seen it someplace before. I know where it's
telling us to go, it's not a puzzle at all ... it's a map.


Galvanized, Cooper stares at the unlined, boundless face of Andy Brennan.

FADE OUT:


THE END