script27.pdf

TWIN PEAKS #27

(Episode 2.020)

Harley Peyton

Robert Engels

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 30 ,1991

Revised/General Distribution: February 5, 1991

Revised Scene #'s: February 5, 1991 - Blue

Revised: February 8, 1991 - Pink

Revised: February 11, 1991 - Green

Revised: February 11, 1991 - Yellow

Revised: February 15, 1991 - Cherry

Revised: March 12, 1991 - Goldenrod - Reshoot of Sc. #8

Lynch/Frost Productions, Inc.

7700 Balboa Boulevard

Van Nuys, CA 91406

(818) 909-7900

8. INT. DINER - DAY

#2.020

Bobby and Shelly sit in a diner booth. Shelly holds a crumpled copy of her pageant speech.

SHELLY

(reading from speech)

"...and that's the only way we're ever going to save the

trees. It's time to stand up and kick some butt for our

environment. Before it's too late for all of us."

(gentle deadpan)

That's beautiful, baby. Letter perfect.

BOBBY

(the enthusiastic collaborater)

I'm not so sure about the "kicking butt" part. How 'bout

"Fight"?

(trying it out)

"It's time to stand up and fight for our environment?"

SHELLY

(quietly relieved, making correction)

Hundred per cent better.

BOBBY

(mind on something more important)

Shel ... I been thinkin'...

SHELLY

(putting pen and speech away)

I know, I know. The speech counts double everything else

in the contest -

BOBBY

I been thinking about us.

SHELLY

(looking up)

You were?

BOBBY

I know I haven't been paying the right kind of attention to

you lately. I got busy with Mr. Horne, I'm wearing suits ,

okay? And suddenly I'm walkin' around like I'm more

important than everybody else.

SHELLY

You were pretty crummy. I was lonely, Bobby. I missed

all the things we used to do together.

BOBBY

When I saw you kissin' that guy, something snapped. It's

(more)

(CONTINUED)

#2.020

8. CONTINUED:

BOBBY (continued)

like my brain rolled over. And I could see all the stuff

that's special to me. The stuff that matters .

(takes hold of her hand)

I love you, Shelly. I want to dedicate my time to that I

mean if that's okay with you.

A beat. Shelly smiles, leans closer.

SHELLY

What do you think?

She leans across the table to give him a long, passionate kiss. Finally:

BOBBY

(quietly)

Lucky, lucky me.

Suddenly: an OFF-SCREEN VOICE interrupts:

VOICE

Shelly! Phone. It's the Sheriffs office.

Shelly reacts, steps from the booth to answer.

CUT TO:

#2.020

2. CONTINUED:

LUCY

What do you know about saving our planet?

ANDY

(after a beat)

I know it's in lots of trouble.

Lucy hands him a Miss Twin Peaks flyer.

LUCY

Andy, I'm taking fate into my own hands mostly

because the suspense is killing me. Tomorrow is D-Day.

"Dad Day." In twenty-four hours I will choose the father

of my child. Deputy Andrew Brennen. Or Clothing

Salesmen Richard Tremayne.

ANDY

(thrilled, frightened, confused)

What does that have to do with the Miss Twin Peaks

contest?

LUCY

I -

(remembering her baby)

We could use the money. We could also use a father.

(re flyer)

So I have to give a speech about saving our planet which

is a great concept but I have no idea how to go about

doing it. Yet.

ANDY

(looking up from flyer)

I do know that people have got to stop sinking their beer

cans in Pearl Lake when they're fishing.

LUCY

(grabbing pencil and paper)

Beer cans...

ANDY

And styrofoam never dies for as long as you live.

Lucy and Andy huddle together, consider man's fate.

3. INT. CONFERENCE ROOM - DAY

CUT TO:

The conference room transformed into a command center. The blinds are pulled, it's hard to

(more)

(CONTINUED)

#2.020

3. CONTINUED:

tell if it is day or night. At one end is the blackboard with a drawing of the cave painting. A

MOVE down the table reveals computers, more paraphanalia. Piles of charts, library books,

plus attempts to duplicate the dowels that shot out of the cave wall.

MAJOR BRIGGS, who looks like he's been up all night, guides Bookhouse Boy CAPPY

through a reference book while pointing at the drawing.

BRIGGS

See if any of these symbols have to do with harvest

schedules or ancient calendars. Look for any curious

nomenclature.

Got it, Chief.

CAPPY

Cappy gets to work. Cooper and Truman enter, exchange greetings.

COOPER

Garland, you're exhausted.

Briggs gestures toward a small box atop his desk filled with files, notebooks, a videotape.

BRIGGS

I spent the night obtaining and perusing the Project Blue

Book files regarding Windom Earle. I found it

impossible to sleep after.

COOPER

What did you learn?

BRIGGS

Windom Earle was the best and brightest among us. But

when our attention turned from outer space to the

wooded areas surrounding Twin Peaks, he became

destructively obsessive. Earle acted in an overzealous

and secretive manner. Possessive of his assignments.

And finally, violent. He was removed from the project.

Briggs reaches into the box, removes the video tape, inserts it into a VCR.

BRIGGS

I found this in the Project archives.

Briggs turns on recorder and monitor. A beat. GRAINY BLACK AND WHITE footage

appears on the screen. Slightly out of focus, as if gleaned from a surveillance camera.

WINDOM EARLE, younger, wearing a white lab coat, faces an unseen interrogater. He

speaks with quiet contempt:

(CONTINUED)

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