Annie and the
Dweller on the Threshold
(A Conclusion
to the Story)
Scene
1: Great Northern. The en suite bathroom just off Cooper’s hotel room. Day.
Cooper’s
forehead is bleeding. Truman breaks down the door.
COOPER:
I slipped and hit my head on the mirror, Harry.
TRUMAN:
Come on. Let’s get ya back to bed.
Truman
helps Cooper over to the bed.
DOC
He
opens his medical bag and takes out a bandage, scissors, etc.
COOPER:
It struck me as funny, Harry...
Cooper
sits on the edge of the bed, while Doc Hayward puts a bandage around his
forehead. Truman is bewildered by his friend’s unusual behavior.
Scene
2: The Hospital. Day. Annie is lying in bed, in a side ward. Doc
DOC
NORMA:
She’s not in a coma?
DOC
Annie
stirs in her sleep, tossing her head back and forth. She begins to talk in her
sleep.
ANNIE:
My name is Annie. I’ve been with Laura and I’ve been with Dale. The good Dale
is in the Lodge and he can’t leave. Write it in your diary.
Annie
stirs. Her eyes open. She sits up in bed.
ANNIE:
Where am I?
NORMA:
At the hospital. I brought your clothes.
ANNIE:
What happened to Dale?
DOC
ANNIE:
Something’s wrong. It’s not the good Dale. The good Dale is in the Lodge! I
need to tell the Sheriff! [she starts to get out of bed]
NORMA:
Don’t you think you should take it easy?
ANNIE:
I’ve got to tell him before it’s too late! We don’t have much time!
DOC
ANNIE:
We’ve got to stop the evil Dale Cooper!
She
hurriedly gets dressed. Norma and Doc Hayward look at each other. They have no idea
what she is talking about.
Scene
3: The Blue Pine Lodge (Catherine Martell’s house). Day. About 9 AM. Catherine
is sipping a cup of coffee and watching TV, which is showing a news report
about the explosion at the Bank.
On
the TV screen: A reporter stands in front of the Bank, the windows of which are
shattered. There is tape fencing off the area surrounding the Bank, saying:
Police Line - Do Not Cross.
REPORTER:
Yesterday, an explosion occurred at the Twin Peaks Savings and Loan. Four
people were killed and two were seriously injured. Local police have requested
anyone whose friends or relatives might have been in or near the Bank, at the
time of the explosion, to come forward.
Catherine
stares into the mid-distance thoughtfully, weighing up her options.
Scene
4: Ben Horne’s office. Day. Ben, Sylvia and Jerry. Ben has a bandage around his
head but is otherwise unharmed.
BEN:
Sylvia, darling, I’ve been thinking over the events of the last few days.
SYLVIA:
Well, I should hope so!
BEN:
My resolution to do good and tell the truth has brought nothing but unhappiness
to the Haywards.
SYLVIA:
I can’t understand why you wanted to dig up the secrets of the past!
BEN:
I thought that to tell the most difficult truth first would be the first step
on a journey leading to genuine goodness and purity... but now I realise my
foolish mistake.
SYLVIA:
Yes, now that it’s too late! You should leave the Haywards alone! Stop
interfering!
BEN:
Yes, Sylvia, I can see the wisdom in your advice. I will do... as you say.
Enter
JERRY, in a state of panic.
JERRY:
Ben... Sylvia...
BEN:
What’s wrong?
JERRY:
There’s been an explosion at the Bank!
BEN:
Audrey!
SYLVIA:
Oh my God! [she starts to weep]
JERRY:
She’s dead!
BEN:
My beloved Audrey. I feel so guilty. If I hadn’t sent her to the Bank, she’d
still be alive.
SYLVIA:
What were you thinking?!
BEN:
This is terrible! What am I gonna do?
JERRY:
Ben, don’t blame yourself. This is... a freak accident.
Scene
5: The Haywards’ house. The living room. Day. Donna, Dr Hayward and Eileen
Hayward are there.
DONNA:
Mom... Dad... I know the truth.
DOC
DONNA:
Please let me finish. – I know that Benjamin Horne is my biological father. You
can’t hide that from me anymore. But I’ve decided not to leave home, after all.
Ben Horne may be my biological father, but you raised me, Dad. And you too,
Mom.
DOC
Donna
and Doc Hayward embrace.
DONNA:
And I really love you for it, Dad... and you, Mom.
EILEEN:
We love you too, honey.
Scene
6: The Sheriff’s Department. Day. Truman and Major Briggs are in the conference
room, next to the blackboard. The table is covered in books and other paraphernalia.
Enter
LUCY.
LUCY:
Sheriff Truman, yesterday, while you were in the woods, there was a huge explosion
at the Bank. Catherine Martell phoned and said Pete had gone missing. She
thinks he might have been at the bank when the explosion happened.
TRUMAN:
Thanks, Lucy. Seems like a lot’s been happening.
LUCY:
Deputy Hawk and Deputy Brennan have been investigating.
TRUMAN:
Well, later on today, ask them to bring me up to date.
Exit
LUCY.
BRIGGS:
Sheriff, I have received a message from Windom Earle, chilling in its
implications. He says he is in the Black Lodge with Cooper.
TRUMAN:
But I saw Cooper and Annie appear again in the circle of trees.
BRIGGS:
The situation is very mysterious. I think Earle is trying to trick me. His
intention is to lure me into the Black Lodge. Clearly, we cannot trust anything
he tells us.
TRUMAN:
I think you’re right, Major. We don’t want to risk your life, losing you to
that other-worldly place, perhaps forever.
BRIGGS:
I do not intend to enter the Black Lodge. However, Cooper may be trapped there.
We should do something to rectify this.
TRUMAN:
When he woke up at the hotel this morning, Coop was in a very weird mood. Not
his usual self at all. He tried to smash his head on the bathroom
mirror. I got a deputy standing guard, in case he tries anything else.
There
is a knock on the door. Annie Blackburn enters.
ANNIE:
Sheriff Truman, I need to speak to you. Urgently.
TRUMAN:
What’s wrong?
ANNIE:
I need to tell you what happened... I was taken by Windom Earle to a circle of
sycamores. We passed into a room with zigzag tiles and red curtains. I thought
Earle was going to kill me. The good Dale Cooper followed us, to try and rescue
me. Earle was defeated. Then a Doppelganger appeared, the evil opposite of
Dale. There was a chase and the evil Dale passed through the red curtains.
Suddenly, I was lying in the circle of trees, next to the evil Dale.
BRIGGS:
And meanwhile, the good Dale is still in the Black Lodge with Windom Earle.
ANNIE:
Yes... Only, Earle was defeated. His soul was pulled out of his head. It looked
like a huge flame. Earle is powerless now.
TRUMAN:
But that explains why Coop has been acting so strange! It isn’t Coop at all!
It’s the Doppelganger!
ANNIE:
We have to rescue the good Dale. And I am the one who must rescue him,
because... I love him.
TRUMAN:
Coop said that love and fear open the doors to the Lodges.
BRIGGS:
Miss Blackburn, I applaud your courage. But when you are in the Lodge... take
great care. You will be in the presence of a tremendous evil. Much is at stake.
ANNIE:
Don’t worry. I have a plan.
Scene
7: Ed and Nadine Hurley’s house. Day. Dr Jacoby, Ed and Nadine.
[Dr
Jacoby is having a quiet word with Ed, while Nadine sits on the sofa, on the
other side of the room.]
JACOBY:
This is a classic case of double personality. When Nadine woke from her
coma, she has developed amnesia of her true identity and replaced it with an
alternate one: the identity of a high school girl. When Nadine was hit on the
head, she forgot her alternate identity and suddenly remembered who she really
was. She also forgot everything that happened to her since she woke from the
coma.
ED:
Doc, I’m really at a loss this time. What’s the best way to deal with this?
JACOBY:
She needs to be treated gently. It’s very important not to upset her.
It’s good for her to spend time in her home environment, with familiar stimuli,
until she feels stronger.
ED:
Well, I’ll do the best I can to look after her.
JACOBY:
[sotto voce] Make sure she doesn’t come into contact with Norma... or Mike, for
that matter. That could push her over the edge.
ED:
[sotto voce] OK, Doc, but I don’t know how Norma’s gonna feel about this.
[Jacoby
goes over to Nadine.]
JACOBY:
Nadine, the night before last, you suffered a blow to the head... and you are
probably feeling... disoriented.
NADINE:
Well, I’m glad that strange boy has left me alone. And she seems to have
gone away, too. [meaning Norma] Strangers in the house! What are you trying to
do to me, Ed? [accusing him, paranoid]
ED:
Nothing, honey. You know I’d never wanna upset you. Not in a million years.
NADINE:
Well, what’s going on, then?
JACOBY:
Norma and the boy Mike were... visiting. They have gone away, and they won’t be
coming back. Everything is back to normal.
[Nadine
does not look convinced.]
NADINE:
Where are my drape runners? [to Ed] What have you done with them?!
ED:
I put them in the loft, sweetheart... for safe-keeping. I can get them down if
you want.
NADINE:
Oh, you’d better! Ed!! You make me so angry!!!
[Dissolve
to: Norma with the drapes, repeatedly opening and closing them. She looks a bit
happier. Ed is watching her from the other side of the room. He looks
bewildered.]
Scene
8: The Red Room. This scene is intended to confirm the idea that the real Dale
Cooper is still trapped in the Red Room and cannot leave yet.
Cooper is in a red room with no furniture. He is lost and looking for an exit, back to Earth, his world. He looks around, seeing if there is a secret exit. He fails to find one. He takes out the tape recorder and speaks into it.
COOPER: Diane, I don’t know when this tape will reach you. I am standing in a strange room with red curtains on all sides, and there is no obvious exit. Perhaps this is the Black Lodge. It is my intention to escape, but I do not yet know how to do this.
He walks across the room, through the gap in the curtains. He is in a corridor with the Venus de Milo. He walks along the corridor, through the curtains into another empty room. He repeats this process three or four times, to no avail.
He tries walking all around the edge of the room, seeing if there is a gap in the curtains that he has not noticed before. There is no such gap. Frustrated, he stands in the middle of the room, wondering what to do, looking around in all directions.
He walks through the gap as before, down the corridor, and into another room. This time, it contains several armchairs, a table, a standing lamp and a white statue. Somewhat tired from his adventures, he sits down on one of the chairs. He waits.
Strobe lights flash and the Man From Another Place (MFAP) enters through the curtains. He sits down. All his lines are subtitled.
MFAP: Is it future? Or is it past? Do you know who I am?
Cooper shakes his head, meaning No.
MFAP: [continued] I am the Arm... and I sound like this...
The Man From Another Place puts his hand in front of his lips and
makes the Native American whooping sound.
COOPER: Where is this place?
MFAP: This is the waiting room.
COOPER: How can I leave?
MFAP: You cannot leave here alone. Someone must come for you.
Shot
of Cooper’s face, reflecting on this. He realises there is nothing he can do at
this point. The only thing he can do is wait. Shot of the Red Room, showing
Cooper and MFAP sitting, waiting.
Cut
to:
Scene
9: The Sheriff’s Department. Day. Truman, Briggs, Hawk. Briggs is telling
Truman about Windom Earle’s cabin and Leo Johnson.
BRIGGS:
In his log cabin, Windom Earle was holding Leo Johnson captive.
TRUMAN:
So Coop was right!
BRIGGS:
Earle prevented Mr Johnson’s escape by electrocution. A collar had been placed
around Mr Johnson’s neck, which Earle operated by remote control.
TRUMAN:
Jeez Louise!
HAWK:
[to Briggs] Could you find Earle’s cabin?
BRIGGS:
Yes... I believe I could.
Scene
10: Outside Earle’s cabin. Briggs and Hawk arrive. Hawk has been following
footprints on the ground and the forest floor. They go inside and are surprised
to see the string mechanism with Leo Johnson at one end and the box of spiders
at the other! Leo notices them and grunts to alert them and ask for help.
HAWK:
[carefully] OK... Easy does it...
Hawk
detaches the string from Leo’s tooth, while Briggs takes down the box and puts
it on a tabletop, out of the way.
HAWK:
Leo Johnson, you’re coming with us. We want to know about the fire at the Mill.
Scene
11: The Sheriff’s Dept. The downstairs cell. They have removed the
electro-shock collar. Leo’s speech is incoherent, due to having been shot,
stabbed, repeatedly electrocuted, etc. Truman and Hawk are there, asking
questions.
TRUMAN:
What can you tell us about Windom Earle?
LEO:
Tried... kill... Shelly... must... save... Shelly
TRUMAN:
Why did he want to do that?
LEO:
Queen... die... must... save... Queen...
HAWK:
Do you know about the fire at the Mill? The Mill?
LEO:
Mill... fire... Shelly... burning...
TRUMAN:
[to Hawk] We’re not getting any sense out of him. He needs psychiatric help.
Call Dr Jacoby. Tonight, Leo will have to sleep in a cell. We sure can’t let
him stay with Shelly.
HAWK:
He oughta be sent to jail.
TRUMAN:
Or a psychiatric hospital, where they can keep him under control.
Scene
12: The Double R Diner. The Anti-Cooper is sitting at the counter, with a
plateful of pie, talking to Shelly. The Anti-Cooper is smartly dressed in
Cooper’s usual dark suit and tie. He has a bandage around his forehead.
ANTI-COOPER:
Shelly, I feel like eating a hundred of these pies, and thirty-seven cups of
joe, and I’d still have room for griddle-cakes with maple syrup, four bear
claws and a dish of vanilla ice cream.
SHELLY:
A few more customers like you and we’ll never go bust. By the way, what
happened to your head?
ANTI-COOPER:
Slipped over while brushing the old pearly whites. Bashed my head on the
mirror.
SHELLY:
Ouch! Must’ve stung some!
ANTI-COOPER:
Sure did!
Enter
Annie.
ANNIE:
Dale! I had a feeling you might be here... Hi, Shelly!
SHELLY:
Hi!
ANTI-COOPER:
Annie! Just the person! How ya doing?
ANNIE:
Just great, honey. I’ve made a full recovery. Thanks for rescuing me from that
creep Windom Earle! Jeez, what a gosh-darned sicko! Dale, you’re my knight in
an FBI suit of armour. [She kisses him on the cheek.]
ANTI-COOPER:
Oh Annie, I’m so glad you’re alive... and apparently unscathed.
Shelly
is not entirely convinced by this exchange. She feels that Cooper is somehow
different today, not his usual self, but can’t put her finger on exactly how he
is different.
ANNIE:
Well, let’s go someplace! How about the lake?
ANTI-COOPER:
Capital idea! We could talk a boat out.
ANNIE:
My car’s outside.
ANTI-COOPER:
Let’s go!
He
leaps out of his seat, leaving behind his pie. He and Annie walk out of the
Diner together. As the Anti-Cooper walks through the door, we see BOB’s
reflection in the glass!
Cut
to: Shot of the abandoned pie on the plate. Pull back, to reveal Shelly gazing
at the pie.
SHELLY:
[to herself] That’s the first time I’ve ever seen Agent Cooper not finish his
pie.
Scene
13: Annie’s car. Annie is driving. She is wearing everyday clothes: jeans,
blouse and jacket. The Anti-Cooper is in the passenger seat. He is reckless and
does not have the seatbelt on. They are listening to jazz (perhaps by Angelo
Badalamenti) on the car radio. In the shot, Annie is on the right side of the
frame and the Anti-Cooper is on the left.
ANNIE:
What a lovely day!
ANTI-COOPER:
Yes. Nice weather. [pause] Wait a minute! This isn’t the way to the lake!
Annie
slams on the brakes. She takes a gun from inside her jacket, and points it at
the Anti-Cooper.
ANTI-COOPER:
What are you doing? We don’t stop here!
ANNIE:
OK, Buster! Outta the car, now!
The
Anti-Cooper checks for his gun. It’s missing. Truman must have taken it,
earlier on. The Anti-Cooper does not want Cooper’s body to be killed or damaged
just yet. He has no choice but to leave the car. Annie follows him out, still
pointing the gun at him.
ANNIE:
Hands on yer head!
The
Anti-Cooper does as he is told. The car is parked near Glastonbury Grove. She
motions the anti-Cooper into the circle of twelve sycamore trees. Then she
enters the circle herself. The red curtains materialise. The anti-Cooper passes
thru them. Then Annie.
Scene
14: The Red Room. Empty apart from 3 armchairs and other furniture.
Annie
enters, through the south side. She no longer has the gun. She is wearing the
black dress from the Miss Twin Peaks beauty pageant. On the north side of the
room, a Cooper clone (it is impossible to say which one) is passing through the
red curtains.
Annie
crosses the room and is about to walk through the curtains. She looks back. The
Cooper clone is on the south side of the room!]
ANNIE:
Dale?
COOPER
CLONE: [subtitled] I am the good Dale. Trust me.
She
does not believe him. She walks through the curtains on the north side of the
room. Now the Cooper clone is following her! Annie walks along a
corridor and into...
Another
Red Room. 3 chairs, standing lamp, statue.
Annie
enters. She sits in one of the chairs and waits. The Man From Another Place
(MFAP) enters the room and sits down.
ANNIE:
I have come for the good Dale Cooper.
MFAP:
[subtitled] He is waiting for you.
ANNIE:
Where is he?
MFAP:
[subtitled] You must find him.
Annie
stands up and crosses the room. A corridor. She walks along it and through the
curtains.
Another
Red Room, this time empty. She walks into the centre and looks around.
Suddenly, both her wrists are bleeding. This is a kind of flashback to her
suicide attempt. There is a trail of blood, which she follows into a corridor.
Along the corridor into:
Another
Red Room. There is no furniture, but an Annie Doppelganger is lying on the
floor, wrists bleeding, and apparently unconscious. The Annie
Doppelganger opens her eyes, stands up and addresses the real Annie.
ANNIE
DOPPELGANGER: [subtitled] I felt so sad when he left me. I did not want to live
any more.
ANNIE:
When who left you?
ANNIE
DOPPELGANGER: [subtitled] The good Dale. He went into the Lodge and never
returned.
ANNIE:
How can I find him?
Suddenly,
the Annie Doppelganger is replaced by the Anti-Cooper.
ANTI-COOPER:
[subtitled] I am the good Dale Cooper. Trust me.
ANNIE:
You’re not him!!
The
Anti-Cooper fades away. (If Annie does not believe him, he has no power over
her.) Annie looks at her wrists. They have completely healed, as if they had
never been bleeding. The room is now empty. She walks out. Corridor. Along the
corridor and through the curtains into...
Another
Red Room. 3 chairs, standing lamps, statue.
The
good Cooper is sitting in one chair, the MFAP in another. Annie walks over to
Cooper and takes his hand.
COOPER:
Annie?
ANNIE:
Dale, I have come to rescue you.
She
leans over and kisses him on the lips. He stands up and she leads him through
the curtains and out of the Red Room to...
Scene
15: Glastonbury Grove. Early evening. Truman is waiting for them. The police
vehicle and Annie’s car are nearby.
Annie
leads Cooper out of the circle of trees. The red curtains fade away, leaving
only a spotlight, which then fades away. Annie is wearing everyday clothes and the
gun is in her jacket pocket
COOPER:
Harry, I’m back. It’s the real me this time!
TRUMAN:
It’s great to have you back, Coop!
Cooper
and Truman shake hands.
COOPER:
And my escape is entirely due to this wonderful person here.
He
looks at Annie and smiles.
COOPER:
She risked her very soul for me.
ANNIE:
It was worth the risk, Dale.
They
hold hands and kiss.
ANNIE:
Good always triumphs over evil in the end, as one of the sisters used to say.
COOPER:
OK, you guys, what-do-you-say we all go to the Diner for some o’ that good old
cherry pie!
TRUMAN:
Sounds like a good idea to me!
ANNIE:
Me too!
Scene
16: Double R Diner. Early evening. Cooper, Truman and Annie are sitting in a
booth, eating cherry pie, and talking about what just happened.
TRUMAN:
This is all pretty far-out stuff! But there’s one thing in particular I’ve been
wondering... How did you know... which one... was the real Cooper?
ANNIE:
From the way he kissed me.
COOPER:
Annie, you’re my kinda gal!
They
all laugh. They continue eating cherry pie.
Scene
17: The conference room at the Sheriff’s station. Night. Truman is bringing
Cooper up to date.
TRUMAN:
A lot’s been happening. Hawk tracked down Leo Johnson and brought him in for
questioning. But he was rambling and incoherent. Dr Jacoby recommended placing
Leo in an asylum.
COOPER:
Probably for the best.
TRUMAN:
Meanwhile, an explosion at the Bank. Four people dead, including Pete Martell
and Audrey Horne.
COOPER:
Audrey and Pete! Jeez! I’m gonna miss ‘em both.
TRUMAN:
Me too. These are dark times... An employee of the Bank, Dell Mibbler, was also
killed. The fourth body has yet to be identified. In addition to that, two
people were injured, a female banker and a security guard.
COOPER:
Man oh man! Any idea who planted the bomb?
TRUMAN:
We haven’t found out yet. But we’re looking into it. I think Catherine Martell
is holding out on us. She knows why Pete was at the Bank and who he was with,
but she won’t let on...
Scene
18: Ben Horne’s office at the Great Northern. Early evening. Ben and Jerry.
They are discussing Ben’s ecological campaign to save the pine weasel, and stop
the Ghostwood Development. Ben is holding a carrot, which he uses to
gesticulate every so often. His forehead is still bandaged.
BEN:
Audrey is dead. Jack Wheeler is away in
JERRY:
[skeptical] The pine weasel?! Ben, I am beginning to wonder if the
events of the past few weeks have sent you permanently crazy!
BEN:
Crazy? I haven’t gone crazy! I now see the world through new eyes, and I want
to make it a better place, to save the forests, to protect the animals that
live there.
JERRY:
When Doc Hayward whacked your head against the mantelpiece, did it damage your
brain?
BEN:
Jerry! Please! I’m being serious. The Ghostwood Development could do unimaginable
damage to the habitat of an irreplaceable species! It must be stopped!
We must do everything in our power to raise public awareness! [triumphantly
holds a carrot aloft]
JERRY:
Brother Ben... the only thing we are going to arouse is the wrath of Catherine.
It’s her development now, and she wants it to succeed... and she has recently
lost her beloved husband.
BEN:
[thinking out loud] Yes, if only I could make her see things from my point of
view... to put the ecology before business. [to Jerry] Jerry, your support means
a heck of a lot to me.
JERRY:
[still in two minds, but not wishing to disappoint Ben] Well, I can see you
need me on this one... OK, Ben, I’ll do everything I can. Count me in.
[Ben
hugs Jerry, laughing heartily.]
BEN:
God bless you, Jerry!
[Jerry
is bemused, and still does not know what to make of Ben’s recent behavior.]
Scene
19: The Roadhouse. Night. Full of customers. Julee Cruise sings ballads about
broken hearts. Ed and Norma are having a secret meeting. They are sitting in
one of the booths.
ED:
Nadine’s asleep. We can talk now.
NORMA:
[mixed emotions] Ed... I’m not sure about this any more...
ED:
Norma, I’m gonna tell it to ya straight. When Nadine got hit on the head the
other night, she... reverted back to her old personality.
NORMA:
[slightly annoyed] Well, I kinda noticed that, Ed.
ED:
Yeah... Nadine’s in a very delicate state. Dr Jacoby sez it’s best not to upset
her.
NORMA:
So once again, we can’t do what we want! Once again, we have to put other
people first! Once again, we have to hold back to spare their feelings! Hank
may be out of the picture, but Nadine’s still standing in our way.
ED:
Sweetheart, I feel just as frustrated as you do... But we can still be secret
lovers. Like before.
NORMA:
Is it gonna be like this forever? Are we ever gonna get what we want?
ED:
Maybe in a few months, when Nadine has readjusted... when her state of mind has
improved... maybe we can let her know... gently...
NORMA:
[frustrated] Oh, Ed!
ED:
I’m just as sorry as you are, honey. Life keeps on puttin’ obstacles in our
way.
Scene
20: Shelly and Bobby sitting in a car, parked near a forest stream. Night.
SHELLY:
The cops have found Leo.
BOBBY:
Where was he?
SHELLY:
Well, y’know that creepy sicko who sent me poetry?
BOBBY:
Windom Earle?
SHELLY:
Yeah. Well, this Earle guy was holding Leo captive in a cabin someplace in the
woods.
BOBBY:
Jeepers creepers! Is Leo one hundred per cent compos mentis?
SHELLY:
Well, not exactly... They’re probably gonna lock him away in the nuthouse...
BOBBY:
...which would leave us free to make beautiful music together, baby!
SHELLY:
Exactamundo, darlin’!
[They
kiss.]
Scene
21: Truman’s office at the Sheriff’s Station. Night. Cooper and Truman with
coffee and donuts. They are talking
about recent events and BOB.
COOPER:
One thing has been troubling me greatly... haunting my every waking thought...
BOB.
TRUMAN:
Lord, yes! He’s still out there somewhere.
COOPER:
We can’t catch him or imprison him. He takes flight, like an owl.
TRUMAN:
We can’t kill him or destroy him.
COOPER:
He is a spirit of great evil.
TRUMAN:
What can we do about him?
COOPER:
Seemingly, nothing. We have to be alert, wary and always on the look-out...
TRUMAN:
Waiting for him to come out...
COOPER:
Waiting for him to strike again... Harry, looks like I’ll be stayin’ in
Scene
22: The woods. Night.
An
owl perched in a tree. It calls out. The wind carries a strange sound, which
gradually gets louder. It is the mad laughter of BOB! He has not died. He has
not been destroyed. He is waiting in the forest, in the shadows under the
trees! BOB’s grimacing, evil face is superimposed onto the image of wind
blowing through the trees.
Scene
23: A montage, showing the different residents of the town:
Leo
Johnson in a strait-jacket locked in a room at a psychiatric hospital.
Bobby
and Shelly in the car together, smiling and laughing.
Nadine
Hurley opening and closing her drapes, while Ed looks on, bewildered.
Norma
Jennings alone at the Diner R Diner, feeling blue.
Ben
and Jerry talking and gesticulating in front of a photograph of the pine
weasel.
Truman,
Cooper and Annie at the Sheriff’s Station, eating donuts.
Catherine
Martell alone in her study, planning the Ghostwood Development.
Major
Briggs and Betty Briggs together in their living room.
Donna
at home with Dr and Mrs Hayward.
James
Hurley riding his motorcycle along a distant, lonesome highway at night.
THE END