quinta-feira, 26 de abril de 1990

[TWIN PEAKS] S01E03 - Screenplay



Retirado na integra do site: http://www.lynchnet.com/


REST IN PAIN


HARLEY PEYTON


LYNCH/FROST PRODUCTIONS, INC.
7700 Balboa Blvd.
Van Nuys, CA 91406
8 1 8 - 9 0 9 - 7 9 0 0

FIRST DRAFT:
September 26, 1989

Revisions:
October 3, 1989 - Blue



ACT ONE

FADE IN:

1. EXT. GREAT NORTHERN HOTEL - DAY

Morning breaks over the stately hotel.
CUT TO:

2. INT. GREAT NORTHERN DINING ROOM - DAY

DALE COOPER, at the corner table, takes a sip of coffee and orders breakfast from waitress
TRUDY.

COOPER
Shortstack of griddlecakes, maple syrup, lightly heated
and a slice of ham. Nothing beats the taste of maple
syrup when it collides with ham.

TRUDY
Griddlecakes, side a' ham. Warmup?

Cooper nods appreciatively. Trudy refills his cup, exits. Cooper takes a sip, nearly hums
with approval. Then looks up to find AUDREY HORNE standing before him. Audrey
smiles, beautiful, rubs a little sleep out of her eyes.

AUDREY
Good morning, Colonel Cooper.

COOPER
Just Agent, Audrey. Special Agent.

AUDREY
(caressing the words)
Special Agent.

COOPER
Please. Sit down.

AUDREY
(unsure)
I'm in a hurry.

COOPER
For what?

She doesn't know what to say or do. So she offers a nervous shrug instead.

COOPER (CONTINUED)
Audrey, that perfume you're wearing is incredible.


AUDREY
Do you really think so?

Cooper takes a pen from his pocket, hands it to her with a napkin.

COOPER
Write your name down for me.

AUDREY
(eager)
Okay.

She takes the pen and writes carefully, hands it back to Cooper. He looks at it.

COOPER
Audrey, there's something you'd like to tell me.

AUDREY
(blushing)
There is?

Beat. All she wants is to be close to him. Cooper produces a note from his pocket.

COOPER
You slipped this under my door night before last.

AUDREY
I did?

Cooper nods. Audrey comes clean.

AUDREY (CONTINUED)
I wanted to help you. For Laura.

COOPER
Were you and Laura friends?

AUDREY
(simply)
No.
(beat)
But I understand her. Better than the rest.

COOPER
What is "One-Eyed Jack's?"

AUDREY
It's a place up north. Men go there.




COOPER
What about women?

AUDREY
(blushing again)
Women work there.

COOPER
Did Laura work there?

AUDREY
I don't know. Laura worked at my father's department
store.

COOPER
"Horne's?"

AUDREY
He named it after himself.

COOPER
(on to something)
Where at Horne's department store?

AUDREY
(she thinks)
At the perfume counter.

COOPER
(making the connection)
So did Ronette Pulaski.

AUDREY
(it must mean something)
Really?

Cooper looks up, sees SHERIFF TRUMAN and LUCY MORAN coming towards him
from the far end of the dining room. Cooper looks at Audrey's writing.

COOPER
The right-ward slant in your handwriting indicates a
romantic nature, Audrey. A heart that yearns. Be careful.

AUDREY
(a whisper)
I do?

COOPER
I'm going to have to ask you to leave now.



AUDREY
(sees the Sheriff, flustered)
Police business.

Cooper nods, winks. Audrey blushes, rises.

AUDREY (CONTINUED)
Thank you for talking to me.

She leaves as Truman and Lucy reach the table, eager to hear Cooper's news: the identity of
Laura's killer. The Waitress arrives with Cooper's breakfast.

COOPER
Two more coffees please.
(re: Audrey as she exits)
Pretty girl.
(back to Truman and Lucy)
Hungry? The griddlecakes are outstanding.

TRUMAN
(sits; hushed, urgent)
Who killed Laura Palmer?

Truman and Lucy lean in, the suspense is killing them. Trudy pours coffee for them, as
Cooper takes a bite of griddlecake, then, finally:

COOPER
Let me tell you about the dream I had last night.

Truman nods at Lucy. She whips our a steno, pad and pencil.

TRUMAN
Tibet?

COOPER
No. You were there, Harry. And so were you, Lucy. Do
you have a sketch artist?

TRUMAN
Andy sketches from time to time.

COOPER
Interesting. I dreamed it was Deputy Hawk. Find out if
Sarah Palmer has had any disturbing dreams. If she has,
there may be important clues in her dreams as well.

TRUMAN
Clues.


COOPER
My dream is a code waiting to be broken. Break the
code, solve the crime.

LUCY
(writing, whispering)
Break the code, solve the crime.

COOPER
In my dream, Sarah Palmer saw her daughter's killer
crouched at the foot of her bed. Hawk sketched a picture
of the killer. I got a phone call from a one-armed man
named Mike. The killer's name was Bob.

TRUMAN
Bob and Mike?

COOPER
Different Bob. Different Mike. They lived above a
convenience store. Mike couldn't stand the killing any
longer so he cut off his own arm. Bob vowed he would
kill again. So Mike shot him.
(takes another bite)
Do you know where dreams come from, Harry?

TRUMAN
Not specifically.

COOPER
(very happy)
Acetylcholine neurons fire high, voltage impulses into the
forebrain. The impulses become pictures, the pictures
become your dream. But no one knows why we choose
these particular pictures.

TRUMAN
Was that the end of your dream?

COOPER
(back to business)
Suddenly it was twenty-five years later. I was old,
sitting in a red room. There was a midget in a red suit
and a beautiful young woman who looked exactly like
Laura Palmer. The little man told me my favorite gum
was coming back in style and didn't his cousin look
exactly like Laura Palmer?

TRUMAN
Which cousin?



COOPER
The beautiful girl. Sometimes her arms bend back.
She's filled with secrets. Where they're from birds sing a
pretty song and there's always music in the air. Then the
midget did a dance. Laura kissed me on the mouth.
And whispered the killer's name in my ear.

TRUMAN
Who was it?

COOPER
I don't remember.

TRUMAN
Damn.

COOPER
Harry, our job is simple: break the code, solve the crime.

Cooper finishes his pancakes.

LUCY
(still fascinated)
What does the midget stand for?

COOPER
Just about everything, Lucy.

Just then: Sheriff Truman's walky-talky shrieks. He answers it.

TRUMAN
Yeah ... Uh-huh ... Right away.
(turns it off)
That was Andy. There's a fight at the morgue.

COOPER
(he knows why)
Albert.
CUT TO:
3. EXT. THE DOUBLE "R" DINER - DAY

Townsfolk finish breakfast, exit from the diner.
CUT TO:
4. INT. THE DOUBLE "R" DINER - DAY

NORMA JENNINGS and PAROLE OFFICER WILSON MOONEY occupy a booth in
the back. Mooney sips coffee, notes Norma's good looks with a roving eye. In mid-
conversation:



MOONEY
... in short, your husband has been a model prisoner, an
inspiration to guard and inmate alike. He greets the day
with a smile and confounds adversity with a kind word.
He's a credit to his serial number.

Mooney says it with a little come-hither grin. Norma just stares, takes a drag off her
cigarette, ignores him. Mooney is forced to continue:

MOONEY
Hank's parole hearing is scheduled for Wednesday.
Barring unforeseen circumstance, with your full support
before the board, he should be released shortly thereafter.
Any questions?

NORMA
No.

MOONEY
Comments?

NORMA
(biting her tongue)
No.

MOONEY
I'm sure Hank appreciates your unwavering devotion.
(to file)
Now, I'll need to check some information. You and
Hank have been married for ...

NORMA
Since high school.

MOONEY
There are no children.

NORMA
I can't have any.

MOONEY
How would you characterize your current relationship?

NORMA
What do you mean, Mr. Mooney?

MOONEY
Are you planning a divorce, Mrs. Jennings?


NORMA
Not a divorce, no.

Mooney hears the qualification.

MOONEY
Will you help Hank rind the job he needs to effect a
successful parole?

NORMA
Yes.

MOONEY
How, exactly

NORMA
I own the Double "R", Mr. Mooney.

A beat. Norma can't stand him and Mooney knows it. Still, he presses on:

MOONEY
You're quite a girl, Norma. You must get all kinds of
Romeos in here begging for favors. How do you keep
them from your door?

It's his last attempt. Norma knocks it out of the ballpark:

NORMA
I usually tell them my homicidally jealous husband is
doing three-to-five for manslaughter but expects to
become a productive member of society real soon.

MOONEY
(all business)
Well. That should conclude our session for today.

NORMA
Thank you.

MOONEY
No, no. Thank you, Mrs. Jennings -

Too late. Norma's already out of the booth, stepping back to the counter. Mooney picks up
his file, watches her leave him.

ANGLE ON COUNTER

A pale and wan SHELLY JOHNSON, newly arrived, sets her purse beneath the cash register.



NORMA
I didn't expect you till after the funeral.

SHELLY
I figured you could use some help.

Norma pauses, looks beneath the register. She can SEE Shelly's purse, slightly open. And
she can see a brand new handgun inside it.

NORMA
(lowers her voice)
Shelly, what're you doing with a gun in your purse?

SHELLY
Nothin'.

NORMA
"Nothin'." Nobody does "nothin'" with a gun.

SHELLY
I bought it. It's for protection. Peace of mind, anyway.
You know, what happened to Laura.

NORMA
You'd be better off hiring a lawyer.

SHELLY
I can't afford one.

NORMA
Well watch yourself. Understand?

Shelly nods, pouts. Norma cases up a little.

NORMA (CONTINUED)
Careful you don't murder your makeup.

Norma grins, slips off toward hungry customers.
CUT TO:

5. INT. TWIN PEAKS MORGUE - DAY

SUDDENLY we are inside the Twin Peaks morgue in the midst of a reeling argument.
DOC HAYWARD squares off opposite ALBERT ROSENFIELD, the impossibly rude
pathologist. DEPUTY ANDY BRENNAN stands to the side, mute, ineffectual. And
BEN HORNE physically separates the two men.

A white partition separates the men from the body of Laura Palmer.


HAYWARD
I have never in my life met a man with so little regard for
human frailty. Have you no compassion?!

ALBERT
I've got compassion running out of my nose, pal. I'm the
Sultan of Sentiment!

Horne pushes them apart. Hayward and Albert pause, red with fury. Finally:

ALBERT
"Doctor" Hayward -- and I use the term so loosely my
gums are flapping -- I have traveled thousands of miles,
and apparently several centuries to this forgotten sinkhole
in order to perform a series of tests. I do not ask you to
understand them. I am not a cruel man. I only ask you to
get the hell out of my way so I can finish my work!!

HAYWARD
We are here to escort Laura Palmer's body to the
cemetary. If you think, for one minute, that we will leave
here without her, you are out of -

HORNE
All right all right all right. Dr. Rosenfield. Please. You
are not dealing with the unsophisticated here.

Albert rolls his eyes so hard they, nearly spin out of the sockets.

HORNE
(the high road)
Leland Palmer could not be with us today. I have agreed
to appear on his behalf. And I know I speak for all of us,
the Palmer family included, when I say that we
understand and appreciate the value of your work. But, as
their representative, I must insist we consider the feelings
of the Palmer family as well.

Deputy Andy clears his throat, figures he might assist:

ANDY
Dr. Rosenferd, we just got to get Laura's body to the
funeral on time.

Albert glares.

ALBERT
Did you speak?!



Andy wishes he was invisible. Albert turns calmly back to Horne.

ALBERT
Mr. Horne. I realize that your position in this fair
community pretty well guarantees venality, insincerity
and a rather irritating method of expressing yourself.
Stupidity, however, is not a necessarily inherent trait, so
please listen carefully. You can have a funeral any old
time. Dig hole, plant coffin. I, however, cannot perform
these tests next year, next month, next week, or tomorrow!
I must perform them now. So please, why don't you and
the rest of the Bumpkin Brigade return to porch
rockers and resume whittling. I've got a lot of cutting
and pasting to do --

HAYWARD
That does it. I'm taking charge of the body, you won't
touch Laura again from this moment on --

Hayward steps toward the partition, Albert grabs him by the arm.

ALBERT
Nor so fast, Old-Timer --

They square off, ready to fight again. Horne tries pull them apart. And, just in time,
Agent Cooper and Sheriff Truman step into the morgue, the fray.

COOPER
Gentlemen.

HAYWARD
Harry, thank God --

ALBERT
Cooper, this mindless old fool is obstructing a criminal
investigation. Cuff him.

HAYWARD
He won't release Laura's body for the funeral, he's not
human.

ALBERT
Certainly has a way with an insult though.

TRUMAN
Hey that's enough.

ALBERT
Zip it, Squarejaw.
(to Cooper)
I do not suffer fools gladly. Fools with badges, never. I
want no contact with this hulking boob -

TRUMAN
I've had about enough of your insults.

Albert steps forward, grabs him by the lapels.

ALBERT
Oh yeah? Well I've had about enough of morons and half-
wits, cretins and congenital idiots, dolts, dunces,
dullards, and dumbbells. And you, Chowderhead,
lummox with badge and billy club, you, Sheriff Yokel
you blithering hayseed, you have had enough of me!??

TRUMAN
(calm as ice)
Yes I have.

Truman levels Albert with a single punch to the jaw. Albert tumbles backward onto his butt.
A beat. Albert looks up at Truman, shocked beyond measure.
Cooper intervenes in a flash. He turns to Truman, orders:

COOPER
Harry, wait in the car.

Truman starts to speak, sees the steel in Cooper's eyes. He exits without a word.

ALBERT
Oh well. That's nice. How appropriate.
(gets to his feet, yells after Truman)
The rustic sucker punch. Why not gunplay? A hail of
bullets would be nice --

COOPER
That's enough. The Sheriff didn't mean anything.

ALBERT
He hit me.

COOPER
Well. I'm sure he meant to do that.

Albert starts to rail, but Cooper shuts him up with a gesture.

COOPER
Albert, I want the girl's body released to her family now.
I want to see your test results by noon. Those are orders.

Albert weighs his options, nods assent, marches off. A tense beat. Ben Horne clears his
throat. Doc Hayward turns to Cooper.

HAYWARD
Thank you, Agent Cooper.

Cooper nods. Hayward, Horne, and Andy follow Albert out of the room. A beat. Cooper
remains, looks at the white partition. He steps toward it.

ANGLE ON PARTITION

Agent Cooper pauses for a moment. stares quietly at Laura Palmer's body. HOLD ON
Cooper. The sadness in his eyes.
FADE OUT.

END ACT ONE






(Revised 10-3-89,Blue)

ACT TWO

FADE IN:

6. EXT. LEO JOHNSON'S HOUSE - DAY

Truman and Cooper pull up to the Johnson house, park the cruiser next to Leo's truck rig.
They step out of the cruiser. Truman stops, deeply troubled about the morgue altercation.

TRUMAN
I can't believe I decked him. It was out of line, it was
unprofessional, it was probably illegal.

COOPER
Harry, there are many ways to handle an insult. But
sometimes there's just no substitute for a stiff right hook.

TRUMAN
Tell me I'm not going to get my butt kicked by the
Bureau.

COOPER
Albert's been hit before. He will be hit again. You'll get
your buttkicked over my dead body.
(takes a deep breath, enjoys)
Look at that, there's a duck on the lake. Fill me in on
Leo Johnson.

TRUMAN
Leo's one of those guys you keep on your list and you
keep an eye on, but we've never caught him with his hand
in the cookie jar.

They turn a corner and come upon LEO JOHNSON, behind the house, chopping wood. Leo
glances at them, continues to chop wood furiously. They advance.


COOPER
Excuse me. Leo Johnson?

LEO
Who the hell are you?

TRUMAN
This Is Special Agent Cooper of the FBI, Leo. He'd like
to ask you a couple questions.

LEO
So?

TRUMAN
So behave.



Leo stops chopping, glares at Truman. But he just returns it. Leo mutters, resumes chopping.

LEO
So ask.

COOPER
Leo. Is that short for Leonard?

LEO
That's a question?

COOPER
Did you know Laura Palmer?

LEO
No.

COOPER
How well did you know her?

LEO
I said I didn't.

COOPER
You're lying.

LEO
I knew who she was, all right? Everybody did.

COOPER
Do you have a criminal record, Leo?

LEO
Nothing. You can look it up.

COOPER
(he already did)
A speeding ticket. April, 1986. A second moving
violation, illegal U-turn. September, 1988 -

LEO
I paid my debt to society.

COOPER
(beat)
Where were you the night of Laura Palmer's murder?
Around midnight.



LEO
(pleased with his alibi)
On the road. I called my wife Shelly about that time.
From Butte.

COOPER
She'll confirm that?

LEO
She will if you ask her.

Leo suddenly stops chopping, sticks the axe deep into the wood. He looks at Cooper and
Truman, unafraid. Cooper and Truman look at each other.
CUT TO:
7. "INVITATION TO LOVE" - "NIGHT"

START CLOSE on a television screen, lush MUSIC over a robin's egg blue background, the
familiar voice intoning:

ANNOUNCER
... and every hour holds the promise of an ...
INVITATION TO LOVE ...

FADE UP ON insolent tough guy MONTANA in t-shirt and leather jacket. Luscious
EMERALD eyeing him like a cool drink of water. And ineffectual CHET.

EMERALD
So, Montana, did you find that rainbow you were looking
for?

MONTANA
Lots of rainbows. No pot of gold.

CHET
I'm not sure how I'm feeling about this.

EMERALD
Chet, get Montana a drink. He must be thirsty after a
year in the rain forest.

Emerald sashays across the living room, steps lightly into Montana's arms. She offers him a
welcome kiss -- a little too ardently for Chet's liking.

CHET
How long are you planning to stay, Montana?

Montana looks up from Emerald's beestung lips.




(Revised 10-3-89,Blue)

7. CONTINUED:

MONTANA
Long enough to see my ex-wife; how is Jade, Chet?

Chet shivers. The music swells.
CUT TO:
8. INT. PALMER HOUSE LIVING ROOM - DAY

ANOTHER ANGLE reveals a television in the Palmer house. A NURSE turns her eyes
from the screen, withdraws a syringe from Leland Palmer's arm. She discards the empty,
carefully draws medication into a second syringe, and places it on a tray. Just then: the
doorbell RINGS.



STAY WITH Leland as the nurse walks to the front door. Leland watches television.

INTERCUT:
9. "INVITATION TO LOVE"

JARED, distinguished in smoking jacket and ascot, weeps, finishes a suicide note addressed
to Emerald and Jade. He takes a gun into his hands, lifts it slowly. Suddenly: someone
knocks at the door, calls to him.

JADE'S VOICE
Daddy! Open up! Daddy it's jade!

Jared pauses, looks at the door, the gun. Music swells.

DURING ABOVE, we HEAR the Palmer's front door open, some muted exchange, two
sets of footsteps returning to the living room. Finally:

MADELEINE'S VOICE
Uncle Leland?

Leland looks up, sees the Nurse and MADELEINE FERGUSON standing before him.
Madeleine is twenty, quite beautiful, She wear glassses, has jet black hair worn long. She sets
down a suitcase. A closer angle REVEALS that she looks very much like Laura Palmer.

Leland stares at Madeleine for a long beat. As if he didn't recognize her. Then, with great
difficulty:

LELAND
Madelaine?
(rises, steps closer, takes her by the hands)
Maddy?

MADELEINE
Uncle Leland, I'm so sorry, I ...



Madeleine pauses, a sob catches in her throat. She begins to cry. Leland carefully wipes a
tear from her deep blue eyes. Madeleine looks up at him, whispers:

MADELEINE
Oh Uncle Leland ...

Leland takes her into a healing embrace. He's crying too. HOLD ON them for a beat.

CUT TO:
10. "INVITATION TO LOVE" - "NIGHT"

Jared holds the gun in his hands, listens to his daughter's tearful pleading.

JADE
Daddy! Daddy please!

Finally, Jared sets the gun on his desk, steps to the door. He opens it. And JADE, his
beautiful, compassionate, perfect daughter leaps into his arms. She is Emerald's twin.

JADE
Oh Daddy. I was so afraid. I love you Daddy.

HOLD on father and daughter for a beat.
CUT TO:

11. EXT. HAYWARD HOUSE - DAY

Establish.
CUT TO:
12. INT. HAYWARD HOUSE LIVING ROOM - DAY

Doc Hayward steps into the living room, dressed for the funeral save for the tie which hangs
undone around his neck. Donna waits for him. She looks at his tie, manages a small smile.

DONNA
Dad, you're hopeless.

Donna knots her father's tie. She does not speak. Her eyes are red from crying. Hayward
takes a look at his daughter, consoles:

HAYWARD
Want to talk about it?

DONNA
Oh, Dad, I ... I can't believe they're burying Laura today.
It's so ... final. I think and I think and it just doesn't
make sense.

HAYWARD
Death never does.


DONNA
(tearful)
So what are we supposed to do?

HAYWARD
(after a beat)
I live with death and dying every day. There are times
when it's merciful, almost a relief. But often it seems
nothing but needless and cruel. It made me furious, for
many years. Furious and helpless. As you go through life,
you learn to accept it. Because we have to. Even when it
hurts bad enough to break your heart.

DONNA
My heart is breaking. And I don't know how to stop it.

Donna looks up at her father. Her eyes are bright with tears. Father and daughter embrace.

CUT TO:
13. EXT. BRIGGS HOUSE - DAY

Establish.
CUT TO:
14. INT. BRIGGS DINING ROOM - DAY

BOBBY BRIGGS sits at the dining room table, smoking a cigarette. Quiet, seemingly
downcast. But his eyes are angry and cold. He wears dark funeral clothes, a tie. Bobby turns,
finds MAJOR BRIGGS standing across the room.

MAJOR BRIGGS
Robert, this may be a good time for a brief discussion.

BOBBY
You want to talk about cigarettes? Today?

MAJOR BRIGGS
No. But put it out. It's a filthy habit, especially for a
varsity athlete.

Bobby grinds out the cigarette in an ashtray. He glowers. Major Briggs sits next to him,
places a hand on Bobby's knee. He means well, but physical affection does not come
naturally to him. It feels a little forced.

MAJOR BRIGGS (CONT'D)
I've attended my share of funerals. Too many. Any man
who dies in war dies too soon. Laura died too soon as
well.


BOBBY
Yeah. She did.

MAJOR BRIGGS
But we have a responsibility to the dead, Robert.
Responsibility is the linchpin that binds our society
together. Each man responsible for his actions, each
action contributing to the greater good.

BOBBY
What's the good of putting somebody in the ground?

MAJOR BRIGGS
It is man's way of achieving closure. In ceremony begins
understanding, and the will to carry on without those we
must leave behind. And Robert, in your life, you must
learn, will learn, to carry on without them.

BOBBY
(whispered)
Great.

MAJOR BRIGGS
I know you experience a certain reluctance to enter fully
into meaningful exchange. That leads to stalemate, and a
desire on my part to force certain wisdom upon you.
That's not necessarily a bad thing, sometimes it is the
best course available.

Briggs pauses, rethinks. Then, a direct emotional statement ...

MAJOR BRIGGS
Son. Don't be afraid. We'll all be there together.

Bobby takes a closer look at his father. These are words he understands. But they have
absolutely nothing to do with the way he's feeling.

BOBBY
Afraid of what?

MAJOR BRIGGS
The funeral.

BOBBY
I'm not afraid of any damn funeral. Afraid? I can hardly
wait. Afraid? I'm gonna turn it upside--down.

The anger pours out of him. For once Major Briggs is speechless. But no matter, just then
BETTY BRIGGS steps into the room, and, with a too bright smile ...


BETTY
Everybody ready?

Father and son turn jaundiced eyes her way.
CUT TO:

15. EXT. TWIN PEAKS POLICE STATION - DAY

Establish.
CUT TO:
16. INT. POLICE STATION RECEPTION AREA - DAY

Cooper and Sheriff Truman step through the station reception area. DEPUTY TOMMY
THE HAWK appears, keeps pace beside them.

COOPER
Deputy Hawk.

HAWK
Agent Cooper. No sign of the man with one arm.

COOPER
Keep trying, Deputy. He's out there somewhere.

Cooper and Truman continue towards the conference room.

TRUMAN
If anyone can find him, Hawk can.

COOPER
Tracker?

TRUMAN
The best.
CUT TO:
17. INT. INTERROGATION ROOM A - DAY

Cooper and Truman enter. Albert Rosenfield sits at the table, with a huge file of test results.
He refuses to acknowledge Truman's presence. Not even a glare.

COOPER
Okay, Albert, what've you got?

ALBERT
Enough evidence to save your butt and get mine out of this
godforsaken berg.

COOPER
We're all ears.


Albert considers hurling an insult, instead tosses a glassine envelope on the table.

ALBERT
Contents of envelope found in Palmer diary. Cocaine.
Toxicology results also positive. The little lady had a
habit.
(throws a second envelope)
Fibers of twine embedded in her wrists and upper arms.
Two different kinds of twine.
(another envelope)
Fibers of twine found in the railroad car, a match to the
sample from the wrist. The same twine was used to bind
the wrists of the Pulaski girl. My conclusion, she was tied
up twice at different locations on the night of her death.
Once here.
(he points to his wrists)
Once here. Like this.

He gestures to his upper arms, pulls them back into an uncomfortable position. I
Cooper's dream.

COOPER
(quietly)
Sometimes my arms bend back.

Truman glances at him, intrigued. Albert reveals another glassine.

ALBERT
Traces of pumice in standing water outside the railroad
car, suggesting soap. The kind used for heavy cleaning.
Same pumice particles appear on the back of Laura's
neck. Not her home-use brand. My conclusion: the killer
washed his hands and leaned in for a kiss ... like this.

He demonstrates. Truman is disturbed by the implication.

TRUMAN
Lord ...

Albert shows them a photo.

ALBERT
Distinctive wounds on Laura's shoulders and neck.
Appear to be claw marks, bites of some kind.

TRUMAN
An animal?



ALBERT
It's trying to think. How quaint.

Cooper silences Albert with a stern look. Albert produces another envelope.

ALBERT (CONTINUED)
A small plastic fragment from her stomach, partially
dissolved by digestive acids. I'm taking it with me back
to the lab for reconstruction, as the local facilities give
new meaning to the word 'primitive.'
(closes the file with some fanfare)
Those are the highlights. I'm not entirely displeased, but
a couple more days with the body and who knows what I
might have come up with --

COOPER
Good work, Albert.

Just then, Deputy Andy enters, dressed in funeral blues.

ANDY
Sheriff' Time to go?

COOPER
Albert, you'll excuse us. We've got to get to a funeral.

Truman and Andy head out. Cooper moves to follow. But Albert calls after him:

ALBERT
Cooper? May I have a word with you? Alone?

Cooper nods to Truman and Andy. They exit. Albert pulls out a document.

ALBERT (CONTINUED)
One more item.
(he slides it across the table)
A report concerning the physical assault on my person
which you witnessed this morning. I think you'll find it
accurate. It requires your signature.

Cooper reads through the report with amazing speed. A beat, then:

COOPER
Albert, I'm not going to sign this --

ALBERT.-
(shocked)
What?



COOPER
Albert, I hope you can hear this. I've only been in Twin
Peaks a short time. But in that time, I have seen decency,
honor, and dignity. I have seen grief to break your heart.
Murder is not a faceless event here. It's not a statistic to
be tallied up at the end of every day. Laura Palmer's
death has affected each and every man, woman, and child.
Because life has meaning here. Every life. And that's a
way of living I thought had vanished from this earth. It
hasn't, Albert. It's right here in Twin Peaks.

ALBERT
Sounds like you've been snacking on some of the local
mushrooms.

Cooper sets the report on the table, carefully pushes it back to Albert.

COOPER
With your behavior towards these good people, count
yourself lucky I don't file a report of my own that could
bury you so deep in a building in Washington you'll never
see the sun.

Albert turns pale, collects his papers, exits without another word. Cooper looks out the
window, produces his miniature tape recorder, speaks into it.

COOPER (CONTINUED)
Diane, it's 12:27 PM. I'd like you to check into my
pension plan options regarding outside real estate
investment. I'm thinking of purchasing some property at
what I assume will be a very reasonable price.

Cooper stops recording, pauses to ponder.
FADE OUT.

END ACT TWO







ACT THREE

FADE IN:

18. EXT. BLACK LAKE CEMETARY - DAY

OPEN ON a lovely smalltown cemetary, the usual weathered headstones. ANOTHER
ANGLE reveals Laura Palmer's burial site. The freshly dug grave. A hydraulic frame used
to lower the casket. And two WORKERS testing the hydraulics, one sitting on the coffin
bed, the other raising and lowering it.
CUT TO:

19. EXT. BLACK LAKE CEMETARY - DAY

A gleaming hearse in the cemetary parking lot. A mortician supervises the unloading of
Laura's casket, for transfer to the grave. MUSIC over.

CUT TO:
20. EXT. ED HURLEY'S HOUSE - DAY

Establish.
CUT TO:
21. INT. ED HURLEY'S HOUSE - DAY

ED HURLEY steps into the living room wearing an ill-fitting dark suit. He takes but three
strides before Nadine appears in a flurry, leaps into his arms. She nearly knocks him off his
feet. Ed endures an embrace of lengthy duration, Nadine snuffling about his ear. Finally, she
steps back, beaming, out of her mind:

NADINE
Love me?

ED
(wildly uncertain)
Why sure, Nadine.

NADINE
How do I look?

Nadine's wearing a faded black dress. Her idea of funeral clothes. The buttons are
incorrectly fastened. Ed looks at the dress, Nadine's manic smile.

ED
You look fine, Nadine.

NADINE
Last night was wonderful, Ed. You came back to me.
Now we're together again. Not that we weren't, but now
I feel like we're really together.

Nadine leaps back into his arms. Ed receives her with stunned expression.



(Revised 10-3-89,Blue)

21. CONTINUED:

NADINE (CONTINUED)
At high school, I used to watch Norma and you at those
football games? She was so pretty. You were such a
handsome couple, but I knew, I always knew once you got
to know me that we'd be together. Even though I was just
a little nobody, a little brown mouse, I was always
hoping ... and wasn't I right? Wasn't I right?

Nadine pauses, the memories come and go. She looks up at Ed, back in the moment:

NADINE (CONTINUED)
Do you remember?

Nadine's mind spins and shifts, it's slowly slipping away. And Ed doesn't know what the
hell to do about it. So he reaches out to her, carefully redoes the top two buttons on her dress.
Nadine's got them reversed.

ED
(gently)
Sure, Nadine. I remember.

NADINE
(smiles, a blank)
What's that?

Just then: the sound of a motorcycle outside. Not knowing what else to do, Ed goes to the
window.

ED
James.

A beat. James enters. But he's wearing jeans and a leather jacket. Ed frowns.

ED
You ready? I don't want to be late.

JAMES
I'm not going.

ED
What do you mean you're not going. It's Laura.

JAMES
I'm not going. I can't.

ED
James --

Too late. James turns and walks out the door. Big Ed makes no move to follow.

CUT TO:


22. EXT. GREAT NORTHERN HOTEL - DAY

Establish. A limousine waits our front.
CUT TO:
23. INT. GREAT NORTHERN CORRIDOR - DAY

Dressed for the funeral, Audrey moves down a corridor in the hotel residence wing, STOPS
to peak into ...
INTERCUT:
24. AUDREY'S POV - INT. BEN HORNE'S OFFICE - DAY

JOHNNIE HORNE sits on the floor, attired in an expensive suit. DR. LAWRENCE
JACOBY kneels at his feet, whispers urgently to the boy, trying to convince him to remove
the familiar Indian headdress.

Audrey watches from outside the doorway, listens to Jacoby whisper and cajole. She can see
tears glistening in the doctor's eyes.
CUT TO:

25. EXT. BLACK LAKE CEMETARY - DAY

A flowered trellis stands at the entrance from the parking lot to the burial grounds. The
LOG LADY arrives wearing a surprisingly appropriate funeral dress, clutching her log to her
breast. She steps among mourners as they emerge from automobiles. Cooper, Sheriff
Truman, and Deputies Andy and Hawk get out of the police crusier, join the throng.

CUT TO:
26. EXT. BLACK LAKE CEMETARY - DAY

Mourners step through the trellis into the cemetary proper. Doc Hayward escorts Donna onto
the green grass, she pauses, sees Mike waiting for her nearby.

MIKE
Hi.

DONNA
(to father)
Just a sec.

Donna steps away from her father, walks to Mike. She looks at him, says nothing. An
awkward beat, then:

MIKE
Hey. I'm sorry about the other night. I didn't mean
anything.
(reaches for her, she pulls away)
Hey, I said I was sorry ...

DONNA
I don't want to see you anymore, Mike. Please don't
bother me again.




Mike watches, shellshocked, as she walks away.
CUT TO:

27. EXT. BLACK LAKE CEMETARY - DAY

Ed escorts Nadine through the cemetary. He sees Donna returning to her father.

ED
Go on ahead, Nadine. I'll catch up.

Nadine seems uneasy, a little lost.

ED (CONTINUED)
I promise. It'll be fine.

Nadine nods, reassured, moves off. Ed steps toward Donna, intercepts.

ED
Hello, Donna.

DONNA
Where's ... ?

ED
He's not coming. He wouldn't.

DONNA
Why?

Ed can only shrug. Donna sees her father waiting, there's no rime to talk. She's upset, tries to
hide it and walks on.

NORMA'S VOICE
Ed?

Ed turns, finds Norma standing behind him. She's troubled.

NORMA
Hi.

ED
(an uneasy glance around)
Not the best place to talk.

NORMA
I know. Hank's parole hearing is tomorrow. He could be
out next week. Maybe sooner.

Ed nods. He doesn't want to talk about it here. She sees Nadine standing nearby and
realizes why.



NORMA
(not catty)
Nadine looks nice.

ED
Yeah. She's feeling good today.

There's sympathy in his voice, sadness too. Norma understands. Ed manages a smile and
moves off.
CUT TO:
28. EXT. BLACK LAKE CEMETARY - DAY

Lastly, Ben Horne escorts Leland and SARAH PALMER into the cemetary. Mourners stop
and stare. Sarah squints in the sunlight, clutches Leland's hand. And Madeleine Ferguson
walks behind them, wearing dark glasses.

Ben spots Catherine nearby. He nods to Madeleine, allows her to escort Leland and Sarah
ahead. Ben remains, waits for Catherine to join him.

CATHERINE
(as they walk, aside)
Taking care of the Palmers, are we?

BEN
It's the only decent thing to do.

CATHERINE
Had to shut down the mill again. All that grief. 'Few
more tragedies it'll roll over and play dead.

BEN
See you at the funeral.

Ben and Catherine separate, poker-faced.
CUT TO:

29. EXT. LAURA'S GRAVESITE - DAY

Mourners gather around the grave. Laura's burnished casket sits on its hydraulic bed, the dark
hole beneath it. And FATHER CLARENCE prepares his oration. Father Clarence is an old
man, red-faced; he fumbles with a number of prayer books and hymnals. This is no ordinary
service for him. He is as deeply saddened as those who wait for him to comfort them.

FATHER CLARENCE
I am the resurrection and the life, saith the Lord; he that
believeth in me, though he were dead, yet shall he live;
and whosoever liveth and believeth in me shall never die.

In the distance, a lone figure steps through headstones toward the grave. James Hurley. He
walks closer, eyes locked on Laura's casket. Bobby sees him coming, darkens, scowls. Donna
sees James too. She finds Bobby in the throng, notes his fury. And so begins, as Father
Clarence continues, a CHAIN OF GLANCES.

CLARENCE'S VOICE
For none of us liveth to himself, and no man dieth to
himself. For if we live, we live unto the Lord; and if we
die, we die unto the Lord.

Donna looks to Sheriff Truman for help.
But Sheriff Truman is looking at Josie.
Josie meets his gaze. Then looks away, as if too shy to stare at him here.
Josie turns to Pete Martell. Pete nods, ever sociable.

CLARENCE'S VOICE
(continued, over glances)
Whether we live, therefore, or die, we are the Lord's.
Blessed are the dead who die in the Lord; even so saith the
Spirit, for they rest from their labors. The Lord be with
you...

ALL
And with thy spirit.

CLARENCE'S VOICE
Let us pray.

Pete turns from Josie, looks to his wife.
But Catherine is leering at Ben Horne.
Ben returns her gaze, but is jostled by Bobby shoving past him toward the grave.

CLARENCE'S VOICE
0 God, entrust this child Laura to thy never-failing care
and love, and bring us all to thy heavenly kingdom;
through the same thy Son Jesus Christ our Lord, who
liveth and reigneth with thee and the Holy Spirit, one
God, now and forever. Amen.

Father Clarence clears his throat. But before he can continue, Johnny Home brays out a rather
ill-timed:

JOHNNY
Amen!

FATHER CLARENCE
Thank you, Johnny.

THE CHAIN OF GLANCES CONTINUES:
Shelly spots Bobby, sees his anger, follows his stare to James.
James is looking at Donna, seeking comfort, approval.
But Donna, having witnessed Bobby's fury, now looks to Big Ed for help.

CLARENCE'S VOICE
I baptized Laura Palmer. I instructed her in Sunday
school. And like all of you, I came to love her with that
special love we reserve for the headstrong and bold.
Laura was bright, beautiful, charming. But most of all she
was, I think, impatient. Impatient for her life to begin,
for the rest of the world to catch up with her many dreams
and ambitions.

Big Ed doesn't notice Donna's distress. He's busy trying to get Norma's attention.
Norma doesn't see him. She's looking at Nadine.
Nadine, oblivious as always, is gazing intently at Leland and Sarah Palmer, Madeleine
beside them. Nadine wipes tears from her eye.

CLARENCE'S VOICE
If we appear to put those dreams to rest today, do not
believe it. For those of us who loved her, those dreams
will never die. They live on inside each of us.

JOHNNY'S VOICE
(as ill-timed as before)
Amen!

Madeleine looks up, sees Nadine peering at her from across the grave.
Madeleine looks away, only to find Audrey staring at her from the other side.
Audrey notes the resemblance to Laura, reacts.
Audrey looks to find Agent Cooper in the throng, she wants him to see it too.

And as for Cooper, he's been watching this chain from the start, fascinated by all the
connections and clues it offers him.

Suddenly Cooper frowns. He sees Bobby Briggs plowing through the crowd, stepping
quickly toward Father Clarence, the grave.

CLARENCE'S VOICE
Laura used to tell me that I talked too much. I won't
make that mistake here. It is enough to say that I loved
her, and will miss her for the rest of my days.

JOHNNYS VOICE
(getting into his own call and response
rhythm)
Amen!!

Bobby steps to the front of the gravesite, nearly howls the repetition:




(Revised 10-3-89, Blue)


29. CONTINUED:(3)

BOBBY
AMEN!!!

Everything stops. Bobby confronts the grave and the gathered mourners with grief and rage.

BOBBY
What are you looking at? What are you waiting for? You
make me sick. You damn hypocrites make me sick.
Everybody knew she was in trouble. But we didn't do a
thing. Who killed the Prom Queen?! You did. We all
did. And pretty words won't bring her back. Keep your
prayers. Laura doesn't need them. She would've laughed
at them anyway

Bobby's cracking up, tears pool in his eyes. James moves to stop him. Mike hurries forward,
ready to fight. Bobby sees James approaching, he leaps in his direction.

But Cooper gets there first, Truman, Andy, and Hawk close behind. They pull the boys
apart, stop the fight before it happens. Amidst the shouting and commotion, Johnny Horne
lifts his head toward the sky, lets out an atavistic howl:

JOHNNY
Ahoooooooooooh!!

Audrey rushes to comfort him. The howl, the brawl, all contribute to a growing sense of
chaos, trouble and grief in the air. Major Briggs grabs his son and drags him away from the
grave as Bobby screams at James:

BOBBY
I'll get you! You're dead! I'll get you!

And now, unnoticed for the moment, Leland Palmer lets go of his wife's hand, steps quietly
toward the casket. He stares at it for a long beat, the tumult erupting all around him. Then,
quite suddenly, without warning ...


Leland Palmer leaps onto the casket, shouting and wailing ...

LELAND
Laura! Laura!

Gasps of shock. Truman and Cooper step forward immediately, but Leland's jump has
activated the hydraulics, the casket begins to sink from view. A CARETAKER frantically
reverses the controls, brings Leland and the casket up again. But just as Truman and Cooper
seem about to grab him, the casket begins to descend, remains beyond their grasp.

LELAND (CONTINUED)
Laura! My baby!

And so it goes, the casket rising and falling, Truman and Cooper now enlisting the deputies
to form a human chain, the mourners reacting with shock and dismay.

And now, at long last, Sarah Palmer takes tentative steps forward, her eyes seem to clear, and
she shouts, roars at her husband:

SARAH
DON'T RUIN THIS TOO!!

A sudden silence descends upon the gravesite. Sarah Palmer remains frozen, Madeleine at her
side. Mourners glance at each other, begin to disperse. The funeral of Laura Palmer has
concluded.
FADE OUT:

END ACT THREE




ACT FOUR

FADE IN:

30. EXT. DOUBLE R DINER - NIGHT

Nightfall at the Double R.
CUT TO:
31. INT. DOUBLE R DINER - NIGHT

OPEN ON a pair of hands, female, acting out a pantomime on the Double R counter. One
hand, palm down, held out straight, suggests a coffin/platform. The other, two fingers
pointed down, skips across the counter, suggesting leaping feet. In this manner, accompanied
by buzzing lips approximating the sound of hydraulics, Shelly Johnson reenacts the funeral
imbroglio. Her fingers skip across the counter, leap upon the coffin, and BZZZZZ, the
hydraulics go up and down and up and down ...

ANOTHER ANGLE reveals Shelly in the Double R. She's entertaining several old coots at
the counter, demonstrating Leland Palmer's leap onto the casket -- and into local lore.
Norma passes by, frowns.

Shelly puts her hands behind her back as if to promise no more finger puppets. But the
moment Norma moves on, she's at it again, fingers flying, lips buzzing, much to the delight
of the crusty old regulars.
CUT TO:

32. INT. DOUBLE R DINER - NIGHT

Sheriff Truman, Big Ed Hurley, and Deputy Hawk share a booth in the back, drinking coffee
and eating pie. They speak just above a whisper. They're trading secrets, not funeral gossip.
In mid-conversation:

TRUMAN
Maybe we should tell him.

HAWK
Why?

TRUMAN
I feel bad keeping him in the dark. What the hell, he's
going to figure it our sooner or later anyway.

ED
Don't be so sure.

TRUMAN
(looking over Ed's shoulder)
Want to bet?

Truman SEES Cooper enter the diner, step toward their booth.


(Revised 10-3-89,Blue)



32. CONTINUED:

TRUMAN
Right on time.

ED
(sotto voce)
Careful who you trust, Harry. He's not one of us.

COOPER
Evening, Harry. Ed, Hawk.

Truman gestures to the space beside him. Cooper sits down.

COOPER
I got your note. What's up?

Ed signals to Norma, she steps over to take Cooper's order.

TRUMAN
Agent Cooper, how would you like some fresh
huckleberry pie?

COOPER
I would love some huckleberry pie.
(for Norma's benefit)
Heated. Vanilla ice cream on the side. Coffee.

NORMA
Coming right up.

Norma steps away. Cooper turns to Ed.

COOPER
How Iong have you been in love with Norma?

Ed blanches, says nothing. Truman turns to him.

TRUMAN
See what I mean?

Ed nods. Cooper takes note of the exchange, looks to Hawk, Sheriff Truman.

COOPER
There's something you fellas want to tell me.

ED
(a convert)
Better tell him.

Hawk nods assent. A beat. Sheriff Truman begins:



TRUMAN
Someone's running drugs into Twin Peaks from over the
border. We've been working undercover, trying to set up
a bust: top to bottom. Nobody walks.

COOPER
Who's targeted?

TRUMAN
Jacques Renault, bartender at the Roadhouse, we figure
him for the middleman. Ed was staking him out the
night you got into town. Renault slipped something into
his drink.

ED
Felt like somebody hit me on the head with a hammer.

COOPER
I didn't know you were a deputy, Ed.

TRUMAN
He's not.

COOPER
A little outside your juristiction, isn't it?

ED
Somebody's sellin' drugs to high school kids. That's in
everybody's juristiction.

TRUMAN
I call on Ed when I need him. He's not the only one I
call.

Just then: Norma arrives with Cooper's pie and coffee.

TRUMAN (CONTINUED)
Thank you, Norma.

NORMA
Enjoy.

Cooper digs in, gives Norma a hearty thumbs-up. Norma smiles, walks away.

COOPER
This must be where pies go when they die.

Cooper takes another bite. Sheriff Truman waits for some reaction to all he's told him.
Finally, Cooper sets down his fork, begins:



COOPER
Someone's bringing, drugs into Twin Peaks. Laura
Palmer was on drugs. You call on Ed to help you out.
Ed's a good man. Local bartender's a mid-level player,
okay, it's hard to get by on minimum wage. Now Harry,
please. What is it you really want to tell me?

Sheriff Truman looks at the others. They encourage him to continue

TRUMAN
You're going to have to trust me. No matter how it
sounds.

COOPER
I trust you, Harry.

TRUMAN
(after a beat, looking for words)
Twin Peaks is different. A long way from the world.
You've noticed that.

COOPER
Indeed I have.

TRUMAN
And that's the way we like it. But there's a back end to
that that's different too. Maybe that's the price we pay
for all the good things.

COOPER
What is it?

TRUMAN
(lowering his voice)
There's a sort of evil out there. Something strange in the
hills. It takes different forms, but it's been there for as
long as anyone can remember. And we've always been
here to fight it.

COOPER
"We?"

TRUMAN
Men before us. Men before them. More after we're gone.
We protect our own. We have to.

COOPER
(relishing this)
A secret society.


The others exchange looks.

TRUMAN
Let's take Agent Cooper for a little ride.

COOPER
Where to?

TRUMAN
The Book House.
CUT TO:
33. EXT. THE ROADHOUSE - NIGHT

A dusty parking lot surrounds the slightly seedy honky tonk. Behind it, another, smaller
structure. The Book House. Sheriff Truman and the others arrive in a cruiser and a patrol car,
exit. Cooper takes a deep breath of cool night air.

TRUMAN
This way.

Truman leads Cooper towards the Book House.

COOPER
How long have you been Sheriff, Harry?

TRUMAN
Five years.

COOPER
How long have you been meeting here?

TRUMAN
Longer than that.
(they, reach the door)
It's a funny thing. Seems like every time you solve a
mystery, there's another one right behind it.

Cooper smiles. He can appreciate that sort of thinking.
CUT TO:

34. INT. BOOK HOUSE NIGHT

They enter. It is a clubhouse of sorts, chairs and tables, a comfortable atmosphere. And
walls lined with bookshelves, tomes on every imaginable topic. Cooper stops, reacts.
There's a burly hirsute MAN, wearing a gag, tied to a chair at the center of the room. James
Hurley and JOEY PAULSON stand guard.

TRUMAN
You know James. Joey Paulson.


JAMES
Hello, Agent Cooper.

COOPER
Hello, James. Joey. Who's this?

TRUMAN
Bernard Renault. Jacques' brother. Janitor had at the
roadhouse. Bernard had an ounce of cocaine in his kit bag.
Thought we'd ask him a couple questions.

Cooper nods, getting into the spirit. Truman removes Bernard's gag.

COOPER
(after a beat)
Did you ever sell drugs to Laura Palmer?

BERNARD
(French-Canadian)
I don't sell drugs.

TRUMAN
How much does Jacques pay you to be the mule?

BERNARD
Jacques don't pay me nothing, I'm no mule.

TRUMAN
So that ounce we found, that was for personal use?

BERNARD
That's right.

TRUMAN
Where's your brother been? Not at work the last few
days.

BERNARD
I don't know. He got business.

COOPER
With who?

BERNARD
I don't know.

TRUMAN
Who else does Jacques work with?



BERNARD
Why don't you ask him yourself? He be back tonight.
Any minute.

TRUMAN
He's coming to work?

BERNARD
(stating the obvious)
He the bartender, isn't he?

Bernard grins, triumphant. Cooper looks at Truman, steps closer.

COOPER
Bernard, we have you tied up in a chair. You're mixed up
in a wide variety of felonies with your brother. What I
want to know is, why in the world would you tell us when
and where to find him?

That wipes the grin off his face. Bernard looks at his feet, says nothing. Cooper doesn't
mind. He already knows the answer.
CUT TO:

35. EXT. COUNTRY ROAD - NIGHT

JACQUES RENAULT walks down a country road, peers through the dark at the Roadhouse
in the distance. Jacques stops suddenly, reacts.

36. JACQUES' POV - THE ROADHOUSE

There's a redlight on top of the honky-tonk, it shines and blinks a warning. Jacques takes one
look at it, knows what it means. He turns and runs as fast as he can in the opposite direction.

CUT TO:
37. INT. LEO JOHNSON'S HOUSE - NIGHT

Leo stands over the kitchen sink, carefully cleans and polishes a pair of heavy boots. The
phone rings. Leo sets the boots on a towel, answers it.

LEO
Yeah?
INTERCUT:
38. EXT. PHONE BOOTH - NIGHT

Jacques is calling from a phone booth, breathless, sweating from the run.

JACQUES
The bust light's on. Bernard's in trouble.


LEO
You sure?

JACQUES
I saw it. You gotta get me out of here, Leo. Border run.

LEO
Where are you?

JACQUES
Phone booth by the Cash and Carry. I don't like waitin',
man.

LEO
Shut up. I'm on my way.

Leo hangs up, grabs his jacket and a small bag. Shelly enters, wonders.

SHELLY
Where you goin'?

LEO
You don't need to know.

He exits. Shelly grabs her purse, kneels down in the kitchen near a cabinet. Without
hesitation - she's done this before -- Shelly carefully removes some of the cabinet's slats,
revealing a hiding place. She reaches into the hole, pulls out Leo's bloody shirt. Satisfied,
she returns it, then digs into her purse, removes her brand new Colt .32, looks at it for a beat.
Then puts it with the shirt below and replaces the slats.
CUT TO:

39. EXT. ROADHOUSE - NIGHT

Cooper, Truman, Ed, and Hawk exit, Truman heads for his cruiser, gets on the radio.

TRUMAN
(to Cooper)
You and Hawk wait inside the Roadhouse. Ed and I'll
watch the road, I'll call for some back-up.

COOPER
Jacques' half-way to the border by now.

TRUMAN
We don't know that yet.

Cooper directs their attention to the blinking red light on top of the Roadhouse.

COOPER
I don't remember seeing that blinking red light before,
do you?

The others look up. Truman realizes what's up. Hangs up his radio.

TRUMAN
I'll take Bernard in and book him.

ED
I'll give you a hand, Harry.

TRUMAN
Hawk, why don't you run Agent Cooper back to the Great
Northern?

COOPER
(as they start off)
Buy you a drink, Hawk?

Hawk nods.
DISSOLVE TO:
40. INT. GREAT NORTHERN BAR - NIGHT

A short time later. A sad song plays on a jukebox. Couples gather on the small dancefloor,
a few GUESTS mingle at the bar. Cooper and Hawk sit at small table near the fireplace.
Their mood is quiet, contemplative. It's been a long day.

COOPER
(after a beat)
Did you know her, Hawk?

HAWK
Laura? Caught her speeding a couple times. Let her talk
me our of the ticket. That wasn't hard.

COOPER
Laura Palmer didn't have to die. It's wrong. It makes
me mad.

HAWK
Everything dies.

A beat. Cooper takes a pull from a longneck beer. He quietly wonders:

COOPER
Do you believe in the soul?

The question takes Hawk by surprise. He takes a closer look at Cooper.


HAWK
Several.

COOPER
(curious)
More than one?

HAWK
Blackfeet legend. Waking souls that give life to mind
and body. A dream soul that wanders.

COOPER
Where does it wander?

HAWK
Faraway places. The Land of the Dead.

COOPER
Is that where Laura is?

HAWK
Laura's in the ground, Agent Cooper. That's all I know
for sure.

Cooper reacts, takes a closer look. Tommy 'The Hawk' Hill, agnostic Blackfoot. There's
more to him than meets the eye. A beat. Cooper lifts his glass into the air, proposes a toast:

COOPER
To Laura. Godspeed.

They touch glasses, toast. That's when Cooper sees Leland Palmer stepping between tables
to the dance floor.

ON LELAND

Leland walks onto the dance floor, stands quite still. The juke selects another title. Big
band music pours into the room. Leland listens intently. He looks up, his eyes bright with
tears. A beat. Leland Palmer begins to dance.

At first his actions go unnoticed. But gradually couples turn to regard him, this sad man
dancing across the floor. Some giggle, others look with sympathy. Most begin to disperse.
But Leland keeps dancing, he pleads With those who remain:

LELAND
Dance with me. Please. Dance with me.

As his pleadings grows more desperate, Cooper and Hawk step quickly to the dance floor,
mean to lead him away.



COOPER
Mr. Palmer. Leland?

HAWK
Mr. Palmer?

Gradually, Leland hears them, finally focusing on them.

COOPER (CONTINUED)
It's time to go home.

Pause. He nods weakly, Cooper and Hawk gently lead Leland between them out of the
room.
DISSOLVE TO:
41. EXT. BLUE PINE LODGE - NIGHT.

Establish. A full moon sailing overhead.
CUT TO:

42. INT. BLUE PINE LODGE KITCHEN - NIGHT

Lights are low, a small table has been set with silver, candies, and white linen. A romantic
supper for two. Josie wears a silk robe, something sheer beneath it. Sheriff Truman wears the
ardent expression of a man in love.

Pete steps into view carrying dinner on a large platter.

PETE
Pan-fried Rainbow. Caught 'em this morning.

Pete serves the trout to each.

JOSIE
Thank you, Pete.

PETE
It's nothing. Old family recipe.

Truman pours a little wine, offers:

TRUMAN
Pour you a glass, Pete?

PETE
No, no. You kids enjoy. Never mind the dishes. We'll
get 'em later.

He intends to leave them alone. Truman smiles appreciatively, thanks Pete with a wink. He
watches Pete step from the room. A beat. Josie toys with her food, silent, preoccupied.
Something is troubling her. And Truman knows it.



TRUMAN
Heart a' gold, old Pete.

JOSIE
Yes, he is.

TRUMAN
Josie, what's wrong?

JOSIE
Nothing.

TRUMAN
'Nothing.'

Josie looks up from her dinner. Candlelight shimmers all around her.

TRUMAN
God you're beautiful.

Josie tries to smile. But her eyes are full of fear. Truman leans closer.

TRUMAN
Josie something's wrong, I want you to tell me.

JOSIE
(after a beat)
They want to hurt me. I know they do. Something
horrible is going to happen, Harry.

TRUMAN
Who? Who's going to hurt you?

JOSIE
Ben and Catherine.

CAMERA MOVES from the table, finally REVEALS an intercom speaker on the wall,
nearly out of sight, a silent ear listening.
CUT TO:

43. INT. MARTELL BEDROOM - NIGHT

Catherine Martell sits at a small desk, car pressed close to an intercom console/ speaker. She
manipulates the volume knob, listening to every word they say.

JOSIE'S VOICE
Catherine keeps the mill account books in her safe. Two
books. Two accounts.


TRUMAN'S VOICE
(alert)
Two? Can you show me?
CUT TO:
44. INT. BLUE PINE LODGE OFFICE - NIGHT

Josie leads Truman into the office, trips the hidden catch, releases the false bookshelf, and
reveals the wall safe. She inserts the key, tugs at the handle.

JOSIE
Why would she keep two sets of books?

TRUMAN
The usual reasons would have something to do with
stealing. Maybe more.

Josie opens the safe, both look inside, react. There is only one ledger inside.

JOSIE
But there were two.

Truman removes the ledger, thumbs through it.

TRUMAN
Nothing unusual here.

JOSIE
(whispered, trembling)
There were two.
CUT TO:
45. INT. MARTELL BEDROOM - NIGHT

Catherine smiles. She's holding the other ledger in her hand. Just then: footsteps, Pete enters.
She slips the ledger in a drawer and turns down the intercom. Pete catches this last action.

PETE
(all innocence)
Have you seen my tackle box?

CATHERINE
The next time you and the merry widow want a peek in
my safe, don't go to so much trouble. Be a man about it,
Pete. Ask me to my face.

Pete stares at her for a beat. He'll fight another day.

PETE
Maybe I'll check the truck.

Pete exits. Catherine gloats.
CUT TO:


46. INT. BLUE PINE LODGE KITCHEN - NIGHT

Truman and Josie sit before the wood-burning stove. Josie burrows into Truman's arms,
shivers, speaks just above a whisper, revealing her deepest fears:

JOSIE
When Andrew died I was so alone. I couldn't think, I
didn't know what to do. Catherine said she would help
me. And Ben would help me too.

TRUMAN.
(figuring)
Ben and Catherine ...

JOSIE
They lied to me. They didn't care about Andrew. They
didn't care about me. All they want is to take the mill
away from me.
(beat)
I have never said this before to anyone. Harry, I believe
Andrew's death was not an accident. And I believe they
will try to kill me too.

A tear runs from her eye. Truman pulls her closer, trying to make some sense of this.

TRUMAN
Josie, Josie. Nothing's going to happen to you. Not
now, not ever. I'll make damn sure of that.

JOSIE
Oh, Harry.

Truman kisses her gently. Josie sighs, returns his kiss with greater fervor. They settle into a
long embrace, whisper between kisses.

TRUMAN
You don't have to be afraid.

Josie places her head against his chest, holds on tight.

TRUMAN (CONTINUED)
(softly continues)
Days like today, death feels like the biggest thing in the
world. But it's not, Josie. Nor for us.

JOSIE
I'm not afraid of death. I'm afraid of losing you.

A beat. Josie begins to recite while trembling in his arms:



JOSIE
All things howsoever they flourish
Return to the root from which they grew.
This return to the root is called Quietness;
Quietness is called submission to Fate;
What has submitted to Fate has become part of the always-
so.
To know the always-so is to be Illumined;
Not to know it, means to go blindly to disaster.
(beat)
He who knows the always-so has room in him for
everything;
He who has room in him for everything is without
prejudice.
To be without prejudice is to be kingly;
To be kingly is to be of heaven;
To be of heaven is to be in Tao.
Tao is forever and he that posssess it,
Though his body ceases, is not destroyed.

HOLD ON Josie for a beat. Safe in Truman's arms.
CUT TO:
47. EXT. BLACK LAKE CEMETARY - NIGHT

Cooper stands watch at the cemetary, a night wind howling about him. He peers into the
dark, Laura's grave in the distance. The Land of the Dead. A beat, then:

CARETAKER'S VOICE
Can you hear 'em?

Cooper turns to find an old CARETAKER at his side, gazing out into the night.

CARETAKER
It's the metal and the wood, I guess. Some caskets, you
stick 'em in the ground, and the wood starts to expand,
starts to rub against that metal. And if it rubs just so, you
get a strange sort of sound. If the night's just right, and
the wood -- teak and brass are the best -- well, it's like
music. You can almost hear the caskets singin'.

Needless to say, it's a notion Cooper finds fascinating.
DISSOLVE TO:

48. EXT. BLACK LAKE CEMETARY - NIGHT

Minutes later. CAMERA STARTS AT GROUND LEVEL, green grass, dark graves.
Suddenly Cooper LOWERS INTO FRAME, presses his ear to the ground. As if to listen
for the casket's singing. That's when he hears another sound. Footsteps, someone walking
toward Laura Palmer's grave.

Cooper slips into the shadows. He watches a lone figure step to Laura's grave. But he can't
make out the face. At least until the mystery man lights a cigarette.





(Revised 10-3-89, Blue)

49. COOPER'S POV

It is Dr. Lawrence Jacoby. He inhales deeply, stares down at Laura's grave. He holds a
bouquet of flowers in his free hand.
CUT TO:
50. EXT. BLACK LAKE CEMETARY - NIGHT

Jacoby sets the flowers by the headstone. Cooper steps into view, speaks gently.

COOPER
Dr. Jacoby?
(silence)
I didn't see you at the funeral.

A long beat. Jacoby finally turns to Cooper, seems to notice him for the first time. Then,
eyes bright with tears, he whispers:

JACOBY
I'm a terrible person, Agent Cooper. I pretend that I'm
not. But I am.

Cooper says nothing. He'll let the man talk.

JACOBY
I listen to their problems all day. I give them advice,
solutions that are supposed to "improve" their lives.
These people think of me as a friend.
(beat)
But the truth is, I ... I don't really care. When I'm not
working I wear ear plugs so I don't have to hear them
talk. Nothing ... ever ... touches me.
(beat)
Except for Laura.
(beat)
I couldn't come today. I just couldn't.
(a whisper)
I hope she'll understand ...

HOLD ON them for a beat. Jacoby's sad tears in the dark.

FADE OUT.

END ACT FOUR

[TWIN PEAKS] S01E03



Resumo do (infelizmente) falecido site:
www.twinpeaks.hpg.ig.com.br/

Capítulo 3 - Descanse em Dor (Rest in Pain).
Segunda-feira, 27 de Fevereiro. No café da manhã, Cooper compara a escrita de Audrey Horne com a do bilhete. Elas são iguais. Audrey então conta que Jack Caolha é um local onde os homens vão e as mulheres “trabalham”. Ela não sabe se Laura trabalhava no local, mas garante que Laura era funcionária na Loja Horne, assim como Ronette. Quando Harry chega, sua primeira pergunta é quem matou Laura. Infelizmente, Cooper esqueceu, mas o sonho é um código. No necrotério, Albert e o Dr. Hayward brigam por causa dos exames extras em Laura, pois o corpo deveria ser enterrado naquele dia. Alguns comentários do grosseiro Albert fazem Harry perder a paciência. Mais tarde, enquanto Cooper e Harry interrogam Leo, chega à cidade Madeleine Ferguson, prima de Laura, assombrando a todos com sua incrível semelhança à Laura, a única diferença sendo a cor dos cabelos. Quando o corpo é finalmente liberado, Albert faz seu relatório. Laura era viciada em cocaína, fora amarrada duas vezes em locais diferentes na noite em que morreu, os vestígios de sabão encontrados em seu pescoço, indicam que o assassino lavou as mãos antes de beijar a morta, e havia um pedaço de plástico em seu estômago com a letra “J”. É chegada a hora do enterro.

A tensão explode em uma briga entre Bobby e James. Desesperado, Leland se joga sobre o caixão. À noite, Cooper é apresentado por Harry aos rapazes da Bookhouse, um grupo secreto dedicado a manter a ordem. Juntamente com Truman, Hawk e Big Ed, Cooper interroga Bernard Renault sobre o tráfico de cocaína na fronteira. Mas ele nega seu envolvimento. Quando seu irmão Jacques percebe o perigo, ele alerta Leo. Mais tarde, Josie diz a Harry que Catherine está planejando matá-la e lhe entrega uma caixa de livros de contabilidade como prova de negócios ilícitos. Porém, a caixa agora contém apenas um livro. O livro comprometedor está nas mãos de Catherine, que os escuta secretamente.
Roteiro: Harley Peyton. Direção: Tina Rathborne.



Comentários:
Pois é, hoje não vou corrigir o resumo do... ou da... (queria mesmo saber quem fez esses resumos...QUE PUXA!!), alias, também não tenho muito mais a comentar do episódio, além d que já foi narrado no resumo acima, o que eu queria destacar mesmo é a tal sociedade secreta, com sinal secreto e tudo hehehe...

Achei muito bacana, e aviso a vcs que isso é muito bacana mesmo (e importante), é uma informação bem importante, ouvir a razão de existência da tal sociedade secreta, não por acaso temos Bob e Mike, não por acaso tinha "aquela pessoa" escondida entre as árvores, não por acaso temos o homem sem um braço (mike) aparecendo e sumindo, prestem muita atenção na razão da sociedade secreta, afinal, Twin Peaks não se tornou a cidade perfeita que ela é, de graça!! Não, teve um preço!!

Até o próximo episódio!!

quinta-feira, 19 de abril de 1990

[TWIN PEAKS] S01E02 - Screenplay



Retirado na integra do site: http://www.lynchnet.com/


ZEN, OR THE SKILL TO CATCH A KILLER


Mark Frost David Lynch


First Draft
August 2, 1989

Revisions:
August 10, 1989 - Blue
August 11, 1989 - Revised-Revised Blue



ACT ONE

FADE IN:

1. EXT. GREAT NORTHERN HOTEL - EVENING

Establish.
CUT TO:

2. INT. HORNE RESIDENCE WING - EVENING

JERRY HORNE sits before a roaring fireplace, tumbler of bourbon in hand, eating
nuts compulsively from a giant bowl while rapidly adding figures on a large
computer while scores of numbers flash up and down on the large computer
monitor, all the while talking into a headset phone receiver in a melange of
Icelandic and English.

In another part of the spacious room, the Horne family sits quietly around the
dinner table. AUDREY HORNE plays listelessly with her food. A NURSE helps
JOHNNY-still-wearing-his-Indian-headress-HORNE eat, while MRS. HORNE stares at
her full plate. For no discernible reason, Johnny bursts into tears. The Nurse
comforts him and he starts to eat again. In spite of her feigned indifference, a
small, sad tear slips down Audrey's cheek as she watches her brother.

BENJAMIN HORNE finishes carving up and chewing a big rare steak and looks
around at his family. He puts his napkin on the table, rises and smiles.

BENJAMIN
Always a pleasure.
(calls to his brother)
Power down, Jer. We've got a "meeting."

Jerry gets up, switches off the computer and does an Indian dance towards and
eventually around the dinner table, making "traditional" Indian noises.

JERRY
(his idea of being a fun guy)
Nephew Johnny, don't be forlorn ... things're
bound to be better in the morn ... then there's
Sylvia, who treats me with scorn ... she thinks
Jerry an absolute thorn ...

He kisses her; Jerry repulses her. Jerry Indian dances towards Audrey. Johnny
breaks down again.

JERRY
... around the horn to little niece Audrey, the
Horne's first born ...
(Audrey's amused)
... and here goes Jerry with brother Ben Horne,
long-gone like turkeys through the corn ...

Ben and Jerry exit.
CUT TO:

3. EXT. BLACK LAKE - NIGHT

A full moon in a dark sky illuminates the cold, placid surface of Black Lake.

CUT TO:
4. EXT. HORNE CRUISER - NIGHT

A 1942, solid mahagony 22 foot Fitzgerald and Lee custom streamliner runabout
cuts through the water. BENJAMIN HORNE is at the wheel, his brother JERRY
HORNE beside him spotting ahead of them through infra-red, night-vision
binoculars.
CUT TO:
5. THEIR POV - BINOCULAR EFFECT

Bright lights on a long peninsula, their destination.
CUT TO:

EXT. DOCK - NIGHT

The boat glides up slowly to the dock. Jerry tosses a line to a gorgeous young
female deckhand, SWABBIE, dressed in a skimpy, stylized sailor's uniform.
Swabbie ties off the boat as a SECURITY GUARD, also dressed in a nautically
themed uniform, stands by, watching.

JERRY
Permission to come ashore?

SWABBIE
Permission granted.

Jerry gives Swabbie a kiss. Benjamin follows Jerry out of the boat onto the dock.

BENJAMIN
Hey, Sailor.

SWABBIE
Good evening, Mr. Horne.

Benjamin tips her a ten-spot and rubs her elbow.



(Revised-Revised-8-11-89-Blue)


CONTINUED:

SWABBIE (CONTINUED)
Thank you, Mr. Horne.

Ben and Jerry start up a flight of stairs to the brightly lit structure above. Swabbie
picks up a phone on a piling and pushes a button.

SWABBIE
Home brothers, comin' up.

CUT TO:
7. EXT. ONE-EYED JACK'S - NIGHT

A large sign of a playing card, a one-eyed jack, with neon flashing "J's" and one
pulsating eye, is suspended over two identical doors. On one of the doors is a
small neon sign that reads, "CASINO." Ben and Jerry come up to the doors and
stop.

JERRY
Now are we gonna go into the casino first?

BENJAMIN
I'm not here to lose my shirt, I just want to take
it off.

Jerry rings a bell on the door without the sign. An electronic buzz, a latch gives
and the door swings open.
CUT TO:

8. INT. ONE-EYED JACK'S "LET'S GET ACQUAINTED" ROOM - NIGHT

Ben and Jerry enter a plush, cozy warmly lit sitting room, easy chairs, fluffy sofas
and a small bar with a brass rail. Jerry orders drinks from a scantily clad female
BARTENDER.

JERRY
Sweetheart, I'd like to order two drinks, one
double scotch on the rocks and my brother will
have a double scotch on the rocks.
(winks)

BARTENDER
That's two double scotch on the rocks.

JERRY
Next stop, rocket science.

Several of the establishment's sensational and extraordinary WORKING GIRLS,
known collectively as "The 52 Pick-Ups," enter the room. They sit and luxuriously
arrange themselves. Ben and Jerry take note as they pick up their drinks. In
sweeps BLACKIE "THE BLACK ROSE" O'REILLY, the Madam of the House, an
intelligent, strikingly attractive woman in her mid-thirties.

BLACKIE
Gentlemen ...

BENJAMIN
Blackie ...
(he kisses her hand)
"Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometimes too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometimes declines,
By chance or nature's changing course
untrimm'd;
But thy eternal summer shaff not fade,
Nor lose possession of that fair thou ovest,
Nor shall death brag thou wander'st in his shade,
in eternal lines to time thou grow'st;
So long as man can breathe, or eyes can see,
So long lives this, and this gives life to thee.,,

During above we register Blackie's reaction, detached amusement, and Jerry's
reaction, bored indifference. Several more Pick-Ups wander in and we pay
attention to their reactions and those of the others already in the room, who see in
Benjamin an ideal of worldly sophistication and power. .

Benjamin finishes and kisses Blackie's hand again. Jerry comes up to her and says
quietly.

JERRY
Which one's the new girl?

BLACKIE
When you really want love ... you will find it
waiting for you.

A curtain opens, revealing a gorgeous young WOMAN with the face of an angel.
Ben and Jerry look at each other, then instantly back to the Woman. Jerry takes a
coin out of his pocket, flips it and covers it on his wrist.

Jerry and Ben look at the coin: heads. Ben smiles, pats his brother on the back
and starts towards the Woman. Jerry slaps the coin down on the bar.

CUT TO:


9. A TAPE RECORDER

A tape playing in the small recorder comes to an end and the "play" button pops
back out. We see that the tape is labeled, "TO DR. JACOBY, WITH LOVE,
LAURA."

CUT TO:
10. INT. DR. JACOBYS OFFICE - NIGHT

Deeply saddened, Dr. Jacoby finishes listening to the tape, removes the
headphones, takes the tape out of the recorder. He moves to the artificial palm
tree near the wall and removes one of the coconuts from a branch of the tree.

Jacoby snaps open the coconut, which is actually a stash box disgused as a
coconut, slips the tape inside, snaps it shut and attaches it back onto the tree.

CUT TO:
11. EXT. HAYWARD HOUSE - NIGHT

Re-establish.
CUT TO:

12. INT. HAYWARD HOUSE LIVING ROOM - NIGHT

Dr. and Mrs. Hayward are clearing away pie plates from the coffee table in front of
a fire burning in the fireplace. Donna and James are sitting at opposite ends of the
sofa.

JAMES
That was great huckleberry pie, Mrs. Hayward.

EILEEN
You only had three pieces, James, are you sure
you wouldn't like another?

JAMES
No thank you, m'am.

DR.HAYWARD
How 'bout some more coffee?

JAMES
No thank you, sir.

DONNA
(a semi-subtle signal)
Dad ...


DR. HAYWARD
(gets it)
Mrs. Hayward and I are going to say goodnight to
you now, James.

EILEEN
Good night, James.

DONNA
Just leave the dishes, Mom, I'll clean up.

EILEEN
Thank you, dear, good night.

Mrs. Hayward steers herself into the kitchen.

DR. HAYWARD
Will you be joining us for church tomorrow
Donna?

DONNA
Yes.

DR.HAYWARD
Nine o'clock sharp.

He winks and exits. Donna and James are alone. From another room we hear the
sound of an engine start up and whine. James looks at Donna.

DONNA
Elevator.

James nods. A slightly awkward but not uncomfortable silence. He tentatively
reaches over for her hand, she takes it. They hold hands and look at each other.
He slowly pulls her towards him into a sweet, tender kiss. They look at each
other. She smiles. They kiss again, very passionately.

DONNA
(whispers)
I can't stop thinking about you ...

JAMES
(touches her cheek)
I've thought about you all day ...

DONNA
I keep thinking of Laura, too.



(Revised 8/10/89-Blue)


JAMES
Yeah

DONNA
What are we gonna do?

JAMES
Donna, I don't feel that what we're doing is
wrong, or what we're feeling -

DONNA
Why not?

JAMES
Because it's the truth. Because I think it would
have turned out this way sooner or later anyway -

DONNA
I don't know - you do?

JAMES
Yes. I remember a time in school, remember,
in the hall, we were suddenly like alone and we
looked at each other -

DONNA
I remember -

JAMES
I almost told you I loved you then.

DONNA
It's true.

JAMES
It's true, isn't it?

DONNA
I guess because of Laura I couldn't say anything, I
couldn't even let myself think about it -

JAMES
Me too.

DONNA
(tender and trembling)
Are we ...
(moves closer to him)
... are we going to be together?

He kisses her. She kisses him. They kiss.
CUT TO:

13. EXT. GREAT NORTHERN HOTEL - NIGHT

Re-establish.
CUT TO:

14. INT. DALE COOPER'S ROOM - NIGHT

The door flies open. Long pause. DALE COOPER takes one step, into view, looks
into the room, realizes it's safe, then enters. He plays a little birdcall on his
handcarved whittled whistle. He sees the red message light blinking on his
bedside phone.

Cooper dials the operator.

COOPER
Messages for 315, Special Agent Dale Cooper ...
(he waits)
... Deputy Tommy the Hawk HiIl? Did he leave a
number?
(jots down the number)
Thank you, Operator.

He hangs up and dials Hawk's number.

COOPER (CONTINUED).
Deputy Hill, this is Agent Cooper ...
INTERCUT:

15. INT. CALHOUN HOSPITAL - NIGHT

TOMMY THE HAWK HILL is in the hospital corridor on a pay phone.

HAWK
Just thought I should let you know everything's
quiet here at the hospital ...

COOPER
How's Ronette Pulaski?

HAWK
Body and spirit are still far apart.



(Revised 8/10/89-Blue)


15. CONTINUED:

COOPER
What did you find out from her parents?

HAWK
Little. Ronette recently quit her job at the
perfume counter of Home's department store.

COOPER
Is that Benjamin Horne?

HAWK
Yes, sir, family business. Everything else is good
except that at ten o'clock there was a one-armed
man snooping around intensive care.

As they speak, Cooper looks over and sees a note being slipped under his hotel
room door.

COOPER
One-armed man?

HAWK
Left.

COOPER
Did you question him?

HAWK
Negative. I pursued but he got away.

COOPER
Alright. Maintain a watch on Ronette around the
clock and we'll talk tomorrow.

STAY with Cooper as he hangs up, rises and moves to the note. He picks it up,
opens it and reads ...

"HAVE YOU LOOKED INTO ONE-EYED JACK'S?"

Cooper sniffs the note and smiles.

CUT TO:
16. EXT. BLUE PINE LODGE - NIGHT

Establish.
CUT TO:


17. INT. MARTELL BEDROOM - NIGHT

PETE MARTELL and his wife CATHERINE are uneasily coexisting in a heavy silence.
Pete sits on the edge of the bed, rubbing some mink oil into his boots. Catherine
folds some laundry and puts it away in a chest of drawers. She sniffs.

CATHERINE
Everything smells like fish around here.

PETE
Then why don't you wash your socks separately?

CATHERINE
Why don't you drive your truck into a tree?

PETE
(smiles)
I got an idea: tomorrow's Sunday, let's stay up
late tonight and bicker.

Catherine takes some laundry into a large walk-in closet and puts the clothes away.
Pete quietly rises, silently picks up a small vase from the dresser, dumps the
contents into his hand and takes out a small key with a tag.

CATHERINE
(from the closet)
What was that FBI man doing up here today.?

PETE
Nice fella. Asked a few questions.

CATHERINE
About what?

PETE
He talked to Josie mostly. I had a problem with
a fish took a likin' to my percolator.

CATHERINE
What did he talk to Josie about?

PETE
Why don't you ask her?

Pete sits down with the key in his pocket as Catherine re-enters.

CATHERINE
Did they talk about my brother at all?



(Revised 8/10/89-Blue)


17. CONTINUED:

PETE
Andrew?

CATHERINE
How many brothers do I have?

PETE
I heard them mention him. The accident

CATHERINE
What about the accident?

PETE
You know, the usual, how no one found his
body. Mostly they talked about Laura. How she
was up here the afternoon of the day she died.

CATHERINE
Didn't he want to talk to us?

PETE
I talked to him. Real nice fella.

CATHERINE
Did he express any interest in talking to me?

PETE
Yeah, but we told him you were on your world
tour, he should contact your press agent.

CATHERINE
Take your boots off my bed and go to your
room.

PETE
Didn't want to get mink oil on my bedspread.

Pete rises and exits, whistling.
CUT TO:

18. INT. BLUE PINE LODGE CORRIDOR/JOSIE'S ROOM - NIGHT

Pete wanders down the hall, taps on a door, JOSIE PACKARD opens the door.
Pete holds up the small key.

PETE
(whispers)
Don't use it 'til tomorrow. I'll get her out of the house.




(Revised 8/10/89-Blue)


18. CONTINUED:

JOSIE
Thanks, Pete.

PETE
You bet'cha.

She takes the key and goes back inside. Pete moves on, whistling. In her room,
Josie opens a small rectangular lacquer box. She presses the key into the hard clay
inside the box, making an impression of the key. She then removes the key and
closes the box.
CUT TO:

19. EXT. PALMER HOUSE - NIGHT

Establish.
CUT TO:
20. INT. PALMER HOUSE LIVING ROOM - NIGHT

Feet pace restlessly back and forth across the carpet. LELAND PALMER moves to
the record player. A record drops on the turntable. Big band music. Palmer
listens, sways, tries to get the feel of the music. Decides it isn't right, not up
tempo enough.

Palmer lifts the stylus and drops the needle on another part of the record,
searching frantically for a particular song, which he finally locates.

Big band again, but fast, loud and brassy. He listens again. This time it's the right
stuff; tears spring to his eyes. He looks across at Laura's picture on the table.
He starts to dance, in a torment of anger, sadness and nostalgic despair,
jitterbugging back and forth in front of the picture.

He makes a loud moaning, wailing sound.

CUT TO:
21. INT. PALMER HOUSE CORRIDOR - NIGHT

Startled by the sound and the music from downstairs, SARAH PALMER peeks her
head around the corner of the corridor at the top of the stairs.

She starts quickly down the stairs and moves towards the living room ...

INTERCUT:

22. SARAH'S POV

As the living room comes into view and she sees her husband dancing.

CUT TO:


23. INT. PALMER LIVING ROOM - NIGHT

Sarah enters the room where Leland is dancing and wailing.

SARAH
(frightened)
Leland.? ... Leland? ...

He looks at her, goes right over to her and grabs her.

LELAND
Sarah, we have to dance ...

He tries to move her, trying desperately to dance with her.

SARAH
Leland, stop, stop it -

LELAND
Sarah, we have to dance - we have to dance -

SARAH
Leland, Leland -

LELAND
We have to dance - for Laura!

She starts screaming, he starts moaning and moving her around in front of the
fireplace. We MOVE in on the fire.

FADE OUT:

END ACT ONE






(Revised 8/10/89-Blue)



ACT TWO

FADE IN:

24. EXT. TWIN PEAKS SHERIFF STATION - DAY

Establish.
CUT TO:
25. EXT. REAR OF SHERIFF STATION - DAY

A large blackboard is set up behind the station. Special Agent Dale Cooper is
writing a list on the blackboard with chalk, consulting his electronic notebook. A
small table is set up near the blackboard, covered with the fruits of Lucy's morning
donut run. Four folding chairs are set up near the table.

Sheriff HARRY TRUMAN is using a tape measure to calculate the distance from a
line drawn on the ground in front of the blackboard to a large nearby rock.

LUCY MORAN is holding the end of the tape measure on the line, eating a donut.
Deputy Hawk is placing an empty pop bottle on a marked flat spot on top of the rock. Deputy
ANDY BRENNAN is gathering small, round rocks into a galvanized metal bucket. They all carry
mugs of coffee that read, "Twin Peaks Sheriff's Department."

COOPER
(thinks of something, flicks on recorder)
Diane, 8:17, quick note: definition of a Chinese
word, "Koro," that's the name of Mrs. Josie
Packard's dog, mixed breed. I believe the word
is Mandarin, I'm sure I know what it means but I
can't lay my hands on it.

Truman reaches the spot on the rock with the tape and calls back ...

TRUMAN
Exactly sixty feet, six inches.

COOPER
Perfect.

Cooper bites into a doughnut. At the rock, Hawk whispers to the Sheriff ...

HAWK
What do you think he's up to?

TRUMAN
Beats me.

HAWK
Sixty feet, six inches; that's the distance from
home plate to the pitcher's mound.



TRUMAN
Kind'a interesting, huh?

HAWK
Yeah.

Truman starts back, respooling the tape measure. Andy shows Cooper the bucket
of rocks.

ANDY
Where would like these rocks?

COOPER
Set 'em down by the donuts, Deputy.

Andy does. Lucy picks up a coffee pot.

LUCY
Would anyone like a warm-up?

EVERYONE
(severally)
Yes, please ... thanks ... you bet

COOPER
Damn good coffee ...
(sips, burns his tongue)
... and hot. Would everyone please take a seat?

Truman, Hawk, Andy and Lucy sit on the four folding chairs. Cooper takes a
telescoping pointer out of his coat pocket and expands it full length.

COOPER
By way of explaining what we've been doing and
are about to do, I'm going to first talk to you a
little bit about the country called Tibet.

Cooper flips the two-sided blackboard over, revealing a detailed map of Tibet and
surrounding countries tacked to the back.

COOPER
Tibet is bordered on the southeast by Burma, on
the south by India and Nepal, on the west by
India and Kashmir and on the north and east by
China. It is almost completely surrounded by
mountain ranges. An extremely spiritual country,
practising a form of Buddhism known as Tibetan
Buddhism, for many centuries the leader of Tibet
(MORE)
(CONTINUED)





(Revised 8/10/89-Blue)


25. CONTINUED:(2)

COOPER (continued)
has been known as the Dalai Lama; upon the
death of each Dalai Lama, his spirit is believed to
pass into the body of a newborn infant. An
exacting series of tests are performed to discover
this boys identity, who is then rigorously trained
to fulfill his great responsibilities.

The Sheriffs department is intrigued but completely mystified.

COOPER (CONTINUED)
In 1950, Communist China invaded Tibet and,
while leaving the Dalai Lama nominally in charge,
they in fact seized control of the entire country.
Following a Tibetan uprising against the Chinese
in 1959, the Dalai Lama was forced to flee for his
life to India and has lived in exile ever since.

Cooper collapses his expanding pointer.

COOPER (CONTINUED)
Following a dream I had three years ago, I have
become deeply moved by the plight of the
Tibetan people and have been filled with a desire
to help them.

Cooper flips the blackboard back over. The Sheriffs department members look
at each other just a tad uneasily.

COOPER (CONTINUED)
I also awoke from this same dream realizing that I
had subconsciously gained knowledge of a certain
deductive technique, involving mind-body
coordination operating hand-in-hand with the
deepest levels of intuition. Sheriff, Deputy Hawk,
if I could have your assistance I will be happy to
demonstrate this technique ...

Truman and Hawk look at the others, look at each other and stand. Cooper
expands his pointer again.

COOPER (CONTINUED)
You'll recall that on the day of her death Laura
Palmer wrote in her diary the following entry ...

Points to where this line is written along the top left side of the blackboard ...


COOPER (CONTINUED)
"Nervous about meeting "J" tonight." Remember
also that under the nail on the ring finger of
Laura's left hand we discovered the letter ...

Points to where this is written along the top right side of the blackboard ...

COOPER (CONTINUED)
"R." In addition, under the nail on the ring finger
of the left hand of Theresa Banks, the girl who
was murdered last year, we discovered the letter
"T."

He writes the letter "T" next to the "R."

COOPER (CONTINUED)
Today however we are going to concentrate on
the "J's." Harry, is you would, when I give the
word, would you please read aloud each of the
names we've written on the blackboard, all of
whom had a direct connection with Laura Palmer.

TRUMAN
Okay ... alright.

COOPER
Deputy Hawk, if you would hold this bucket of
rocks up near me where I can get at them ... and
would you please wear the kitchen mittens.

HAWK
(looks at Truman, who nods)
Yes, sir.

Hawk puts on a pair of kitchen mittens and picks up the bucket of rocks.

COOPER
Deputy Andy, would you please move down near
the bottle and stand by -

Andy rises and runs towards the distant rock, only too happy to help.

COOPER (CONTINUED)
(calling out)
Not too near!

Andy waves.


COOPER
Lucy, would you please take the chalk.

LUCY
(rises, takes the chalk from Cooper)
I'm getting excited.

COOPER
And if I hit the bottle after Sheriff Truman calls
out a particular name, make a check on the board
to the right of that name - Sheriff, I almost
forgot, when you say the name, also briefly
describe, if known, the person's relationship to
Laura Palmer - ready?

EVERYONE
(severally)
All set ... yes ... yep ...

ANDY
Ready!

Cooper nods to Hawk, who holds up the bucket, then nods to Truman.

TRUMAN
James Hurley ...
(searches for a description)
... secret boyfriend.

Cooper picks out a rock and holds it. He closes his eyes.

COOPER
James Hurley.

Cooper opens his eyes, winds up and hurls the rock towards the bottle. It strikes
the larger rock well below the bottle. Cooper nods at Truman.

TRUMAN
Josie Packard ... was instructed in English by
Laura.

Cooper picks up a rock, closes his eyes.

COOPER
Josie Packard.

Cooper opens his eyes and lets it fly. It sails way above the bottle, hits a tree and
startles a bird that takes flight.



LUCY
So there's no check next to either name.

COOPER
That's correct - next name, Sheriff.

TRUMAN
Dr. Lawrence Jacoby ... Laura's psychiatrist.

Cooper repeats the rock routine.

COOPER
Dr. Lawrence Jacoby.

Cooper throws again and hits the bottle. It falls off the rock but doesn't break.

LUCY
You did it, you hit it.

Lucy writes a check next to Jacoby's name.

COOPER
Lucy, make a note that the bottle was struck but
did not break - very important - Andy, put the
bottle back in exactly the same spot.

Lucy and Andy follow directions. Cooper nods to Truman.

TRUMAN
Johnny Horne ... Laura was his special education
tutor.

COOPER
Johnny Horne.

He throws and clanks a fifty-gallon trash can, under a Douglas fir.

TRUMAN
Norma Jennings ... owns diner, helped Laura
organize the Meals on Wheel charity program.

COOPER
Norma Jennings.

He throws and misses.

TRUMAN
Shelly Johnson ... waitress at diner, friend.



COOPER
Shelly Johnson.

Cooper throws again; it richochets off the large rock, shoots up and wings Andy in
the loaf.

COOPER
Andy, I'm sorry -

LUCY
Sweetie?

ANDY
(immediately reassuring)
It didn't hurt, honest, it didn't hurt a bit.

TRUMAN
Where there's no sense, there's no feeling.

They all laugh, including Andy.

COOPER
Sheriff, please continue.

TRUMAN
Joey Paulson ... friend of James, drove Donna to
meet him.

COOPER
Joey Paulson.

Cooper opens his eyes, takes aim and throws and misses. Lucy takes a loud sip of
coffee. Cooper nods to Truman again, who is slightly confused by the next name
on the blackboard.

TRUMAN
(doesn't know who this is)
Jack with One Eye ...

COOPER
Jack with One Eye ...

LUCY
There's no 'i' in Jack.

COOPER
I think perhaps it means he only has one eye.
(covers an eye)



HAWK
Sounds like Nadine, Big Ed Hurley's wife.

TRUMAN
No, there's a casino up north called One-Eyed
Jack's.

COOPER
That's it -

TRUMAN
It's across the border on the Canadian side.

COOPER
Sheriff, we're going to have to check that place
out.

TRUMAN
Sure, sure -

LUCY
Agent Cooper, I'm going to erase this because it's
a place not a person -

COOPER
Fine. Next name.

TRUMAN
It's the last one, Leo Johnson ... husband of
Shelly, drives a truck, connection to Laura ...
unknown.

COOPER
Leo ... Johnson.

He throws the rock, hits the bottle and breaks it.

CUT TO:
26. INT. LEO JOHNSON'S HOUSE DAY

SHELLY JOHNSON is sweeping up the shards of some broken dishes in the
kitchen. Her face is pale and drawn and as she bends stiffly over to pick up the
dustpan she winces with pain.

She shuffles over and dumps the dustpan out in the trash can. The phone rings.
She picks up the phone and for the first time we see an ugly bruise on her cheek.

SHELLY
H-hello?
INTERCUT:


27. INT. DOUBLE R DINER - DAY

NORMA JENNINGS is on the phone back in the kitchen.

NORMA
Shelly? It's Norma.

SHELLY
(trying to sound normal)
Oh hi, Norma, I was just about to call you -

NORMA
Are you alright?

SHELLY
I'm fine, I'm fine, actually, I'm not feeling too
good, think I got a touch of the flu -

NORMA
Shelly, didn't you have the flu last week?

SHELLY
Norma, I'm okay I just can't come in today.

NORMA
I'm worried about you.

SHELLY
Thank you, Norma, I'll be fine, I just need to
rest.

NORMA
You want me to bring you anything?

SHELLY
No, no, I've got everything here I need, but
thanks anyway, I hope you'll be okay down there,
Heidi should be able to work my shift, she
shouldn't mind too much, I know she needs the
money -

NORMA
Shelly, don't worry about it, you work on getting
better --

SHELLY
Norma, I know you always feel like you have to
drop by, but don't drop by, I'm okay ...
(she starts to get tearful, hides it)
I'll see you later.

Shelly hangs up. Norma hangs up slowly and takes a sip from a cup of coffee,
thinking about Shelly. She turns to a small television set on the counter behind
her and turns up the volume.

We MOVE in on the television screen in time to see

CUT TO:
28. THE TELEVISION

CLOSE on the set, as lush MUSIC swells over a robin's egg blue background and
we hear ...

ANNOUNCER
(syrupy)
Each day brings a new beginning ...

A beautiful, glowing white envelope is set down on the background and a silk
ribbon is effortlessly untied ... a folded white note is taken from the envelope ...

ANNOUNCER (CONTINUED)
... and every hour holds the promise of an ...

Violins soar as the note is opened and a scarlet red flowing script writes out the
program's title on the virgin white paper ...

ANNOUNCER (CONTINUED)
... . INVITATION TO LOVE ...

CUT TO:
29. NORMA

As she pours herself a piping hot refill, her eyes glued to the set

CUT TO:
30. THE TELEVISION

An establishing shot on the soap opera, a sign strung between two towering
Ponderosa Pines that reads:

"THE PINES"

CAMERA pans down to a smaller sign that reads:

"SOUTH GATE"

CUT TO:


31. SHELLY JOHNSON

In her living room, sitting uncomfortably on the edge of a chair, sipping coffee,
watching her television set ...
CUT TO:
32. THE TELEVISION

Under the "SOUTH GATE" signs, heavy iron gates swing open and we ...

DISSOLVE TO:

33. INT. "INVITATION TO LOVE" SET #1 - "NIGHT"

A fake-classy elegant generic living room-dining room. A beautiful, naughty
looking redhead, EMERALD, bursts into the room, steaming. She paces, picks up
a silver cigarette box, takes out a smoke, taps it down angrily on the box and fires
it up with a two pound acrylic-glass-sculpture fighter. She exhales in exasperated
burst of smoke.

A nice-good looking-but-ineffectual young man, CHET, follows her into the room,
carrying a highball.

CHET
Emerald, please, listen to reason -

EMERALD
Reason? Reason? There's no reason

CHET
Jared's your father -

EMERALD
And Melanie's my sister!

CHET
And she's my wife!
(she smokes)
Your father loves you, poor Jared, he's been out
of the hospital less than a week -

EMERALD
Ha! He wasn't even sick.

CHET
Yes, but those pains were real. You shouldn't
have spoken that way to Melanie, she was with
him at the hospital night and day, she was
exhausted when you spoke, she didn't mean to
hurt you

INTERCUT:


34. SHELLY

Sipping her coffee, watching the show hypnotically.
CUT TO:

35. THE TELEVISION

As the show continues ...

EMERALD
We'll see who's hurt ... Chet, you're a fool ...
(she puts out her cigarette in his drink)
And Melanie's a fool. And Jared's the biggest
fool of all.

MONTANA'S VOICE
(from off screen)
So what does that make me?

They both look towards a pair of open French doors leading out to a patio ...
standing there is MONTANA, a big insolent tough guy in t-shirt and leather jacket,
a cigarette hanging off his lip.

CHET
(stunned)
Montana ...

EMERALD
(pause, a sly smile)
I knew you'd be back.

MUSIC swells. Chet sweats. Montana scowls. Emerald sneers. The set fades to
black.
CUT TO:
36. INT. ED HURLEYS HOUSE - DAY

NADINE HURLEY watches, engrossed by the show on her television ...

ANNOUNCER
(from the TV set)
... INVITATION TO LOVE ... will return ...

Commercial music in; Nadine, in workout gear, resumes vigourously rowing on her
rowing machine. Wearing an extremely greasy gas station workshirt, his hands
covered with industrial strength grime, BIG ED HURLEY enters the front door
behind her, stops when he sees Nadine rowing away.

Ed tries to tiptoe around behind Nadine so she doesn't see him and in doing so
steps on a drape runner and a bag of cotton balls laid out on the floor. He bends
the drape runner. Nadine stops rowing.


NADINE
Ed!

ED
Sorry, honey, I didn't see it there -

NADINE
What are you doing?

ED
I popped a grease cartridge, needed to change
my shirt -

NADINE
You stepped on my drape runner -

ED
Nadine, honey, it's right out here in the middle of
the floor -

NADINE
You think that's an accident? I laid it out there
myself, I was up all night working on that
invention -- I'm going to have the world's first
100% quiet runner!

ED
I'm really sorry, Nadine -

NADINE
And why aren't you cleaning up at the Gas Farm?

ED
Ran out of cleaner, honey, Spanky knocked it
over chasing a hubcap -

NADINE
Ed, you make me sick!

Ed nods and moves into the other room. Pumped up with rage, Nadine regrips
the metal oars and pulls back on them; we hear the screech of rending steel as the
oars bend back like willow sticks.

CUT TO:
37. NADINE'S TELEVISION

The soap continues; JARED, a distinguished looking character of sixty, in smoking
jacket and ascot, sits at a desk, tears streaming down his face. He reaches out a
shaking hand for ...
CUT TO:


38. INT. JOHNSON HOUSE - DAY

Shelly continues to watch the soap ...
CUT TO:

39. SHELLY'S TELEVISION

... Jared's hand reaches toward a pistol, hovering above it. Music. Fade out.

CUT TO:
40. SHELLY

A sudden, loud knock on the door startles her. She switches off the set and
moves to the door.

SHELLY
Who is it?

BOBBY'S VOICE
Hey, baby, it's the big bad bobcat -

SHELLY
Are you crazy? What are you doing here?

BOBBYS VOICE
I just passed Leo, starting to diesel up out in
North Bend, the coast's clear, we got at least
twenty minutes, let me in -

SHELLY
Where's your car?

BOBBY'S VOICE
Parked in the woods, somebody might see me
out here and that'd be worse.

She decides to partially open the door and speak to him, keeping the bruised side
of her face hidden.

SHELLY
Bobby, you can't come here like this, we can't
see each other for a while -

He tries to kiss her, putting his arms around her, she stiffens up in pain and he
sees the bruises on her face.

BOBBY
What the hell happened to you?

SHELLY
Leo Johnson happened to me.




(Revised 8/10/89-Blue)


40. CONTINUED:

BOBBY
That bastard!

SHELLY
I'm telling you he's crazy, if he finds out about us
he'll kill you, he'll kill us both -

BOBBY
If he ever does this to you again I'll kill him.
(she gets a little twinkle in her eye)
I mean it.

They kiss tenderly.

SHELLY
Bobby, you gotta go.

BOBBY
You call me soon as you can.

SHELLY
Alright, I'll try.

BOBBY
(winks)
Save it for me, baby.

Bobby moves off. Shelly closes the door.
CUT TO:
41. INT. BLUE PINE LODGE - DAY

Josie Packard looks out a window and sees ...
CUT TO:
42. EXT. BLUE PINE LODGE - DAY

Pete and Katherine get into Pete's car and drive off.

CUT TO:
43. INT. BLUE PINE LODGE - DAY

Josie moves away from the door, exits into a corridor ...

CUT TO:

44. INT. BLUE PINE LODGE CORRIDOR - DAY

Josie moves down the corridor and enters another door ...

CUT TO:


(Revised 8/10/89-Blue)


45. INT. BLUE PINE LODGE OFFICE - DAY

Catherine's office. Leaving the door open, Josie moves behind the desk. She
searches for and finds a catch that releases a latch ...

... a false shelf of books hinge out from the wall, revealing in old fashioned wall
safe. Josie takes out the key that Pete gave her and inserts it in the keyhole of the
safe. She manipulates the handle and opens the safe door.

Josie reaches into the safe and lifts out two sets of two ledger books labeled:
PACKARD SAWMILL, RECEIPTS; one set labeled "1989" and the other "1990."

Josie hears a car drive up and brakes squeal outside.

CATHERINE'S VOICE
I told you to put it in the car -

Josie quickly puts the books back in the safe, closes the safe, replaces the false
book shelf and scurries out of the room.
CUT TO:
46. INT. BLUE PINE LODGE CORRIDOR/OFFICE - DAY

Just as Josie enters the corridor, Catherine comes up the stairs to the corridor.
Josie hurries back into the office and hides in the closet

CATHERINE
(to herself, as she enters the office)
I told that knothead twice to put it in the car.

Catherine moves to the desk, looking for something, which she finds. Josie
watches from the closet as Catherine remembers something, picks up a phone,
punches in a number on the auto-dialer and waits.

CATHERINE (CONTINUED)
Ben, Catherine ... where the hell were you last
night? I thought we had a date ... family crises?
You want to see a family crises, try standing me
up twice in a row, Mr. Debonair.

She hangs up and exits. In the closet, waiting, Josie ponders this information.

FADE OUT:

END ACT TWO



(Revised 8/10/89-Blue)


ACT THREE

FADE IN:

47. EXT. CHURCH - DAY

A church bell rings. Citizens are leaving church.
CUT TO:

48. EXT. CHURCH - CLOSER - DAY

Doc Hayward pushes Mrs. Hayward in her wheelchair towards the handicapped
access ramp. Donna exits the church behind them and sees Audrey Home is
standing outside, leaning against a railing.

AUDREY
(to Donna)
Hi.

DONNA
Hi.

Something in Audrey's look says she wants to talk to Donna.

DONNA (CONTINUED)
I'll be right there, Dad.

DR. HAYWARD
We're going over to get a Softie Freeze, you'll be
joining us won't you?

DONNA
Dad, when have I ever missed a Softie Freeze?

MRS. HAYWARD
Maybe Audrey would like to join us.

AUDREY
Do you all go for a Softie Freeze every Sunday.?

DR. HAYWARD
Every Sunday after church since Donna was a little
girl.

MRS. HAYWARD
We enjoy it so much. Hope you can join us.

Mrs. Hayward drives down the ramp.



48. CONTINUED:

DR. HAYWARD
Nice to see you in church, Audrey.

Dr. Hayward follows his wife off.

AUDREY
(sincerely)
I wanted to come down 'cause of Laura.

DONNA
What do you mean? I didn't think you even liked
her.

AUDREY
There were things about her I didn't like, but she
helped take care of my brother. And I guess I
sort of loved her for that. that's why I'm here.

DONNA
That's really nice of you.

AUDREY
I knew how close you were to her. I wanted to
tell you how sorry I am.

DONNA
Thanks.

Audrey nods, shyly, ready to move off.

AUDREY
You take care.

Donna watches her start to go.

DONNA
(feeling Audrey's loneliness)
Why don't you come with us for a Softie Freeze?

AUDREY
I don't know ...

DONNA
Really.

AUDREY
(touched)
Yeah?



DONNA
Sure, come on, they're really good.

AUDREY
Okay.

DONNA
And if we're really lucky, maybe my Dad will tell
his story about the night the porcupine got into
the hospital.

AUDREY
Oh, I'd like to hear about that.

They walk off together towards the parking lot.

CUT TO:
49. EXT. SHERIFFS STATION - DAY

Re-establish.
CUT TO:

50 INT. SHERIFFS STATION RECEPTION AREA DAY

Three men in black suits, hats and sunglasses enter the building, each carrying an
stainless steel suitcase. The point man is ALBERT ROSENFIELD, a brilliant,
mannerless FBI forensic expert, the others are his ASSISTANTS. Lucy looks up
from behind the reception window.

ALBERT
(abruptly)
Tell Agent Cooper that Albert and his team are
here.

LUCY
Albert?

ALBERT
Are we going to have to stand here all afternoon?

LUCY
No.

ALBERT
Albert. Albert Rosenfield. Ro-sen-field.


LUCY
(punches into the switchboard)
Sheriff, this is Lucy, is Agent Cooper with you?

TRUMAN'S VOICE
(over the speaker)
Yes -

COOPER'S VOICE
(over the speaker)
Is Albert here, Lucy?

LUCY
(surprised)
Yes he is.

COOPER'S VOICE
We're on our way.

LUCY
(to Albert)
Agent Cooper will be right with you.

ALBERT
(takes out a cigarette)
I can hear perfectly well.

One of his Associates lights his cigarette. None of them see Lucy stick out her
tongue at Albert.
CUT TO:

51. INT. SHERIFF STATION CORRIDOR - DAY

As Cooper and Truman move towards the reception area.

COOPER
Harry, just so you know, Albert and his team are
the cream of the crop -

TRUMAN
If they're working for you, I wouldn't expect
anything less.

COOPER
Albert's a forensic genius, but I should warn you
he's lacking in some of the social niceties.





(Revised 8/10/89-Blue)


51. CONTINUED:

TRUMAN
Nobody's perfect.

COOPER
Isn't that the truth?

They turn a corner and come upon Albert and his team

ALBERT
What the hell kind of an two-bit operation are
they running out of this tree house, Agent
Cooper?

COOPER
Albert, this is Sheriff Truman.

ALBERT
I have seen some slipshod backwater burgs in my
time but this place takes the cake.

Truman gives an astonished look at Cooper, who gestures "see what-I mean?"

ALBERT (CONTINUED)
What are you waiting for paint to dry? We've
got work to do, damn it, they're putting the girl
in the ground tomorrow, half the day's wasted
traveling out here to the middle of nowhere -

COOPER
(keeps his cool; knows Albert well)
Albert, I suggest you and the fellas go to work.

TRUMAN
I'll have one of my men escort you to the morgue
and we'll take one of your men up to the crime
site.

COOPER
(hands him a file)
Results from the local pathologist's autopsy.

ALBERT
(scans it scornfully)
Welcome to Amateur Hour.
(to his men)
Looks like an all-nighter.

They pick up their suitcases. Truman holds the door open for them.



TRUMAN
(as Albert passes)
I hear you're good at what you do.

ALBERT
Correct.

TRUMAN
That's good, because normally if a stranger came
into my station talking this kind of crap he'd walk
out wearing his teeth for a charm bracelet.

Albert and Truman look eye-to-eye. Albert blinks first, puts on his shades and
heads out. His men follow. Truman looks at Cooper, who winks at hirn.

CUT TO:
52. EXT. DOUBLE R DINER - EVENING

Establish.
CUT TO:
53. INT. DINER EVENING

Norma's brewing a new pot of coffee, when Ed Hurley walks in and takes a seat at
the counter. With a fair number of other customers scattered about, Ed and
Norma. interact discreetly as she pours him a cup of joe.

NORMA
Fresh pot.

ED
I could use it.

NORMA
Hard day?

ED
They don't get any easier. How 'bout you?

NORMA
Had a girl sick today. Double shift. Been on my
feet since breakfast.

ED
So much for a day off.

NORMA
'Got an appointment with Hank's parole officer
in the morning.

(CONTINUED)


(Revised 8/10/89-Blue)


53. CONTINUED:

ED
What's that all about?

NORMA
Don't know. Guess I'll find out.

ED
When's Hank's hearing?

NORMA
Tuesday.

They try not to show their fear to each other. A CUSTOMER sits down at the
counter next to Ed. Norma hands him a menu and moves away. Ed rises, put a
buck on the counter, gives Norma a thumbs up as he heads out.

54. INT. ED HURLEYS HOUSE - NIGHT
CUT TO:

Ed enters, quietly, moves into the living room. He stops when he hears moans
and cries of exertion coming from another room; it sounds like someone's making
love.

Ed moves to the, doorway, slowly opens the door ...

... and discovers the cries are Nadine's, who's doing bench presses on a weight
bench with what looks like an enormous amount of weight.

Ed moves away from the door.

NADINE'S VOICE
Ed? 'That you?

ED
It's me.

We hear the sound of the huge weight clang to the floor and Nadine hurries into
the room, flushed with excitement.

NADINE
Ed ... Ed, I'm so happy, sweetheart, I have to
thank you.

She embraces him, hugs him alarmingly hard.

ED
Why's that?



She looks up at him, her eyes wide and bright.

NADINE
You don't know what you've done for me.

ED
No, I don't.

NADINE
Ed, you big lug ... when you tracked all that
grease in the house today you spilled some onto
my cotton balls, but instead of tossin' 'em out I
put the greased ones on my runners - Ed, just
listen to this ...

She opens and closes the curtains: completely silent runners.

NADINE (CONTINUED)
Completely silent ...

ED
How 'bout that?

NADINE
(tears of joy in her eye)
Ed ... we're going to be so rich.

She embraces him again. Ed pats her back, tries to manufacture a smile.

CUT TO:
55. EXT. GREAT NORTHERN HOTEL - NIGHT

Re-establish. The Sheriffs cruiser pulls up.
CUT TO:

56. COOPER AND TRUMAN

As they sit in the cruiser, parting for the night, Cooper consulting his notes,
Truman making some of his own.

COOPER
Tomorrow we interrogate the trucker Leo
Johnson and Dr. Lawrence Jacoby ...

TRUMAN
Right --



COOPER
We'll see what Albert and his team have after
examining Laura and the abandoned train car.

TRUMAN
Right - funeral's tomorrow.

COOPER
Right. No change on the girl at the hospital,
Ronette -

TRUMAN
Still in a coma -

COOPER
Is it always this temperate at night?

TRUMAN
This time of year.

COOPER
This is so pleasant. And the humidity's so low.
In Philadelphia sometimes you get a heaviness in
the air like wet flannel pajamas.

TRUMAN
Why do you think they call it the "Great
Northwest?"

COOPER
Harry, you're preaching to the convinced.

They shake hands.

COOPER (CONTINUED)
You know where to find me.

TRUMAN
Yes I do.

Cooper gets out of the car.
CUT TO:

57. INT. GREAT NORTHERN HOTEL BAR - NIGHT

Ben and Jerry Horne stand at the bar, nursing tall beers, throwing cashews into the
air and catching them in their mouths. Passing by the door, Cooper sees them
and enters the bar.



COOPER
Mr. Horne?

Both Ben and Jerry turn towards him.

COOPER (CONTINUED)
Benjamin Horne?

BENJAMIN
Agent Cooper, I presume.
(they shake hands)

COOPER
FBI.

BENJAMIN
This is my brother Jerry.

JERRY
(shakes hands)
Happy to make your acquaintence.

COOPER
I must say, this is one handsome and comfortable
hotel you have here, gentlemen.

BENJAMIN
Thank you. We aim to please.

COOPER
Do you get a lot of the vacation dollar up this
way?

BENJAMIN
Yes we do, but of course never as much as one
would like.

JERRY
Nothing a large resort wouldn't fix.

COOPER
A large resort. Is that Jerry with a "J?"

JERRY
Yes it is.

COOPER
I believe I've met your daughter, Mr. Horne.
(MORE)
(CONTINUED)




(Revised 8/10/89-Blue)


57. CONTINUED:(2)

COOPER (continued)
What a charming and attractive girl.

BENJAMIN
("are we talking about the same person?")
... Audrey?

COOPER
You must be very proud. Well I'll say goodnight.
Nice to have met you both.

BENJAMIN
Sleep well.

COOPER
I will. The bed is almost exactly the right degree
of firmness.

He's gone. The brothers took at each other: "what is with this guy?"

CUT TO:
58. EXT. WOODS/INT. CAR - NIGHT

Bobby Briggs and MIKE NELSON pull up in Bobby's car next to a stand of trees.
Bobby kills the engine but the headlights remain on. They look out at the woods.

MIKE
I don't see him.

BOBBY
He'll be here. Come on, back me up.

Bobby pops the glove compartment. Mike takes a switchblade out, pockets it.
Bobby grabs a flashlight. They step out of the car.
CUT TO:

59. EXT. WOODS - NIGHT

Bobby and Mike walk slowly forward, Mike lagging a step or two behind. They
reach a particular tree with a large hollow knot. Bobby reaches into the knot and
pulls out a football.

MIKE
Is it there? Is it in there?

Bobby kneels down and reaches into a slit cut across the top of the hollow
football. He pulls out a small packet of white powder.



BOBBY
Not all of it.

LEO'S VOICE
Cash on delivery, Bobby.

They look up. LEO JOHNSON is standing between them and the car, backlit by
headlights, holding a shotgun.

BOBBY
(rises slowly)
Hey, Leo.

MIKE
Hey.

LEO
Toss it over here, quarterback.

BOBBY
It's empty.

He tosses the football to Leo.

LEO
Is that right? Weren't you supposed to leave
something in there for me?

BOBBY
That's what we wanted to talk to you about, man.

LEO
Half down, half on delivery. That's the deal.

BOBBY
You haven't delivered. We already gave you half.
(holds up the drugs)
This is less than you owe us for that -- where's the
rest?

LEO
Where's the rest of the money?

MIKE
There's a problem.

LEO
Problem?




BOBBY
Laura had the other half, in a safe deposit box.

LEO
'You think you got problems?

BOBBY
We can get it, Leo, soon as things settle down.

LEO
(advancing)
You owe me ten grand.

BOBBY
(backing off)
Okay. So we won't take delivery until we get it
for you --

LEO
Look at me - I look like a bank to you?

BOBBY
Man, I can appreciate your concern, but this
thing with Laura, how'm I supposed to anticipate,
a thing like that?

LEO
Laura was a wild girl.

BOBBY
Tell me about it.

LEO
Maybe. Someday.

Leo's right next to Bobby, Mike behind him. Bobby and Mike took at each other.
Mike reaches into his pocket. Without taking his eyes off Bobby, Leo slowly
swivels the shotgun around and trains it on Mike.

LEO (CONTINUED)
Take your hand out of your pocket. Mike.

Mike and Bobby look at each other. Bobby nods. Mike takes his hand out.

BOBBY
What's your problem, Leo?


LEO
Problem? You want to know about problems?

BOBBY
... Okay.

LEO
You go out on the road. You're drivin'. Back
and forth. Gone for days. You get home and
guess what?

BOBBY
What?

LEO
You find out your old lady's been givin' it away.

BOBBY
Yeah?

LEO
Yeah. Steppin' out. In your own ... damn ...
(loud whisper)
... bedroom ...

Leo's eyes dart back and forth. Ampheternines. Bobby and Mike look at each
other.

LEO (CONTINUED)
U>That's ... a problem.

He cocks the gun.

BOBBY
I guess so. I guess it is. 'You know who?

LEO
A man needs a clean house.

BOBBY
Sure ... so do you know who?

LEO
I will take care of it.

BOBBY
Sure you will ... and this other thing, hell, we'll
take care of that, too, don't you worry about that.
we'll get that cash and we'll square everything -

LEO
Go out for a pass.

BOBBY
What?

LEO
Go out. Run. Run.

Bobby and Mike back away from him.

BOBBY
Leo, take it easy, okay?

LEO
Run!

Bobby and Mike turn and starts jogging away from him, back towards the car,
picking up speed, glancing over their shoulders.

MIKE
Oh God ...

As he reaches the clearing where the car is parked we hear a primal scream from
the woods behind him.

They turn as the scream dies away and they reach the car. Something comes
soaring up out of the woods and arcs down towards them ...

... the football thuds onto the hood of the car, scaring the shit out of Mike and
Bobby. They look at each other.

BOBBY
Let's get the hell out of here.

They jump into the car and speed off into the night.
FADE OUT:

END ACT THREE





ACT FOUR

FADE IN:

60. EXT. GREAT NORTHERN HOTEL ROOM - NIGHT

Dale Cooper is undressing for bed. He sets his bedside travel alarm clock, takes
off his wristwatch sets it down, picks up his tape recorder.

COOPER
Diane, 1:18 a.m. Long day, turning in. Albert
and his team should have something for us by
morning. Run a check for me on a Jerry Horne,
Twin Peaks businessman, Jerry with a j, h-o-r-n-e.
Nothing specific. Call it an instinct. Check that;
intuition. An instinct is when you get hungry.
Let's also get background on a local psychiatrist,
Dr. Lawrence Jacoby, and wants-and- warrants on
a truck driver, Leo Johnson, also local. The air
here is as fresh and crisp as a cracker; you don't
sleep, you slumber. Good night, Diane.

He turns off the recorder, sets it down. Picks up a roll of dental floss and tears off
a string.
CUT TO:

61.
EXT. PALMER HOUSE - NIGHT

Re-establish.
CUT TO:
62. INT. PALMER BEDROOM - NIGHT

Leland is on the phone, sitting on the edge of the bed. Sarah sits listlessly in a
chair.

LELAND
(into the phone)
Yes ... yes, Madelaine, dear, we'd appreciate it a
great deal ... the funeral's at two o'clock ...
alright, we'll look for you around noon ... thank
you, dear ... drive safely.

Leland hangs up, turns to Sarah.

LELAND (CONTINUED)
(gently)
Sarah? ... Sarah?

Leland moves over to her and kneels down beside her, as she turns towards him.
During the following, he takes a pill from a bottle, hands it to her, along with a
glass of water.

(CONTINUED)


LELAND (CONTINUED)
Sarah, that was cousin Madelaine ...

SARAH
(a little hazy)
Donald's girl?

LELAND
That's right, niece Madelaine.

SARAH
Is she here?

LELAND
She's driving in, tomorrow. For the service.

SARAH
Oh.

Silence. Sarah takes the pill, drinks.

SARAH (CONTINUED)
I'm going to go downstairs for a while.

LELAND
Alright.

A long pause before Sarah rises and slowly moves out of the room. Leland fights
back some tears. He takes a pill from the bottle and swallows it.

CUT TO:

63. INT. DALE COOPER'S HOTEL ROOM - NIGHT

Dale Cooper lies asleep in bed. We move in slowly on him ...

CUT TO:
64. INT. PALMER LIVING ROOM - NIGHT

(NOTE: FROM THIS POINT TO THE LAST SCENE ON PAGE 55 IS DALE COOPER'S
DREAM)

Sarah Palmer sits on a couch, eyes half-closed, fighting off memories ...

INTERCUT:
65. SARAH'S MEMORY - TIME DISTORTED

She moves up the stairs, the morning of the discovery of the murder. She calls
out Laura's name. She looks in her room. She moves down the hall and calls
again.

Sarah shifts uneasily on the couch ...

INTERCUT:

66. INT. LAURA'S ROOM SARAH'S POV TIME DISTORTED

She enters Laura's room and looks one way, then another ... one way, then
another ...

Sarah opens her eyes in horror ...

A FRIGHTENING MAN is crouched in the corner by the foot of Laura's bed,
clutching the brass rails. It's the same man Sarah saw in her vision the previous
day.

Sarah sits bolt upright and screams ...

SARAH
LELAND! I SAW HIM! OH! OH!

67. INT. LELAND PALMER'S BEDROOM - NIGHT

Leland Palmer frantically dials the phone ...

INTERCUT:
68. INT. LUCY'S APARTMENT - NIGHT

Andy is playing "TAPS" on the trumpet. Lucy is sitting in a chair hitting a ball
attached by a string to a paddle. The phone on the table beside her rings. She
answers.

LUCY
Hello, Lucy Moran's residence, this is Lucy ...

LELAND
Lucy, Lucy!

LUCY
Shh! Andy, shh!, I'm trying to talk on the
telephone

Andy stops playing.

LELAND
Lucy, this is Leland Palmer, I'm trying to get in
touch with the Sheriff, Sheriff Truman, he's not at
home, can you tell me where he is?

LUCY
You know, Mr. Palmer, I don't.
(puts hand over the phone, shushes Andy,
he stops playing)

LELAND
Lucy, my wife has just remembered, she believes
she saw the killer, this morning, in Laura's
bedroom -

LUCY
No - how is that possible?

LELAND
I don't know, but she thinks with someone's
help she could draw the face that she
remembers.

LUCY
Actually, Deputy Tommy the Hawk Hill is our
police sketch artist, he's very good, the pictures
look just the people he's drawing -

LELAND
Lucy, can you please get the Sheriff and that
Deputy over here right away.

LUCY
Okay. You know, I've got an idea, as soon as we
hang up, I'm going to try the Sheriff in his car, in
his cruiser, and tell him everything you've told
me -

LELAND
Thank you, Lucy.

He hangs up, shaking his head. We stay with Lucy as she hangs up and quickly
punches in another number.

LUCY
(to Andy)
That was Mr. Palmer, he told me that he thinks
his wife remembers that this morning, possibly
when she was in her daughter's room that she
saw the -
(leaving Andy hanging)
Hello, Sheriff?

CUT TO:
69. INSERT INT. SHERIFF'S CRUISER - NIGHT

Truman, answer the radio call.

TRUMAN
Yeah Lucy, what is it? ...
INTERCUT:

70. INT. LUCYS APARTMENT NIGHT

Lucy is on the phone.

LUCY
Isn't it funny, I had a feeling you'd be in your
cruiser - Sheriff, Mrs. Palmer was in her
daughter's room this morning and she just
remembered that, are you sitting down, of course
you are, you're driving, she remembered that she
saw - the - killer.

TRUMAN
You're kidding ...

LUCY
And they want you and Hawk to go over to their
house, she wants Hawk to make a sketch -

TRUMAN
I'll be right there - ten minutes.
CUT TO:
71. INT. GREAT NORTHERN HOTEL ROOM - NIGHT

Agent Dale Cooper lies in bed, sleeping fitfully, troubled by a dream.

CUT TO:
72. INT. HOSPITAL CORRIDOR - NIGHT

In shadow, a pay phone in the hospital corridor. A FIGURE that we can't see
picks up and dials the phone.

FIGURE'S VOICE
Agent Dale Cooper, please ... wake him ...

INTERCUT:



73. INT. COOPER'S HOTEL ROOM - NIGHT

Woken from his troubled sleep, Cooper answers the phone.

COOPER
(answers the bedside phone)
Agent Cooper ...

FIGURE'S VOICE
Were you sleeping?

COOPER
Yes, who is this?

FIGURE'S VOICE
It's a strange night. There's something in the air,
can you feel it?
(silence)
You know about Theresa Banks, the pretty girl
they found last year ...

COOPER
Yes, I know about Theresa

FIGURE'S VOICE
I know the man who did her ... I know about the
stitches, with the red thread ... and there's more
that I think you'd enjoy hearing ... I'm at the
hospital now.

COOPER
I'm on my way.

He hangs up the phone, starts to get out of bed and the phone rings again.

COOPER (CONTINUED)
Agent Cooper ...
INTERCUT:
74. INT. LUCY'S APARTMENT - NIGHT

Lucy is on the phone, Andy's nearby, listening.

LUCY
Hi, Agent Cooper, it's Lucy from work?

COOPER
Are you still at work, Lucy?

LUCY
No, Andy and I are over at my place, Andy was
playing the trumpet and we were getting ready
for bed and do you know what happened?

COOPER
No, tell me -
(stay with Cooper, a long answer)
Oh, oh, oh, uh-huh, okay, okay, I understand ...
Lucy, tell the Sheriff to get that sketch and meet
me at the hospital - yes, the hospital - I've just
received a phone call -

LUCY
(stay with her as she listens)
... oh my goodness, isn't that something?

Back on Cooper as he hangs up, picks up his tape recorder and speaks into it as
he starts to dress.

COOPER (CONTINUED)
Diane, woken from a sound sleep at the Great
Northern Hotel, room 315, it's 2:24 a.m.
Received two phone calls, back to back, the first
from a man unknown to me who had certain
confidential information about the Theresa Banks
murder. I'm on my way to meet him now. At
the same time, Mrs. Palmer apparently
remembered or had a vision of the killer. The
Sheriff is on his way to her and will meet me
afterwards. Diane, when two separate events
happen simultaneously pertaining to the same
object of inquiry, we must always pay strict
attention.
CUT TO:

75. INT. HOSPITAL - NIGHT

Andy stands in the doorway. The One-Armed Man stands in the shadows of the
room. Cooper and Truman, carrying two police sketches, join Andry.

ANDY
He's unarmed. He wants to see you and he wants
to see you in thie particular roorn.

Truman and Cooper turn towards the man.

ONE-ARMED MAN
Don't turn on the overheards. The flourescents
don't work. I think a transformer's bad.

COOPER
We know that.

ONE-ARMED MAN
Yes. Wasn't Laura Palmer here earlier? "Through
the darkness of futures past, the magician longs
to see, one chance out between two worlds ...
fire, walk with me" ... We lived among the
people. I think you say, convenience store. We
lived above it. I mean it like it is, like it sounds
... my name is Mike. His name is Bob.

COOPER
You were in an elevator here.

ONE-ARMED MAN
I was looking for Bob. He sometimes works
among the infirm, the injured of the species. I
was watching, Mr. Cooper, for over a year.
Waiting for Bob to come out again. I've known
of your interests in the results of his endeavors ...
I too have been touched by the devilish one.
Tattoo on the left shoulder... oh, but when I saw
the face of God, I was changed. I took the entire
arm off.

Truman and Cooper took at each other.

TRUMAN
We'd like to shoe you a police sketch of Bob, for
verification.

ONE-ARMED MAN
Of course.
(Truman holds up a bogus sketch)
No, no, that's not Bob.
(Truman holds up the correct sketch)
That is Bob.

TRUMAN
(to Cooper)
That's the man Mrs. Palmer identified.

COOPER
Where is Bob?


ONE-ARMED MAN
He's here. Right here. He's downstairs, in the
basement.

CUT TO:

76. INT. HOSPITAL BASEMENT BOILER ROOM - NIGHT

Cooper and Truman enter the basement, gun drawn. KILLER BOB, the frightening
long-haired man, crouches over a circle of candies on the far side of the room.

Bob's hand reaches in and sets down a half of a heart necklace onto a pile of dirt
in the center of the candles.

Truman and Cooper advance. Bob rises.

KILLER BOB
(strangely)
Hello. Welcome to the killer's lair. Come down,
I won't hurt you. Come down ... is Mike with
you.?

COOPER
No.

KILLER BOB
Oh, I so much wanted to sing with him again.
Mike? Mike, can you hear me? "Heads up, tails
up, running to your scallywag/night falls, morning
calls, catch you with my Death Bag."

TRUMAN
The letters. What were the letters going to spell?

KILLER BOB
Robert. That's. my proper name. Teresa's was a
"t."

COOPER
That's right.

Behind Cooper and Truman, unseen by them, Mike is coming up behind them, a
gun in his hand.

KILLER BOB
You may think I've gone insane. But I promise I
will kill again!


MIKE
Ahh! Like Hell!

Mike runs up and fires his gun twice. Bob goes down, mortally wounded. Mike
clutches a pole and twists to the ground, in agonizing sympathetic pain.

MIKE (CONTINUED)
Bob ... Bob, it hurts something terrible ... wait
... wait till your rum, Bob ... oh Bob ... wait till
your turn ...

Mike dies. Truman takes his gun away. Cooper looks over at the candles.

COOPER
Make a wish.

A breeze blows out the candles ...
DISSOLVE TO:

A title card reads: TWENTY-FIVE YEARS LATER

77. INT. RED-DRAPED ROOM - DAY

A large, windowless, well-lit sparsely furnished red-draped room. A table and
three easy chairs. Dale Cooper, twenty-five years older, sits in one of the chairs.
A LITTLE MAN, three and a half feet tall, in a red suit, stands with his back to
Cooper, shaking violently. A BEAUTIFUL YOUNG WOMAN who looks exactly
like Laura Palmer, sits across from Cooper in another easy chair.

The Little Man stops shaking, turns to Cooper and claps his hands, once.

LITTLE MAN
Let's rock!

The Little Man sits in a chair beside the Beautiful Woman. The Little Man closes his
eyes and rubs his hands slowly together.

The Little Man hold hands with the Woman, they look at each other and then look
at Cooper, smiling enigmatically. The Little Man rubs his hands slowly together
again; the shadow of a bird passes above them.

Both the Little Man and Woman's speech is oddly stilted. We see sub-titles under
them, with the correct words. Throughout, Cooper sits still, watches and listens.

LITTLE MAN
I've got good news. That gum you like is going to
come back in style. She's my cousin, but doesn't
she look almost exactly like Laura Palmer?


COOPER
But it is Laura Palmer. Are you Laura Palmer?

WOMAN
I feel like I know her, but sometimes my arms
bend back.

LITTLE MAN
She's filled with secrets. Where we're from, the
birds sing a pretty song and there's always music
in the air.

Strange saxophone music filters into the air. The Little Man hops off the chair and
begins to dance a strange dance around the table. The Woman rises, goes over
and gently kisses Cooper on the mouth. She softly whispers something in his ear.

CUT TO:

78. INT. COOPER'S HOTEL ROOM - NIGHT

Cooper shoots up out of bed, waking from this strange and disturbing dream He
fumbles for the phone and dials.

COOPER
Harry, it's Cooper, meet me for breakfast, seven
o'clock, here at the hotel. I know who killed
Laura Palmer.

He hangs up.
FADE OUT:

THE END