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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
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