[TWIN PEAKS] S01E01 - Screenplay

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

TRACES TO NOWHERE

MARK FROST DAVID LYNCH


First Draft
JULY 12, 1989

Revisions:
August 10, 1989 - Blue
August 18, 1989 - Pink





ACT ONE
FADE IN:

1. EXT. GREAT NORTHERN HOTEL - DAY

Dawn breaks over the Great Northern.
CUT TO:

2. INT. GREAT NORTHERN HOTEL ROOM - DAY

We hear him before we see him, but DALE COOPER is perched six inches above
the floor in a one-handed yoga "frog" position, wearing boxer shorts and a pair of
socks, talking into the tape recorder which is sitting on the carpet near his head.

COOPER
Diane ... 6:18 a.m., room 315, Great Northern
Hotel up here in Twin Peaks. Slept pretty well.
Non-smoking room. No tobacco smell. That's a
nice consideration for the business traveller. A
hint of douglas fir needles in the air. As Sheriff
Truman indicated they would, everything this
hotel promised, they've delivered: clean,
reasonably priced accomodations ... telephone
works ... bathroom in really tip-top shape ... no
drips, plenty of hot water with good, steady
pressure ... could be a side-benefit of the
waterfall just outside my window ... firm
mattress, but not too firm ... and no lumps like
that time I told you about down in El Paso ...
Diane, what a nightmare that was, but of course
you've heard me tell that story once or twice
before. Haven't tried the television. Looks like
cable, probably no reception problems. But the
true test of any hotel, as you know, is that
morning cup of coffee, which I'll be getting back
to you about within the half hour ... Diane, it
struck me again earlier this morning; there are
two things that continue to trouble me, and I'm
not just speaking as an agent of the Bureau but
also as a human being: what really went on
between Marilyn Monroe and the Kennedys?
And who really pulled the trigger on JFK?
CUT TO:

3. EXT. SHERIFF TRUMAN'S HOUSE - MORNING

A rustic log house, with the Sheriffs cruiser parked in front. A rooster crows.
SHERIFF TRUMAN exits the house, carrying a soiled paper bag. He walks around
the side yard to a chicken coop and scatters the feed he has in the bag into the
coop. They start clucking and pecking.


TRUMAN
How you girls doin' this morning? Sounds like
you got plenty to talk about today. Hope it's
good news.

He empties the bag and starts towards the cruiser.
CUT TO:
4. EXT. DOUGHNUT SHOP - DAY

A sign reads: WAGON-WHEEL DO-NUTS.
CUT TO:
5. INT. DOUGHNUT SHOP - MORNING

A banner reads: GO AHEAD; MAKE MY DONUT. Another banner reads:
SQUARE DEALS ON ROUND DONUTS.

DEPUTY ANDY BRENNAN and LUCY MORAN are at the counter, in the middle of
ordering.

LUCY
... two boxes of chocolate creams with jimmies, a
box of maple bearclaws, one raspberry swizzle
twist, two boxes of jelly donuts
(to Andy)
I'm ordering extra jelly donuts because they're
Agent Cooper's favorite, you know my aunt I told
you about with the raccoons? She liked jelly
donuts, they were her favorite, but she doesn't
remind me at all of Agent Cooper.
(a new thought)
Her son, though, does -

ANDY
And one plum frappe turnover.
CUT TO:
6. INT. SHERIFF'S CRUISER - MORNING

Truman drives past Wagon-Wheel Do-Nuts just in time to see Lucy and Andy
leaving the shop, with Andy carrying a stack of donut boxes up to his neck.

Truman pulls into the parking lot next to them and leans out the window.

TRUMAN
Can I give you three a lift?

LUCY
(looking atound)
But Sheriff, there's only two of us.


Truman and Andy look at each other.
CUT TO:

7. INT. GREAT NORTHERN HOTEL DINING ROOM - DAY

Dale Cooper sits at a choice corner table, holding a fresh, hot cup of coffee, as a
WAITRESS stands by, holding the coffee pot.

COOPER
(holding up a hand to stop her)
Wait right there, wait right there ...
(he sniffs the coffee; hmm ... he sips)
You know, this is, excuse me, a damn good cup
of coffee. I've had I can't tell you how many
cups of coffee I've had in my life and this ...
(another sip)
... this is one of the best.

WAITRESS
Thank you.

COOPER
I'd like two eggs, over hard, don't tell me, I
know it's hard on the arteries but old habits die
hard, just about as hard as I want those eggs ...
bacon, super crispy, almost burned: cremate it --

CUT TO:
8. AUDREY HORNE

Across the room, watching Cooper order. She slips into her beguiling, rip-your-
heart-out routine and sashays across the dining room to Cooper's table.

COOPER (CONTINUED)
(just finishing up)
... that's great, I'll have the grapefruit juice, as
long as ...
(sees Audrey approaching)
... those grapefruits are freshly squeezed.

The Waitress departs. Audrey smiles.

AUDREY
My name is Audrey Home.

COOPER
Federal Bureau of Investigation, Special Agent
Dale Cooper.


AUDREY
Can I sit here?

COOPER
(pleasantly)
Miss Home, unless I miss my guess, your father is
Benjamin Home, the owner of this fine
establishment, so I guess you can sit anywhere
you like. And I'd also like to add it would be my
pleasure.

Audrey sits, a little confused, runs a hand over her forehead.

AUDREY
You know, sometimes I get so flushed ... it's
interesting.

COOPER
Were you a friend of Laura Palmer's?

AUDREY
Not exactly.

COOPER
Her father works for your father. Did you know
each other growing up?

AUDREY
Oh we knew each other ...

COOPER
But there was something about her you didn't
like.

AUDREY
Everybody liked Laura. She was just Little Miss
Perfect. Laura tutored my older brother Johnny
three times a week. Johnny's twenty-seven and
he's in the third grade. He's got emotional
problems; it runs in the family. Do you like my
ring?
(holds out her hand to show a big rock))

COOPER
Very nice.

AUDREY
My father bought it for me. my father was crazy
about Laura. He bought her a pony when she
was nine, but he let her father say it was from
him. Its name was Troy.
(absent-mindedly rubs her left palm)
Do your palms ever itch?

Cooper studies her benignly.
CUT TO:
9. BENJAMIN HORNE

Crossing the hallway outside the dining room, he glances in and sees his daughter
sitting with Dale Cooper. He stops, takes this in, then moves on.

CUT TO:
10. EXT. LEO JOHNSON'S HOUSE MORNING

The trucker, LEO JOHNSON, is obsessively cleaning the cab of his semi rig with a
dustbuster. A bucket of hot water, some sponges and a hose are at the ready
nearby. We see that Leo's name is stenciled on the rig's door, along with the
name, "BIG PUSSYCAT." SHELLY JOHNSON, in her waitress uniform, comes up
to the truck.

SHELLY
Leo, honey? I gotta go to work now, Norma'll be
here any sec ... Leo?

Leo turns off the dustbuster and turns to her.

LEO
Did you finish cleaning my boots?

SHELLY
They're all done and I did the laundry, too.

LEO
All of it?

SHELLY
Well yeah.

LEO
No you didn't.

He grabs a used grocery bag full of dirty clothes from the cab and flings it at her.

SHELLY
Sure, Leo, when I get home I'll -

LEO
Now, Shelly.

SHELLY
Okay.

Shelly starts back towards the house.
CUT TO:

11. INT. JOHNSON KITCHEN - MORNING

Shelly dumps the clothes out of the grocery bag onto a laundry basket in front of
the washer. She shakes out the clothes before putting them in. She stops short
when she sees a large, dark red bloodstain on a faded blue cowboy work shirt.

She starts to tremble. She hears a car horn beep outside. She looks out the
window, sees Norma's car pull in near the truck but she doesn't see Leo.

She hears the screen door open and bang shut in the other roorn.

LEO'S VOICE
Shelly? Norma's here.

Shelly makes a brave decision: quickly folds the bloodstained shirt and stashes it
behind the washer, dumps the rest of the clothes in the washer, loads the
detergent, closes the door and starts it just as Leo comes in the roorn.

LEO
Shelly, did you hear me say Norma's here?

SHELLY
I heard you, Leo.

She starts out. He catches her by the arm.

LEO
I'm gonna come by the diner sometime today.
Be a good girl and save me a piece 'a pie.

He pinches her cheek softly and holds it.

SHELLY
(manages a smile)
Sure, Leo.

He works her cheek for a moment, squeezing a bit harder. Shelly hides her fear.

CUT TO:

12. EXT. JOHNSON HOUSE/INT. NORMA'S CAR - MORNING

Norma sits behind the wheel of a maroon '64 Falcon station wagon. Shelly gets in
beside her and they drive off.

NORMA
Leo sure keeps that truck up, doesn't he?

SHELLY
He sure does.

NORMA
(glance at her, sees her condition)
We're sure a couple a' characters, aren't we
Shelly?

SHELLY
Norma, you said a mouthful and then some.

NORMA.
Guys ...
(shakes her head)

SHELLY
(shakes her head)
Guys.

NORMA
'You hear what happened at the Roadhouse last
night?

SHELLY
No.

NORMA
Big fight. Bobby Briggs hit Ed Hurley with some
brass knuckles -

SHELLY
Bobby hit Ed? Weird.

They look at each other, each knowing the other's secret but not saying so.

NORMA
Ed's got a concussion. Then Bobby and Mike got
into it with the Bookhouse boys, took two patrol
cars to break it up. Bobby and Mike're probably
still in jail.


(revised pink 3-18-89)

SHELLY
(shakes her head)
... Guys.

NORMA
Guys.

CUT TO:
13. EXT. SHERIFF'S STATION ENTRANCE - MORNING

Re-establish.
CUT TO:

14. INT. SHERIFFS STATION RECEPTION AREA - MORNING

Deputy Andy takes a big bite of his plum frappe turnover, just as Dale Cooper
breezes through the front door and waves brightly as he passes.

COOPER
Morning, Deputy.

ANDY
(his mouth completely full)
Good morning, Agent Cooper.

Lucy, at the coffee station holding a pot and a cup, turns to face Cooper, with a
doughnut stuck in her mouth.

COOPER
Hey there, Lucy.

LUCY
(barely intelligible)
Agent Cooper, I got jelly for you special, the
Sheriff's down the hall in Interrogation.

COOPER
I'll just look for him down the hall in
Interrogation.

He moves down the hall.
CUT TO:
15. INT. INTERROGATION ROOM A - MORNING

Cooper whisks in just as Truman, coffee mug in hand, takes an enormous bite of a
humongous bearclaw.


(Revised pink 8-18-89)

COOPER
Hey, Sheriff: three for three.

Truman tries to chew, holds up his hand to be patient. Cooper sits.

COOPER (CONTINUED)
Number one, James Hurley: as soon as his lawyer
gets here we bring him up from Cell Four and
talk to him straight. He was in love with Laura
Palmer, my bet is she told him whatever dirt she
knew about Bobby and Mike and who knows
what else ... if James plays ball we send him off
with our blessings and a firm reminder to watch
his back when Mike and Bobby hit the streets ...
(Truman nods, trying to chew fast)
Then we'll have a chat with those two
perpetrators, let's run a top to bottom on
Bobby's vehicle and in the meantime let's find
out what the autopsy report on Laura Palmer
gives us.
(he rises)
I've got the rest of the day mapped out. I'll meet
you back here in interrogation ... I really have to
urinate. By the way, the coffee at the Great
Northern? Incredible.

He exits, just as Truman finally swallows his mouthful of bearclaw.

CUT TO:
16. INT. INTERROGATION ROOM A - DAY

JAMES HURLEY is seated, next to his LAWYER, across from Truman, as Cooper
enters and sits beside the Sheriff.

TRUMAN
James has been advised of his rights.

COOPER
James, you were placed under arrest for suspicion
of murder, the murder of Laura Palmer. You
have no previous criminal record, is that correct?

JAMES
None. No, sir.

Cooper turns on the VCR and we see the same videotape of Laura and Donna at
the picnic that we saw earlier. James watches the video.


(Revised pink 8-18-89)

COOPER
James, did you shoot this video tape?

Cooper fast forwards to the freeze frame of the motorcycle reflected in Laura's eye.

COOPER (CONTINUED)
Isn't that your cycle, James?

JAMES
Yes, sir, it is. The three of us went up there two
Sundays ago.

COOPER
(gently)
James, you were in love with Laura.
(James is silent)
The two of you were seeing each other secretly.
No one else at the school, or any of her friends
knew about it; she was the homecomecoming queen,
her boyfriend was the captain of the football
team. How much longer did you think you could
keep this relationship secret?

JAMES
It was secret because that's the way she wanted it.

COOPER
Why do you suppose that was, James? Do you
think it had something to do with Bobby?

JAMES
It had everything to do with Bobby.

COOPER
Why? Was she afraid of Bobby?

JAMES
I think so.

COOPER
Did you know that Laura was using cocaine?

JAMES
(pause)
Yes.

COOPER
Did you ever take cocaine with her?


(Revised pink 8-18-89)

JAMES
No, I tried to get her to stop.

COOPER
When was the last time you saw her?

JAMES
Two nights ago. The night she died. For about
three hours. She snuck out of her house about
9:30. About 12:30 I stopped the bike at the light
at Sparkwood and 21. She jumped off and ran
away. I didn't see her again.

COOPER
You're sure it was 12:30?

JAMES
Yes, sir, Steve's Liquor Locker was closing up as
we drove by and he closes right at 12:30.

COOPER
'You and Laura have a fight?

JAMES
Not exactly. But she said she couldn't see me
anymore.

COOPER
Why?

JAMES
She didn't say.

COOPER
Was she high that night?

JAMES
Yes.

COOPER
Where did she get her drugs?

JAMES
I don't know. Most of the time we were together
she was clean.

COOPER
Did she get her drugs from Bobby?

(Revised pink 8-18-89).

JAMES
I really don't know where she got 'em she never
talked about it. She didn't like that part of herself.

COOPER
Why did she start using again?

JAMES
(getting emotional)
I don't know. Something happened, a couple of days ago -

COOPER
What happened?

JAMES
I don't know exactly. I think something scared
her. She wouldn't talk to me, she wouldn't see
me for a couple days -

COOPER
Until the last night.

JAMES
Yes.

COOPER
Did she call you that night?

JAMES
Yes.

Cooper looks at Laura's diary, open in front of him, at the page for February 5th;
the page marked "DAY ONE." He takes the half-heart necklace from his pocket.

COOPER
Do you recognize this necklace, James?

JAMES
Yes, sir.

COOPER
James, what happened on February fifth?

Tears form in his eyes. He fights them back.
WHITE OUT TO:
17. EXT. PARK - DAY

Laura Palmer, lying on a picnic blanket, playfully turns to face James.


(Revised pink 8-18-89)

LAURA
What day is it today?

JAMES
Sunday.

LAURA
No, I mean the date.

JAMES
The fifth of February.

LAURA
Okay. It's an important day for me, James.
You've got three guesses why I'm so happy today.

JAMES
Because you're the most beautiful girl in the world?


LAURA
No.

JAMES
Because you have the cutest nose in the world?

LAURA
No.

JAMES
Because your skin is so soft and you smell so
good?

LAURA
No.

JAMES
Why?

LAURA
Because I really believe that you love me.

She takes the necklace from her pocket, "breaks" the heart in two, gives half to
James and puts the other half around her neck.
WHITE OUT TO:
18. JAMES

Sitting in interrogation. Looks up at Cooper.


JAMES
I don't remember.

Cooper looks at hirm
CUT TO:

19. EXT. JOHNSON HOUSE - DAY


Leo is putting the last touches on polishing his truck, when he's struck by a
troubling thought. He throws open the door of the cab and frantically searches
behind and under the driver's seat. He can't find what he's looking for.

LEO
Darnn it.

He jumps down from the cab and runs towards the house.

CUT TO:
20. INT. JOHNSON HOUSE LAUNDRY ROOM - DAY

Leo hurries in, throws open the top of the washer, pulls out the full load of soggy
laundry and searches through them, looking for the bloody shirt that he does not
find.

LEO
NO!

Leo kicks the washer hard. The washer goes "tilt" and makes a loud, rhythmic
honking sound.

FADE OUT:

END ACT ONE


ACT TWO

FADE IN:

21. INT. DONNA HAYWARD'S BEDROOM - DAY

DONNA HAYWARD lies asleep in bed. The sound of an operatic aria drifts
through the room, originating downstairs. Donna shifts, starting to waken,
stretches and smiles like an untroubled angel. Then her eyes open and she
remembers Laura's death.

CUT TO:
22. INT. HAYWARD LIVING ROOM - DAY

Donna enters the room, where her mother, EILEEN, sits in her wheelchair doing
some elaborate needlepoint, listening to the opera on the hi-fi.

DONNA
Mom?
(Eileen doesn't hear her)
Mom?

EILEEN
Oh, good morning, dear, I didn't hear you come
down.

She uses a remote control to turn down the volume of the hi-fi and takes her
daughter's hand.

DONNA
Mom, it's ten-thirty, why didn't you wake me? I
was supposed to go back down to the sheriff's --

EILEEN
They called this morning and said they could wait
until tomorrow to see you. Your father and I
thought you should rest. You woke us crying in
your sleep last night, do you remember?

DONNA
No, really?

EILEEN
We feel so badly for you, we're so sorry.

DONNA
(sits beside her)
Mom, it's so strange. I know I should be sad,
and I am, part of me is, but I ... it's like I'm
having the most beautiful dream and the most
terrible nightmare all at once.

EILEEN
Your father told me you went out last night to
meet a boy named James Hurley. Does this have
anything to do with him?

DONNA
(nods, decides to confide)
Can this be between you and me?

EILEEN
(takes her hand)
Of course it can.

DONNA
James and Laura were seeing each other the last
two months. They fell in love. I was the only
one who knew about it. James was so good for
her, you don't know how troubled Laura was, the
kind of trouble she was in and how much she
wanted to get away from Bobby --

EILEEN
I've been waiting for something like this about
Bobby. And what about Mike?

DONNA
Mom, Laura and I made a pact. We wanted to get
away from them, from both of them --

EILEEN
Are you saying you think Bobby had something
to do with Laura's death?

DONNA
I don't know. I think Bobby's dangerous, I think
he's capable of almost anything.

EILEEN
What did you tell the police?

DONNA
Nothing, I don't have any proof of anything and
what's terrible is James was with Laura the night
she died, but Mom I know he didn't do it.
(close to tears)
Last night, I had to see him, we were the two
people closest to her in the world. But I feel so
bad ...

EILEEN
Why angel?

DONNA
Because we realized that all this time ... we were
the ones who were failing in love. I feel like I've
betrayed my best friend ...
(tears)
.. but if that's true, then why do I feel so happy?

Donna falls into her mother's arms.
CUT TO:

23. INT. GREAT NORTHERN HOTEL OFFICE - DAY

LELAND PALMER sits behind his desk, talking on the telephone. His SECRETARY
sits across from him.

LELAND
... Palmer, P-A-L-M-E-R ... yes, that's correct, my
daughter ... her name was Laura ... I'm calling to
make the arrangements, the funeral, everything, I
want everything taken care of, I don't care how
much it costs and if you don't mind, I'd prefer.
that we not even discuss money

During above, Benjamin Home enters, stops and listens.

LELAND (CONTINUED)
... I don't understand the question ... what's the
difference? What do you mean "leak" ...
seepage? I think I --
(loses it, almost a moan)
-- no, don't --
(screams)
DON'T TELL ME!!! DON'T TELL ME!!!

He pushes the phone and everything else on his desk away from him. He gets up,
crosses to a cabinet stereo, turns on the sound on a modem jazz quartet record,
9/4 time, about as loud as it can go.

Benjarnin goes to the Secretary.


(Revised pink 8-18-89)

BENJAMIN
(quietly)
Take him to the lounge and call Dr. Jacoby.

She nods, goes to Leland, takes him gently by the arm and leads him out of the
room.

Benjamin Home turns down the sound on the stereo, goes to the desk and picks
up the phone.

BENJAMIN (CONTINUED)
This is Benjamin Horne, who am I speaking to?
... fine ... mahogany and teak? well, you can
forget that, Mr. Formaldehyde, I'm picking up
the tab here and you vampires are not taking a
bite out of my checkbook in order to exploit my
colleague's tragedy ... start thinking lead.

He slams down the phone, just as we hear, from outside

JERRY HORNE'S VOICE
No, no, no, don't put 'em in my room, in here,
through that door right there!

JERRY HORNE, Benjamin's younger, wiry brother enters, followed by four
BELLHOPS, carrying a mess of mismatched Samsonite.

BENJAMIN
Good to have you back, Jerry, how was Paris?

JERRY
(shakes his hand)
In a minute ...
(turns back to the Bellhops, points down)
Right THERE, no, no, right THERE!

The Bellhops careftilly set the bags down as directed.

JERRY (CONTINUED)
What's the matter with Leland? Looks like
somebody shot his dog.

The Bellhops all stop and took at Benjamin.

JERRY (CONTINUED)
What is WITH you guys? I've got a sandwich in
there and I want all those bags opened - we're
looking 'til we find it.


The Bellhops hop to it; all the bags are opened. Jerry tosses clothes around the
room until he finds a baguette with brie wrapped in white paper.

JERRY (CONTINUED)
Brother Ben, this is the best damn sandwich I
ever ate, it's a baguette, with brie and butter, had
four of these damn things every day I was there.
(he reaches in and finds another one)
Got a couple left - here, try one.

BENJAMIN
(takes the sandwich)
Jerry, Leland's daughter was murdered. And the
Norwegians left.

JERRY
Did they sign?

BENJAMIN
No. The deal's off.

JERRY
We had those Vikings by the horns, what
happened?

BENJAMIN
One of 'em left a note.

JERRY
What's it say?

BENJAMIN
We're not a hundred percent sure, they took the
translator with 'ern.

JERRY
Did you say Leland's daughter was murdered? ...
Laura?
CUT TO:

24. INT. SHERIFF'S STATION INTERROGATION - DAY

DR. HAYWARD opens the folder containing Laura's autopsy report, ready to share
the results to Truman and Cooper. Dr. Hayward absentmindedly tugs on a thread
sticking out of his sleeve.

HAYWARD
Harry, as you know, I delivered Laura. I knew

(Revised pink 8-18-89)

24. CONTINUED:

HAYWARD (continued)
her her entire life; she was my daughter's best
friend. I couldn't bring myself to do the post-
mortem, so last night I called in Joe Fielding from
Fairvale. He did the work, I assisted, this is what
he found
(puts on glasses, consults the sheet)
Time of death estimated to be between midnight
and four a.m. What killed her was loss of blood.
Numerous shallow wounds, no single one serious
enough to have been the cause of death. Bite
marks. On her tongue, probably self-inflicted.
Lesions on wrists, ankles and upper arms, where
she was bound. We're waiting on toxological
tests for drug use. Within the last twelve hours of
her life, she had sexual relations with at least three
men.

He rugs again on the loose thread on his sleeve; a button pops off his shirt, hits
and table and spins. He takes off his glasses, wipes his eyes.

COOPER
And you've examined Ronette Pulaski as well.

HAYWARD
(composing himself)
Yes. Wound patterns are consistent. In my
mind, there's no question the same perpetrator
attacked them both.

TRUMAN
Doc, when, if ever, will Ronette be able to talk to
us?

HAYWARD
She suffered a severe head wound, it's still too
early to tell, add to that the psychological impact
of the fear, probably witnessing what happened
to Laura before her ...

COOPER
The answer's in there somewhere.

Doc Hayward looks at a close-up picture of Laura taken where she was found on
the beach.

HAYWARD
So beautiful. Who would do a thing like that?

CUT TO:

25. INT. HOLDING CELL - DAY

Mike and Bobby sit on their steel cots. Mike moves to Bobby, who's hanging his
head upside down off the back of the cot, kneels down beside him and speaks to
him quietly.

MIKE
Hey Bopper ... since when does Leo Johnson call
me at my parent's house?

BOBBY
Leo called you?

MIKE
Yesterday. He was looking for you. He wanted
to know where the other half of the money was.

BOBBY
What'd you tell him, Snake?

MIKE
Hey, as far as I knew he didn't have any of it yet, I
thought the deal was we were supposed to give it
to him today.

BOBBY
I gave him half already.

MIKE
(surprised and a little angry)
When did you see him?

BOBBY
Hey, I saw him the other night, okay?

MIKE
What night? You mean Thursday night?

BOBBY
Yeah, Thursday.

MIKE
Wait a minute, that night we followed Laura back
to her place after she left your house --

BOBBY
Check. We had a couple brewskis and I
dropped you off.


MIKE
Check.

BOBBY
(lowering his voice further)
And then I went to see Leo, 'cause I had this
money burning a ten thousand dollar hole in my
pocket.

MIKE
What about the other half?

BOBBY
It's in Laura's safe deposit box.

MIKE
You didn't get it back from her?

BOBBY
She was supposed to hand it over today. Then
she went and checked out on us.

MIKE
So how we gonna get that ten grand for Leo?

BOBBY
(wise-ass)
I don't know, Snake. Maybe we could sell light-
bulbs door-to-door.

MIKE
That's great, that's just great. This isn't funny,
man.

BOBBY
You see me laughing?

MIKE
We're lucky we're in jail, you know what's gonna
go down when we get out? Maybe we oughta
figure a way to stay in here --

BOBBY
(grabs his shirt)
Don't even think like that - and don't mention
one word about Leo Johnson, you do not know
Leo Johnson.


MIKE
But what about --

The holding area door opens. Hawk leads James back in and takes him back to
his cell. Bobby jumps up from his cot and moves to the bars.

BOBBY
Oh, look at that. Here comes that accident
waiting to happen.

HAWK
That could constitute a threat, Briggs.

BOBBY
Gee, I'm sorry.

James enters his cell.
CUT TO:

26. INT. SHERIFF'S DEPARTMENT RECEPTION AREA - DAY

Truman and Cooper make their way towards the front, as ED HURLEY, a bandage
on his head, rises from his seat.

TRUMAN
Hey Ed, how's that coconut?

ED
Kind'a tender. My pride's hurt worse.

TRUMAN
Yeah, since when can some 18 year old punk take
Big Ed Hurley out, even if he was wearing knuckle
dusters. Ed, this is Agent Dale Cooper.

COOPER
(shakes hands)
Any relation to James?

ED
I'm his uncle. His mother's out of town, called
this morning, asked me to come on over. You
fellas plan on holding him a while?

COOPER
No, we can release him into your custody.

Truman looks at him.


(Revised pink 8-18-89)

26. CONTINUED:

ED
Let me understand; is James being charged?

COOPER
I had one small doubt which James has
satisfactorily cleared up for me. He didn't kill
anybody. But you tell him to be careful; we're
going to have to release Mike and Bobby today as well.

ED
Will do.

Lucy calls from the switchboard.

LUCY
Agent Cooper, I've got a call for you from a Mr.
Albert Rosenfield, sounds like long distance, it
has that open-air sound wherd it sounds like wind
blowing, you know like wind through the trees --

Cooper moves towards her to take the call. Ed takes Truman by the arm and
lowers his voice.

ED
Harry, I've been thinking about last night at the
Roadhouse: something's not right.

TRUMAN
(kidding him)
Yeah, when I first saw that bandage I thought
Nadine might've gotten wind of you and Norma.

ED
Harry, if Nadine'd gotten wind of me and Norma,
I'd be playing harp for the Heavenly All-Stars.
No, the thing is I can remember Mike and Bobby
grabbing Donna, I stood up to walk over and I
got all lightheaded, I was out on my feet before I
got there, I don't even remember getting hit --

TRUMAN
What are you saying?

ED
I'm pretty sure my beer was drugged. And you
know who was tending bar last night.

Truman thinks a moment, then nods.

CUT TO:


27. COOPER

On the phone at the switchboard.

COOPER
Alright, Albert, bring the boys, you guys can
have the body all day tomorrow ... no, can't do
it, they're gonna bury her on Monday ... and
Albert, if you come through Lewis Fork, I can
recommend a place for lunch, the Lamplighter Inn.
(waxing enthusiastic)
They've got a cherry pie that could kill you.

CUT TO:
28. EXT. HARDWARE STORE - DAY

Carrying a small tray of sandwiches, Norma is going into the hardware store down
the block from the Double R Diner. She holds the door open for a woman who's
exiting, obscured behind a big bag of hardware. It's NADINE HURLEY. Norma
sees her first.

NORMA
(pleasantly)
Hi, Nadine.

NADINE
What are you doing here, Norma?

NORMA
(pleasantly)
I might ask you the same question.

NADINE
(a hint of aggressiveness)
And I will tell you: I've gotten all new drapes for
my house. Ed bought them for me yesterday at
Gentle Jim's and we installed them together.
They're a beige sheer. I was up. all last night, do
you know what I was doing?

NORMA
(a little worried)
No, I don't.

NADINE
I was inventing a noiseless, completely silent
drape runner. And do you know how it works,
do you know what makes it work? The thing I
thought of at four this morning while I was
waiting for my husband to be released from
intensive care?

NORMA
What's that?

Nadine takes a package out of the bag, wrenches it open and grabs a handfull of ...

NADINE
Cotton balls. By God, those things'll be quiet
now.

Nadine moves off. Norma enters the store.
CUT TO:
29. INT. SHERIFF'S STATION WAITING AREA - DAY

Ed Hurley rises, as James is escorted out and unhandcuffed by Hawk. James moves
to Ed.

JAMES
Did you have to post bail?

ED
Had a talk with Harry. No charge.

JAMES
(a source of pain)
Mom still out of town?

ED
Yeah. She's still out of town. Let's get out of
here.

JAMES
(nods)
Gonna need a hand from the Bookhouse Boys.
Somebody's gotta watch my back.

ED
Already got it covered.

They exit.

CUT TO:

30. INT. INTERROGATION ROOM A - DAY

Mike sits at the table, as Dale Cooper enters.



COOPER
So tell me, Mike, what are you doing hanging
around with a guy like Bobby Briggs?

MIKE
He's my friend.

COOPER
You don't seem like such a bad kid to me, but
Bobby Briggs could drag you straight into hell.
How long has Donna Hayward been your
girlfriend?

MIKE
Around two years.

COOPER
Why were you screaming at her and roughing her
up last night at the Roadhouse?

MIKE
That's between her and me.

COOPER
Between you and her or you, her and James
Hurley?

MIKE
What's that supposed to mean?

COOPER
You guys were out looking for James last night --

MIKE
That's right, he was fooling around with Laura,
next thing we know she's dead and he's out
fooling around with Donna --

COOPER
You couldn't find James so you picked a fight
with his gang instead.

MIKE
They started it.

COOPER
After Bobby decked Ed Hurley with a pair of
brass knuckles.


MIKE
He was defending himself - look, I already spent
a night in jail, are you charging me with
something?

COOPER
Settle down there, punk. I could make one
phone call and you'd go so far away God couldn't
find you.

Cooper smiles. Mike gets the picture.
CUT TO:

31. INT. INTERROGATION ROOM B - DAY

Truman sits across from Bobby, filling out a report, when Cooper breezily enters.

COOPER
Hi, Bobby, I was just talking to Mike. Now
before we get started, have you got your stories
straight?

BOBBY
If you tell the truth you don't have to get your
stories straight. Besides the sheriff tells me we're
just in here for fighting and it was self-defense.

COOPER
Right. Well, I guess you can go then.

Cooper sits, takes the whistle he whittled out of his pocket and begins to sand it
with a small piece of folded sandpaper. Truman looks at him.

BOBBY
... now?

COOPER
Yeah.

Bobby stands and makes his way to the door.

COOPER (CONTINUED)
Oh, Bobby ...
(Bobby stops at the door)
Pray for the health and safety of James Hurley,
because if anything happens to him we're coming
for you.


They look at each other. Bobby exits. Cooper stands and takes out his electronic
notebook.

COOPER (COISMNUED)
What are you sitting around for Harry? We got
places to go and people to see.

TRUMAN
I'm gonna start studying medicine.

COOPER
Why's that?

TRUMAN
'Cause I'm starting to feel like Dr. Watson.

FADE OUT:

END ACT TWO






(Revised pink 8-18-89)

ACT THREE

32. (DELETED)
FADE IN:

33. INT. BLUE PINE LODGE KITCHEN - DAY

CLOSE on a trout as it's slit open and held under running water. PETE MARTELL
proceeds to clean the fish in the sink, whistling a happy tune. In a dressing gown,
over a negligee, JOSIE PACKARD enters the kitchen, a happy look on her face.

JOSIE
On top of the morning to you, Pete.

PETE
No, Josie, the expression is "top of the morning"...
(looks up at the clock)
... and it's just barely morning.

JOSIE
(pouring coffee)
So perhaps I should say, 'Bottom of the afternoon.'

PETE
That'd be more like it.

Out of sight, below the counter, we hear a little dog bark. Josie bends down to pet it

JOSIE
Hello, Koro, good fellow ... is Catherine at the mill?

PETE
She wanted to run a half-shift on account of us
closing down yesterday. I told her she was on
her own, I was goin' fishin.
(holds up his string)

JOSIE
Pete, I want to thank you for yesterday, for
standing up to me with Catherine.

PETE
No, Josie, it's not you I was --
(thinks better of it)
Forget it. Catherine was wrong yesterday --

The doorbell rings. Pete goes to answer it. He returns a few moments later.

PETE
Josie, the Sheriff and the gent from the FBI are
(more)


(Revised 8/.10/89-Blue)

33. CONTINUED:

PETE (continued)
here to see you.

Josie follows Pete into the living room.
CUT TO:
34. INT. BLUE PINE LODGE LIVING ROOM DAY

Josie enters with Pete. Cooper and Truman rise.

TRUMAN
Mrs. Packard, this is Dale Cooper, FBI.

COOPER
Pleased to meet you, m'am.

JOSIE
Thank you. Can I offer you gentlemen a cup of joe?

COOPER
Mrs. Packard, you said the magic word.

TRUMAN
I'd love a cup, thanks.

PETE
I'll get that for you. Mr. Cooper, how do you take it?

COOPER
Black as midnight on a moonless night.

PETE
Pretty black.
(Pete exits)

JOSIE
Please, grab yourself a chair.

They all sit. Out of sight, the little dog barks again.

COOPER
Look at him, what a cute little fellow, what's his name?

JOSIE
Koro.

COOPER
(filing this away)
Koro. Koro. That means something.


JOSIE
Chinese. I am not sure exactly. My late husband
Andrew named him. "Big, stearning engine" perhaps?

Cooper start to bend down to pet Koro, Truman tries to signal him not to. A growl, a yip and
Cooper withdraws his hand.

COOPER
Mrs. Packard, I'll come right to the point. Mrs.
Packard, I understand that you'd hired Laura
Palmer to come see you twice a week to help you
with your English, is that correct?

JOSIE
Yes, you see my late husband, Andrew ... I first
learned English from him, when we met in Hong
Kong but I have learned after his death that he
spoke only in what you would call "western cliches" --

COOPER
That's very interesting, Mrs. Packard, so you
hired Laura to help you

JOSIE
That is the ticket, because I was apparently not
even saying the cliches correctly.

COOPER
When was the last time you saw Laura?

JOSIE
Thursday afternoon, about the time the mill blew five.

COOPER
That would be five o'clock?

JOSIE
Yes.

COOPER
When did she leave?

JOSIE
After one hour, when the lesson was finished. I
did not see her again.

COOPER
How did she seem to you on Thursday afternoon?


JOSIE
Something was bothering her but we did not
have a heart-to-heart on it. She said one thing,
though, which stuck to my mind. She said, "I think
now I know how you feel about your husband's death."

COOPER
Did she say what that was in reference to?

JOSIE
No, but I think of it now like an old song with a
haunting melody that I can't stop hearing in my head.

COOPER
Uh-huh. Did you ask her then what she meant by this?

JOSIE
It was just as she was leaving. There was no time.

She stares at the floor. Cooper and Truman look at each other. The phone rings.

JOSIE (CONTINUED)
Excuse me, please ...

She rises and exits. Cooper smiles strangely at Truman.

COOPER
How long have you been seeing her?

TRUMAN
(about three different reactions before ... )
How did you know?

COOPER
Body language.

TRUMAN
Geez ... uh, not long. About six weeks. Andrew
died a year and a half ago.

Pete sticks his head back in.

PETE
You'd never guess; had to make a new pot: there
was a fish in the percolator.

Pete exits.


(Revised pink 8-18-89)


34. CONTINUED:(3)

COOPER
Was there an inquest into her husband's death?

TRUMAN
Yeah. He took his 36-footer out on Black Lake.
He'd just put in a customized high performance
engine, there was an explosion on board. We
found pieces of the boat but nothing of Andrew.
It was ruled accidental.

COOPER
(lowers his voice)
You never found the body?

TRUMAN
Don't look at me like that. He was like a father to me.

COOPER
Take it easy, Harry, you're so far above suspicion
I can't even see you through the clouds.
CUT TO:
35. INT. BLUE PINE LODGE KITCHEN - DAY

Josie is on the phone.

JOSIE
... yes, Catherine, I'm listening ...
INTERCUT:
36. INT. SMALL PLEASANT MOTEL ROOM - DAY

CATHERINE PACKARD MARTELL is on the phone, sipping a drink, unbuttoning her shirt.

CATHERINE
I just thought you ought to know what your
sentimental good-will shenanigans cost us
yesterday, you do know what shenanigans are,
don't you? ...

Josie mouths the word, not at all sure.

CATHERINE (CONTINUED)
Shutting down the mill for eight hours, plus the
night-shift, cost us eighty-seven thousand dollars
and change. Do you really think that would have
made Andrew happy?

She hangs up. Turns and raises her glass and touches glasses with Benjamin Home,
who smiles and swoops down for a kiss.
CUT TO:


37. INT. BLUE PINE LODGE KITCHEN - DAY

Josie exits. Pete scrubs the coffee pot, whistling happily. We move off him to
reveal a small dead fish on the counter, coated with coffee grounds, in a small, thin
pool of steaming percolator water.
CUT TO:
38. INT. BLUE PINE LODGE LIVING ROOM - DAY

Josie re-enters the room. Truman and Cooper rise. Preoccupied, Josie sits down,
mouthing a word to herself. Truman and Cooper slowly sit.

TRUMAN
Jocelyn --
(covering himself)
Mrs. Packard? ... Josie?

JOSIE
What is "shenanigans?"

COOPER
(word perfect)
Nonsense; mischief; often, a treacherous or
deceitful trick.

Josie looks sad. Koro barks. Truman and Cooper look at each other.

CUT TO:
39. (DELETED)

40. EXT. SMALL PLEASANT MOTEL DAY

Cottages, a little vacation spot tucked away at the base of White Tail Mountain.

CUT TO:
41. INT. MOTEL ROOM - DAY

Catherine Martell is lounging in bed. Benjamin Home is in front of a mirror, tying
his tie.

CATHERINE
Why do you always have to rush off?

BENJAMIN
(looks at his watch)
We've been here over an hour.

CATHERINE
There was a time when we'd take all afternoon.

BENJAMIN
In the sweetness of passing time, this hour will
soon seem like a day.

CATHERINE
Sing it to somebody else. I'm not one of your
teenage peabrain chambermaids.

BENJAMIN
(insincerely)
Oh I'm sorry, did I offend your delicate
sensability?

CATHERINE
My mistake. I'd gotten used to us conducting
business and pleasure.

BENJAMIN
Sweetheart, it's all the same to me.

CATHERINE
Well I'm no schoolgirl either. What's the next
step?

BENJAMIN
(sits beside her on the bed)
We may not have to do anything: a few more
local tragedies and josie may run that mill into the
ground herself.

CATHERINE
You should have seen her, so proud and weepy
over that little cheerleader's death, as if she was
the only one in the world with feelings.

BENJAMIN
But the fact is those losses are going to look
beautiful in the books.

CATHERINE
With the pace we've set it'll still be months
before the mill's bankrupt. I don't know if I can
wait that long. Besides, there's always a chance
my knothead husband may decide to take a peek
at those dusty old books.

BENJAMIN
Maybe it's time for a fire.


CATHERINE
Are you talking about business or pleasure?

BENJAMIN
I'm talking about the Packard sawmill.
(she gets the idea)

CATHERINE
All that dry wood lying around ...

BENJAMIN
A stray spark one night ...

CATHERINE
... when Pete's off on a toot with Smokey the
Bear.

BENJAMIN
(lust in his eyes)
Now I remember how those hours turned into
days ...

He starts removing his tie. She smiles and reaches up for him.

CUT TO:

42. EXT. GREAT NORTHERN HOTEL AND WATERFALL - DAY

Re-establish.
CUT TO:

43. INT. GREAT NORTHERN HOTEL PRIVATE QUARTERS - DAY

Looking in on JOHNNY HORNE, in his Indian headress, standing in the middle of
the room, staring at the ceiling.

CUT TO:
REVERSE ANGLE

Truman and Cooper looking in at Johnny, with DR. LAWRENCE JACOBY beside
them. Dr. Jacoby stifles a small giggle and quietly closes the door.

CUT TO:
44. INT. GREAT NORTHERN HOTEL CORRIDOR - DAY

Truman, Cooper and Jacoby move down the corridor.


(Revised pink 8-18-89)

44. CONTINUED:

JACOBY
I can't get over it. He just stands there day after
day, I've never seen anything like it.

COOPER
Dr. Jacoby, how old is Johnny Horne?

JACOBY
Twenty-seven going on six.
(giggles)
Just kidding. Sorry.

TRUMAN
And you've been treating him for how long?

JACOBY
Treating him? Well, with Johnny it's not so
much a question of treating him --

COOPER
I understand Laura Palmer was his tutor.

JACOBY
Monday, Wednesday and Friday, after school.
Those were the same days I'd come to see
Johnny and his mother. Laura was Johnny's
favorite. He knew which day it was, too, he'd
stand just like that, waiting for her.

COOPER
Does Johnny get out much?

JACOBY
Sure, after his schoolwork ... Laura would take
him out on the grounds hunting for rubber
buffalo with his little sunction-cupped bow and
arrow set. Some afternoons, he'd bag the limit.

TRUMAN
Was she here on Wednesday afternoon?

JACOBY
Yes she was. I sat in with them. She read him a story.

COOPER
What story was that?


(Revised pink 8-18-89)

44. CONTINUED:(2)

JACOBY
(thinks of it)
Isn't that interesting? It was "Sleeping Beauty."

COOPER
You said Laura was a patient of yours as well.

JACOBY
Yes. But of course all of that information dwells
in the land of client confidentiality.
(he beams at them, then reaches behind
Cooper's ear and pulls out a silver dollar)
Johnny loves that trick. He thinks we've found
over four hundred dollars back there.

Cooper slow burns.
CUT TO:
45. INT. PALMER HOUSE BEDROOM - DAY

A dark room, the blinds are pulled. A subdued SARAH PALMER sits in a chair,
wearing a robe, A NURSE enters, moves to her and says quietly ...

NURSE
Mrs. Palmer, I'm sorry to disturb you, but Donna
Hayward is here ...
(Sarah reacts; off the reaction)
... are you sure you're up to seeing her?

SARAH
I have to see her. She was Laura's best friend.

NURSE
Take this right now ...
(Sarah sticks out her tongue, the Nurse
puts the pill on her tongue and hands her a
glass of water)
I'll send her in.

The Nurse exits. Sarah swallows the pill.
CUT TO:

46. INT. PALMER HOUSE UPSTAIRS HALLWAY - DAY

Donna is waiting in the hall, looking at a photo on the wall of a young Laura
playing, when the Nurse comes out of the bedroom and moves to her.

NURSE
She's sedated. Try not to upset her.


Donna nods and enters the bedroom.

CUT TO:
47. INT. PALMER HOUSE BEDROOM - DAY

Donna and Sarah see each other and Donna moves into her arms. They embrace,
cry, then Donna sits beside her.

SARAH
What am I going to do? I miss her, do you miss
her?

DONNA
Yes, yes, I miss her so much.

SARAH
I miss her so much ... I miss her so much ...

Sarah wipes away a tear, looks away, then looks back at Donna, tilting her head,
looking at her sadly.

Donna hand slowly slides up and touches Sarah, comforting her. Sarah looks down
at the hand

CUT TO:
48. SARAH'S POV

Looking at Donna's hand. She looks up from the hand and sees ... Laura sitting
beside her. Sarah's arms reach forward, clutch her and pull her into an embrace.

CUT TO:
49. DONNA

As Sarah holds her.

SARAH
My baby ... my baby ...

Donna tries to gently pull away. Sarah won't release her.

CUT TO:

50. SARAH

Her eyes open wide, unfocused, looking up, seeing a vision ...

CUT TO:

51. SARAH'S VISION - INT. HOSPITAL CORRIDOR - NIGHT

Looking down a long corridor, a frightening looking MAN we haven't seen before
comes racing towards us at full speed. We hear some monstrous sound. just as
he's about to reach us we ...

CUT TO:
52. SARAH

She opens her mouth and screams and won't stop. Terrified, Donna struggles and
pulls away from her, trying in vain to find some way to calm her, as the Nurse
rushes into the room.

FADE TO BLACK

END ACT THREE



(Revised pink 8-18-89)



ACT FOUR

FADE IN:

52. EXT. GREAT NORTHERN HOTEL - EVENING

As dusk is falling ...
CUT TO:

53. INT. GREAT NORTHERN CORRIDOR - EVENING

Benjamin Horne enters and crosses the lobby. He stops when he hears some
deafening rock MUSIC start coming through the ceiling above him. He heads for
the stairs.
CUT TO:
54. INT. AUDREY HORNE'S ROOM - EVENING

Audrey is dancing by herself in the middle of the room, swaying slowly and
sensually to the music. Benjamin opens the door and looks in, Audrey doesn't see
him at first. Ben walks over to the stereo and turns off the music. Audrey sees
him, looks at him with some attitude.

BENJAMIN
How many times have I asked you not to disturb
the guests with this racket?

AUDREY
About four thousand times.

BENJAMIN
(getting right to the point)
Audrey, Julie tells me you were in with the
Norwegians just before they all suddenly decided
en masse to go back to the Old Country without
signing the contract. Is that true?

AUDREY
Yes.

BENJAMIN
You wouldn't have done or said anything that
might have precipitated their evacuation, would
you? I'm assuming it was just a coincidence.

AUDREY
Daddy, I did go in to check out that ridiculous
smorgasboard, and while I was in there I
happened to mention I was sad --

BENJAMIN
About what?


AUDREY
(smiles)
About my dear, close friend Laura being brutally
murdered.

BENJAMIN
(red hot)
Wipe that smile off your face, young lady. Do
you realize the kind of money your little
performance cost this family? If you ever pull a
stunt like that again you'll be scrubbing bidets in a
Bulgarian convent.

AUDREY
(mocking)
Oh, Daddy, I'm so afraid.

BENJAMIN
(pauses, very cold)
Laura died two days ago. I lost you years ago.

He exits.
CUT TO:
56. EXT. BOBBY BRIGGS HOUSE - DAY

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

BETTY BRIGGS is just setting dinner down on the table in front of her husband,
MAJOR BRIGGS and son, Bobby.

BETTY
Bobby, it's your favorite; meatloaf with pimentos
and potato chips and there's plenty more chips
in the kitchen.

She sits down at the table with them. Major Briggs and his wife bow their heads
but Bobby doesn't.

MAJOR BRIGGS
For what we are about to receive, may the Lord
make us truly thankful.

Bobby indifferently moves his meatloaf around the plate and mashes up the chips
with a spoon.


MAJOR BRIGGS (CONTINUED)
Robert, I was hoping we'd have a chance to
discuss the events of the past few days. Not the
physical events themselves necessarily, but the
thoughts and feelings surrounding them.

Bobby rolls his eyes. Major Briggs is undeterred.

MAJOR BRIGGS (CONTINUED)
Rebellion in a young man of your age is a
necessary fact of life and, candidly, a sign of
strength. In other words, I respect your
rebellious nature, Bobby, however, being your
father, I am obligated to contain that fire of
contrariness within the bounds established by
society as well as those within our own family
structure.

Bobby impatiently taps his water glass with his knife.

MAJOR BRIGGS (CONTINUED)
Bobby, I note your reluctance to engage in a
dialogue with me, your father. There are times
when silence is golden. Silence can be taken
many ways; as a sign of intelligence ... truth being
invisible ... and the quieter we become, the more
we can hear ...

Bobby shakes out a cigarette, puts it in his mouth. The Major calmly and firmly
backhands Bobby across the face. The cigarette flies across the table and spears
into the meatloaf on Betty's plate.

Bobby's stunned more than hurt.

MAJOR BRIGGS (CONTINUED)
I am a tolerant man, but my patience has its
limits. "To have his path made clear for him is
the aspiration of every human being in our
beclouded and tempestuous existence." Robert,
you and I are going to work on making yours
real clear.

Betty removes the cigarette from her meatloaf.

BETTY
(sincerely)
We're here for you, Bobby.

Bobby's hands clench into white-knuckled fists.
CUT TO:



(Revised pink 8-18-89)

58. EXT. DOUBLE-R DINER NIGHT

Re-establish.
CUT TO:
59. INT. DOUBLE-R DINER NIGHT

The diner's bustling with dinner traffic. Truman and Cooper are seated at the
counter. Shelly pours them some coffee.

SHELLY
Can I get you anything to go with that, Sheriff?

TRUMAN
Agent Cooper here might want to try a slice of pie.

COOPER
(brightening)
Cherry pie?

SHELLY
Best in the tri-counties.

TRUMAN
And could you ask Norma to stop by for a
second, Shelly?

SHELLY
Sure thing.

COOPER
(a twinkle in his eye)
Nothing's a sure thing, Shelly.
(Shelly moves off)
Shelly Johnson with a "j?"

TRUMAN
Husband's a trucker, Leo. Minor rap sheet.

Cooper nods, makes a note as he sips his coffee. As he puts the notebook away
he looks around and sees the LOG LADY seated a couple of chairs away, cradling
her log and drinking coffee. Cooper looks back at Truman.

COOPER (CO.NMNUED)
(whispers)
Log Lady?

TRUMAN
Right.



(Revised pink 8-18-89)

59. CONTINUED:

COOPER
Hi.

She makes a sour face. Cooper turns back to Truman.

COOPER (CONTINUED)
Can I ask her about her log?

TRUMAN
Many have.

Cooper ponders his choices. Norma Jennings comes out of the kitchen with a
piece of cherry pie, moves to Cooper and Truman and sets down the pie.

NORMA
Evening, Harry.

TRUMAN
Norma, like to have you meet Special Agent Dale Cooper.

COOPER
Federal Bureau of Investigation.

NORMA
Norma Jennings.

COOPER
I understand your husband, O. Henry Jennings, is
serving twenty-seven months in state prison for
manslaughter.

NORMA
(good-natured)
Yes he is. I also have a cousin named Sue who
runs a beauty shop in downtown Butte, Montana.

Cooper takes a bite of pie, closes his eyes and slips into an ecstatic state.

NORMA (CONTINUED)
Maybe I should come back with the dinner menu.

TRUMAN
No need for me, I'll have the special.

COOPER
(comes out of it with a smile)
Where's my paper and pen, I've got to write a
poem about this pie.



(Revise.d pink 8-18-89)

59. CONTINUED:(2)

TRUMAN
Better get your notebook; wait'll you taste the
special.

COOPER
Ms. Jennings, is is true that Laura Palmer used to
help you with the Meals on Wheels program,
delivering hot dinners to elderly shut-ins?

NORMA
Yes. Laura helped organize the program.

COOPER
When was the last time you saw her?

NORMA
She came in around dinner time the night before
she died to pick up her meals for delivery.

TRUMAN
Do you have the names of the people on her
route?

NORMA
I could get them for you.

COOPER
Would you please? And two more pieces of that
incredible pie.

NORMA
Okay.

She moves off. Truman looks at him.

TRUMAN
Man, you must have the metabolism of a
bumblebee.

The Log Lady is getting up to leave and leans in to them as she passes ...

LOG LADY
For your information, I heard you speaking about
Laura Palmer?

COOPER
Yes?


LOG LADY
One day my Log will have something to say about
this. My Log saw something that night.

She turns to leave.

COOPER
Wait a minute - what did it see?

She holds the log.out.

LOG LADY
Ask it.

A moment of silence. They all look at the log.

LOG LADY (CONTINUED)
I thought so.

The Log Lady exits.
CUT TO:
60. EXT. CALHOUN MEMORIAL HOSPITAL - NIGHT

Establish.
CUT TO:
61. INT. CALHOUN MEMORIAL HOSPITAL - NIGHT

Tommy the Hawk Hill is completing an interview with the parents of Ronette
Pulaski, JANEK and SUBURBIS PULASKI. Ronette is visible in b.g., lying on a bed
in intensive care. A STATE TROOPER stands guard in front of the entrance to the
room. (note: do not show Ronette's face)

HAWK
(summing up)
So neither one of you saw Ronette after school
that day ...

MRS. PULSASKI
That's right.

HAWK
And as far as you know she went to her after
school job ...

JANEK
Yes. At Horne's Department Store downtown.


(Revised pink 8-18-89)

61. CONTINUED:

HAWK
What did she do at the department store?

MRS. PULASKI
She was a salesperson at the perfume counter.

JANEK
She used to joke it was the best-smelling job she
ever had.

Mrs. Pulaski thinks of her daughter and gets a little teary-eyed. Hawk looks up and
sees ...

... the ONE-ARMED MAN looking around the corner in his direction. As soon as
the One-Armed Man sees Hawk and the Trooper he slowly recedes back around
the corner.

HAWK
Excuse me ...

Hawk rises and quietly follows the One-Armed Man around the comer ...

CUT TO:
62. THE ONE-ARMED MAN

As he ducks into a stairwell and waits. Hawk's footsteps pass by ... the One-
Armed Man quietly moves away, down the stairs.
CUT TO:
63. HAWK

Stops in the corridor. Listens. Comes back. He opens the door to the stairway
... empty.
CUT TO:
64. EXT. LEO JOHNSON'S HOUSE - NIGHT

In long shot, Norma drives up, Shelly hops out and starts for the house, carrying a
bag of groceries.

SHELLY'S VOICE
Thanks, Norma. See you tomorrow.
CUT TO:
65. INT. LEO JOHNSON'S HOUSE - NIGHT

Shelly enters the house, sets down her keys. Silence.

SHELLY
Leo? ... Leo, honey, you here?

She moves towards the kitchen.
CUT TO:


(Revised pink 8-18-89)


65. INT. JOHNSON HOUSE KITCHEN - NIGHT

CLOSE on a new bar of soap being dropped into a dark sock. Leo ties the sock
off, swings it around, slaps it into his palm a couple of times.

LEO
I'll be right out, Shelly.
CUT TO:
66. INT. JOHNSON HOUSE LIVING ROOM - NIGHT

Leo comes out of the kitchen, swinging the sock around. Shelly turns as he
enters ...

SHELLY
Hi, Leo

She sees the sock in his hand, turns pale and goes weak in the knees.

LEO
Where's my shirt?

SHELLY
Shirt?

LEO
(advancing on her)
My favorite blue shirt. That's the second one
you've lost this year ... I'm going to teach you a
lesson now Shelly about taking care of my
property; that means not only keeping things
clean but making sure that things aren't damaged
or lost -- this is gonna hurt you --

She pushes the bag of groceries at him and throws herself onto the couch,
protecting her face, terrified. The groceries fall to the floor, something breaks
and spills.

Leo walks over to the stereo and turns it on; loud, heavy metal.

Leo starts to spin over his sock, gaining momentum ... and as it flies out of frame
we ...
CUT TO:
67. INT. GREAT NORTHERN HOTEL CORRIDOR - NIGHT

Audrey Horne is walking down a corridor when a gust of wind slams a heavy door
shut behind her. She jumps, then regains her composure.
CUT TO:


(Revised pink 8-18-89)



69. INT. GREAT NORTHERN HOTEL CORRIDOR - NIGHT

Audrey moves down the corridor. SOUND of the wind continues to howl. When
she hears voices she slows, sneaks around the next comer and peeks through a
partially open door into

INTERCUT:
70. AUDREY'S POV - BENJAMIN HORNE'S OFFICE

Benjamin Horne is pouning a couple of stiff Scotches on the rocks. He hands one
to his brother Jerry, who's walking back and forth, rubbing his hands gleefully
together.

JERRY
Ben-jamin, Ben-jamin, Ben-jamin --

BENJAMIN
What the hell are you so happy about?

JERRY
I'll give you a One-Eyed guess where I'm going
tonight.

BENJAMIN
Can you get your mind out of the gutter for one
second? We've got a tottering empire on our
hands --

JERRY
Come on, Brother Ben, I hear they dropped a
new bombshell up at "Jack's" - straight from the
perfume counter, am I right? Am I right?

BENJAMIN
(he's pursuaded)
Now that you've jogged my memory ...
(sips his drink)
... and set it on fire ... I'll drive.

JERRY
That's the spirit; all work and no play makes Ben
and Jerry dull boys. Let's roll!

They clink glasses and drain their drinks. Audrey moves away, as they start
towards the door. She turns a corner as they exit and walk away.

BENJAMIN
After dinner, Jer. Gotta spend some quality time
with the squaw.



(Revised pink 8-18-89)

70. CONTINUED:

They move out of sight. Audrey watches them go, thinking.
CUT TO:

71. EXT. HAYWARD HOUSE - NIGHT

Re-establish. James Hurley's Harley is parked outside.
CUT TO:
72. INT. HAYWARD HOUSE LIVING ROOM - NIGHT

Donna escorts James into the living room, where Eileen and Dr. Hayward are waiting.

DONNA
Mom ... Dad ... this is James ... James Hurley.

DR.HAYWARD
How do you do, James?

JAMES
Pleased to meet you, sir -- Mrs. Hayward.

EILEEN
James, very nice to meet you.

An awkward silence.

DR.HAYWARD
Hope you're hungry, James. Eileen's been
cooking up a storm.

JAMES
Yes, sir.

Another silence.

EILEEN
James, can I offer you something to drink? We
have soft drinks, fruit punch or sparkling cider.

JAMES
Fruit punch. That'd be good, thank you.

DONNA
I'll get it, Mom.

Donna exits to the kitchen.

DR.HAYWARD
Have a seat, James.


72. CONTINUED:

EILEEN
You fellas go ahead and sit at the table. I'll go
check on the roast.

Eileen drives her chair towards the kitchen. James and Dr. Hayward move to the
dining room table and take their seats. Donna returns from the kitchen and sets
down a glass in front of James.

DONNA
Here's your fruit punch, James.

JAMES
Thanks, Donna.

DR.HAYWARD
I don't believe I know your parents, James.

JAMES
No, sir. My dad died when I was ten. My mom
... travels a lot.

DONNA
Ed Hurley down at the Gas Farm is James' uncle.

DR.HAYWARD
His wife is the lady with the patch?

JAMES
That's my Aunt Nadine. She's a real character.

EILEEN'S VOICE
(from the kitchen)
Will? Can you give me a hand?

DR.HAYWARD
Excuse me, James.

He exits into the kitchen. Donna whispers across the table to James.

DONNA
(more intimately)
We can talk after dinner.

JAMES
It's good to see you.



(Revised pink 8-18-89)
72. CONTINUED:(2)

DONNA
(smiles warmly)
It's good to see you, too.
CUT TO:

73. EXT. HAYWARD HOUSE - NIGHT

Mike and Bobby pull up outside in Bobby's car. They see James bike parked in
front.

BOBBY
That bastard.

MIKE
First your girlfriend, then mine.

BOBBY
Too bad we can only kill him once.

He lights a cigarette. They drive slowly off. The rear brakelights disappear into
the darkness. The wind howls.
CUT TO:
74. INT. DR. JACOBY'S OFFICE - NIGHT

We hear a soft, cool be-bop tune. Lights are low. A pair of strange, green
orthopedic shoes dance expertly into view and execute a few boss moves. We
widen out to see Dr. Jacoby in his fifties-style, Hawaiian-themed rec room.

He picks up his mail and sifts through it, continuing to dance. He stops suddenly
when he comes across a slightly bulky plain manilla envelope. He opens the
envelope and finds a single audio cassette tape, without a case. Written on the
cartridge are the words ...

"TO DR. JACOBY, WITH LOVE, LAURA"

Overcome with amazement, he instantly turns off the stereo, punches eject,
removes the tape that was playing, inserts Laura's tape and hits play.

LAURA'S VOICE
(from the tape)
Hey, what's up, doc? Ha-ha ... it's Thursday
afternoon about four o'clock and I'm so bored
I'm making you this tape on the pretty little tape
recorder you gave me ...

We hear background noises on the tape; ambient sound from a department store.

Dr. Jacoby nervously starts eating malted milkballs from a bowl on his desk,
crunching them in a single bite.


(Revised pink 8-18-89)

74. CONTINUED:

LAURA'S VOICE (CONTINUED)
... and as you probably already noticed, I'm
gonna mail it to you in the ugly little plain
envelope you gave me ... for, what was the word
you used? "confidentiality's sake' ... this is kind
of fun ... first, you're always bugging me to tell
you what my dreams are -- let me tell you about
this one I had last night: it was a doozy ...

He reaches into his desk and takes out a pair of headphones, which he puts on.

LAURA'S VOICE (CONTINUED)
I was in this strange room and there was this
little man and this other older man I'd never seen
before either, but they both seemed to know me
... there was music ... and I was telling all my
secrets to the older man ...

He plugs the headphones in and we no longer hear her voice. As he listens and
chomps on the milkballs, his face registers a whole gamut of emotions.

FADE OUT:

END ACT FOUR