The City of Absurdity   TWIN PEAKS



Episode 001 #1

by Mark Frost David Lynch FIRST DRAFT: July 2, 1989 Lynch/Frost Productions 7700 Balboa Boulevard Van Nuys, CA 91406 (818) 909-7900


1ST ACT 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. ThatÕs a nice consideration for the business traveler. A hint of douglas fir needles in the air. As Sheriff Truman indicated they would, everything this hotel promised, theyÕve 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 matress, 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 youÕve heard me tell that story once or twice before. HavenÕt 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 Sheriff's 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 doing 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 becuase 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 the 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 around) 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 comes 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 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 (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 Horne. COOPER Federal Bureau of Investigation, Special Agent Dale Cooper. AUDREY Can I sit here? COOPER (pleasantly) Miss Horne, unless I miss my guess, your father is Benjamin Horne, the owner of this fine establishment, so I guess you can sit anywhere you like. And I'd also like to add that 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? (hold 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'S 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 room. 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, closes the door and starts it just as Leo comes in the room. 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 NORMA sits behind the wheel of a maroon '64 Falcon station wagon. Shelly gets in beside her and they drive off. NORMA Leo sure does keep that truck up, doesn't he? SHELLY He sure does. NORMA (glances 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 (shakes her head) Guys... 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. SHELLY (shakes her head) Guys... NORMA Guys. CUT TO: 13. EXT. SHERIFF'S STATION ENTRANCE - MORNING Re-establish. CUT TO: 14. INT. SHERIFF'S 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 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. COOPER Hey, Sheriff: three for three. Truman tries to chew, but holds up his hand to be patient. Cooper sits. COOPER 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 down 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. COOPER James, did you shoot this videotape? Cooper fast forwards to the freeze frame of the motorcycle reflected in Laura's eye. COOPER Isn't that your cycle, James? JAMES Yes, sir, it is. The three of us went up there three 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 homecoming 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 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? 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 the 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 Liqour 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? 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, opened in front of him, at the page for February 5th; the page marked "DAY ONE." He takes the half-hearted necklace from his pocket. COOPER Did you recognize this necklace, James? JAMES Yes, sir. COOPER James, what happened on February 5th? 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. 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 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 him. 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 Damn it. He jumps down from the cab and runs towards the house. CUT TO: 20. INT. JOHNSON 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 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 down to the sherrif'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. Last night, I had to see him, we were the two closest people 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 falling 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 discuss money... During above, Benjamin Horne enters, stops and listens. LELAND ... 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 modern jazz quartet record, 9/4 time, about as loud as it can go. Benjamin goes to the Secretary. 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 Horne turns down the sound on the stereo, goes to the desk and picks up the phone. BENJAMIN 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 tradgedy ... 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 head) In a minute... (turns back to the Bellhops, points down) Right THERE, no, no, right THERE! The Bellhops carefully set the bags down as directed. JERRY What's the matter with Leland? Looks like somebody shot his dog. The Bellhops all stop and look at Benjamin. JERRY What is WITH you guys? I've got a sandwich in there and I want all those bags opened -- we're looking till 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 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 Norweigans 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 'em. 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 her her entire life; she was my daughter's best friend. I couldn't bring myself to do the postmortem, 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 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 tugs again on the loose thread of his sleeve; a button pops off his shirt, hits the 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, the 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 ought'a 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. 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 where it sounds like the 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 the 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 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 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 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 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, whisting 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 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, ma'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, steaming engine" perhaps? Cooper starts 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 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 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. 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 to 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 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 Horne, 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 Horne is in front of a mirror, trying 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 down 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 that 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. 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? 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 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 my daughter'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's 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 toward 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 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 Norweigans 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 bidgets 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. 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 recieve, 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 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 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 family structure. Bobby impatiently taps his water glass with his knife. MAJOR BRIGGS 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 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: 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 (whispers) Log Lady? TRUMAN Right. COOPER Hi. She makes a sour face. Cooper turns back to Truman. COOPER Can I ask her about the 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-naturedly) 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 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. TRUMAN Better get your notebook; wait'll you taste the special. COOPER Mrs. Jennings, is it 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 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. PULASKI 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. 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 corner. 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 a 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 the keys. Silence. SHELLY Leo?... Leo, honey, you here? She moves towards the kitchen. CUT TO: 66. INT. JOHNSON'S HOUSE KITCHEN - NIGHT CLOSE on a new bar of soap being dropped inot 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 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: 68. INT. GREAT NORTHERN HOTEL CORRIDOR - NIGHT Audrey moves down the corridor. SOUND of the wind continues to howl. When she hears a voice she slows, sneaks around the next corner and peeks through partially open door into... INTERCUT: 70. AUDREY'S POV - BENJAMIN HORNE'S OFFICE Benjamin Horne is pouring 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 persuaded) 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. 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. EILEEN You fellas go aheaed 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. 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 casette tape, without a case. Written on the cartridge are the words... "TO DR. JACOBY, WITH LOVE, LAURA" Overcome with amazement, he instantly turns off his stereo, punches eject, removes the tape that was playing, inserts Laura's tape and hits play/ LAURA'S VOICE (from 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, cruching them in a single bite. LAURA'S VOICE ... 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 ... I was in this strange room and there was this little man and this 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: THE END

Scripts | Twin Peaks | David Lynch main page
© Mike Hartmann