The City of Absurdity TWIN PEAKS
Teleplays


TWIN PEAKS

Episode .002 #2

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

"ZEN, OR THE SKILL OF CATCHING A KILLER"


1ST ACT


1. EXT. GREAT NORTHERN HOTEL - EVENING

Establish.

CUT TO:


2. INT. HORNE RESIDENCE WING - EVENING

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

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

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

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

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

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

He kisses her; Jerry repulses her.  Jerry indian dances toward Audrey.  Johnny breaks down again.

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

Ben and Jerry exit.

CUT TO:


3. EXT. BLACK LAKE - NIGHT

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

CUT TO:


4. EXT. HORNE CRUISER - NIGHT

A 1942, solid mahogany 22 foot Fitzgerald and Lee custom streamliner runabout cuts through the water.  Benjamin Horne is at the wheel, his brother Jerry Horne beside him, spotting ahead of them through infra-red, night-vision binoculars.

CUT TO:


5. THEIR POV - BINOCULAR EFFECT

Bright lights on a long peninsula, their destination.

CUT TO:


6. EXT. DOCK - NIGHT

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


JERRY
			Permission to come ashore?

SWABBIE
			Permission granted.

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

BENJAMIN
			Hey, Sailor.

SWABBIE
			Good evening, Mr. Horne.

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

SWABBIE
			Thank you, Mr. Horne.

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

SWABBIE
			Horne brothers, comin' up.

CUT TO:


7. EXT. ONE-EYED JACKS - NIGHT

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

JERRY
			Now, are we gonna go into the casino 
			first?

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

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

CUT TO:


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

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

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

BARTENDER
			That's two double scotch on the rocks?

JERRY
			Next stop, rocket science.

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

BLACKIE
			Gentlemen...

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

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

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

JERRY
			Which one's the new girl?

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

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

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

CUT TO:


9. A TAPE RECORDER

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

CUT TO:


10. INT. DR. JACOBY'S OFFICE - NIGHT

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

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

CUT TO:


11. EXT. HAYWARD HOUSE - NIGHT

Re-establish.

CUT TO:


12. INT. HAYWARD HOUSE LIVING ROOM - NIGHT

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

JAMES
			That was great huckleberry pie, Mrs.
			Hayward.

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

JAMES
			No thank you, ma'am.

DR. HAYWARD
			How 'bout some more coffee?

JAMES
			No thank you, sir.

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

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

EILEEN
			Good night, James.

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

EILEEN
			Thank you, dear, good night.

Mrs. Hayward steers herself into the kitchen.

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

DONNA
			Yes.

DR. HAYWARD
			Nine o'clock sharp.

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

DONNA
			Elevator.

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

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

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

DONNA
			I keep thinking of Laura, too.

JAMES
			Yeah...

DONNA
			What are we gonna do?

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

DONNA
			Why not?

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

DONNA
			I don't know -- you do?

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

DONNA
			I remember --

JAMES
			I almost told you I loved you then.

DONNA
			It's true.

JAMES
			It's true, isn't it?

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

JAMES
			Me too.

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

He kisses her.  She kisses him.  They kiss.

CUT TO:


13. EXT. GREAT NORTHERN HOTEL - NIGHT

Re-establish.

CUT TO:


13. INT. DALE COOPER'S ROOM - NIGHT

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

Cooper dials the operator.

COOPER
			Messages for 315, Special Agent Dale
			Cooper...
				(he waits)
			... Deputy Tommy "The Hawk" Hill?  
			Did he leave a number?
				(jots down the number)
			Deputy Hill, this is Agent Cooper...

INTERCUT:


15. INT. CALHOUN HOSPITAL - NIGHT

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

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

COOPER
			How's Ronette Pulaski?

HAWK
			Body and spirit are still far apart.

COOPER
			What did you find out from her parents?

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

COOPER
			Is that Benjamin Horne?

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

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

COOPER
			One-armed man?

HAWK
			Left.

COOPER
			Did you question him?

HAWK
			Negative.  I pursued, but he got away.

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

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

"HAVE YOU LOOKED INTO ONE-EYED JACKS?"

Cooper sniffs the note and smiles.

CUT TO:


16. EXT. BLUE PINE LODGE - NIGHT

Establish.

CUT TO:


17. INT. MARTELL BEDROOM - NIGHT

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

CATHERINE
			Everything smells like fish around here.

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

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

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

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

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

PETE
			Nice fella.  Asked a few questions.

CATHERINE
			About what?

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

CATHERINE
			What did he talk to Josie about?

PETE
			Why don't you ask her?

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

CATHERINE
			Did they talk about my brother at all?

PETE
			Andrew?

CATHERINE
			How many brothers do I have?

PETE
			I heard them mention him.  The accident.

CATHERINE
			What about the accident?

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

CATHERINE
			Didn't he want to talk to us?

PETE
			I talked to him.  Real nice fella.

CATHERINE
			Did he express any interest in talking
			to me?

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

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

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

Pete rises and exits, whistling.

CUT TO:


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

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

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

JOSIE
			Thanks, Pete.

PETE
			You bet'cha.

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

CUT TO:


19. EXT. PALMER HOUSE - NIGHT

Establish.

CUT TO:


20. INT. PALMER HOUSE LIVING ROOM - NIGHT

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

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

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

He makes a loud moaning, wailing sound.

CUT TO:


21. INT. PALMER HOUSE CORRIDOR - NIGHT

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

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

INTERCUT:


22. SARAH'S POV

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

CUT TO:


23. INT. PALMER LIVING ROOM  - NIGHT

Sarah enters the room where Leland is dancing and wailing.

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

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

LELAND
			Sarah, we have to dance...

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

SARAH
			Leland, stop, stop it --

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

SARAH
			Leland, Leland --

LELAND
			We have to dance -- for Laura!

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

FADE OUT:

END ACT ONE


ACT TWO


FADE IN:


24. EXT. TWIN PEAKS SHERIFF STATION - DAY

Establish.

CUT TO:


25. EXT. REAR OF SHERIFF STATION - DAY

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

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

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

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

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

TRUMAN
			Exactly sixty feet, six inches.

COOPER
			Perfect.

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

HAWK
			What do you think he's up to?

TRUMAN
			Beats me.

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

TRUMAN
			Kinda interesting, huh?

HAWK
			Yeah.

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

ANDY
			Where would you like these rocks?

COOPER
			Set 'em down by the donuts, Deputy.

Andy does.  Lucy picks up a coffee pot.

LUCY
			Would anyone like a warm-up?

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

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

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

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

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

COOPER
			Tibet is bordered on the southeast by
			Burma, on the south by India and Nepal,
			on the west by India and Kashmir and on 
			the north and east by China.  It is
			almost completely surrounded by 
			mountain ranges.  An extremely spiritual
			country, practicing a form of Buddhism
			known as Tibetan Buddhism, for many 
			centuries the leader of Tibet has been
			known as the Dalai Lama; upon the death
			of each Dalai Lama, his spirit is 
			believed to pass into the body of a
			newborn infant.  An exacting series
			of test are performed to discover 
			this boy's identity, who is then
			rigorously trained to fulfill his 
			great responsibilities.

The Sheriff's Department is intrigued, but completely mystified.

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

Cooper collapses his expanding pointer.

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

Cooper flips the blackboard back over.  The Sheriff's Department members look at each other just a tad uneasily.

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

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

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

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

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

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

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

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

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

TRUMAN
			Okay ... alright.

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

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

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

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

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

COOPER
				(calling out)
			Not too near!

Andy waves.

COOPER
			Lucy, would you please take the chalk?

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

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

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

ANDY
			Ready!

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

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

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

COOPER
			James Hurley.

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

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

Cooper picks up a rock, closes his eyes.

COOPER
			Josie Packard.

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

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

COOPER
			That's correct -- next name, Sheriff.

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

Cooper repeats the rock routine.

COOPER
			Dr. Lawrence Jacoby.

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

LUCY
			You did it, you hit it.

Lucy writes a check next to Jacoby's name.

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

Lucy and Andy follow directions.  Cooper nods to Truman.

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

COOPER
			Johnny Horne.

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

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

COOPER
			Norma Jennings.

He throws and misses.

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

COOPER
			Shelly Johnson.

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

COOPER
			Andy, I'm sorry --

LUCY
			Sweetie?

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

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

They all laugh, including Andy.


COOPER
			Sheriff, please continue.

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

COOPER
			Joey Paulson.

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

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

COOPER
			Jack with One Eye...

LUCY
			There's no "i" in Jack.

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

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

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

COOPER
			That's it --

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

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

TRUMAN
			Sure, sure --

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

COOPER
			Fine.  Next name.


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

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

CUT TO:


27. INT. DOUBLE R DINER - DAY

NORMA JENNINGS is on the phone back in the kitchen.

NORMA
			Shelly?  It's Norma.

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

NORMA
			Are you alright?

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

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

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

NORMA
			I'm worried about you.

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

NORMA
			You want me to bring you anything?

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

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

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

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

We MOVE in on the television screen in time to see...

CUT TO:


28. THE TELEVISION

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

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

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

ANNOUNCER
			... and every holds the promise of an...

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

ANNOUNCER
			... INVITATION TO LOVE ...

CUT TO:


29. NORMA

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

CUT TO:


30. THE TELEVISION

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

"THE PINES"

CAMERA pans down to a smaller sign that reads:

"SOUTH GATE"

CUT TO:


31. SHELLY JOHNSON

In her living room, sitting uncomfortably on the edge of a chair, sipping coffee, watching her television set...

CUT TO:


32. THE TELEVISION

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

DISSOLVE TO:


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

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

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

CHET
			Emerald, please, listen to reason --

EMERALD
			Reason?  Reason?  There's no reason --

CHET
			Jared's your father --

EMERALD
			And Melanie's my sister!

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

EMERALD
			Ha!  He wasn't even sick.

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

INTERCUT:


34. SHELLY

Sipping her coffee, watching the show hypnotically.

CUT TO:


35. THE TELEVISION

As the show continues...

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

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

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

CHET
				(stunned)
			Montana...

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

MUSIC swells.  Chet sweats.  Montana scowls.  Emerald sneers.  The set fades to black.

CUT TO:


36. INT. ED HURLEY'S HOUSE - DAY

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

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

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

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

NADINE
			Ed!

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

NADINE
			What are you doing?

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

NADINE
			You stepped on my drape runner --

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

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

ED
			I'm really sorry, Nadine --

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

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

NADINE
			Ed, you make me sick!

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

CUT TO:


37. NADINE'S TELEVISION

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

CUT TO:


38. INT. JOHNSON HOUSE - DAY

Shelly continues to watch the soap...

CUT TO:


39. SHELLY'S TELEVISION

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

CUT TO:


40. SHELLY

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

SHELLY
			Who is it?

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

SHELLY
			Are you crazy?  What are you doing here?

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

SHELLY
			Where's your car?

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

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

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

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

BOBBY
			What the hell happened to you?

SHELLY
			Leo Johnson happened to me.

BOBBY
			That bastard!

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

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

They kiss tenderly.

SHELLY
			Bobby, you gotta go.

BOBBY
			You call me soon as you can.

SHELLY
			Alright, I'll try.

BOBBY
				(winks)
			Save it for me, baby.

Bobby moves off.  Shelly closes the door.

CUT TO:


41. INT. BLUE PINE LODGE - DAY

Josie Packard looks out a window and sees...

CUT TO:


42. EXT. BLUE PINE LODGE - DAY

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

CUT TO:


43. INT. BLUE PINE LODGE - DAY

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

CUT TO:


44. INT. BLUE PINE LODGE CORRIDOR - DAY

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

CUT TO:


45. INT. BLUE PINE LODGE OFFICE - DAY

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

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

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

Josie hears a car drive up and brakes squeal outside.

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

Josie quickly puts the books back in the safe, closes the safe, replaces the false bookshelf, and scurries out of the room.

CUT TO:


46. INT. BLUE PINE LODGE CORRIDOR/OFFICE - DAY

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

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

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

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

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

FADE OUT:

END ACT TWO


ACT THREE


FADE IN:


47. EXT. CHURCH - DAY

A church bell rings.  Citizens are leaving church.

CUT TO:


48. EXT. CHURCH - CLOSER - DAY

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

AUDREY
				(to Donna)
			Hi.

DONNA
			Hi.

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

DONNA
			I'll be right there, Dad.

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

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

MRS. HAYWARD
			Maybe Audrey would like to join us?

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

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

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

Mrs. Hayward drives down the ramp.

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

Dr. Hayward follows his wife off.

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

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

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

DONNA
			That's really nice of you.

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

DONNA
			Thanks.

Audrey nods, shyly, ready to move off.

AUDREY
			You take care.

Donna starts to watch her go.

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

AUDREY
			I don't know...

DONNA
			Really.

AUDREY
				(touched)
			Yeah?

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

AUDREY
			Okay.

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

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

They walk off together towards the parking lot.

CUT TO:


49. EXT. SHERIFF'S STATION - DAY

Re-establish.

CUT TO:


50. INT. SHERIFF'S STATION RECEPTION AREA - DAY

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

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

LUCY
			Albert?

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

LUCY
			No.

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

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

TRUMAN'S VOICE
				(over the speaker)
			Yes --

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

LUCY
				(surprised)
			Yes, he is.

COOPER'S VOICE
			We're on our way.

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

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

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

CUT TO:


51. INT. SHERIFF STATION CORRIDOR - DAY

As Cooper and Truman move towards the reception area.

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

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

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

TRUMAN
			Nobody's perfect.

COOPER
			Isn't that the truth?

They turn a corner and come upon Albert and his team.

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

COOPER
			Albert, this is Sheriff Truman.

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

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

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

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

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

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

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

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

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

ALBERT
			Correct.

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

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

CUT TO:


52. EXT. DOUBLE R DINER - EVENING

Establish.

CUT TO:


53. INT. DINER - EVENING

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

NORMA
			Fresh pot.

ED
			I could use it.

NORMA
			Hard day?

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

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

ED
			So much for a day off.

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

ED
			What's that all about?

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

ED
			When Hank's hearing?

NORMA
			Tuesday.

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

CUT TO:


54. INT. ED HURLEY'S HOUSE - NIGHT

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

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

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

Ed moves away from the door.

NADINE'S VOICE
			Ed?  That you?

ED
			It's me.

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

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

She embraces him, hugs him alarmingly hard.

ED
			Why's that?

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

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

ED
			No, I don't.

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

She opens and closes the curtains: completely silent runners.

NADINE
			Completely silent...

ED
			How 'bout that?

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

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

CUT TO:


55. EXT. GREAT NORTHERN HOTEL - NIGHT

Re-establish.  The Sheriff's cruiser pulls up.

CUT TO:


56. COOPER AND TRUMAN

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

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

TRUMAN
			Right --

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

TRUMAN
			Right -- funeral's tomorrow.

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

TRUMAN
			Still in a coma --

COOPER
			Is it always this temperature at night?

TRUMAN
			This time of year.

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

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

COOPER
			Harry, you're preaching to the convinced.

They shake hands.

COOPER
			You know where to find me.

TRUMAN
			Yes, I do.

Cooper gets out of the car.

CUT TO:


57. INT. GREAT NORTHERN HOTEL BAR - NIGHT

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

COOPER
			Mr. Horne?

Both Ben and Jerry turn towards him.

COOPER
			Mr. Horne?

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

COOPER
			FBI.

BENJAMIN
			This is my brother Jerry.

JERRY
				(shakes hands)
			Happy to make your acquaintence.

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

BENJAMIN
			Thank you.  We aim to please.

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

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

JERRY
			Nothing a large resort wouldn't fix.

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

JERRY
			Yes it is.

COOPER
			I believe I've met your daughter, Mr.
			Horne.  What a charming and attractive 
			girl.

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

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

BENJAMIN
			Sleep well.

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

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

CUT TO:


58. EXT. WOODS/INT. CAR - NIGHT

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

MIKE
			I don't see him.

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

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

CUT TO:


59. EXT. WOODS - NIGHT

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

MIKE
			Is it there?  It is in there?

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

BOBBY
			Not all of it.

LEO'S VOICE
			Cash on delivery, Bobby.

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

BOBBY
				(rises slowly)
			Hey, Leo.

MIKE
			Hey.

LEO
			Toss it over here, quarterback.

BOBBY
			It's empty.

He tosses the football to Leo.

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

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

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

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

LEO
			Where's the rest of the money?

MIKE
			There's a problem.

LEO
			Problem?

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

LEO
			You think you got problems?

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



LEO
				(advancing)
			You owe me ten grand.

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

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

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

LEO
			Laura was a wild girl.

BOBBY
			Tell me about it.

LEO
			Maybe.  Someday.

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

LEO
			Take your hand out of your pocket.
			Mike.

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

BOBBY
			What's your problem, Leo?

LEO
			Problem?  You want to know about 
			problems?

BOBBY
			... Okay.

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

BOBBY
			What?

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

BOBBY
			Yeah?

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

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

LEO
			That's ... a problem.

He cocks the gun.

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

LEO
			A man needs a clean house.

BOBBY
			Sure ... so do you know who?

LEO
			I will take care of it.

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

LEO
			Go out for a pass.

BOBBY
			What?

LEO
			Go out.  Run.  Run.

Bobby and Mike back away from him.

BOBBY
			Leo, take it easy, okay?

LEO
			Run!

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

MIKE
			Oh God...

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

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

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

BOBBY
			Let's get the hell out of here.

They jump into the car and speed off into the night.

FADE OUT:

END ACT THREE


ACT FOUR


FADE IN:


60. EXT. GREAT NORTHERN HOTEL ROOM - NIGHT

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

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

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

CUT TO:


61. EXT. PALMER HOUSE - NIGHT

Re-establish.

CUT TO:


62. INT. PALMER BEDROOM - NIGHT

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

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

Leland hangs up, turns to Sarah.

LELAND
				(gently)
			Sarah? ... Sarah?

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

LELAND
			Sarah, that was cousin Madelaine...

SARAH
				(a little hazy)
			... Donald's girl?

LELAND
			That's right, neice Madelaine.

SARAH
			... is she here?

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

SARAH
			Oh.

Silence.  Sarah takes the pill, drinks.

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

LELAND
			Alright.

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

CUT TO:


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

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

CUT TO:


64. INT. PALMER LIVING ROOM - NIGHT

NOTE: FROM THIS POINT TO THE LAST SCENE IS DALE COOPER'S DREAM

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

INTERCUT:


65. SARAH'S MEMORY - TIME DISTORTED

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

Sarah shifts uneasily on the couch...

CUT TO:


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

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

Sarah opens her eyes in horror...

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

Sarah sits bolt upright and screams...

SARAH
			LELAND!  I SAW HIM!  OH!  OH!


67. INT. LELAND PALMER'S BEDROOM - NIGHT

Leland Palmer frantically dials the phone...

INTERCUT:


68. INT. LUCY'S APARTMENT - NIGHT

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


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

LELAND
			Lucy, Lucy!

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

Andy stops playing.

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

LUCY
			You know, Mr. Palmer, I don't.
				(puts hand over the phone,
				 shushes Andy, he stops playing)
			
LELAND
			Lucy, my wife has just remembered, she
			believes she saw the killer, this
			morning, in Laura's bedroom --

LUCY
			No -- how is that possible?

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

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

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

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

LELAND
			Thank you, Lucy.

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

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

CUT TO:


69. INSERT INT. SHERIFF'S CRUISER - NIGHT

Truman answers the radio call.

TRUMAN
			Yeah Lucy, what is it?

INTERCUT:


70. INT. LUCY'S APARTMENT - NIGHT

Lucy is on the phone.

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

TRUMAN
			You're kidding...

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

TRUMAN
			I'll be right there -- ten minutes.

CUT TO:


71. INT. GREAT NORTHERN HOTEL ROOM - NIGHT

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

CUT TO:


72. INT. HOSPITAL CORRIDOR - NIGHT

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

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

INTERCUT:


73. INT. COOPER'S HOTEL ROOM - NIGHT

Woken from his troubled sleep, Cooper answers the phone.

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

FIGURE'S VOICE
			Were you sleeping?

COOPER
			Yes, who is this?

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

COOPER
			Yes, I know about Theresa...

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

COOPER
			I'm on my way.

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

COOPER
			Agent Cooper...

INTERCUT:


74. INT. LUCY'S APARTMENT - NIGHT

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


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

COOPER
			Are you still at work, Lucy?...

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

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

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

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

CUT TO:


75. INT. HOSPITAL - NIGHT

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

ANDY
			He's unarmed.  He wants to see you and
			he wants to see you in this particular
			room.

Truman and Cooper turn towards the man.

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

COOPER
			We know that.

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

COOPER
			You were in an elevator here.

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

Truman and Cooper look at each other.

TRUMAN
			We'd like to show you a police sketch
			of Bob, for verification.

ONE-ARMED MAN
			Of course.
				(Truman holds up a bogus sketch)
			No, no, that's not Bob.
				(Truman holds up the correct sketch)
			That is Bob.

TRUMAN
				(to Cooper)
			That's the man Mrs. Palmer identified.

COOPER
			Where is Bob?

ONE-ARMED MAN
			He's here.  Right here.  He's downstairs,
			in the basement.

CUT TO:


76. INT. HOSPITAL BASEMENT BOILER ROOM - NIGHT

Cooper and Truman enter the basement, guns drawn.  KILLER BOB, the frightening long-haired man, crouches over a circle of candles on the far side of the room.

Bob's hand reaches in and sets down a half of a heart necklace onto a pile of dirt in the center of the candles.

Truman and Cooper advance.  Bob rises.

KILLER BOB
				(strangely)
			Hello.  Welcome to the killer's lair.
			Come down, I won't hurt you.  Come 
			down ... is Mike with you?

COOPER
			No.

KILLER BOB
			Oh, I so much wanted to sing with him
			again.  Mike?  Mike, can you hear me?
			"Heads up, tails up, running to your
			scallywag
			Night falls, morning calls, catch you
			with my Death Bag."

TRUMAN
			The letters?  What were the letters
			going to spell?

KILLER BOB
			Robert.  That's my proper name.  
			Theresa's was a "t."

COOPER
			That's right.

Behind Cooper and Truman, unseen by them, Mike is coming up behind them, a gun in his hand.

KILLER BOB
			You may think I've gone insane.  But
			I promise, I will kill again!

MIKE
			Ahh!  Like Hell!!!

Mike runs up and fires his gun twice.  Bob goes down, mortally wounded.  Mike clutches a pole and twists to the ground, in agonizing sympathetic pain.

MIKE
			Bob...  Bob, it hurts something terrible
			... wait ... wait till your turn, Bob 
			... oh Bob ... wait till your turn ...

Mike dies.  Truman takes his gun away.  Cooper looks over at the candles.

COOPER
			Make a wish.

A breeze blows out the candles...

DISSOLVE TO:


A title card reads: TWENTY-FIVE YEARS LATER


77. INT. RED-DRAPED ROOM - DAY

A large, windowless, well-lit, sparsely furnished, red-draped room.  A table and three easy chairs.  Dale Cooper, twenty-five years older, sits in one of the chairs.  A LITTLE MAN, three and a half feet tall, in a red suit, stands with his back to Cooper, shaking violently.  A BEAUTIFUL YOUNG WOMAN who looks exactly like Laura Palmer sits across from Cooper in another easy chair.

The Little Man stops shaking, turns to Cooper and claps his hands once.

LITTLE MAN
			Let's rock!

The Little Man sits in a chair beside the beautiful woman.  The Little Man closes his eyes and rubs his hands slowly together.

The Little Man holds hands with the Woman, they look at each other, then look at Cooper, smiling enigmatically.  The Little Man rubs his hands slowly again; the shadow of a bird passes above them.

Both the Little Man and the Woman's speech is oddly stilted.  We see sub-titles under them, with the correct words.  Throughout, Cooper sits still, watches, and listens.

LITTLE MAN
			I've got good news!  That gum you like
			is going to come back in style.  She's
			my cousin, but doesn't she look almost
			exactly like Laura Palmer?

COOPER
			But it is Laura Palmer.  Are you Laura
			Palmer?

WOMAN
			I feel like I know her, but sometimes
			my arms bend back.

LITTLE MAN
			She's filled with secrets.  Where we're
			from, the birds sing a pretty song and
			there's always music in the air.

Strange saxophone music filters into the air.  The Little Man hops off the chair and begins to dance a strange dance around the table.  The Woman rises, goes over, and gently kisses Cooper on the mouth.  She softly whispers something in his ear.

CUT TO:


78. INT. COOPER'S HOTEL ROOM - NIGHT

Cooper shoots up out of his bed, waking from this strange and disturbing dream.  He fumbles for the phone and dials.

COOPER
			Harry, it's Cooper, meet me for breakfast,
			seven o'clock, here at the hotel.  I 
			know who killed Laura Palmer.

He hangs up.

FADE OUT:





THE END


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© Mike Hartmann
mhartman@mail.uni-freiburg.de