TWIN PEAKS
				#003
    
		     	   HARLEY PEYTON





    




    
LYNCH/FROST PRODUCTIONS, INC.
7700 Balboa Blvd.
Van Nuys, CA 91406
8 1 8 - 9 0 9 - 7 9 0 0
    
FIRST DRAFT:
September 26, 1989
    
Revisions:
October 3, 1989 - Blue

    





    
				ACT ONE
    
FADE IN:
    
1.  EXT. GREAT NORTHERN HOTEL - DAY
    
Morning breaks over the stately hotel.
							CUT TO:
    
2.   INT. GREAT NORTHERN DINING ROOM - DAY
    
DALE COOPER, at the corner table, takes a sip of coffee and orders breakfast from waitress
TRUDY.
    
				COOPER
		Shortstack of griddlecakes, maple syrup, lightly heated
		and a slice of ham. Nothing beats the taste of maple
		syrup when it collides with ham.
    
				TRUDY
		Griddlecakes, side a' ham. Warmup?
    
Cooper nods appreciatively. Trudy refills his cup, exits. Cooper takes a sip, nearly hums
with approval. Then looks up to find AUDREY HORNE standing before him. Audrey
smiles, beautiful, rubs a little sleep out of her eyes.
    
				AUDREY
		Good morning, Colonel Cooper.
    
				COOPER
		Just Agent, Audrey. Special Agent.
    
				AUDREY
			(caressing the words)
		Special Agent.
    
				COOPER
		Please. Sit down.
    
				AUDREY
			(unsure)
		I'm in a hurry.
    
				COOPER
		For what?
    
She doesn't know what to say or do. So she offers a nervous shrug instead.
    
				COOPER (CONTINUED)
		Audrey, that perfume you're wearing is incredible.
    
    
				AUDREY
		Do you really think so?
    
Cooper takes a pen from his pocket, hands it to her with a napkin.
    
				COOPER
		Write your name down for me.
    
				AUDREY
			(eager)
		Okay.     
    
She takes the pen and writes carefully, hands it back to Cooper. He looks at it.
    
				COOPER
		Audrey, there's something you'd like to tell me.
    
				AUDREY
			(blushing)
		There is?
    
Beat. All she wants is to be close to him. Cooper produces a note from his pocket.
    
				COOPER
		You slipped this under my door night before last.
    
				AUDREY
		I did?
    
Cooper nods. Audrey comes clean.
    
				AUDREY (CONTINUED)
		I wanted to help you. For Laura.
    
				COOPER
		Were you and Laura friends?
    
				AUDREY
			(simply)
		No.
			(beat)
		But I understand her. Better than the rest.
    
				COOPER
		What is "One-Eyed Jack's?"
    
				AUDREY
		It's a place up north. Men go there.
    


    
				COOPER
		What about women?
    
				AUDREY
			(blushing again)
		Women work there.
    
				COOPER
		Did Laura work there?
    
				AUDREY
		I don't know. Laura worked at my father's department
		store.
    
				COOPER
		"Horne's?"
    
				AUDREY
		He named it after himself.
    
				COOPER
			(on to something)
		Where at Horne's department store?
    
				AUDREY
			(she thinks)
		At the perfume counter.
    
				COOPER
			(making the connection)
		So did Ronette Pulaski.
    
				AUDREY
			(it must mean something)
		Really?
    
Cooper looks up, sees SHERIFF TRUMAN and LUCY MORAN coming towards him
from the far end of the dining room. Cooper looks at Audrey's writing.
    
				COOPER
		The right-ward slant in your handwriting indicates a
		romantic nature, Audrey. A heart that yearns. Be careful.
    
				AUDREY
			(a whisper)
		I do?
    
				COOPER
		I'm going to have to ask you to leave now.
    

    
				AUDREY
			(sees the Sheriff, flustered)
		Police business.
    
Cooper nods, winks. Audrey blushes, rises.
    
				AUDREY (CONTINUED)
		Thank you for talking to me.
    
She leaves as Truman and Lucy reach the table, eager to hear Cooper's news: the identity of
Laura's killer. The Waitress arrives with Cooper's breakfast.
    
				COOPER
		Two more coffees please.
			(re: Audrey as she exits)
		Pretty girl.
			(back to Truman and Lucy)
		Hungry? The griddlecakes are outstanding.
    
				TRUMAN
			(sits; hushed, urgent)
		Who killed Laura Palmer?
    
Truman and Lucy lean in, the suspense is killing them. Trudy pours coffee for them, as
Cooper takes a bite of griddlecake, then, finally:
    
				COOPER
		Let me tell you about the dream I had last night.
    
Truman nods at Lucy. She whips our a steno, pad and pencil.
    
				TRUMAN
		Tibet?
    
				COOPER
		No. You were there, Harry. And so were you, Lucy. Do
		you have a sketch artist?
    
				TRUMAN
		Andy sketches from time to time.
    
				COOPER
		Interesting. I dreamed it was Deputy Hawk. Find out if
		Sarah Palmer has had any disturbing dreams. If she has,
		there may be important clues in her dreams as well.
    
				TRUMAN
		Clues.
    

				COOPER
		My dream is a code waiting to be broken. Break the
		code, solve the crime.
    
				LUCY
			(writing, whispering)
		Break the code, solve the crime.
    
				COOPER
		In my dream, Sarah Palmer saw her daughter's killer
		crouched at the foot of her bed. Hawk sketched a picture
		of the killer. I got a phone call from a one-armed man
		named Mike. The killer's name was Bob.
    
				TRUMAN
		Bob and Mike?
    
				COOPER
		Different Bob. Different Mike. They lived above a
		convenience store. Mike couldn't stand the killing any
		longer so he cut off his own arm. Bob vowed he would
		kill again. So Mike shot him.
			(takes another bite)
		Do you know where dreams come from, Harry?
    
				TRUMAN
		Not specifically.
    
				COOPER
			(very happy)
		Acetylcholine neurons fire high, voltage impulses into the
		forebrain. The impulses become pictures, the pictures
		become your dream. But no one knows why we choose
		these particular pictures.
    
				TRUMAN
		Was that the end of your dream?
    
				COOPER
			(back to business)
		Suddenly it was twenty-five years later. I was old,
		sitting in a red room. There was a midget in a red suit
		and a beautiful young woman who looked exactly like
		Laura Palmer. The little man told me my favorite gum
		was coming back in style and didn't his cousin look
		exactly like Laura Palmer?
    
				TRUMAN
		Which cousin?
    

    
				COOPER
		The beautiful girl. Sometimes her arms bend back.
		She's filled with secrets. Where they're from birds sing a
		pretty song and there's always music in the air. Then the
		midget did a dance. Laura kissed me on the mouth.
		And whispered the killer's name in my ear.
    
				TRUMAN
		Who was it?
    
				COOPER
		I don't remember.
    
				TRUMAN
		Damn.
    
				COOPER
		Harry, our job is simple: break the code, solve the crime.
    
Cooper finishes his pancakes.
    
				LUCY
			(still fascinated)
		What does the midget stand for?
    
				COOPER
		Just about everything, Lucy.
    
Just then: Sheriff Truman's walky-talky shrieks. He answers it.
    
				TRUMAN
		Yeah ... Uh-huh ... Right away.
			(turns it off)
		That was Andy. There's a fight at the morgue.
    
				COOPER
			(he knows why)
		Albert.
							CUT TO:
3.   EXT. THE DOUBLE "R" DINER - DAY
    
Townsfolk finish breakfast, exit from the diner.
							CUT TO:
4.   INT. THE DOUBLE "R" DINER - DAY
    
NORMA JENNINGS and PAROLE OFFICER WILSON MOONEY occupy a booth in
the back. Mooney sips coffee, notes Norma's good looks with a roving eye. In mid-
conversation:
    

    
				MOONEY
		... in short, your husband has been a model prisoner, an
		inspiration to guard and inmate alike. He greets the day
		with a smile and confounds adversity with a kind word.
		He's a credit to his serial number.
    
Mooney says it with a little come-hither grin. Norma just stares, takes a drag off her
cigarette, ignores him. Mooney is forced to continue:
    
				MOONEY
		Hank's parole hearing is scheduled for Wednesday.
		Barring unforeseen circumstance, with your full support
		before the board, he should be released shortly thereafter.
		Any questions?
    
				NORMA
		No.
    
				MOONEY
		Comments?
    
				NORMA
			(biting her tongue)
		No.
    
				MOONEY
		I'm sure Hank appreciates your unwavering devotion.
			(to file)
		Now, I'll need to check some information. You and
		Hank have been married for ...
    
				NORMA
		Since high school.
    
				MOONEY
		There are no children.
    
				NORMA
		I can't have any.
    
				MOONEY
		How would you characterize your current relationship?
    
				NORMA
		What do you mean, Mr. Mooney?
    
				MOONEY
		Are you planning a divorce, Mrs. Jennings?
    
   
				NORMA
                     Not a divorce, no.
    
Mooney hears the qualification.
    
				MOONEY
		Will you help Hank rind the job he needs to effect a
		successful parole?
    
				NORMA
		Yes.
    
				MOONEY
		How, exactly
    
				NORMA
		I own the Double "R", Mr. Mooney.
    
A beat. Norma can't stand him and Mooney knows it. Still, he presses on:
    
				MOONEY
		You're quite a girl, Norma. You must get all kinds of
		Romeos in here begging for favors. How do you keep
		them from your door?
    
It's his last attempt. Norma knocks it out of the ballpark:
    
				NORMA
		I usually tell them my homicidally jealous husband is
		doing three-to-five for manslaughter but expects to
		become a productive member of society real soon.
    
				MOONEY
			(all business)
		Well. That should conclude our session for today.
    
				NORMA
		Thank you.
    
				MOONEY
		No, no. Thank you, Mrs. Jennings -
    
Too late. Norma's already out of the booth, stepping back to the counter. Mooney picks up
his file, watches her leave him.
    
ANGLE ON COUNTER
    
A pale and wan SHELLY JOHNSON, newly arrived, sets her purse beneath the cash register.
    

    
				NORMA
		I didn't expect you till after the funeral.
    
				SHELLY
		I figured you could use some help.
    
Norma pauses, looks beneath the register. She can SEE Shelly's purse, slightly open. And
she can see a brand new handgun inside it.
    
				NORMA
			(lowers her voice)
		Shelly, what're you doing with a gun in your purse?
    
				SHELLY
		Nothin'.
    
				NORMA
		"Nothin'." Nobody does "nothin'" with a gun.
    
				SHELLY
		I bought it. It's for protection. Peace of mind, anyway.
		You know, what happened to Laura.
    
				NORMA
		You'd be better off hiring a lawyer.
    
				SHELLY
		I can't afford one.
    
				NORMA
		Well watch yourself. Understand?
    
Shelly nods, pouts. Norma cases up a little.
    
				NORMA (CONTINUED)
		Careful you don't murder your makeup.
    
Norma grins, slips off toward hungry customers.
							CUT TO:
    
5.   INT. TWIN PEAKS MORGUE - DAY
    
SUDDENLY we are inside the Twin Peaks morgue in the midst of a reeling argument.
DOC HAYWARD squares off opposite ALBERT ROSENFIELD, the impossibly rude
pathologist. DEPUTY ANDY BRENNAN stands to the side, mute, ineffectual. And
BEN HORNE physically separates the two men.
    
A white partition separates the men from the body of Laura Palmer.
    

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

				ALBERT
		I've got compassion running out of my nose, pal. I'm the
		Sultan of Sentiment!
    
Horne pushes them apart. Hayward and Albert pause, red with fury. Finally:
    
				ALBERT
		"Doctor" Hayward -- and I use the term so loosely my
		gums are flapping -- I have traveled thousands of miles,
		and apparently several centuries to this forgotten sinkhole
		in order to perform a series of tests. I do not ask you to
		understand them. I am not a cruel man. I only ask you to
		get the hell out of my way so I can finish my work!!
    
				HAYWARD
		We are here to escort Laura Palmer's body to the
		cemetary. If you think, for one minute, that we will leave
		here without her, you are out of -

				HORNE
		All right all right all right. Dr. Rosenfield. Please. You
		are not dealing with the unsophisticated here.
    
Albert rolls his eyes so hard they, nearly spin out of the sockets.
    
				HORNE
			(the high road)
		Leland Palmer could not be with us today. I have agreed
		to appear on his behalf. And I know I speak for all of us,
		the Palmer family included, when I say that we
		understand and appreciate the value of your work. But, as
		their representative, I must insist we consider the feelings
		of the Palmer family as well.
    
Deputy Andy clears his throat, figures he might assist:
    
				ANDY
		Dr. Rosenferd, we just got to get Laura's body to the
		funeral on time.
    
Albert glares.
    
				ALBERT
		Did you speak?!
    

    
Andy wishes he was invisible. Albert turns calmly back to Horne.
    
				ALBERT
		Mr. Horne. I realize that your position in this fair
		community pretty well guarantees venality, insincerity
		and a rather irritating method of expressing yourself.
		Stupidity, however, is not a necessarily inherent trait, so
		please listen carefully. You can have a funeral any old
		time. Dig hole, plant coffin. I, however, cannot perform
		these tests next year, next month, next week, or tomorrow!
		I must perform them now. So please, why don't you and
		the rest of the Bumpkin Brigade return to porch
		rockers and resume whittling. I've got a lot of cutting
		and pasting to do --
    
				HAYWARD
		That does it. I'm taking charge of the body, you won't
		touch Laura again from this moment on --
    
Hayward steps toward the partition, Albert grabs him by the arm.
    
				ALBERT
		Nor so fast, Old-Timer --
    
They square off, ready to fight again. Horne tries pull them apart. And, just in time,
Agent Cooper and Sheriff Truman step into the morgue, the fray.
    
				COOPER
		Gentlemen.
    
				HAYWARD
		Harry, thank God --
    
				ALBERT
		Cooper, this mindless old fool is obstructing a criminal
		investigation. Cuff him.
    
				HAYWARD
		He won't release Laura's body for the funeral, he's not
		human.
    
				ALBERT
		Certainly has a way with an insult though.
    
				TRUMAN
		Hey that's enough.
    
				ALBERT
		Zip it, Squarejaw.
			(to Cooper)
		I do not suffer fools gladly. Fools with badges, never. I
		want no contact with this hulking boob -
    
				TRUMAN
		I've had about enough of your insults.
    
Albert steps forward, grabs him by the lapels.
    
				ALBERT
		Oh yeah? Well I've had about enough of morons and half-
		wits, cretins and congenital idiots, dolts, dunces,
		dullards, and dumbbells. And you, Chowderhead,
		lummox with badge and billy club, you, Sheriff Yokel
		you blithering hayseed, you have had enough of me!??
    
				TRUMAN
			(calm as ice)
		Yes I have.
    
Truman levels Albert with a single punch to the jaw. Albert tumbles backward onto his butt.
A beat. Albert looks up at Truman, shocked beyond measure.
Cooper intervenes in a flash. He turns to Truman, orders:
    
				COOPER
		Harry, wait in the car.
    
Truman starts to speak, sees the steel in Cooper's eyes. He exits without a word.
    
				ALBERT
		Oh well. That's nice. How appropriate.
			(gets to his feet, yells after Truman)
		The rustic sucker punch. Why not gunplay? A hail of
		bullets would be nice --
    
				COOPER
		That's enough. The Sheriff didn't mean anything.
    
				ALBERT
		He hit me.
    
				COOPER
		Well. I'm sure he meant to do that.
    
Albert starts to rail, but Cooper shuts him up with a gesture.
    
				COOPER
		Albert, I want the girl's body released to her family now.
		I want to see your test results by noon. Those are orders.
    
Albert weighs his options, nods assent, marches off. A tense beat. Ben Horne clears his
throat. Doc Hayward turns to Cooper.
    
				HAYWARD
		Thank you, Agent Cooper.
    
Cooper nods. Hayward, Horne, and Andy follow Albert out of the room. A beat. Cooper
remains, looks at the white partition. He steps toward it.
    
ANGLE ON PARTITION
    
Agent Cooper pauses for a moment. stares quietly at Laura Palmer's body. HOLD ON
Cooper. The sadness in his eyes.
							FADE OUT.

				END ACT ONE

    




						(Revised 10-3-89,Blue)
    
				ACT TWO
    
FADE IN:
    
6.   EXT. LEO JOHNSON'S HOUSE - DAY

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

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

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

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

				COOPER
		Albert's been hit before. He will be hit again. You'll get
		your buttkicked over my dead body.
			(takes a deep breath, enjoys)
		Look at that, there's a duck on the lake. Fill me in on
		Leo Johnson.
    
				TRUMAN
		Leo's one of those guys you keep on your list and you
		keep an eye on, but we've never caught him with his hand
		in the cookie jar.
    
They turn a corner and come upon LEO JOHNSON, behind the house, chopping wood. Leo
glances at them, continues to chop wood furiously. They advance.

    
				COOPER
		Excuse me. Leo Johnson?
    
				LEO
		Who the hell are you?
    
				TRUMAN
		This Is Special Agent Cooper of the FBI, Leo. He'd like
		to ask you a couple questions.
    
				LEO
		So?
    
				TRUMAN
		So behave.
    

    
Leo stops chopping, glares at Truman. But he just returns it. Leo mutters, resumes chopping.
    
				LEO
		So ask.
    
				COOPER
		Leo. Is that short for Leonard?
    
				LEO
		That's a question?
    
				COOPER
		Did you know Laura Palmer?
    
				LEO
		No.
    
				COOPER
		How well did you know her?
    
				LEO
		I said I didn't.
    
				COOPER
		You're lying.
    
				LEO
		I knew who she was, all right? Everybody did.
    
				COOPER
		Do you have a criminal record, Leo?
    
				LEO
		Nothing. You can look it up.
    
                               COOPER
			(he already did)
		A speeding ticket. April, 1986. A second moving
		violation, illegal U-turn. September, 1988 -
    
				LEO
		I paid my debt to society.
    
				COOPER
			(beat)
		Where were you the night of Laura Palmer's murder?
		Around midnight.
    

    
				LEO
			(pleased with his alibi)
		On the road. I called my wife Shelly about that time.
		From Butte.
    
				COOPER
		She'll confirm that?
    
				LEO
		She will if you ask her.
    
Leo suddenly stops chopping, sticks the axe deep into the wood. He looks at Cooper and
Truman, unafraid. Cooper and Truman look at each other.
							CUT TO:
7.   "INVITATION TO LOVE" - "NIGHT"
    
START CLOSE on a television screen, lush MUSIC over a robin's egg blue background, the
familiar voice intoning:
    
				ANNOUNCER
		... and every hour holds the promise of an ...
		INVITATION TO LOVE ...
    
FADE UP ON insolent tough guy MONTANA in t-shirt and leather jacket. Luscious
EMERALD eyeing him like a cool drink of water. And ineffectual CHET.
    
				EMERALD
		So, Montana, did you find that rainbow you were looking
		for?
    
				MONTANA
		Lots of rainbows. No pot of gold.
    
				CHET
		I'm not sure how I'm feeling about this.
    
				EMERALD
		Chet, get Montana a drink. He must be thirsty after a
		year in the rain forest.
    
Emerald sashays across the living room, steps lightly into Montana's arms. She offers him a
welcome kiss -- a little too ardently for Chet's liking.
    
				CHET
		How long are you planning to stay, Montana?
    
Montana looks up from Emerald's beestung lips.
    



						(Revised 10-3-89,Blue)

7.   CONTINUED:
    
				MONTANA
		Long enough to see my ex-wife; how is Jade, Chet?
    
Chet shivers. The music swells.
							CUT TO:
8.   INT. PALMER HOUSE LIVING ROOM - DAY
    
ANOTHER ANGLE reveals a television in the Palmer house. A NURSE turns her eyes
from the screen, withdraws a syringe from Leland Palmer's arm. She discards the empty,
carefully draws medication into a second syringe, and places it on a tray. Just then: the
doorbell RINGS.
    

    
STAY WITH Leland as the nurse walks to the front door. Leland watches television.
    
							INTERCUT:
9.   "INVITATION TO LOVE"
    
JARED, distinguished in smoking jacket and ascot, weeps, finishes a suicide note addressed
to Emerald and Jade. He takes a gun into his hands, lifts it slowly. Suddenly: someone
knocks at the door, calls to him.
    
				JADE'S VOICE
		Daddy! Open up! Daddy it's jade!
    
Jared pauses, looks at the door, the gun. Music swells.
    
DURING ABOVE, we HEAR the Palmer's front door open, some muted exchange, two
sets of footsteps returning to the living room. Finally:
    
				MADELEINE'S VOICE
		Uncle Leland?
    
Leland looks up, sees the Nurse and MADELEINE FERGUSON standing before him.
Madeleine is twenty, quite beautiful, She wear glassses, has jet black hair worn long. She sets
down a suitcase. A closer angle REVEALS that she looks very much like Laura Palmer.
    
Leland stares at Madeleine for a long beat. As if he didn't recognize her. Then, with great
difficulty:
    
				LELAND
		Madelaine?
			(rises, steps closer, takes her by the hands)
		Maddy?
    
				MADELEINE
		Uncle Leland, I'm so sorry, I ...
    

    
Madeleine pauses, a sob catches in her throat. She begins to cry. Leland carefully wipes a
tear from her deep blue eyes. Madeleine looks up at him, whispers:
    
				MADELEINE
		Oh Uncle Leland ...
    
Leland takes her into a healing embrace. He's crying too. HOLD ON them for a beat.
    
							CUT TO:
10. "INVITATION TO LOVE" - "NIGHT"
    
Jared holds the gun in his hands, listens to his daughter's tearful pleading.
    
				JADE
		Daddy! Daddy please!
    
Finally, Jared sets the gun on his desk, steps to the door. He opens it. And JADE, his
beautiful, compassionate, perfect daughter leaps into his arms. She is Emerald's twin.
    
				JADE
		Oh Daddy. I was so afraid. I love you Daddy.
    
HOLD on father and daughter for a beat.
							CUT TO:
    
11. EXT. HAYWARD HOUSE - DAY
    
Establish.
							CUT TO:
12. INT. HAYWARD HOUSE LIVING ROOM - DAY
    
Doc Hayward steps into the living room, dressed for the funeral save for the tie which hangs
undone around his neck. Donna waits for him. She looks at his tie, manages a small smile.
    
				DONNA
		Dad, you're hopeless.
    
Donna knots her father's tie. She does not speak. Her eyes are red from crying. Hayward
takes a look at his daughter, consoles:
    
				HAYWARD
		Want to talk about it?
    
				DONNA
		Oh, Dad, I ... I can't believe they're burying Laura today.
		It's so ... final. I think and I think and it just doesn't
		make sense.
    
				HAYWARD
		Death never does.
    
    
				DONNA
			(tearful)
		So what are we supposed to do?
    
				HAYWARD
			(after a beat)
		I live with death and dying every day. There are times
		when it's merciful, almost a relief. But often it seems
		nothing but needless and cruel. It made me furious, for
		many years. Furious and helpless. As you go through life,
		you learn to accept it. Because we have to. Even when it
		hurts bad enough to break your heart.
    
				DONNA
		My heart is breaking. And I don't know how to stop it.
    
Donna looks up at her father. Her eyes are bright with tears. Father and daughter embrace.
    
							CUT TO:
13. EXT. BRIGGS HOUSE - DAY
    
Establish.
							CUT TO:
14.  INT. BRIGGS DINING ROOM - DAY
    
BOBBY BRIGGS sits at the dining room table, smoking a cigarette. Quiet, seemingly
downcast. But his eyes are angry and cold. He wears dark funeral clothes, a tie. Bobby turns,
finds MAJOR BRIGGS standing across the room.
    
				MAJOR BRIGGS
		Robert, this may be a good time for a brief discussion.

				BOBBY
		You want to talk about cigarettes? Today?

				MAJOR BRIGGS
		No. But put it out. It's a filthy habit, especially for a
		varsity athlete.
    
Bobby grinds out the cigarette in an ashtray. He glowers. Major Briggs sits next to him,
places a hand on Bobby's knee. He means well, but physical affection does not come
naturally to him. It feels a little forced.
    
				MAJOR BRIGGS (CONT'D)
		I've attended my share of funerals. Too many. Any man
		who dies in war dies too soon. Laura died too soon as
		well.
    

				BOBBY
		Yeah. She did.
    
				MAJOR BRIGGS
		But we have a responsibility to the dead, Robert.
		Responsibility is the linchpin that binds our society
		together. Each man responsible for his actions, each
		action contributing to the greater good.
    
				BOBBY
		What's the good of putting somebody in the ground?
    
				MAJOR BRIGGS
		It is man's way of achieving closure. In ceremony begins
		understanding, and the will to carry on without those we
		must leave behind. And Robert, in your life, you must
		learn, will learn, to carry on without them.
    
				BOBBY
			(whispered)
		Great.
    
				MAJOR BRIGGS
		I know you experience a certain reluctance to enter fully
		into meaningful exchange. That leads to stalemate, and a
		desire on my part to force certain wisdom upon you.
		That's not necessarily a bad thing, sometimes it is the
		best course available.
    
Briggs pauses, rethinks. Then, a direct emotional statement ...
    
				MAJOR BRIGGS
		Son. Don't be afraid. We'll all be there together.
    
Bobby takes a closer look at his father. These are words he understands. But they have
absolutely nothing to do with the way he's feeling.
    
				BOBBY
		Afraid of what?
    
				MAJOR BRIGGS
		The funeral.
    
				BOBBY
		I'm not afraid of any damn funeral. Afraid? I can hardly
		wait. Afraid? I'm gonna turn it upside--down.
    
The anger pours out of him. For once Major Briggs is speechless. But no matter, just then
BETTY BRIGGS steps into the room, and, with a too bright smile ...
    

				BETTY
		Everybody ready?
    
Father and son turn jaundiced eyes her way.
							CUT TO:
    
15. EXT. TWIN PEAKS POLICE STATION - DAY
    
Establish.
							CUT TO:
16. INT. POLICE STATION RECEPTION AREA - DAY
    
Cooper and Sheriff Truman step through the station reception area. DEPUTY TOMMY
THE HAWK appears, keeps pace beside them.
    
				COOPER
		Deputy Hawk.
    
				HAWK
		Agent Cooper. No sign of the man with one arm.
    
				COOPER
		Keep trying, Deputy. He's out there somewhere.
    
Cooper and Truman continue towards the conference room.
    
				TRUMAN
		If anyone can find him, Hawk can.
    
				COOPER
		Tracker?
    
				TRUMAN
		The best.
							CUT TO:
17. INT. INTERROGATION ROOM A - DAY
    
Cooper and Truman enter. Albert Rosenfield sits at the table, with a huge file of test results.
He refuses to acknowledge Truman's presence. Not even a glare.
    
				COOPER
		Okay, Albert, what've you got?
    
				ALBERT
		Enough evidence to save your butt and get mine out of this
		godforsaken berg.
    
				COOPER
		We're all ears.
    
    
Albert considers hurling an insult, instead tosses a glassine envelope on the table.
    
				ALBERT
		Contents of envelope found in Palmer diary. Cocaine.
		Toxicology results also positive. The little lady had a
		habit.
			(throws a second envelope)
		Fibers of twine embedded in her wrists and upper arms.
		Two different kinds of twine.
			(another envelope)
		Fibers of twine found in the railroad car, a match to the
		sample from the wrist. The same twine was used to bind
		the wrists of the Pulaski girl. My conclusion, she was tied
		up twice at different locations on the night of her death.
		Once here.
			(he points to his wrists)
		Once here. Like this.
    
He gestures to his upper arms, pulls them back into an uncomfortable position. I
Cooper's dream.
    
				COOPER
			(quietly)
		Sometimes my arms bend back.
    
Truman glances at him, intrigued. Albert reveals another glassine.
    
				ALBERT
		Traces of pumice in standing water outside the railroad
		car, suggesting soap. The kind used for heavy cleaning.
		Same pumice particles appear on the back of Laura's
		neck. Not her home-use brand. My conclusion: the killer
		washed his hands and leaned in for a kiss ... like this.
    
He demonstrates. Truman is disturbed by the implication.
    
				TRUMAN
		Lord ...
    
Albert shows them a photo.
    
				ALBERT
		Distinctive wounds on Laura's shoulders and neck.
		Appear to be claw marks, bites of some kind.
    
				TRUMAN
		An animal?
    

    
				ALBERT
		It's trying to think. How quaint.
    
Cooper silences Albert with a stern look. Albert produces another envelope.
    
				ALBERT (CONTINUED)
		A small plastic fragment from her stomach, partially
		dissolved by digestive acids. I'm taking it with me back
		to the lab for reconstruction, as the local facilities give
		new meaning to the word 'primitive.'
			(closes the file with some fanfare)
		Those are the highlights. I'm not entirely displeased, but
		a couple more days with the body and who knows what I
		might have come up with --
    
				COOPER
		Good work, Albert.
    
Just then, Deputy Andy enters, dressed in funeral blues.
    
				ANDY
		Sheriff' Time to go?
    
				COOPER
		Albert, you'll excuse us. We've got to get to a funeral.
    
Truman and Andy head out. Cooper moves to follow. But Albert calls after him:
    
				ALBERT
		Cooper? May I have a word with you? Alone?
    
Cooper nods to Truman and Andy. They exit. Albert pulls out a document.
    
				ALBERT (CONTINUED)
		One more item.
			(he slides it across the table)
		A report concerning the physical assault on my person
		which you witnessed this morning. I think you'll find it
		accurate. It requires your signature.
    
Cooper reads through the report with amazing speed. A beat, then:
    
				COOPER
		Albert, I'm not going to sign this --
    
				ALBERT.-
			(shocked)
		What?
    

    
				COOPER
		Albert, I hope you can hear this. I've only been in Twin
		Peaks a short time. But in that time, I have seen decency,
		honor, and dignity. I have seen grief to break your heart.
		Murder is not a faceless event here. It's not a statistic to
		be tallied up at the end of every day. Laura Palmer's
		death has affected each and every man, woman, and child.
		Because life has meaning here. Every life. And that's a
		way of living I thought had vanished from this earth. It
		hasn't, Albert. It's right here in Twin Peaks.
    
				ALBERT
		Sounds like you've been snacking on some of the local
		mushrooms.
    
Cooper sets the report on the table, carefully pushes it back to Albert.
    
				COOPER
		With your behavior towards these good people, count
		yourself lucky I don't file a report of my own that could
		bury you so deep in a building in Washington you'll never
		see the sun.
    
Albert turns pale, collects his papers, exits without another word. Cooper looks out the
window, produces his miniature tape recorder, speaks into it.
    
				COOPER (CONTINUED)
		Diane, it's 12:27 PM. I'd like you to check into my
		pension plan options regarding outside real estate
		investment. I'm thinking of purchasing some property at
		what I assume will be a very reasonable price.
    
Cooper stops recording, pauses to ponder.
							FADE OUT.
    
				END ACT TWO

    




    
				ACT THREE
    
FADE IN:
    
18. EXT. BLACK LAKE CEMETARY - DAY
    
OPEN ON a lovely smalltown cemetary, the usual weathered headstones. ANOTHER
ANGLE reveals Laura Palmer's burial site. The freshly dug grave. A hydraulic frame used
to lower the casket. And two WORKERS testing the hydraulics, one sitting on the coffin
bed, the other raising and lowering it.
							CUT TO:
    
19. EXT. BLACK LAKE CEMETARY - DAY
    
A gleaming hearse in the cemetary parking lot. A mortician supervises the unloading of
Laura's casket, for transfer to the grave. MUSIC over.
    
							CUT TO:
20.  EXT. ED HURLEY'S HOUSE - DAY
    
Establish.
							CUT TO:
21.  INT. ED HURLEY'S HOUSE - DAY

ED HURLEY steps into the living room wearing an ill-fitting dark suit. He takes but three
strides before Nadine appears in a flurry, leaps into his arms. She nearly knocks him off his
feet. Ed endures an embrace of lengthy duration, Nadine snuffling about his ear. Finally, she
steps back, beaming, out of her mind:
    
				NADINE
		Love me?
    
				ED
			(wildly uncertain)
		Why sure, Nadine.
    
				NADINE
		How do I look?
    
Nadine's wearing a faded black dress. Her idea of funeral clothes. The buttons are
incorrectly fastened. Ed looks at the dress, Nadine's manic smile.
    
				ED
		You look fine, Nadine.
    
				NADINE
		Last night was wonderful, Ed. You came back to me.
		Now we're together again. Not that we weren't, but now
		I feel like we're really together.
    
Nadine leaps back into his arms. Ed receives her with stunned expression.



						(Revised 10-3-89,Blue)
    
21.  CONTINUED:
    
				NADINE (CONTINUED)
		At high school, I used to watch Norma and you at those
		football games? She was so pretty. You were such a
		handsome couple, but I knew, I always knew once you got
		to know me that we'd be together. Even though I was just
		a little nobody, a little brown mouse, I was always
		hoping ... and wasn't I right? Wasn't I right?

Nadine pauses, the memories come and go. She looks up at Ed, back in the moment:
    
				NADINE (CONTINUED)
		Do you remember?
    
Nadine's mind spins and shifts, it's slowly slipping away. And Ed doesn't know what the
hell to do about it. So he reaches out to her, carefully redoes the top two buttons on her dress.
Nadine's got them reversed.
    
				ED
			(gently)
		Sure, Nadine. I remember.
    
				NADINE
			(smiles, a blank)
		What's that?
    
Just then: the sound of a motorcycle outside. Not knowing what else to do, Ed goes to the
window.
    
				ED
		James.
    
A beat. James enters. But he's wearing jeans and a leather jacket. Ed frowns.
    
				ED
		You ready? I don't want to be late.
    
				JAMES
		I'm not going.
    
				ED
		What do you mean you're not going. It's Laura.

				JAMES
		I'm not going. I can't.
    
				ED
		James --
    
Too late. James turns and walks out the door. Big Ed makes no move to follow.
    
							CUT TO:

    
22.  EXT. GREAT NORTHERN HOTEL - DAY
    
Establish. A limousine waits our front.
							CUT TO:
23.  INT. GREAT NORTHERN CORRIDOR - DAY
    
Dressed for the funeral, Audrey moves down a corridor in the hotel residence wing, STOPS
to peak into ...
							INTERCUT:
24.  AUDREY'S POV - INT. BEN HORNE'S OFFICE - DAY
    
JOHNNIE HORNE sits on the floor, attired in an expensive suit. DR. LAWRENCE
JACOBY kneels at his feet, whispers urgently to the boy, trying to convince him to remove
the familiar Indian headdress.
    
Audrey watches from outside the doorway, listens to Jacoby whisper and cajole. She can see
tears glistening in the doctor's eyes.
							CUT TO:
    
25.  EXT. BLACK LAKE CEMETARY - DAY
    
A flowered trellis stands at the entrance from the parking lot to the burial grounds. The
LOG LADY arrives wearing a surprisingly appropriate funeral dress, clutching her log to her
breast. She steps among mourners as they emerge from automobiles. Cooper, Sheriff
Truman, and Deputies Andy and Hawk get out of the police crusier, join the throng.
    
							CUT TO:
26.  EXT. BLACK LAKE CEMETARY - DAY
    
Mourners step through the trellis into the cemetary proper. Doc Hayward escorts Donna onto
the green grass, she pauses, sees Mike waiting for her nearby.
    
				MIKE
		Hi.
    
				DONNA
			(to father)
		Just a sec.
    
Donna steps away from her father, walks to Mike. She looks at him, says nothing. An
awkward beat, then:
    
				MIKE
		Hey. I'm sorry about the other night. I didn't mean
		anything.
			(reaches for her, she pulls away)
		Hey, I said I was sorry ...
    
				DONNA
		I don't want to see you anymore, Mike. Please don't
		bother me again.
    


    
Mike watches, shellshocked, as she walks away.
							CUT TO:
    
27.  EXT. BLACK LAKE CEMETARY - DAY
    
Ed escorts Nadine through the cemetary. He sees Donna returning to her father.
    
				ED
		Go on ahead, Nadine. I'll catch up.
    
Nadine seems uneasy, a little lost.
    
				ED (CONTINUED)
		I promise. It'll be fine.
    
Nadine nods, reassured, moves off. Ed steps toward Donna, intercepts.
    
				ED
		Hello, Donna.
    
				DONNA
		Where's ... ?
    
				ED
		He's not coming. He wouldn't.
    
				DONNA
		Why?
    
Ed can only shrug. Donna sees her father waiting, there's no rime to talk. She's upset, tries to
hide it and walks on.
    
				NORMA'S VOICE
		Ed?
    
Ed turns, finds Norma standing behind him. She's troubled.
    
				NORMA
		Hi.
    
				ED
			(an uneasy glance around)
		Not the best place to talk.
    
				NORMA
		I know. Hank's parole hearing is tomorrow. He could be
		out next week. Maybe sooner.
    
Ed nods. He doesn't want to talk about it here. She sees Nadine standing nearby and
realizes why.
    


				NORMA
			(not catty)
		Nadine looks nice.
    
				ED
		Yeah. She's feeling good today.
    
There's sympathy in his voice, sadness too. Norma understands. Ed manages a smile and
moves off.
							CUT TO:
28.  EXT. BLACK LAKE CEMETARY - DAY
    
Lastly, Ben Horne escorts Leland and SARAH PALMER into the cemetary. Mourners stop
and stare. Sarah squints in the sunlight, clutches Leland's hand. And Madeleine Ferguson
walks behind them, wearing dark glasses.
    
Ben spots Catherine nearby. He nods to Madeleine, allows her to escort Leland and Sarah
ahead. Ben remains, waits for Catherine to join him.
    
				CATHERINE
			(as they walk, aside)
		Taking care of the Palmers, are we?
    
				BEN
		It's the only decent thing to do.
    
				CATHERINE
		Had to shut down the mill again. All that grief. 'Few
		more tragedies it'll roll over and play dead.
    
				BEN
		See you at the funeral.
    
Ben and Catherine separate, poker-faced.
							CUT TO:
    
29.  EXT. LAURA'S GRAVESITE - DAY
    
Mourners gather around the grave. Laura's burnished casket sits on its hydraulic bed, the dark
hole beneath it. And FATHER CLARENCE prepares his oration. Father Clarence is an old
man, red-faced; he fumbles with a number of prayer books and hymnals. This is no ordinary
service for him. He is as deeply saddened as those who wait for him to comfort them.
    
				FATHER CLARENCE
		I am the resurrection and the life, saith the Lord; he that
		believeth in me, though he were dead, yet shall he live;
		and whosoever liveth and believeth in me shall never die.
    
In the distance, a lone figure steps through headstones toward the grave. James Hurley. He
walks closer, eyes locked on Laura's casket. Bobby sees him coming, darkens, scowls. Donna
sees James too. She finds Bobby in the throng, notes his fury. And so begins, as Father
Clarence continues, a CHAIN OF GLANCES.
    
				CLARENCE'S VOICE
		For none of us liveth to himself, and no man dieth to
		himself. For if we live, we live unto the Lord; and if we
		die, we die unto the Lord.
    
Donna looks to Sheriff Truman for help.
But Sheriff Truman is looking at Josie.
Josie meets his gaze. Then looks away, as if too shy to stare at him here.
Josie turns to Pete Martell. Pete nods, ever sociable.
    
				CLARENCE'S VOICE
			(continued, over glances)
		Whether we live, therefore, or die, we are the Lord's.
		Blessed are the dead who die in the Lord; even so saith the
		Spirit, for they rest from their labors. The Lord be with
		you...
    
				ALL
		And with thy spirit.
    
				CLARENCE'S VOICE
		Let us pray.
    
Pete turns from Josie, looks to his wife.
But Catherine is leering at Ben Horne.
Ben returns her gaze, but is jostled by Bobby shoving past him toward the grave.
    
				CLARENCE'S VOICE
		0 God, entrust this child Laura to thy never-failing care
		and love, and bring us all to thy heavenly kingdom;
		through the same thy Son Jesus Christ our Lord, who
		liveth and reigneth with thee and the Holy Spirit, one
		God, now and forever. Amen.
    
Father Clarence clears his throat. But before he can continue, Johnny Home brays out a rather
ill-timed:
    
				JOHNNY
		Amen!
    
				FATHER CLARENCE
		Thank you, Johnny.
    
THE CHAIN OF GLANCES CONTINUES:
Shelly spots Bobby, sees his anger, follows his stare to James.
James is looking at Donna, seeking comfort, approval.
But Donna, having witnessed Bobby's fury, now looks to Big Ed for help.
    
				CLARENCE'S VOICE
		I baptized Laura Palmer. I instructed her in Sunday
		school. And like all of you, I came to love her with that
		special love we reserve for the headstrong and bold.
		Laura was bright, beautiful, charming. But most of all she
		was, I think, impatient. Impatient for her life to begin,
		for the rest of the world to catch up with her many dreams
		and ambitions.
    
Big Ed doesn't notice Donna's distress. He's busy trying to get Norma's attention.
Norma doesn't see him. She's looking at Nadine.
Nadine, oblivious as always, is gazing intently at Leland and Sarah Palmer, Madeleine
beside them. Nadine wipes tears from her eye.
    
				CLARENCE'S VOICE
		If we appear to put those dreams to rest today, do not
		believe it. For those of us who loved her, those dreams
		will never die. They live on inside each of us.
    
				JOHNNY'S VOICE
			(as ill-timed as before)
		Amen!
    
Madeleine looks up, sees Nadine peering at her from across the grave.
Madeleine looks away, only to find Audrey staring at her from the other side.
Audrey notes the resemblance to Laura, reacts.
Audrey looks to find Agent Cooper in the throng, she wants him to see it too.
    
And as for Cooper, he's been watching this chain from the start, fascinated by all the
connections and clues it offers him.
    
Suddenly Cooper frowns. He sees Bobby Briggs plowing through the crowd, stepping
quickly toward Father Clarence, the grave.
    
				CLARENCE'S VOICE
		Laura used to tell me that I talked too much. I won't
		make that mistake here. It is enough to say that I loved
		her, and will miss her for the rest of my days.
    
				JOHNNYS VOICE
			(getting into his own call and response
			rhythm)
		Amen!!
    
Bobby steps to the front of the gravesite, nearly howls the repetition:
    



						(Revised 10-3-89, Blue)
    
    
29.  CONTINUED:(3)

				BOBBY
		AMEN!!!

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

				BOBBY
		What are you looking at? What are you waiting for? You
		make me sick. You damn hypocrites make me sick.
		Everybody knew she was in trouble. But we didn't do a
		thing. Who killed the Prom Queen?! You did. We all
		did. And pretty words won't bring her back. Keep your
		prayers. Laura doesn't need them. She would've laughed
		at them anyway
    
Bobby's cracking up, tears pool in his eyes. James moves to stop him. Mike hurries forward,
ready to fight. Bobby sees James approaching, he leaps in his direction.
    
But Cooper gets there first, Truman, Andy, and Hawk close behind. They pull the boys
apart, stop the fight before it happens. Amidst the shouting and commotion, Johnny Horne
lifts his head toward the sky, lets out an atavistic howl:
    
				JOHNNY
		Ahoooooooooooh!!
    
Audrey rushes to comfort him. The howl, the brawl, all contribute to a growing sense of
chaos, trouble and grief in the air. Major Briggs grabs his son and drags him away from the
grave as Bobby screams at James:
    
				BOBBY
		I'll get you! You're dead! I'll get you!
    
And now, unnoticed for the moment, Leland Palmer lets go of his wife's hand, steps quietly
toward the casket. He stares at it for a long beat, the tumult erupting all around him. Then,
quite suddenly, without warning ...
    

Leland Palmer leaps onto the casket, shouting and wailing ...
    
				LELAND
		Laura! Laura!
    
Gasps of shock. Truman and Cooper step forward immediately, but Leland's jump has
activated the hydraulics, the casket begins to sink from view. A CARETAKER frantically
reverses the controls, brings Leland and the casket up again. But just as Truman and Cooper
seem about to grab him, the casket begins to descend, remains beyond their grasp.
    
				LELAND (CONTINUED)
		Laura! My baby!
    
And so it goes, the casket rising and falling, Truman and Cooper now enlisting the deputies
to form a human chain, the mourners reacting with shock and dismay.
    
And now, at long last, Sarah Palmer takes tentative steps forward, her eyes seem to clear, and
she shouts, roars at her husband:
    
				SARAH
		DON'T RUIN THIS TOO!!
    
A sudden silence descends upon the gravesite. Sarah Palmer remains frozen, Madeleine at her
side. Mourners glance at each other, begin to disperse. The funeral of Laura Palmer has
concluded.
							FADE OUT:
    
				END ACT THREE



    
				ACT FOUR    

FADE IN:
    
30.  EXT. DOUBLE R DINER - NIGHT
    
Nightfall at the Double R.
							CUT TO:
31.  INT. DOUBLE R DINER - NIGHT
    
OPEN ON a pair of hands, female, acting out a pantomime on the Double R counter. One
hand, palm down, held out straight, suggests a coffin/platform. The other, two fingers
pointed down, skips across the counter, suggesting leaping feet. In this manner, accompanied
by buzzing lips approximating the sound of hydraulics, Shelly Johnson reenacts the funeral
imbroglio. Her fingers skip across the counter, leap upon the coffin, and BZZZZZ, the
hydraulics go up and down and up and down ...
    
ANOTHER ANGLE reveals Shelly in the Double R. She's entertaining several old coots at
the counter, demonstrating Leland Palmer's leap onto the casket -- and into local lore.
Norma passes by, frowns.
    
Shelly puts her hands behind her back as if to promise no more finger puppets. But the
moment Norma moves on, she's at it again, fingers flying, lips buzzing, much to the delight
of the crusty old regulars.
							CUT TO:
    
32.  INT. DOUBLE R DINER - NIGHT
    
Sheriff Truman, Big Ed Hurley, and Deputy Hawk share a booth in the back, drinking coffee
and eating pie. They speak just above a whisper. They're trading secrets, not funeral gossip.
In mid-conversation:
    
				TRUMAN
		Maybe we should tell him.
    
				HAWK
		Why?
    
				TRUMAN
		I feel bad keeping him in the dark. What the hell, he's
		going to figure it our sooner or later anyway.
    
				ED
                     Don't be so sure.
    
				TRUMAN
			(looking over Ed's shoulder)
		Want to bet?
    
Truman SEES Cooper enter the diner, step toward their booth.
    

						(Revised 10-3-89,Blue)
    

    
32.  CONTINUED:
    
				TRUMAN
		Right on time.
    
				ED
			(sotto voce)
		Careful who you trust, Harry. He's not one of us.
    
				COOPER
		Evening, Harry. Ed, Hawk.
    
Truman gestures to the space beside him. Cooper sits down.
    
				COOPER
		I got your note. What's up?
    
Ed signals to Norma, she steps over to take Cooper's order.
    
				TRUMAN
		Agent Cooper, how would you like some fresh
		huckleberry pie?
    
				COOPER
		I would love some huckleberry pie.
			(for Norma's benefit)
		Heated. Vanilla ice cream on the side. Coffee.
    
				NORMA
		Coming right up.
    
Norma steps away. Cooper turns to Ed.
    
				COOPER
		How Iong have you been in love with Norma?
    
Ed blanches, says nothing. Truman turns to him.
    
				TRUMAN
		See what I mean?
    
Ed nods. Cooper takes note of the exchange, looks to Hawk, Sheriff Truman.
    
				COOPER
		There's something you fellas want to tell me.
    
				ED
			(a convert)
		Better tell him.
    
Hawk nods assent. A beat. Sheriff Truman begins:
    

    
				TRUMAN
		Someone's running drugs into Twin Peaks from over the
		border. We've been working undercover, trying to set up
		a bust: top to bottom. Nobody walks.
    
				COOPER
		Who's targeted?
    
				TRUMAN
		Jacques Renault, bartender at the Roadhouse, we figure
		him for the middleman. Ed was staking him out the
		night you got into town. Renault slipped something into
		his drink.
    
				ED
		Felt like somebody hit me on the head with a hammer.

				COOPER
		I didn't know you were a deputy, Ed.
    
				TRUMAN
		He's not.
    
				COOPER
		A little outside your juristiction, isn't it?
    
				ED
		Somebody's sellin' drugs to high school kids. That's in
		everybody's juristiction.

				TRUMAN
		I call on Ed when I need him. He's not the only one I
		call.
    
Just then: Norma arrives with Cooper's pie and coffee.
    
				TRUMAN (CONTINUED)
		Thank you, Norma.
    
				NORMA
		Enjoy.
    
Cooper digs in, gives Norma a hearty thumbs-up. Norma smiles, walks away.
    
				COOPER
		This must be where pies go when they die.
    
Cooper takes another bite. Sheriff Truman waits for some reaction to all he's told him.
Finally, Cooper sets down his fork, begins:
    

    
				COOPER
		Someone's bringing, drugs into Twin Peaks. Laura
		Palmer was on drugs. You call on Ed to help you out.
		Ed's a good man. Local bartender's a mid-level player,
		okay, it's hard to get by on minimum wage. Now Harry,
		please. What is it you really want to tell me?
    
Sheriff Truman looks at the others. They encourage him to continue
    
				TRUMAN
		You're going to have to trust me. No matter how it
		sounds.
    
				COOPER
		I trust you, Harry.
    
				TRUMAN
			(after a beat, looking for words)
		Twin Peaks is different. A long way from the world.
		You've noticed that.
    
				COOPER
		Indeed I have.
    
				TRUMAN
		And that's the way we like it. But there's a back end to
		that that's different too. Maybe that's the price we pay
		for all the good things.
    
				COOPER
		What is it?
    
				TRUMAN
			(lowering his voice)
		There's a sort of evil out there. Something strange in the
		hills. It takes different forms, but it's been there for as
		long as anyone can remember. And we've always been
		here to fight it.
    
				COOPER
		"We?"
    
				TRUMAN
		Men before us. Men before them. More after we're gone.
		We protect our own. We have to.
    
				COOPER
			(relishing this)
		A secret society.
    
    
The others exchange looks.
    
				TRUMAN
		Let's take Agent Cooper for a little ride.
    
				COOPER
		Where to?     
    
				TRUMAN
		The Book House.
							CUT TO:
33.  EXT. THE ROADHOUSE - NIGHT
    
A dusty parking lot surrounds the slightly seedy honky tonk. Behind it, another, smaller
structure. The Book House. Sheriff Truman and the others arrive in a cruiser and a patrol car,
exit. Cooper takes a deep breath of cool night air.
    
				TRUMAN
		This way.
    
Truman leads Cooper towards the Book House.
    
				COOPER
		How long have you been Sheriff, Harry?
    
				TRUMAN
		Five years.
    
				COOPER
		How long have you been meeting here?
    
				TRUMAN
		Longer than that.
			(they, reach the door)
		It's a funny thing. Seems like every time you solve a
		mystery, there's another one right behind it.
    
Cooper smiles. He can appreciate that sort of thinking.
							CUT TO:
    
34.  INT. BOOK HOUSE NIGHT
    
They enter. It is a clubhouse of sorts, chairs and tables, a comfortable atmosphere. And
walls lined with bookshelves, tomes on every imaginable topic. Cooper stops, reacts.
There's a burly hirsute MAN, wearing a gag, tied to a chair at the center of the room. James
Hurley and JOEY PAULSON stand guard.
    
				TRUMAN
		You know James. Joey Paulson.

    
				JAMES
		Hello, Agent Cooper.
    
				COOPER
		Hello, James. Joey. Who's this?
    
				TRUMAN
		Bernard Renault. Jacques' brother. Janitor had at the
		roadhouse. Bernard had an ounce of cocaine in his kit bag.
		Thought we'd ask him a couple questions.
    
Cooper nods, getting into the spirit. Truman removes Bernard's gag.
    
				COOPER
			(after a beat)
		Did you ever sell drugs to Laura Palmer?
    
				BERNARD
			(French-Canadian)
		I don't sell drugs.
    
				TRUMAN
		How much does Jacques pay you to be the mule?
    
				BERNARD
		Jacques don't pay me nothing, I'm no mule.
    
				TRUMAN
		So that ounce we found, that was for personal use?
    
				BERNARD
		That's right.
    
				TRUMAN
		Where's your brother been? Not at work the last few
		days.
    
				BERNARD
		I don't know. He got business.
    
				COOPER
		With who?
    
				BERNARD
		I don't know.
    
				TRUMAN
		Who else does Jacques work with?


    
				BERNARD
		Why don't you ask him yourself? He be back tonight.
		Any minute.
    
				TRUMAN
		He's coming to work?
    
				BERNARD
			(stating the obvious)
		He the bartender, isn't he?
    
Bernard grins, triumphant. Cooper looks at Truman, steps closer.
    
				COOPER
		Bernard, we have you tied up in a chair. You're mixed up
		in a wide variety of felonies with your brother. What I
		want to know is, why in the world would you tell us when
		and where to find him?
    
That wipes the grin off his face. Bernard looks at his feet, says nothing. Cooper doesn't
mind. He already knows the answer.
							CUT TO:
    
35.  EXT. COUNTRY ROAD - NIGHT
    
JACQUES RENAULT walks down a country road, peers through the dark at the Roadhouse
in the distance. Jacques stops suddenly, reacts.
    
36.  JACQUES' POV - THE ROADHOUSE
    
There's a redlight on top of the honky-tonk, it shines and blinks a warning. Jacques takes one
look at it, knows what it means. He turns and runs as fast as he can in the opposite direction.
    
							CUT TO:
37.  INT. LEO JOHNSON'S HOUSE - NIGHT
    
Leo stands over the kitchen sink, carefully cleans and polishes a pair of heavy boots. The
phone rings. Leo sets the boots on a towel, answers it.
    
				LEO
		Yeah?
							INTERCUT:
38.  EXT. PHONE BOOTH - NIGHT
    
Jacques is calling from a phone booth, breathless, sweating from the run.
    
				JACQUES
		The bust light's on. Bernard's in trouble.
    
    
				LEO
		You sure?
    
				JACQUES
		I saw it. You gotta get me out of here, Leo. Border run.
    
				LEO
		Where are you?
    
				JACQUES
		Phone booth by the Cash and Carry. I don't like waitin',
		man.
    
				LEO
		Shut up. I'm on my way.
    
Leo hangs up, grabs his jacket and a small bag. Shelly enters, wonders.
    
				SHELLY
		Where you goin'?
    
				LEO
		You don't need to know.
    
He exits. Shelly grabs her purse, kneels down in the kitchen near a cabinet. Without
hesitation - she's done this before -- Shelly carefully removes some of the cabinet's slats,
revealing a hiding place. She reaches into the hole, pulls out Leo's bloody shirt. Satisfied,
she returns it, then digs into her purse, removes her brand new Colt .32, looks at it for a beat.
Then puts it with the shirt below and replaces the slats. 
							CUT TO:
    
39.  EXT. ROADHOUSE - NIGHT
    
Cooper, Truman, Ed, and Hawk exit, Truman heads for his cruiser, gets on the radio.
    
				TRUMAN
			(to Cooper)
		You and Hawk wait inside the Roadhouse. Ed and I'll
		watch the road, I'll call for some back-up.
    
				COOPER
		Jacques' half-way to the border by now.
    
				TRUMAN
		We don't know that yet.
    
Cooper directs their attention to the blinking red light on top of the Roadhouse.
    
				COOPER
		I don't remember seeing that blinking red light before,
		do you?
    
The others look up. Truman realizes what's up. Hangs up his radio.
    
				TRUMAN
		I'll take Bernard in and book him.
    
				ED
		I'll give you a hand, Harry.
    
				TRUMAN
		Hawk, why don't you run Agent Cooper back to the Great
		Northern?
    
				COOPER
			(as they start off)
		Buy you a drink, Hawk?
    
Hawk nods.
							DISSOLVE TO:
40.  INT. GREAT NORTHERN BAR - NIGHT
    
A short time later. A sad song plays on a jukebox. Couples gather on the small dancefloor,
a few GUESTS mingle at the bar. Cooper and Hawk sit at small table near the fireplace.
Their mood is quiet, contemplative. It's been a long day.
    
				COOPER
			(after a beat)
		Did you know her, Hawk?
    
				HAWK
		Laura? Caught her speeding a couple times. Let her talk
		me our of the ticket. That wasn't hard.

				COOPER
		Laura Palmer didn't have to die. It's wrong. It makes
		me mad.
    
				HAWK
		Everything dies.
    
A beat. Cooper takes a pull from a longneck beer. He quietly wonders:
    
				COOPER
		Do you believe in the soul?
    
The question takes Hawk by surprise. He takes a closer look at Cooper.
 

				HAWK
		Several.
    
				COOPER
			(curious)
		More than one?
    
				HAWK
		Blackfeet legend. Waking souls that give life to mind
		and body. A dream soul that wanders.
    
				COOPER
		Where does it wander?
    
				HAWK
		Faraway places. The Land of the Dead.
    
				COOPER
		Is that where Laura is?
    
				HAWK
		Laura's in the ground, Agent Cooper. That's all I know
		for sure.
    
Cooper reacts, takes a closer look. Tommy 'The Hawk' Hill, agnostic Blackfoot. There's
more to him than meets the eye. A beat. Cooper lifts his glass into the air, proposes a toast:
    
				COOPER
		To Laura. Godspeed.
    
They touch glasses, toast. That's when Cooper sees Leland Palmer stepping between tables
to the dance floor.
    
ON LELAND
    
Leland walks onto the dance floor, stands quite still. The juke selects another title. Big
band music pours into the room. Leland listens intently. He looks up, his eyes bright with
tears. A beat. Leland Palmer begins to dance.
    
At first his actions go unnoticed. But gradually couples turn to regard him, this sad man
dancing across the floor. Some giggle, others look with sympathy. Most begin to disperse.
But Leland keeps dancing, he pleads With those who remain:
    
				LELAND
		Dance with me. Please. Dance with me.
    
As his pleadings grows more desperate, Cooper and Hawk step quickly to the dance floor,
mean to lead him away.
    

    
				COOPER
		Mr. Palmer. Leland?
    
				HAWK
		Mr. Palmer?
    
Gradually, Leland hears them, finally focusing on them.
    
				COOPER (CONTINUED)
		It's time to go home.
    
Pause. He nods weakly, Cooper and Hawk gently lead Leland between them out of the
room.
							DISSOLVE TO:
41.  EXT. BLUE PINE LODGE - NIGHT.
    
Establish. A full moon sailing overhead.
							CUT TO:
    
42.  INT. BLUE PINE LODGE KITCHEN - NIGHT
    
Lights are low, a small table has been set with silver, candies, and white linen. A romantic
supper for two. Josie wears a silk robe, something sheer beneath it. Sheriff Truman wears the
ardent expression of a man in love.
    
Pete steps into view carrying dinner on a large platter.
    
				PETE
		Pan-fried Rainbow. Caught 'em this morning.
    
Pete serves the trout to each.
    
				JOSIE
		Thank you, Pete.
    
				PETE
		It's nothing. Old family recipe.
    
Truman pours a little wine, offers:
    
				TRUMAN
		Pour you a glass, Pete?
    
				PETE
		No, no. You kids enjoy. Never mind the dishes. We'll
		get 'em later.
    
He intends to leave them alone. Truman smiles appreciatively, thanks Pete with a wink. He
watches Pete step from the room. A beat. Josie toys with her food, silent, preoccupied.
Something is troubling her. And Truman knows it.
    

    
				TRUMAN
		Heart a' gold, old Pete.
    
				JOSIE
		Yes, he is.
    
				TRUMAN
		Josie, what's wrong?
    
				JOSIE
		Nothing.
    
				TRUMAN
		'Nothing.'
    
Josie looks up from her dinner. Candlelight shimmers all around her.
    
				TRUMAN
		God you're beautiful.
    
Josie tries to smile. But her eyes are full of fear. Truman leans closer.
    
				TRUMAN
		Josie something's wrong, I want you to tell me.
    
				JOSIE
			(after a beat)
		They want to hurt me. I know they do. Something
		horrible is going to happen, Harry.
    
				TRUMAN
		Who? Who's going to hurt you?
    
				JOSIE
		Ben and Catherine.
    
CAMERA MOVES from the table, finally REVEALS an intercom speaker on the wall,
nearly out of sight, a silent ear listening.
							CUT TO:
    
43.  INT. MARTELL BEDROOM - NIGHT
    
Catherine Martell sits at a small desk, car pressed close to an intercom console/ speaker. She
manipulates the volume knob, listening to every word they say.
    
				JOSIE'S VOICE
		Catherine keeps the mill account books in her safe. Two
		books. Two accounts.

    
				TRUMAN'S VOICE
			(alert)
		Two? Can you show me?
							CUT TO:
44.  INT. BLUE PINE LODGE OFFICE - NIGHT
    
Josie leads Truman into the office, trips the hidden catch, releases the false bookshelf, and
reveals the wall safe. She inserts the key, tugs at the handle.
    
				JOSIE
		Why would she keep two sets of books?
    
				TRUMAN
		The usual reasons would have something to do with
		stealing. Maybe more.
    
Josie opens the safe, both look inside, react. There is only one ledger inside.
    
				JOSIE
		But there were two.
    
Truman removes the ledger, thumbs through it.
    
				TRUMAN
		Nothing unusual here.
    
				JOSIE
			(whispered, trembling)
		There were two.
							CUT TO:
45.  INT. MARTELL BEDROOM - NIGHT
    
Catherine smiles. She's holding the other ledger in her hand. Just then: footsteps, Pete enters.
She slips the ledger in a drawer and turns down the intercom. Pete catches this last action.
    
				PETE
			(all innocence)
		Have you seen my tackle box?
    
				CATHERINE
		The next time you and the merry widow want a peek in
		my safe, don't go to so much trouble. Be a man about it,
		Pete. Ask me to my face.
    
Pete stares at her for a beat. He'll fight another day.
    
				PETE
		Maybe I'll check the truck.
    
Pete exits. Catherine gloats.
							CUT TO:

    
46.  INT. BLUE PINE LODGE KITCHEN - NIGHT
    
Truman and Josie sit before the wood-burning stove. Josie burrows into Truman's arms,
shivers, speaks just above a whisper, revealing her deepest fears:
    
				JOSIE
		When Andrew died I was so alone. I couldn't think, I
		didn't know what to do. Catherine said she would help
		me. And Ben would help me too.
    
				TRUMAN.
			(figuring)
		Ben and Catherine ...
    
				JOSIE
		They lied to me. They didn't care about Andrew. They
		didn't care about me. All they want is to take the mill
		away from me.
			(beat)
		I have never said this before to anyone. Harry, I believe
		Andrew's death was not an accident. And I believe they
		will try to kill me too.
    
A tear runs from her eye. Truman pulls her closer, trying to make some sense of this.
    
				TRUMAN
		Josie, Josie. Nothing's going to happen to you. Not
		now, not ever. I'll make damn sure of that.
    
				JOSIE
		Oh, Harry.
    
Truman kisses her gently. Josie sighs, returns his kiss with greater fervor. They settle into a
long embrace, whisper between kisses.
    
				TRUMAN
		You don't have to be afraid.
    
Josie places her head against his chest, holds on tight.
    
				TRUMAN (CONTINUED)
			(softly continues)
		Days like today, death feels like the biggest thing in the
		world. But it's not, Josie. Nor for us.
    
				JOSIE
		I'm not afraid of death. I'm afraid of losing you.
    
A beat. Josie begins to recite while trembling in his arms:
    

    
				JOSIE
		All things howsoever they flourish
		Return to the root from which they grew.
		This return to the root is called Quietness;
		Quietness is called submission to Fate;
		What has submitted to Fate has become part of the always-
		so.
		To know the always-so is to be Illumined;
		Not to know it, means to go blindly to disaster.
			(beat)
		He who knows the always-so has room in him for
		everything;
		He who has room in him for everything is without
		prejudice.
		To be without prejudice is to be kingly;
		To be kingly is to be of heaven;
		To be of heaven is to be in Tao.
		Tao is forever and he that posssess it,
		Though his body ceases, is not destroyed.
    
HOLD ON Josie for a beat. Safe in Truman's arms.
							CUT TO:
47.  EXT. BLACK LAKE CEMETARY - NIGHT
    
Cooper stands watch at the cemetary, a night wind howling about him. He peers into the
dark, Laura's grave in the distance. The Land of the Dead. A beat, then:
    
				CARETAKER'S VOICE
		Can you hear 'em?
    
Cooper turns to find an old CARETAKER at his side, gazing out into the night.
    
				CARETAKER
		It's the metal and the wood, I guess. Some caskets, you
		stick 'em in the ground, and the wood starts to expand,
		starts to rub against that metal. And if it rubs just so, you
		get a strange sort of sound. If the night's just right, and
		the wood -- teak and brass are the best -- well, it's like
		music. You can almost hear the caskets singin'.
    
Needless to say, it's a notion Cooper finds fascinating.
							DISSOLVE TO:
    
48.  EXT. BLACK LAKE CEMETARY - NIGHT
    
Minutes later. CAMERA STARTS AT GROUND LEVEL, green grass, dark graves.
Suddenly Cooper LOWERS INTO FRAME, presses his ear to the ground. As if to listen
for the casket's singing. That's when he hears another sound. Footsteps, someone walking
toward Laura Palmer's grave.
    
Cooper slips into the shadows. He watches a lone figure step to Laura's grave. But he can't
make out the face. At least until the mystery man lights a cigarette.

    



						(Revised 10-3-89, Blue)

49.  COOPER'S POV
    
It is Dr. Lawrence Jacoby. He inhales deeply, stares down at Laura's grave. He holds a
bouquet of flowers in his free hand.
							CUT TO:
50. EXT. BLACK LAKE CEMETARY - NIGHT
    
Jacoby sets the flowers by the headstone. Cooper steps into view, speaks gently.
    
				COOPER
		Dr. Jacoby?
			(silence)
		I didn't see you at the funeral.
    
A long beat. Jacoby finally turns to Cooper, seems to notice him for the first time. Then,
eyes bright with tears, he whispers:
    
				JACOBY
		I'm a terrible person, Agent Cooper. I pretend that I'm
		not. But I am.
    
Cooper says nothing. He'll let the man talk.

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