The City of Absurdity   TWIN PEAKS
Teleplays

 



		TWIN PEAKS
		#004
    
		ROBERT ENGELS





    




    
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 23, 1989 - BLUE
OCTOBER 27, 1989 - PINK
OCTOBER 31, 1989 - YELLOW

    



    


						(Revised 10-23-89, BLUE)
    
				ACT ONE
    
FADE IN:
    
EXT. THE PALMER HOUSE MORNING
    
Establish.
							CUT TO:
2.  INT. PALMER'S LIVING ROOM - MORNING
    
The homecoming photograph of Laura Palmer sits on a table next to the sofa.
    
We see a SKETCH PAD, a portrait of a frightening man, with long, filthy hair. Deputy
ANDY BRENNAN sits on the sofa making the sketch. SARAH PALMER sits next to him,
describing the man in her vision in a tense whisper. Next to Sarah and holding her hand is
DONNA HAYWARD. Behind them stands SHERIFF TRUMAN, studying Andy's work.
On a chair beside the couch DOC HAYWARD sits with medication at the ready.
    
				SARAH
		His hair was long. Filthy grey on grey, long hair.
    
MADELEINE FERGUSON appears quietly behind Truman with a tray of coffee cups. She
hands one to Truman and another cup to Doc Hayward. She starts to place a cup in front of
Sarah, but with a gentle hand the doctor discourages this.
    
				SARAH (CONTINUED)
			(struggling)
		I saw him, by the foot of Laura's bed. He was like an
		animal.
    
The scene is interrupted by a thump at the doorway. LELAND PALMER totters in, unshaven.
    
				TRUMAN
		Had you ever seen this man before?
    
				SARAH
		No ... never.
    
Andy looks at Truman, who nods; Andy shows the sketch to Sarah.
    
				SARAH (CONTINUED)
		His face ... oh, God, his face
    
Sarah's head rocks back on to the top of the sofa. She's starting to lose it.
    
				LELAND
		Sarah? Have you told them about the necklace? They'll
		love that one.
    
				TRUMAN
		Necklace?
    

						(Revised 10-23-89, BLUE)

    
2.   CONTINUED:
    
				LELAND
		She had two visions.
			(winks at them)
    
				TRUMAN
		Go ahead, Sarah.
    
Leland rises and heads unsteadily out of the room.
    
				SARAH
		It's night. A flashlight beam moves across the ground
		then a hand ... a gloved hand ... lifts a rock and takes out
		a necklace. Broken in half... it was Laura's ...
    
CAMERA MOVES IN on a frightened Donna.
							CUT TO:
3.  A TELEVISION
    
Opening credits of "Invitiation to Love." Scarlet red flowing script writes out the title.
    
				ANNOUNCER
		... INVITATION TO LOVE ...
							CUT TO:
4.   INT. SHERIFF'S RECEPTION AREA - DAY
    
Lucy sits at her desk glued to a small portable televison set.
							CUT TO:

5.   "INVITATION TO LOVE"
    
EMERALD, poured into a dress with a plunging neckline, slinks toward CHET.
    
				EMERALD
		Don't fight it, Chet.
    
				CHET
		I'm still married to Jade. It's wrong.
			(he turns away, struggling to control himself)
		God ... you're evil ...
    
				EMERALD
		For once in your life, Chet, you're exactly right.
			(she takes Chet into a passionate kiss)
		I want to see my father's will, Chet.
			(another kiss. Chet melts)
		Get it for me.
							CUT TO:
6.  LUCY
    
Entering the station, Andy and Truman cruise up to her window.
    


						(Revised 10/31/89, YELLOW)
    

    
6.   CONTINUED:
    
				TRUMAN
		'Morning, Lucy, what's going on?
    
				LUCY
		Thanks to Jade, Jared decided not to kill himself and
		he's changed his will leaving the Towers to Jade instead
		of Emerald, but Emerald found out about it and now
		she's trying to seduce Chet to give her the new will so
		she can destroy it and Montana's planning to kill Jared
		at midnight so the Towers will belong to Emerald and
		Montana, but I think Emerald's going to doublecross
		him and he doesn't know it yet. Poor Chet.
    
				TRUMAN
		What's going on ... here.
    
				LUCY
		Agent Cooper is in the conference room with Dr. Jacoby.
    
Truman starts for the conference room. Andy hangs back to talk to Lucy.
    
				ANDY
		So I guess Chet's really got his hands full, huh? ...
		Lucy, why couldn't I spend the night last night?
    
				LUCY
		And will you be having coffee as well, Deputy Brennan?
    
							CUT TO:
7.   INT. INTERROGATION ROOM A - DAY
    
DR. JACOBY and AGENT DALE COOPER sit across the table from each other. Jacoby
plays idly with a golf ball, practising sleight-of-hand.
    
				COOPER
		Was Laura Palmer seeing you because she was addicted
		to cocaine?
    
				JACOBY
		I'd like to help you, Agent Cooper. Maybe there is
		some sort of hula we can do around my doctor-patient
		confidentiality.
    
The blackboard from Episode Two stands behind Cooper. The map of Tibet looks over
Cooper's shoulder. Jacoby rises and circles towards it. Truman enters. Cooper nods to him.
    
				COOPER
		It is safe to say Laura came to see you because she had
		problems.
    



						(Revised 10/26/89, PINK)

    
    
7.   CONTINUED:
    
				JACOBY
		Oh my yes.
    
				COOPER
		Were her problems of a sexual nature?
    
				JACOBY
		Agent Cooper, the problems of our entire society are of
		a sexual nature.
			(studies the map)
		Tibet. My abiding interests lie to the east as well,
		though only as far as Hawaii. Five years post-graduate
		work. There are sound solutions to our diseased family
		structures in native Hawaiian culture.
    
				COOPER
		So there were problems at home.
    
				JACOBY
		The ancient Hawaiians often turned to the soothing
		rhizome of the ginger plant to case the pain of profound
		confusion which, more often than not, was sexual.
    
				COOPER
		Ginger is not addictive. Cocaine is.
    
				JACOBY
		The fact that Laura Palmer sought medication, no
		matter how dubious, was actually a positive sign.
    
				COOPER
	                      (frustrated)
		Dr. Jacoby, I know that you cared deeply for Laura.
		Why won't you help us?
    
				JACOBY
		I would like to. My own personal investigation, I
		suspect, will be ongoing for the rest of my life.
			(not unaffected)
		Laura had secrets. And around those secrets she built a
		fortress that in my six months with her I could not
		penetrate. For which I consider myself an abject failure.

				TRUMAN
		Did she discuss Bobby Briggs and James Hurley?
    
				JACOBY
		They were boys. Laura was a woman.
    





						(Revised 10/26/89, PINK)

    
7.   CONTINUED:(2)

				COOPER
		She had sex with three men the night she died. Were you
		one of them?
    
				JACOBY
		No.
    
				COOPER
			(bottom line)
		Who killed her, Dr. Jacoby?
    
				JACOBY
			(walking a fine line)
		The night after Laura died I followed a man Laura had
		spoken to me about. He was driving a red corvette. I
		lost him near the Old Sawmill Road. That, gentlemen,
		is all I can tell you.
    
Lucy interrupts on the intercom.
    
				LUCYS VOICE
		Agent Cooper, there is a Gordon Cole on the phone. He
		says you're expecting his call and that I should put him
		through to you, should I?
    
				COOPER
		Put him through.
			(to Jacoby)
		That will be all.
    
				TRUMAN
		You'll be in town, Doctor?
    
				JACOBY
		I'm planning a pilgrimage to Pebble Beach, but that's
		not 'til the end of the month.
			(wiggles his thumb and little finger)
		Hang loose, Houlies.
    
He's gone. Cooper sets up the speaker phone on the table in front of a chair.
    
				COOPER
		Does Leo Johnson drive a red corvette?
    
				TRUMAN
		Yes.
    
				COOPER
		Anything more on Jacques Renault?
    
    




						(Revised 10-23-89, BLUE)
    
    
7.   CONTINUED:(3)
    
				TRUMAN
		There's an APB on him. His brother Bernie made bail
		this morning. I've put a tail on him.
    
				COOPER
		This is my supervisor calling.
			(punches in the call on the speaker)
		Good morning, Gordon, how are we doing?
    
				COLE'S VOICE
			(all business)
		Coop. Where do you want to start? The Palmer girl or
		Albert's new best friend, Harry Truman.
    
				COOPER
			(with a look to Truman)
		Laura Palmer.
    
				COLE'S VOICE
		Albert has been very busy despite the handsome shiner.
		The twine he found on her upper arms is a common
		household variety: Finley's Fine Twine.
    
				COOPER
		And the twine on her wrists?
    
				COLE'S VOICE
		Definately not a match. No ID yet. And those marks
		on her shoulders? Bird bites. Albert thinks he'll have
		specifics this afternoon vis-a-vis genus and species.
    
				TRUMAN
			(over)
		Bird bites?
    
				COLE'S VOICE
		He'll also be faxing a reconstruction of the plastic
		fragment from her stomach.
    
				COOPER
		Tell Albert we're anxiously awaiting his results.
    
				COLE'S VOICE
		Now for the bad news. Coop, I've got an O.O.J. and an
		 A.F.O. here from Albert concerning his mano y mano
		with the local Sheriff Truman.
    
Truman makes a gesture offering to leave. Cooper motions him to stay.
    



						(Revised 10-23-89, BLUE)
    
7.   CONTINUED:(4)
    
				COLE (CONTINUED)
		Albert wants this guy's badge.

We can almost hear Harry's expletive as he goes to the window.

				COOPER
		Gordon, here's how it is: you know Albert. In my
		opinion, Sheriff Truman displayed the patience of a
		saint in not clocking him a day earlier than he did --
    
				COLE'S VOICE
		He wants it filed with the U.S. Attorney --
    
				COOPER
		File it under "f" for "forget it" --
    
				COLE'S VOICE
		Coop --
    
				COOPER
		And you tell Albert, if he wants to pursue this I'll fight
		him all the way up the chain to Washington. I'll talk to
		you later, Gordon.
    
Cooper hangs up as Andy enters with his sketch.
    
				TRUMAN
		I thanks, I didn't sleep too well last night.
    
				COOPER
		Harry, the last thing you're gonna worry about while I'm
		here is some city slicker I brought into your town
		relieving himself upstream.
			(takes the sketch from Andy)
		This is the man I saw in my dream.
    
				TRUMAN
		You saw this man?
    
				COOPER
		I had an intuition that my dream and Sarah Palmer's
		vision were connected. I didn't go with you this
		morning so I woudn't influence her. I'm a strong sender.
			(he hands the sketch back to Andy)
		The eyes were a bit closer together.
    
The intercom buzzes.
    
				LUCY'S VOICE
		Deputy Hawk calling in for Agent Cooper?
    



						(Revised 10/26/89, PINK)
    
7.   CONTINUED:(5)
    
				COOPER
			(picks up the phone)
		Hawk? ... Right ... stay there. Follow him if he moves.
			(hangs up)
		Traveling east on Highway 12, how long will it take us
		to get to the Pine View Motel?
    
				ANDY
		Half an hour -
    
				TRUMAN
		Ten minutes.
    
				ANDY
		Depends which way you go.
    
				COOPER
		Hawk's found our one-armed Man.
							CUT TO:
8.   EXT. ED HURLEY'S GAS FARM - DAY
    
Re-establish. PAN to the Hurley residence, across the street.
							CUT TO:
9.   INT. ED HURLEY'S HOUSE - DAY
    
ED and his assistant, SPARKY, a wizened eager beaver, enter and tiptoe into the living room
to examine Nadine's rowing machine. The oars are bent like a "z."
    
				ED
		Watch you don't track any grease, Sparky.
			(they kneel down and look at the machine)
		How the heck could Nadine bend the thing like that?
    
				SPARKY
		That's tempered steel, Edsker.
    
Ed glances at the window, picks up the phone.
    
				ED
		Nadine's still rummaging around out in the garage.
		Catch an eye, will ya, Sparky.
    
				SPARKY
		Safe as houses, Edsker.
    
Ed dials. After a couple of rings his call is answered.
    
				ED
		Shelly ... hi, it's Ed Hurley. I need to talk to Norma.
		It's kind of important.
							INTERCUT:




						(Revised 10-23-89, BLUE)
    
    
10. INT. DOUBLE R DINER - DAY
    
SHELLY JOHNSON has answered Ed's call. As she talks she watches "Invitation to Love"
on the tube, with the sounds turned down
							INTERCUT:
11. "INVITATION TO LOVE"
    
Chet searches through a pile of legal briefs beside a bed where JARED sleeps soundly.
    
				SHELLY
		You just missed her, Ed. She's left for Hank's parole
		hearing.
    
				ED
		Shoot. Shelly, when she gets back could you tell her ...
    
Sparky sees Nadine approaching. He gives Ed the high sign, takes out a wrench and moves
back to the rowing machine. NADINE HURLEY enters carrying a breakfast tray.
    
				ED (CONTINUED)
		... you tell Mrs. Milford not to drive anywhere without
		an extra set of lug nuts.
    
He hangs up the phone and turns to Nadine. She displays the tray, loaded with food, a
newspaper, a pot of coffee and a grease gun. Nadine smiles seductively at Ed.
    
				NADINE
		Eggs and bacon and sausage and ham and and whole
		wheat toast and juice and coffee. And the sports section,
		and a grease gun for working on my rower.
    
				ED
			(confused)
		What's the occasion, Nadine?
    
				NADINE
			(whispers seductively in his ear)
		I'm gonna get a good lawyer, Ed.
    
She kisses him. He's alarmed. She whispers.
    
				NADINE (CONTINUED)
		There's a damn good patent lawyer in Fairvale. Those
		drape runners are going to make us a fortune.
							CUT TO:
12. EXT. STATE PRISON - DAY
    
Establish.
							CUT TO:


						(Revised 10-23-89, BLUE)
    
    
13. INT. INSTITUTIONAL CORRIDOR -DAY
    
NORMA JENNINGS sits pensively on a bench outside the door. WILSON MOONEY,
the parole officer, emerges from another door to the cell block.
    
				MOONEY
		I've arranged for you to have a little chat with Hank
		before the hearing. He's glad you're here.
			(a tad nervous)
		Hope I didn't come on too strong yesterday -
    
				NORMA
		I'll be sure to tell him how helpful you've been, Mr.
		Mooney.
    
Mooney moves off. The door to the cell block opens and HANK JENNINGS is led out by
a GUARD. Hank is forty, good looking in a rough way. Alarmingly charming. He brightens
as the Guard leads him towards Norma who slowly stands as Hank reaches her.
    
				HANK
		Haven't seen you for awhile, Norma.
    
				NORMA
		Been kind'a busy.
    
				HANK
		So ... business is good.
    
				NORMA
		Yeah.
    
Pause. Hank seems suddenly, terribly vulnerable.
    
				HANK
		Back me up in there, Norma, please. I gotta get out.
		It's starting to put the zap on me, big time.
    
				NORMA
			(pause, a whisper)
		You think it's that easy?
    
				HANK
		I know I've got no right to ask and you've got no reason
		to believe me, but ... I'll change. I swear on my life. I
		have changed. Give me a chance to prove it to you.
    
The Guard steps back in and moves him away. A hint of weakness in Norma's eyes.
    
							CUT TO:



						(Revised 10-23-89, BLUE)
    
14. INT. PAROLE BOARD HEARING ROOM - DAY
    
Hank sits at a long table with Mooney, across from two BOARD MEMBERS, a middle-aged
neatnik and a younger woman with a granite bouffant hairdo. Three other BOARD
MEMBERS are spread around the table. Norma sits to one side and watches Hank.
    
				HANK
		I've replayed it my mind a million times. I just don't
		have any answers. A car in perfect condition goes out of
		control. A vagrant nobody knows is killed sleeping on
		the roadside. Why? Why did fate deal me this hand?
    
				MALE BOARD MEMBER
		You were not incarcerated for an act of fate, Mr.
		Jennings.
    
				HANK
		I accept that. But it was fate, maybe in an odd way, even
		luck that sent me to prison. Just as much as that accident.
    
				WOMAN BOARD MEMBER
		 What is your point?
    
				HANK
		That my time here has been good for me. You don't
		spend eighteen months in a nine-by-five box without
		facing your life. Without figuring what went wrong with
		Your life before. Without planning to make it better.
		Without learning to get down on your hands and knees
		and pray for a second chance.
			(pause)
		I know I've got a lot to make up for. The life I
		destroyed ... and another life I very nearly destroyed.
    
Hank takes a long loving look at Norma. Board members study her.
    
				WOMAN BOARD MEMBER
		Mrs. Jennings, your husband would be facing a difficult
		re-entry. How would you help him?
    
				NORMA
		I own the Double R Diner in Twin Peaks. I can give
		him a job. The boss is tough, but fair.
    
This gets a slight chuckle from the board.
    
				WOMAN BOARD MEMBER
		 And you would live together as man and wife?
    
Pause. Hank edges his seat forward, it makes a loud scraping noise. Norma looks at Hank.
    


						(Revised 10/26/89, PINK)
    
14. CONTINUED:
    
				NORMA
		He's my husband, isn't he?
    
Pause. Hank mouths a silent, "thank you."
    
				MALE BOARD MEMBER
		We've got what we need here. We'll decide what
		recommendation to make without the inmate present.
    
				WOMAN BOARD MEMBER TWO'
		We'll let you know by five o'clock today.
    
Hank idly rubs a key chain. Its handle is a WHITE DOMINO with SIX BLACK DOTS.
    
Hank is led out by the Guard. Norma watches him go.
    
				HANK
			(smiles, says quietly)
		Catch you later.
    
15.  OMMITED
    
							FADE OUT:
    
				END ACT ONE




						(Revised 10-23-89, BLUE)
    
    
				ACT TWO
    
FADE IN:
    
16. EXT. TWIN PEAKS HIGH SCHOOL - DAY
    
Re-establish. A bell rings.
							CUT TO:
16A. INT. TWIN PEAKS HIGH SCHOOL GIRLS' ROOM - DAY
    
Donna Hayward stands in front of the mirror, looking at herself, brushing her hair. AUDREY 
HORNE enters and immediately lights a cigarette.
    
				AUDREY
		I've been doing some research. In real life there is no
		algebra.
    
				DONNA
		Maybe you should run away and join the circus.
    
				AUDREY
		Escape! I've got a better idea. A tall, dark and
		handsome stranger falls madly in love with me and takes
		me away to a life of mystery and international intrigue.
    
				DONNA
		You mean that FBI Agent? Dream on.
    
				AUDREY
		Maybe. Or maybe he'll realize I'm the woman of his
		dreams because I'm going to help him figure out who
		killed Laura.
    
				DONNA
		Is that so?
    
				AUDREY
		Yes. And you're going to help me. Fact: Laura was
		seeing James Hurley behind Bobby's back.
    
				DONNA
			(defensive)
		What if she was?
    
				AUDREY
			(off her reaction)
		So it is true. Fact: Laura had a sweet tooth for nose
		candy.
    



						(Revised 10/26/89, PINK).
    
    
16A. CONTINUED:
    
				DONNA
		I guess that's not such a big secret.
    
				AUDREY
		Please. I didn't know Laura half as well as you and I
		knew the score; Laura was wild. Will you help me?
    
				DONNA
			(getting into it)
		What else have you figured out, Sherlock?
    
				AUDREY
		The morning of the funeral, Dr. Jacoby's talking to my,
		brother Johnny, trying to get him to go to the funeral ...
			(offers a cigarette to Donna who declines) .
		So he tells Johnny that Laura was in a better place now,
		blah, blah, blah and he knows that ... because ... Laura
		was his patient.
    
				DONNA
			(new information)
		Laura was seeing Jacoby?
    
				AUDREY
		Mucho de-weirdo, huh? It gets better. 'Ever heard of
		"One-Eyed Jacks?"
    
				DONNA
		Isn't that a Western with Marlon Brando?
    
				AUDREY
		No. It's a place up north across the border. They have
		"girls" working there.
    
Audrey takes a long drag on her cigarette for effect. Donna's intrigued
    
				DONNA
		Are you saying you think Laura was one of them?
    
				AUDREY
		I don't know. But if it's true, wouldn't you want to
		know about it?
    
				DONNA
		It sure would explain a few things.
    
				AUDREY
		You know, I think about it, I think about Laura being in a
		place like that and I get all shivery, but it's like a hot
		cold, like when you hold an ice cube on your bare skin
		for a long time.

				DONNA
		Audrey, I'll help you but whatever we find out, we have
		to promise to keep this between ourselves. Our secret.

				AUDREY
		It's a deal. And I know exactly where to start, did you
		know Ronette and Laura worked at the same place.
    
Donna didn't. The school bell rings for class. Audrey douses her cigarette in the sink.
    
				AUDREY (CONTINUED)
		The perfume counter of my father's department store.
    
Audrey goes out.
							CUT TO:
    
17.  EXT. TIMER FALLS MOTEL - DAY
    
A car door. The door opens and a hand pours the remains of a cup of coffee out of an expensive
piece of china. The coffee drips onto the dirt of the parking lot. CAMERA MOVES UP to
reveal JOSIE PACKARD behind the wheel. She focuses a camera with a telescopic lens.
    
CAMERA MOVES BACK to show Josie in her Jaguar outside the motel, parked next to a
construction dumpster in the dirt parking lot.
							CUT TO:
18.   INT. MOTEL ROOM A 

CLOSE on a television tuned to "INVITATION TO LOVE." FADE UP on a legal
document that reads: ""Last Will and Testament."
    
The document is rolled up and inserted in Emerald's purse. She moves to Chet, who sits,
demoralized, destroyed. Emerald gives him a motherly kiss on the forehead.
    
				EMERALD
		Good boy, Chet.
    
				CHET
		God forgive me.
    
				EMERALD
		Chet darling, don't be a fool.
			(she pats her purse)
		Someday, soon, the Towers will be all mine.
    
Doorbell. Chet drags himself to the door. Opens it to discover Jade holding flowers.
    

    
						(Revised 10-23-89, BLUE)

18. CONTINUED:
    
				CHET
		Jade!
    
				JADE
		What's wrong?
    
				EMERALD
		Hello, sister.
    
				CHET
		Emerald, don't -
    
				JADE
			(seeing Emerald)
		What are you doing here?
    
				EMERALD
		I think it's time we all had a nice talk.
    
As this plays out there is LOUD ORGASMIC GROANING off camera.
    
				BEN HORNE'S VOICE
		Oh ... yes... yes ... there ... yes ...
    
CAMERA MOVES BACK to reveal CATHERINE MARTELL on the bed giving BEN
HORNE a post-coital back rub.
    
				CATHERINE
		-- I wish I could have seen Josie's face, opening the safe
		to show her lawman Romeo the double set of books ...
		and all she finds is the one I've been slowly cooking.
    
				BEN
		Where's the book that spells bankruptcy?
    
				CATHERINE
		I have more than one hiding place. My desk, upstairs. A
		drop panel in the top drawer. Not even Pete the poodle
		knows about that one.
    
Catherine takes a sip of wine, turns off the TV set with a remote.
    
				CATHERINE (CONTINUED)
		I'm famished. I suppose room service is too much to
		ask of this rusticated mildew farm.
    
				BEN
		You'd prefer the "Lumber Baron Suite" at the Great
		Northern?
    



						(Revised 10/'31/89, YELLOW)
    
    
18. CONTINUED:(2)
    
				CATHERINE
		I'd prefer that we get on with setting the torch to that
		damn mill.  Because I want ... fill in the blank.
    
				BEN
			(turns over)
		Darling, one crosses the border into arson cautiously or
		not at all. When the mill goes up in smoke, the headline
		we're after is "Josie Packard torches bankrupt mill in
		insurance fraud" not "giant weinie roast in the woods."
    
				CATHERINE
		That's fine and dandy. Just bear in mind, "darling," that
		if this opportunity is wasted, or you in some way ...
		disappointment me ...
			(some kind of physical reinforcement)
		... they're going to find your antlers being used as a hood
		ornament on a hillbilly's pick-up truck.
    
				BEN
			(slightly nervous smile)
		Darling ... Me? Disappoint you?
    
				CATHERINE
		Perish the thought.
							CUT TO:
19. EXT. MOTEL - DAY
    
Truman's cruiser pulls up by the dumpster. Josie's car is gone. Cooper, Truman, and Andy
get out of cruiser. Hawk walks up to meet them.
    
				HAWK
                     Room 301. Last name is Gerard.
    
The foursome moves cautiously towards a room. Truman takes the lead, motions Hawk to go
around to the side. Hawk moves off. They reach the door. Truman knocks.
    
				TRUMAN
		Open up, please, it's the police.
							CUT TO:
20.  OMITTED
21.  EXT. MOTEL ROOM B - DAY
    
Still no answer from inside. Truman slowly takes out his pistol. Cooper draws his, Andy
nervously takes out his gun; he drops it and it DISCHARGES. Cooper glares at Andy.
Truman picks up the gun and waves Andy to the back. 
							CUT TO:
    



23. EXT. MOTEL ROOM B - DAY
    
The door is opened by a genial, mild mannered ONE-ARMED MAN, ringing wet from a
shower, a towel wrapped around his waist.
    
				GERARD
		Sorry, I was in the shower ...
			(sees the weapons)
    
				TRUMAN
			(not taking any chances)
		Sir, please move back into the room ... slowly.
    
							CUT TO:
24.  INT. MOTEL ROOM A

Ben picks up his clothes.

				BEN
		I'm going to give Little Elvis a bath.

He goes into the bathroom. Catherine laughs, then notices something has dropped out of
Ben's pants. Catherine crosses and picks it up.
							INTERCUT:
    
25.  INSERT
    
A THOUSAND DOLLAR POKER CHIP from One-Eyed Jack's.
    
Catherine slow-burns with anger.
							DISSOLVE TO:
26.  INT. MOTEL ROOM B - DAY
    
The one armed Man, now in a bathrobe, sits on the bed studying Andy's sketch. Hawk is on
the phone holding a wallet.
    
				HAWK
		Wants and warrants on a Phillip Michael Gerard.
    
The man hands the sketch back to Truman.
    
				GERARD
		No sir, never seen that man before. Sorry. But you
		know what? 'Kind of looks like somebody doesn't he?
    
Truman walks over to two suitcases that sit by the bed.
    
				TRUMAN
		Do you mind if we look in these?
    
				GERARD
		Help yourself.


    
26. CONTINUED:
    
With a nod from the sheriff Andy moves to the suitcases
    
				COOPER
		Mr. Gerard, do you have a friend named Bob?

				GERARD
		Bob ... oh, you mean Bob Lydecker. Sure, Bob's my best
		friend. I'm on my western swing, I heard about it, I'm
		in town visiting him in the hospital. Bob's in a coma.

				TRUMAN
		There was a Lydecker assaulted three days ago outside a
		bar in Lowtown.
    
				GERARD
		That's Bob.
    
				COOPER
		Any suspects?
    
				TRUMAN
		No.
    
				COOPER
		Is your friend Bob a doctor?
    
				GERARD
		He's a veterinarian. Just about the best darnn veterinarian
		in these parts. Extremely dedicated. Has his own clinic
		about eight years now. No maybe seven. Let's see ...'81
		... I'm still at computer school ... yeah, it's eight years.
    
				COOPER
		In my dream he was a regular doctor.
    
				GERARD
		What's that, mister?
    
Hawk hangs up the phone, hands Gerard's wallet to Truman.
    
				HAWK
		He's clean.
    
				TRUMAN
		Take a look at his car.
    
Hawk takes the keys and goes out. Cooper looks at Gerard's ID.
    

    
				COOPER
		Your middle name is "Michael?"
    
				GERARD
		Named after my uncle. Uncle Mike.
    
				COOPER
		How did you lose your arm?
    
				GERARD
		Car accident. I was on the road from Memphis to
		someplace, selling pharmaceuticals. Pretty good job,
		Smokey Mountains Sales Rep. I had benefits.
    
In background Andy's checking Gerard's suitcases. One of them practically explodes open.
A pile of WORKBOOTS and INSTITUTIONAL SHOES fall out.
    
				GERARD (CONTINUED)
		That's what I'm selling these days. Everybody needs
		shoes, don't they?
    
				ANDY
		They're all for the right foot.
    
				GERARD
		Those are just samples, son. We mail order all our sales,
		two-day delivery guaranteed. And we could certainly
		take care of your departmental needs, if your interested.
    
Cooper, with Gerard's wallet still in his hand, reaches behind Gerard's drivers license, takes
out one of Gerard's cards, and hands it to Truman.
    
				COOPER
		The arm you lost, did it have a tatoo?
    
				GERARD
			(strangely distressed)
		What is this all about? I'm a shoe salesman -
    
				TRUMAN
		Settle down, he just asked you a question -
    
				COOPER
		If you won't tell us, we can find out. What did it say?
    
				GERARD
		It said "MOM."
							CUT TO:

    
    
27.  EXT. MOTEL - DAY
    
As Cooper and Andy get into Truman's cruiser, Hawk discretely motions Truman over to the
dumpster. Hawk kneels down, dips his finger in the spilled coffee, speaks quietly.
    
				HAWK
		Car was staked out when I got here. It was Josie
		Packard.
			(they exchange a look. Truman's puzzled)
		And not that it means anything, but Ben Horne's car was
		parked two blocks away.
    
							CUT TO:
28.  EXT. LEO JOHNSON'S HOUSE - DAY
    
Re-establish.
							CUT TO:
29.  INT. LEO JOHNSON'S HOUSE - DAY
    
We discover Shelly Johnson and BOBBY BRIGGS in a steamy kiss.
    
				SHELLY
		I feel so bad for you.
    
Bobby gives her a confused look.
    
				SHELLY (CONTINUED)
		I was watching you at the funeral. My heart was aching, I
		wanted to hold you so much.
    
				BOBBY
		That James Hurley. He was seeing Laura behind my
		back. I'm gonna fix him.
    
Another kiss.
    
				SHELLY
		Fix me first.
    
Shelly begins to unbutton Bobby's shirt.
    
				BOBBY
		Where's Leo?
    
				SHELLY
		Don't worry, bad boy, I can hear his 'Vette a mile away.

				BOBBY
		Don't mess around about this, Shelly, where is he?
    



						(Revised 10-23-89, BLUE)
 
				SHELLY
		He took off with his friend, that creepy Jacques.
    
				BOBBY
		Jacques who?
    
				SHELLY
		Jacques that Canuck guy who works at the Roadhouse.
    
Bobby breaks away from Shelly.
    
				BOBBY
		Leo and Jacques.
    
				SHELLY
		What's the matter?
    
				BOBBY
		I gotta think. I gotta think.
    



						(Revised 10-23-89, BLUE)
    
    
29.  CONTINUED:
    
				SHELLY
			(still on sex)
		Think later. I got to be back at the diner in a half hour.
    
Bobby makes a decision. Lie.
    
				BOBBY
		Shelly, I gotta tell you something.
    
				SHELLY
		What?
    
				BOBBY
		I've been on to this for a while, I've been checking it out.
		It's pretty bad.
    
				SHELLY
		Tell me.
    
				BOBBY
		Leo and Jacques are running drugs across the border.
		Cocaine. And they're selling 'em to kids at school.
    
				SHELLY
		Oh my God, I knew it, I knew Leo was messed up in
		something.
    
				BOBBY
		I know it's shocking. I think it's even possible that they
		were giving drugs to Laura.
    
				SHELLY
			(goes pale)
		Bobby? Bobby, I got to show you something. Oh my
		God.
    
She goes to her secret hiding place behind the cabinet and takes out I>Leo's bloody shirt.
    
				SHELLY
		This was in Leo's truck, two days after Laura was
		murdered.
    
				BOBBY
		You sure this is Leo's?
    
				SHELLY
		It's got his initials sewn in the collar, see? He makes me
		sew labels into everything -
    



						(Revised 10-23-89, BLUE)
    
    
29.  CONTINUED:(2)
    
				BOBBY
		Shelly, this ... this could be the answer to our prayers.
    
				SHELLY
		What do you mean?
    
				BOBBY
			(takes the shirt)
		You don't need to know. I'm gonna take this. You never
		saw it. Say it, "you never saw this -
    
				SHELLY
		I never saw.it.
    
				BOBBY
			(mind racing)
		Leo is not going to be a problem for us anymore. You
		stay clear of him and don't say anything --
    
She lifts her gun out of the hiding place.
    
				SHELLY
		I bought this.
    
				BOBBY
		You know how to use it?.
    
				SHELLY
		I thought you might be able to teach me.
			(getting hot)
		Teach me, Bobby. Will you?
    
Lust.
							CUT TO:
30. EXT. THE TWIN PEAKS ECONO SHOPPER - DAY
    
On Cooper looking ABOVE THE CAMERA.
    
				COOPER
		In my dream. Mike said he and Bob lived above a
		convenience store.
    
Cooper is standing in front of a convenience store, the TWIN PEAKS ECONO SHOPPER.
Two stories high. Truman stands next to Cooper.
    
				TRUMAN
		I'd think you'd be afraid to go to sleep at night.
    
Behind them Andy and Hawk get out of Hawk's patrol car.
    



						(Revised 10-23-89, BLUE)
    
    
30.  CONTINUED:
    
				COOPER.
		Andy, would you please go into the Econo Shopper and
		buy some twine?
    
				ANDY
		Okay.
    
CAMERA MOVES UP to a shop above the convenience store. A sign reads: "Lydecker
Veterenarian Clinic .- Aid to the Beast Incarnate"
							CUT TO:
31.  INT. THE LYDEKER CLINIC - DAY
    
Cooper and Truman stand at a counter. Behind the counter Lydecker's assistant MIDGE
LOOMER looks at the sketch then hands it back to Truman.
    
				LOOMER
		Nope. That's not Dr. Lydecker.
    
				COOPER
		Does Dr. Lydeker treat birds?
    
				LOOMER
		Oh, yes.
    
				TRUMAN
		There's a lot of vets in Twin Peaks.
    
				COOPER
		Only one has a best friend with one arm. Harry, in the
		heat of investigative pursuit, the shortest distance
		between two points is not necessarily a straight line.
    
Andy enters with a brown bag.
    
				COOPER (CONTINUED)
		Andy hand me that spool of Finley's Fine Twine.
    
Amazed, Andy reaches into the bag and takes out ... a spool of Finley's Fine Twine.
    
				COOPER (CONTINUED)
		Ms. Loomer we're going to have to confiscate your files.
			(to Cooper)
		As clear as the signs on the turnpike. The bird that
		attacked Laura Palmer is a client of this office.
    
							FADE OUT:
32.  OMITTED
    
				END ACT TWO




							(Revised 10/26/89, PINK)

    
				ACT THREE
    
FADE IN:
    
33.   EXT. GREAT NORTHERN HOTEL - DAY
    
Re-establish.
							CUT TO:
34.   INT. BEN HORNE'S OFFICE - DAY
    
Ben Home is on the telephone, looking at a globe.
    
				BEN
		-- Jerry, Jer, slow down, I know you're in Iceland but
		where are you in Iceland? ... how do you spell that? Two
		'k's', one 'f', one 'v' ...
			(locates it on the globe)
		Yeah, I see it, Jerry, are you drunk? ... what's all that
		noise? ... you're in the sauna now or ... I see ... no, I don't
		need to talk to anyone else ...
			(Jerry has handed the phone to an Icelander)
		Hello, yes, "qvath sejir" to you too, sir ... okay, put my
		brother back on would you? ... a joke? sure, go ahead...
			(the Icelander tells Ben a joke)
		"... og die panne flak der Mann?" ...
			(he laughs along with the Icelander on other end)
		That's hilarious ... put Jerry back on now, please ...
			(Jerry is back on)
		Bottom line, Jer: Ghostwood Estates, are these tundra
		tycoons in or out? ... very encouraging, that and a
		quarter'll buy me a piece of ice on a stick ... you're
		flying in when? Tonight? That's outstanding ... how
		many? Fifteen? Do they all need separate rooms? ...
    
The intercom buzzes and we hear a SECRETARYS VOICE.
    
				SECRETARY'S VOICE
		Mr. Horne, we've got a situation in the dining room.
    
Ben can hear distant strains of "In the Mood" from another part of the hotel. Ben's alarmed.
    
				BEN
		Jerry? Jerry, I've got to go, get those high-rolling
		snowballs on the plane, I'll see you here in the morning.
    
He hangs up and heads directly for the door.
							CUT TO:
35. INT. GREAT NORTHERN DINING ROOM - DAY
    
In the bar area, Leland Palmer is dancing what looks to be a cross between the Lindy and the
Tennessee Waltz with his SECRETARY, a middle-aged gal in a suit. The Secretary looks to
    

						(Revised 10/31/89, YELLOW)
    
    
35.  CONTINUED:
    
Ben, hoping for something just short of gunplay to rescue her. On the other hand, she's a hell of
a dancer. Overall, they look good.
    
				LELAND
		Dance with me! Dance with me!
    
				BEN
		Leland. Leland.
    
Leland goes into a dance solo towards Ben. Hands him a framed picture. Ben looks at it: a
snapshot photo of Laura and Audrey.

				LELAND
		This was on your desk! Our daughters, together!
    
Ben pushes his way in between Leland and the secretary.
    
				BEN
		Mind if I cut in?
    
Once in, Ben moves the Secretary away from Leland. Ben lets her out of the room, goes back
to Leland and grabs him firmly by the shoulders.
    
				BEN
		Leland. Leland. You gave me that picture, remember?
			(Leland comes to a stop)
		Calm down. Stop it.
    
				LELAND
		She loved dancing. She loved to dance ... she'd stand on
		my shoes ... I taught her ... come and dance with me ...
		... she was a good little dancer ...
    
He cries. Ben takes him into an embrace. Pats him on the back.
							CUT TO:
36.  INT. SHERIFF'S STATION RECEPTION AREA - DAY
    
Cooper, Truman, Andy and Hawk enter carrying files from the veterinarian's, past Lucy at
reception. Truman rests his for a moment on Lucy's counter.
    
				TRUMAN
		Fellas, take 'em right into the conference room. Lucy, I
		need you to go through these files and pull out all the
		people who own birds.
    
				LUCY
		How will I know they own birds?
    

    

							(Revised 10-23-89, BLUE)
    
    
36.  CONTINUED:
    
				TRUMAN
		It will say so on the cards.

				LUCY
		Okay, I'll start going through the files, then.
							CUT TO:
    
37.  INT. INTERROGATION A - DAY
    
Hawk sets his box down and exits. Cooper is about to exit when Andy takes him aside.
    
				ANDY
		Agent Cooper? I'm so sorry, I don't know what
		happened, the gun just slipped out of my hand.
    
				COOPER
		Have you ever used your weapon in the line of duty?

				ANDY
		No, sir, I haven't. I can't explain what happened, I've
		been feeling a little high-strung --

				COOPER
		It was a lack of preparation. We'll take care of that.
    
Truman enters to say:
    
				TRUMAN
	Andy, get some ammunition from the lockbox and meet
	us downstairs at the pistol range.
    
Cooper and Truman exit.
							CUT TO:
38.  INT. SHERIFF'S RECEPTION AREA - DAY
    
Andy goes into Lucy's office to retrieve a key. Lucy won't look at him, slides her chair out of
the way, lets him take the key. Andy's aching.
    
				ANDY
		Lucy, did you hear what happened? I feel so dumb. I
		dropped my gun and it went off.
    
				LUCY
			(a hint of concern)
		Are you okay?
    
				ANDY
		Oh, yeah, I guess so, but I ...
  



						(Revised 10-23-89, BLUE)
    
    
38.  CONTINUED:
    
				LUCY
			(remembering the war of the sexes)
		I would like to chat, but I am now under orders to
		examine these files, so if you'll excuse me please?
    
She exits. Andy's completely perplexed.
							CUT TO:
39. INT. FIRING RANGE - DAY
    
Cooper, Truman, and Hawk set up at the basement shooting range. There are two targets at the
end of corridors for them to shoot at.
    
				COOPER
		Laura Palmer's murder was vicious and calculated.
		There's no telling what we'll encounter bringing a
		suspect to ground. After Andy's accident at the motel I
		want to be absolutely certain we're all comfortable and
		confident with our firearms.
    
Cooper takes out his gun. The other two admire it.
    
				HAWK
		Nice piece.
    
				COOPER
		Actually it's regular issue, but I've made some
		modifications.
			(to Truman)
		How long has Lucy been upset with Andy?
    
				TRUMAN
			(thinks he knows how)
		Body language?
    
				COOPER
		In this case, it was yelling through a megaphone.
    
Before Truman can talk about him, Andy arrives with the ammo.
    
				TRUMAN
		Six rounds apiece to start with, Andy.
    
				ANDY
			(still with and on Lucy)
		Okay.
    
Andy glumly distributes bullets to the others, who load up. Cooper slickly arms his own gun
with a clip from his pocket.
   



						(Revised 10-23-89, BLUE)
    
    
39.  CONTINUED:
    
				COOPER
		Care to tell us about you and Lucy, Andy?
    
				ANDY
		Geez, you can tell?
    
				TRUMAN
		Not too many secrets left around here.
    
				ANDY
		She won't speak to me and I don't know what I did and
		I don't know why she's doing what she's doing.
    
				COOPER
			(chairing the discussion)
		Andy, there are a number of old saying which might
		pertain to this discussion. Suffice it to say you're up
		against the oldest unsolveable mystery known to man.
    
				ANDY
		And I feel like I don't know one doggone thing.
    
				TRUMAN
		It's weird. The mystery's what I like the most ... and
		the less I know the more interested I get.
    
A look between Cooper and Truman. Josie.
    
				ANDY
		But I just can't figure her out.
    
				COOPER
		There's no logic at work here, Andy. Let that one go.
		In the grand design, women were drawn from a different
		set of blueprints.
    
				HAWK
		Amen to that.
    
				TRUMAN
		Hawk, Andy.
    
				COOPER
		Rapid fire.
    
All four men put on headphone ear protectors. Hawk and Andy fire six rapid shots down their
separate corridors. Truman hits a button, the targets to return. They take off their protectors.
    



						(Revised 10-23-89, BLUE)
    
39.  CONTINUED:(2)
    
				TRUMAN
			(to Cooper, back to women)
		So where do you stand on the mystery of it all?
    
Cooper inspects Hawk and Andy's targets.
    
				COOPER
		Harry, the way I look at it a mystery's just a solution
		waiting for the right set of facts. Here, we're dealing
		with an area that's closer to a paradox or an enigma ...
			(examing the targets)
		Hawk, six of six, two kills, high marks ... Andy ...
			(being delicate)
		What you need is practice and plenty of it. One hour,
		three times a week. Harry, you'll supply the ordinance?
    
				TRUMAN
		Whatever it takes.
    
				COOPER
		Chin up, Andy.
    
				TRUMAN
			(as he and Cooper prepare to shoot)
		Ever been married, Cooper?
    
				COOPER
		No. I knew someone once who helped me understand
		commitment, it's responsibilites and it's risks 
    
The four put their ear protectors back on.
    
				COOPER (CONTINUED)
			(alone)
		... who taught me about the pain of a broken heart.
    
Cooper and Truman fire six shots. Truman hits the button to return the targets.
    
				HAWK
		One woman can make you fly like the eagle, another can
		give you the strength of a lion. But only one in the cycle
		of life will fill your heart with wonder and the wisdom
		that you have known a singular joy.
    
This stops the group.
    
				HAWK (CONTINUED)
		I wrote that about my girlfriend.
    



						(Revised 10/31/89, YELLOW)
    
    
39.  CONTINUED:(3)

				COOPER
		Local gal?
    
				HAWK
		Darlene Shapiro, PHD Brandeis. Legal counsel for the
		Bureau of Indian Affairs.
    
Cooper whistles in appreciation, then looks at Truman's target, as Cooper looks at his.
    
				COOPER
		Harry, one miss, five hits, three kills. Excellent.
    
Truman holds Cooper's. Disappointed.

				TRUMAN
		I don't see a hit here.

				COOPER
		I put four shots through the eyes and one through each
		nostril.

Hawk takes the target out of Truman's hands. Holds it up to the light. Cooper has used his
six shots to pierce the nostrils and the eyes. Light comes through from behind. The threesome
stares in awe. We hear a beep, then Lucy's voice on the intercom.

				LUCY'S VOICE
		Agent Cooper, I am looking at the files from Dr.
		Lydecker's? And for instance I have here in the "A's" an
		Arky, who's a part poodle-part rotweiler, who lives on
		Maple and belongs to Mr. Rumple, then for example I
		have an Annette, who is a otter who lives with a family
		near Elk River

				COOPER
		We wanted the names of birds

				LUCY
		I know, but the files are all organized alphabetically

				TRUMAN
		So go through the bird section --

				LUCY
		No, no, you don't understand; they're organized
		alphabetically in the name of the pet.
    
Cooper and Truman look at each other.
    
				COOPER
		We're gonna need some more coffee.
							CUT TO:



						(Revised 10/26/89, PINK)
    
40.  OMITTED
    
41.  EXT. JAMES HURLEY'S HOME - DAY
    
A housetrailer in the middle of a lonely lot with a couple of aluminium lean-to's off the house.
The shades on the windows are drawn. James is working on his Harley under a lean-to.
    
James looks up as a car drives down the driveway to the house. COLLEEN HURLEY exits
the car, laughing, carrying a small suitcase. She's forty, gave James his good looks. Her's are
on the way out. She waves goodbye to the unidentified MIDDLE-AGED GENT behind the
wheel and the car drives off.
    
Colleen sees James, waves, moves towards him.
    
				COLLEEN
		There he is, the fair-haired boy, where have you been, my
		fair-haired boy?
    
				JAMES
		I was at school. It's a school day.
    
				COLLEEN
			(takes out a flask)
		God bless the public indoctrination system. Keeps the
		kids off the streets ... streets are for street-cars and street-
		sweepers ...
			(takes a drink)
    
				JAMES
		Where'd you go this time?
    
				COLLEEN
		Taught a kid in prison once, this was Ohio, all he wanted
		out of life was a job as a San Francisco street sweeper
    
				JAMES
		Ma, you been gone four days.
   
				COLLEEN
		Kiddo, here's how it is; when the muse cries out, we're
		helpless to resist. A poem, she said, four days worth.
		Yes, I replied.
    
				JAMES
			(trying to hide his feelings)
		Are you okay?
    
				COLLEEN
		Myself, I've been better. The poem's pretty good.
    



						(Revised 10/26/89, PINK)
    
    
41.  CONTINUED:
    
Takes out a legal pad from the messy suitcase.
    
				COLLEEN (CONTINUED)
		I learned early on, write it down, escape the humdrum
		hand that life has dealt you. Play with marked cards.
			(puts on glasses, reads)
		"Poet lariat/Rope, Rope/Bulldogged down, Rodeo
		Town/The last of the Sabine Women --"
    
				JAMES
		I don't want to hear this right now -
    
				COLLEEN
		" -- Sun goes down, rodeo town/Lariat ropes a --"
    
				JAMES
		Stop!
    
She takes off her glasses, looks at him.
    
				COLLEEN
		Jimmy, are we being rude?
    
James picks up the flask, pours the remainder in the dirt.
    
				COLLEEN (CONTINUED)
		Okay, sonny boy, if it makes you feel better --
    
				JAMES
			(turns on her)
		You don't know ... anything!
    
				COLLEEN
		I know girl trouble when I see it. Some little logtown
		siren's cut you up. I recognize the wound patterns.
    
				JAMES
			(almost laughs)
		Yeah, you sure can spot it, Ma.
    
				COLLEEN
		Am I right?
    
An awful, bitter pause.
    
				JAMES
		Her name was Laura.
    




						(Revised 10/26/89, PINK);
    
    
41.  CONTINUED:(2)
    
				COLLEEN
		Lash yourself to the mast, Odysseus.
			(lifts her drink)
		Eat the lotus. Forget her. Sail on.
			(she strokes his face, compassionate)
		The danger for you, my darling boy, is you'll never
		know whether she's an angel or a harpie sent from hell to
		rend your heart, because believe me, she'll be one or the
		other.
    
James is close to tears. He can't combat this.

				JAMES
		She was both.
    
				COLLEEN
		Ah, but that's the secret, Jimmy boy. They all are.
    
James is sickened. He lurches out the door.
							CUT TO:
42.  OMITTED
43.  EXT. DOUBLE R DINER - DAY
    
Re-establish.
							CUT TO:
44.  INT. DOUBLE R DINER - DAY
    
The slow hour at the end of the afternoon. Norma cleans up the counter after a customer, a
YOUNG TRUCKER who is just leaving. Norma looks at his tip.
    
				NORMA
		Thanks, Toad, I'll get this into my retirement fund
		A.S.A.P.
    
Shelly hurries in. She storms by Norma, grabs her apron and heads to the kitchen. Norma
follows her, catching up with her at the coffee maker. Good-naturedly.
    
				NORMA
		Shelly, you're gonna scare the customers.
    
				SHELLY
		I've got one man too many in my life. And I'm
		married to him. Sound familiar?
    
				NORMA
		You think it's time you and Leo have a talk?
    
				SHELLY
		Leo doesn't talk. He hits.
				(more)




						(Revised 10-23-89, BLUE)

    
44.  CONTINUED:
    
				SHELLY (CONTINUED)
		He was so great at first, you know? This flashy guy in
		his hot car; sure beat sitting in some stupid classroom ...
		we get married and I find out what he's lookin' for is a
		maid he doesn't have to pay ... I feel so stupid.
    
Norma gives her a hug.
    
				NORMA
		Look at us. Two men apiece and we don't know what to
		do with any of the four of 'em.
    
				SHELLY
			(feeling comforted)
		How did Hank's hearing go?
    
				NORMA
		They said they'd decide this afternoon.
    
				SHELLY
		Have you told him you're going to divorce him for Ed?

				NORMA
		When I saw him I ... anyway, he might not get out this
		time around. Guess my plans are a little ... up in the air.
    
				SHELLY
			(cryptically)
		Yeah, well, I definitely got plans for Leo.
    
Norma tries to penetrate her look. James enters the diner and goes right to the pay phones.
    
				NORMA
		Shelly, you know what we're going to do tomorrow?
		You and I are going to have a Day of Beauty. Manicure,
		haircut, facial, the works. We are going to be the
		knockouts of the Double R- And it's my treat.
    
				SHELLY
			(touched)
		Yeah?
							CUT TO:
45. JAMES
    
On the pay phone
    
				JAMES
		Donna?
    
							INTERCUT:




						(Revised 10/31/89, YELLOW)
    
    
46.  INT. HAYWARD'S DINING ROOM - DAY
    
Donna, in high spirits, is on the phone with James.
    
				DONNA
		Hi, James.
    
Behind Donna, Doc Hayward comes out of the kitchen holding a recipe, wearing an apron that 
reads, "Genius at Work." Donna laughs when she sees him..
    
				HAYWARD
		Donna, who the heck ever heard of diet lasagne?
    
				DONNA
		Just a sec -- Daddy, please, I'll be right in, it's James --
		we're having the church pot luck dinner here tonight.
    
				HAYWARD
		Tell him to get over here, I need help. SOS, Mayday,
		Mayday.
    
He goes back in the kitchen. She speaks more confidentially.

				DONNA
		Would you like to come?

				JAMES
		I don't think I'd be very good company.

				DONNA
		James, we need to talk. I've found some stuff out;
		Audrey told me some stuff and Mrs. Palmer saw
		something --

				JAMES
		What?
    
James sees Madeleine Ferguson waiting at the counter talking to Norma.
    
				DONNA
		Come over later so I can tell you. Will you come?
    
				JAMES
		Okay. I'm gonna get something to eat then I'll be over.
    
STAY WITH James. He hangs up. He looks up and sees ...
							INTERCUT:
47.  JAMES POV - NORMA AND MADELEINE
    
				NORMA
		I think it's ready, let me go check.
    



						(Revised 10-23-89, BLUE)
    

47.  CONTINUED:
    
				MADELEINE
		Thanks a lot.
    
Practically trembling, James goes up to her. Madeleine looks up, gives him a friendly smile.
    
				MADELEINE (CONTINUED)
		Hi.

				JAMES
		Who are you?
    
				MADELEINE
		I saw you yesterday at the funeral. My name's
		Madeleine Ferguson. Laura was my cousin.
    
				JAMES
			(still not really with her)
		James Hurley.
    
				MADELEINE
		Laura was a month older than me. Hadn't seen each
		other much recently. I live in Missoula. I'm a
		receptionist at a insurance company?
			(instinctively trying to cheer him up)
		Ever been to Missoula?
    
				JAMES
		I heard it was nice.
    
				MADELEINE
		From who?
			(James smiles)
		So you can smile. Missoula's not so bad actually.
			(tries another subject)
		Did you know Laura well?
    
				JAMES
		I thought I did.
    
Shelly sets Madeleine's order on the counter.
    
				MADELEINE
		Thanks a lot.
			(to James)
		I'm picking up food for my aunt and uncle. Aunt Sarah
		can't cook right now and Uncle Leland's up half the
		night listening to old music and crying and stuff. But if
		I was cooking for them they'd be doing even worse. You
		think I look like Laura?
    

    



						(Revised 10-23-89, BLUE)
    
    
47.  CONTINUED:(2)
    
				JAMES
		Yes.
    
				MADELEINE
		We used to come visit Twin Peaks when I was a kid. It
		was great. We'd pretend we were sisters. I wished I'd
		known her better. It's so sad.
    
James stares at Madeline. She smiles back, uncomplicated.
    
				MADELEINE
		Well it was nice to meet you, James Hurley.
    
James involuntarily begins to reach across death's void for Laura. Then catches himself.
    
				JAMES
		Nice to meet you too.
							CUT TO:
48.  NORMA
    
On the house phone near the kitchen.
    
				NORMA
		Thanks for calling, Mr. Mooney.
    
She hangs up, pale, slowly runs her hands thru her hair. Shelly sees her, stops.
    
				SHELLY
		Norma? You okay?
    
				NORMA
		Hank got his parole. He's coming home.
    
They look at each other.
    
							FADE OUT:
    
			END ACT THREE





						(Revised 10/26/89, PINK)
    
    
				ACT FOUR
    
FADE IN:
    
49.  EXT. GREAT NORTHERN NIGHT
    
Re-establish.
							CUT TO:
50.  INT. BEN HORNE'S OFFICE - NIGHT

    
Ben is on the phone again with the Icelandics and Jerry, riding an exercise machine.
    
				BEN
		What's that? No, I'm afraid I don't know what you get
		when you cross a Norwegian and a Swede ...
			(a stiff laugh)
		That's very good could you put Jerry back on again?
			(pause)
		Jer, who the hell is that joker? ... damn airplane phones, I
		can hardly hear you - you're sure he's the boss? ... just
		make sure they don't take any eggnog into the pilot ...
		the jet's gassed up and waiting on the runway in Seattle,
		hustle 'em through customs, make the connection and
		save me some of whatever it is they're having ...
    
Ben hangs up, spins the globe around. He looks up to discover Audrey standing in his office.
    
				BEN
		Audrey ... I didn't hear you come in.
    
Audrey plops down sadly in a chair. Ben sits on the desk, immediately suspicious.
    
				BEN (CONTINUED)
		What is it this time?
    
				AUDREY
		Dad, are you ashamed of me?
    
				BEN
		Audrey, you're a ...
			(thinks better of total honestly)
		You're my daughter.
    
				AUDREY
		I've been thinking about what we talked about the other
		night when you were so mad.
    
				BEN
		It's not that I'm ashamed, Audrey, it's just that I wish I
		could depend on you more, especially during a trying
		time like this.
    



						(Revised 10-23-89, BLUE)
    
    
50.  CONTINUED:
    
				AUDREY
		That's what I want to talk to you about. Dad, I want to
		change my life. I've decided I want to help you with
		the family business.
			(she has his attention)
		I mean, one of these days you're going to need someone
		to take over. Obviously, it's not going to be Johnnie.
    
				BEN
		Audrey, I wish I could believe
    
				AUDREY
			(starts to cry)
		Daddy, please, I saw a friend that I've known since
		childhood cut down like a flower that had just begun to
		bloom. Life can be so short. There isn't all the time in
		the world, I see that now. I want ... to change ... my life.
    
				BEN
			(trying to stay skeptical)
		How, exactly?
    
				AUDREY
		I don't need to go to college. You can teach me the
		business, I'm willing to start at the absolute bottom.

				BEN
		Well, we've got some guests arriving. You could go
		upstairs and make some beds.
    
				AUDREY
			(tears again)
		You still don't believe me --
    
				BEN
		Alright, alright, alright. Where would you start?

				AUDREY
		I think I should start at the Department Store; cosmetics
		or something. Part-time, at first, 'til I graduate.
    
Ben comes over to her. Beginning to accept this peace offering.
    
				BEN
		You're really serious about this.

				AUDREY
		You have to start thinking about the future, Daddy, just
		like I am.




						(Revised 10-23-89, BLUE)
    
    
50.  CONTINUED:(2)
    
				BEN
		Future?
    
				AUDREY
		Our family's future.
    
This strikes home with Ben. He considers. Wipes tears off Audrey's cheek.
    
				AUDREY (CONTINUED)
		Please, let me be your daughter again.
    
Ben hold his daughter by the shoulders. Stares into her eyes. They embrace across a decade.
Ben's quite moved. Audrey's eyes are cold. She's looking at ...
							INTERCUT:
51. AUDREY'S POV
    
On Ben's desk Audrey sees the framed photograph of LAURA PALMER.
    
RESUME SCENE
    
Ben's phone rings. Ben breaks the embrace, goes to the phone.
    
				BEN
		Ben Horne ...
			(covers the mouthpiece, to Audrey)
		I have to take this, sweetheart.
    
				AUDREY
		Okay. Thanks so much, Dad.
    
				BEN
		Thank you, Audrey.
    
Audrey smiles sweetly and exits. Ben speaks into the phone.
    
				BEN
		Where have you been? ... Meet me down by the river near
		the mill pond ... half an hour. Be discreet.
    
He hangs up.
							CUT TO:
52.  EXT. SHERIFF'S OFFICE - NIGHT
    
Re-establish.
							CUT TO:
53.  INT. INTERROGATION A - NIGHT
    
Cooper, Truman, Hawk and Andy each stand over one of Lydecker's files.
    



						(Revised 10-23-89, BLUE)
    
 
    
53.  CONTINUED:
    
				ANDY
		Here's a bird, "Louis Armstrong." He's a parakeet.
    
				TRUMAN
		Put it with the others.
    
He adds it to a small pile in the center of the table. Lucy is heard over the intercom.
    
				LUCY'S VOICE
		Agent Cooper, I've got Gordon Cole on the phone.
    
Cooper punches Cole up on the speaker phone.
    
				COOPER
		Cooper here.
    
				COLE'S VOICE
		Coop, Albert's faxing you his reconstruction of the
		plastic object found in Laura Palmer's stomach even as
		we speak.
    
Truman gestures to Hawk, who leaves the room to retrieve the fax.
    
				COLE'S VOICE (CONTINUED)
		He's also determined the bites and marks on her
		shoulders were made by a parrot or a mynah bird.
    
				COOPER
		That narrows it down considerably.
    
				COLE'S VOICE
		That's it, you're up to date.
    
				COOPER
		Give Albert my thanks.
    
He hangs up, as Hawk re-enters with a fax transmission.
    
				HAWK
		Take a look at this.
    
He hands it to Cooper, Truman and he look at it.
							INTERCUT:
54.  INSERT: THE FAX
    
The fax is a drawing of a POKER CHIP.
    
				COOPER
		Something with the letter "j."
    


						(Revised 10/31/89, YELLOW)
    
    
54. CONTINUED:
    
				TRUMAN
			(putting it together)
		One-Eyed Jacks?
    
A crash from behind them. Andy, holding a card, has dropped a file drawer.
    
				ANDY
		Harry, Agent Cooper, it's a mynah bird.
		A mynah bird owned by Jacques Renault.
    
Truman and Cooper look at each other. Hawk immediately gets on the phone.
    
				COOPER
			(greatly satisfied, to the assembly)
		Gentlemen, when two separate events happen
		simultaneously pertaining to the same object of inquiry,
		we must always pay strict attention.
    
				HAWK
			(on the phone)
		... uh huh ... has he called in? Thanks a lot.
			(hangs up the phone)
		Renault still hasn't been back to the Roadhouse.
    
				COOPER
		Fellas, it's time for a house call.
							CUT TO:
55. EXT. RENAULT'S APARTMENT BUILDING - NIGHT
    
A rundown apartment building in the Lotown section of Twin Peaks. Truman's cruiser and
Hawk's squad car are parked outside.
							CUT TO:
56. INT. RENAULT'S APARTMENT BUILDING - NIGHT
    
Second floor. Truman, Hawk and Cooper move cautiously down a corridor to the door.
Truman is about to knock but Cooper stops him, they listen. Cooper nods, Truman knocks.

				TRUMAN
		Mr. Renault, open the door, please, it's the police.
							CUT TO:
56A. INT. RENAULT'S APARTMENT - NIGHT

Hearing them, Bobby Briggs climbs out a window and out of the building.
    
							CUT TO:
56 AA.EXT RENAULT'S APARTMENT - NIGHT
    
Bobby jumps down to the ground and runs off.
							CUT TO:



						(Revised 10/31/89, YELLOW)
    
    
56B. INT. RENAULT'S APARTMENT BUILDING - NIGHT
    
They hear something from inside. Truman steps back and kicks the door open. He shouts to
				(more)


						(Revised 10-23-89, BLUE)
    
    
56B. CONTINUED:
    
Hawk as he and Cooper go in.
    
				TRUMAN
		Hawk, outside!
    
Hawk runs past them to the window, as Truman and Cooper, guns drawn, check the other
rooms. We hear tires SQUEAL from outside.
    
				HAWK
		Car's going around the side.
    
Hawk goes out the window after it.
							CUT TO:
57.  EXT. RENAULT'S APARTMENT BUILDING - NIGHT
    
Hawk's car patches out, siren wailing.
							CUT TO:
58.  INT. RENAULT'S APARTMENT - NIGHT
    
Empty and ransacked, a one-room efficiency plus a small kitchen. Truman's radio squawks.
    
				HAWK
			(on the walkie-talkie)
		Suspect's headed south, couldn't get licence plate.
    
				TRUMAN
			(on walkie to Hawk)
		Go, go, call for backup if you need it.
    
Cooper is putting on a pair of surgical gloves.
    
				COOPER
		Harry, let's seal the room and get forensics.
    
Cooper opens a floor level kitchen cabinet. Stashed inside is Leo's BLOODY SHIRT.
Cooper carefully lifts it out, looks at the blood, sees initials in the collar.
    
				COOPER
		"L.J."
			(flips the shirt to Truman; thinking)
		Leo Johnson. Leo Johnson and Jacques Renault.
    
				TRUMAN
		That's the connection we've been looking for.
			(looking at the blood)
		I'll call Doc Hayward, we'll get a make on this blood.
    
Truman's radio squawks.
    



						(Revised 10/26/89, PINK)
    
    
58.  CONTINUED:
    
				HAWK'S VOICE
		Harry? ...
    
				TRUMAN
		Any luck?
    
				HANK
		Negative. Lost him.
    
				TRUMAN
		Hawk, let's get an apb to the state office on Leo Johnson.

Cooper signals a thumbs-up.
							CUT TO:
    
59.  EXT. RIVERBANK - NIGHT
    
A wooded area by the river. LEO JOHNSON stands by his red Corvette, nervously smoking
a cigarette. Looking and waiting. Ben Home walks out of the woods.
    
				BEN
		Nice touch, a bright red sports car for a secret meeting.
    
				LEO
		You don't like it, get somebody else.

				BEN
		Hank said you were gifted, I believed him, but Leo,
		your whole approach is misguided. Major career
		opportunities staring you in the face and all you think
		about is car wax and chickenfeed drug transactions.
    
				LEO
		Hey, I'm out ten thousand bucks, maybe that's peanuts to
		you, not to me.
    
				BEN
		You were in business with a couple of glue-sniffing squish-
		heads.

				LEO
		The Renault brothers? I broke up their act.
    
Leo uncovers a tarp revealing the dead body of BERNIE RENAULT, wrapped in plastic.
    
				LEO (CONTINUED)
		This is Bernie. Jacques' back in Canada. We had a long
		talk. He's staying in Canada. Jacques was the brains in
		the outfit. Bernie made bail this morning on possession.




						(Revised 10-23-89, BLUE)
    
    
59. CONTINUED:
    
				BEN
		Do we know if the late Bernard gave you up?
    
				LEO
		I told him if he ever did I'd kill him.
    
				BEN
		Did he?
    
				LEO
		No. He shouldn't have trusted me, but like I said,
		Bernie wasn't too bright.
    
				BEN
		One last chance, Leo. Don't disappoint me.
    
				LEO
		The mill?
    
				BEN
		Keep it simple. Insurance investigator should read
		"arson, " block letters, about six feet high.
    
				LEO
		The deal as we discussed?
    
				BEN
			(hands over an envelope of cash)
		The rest on delivery. Not tomorrow night. Not the
		night after. The night after that. Three nights. Green
		light. Clear enough?
    
Leo nods, lights a match off his thumbnail, lights Ben's cigar.
    
				LEO
		Excuse me. I got to take Bernard for a swim.
    
Leo hefts Bernard over a shoulder and walks off
							CUT TO:
60.  EXT. WOODS CLEARING - NIGHT
    
Pitch dark. Then the beam of a flashlight cuts thru the night, moving along the ground.
    
				DONNA'S VOICE
		But if Mrs. Palmer knows about the necklace -
    
				JAMES' VOICE
		How? How could she know?
    



						(Revised 10-23-89; BLUE)
    
    
60.  CONTINUED:
    
Donna and James enter the clearing where they buried the necklace. James lifts the rock.
    
				DONNA
		She said she saw it, she had a vision and she said she saw
		somebody take it.
    
				JAMES
			(digging, realizing)
		Donna, it's not here.
    
				DONNA
		Then that means someone must have seen us or followed
		us here ...
    
				JAMES
		But how did Mrs. Palmer know?
    
				DONNA
		Laura used to say her mother was kind of spooky, she
		used to see stuff, she'd have dreams. Laura did too.
    
An owl hoots. They move closer to one another.
    
				JAMES
		Maybe we should tell somebody.
    
				DONNA
		You mean the police?
    
				JAMES
		If it was the killer, then he knows that we know 
    
				DONNA
		James, the police didn't love Laura. Nobody loved her
		but us.
    
				JAMES
		I don't want anything to happen to you. I couldn't stand
		it, I wouldn't be able to ...
    
				DONNA
			(giving him strength)
		Nothing is going to happen to me.
    
				JAMES
		Just a few days ago we were so happy. I keep thinking
		I'm going to see her, I think I catch a glimpse of her out
		of the corner of my eye, sometimes it's like I really see
		her, at school or the Diner ...



						(Revised 10-23-89, BLUE)
    
    
60.  CONTINUED:(2)
    
James looks away, she takes him by the shoulders.
    
				DONNA (CONTINUED)
		James, look at me ... we're gonna find out who killed
		her. This is about us. We have to do this for us, not just
		for her.
			(they kiss)
		I want to be with you ...
    
They kiss again, more passionately.
							CUT TO:
61.  EXT. BLUE PINE LODGE NIGHT
    
Re-establish.
							CUT TO:
62.  INT. BLUE PINE KITCHEN - NIGHT
    
Dressed in her nightgown, Josie answers a ringing phone.
    
				JOSIE
		Hello? ...
							INTERCUT:
63.  INT. JACQUES RENAULT'S APARTMENT - NIGHT
    
Truman is on the phone. Behind him the apartment is being scaled off with yellow tape that
reads "Off Limits - Police Investigation."
    
				TRUMAN
		Josie, it's Harry, listen, I just can't get away, we've got a
		break in the Palmer case --
    
				JOSIE
		I miss you, I want to talk to you --
    
				TRUMAN
		I want to talk to you, too, listen, Josie, were you at the
		Timber Falls Motel today?
    
PETE MARTELL enters the kitchen through the back door, carrying the mail.
    
				JOISE
			(quietly)
		I have to go. Call me tomorrow.
    
She hangs up. Truman looks at the phone, unsettled.
							CUT TO:
64.  ON JOSIE
    
As Pete sits at the counter.



						(Revised 10/26/89, PINK)
    
    
64.  CONTINUED:
    
				PETE
		Hey, Josie, blow the whistle, it's quittin' time.
    
				JOSIE
		Hello, Pete, how did the shift go?
    
				PETE
			(pops a beer)
		Cut some wood, made some lumber. I'm so tired I
		could ...
    
				JOSIE
		... eat a horse? I made you a turkey sandwich.
    
Pete goes through the mail as Josie retrieves the sandwhich and unwraps it.
    
				PETE
		Fantastic, Josie. Is Catherine asleep?
    
				JOSIE
		Yes.
    
				PETE
		Then gimme some mayo with that.
    
Josie smiles and gets out the mayo. Pete heavily lathers his sandwhich.
    
				PETE
		Josie, how do you feel about fish?
    
				JOSIE
		To eat?
    
				PETE
		To catch. The Fishing Association's annual 'do is
		coming up, you know, I'm the defending champion -
			(takes a big bite of sandwhich, as Josie goes
			through her mail)
		- and this year they're adding a Mixed Doubles
		Division and I thought, if you're interested, what the
		heck, would you like to partner up with me?
    
				JOSIE
		Pete, I don't know the first step about fishing.
    
				PETE
		Josie, there's enough fishing in me for both of us.
    
A letter, has captured Josie's interest. She doesn't respond.
    



						(Revised 10/31/89, YELLOW)
    
    
64.  CONTINUED:(2)
    
				PETE
		So, what do you think?
    
				JOSIE
		Sure, Pete. Let's give it a run at the money.
    
				PETE
		Josie, you're my kind'a gal. I'm going to hit the hay.
    
				JOSIE
		Sweet dreams, Pete.
    
				PETE
		Sweet dreams to you, too, Josie.
    
Pete exits with his sandwich. Josie opens the letter. She nervously pulls out a piece of paper.
    
							INTERCUT:
65.  INSERT: THE LETTER
    
Blank, with the exception of drawing of a domino, six black dots on a white surface.
    
65A. THE PHONE

Right beside her rings. She answers.

				JOISE
		Hello.

				HANK JENNINGS' VOICE
		Did you get my message?

				JOSIE
			(looks at the domino)
		Yes.
							INTERCUT:
66.  INT. PRISON CORRIDOR - NIGHT

Hank Jennings on a phone in a dark corridor.
    
				HANK
			(ambiguously)
		... catch you later.
    
He hands up. STAY WITH Josie. Her hand trembles.
							FADE OUT:
    
				THE END
    

    


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