TWIN PEAKS
Episode 2.007
#14
by
Mark Frost

FIRST DRAFT: September 5, 1990
SECOND DRAFT: September 12, 1990
REVISED: September 13, 1990
Lynch/Frost Productions
7700 Balboa Boulevard
Van Nuys, CA  91406
(818) 909-7900




A1. INT. SHERIFF'S STATION - DAY

Cooper, Hawk, Gerard, and Gordon Cole are gathered near the front, waiting for
Truman, who joins them from down the corridor.

TRUMAN
			They're waiting for us up at the 
			Great Northern.

COOPER
			All the guests will be in the lobby?

TRUMAN
			Full cooperation.  Hawk, you've got
			the warrant for Harold Smith's 
			apartment?

HAWK
				 (shows it)	
			On my way there.

COOPER
			Stay in touch, let us know what you
			dig up.  Gordon, I understand you're
			hitting the road for Bend, Oregon.

COLE
			I'M ON MY WAY TO BEND, OREGON.
			OFFICIAL BUSINESS.  REAL HUSH-HUSH.
			GOOD LUCK TO ALL OF YOU.

COOPER
			BEST OF LUCK TO YOU, TOO, GORDON.

They all shake hands and exit the station, Truman escorting Gerard.

CUT TO:


1ST ACT

FADE IN:

1. EXT. HAROLD SMITH'S APARTMENT - DAY

Police vehicles.  Crime scene in progress.


2. INT. HAROLD SMITH'S APARTMENT - DAY

Knocks on the door.

TRUMAN'S VOICE
			Mr. Smith?  Mr. Smith, it's the police,
			open the door...  Mr. Smith, we have
			a warrant to search your apartment.

The doorknob turns.  The door swings open; a beat, then TRUMAN, COOPER, and HAWK pour into the room, weapons drawn.  The room has been ravaged.  Smith's diaries, torn and tattered lie in a pile of papers in the middle of the room.  CAMERA follows Truman and Cooper across the room and up to the window looking in the greenhouse ... where we see Smith's legs suspended, swinging.  He's hanged himself.  Cooper and Truman look at each other.  There's a note taped to the window.  Cooper reads it:

COOPER
			"Je suis une ame solitaire."
				 (translating)	
			I am a lonely soul.

CUT TO:


3. INT. SMITH'S APARTMENT - DAY

FORENSIC field men at work, sifting through the pile of torn and savaged papers in the center of the room.  One examines the window looking into the second room.  Truman supervises.  TWO PARAMEDICS wheel out a gurney; Harold Smith remains, bagged.

Cooper enters leading a haggard-looking PHILLIP GERARD, the one-armed man, still in his "Mike" state.  Cooper raises a hand, stops the gurney, gestures to Gerard.  Gerard puts his hand on the bag, closes his eyes.  The working cops stop and stare.

COOPER
			Was he here?

GERARD
				 (pause, opens his eyes)
			Bob never lingers after death.

COOPER
			Was he here?

GERARD
				 (shakes his head)
			Bob has not visited here.

Truman rolls his eyes.  Cooper nods to the paramedics; they wheel Smith out.  Gerard, unsteady on his feet, seeks refuge in a chair.  Truman takes Cooper quietly aside.

TRUMAN
			Think this is a good idea, in front
			of the men and all?

COOPER
			Harry, we're in the chicken-soup 
			stage of this crime.

TRUMAN
			How's that?

COOPER
			"It couldn't hurt."
				 (a blank look)
			That's something people say back in
			Philadelphia.

Truman produces Smith's wallet.

TRUMAN
			We're trying to get ahold of Jacoby
			in Hawaii; Smith was a patient.

COOPER
			Was the agoraphobia for real?  Did
			he ever go outside?

TRUMAN
			He was a class "A" nightball, that
			muchs seems clear.

COOPER
			Blood type?

TRUMAN
			We'll have it soon.
				 (a glance back at
				  Gerard)
			Wouldn't hurt for Jacoby to get a
			gander at this guy either.
				 (a second glance)
			Looks a little green around the
			gills.

COOPER
			It's not easy being "Mike."
				 (nods, moves to him)
			Would you like some coffee, "Mike"?

Gerard shakes his head.  Hawk unearths something from a large paper scap pile, moves with it to Cooper.

HAWK
			Take a look at this.

Cooper accepts the damaged object, opens it: ... this is the diary of Laura Palmer ...

COOPER
			Yes.

CUT TO:


4. EXT. PALMER HOUSE - DAY

Establish.

CUT TO:


5. INT. PALMER HOUSE - DAY

Bright sunlight.  Opera.  LELAND and SARAH sit in the sunroom, sipping coffee, reading the paper.  Leland hums along with the music.  He reaches out, easily takes her hand.  MADDY enters, watches them for a moment before they notice her.

SARAH
			Morning, dear.

LELAND
			Morning, Maddy.

MADDY
			Uncle Leland, Aunt Sarah...

SARAH
			What is it, dear?

LELAND
			Would you like some coffee?

Maddy shakes her head, sits down beside them.

SARAH
			Did you sleep well?

MADDY
			Very well, thanks.

Sarah pats her hand.  Leland and Sarah go back to their paper.

MADDY
			I've been thinking.  I've really
			enjoyed my stay and everything,
			but I really feel it's time to go		
			home.

Sarah and Leland lower their papers.

MADDY
			To Missoula.  I've got my job and
			my apartment and I just ... miss
			having my own life, so I think
			tomorrow I'll probably be driving
			back home.

SARAH
			Of course, dear.

LELAND
			We'll miss you, naturally, but we
			understand completely.

MADDY
			You do?

SARAH
			You've been a wonderful help.

LELAND
			You'll come back to visit, won't you?

MADDY
			Of course.

LELAND
			It's not as if Missoula's at the far
			end of the solar system.

MADDY
			Hardly.

LELAND
			That's fine, then.  You know we love
			you.

MADDY
			I love you too.

Sarah touches her cheek tenderly.  Maddy hugs her.  Everyone smiles.

CUT TO:


6. EXT. LEO JOHNSON'S HOUSE - DAY

Establish.

CUT TO:


7. INT. LEO JOHNSON'S HOUSE - DAY

At the kitchen table, a stack of bills and a checkbook beside them, SHELLY and BOBBY are going over the sorry state of finances in the Johnson household.  LEO sits in his wheelchair, a silent, numb witness.

SHELLY
				 (totaling up)
			... so we've got bills here that total  
			... one thousand and fourteen dollars...

BOBBY
				 (with the checkbook)
			Including the insurance money, that'll
			leave you with...

SHELLY
			Forty-two dollars.  Forty-two dollars.

BOBBY
			That's a start.

SHELLY
			Forty-two dollars for the month?  Bobby,
			how am I gonna do that?  How are we 
			gonna live on forty-two dollars a
			month?

BOBBY
			We?

SHELLY
			Me and Leo.
				 (pause)
			Bobby, you said you were gonna take
			care of --

BOBBY
			I am.  I am, Shelly.
				 (rises, thinks)

Shelly retrieves the box from her hiding place.

SHELLY
			I want you to take it back, we need
			the money.

BOBBY
			Shelly, you're gonna keep that 
			necklace --

SHELLY
			When am I ever going to feel glamorous
			enough to wear it?  Giving Leo a 
			bath?  Feeding him his oatmeal?

BOBBY
			What about his truck?  He's not gonna
			be cannonballing down the highway
			any time soon, it must be worth a --

SHELLY
			The police impounded it --

BOBBY
			We'll get it back --

SHELLY
			They said if it was used in the 
			commission of a crime, it becomes
			property of the state --

BOBBY
			But they haven't charged him with
			anything --

SHELLY
				 (a shrill note)
			I didn't make the rules!

BOBBY
			Okay, okay --

SHELLY
			It's like you're blaming me for 	
			something --

BOBBY
			I'm not blaming you.  Take it easy.
				 (back to Leo)
			Leo was into a lot of stuff and he
			was in it for the money.

SHELLY
			He must've had partners.  We could 
			ask them.

BOBBY
				 (a look)
			Not a good idea.

SHELLY
			But so you think Leo had money?

BOBBY
			Yes.  And from the look of that 
			checkbook he never saw the inside of
			a bank.  He had hiding places.

Snaps his fingers in front of Leo's face.

BOBBY
			Leo, you in there?  Hey, Leo...
				 (articulating carefully)
			... where did you put the money?  
			M-o-n-e-y --

LEO
				 (probably not in
				  response)
			Leo needs new shooooes...

BOBBY
			Maybe a pair of house slippers, pal.
			And they'll probably last you a few
			decades.

LEO
			New shooooes...

Bobby gets a hint of something.  A look at Shelly.

BOBBY
				 (why not ask)
			He buy any shoes lately?

SHELLY
			No.  The police went through 
			everything he owned.

LEO
			New shoooes...

SHELLY
				 (remembering)
			He did have me take a pair of boots
			in for repair.

BOBBY
			When?

SHELLY
			Last week.

BOBBY
			Have you got the receipt?

SHELLY
			You think he had something in --

BOBBY
			I don't know.  Get the receipt.

Shelly nods, exits.  Bobby moves close to Leo, whispers.

BOBBY
			You want new shoes, Leo?  Give me
			what I want, I'll buy you a damn
			shoe store.

Off Leo's mindlessly cheerful reaction.

CUT TO:


8. SHERIFF'S STATION - DAY

Establish.

CUT TO:


9. INT. SHERIFF'S STATION - DAY

A weak and pale Phillip Gerard sits in the reception area, attended to by DOC HAYWARD.  The plumber we saw in #006, MR. ZIPPER is on the ladder, working on the nozzles of the sprinkler system he's in the middle of installing throughout the station.

CLOSE on a couple of steaming cups of coffee as they're carried into the conference room, where Truman and Cooper are seated at the table.  Wearing surgical gloves, Cooper is paging through the diary found at Harold Smith's.  Open beside him is the original diary they found in Laura's room.  Cooper compares the two, takes a sip of coffee.

COOPER
			This is Laura's handwriting.

TRUMAN
			Why would she keep two diaries?

COOPER
			The one we found earlier was a 
			record of events on the surface.  This
			one apparently tells the story of her
			inner life.

TRUMAN
			The answer may be in there.

COOPER
			Undoubtedly.  It's a shame Mr. Smith 
			saw fit to mutilate about 45% of
			the contents.

Hawk enters, carrying an evidence bag containing some torn scraps of paper.

HAWK
			This what you're looking for?

COOPER
			Precisely.

Cooper opens the bag, takes out the scraps, and examines them with a magnifying glass, comparing them to the second diary.

TRUMAN
				 (to Hawk)
			Those are the scraps you found near 
			the railroad car?

Hawk nods.

COOPER
			Yes.  Yes.  This is where the scraps
			came from.  
				 (opens book towards
				  the end)
			Look at this.

He points to a section torn out near the end of the book.

TRUMAN
			Smith really did a job on this thing.

COOPER
			No, look at the way the pages are 
			torn, ripped out at the roots.  
			Smith ripped and slashed his way 
			through, like the others we found in
			his apartment.
				 (a closer detail)
			And look at the edges here at the 
			back; yellowed and curled.  Nine 
			pages.  They were taken some time ago.

TRUMAN
			By Smith?

COOPER
			By the killer.  The day she died.

Truman takes the book to examine it.

TRUMAN
			Before she gave the book to Smith?

COOPER
			Unless I'm very much mistaken.

Doc Hayward appears in the doorway, with news, a piece of paper in his hand.

HAYWARD
			Excuse me, fellas...

COOPER
			What was Harold Smith's bloodtype,
			Doc?

HAYWARD
				 (used to this by now; 
				  reads from note in hand)
			"O."

COOPER
			The night Laura died Harold Smith never
			left his apartment.

HAYWARD
			Agent Cooper, just so you know, Gerard
			is refusing to take his drug --

COOPER
			You mean "Mike."

HAYWARD
			Whatever his name is, he's getting 
			weak and unstable.  I can't recommend
			we let him go much longer without
			his medication.

TRUMAN
				 (reading the diary)
			Oh my lord ... oh my lord...


COOPER
			Harry?

TRUMAN
				 (reads)
			"... he can come into my mind, a man
			who can slip in and out of you like a
			wind that goes unnoticed ... it just
			struck me that his name is a warning
			in itself; B-O-B: Beware of Bob"

COOPER
				 (rising; galvanized)
			Hawk, bring the cruiser around, Harry,
			bring the diary, I'll get Gerard, 
			we're taking him to the Great Northern
			Hotel.

FADE OUT:

END ACT ONE


ACT TWO

FADE IN:


10. EXT. GREAT NORTHERN HOTEL - DAY

Establish.

CUT TO:


11. INT. GREAT NORTHERN HOTEL LOBBY - DAY

A police presence in the lobby has created quite a stir: DEPUTIES are sheperding an interesting mix of HOTEL GUESTS, one by one, past Gerard, seated in front of the fireplace.  Included are the members of the HIGH SCHOOL MARCHING BAND, each holding their instrument.

Gerard, pale and sweaty, scrutinizes each guest as they're brought before him, shakes his head and they move on.  Cooper and Truman stand beside him, Cooper stalwart, Truman exuding a healthy skepticism.

Doc Hayward is nearby, keeping an eye on Gerard.

SUNSHIH TOJAMURA is shown to Gerard.  Gerard shakes his head.

CUT TO:


12. INT. HOTEL CORRIDOR - DAY

Under a head of angry steam, BENJAMIN HORNE makes his way down the corridor.

CUT TO:


13. INT. HOTEL LOBBY - DAY

As he eyeballs two visiting FISHERMEN in Tyrolean hats, Gerard starts to hyperventilate, trying to loosen his collar.  Hayward moves to him.

COOPER
			Doc?

HAYWARD
			Give him room.

GERARD
			I can't, I can't --

Behind them, the elevator doors open and Ben Horne strides towards the scene, reaching them just as --

GERARD
			My arm!

Gerard passes out.

TRUMAN
			Let's get some room here.

HAYWARD
				 (to Cooper)
			This has gone on long enough --

HORNE
				 (somewhat for crowd's 
				  benefit)
			What's the meaning of this?  Sheriff,
			what's going on, why are my guests
			being hounded like this?

TRUMAN
				 (moving Horne off)
			We're done here, Mr. Horne -

COOPER
				 (to the milling crowd)
			Thank you all, ladies and gentlemen.
			If everyone would please just go
			about your business.

HAYWARD
			We've got to get him to a bed.

TRUMAN
			Mr. Horne, could we have the use of
			a room?

HORNE
			Does he want to check in?

A look from Cooper asks a favor.  Horne complies, points.


HORNE
			Down the corridor.

Horne moves to the front desk to retrieve a key.

COOPER
				 (to Hayward)
			Is he all right?

HAYWARD
			He needs his medication.

TRUMAN
				 (to his deputies)
			Come on, fellas, we better carry him.

They pick up the limp Gerard and carry him off down the corridor.  Cooper collects the key from Horne.

COOPER
			How's Audrey this morning?

HORNE
				(borderline hostile)
			Tip-top.

Cooper takes the key and follows the others.  Horne moves in a different direction.

CUT TO:


14. INT. BEN HORNE'S OFFICE - DAY

Horne enters.  AUDREY's in the room, back facing the door.

BEN
			Audrey...

She turns.  A strong, solemn look.

BEN
			Shouldn't you still be in bed?

AUDREY
			I've spent enough time in bed lately.

BEN
			You're looking much, much better.

He tries to kiss her.  She turns her cheek.  Looks at him.  Ben starts evasive actions, checks his desk calendar.

BEN
			Audrey, dear, if you'd excuse me, 
			I've got a business meeting scheduled --

AUDREY
			I know about One-Eyed Jacks.

BEN
			What's that?

AUDREY
			You heard me.
				 (moves towards him)
			I know about Blackie.  I know about
			Emory Battis.  I know about Ronette
			and I know about Laura.

Ben sits.  A cold sweat.

BEN
			I'm sure I don't know what you're
			talking about.

AUDREY
			Dad, I've been listening to you lie
			and cheat and chisel all my life.
			I know every move in your book,
			so my advice is: don't waste your
			breath.

BEN
				 (pause)
			I see ... your point.

AUDREY
			I was there.  I saw you.

BEN
			Uh-huh.

AUDREY
			I need to ask you some questions.

BEN
			Ask away.

AUDREY
			No lying.

BEN
				 (a weak smile)
			I'll do my best.

AUDREY
			You'd better do better than that.

BEN
			Ask.

AUDREY
			Did you have anything to do with my
			being kidnapped?

BEN
			No, I swear on your mother's life --


AUDREY
			Leave Mom out of this --

BEN
			No.  No, no, no.  God no.

AUDREY
			Did you know Jean Renault was going
			to kill Emory and Blackie?

BEN
			Serves them right, doesn't it?
			They're the ones who kidnapped you --

AUDREY
			Did you know?

BEN
			No.

AUDREY
			How long have you owned One-Eyed Jacks?

BEN
			Five years.

AUDREY
			Did you know Laura worked there?

BEN
			She was only there a brief time --

AUDREY
			Did you know?

BEN
			Yes.

AUDREY
			Did you in any way encourage her to 
			work there?

BEN
			No, I had no idea.  She asked for a
			job at the department store, Battis
			sent her there without my knowing --

AUDREY
			But you found out?

BEN
			I saw her there, yes.

AUDREY
			Did you sleep with her?

BEN
				 (pause; very quiet)
			Yes.

AUDREY
				 (pause)
			Did you kill her?

Ben's face twists in a contortion of pain and horror.  He shakes his head, but we're not sure if it's anger or denial.  His voice quavers, tears fill his eyes.

BEN
			I ... loved ... her.

He breaks down.  Audrey regards her father coldly.  She starts away.

BEN
			What are you doing?  Where are you
			going?
				 (she's at the door)
			What are you going to do?

Audrey stops at the door, gives him a long look.  Then exits.  Ben tries to dry his tears, compose himself.  He blows his nose in a hankerchief.

CUT TO:


15. OMITTED

16. EXT. DINER - DAY

Establish.

CUT TO:


17. INT. DOUBLE R DINER - DAY

NORMA JENNINGS is behind the counter, going over some bills.  Shelly comes in from the kitchen.  A slow part of the day.

NORMA
			If I'd thought out what it was going
			to do to my laundry bills I never
			would've let Hank talk me into those
			tablecloths.

SHELLY
			I think they look pretty.  Where is
			he, anyway?

NORMA
				 (covering her concern)
			He must have some business.  Or 
			maybe it's radar; my mother called,
			she's coming into town.  Hank's 
			kind of allergic to her.

SHELLY
			Norma, could we talk for a second?

NORMA
			Sure.  What's up?

SHELLY
				 (trying to hide her
				  emotions)
			What with Leo coming home and everything,
			you know I'm supposed to be taking
			care of him and all and it seems like 
			it's going to be a pretty full-time
			thing, so I was thinking I'm going
			to have to, you know, quit my job
			for a while at least anyway and ...
			oh shoot ...

She can't continue.  Norma hugs her.

SHELLY
			I promised I wasn't gonna do this...

NORMA
			You go ahead.

SHELLY
			Anyway, I feel so bad ... cause I 
			love you and I love working here
			and I don't want to let you down --

NORMA
			You aren't gonna let me down.

SHELLY
			I'm not?

NORMA
			Shelly, you've got your own life 
			to worry about right now.  I'll be
			fine here.

SHELLY
			You sure?

NORMA
			Yes.  And as soon as you're ready to
			come right back, it'll be like you
			never missed a day.

SHELLY
			You'll let me come back?

NORMA
			You just try and take a job someplace
			else and see what happens.

SHELLY
			I don't know what to say.

NORMA
			You don't have to say anything.

BIG ED and NADINE enter.  Nadine's wearing a girlish outfit.  Ed's got a pained expression to match.

NADINE
				 (finishing a story as
				  they enter)
			-- so they sent me in to my senior
			counselor and I told him I'd been 
			travelling with my parents for a while
			but now I wanted to register for
			spring semester -- come on, Eddie, 
			let's sit at the counter.

Nadine drags Ed by the hand to the counter.

NADINE
			I could just die for a chocolate shake,
			couldn't you?  Hi, Norma.  Say, how
			long have you been working here?

NORMA
				 (doesn't get it yet)
			Twenty years in April.

Nadine's brow furrows up.  Ed tries to gesture to Norma behind Nadine's back.

NADINE
				 (decides it's a joke)
			You kidder.  What a kidder.

ED
			'Bout six weeks now, isn't it, Norma?

NORMA
				 (playing along)
			That's right.

NADINE
			You see?  Your parents drag you off
			to Europe or someplace for a month
			and it's like you've been gone 
			forever -- two chocolate shakes,
			please, Norma, extra whipped cream 
			on mine -- hi, what's your name?

SHELLY
				 (simply mystified)
			Shelly.

NADINE
			Are you in our class at school?

SHELLY
			I don't think so.

NORMA
			Europe?


NADINE
			Yeah.  They love it so much, they're
			still over there, can you believe it?
			So they said it was okay for me to 
			stay over at Eddie's, isn't that 
			right, Eddie?

ED
			That's right.

Another helpless gesture to Norma.

NADINE
				 (a confidential tone)
			Say Norma, you're not mad or 
			anything that Eddie and I are sorta
			going out or anything, are you?

NORMA
			You and Ed?
				 (Ed shakes his head at her)
			No.  No.  Why should I be?

NADINE
			No reason.  I know you two broke up
			and everything.  I'm just so sweet
			on him is all.
				 (cuddles up)
			Isn't he just the dreamiest?  I 
			can't wait for the start of football
			season, can you?

NORMA
			No.  Can't wait.

NADINE
			Me neither.

They all look at her.  The coffee cup she's been idly toying with shatters in her hand.

NADINE
			God, sorry, there go's another one, I
			have been so clumsy lately I can 
			hardly believe it.

NORMA
			I'll get another one.

SHELLY
			I'll make your shakes.

They move off.  Nadine snuggles up to Ed.

NADINE
			Eddie, I'm so happy, I could kiss
			you to death.

Ed looks at her.  It seems like a distinct possibility.  He tries to smile.

FADE TO BLACK:

END ACT TWO


ACT THREE


FADE IN:


18. EXT. LEO JOHNSON'S HOUSE - DAY

Establish.

CUT TO:


19. INT. LEO JOHNSON'S HOUSE - DAY

Bobby enters the kitchen, carrying a large paper bag, followed by MIKE NELSON.  Leo's sitting in his chair.

BOBBY
			Honey, I'm home.  There he is, Mike.
			The late Leo Johnson.

MIKE
			Good God.

Bobby pulls up a chair beside Leo, opes the bag.

BOBBY
			Leo, I went to the shoe shop and I
			showed them the ticket, and look
			what they gave me.

He pulls out an old pair of Circle brand work boots.

LEO
			New shooes...

BOBBY
			No, you knucklehead; old shoes.  
			Leo, he gets fixated on things 
			pretty easily.

MIKE
			Looks like he's permanetly fixated.

Leo laughs.

BOBBY
			Leo, I know you too damn well.  
			There's something in there, isn't
			there?
				 (Leo smiles shyly)
			Isn't there?  Huh?  There's something
			in your shoes.

LEO
				 (seems to see Mike)
			Where's my ten grand?

BOBBY
			Ten grand?  No.  It's not Christmas,
			is it?  Ten grand?

MIKE
			Bobby, I think he said something once
			about muling stuff in his boot.

BOBBY
			Leo, don't go anywhere.

Bobby gets up, rummages through a drawer, comes up with a hammer, puts the boots on the table and starts whacking at the heel.  The first heel comes off, revealing a small, secret, and empty compartment in its hollow center, shows it to Mike.

BOBBY
			How about that?  Come on Leo, sing
			with me...

Bobby sings, hammering in time with the other boot.

BOBBY
			"I've been workin' on the railroad
			all the live long day/I've been 
			workin' on the railroad just to pass
			the time away..."

The heel comes off.  Bobby picks up the contents of the secret compartment: a small, microcasette.

LEO
			Where's my ten grand?

BOBBY
			It's not money, you nitwit.
				 (takes a speculative
				  look at it)
			Or maybe it is...

CUT TO:


20. EXT. SHERIFF'S STATION - DAY

Establish.

CUT TO:


21. INT. SHERIFF'S STATION - DAY

A DEPUTY carries a plate of doughnuts and coffee to the conference room.  Mr. Zipper, the plumber, bags one of the doughnuts as the Deputy passes by and enters the conference room, closing the door behind him.  Hawk and Truman watch.

HAWK
			That's the third plate of doughnuts
			Cooper's asked for.

TRUMAN
			He says he's not coming up for air
			until he's cracked what's in that
			diary.

PETE MARTELL enters the station, spots Harry.

TRUMAN
			Hey, Pete.

PETE
				 (gravely)
			Harry, could we repair to a quiet
			place for a moment?

TRUMAN
			Come on into the office.

PETE
			I won't take up too much of your
			time.

TRUMAN
			No trouble at all.

They move into Truman's office.

CUT TO:


22. INT. TRUMAN'S OFFICE - DAY

Pete enters, Truman closes the door.

TRUMAN
			What's up?

PETE
			Harry, Josie's gone.

TRUMAN
			I know.  I saw her last night.

PETE
				 (sad and lonely)
			I came back from the late shift.
			She left a note on the kitchen table.
			No goodbyes.  No explanations.  A 
			note.

TRUMAN
			She sold the mill to Ben Horne.

PETE
			I signed Catherine's stake over to
			her a couple days ago.  I didn't 
			think she was going to do it so
			quickly.

Harry puts a sympathetic hand on her shoulder.

PETE
			I've lost em both.  Not that Josie 
			was ever mine to lose.

TRUMAN
			You don't have to explain.

PETE
			I loved her.  There, I said it.  No
			offense, Harry.

TRUMAN
			I loved her, too.  I stood there
			and watched her go.  Watched her
			assistant carry out her bags.

Pause.  Something breaks through Pete's melancholic haze.

PETE
			Assistant?

TRUMAN
			Asian fella.  Never seen him before.
			You?

PETE
			What'd he look like?

TRUMAN
			Average height.  Medium build.  
			Pony tail.

PETE
			That was her cousin.  Jonathan.

TRUMAN
			She said he was her assistant.  
			British accent --

PETE
			This guy could barely speak English.

TRUMAN
				 (knows in his heart)
			Pete, this was the same guy.

PETE
			Harry, I've got a bad feeling.

TRUMAN
			I'm right there with you.

Pause.

CUT TO:


23. INT. CONFERENCE ROOM - DAY

Remanants of Laura's diary are spread out over the entire conference table.  Cooper examines the remaining intact pages in the book, making notes, using a magnifying glass and what scraps he has in front of him to try and reconstruct the contents.  He steps away from the table, picks up a cup of coffee and his microrecorder.

COOPER
				 (tired, intense)
			Diane, it's 5:45 pm, I'm in the 
			conference room with the reamins of
			Laura Palmer's diary.  A great deal of
			it has been destroyed, may of Laura's
			secerts along with it.  Much of what
			I've been able to decipher supports 
			the contention of the one-armed man;
			there are repeated references to "Bob."
			He was a threatening presence in her
			life from early adolescense.  There 
			are intimations of abuse, molestation.
			On a regular basis.  He is referred to,
			on more than one occasion as a friend
			of her father's.  And we've just
			uncovered this entry, dated less than
			two weeks before her death.
				 (reads from in diary)
			"One of these days I'm going to tell
			the world about Ben Horne.  I'm going
			to tell the world who Ben Horne 
			really is."

The door swings open.  Audrey Horne is standing in the doorway.

COOPER
			Audrey...

Cooper turns off the tape recorder.  Audrey enters, closes the door behind her.

AUDREY
			I had to see you, I'm sorry --

COOPER
			Are you all right?

She waves off the question.  Something much larger looming over her.  Trying to bear up under its weight.

AUDREY
			I spoke with my father.

COOPER
			Okay.

AUDREY
			He was sleeping with her.  With Laura.
			I don't know for how long.  Maybe 
			quite a while.

COOPER
				 (quiet; soothing)
			Okay.

AUDREY
			She was up at One-Eyed Jacks.  Working
			there.  My father owns the place.
			That's what I found out.

COOPER
			Are you sure?

AUDREY
			Yes.
				 (pause, composes herself)
			And Laura knew it too.  Laura knew
			it too.

Pause.  Cooper moves to the door.

AUDREY
			What are you gonna do?

COOPER
				 (opens the door)
			Harry?

AUDREY
			What are you gonna do?

Cooper takes her by the shoulders.

COOPER
			I don't want you to have to testify.
			I'm going to try to see that that
			doesn't happen.

AUDREY
				 (crumbling)
			What are you gonna do?

COOPER
			Don't say a word to anyone.  Go 
			home.  Stay in your room.  I'll try
			to come see you later.  Don't
			answer the phone --

Truman appears in the doorway.

AUDREY
			You're going to arrest him.


COOPER
			Yes.

She gently disengages herself from him, nods.  Tries to smile, but the attempt fails.

AUDREY
			I've got to tell Johnny.

COOPER
			Why don't you do that?

AUDREY
				 (faint)
			Okay.

She moves out like a sleepwalker.

COOPER
				 (to Truman)
			Have somebody drive her back to the
			hotel.

TRUMAN
			What's going on?

COOPER
			We need a warrant.  A warrant for 
			the arrest of Ben Horne.

They look at each other.  Truman nods, grimly, head out.  Cooper looks sadly down at the remnants of the diary.

FADE TO BLACK:

END ACT THREE


ACT FOUR

FADE IN:


24. EXT. PALMER HOUSE - NIGHT

Establish.

CUT TO:


25. INT. PALMER HOUSE - NIGHT

Sarah Palmer crawls in on the floor.  She appears to have been drugged, fighting to stay awake.  She looks up at the living room and has a vision: A PALE HORSE is standing in the middle of the room.

DISSOLVE TO:


26. INT. PALMER HOUSE - NIGHT

NOTE:  IN THE FOLLOWING SCENE, THE CHARACTER OF "BEN HORNE" WAS WRITTEN IN ONLY TO MAINTAIN SECURECY.  THE REAL "BOB" IS LELAND PALMER.

Madeleine enters, carrying a couple of packed bags which she sets down, calling back to someone outside of the room.

MADELEINE
			I'm going to leave these down here
			tonight.  I'll be all ready to get an
			early start.

Behind her in the alcove, Ben Horne comes down the stairs, stops to look at himself in the mirror.  He smoothes back his hair.  We move to see that the face staring back out of the mirror is "Bob."

BEN
				 (disguising his voice)
			Always best to be prepared.

We follow Ben's hand into his pocket.  He takes out a pair of rubber surgical gloves and starts to put them on as he moves towards the living room.

Madeleine has finished fussing over his luggage.  She turns and notices Sarah stretched out on the floor beside the sofa.

MADELEINE
			Aunt Sarah? ... Aunt Sarah?...

As she bends over to look at her, Ben moves in behind her, raising his hands.

FADE TO BLACK:


27. INT. BEN HORNE'S OFFICE - NIGHT

A fax is arriving over the fax machine.  Ben Horne crouches over the machine, eagerly rips off the transmission as it's completed.  He scans it, smiles, and folds it.

HORNE
			Good news, Mr. Tojamura.

TOJAMURA is seated in the office, his VALET a shadow.

HORNE
			My brother Jerry has spoken with 
			your people in Osaka, he's checked
			your references with the Tokyo banks
			and the answer to your proposal, my
			good friend, is a big thumbs-up.

TOJAMURA
			We appreciate your promptness.

HORNE
				 (shaking his hand)
			Speaking for the entire community of
			Twin Peaks, I can't tell you how
			pleased we are to welcome you into
			the Ghostwood fold.

TOJAMURA
			Thank you so very much.

He snaps his fingers; the Valet produces a thick sheath of contracts.

TOJAMURA
			Contracts.  For your per sale.

HORNE
			And fast approval, I'm sure.

Horne accepts the contracts.  A knock at the door.  The door opens.  Cooper, Truman and Hawk.  Truman walks right in.

HORNE
			Sheriff?

TRUMAN
			Mr. Horne, we'd like you to come 
			with us, please.

HORNE
			Fine, I happen to be in a meeting --

TRUMAN
				 (blowing up)
			You're wanted for questioning in the
			murder of Laura Palmer, is that 
			specific enough for you?

Horne looks from Truman to Cooper.

HORNE
			You're insane --

Tojamura has retreated a few steps.  Horne turns to him.

HORNE
			There's been a dreadful mistake.

TRUMAN
			Come with us now or would you 
			rather go out through your lobby
			in handcuffs.

HORNE
			Cooper, what kind of sick joke 
			is this?

COOPER
			You'd better do as he says.

They take him by the arms.  Horne struggles, yelling, composure completely gone.


HORNE
			No!  No!  You can't do this!  You   
			can't do this!

Truman and Hawk drag him out the door, Cooper follows.

Tojamura watches them exit.  His eyes are bright.  He may be laughing.

CUT TO:


28. EXT. BLUE PINE LODGE - NIGHT

Establish.

CUT TO:


29. INT. BLUE PINE LODGE - NIGHT

Dim light.  In his bathrobe and slippers, Pete putters around the kitchen, humming, heating up a glass of milk.  Far off he hears a gust of wind, the sound of a door in the distance.  He looks up, nothing, finishes fixing his milk.  Takes the glass, at a last minute grabs a cookie and heads off.  He comes around the corner and nearly screams when he finds himself nearly face to face with Tojamura.

PETE
			What the heck are you?

Tojamura advances towards him, doesn't say a word.

PETE
				 (retreating slightly)
			How'd you get in here?  Hey -- hey!

Tojamura grabs him and kisses him.  Pete drops the glass of milk to the floor.  Pete struggles.  Tojamura pulls back from the embrace.  Pete frantically tries to wip off his lips.

TOJAMURA
			Since the moment we met, I've found
			myself strangely attracted to you.

PETE
			Mister, you better get out of here --

TOJAMURA
			There's something about your eyes; 
			they're warm and deep --
				 (no trace of an accent;
				  Catherine's voice)
			-- and blue as the open sky.

PETE
				 (now he's really confused)
			Huh?

TOJAMURA
			Pete ... it's me.
				 (no response; less patient)
			It's Catherine, you dummy.

Tojamura takes off his glasses.  Pete sees something he recognizes.  Tears come to his eyes.

PETE
			Oh my God ... you look terrible!

CUT TO:


30. INT. SHERIFF'S STATION - NIGHT

Truman, Cooper, and Hawk enter with Ben Horne.  THE LOG LADY is waiting in the reception area; she rises.  Cooper notices her, looks to Truman.

TRUMAN
				 (to Hawk)
			Take Mr. Horne down to the holding cell.

Hawk and Horne move off.  Cooper moves to the Log Lady, Truman follows.

LOG LADY
				 (quiet; intense)
			You must go to the Roadhouse.  
			Everything points that way.

COOPER
			Why?

LOG LADY
				 (gestures to her log)
			It won't say.  But it insists.

Cooper looks at Truman.

TRUMAN
			We can't question Horne 'til his
			lawyer gets here; he's flying back
			from Japan, won't be here 'til 
			morning.  I could use a beer 
			myself.

COOPER
				 (another look at the
				  Log Lady)
			All right.

CUT TO:


31. INT. ROADHOUSE - NIGHT

A band is playing on stage.  DONNA HAYWARD enters.  She looks for and finds where JAMES is seated, his back to her, reading.

DONNA
			You heard about Harold Smith?

JAMES
			Yeah.

She sits.  James sets the bood down.  They look at each other.

JAMES
			It's not your fault, Donna.

DONNA
				 (hurting)
			No?

JAMES
			I don't think it's anybody's fault.
			He was a sick guy.

DONNA
			He wasn't bad.

JAMES
			You don't think he killed Laura?

DONNA
			I don't think so.  I think he was ...
			mixed up.  I think he was hurt 
			inside in a way I didn't understand.

JAMES
			Everybody's hurt inside.  That doesn't
			mean you can go around trying to knock
			somebody's brains out.

DONNA
			I think he was defending himself.
			His life was in that room, his whole
			life, and we violated that --

JAMES
			Donna, are you defending him?

DONNA
			No.  But he didn't kill Laura.  Maybe
			he was sick and what he did was
			wrong.  But he didn't deserve to die
			for it.

JAMES
			You better be dear about this; that
			was his choice.  If he didn't want
			to live, there was nothing you or
			the police or anybody could do to
			change that.

DONNA
				 (a sad realization)
			Kind of like Laura.

JAMES
			I guess so.

DONNA
				 (rueful)
			God ... nobody told us life was 
			going to be like this.

James takes her hand.

JAMES
			Maybe nobody knew.

They look at each other, draw some comfort from the thought.

JAMES
			Go for a ride?

She nods.  Tears in her eyes.  They exit.  We pick up and stay with Cooper and Truman as they enter through another door, move to the bar and order beers.  The singer on the stage begins a new song.

TRUMAN
			What do we do?

COOPER
			I don't know.  Wait.

They watch the band; it's an emotional song, filled with regret and longing.  People lean forward, drawn in by the song, but also by a mounting, palpable sense of tension and fear in the air.

Cooper picks up on it, looks at Truman who feels it as well.

INTERCUT:


32. COOPER'S POV - THE STAGE

In mid-song, the band vanishes from the stage; THE GIANT appears in the center of the stage.  He looks right at Cooper.

GIANT
			It's happening again.  It's happening
			again.

Cooper appears to be the only one who sees him.  He looks again, unsure of what he's seen.  The Giant fades away, replaced by the band once again, who finish the song.

Cooper sits stock still, shocked by what he's seen.  Truman looks at him.

TRUMAN
			Cooper? ... Cooper?

Someone pats Cooper on the shoulder.  Cooper looks up.  It's the old ROOM SERVICE WAITER from the Great Northern Hotel.  His eyes are filled with tears.  He shakes his head, pats Cooper on the shoulder again and moves off.

Cooper stares straight ahead.

COOPER
			He's killed again.

FADE TO BLACK:


THE END