"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

TWIN PEAKS

Episode 1001

by

Mark Frost and David Lynch

FIRST DRAFT: July 2, 1989



ACT ONE

FADE IN:

EXT. GREAT NORTHERN HOTEL - DAY

Dawn breaks over the Great Northern.

CUT TO:

INT. GREAT NORTHERN HOTEL ROOM - DAY

We hear him before we see him, but DALE COOPER is perched
six inches above the floor in a one-handed yoga "frog"
position, wearing boxer shorts and a pair of socks, talking
into the tape recorder which is sitting on the carpet near
his head.

COOPER
Diane... 6:18 a.m., room 315, Great
Northern Hotel up here in Twin Peaks.
Slept pretty well. Non-smoking room.
No tobacco smell. That's a nice
consideration for the business
traveler. A hint of douglas fir
needles in the air. As Sheriff Truman
indicated they would, everything
this hotel promised, they've
delivered: clean, reasonably priced
accommodations... telephone works...
bathroom in really tip-top shape...
no drips, plenty of hot water with
good, steady pressure... could be a
side-benefit of the waterfall just
outside my window... firm mattress,
but not too firm... and no lumps
like that time I told you about
down in El Paso... Diane, what a
nightmare that was, but of course
you've heard me tell that story once
or twice before. Haven't tried the
television. Looks like cable, probably
no reception problems. But the true
test of any hotel, as you know, is
that morning cup of coffee, which
I'll be getting back to you about
within the half hour... Diane, it
struck me again earlier this morning;
there are two things that continue
to trouble me, and I'm not just
speaking as an agent of the Bureau,
but also as a human being: what really
went on between Marilyn Monroe and
the Kennedys? And who really pulled
the trigger on JFK?

CUT TO:

EXT. SHERIFF TRUMAN'S HOUSE - MORNING

A rustic log house, with the Sheriff's cruiser parked in
front. A rooster crows. SHERIFF TRUMAN exits the house,
carrying a soiled paper bag. He walks around the side yard
to a chicken coop and scatters the feed he has in the bag
into the coop. They start clucking and pecking.

TRUMAN
How you girls doing this morning?
Sounds like you got plenty to talk
about today. Hope it's good news.

He empties the bag and starts towards the cruiser.

CUT TO:

EXT. DOUGHNUT SHOP - DAY

A sign reads: WAGON-WHEEL DO-NUTS

CUT TO:

INT. DOUGHNUT SHOP - MORNING

A banner reads: GO AHEAD, MAKE MY DONUT. Another banner reads:
SQUARE DEALS ON ROUND DONUTS.

DEPUTY ANDY BRENNAN and LUCY MORAN are at the counter, in
the middle of ordering.

LUCY
...two boxes of chocolate creams
with jimmies, a box of maple
bearclaws, one raspberry swizzle
twist, two boxes of jelly donuts...
(to Andy)
I'm ordering extra jelly donuts
because they're Agent Cooper's
favorite, you know my aunt I told
you about with the raccoons? She
liked jelly donuts, they were her
favorite, but she doesn't remind me
at all of Agent Cooper.
(a new thought)
Her son, though, does--

ANDY
And one plum frappe turnover.

CUT TO:

INT. SHERIFF'S CRUISER - MORNING

Truman drives past the Wagon-Wheel Do-Nuts just in time to
see Lucy and Andy leaving the shop, with Andy carrying a
stack of donut boxes up to his neck.

Truman pulls into the parking lot next to them and leans out
the window.

TRUMAN
Can I give you three a lift?

LUCY
(looking around)
But Sheriff, there's only two of us.

Truman and Andy look at each other.

CUT TO:

INT. GREAT NORTHERN HOTEL DINING ROOM - DAY

Dale Cooper sits at a choice corner table, holding a fresh,
hot cup of coffee, as a WAITRESS comes by, holding the coffee
pot.

COOPER
(holding up a hand to
stop her)
Wait right there, wait right there...
(he sniffs the coffee;
hmm... he sips)
You know, this is, excuse me, a damn
good cup of coffee. I've had I can't
tell you many cups of coffee I've
had in my life and this...
(another sip)
...this is one of the best.

WAITRESS
Thank you.

COOPER
I'd like two eggs, over hard, don't
tell me, I know it's hard on the
arteries, but old habits die hard,
just about as hard as I want those
eggs... bacon, super-crispy, almost
burned: cremate it--

CUT TO:

AUDREY HORNE

Across the room, watching Cooper order. She slips into her
beguiling, rip-your-heart-out routine and sashays across the
dining room to Cooper's table.

COOPER
(just finishing up)
...that's great, I'll have the
grapefruit juice, as long as...
(sees Audrey
approaching)
...those grapefruits are freshly
squeezed.

The Waitress departs. Audrey smiles.

AUDREY
My name is Audrey Horne.

COOPER
Federal Bureau of Investigation,
Special Agent Dale Cooper.

AUDREY
Can I sit here?

COOPER
(pleasantly)
Miss Horne, unless I miss my guess,
your father is Benjamin Horne, the
owner of this fine establishment, so
I guess you can sit anywhere you
like. And I'd also like to add that
it would be my pleasure.

Audrey sits, a little confused, runs a hand over her forehead.

AUDREY
You know, sometimes I get so
flushed... it's interesting.

COOPER
Were you a friend of Laura Palmer's?

AUDREY
Not exactly.

COOPER
Her father works for your father.
Did you know each other growing up?

AUDREY
Oh, we knew each other...

COOPER
But there was something about her
you didn't like.

AUDREY
Everybody liked Laura. She was just
Little Miss Perfect. Laura tutored
my older brother Johnny three times
a week. Johnny's twenty-seven and
he's in the third grade. He's got
emotional problems; it runs in the
family. Do you like my ring?
(hold out her hand to
show a big rock)

COOPER
Very nice.

AUDREY
My father bought it for me. My father
was crazy about Laura. He bought her
a pony when she was nine, but he let
her father say it was from him. Its
name was Troy.
(absent-mindedly rubs
her left palm)
Do your palms ever itch?

Cooper studies her benignly.

CUT TO:

BENJAMIN HORNE

Crossing the hallway outside the dining room, he glances in
and sees his daughter sitting with Dale Cooper. He stops,
takes this in, then moves on.

CUT TO:

EXT. LEO JOHNSON'S HOUSE - MORNING

The trucker, LEO JOHNSON, is obsessively cleaning the cab of
his semi rig with a dustbuster. A bucket of hot water, some
sponges, and a hose are at the ready nearby. We see that
Leo's name is stenciled on the rig's door, along with the
name, "BIG PUSSYCAT." SHELLY JOHNSON, in her waitress uniform,
comes up to the truck.

SHELLY
Leo, honey? I gotta go to work now,
Norma'll be here any sec... Leo?

Leo turns off the dustbuster and turns to her.

LEO
Did you finish cleaning my boots?

SHELLY
They're all done, and I did the
laundry, too.

LEO
All of it?

SHELLY
Well, yeah.

LEO
No you didn't.

He grabs a used grocery bag full of dirty clothes from the
cab and flings it at her.

SHELLY
Sure, Leo, when I get home I'll--

LEO
Now, Shelly.

SHELLY
Okay.

Shelly starts back towards the house.

CUT TO:

INT. JOHNSON'S KITCHEN - MORNING

Shelly dumps the clothes out of the grocery bag onto a laundry
basket in front of the washer. She shakes out the clothes
before putting them in. She stops short when she sees a large,
dark red bloodstain on a faded blue cowboy work shirt.

She starts to tremble. She hears a car horn beep outside.
She looks out the window, sees Norma's car pull in near the
truck but she doesn't see Leo.

She hears the screen door open and bang shut in the other
room.

LEO'S VOICE
Shelly? Norma's here.

Shelly makes a brave decision: quickly folds the bloodstained
shirt and stashes it behind the washer, dumps the rest of
the clothes in the washer, closes the door and starts it
just as Leo comes in the room.

LEO
Shelly, did you hear me say Norma's
here?

SHELLY
I heard you, Leo.

She starts out. He catches her by the arm.

LEO
I'm gonna come by the diner sometime
today. Be a good girl and save me a
piece 'a pie.

He pinches her cheek softly and holds it.

SHELLY
(manages a smile)
Sure, Leo.

He works her cheek for a moment, squeezing a bit harder.
Shelly hides her fear.

CUT TO:

EXT. JOHNSON HOUSE/INT. NORMA'S CAR

NORMA sits behind the wheel of a maroon '64 Falcon station
wagon. Shelly gets in beside her and they drive off.

NORMA
Leo sure does keep that truck up,
doesn't he?

SHELLY
He sure does.

NORMA
(glances at her, sees
her condition)
We're sure a couple 'a characters,
aren't we, Shelly?

SHELLY
Norma, you said a mouthful and then
some.

NORMA
(shakes her head)
Guys...

SHELLY
(shakes her head)
Guys.

NORMA
You hear what happened at the
Roadhouse last night?

SHELLY
No.

NORMA
Big fight. Bobby Briggs hit Ed Hurley
with some brass knuckles--

SHELLY
Bobby hit Ed? Weird.

They look at each other, each knowing the other's secret,
but not saying so.

NORMA
Ed's got a concussion. Then Bobby
and Mike got into it with the
Bookhouse Boys, took two patrol cars
to break it up. Bobby and Mike're
probably still in jail.

SHELLY
(shakes her head)
Guys...

NORMA
Guys.

CUT TO:

EXT. SHERIFF'S STATION ENTRANCE - MORNING

Re-establish.

CUT TO:

INT. SHERIFF'S STATION RECEPTION AREA - MORNING

Deputy Andy takes a big bite of his plum frappe turnover,
just as Dale Cooper breezes through the front door and waves
brightly as he passes.

COOPER
Morning, deputy.

ANDY
(his mouth completely
full)
Good morning, Agent Cooper.

Lucy, at the coffee station holding a pot and a cup, turns
to face Cooper, with a doughnut stuck in her mouth.

COOPER
Hey there, Lucy.

LUCY
(barely intelligible)
Agent Cooper, I got jelly for you
special, the Sheriff's down the hall
in Interrogation.

COOPER
I'll just look for him down in
Interrogation.

He moves down the hall.

CUT TO:

INT. INTERROGATION ROOM A - MORNING

Cooper whisks in just as Truman, coffee mug in hand, takes
an enormous bite of a humongous bearclaw.

COOPER
Hey, Sheriff: three for three.

Truman tries to chew, but holds up his hand to be patient.
Cooper sits.

COOPER
Number one, James Hurley: as soon as
his lawyer gets here, we bring him
up from Cell Four and talk to him
straight. He was in love with Laura
Palmer, my bet is she told him
whatever dirt she knew about Bobby
and Mike and who knows what else...
if James plays ball, we send him off
with our blessings and a firm reminder
to watch his back when Mike and Bobby
hit the streets...
(Truman nods, trying
to chew fast)
Then we'll have a chat with those
two perpetrators, let's run a top to
bottom on Bobby's vehicle and in the
meantime, let's find out what the
autopsy report on Laura Palmer gives
us.
(he rises)
I've got the rest of the day mapped
out. I'll meet you back here in
Interrogation... I really have to
urinate. By the way, the coffee at
the Great Northern? Incredible.

He exits, just as Truman finally swallows his mouthful of
bearclaw.

CUT TO:

INT. INTERROGATION ROOM A - DAY

JAMES HURLEY is seated, next to his LAWYER, across from
Truman, as Cooper enters and sits down beside the Sheriff.

TRUMAN
James has been advised of his rights.

COOPER
James, you were placed under arrest
for suspicion of murder, the murder
of Laura Palmer. You have no previous
criminal record, is that correct?

JAMES
None. No, sir.

Cooper turns on the VCR and we see the same videotape of
Laura and Donna at the picnic that we saw earlier. James
watches the video.

COOPER
James, did you shoot this videotape?

Cooper fast forwards to the freeze frame of the motorcycle
reflected in Laura's eye.

COOPER
Isn't that your cycle, James?

JAMES
Yes, sir, it is. The three of us
went up there three Sundays ago.

COOPER
(gently)
James, you were in love with Laura.
(James is silent)
The two of you were seeing each other
secretly. No one else at the school,
or any of her friends knew about it;
she was the homecoming queen, her
boyfriend was the captain of the
football team. How much longer did
you think you could keep this
relationship secret?

JAMES
It was secret because that's the way
she wanted it.

COOPER
Why do you suppose that was, James?
Do think it had something to do with
Bobby?

JAMES
It had everything to do with Bobby.

COOPER
Why? Was she afraid of Bobby?

JAMES
I think so.

COOPER
Did you know that Laura was using
cocaine?

JAMES
(pause)
Yes.

COOPER
Did you ever take cocaine with her?

JAMES
No, I tried to get her to stop.

COOPER
When was the last time you saw her?

JAMES
Two nights ago. The night she died.
For about three hours. She snuck out
of the house about 9:30. About 12:30
I stopped the bike at the light at
Sparkwood and 21. She jumped off and
ran away. I didn't see her again.

COOPER
You're sure it was 12:30?

JAMES
Yes, sir, Steve's Liquor Locker was
closing up as we drove by and he
closes right at 12:30.

COOPER
You and Laura have a fight?

JAMES
Not exactly. But she said she couldn't
see me anymore.

COOPER
Why?

JAMES
She didn't say.

COOPER
Was she high that night?

JAMES
Yes.

COOPER
Where did she get her drugs?

JAMES
I don't know. Most of the time we
were together she was clean.

COOPER
Did she get her drugs from Bobby?

JAMES
I really don't know where she got
'em, she never talked about it. She
didn't like that part of herself.

COOPER
Why did she start using again?

JAMES
(getting emotional)
I don't know. Something happened, a
couple of days ago--

COOPER
What happened?

JAMES
I don't know exactly. I think
something scared her. She wouldn't
talk to me, she wouldn't see me for
a couple days--

COOPER
Until the last night.

JAMES
Yes.

COOPER
Did she call you that night?

JAMES
Yes.

Cooper looks at Laura's diary, opened in front of him, at
the page for February 5th; the page marked "DAY ONE." He
takes the half-hearted necklace from his pocket.

COOPER
Did you recognize this necklace,
James?

JAMES
Yes, sir.

COOPER
James, what happened on February
5th?

Tears form in his eyes. He fights them back.

WHITE OUT TO:

EXT. PARK - DAY

LAURA PALMER, lying on a picnic blanket, playfully turns to
face James.

LAURA
What day is it today?

JAMES
Sunday.

LAURA
No, I mean the date.

JAMES
The fifth of February.

LAURA
Okay. It's an important day for me,
James. You've got three guesses why
I'm so happy today.

JAMES
Because you're the most beautiful
girl in the world?

LAURA
No.

JAMES
Because you have the cutest nose in
the world?

LAURA
No.

JAMES
Because your skin is soft and you
smell so good?

LAURA
No.

JAMES
Why?

LAURA
Because I really believe that you
love me.

She takes the necklace from her pocket, "breaks" the heart
in two, gives half to James and puts the other half around
her neck.

WHITE OUT TO:

JAMES

Sitting in interrogation. Looks up at Cooper.

JAMES
I don't remember.

Cooper looks at him.

CUT TO:

EXT. JOHNSON HOUSE - DAY

Leo is putting the last touches on polishing his truck, when
he's struck by a troubling thought. He throws open the door
of the cab and frantically searches behind and under the
driver's seat. He can't find what he's looking for.

LEO
Damn it.

He jumps down from the cab and runs towards the house.

CUT TO:

INT. JOHNSON LAUNDRY ROOM - DAY

Leo hurries in, throws open the top of the washer, pulls out
the full load of soggy laundry and searches through them,
looking for the bloody shirt that he does not find.

LEO
NO!

Leo kicks the washer hard. The washer goes "tilt" and makes
a loud, rhythmic honking sound.

FADE OUT:

END ACT ONE

ACT TWO

FADE IN:

INT. DONNA HAYWARD'S BEDROOM - DAY

DONNA HAYWARD lies asleep in bed. The sound of an operatic
aria drifts through the room, originating downstairs. Donna
shifts, starting to waken, stretches and smiles like an
untroubled angel. Then her eyes open and she remembers Laura's
death.

CUT TO:

INT. HAYWARD LIVING ROOM - DAY

Donna enters the room, where her mother, EILEEN, sits in her
wheelchair doing elaborate needlepoint, listening to the
opera on the hi-fi.

DONNA
Mom?
(Eileen doesn't hear
her)
Mom?

EILEEN
Oh, good morning, dear, I didn't
hear you come down.

She uses a remote control to turn down the volume of the hi-
fi and takes her daughter's hand.

DONNA
Mom, it's ten-thirty, why didn't you
wake me? I was supposed to go down
to the sherrif's--

EILEEN
They called this morning and said
they could wait until tomorrow to
see you. Your father and I thought
you should rest. You woke us crying
in your sleep last night, do you
remember?

DONNA
No, really?

EILEEN
We feel so badly for you, we're so
sorry.

DONNA
(sits beside her)
Mom, it's so strange. I know I should
be sad, and I am, part of me is, but
I... it's like I'm having the most
beautiful dream and the most terrible
nightmare all at once.

EILEEN
Your father told me you went out
last night to meet a boy named James
Hurley. Does this have anything to
do with him?

DONNA
(nods, decides to
confide)
Can this be between you and me?

EILEEN
(takes her hand)
Of course it can.

DONNA
James and Laura were seeing each
other the last two months. They fell
in love. I was the only one who knew
about it. James was so good for her,
you don't know how troubled Laura
was, the kind of trouble she was in
and how much she wanted to get away
from Bobby--

EILEEN
I've been waiting for something like
this about Bobby. And what about
Mike?

DONNA
Mom, Laura and I made a pact. We
wanted to get away from them, from
both of them--

EILEEN
Are you saying you think Bobby had
something to do with Laura's death?

DONNA
I don't know. I think Bobby's
dangerous, I think he's capable of
almost anything.

EILEEN
What did you tell the police?

DONNA
Nothing, I don't have any proof of
anything and what's terrible is James
was with Laura the night she died,
but Mom, I know he didn't do it.
Last night, I had to see him, we
were the two closest people to her
in the world. But I feel so bad...

EILEEN
Why, angel?

DONNA
Because we realized that all this
time... we were the ones who were
falling in love. I feel like I've
betrayed my best friend...
(tears)
...but if that's true, then why do I
feel so happy?

Donna falls into her mother's arms.

CUT TO:

INT. GREAT NORTHERN HOTEL OFFICE - DAY

LELAND PALMER sits behind his desk, talking on the telephone.
His SECRETARY sits across from him.

LELAND
...Palmer, P-A-L-M-E-R... yes, that's
correct, my daughter... her name was
Laura... I'm calling to make the
arrangements, the funeral, everything,
I want everything taken care of, I
don't care how much it costs, and if
you don't mind, I'd prefer that we
not discuss money...

During above, Benjamin Horne enters, stops and listens.

LELAND
...I don't understand the question...
what's the difference? What do you
mean "leak"... seepage? I think I--
(loses it; almost a
moan)
--no, don't--
(screams)
DON'T TELL ME!!! DON'T TELL ME!!!

He pushes the phone and everything else on his desk away
from him. He gets up, crosses to a cabinet stereo, turns on
the sound on a modern jazz quartet record, 9/4 time, about
as loud as it can go.

Benjamin goes to the Secretary.

BENJAMIN
(quietly)
Take him to the lounge and call Dr.
Jacoby.

She nods, goes to Leland, takes him gently by the arm and
leads him out of the room.

Benjamin Horne turns down the sound on the stereo, goes to
the desk and picks up the phone.

BENJAMIN
This is Benjamin Horne, who am I
speaking to?... fine... mahogany and
teak? Well, you can forget that, Mr.
Formaldehyde, I'm picking up the tab
here and you vampires are not taking
a bite out of my checkbook in order
to exploit my colleague's tragedy...
start thinking lead.

He slams down the phone, just as we hear, from outside...

JERRY HORNE'S VOICE
No, no, no, don't put 'em in my room,
in here, through that door right
there!

JERRY HORNE, Benjamin's younger, wiry brother enters, followed
by four BELLHOPS, carrying a mess of mismatched samsonite.

BENJAMIN
Good to have you back, Jerry, how
was Paris?

JERRY
(shakes his head)
In a minute...
(turns back to the
Bellhops, points
down)
Right THERE, no, no, right THERE!

The Bellhops carefully set the bags down as directed.

JERRY
What's the matter with Leland? Looks
like somebody shot his dog.

The Bellhops all stop and look at Benjamin.

JERRY
What is WITH you guys? I've got a
sandwich in there and I want all
those bags opened--we're looking
till we find it.

The Bellhops hop to it; all the bags are opened. Jerry tosses
clothes around the room until he finds a baguette with brie
wrapped in white paper.

JERRY
Brother Ben, this is the best damn
sandwich I ever ate, it's a baguette,
with brie and butter, had four of
these damn things every day I was
there.
(he reaches in and
finds another one)
Got a couple left--here, try one.

BENJAMIN
(takes the sandwich)
Jerry, Leland's daughter was murdered.
And the Norweigans left.

JERRY
Did they sign?

BENJAMIN
No. The deal's off.

JERRY
We had those Vikings by the horns,
what happened?

BENJAMIN
One of 'em left a note.

JERRY
What's it say?

BENJAMIN
We're not a hundred percent sure,
they took the translator with 'em.

JERRY
Did you say Leland's daughter was
murdered?... Laura?

CUT TO:

INT. SHERIFF'S STATION INTERROGATION - DAY

DR. HAYWARD opens the folder containing Laura's autopsy
report, ready to share the results to Truman and Cooper. Dr.
Hayward absentmindedly tugs on a thread sticking out of his
sleeve.

HAYWARD
Harry, as you know, I delivered Laura.
I knew her her entire life; she was
my daughter's best friend. I couldn't
bring myself to do the postmortem,
so last night I called in Joe Fielding
from Fairvale. He did the work, I
assisted, this is what he found...
(puts on glasses,
consults sheet)
Time of death estimated to be between
midnight and four a.m. What killed
her was loss of blood. Numerous
shallow wounds, no single one serious
enough to have been the cause of
death. Bite marks. On her tongue,
probably self-inflicted. Lesions on
wrists, ankles, and upper arms, where
she was bound. We're waiting on
toxological tests for drug use. Within
the last twelve hours of her life,
she had sexual relations with at
least three men.

He tugs again on the loose thread of his sleeve; a button
pops off his shirt, hits the table and spins. He takes off
his glasses, wipes his eyes.

COOPER
And you've examined Ronette Pulaski
as well?

HAYWARD
(composing himself)
Yes. Wound patterns are consistent.
In my mind, there's no question the
same perpetrator attacked them both.

TRUMAN
Doc, when, if ever, will Ronette be
able to talk to us?

HAYWARD
She suffered a severe head wound,
it's still too early to tell, add to
that the psychological impact of the
fear, probably witnessing what
happened to Laura before her...

COOPER
The answer's in there somewhere.

Doc Hayward looks at a close-up picture of Laura taken where
she was found on the beach.

HAYWARD
So beautiful. Who would do a thing
like that?

CUT TO:

INT. HOLDING CELL - DAY

Mike and Bobby sit on their steel cots. Mike moves to Bobby,
who's hanging his head upside down off the back of the cot,
kneels down beside him and speaks to him quietly.

MIKE
Hey Bopper... since when does Leo
Johnson call me at my parent's house?

BOBBY
Leo called you?

MIKE
Yesterday. He was looking for you.
He wanted to know where the other
half of the money was.

BOBBY
What'd you tell him, Snake?

MIKE
Hey, as far as I knew, he didn't
have any of it yet. I thought the
deal was we were supposed to give it
to him today.

BOBBY
I gave him half already.

MIKE
(surprised and a little
angry)
When did you see him?

BOBBY
Hey, I saw him the other night, okay?

MIKE
What night? You mean Thursday night?

BOBBY
Yeah, Thursday.

MIKE
Wait a minute, the night we followed
Laura back to her place after she
left your house--

BOBBY
Check. We had a couple brewskis and
I dropped you off.

MIKE
Check.

BOBBY
(lowering his voice
further)
And then I went to see Leo, cause I
had this money burning a ten thousand
dollar hole in my pocket.

MIKE
What about the other half?

BOBBY
It's in Laura's safe deposit box.

MIKE
You didn't get it back from her?

BOBBY
She was supposed to hand it over
today. Then she went and checked out
on us.

MIKE
So how we gonna get that ten grand
for Leo?

BOBBY
(wise-ass)
I don't know, Snake. Maybe we could
sell light bulbs door-to-door.

MIKE
That's great, that's just great.
This isn't funny, man.

BOBBY
You see me laughing?

MIKE
We're lucky we're in jail, you know
what's gonna go down when we get
out? Maybe we ought'a figure a way
to stay in here--

BOBBY
(grabs his shirt)
Don't even think like that--and don't
mention one word about Leo Johnson,
you do not know Leo Johnson.

MIKE
But what about--

The holding area door opens. Hawk leads James back in and
takes him back to his cell. Bobby jumps up from his cot and
moves to the bars.

BOBBY
Oh, look at that. Here comes that
accident waiting to happen.

HAWK
That could constitute a threat,
Briggs.

BOBBY
Gee, I'm sorry.

James enters his cell.

CUT TO:

INT. SHERIFF'S DEPARTMENT RECEPTION AREA - DAY

Truman and Cooper make their way towards the front, as ED
HURLEY, a bandage on his head, rises from his seat.

TRUMAN
Hey Ed, how's that coconut?

ED
Kind'a tender. My pride's hurt worse.

TRUMAN
Yeah, since when can some 18 year-
old punk take Big Ed Hurley out,
even if he was wearing knuckle
dusters. Ed, this is Agent Dale
Cooper.

COOPER
(shakes hands)
Any relation to James?

ED
I'm his uncle. His mother's out of
town, called this morning, asked me
to come on over. You fellas plan on
holding him a while?

COOPER
No, we can release him into your
custody.

Truman looks at him.

ED
Let me understand; is James being
charged?

COOPER
I had one small doubt which James
has satisfactorily cleared up for
me. He didn't kill anybody. But you
tell him to be careful; we're going
to have to release Mike and Bobby
today as well.

ED
Will do.

Lucy calls from the switchboard.

LUCY
Agent Cooper, I've got a call for
you from a Mr. Albert Rosenfield,
sounds like long distance, it has
that open-air sound where it sounds
like the wind blowing, you know,
like wind through the trees--

Cooper moves towards her to take the call. Ed takes Truman
by the arm and lowers his voice.

ED
Harry, I've been thinking about last
night at the Roadhouse: something's
not right.

TRUMAN
(kidding him)
Yeah, when I first saw the bandage I
thought Nadine might've gotten wind
of you and Norma.

ED
Harry, if Nadine'd gotten wind of me
and Norma, I'd be playing harp for
the Heavenly All-Stars. No, the thing
is I can remember Mike and Bobby
grabbing Donna, I stood up to walk
over and I got all lightheaded, I
was out on my feet before I got there,
I don't even remember getting hit--

TRUMAN
What are you saying?

ED
I'm pretty sure my beer was drugged.
And you know who was tending bar
last night.

Truman thinks a moment, then nods.

CUT TO:

COOPER

On the phone at the switchboard.

COOPER
Alright, Albert, bring the boys, you
guys can have the body all day
tomorrow... no, can't do it, they're
gonna bury her on Monday... and
Albert, if you come through Lewis
Fork, I can recommend a place for
lunch, the Lamplighter Inn.
(waxing enthusiastic)
They've got a cherry pie that could
kill you.

CUT TO:

EXT. HARDWARE STORE - DAY

Carrying a small tray of sandwiches, Norma is going into the
hardware store down the block from the Double R Diner. She
holds the door open for a woman who's exiting, obscured behind
a big bag of hardware. It's NADINE HURLEY. Norma sees her
first.

NORMA
(pleasantly)
Hi, Nadine.

NADINE
What are you doing here, Norma?

NORMA
(pleasantly)
I might ask you the same question.

NADINE
(a hint of
aggressiveness)
And I will tell you: I've gotten all
new drapes for my house. Ed bought
them for me yesterday at Gentle Jim's
and we installed them together.They're
a beige sheer. I was up all night,
do you know what I was doing?

NORMA
(a little worried)
No, I don't.

NADINE
I was inventing a noiseless,
completely silent drape runner. And
do you know how it works, do you
know what makes it work? The thing
I thought of at four this morning
while I was waiting for my husband
to be released from intensive care?

NORMA
What's that?

Nadine takes a package out of the bag, wrenches it open and
grabs a handfull of...

NADINE
Cotton balls. By God, those things'll
be quiet now.

Nadine moves off. Norma enters the store.

CUT TO:

INT. SHERIFF'S STATION WAITING AREA - DAY

Ed Hurley rises, as James is escorted out and unhandcuffed
by Hawk. James moves to Ed.

JAMES
Did you have to post bail?

ED
Had a talk with Harry. No charge.

JAMES
(a source of pain)
Mom still out of town?

ED
Yeah. She's still out of town. Let's
get out of here.

JAMES
(nods)
Gonna need a hand from the Bookhouse
Boys. Somebody's gotta watch my back.

ED
Already got it covered.

They exit.

CUT TO:

INT. INTERROGATION ROOM A - DAY

Mike sits at the table, as Dale Cooper enters.

COOPER
So tell me, Mike, what are you doing
hanging around with a guy like Bobby
Briggs?

MIKE
He's my friend.

COOPER
You don't seem like such a bad kid
to me, but Bobby Briggs could drag
you straight into hell. How long has
Donna Hayward been your girlfriend?

MIKE
Around two years.

COOPER
Why were you screaming at her and
roughing her up last night at the
Roadhouse?

MIKE
That's between her and me.

COOPER
Between you and her, or you, her,
and James Hurley?

MIKE
What's that supposed to mean?

COOPER
You guys were out looking for James
last night--

MIKE
That's right, he was fooling around
with Laura, next thing we know she's
dead and he's out fooling around
with Donna--

COOPER
You couldn't find James so you picked
a fight with his gang instead.

MIKE
They started it.

COOPER
After Bobby decked Ed Hurley with a
pair of brass knuckles?

MIKE
He was defending himself--look, I
already spent a night in jail, are
you charging me with something?

COOPER
Settle down there, punk. I could
make one phone call and you'd go so
far away God couldn't find you.

Cooper smiles. Mike gets the picture.

CUT TO:

INT. INTERROGATION ROOM B - DAY

Truman sits across from Bobby, filling out a report, when
Cooper breezily enters.

COOPER
Hi, Bobby, I was just talking to
Mike. Now before we get started,
have you got your stories straight?

BOBBY
If you tell the truth, you don't
have to get your stories straight.
Besides, the sheriff tells me we're
just in here for fighting and it was
self-defense.

COOPER
Right. Well, I guess you can go then.

Cooper sits, takes the whistle he whittled out of his pocket
and begins to sand it with a small piece of folded sandpaper.
Truman looks at him.

BOBBY
...now?

COOPER
Yeah.

Bobby stands and makes his way to the door.

COOPER
Oh, Bobby...
(Bobby stops at the
door)
Pray for the health and safety of
James Hurley, because if anything
happens to him, we're coming for
you.

They look at each other. Bobby exits. Cooper stands and takes
out his electronic notebook.

COOPER
What are you sitting around for,
Harry? We got places to go and people
to see.

TRUMAN
I'm gonna start studying medicine.

COOPER
Why's that?

TRUMAN
Cause I'm starting to feel like Dr.
Watson.

FADE OUT:

END ACT TWO

ACT THREE

DELETED

FADE IN:

INT. BLUE PINE LODGE KITCHEN - DAY

CLOSE on a trout as it's slit open and held under running
water. PETE MARTELL proceeds to clean the fish in the sink,
whistling a happy tune. In a dressing gown, over a negligee,
JOSIE PACKARD enters the kitchen, a happy look on her face.

JOSIE
On top of the morning to you, Pete.

PETE
No, Josie, the expression is "top of
the morning"...
(looks up at the clock)
...and it's just barely morning.

JOSIE
(pouring coffee)
So perhaps I should say, "Bottom of
the afternoon."

PETE
That'd be more like it.

Out of sight, below the counter, we hear a little dog bark.
Josie bends down to pet it.

JOSIE
Hello, Koro, good fellow... is
Catherine at the mill?

PETE
She wanted to run a half-shift on
account of us closing down yesterday.
I told her she was on her own, I was
goin' fishin'.
(holds up his string)

JOSIE
Pete, I want to thank you for
yesterday, for standing up to me
with Catherine.

PETE
No, Josie, it's not you I was--
(thinks better of it)
Forget it. Catherine was wrong
yesterday--

The doorbell rings. Pete goes to answer it. He returns a few
moments later.

PETE
Josie, the Sheriff and the gent from
the FBI are here to see you.

Josie follows Pete into the living room.

CUT TO:

INT. BLUE PINE LODGE LIVING ROOM - DAY

Josie enters with Pete. Cooper and Truman rise.

TRUMAN
Mrs. Packard, this is Dale Cooper,
FBI.

COOPER
Pleased to meet you, ma'am.

JOSIE
Thank you. Can I offer you gentlemen
a cup of joe?

COOPER
Mrs. Packard, you said the magic
word.

TRUMAN
I'd love a cup, thanks.

PETE
I'll get that for you. Mr. Cooper,
how do you take it?

COOPER
Black as midnight on a moonless night.

PETE
Pretty black.
(Pete exits)

JOSIE
Please, grab yourself a chair.

They all sit. Out of sight, the little dog barks again.

COOPER
Look at him, what a cute little
fellow, what's his name?

JOSIE
Koro.

COOPER
(filing this away)
Koro. Koro. That means something.

JOSIE
Chinese. I am not sure exactly. My
late husband Andrew named him. "Big,
steaming engine" perhaps?

Cooper starts to bend down to pet Koro, Truman tries to signal
him not to. A growl, a yip and Cooper withdraws his hand.

COOPER
Mrs. Packard, I'll come right to the
point. Mrs. Packard, I understand
that you'd hired Laura to come see
you twice a week to help you with
your English, is that correct?

JOSIE
Yes, you see my late husband,
Andrew... I first learned English
from him, when we met in Hong Kong,
but I have learned after his death
that he spoke only in what you would
call "western cliches"--

COOPER
That's very interesting, Mrs. Packard,
so you hired Laura to help you--

JOSIE
That is the ticket, because I was
apparently not even saying the cliches
correctly.

COOPER
When was the last time you saw Laura?

JOSIE
Thursday afternoon, about the time
the mill blew five.

COOPER
That would be five o'clock?

JOSIE
Yes.

COOPER
When did she leave?

JOSIE
After one hour, when the lesson was
finished. I did not see her again.

COOPER
How did she seem to you on Thursday
afternoon?

JOSIE
Something was bothering her but we
did not have a heart-to-heart on it.
She said one thing, though, which
stuck to my mind. She said, "I think
now I know how you feel... about
your husband's death."

COOPER
Did she say what that was in reference
to?

JOSIE
No, but I think of it now like an
old song with a haunting melody that
I can't stop hearing in my head.

COOPER
Uh-huh. Did you ask her then what
she meant by this?

JOSIE
It was just as she was leaving. There
was no time.

She stares at the floor. Cooper and Truman look at each other.
The phone rings.

JOSIE
Excuse me, please...

She rises and exits. Cooper smiles strangely at Truman.

COOPER
How long have you been seeing her?

TRUMAN
(about three different
reactions before...)
How did you know?

COOPER
Body language.

TRUMAN
Geez... uh, not long. About six weeks.
Andrew died a year and a half ago.

Pete sticks his head back in.

PETE
You'd never guess; had to make a new
pot: there was a fish in the
percolator.

Pete exits.

COOPER
Was there an inquest into her
husband's death?

TRUMAN
Yeah. He took his 36-footer out on
Black Lake. He'd just put in a
customized, high performance engine,
there was an explosion on board. We
found pieces of the boat but nothing
of Andrew. It was ruled accidental.

COOPER
(lowers his voice)
You never found the body?

TRUMAN
Don't look to me like that. He was
like a father to me.

COOPER
Take it easy, Harry, you're so far
above suspicion I can't even see you
through the clouds.

CUT TO:

INT. BLUE PINE LODGE KITCHEN - DAY

Josie is on the phone.

JOSIE
...yes, Catherine, I'm listening...

INTERCUT:

INT. SMALL PLEASANT MOTEL ROOM - DAY

CATHERINE PACKARD MARTELL is on the phone, sipping a drink,
unbuttoning her shirt.

CATHERINE
...I just thought you ought to know
what your sentimental good-will
shenanigans cost us yesterday, you
do know what shenanigans are, don't
you?...

Josie mouths the word, not at all sure.

CATHERINE
Shutting down the mill for eight
hours, plus the night-shift, cost us
eighty-seven thousand dollars and
change. Do you really think that
would have made Andrew happy?

She hangs up. Turns and raises her glass and touches glasses
with Benjamin Horne, who smiles and swoops down for a kiss.

CUT TO:

INT. BLUE PINE LODGE KITCHEN - DAY

Josie exits. Pete scrubs the coffee pot, whistling happily.
We move off him to reveal a small dead fish on the counter,
coated with coffee grounds, in a small, thin pool of steaming
percolator water.

CUT TO:

INT. BLUE PINE LODGE LIVING ROOM - DAY

Josie re-enters the room. Truman and Cooper rise. Preoccupied,
Josie sits down, mouthing a word to herself. Truman and Cooper
slowly sit.

TRUMAN
Jocelyn--
(covering himself)
Mrs. Packard?... Josie?

JOSIE
What is "shenanigans"?

COOPER
(word perfect)
Nonsense; mischief; often a
treacherous or deceitful trick.

Josie looks sad. Koro barks. Truman and Cooper look at each
other.

CUT TO:

DELETED

EXT. SMALL PLEASANT MOTEL - DAY

Cottages, a little vacation spot tucked away at the base of
White Tail Mountain.

CUT TO:

INT. MOTEL ROOM - DAY

Catherine Martell is lounging in bed. Benjamin Horne is in
front of a mirror, trying his tie.

CATHERINE
Why do you always have to rush off?

BENJAMIN
(looks at his watch)
We've been here over an hour.

CATHERINE
There was a time when we'd take all
afternoon.

BENJAMIN
In the sweetness of passing time,
this hour will soon seem like a day.

CATHERINE
Sing it to somebody else. I'm not
one of your teenage peabrain
chambermaids.

BENJAMIN
(insincerely)
Oh, I'm sorry, did I offend your
delicate sensibility?

CATHERINE
My mistake. I'd gotten used to us
conducting business and pleasure.

BENJAMIN
Sweetheart, it's all the same to me.

CATHERINE
Well I'm no schoolgirl either. What's
the next step?

BENJAMIN
(sits down beside her
on the bed)
We may not have to do anything: a
few more local tragedies and Josie
may run that mill into the ground
herself.

CATHERINE
You should have seen her, so proud
and weepy over that little
cheerleader's death, as if she was
the only one in the world with
feelings.

BENJAMIN
But the fact is those losses are
going to look beautiful in the books.

CATHERINE
With the pace we've set, it'll still
be months before that mill's bankrupt.
I don't know if I can wait that long.
Besides, there's always a chance my
knothead husband may decide to take
a peek at those dusty old books.

BENJAMIN
Maybe it's time for a fire.

CATHERINE
Are you talking about business or
pleasure?

BENJAMIN
I'm talking about the Packard sawmill.
(she gets the idea)

CATHERINE
All that dry wood lying around...

BENJAMIN
A stray spark one night...

CATHERINE
...when Pete's off on a toot with
Smokey the Bear.

BENJAMIN
(lust in his eyes)
Now I remember how those hours turned
into days...

He starts removing his tie. She smiles and reaches up for
him.

CUT TO:

EXT. GREAT NORTHERN HOTEL AND WATERFALL - DAY

Re-establish.

CUT TO:

INT. GREAT NORTHERN HOTEL PRIVATE QUARTERS - DAY

Looking in on JOHNNY HORNE, in his Indian headress, standing
in the middle of the room, staring at the ceiling.

CUT TO:

REVERSE ANGLE

Truman and Cooper looking in at Johnny, with DR. LAWRENCE
JACOBY beside them. Dr. Jacoby stifles a small giggle and
quietly closes the door.

CUT TO:

INT. GREAT NORTHERN HOTEL CORRIDOR - DAY

Truman, Cooper, and Jacoby move down the corridor.

JACOBY
I can't get over it. He just stands
there day after day, I've never seen
anything like it.

COOPER
Dr. Jacoby, how old is Johnny Horne?

JACOBY
Twenty-seven, going on six.
(giggles)
Just kidding. Sorry.

TRUMAN
And you've been treating him for how
long?

JACOBY
Treating him? Well, with Johnny,
it's not so much a question of
treating him--

COOPER
I understand Laura Palmer was his
tutor.

JACOBY
Monday, Wednesday, and Friday, after
school. Those were the same days I'd
come to see Johnny and his mother.
Laura was Johnny's favorite. He knew
which day it was, too, he'd stand
just like that, waiting for her.

COOPER
Does Johnny get out much?

JACOBY
Sure, after his schoolwork... Laura
would take him out on the grounds
hunting for rubber buffalo with his
little suction-cupped bow and arrow
set. Some afternoons, he'd bag the
limit.

TRUMAN
Was she here on Wednesday afternoon?

JACOBY
Yes, she was. I sat in with them.
She read him a story.

COOPER
What story was that?

JACOBY
(thinks of it)
Isn't that interesting? It was
"Sleeping Beauty."

COOPER
You said Laura was a patient of yours
as well.

JACOBY
Yes. But of course all that
information dwells in the land of
client confidentiality.
(he beams at them,
then reaches behind
Cooper's ear and
pulls out a silver
dollar)
Johnny loves that trick. He thinks
we've found over four hundred dollars
back there.

Cooper slow burns.

CUT TO:

INT. PALMER HOUSE BEDROOM - DAY

A dark room, the blinds are pulled. A subdued SARAH PALMER
sits in a chair, wearing a robe. A NURSE enters, moves to
her and says quietly...

NURSE
Mrs. Palmer, I'm sorry to disturb
you, but Donna Hayward is here...
(Sarah reacts; off
the reaction)
...are you sure you're up to seeing
her?

SARAH
I have to see her. She was my
daughter's best friend.

NURSE
Take this right now...
(Sarah sticks out her
tongue, the Nurse
puts the pill on her
tongue and hands her
a glass of water)
I'll send her in.

The Nurse exits. Sarah swallows the pill.

CUT TO:

INT. PALMER HOUSE UPSTAIRS HALLWAY - DAY

Donna is waiting in the hall, looking at a photo on the wall
of a young Laura playing, when the Nurse comes out of the
bedroom and moves to her.

NURSE
She's sedated. Try not to upset her.

Donna nods and enters the bedroom.

CUT TO:

INT. PALMER HOUSE BEDROOM - DAY

Donna and Sarah see each other and Donna moves into her arms.
They embrace, cry, then Donna sits beside her.

SARAH
What am I going to do? I miss her,
do you miss her?

DONNA
Yes, yes, I miss her so much.

SARAH
I miss her so much... I miss her so
much...

Sarah wipes away a tear, looks away, then looks back at Donna,
tilting her head, looking at her sadly.

Donna's hand slowly slides up and touches Sarah, comforting
her. Sarah looks down at the hand.

CUT TO:

SARAH'S POV

Looking at Donna's hand. She looks up from the hand and
sees... Laura sitting beside her. Sarah's arms reach forward,
clutch her and pull her into an embrace.

CUT TO:

DONNA

As Sarah holds her.

SARAH
My baby... my baby...

Donna tries to gently pull away. Sarah won't release her.

CUT TO:

SARAH

Her eyes open wide, unfocused, looking up, seeing a vision...

CUT TO:

SARAH'S VISION - INT. HOSPITAL CORRIDOR - NIGHT

Looking down a long corridor, a frightening-looking man we
haven't seen before comes racing toward us at full speed. We
hear some monstrous sound. Just as he's about to reach us
we...

CUT TO:

SARAH

She opens her mouth and screams and won't stop. Terrified,
Donna struggles and pulls away from her, trying in vain to
find some way to calm her, as the Nurse rushes into the room.

FADE TO BLACK:

END ACT THREE

ACT FOUR

FADE IN:

EXT. GREAT NORTHERN HOTEL - EVENING

As dusk is falling...

CUT TO:

INT. GREAT NORTHERN CORRIDOR - EVENING

Benjamin Horne enters and crosses the lobby. He stops when
he hears some deafening rock MUSIC start coming through the
ceiling above him. He heads for the stairs.

CUT TO:

INT. AUDREY HORNE'S ROOM - EVENING

Audrey is dancing by herself in the middle of the room,
swaying slowly and sensually to the music. Benjamin opens
the door and looks in, Audrey doesn't see him at first. Ben
walks over to the stereo and turns off the music. Audrey
sees him, looks at him with some attitude.

BENJAMIN
How many times have I asked you not
to disturb the guests with this
racket?

AUDREY
About four thousand times.

BENJAMIN
(getting right to the
point)
Audrey, Julie tells me you were in
with the Norweigans just before they
all suddenly decided en masse to go
back to the Old Country without
signing the contract. Is that true?

AUDREY
Yes.

BENJAMIN
You wouldn't have done or said
anything that might have precipitated
their evacuation, would you? I'm
assuming it was just a coincidence.

AUDREY
Daddy, I did go in to check out that
ridiculous smorgasbord, and while I
was in there I happened to mention I
was sad--

BENJAMIN
About what?

AUDREY
(smiles)
About my dear, close friend Laura
being brutally murdered.

BENJAMIN
(red hot)
Wipe that smile off your face, young
lady. Do you realize the kind of
money your little performance cost
this family? If you ever pull a stunt
like that again, you'll be scrubbing
bidets in a Bulgarian convent.

AUDREY
(mocking)
Oh, Daddy, I'm so afraid.

BENJAMIN
(pauses, very cold)
Laura died two days ago. I lost you
years ago.

CUT TO:

EXT. BOBBY BRIGGS HOUSE - DAY

Establish.

CUT TO:

INT. BRIGGS DINING ROOM - DAY

BETTY BRIGGS is just setting dinner down on the table in
front of her husband, MAJOR BRIGGS, and son, Bobby.

BETTY
Bobby, it's your favorite: meatloaf
with pimentos and potato chips and
there's plenty more chips in the
kitchen.

She sits down at the table with them. Major Briggs and his
wife bow their heads but Bobby doesn't.

MAJOR BRIGGS
For what we are about to receive,
may the Lord make us truly thankful.

Bobby indifferently moves his meatloaf around the plate and
mashes up the chips with a spoon.

MAJOR BRIGGS
Robert, I was hoping we'd have a
chance to discuss the events of the
past few days. Not the physical events
themselves necessarily, but the
thoughts and feelings surrounding
them.

Bobby rolls his eyes. Major Briggs is undeterred.

MAJOR BRIGGS
Rebellion in a young man of your age
is a necessary fact of life, and,
candidly, a sign of strength. In
other words, I respect your rebellious
nature, Bobby. However, being your
father, I am obligated to contain
that fire of contrariness within the
bounds established by society as
well as those within our family
structure.

Bobby impatiently taps his water glass with his knife.

MAJOR BRIGGS
Bobby, I note your reluctance to
engage in a dialogue with me, your
father. There are times when silence
is golden. Silence can be taken many
ways; as a sign of intelligence...
truth being invisible... and the
quieter we become, the more we can
hear...

Bobby shakes out a cigarette, puts it in his mouth. The Major
calmly and firmly backhands Bobby across the face. The
cigarette flies across the table and spears into the meatloaf
on Betty's plate.

Bobby's stunned more than hurt.

MAJOR BRIGGS
I am a tolerant man, but my patience
has its limits. "To have his path
made clear for him is the aspiration
of every human being in our beclouded
and tempestuous existence." Robert,
you and I are going to work on making
yours... real clear.

Betty removes the cigarette from her meatloaf.

BETTY
(sincerely)
We're here for you, Bobby.

Bobby's hands clench into white-knuckled fists.

CUT TO:

EXT. DOUBLE R DINER - NIGHT

Re-establish.

CUT TO:

INT. DOUBLE R DINER - NIGHT

The diner's bustling with dinner traffic. Truman and Cooper
are seated at the counter. Shelly pours them some coffee.

SHELLY
Can I get you anything to go with
that, Sheriff?

TRUMAN
Agent Cooper here might want to try
a slice of pie.

COOPER
(brightening)
Cherry pie?

SHELLY
Best in the tri-counties.

TRUMAN
And could you ask Norma to stop by
for a second, Shelly?

SHELLY
Sure thing.

COOPER
(a twinkle in his eye)
Nothing's a sure thing, Shelly.
(Shelly moves off)
Shelly Johnson with a "j?"

TRUMAN
Husband's a trucker, Leo. Minor rap
sheet.

Cooper nods, makes a note as he sips his coffee. As he puts
the notebook away, he looks around and sees the LOG LADY
seated a couple of chairs away, cradling her log and drinking
coffee. Cooper looks back at Truman.

COOPER
(whispers)
Log Lady?

TRUMAN
Right.

COOPER
Hi.

She makes a sour face. Cooper turns back to Truman.

COOPER
Can I ask her about the log?

TRUMAN
Many have.

Cooper ponders his choices. Norma Jennings comes out of the
kitchen with a piece of cherry pie, moves to Cooper and Truman
and sets down the pie.

NORMA
Evening, Harry.

TRUMAN
Norma, like to have you meet Special
Agent Dale Cooper.

COOPER
Federal Bureau of Investigation.

NORMA
Norma Jennings.

COOPER
I understand your husband, O. Henry
Jennings, is serving twenty-seven
months in state prison for
manslaughter.

NORMA
(good-naturedly)
Yes, he is. I also have a cousin
named Sue who runs a beauty shop in
downtown Butte, Montana.

Cooper takes a bite of pie, closes his eyes and slips into
an ecstatic state.

NORMA
Maybe I should come back with the
dinner menu.

TRUMAN
No need for me, I'll have the special.

COOPER
(comes out of it with
a smile)
Where's my paper and pen, I've got
to write a poem about this pie.

TRUMAN
Better get your notebook; wait'll
you taste the special.

COOPER
Mrs. Jennings, is it true that Laura
Palmer used to help you with the
Meals on Wheels program, delivering
hot dinners to elderly shut-ins?

NORMA
Yes. Laura helped organize the
program.

COOPER
When was the last time you saw her?

NORMA
She came in around dinner time the
night before she died to pick up her
meals for delivery.

TRUMAN
Do you have the names of the people
on her route?

NORMA
I could get them for you.

COOPER
Would you please? And two more pieces
of that incredible pie.

NORMA
Okay.

She moves off. Truman looks at him.

TRUMAN
Man, you must have the metabolism of
a bumblebee.

The Log Lady is getting up to leave and leans in to them as
she passes...

LOG LADY
For your information, I heard you
speaking about Laura Palmer?

COOPER
Yes?

LOG LADY
One day my log will have something
to say about this. My Log saw
something that night.

She turns to leave.

COOPER
Wait a minute--what did it see?

She holds the log out.

LOG LADY
Ask it.

A moment of silence. They all look at the log.

LOG LADY
I thought so.

The Log Lady exits.

CUT TO:

EXT. CALHOUN MEMORIAL HOSPITAL - NIGHT

Establish.

CUT TO:

INT. CALHOUN MEMORIAL HOSPITAL - NIGHT

Tommy "The Hawk" Hill is completing an interview with the
parents of Ronette Pulaski, JANEK and SUBURBIS PULASKI.
Ronette is visible in b.g., lying on a bed in intensive care.
A STATE TROOPER stands guard in front of the entrance to the
room. (note: do not show Ronette's face)

HAWK
(summing up)
So neither one of you saw Ronette
after school that day...

MRS. PULASKI
That's right.

HAWK
And as far as you know, she went to
her after school job...

JANEK
Yes. At Horne's Department Store
downtown.

HAWK
What did she do at the department
store?

MRS. PULASKI
She was a salesperson at the perfume
counter.

JANEK
She used to joke it was the best-
smelling job she ever had.

Mrs. Pulaski thinks of her daughter and gets a little teary-
eyed. Hawk looks up and sees...

...the ONE-ARMED MAN looking around the corner in his
direction. As soon as the One-Armed Man sees Hawk and the
Trooper, he slowly recedes back around the corner.

HAWK
Excuse me...

Hawk rises and quietly follows the One-Armed Man around the
corner.

CUT TO:

THE ONE-ARMED MAN

As he ducks into a stairwell and waits. Hawk's footsteps
pass by... The One-Armed Man quietly moves away, down the
stairs.

CUT TO:

HAWK

Stops in the corridor. Listens. Comes back. He opens the
door to the stairway... empty.

CUT TO:

EXT. LEO JOHNSON'S HOUSE - NIGHT

In a long shot, Norma drives up, Shelly hops out and starts
for the house, carrying a bag of groceries.

SHELLY'S VOICE
Thanks, Norma. See you tomorrow.

CUT TO:

INT. LEO JOHNSON'S HOUSE - NIGHT

Shelly enters the house, sets down the keys. Silence.

SHELLY
Leo?... Leo, honey, you here?

She moves towards the kitchen.

CUT TO:

INT. JOHNSON'S HOUSE KITCHEN - NIGHT

CLOSE on a new bar of soap being dropped into a dark sock.
Leo ties the sock off, swings it around, slaps it into his
palm a couple of times.

LEO
I'll be right out, Shelly.

CUT TO:

INT. JOHNSON HOUSE LIVING ROOM - NIGHT

Leo comes out of the kitchen, swinging the sock around. Shelly
turns as he enters...

SHELLY
Hi, Leo...

She sees the sock in his hand, turns pale and goes weak in
the knees.

LEO
Where's my shirt?

SHELLY
Shirt?

LEO
(advancing on her)
My favorite blue shirt. That's the
second one you've lost this year...
I'm going to teach you a lesson now,
Shelly, about taking care of my
property; that means not only keeping
things clean but making sure things
aren't damaged or lost--this is gonna
hurt you--

She pushes the bag of groceries at him and throws herself
onto the couch, protecting her face, terrified. The groceries
fall to the floor, something breaks and spills.

Leo walks over to the stereo and turns it on; loud, heavy
metal.

Leo starts to spin over his sock, gaining momentum... and as
it flies out of frame, we...

CUT TO:

INT. GREAT NORTHERN HOTEL CORRIDOR - NIGHT

Audrey Horne is walking down a corridor when a gust of wind
slams a heavy door shut behind her. She jumps, then regains
her composure.

CUT TO:

INT. GREAT NORTHERN HOTEL CORRIDOR - NIGHT

Audrey moves down the corridor. SOUND of the wind continues
to howl. When she hears a voice she slows, sneaks around the
next corner and peeks through partially open door into...

INTERCUT:

AUDREY'S POV - BENJAMIN HORNE'S OFFICE

Benjamin Horne is pouring a couple of stiff Scotches on the
rocks. He hands one to his brother Jerry, who's walking back
and forth, rubbing his hands gleefully together.

JERRY
Ben-jamin, Ben-jamin, Ben-jamin--

BENJAMIN
What the hell are you so happy about?

JERRY
I'll give you a One-Eyed guess where
I'm going tonight.

BENJAMIN
Can you get your mind out of the
gutter for one second? We've got a
tottering empire on our hands--

JERRY
Come on, Brother Ben, I hear they
dropped a new bombshell up at "Jack's"--
straight from the perfume counter,
am I right? Am I right?

BENJAMIN
(he's persuaded)
Now that you've jogged my memory...
(sips his drink)
...and set it on fire... I'll drive.

JERRY
That's the spirit: all work and no
play makes Ben and Jerry dull boys.
Let's roll!

They clink glasses and drain their drinks. Audrey moves away,
as they start towards the door. She turns a corner as they
exit and walk away.

BENJAMIN
After dinner, Jer. Gotta spend some
quality time with the squaw.

They move out of sight. Audrey watches them go, thinking.

CUT TO:

EXT. HAYWARD HOUSE - NIGHT

Re-establish. James Hurley's Harley is parked outside.

CUT TO:

INT. HAYWARD HOUSE LIVING ROOM - NIGHT

Donna escorts James into the living room, where Eileen and
Dr. Hayward are waiting.

DONNA
Mom, Dad... this is James... James
Hurley.

DR. HAYWARD
How do you do, James?

JAMES
Pleased to meet you, sir--Mrs.
Hayward.

EILEEN
James, very nice to meet you.

An awkward silence.

DR. HAYWARD
Hope you're hungry, James. Eileen's
been cooking up a storm.

JAMES
Yes, sir.

Another silence.

EILEEN
James, can I offer you something to
drink? We have soft drinks, fruit
punch, or sparkling cider.

JAMES
Fruit punch. That'd be good, thank
you.

DONNA
I'll get it, mom.

Donna exits to the kitchen.

DR. HAYWARD
Have a seat, James.

EILEEN
You fellas go ahead and sit at the
table. I'll go check on the roast.

Eileen drives her chair towards the kitchen. James and Dr.
Hayward move to the dining room table and take their seats.
Donna returns from the kitchen and sets down a glass in front
of James.

DONNA
Here's your fruit punch, James.

JAMES
Thanks, Donna.

DR. HAYWARD
I don't believe I know your parents,
James.

JAMES
No, sir. My dad died when I was ten.
My mom... travels a lot.

DONNA
Ed Hurley down at the Gas Farm is
James' uncle.

DR. HAYWARD
His wife is the lady with the patch?

JAMES
That's my Aunt Nadine. She's a real
character.

EILEEN'S VOICE
(from the kitchen)
Will? Can you give me a hand?

DR. HAYWARD
Excuse me, James.

He exits into the kitchen. Donna whispers across the table
to James.

DONNA
(more intimately)
We can talk after dinner.

JAMES
It's good to see you.

DONNA
(smiles warmly)
It's good to see you, too.

CUT TO:

EXT. HAYWARD HOUSE - NIGHT

Mike and Bobby pull up outside in Bobby's car. They see James'
bike parked in front.

BOBBY
That bastard.

MIKE
First your girlfriend, then mine.

BOBBY
Too bad we can only kill him once.

He lights a cigarette. They drive slowly off. The rear
brakelights disappear into the darkness. The wind howls.

CUT TO:

INT. DR. JACOBY'S OFFICE - NIGHT

We hear a soft, cool be-bop tune. Lights are low. A pair of
strange, green orthopedic shoes dance expertly into view and
execute a few boss moves. We widen out to see Dr. Jacoby in
his fifties-style, Hawaiian-themed rec room.

He picks up his mail and sifts through it, continuing to
dance. He stops suddenly when he comes across a slightly
bulky plain manilla envelope. He opens the envelope and finds
a single audio cassette tape, without a case. Written on the
cartridge are the words...

"TO DR. JACOBY, WITH LOVE, LAURA"

Overcome with amazement, he instantly turns off his stereo,
punches eject, removes the tape that was playing, inserts
Laura's tape and hits play.

LAURA'S VOICE
(from tape)
Hey, what's up, doc? Ha-ha... it's
Thursday afternoon about four o'clock
and I'm so bored I'm making you this
tape on the pretty little tape
recorder you gave me...

We hear background noises on the tape; ambient sound from a
department store.

Dr. Jacoby nervously starts eating malted milkballs from a
bowl on his desk, cruching them in a single bite.

LAURA'S VOICE
...and as you probably already
noticed, I'm gonna mail it to you in
the ugly little plain envelope you
gave me... for, what was the word
you used? "confidentiality's sake."
...this is kind of fun... First,
you're always bugging me to tell you
what my dreams are--let me tell you
about this one I had last night: it
was a doozy.

He reaches into his desk and takes out a pair of headphones,
which he puts on.

LAURA'S VOICE
...I was in this strange room and
there was this little man and this
older man I'd never seen before
either, but they both seemed to know
me... there was music... and I was
telling all my secrets to the older
man...

He plugs the headphones in and we no longer hear her voice.
As he listens and chomps on the milkballs, his face registers
a whole gamut of emotions.

FADE OUT:

THE END

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