Mark Frost and David Lynch
FIRST DRAFT: August 2, 1989
EXT. GREAT NORTHERN HOTEL - EVENING
INT. HORNE RESIDENCE WING - EVENING
JERRY HORNE sits before a roaring fireplace, tumbler of
bourbon in hand, eating nuts compulsively from a giant bowl
while rapidly adding figures on a large computer while scores
of numbers flash up and down on the large computer monitor,
all the while talking into a headset phone receiver in a
melange of Icelandic and English.
In another part of the spacious room, the Horne family sits
quietly around the dinner table. AUDREY HORNE plays listlessly
with her food. A NURSE helps JOHNNY-still-wearing-his-
headdress-HORNE eat, while MRS. HORNE stares at her full
plate. For no discernable reason, Johnny bursts into tears.
The Nurse comforts him and he starts to eat again. In spite
of her feigned indifference, a small, sad tear slips down
Audrey's cheek as she watches her brother.
BENJAMIN HORNE finishes carving up and chewing a big rare
steak and looks around at his family. He puts his napkin on
the table, rises, then smiles.
Always a pleasure.
(calls to his brother)
Power down, Jer. We've got a
Jerry gets up, switches off the computer and does an Indian
dance towards and eventually around the dinner table, making
"traditional" Indian noises.
(his idea of being a
Nephew Johnny, don't be forlorn...
things're bound to get better in the
morn... then there's Sylvia, who
treats me with scorn... she thinks
Jerry an absolute thorn...
He kisses her; Jerry repulses her. Jerry indian dances toward
Audrey. Johnny breaks down again.
...around the horn to little niece
Audrey, the Horne's first born...
...and here goes Jerry with brother
Ben Horne, long-gone like turkeys
through the corn...
Ben and Jerry exit.
EXT. BLACK LAKE - NIGHT
A full moon in a dark sky illuminates the cold, placid surface
of Black Lake.
EXT. HORNE CRUISER - NIGHT
A 1942, solid mahogany 22 foot Fitzgerald and Lee custom
streamliner runabout cuts through the water. Benjamin Horne
is at the wheel, his brother Jerry Horne beside him, spotting
ahead of them through infra-red, night-vision binoculars.
THEIR POV - BINOCULAR EFFECT
Bright lights on a long peninsula, their destination.
EXT. DOCK - NIGHT
The boat glides up slowly to the dock. Jerry tosses a line
to a gorgeous young female deckhand, SWABBIE, dressed in a
skimpy, stylized, sailor's uniform. Swabbie ties off the
boat as a SECURITY GUARD, also dressed in a nautically themed
uniform, stands by, watching.
Permission to come ashore?
Jerry gives Swabbie a kiss. Benjamin follows Jerry out of
the boat onto the dock.
Good evening, Mr. Horne.
Benjamin tips her a ten-spot and rubs her elbow.
Thank you, Mr. Horne.
Ben and Jerry start up a flight of stairs to the brightly
lit structure above. Swabbie picks up a phone on a piling
and pushes a button.
Horne brothers, comin' up.
EXT. ONE-EYED JACKS - NIGHT
A large sign of a playing card, a one-eyed jack, with neon
flashing "J's" and one pulsating eye, is suspended over two
identical doors. On one of the doors is a small neon sign
that reads, "CASINO." Ben and Jerry come up to the doors and
Now, are we gonna go into the casino
I'm not here to lose my shirt, I
just want to take it off.
Jerry rings a bell on the door without the sign. An electronic
buzz, a latch gives, and the door swings open.
INT. ONE-EYED JACKS "LET'S GET ACQUAINTED" ROOM - NIGHT
Ben and Jerry enter a plush, cozy warmly lit room, easy
chairs, fluffy sofas and a small bar with a brass rail. Jerry
orders drinks from a scantily clad female BARTENDER.
Sweetheart, I'd like to order two
drinks, one double scotch on the
rocks and my brother will have a
double scotch on the rocks.
That's two double scotch on the rocks?
Next stop, rocket science.
Several of the establishment's sensational and extraordinary
WORKING GIRLS, known collectively as "The 52 Pick-Ups," enter
the room. They sit and luxuriously arrange themselves. Ben
and Jerry take note as they pick up their drinks. In sweeps
BLACKIE "THE BLACK ROSE" O'REILLY, the Madam of the House,
an intelligent, strikingly attractive woman in her mid-
(he kisses her hand)
"Shall I compare thee to a summer's
day? Thou art more lovely and more
temperate: Rough winds do not shake
the darling buds of May, And summer's
lease hath all too short a date:
Sometimes too hot the eye of heaven
shines, And often is his gold
complexion dimm'd; And every fair
from fair sometimes declines, By
chance or nature's changing course
untrimm'd; But thy eternal summer
shall not fade, Nor lose possession
of that fair thou ow'st, Nor shall
death brag thou wander'st in his
shade, When in eternal lines to time
thou grow'st; So long as man can
breathe, or eyes can see, So long
live this, and this gives life to
During above we register Blackie's reaction, detached
amusement, and Jerry's reaction, bored indifference. Several
more Pick-Ups wander in and we pay attention to their
reactions and those of the others already in the room, who
see Benjamin an ideal of worldly sophistication and power.
Benjamin finishes and kisses Blackie's hand again. Jerry
comes up to her and says quietly.
Which one's the new girl?
When you really want love... you
will find it waiting for you.
A curtain opens, revealing a gorgeous young WOMAN with the
face of an angel. Ben and Jerry look at each other, then
instantly back to the Woman. Jerry takes a coin out of his
pocket, flips it, and covers his wrist.
Jerry and Ben look down at the coin: heads. Ben smiles, pats
his brother on the back, and starts towards the Woman. Jerry
slaps the coin down on the bar.
A TAPE RECORDER
A tape playing in the small recorder comes to an end and the
"play" button pops back out. We see that the tape is labeled,
"TO DR. JACOBY WITH LOVE, LAURA."
INT. DR. JACOBY'S OFFICE - NIGHT
Deeply saddened, Dr. Jacoby finishes listening to the tape,
removes the headphones, takes the tape out of the recorder.
He moves to the artificial palm tree near the wall and removes
one of the coconuts from a branch of the tree.
Jacoby snaps open the coconut, which is actually a stash box
disguised as a coconut, slips the tape inside, snaps it shut,
and attaches it back to the tree.
EXT. HAYWARD HOUSE - NIGHT
INT. HAYWARD HOUSE LIVING ROOM - NIGHT
Dr. and Mrs. Hayward are clearing away pie plates from the
coffee table in front of a fire burning in the fireplace.
Donna and James are sitting on opposite ends of the sofa.
That was great huckleberry pie, Mrs.
You only had three pieces, James,
are you sure you wouldn't like
No thank you, ma'am.
How 'bout some more coffee?
No thank you, sir.
(a semi-subtle signal)
Mrs. Hayward and I are going to say
goodnight to you now, James.
Good night, James.
Just leave the dishes, Mom, I'll
Thank you, dear, good night.
Mrs. Hayward steers herself into the kitchen.
Will you be joining us for church
Nine o'clock sharp.
He winks and exits. Donna and James are alone. From another
room we hear the sound of an engine start up and whine. James
looks at Donna.
James nods. A slightly awkward but not uncomfortable silence.
He tentatively reaches over for her hand, she takes it. They
hold hands and look at each other. He slowly pulls her towards
him into a sweet, tender kiss. They look at each other. She
smiles. They kiss again, very passionately.
I can't stop thinking about you...
(touches her cheek)
I've thought about you all day...
I keep thinking of Laura, too.
What are we gonna do?
Donna, I don't feel that what we're
doing is wrong, or what we're feeling--
Because it's the truth. Because I
think it would have turned out this
way sooner or later anyway--
I don't know--you do?
Yes. I remember a time in school,
remember, in the hall, we were
suddenly alone and we looked at each
I almost told you I loved you then.
It's true, isn't it?
I guess because of Laura, I couldn't
say anything, I couldn't even let
myself think about it--
(tender and trembling)
(moves closer to him)
...are we... going to be together?
He kisses her. She kisses him. They kiss.
EXT. GREAT NORTHERN HOTEL - NIGHT
INT. DALE COOPER'S ROOM - NIGHT
The door flies open. Long pause. DALE COOPER takes one step
into view, looks into the room, realizes it's safe, then
enters. He plays a little birdcall on his handcarved whittle
whistle. He sees the red message light blinking on his bedside
Cooper dials the operator.
Messages for 315, Special Agent Dale
...Deputy Tommy "The Hawk" Hill? Did
he leave a number?
(jots down the number)
Deputy Hill, this is Agent Cooper...
INT. CALHOUN HOSPITAL - NIGHT
TOMMY "THE HAWK" HILL is in the hospital corridor on a pay
Just thought I should let you know
everything's quiet here at the
How's Ronette Pulaski?
Body and spirit are still far apart.
What did you find out from her
Little. Ronette recently quit her
job at the perfume counter of Horne's
Is that Benjamin Horne?
Yes, sir, family business. Everything
else is good except that at ten
o'clock there was a one-armed man
snooping around intensive care.
As they speak, Cooper looks over and sees a note being slipped
under his hotel room door.
Did you question him?
Negative. I pursued, but he got away.
Alright. Maintain a watch on Ronette
around the clock and we'll talk
STAY with Cooper as he hangs up, rises, and moves to the
note. He picks it up, opens it and reads...
"HAVE YOU LOOKED INTO ONE-EYED JACKS?"
Cooper sniffs the note and smiles.
EXT. BLUE PINE LODGE - NIGHT
INT. MARTELL BEDROOM - NIGHT
PETE MARTELL and his wife CATHERINE are uneasily coexisting
in a heavy silence. Pete sits on the edge of the bed, rubbing
some mink oil into his boots. Catherine folds some laundry
and puts it away in a chest of drawers. She sniffs.
Everything smells like fish around
Then why don't you wash your socks
Why don't you drive your truck into
I got an idea: tomorrow's Sunday,
let's stay up late tonight and bicker.
Catherine takes some laundry into a large walk-in closet and
puts the clothes away. Pete quietly rises, silently picks up
a small vase from the dresser, dumps the contents into his
hand and takes out a small key with a tag.
(from the closet)
What was that FBI man doing up here
Nice fella. Asked a few questions.
He talked to Josie mostly. I had a
problem with a fish took a likin' to
What did he talk to Josie about?
Why don't you ask her?
Pete sits down with the key in his pocket as Catherine re-
Did they talk about my brother at
How many brothers do I have?
I heard them mention him. The
What about the accident?
You know, the usual, how no one found
his body. Mostly they talked about
Laura. How she was up here the
afternoon of the day she died.
Didn't he want to talk to us?
I talked to him. Real nice fella.
Did he express any interest in talking
Yeah, but we told him you were on
your world tour, he should contact
your press agent.
Take your boots off my bed and go to
Didn't want to get mink oil on my
Pete rises and exits, whistling.
INT. BLUE PINE LODGE CORRIDOR/JOSIE'S ROOM - NIGHT
Pete wanders down the hall, taps on a door. JOSIE PACKARD
opens the door. Pete holds up the small key.
Don't use it til tomorrow. I'll get
her out of the house.
She takes the key and goes back inside. Pete moves on,
whistling. In her room, Josie opens a small rectangular
lacquer box. She presses the key into the hard clay inside
the box, making an impression of the key. She then removes
the key and closes the box.
EXT. PALMER HOUSE - NIGHT
INT. PALMER HOUSE LIVING ROOM - NIGHT
Feet pace restlessly back and forth across the carpet. LELAND
PALMER moves to the record player. A record drops on the
turntable. Big band music. Leland listens, sways, tries to
get the feel of the music. Decides it isn't right, not up
Leland lifts the stylus and drops the needle on another part
of the record, searching frantically for a particular song,
which he finally locates.
Big band again, but fast, loud and brassy. He listens again.
This time it's the right stuff; tears spring into his eyes.
He looks across at Laura's picture on the table. He starts
to dance, in torment of anger, sadness and nostalgic despair,
jitterbugging back and forth in front of the picture.
He makes a loud moaning, wailing sound.
INT. PALMER HOUSE CORRIDOR - NIGHT
Startled by the sound and the music from downstairs, SARAH
PALMER peeks her head around the corner of the corridor at
the top of the stairs.
She starts quickly down the stairs and moves towards the
As the living room comes into view and she sees her husband
INT. PALMER LIVING ROOM - NIGHT
Sarah enters the room where Leland is dancing and wailing.
He looks at her, goes right over her and grabs her.
Sarah, we have to dance...
He tries to move her, trying desperately to dance with her.
Leland, stop, stop it--
Sarah, we have to dance--we have to
We have to dance--for Laura!
She starts screaming, he starts moaning and moving her around
in front of the fireplace. We MOVE in on the fire.
END ACT ONE
EXT. TWIN PEAKS SHERIFF STATION - DAY
EXT. REAR OF SHERIFF STATION - DAY
A large blackboard is set up behind the station. Special
Agent Dale Cooper is writing a list on the blackboard with
chalk, consulting his electronic notebook. A small table is
set up near the blackboard, covered with the fruits of Lucy's
morning doughnut run. Four folding chairs are set up near
Sheriff HARRY S. TRUMAN is using a tape measure to calculate
the distance from a line drawn on the ground in front of the
blackboard to a large nearby rock.
LUCY MORAN is holding the end of the tape measure on the
line, eating a donut. Deputy Hawk is placing an empty pop
bottle on a marked flat spot on top of the rock. Deputy ANDY
BRENNAN is gathering small, round rocks into a galvanized
metal bucket. They all carry mugs of coffee that read, "Twin
Peaks Sheriff's Department."
(thinks of something,
flips on recorder)
Diane, 8:17, quick note: definition
of a Chinese word, "Koro," that's
the name of Mrs. Josie Packard's
dog, mixed breed. I believe the word
is Mandarin, I'm sure I know what it
means but I can't lay my hands on
Truman reaches the spot on the rock with the tape and calls
Exactly sixty feet, six inches.
Cooper bites into a doughnut. At the rock, Hawk whispers to
What do you think he's up to?
Sixty feet, six inches; that's the
distance from home plate to the
Kinda interesting, huh?
Truman starts back, re-spooling the tape measure. Andy shows
Cooper the bucket of rocks.
Where would you like these rocks?
Set 'em down by the donuts, Deputy.
Andy does. Lucy picks up a coffee pot.
Would anyone like a warm-up?
Yes, please... thanks... you bet...
Damn good coffee.
(sips, burns his tongue)
...and hot. Would everyone please
take a seat?
Truman, Hawk, Andy and Lucy sit on the four folding chairs.
Cooper takes a telescoping pointer out of his coat pocket
and expands it full length.
By way of explaining what we've been
doing and are about to do, I'm going
to first talk to you a little bit
about the country called Tibet.
Cooper flips the two-sided blackboard over, revealing a
detailed map of Tibet and surrounding countries tacked to
Tibet is bordered on the southeast
by Burma, on the south by India and
Nepal, on the west by India and
Kashmir and on the north and east by
China. It is almost completely
surrounded by mountain ranges. An
extremely spiritual country,
practicing a form of Buddhism known
as Tibetan Buddhism, for many
centuries the leader of Tibet has
been known as the Dalai Lama; upon
the death of each Dalai Lama, his
spirit is believed to pass into the
body of a newborn infant. An exacting
series of test are performed to
discover this boy's identity, who is
then rigorously trained to fulfill
his great responsibilities.
The Sheriff's Department is intrigued, but completely
In 1950, Communist China invaded
Tibet and while leaving the Dalai
Lama nominally in charge, they in
fact seized control of the entire
country. Following a Tibetan uprising
against the Chinese in 1959, the
Dalai Lama was forced to flee for
his life to India, and has lived in
exile ever since.
Cooper collapses his expanding pointer.
Following a dream I had three years
ago, I have become deeply moved by
the plight of the Tibetan people,
and have been filled with a desire
to help them.
Cooper flips the blackboard back over. The Sheriff's
Department members look at each other just a tad uneasily.
I also awoke from this dream realizing
that I had subconsciously gained
knowledge of a certain deductive
technique, involving mind-body
coordination operating hand-in-hand
with the deepest levels of intuition.
Sheriff, Deputy Hawk, if I could
have your assistance I will be happy
to demonstrate this technique...
Truman and Hawk look at the other, look at each other, and
stand. Cooper expands his pointer again.
You'll recall that on the day of her
death, Laura Palmer wrote in her
diary the following entry...
Points to where this line is written along the top left side
of the blackboard...
"Nervous about meeting "J." tonight."
Remember also that under the nail on
the ring finger of Laura's left hand
we discovered the letter...
Points to where this is written on the top right side of the
"R." In addition, under the nail on
the ring finger of the left hand of
Theresa Banks, the girl who was
murdered last year, we discovered
the letter "T."
He writes the letter "T" next to the "R."
Today, however, we are going to
concentrate on the "J's." Harry, if
you would, when I give the word,
would you please read aloud each of
the names we've written on the
blackboard, all of whom had a direct
connection with Laura Palmer.
Deputy Hawk, if you would hold this
bucket of rocks up near me where I
can get at them... and would you
please wear kitchen mittens.
(looks at Truman, who
Hawk puts on a pair of kitchen mittens and picks up the bucket
Deputy Andy, would you please move
down near the bottle and stand by--
Andy rises and runs towards the distant rock, only too happy
Not too near!
Lucy, would you please take the chalk?
(rises, takes the
chalk from Cooper)
I'm getting excited.
And if I hit the bottle after Sheriff
Truman calls out a particular name,
make a check on the board to the
right of that name--Sheriff, I almost
forgot, when you say the name, also
briefly describe, if known, the
person's relationship to Laura Palmer--
All set... yes... yep...
Cooper nods to Hawk, who holds up the bucket, then nods to
(searches for a
Cooper picks out a rock and holds it. He closes his eyes.
Cooper opens his eyes, winds up, and hurls the rock towards
the bottle. It strikes the larger rock well below the bottle.
Cooper nods at Truman.
Josie Packard... was instructed in
English by Laura.
Cooper picks up a rock, closes his eyes.
Cooper opens his eyes and lets it fly. It sails way above
the bottle, hits a tree and startles a bird that takes flight.
So there's no check next to either
That's correct--next name, Sheriff.
Dr. Lawrence Jacoby... Laura's
Cooper repeats the rock routine.
Dr. Lawrence Jacoby.
Cooper throws again and hits the bottle. It falls off the
rock but doesn't break.
You did it, you hit it.
Lucy writes a check next to Jacoby's name.
Lucy, make a note that the bottle
was struck but did not break--very
important--Andy, put the bottle back
in exactly the same spot.
Lucy and Andy follow directions. Cooper nods to Truman.
Johnny Horne... Laura was his special
He throws and clanks a fifty-gallon trash can, under a Douglas
Norma Jennings... owns diner, helped
Laura organize the Meals on Wheels
He throws and misses.
Shelly Johnson... waitress at diner,
Cooper throws it again; it ricochets off the large rock,
shoots up and wings Andy in the loaf.
Andy, I'm sorry --
It didn't hurt, honest, it didn't
hurt a bit.
Where there's no sense, there's no
They all laugh, including Andy.
Sheriff, please continue.
Joey Paulson... friend of James,
drove Donna to meet him.
Cooper opens his eyes, takes aim, throws, and misses. Lucy
takes a loud sip of coffee. Cooper nods to Truman again, who
is slightly confused by the next name on the blackboard.
(doesn't know who
Jack with One Eye...
Jack with One Eye...
There's no "i" in Jack.
I think perhaps it means he only has
(covers an eye)
Sounds like Nadine, Big Ed Hurley's
No, there's a casino up north called
It's across the border on the Canadian
Sheriff, we're gonna have to check
that place out.
Agent Cooper, I'm going to erase
this because it's a place, not a
Fine. Next name.
It's the last one, Leo Johnson...
husband of Shelly, drives a truck,
connection to Laura... unknown.
He throws the rock, hits the bottle and breaks it.
INT. DOUBLE R DINER - DAY
NORMA JENNINGS is on the phone back in the kitchen.
Shelly? It's Norma.
(trying to sound normal)
Oh hi, Norma, I was just about to
call you --
Are you alright?
I'm fine, I'm fine, actually, I'm
not feeling to good, think I got a
touch of the flu--
Shelly, didn't you have the flu last
Norma, I'm okay... I just... can't
come in today.
I'm worried about you.
Thank you, Norma, I'll be fine, I
just need to rest.
You want me to bring you anything?
No, no, I've got everything here I
need, but thanks anyway, I hope you'll
be okay down there. Heidi should be
able to work my shift, she shouldn't
mind too much, I know she needs the
Shelly, don't worry about it, you
work on getting better--
Norma, I know you always feel like
you have to drop by, but don't drop
by, I'm okay...
(she starts to get
tearful, hides it)
I'll see you later.
Shelly hangs up. Norma hangs up slowly and takes a sip from
a cup of coffee, thinking about Shelly. She turns to a small
television set on the counter behind her and turns up the
We MOVE in on the television screen in time to see...
CLOSE on the set, as lush MUSIC swells over a robin's egg
blue background and we hear...
Each day brings a new beginning...
A beautiful, glowing white envelope is set down on the
background and a silk ribbon is effortlessly untied... a
folded white note is taken from the envelope...
...and every holds the promise of
Violins soar as the note is opened and a scarlet red flowing
script writes out the program's title on the virgin white
...INVITATION TO LOVE...
As she pours herself a piping hot refill, her eyes glued to
An establishing shot on the soap opera, a sign strung between
two towering Ponderosa pines that reads:
CAMERA pans down to a smaller sign that reads:
In her living room, sitting uncomfortably on the edge of a
chair, sipping coffee, watching her television set...
Under the "SOUTH GATE" signs, heavy iron gates swing open
INT. "INVITATION TO LOVE" SET #1 - "NIGHT"
A fake-classy elegant generic living room-dining room. A
beautiful, naughty looking redhead, EMERALD, bursts into the
room, steaming. She paces, picks up a silver cigarette box,
takes out a smoke, taps it angrily on the box and fires it
up with a two pound acrylic-glass-sculpture lighter. She
exhales an exasperated burst of smoke.
A nice-good-looking-but-ineffectual young man, CHET, follows
her into the room, carrying a highball.
Emerald, please, listen to reason--
Reason? Reason? There's no reason--
Jared's your father--
And Melanie's my sister!
And she's my wife!
Your father loves you, poor Jared,
he's been out of the hospital less
than a week--
Ha! He wasn't even sick.
Yes, but those pains were real. You
shouldn't have spoken that way to
Melanie, she was with him at the
hospital night and day, she was
exhausted when you spoke, she didn't
mean to hurt you--
Sipping her coffee, watching the show hypnotically.
As the show continues...
We'll see who's hurt... Chet, you're
(she puts out her
cigarette in his
And Melanie's a fool. And Jared's
the biggest fool of all.
So what does that make me?
They both look towards a pair of open French doors leading
out to a patio... standing there is MONTANA, a big insolent
tough guy in t-shirt and leather jacket, a cigarette hanging
off his lip.
(pause; a sly smile)
...I knew you'd be back.
MUSIC swells. Chet sweats. Montana scowls. Emerald sneers.
The set fades to black.
INT. ED HURLEY'S HOUSE - DAY
NADINE HURLEY watches, engrossed by the show on her
(from the TV set)
...INVITATION TO LOVE... will
Commercial music in; Nadine, in workout gear, resumes
vigorously rowing on her rowing machine. Wearing an extremely
greasy gas station work shirt, his hands covered with
industrial strength grime, BIG ED HURLEY enters the front
door behind her, stops when he sees Nadine rowing away.
Ed tries to tiptoe around behind Nadine so she doesn't see
him and in doing so steps on a drape runner and a bag of
cotton balls laid out on the floor. He bends the drape runner.
Nadine stops rowing.
Sorry, honey, I didn't see it there--
What are you doing?
I popped a grease cartridge, needed
to change my shirt--
You stepped on my drape runner--
Nadine, honey, it's right out here
in the middle of the floor--
You think that's an accident? I laid
it out there myself, I was up all
night working on that invention--I'm
going to have the world's first 100%
I'm really sorry, Nadine--
And why aren't you cleaning up at
the Gas Farm?
Ran out of cleaner, honey, Spanky
knocked it over chasing a hubcap--
Ed, you make me sick!
Ed nods and moves into the other room. Pumped up with rage,
Nadine re-grips the metal oars and pulls back on them; we
hear the screech of rending steel as the oars bend back like
The soap continues; JARED, a distinguished looking character
of sixty, in smoking jacket and ascot, sits at a desk, tears
streaming down his face. He reaches out a shaking hand for...
INT. JOHNSON HOUSE - DAY
Shelly continues to watch the soap...
...Jared's hand reaches toward a pistol, hovering above it.
Music. Fade out.
A sudden, loud knock on the door startles her. She switches
off the set and moves to the door.
Who is it?
Hey, baby, it's the big bad bobcat--
Are you crazy? What are you doing
I just passed Leo, starting to diesel
up in North Bend, the coast's clear,
we got at least twenty minutes, let
Where's your car?
Parked in the woods, somebody might
see me out here and that'd be worse.
She decides to partially open the door and speak to him,
keeping the bruised side of her face hidden.
Bobby, you can't come here like this,
we can't see each other for a while--
He tries to kiss her, putting his arms around her, she
stiffens up in pain and he sees the bruises on her face.
What the hell happened to you?
Leo Johnson happened to me.
I'm telling you, he's crazy, if he
finds out about us he'll kill you,
he'll kill us both--
If he ever does this to you again,
I'll kill him.
(she gets a twinkle
in her eye)
I mean it.
They kiss tenderly.
Bobby, you gotta go.
You call me soon as you can.
Alright, I'll try.
Save it for me, baby.
Bobby moves off. Shelly closes the door.
INT. BLUE PINE LODGE - DAY
Josie Packard looks out a window and sees...
EXT. BLUE PINE LODGE - DAY
Pete and Catherine get into Pete's car and drive off.
INT. BLUE PINE LODGE - DAY
Josie moves away from the door, exits into a corridor...
INT. BLUE PINE LODGE CORRIDOR - DAY
Josie moves down the corridor and enters another door...
INT. BLUE PINE LODGE OFFICE - DAY
Catherine's office. Leaving the door open, Josie moves behind
the desk. She searches for and finds a catch that releases a
...a false shelf of books hinge out from the wall, revealing
an old fashioned wall safe. Josie takes out the key that
Pete gave her and inserts it into the keyhole of the safe.
She manipulates the handle and opens the safe door.
Josie reaches into the safe and lifts out two sets of two
ledger books labeled: PACKARD SAWMILL, RECEIPTS; one set
labeled "1989" and the other "1990."
Josie hears a car drive up and brakes squeal outside.
I told you to put it in the car--
Josie quickly puts the books back in the safe, closes the
safe, replaces the false bookshelf, and scurries out of the
INT. BLUE PINE LODGE CORRIDOR/OFFICE - DAY
Just as Josie enters the corridor, Catherine comes up the
stairs to the corridor. Josie hurries back into the office
and hides in the closet.
(to herself as she
enters the office)
I told that knothead twice to put it
in the car.
Catherine moves to the desk, looking for something, which
she finds. Josie watches from the closet as Catherine
remembers something, picks up a phone, punches in a number
on the auto-dialer and waits.
Ben, Catherine... where the hell
were you last night? I thought we
had a date... family crisis? You
want to see a family crisis, try
standing me up twice in a row, Mr.
She hangs up and exits. In the closet, waiting, Josie ponders
END ACT TWO
EXT. CHURCH - DAY
A church bell rings. Citizens are leaving church.
EXT. CHURCH - CLOSER - DAY
Doc Hayward pushes Mrs. Hayward in her wheelchair towards
the handicapped access ramp. Donna exits the church behind
them and sees Audrey Horne is standing outside, leaning
against a railing.
Something in Audrey's look says she wants to talk to Donna.
I'll be right there, Dad.
We're going over to get a Softie
Freeze, you'll be joining us, won't
Dad, when I have ever missed a Softie
Maybe Audrey would like to join us?
Do you all go for a Softie Freeze
Every Sunday after church since Donna
was a little girl.
We enjoy is so much. Hope you can
Mrs. Hayward drives down the ramp.
Nice to see you in church, Audrey.
Dr. Hayward follows his wife off.
I wanted to come down cause of Laura.
What do you mean? I didn't think you
even liked her.
There were things about her I didn't
like, but she helped take care of my
brother. And I guess I sort of loved
her for that. That's why I'm here.
That's really nice of you.
I knew how close you were to her. I
wanted to tell you how sorry I am.
Audrey nods, shyly, ready to move off.
You take care.
Donna starts to watch her go.
Why don't you come with us for a
I don't know...
Sure, come on, they're really good.
And if we're really lucky, maybe my
dad will tell his story about the
night the porcupine got into the
Oh, I'd like to hear about that.
They walk off together towards the parking lot.
EXT. SHERIFF'S STATION - DAY
INT. SHERIFF'S STATION RECEPTION AREA - DAY
Three men in black suits, hats and sunglasses enter the
building, each carrying a stainless steel suitcase. The point
man is ALBERT ROSENFIELD, a brilliant, mannerless FBI
forensics expert, the others are his ASSISTANTS. Lucy looks
up from behind the reception window.
Tell Agent Cooper that Albert and
his team are here.
Are we going to have to stand here
Albert. Albert Rosenfield. Ro-sen-
(punches into the
Sheriff, this is Lucy, is Agent Cooper
(over the speaker)
(over the speaker)
Is Albert here, Lucy?
Yes, he is.
We're on our way.
Agent Cooper will be right with you.
(takes out a cigarette)
I can hear perfectly well.
One of his Associates lights his cigarette. None of them see
Lucy stick out her tongue at Albert.
INT. SHERIFF STATION CORRIDOR - DAY
As Cooper and Truman move towards the reception area.
Harry, just so you know, Albert and
his team are the cream of the crop--
If they're working for you, I wouldn't
expect anything less.
Albert's a forensics genius, but I
should warn you he's lacking in some
of the social niceties.
Isn't that the truth?
They turn a corner and come upon Albert and his team.
What the hell kind of a two-bit
operation are they running out of
this tree house, Agent Cooper?
Albert, this is Sheriff Truman.
I have seen some slipshod backwater
burgs in my time, but this place
takes the cake.
Truman gives an astonished look at Cooper, who gestures "see
what I mean?"
What are you waiting for, paint to
dry? We've got work to do, damn it,
they're putting the girl in the ground
tomorrow, half the day's wasted
traveling out here to the middle of
(keeps his cool; knows
Albert, I suggest you and the fellas
go to work.
I'll have one of my men escort you
to the morgue and we'll take one of
your men up to the crime site.
(hands him a file)
Results from the pathologist's
(scans it scornfully)
Welcome to Amateur Hour.
(to his men)
Looks like an all-nighter.
They pick up their suitcases. Truman holds the door open for
(as Albert passes)
I hear you're good at what you do.
That's good, because normally if a
stranger came into my station talking
this kind of crap, he'd walk out
wearing his teeth for a charm
Albert and Truman look eye-to-eye. Albert blinks first, puts
on his shades, and heads out. His men follow. Truman looks
at Cooper, who winks at him.
EXT. DOUBLE R DINER - EVENING
INT. DINER - EVENING
Norma's brewing a new pot of coffee, when Ed Hurley walks in
and takes a seat at the counter. With a fair number of other
customers scattered about, Ed and Norma interact discreetly
as she pours him a cup of coffee.
I could use it.
They don't get any easier. How 'bout
Had a girl sick today. Double shift.
Been on my feet since breakfast.
So much for a day off.
Got an appointment with Hank's parole
officer in the morning.
What's that all about?
Don't know. Guess I'll find out.
When Hank's hearing?
They not to show their fear to each other. A CUSTOMER sits
down at the counter next to Ed. Norma hands him a menu and
moves away. Ed rises, put a buck on the counter, gives a
Norma a thumbs up as he heads out.
INT. ED HURLEY'S HOUSE - NIGHT
Ed enters, quietly, moves into the living room. He stops
when he hears moans and cries of exertion coming from another
room; it sounds like someone's making love.
Ed moves to the doorway, slowly opens the door...
...and discovers the cries are Nadine's, who's doing bench
presses on a weight bench with what looks like an enormous
amount of weight.
Ed moves away from the door.
Ed? That you?
We hear the sound of the huge weight clang to the floor and
Nadine hurries into the room, flushed with excitement.
Ed... Ed, I'm so happy, sweetheart,
I have to thank you.
She embraces him, hugs him alarmingly hard.
She looks up at him, her eyes wide and bright.
You don't know what you've done for
No, I don't.
Ed, you big lug... when you tracked
all that grease in the house today,
you spilled some onto my cotton balls,
but instead of tossin' 'em out I put
the greased ones on my runners--Ed,
just listen to this...
She opens and closes the curtains: completely silent runners.
How 'bout that?
(tears of joy in her
Ed... we're going to be so rich.
She embraces him again. Ed pats her back, tries to manufacture
EXT. GREAT NORTHERN HOTEL - NIGHT
Re-establish. The Sheriff's cruiser pulls up.
COOPER AND TRUMAN
As they sit in the cruiser, parting for the night, Cooper
consulting his notes, Truman making some of his own.
Tomorrow we interrogate the trucker
Leo Johnson and Dr. Lawrence Jacoby...
We'll see what Albert and his team
have after examining Laura and the
abandoned train car.
Right. No change on the girl at the
Still in a coma--
Is it always this temperature at
This time of year.
This is so pleasant. And the
humidity's so low. In Philadelphia
sometimes you get a heaviness in the
air like wet flannel pajamas.
Why do you think they call it the
Harry, you're preaching to the
They shake hands.
You know where to find me.
Yes, I do.
Cooper gets out of the car.
INT. GREAT NORTHERN HOTEL BAR - NIGHT
Ben and Jerry Horne stand at the bar, nursing tall beers,
throwing cashews into the air and catching them in their
mouths. Passing by the door, Cooper sees them and enters the
Both Ben and Jerry turn towards him.
Agent Cooper, I presume.
(they shake hands)
This is my brother Jerry.
Happy to make your acquaintance.
I must say, this is one handsome and
comfortable hotel you have here,
Thank you. We aim to please.
Do you get a lot of the vacation
dollar up this way?
Yes we do, but of course never as
much as one would like.
Nothing a large resort wouldn't fix.
A large resort. Is that Jerry with a
Yes it is.
I believe I've met your daughter,
Mr. Horne. What a charming and
("are we talking about
the same person?")
You must be very proud. Well, I'll
say goodnight. Nice to have met you
I will. The bed is almost exactly to
the right degree of firmness.
He's gone. The brothers look at each other: "what is with
EXT. WOODS/INT. CAR - NIGHT
Bobby Briggs and MIKE NELSON pull up in Bobby's car next to
a stand of trees. Bobby kills the engine but the headlights
remain on. They look out at the woods.
I don't see him.
He'll be here. Come on, back me up.
Bobby pops the glove compartment. Mike takes a switchblade
out, pockets it. Bobby grabs a flashlight. They step out of
EXT. WOODS - NIGHT
Bobby and Mike walk slowly forward, Mike lagging a step or
two behind. They reach a particular tree with a large hollow
knot. Bobby reaches into the knot and pulls out a football.
Is it there? It is in there?
Bobby kneels down and reaches into a slit cut across the top
of the hollow football. He pulls out a small packet of white
Not all of it.
Cash on delivery, Bobby.
They look up. LEO JOHNSON is standing between them and the
car, backlit by headlights, holding a shotgun.
Toss it over here, quarterback.
He tosses the football to Leo.
Is that right? Weren't you supposed
to leave something in there for me?
That's what we wanted to talk to you
Half down, half on delivery. That's
You haven't delivered. We already
gave you half.
(holds up the drugs)
This is less than you owe us for
that--where's the rest?
Where's the rest of the money?
There's a problem.
Laura had the other half in a safe
You think you got problems?
We can get it, Leo, soon as things
You owe me ten grand.
Okay. So we won't take delivery until
we get it for you--
Look at me--I look like a bank to
Man, I can appreciate your concern,
but this thing with Laura, how'm I
supposed to anticipate a thing like
Laura was a wild girl.
Tell me about it.
Leo's right next to Bobby, Mike behind him. Bobby and Mike
look at each other. Mike reaches into his pocket. Without
taking his eyes off Bobby, Leo slowly swivels the shotgun
around and trains it on Mike.
Take your hand out of your pocket,
Mike and Bobby look at each other. Bobby nods. Mike takes
his hand out.
What's your problem, Leo?
Problem? You want to know about
You go out on the road. You're
drivin'. Back and forth. Gone for
days. You get home and guess what?
You find out your old lady's been
givin' it away.
Yeah. Steppin' out. In your own...
Leo's eyes dart back and forth. Amphetamines. Bobby and Mike
look at each other.
That's... a problem.
He cocks the gun.
I guess so. I guess it is. You know
A man needs a clean house.
Sure... so do you know who?
I will take care of it.
Sure you will... and this other thing,
hell, we'll take care of that, too,
don't you worry about that. We'll
get that cash and we'll square
Go out for a pass.
Go out. Run. Run.
Bobby and Mike back away from him.
Leo, take it easy, okay?
Bobby and Mike turn and start jogging away from him, back
towards the car, picking up speed, glancing over their
As he reaches the clearing where the car is parked, we hear
a primal scream from the woods behind him.
They turn as the scream dies away and they reach their car.
Something comes soaring up out of the woods and arcs down
...the football thuds onto the hood of the car, scaring the
shit out of Mike and Bobby. They look at each other.
Let's get the hell out of here.
They jump into the car and speed off into the night.
END ACT THREE
EXT. GREAT NORTHERN HOTEL ROOM - NIGHT
Dale Cooper is undressing for bed. He sets his bedside travel
alarm clock, takes off his wristwatch and sets it down, picks
up his tape recorder.
Diane, 1:18 a.m. Long day, turning
in. Albert and his team should have
something for us by morning. Run a
check for me on a Jerry Horne, Twin
Peaks businessman, Jerry with a "j",
h-o-r-n-e. Nothing specific. Call it
an instinct. Check that; intuition.
An instinct is when you get hungry.
Let's also get background on a local
psychiatrist, Dr. Lawrence Jacoby,
and wants-and-warrants on a truck
driver, Leo Johnson, also local. The
air here is fresh and crisp as a
cracker; you don't sleep, you slumber.
Good night, Diane.
He turns off the recorder, sets it down. Picks up a roll of
dental floss and tears off a string.
EXT. PALMER HOUSE - NIGHT
INT. PALMER BEDROOM - NIGHT
Leland is on the phone, sitting on the edge of the bed. Sarah
sits listlessly in a chair.
(into the phone)
Yes... yes, Madelaine, dear, we'd
appreciate it a great deal... the
funeral's at two o'clock... alright,
we'll look for you around noon...
thank you, dear... drive safely.
Leland hangs up, turns to Sarah.
Leland moves over to her and kneels down beside her, as she
turns towards him. During the following, he takes a pill
from a bottle, hands it to her, along with a glass of water.
Sarah, that was cousin Madelaine...
(a little hazy)
That's right, niece Madelaine.
...is she here?
She's driving in, tomorrow. For the
Silence. Sarah takes the pill, drinks.
I'm going to go downstairs for a
A long pause before Sarah rises and slowly moves out of the
room. Leland fights back some tears. He takes a pill from
the bottle and swallows it.
INT. DALE COOPER'S HOTEL ROOM - NIGHT
Dale Cooper lies asleep in bed. We move in slowly on him...
INT. PALMER LIVING ROOM - NIGHT
NOTE: FROM THIS POINT TO THE LAST SCENE IS DALE COOPER'S
Sarah Palmer sits on a couch, eyes half-closed, fighting off
SARAH'S MEMORY - TIME DISTORTED
She moves up the stairs, the morning of the discovery of the
murder. She calls out Laura's name. She looks in her room.
She moves down the hall and calls again.
Sarah shifts uneasily on the couch...
INT. LAURA'S ROOM - SARAH'S POV - TIME DISTORTED
She enters Laura's room and looks one way, then another...
one way, then another...
Sarah opens her eyes in horror...
A FRIGHTENING MAN is crouched in the corner by the foot of
Laura's bed, clutching the brass rails. It's the same man
Sarah saw in her vision the previous day.
Sarah sits bolt upright and screams...
LELAND! I SAW HIM! OH! OH!
INT. LELAND PALMER'S BEDROOM - NIGHT
Leland Palmer frantically dials the phone...
INT. LUCY'S APARTMENT - NIGHT
Andy is playing "TAPS" on the trumpet. Lucy is sitting in a
chair hitting a ball attached by a string to a paddle. The
phone on the table beside her rings. She answers.
Hello, Lucy Moran's residence, this
Shh! Andy, shh! I'm trying to talk
on the telephone.
Andy stops playing.
Lucy, this is Leland Palmer, I'm
trying to get in touch with the
Sheriff, Sheriff Truman, he's not at
home, can you tell me where he is?
You know, Mr. Palmer, I don't.
(puts hand over the
phone, shushes Andy,
he stops playing)
Lucy, my wife has just remembered,
she believes she saw the killer,
this morning, in Laura's bedroom--
No--how is that possible?
I don't know, but she thinks with
someone's help, she could draw the
face that she remembers.
Actually, Tommy "The Hawk" Hill is
our police sketch artist, he's very
good, the pictures look just like
the people he's drawing--
Lucy, can you please get the Sheriff
and that Deputy over here right away?
Okay. You know, I've got an idea, as
soon as we hang up, I'm going to try
the Sheriff in his car, in his
cruiser, and tell him everything
you've told me--
Thank you, Lucy.
He hangs up, shaking his head. We stay with Lucy as she hangs
up and quickly punches in another number.
That was Mr. Palmer, he told me that
he thinks his wife remembers that
this morning, possibly when she was
in her daughter's room that she saw
(leaving Andy hanging)
INSERT INT. SHERIFF'S CRUISER - NIGHT
Truman answers the radio call.
Yeah Lucy, what is it?
INT. LUCY'S APARTMENT - NIGHT
Lucy is on the phone.
Isn't it funny, I had a feeling you'd
be in your cruiser--Sheriff, Mrs.
Palmer was in her daughter's room
this morning and she just remembered
that--are you sitting down, of course
you are, you're driving--she
remembered that she--saw--the--killer.
And they want you and Hawk to go
over to their house, she wants Hawk
to make a sketch--
I'll be right there--ten minutes.
INT. GREAT NORTHERN HOTEL ROOM - NIGHT
Agent Dale Cooper lies in bed, sleeping fitfully, troubled
by a dream.
INT. HOSPITAL CORRIDOR - NIGHT
In shadow, a pay phone in the hospital corridor. A FIGURE
that we can't see picks up and dials the phone.
Agent Dale Cooper, please... wake
INT. COOPER'S HOTEL ROOM - NIGHT
Woken from his troubled sleep, Cooper answers the phone.
(answers the bedside
Were you sleeping?
Yes, who is this?
It's a strange night. There's
something in the air, can you feel
You know about Theresa Banks, the
pretty girl they found last year?...
Yes, I know about Theresa...
I know the man who did her... I know
about the stitches, with the red
thread... and there's more that I
think you'd enjoy hearing... I'm at
the hospital now.
I'm on my way.
He hangs up the phone, starts to get out of bed, and the
phone rings again.
INT. LUCY'S APARTMENT - NIGHT
Lucy is on the phone, Andy is nearby, listening.
Hi, Agent Cooper, it's Lucy from
Are you still at work, Lucy?...
No, Andy and I are over at my place,
Andy was playing the trumpet and we
were getting ready for bed and do
you know what happened?
No, tell me --
(stay with Cooper; a
Oh, oh, oh, uh-huh, okay, okay, I
understand... Lucy, tell the Sheriff
to get that sketch and meet me at
the hospital--I've just received a
Back on Cooper as he hangs up, picks up his tape recorder
and speaks into it as he starts to dress.
Diane, woken from a sound sleep at
the Great Northern Hotel, room 315,
it's 2:24 am. Received two phone
calls, back to back; the first from
a man unknown to me who had certain
confidential information regarding
the Theresa Banks murder. I'm on my
way to meet him now. At the same
time, Mrs. Palmer apparently
remembered or had a vision of the
killer. The Sheriff is on his way to
her and will meet me afterwards.
Diane, when two separate events happen
simultaneously pertaining to the
same object of inquiry, we must always
pay strict attention.
INT. HOSPITAL - NIGHT
Andy stands in the doorway. The One-Armed Man stands in the
shadows of the room. Cooper and Truman, carrying two police
sketches, join Andy.
He's unarmed. He wants to see you
and he wants to see you in this
Truman and Cooper turn towards the man.
Don't turn on the overheads. The
fluorescents don't work. I think a
We know that.
Yes. Wasn't Laura Palmer here earlier?
"Through the darkness of futures
past, the magician longs to see. One
chance out between two worlds...
fire, walk with me"... We lived among
the people. I think you say,
convenience store. We lived above
it. I mean it like it is, like is
sounds... my name is Mike. His name
You were in an elevator here.
I was looking for Bob. He sometimes
works among the infirm, the injured
of the species. I was watching, Mr.
Cooper, for over a year. Waiting for
Bob to come out again. I've known of
your interests in the results of his
endeavors... I too have been touched
by the devilish one. Tattoo on the
left shoulder... oh, but when I saw
the face of God, I was changed. I
took the entire arm off.
Truman and Cooper look at each other.
We'd like to show you a police sketch
of Bob, for verification.
(Truman holds up a
No, no, that's not Bob.
(Truman holds up the
That is Bob.
That's the man Mrs. Palmer identified.
Where is Bob?
He's here. Right here. He's
downstairs, in the basement.
INT. HOSPITAL BASEMENT BOILER ROOM - NIGHT
Cooper and Truman enter the basement, guns drawn. KILLER
BOB, the frightening long-haired man, crouches over a circle
of candles on the far side of the room.
Bob's hand reaches in and sets down a half of a heart necklace
onto a pile of dirt in the center of the candles.
Truman and Cooper advance. Bob rises.
Hello. Welcome to the killer's lair.
Come down, I won't hurt you. Come
down... is Mike with you?
Oh, I so much wanted to sing with
him again. Mike? Mike, can you hear
me? "Heads up, tails up, running to
your scallywag Night falls, morning
calls, catch you with my Death Bag."
The letters? What were the letters
going to spell?
Robert. That's my proper name.
Theresa's was a "t."
Behind Cooper and Truman, unseen by them, Mike is coming up
behind them, a gun in his hand.
You may think I've gone insane. But
I promise, I will kill again!
Ahh! Like Hell!!!
Mike runs up and fires his gun twice. Bob goes down, mortally
wounded. Mike clutches a pole and twists to the ground, in
agonizing sympathetic pain.
Bob... Bob, it hurts something
terrible... wait... wait till your
turn, Bob... oh Bob... wait till
Mike dies. Truman takes his gun away. Cooper looks over at
Make a wish.
A breeze blows out the candles...
A title card reads: TWENTY-FIVE YEARS LATER
INT. RED-DRAPED ROOM - DAY
A large, windowless, well-lit, sparsely furnished, red-draped
room. A table and three easy chairs. Dale Cooper, twenty-
five years older, sits in one of the chairs. A LITTLE MAN,
three and a half feet tall, in a red suit, stands with his
back to Cooper, shaking violently. A BEAUTIFUL YOUNG WOMAN
who looks exactly like Laura Palmer sits across from Cooper
in another easy chair.
The Little Man stops shaking, turns to Cooper and claps his
The Little Man sits in a chair beside the beautiful woman.
The Little Man closes his eyes and rubs his hands slowly
The Little Man holds hands with the Woman, they look at each
other, then look at Cooper, smiling enigmatically. The Little
Man rubs his hands slowly again; the shadow of a bird passes
Both the Little Man and the Woman's speech is oddly stilted.
We see sub-titles under them, with the correct words.
Throughout, Cooper sits still, watches, and listens.
I've got good news! That gum you
like is going to come back in style.
She's my cousin, but doesn't she
look almost exactly like Laura Palmer?
But it is Laura Palmer. Are you Laura
I feel like I know her, but sometimes
my arms bend back.
She's filled with secrets. Where
we're from, the birds sing a pretty
song and there's always music in the
Strange saxophone music filters into the air. The Little Man
hops off the chair and begins to dance a strange dance around
the table. The Woman rises, goes over, and gently kisses
Cooper on the mouth. She softly whispers something in his
INT. COOPER'S HOTEL ROOM - NIGHT
Cooper shoots up out of his bed, waking from this strange
and disturbing dream. He fumbles for the phone and dials.
Harry, it's Cooper, meet me for
breakfast, seven o'clock, here at
the hotel. I know who killed Laura
He hangs up.
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