"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 1005

by

Mark Frost

FIRST DRAFT: September 26, 1989

Revisions: NOVEMBER 1, 1989 - BLUE
NOVEMBER 7, 1989 - PINK
NOVEMBER 8, 1989 - YELLOW



ACT ONE

FADE IN:

INT. GREAT NORTHERN DALE COOPER'S ROOM - NIGHT

Through the walls from adjacent rooms we hear whooping and
hollering, a blowing of horns and ratcheting noise makers.
It sounds like a rodeo in Times Square on New Year's Eve.
DALE COOPER sits up in bed, distraught, sleepless. From the
bedside table, he picks up his watch and tape recorder.

COOPER
Diane, it's 4:28 a.m., I've just
been woken up by the most god-awful
racket, which you can probably hear
over the sound of my voice...
(holds up the recorder
to capture the sound)
Can you hear that?
(holds it up again)
I've experienced nothing at the Great
Northern up until this moment but
the most pleasant, courteous service
imaginable, but this only goes to
prove the point that the minute a
traveler leaves home he loses almost
100% of his ability to control his
environment. Diane, I'm wondering if
you could overnight express to me
two pair of those Ear-Pillow Silicon
Ear Plugs I used the last time I had
to visit New York. Naturally I didn't
bring them with me on this trip
because I didn't think they'd be
necessary...

He holds the recorder up again.

CUT TO:

INT. GREAT NORTHERN DINING ROOM - DAY

Dale Cooper, dressed and slightly bleary-eyed, enters and
takes the corner table. Off screen, through a door to a
private dining room, we HEAR a rowdy group of about twelve
men and women singing a bawdy Icelandic drinking song. Harried
WAITRESSES come and go out of the room, bearing huge platters
of food. TRUDY approaches Cooper.

TRUDY
(reaching Cooper)
Coffee?

COOPER
Please.
(she pours)
What's with the choir practice?

TRUDY
Business junket. From Iceland. Got
in about three this morning.

COOPER
They're on my floor.

TRUDY
Lucky you.

COOPER
It'll take them a day or so to reset
their biological clocks.

WAITRESS
Hope the herring holds out.

He holds out his cup for a refill. She pours. The Icelanders
start another song

AUDREY HORNE enters, looking for Cooper, brightens, moves to
his table.

AUDREY
How are you?

COOPER
To be perfectly honest, Audrey, I'm
tired and a little on edge.

AUDREY
(sits, saddened)
Oh.
(hoping for approval)
I got a job.

COOPER
That's excellent--

AUDREY
And I thought maybe now I could help
you with your case, guess where I'm--

COOPER
(finishing, rising)
You'll have to excuse me, Audrey,
I'm running late this morning, I
only have time for coffee.

AUDREY
Maybe I could go with you.

COOPER
(leaving change, taking
receipt)
Thursdays were traditionally a school
day when I was your age.

AUDREY
I can't believe you were ever my
age.

COOPER
I've got the pictures to prove it.
See you later, Audrey.

AUDREY
See you later. Bye.

She wistfully watches him go. Digs her nails into her palms.
The Icelandic group finishes another song and roars with
laughter. JERRY HORNE enters from the private dining room,
carrying a small suitcase, laughing, along with the head
Icelander, EINER THORSON. Jerry claps Einer on the back,
they shake hands and embrace and say something in Icelandic.
Jerry turns back to the room and yells to the Icelanders
inside...

JERRY
My brother is going to love you guys!

Jerry exits the dining room.

CUT TO:

INT. GREAT NORTHERN HOTEL OFFICE - DAY

BEN HORNE is behind his desk when Jerry hurries in with his
bag.

JERRY
I bring you greetings from the
fertile, treeless tundra of Iceland!
Brother Ben, there aren't two twigs
to rub together on the whole island -
wait'll these guys get a load of the
woods!

BEN
By six this morning we had complaints
from nearly every guest in the hotel,
what are they on, nitrous oxide?

JERRY
I have had more serious fun in two
days with these nordic animals and
Ben, I'm in love, her name is Heba,
she's a giant snow queen with a smile
like sunrise on a ice floe, you could
go blind looking at this girl--look
at this.
(takes a large package
out of his bag)
You see what she gave me? An entire
leg lamb!
(unwraps it; huge and
slightly grotesque)
Is that beautiful? Chunk some garlic
in there, some crushed mint:
rotisserie heaven--come on, you got
to meet her--

BEN
Let 'em sack out for a few hours
first, now have they approved our
proposal?

TERRY
(refers to the
Ghostwood project
map)
Ben, hip pocket, glasnost on ice,
they are insane for Ghostwood Estates.
We're on the plane, they're begging
me, "Jerry, please, let us write the
check--you fill in the blanks."

BEN
Let's not be eager beavers until the
ink's dry. You grab some down time.
We've laid in a a gala reception for
your fair-haired boys tonight--all
of Twin Peaks best and brightest--

JERRY
'We holding it in a phone booth?

BEN
--and if we still need a kicker to
nail the sale I'm thinking maybe
they might enjoy a road trip up to
you-know-where.
(holds a hand over
one eye)

JERRY
Jacks!

LELAND'S VOICE
B-b-ben?

A haggard, unshaven LELAND PALMER is standing in the doorway.

BEN
Leland, what are you doing here?

LELAND
I know the new investment group is
arriving today... if there's anything
I can do...

BEN
Leland, the best thing you can do
right now is follow the doctor's
orders and go home, you need your
rest--

LELAND
I just feel... I just feel I need
something, I need something to... to
occupy my mind...
(close to tears)

JERRY
(gestures behind
Leland's back)
Check-out time.

BEN
Take some time off, for god's sake,
fly somewhere, take Sarah--

LELAND
(unraveling)
I'm afraid to go...

He crumbles into a chair. From the hallway, we hear the voices
of approaching ICELANDERS, singing another ribald song. Jerry
nimbly moves to the door and quietly shuts it. Ben tries to
hush Leland's sobs. The singers continue singing, directly
outside the door now. Then they move on... Ben and Jerry
breathe a sigh of relief. Ben points at Leland, then sticks
up his thumb, "get this guy out of here."

CUT TO:

EXT. APARTMENT BUILDING - DAY

Re-establish. Police cars parked outside.

CUT TO:

INT. JACQUES RENAULT'S APARTMENT - DAY

Cooper enters the apartment and is met by SHERIFF HARRY
TRUMAN, who is supervising the investigation of the apartment.
TROOPERS and two FORENSIC COPS in plain clothes are working.
DOC HAYWARD is on the phone.

TRUMAN
Morning.

COOPER
What've we got, Harry?

TRUMAN
Jacques Renault's a Canadian national,
worked the local lumber fields until
he put on a little excess tonnage a
couple seasons ago. That's when he
started tending bar at the Roadhouse.

COOPER
Do you have any doughnuts here?

TRUMAN
Andy?

Gestures "doughnut", points to Cooper, to ANDY, who nods and
starts out.

COOPER
Better wash that down with a cup of
joe, I didn't sleep too well last
night.

TRUMAN
(gestures "coffee" to
Andy before he exits)
You're looking a little peaked.

COOPER
There's a large group of insane men
staying on my floor. Where is Jacques
Renault, Harry?

TRUMAN
No one's seen him for two days. We've
canvassed the building and the
Roadhouse, I sent Hawk to roust his
brother but it looks like Bernie
skipped bail; no sign.

Cooper looks up at a ceiling light fixture, as Doc Hayward
hangs up the phone and crosses to them.

HAYWARD
Morning, Agent Cooper.

COOPER
(still looking up)
Doc.

HAYWARD
The blood on that shirt you found
here is AB negative. It's not Laura's
blood.

COOPER
So that was Jacques Renault's blood
on Leo Johnson's shirt.

Truman and Doc look at each other. Doc goes back to the phone
and dials. Andy returns with Cooper's coffee and doughnut.
Cooper takes them, still looking up.

COOPER
Thank you, Andy.
(takes a bite and a
sip)
Could you hold these for a second?

He hands the coffee and doughnut back to Andy, looks up again.

COOPER
Where's Leo Johnson, Harry?

TRUMAN
The APB went out last night, nothing
yet.

COOPER
Give me a leg up here, would you
Harry?

Truman cradles his hands, Cooper takes out a pair of calipers,
steps into the cradle and Truman boosts his up and out of
frame. Doc Hayward hangs up the phone and returns.

HAYWARD
Jacques Renault's blood is AB
negative.

COOPER
(out of frame)
Thank you, Doc.

Cooper comes back down into frame, gingerly holding a dusty
copy of "FLESH WORLD" Magazine in the calipers. He sets it
down on a table, blows off some dust and turns pages with
the calipers.

TRUMAN
"Flesh World" again.

COOPER
Harry, remember this ad with the
picture of Ronette Pulaski?

He turns to the page in question. There's an opened envelope
between the pages, with a letter inside. Cooper carefully
removes the envelope.

TRUMAN
We traced that ad. Came into the
magazine in a plain envelope, no
name--

COOPER
Here's how it works. The magazine's
a clearing house. Readers write
letters in response to ads and send
them into the magazine, then the
magazine mails those letters on to
the advertiser. No direct contact.
(shows him the envelope)
Ronette received her letters at this
P.O. Box.

TRUMAN
That's a local zip code.

COOPER
My guess is this P.O. box will be
registered in the name of Jacques
Renault. Let's see who was writing
to Ronette. Post marked Georgia.

He takes out the letter. There are a couple of snapshots
inside as well. Cooper, Truman and Doc look at the snapshots.

HAYWARD
Good night.

TRUMAN
That guy's no Georgia peach.

COOPER
Somehow the beard ruins the effect
of the lingerie, don't you think?
(scans the letter)
Poor bastard.
(folds it up, goes
back to the magazine)
By the way, Harry, did you happen to
notice the picture of Leo Johnson
and his truck on this page?

Points to the picture of a silver truck cab which we saw
before.

CUT TO:

EXT. JOHNSON HOUSE - DAY

Leo's truck, the truck in the picture, is parked outside.

CUT TO:

INT. JOHNSON'S KITCHEN - DAY

SHELLY JOHNSON is serving a hot breakfast to BOBBY BRIGGS.
He's dressed, she's in a robe. She sets the plate down in
front of him. He eats ravenously.

BOBBY
I love when you cook for me.

SHELLY
Leo hates my cooking.

BOBBY
Leo has missed the boat with you,
baby. The biggest mistake of your
life was dropping out of the eleventh
grade and marrying that roadhog.

SHELLY
(amused and excited)
What would you do if he walked in
right now?

BOBBY
(a hot look)
Come here.
(pats his leg)
Come here.

She sits on his leg. He hugs her, kisses her neck, looks up,
mock surprise.

BOBBY
Hey, Leo, how's it going, man? What
a surprise!

With a big smile he draws Shelly's nickel-plated revolver
out of the pocket of her robe and points it at the imaginary
Leo.

BOBBY
Now, Leo, Shelly tells me you don't
like her cooking. Tell you what, she
and I, we're going to sit here while
you cook breakfast for us, you
scumbag, and if you so much as say
one harsh word to this beautiful
girl, I'm going to shoot your ugly
face off. Okay, Leo?

He smiles. Shelly laughs. They hear a car drive up outside.
Bobby looks out the window.

BOBBY
Sheriff's deputy. Shelly, you tell
him exactly what I told you to, just
like we talked about, okay?

SHELLY
Okay.

The doorbell rings. Bobby kisses her, she goes to the door.
Bobby takes the gun and conceals himself in a room off the
kitchen. We hear voices.

SHELLY'S VOICE
Hi... sure, come on in.

INTERCUT:

BOBBY'S POV

The living room. Shelly is talking to Deputy Andy Brennan.

ANDY
Do you know when Leo might be back?

SHELLY
Sorry, he never tells me where he's
going.

She lights a smoke and sneaks a look back at Bobby. She winks.
Bobby smiles.

SHELLY
They called and said you were looking
for him, is Leo in some kind of
trouble?

ANDY
(looking into the
kitchen)
We just need to talk to him.

SHELLY
This isn't about Laura or anything
is it?

ANDY
Why do you say that?

SHELLY
Well, I don't know. I did hear him
talking to this guy the night he
left--

ANDY
Which guy?

SHELLY
This guy Jacques Renault? They were
outside by Leo's truck, I could hear
'em, from over in the kitchen--

ANDY
What did they say?

SHELLY
I couldn't hear exactly. They were
arguing but I did hear them mention
her name, then they took off together.

ANDY
Shelly, you call us the minute he
gets in touch with you, you be careful
of Leo--

SHELLY
You don't have to tell me that twice.
Thanks for stopping by, Andy.

They move back to the door. Bobby puts the gun in his pocket.
Shelly comes back to the kitchen, Bobby grabs her and kisses
her passionately.

SHELLY
How'd I do?

BOBBY
You were great. God, you drive me
crazy.

The phone rings. Twice. Shelly answers, as Bobby still kisses
her.

SHELLY
Hello?... hey, Leo, where you calling
from?

Bobby stops pawing her, gives her another signal. She
responds.

SHELLY
What's that? Is anybody looking for
you?
(Bobby shakes his
head)
Leo, what would anybody be looking
for you for?...
(Bobby nods,
encouraging her to
continue)
Leo, you know how paranoid you get
when you've been popping bennies on
the road a couple days... so, when
you coming home?

Bobby slips the gun into her hand. She looks at it, looks at
Bobby.

SHELLY
Everything's fine, come on home,
Leo... I miss you, too.

She hangs up. Looks at the gun.

CUT TO:

EXT. BIG ED'S GAS FARM - DAY

Establish.

CUT TO:

INT. GAS FARM GARAGE - DAY

BIG ED HURLEY and JAMES HURLEY are working together on an
engine. James is wrestling with some emotional demon. Ed
takes notice.

JAMES
Mom came home yesterday.

ED
(nods)
She in bad shape?

JAMES
It's getting worse; every time she
goes off on a drunk now, I half expect
her to turn up dead. And part of
me's thinking there's worse things
that could happen.

ED
Those are hard thoughts.

JAMES
(almost overcome with
emotion)
God, I'm... so ashamed of her.

ED
That doesn't mean we give up. We
have to keep trying.

JAMES
What's left to do? Talk about it
some more? She won't get help, she
won't listen to either one of us--

ED
I don't know what else we can do--

JAMES
She's killing herself... I don't
want to hate her, Ed, but if she
won't let us help her sometimes I
think it'd be better if she'd just
get it over with...

His tears finally come. Ed hugs him.

ED
I know it's rough. But if we give up
on her, who else is gonna give a
damn?

A car pulls up out front; we hear it trip the bell wires
near the pumps.

JAMES
(pulling away, trying
to make light)
...been kind of a rough week.

He goes out to the back. STAY WITH Ed. We hear a car door
open and close. Norma comes into the shop. Too many secrets
to rush into each other's arms.

ED
Hey, good lookin'.

NORMA
I hope you don't mind my coming.

ED
No, no, Nadine won't be back from
that patent attorney over in Fairvale
for hours.

NORMA
The famous silent drape runners.

ED
She's already spending the millions.

NORMA
Anyway, I have to put gas in my car
like everybody else, right?

ED
Right.

Pause. Their smiles fade.

NORMA
I didn't want to tell you over the
phone. Hank got his parole.

ED
Okay.

NORMA
He's coming home, I mean back and
I... haven't said anything to him,
yet, I--

ED
Hey, you don't have to explain.

NORMA
I only saw him for a minute before
we went into the hearing and he seemed
so hopeful, it just didn't seem like
the right time--

ED
I understand.

NORMA
(Pause)
Have you said anything to Nadine?

ED
(trying not to lie)
I haven't yet, Norma.

NORMA
(half-joking)
Waiting for me to go first?

ED
No. It's just, the more I think
about... Norma, Nadine's not a well
woman.

NORMA
What are you saying?

ED
I don't know, darling--

NORMA
(painfully realizing,
pulling back)
I think I do.

ED
Maybe the time isn't right, for either
of us right now

NORMA
We've only had to wait twenty years,
what's a few more? We can always
hold hands in the nursing home.
(almost laughs as she
fights off her tears)

ED
I don't ever want to hurt you, Norma.

NORMA
Maybe that's our trouble, Ed, we
never want to hurt anybody. We never
just take what we want. But part of
me's beginning to think that's how
you get to the end of your life and
don't have anything to slow for it?

ED
Norma...

NORMA
(trying desperately
not to cry)
Don't call me. Not for a while, okay?

ED
All right.

NORMA
I love you, Ed.

She goes. He watches.

FADE OUT:

END ACT ONE

ACT TWO

FADE IN:

EXT. HORNE'S DEPARTMENT STORE - DAY

Establish. A sign on an old, granite facade.

CUT TO:

INT. HORNE'S DEPARTMENT STORE EMPLOYMENT OFFICE - DAY

Audrey Home is ushered through the doors and directed to sit
across the desk by EMORY BATTIS, the department store's forty-
year old Director of Personnel.

BATTIS
Please, please, come in, sit, sit,
can I get you something to drink,
Miss Horne, coffee?

AUDREY
Audrey. Call me Audrey. Nothing,
thank you.

BATTIS
Audrey, yes, well, call me Emory.
(an admiring gaze)
My, my, I can remember when your
father used to bring you down here
when you were just a little girl--

AUDREY
Did you used to bounce me on your
knee, Emory?

BATTIS
(a coughing fit)
Doesn't the time just fly right by--

AUDREY
(has him pegged; a
turkey)
So did my father speak to you?

BATTIS
Yes, yes he did, and I can't tell
you how excited we are, Audrey, that
you want to come on board and put in
a hitch with us down here at our
flagship--

AUDREY
Thank you--

BATTIS
You know, here at Horne's Department
Store we carry on a fifty year
tradition, offering the Northwest's
most elegant shopping experience,
with the widest variety of merchandise
and the friendliest, most courteous
service.

AUDREY
Save it for the customers, Emory.

BATTIS
(blinks)
Excuse me?

AUDREY
You don't exactly have to "sell" me
on the place, do you?

BATTIS
(nervous laugh)
I see your point, indeed I don't, no
siree--

AUDREY
(preening)
So... what did you have in mind for
me?

BATTIS
(looks, then nervously
consults notes)
Let's see, let's see, I suppose
driving a delivery truck is out of
the question--
(laughs politely, she
pretends to)
Well Audrey, per your father's
suggestion, starting low, aiming
high, etc... we thought perhaps the
wrapping department.

AUDREY
Wrapping?

BATTIS
Boxes, gifts, etc, etc. Part time,
after school.

AUDREY
No, no, no, no; Emory, ix-nay on the
oxes-bay.

BATTIS
Certainly not the most glamorous job
in the store, but then your father
did specify--

AUDREY
Emory, may I speak frankly?

BATTIS
Oh please do.

AUDREY
Let's talk retail.

BATTIS
Sales?

AUDREY
Perfume.

A slight tremor runs across his features. She picks up on
it.

BATTIS
One of our more sensitive areas.
Expensive items, delicate customer
relations--

AUDREY
I'm afraid I've got my heart set on
it.

BATTIS
(more than reluctant)
I'd have to speak to your father--

AUDREY
Emory, here's what we're going to
do. You're going to to tell my father
I'm busy as a bee wrapping boxes
down with the drones and then you're
going to put me to work behind the
perfume counter this afternoon--
(before he can speak)
--because if you don't I'm going to
rip my sweater in half and scream at
the top of my lungs and tell my father
you made a pass at me. Does that
help clear things up for you? Emory?

She grabs her sweater, ready to rip and scream.

BATTIS
Yes. Yes.

AUDREY
(knows what he needs)
Yes what?

BATTIS
Yes, Ms. Horne.

She sits back down, demurely arranges herself and smiles.

AUDREY
Shall we get started on the paperwork?

CUT TO:

EXT. GAZEBO - DAY

James Hurley is waiting in a park near a lake. DONNA HAYWARD
comes around a corner looking for him.

DONNA
James?

He turns, sees her, they embrace.

DONNA
I got your note
(he still holds her)
Are you all right?

JAMES
Donna, there's a few things I gotta
say.

DONNA
What?

JAMES
(extremely difficult
for him)
I told you my Dad died when I was
ten?... He didn't die. We were living
in San Francisco. He was a musician.
He was a bum and he ran off and he
left us, me and my mom.

DONNA
I'm sorry.

JAMES
(a rush of intensity)
My mom grew up out here. That's why
we moved back. My mom was a writer,
she was good, poems, short stories.
She's an alcoholic.
(looks at her)
If you have a problem with this, I
know you didn't ask to hear it...

DONNA
I don't have a problem. You tell me.

JAMES
It's true she was out of town this
week, but she wasn't traveling. What
she does is, she goes to another
town, shacks up in some cheap hotel
room with a couple bottles and picks
up guys and...

He's too ashamed to continue. She holds him.

DONNA
It's all right.

JAMES
I'm telling you this because I don't
want to have any secrets from you, I
don't want there to be any lies
between us. It's the secrets people
keep that destroy any chance they
have for happiness and I don't want
us to be like that...

DONNA
We won't. We won't be.

He kisses her, they hold on to each other.

JAMES
We have to do what's right. What you
said yesterday was true; if we don't
do everything we can to figure out
what happened to Laura it'll never
go away, our whole lives--

DONNA
We will, James.

JAMES
She's out there, wandering like a
restless spirit--

DONNA
I feel it, too. We owe it to her.

JAMES
(searingly honest)
And we owe it to ourselves or else
somehow, someday Donna, she's going
to come between us.

DONNA
What can we do?

JAMES
I've got an idea. Laura's cousin,
this girl Madeleine, I talked to her
yesterday, I think she could help
us. I want to ask her to meet us at
the diner today, is that alright?

DONNA
Yes.

He kisses her, ready to move off, she stops him, looks him
in the eye, strong.

DONNA
Count on me, James. No secrets.

He smiles, kisses her again and runs off to his bike, parked
nearby. She watches him go.

CUT TO:

INT. JACQUES RENAULT'S APARTMENT/CORRIDOR - DAY

CLOSE on a plate of doughnuts as they're passed among the
cops working at the scene. STAY WITH Dale Cooper as he takes
one and grabs a bite as he looks through some drawers in the
kitchen. He's wearing surgical gloves. He takes a bill out
of the drawer, lays it thoughtfully on the counter. He opens
a cabinet; a red-and-black plaid shirt hangs inside. A number
of postcards and photographs are thumbtacked to the inside
of the door.

DEPUTY HAWK arrives, hands a packet of letters to Truman,
they cross to Cooper.

HAWK
That P.O. box was registered to
Jacques Renault.

COOPER
(looking at the letters)
These are all from people responding
to Ronette's ad in the magazine.
(look at Cooper)
Maybe there's something from someone
we know.

TRUMAN
(bothered)
There better not be.

COOPER
(noticing something)
Hawk, hand me that magazine again,
would you?

Hawk does. Cooper pages through, looking for something.

TRUMAN
What is it?

COOPER
Those letters are addressed to two
different ad numbers, Ronette's and
another one... here it is.

Cooper finds the second ad in the magazine.

COOPER
(reading)
"Young student requires instruction
in the ways of love. Only generous,
mature men need apply."

INTERCUT:

THE MAGAZINE

The ad features a color photograph of a girl in lingerie,
suggestively posed in front of dark red drapes. Her head has
been cropped from the photo.

ON COOPER AND TRUMAN

Cooper whips out his magnifying glass and examines the photo.

COOPER
It's Laura.

TRUMAN
You see some distinguishing mark?

COOPER
The drapes.

TRUMAN
Drapes?

Cooper opens the cabinet, points to a color photo pinned to
the door of a small log cabin in the woods, hands the
magnifying glass to Harry. He looks through it at the photo...

INTERCUT:

PHOTOGRAPH OF LOG CABIN

Through the magnifying glass, red drapes are visible in the
windows.

ON COOPER AND TRUMAN

COOPER
Red drapes. From my dream, Harry.
(he picks up the bill
he set aside)
Can you think of a good reason why
an apartment dweller like Jacques
would buy fifty gallons of heating
oil?

TRUMAN
To heat a log cabin?

HAWK
Jacques brother mentioned something
about a place up near state line.

COOPER
Pack a lunch, fellas. We're going to
take a walk in the woods.

OFF the cropped photo of Laura in the magazine...

CUT TO:

INT. DOUBLE R DINER - DAY

Laura's cousin, MADELEINE FERGUSON enters, looks around.
James and Donna are seated at a booth.

JAMES
Madeleine?

She sees them, smiles, crosses over. James rises. Madeleine
sits across from them. There's a MAN sitting alone in the
next booth, his back to them.

MADELEINE
Hi. Hi.

DONNA
Hi, I'm Donna Hayward.

MADELEINE
My friends call me Maddy. This is
really nice of you guys. I don't
really know anybody in town except
Aunt Sarah and Uncle Leland. And the
mood at the house, you can probably
guess, isn't so great right now.

Donna and James look at each other. James nods.

JAMES
Maddy, would you like something to
drink?

MADELEINE
A cherry coke would be great.

JAMES
You got it.

James gets up, goes to the counter.

DONNA
Madeleine, what we wanted to talk to
you about... if I said you can't,
really say a word of this to anybody
else, not a soul, not even your aunt
or uncle, would that be okay with
you?

MADELEINE
(lightly)
Sounds like some big secret.

DONNA
It is. Madeleine, James and I knew
Laura better than anyone. She was in
some kind of terrible trouble before
she died, worse than any of us could
imagine--

MADELEINE
(eyes widening)
What?

James returns with her drink, sits.

DONNA
I'd rather not say too much about
things we can't prove yet.

JAMES
In some ways, the less you know about
it the better.

MADELEINE
You said you can't prove it "yet."

DONNA
We loved Laura. We're afraid the
truth might never come out or that
the person who killed her might never
be caught. We've sworn on her memory
not to let that happen.

MADELEINE
...my God. You know who did it?

JAMES
We have some ideas.

DONNA
We wanted to talk to you because we
need your help.

MADELEINE
What do you want me to do?

DONNA
Laura used to talk about a hiding
place she had, somewhere in her house,
maybe her room, I'm not sure. Nobody
else knew about it. We think she may
have left something there that could
lead us to the killer.

Pause.

MADELEINE
I'll help you.

DONNA
You will?

MADELEINE
Absolutely.

JAMES
That's great.

MADELEINE
You know, I didn't really know Laura
that well, but I feel like I do, our
folks were always telling us how
much alike we were...

As she speaks, CAMERA MOVES around and behind to the next
booth to reveal the Man sitting with his back to them: it's
HANK JENNINGS. He's heard the entire conversation. He takes
a slow sip of coffee. He's fingering his domino key chain.

James, Donna and Madeleine rise and start out.

DONNA
Will you call me if there's anything
I can do?

MADELEINE
I don't think there'll be any problem

JAMES
Madeleine, this is really great.

MADELEINE
Call me Maddy.

They're out the door. Hank smiles. A few moments later, Shelly
and Norma enter, all dolled up from the beauty parlor,
laughing.

SHELLY
--God, we look like a couple of
refugee beauty queens.

NORMA
Shelly, I don't think you know how
good looking you really are.

SHELLY
I sure never felt so glamorous, hope
I don't chip a nail slinging these
plates around--

They laugh. They pass Hank's booth on the way back to the
kitchen.

HANK
Hello, Norma.

She turns and sees him, stops dead.

NORMA
Hank...

HANK
You look beautiful. You go to
Natasha's?
(she nods, can't speak)
Surprised to see me?

NORMA
Yes.

HANK
Got out a day early. Model prisoners
get all the breaks.

Norma looks at Shelly, who starts back to the kitchen.

HANK
Is that Leo's girl?

NORMA
Wife.

HANK
That Leo. So impulsive.
(a friendly remark)
Not much meat on her.
(a long look)
I don't expect a kiss or anything.
Figure I have to earn my way back
into your heart, Norma. But I intend
to try.
(another look)
So, where do I start? I'll wash
dishes. Maybe work my way up to short
order one of these days?

NORMA
Washing dishes would be fine.

HANK
Can I finish my coffee first, boss?

He smiles and sips his coffee. They look at each other.

CUT TO:

SHELLY

In the kitchen, looking out at them. The TV is on the kitchen,
but the sound is off.

CUT TO:

THE TELEVISION

A silent scene from "Invitation to Love." MONTANA grabs CHET
by the lapels, yells at him, slaps him twice and pushes him
to the ground. Chet tries to rise.

A high-heeled shoe steps onto Chet's chest, pushing him back
down. EMERALD. She laughs at him, throws herself in Montana's
arms. They kiss.

Chet looks up at them, stricken. Montana laughs.

FADE TO BLACK:

END ACT TWO

ACT THREE

FADE IN:

INT. DR. JACOBY'S OFFICE - DAY

We don't immediately realize where we are. Seated in a half
circle of chairs are MAJOR BRIGGS, MRS. BRIGGS and Bobby,
who can't believe what he's hearing.

MRS. BRIGGS
He's been spending more and more of
his time alone in his room.

MAJOR BRIGGS
It's become much more difficult to
engage him in conversation.

MRS. BRIGGS
Terrible mood swings.

MAJOR BRIGGS
We've been told by the school that
his attendance has become erratic at
best.

MRS. BRIGGS
And of course the recent trouble
with public fighting. Both at the
Roadhouse and the funeral.

And now we see who they're talking to, sitting in a leather
chair, nodding sagely...

DR. JACOBY
Are you using drugs, Bobby?

BOBBY
No I'm not.

MAJOR BRIGGS
Alcohol.

MRS. BRIGGS
Alcohol's a drug.

BOBBY
That's not what he meant.

MRS. BRIGGS
Alcohol doesn't count?

BOBBY
Everybody uses alcohol.

DR. JACOBY
Are you unhappy, Bobby?

BOBBY
Shouldn't I be?

DR. JACOBY
That's not for me to say.

Pause.

BOBBY
Have you ever killed anybody?

DR. JACOBY
Have you?

BOBBY
My father has.

MAJOR BRIGGS
During wartime.

MRS. BRIGGS
That's different.

BOBBY
Different from what?

DR. JACOBY
Perhaps I should spend a few minutes
with Robert alone.

MAJOR BRIGGS
This is supposed to be family
counseling.

DR. JACOBY
And I'll need to spend some time
alone with every member of the family.
Bobby first.

MAJOR BRIGGS
Fair enough.

MRS. BRIGGS
Whatever you think best, Doctor.

The Major and the Missus get up and leave the room.

DR. JACOBY
Bobby, let's cut the crap.
(Bobby looks at him)
Do you feel that your parents don't
understand what you're going through?

BOBBY
That's a good one.

DR. JACOBY
Let's talk about Laura.

BOBBY
Okay. Let's talk about Laura.

DR. JACOBY
(knows some secrets
here)
What happened the first time you and
Laura made love?

BOBBY
What the hell kind of question is
that?

DR. JACOBY
Bobby... did you cry?

BOBBY
(stunned; this is
true)
Did I what?

DR. JACOBY
(also true)
What did Laura do then? Did she laugh
at you?

Bobby's completely throw off his guard. Jacoby moves in.

DR. JACOBY
Were you sad when Laura died?

BOBBY
Laura wanted to die.

DR. JACOBY
How do you know that?

BOBBY
(rising emotion)
Because she told me.

DR. JACOBY
What else did she tell you?
(silence)
Did she tell you there was no goodness
in the world?

BOBBY
She said people tried to be good but
they were really sick and rotten,
her most of all, and the harder she
tried to be good the more rotten she
felt because it didn't mean anything,
because every time she tried to help
the world be a better place something
terrible came up inside her and pulled
her back down into hell, it took her
deeper and deeper into the blackest
nightmare and every time it got harder
to go back up to the light.

Pause.

DR. JACOBY
(on the case)
Did you sometimes have the feeling
that Laura was harboring some awful
secret?

BOBBY
Yes.

DR. JACOBY
Bad enough that she wanted to die
because of it?

BOBBY
Yes.

DR. JACOBY
Bad enough that it drove her to
consciously try to find people's
weaknesses and prey on them, tempt
them, break them down, make them do
terrible, degrading things?

BOBBY
(shocked and frightened)
Yes.

DR. JACOBY
Laura wanted to corrupt people,
because that's how she felt about
herself--

BOBBY
(near tears)
Yes.

Pause.

DR. JACOBY
Is that what happened to you, Bobby?

Bobby dissolves into tears.

DR. JACOBY
(gently)
Is that what Laura did to you?

BOBBY
Yes. She made me... she wanted... so
much... she made me sell drugs so
she could have them... she made me...

Bobby can't continue, buries his face in his hands. Jacoby
has had something essential confirmed. He rises, pats Bobby
sympathetically on the shoulder, offers him the bowl of...

DR. JACOBY
Malted milk ball?

Bobby shakes his head. Jacoby pops one in his mouth and chews,
thinking.

CUT TO:

EXT. WOODS - DAY

A dense, dark forest.

CUT TO:

EXT. WOODS - DAY

A number of police cars parked in a clearing, the jumping
off place for a search party. Cooper, Truman, Hawk and Doc
Hayward. They're preparing to go off into the woods, when
Andy speeds up in his patrol car and gets out.

ANDY
(excited)
Sheriff, Leo Johnson's been gone two
days, his wife hasn't seen him--

TRUMAN
Okay, Andy--

ANDY
But the thing is, I looked into the
kitchen? She was having breakfast
and the table was set for two.

COOPER
Good work, Andy. You keep those eyes
peeled.

Andy beams with pride.

TRUMAN
Andy, I want you to stay with the
cars.
(Andy's disappointed)
I need someone to stay near the radio.
We'll keep in touch on the walkies.

Andy nods and starts back to the cars.

TRUMAN
Hawk, lead the way.

Hawk tunes up his sensory apparatus, nods, starts into the
woods. Cooper and Truman look at each other. Cooper nods.

TRUMAN
Doc, you sure you're up for this?

HAYWARD
In for a penny, in for a pound, Harry.

TRUMAN
That's the spirit.

They follow Hawk into the woods.

DISSOLVE TO:

EXT. WOODS - DAY

A dark, dark grove. The air still and moist. A solitary
mournful bird call. Hawk stops, listens, examines the ground,
finds something that leads him on. Cooper, Truman and Hayward
follow.

CUT TO:

EXT. LOG LADY'S CABIN - DAY

Hawk turns a corner and comes upon a simple, solidly
constructed log cabin in a clearing. It is not the cabin we
saw in the photograph in Jacques' apartment. Smoke rises
from the chimney. The others join Hawk in the clearing.

COOPER
Not the one we're looking for.

HAWK
Maybe, maybe not.

TRUMAN
You might want to hang back a step,
Doc.

HAYWARD
(winded)
Might want to anyway.

As a precaution, Hawk and Truman draw weapons and along with
Cooper start to advance. As they round the corner of the
cabin, they come face to face with the LOG LADY, carrying a
log.

TRUMAN
Hello.

LOG LADY
About time you got here.
(to herself)
They move so slowly when they're not
afraid.

She goes right inside the cabin. Pause. They look at each
other. The Log Lady appears in the doorway again.

LOG LADY
Come on then. My log does not judge,
it only records.

She disappears again. They look at each other. Cooper nods.
Truman calls back.

TRUMAN
Doc?

CUT TO:

INT. LOG LADY'S CABIN - DAY

Truman, Cooper, Hawk and then Doc enter. One large room.
Simple kitchen, a bed in the corner. Table with six chairs,
six places with a log-motif tea setting. A boarded up
fireplace. Fire extinguishers and a bucket of water in each
corner. An axe, a saw and other woodcutting tools. Framed
picture of a lumberjack, on the mantle, beside a funereal
urn, with ashes. Log Lady goes to the kitchen, where she's
preparing tea.

LOG LADY
I've got tea. I've got cookies. No
cake.

COOPER
That's very kind of you, but I don't
know if we have time to--

Hawk signals him to accept the invitation, then takes the
lead and sits at the table.

HAWK
What kind of cookies?

LOG LADY
Sugar. The owls won't see us in here.

Hayward sits at the table beside Hawk.

HAYWARD
Some tea would be very nice.

LOG LADY
(to Truman and Cooper,
annoyed)
Shut your eyes and you will burst
into flames.

TRUMAN
Thank you.

COOPER
Thank you very much.

Truman and Cooper sit. The Log Lady sets down a plate of
cookies on the table, along with a log-motif tea pot, then
she takes a seat.

LOG LADY
We'll let it steep.

Pause. Cooper reaches for a cookie. Log Lady lightly slaps
his hand.

LOG LADY
Wait for the tea. The fish aren't
running.

Cooper. looks around, noticing all the firefighting equipment.
She looks at him, as if to say, "Don't laugh. I see everything
and it takes it's toll." Pause.

COOPER
Do you use fire for cooking then?

LOG LADY
I go to great lengths to keep it
under control.

TRUMAN
M'am, were you expecting us?

LOG LADY
You're two days late. Clues may be
as cold as the tea but that's your
concern.
(pause)
My log saw something, something
significant. There's no closer
relationship than the logger with
the tree.

Pause. Cooper looks at Truman.

TRUMAN
M'am, what did your log see?

LOG LADY
(shakes her head)
Drink first and be ready for the
truth..

She checks the pot, decides it's ready and starts to pour.
Six cups. Formal manners.

COOPER
(passing the plate
around)
Lime, Harry?

LOG LADY
My husband was a logging man.

COOPER
Oh?

LOG LADY
He met the devil. The devil took the
form of fire. Fire is the devil hiding
like a coward in the smoke.

HAYWARD
(he knows her)
The day after the wedding, wasn't it
Margaret?

She looks away.

HAWK
(to the Log Lady,
comforting)
The wood holds many spirits, doesn't
it Margaret?

She nods. Pause. They nibble on cookies and drink their tea.
The Log Lady turns to Cooper.

LOG LADY
You can ask it now.

COOPER
(to the log; solemnly,
respectfully)
What did you see that night? The
night Laura Palmer, was killed?

LOG LADY
(pause to the log)
Shhhh. Let me do the talking.
(she closes her eyes;
this is hard for her)
Dark. Laughing. The owls were flying.
Many things were blocked. Laughing.
Two men. Two girls. Flashlights, in
the woods, pass by, over the ridge.
The owls were near. The dark was
pressing in on her...
(calmer)
Quiet then. A gentle wind. Footsteps,
later, one man pass by. All quiet.
Screams, far away. Terrible. Terrible.
One voice...

COOPER
(quietly)
Man or girl?

LOG LADY
Girl... Further up. Over the ridge
The owl were silent.

She opens her eyes, blinks. Takes a sip of tea. Hayward dries
the tears in his eyes.

CUT TO:

EXT. WOODS DAY

A light mist falls. Hawk, Truman, Cooper and Hayward make
their way up the ridge through thick woods.

COOPER
The two girls are Laura and Ronette.

TRUMAN
The two men Jacques, maybe Leo?

COOPER
Maybe.

TRUMAN
Who's the third man?

Hawk stops suddenly, gestures them to be quiet. He listens.

HAWK
Do you hear it?

They listen... Far away... music. An angelic voice, soft
chords.

HAWK
This way.

They continue on.

CUT TO:

EXT. WOODS SECOND CABIN - DAY

Hawk, Truman, Cooper and Hayward emerge from a thick stand
into a clearing; on a rocky point above them stands the log
cabin seen in the photo at Jacques; apartment. Rundown, not
well maintained. Red drapes are visible in a window. Cooper
looks at the photo. It was shot from the angle they're viewing
it from now.

The music issues from inside the cabin. The song ends. Pause.
The same song begins again.

Truman draws his weapon and takes the lead. Hawk and Cooper
draw their weapons and follow. Hayward sits on a rock and
wipes his brow with a handkerchief.

CUT TO:

INT. SECOND CABIN - DAY

The door creaks open, throwing the only light into the dark
room. Truman, Hawk and Cooper cautiously enter. The music is
louder. Cooper draws aside a set of the heavy, dusty red
drapes, letting more light into the room.

On a simple record player, the tone arm pulled back over a
45 record, the song ends again, the stylus lifts, returns to
the outside, then back onto the outside edge of the record.
Scratches, pops, then the song starts again.

COOPER
(under his breath)
...and there's always music in the
air..."

Cooper lifts the stylus off the record. All three men proceed
with extreme care, trying not to move or disturb anything.

The single room is dusty, trashy, a low-rent version of a
harem room: an overstuffed davenport, cheap oriental throw
rugs, tasseled satin pillows, empty bottles and full ashtrays.

On a tripod, a 35 millimeter camera, facing a small photo
bay created by the drapes and pillows. Hawk checks it out.

HAWK
There's film in here.

Hawk takes out an evidence bag, removes the film.

Cooper finds a spool of twine lying on the floor

Another tripod shaped object, covered with a cloth. Truman
slowly draws the cloth off... a mynah bird in the cage reacts
drowsily, weak from hunger and thirst. A nameplate on the
cage reads... "O"

Hawk draws their attention to dark stains on the wood and
one of the throw rugs. He examines it.

HAWK
Blood.

Cooper moves to look at it.

Truman, backing up from the cage, hits a rocking chair which
rocks forward and hits a table, knocking over a lamp...

Hawk, looking past Cooper, sees the lamp...

HAWK
Watch out.

Cooper avoids the lamp as it crashes to the floor. Something
skitters off the lamp and rolls under the davenport Hawk and
Cooper look at each other. Cooper reaches in under the
davenport, feels around, finds something. He pulls it out

INTERCUT:

POKER CHIP

A thousand dollar chip, with a small chunk missing. It reads:
"ONE-EYED (J)ACK'S"

Cooper and Hawk look at each other.

FADE OUT:

END ACT THREE

ACT FOUR

FADE IN:

INT. GREAT NORTHERN HOTEL BANQUET ROOM NIGHT

A banner reads:

"FROM ICELAND TO TWIN PEAKS: A GREAT NORTHERN WELCOME!!"

Festive, folksy Icelandic music, plays over the sound system.
The reception party is just under way. CITIZENS mingle with
the Icelanders, who cluster around the L-shaped buffet. The
Horne brothers mingle prominently. At the piano, Trudy leads
a group of Icelanders in an Icelandic version of Home on the
Range."

CUT TO:

INT. BANQUET ROOM ENTRANCE - NIGHT

Script above the door reads, "TIMBER ROOM." A HOTEL EMPLOYEE
is at the door, checking a guest list as people arrive. PETE
and CATHERINE MARTELL reach the door.

CATHERINE
Catherine Martell and spouse.

They're checked off the list and enter. We follow them.

PETE
Go easy on the sauce tonight, okay
Cathy?

She stops a passing WAITER with a tray of champagne. Takes
two glasses. Slugs one down.

CATHERINE
A few belts and even you might start
to look good to me.

She knocks back the second one, replaces the glasses on the
Waiter's tray, takes another glass and moves off, leaving
Pete.

CUT TO:

MAJOR BRIGGS AND EINER THORSON

The Officer chats up the head Icelander, while they graze
from the buffet.

MAJOR BRIGGS
--of course the modern age has changed
forever the way your people live,
Mr. Thorson, but my guess would be
that there still remains a tremendous
vestigial interest in the legends
and folklore of ancient Iceland.

EINER
(smiles, doesn't have
a clue)
Vestigial. Absolutely.

MAJOR BRIGGS
I know, speaking for myself, that I
find these last remnants of a
connection to a natural, more
primitive, almost pagan way of life,
endlessly fascinating; locally, for
instance, we have the Sasquatch
mythos, or Bigfoot, a large, evil
smelling forest-dweller, which I
suppose would correspond to your
"huldufolk" or hidden people.

EINER
Trolls?

MAJOR BRIGGS
Exactly.
(confidentially)
I also happen to be a firm believer
in the UFO. I've seen some high-level
classified data that would curl your
hair.

CUT TO:

JERRY HORNE

Jerry is all agog with the new object of his affection, the
tall and beautiful Icelandic girl, HEBA THORSDOTTIR, who's
playing with him.

JERRY
Heba. Take a bite of that salmon
tartare.
(he feeds her)
Did you know that was an American
figure of speech?

HEBA
No, Jerry.

JERRY
"Heba-heba." You've never heard
that before?

HEBA
No, Jerry.

JERRY
Do you realize the incredible
potential that could result from our
taking a mutual dip into each other's
respective gene pools?
(she doesn't understand
the words, but she
gets his meaning;
they flirt)
Heba...
(almost a declaration
of love)
...I am going to cook for you.

CUT TO:

CATHERINE MARTELL

Snaring another drink, she spots Benjamin Home chatting up
some Icelanders two clusters away, makes her way to him. She
clears her throat, trying to get his attention. He chats on.
She does it again. No luck. She deliberately spills her drink
on his shoe.

CATHERINE
Oh.

BEN
Excuse me, gentlemen.

He takes her by the arm and steers her away. Quiet and angry.

BEN
My office, give me two minutes to
break away.

CATHERINE
(stops, looks at him;
a threat)
"Hell hath no fury..."

BEN
What?
(he sees her look)
Two minutes.

He moves off. She grabs another drink and heads for an exit.
She passes Audrey, who's semi-hiding behind a large wooden
column, watching the party with bright, disturbed eyes.
Moments later, she watches Ben leave by the same exit. She
follows him.

CUT TO:

INT. TIMBER ROOM ENTRANCE - NIGHT

JOSIE PACKARD enters the room, looks around, a little lonely
and out of place. She moves to Pete, who's piling up a massive
plate of food at the buffet.

JOSIE
Hello, Pete.

PETE
Hey, Josie, quite a spread they laid
out, grab yourself some grub.

JOSIE
(taking a plate,
looking around)
So these are the Icemen?

PETE
Somethin' like that.

CUT TO:

LELAND PALMER

At the entrance, Leland Palmer shuffles into the room. He's
pale, clean shaven but sporting a large piece of tissue paper
stuck to a shaving mishap on his jaw line. He looks shakily
around, wanting very badly to fit in.

CUT TO:

INT. HOTEL CORRIDOR - NIGHT

Alone in the hallway, Audrey stops at a small secret door,
opens it.

CUT TO:

INT. HOTEL WIRING CORRIDOR - NIGHT

Audrey moves a short distance down the corridor in dim light,
kneels and slides a cover off a drilled peephole and looks
into...

INTERCUT:

AUDREY'S POV - INT. BEN HORNE'S OFFICE

Catherine pours a drink at the bar, Ben takes the decanter
of Scotch from her, pops the top in.

BEN
You're impossible.

CATHERINE
Tell me again, Ben, tell me what
you're going to do

BEN
Speak English.

CATHERINE
Tell me how you're going to drive
the mill into the ground, grind that
little Chinese flower to a fine dust,
regain control of my brother's land,
leave your wife and marry me.

Audrey reacts.

BEN
And they all lived happily ever after.

CATHERINE
(pleasantly)
Look into my eyes, Ben. Do I look
blind to you?

BEN
Excuse me?

CATHERINE
(still pleasant, takes
out the chip)
Why did you have this thousand dollar
poker chip from you know where in
your pants yesterday?

Ben looks at it, knows he's nailed. Straight-faced.

BEN
Jerry gave that to me.

She slaps him. He calmly pours himself a drink.

BEN
It's a good luck charm that I thought
I'd lost. I'm so relieved you've
found it.

She slaps him again. He sighs.

BEN
Are you quite finished?

She slaps him again. Satisfied, a bit hot.

CATHERINE
Yes.

She hands him the chip. He grabs her and kisses her hard.

Audrey is laughing so hard she has to cover her mouth and
turn away from the peephole.

CUT TO:

BEN AND CATHERINE

BEN
(breaking off,
breathless)
Not here.

CATHERINE
(whispers)
Let's burn the mill, let's do it,
tonight.

BEN
We'll just slip away from the party
and hope no one detects the smell of
kerosene upon return, no, my love,
we'll give Josie one last chance to
sell.

CATHERINE
You'll talk to her.

BEN
Tonight. Failing that, I've retained
the services of a qualified
professional.
(takes one, offers
one to her)
Breath mint?

CUT TO:

INT. HOTEL CORRIDOR - NIGHT

Audrey comes out the same small door, closes it behind her.
She staggers along the corridor, letting out her laughter,
big bursts, hysterical and gilded with an edge of desperation
and madness.

CUT TO:

INT. KING SALMON ROOM - NIGHT

Pete stands next to Einer Thorson, the head Icelander, both
holding plates of food.

PETE
Now let me get this straight; your
entire country is above the timber
line?

His mouth full of food, Einer nods.

JERRY HORNE'S VOICE
(amplified)
Folks, ladies and gentlemen, can I
have your attention please?

CUT TO:

JERRY HORNE

On a one-step riser at the end of the room, at a microphone.

JERRY
Can I have your attention please?

As the crowd congregates towards that side of the room.

JERRY
First off, I want to thank you all
for turning out tonight to welcome
our neighbors from the magical island
of Iceland. The Ghostwood Estates
project is an important part of our
future here in Twin Peaks, and there's
no group we'd rather have as a partner
in our future than--

He's drowned out by the blaring sound of big band music from
the speakers.

CUT TO:

LELAND PALMER

In the middle of the dance floor, he starts to go, a solitary
jitterbug. People clear out around him.

CUT TO:

BEN AND CATHERINE

Re-entering the room. Ben exchanges a look with Jerry, who's
panicking. Ben whispers to Catherine.

BEN
Dance with him.
(she gives him a look)
This is serious.

Catherine moves out towards Leland.

CUT TO:

LELAND AND CATHERINE

He slickly incorporates her into his dance and they commence
to cut a pretty mean rug. Leland is pouring down tears and
making little moaning sounds, but the crowd, happily clapping
along and half-soused, doesn't pick up those details.

INTERCUT:

BEN AND JERRY.

Ben makes his way to his brother.

BEN
Get Jacoby, get a net, get him out
of my life.

Jerry nods and moves off. Before he can get very far, he's
pulled out onto the floor by Heba and they begin to jitterbug.

CUT TO:

DANCE FLOOR - HIGH ANGLE

The Icelanders love this new dance craze and spill onto the
floor, doing their best to duplicate Leland's style...

CUT TO:

LELAND AND CATHERINE

Leland picks up his pace. Catherine realizes she's dancing
with a man teetering on the edge of a meltdown.

CUT TO:

AUDREY

Watching from behind a post, away from the dance floor. She's
crying.

CUT TO:

EXT. PALMER HOUSE - NIGHT

Establish.

CUT TO:

INT. PALMER LIVING ROOM - NIGHT

Darkness. Madeleine creeps into the room, wearing a nightgown,
carrying a shoe box. A floorboard creaks. She gives a look
back upstairs, turns on a lamp, sits, picks up a phone and
quietly dials a number. Waits. Whispers.

MADELEINE
Donna? It's Maddy... I was looking
in Laura's closet and I couldn't
find anything but I looked up and
noticed there was a loose ceiling
panel?... yes, that was her hiding
place, I pushed the panel back, there
was a shoe box up there...

She takes off the cover of the box.

INTERCUT:

THE SHOE BOX

We see four audio cassette tape cases inside. On the top
case we can read: "To Dr. Jacoby." There's a noise from
upstairs that startles her.

MADELEINE
I'll meet you and James tomorrow.
Bring a tape recorder.

She hangs up, turns off the lamp, puts the cover back on the
shoe box and goes back out of the room.

CUT TO:

INT. BEN HORNE'S OFFICE - NIGHT

Darkness. Sounds of the party continue elsewhere. As our
eyes become accustomed to the darkness, we see someone sitting
at Ben's desk and the red glow of a cigarette as they inhale.

The door opens. Ben enters the room. Josie turns on the lamp
at the desk where she's seated. Ben crosses to the desk.

BEN
Did anyone see you come in here?

JOSIE
No.

BEN
You do realize the risk if anyone
sees us.

JOSIE
Yes.

He sits on the edge of the desk. Josie puts out her cigarette.

JOSIE
How much longer, Benjamin?

BEN
Tomorrow night.

They look at each other. She slowly extends her hand. He
takes her hand and kisses it tenderly. They look at each
other.

CUT TO:

EXT. LEO JOHNSON'S HOUSE - NIGHT

LEO JOHNSON pulls up in a beat-up pick-up truck with a covered
pay-load, stops beside a small shed outside his half-finished
garage. He gets out, looks around, unlocks the shack and
starts to load full gas-cans into the back of the truck.

INTERCUT:

INT. JOHNSON'S HOUSE KITCHEN - NIGHT

A single, small lamp. Shelly, in robe and nightgown, moves
into the kitchen, looks out the window at Leo (off-screen).
Takes the gun from the table, puts it in her pocket, lights
a cigarette.

CUT TO:

LEO

Secures the tarp back over the gas cans and moves towards
the house when he's slugged from behind in the kidneys. He
grunts and goes down on one knee.

A SHADOWY ASSAILANT efficiently, silently and systematically
dismantles him, finally turning him and hitting him with
three hard right hands to the face. Dazed and bleeding, Leo
never knew what hit him. The Assailant grabs Leo by the lapels
and pulls him close. The Assailant is Hank Jennings.

HANK
You were supposed to mind the store
while I was gone, not open your own
franchise--

LEO
Hank--

A short punch, then...

HANK
Do as you're told, Leo. Next time
you'll watch me take your little
chippie apart before I kill you.

Hank lets him go and disappears.

INT. JOHNSON KITCHEN - NIGHT

CUT TO:

Shelly, who hasn't heard a thing, finishes her cigarette.
Suddenly, Leo bursts in the door behind her, staggering to
the sink. turns on the water, his face a bloody mess...

LEO
Shelly, call a doctor--

SHELLY
Leo, what happened? You all right?

LEO
(lashing out)
Just call the damn doctor, do as
you're told!

He backhands her, sends her sprawling. She lands hard. Takes
the gun from her pocket.

LEO
What are you sitting around for? I
said--
(sees the gun)
What the hell are you doin' with
that?

SHELLY
(taking out the gun)
Don't touch me, Leo, don't come near
me--

LEO
(laughing)
What are you gonna do, Shelly, shoot
me?

SHELLY
You're not gonna hurt me again--

LEO
(bile seeping above
the pain)
You stupid little slut, you don't
even know how to use one--
(he advances on her)
Besides, you haven't got the guts--

Shelly closes her eyes and fires. Leo yells, falls back,
knocking the lamp off the table. Darkness. Screaming. The
front door slams open and shut, the screaming moves outside.

Shelly huddles in a corner, clutching the gun, terrified. We
hear the pick-up truck start and drive off. Shelly tries to
catch her breath.

CUT TO:

INT. GREAT NORTHERN CORRIDOR - NIGHT

Dale Cooper rounds the corner, takes out his room key. He
stops, listens to the sounds of the still raucous Icelandic
party going on downstairs. Cooper sadly shakes his head,
starts to unlock his door and realizes it's open. He draws
his gun.

CUT TO:

INT. COOPER'S ROOM - NIGHT

The door stands open, light coming in from the corridor.
Cooper enters a moment later, with his weapon drawn. He slowly
closes the door, moves in, keeping the gun trained on the
bed.

COOPER
Reach over slowly and turn on the
bedside lamp.

There's someone in the bed. The person turns on the lamp.
Audrey. Naked under the sheets, eyes red with tears.

AUDREY
Don't make me leave. Please don't
make me leave.

Cooper slowly lowers his weapon.

CUT TO BLACK:

THE END

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