"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 2001

Story by

Mark Frost and David Lynch

Teleplay by

Mark Frost



ACT ONE

FADE IN:

EXT. GREAT NORTHERN HOTEL - NIGHT

Establish.

CUT TO:

INT. GREAT NORTHERN CORRIDOR - NIGHT

Looking through the open door into Cooper's room. COOPER
lies still on the floor, flat on his back at the foot of the
bed.

Looking down the corridor, here comes a ROOM SERVICE WAITER,
carrying a glass of warm milk on a tray. He stops at the
open doorway, sees Cooper, knocks.

WAITER
Room service.

No response. He enters cautiously.

Cooper's eyes open. He looks up as the Waiter, who is no
scholar.

WAITER
(grins)
How you doin' down there?

Cooper blinks a few times, dazed and disoriented. Pause.

WAITER
Warm milk.

He proudly holds up the glass.

COOPER
(finding his voice)
Could you... put it on the table?

WAITER
Sure.

The Waiter gingerly steps around him and sets the glass of
milk down on the table beside the phone receiver, from where
he hears...

ANDY'S VOICE
Hello?... Agent Cooper?... Agent
Cooper?

The Waiter looks down at Cooper, then decides to helpfully
hang up the receiver.

WAITER
Hung it up for you.

COOPER
What's that?

WAITER
Hung it up. The phone.

COOPER
Oh.
(pause)
Thank you.

WAITER
No problem.

The Waiter stands in front of him, holding the bill, takes
out a pen. Cooper's attention drifts off him, drifts back.

COOPER
Yes?

The Waiter holds out the bill and pen. Cooper takes them,
holds them above his chest, trying to focus

COOPER
Does this include a gratuity?

WAITER
Yes sir.

Cooper scrawls a signature. The Waiter takes back the bill
and pen.

WAITER
That milk'll cool down on ya'.

The Waiter smiles, backs up to the door, stops, grins, points
a finger. He's figured it out.

WAITER
I heard about you.

Cooper looks at him. The Waiter grins again, gives a small
wave and a wink and moves off. We hear his footsteps move
down the corridor. They stop. Slower footsteps come back.

The Waiter peeks around the corner, looks at Cooper again,
grins, shakes his head and moves off. The footsteps recede.

Cooper takes a cautious deep breath. He closes his eyes,
wincing in pain. He turns his head towards the bed, opens
his eyes and slowly realizes that, looming above him, a GIANT
is sitting on the foot of the bed looking down at him.

The Giant appears to be at least eight feet tall. He's wearing
dark pants, a white shirt rolled up at the sleeves and a
slender black tie.

GIANT
I will tell you three things.
(pause)
If I tell them to you, and they come
true, then will you believe me?

COOPER
Who are you?

GIANT
Think of me as a friend.

COOPER
Where did you come from?

GIANT
(shakes his head)
The question is: where have you gone?

Cooper blinks, ponders.

GIANT
The first thing I will tell you is:
"The man in the smiling bag."

COOPER
(mumbles to himself,
trying, to remember)
"Smiling bag."

GIANT
The second thing is: "The owls are
not what you think."

Cooper repeats the words, clinging to them.

GIANT
The third thing is: "He points without
the proper chemical."

Cooper repeats the phrase to himself.

COOPER
What, what does this mean?

GIANT
This is all I am permitted to say.
If you find these things to be true,
I will visit you again. We want to
help you.

COOPER
Who's "we?"

GIANT
One last thing: Leo locked inside a
hungry horse. By the way, you will
require medical attention.

Cooper looks down at his shirt. A bloodstain is slowly
spreading across his midsection. He looks back. The Giant is
gone. Cooper doesn't move.

COOPER
Holy jumpin' George.

CUT TO:

EXT. ONE-EYED JACK'S - NIGHT

Establish. Off the One-Eyed sign...

CUT TO:

INT. ONE-EYED JACK'S BEDROOM - NIGHT

CLOSE on AUDREY'S eye, peering out from between the curtains,
draped around the fourposter in her room. Audrey stands on
the bed. There are two masks on the wall above the headboard.

BEN HORNE enters the room, sees movement behind the curtains.

BEN
Knock, knock.
(pause)
Knock. Knock.

AUDREY
(changing her voice)
Who's there?

BEN
The big bad wolf.

AUDREY
Go away.

BEN
Interesting.
(takes a moment)
Come on, let's have a look at you.

AUDREY
I'm shy.

BEN
Didn't you know? Everybody's shy.
Here at One-Eyed Jack's it's a
transitory condition. And an
occupational handicap.

He tries to pry the curtain apart for a look, she snaps it
shut. He takes out a cigar; having been through this before,
he falls back on technique.

BEN
But, consider; your first night in a
new place, new surroundings, new
people--

AUDREY
New wardrobe--

BEN
(warming to the task)
--naturally you are full of questions,
anxieties. You're wondering "What's
expected of me? how will I be
received? will they... like me?" I'm
right, aren't I?

AUDREY
Yes.

Ben patrols the perimeter, toying with the curtains, as she
moves with him, defending her translucent barrier, trying to
anticipate his angle of attack.

BEN
Let's examine these feelings, shall
we? What are they if not the natural
emotional processes of any living,
breathing person who finds herself
thrust... into new circumstances?

AUDREY
(pause)
Could you repeat the question?

BEN
You're nervous, you're shy, you're
frightened: of course you are...
(another thought)
How exactly new to all this are you?

AUDREY
You might say... brand new.

BEN
(the thought cheers
him)
Really.

AUDREY
For instance, if I was a bar of soap,
I'd still be wrapped in my package.

BEN
(enthusiasm swells)
Alright' fine, now I have to see
you...

He puts his cigar in his mouth, tries to open the curtain
again; she thwarts him. He thrusts a hand inside. She slaps
it away.

BEN
(happy)
A vixen! What's your name?

AUDREY
Queen of Diamonds.

BEN
No, no, no, your real name.

AUDREY
I'm not supposed to tell.

BEN
Did they tell you who I was?

AUDREY
The owner?

BEN
That's right. Tell me your name.

AUDREY
You wouldn't believe me.

BEN
I'm a liberal thinker.

AUDREY
Prudence.

BEN
Prudence!

AUDREY
I think you should go.

BEN
Do you, Prudence?

AUDREY
Yes I do. I really do.

BEN
(pause)
All right.

She listens cautiously. Ben walks to the door, opens and
closes it, tiptoes back into the room, towards the bed. He
triumphantly throws the curtains open.

BEN
'Got you!

She's hiding under the covers, a conspicuous lump. Ben
advances.

BEN
I'll huff... and I'll puff... and
I'll blow your house down!

He yanks the covers away. She's revealed: a mask covers her
features.

BEN
Aren't you... something?

He advances further. She retreats. He reaches for her, she
slaps his hands away, grabs a pillow and whacks him across
the head. He laughs. She's backed against the wall. He reaches
for her mask.

BEN
Please... I have to... see you...

His hand reaches the mask. An urgent knock at the door. Ben
hesitates. Another knock.

JERRY HORNE'S VOICE
Ben, it's Jer! Brother Ben, we've
got a situation!

BEN
So have I.

JERRY HORNE'S VOICE
Ben, it's the M-I-L-L! And we got a
big S-N-A-G! Ring a bell?

BEN
(to Audrey)
Alas, I do have a situation.

AUDREY
Gee, that's too bad.

BEN
(all business, rising,
putting on coat)
I like you. You know how to interest
a man. That's half the battle. You've
got quite a future in front of you.

AUDREY
That's what everyone keeps telling
me.

JERRY'S VOICE
Ben, I'm gonna count to three--

BEN
Coming, Jer!
(straightens his tie,
checks the mirror)
Prudence, I'm leaving now, but I'm
going to get myself back up here to
see you right away. And next time
we'll play a different game. I'll
make the rules. A fun game. You'll
like it. Everybody wins.

He drops some money the table, blows her a kiss and blows
out of the room.

Audrey lowers the mask. She's laughing silently, tears running
down her face, close to the edge.

CUT TO:

INT. BLACKIE'S OFFICE - NIGHT

Ben and Jerry enter Blackie's office. BLACKIE sits behind
her desk, looking worn and haggard. She has the shakes.

BEN
How many blips are we dealing with?

JERRY
Two blips: blip number one, they
contained the fire in the drying
sheds--

BEN
It didn't spread to the processing
plant?

JERRY
Just the plywood building, not the
main plant.

BEN
Manageable. What's blip number two?

JERRY
Leo the Lip's in the hospital--

BEN
As in morgue?

JERRY
That's a big N-O.

Ben chews on that. Turns to Blackie.

BEN
Keep an eye on that new girl. She
didn't come across.

JERRY
This sounds like a job for Jerry
Horne--

Taking off his coat, Jerry starts for the door. Ben grabs
him by the collar.

BEN
Blackie, you're looking a little the
worse for wear...

She shoots him a poisonous look. He takes a packet from his
pocket.

BEN
Would you like to fix yourself a
cocktail? Or would you rather just
say "no?"

BLACKIE
Bastard.

BEN
What's that, Blackie?

BLACKIE
(humbling herself)
Please.

BEN
And you used to be so pretty.

Ben signals to Jerry, who exits. Ben moves to the door.

BLACKIE
PLEASE.
(he stops, looks at
her, she's trembling)
Pretty... please.

Ben tosses the packet onto the desk, shakes his head and
exits. Blackie looks at the packet, opens a drawer plus other
drug paraphernalia, takes out a length of rubber tubing and
sets it on the desk.

CUT TO:

EXT. BURNED MILL - DAWN

Establish. Fire trucks and paramedics dealing with the fire's
aftermath.

CUT TO:

INT. MILL - DAWN

Details of the ravaged interior. A scorched moose head on a
wall. A ruined office. Water and ash dripping into a tea
cup. A blackened fire extinguisher,

CUT TO:

EXT. MILL - DAWN

PARAMEDICS wheel PETE MARTELL out of the mill, his face
covered with an oxygen mask.

They load Pete, into the back of an ambulance. SHELLY JOHNSON
is already inside on another gurney, also taking oxygen.
SHERIFF TRUMAN stands by the ambulance doors. Pete takes
Truman's hand, partially lifts off his mask.

PETE
Catherine?

TRUMAN
Not yet, Pete.

They look at each other. Pete coughs, they readjust his mask,
slide the gurney in, close the doors. The siren starts up,
the ambulance drives off.

Truman moves away and is joined by DEPUTY HAWK

HAWK
Josie's not at Blue Pine, she's not
at the office--

TRUMAN
Keep looking.

HAWK
Harry, we've looked everywhere--

TRUMAN
(hard)
Keep looking.

DEPUTY ANDY lopes up to them.

TRUMAN
Andy, where the hell is Cooper?

ANDY
It's the strangest thing, I was
talking to him and he put the phone
down and walked away and it sounded
like somebody was banging real loud
on the door--

TRUMAN
And?

ANDY
And then I heard a sound like somebody
falling down and then about a minute
went by and somebody hung up the
phone.

Hawk and Truman look at each other.

CUT TO:

INT. COOPER'S ROOM - DAWN

Cooper's hand reaches out for his tape recorder on the floor
not far from where he's lying. His fingertips reach it, gain
purchase and drag it back to him. In pain and slightly fumble-
fingered he's able to activate the record button, lie back
and bring the recorder to his mouth.

COOPER
Diane, it's -- I don't know what
time it is, Diane, I've been shot. I
was out for a while and I can't reach
my watch. The sky's getting light, I
can hear birdsong. I'm lying on the
floor of my room. There is a great
deal of pain and a fair amount of
blood. I seem to remember three shots,
all to the midsection. I was wearing
my vest last night, per Bureau
regulations when undercover, but
even so, if you can imagine someone
dropping three bowling balls on your
chest from a height of about nine
feet you might begin to approximate
the sensation.
(looking at his chest)
On balance, though, being shot is
not as bad as I had always imagined
it might be. If you can manage to
keep the fear from your mind. Then
again, I suppose you could say that
about almost anything in life: it's
not so bad if you can keep the fear
from your mind.
(he wrestles with it)
At a time like this, curiously, you
immediately think of the things you
regret, or the things you would miss.
I would like, in general, to treat
people with much more care and
respect. I would like to climb a
tall hill, sit in the cool grass and
feel the sun on my face. I wish I
could have cracked the Lindbergh
kidnapping. I would very much like
to make love to a beautiful woman
who I had genuine affection for. I
would like that very much.
(he has to stop)
All in all, a very interesting
experience.

SOUND of running footsteps. Truman, Hawk and Andy appear in
the doorway.

COOPER
Ah. They're here.

FADE OUT:

END ACT ONE

ACT TWO

EXT. CALHOUN MEMORIAL HOSPITAL - DAY

Establish.

CUT TO:

INT. CALHOUN HOSPITAL INTENSIVE CARE - DAY

CAMERA MOVES slowly past a row of charts hanging on hooks at
a nurse's station: we read the names on the charts:

...Pulaski, Ronnette; Jacoby, Lawrence; Hurley, Nadine;
Johnson, Shelly; Martell, Pete; Johnson, Leo...

A NURSE takes a seventh unmarked chart; off the last hook
and CAMERA MOVES with her picking up staying with an extremely
tired DOC HAYWARD sitting in a chair. She hands the chart to
Hayward. He rises and together they move into an adjoining
room...

CUT TO:

INT. INTENSIVE CARE DAY

Hayward and the Nurse enter. Cooper is seated on an examining
table. Another NURSE is cutting away his shirt; revealing
his bulletproof vest. Truman stands nearby.

COOPER
(pale, shaky but game)
Morning, Doc.

HAYWARD
My God, what happened to you?

COOPER
Three slugs, point blank range.

TRUMAN
You can't remember anything about
the shooter.

COOPER
All I saw was that muzzle flash and
the next thing I knew I was drifting
on Cloud Nine -- busy night, Doc?

HAYWARD
Haven't seen this much action since
the Elks Club fire in '59 -- here we
go...

Doc and the Nurse ease the bloodstained vest off Cooper. He
groans. Large ugly bruises are revealed. LUCY enters with a
clipboard, thermos of coffee and some mugs, just in time to
see the bruises.

LUCY
(a little faint)
Oh boy...

A little woozy, Truman helps her to a chair.

TRUMAN
Easy there, Luce.

LUCY
Oh boy...

One of the Nurses partially closes the curtain between the
bed and where Lucy is sitting. Lucy pours herself a cup of
coffee.

COOPER
Looks worse than it feels Lucy.

HAYWARD
Let's have you lie back.

Hayward and a Nurse help Cooper lie back. We see there's a
bullet partially embedded in his midsection near a rib.

COOPER
Doc, I think I picked up a wood tick
last night. While trying to scratch
it off I adjusted my vest upwards
and I think one shot glanced off the
edge of my vest.

HAYWARD
(examining the bullet)
Agent Cooper, I'd have to say you're
lucky to be alive.

COOPER
I try to tell myself that at least
once a day.

LUCY
Coffee?

COOPER
You bet.

TRUMAN
(taking a cup, quietly)
Lucy, Agent Cooper needs to be brought
up to date.

LUCY
Okay.

TRUMAN
Cooper, I'm working on a warrant for
Leo. Arrest and search.

Truman exits. Hayward is prepping to remove the bullet from
Cooper's side.

COOPER
Go ahead, Lucy.

LUCY
Okay.

HAYWARD
I ought to administer an anesthetic.

COOPER
No, just hand me my wallet and say
when.

Puzzled, Doc nods to a Nurse, who hands Cooper his wallet.

LUCY
This morning, at around 5:45 a.m.
Jacques Renault was found dead in
his bed. It appears to be cardiac
arrest, which is what happened to my
Uncle Walter after he had the accident
with the lawnmower, but the cause of
death is not yet officially known.

COOPER
Autopsy?

HAYWARD
Soon as we get a minute.

COOPER
Please continue, Lucy.

Cooper watches as Hayward lays out a row of severe looking
surgical instruments, including a wicked plier-like utensil.

LUCY
Doctor Jacoby is resting comfortably
after his heart attack, and Ronnette
Pulaski is still on life support,
which the Sheriff told me you already
knew about but that I should remind
you.

COOPER
Thank you.

HAYWARD
You might be able to question Jacoby
later today.

LUCY
Shelly Johnson and Pete Martell are
in stable condition after they were
found inside the mill, which caught
fire and burned down, at least a
part of it did not the whole mill
which is lucky because they had all
that lumber inside--

HAYWARD
A few second-degree burns, smoke
inhalation--

LUCY
Smoke inhalation, in addition to
which I think Shelly is a smoker
anyway.

Doc and Cooper look at each other.

LUCY
Nadine Hurley is still unconscious
and in serious condition because of
an overdose of sleeping pills.

COOPER
Accidental?

HAYWARD
(swabbing Cooper's
wound)
Ed says she left a note.

COOPER
Damn.

HAYWARD
Ready, Cooper?

COOPER
(nods)
Keep talking, Lucy.

Cooper puts the wallet in his mouth and bites down hard.
Hayward picks up the pliers and goes to work.

LUCY
Leo Johnson was found in his house
by Deputy Brennan with a single
gunshot wound to his upper chest.
There appears to be a spinal injury
associated with this wound, he's
just out of surgery an at this time
is still unconscious and in critical
condition--

Hayward, who's been working vigorously, pulls hard, the bullet
comes out and Cooper lets out a yell. Hayward examines the
bullet. We see the leg's of a dead tick attached to the end.

HAYWARD
Hell of a way to kill a tick.

CUT TO:

INT. HOSPITAL ROOM - DAY

Truman looks in on ED HURLEY, sitting by the bedside of the
unconscious NADINE, holding her hand, watching her with fear
and devotion, trying to will her back. Truman respectfully
withdraws before Ed realizes he's there.

CUT TO:

INT. HOSPITAL ROOM - DAY

Truman enters another room, where a NURSE is tending to
Shelly, lying quietly in bed, pale, exhausted, coughing gently
every now and then. Truman nods to the Nurse, who exits.
Truman sits by the edge of the bed. Shelly manages a weak
smile.

TRUMAN
Hi Shelly.

SHELLY
Hi. Hope you don't mind if I don't
get you coffee.
(starts to cough. He
pats her arm)
Leo know I'm here?

TRUMAN
Shelly...

SHELLY
(sees the look on his
face)
What? What?

TRUMAN
Leo was shot last night. He's here
in the hospital.

SHELLY
Oh my God...

TRUMAN
It's bad. You should know there's a
chance he may not make it.

SHELLY
Oh my God, what happened?

TRUMAN
We don't know. We found him at your
house about an hour ago.

SHELLY
At our house?

Truman nods. Shelly's thinking, eyes darting around, exploring
the possibilities.

TRUMAN
Shelly... we're gonna need to ask
you some questions.
(she nods)
Can you tell me what you were doing
at the mill?

Tears come to Shelly's eyes.

SHELLY
Would it be okay if maybe... we could
talk a little later? It's just...
you know, with Leo...

She starts to cry. Truman pats her on the shoulder.

TRUMAN
I understand. You rest up for a while.
I'll be back to see you.

SHELLY
Thanks, Sheriff.

Truman rises, exits. Shelly tries to put the pieces together.

SHELLY
(under her breath,
terrified)
Bobby... Bobby, help me...

CUT TO:

INT. HOSPITAL CORRIDOR - DAY

Truman exits Shelly's room, sees Ed coming out of Nadine's
room. They approach. Ed shrugs, a heartbreaking look of
helplessness. Truman gives him a hug.

TRUMAN
I'm sorry.

ED
She's always been a fighter. I'm
betting on her.

TRUMAN
I'd lay money on that myself.

ED
I should have been with her. This
wouldn't've happened.

TRUMAN
You can't blame yourself.

ED
But I do, you see. That's the whole
problem.
(pulling himself back)
Have you seen James? He ought'a know,
I've been trying to get hold of him.

Truman decides not to complicate Ed's emotional state.

TRUMAN
Let me take care of that for you.

ED
Thanks, Harry.
(emotion swelling
again)
She knows I'm there. She squeezes my
hand when I talk to her. She can
hear me.

TRUMAN
'Course she can, Ed. You stay with
her. You'll bring her back.

Ed pats him on the back, nods, goes back in, as Truman moves
off.

Cooper, walking stiffly, putting on his shirt, is exiting
his room further down the corridor, pursued by a distraught
Hayward and a confused Lucy.

HAYWARD
--I want to be very clear this is
completely against my recommendation--

COOPER
Thanks, Doc, duly noted--

HAYWARD
You've lost some blood, you've got
two cracked ribs, some torn cartilage
and possibly a bruised lung--

COOPER
(overlapping)
Lucy, maybe you could run down to
the pharmacy and pick me up a large
bottle of aspirin--Doc, when the
will is firmly invoked the
recuperative powers of the physical
body are simply extraordinary--

HAYWARD
Harry, I want to go on record, this
man should be in a hospital.

TRUMAN
I hear you, Doc--
(to Cooper, search
warrant in hand)
We're ready to give Leo's house a
top to bottom.

COOPER
Good, let's get to work.

TRUMAN
I guess we can't formally arrest him
until he's conscious.

COOPER
Correct. Put a guard on his door,
zip up the exits, nothing leaks to
the press until we've finished the
search.

Cooper stops. Ahead of them, being wheeled out of a room and
down the hall by two ORDERLIES is a gurney holding a huge
figure in a large rubber body bag.

COOPER
What's that?

TRUMAN
That's Jacques.

COOPER
(remembering)
"Shock in a big rubber bag."

TRUMAN
Excuse me?

COOPER
Tell you later. Come on, Harry, we've
got work to do: the attempted murder
of a federal agent is an extremely
serious crime and it barely cracks
our top five.

Cooper moves off, a pained, awkward gait. Hayward and Truman
look at each other. Truman shrugs and starts after Cooper.

COOPER
Harry, if you don't mind, you're
going to have to do most of the
driving.

As they round the corner, we move to look down a long, empty
corridor. We move down it slowly.

DISSOLVE TO:

INT. HOSPITAL ROOM

We move in on RONETTE PULASKI, lying in bed, hooked up to
life support. As we get closer, she moves in a way that
indicates she's coming out of the coma.

CUT TO:

EXT. PALMER HOUSE - DAY

Establish.

CUT TO:

INT. PALMER LIVING ROOM - DAY

SARAH PALMER and MADDY FERGUSON are having coffee both lost
in private thought. Pause.

MADDY
I had the strangest dream last night.

SARAH
About Laura?

MADDY
I'm not sure. Maybe. I was in a
desert. It was hot and dry. There
was some kind of animal with me, I
couldn't see it but I could feel it
breathing on me.

SARAH
What kind of animal?

MADDY
A big cat. I think it was gray. I
could see its eyes, yellow and red.
Then we were in the woods. It was
very dark. I woke up and the window
was open. There was a cold wind
blowing through the room.

From the other room, loud robust singing approaches.

LELAND'S VOICE
"Oh, marsey-doats and dosesy-doats
and little lambs eat ivy / A kiddlede
ivy too, wouldn't you?... marsey-
doats and dosesy-doats and little
lambs eat ivy / A kiddledeet ivy
too, wouldn't you?... "

LELAND PALMER enters the room, well dressed in a three-piece
business suit, carrying his briefcase. He continues to sing,
happy and good-natured, genuinely trying to entertain the
two women. His hair has turned completely white.

LELAND
"Now if the words sound queer and
funny to your ear / A little bit
jumpled and jivey...
(moving closer to
them)
Say 'Mares eat oats and does eat
oats, and little lambs eat ivy'...

He kisses them both, grabs his hat, kind of flips it onto
his head, picks up an umbrella and exits, still singing...

LELAND
"Oh, marsey-doats; and dosesy-doats;
and little lambs eat ivy / A
kiddledeet ivy too, wouldn't you?...
marsey-doats and dosesy-doats and
little lambs eat ivy / A kiddledeet
ivy too, wouldn't you?

Sarah and Maddy look at each other.

FADE TO BLACK:

END ACT TWO

ACT THREE

FADE IN:

EXT. GREAT NORTHERN HOTEL - DAY

Establish.

CUT TO:

INT. BEN HORNE'S OFFICE - DAY

On a television set in the corner, featuring a news story
about the burning mill. SOUND of half-spirited Icelander
singing from the hall outside. Ben and Jerry appear in the
hallway, turn and speak back to the Icelanders in the hall.

BEN
Travel safely, Einer; (Icelandic
phrase): next year in Rekyavik!

Ben pulls Jerry into the office, closes the door and barks
instructions.

BEN
On the bus, on the runway, right up
to the plane; no television, no
newspapers and make sure the pilot
doesn't fly over the mill, until
their check clears as far as they're
concerned that fire never happened.

JERRY
What fire?

Ben gives him a friendly slap on the cheek.

BEN
(lowers his voice)
Agenda: let's get a location on
Catherine, keep our distance, We
just want to be sure she's ready to
take the fall, I want a complete
medical on Leo Johnson's prospects
for recovery and a satisfying
explanation from Hank Jennings why
that punk Leo isn't being measured
for a plot at Ghostwood Memorial
Park.

JERRY
Well begun is half done.

The SOUND of the Icelanders is interrupted by the approaching
sound of Leland singing "Mare-se-doats." The doors open as
he finishes the chorus. Leland spreads his arms, a happy
smile on his face, his white hair standing up like a field
of albino wheat.

LELAND
I'm back!

Ben and Jerry stare at him for a long time.

CUT TO:

EXT. LEO JOHNSON'S HOUSE - DAY

A lot of police vehicles parked outside.

CUT TO:

INT. LEO JOHNSON'S HOUSE - DAY

Full-scale forensics going on in the living room; technicians
measuring the trajectory the bullet took through the broken
window. Truman examines the bite Leo's axe took out of the
wall. Hawk comes out of the bedroom with a small box
containing some skin mags, including a few back issues of
Flesh World, takes them to Cooper, seated stiffly on a chair
in the middle of the room. We see two PLAINCLOTHES COPS are
carefully dismantling the kitchen in a thorough search.

HAWK
Surprise; Flesh World.

COOPER
Good customers must get complimentary
subscriptions.

HAWK
Still no cocaine, here or in the
truck.

COOPER
We may have to bring in the dogs.
Let's get those down to the station.

TRUMAN
I can't figure it; some kind of fight
was going on in here.

COOPER
Well they weren't doing the Tennessee
waltz.

TRUMAN
But the shot came from outside.

COOPER
He wasn't shot by the person he was
fighting with.

TRUMAN
(an idea taking shape)
Two people.

COOPER
Leo was trying to turn somebody to
kindling. The person went down and
hit that television; the legs were
moved off the depressions in the
carpet. Leo advanced, axe raised,
the shot knocked him back onto the
couch.

TRUMAN
Shelly?

COOPER
Shelly's about ninety-nine pounds
soaking wet; that's a big old
television.

TRUMAN
Was she the shooter?

COOPER
That depends on when she got to the
mill.

Truman nods.

CUT TO:

EXT. LEO JOHNSON'S - DAY

Deputy Andy is working the perimeter outside. He looks up to
see a government issue car roar up nearby and stop in a cloud
of dust. AGENT ALBERT ROSENFIELD and his two ASSISTANTS climb
out of the car. Andy immediately turns and runs to the house.

CUT TO:

INT. LEO JOHNSON'S PORCH - DAY

Andy enters and starts for the door.

ANDY
Harry! Harry! It's Agent Rosenflower!

Andy steps on a loose plank which levers up like a shot and
WHACKS him in the face. He goes down. Truman comes out onto
the porch from the kitchen, just as Albert enters through
the outside door. They stare at each other. Andy moans
quietly. Albert looks at him.

ALBERT
Another great moment in law
enforcement history.

The plank Andy dislodged reveals a cavity under the porch,
which Truman is the first to notice. He kneels down to take
a look...

CUT TO:

INSERT - THE PORCH CAVITY

Secreted inside is Leo's stash, prominently featuring a couple
of kilo bricks of cocaine.

CUT TO:

TRUMAN

As he looks back up at Albert.

TRUMAN
Albert, I guess you were more right
than you know. Good work, Andy.

His nose bleeding, Andy manages a cockeyed grin.

CUT TO:

EXT. DINER - DAY

Establish.

CUT TO:

INT. DINER KITCHEN - DAY

A small bottle of ammonia or some like chemical is opened.
HANK JENNINGS lets the fumes from the bottle drift up into
his face. He inhales, his eyes redden and start to rear. He
replaces the bottle top and hides the bottle as NORMA JENNINGS
enters the kitchen. She's not in uniform this morning.

Hank lets her catch a glimpse of him before turning away.

NORMA
Hank?

Hank grabs a broom and starts to sweep up, trying to hide
his "tears."

HANK
Yeah. Hi.

NORMA
What is it?

HANK
Nuthin'. Fine.

She regards him, trust still an issue but today perhaps
slightly more on the fence.

NORMA
(waiting him out)
Uh-huh.

HANK
(pause, stops sweeping)
I can't stop thinking of little Shelly
in that burning mill... and then as
if that's not bad enough, she comes
out of it to find Leo's been shot? I
don't know. I mean I've done some
rotten things in my life, I don't
pretend to be any saint, I've paid
for it, but why do bad things happen
to good people? It just... doesn't
seem fair.
(tries to lighten up)
Anyway...

NORMA
(somewhat noncommittal)
I'm just on my way over to see her.

HANK
Yeah, listen, I was gonna send her
some flowers
(takes out some cash)
Maybe you could...

She takes the money.

NORMA
That's a nice thought.

HANK
Sometimes I guess it is the thought
that counts.

NORMA
She'll get through this. She's tougher
than she looks.

HANK
Yeah. Kind'a reminds me of somebody.

A wistful grin for her benefit. She half-smiles, pockets the
money, starts out.

NORMA
She likes snapdragons.

CUT TO:

INT. DINER - DAY

Norma busies herself behind the counter for a moment. Behind
her DONNA HAYWARD enters the diner, wearing sunglasses, spots
Maddy Ferguson sitting at the counter, moves to her and
together they move to a booth, maintaining a conspiratorial
tone.

MADDY
Is it true about James?

DONNA
He spent the night in jail.

MADDY
Do you think it's because of what we
did?

DONNA
Look, we don't know if we "did"
anything. My dad says Dr. Jacoby got
sick because he was attacked; all we
did was send him a tape.

MADDY
Maybe he wouldn't have been attacked
if we hadn't.

DONNA
Maybe. Maybe the sun won't come up
tomorrow if we wash our hair. Think
like that you could go crazy. What's
done is done. The only way this won't
came back to haunt us is if we keep
quiet about what happened last night,
because I can promise you that's
what James is doing. Get the picture?

MADDY
(feeling a little
distant)
Loud and clear.

DONNA
I don't know why they're holding
James, I'll try to find out. In the
meantime, mum is the word.

MADDY
I heard they caught Laura's killer.

DONNA
If that's true why haven't they made
an announcement?

MADDY
That's what Uncle Leland said this
morning--

DONNA
Did they come to your house? Did you
see it on the news?

MADDY
No--

DONNA
Then until that happens we still
have work to do.

MADDY
Uncle Leland's hair turned white.

DONNA
Really?

MADDY
White as a sheet.

DONNA
That's weird.

Norma sees them.

NORMA
Oh, Donna, I've got something for
you here.

She takes an envelope out from under the counter and moves
to the booth.

NORMA
This came in the mail for you
yesterday.

DONNA
Thanks, Norma.

She looks at it.

INTERCUT:

THE ENVELOPE

Addressed to "Donna Hayward, c/o Norma Jennings, Double R
Diner"

DONNA
That's odd.

DONNA

As Donna examines it, Norma nods, moves off, exits the diner.

MADDY
What is it?

Donna shrugs, opens the envelope, finds a note inside, printed
in block letters.

INTERCUT:

THE NOTE

It reads: LOOK INTO THE MEALS ON WHEELS.

CUT TO:

INT. ONE-EYED JACK'S BEDROOM - DAY

Audrey, alone in her room, sprawled on the bed playing
solitaire. She hums. She cheats.

A knock at the door. A FIFTY-TWO PICK-UP GIRL enters.

AUDREY
Say, when do they put on the feedbag
around here? I could eat a bear.

PICK-UP
Kitchen's open twenty-four hours a
day.

AUDREY
Yeah? My door isn't. There's no
doorknob on my side.

PICK-UP
That's for security.

AUDREY
Whose security?

PICK-UP
All the new girls get this room at
first.

AUDREY
(this is interesting)
All of them?

PICK-UP
Until they trust you.

AUDREY
Then what happens?

The Girl likes her and is friendly, but is also clearly
operating under some other instructions.

PICK-UP
Keep asking so many questions and
you'll never find out.

AUDREY
They don't like you asking questions?

The Girl gestures to be quiet, nods, points to a small screen
in the wall; a speaker. Audrey nods, understanding.

AUDREY
(for the speaker's
benefit)
I wouldn't normally be so curious,
but Jack's is such a first-rate joint
I'd like to know more about how it's
run.

PICK-UP
(playing along)
This may be your chance to find out;
Blackie would like to see you in her
office.

AUDREY
(still playing to the
speaker)
Hey, great.

They move towards the door.

AUDREY
(whispers)
What's your name?

PICK-UP
(whispers)
Nancy.

AUDREY
(still whispering)
Nancy, one more question...
(pulls on her own
bustier)
...don't your boobs start to hurt in
this thing?

Nancy covers her mouth to hide her laugh and nods.

CUT TO:

INT. BLACKIE'S OFFICE, - DAY

Audrey enters. Blackie, fixed up, looking cool and steely,
is getting a shoulder rub from one of the PICK-UPs. Another
PICK-UP is kneeling in front of her, rubbing her feet.

AUDREY
Hey, boss, what's up?

BLACKIE
(lets that pass)
The owner was a little disappointed
in your performance last night.

AUDREY
Oh? That's not what he told me.

BLACKIE
He said you were witholding.

AUDREY
Okay, right away, here's my analysis
of the guy, he's a big cheese, girls
are falling like ripe tomatoes every
time he walks into a room. Hey, a
steady diet of caviar would eventually
kill you, right? I ask myself, what's
this guy missing? Conquest, the thrill
of victory.

BLACKIE
So you turned tail and made him chase
you.

AUDREY
So to speak. You know the guy, am I
right?

BLACKIE
(coolly assesses her,
then)
Did you find him attractive?

AUDREY
Attractive? Yes. I wouldn't say he
was my type exactly.

Blackie rises and insinuates her way right up to Audrey. She
touches Audrey's check.

BLACKIE
And who would you say is your type,
exactly?

AUDREY
Not you. No offense.

Blackie slaps her hard. Audrey raises her hand to slap back.
Blackie catches her wrist.

BLACKIE
Let's get one thing straight between
us, princess...

AUDREY
(not flinching)
Okay.

Audrey hears the snick of a lock engaging. She looks down.
Blackie's put a handcuff on her wrist.

BLACKIE
When you work for me, everybody's
your type. Whether you like it or
not.

They look at each other.

FADE OUT:

END ACT THREE

ACT FOUR

FADE IN:

EXT. SHERIFF'S STATION - DAY

Establish.

CUT TO:

INT. SHERIFF'S STATION - DAY

Cooper, shirt off, ribs heavily taped, sits on the conference
table, as Albert Rosenfield examines him, using a stethoscope.
Albert's briefcase is open on the table.

ALBERT
How simple can I make it, Cooper?
FBI Agent gets shot; FBI Agent
investigates. I'm in proximity,
working in the Seattle lab, I'm
familiar with the underlying case--

COOPER
We don't know that they're related.

ALBERT
Right. You didn't pick up your towels
so the chamber maid plugged you.

COOPER
Albert, the point is you're not going
to win any local popularity contests--

ALBERT
No, the point is Gordon Cole ordered
me back here. We follow orders.
Breathe.
(he listens to a breath)
You were shot by a right-handed
person, five foot six to ten inches
tall, at a distance of less than
three feet. I'll have ballistics
this afternoon. You're blank on other
details?

COOPER
Yes.

ALBERT
I'll take it from here. Meanwhile
one of your principal suspects was
murdered in his hospital bed, the
other was shot in his living room.
You tell me: vigilante justice or
just clean country living?

COOPER
Albert, let me ask you something;
where does this attitude of
generalized unpleasantness come from?

ALBERT
(pause, looks at him)
I'll get back to you.

COOPER
If you don't want both eyes blackened
on a regular basis, while you're
here I suggest you make some kind of
peace with rural life.

ALBERT
Great. After the square dance maybe
we can go for a hayride. I'll be at
the hospital.

A knock. Andy Brennan enters.

ANDY
Agent Cooper? You wanted to see me?

COOPER
Have a seat, Andy.

Andy sits. Albert packs up his briefcase.

COOPER
Andy, I wanted to have a brief chat
about the events of yesterday.

ANDY
Okay.

COOPER
When an officer's involved in
something like this, it can result
in a great number of distractions in
the workplace.

ANDY
Uh-huh.

COOPER
The thing to focus on is your daily
routine; cling to it. Let it become
the tent pole around which you
organize your waking life.

ANDY
(hanging on every
word)
Okay.

COOPER
The job can provide the structure
you need to survive, while body and
mind are left free to heal the wounds
our work occasionally, inevitably
inflicts.

ANDY
(starting to look
confused)
All right.

COOPER
Even if committed in the line of
duty and in a timely and heroic
fashion, the firing of our weapon,
the shooting of another human being,
no matter how villainous the
individual may be, exacts a spiritual
and emotional toll on the officer.

ANDY
(sees the light)
Oh.
(clearing up the
misunderstanding)
I thought you were talking about me
and Lucy.

Cooper looks at him. At the door, Albert looks at Andy, back
at Cooper.

ALBERT
Where do they keep his water dish?

Albert exits.

CUT TO:

INT. SHERIFF'S STATION RECEPTION - DAY

Albert exits past Lucy, at the coffee station.

LUCY
Welcome back.

ALBERT
(takes her coffee cup)
For me? You shouldn't have.

Albert exits the station, passing PHILLIP MICHAEL GIRARD,
the one-armed man, just entering, muscling in his hefty sample
case. He approaches Lucy, back at her desk. Behind him comes
TOM, the mailman, a small, chatty fellow, carrying the day's
load, including a fair sized box.

GIRARD
Excuse me, is Sheriff Truman here?

LUCY
He is but he's busy at the moment,
may I help you?

Tom holds up the mail, shows Lucy the box.

TOM
Got a box here, Luce.

LUCY
Thanks, Tom, just set it down there
on the floor in front of the desk
next to this gentleman.

TOM
Pretty good-sized box.

GIRARD
I'm afraid I don't have an
appointment.

TOM
(a snoop)
Addressed to that Agent Cooper, care
of the Sheriff. What do you suppose
this could be?

LUCY
I'm sure I don't know.

GIRARD
The Sheriff asked me to stop by at
my convenience, this was the first
convenient moment.

TOM
Return address Washington, D.C., our
nation's capital.

LUCY
(trying to get rid of
him)
Thanks, Tom. Put the box down now.

TOM
I don't think it's fragile, least
ways it's not marked fragile.

LUCY
See you tomorrow, Tom.

TOM
You bet'cha.

Tom winks and exits.

LUCY
(to Girard)
Will the Sheriff know what this is
regarding?

GIRARD
(a big smile, lifts
his case)
I'm here to sell him some shoes.

CUT TO:

INT. INTERROGATION ROOM - DAY

JAMES HURLEY sits across from Sheriff Truman. A small tape
recorder sits on the table between them. We hear...

LAURA'S VOICE
(from the tape)
...uh-oh, here comes Mom with milk
and cookies... see you later,
Lawrence, bye-bye.

Tape hiss, then silence. Truman turns off the tape.

TRUMAN
You got this tape from Dr. Jacoby's
office.

JAMES
Yes sir.

TRUMAN
That's breaking and entering, James.

JAMES
The door was open.

TRUMAN
How did you know Jacoby wouldn't be
there?

JAMES
I knocked, nobody answered.

TRUMAN
You were alone?

JAMES
Yes.

Pause.

TRUMAN
James, maybe you had your reasons.
You realize we may not see it that
way. Especially with three ounces of
cocaine in your gas tank.

JAMES
You know I didn't put that there.

TRUMAN
I know what I'd like to believe. I
also know you were seeing Laura the
last few weeks, which means you could
have been mixed up in anything.

JAMES
Uncle Ed know I'm in here?

TRUMAN
I haven't told him yet.
(pause)
Nadine took an overdose of pills
last night. She's in the hospital.
Ed's with her. I didn't want to tell
him about this.

JAMES
She gonna be all right?

TRUMAN
They don't know yet.

JAMES
Poor Nadine.

TRUMAN
James, if there's anything else you
want to tell me, this would be a
good time.

JAMES
(thinks, nods)
Laura talks on her tape about a
"mystery man."

TRUMAN
The Red Corvette. Leo Johnson.

JAMES
I think it's somebody else. Not
Jacques Renault either.

TRUMAN
Who?

JAMES
I never put it together until I heard
the tape, where she said "this guy
can really light my fire?" She said
something once about a friend of her
father's. Somebody she'd known since
she was a kid. She said this guy was
really into fire.

TRUMAN
What did she mean by that?

JAMES
I don't know. Laura said a lot of
nutty stuff. Most of the time it
went right by you.

Cooper enters the room, still walking strangely, followed by
Hawk.

COOPER
James, let's get right to the point.
You found something else in Jacoby's
office. I want it. Give it to me.

James looks at Truman, looks back at Cooper. Cooper holds
out his hand.

COOPER
Come on.

James takes out the half-a-heart necklace, puts it in Cooper's
hand.

JAMES
That was with the tape.

COOPER
Very good. Hawk, take James back to
his cell.

JAMES
You gonna book me?

COOPER
We're going to talk about it.

Hawk leads James out. Truman stares at him. Cooper examines
the necklace.

TRUMAN
How'd you know he had the necklace?

COOPER
Harry, do you know what they call it
when preparation meets opportunity?

TRUMAN
Give me a minute...

COOPER
Luck. The residue of hard work. Come
on, I've got something to show you.

TRUMAN
(as they exit,
memorizing)
"Luck is the residue of hard work."

COOPER
That's the ticket.

CUT TO:

INT. SHERIFF'S STATION RECEPTION/CONFERENCE ROOM - DAY

Wearing, dark glasses, Donna is standing near the front desk,
Lucy's behind the desk, Andy's in the coffee area, as Cooper
and Truman come around the corner.

COOPER
Lucy, Andy, I need you in the
conference room...

LUCY
(as she follows them
in)
Agent Cooper, Doc Hayward called
from the hospital, he said Dr. Jacoby
is conscious and that if you wanted
to question him now you could come
over to the hospital--

They're now in the conference room. The box that came for
Cooper in the mail is open on the table.

COOPER
Thank you, Lucy. Is Donna here to
see James?

LUCY
Yes.

Cooper nods to Truman, who gets the message and exits the
room. Cooper opens the box and empties the contents on the
table.

COOPER
This is every edition of "Flesh World"
published in the last three years.
(takes a picture from
his pocket, displays
it)
This is a picture of Theresa Banks,
the first victim of our killer, who
you'll recall was found a year ago
in the southern part of the state.
We already know Ronette and Laura's
picture appeared in ads in the
magazine--

ANDY
You want us to look for a picture of
Theresa Banks.

COOPER
Andy, you're way ahead of me.

Andy smiles pridefully at Lucy, then remembers how upset he
is and cancels the look.

COOPER
Lucy, we'll be at the hospital.
(takes out his recorder
as he exits)
Diane, I've just received the back
issues issues of "Flesh World." Good
work. It's nice to see some
cooperation with the law, especially
from a company that preys on human
weaknesses--

Andy and Lucy look at each other. Look at the magazines. Any
assignment but this.

CUT TO:

INT. SHERIFF'S STATION HOLDING CELL AREA - DAY

Hawk unlocks the door, lets Donna into the corridor outside
James' cell, then quietly retreats.

DONNA
How you doing?

JAMES
Did you tell them anything?

DONNA
They haven't asked me anything.

She takes out a cigarette. Lights it. James is mildly
surprised.

JAMES
When did you start smoking?

DONNA
I smoke every once in a while. Helps
relieve the tension.

JAMES
(doesn't like this)
Uh-huh.

DONNA
So, did you tell them anything?

JAMES
I didn't tell them about you or Maddy.

DONNA
Do they think Leo killed Laura?

JAMES
I don't know what they think. How's
Maddy?

DONNA
She's all right. She hasn't said
anything either. I heard them say
Jacoby's conscious, they're going to
question him.

JAMES
Great.

Donna stubs the cigarette out on a bar, peeks at him over
the dark glasses.

DONNA
So... don't you want to kiss me?

They look at each other. James leans forward and kisses her
tenderly through the bars; she responds aggressively, grabs
him, hot. He pulls back and looks at her, puzzled.

DONNA
(slightly teasing)
What's wrong?

JAMES
Nothing's wrong.

DONNA
Or is it just not okay for me to
want you?

They look at each other, James a little uncertain. She smiles,
pushes her dark glasses back up.

DONNA
Get out soon, James.

She bites his finger and leaves the room. James watches her
go.

FADE TO BLACK:

END ACT FOUR

ACT FIVE

FADE IN:

INT. HOSPITAL CORRIDOR - DAY

BOBBY BRIGGS sneaks around a corner, avoids a nurse and waits
outside the door to Shelly's room. A DOCTOR exits the room.
Bobby slips inside...

CUT TO:

INT. HOSPITAL ROOM - DAY

Bobby kicks out the doorstop, closes the door, moves to
Shelly's bed. She's lying asleep. Bobby takes a small bouquet
from under his jacket, holds it under her nose. She stirs.

BOBBY
Hey, Sleeping Beauty.

She opens her eyes, sees him.

SHELLY
Bobby?

He kisses her. She lets herself be swept up for a moment,
then remembers...

SHELLY
Bobby, what are you doing here? What
if somebody sees you?

BOBBY
I don't care. I don't care anymore.

SHELLY
Leo's in the hospital. Somebody shot
him.

BOBBY
I know. I mean, I heard. What happened
to you?

SHELLY
Bobby, he tried to kill me. He knew
about us, he took me to the mill. He
tied me up and left me there and
started the fire--he said he was
gonna kill you.

BOBBY
Fat chance. Are you all right?

SHELLY
Doctors seem to think so.

BOBBY
Shelly, the only way you're gonna
get out of here pronto is if you let
Bobby be your doctor.
(grabs a stethoscope
off the bed post)
Now let's just have a look here,
miss, shall we?

He lifts her bedclothes, separates her gown, looks down at
her.

BOBBY
I think you're coming along
splendidly.

He breathes once on the stethoscope, erotically places it on
her chest.

BOBBY
Deep breath... that's a girl, deep
breath... that's fine...

He swoops down for a kiss. She responds.

BOBBY
I'd say you're on your way to a
complete recovery.

They kiss again. She laughs. They hear VOICES in the hallway
outside.

SHELLY
You'd better go.

BOBBY
You're my girl.

SHELLY
(the first time she's
said it)
I love you, Bobby.

He pauses.

BOBBY
I guess I love you, too.

He puts the flowers in a medical jar by her bedside and
quickly splits to the hallway.

CUT TO:

INT. HOSPITAL CORRIDOR - DAY

Bobby slips away as Cooper , ALBERT and Truman come around
the corner. Cooper Truman catches a glimpse of Bobby.

COOPER/TRUMAN
Bobby Briggs.

TRUMAN/COOPER
What's he doing here?

COOPER/TRUMAN
He didn't look sick.

They look at each other. They move on, find Doc Hayward at
the coffee bar.

ALBERT
To see this kind of investigative
genius at work, this a real treat
for me.

They look at him and move on. They find Ed Hurley at the
coffee bar, across the hall from Nadine's room.

COOPER
Doc, who was Bobby Briggs visiting?

HAYWARD
I didn't even know he was here.

TRUMAN
How's it going, Doc?

HAYWARD
Thank god for the coffee bean.

COOPER
(pouring one for
himself)
Doc, you said a mouthful.

HAYWARD
I still think you ought to be resting.

TRUMAN
How does that saying go, is it no
rest for the weary?

COOPER
I thought it was no rest for the
wicked.

HAYWARD
I never could get that straight.

Cooper looks in the room across the hall at intensive care,
at Ed Hurley, sitting by Nadine's bedside.

COOPER
Excuse me for a moment...

Cooper moves stiffly into the room across the hall.

CUT TO:

INT. INTENSIVE HOSPITAL ROOM - DAY

Cooper knocks gently on the doorframe. Ed, seated by the
bed, holding Nadine's hand. Ed glances back at him.

ED
Agent Cooper...

COOPER
(moving to him)
Ed... how is she Nadine?

ED
(almost a whisper)
She's in a coma. They say there's
nothing else we can do. She has to
want to come back.

Cooper puts a hand on Ed's shoulder.

ED
I don't know why I'm whispering...

COOPER
How are you?

ED
(pause, summing up
succinctly)
All I can do is think about the things
I should have said or done.

COOPER
Don't be too hard to yourself.

ED
I never believed in fate. I always
thought you make your own way, you
take care of your own and you clean
up after yourself.

COOPER
Sound advice.

ALBERT
Farmer's almanac?

ED
So you see, for me to say to myself
now that Nadine's had an appointment
with those pills from the get-go...
(struggling with his
emotions)
just to make myself feel better...
that's about as low as a man can
sink. I saw this coming and didn't
want to believe it. What's worse is,
I'm sitting here thinking maybe
there's some part of me that didn't
want to stop her. That's a full load.

COOPER
(nods, pause)
When did you get married, Ed?

ED
Right out of high school. See, Norma
and I'd been together all through
school four years. Everybody figured
we'd get hitched, that'd be that, I
barely knew Nadine to say hello to.
That spring, one bad weekend, Norma
ran off with Hank. I was so twisted
up inside I couldn't see straight.
When I opened my eyes there was Nadine
right in front of me. There was
something so... sweet and helpless
about her. We drove all night. Ended
up in some little town in Montana,
out past Great Falls... I asked her
to marry me, half-joking, half-drunk,
half-crazy. It was getting light
when we found a Justice of the Peace.
(pause)
Norma, she... she hadn't even slept
with Hank. The look on her face when
she found out...
(pause)
Nadine and I, we went up to my Dad's
old cabin, up in Eagle Pass.
Honeymoon. I was hoping maybe we'd
get around to talking about an
annulment, a divorce, anything. But
Nadine was so happy.
(pause)
The first day we went hunting
pheasant. Wanted to bag our own
dinner. Nadine was a crack shot. We
had two birds already, but I felt
good shooting, liked the way the
sound echoed and rolled down those
hills. I fired. A piece of buckshot
skipped off a rock and caught her
square in the eye.
(pause)
She laid across my lap as I drove us
back to town. She never cried, never
blamed me, never hated me for it.
'Couple months later, Norma married
Hank.
(pause)
I don't believe in fate. You make
your bed. You sleep in it.

Cooper's moved. Ed strokes Nadine's cheek, moves a strand of
hair. A soft knock on the door. Albert takes out a
handkerchief, pretends to dab at his eyes.

TRUMAN/HAWK'S VOICE
Ed? Someone here to see you.

He turns. James steps into the doorway. We see Hawk in
background. Ed rises. He and James embrace. Cooper withdraws
from the room.

He turns. James steps into view. We see Hawk in background.
Ed and James embrace. Cooper, Truman and Albert withdraw.

CUT TO:

INT. HOSPITAL CORRIDOR - DAY

Cooper, Albert and Truman walk slowly away. Cooper shakes
his head.

TRUMAN
(to Hawk, quietly)
Take James back when they're done.

Hawk nods. Cooper and Truman continue on.

COOPER
Poor Ed. Poor Nadine.

TRUMAN
(says volumes)
Yeah.

They move around the corner.

CUT TO:

INT. HOSPITAL ROOM - DAY

Cooper and Truman enter. DR. JACOBY is lying in bed, hooked
up to various monitors, but sitting up, rested, alert. Doc
Hayward is seated by his bedside. He rises, Cooper takes his
seat.

JACOBY
(notices he's moving
slowly)
What happened to you?

HAYWARD
I'll see about some coffee.

TRUMAN
Thanks, Doc.

Cooper and Truman take seats beside Jacboy's bed.

COOPER
Dr. Jacoby, I know you've been through
quite a bit in the last twenty-four
hours. So have I. I don't want to
pussyfoot around with you anymore or
see any more magic tricks or hear
anymore psychological mumbo-jumbo. I
want you to tell us how you came
into possession of this

Cooper reveals the half-a-heart necklace. Jacoby is saddened
seeing it, holds it gently in his hands.

JACOBY
Shall I start at the beginning?

COOPER
That's as good a place as any.

JACOBY
Laura started coming to see me nine
months ago. On her own. Picked my
name out of the phone book. I thought,
what in the world could be troubling
such a bright, pretty girl?

COOPER
And?

JACOBY
Laura was, in essence, living a double
life; two people, self-divided, and
those two selves were literally at
war. A war of attrition. And the
part of her that was good and loving
was gradually losing ground.

COOPER
Why?

JACOBY
Because the other self was stronger.
The last time I saw her, two days
before her death, it seemed to me
she had reached a kind of peace with
herself. I now believe that what she
had in fact arrived at was a decision
to end her life.

TRUMAN
Suicide?

COOPER
She didn't kill herself.

JACOBY
No. She allowed herself to be killed.

TRUMAN
I don't understand.

JACOBY
She had reached a point where her
good self believed that death was
the only way to prevent the other
side from complete domination. Death,
in this sense, represented a kind of
victory.

TRUMAN
Good Lord...

COOPER
(alert, moving him
along)
The necklace...

JACOBY
As I told you, the night after she
died, I followed a man in a red
corvette.

COOPER
Leo Johnson.

JACOBY
Correct. He eluded me near the Old
Sawmill Road. As I sat there cursing
my lack of horsepower, a motorcycle
drove by--

COOPER
James and Donna.

JACOBY
Which I discovered after following
them, on foot, into the woods. They
spoke intently for a while, I couldn't
hear them, then they buried something
in the ground and drove away.

CUT TO:

EXT. WOODS - NIGHT (FROM PILOT)

MOVING POV, a flashlight beam travels along the ground, finds
the white rock. A gloved hand reaches down and takes the
necklace.

JACOBY'S VOICE
(over)
Unable to quench my curiosity, I dug
down and found the necklace. I had
seen it around Laura's neck many
times. Perhaps ill-advisedly, I took
it as a keepsake.

CUT TO:

DR. JACOBY

Tears in his eyes, looking at the necklace in his hand.

JACOBY
This was her, you see. The necklace.
A divided heart.

Pause. Cooper gently takes it from him.

COOPER
(more gently)
One more thing. You were in this
room with Jacques when he was killed.

JACOBY
Yes. Heavily sedated.

TRUMAN
Did you see or hear anything?

JACOBY
I can remember hearing the fire alarm
go off.
(tries to think)
That's all, I... it's all like a
dream, I'm sorry. Wait, I... there
was a smell, a peculiar smell.

COOPER
When he died, Jacques voided his
bowels.

JACOBY
No. This was like oil. Like scorched
engine oil.

Truman and Cooper look at each other.

CUT TO:

INT. HOSPITAL CORRIDOR - DAY

Cooper and Truman walk.

COOPER
Harry, let's get a hold of Albert.
We'll meet back at the station. I'm
ready to lay the whole thing out.

TRUMAN
Rocks and bottles?

COOPER
Chalk and the blackboard will be
just fine.

They move around the corner out of sight.

TRUMAN'S VOICE
Maybe some doughnuts.

COOPER'S VOICE
That goes without saying.

We PICK UP and STAY WITH Norma, just leaving Shelly's room,
calling back to her.

NORMA
I'll come back later and bring you
some soup. The food in this place'll
kill you quicker than most diseases.

SHELLY
You know, I got a real sweet tooth,
too.

NORMA
I've got some fresh chocolate/peanut
butter pie.

SHELLY
Norma, I'm serious: bring the whole
pie.

NORMA
Feel better, sweetie.

SHELLY
I do already.

NORMA
Bye-bye.

Norma moves down the corridor. She stops outside Nadine's
room, sees Ed at her bedside, holding Nadine's hand. She
watches them for a moment, then slowly pulls away from the
door.

FADE TO BLACK:

END ACT FIVE

ACT SIX

FADE IN:

EXT. DINER - DAY

Bobby Briggs enters the diner, looks around, moves to the
counter and hears...

MAJOR BRIGGS' VOICE
Son?

Bobby turns. The Major is sitting in a booth, enjoying a cup
of coffee and some pie, a napkin in his shirt front.

BOBBY
(surprised)
Dad?

An awkward moment.

MAJOR BRIGGS
Would you... care to join me?

Bobby looks around. No escape.

BOBBY
Yeah, okay.

Bobby slumps into the booth across from his father.

MAJOR BRIGGS
How was school today?

BOBBY
School? Oh. Fine.

MAJOR BRIGGS
That's good.

The Major takes another bite of pie. A brief lull.

BOBBY
How was work?

MAJOR BRIGGS
Work? Work was good.

Another hiatus. More pie.

BOBBY
Dad?

MAJOR BRIGGS
Yes, son.

BOBBY
What is it that you do, exactly?

MAJOR BRIGGS
That's classified.

BOBBY
Oh.

MAJOR BRIGGS
Bobby, would you care for a piece of
pie? The huckleberries are
particularly delicious today.

BOBBY
No, thanks.

MAJOR BRIGGS
Particularly fresh and delicious.

More pie and a pause.

BOBBY
This is so weird.

MAJOR BRIGGS
Oh, I've been coming here for Norma's
pie and coffee for many years. It's
a short drive from the base, roughly
twelve minutes if the lights are
with you. At one time, I was nearly
what you might call a habitué.

BOBBY
You don't say.

Finishing his pie, Major Briggs tidily wipes the corners of
his mouth, pushes his plate away and folds his napkin.

MAJOR BRIGGS
The gospel truth. Son, may I share
something with you?

BOBBY
Not the pie.

MAJOR BRIGGS
A vision I had in my sleep last night.
As distinguished from a dream, which
is a mere sorting and cataloguing of
the day's events by the subconscious;
a vision, fresh and clear as a
mountain stream, the mind revealing
itself to itself.

BOBBY
Uh-huh.

MAJOR BRIGGS
In my vision I was on the verandah
of a vast estate, a palazzo of some
fantastic proportion. There seemed
to emanate from it, a light from
within this gleaming, radiant marble.
I had known this place. I had, in
fact, been born and raised there and
this was my first return, a reunion
with the deepest wellsprings of my
being. As I wandered about I noticed
happily that the house had been
immaculately maintained and there
had been added to it a number of
additional rooms but in a way that
blended in so seamlessly with the
original construction one would never
detect any difference. Returning to
the house's grand foyer, there came
a knock at the door. I opened it. My
son was standing there. It wasn't
you, but in a way it was. He was
happy and carefree, clearly living a
life of deep harmony and joy. We
embraced, a warm and loving embrace,
nothing withheld. We were, in this
moment, one. My vision ended and I
awoke with an overwhelming feeling
of optimism and confidence about you
and your future. That was my vision
of you.

BOBBY
(touched in spite of
himself)
Really.

MAJOR BRIGGS
I'm so glad I've had this opportunity
to share it with you.

Major Briggs rises and extends a hand. He and Bobby shakes
hands.

MAJOR BRIGGS
I wish you nothing but the very best
in all things.

BOBBY
Thank you.

MAJOR BRIGGS
I'll see you later at home.

BOBBY
Okay.

Major Briggs moves off to pay his bill. Hank mans the
register.

HANK
How was everything?

MAJOR BRIGGS
Exceptional, as always.

HANK
Great.

Major Briggs tips his hat, gives Bobby a happy wave and exits.
Bobby waves back, sits in the booth, trying to add this up
to a round figure.

Norma enters the diner, clearly upset. She moves behind the
counter, starts towards the back.

HANK
How was she?... Norma?

NORMA
(close to tears)
I can't talk right now.

She disappears into the kitchen. Hank gives a look to Bobby,
a conspiratorial shrug ("women") before moving off. Bobby
returns it, before remembering where he last saw Hank.

CUT TO:

BOBBY'S MEMORY - POV

Looking out the window of Leo Johnson's house at Hank, just
after he shot Leo.

CUT TO:

BOBBY

Adding up another equation.

CUT TO:

EXT. SHERIFF'S STATION - DAY

CUT TO:

INT. SHERIFF'S STATION CONFERENCE ROOM - DAY

The blackboard is set up at one end of the room. Truman,
Hawk and Andy enter and take seats at the opposite end of
the table. A tearful Lucy enters with a platter of doughnuts
which she sets down on the table. Everyone takes one.

Cooper looks at his watch. Albert enters the room, sets down
his briefcase.

ALBERT
(no apology here)
Oh. Was I late?

COOPER
Have a seat, Albert. Albert, Harry,
jump in any time; we're going to
reconstruct the last hours of Laura
Palmer.

Cooper flips over the squeaky blackboard. A map of the town
featuring a number of symbols, houses, etc. have been drawn
on the board.

COOPER
Lucy, if you could man the pointer,
I need to sit down.

He takes out his collapsible pointer, telescopes it to full
length, hands it to Lucy and sits. Lucy stands in front of
the board, blows her nose.

COOPER
We'll keep this simple, Lucy. When I
say something, you point to it.

LUCY
(weepy)
I'll try my best.

Andy looks pained.

COOPER
On the afternoon of February 23,
Laura left school at approximately
2:30 in the afternoon...

Lucy points to a drawing of a building with "HIGH SCHOOL"
printed beneath it.

COOPER
She proceeded by family car to the
Double R Diner.

Lucy points, etc.

CUT TO:

INT. DOUBLE R DINER - DAY

MOS flashback. Laura picks up two large paper bags from Norma
at the counter.

COOPER'S VOICE
...where she picked up nine hot meals
and distributed them to nine shut-
ins around town as part of the Meals
on Wheels program.

CUT TO:

INT. CONFERENCE ROOM - DAY

Lucy points to six small "buildings" scattered around the
map.

COOPER
At the conclusion of which she drove
to the Blue Pine Lodge... where she
gave Josie Packard an English lesson.

ALBERT
You might consider making them
mandatory for all the townsfolk.
(draws stares)
Just a suggestion.

COOPER
Laura then returned home ... she
dined with her parents. At 7:00 that
evening she drove to Bobby Briggs'
house. She and Bobby did homework
together until 9:00.

ALBERT
(to Truman, trying to
get a rise)
What do you think, Sheriff:
trigonometry?

TRUMAN
Bobby claims it was civics.

ALBERT
That seems much more likely.

COOPER
At which Laura drove home.

CUT TO:

INT. PALMER LIVING ROOM - NIGHT

MOS flashback. Laura walks through the room, says good night
to Sarah, and starts up the stairs.

COOPER'S VOICE
She said goodnight to her mother and
went upstairs. A few minutes later
she received a phone call.

Sarah looks at the phone.

COOPER'S VOICE
Mrs. Palmer did not see her leave,
but according to James Hurley she
snuck out of the house on foot and
met him here near the Roadhouse on
Highway 21...

CUT TO:

EXT. ROAD - NIGHT

MOS flashback. Laura hops on the back of James bike and they
ride off.

CUT TO:

INT. CONFERENCE ROOM - DAY

Cooper holds up Laura's diary.

COOPER
In her diary, Laura had written
"nervous about meeting "J" tonite."
I now believe this was a reference
to James Hurley, she was nervous
because she planned to tell him she
didn't want to see him anymore.
(Lucy sniffles back a
sob)
They drove up into the woods near
the Old Sawmill road... their
conversation lasted approximately
two hours. James drove them back
down the hill.

CUT TO:

EXT. ROAD - NIGHT

MOS flashback. James stops the bike. Laura screams something
at him and jumps off. He tries to pursue her and she runs
away.

COOPER'S VOICE
At 12:30, at the intersection of
Sparkwood and 21, Laura jumped off
the bike and ran away.

CUT TO:

INT. CONFERENCE ROOM - DAY

COOPER
This much we know as fact. What
follows now is our best
reconstruction.

Nods to Albert.

ALBERT
Laura left Sparkwood and 21 on foot,
to an unspecified location, where,
as prearranged...

CUT TO:

EXT. ROAD - NIGHT

MOS flashback. Laura moves around a dark corner, comes upon
Leo Johnson standing next to his Corvette, smoking cigarette.
He grabs her, roughs her up a little, indicates she's late.
She kisses him. He puts her in the car and they drive off.

ALBERT'S VOICE
...she met Leo Johnson, the person
who called her earlier. They drove
off together.

CUT TO:

INT. CONFERENCE ROOM - DAY

LUCY
(reluctant to work
for Albert)
Do you still want me to point?

ALBERT
I so wish you would.

COOPER
Yes, Lucy.

ALBERT
Leo Johnson was Laura's source for
cocaine. He was also involved in
Laura's bunco scheme, come-ins for
cash in "Flesh World" magazine, with
ads featuring pictures of both Laura
and Ronette Pulaski.

He holds up an order edition of "Flesh World" pointing out
the item in question.

COOPER
And thanks to Deputy Andy Brennan's
fine eye for detail, we now know
that an ad featuring a picture of
Theresa Banks, the killer's first
victim ran in the six editions of
"Flesh World" before her death a
year ago. Under Laura's ring
fingernail we found the letter "r".

Lucy points to the letter "r" written on the board, then the
letter "t."

ALBERT
Under Theresa's ring fingernail was
found the letter "t." Positive
triangulate linkage.

Andy beams. Lucy sniffles again.

ALBERT
Good work, Andy. Woof.

COOPER
Leo drove Laura to a location
somewhere near the Pearl Lakes off
Highway J, at the foot of the trail
leading to Jacques Renault's cabin.

Lucy points again.

COOPER
...they met Jacques and Ronnette
Pulaski here and climbed the trail
to Jacques' cabin, where they were
heard passing by the cabin of Margaret
the Log Lady. They reached the cabin
at approximately one a.m. They
partied; drugs and liquor were
consumed. Laura was tied up and had
sexual relations with both Leo and
Jacques. Waldo, Jacques's bird, was
let out of his cage and attacked
Laura. Leo and Jacques fought. Jacques
went outside and passed out. When he
came to, Leo and the girls were gone.

Cooper rises stiffly.

COOPER
The Log Lady heard a Third Man pass
by her cabin, go up the hill. This
Third Man witnessed the events in
the cabin, watching through a window.

ALBERT
There were footprints outside the
one window with a clear view of the
room.

COOPER
I believe that after his fight with
Jacques, Leo left the cabin, alone,
walked back to his car and drove
off. Laura was still tied up when
the Third Man entered the cabin.

TRUMAN
It wasn't Jacques or Leo?

COOPER
Laura had ten thousand dollars in
her safe deposit box. I believe that
was drug money she owed to Leo. Leo
wouldn't have killed her without
first collecting that money. Leo
also has an ironclad alibi for the
night Theresa Banks was murdered. He
was in jail, in Twin Peaks, on an
assault charge.

ALBERT
The Third Man took Laura and Ronette
to the train car, here, on foot, a
mile and half away.

Lucy points.

ALBERT
He wore surgical gloves, he was
thorough, he was careful. The girls
did not struggle until they were
inside.

COOPER
Suggesting they knew the man.

ALBERT
They were tied up again at the train
car; Laura for the second time,
Ronette for the first.

TRUMAN
Finley's fine twine.

ALBERT
A generic household brand, available
in most stores. He was also smart.

CUT TO:

INT. TRAIN CAR - NIGHT

MOS flashback. Lit by a candle. We see a SHADOWY FIGURE strike
Ronette. She falls to the ground. We see the figure advance
on Laura. A knife gleams.

ALBERT'S VOICE
The Man struck Ronette once with a
blunt object, knocking her
unconscious. Then he killed Laura.
He took his time; over an hour.

CUT TO:

INT. CONFERENCE ROOM

COOPER
During the course of which, Ronette
came to, managed to crawl out of the
cabin into the woods and eventually
to safety. The Man didn't know or
didn't care that Ronette was gone.

ALBERT
He cleaned up. He built a mound of
dirt, just as he had with Theresa
Banks. He left a note written in
Laura's blood. Washed his hands in
the rainwater pooled outside. My men
also found these outside...

Holds up an evidence bag containing water damaged scraps of
paper.

ALBERT
Scraps of paper. Hand torn, scattered
around the area. Ink washed away by
the rain. Commercial quality.

TRUMAN
From what?

COOPER
(a guess)
Letters? Personal papers?

ALBERT
Attempting to implicate Leo Johnson,
he wrapped Laura's body in plastic
that was taken from Leo's house or
car. He carried the body to Elk River
a quarter of a mile away and threw
her in.

Lucy is too saddened to point. Cooper points.

COOPER
The body floated downriver into Black
Lake and washed up outside the Blue
Pine Lodge.

CUT TO:

EXT. BLACK LAKE - DAWN (FROM PILOT)

The body lying on the rocky shore.

CUT TO:

INT. CONFERENCE - ROOM.

Harry, Lucy and the deputies are speechless. Andy starts to
cry. Lucy wants to embrace him, realizes she can't and has
to leave the room.

ANDY
...I'm sorry.

Harry pats him gently on the back.

ALBERT
It's what we call a three-hankie
crime.

ANDY
(finally boiling over)
You think you're so smart--why don't
you just shut up!

Everyone's surprised by Andy's outburst, no one more so than
Andy. Andy exits. Albert smiles.

TRUMAN
Who's the Third Man?

COOPER
That's the next thing we have to
find out.

FADE TO BLACK:

END ACT SIX

ACT SEVEN

FADE IN:

EXT. BLUE PINE LODGE - NIGHT

Truman's cruiser pulls up outside.

CUT TO:

INT. BLUE. LODGE - NIGHT

Pete and Harry Truman enter. Pete's had better days.

PETE
I sure appreciate the ride, Harry.

TRUMAN
No problem.

PETE
(moving a little slowly)
Smoke inhalation's a nasty business;
I feel like somebody taped my lips
to the tailpipe of a bus.

Pete sits wearily down at the kitchen counter, wipes his
brow.

TRUMAN
Can I get you something to wet your
whistle?

PETE
I'm feeling a little reckless; there's
be a couple 'a ginger beers in the
fridge.

Truman gets the drinks. Pete finds a note the counter, in an
envelope addressed to him.

TRUMAN
So Pete... where the hell is Josie?

Truman sets down the drink on the counter. Pete opens the
envelope.

PETE
Maybe this'll tell you.
(reads the note)
"Dear Pete, I had to leave the town
on an emergency of business to
Seattle. I will phone you when I
arrive. Hope you did a good day at
the mill; there is ginger beer in
the refridge... love, Josie." There
you go.

TRUMAN
When did you see her last?

PETE
I didn't see her at all yesterday.
'Note's dated yesterday afternoon.

TRUMAN
No forwarding number? No way to tell
her about the mill?

PETE
No. She heads over to Seattle once
every three months or so. Want my
opinion she goes there to indulge a
secret vice.

TRUMAN
What is it?

PETE
(confidentially)
Shopping. Comes back with half a
department store.

He chuckles. Sees Truman hasn't moved off his concern.

PETE
Guess we're both a little sweet on
her.

Truman nods. Next piece of business.

TRUMAN
Pete. We haven't found Catherine.

PETE
Yeah. 'Figured.

TRUMAN
The last place anybody saw her's
under fifty tons of twisted steel.
It could take weeks to sift through.
You can hope for the best, but you
ought to prepare or the worst.

Pete nods. It hits him.

PETE
(surprised by the
strength of his
emotion)
Oh dear...

TRUMAN
If there's anything I can do to
help...

Pause.

PETE
Always thought I'd be the first to
go. If you'd laid odds on the last
person standing in a nuclear war I
would'a bet on her.

TRUMAN
I'm so sorry.

PETE
No point in mincing words. She was
hell to live with. But once there
was a little bit of heaven there,
too.

TRUMAN
She was tough.

PETE
Oh God. This'll take a while to sink
in, I suppose.

TRUMAN
Suppose it will.

PETE
Oh God. I loved her. God help her
miserable soul, I loved her.

He breaks down. Truman tries to comfort him. The phone rings.
Truman answers it.

TRUMAN
Packard residence.

INTERCUT:

INT. GREAT NORTHERN HOTEL LOBBY - NIGHT

The ASIAN MAN we saw checking into the hotel in episode 1006
is on a phone in the lobby.

ASIAN MAN
(no trace of in accent)
Could I speak to Josie Packard please?

TRUMAN
I'm sorry, she's not here right now--

ASIAN MAN
Can you tell me when she'll be back?

TRUMAN
She's out of town. I can try and get
a message to her; who should I say
is calling?

The Asian Man hangs up. We stay with him. He thinks. He picks
up the phone and dials.

ASIAN MAN
(into phone)
I'd like to place an international
call please... collect to Hong Kong.

Behind him, elevator doors open; Ben and Jerry emerge. Jerry's
carrying a small box. We stay with them.

JERRY
--I read all about it in this French
magazine they take the entire head,
they dip it in this kind of blancmange
pudding, roll it in oats, stuff it
full of walnuts, hot rocks and a
spice bouquet, wrap it in a
papilliote, seal the edges with a
sugar glaze and bake it under glass.

BEN
Sounds incredible.

JERRY
It is to die for.

BEN
Have you seen Audrey today?

JERRY
No, I haven't.

They head down the corridor.

CUT TO:

INT. BEN HORNE'S OFFICE - NIGHT

Someone's waiting in the office. As Ben and Jerry enter, the
figure turns; Hank Jennings. The illicit mill ledger is on
the desk.

BEN
(to Jerry, as they
enter)
--open a separate offshore account,
see if the sons of Odin will go for
a wire transfer directly to Grand
Cayman--

JERRY
No paper trail.

Jerry sets his box down and starts to carefully open it.

BEN
Not even a ripple; we run the cash
through a quick spin and rinse,
convert it to bearer bonds which we
are prepared to hand over to her as
soon Josie gives us a John Hancock--
(to Hank)
--and where exactly is the fragrant
pearl of the East?

HANK
She took a powder last night.

BEN
Prearranged?

HANK
She wanted a little distance between
her and the smell of smoke. She'll
be back as soon as it blows over.

BEN
Sound strategy. You're keeping a
tight leash?

HANK
I gave her something to think about.

BEN
Your other business with her is
satisfactorily concluded?

HANK
The short answer is yes.

Jerry offers the contents of his box: candied apples.

JERRY
Boys, a local work of genius: tree-
ripened Granny Smith's, dipped in
hot, hand-pulled creme caramel, dusted
with crushed nuts and a dark coco
powder. Enjoy.

They each eagerly take one and bite in. The caramel slows
down their speech.

BEN
A phenomenal taste sensation.

JERRY
Huh? Huh?

HANK
Very good.

BEN
(between bites)
Next business: Leo Johnson.

HANK
He's in a coma. Looks like brain
damage.

JERRY
With Leo, how could they tell?

BEN
Why isn't he on the last train to
the Elysian Fields?

HANK
I caught him center-shot with a .44.
Couldn't risk going inside. The
neighborhood was hot, I had to sneak
past patrols as it was.

BEN
Did he see you?

HANK
Negative. He was chopping wood.

JERRY
Inside?

HANK
Hey. You know Leo.

BEN
(moving on)
What else? Catherine Packard: dead?

HANK
My call put her in the drying shed
when it went up. Sounds like she's
buried in the wreckage.

JERRY
Heat like that they'll be lucky to
find teeth.

BEN
Marvelous. If they don't hang the
arson on the late, lamented Catherine
and her "co-conspirator" Leo I'll
give up sex.

JERRY
(finishing his apple)
That's... confidence.

Hank lifts Catherine's illicit mill ledger off the desk.

HANK
What do we do with the ledger?

BEN
(taking it from him)
Hank... leave the creative thinking
to the brothers Horne. You're a bicep;
relax until we say flex...

Jerry feels Hank's muscle; impressive.

HANK
(enjoying his fellow
sociopaths)
You guys.

CUT TO:

EXT. PALMER HOUSE - NIGHT

Establish.

CUT TO:

INT. PALMER HOUSE - NIGHT

Sarah and Leland are dressed for an evening out. Leland is
deftly spinning Sarah around the room with a few light dance
steps, humming some public domain tune. Sarah is smiling and
enjoying it in spite of herself.

Maddy and Donna watch from the doorway to the room. Leland
finishes the dance.

LELAND
Come on, doll, let's paint the town.

SARAH
(not complaining)
Leland, I don't know what's gotten
in to you.

LELAND
That old black magic's got me in its
spell.

SARAH
Something has, that much is for sure.

LELAND
Girls, you should have seen Sarah
dance. We used to win all the dance
contests down at the Grange Hall;
the other couples would see us coming
and just walk off the floor.

SARAH
Leland...

LELAND
It's true--isn't it true?

SARAH
(to Maddy)
We won't be late.

MADDY
Say hi to the Haywards for me.

DONNA
I'll probably see you over there.

Leland gives Maddy a kiss, dances Sarah through the archway
towards the front door, humming another tune.

DONNA
(breaking out the
smokes)
I half expected him to start dancing
up the walls like Fred Astaire.

MADDY
It's nice to see them enjoying
themselves.

Donna pulls out a list; they sit on the sofa.

DONNA
So listen, I got hold of the list of
Meals on Wheels clients that Laura
used to visit. It used to be nine,
now it's eight since old Mr.
Pendergast died.

MADDY
What are you gonna do?

DONNA
I told Norma I'd take over the
deliveries tomorrow, I'll spend some
time with everybody on her route...

She unfolds a small town map.

DONNA
I put x's on all the addresses. One
of these eight people must have sent
me that note; that means they know
something. We just have to figure
out who it was.

As Donna concentrates over her map, Maddy feels an odd,
disquieting feeling come over her. She tries to shake it
off, can't. SOUND of Donna's voice grows fainter.

DONNA
Laura never talked much about them.
Guess we know by now that doesn't
necessarily mean there wasn't anything
weird about them...

Maddy turns slowly and looks into the alcove of the living
room. Standing there, stock still, is BOB, the grey-haired
man we've seen in Cooper's dream and Mrs. Palmer's vision.
Maddy's frozen with fear. Donna doesn't immediately notice.
Maddy starts to tremble, unable to speak. Bob doesn't move.
He just looks at her.

Donna finally notices her distress.

DONNA
Maddy?... Maddy?

MADDY
(turning to her)
Huh?

DONNA
What is it? What's wrong?

Maddy just looks at her, looks back. Bob is gone.

FADE TO BLACK:

END ACT SEVEN

ACT EIGHT

FADE IN:

EXT. HAYWARD'S HOUSE - NIGHT

Establish.

CUT TO:

INT. HAYWARD'S HOUSE - NIGHT

Dinner is just breaking up in the dining room. Sarah Palmer
is helping EILEEN HAYWARD clear the table.

EILEEN
Here, you can just put some of the
dishes in my lap.

SARAH
Oh, no, I don't mind, it's no trouble.

LELAND
Now Eileen, I've been looking forward
to one of your deserts all day; I
hope you won't disappoint me.

EILEEN
Leland, you know me better than that.

SARAH
I'll give you a hand.

Eileen wheels towards the kitchen; Sarah follows.

SARAH
Let's put on a pot of decaf.

EILEEN
I've got both if you want regular.

They're gone. Leland looks over at Doc. Doc's got an elbow
on the table, propping up his chin. He's sound asleep. His
chin slips, he wakes with a start.

LELAND
Long day, Will?

DOC
I feel like I've sat through back to
back operas.

LELAND
Terrible about the mill.

DOC
They say over a hundred and fifty
jobs may be lost.

LELAND
Awful.

DOC
(gently probing)
I suppose that opens the door for
Ben Horne and his big development
plans.

LELAND
(good natured)
As his lawyer, and yours, of course
I can't comment.

DOC
As your doctor, Leland, what the
hell happened to your hair?

LELAND
Isn't it strange? I woke up this
morning, looked in the mirror and
there it was, literally changed
overnight.

DOC
Considering all you've been through...

LELAND
It's a funny thing, though. Seeing
it I seemed to realize I'd turned a
corner somehow. I felt a great deal
of sadness still, yes, but it wasn't
as overwhelming; I actual physically
felt as if a large weight had been
lifted from my heart.

DOC
Perhaps it has.

LELAND
Perhaps it has. God, I feel like
singing.

DOC
That would be very nice. We always
enjoy hearing you sing, Leland.

LELAND
You know me, Will; it was either law
school or Broadway.

Eileen and Sarah return from the kitchen, bearing coffee and
desert.

DOC
Eileen, Leland would like to favor
us with a song.

EILEEN
Oh, I'd really enjoy that.

LELAND
(asking for
accompaniment)
Sarah?

SARAH
Of course, dear.

EILEEN
Let's move into the living room,
shall we?

They do. Doc sits facing the piano. Eileen beside him. Sarah
sits down at the piano. Leland whispers something to her,
she nods.

LELAND
Excuse me just one second.

Leland disappears into the foyer for a moment. Sarah gets a
signal from him and starts to play the intro to "Get Happy."

Leland enters with a hat and cane. He sings "Get Happy,"
hoofs a little, not inexpertly. Doc and Eileen seem to enjoy
it a great deal. As he enters the second verse Leland's tempo
picks up and accelerates, heading towards manic. Sarah has
trouble keeping up.

Doc and Eileen try to smile through it. At the end of the
second verse, at fever pitch, Leland keels over and passes
out on the floor. Doc and Sarah rush to him.

SARAH
Oh dear...

Doc loosens Leland's collar, slaps his checks.

DOC
Sarah, if you could just get me my
bag.

Eileen is already wheeling her way to them with it.

EILEEN
Got it right here.

DOC
I'm sure it's nothing serious...

Doc rummages through his bag for some smelling salts.

SARAH
(at a bit of a loss)
He's been singing all day. Mostly
old songs.

Doc waves some of the salts in front of Leland's nose. He
immediately revives, looks up at them all and smiles.

LELAND
I feel fine. I feel fine.

They look at him.

CUT TO:

EXT. ONE-EYED JACK'S - NIGHT

Establish.

CUT TO:

INT. ONE-EYED JACK'S BEDROOM NIGHT

A frightened and bewildered, and slightly bruised, Audrey
lies on her bed.

AUDREY
(a kind of prayer)
Agent Cooper... are you there?... I
left you a note, didn't you read my
note?... I slipped it under your
door, you must have seen it... well,
I'm up here at One-Eyed Jack's, and
to be perfectly honest, I think I'm
in a little over my head...
(fights off her tears)
Not that I can't handle it. I mean,
if I'm going to help you with your
investigations, I'm sure I'll be put
into situations a lot dangerous than
this on a fairly regular basis. It's
just, you know, the first time out I
wouldn't mind a little expert
guidance...
(changes positions)
Just so you know, there is a
connection between Horne's department
store and One-Eyed Jack; it's my
father. He owns the place. A little
ball of sleeze named Battis recruits
some of the girls at the perfume
counter. Tomorrow I'm going to try
to find out if Laura and Ronette
came up here...
(moving close to tears
again)
I hope you won't think any less of
me for trying to help you. I promise
I only did it with the best
intentions. And if there's anyway in
the world you can hear me tonight...
please help me...

DISSOLVE TO:

INT. COOPER'S ROOM - NIGHT

Cooper exits his bathroom, moving very stiffly. He sits
painfully on the side of the bed and takes a handful of
aspirins with his glass of warm milk. He picks up his tape
recorder.

COOPER
Diane, it's 11:55 p.m., approximately
nineteen hours since the shooting
incident that nearly caused me to
make a premature purchase of the
proverbial farm. There's every reason
to think I'll make a complete
recovery, which I would like to get
a good jump out of the blocks on by
sleeping solidly for at least eight
or nine hours... a man can only go
so long without submitting to a period
of rest...

As he speaks, he puts in his ear plugs.

COOPER
...for as we know from experiments
performed on American GI's during
the Korean War, sleep deprivation is
a one-way ticket to temporary
psychosis and I'm working on a three
day jag. I got so goofy last night
as I was lying here wondering whether
I was going to live or die that I
thought I saw a giant in my room,
but perhaps I'll save that story for
another time.
(a big yawn)
This is me, room 315 of the Great
Northern Hotel, signing off.

Cooper puts a sleep mask and turns off the lamp. He lies
still for a moment. He thinks he feels a weight settle on
the end of the bed. He turns, senses something. He lifts the
corner of the sleep mask and sees...

...the Giant is back. Sitting at the end of the bed.

GIANT
Sorry to wake you.

COOPER
I wasn't asleep. I'm not asleep.
Then I'm not dreaming.

GIANT
I forgot to tell you something.

COOPER
You were right about Jacques. The
big rubber bag.

GIANT
The things I tell you will not be
wrong.

Cooper's about to ask another question. The Giant raises his
huge hand to still him.

GIANT
Better to listen than to talk.

COOPER
I believe you.

GIANT
Don't search for all the answers at
once. A path is formed by laying one
stone at a time.

Coopers nods.

GIANT
One person saw the Third Man. Three
have seen him, yes, but not his body.
One only. Known to you. Ready now to
speak.

Coopers wants to speak, bites his tongue. Nods.

GIANT
One more thing. You forgot something.

COOPER
What?

The Giant waves goodbye to him.

Cooper leans over to turn on the lamp. The Giant is gone.

ANGLE: a wider shot of Cooper sitting up in bed, revealing
the note left by Audrey, large in foreground, either under
the bed or on a table across the room.

CUT TO:

INT. HOSPITAL CORRIDOR - NIGHT

Moving down the silent, dark hallway.

DISSOLVE TO:

INT. HOSPITAL ROOM - NIGHT

Moving towards RONETTE PULASKI, lying in bed in intensive
care. She stirs restlessly. We move in on her in such a way
that indicates we're entering her thoughts...

DISSOLVE TO:

INT. TRAIN NIGHT

FLASHBACK: Ronette's POV; sound and picture distorted and
strange. We see what she sees.

Laura kneeling nearby on the floor of the train car.

Two surgically gloved hands frantically forming a small mound
of dirt.

Blood dripping.

A hand ripping the half-heart necklace from around Laura's
neck.

A finger dipped in blood, writing the note.

A hand picking up a heavy wrench and advancing towards us.

And the wrench is raised threateningly above us.

And we see him. Bob, the grey-haired man. He swings the wrench
down at us.

CUT TO:

INT. HOSPITAL ROOM - NIGHT

Ronette's eyes open and dart around wildly. She makes a
horrible sound. She's out of the coma.

CUT TO BLACK:

THE END

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