Mark Frost and David Lynch
EXT. GREAT NORTHERN HOTEL - NIGHT
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
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.
No response. He enters cautiously.
Cooper's eyes open. He looks up as the Waiter, who is no
How you doin' down there?
Cooper blinks a few times, dazed and disoriented. Pause.
He proudly holds up the glass.
(finding his voice)
Could you... put it on the table?
The Waiter gingerly steps around him and sets the glass of
milk down on the table beside the phone receiver, from where
Hello?... Agent Cooper?... Agent
The Waiter looks down at Cooper, then decides to helpfully
hang up the receiver.
Hung it up for you.
Hung it up. The phone.
The Waiter stands in front of him, holding the bill, takes
out a pen. Cooper's attention drifts off him, drifts back.
The Waiter holds out the bill and pen. Cooper takes them,
holds them above his chest, trying to focus
Does this include a gratuity?
Cooper scrawls a signature. The Waiter takes back the bill
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.
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.
I will tell you three things.
If I tell them to you, and they come
true, then will you believe me?
Who are you?
Think of me as a friend.
Where did you come from?
(shakes his head)
The question is: where have you gone?
Cooper blinks, ponders.
The first thing I will tell you is:
"The man in the smiling bag."
(mumbles to himself,
trying, to remember)
The second thing is: "The owls are
not what you think."
Cooper repeats the words, clinging to them.
The third thing is: "He points without
the proper chemical."
Cooper repeats the phrase to himself.
What, what does this mean?
This is all I am permitted to say.
If you find these things to be true,
I will visit you again. We want to
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.
Holy jumpin' George.
EXT. ONE-EYED JACK'S - NIGHT
Establish. Off the One-Eyed sign...
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.
(changing her voice)
The big bad wolf.
(takes a moment)
Come on, let's have a look at you.
Didn't you know? Everybody's shy.
Here at One-Eyed Jack's it's a
transitory condition. And an
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.
But, consider; your first night in a
new place, new surroundings, new
(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?
Ben patrols the perimeter, toying with the curtains, as she
moves with him, defending her translucent barrier, trying to
anticipate his angle of attack.
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?
Could you repeat the question?
You're nervous, you're shy, you're
frightened: of course you are...
How exactly new to all this are you?
You might say... brand new.
(the thought cheers
For instance, if I was a bar of soap,
I'd still be wrapped in my package.
Alright' fine, now I have to see
He puts his cigar in his mouth, tries to open the curtain
again; she thwarts him. He thrusts a hand inside. She slaps
A vixen! What's your name?
Queen of Diamonds.
No, no, no, your real name.
I'm not supposed to tell.
Did they tell you who I was?
That's right. Tell me your name.
You wouldn't believe me.
I'm a liberal thinker.
I think you should go.
Do you, Prudence?
Yes I do. I really do.
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.
She's hiding under the covers, a conspicuous lump. 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
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.
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!
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?
Alas, I do have a situation.
Gee, that's too bad.
(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.
That's what everyone keeps telling
Ben, I'm gonna count to three--
(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.
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.
How many blips are we dealing with?
Two blips: blip number one, they
contained the fire in the drying
It didn't spread to the processing
Just the plywood building, not the
Manageable. What's blip number two?
Leo the Lip's in the hospital--
As in morgue?
That's a big N-O.
Ben chews on that. Turns to Blackie.
Keep an eye on that new girl. She
didn't come across.
This sounds like a job for Jerry
Taking off his coat, Jerry starts for the door. Ben grabs
him by the collar.
Blackie, you're looking a little the
worse for wear...
She shoots him a poisonous look. He takes a packet from his
Would you like to fix yourself a
cocktail? Or would you rather just
What's that, Blackie?
And you used to be so pretty.
Ben signals to Jerry, who exits. Ben moves to the door.
(he stops, looks at
her, she's trembling)
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.
EXT. BURNED MILL - DAWN
Establish. Fire trucks and paramedics dealing with the fire's
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,
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.
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
Josie's not at Blue Pine, she's not
at the office--
Harry, we've looked everywhere--
DEPUTY ANDY lopes up to them.
Andy, where the hell is Cooper?
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--
And then I heard a sound like somebody
falling down and then about a minute
went by and somebody hung up the
Hawk and Truman look at each other.
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.
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
(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
SOUND of running footsteps. Truman, Hawk and Andy appear in
Ah. They're here.
END ACT ONE
EXT. CALHOUN MEMORIAL HOSPITAL - DAY
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
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.
(pale, shaky but game)
My God, what happened to you?
Three slugs, point blank range.
You can't remember anything about
All I saw was that muzzle flash and
the next thing I knew I was drifting
on Cloud Nine -- busy night, Doc?
Haven't seen this much action since
the Elks Club fire in '59 -- here we
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.
(a little faint)
A little woozy, Truman helps her to a chair.
Easy there, Luce.
One of the Nurses partially closes the curtain between the
bed and where Lucy is sitting. Lucy pours herself a cup of
Looks worse than it feels Lucy.
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.
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.
(examining the bullet)
Agent Cooper, I'd have to say you're
lucky to be alive.
I try to tell myself that at least
once a day.
(taking a cup, quietly)
Lucy, Agent Cooper needs to be brought
up to date.
Cooper, I'm working on a warrant for
Leo. Arrest and search.
Truman exits. Hayward is prepping to remove the bullet from
Go ahead, Lucy.
I ought to administer an anesthetic.
No, just hand me my wallet and say
Puzzled, Doc nods to a Nurse, who hands Cooper his wallet.
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.
Soon as we get a minute.
Please continue, Lucy.
Cooper watches as Hayward lays out a row of severe looking
surgical instruments, including a wicked plier-like utensil.
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 might be able to question Jacoby
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--
A few second-degree burns, smoke
Smoke inhalation, in addition to
which I think Shelly is a smoker
Doc and Cooper look at each other.
Nadine Hurley is still unconscious
and in serious condition because of
an overdose of sleeping pills.
Ed says she left a note.
Keep talking, Lucy.
Cooper puts the wallet in his mouth and bites down hard.
Hayward picks up the pliers and goes to work.
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
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.
Hell of a way to kill a tick.
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.
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
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?
(sees the look on his
Leo was shot last night. He's here
in the hospital.
Oh my God...
It's bad. You should know there's a
chance he may not make it.
Oh my God, what happened?
We don't know. We found him at your
house about an hour ago.
At our house?
Truman nods. Shelly's thinking, eyes darting around, exploring
Shelly... we're gonna need to ask
you some questions.
Can you tell me what you were doing
at the mill?
Tears come to Shelly's eyes.
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.
I understand. You rest up for a while.
I'll be back to see you.
Truman rises, exits. Shelly tries to put the pieces together.
(under her breath,
Bobby... Bobby, help me...
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.
She's always been a fighter. I'm
betting on her.
I'd lay money on that myself.
I should have been with her. This
You can't blame yourself.
But I do, you see. That's the whole
(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.
Let me take care of that for you.
She knows I'm there. She squeezes my
hand when I talk to her. She can
'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
Cooper, walking stiffly, putting on his shirt, is exiting
his room further down the corridor, pursued by a distraught
Hayward and a confused Lucy.
--I want to be very clear this is
completely against my recommendation--
Thanks, Doc, duly noted--
You've lost some blood, you've got
two cracked ribs, some torn cartilage
and possibly a bruised lung--
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--
Harry, I want to go on record, this
man should be in a hospital.
I hear you, Doc--
(to Cooper, search
warrant in hand)
We're ready to give Leo's house a
top to bottom.
Good, let's get to work.
I guess we can't formally arrest him
until he's conscious.
Correct. Put a guard on his door,
zip up the exits, nothing leaks to
the press until we've finished the
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.
"Shock in a big rubber bag."
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.
Harry, if you don't mind, you're
going to have to do most of the
As they round the corner, we move to look down a long, empty
corridor. We move down it slowly.
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.
EXT. PALMER HOUSE - DAY
INT. PALMER LIVING ROOM - DAY
SARAH PALMER and MADDY FERGUSON are having coffee both lost
in private thought. Pause.
I had the strangest dream last night.
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.
What kind of animal?
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.
"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.
"Now if the words sound queer and
funny to your ear / A little bit
jumpled and jivey...
(moving closer to
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...
"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
EXT. GREAT NORTHERN HOTEL - DAY
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.
Travel safely, Einer; (Icelandic
phrase): next year in Rekyavik!
Ben pulls Jerry into the office, closes the door and barks
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.
Ben gives him a friendly slap on the cheek.
(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
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.
Ben and Jerry stare at him for a long time.
EXT. LEO JOHNSON'S HOUSE - DAY
A lot of police vehicles parked outside.
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.
Surprise; Flesh World.
Good customers must get complimentary
Still no cocaine, here or in the
We may have to bring in the dogs.
Let's get those down to the station.
I can't figure it; some kind of fight
was going on in here.
Well they weren't doing the Tennessee
But the shot came from outside.
He wasn't shot by the person he was
(an idea taking shape)
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
Shelly's about ninety-nine pounds
soaking wet; that's a big old
Was she the shooter?
That depends on when she got to the
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.
INT. LEO JOHNSON'S PORCH - DAY
Andy enters and starts for the door.
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.
Another great moment in law
The plank Andy dislodged reveals a cavity under the porch,
which Truman is the first to notice. He kneels down to take
INSERT - THE PORCH CAVITY
Secreted inside is Leo's stash, prominently featuring a couple
of kilo bricks of cocaine.
As he looks back up at Albert.
Albert, I guess you were more right
than you know. Good work, Andy.
His nose bleeding, Andy manages a cockeyed grin.
EXT. DINER - DAY
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.
Hank grabs a broom and starts to sweep up, trying to hide
What is it?
She regards him, trust still an issue but today perhaps
slightly more on the fence.
(waiting him out)
(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
(tries to lighten up)
I'm just on my way over to see her.
Yeah, listen, I was gonna send her
(takes out some cash)
Maybe you could...
She takes the money.
That's a nice thought.
Sometimes I guess it is the thought
She'll get through this. She's tougher
than she looks.
Yeah. Kind'a reminds me of somebody.
A wistful grin for her benefit. She half-smiles, pockets the
money, starts out.
She likes snapdragons.
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
Is it true about James?
He spent the night in jail.
Do you think it's because of what we
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.
Maybe he wouldn't have been attacked
if we hadn't.
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?
(feeling a little
Loud and clear.
I don't know why they're holding
James, I'll try to find out. In the
meantime, mum is the word.
I heard they caught Laura's killer.
If that's true why haven't they made
That's what Uncle Leland said this
Did they come to your house? Did you
see it on the news?
Then until that happens we still
have work to do.
Uncle Leland's hair turned white.
White as a sheet.
Norma sees them.
Oh, Donna, I've got something for
She takes an envelope out from under the counter and moves
to the booth.
This came in the mail for you
She looks at it.
Addressed to "Donna Hayward, c/o Norma Jennings, Double R
As Donna examines it, Norma nods, moves off, exits the diner.
What is it?
Donna shrugs, opens the envelope, finds a note inside, printed
in block letters.
It reads: LOOK INTO THE MEALS ON WHEELS.
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.
Say, when do they put on the feedbag
around here? I could eat a bear.
Kitchen's open twenty-four hours a
Yeah? My door isn't. There's no
doorknob on my side.
That's for security.
All the new girls get this room at
(this is interesting)
All of them?
Until they trust you.
Then what happens?
The Girl likes her and is friendly, but is also clearly
operating under some other instructions.
Keep asking so many questions and
you'll never find out.
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.
(for the speaker's
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
This may be your chance to find out;
Blackie would like to see you in her
(still playing to the
They move towards the door.
What's your name?
Nancy, one more question...
(pulls on her own
...don't your boobs start to hurt in
Nancy covers her mouth to hide her laugh and nods.
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.
Hey, boss, what's up?
(lets that pass)
The owner was a little disappointed
in your performance last night.
Oh? That's not what he told me.
He said you were witholding.
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
So you turned tail and made him chase
So to speak. You know the guy, am I
(coolly assesses her,
Did you find him attractive?
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.
And who would you say is your type,
Not you. No offense.
Blackie slaps her hard. Audrey raises her hand to slap back.
Blackie catches her wrist.
Let's get one thing straight between
Audrey hears the snick of a lock engaging. She looks down.
Blackie's put a handcuff on her wrist.
When you work for me, everybody's
your type. Whether you like it or
They look at each other.
END ACT THREE
EXT. SHERIFF'S STATION - DAY
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.
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--
We don't know that they're related.
Right. You didn't pick up your towels
so the chamber maid plugged you.
Albert, the point is you're not going
to win any local popularity contests--
No, the point is Gordon Cole ordered
me back here. We follow orders.
(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
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?
Albert, let me ask you something;
where does this attitude of
generalized unpleasantness come from?
(pause, looks at him)
I'll get back to you.
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.
Great. After the square dance maybe
we can go for a hayride. I'll be at
A knock. Andy Brennan enters.
Agent Cooper? You wanted to see me?
Have a seat, Andy.
Andy sits. Albert packs up his briefcase.
Andy, I wanted to have a brief chat
about the events of yesterday.
When an officer's involved in
something like this, it can result
in a great number of distractions in
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.
(hanging on every
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
(starting to look
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.
(sees the light)
(clearing up the
I thought you were talking about me
Cooper looks at him. At the door, Albert looks at Andy, back
Where do they keep his water dish?
INT. SHERIFF'S STATION RECEPTION - DAY
Albert exits past Lucy, at the coffee station.
(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.
Excuse me, is Sheriff Truman here?
He is but he's busy at the moment,
may I help you?
Tom holds up the mail, shows Lucy the box.
Got a box here, Luce.
Thanks, Tom, just set it down there
on the floor in front of the desk
next to this gentleman.
Pretty good-sized box.
I'm afraid I don't have an
Addressed to that Agent Cooper, care
of the Sheriff. What do you suppose
this could be?
I'm sure I don't know.
The Sheriff asked me to stop by at
my convenience, this was the first
Return address Washington, D.C., our
(trying to get rid of
Thanks, Tom. Put the box down now.
I don't think it's fragile, least
ways it's not marked fragile.
See you tomorrow, Tom.
Tom winks and exits.
Will the Sheriff know what this is
(a big smile, lifts
I'm here to sell him some shoes.
INT. INTERROGATION ROOM - DAY
JAMES HURLEY sits across from Sheriff Truman. A small tape
recorder sits on the table between them. We hear...
(from the tape)
...uh-oh, here comes Mom with milk
and cookies... see you later,
Tape hiss, then silence. Truman turns off the tape.
You got this tape from Dr. Jacoby's
That's breaking and entering, James.
The door was open.
How did you know Jacoby wouldn't be
I knocked, nobody answered.
You were alone?
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.
You know I didn't put that there.
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.
Uncle Ed know I'm in here?
I haven't told him yet.
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.
She gonna be all right?
They don't know yet.
James, if there's anything else you
want to tell me, this would be a
Laura talks on her tape about a
The Red Corvette. Leo Johnson.
I think it's somebody else. Not
Jacques Renault either.
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.
What did she mean by that?
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
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.
James takes out the half-a-heart necklace, puts it in Cooper's
That was with the tape.
Very good. Hawk, take James back to
You gonna book me?
We're going to talk about it.
Hawk leads James out. Truman stares at him. Cooper examines
How'd you know he had the necklace?
Harry, do you know what they call it
when preparation meets opportunity?
Give me a minute...
Luck. The residue of hard work. Come
on, I've got something to show you.
(as they exit,
"Luck is the residue of hard work."
That's the ticket.
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.
Lucy, Andy, I need you in the
(as she follows them
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.
Thank you, Lucy. Is Donna here to
Cooper nods to Truman, who gets the message and exits the
room. Cooper opens the box and empties the contents on the
This is every edition of "Flesh World"
published in the last three years.
(takes a picture from
his pocket, displays
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
You want us to look for a picture of
Andy, you're way ahead of me.
Andy smiles pridefully at Lucy, then remembers how upset he
is and cancels the look.
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
Andy and Lucy look at each other. Look at the magazines. Any
assignment but this.
INT. SHERIFF'S STATION HOLDING CELL AREA - DAY
Hawk unlocks the door, lets Donna into the corridor outside
James' cell, then quietly retreats.
How you doing?
Did you tell them anything?
They haven't asked me anything.
She takes out a cigarette. Lights it. James is mildly
When did you start smoking?
I smoke every once in a while. Helps
relieve the tension.
(doesn't like this)
So, did you tell them anything?
I didn't tell them about you or Maddy.
Do they think Leo killed Laura?
I don't know what they think. How's
She's all right. She hasn't said
anything either. I heard them say
Jacoby's conscious, they're going to
Donna stubs the cigarette out on a bar, peeks at him over
the dark glasses.
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.
Or is it just not okay for me to
They look at each other, James a little uncertain. She smiles,
pushes her dark glasses back up.
Get out soon, James.
She bites his finger and leaves the room. James watches her
FADE TO BLACK:
END ACT FOUR
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...
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.
Hey, Sleeping Beauty.
She opens her eyes, sees him.
He kisses her. She lets herself be swept up for a moment,
Bobby, what are you doing here? What
if somebody sees you?
I don't care. I don't care anymore.
Leo's in the hospital. Somebody shot
I know. I mean, I heard. What happened
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.
Fat chance. Are you all right?
Doctors seem to think so.
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
I think you're coming along
He breathes once on the stethoscope, erotically places it on
Deep breath... that's a girl, deep
breath... that's fine...
He swoops down for a kiss. She responds.
I'd say you're on your way to a
They kiss again. She laughs. They hear VOICES in the hallway
You'd better go.
You're my girl.
(the first time she's
I love you, Bobby.
I guess I love you, too.
He puts the flowers in a medical jar by her bedside and
quickly splits to the hallway.
INT. HOSPITAL CORRIDOR - DAY
Bobby slips away as Cooper , ALBERT and Truman come around
the corner. Cooper Truman catches a glimpse of Bobby.
What's he doing here?
He didn't look sick.
They look at each other. They move on, find Doc Hayward at
the coffee bar.
To see this kind of investigative
genius at work, this a real treat
They look at him and move on. They find Ed Hurley at the
coffee bar, across the hall from Nadine's room.
Doc, who was Bobby Briggs visiting?
I didn't even know he was here.
How's it going, Doc?
Thank god for the coffee bean.
(pouring one for
Doc, you said a mouthful.
I still think you ought to be resting.
How does that saying go, is it no
rest for the weary?
I thought it was no rest for the
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.
Excuse me for a moment...
Cooper moves stiffly into the room across the hall.
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.
(moving to him)
Ed... how is she Nadine?
(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.
I don't know why I'm whispering...
How are you?
(pause, summing up
All I can do is think about the things
I should have said or done.
Don't be too hard to yourself.
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.
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
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.
When did you get married, 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.
Norma, she... she hadn't even slept
with Hank. The look on her face when
she found out...
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.
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.
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
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.
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.
INT. HOSPITAL CORRIDOR - DAY
Cooper, Albert and Truman walk slowly away. Cooper shakes
(to Hawk, quietly)
Take James back when they're done.
Hawk nods. Cooper and Truman continue on.
Poor Ed. Poor Nadine.
They move around the corner.
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
(notices he's moving
What happened to you?
I'll see about some coffee.
Cooper and Truman take seats beside Jacboy's bed.
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.
Shall I start at the beginning?
That's as good a place as any.
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?
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.
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.
She didn't kill herself.
No. She allowed herself to be killed.
I don't understand.
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
(alert, moving him
As I told you, the night after she
died, I followed a man in a red
Correct. He eluded me near the Old
Sawmill Road. As I sat there cursing
my lack of horsepower, a motorcycle
James and Donna.
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.
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
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.
Tears in his eyes, looking at the necklace in his hand.
This was her, you see. The necklace.
A divided heart.
Pause. Cooper gently takes it from him.
One more thing. You were in this
room with Jacques when he was killed.
Yes. Heavily sedated.
Did you see or hear anything?
I can remember hearing the fire alarm
(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.
When he died, Jacques voided his
No. This was like oil. Like scorched
Truman and Cooper look at each other.
INT. HOSPITAL CORRIDOR - DAY
Cooper and Truman walk.
Harry, let's get a hold of Albert.
We'll meet back at the station. I'm
ready to lay the whole thing out.
Rocks and bottles?
Chalk and the blackboard will be
They move around the corner out of sight.
Maybe some doughnuts.
That goes without saying.
We PICK UP and STAY WITH Norma, just leaving Shelly's room,
calling back to her.
I'll come back later and bring you
some soup. The food in this place'll
kill you quicker than most diseases.
You know, I got a real sweet tooth,
I've got some fresh chocolate/peanut
Norma, I'm serious: bring the whole
Feel better, sweetie.
I do already.
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
FADE TO BLACK:
END ACT FIVE
EXT. DINER - DAY
Bobby Briggs enters the diner, looks around, moves to the
counter and hears...
MAJOR BRIGGS' VOICE
Bobby turns. The Major is sitting in a booth, enjoying a cup
of coffee and some pie, a napkin in his shirt front.
An awkward moment.
Would you... care to join me?
Bobby looks around. No escape.
Bobby slumps into the booth across from his father.
How was school today?
School? Oh. Fine.
The Major takes another bite of pie. A brief lull.
How was work?
Work? Work was good.
Another hiatus. More pie.
What is it that you do, exactly?
Bobby, would you care for a piece of
pie? The huckleberries are
particularly delicious today.
Particularly fresh and delicious.
More pie and a pause.
This is so weird.
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.
You don't say.
Finishing his pie, Major Briggs tidily wipes the corners of
his mouth, pushes his plate away and folds his napkin.
The gospel truth. Son, may I share
something with you?
Not the pie.
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.
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
(touched in spite of
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
I wish you nothing but the very best
in all things.
I'll see you later at home.
Major Briggs moves off to pay his bill. Hank mans the
How was everything?
Exceptional, as always.
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.
How was she?... 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.
BOBBY'S MEMORY - POV
Looking out the window of Leo Johnson's house at Hank, just
after he shot Leo.
Adding up another equation.
EXT. SHERIFF'S STATION - DAY
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
(no apology here)
Oh. Was I late?
Have a seat, Albert. Albert, Harry,
jump in any time; we're going to
reconstruct the last hours of Laura
Cooper flips over the squeaky blackboard. A map of the town
featuring a number of symbols, houses, etc. have been drawn
on the board.
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.
We'll keep this simple, Lucy. When I
say something, you point to it.
I'll try my best.
Andy looks pained.
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.
She proceeded by family car to the
Double R Diner.
Lucy points, etc.
INT. DOUBLE R DINER - DAY
MOS flashback. Laura picks up two large paper bags from Norma
at the counter.
...where she picked up nine hot meals
and distributed them to nine shut-
ins around town as part of the Meals
on Wheels program.
INT. CONFERENCE ROOM - DAY
Lucy points to six small "buildings" scattered around the
At the conclusion of which she drove
to the Blue Pine Lodge... where she
gave Josie Packard an English lesson.
You might consider making them
mandatory for all the townsfolk.
Just a suggestion.
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.
(to Truman, trying to
get a rise)
What do you think, Sheriff:
Bobby claims it was civics.
That seems much more likely.
At which Laura drove home.
INT. PALMER LIVING ROOM - NIGHT
MOS flashback. Laura walks through the room, says good night
to Sarah, and starts up the stairs.
She said goodnight to her mother and
went upstairs. A few minutes later
she received a phone call.
Sarah looks at the phone.
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
EXT. ROAD - NIGHT
MOS flashback. Laura hops on the back of James bike and they
INT. CONFERENCE ROOM - DAY
Cooper holds up Laura's diary.
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
They drove up into the woods near
the Old Sawmill road... their
conversation lasted approximately
two hours. James drove them back
down the hill.
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
At 12:30, at the intersection of
Sparkwood and 21, Laura jumped off
the bike and ran away.
INT. CONFERENCE ROOM - DAY
This much we know as fact. What
follows now is our best
Nods to Albert.
Laura left Sparkwood and 21 on foot,
to an unspecified location, where,
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.
...she met Leo Johnson, the person
who called her earlier. They drove
INT. CONFERENCE ROOM - DAY
(reluctant to work
Do you still want me to point?
I so wish you would.
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.
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
Under Theresa's ring fingernail was
found the letter "t." Positive
Andy beams. Lucy sniffles again.
Good work, Andy. Woof.
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.
...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.
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.
There were footprints outside the
one window with a clear view of the
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.
It wasn't Jacques or Leo?
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
The Third Man took Laura and Ronette
to the train car, here, on foot, a
mile and half away.
He wore surgical gloves, he was
thorough, he was careful. The girls
did not struggle until they were
Suggesting they knew the man.
They were tied up again at the train
car; Laura for the second time,
Ronette for the first.
Finley's fine twine.
A generic household brand, available
in most stores. He was also smart.
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.
The Man struck Ronette once with a
blunt object, knocking her
unconscious. Then he killed Laura.
He took his time; over an hour.
INT. CONFERENCE ROOM
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.
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
Scraps of paper. Hand torn, scattered
around the area. Ink washed away by
the rain. Commercial quality.
Letters? Personal papers?
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
Lucy is too saddened to point. Cooper points.
The body floated downriver into Black
Lake and washed up outside the Blue
EXT. BLACK LAKE - DAWN (FROM PILOT)
The body lying on the rocky shore.
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.
Harry pats him gently on the back.
It's what we call a three-hankie
(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.
Who's the Third Man?
That's the next thing we have to
FADE TO BLACK:
END ACT SIX
EXT. BLUE PINE LODGE - NIGHT
Truman's cruiser pulls up outside.
INT. BLUE. LODGE - NIGHT
Pete and Harry Truman enter. Pete's had better days.
I sure appreciate the ride, Harry.
(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
Can I get you something to wet your
I'm feeling a little reckless; there's
be a couple 'a ginger beers in the
Truman gets the drinks. Pete finds a note the counter, in an
envelope addressed to him.
So Pete... where the hell is Josie?
Truman sets down the drink on the counter. Pete opens the
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
When did you see her last?
I didn't see her at all yesterday.
'Note's dated yesterday afternoon.
No forwarding number? No way to tell
her about the mill?
No. She heads over to Seattle once
every three months or so. Want my
opinion she goes there to indulge a
What is it?
Shopping. Comes back with half a
He chuckles. Sees Truman hasn't moved off his concern.
Guess we're both a little sweet on
Truman nods. Next piece of business.
Pete. We haven't found Catherine.
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.
(surprised by the
strength of his
If there's anything I can do to
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.
I'm so sorry.
No point in mincing words. She was
hell to live with. But once there
was a little bit of heaven there,
She was tough.
Oh God. This'll take a while to sink
in, I suppose.
Suppose it will.
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.
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.
(no trace of in accent)
Could I speak to Josie Packard please?
I'm sorry, she's not here right now--
Can you tell me when she'll be back?
She's out of town. I can try and get
a message to her; who should I say
The Asian Man hangs up. We stay with him. He thinks. He picks
up the phone and dials.
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.
--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.
It is to die for.
Have you seen Audrey today?
No, I haven't.
They head down the corridor.
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
(to Jerry, as they
--open a separate offshore account,
see if the sons of Odin will go for
a wire transfer directly to Grand
No paper trail.
Jerry sets his box down and starts to carefully open it.
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--
--and where exactly is the fragrant
pearl of the East?
She took a powder last night.
She wanted a little distance between
her and the smell of smoke. She'll
be back as soon as it blows over.
Sound strategy. You're keeping a
I gave her something to think about.
Your other business with her is
The short answer is yes.
Jerry offers the contents of his box: candied apples.
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
They each eagerly take one and bite in. The caramel slows
down their speech.
A phenomenal taste sensation.
Next business: Leo Johnson.
He's in a coma. Looks like brain
With Leo, how could they tell?
Why isn't he on the last train to
the Elysian Fields?
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.
Did he see you?
Negative. He was chopping wood.
Hey. You know Leo.
What else? Catherine Packard: dead?
My call put her in the drying shed
when it went up. Sounds like she's
buried in the wreckage.
Heat like that they'll be lucky to
Marvelous. If they don't hang the
arson on the late, lamented Catherine
and her "co-conspirator" Leo I'll
give up sex.
(finishing his apple)
Hank lifts Catherine's illicit mill ledger off the desk.
What do we do with the ledger?
(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.
(enjoying his fellow
EXT. PALMER HOUSE - NIGHT
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.
Come on, doll, let's paint the town.
Leland, I don't know what's gotten
in to you.
That old black magic's got me in its
Something has, that much is for sure.
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.
It's true--isn't it true?
We won't be late.
Say hi to the Haywards for me.
I'll probably see you over there.
Leland gives Maddy a kiss, dances Sarah through the archway
towards the front door, humming another tune.
(breaking out the
I half expected him to start dancing
up the walls like Fred Astaire.
It's nice to see them enjoying
Donna pulls out a list; they sit on the sofa.
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.
What are you gonna do?
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.
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.
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.
(turning to her)
What is it? What's wrong?
Maddy just looks at her, looks back. Bob is gone.
FADE TO BLACK:
END ACT SEVEN
EXT. HAYWARD'S HOUSE - NIGHT
INT. HAYWARD'S HOUSE - NIGHT
Dinner is just breaking up in the dining room. Sarah Palmer
is helping EILEEN HAYWARD clear the table.
Here, you can just put some of the
dishes in my lap.
Oh, no, I don't mind, it's no trouble.
Now Eileen, I've been looking forward
to one of your deserts all day; I
hope you won't disappoint me.
Leland, you know me better than that.
I'll give you a hand.
Eileen wheels towards the kitchen; Sarah follows.
Let's put on a pot of decaf.
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.
Long day, Will?
I feel like I've sat through back to
Terrible about the mill.
They say over a hundred and fifty
jobs may be lost.
I suppose that opens the door for
Ben Horne and his big development
As his lawyer, and yours, of course
I can't comment.
As your doctor, Leland, what the
hell happened to your hair?
Isn't it strange? I woke up this
morning, looked in the mirror and
there it was, literally changed
Considering all you've been through...
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.
Perhaps it has.
Perhaps it has. God, I feel like
That would be very nice. We always
enjoy hearing you sing, Leland.
You know me, Will; it was either law
school or Broadway.
Eileen and Sarah return from the kitchen, bearing coffee and
Eileen, Leland would like to favor
us with a song.
Oh, I'd really enjoy that.
Of course, dear.
Let's move into the living room,
They do. Doc sits facing the piano. Eileen beside him. Sarah
sits down at the piano. Leland whispers something to her,
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.
Doc loosens Leland's collar, slaps his checks.
Sarah, if you could just get me my
Eileen is already wheeling her way to them with it.
Got it right here.
I'm sure it's nothing serious...
Doc rummages through his bag for some smelling salts.
(at a bit of a loss)
He's been singing all day. Mostly
Doc waves some of the salts in front of Leland's nose. He
immediately revives, looks up at them all and smiles.
I feel fine. I feel fine.
They look at him.
EXT. ONE-EYED JACK'S - NIGHT
INT. ONE-EYED JACK'S BEDROOM NIGHT
A frightened and bewildered, and slightly bruised, Audrey
lies on her bed.
(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
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
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...
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
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
As he speaks, he puts in his ear plugs.
...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
(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.
Sorry to wake you.
I wasn't asleep. I'm not asleep.
Then I'm not dreaming.
I forgot to tell you something.
You were right about Jacques. The
big rubber bag.
The things I tell you will not be
Cooper's about to ask another question. The Giant raises his
huge hand to still him.
Better to listen than to talk.
I believe you.
Don't search for all the answers at
once. A path is formed by laying one
stone at a time.
One person saw the Third Man. Three
have seen him, yes, but not his body.
One only. Known to you. Ready now to
Coopers wants to speak, bites his tongue. Nods.
One more thing. You forgot something.
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.
INT. HOSPITAL CORRIDOR - NIGHT
Moving down the silent, dark hallway.
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...
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
A hand ripping the half-heart necklace from around Laura's
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.
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:
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