Twin Peaks Episode 1 - The Screenplay

Typed (well, scanned actually) by Mike Dunn
About the formatting: I've tried to retain as close as possible the formatting of the original script, but it's not an exact copy. All the text is the same, but the spacing might be a bit different here and there. Also, I've removed the page numbers. These scripts are provided for archival purposes and for your information. If you absolutely must have an exact copy of the original script, I suggest you buy a copy of the original script from someone.

    




			   TWIN PEAKS
				#001
    
		     MARK FROST DAVID LYNCH











First Draft
JULY 12, 1989
    
Revisions:
August 10, 1989 - Blue
August 18, 1989 - Pink




    
				ACT ONE
FADE IN:
    
1. EXT. GREAT NORTHERN HOTEL - DAY
    
Dawn breaks over the Great Northern.
							CUT TO:
    
2. INT. GREAT NORTHERN HOTEL ROOM - DAY
    
We hear him before we see him, but DALE COOPER is perched six inches above
the floor in a one-handed yoga "frog" position, wearing boxer shorts and a pair of
socks, talking into the tape recorder which is sitting on the carpet near his head.
    
				COOPER
		Diane ... 6:18 a.m., room 315, Great Northern
		Hotel up here in Twin Peaks. Slept pretty well.
		Non-smoking room. No tobacco smell. That's a
		nice consideration for the business traveller. A
		hint of douglas fir needles in the air. As Sheriff
		Truman indicated they would, everything this
		hotel promised, they've delivered: clean,
		reasonably priced accomodations ... telephone
		works ... bathroom in really tip-top shape ... no
		drips, plenty of hot water with good, steady
		pressure ... could be a side-benefit of the
		waterfall just outside my window ... firm
		mattress, but not too firm ... and no lumps like
		that time I told you about down in El Paso ...
		Diane, what a nightmare that was, but of course
		you've heard me tell that story once or twice
		before. Haven't tried the television. Looks like
		cable, probably no reception problems. But the
		true test of any hotel, as you know, is that
		morning cup of coffee, which I'll be getting back
		to you about within the half hour ... Diane, it
		struck me again earlier this morning; there are
		two things that continue to trouble me, and I'm
		not just speaking as an agent of the Bureau but
		also as a human being: what really went on
		between Marilyn Monroe and the Kennedys?
		And who really pulled the trigger on JFK?
							CUT TO:
    
3. EXT. SHERIFF TRUMAN'S HOUSE - MORNING
    
A rustic log house, with the Sheriffs cruiser parked in front. A rooster crows.
SHERIFF TRUMAN exits the house, carrying a soiled paper bag. He walks around
the side yard to a chicken coop and scatters the feed he has in the bag into the
coop. They start clucking and pecking.
    
    
				TRUMAN
		How you girls doin' this morning? Sounds like
		you got plenty to talk about today. Hope it's
		good news.
    
He empties the bag and starts towards the cruiser.
							CUT TO:
4. EXT. DOUGHNUT SHOP - DAY
    
A sign reads: WAGON-WHEEL DO-NUTS.
							CUT TO:
5. INT. DOUGHNUT SHOP - MORNING
    
A banner reads: GO AHEAD; MAKE MY DONUT. Another banner reads:
SQUARE DEALS ON ROUND DONUTS.
    
DEPUTY ANDY BRENNAN and LUCY MORAN are at the counter, in the middle of
ordering.
    
				LUCY
		... two boxes of chocolate creams with jimmies, a
		box of maple bearclaws, one raspberry swizzle
		twist, two boxes of jelly donuts
			(to Andy)
		I'm ordering extra jelly donuts because they're
		Agent Cooper's favorite, you know my aunt I told
		you about with the raccoons? She liked jelly
		donuts, they were her favorite, but she doesn't
		remind me at all of Agent Cooper.
			(a new thought)
		Her son, though, does -
    
				ANDY
		And one plum frappe turnover.
							CUT TO:
6. INT. SHERIFF'S CRUISER - MORNING
    
Truman drives past Wagon-Wheel Do-Nuts just in time to see Lucy and Andy
leaving the shop, with Andy carrying a stack of donut boxes up to his neck.
    
Truman pulls into the parking lot next to them and leans out the window.
    
				TRUMAN
		Can I give you three a lift?
    
				LUCY
			(looking atound)
		But Sheriff, there's only two of us.
    
    
Truman and Andy look at each other.
						CUT TO:
    
7. INT. GREAT NORTHERN HOTEL DINING ROOM - DAY
    
Dale Cooper sits at a choice corner table, holding a fresh, hot cup of coffee, as a
WAITRESS stands by, holding the coffee pot.
    
				COOPER
			(holding up a hand to stop her)
		Wait right there, wait right there ...
			(he sniffs the coffee; hmm ... he sips)
		You know, this is, excuse me, a damn good cup
		of coffee. I've had I can't tell you how many
		cups of coffee I've had in my life and this ...
			(another sip)
		... this is one of the best.
    
				WAITRESS
		Thank you.
    
				COOPER
		I'd like two eggs, over hard, don't tell me, I
		know it's hard on the arteries but old habits die
		hard, just about as hard as I want those eggs ...
		bacon, super crispy, almost burned: cremate it --
    
							CUT TO:
8. AUDREY HORNE
    
Across the room, watching Cooper order. She slips into her beguiling, rip-your-
heart-out routine and sashays across the dining room to Cooper's table.
    
				COOPER (CONTINUED)
			(just finishing up)
		... that's great, I'll have the grapefruit juice, as
		long as ...
			(sees Audrey approaching)
		... those grapefruits are freshly squeezed.
    
The Waitress departs. Audrey smiles.
    
				AUDREY
		My name is Audrey Home.
    
				COOPER
		Federal Bureau of Investigation, Special Agent
		Dale Cooper.
    
    
				AUDREY
		Can I sit here?
    
				COOPER
			(pleasantly)
		Miss Home, unless I miss my guess, your father is
		Benjamin Home, the owner of this fine
		establishment, so I guess you can sit anywhere
		you like. And I'd also like to add it would be my
		pleasure.
    
Audrey sits, a little confused, runs a hand over her forehead.
    
				AUDREY
		You know, sometimes I get so flushed ... it's
		interesting.
    
				COOPER
		Were you a friend of Laura Palmer's?
    
				AUDREY
		Not exactly.
    
				COOPER
		Her father works for your father. Did you know
		each other growing up?
    
				AUDREY
		Oh we knew each other ...
    
				COOPER
		But there was something about her you didn't
		like.
    
				AUDREY
		Everybody liked Laura. She was just Little Miss
		Perfect. Laura tutored my older brother Johnny
		three times a week. Johnny's twenty-seven and
		he's in the third grade. He's got emotional
		problems; it runs in the family. Do you like my
		ring?
			(holds out her hand to show a big rock))
    
				COOPER
		Very nice.
    
				AUDREY
		My father bought it for me. my father was crazy
		about Laura. He bought her a pony when she
		was nine, but he let her father say it was from
		him. Its name was Troy.
			(absent-mindedly rubs her left palm)
		Do your palms ever itch?
    
Cooper studies her benignly.
							CUT TO:
9. BENJAMIN HORNE
    
Crossing the hallway outside the dining room, he glances in and sees his daughter
sitting with Dale Cooper. He stops, takes this in, then moves on.
    
							CUT TO:
10. EXT. LEO JOHNSON'S HOUSE MORNING
    
The trucker, LEO JOHNSON, is obsessively cleaning the cab of his semi rig with a
dustbuster. A bucket of hot water, some sponges and a hose are at the ready
nearby. We see that Leo's name is stenciled on the rig's door, along with the
name, "BIG PUSSYCAT." SHELLY JOHNSON, in her waitress uniform, comes up
to the truck.
    
				SHELLY
		Leo, honey? I gotta go to work now, Norma'll be
		here any sec ... Leo?
    
Leo turns off the dustbuster and turns to her.
    
				LEO
		Did you finish cleaning my boots?
    
				SHELLY
		They're all done and I did the laundry, too.
    
				LEO
		All of it?
    
				SHELLY
		Well yeah.
    
				LEO
		No you didn't.
    
He grabs a used grocery bag full of dirty clothes from the cab and flings it at her.
    
				SHELLY
		Sure, Leo, when I get home I'll -
    
				LEO
		Now, Shelly.
    
				SHELLY
		Okay.
    
Shelly starts back towards the house.
							CUT TO:
    
11.  INT. JOHNSON KITCHEN - MORNING
    
Shelly dumps the clothes out of the grocery bag onto a laundry basket in front of
the washer. She shakes out the clothes before putting them in. She stops short
when she sees a large, dark red bloodstain on a faded blue cowboy work shirt.
    
She starts to tremble. She hears a car horn beep outside. She looks out the
window, sees Norma's car pull in near the truck but she doesn't see Leo.
    
She hears the screen door open and bang shut in the other roorn.
    
				LEO'S VOICE
		Shelly? Norma's here.
    
Shelly makes a brave decision: quickly folds the bloodstained shirt and stashes it
behind the washer, dumps the rest of the clothes in the washer, loads the
detergent, closes the door and starts it just as Leo comes in the roorn.
    
				LEO
		Shelly, did you hear me say Norma's here?
    
				SHELLY
		I heard you, Leo.
    
She starts out. He catches her by the arm.
    
				LEO
		I'm gonna come by the diner sometime today.
		Be a good girl and save me a piece 'a pie.
    
He pinches her cheek softly and holds it.
    
				SHELLY
			(manages a smile)
		Sure, Leo.
    
He works her cheek for a moment, squeezing a bit harder. Shelly hides her fear.
    
							CUT TO:

12. EXT. JOHNSON HOUSE/INT. NORMA'S CAR - MORNING
    
Norma sits behind the wheel of a maroon '64 Falcon station wagon. Shelly gets in
beside her and they drive off.
    
				NORMA
		Leo sure keeps that truck up, doesn't he?
    
				SHELLY
		He sure does.
    
				NORMA
			(glance at her, sees her condition)
		We're sure a couple a' characters, aren't we
		Shelly?
    
				SHELLY
		Norma, you said a mouthful and then some.
    
				NORMA.
		Guys ...
			(shakes her head)
    
				SHELLY
			(shakes her head)
		Guys.
    
				NORMA
		'You hear what happened at the Roadhouse last
		night?
    
				SHELLY
		No.
    
				NORMA
		Big fight. Bobby Briggs hit Ed Hurley with some
		brass knuckles -
    
				SHELLY
		Bobby hit Ed? Weird.
    
They look at each other, each knowing the other's secret but not saying so.
    
				NORMA
		Ed's got a concussion. Then Bobby and Mike got
		into it with the Bookhouse boys, took two patrol
		cars to break it up. Bobby and Mike're probably
		still in jail.
    

						(revised pink 3-18-89)

				SHELLY
			(shakes her head)
		... Guys.
    
				NORMA
		Guys.
    
							CUT TO:
13. EXT. SHERIFF'S STATION ENTRANCE - MORNING
    
Re-establish.
							CUT TO:
    
14. INT. SHERIFFS STATION RECEPTION AREA - MORNING
    
Deputy Andy takes a big bite of his plum frappe turnover, just as Dale Cooper
breezes through the front door and waves brightly as he passes.
    
				COOPER
		Morning, Deputy.
    
				ANDY
			(his mouth completely full)
		Good morning, Agent Cooper.
    
Lucy, at the coffee station holding a pot and a cup, turns to face Cooper, with a
doughnut stuck in her mouth.
    
				COOPER
		Hey there, Lucy.
    
				LUCY
			(barely intelligible)
		Agent Cooper, I got jelly for you special, the
		Sheriff's down the hall in Interrogation.
    
				COOPER
		I'll just look for him down the hall in
		Interrogation.
    
He moves down the hall.
							CUT TO:
15. INT. INTERROGATION ROOM A - MORNING
    
Cooper whisks in just as Truman, coffee mug in hand, takes an enormous bite of a
humongous bearclaw.
    

						(Revised pink 8-18-89)

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

He exits, just as Truman finally swallows his mouthful of bearclaw.
    
							CUT TO:
16. INT. INTERROGATION ROOM A - DAY
    
JAMES HURLEY is seated, next to his LAWYER, across from Truman, as Cooper
enters and sits beside the Sheriff.
    
				TRUMAN
		James has been advised of his rights.
    
				COOPER
		James, you were placed under arrest for suspicion
		of murder, the murder of Laura Palmer. You
		have no previous criminal record, is that correct?
    
				JAMES
		None. No, sir.
    
Cooper turns on the VCR and we see the same videotape of Laura and Donna at
the picnic that we saw earlier. James watches the video.
    

						(Revised pink 8-18-89)

				COOPER
		James, did you shoot this video tape?

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

				COOPER (CONTINUED)
		Isn't that your cycle, James?

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

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

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

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

				JAMES
		It had everything to do with Bobby.

				COOPER
		Why? Was she afraid of Bobby?

				JAMES
		I think so.

				COOPER
		Did you know that Laura was using cocaine?

				JAMES
			(pause)
		Yes.

				COOPER
		Did you ever take cocaine with her?
    

						(Revised pink 8-18-89)
    
				JAMES
		No, I tried to get her to stop.

				COOPER
		When was the last time you saw her?

				JAMES
		Two nights ago. The night she died. For about
		three hours. She snuck out of her house about
		9:30. About 12:30 I stopped the bike at the light
		at Sparkwood and 21. She jumped off and ran
		away. I didn't see her again.
    
				COOPER
		You're sure it was 12:30?
    
				JAMES
		Yes, sir, Steve's Liquor Locker was closing up as
		we drove by and he closes right at 12:30.
    
				COOPER
		'You and Laura have a fight?
    
				JAMES
		Not exactly. But she said she couldn't see me
		anymore.
    
				COOPER
		Why?
    
				JAMES
		She didn't say.
    
				COOPER
		Was she high that night?
    
				JAMES
		Yes.
    
				COOPER
		Where did she get her drugs?
    
				JAMES
		I don't know. Most of the time we were together
		she was clean.

				COOPER
		Did she get her drugs from Bobby?

						(Revised pink 8-18-89).
    
				JAMES
		I really don't know where she got 'em she never
		talked about it. She didn't like that part of herself.

				COOPER
		Why did she start using again?

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

				COOPER
		What happened?

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

				COOPER
		Until the last night.

				JAMES
		Yes.

				COOPER
		Did she call you that night?

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

				COOPER
		Do you recognize this necklace, James?

				 JAMES
		Yes, sir.    
    
				COOPER
		James, what happened on February fifth?
    
Tears form in his eyes. He fights them back.
							WHITE OUT TO:
17.  EXT. PARK - DAY
    
Laura Palmer, lying on a picnic blanket, playfully turns to face James.
    

						(Revised pink 8-18-89)
   
				LAURA
		What day is it today?

				JAMES
		Sunday.

				LAURA
		No, I mean the date.

				JAMES
		The fifth of February.

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

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

    
				LAURA
		No.
    
				JAMES
		Because you have the cutest nose in the world?
    
				LAURA
		No.
    
				JAMES
		Because your skin is so soft and you smell so
		good?
    
				LAURA
		No.
    
				JAMES
		Why?
    
				LAURA
		Because I really believe that you love me.
    
She takes the necklace from her pocket, "breaks" the heart in two, gives half to
James and puts the other half around her neck.
							WHITE OUT TO:
18. JAMES

Sitting in interrogation. Looks up at Cooper.

    
				JAMES
		I don't remember.
    
Cooper looks at hirm
							CUT TO:
    
19. EXT. JOHNSON HOUSE - DAY


Leo is putting the last touches on polishing his truck, when he's struck by a
troubling thought. He throws open the door of the cab and frantically searches
behind and under the driver's seat. He can't find what he's looking for.
    
				LEO
		Darnn it.
    
He jumps down from the cab and runs towards the house.
    
							CUT TO:
20.  INT. JOHNSON HOUSE LAUNDRY ROOM - DAY
    
Leo hurries in, throws open the top of the washer, pulls out the full load of soggy
laundry and searches through them, looking for the bloody shirt that he does not
find.
    
				LEO
		NO!
    
Leo kicks the washer hard. The washer goes "tilt" and makes a loud, rhythmic
honking sound.
    
							FADE OUT:
    
				END ACT ONE

    
				ACT TWO

FADE IN:
    
21. INT. DONNA HAYWARD'S BEDROOM - DAY
    
DONNA HAYWARD lies asleep in bed. The sound of an operatic aria drifts
through the room, originating downstairs. Donna shifts, starting to waken,
stretches and smiles like an untroubled angel. Then her eyes open and she
remembers Laura's death.
    
							CUT TO:
22. INT. HAYWARD LIVING ROOM - DAY
    
Donna enters the room, where her mother, EILEEN, sits in her wheelchair doing
some elaborate needlepoint, listening to the opera on the hi-fi.
    
				DONNA
		Mom?
			(Eileen doesn't hear her)
		Mom?
    
				EILEEN
		Oh, good morning, dear, I didn't hear you come
		down.
    
She uses a remote control to turn down the volume of the hi-fi and takes her
daughter's hand.
    
				DONNA
		Mom, it's ten-thirty, why didn't you wake me? I
		was supposed to go back down to the sheriff's --
    
				EILEEN
		They called this morning and said they could wait
		until tomorrow to see you. Your father and I
		thought you should rest. You woke us crying in
		your sleep last night, do you remember?
    
				DONNA
		No, really?
    
				EILEEN
		We feel so badly for you, we're so sorry.
    
				DONNA
			(sits beside her)
		Mom, it's so strange. I know I should be sad,
		and I am, part of me is, but I ... it's like I'm
		having the most beautiful dream and the most
		terrible nightmare all at once.
    
				EILEEN
		Your father told me you went out last night to
		meet a boy named James Hurley. Does this have
		anything to do with him?
    
				DONNA
			(nods, decides to confide)
		Can this be between you and me?
    
				EILEEN
			(takes her hand)
		Of course it can.
    
				DONNA
		James and Laura were seeing each other the last
		two months. They fell in love. I was the only
		one who knew about it. James was so good for
		her, you don't know how troubled Laura was, the
		kind of trouble she was in and how much she
		wanted to get away from Bobby --
    
				EILEEN
		I've been waiting for something like this about
		Bobby. And what about Mike?
    
				DONNA
		Mom, Laura and I made a pact. We wanted to get
		away from them, from both of them --
    
				EILEEN
		Are you saying you think Bobby had something
		to do with Laura's death?
    
				DONNA
		I don't know. I think Bobby's dangerous, I think
		he's capable of almost anything.
    
				EILEEN
		What did you tell the police?
    
				DONNA
		Nothing, I don't have any proof of anything and
		what's terrible is James was with Laura the night
		she died, but Mom I know he didn't do it.
			(close to tears)
		Last night, I had to see him, we were the two
		people closest to her in the world. But I feel so
		bad ...
    
				EILEEN
		Why angel?
    
				DONNA
		Because we realized that all this time ... we were
		the ones who were failing in love. I feel like I've
		betrayed my best friend ...
			(tears)
		.. but if that's true, then why do I feel so happy?
    
Donna falls into her mother's arms.
							CUT TO:
    
23. INT. GREAT NORTHERN HOTEL OFFICE - DAY
    
LELAND PALMER sits behind his desk, talking on the telephone. His SECRETARY
sits across from him.
    
				LELAND
		... Palmer, P-A-L-M-E-R ... yes, that's correct, my
		daughter ... her name was Laura ... I'm calling to
		make the arrangements, the funeral, everything, I
		want everything taken care of, I don't care how
		much it costs and if you don't mind, I'd prefer.
		that we not even discuss money
    
During above, Benjamin Home enters, stops and listens.
    
				LELAND (CONTINUED)
		... I don't understand the question ... what's the
		difference? What do you mean "leak" ...
		seepage? I think I --
			(loses it, almost a moan)
		-- no, don't --
			(screams)
		DON'T TELL ME!!!  DON'T TELL ME!!!
    
He pushes the phone and everything else on his desk away from him. He gets up,
crosses to a cabinet stereo, turns on the sound on a modem jazz quartet record,
9/4 time, about as loud as it can go.
    
Benjarnin goes to the Secretary.


						(Revised pink 8-18-89)

				BENJAMIN
			(quietly)
		Take him to the lounge and call Dr. Jacoby.
    
She nods, goes to Leland, takes him gently by the arm and leads him out of the
room.
    
Benjamin Home turns down the sound on the stereo, goes to the desk and picks
up the phone.
    
				BENJAMIN (CONTINUED)
		This is Benjamin Horne, who am I speaking to?
		... fine ... mahogany and teak? well, you can
		forget that, Mr. Formaldehyde, I'm picking up
		the tab here and you vampires are not taking a
		bite out of my checkbook in order to exploit my
		colleague's tragedy ... start thinking lead.
    
He slams down the phone, just as we hear, from outside
    
				JERRY HORNE'S VOICE
		No, no, no, don't put 'em in my room, in here,
		through that door right there!
    
JERRY HORNE, Benjamin's younger, wiry brother enters, followed by four
BELLHOPS, carrying a mess of mismatched Samsonite.
    
				BENJAMIN
		Good to have you back, Jerry, how was Paris?
    
				JERRY
			(shakes his hand)
		In a minute ...
			(turns back to the Bellhops, points down)
		Right THERE, no, no, right THERE!
    
The Bellhops careftilly set the bags down as directed.
    
				JERRY (CONTINUED)
		What's the matter with Leland? Looks like
		somebody shot his dog.
    
The Bellhops all stop and took at Benjamin.
    
				JERRY (CONTINUED)
		What is WITH you guys? I've got a sandwich in
		there and I want all those bags opened - we're
		looking 'til we find it.
    

The Bellhops hop to it; all the bags are opened. Jerry tosses clothes around the
room until he finds a baguette with brie wrapped in white paper.
    
				JERRY (CONTINUED)
		Brother Ben, this is the best damn sandwich I
		ever ate, it's a baguette, with brie and butter, had
		four of these damn things every day I was there.
			(he reaches in and finds another one)
		Got a couple left - here, try one.
    
				BENJAMIN
			(takes the sandwich)
		Jerry, Leland's daughter was murdered. And the
		Norwegians left.
    
				JERRY
		Did they sign?
    
				BENJAMIN
		No. The deal's off.
    
				JERRY
		We had those Vikings by the horns, what
		happened?
    
				BENJAMIN
		One of 'em left a note.
    
				JERRY
		What's it say?
    
				BENJAMIN
		We're not a hundred percent sure, they took the
		translator with 'ern.
    
				JERRY
		Did you say Leland's daughter was murdered? ...
		Laura?
							CUT TO:
    
24. INT. SHERIFF'S STATION INTERROGATION - DAY
    
DR. HAYWARD opens the folder containing Laura's autopsy report, ready to share
the results to Truman and Cooper. Dr. Hayward absentmindedly tugs on a thread
sticking out of his sleeve.
    
				HAYWARD
		Harry, as you know, I delivered Laura. I knew

						(Revised pink 8-18-89)
    
24. CONTINUED:
    
				HAYWARD (continued)
		her her entire life; she was my daughter's best
		friend. I couldn't bring myself to do the post-
		mortem, so last night I called in Joe Fielding from
		Fairvale. He did the work, I assisted, this is what
		he found 
			(puts on glasses, consults the sheet)
		Time of death estimated to be between midnight
		and four a.m. What killed her was loss of blood.
		Numerous shallow wounds, no single one serious
		enough to have been the cause of death. Bite
		marks. On her tongue, probably self-inflicted.
		Lesions on wrists, ankles and upper arms, where
		she was bound. We're waiting on toxological
		tests for drug use. Within the last twelve hours of
		her life, she had sexual relations with at least three
		men.

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

				COOPER
		And you've examined Ronette Pulaski as well.

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

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

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

				COOPER
		The answer's in there somewhere.
    
Doc Hayward looks at a close-up picture of Laura taken where she was found on
the beach.
    
				HAYWARD
		So beautiful. Who would do a thing like that?
    
							CUT TO:
    
25. INT. HOLDING CELL - DAY
    
Mike and Bobby sit on their steel cots. Mike moves to Bobby, who's hanging his
head upside down off the back of the cot, kneels down beside him and speaks to
him quietly.
    
				MIKE
		Hey Bopper ... since when does Leo Johnson call
		me at my parent's house?
    
				BOBBY
		Leo called you?
    
				MIKE
		Yesterday. He was looking for you. He wanted
		to know where the other half of the money was.
    
				BOBBY
		What'd you tell him, Snake?
    
				MIKE
		Hey, as far as I knew he didn't have any of it yet, I
		thought the deal was we were supposed to give it
		to him today.
    
				BOBBY
		I gave him half already.
    
				MIKE
			(surprised and a little angry)
		When did you see him?
    
				BOBBY
		Hey, I saw him the other night, okay?
    
				MIKE
		What night? You mean Thursday night?
    
				BOBBY
		Yeah, Thursday.
    
				MIKE
		Wait a minute, that night we followed Laura back
		to her place after she left your house --
    
				BOBBY
		Check. We had a couple brewskis and I
		dropped you off.

    
				MIKE
		Check.
    
				BOBBY
			(lowering his voice further)
		And then I went to see Leo, 'cause I had this
		money burning a ten thousand dollar hole in my
		pocket.
    
				MIKE
		What about the other half?
    
				BOBBY
		It's in Laura's safe deposit box.
    
				MIKE
		You didn't get it back from her?
    
				BOBBY
		She was supposed to hand it over today. Then
		she went and checked out on us.
    
				MIKE
		So how we gonna get that ten grand for Leo?
    
				BOBBY
			(wise-ass)
		I don't know, Snake. Maybe we could sell light-
		bulbs door-to-door.
    
				MIKE
		That's great, that's just great. This isn't funny,
		man.
    
				BOBBY
		You see me laughing?
    
				MIKE
		We're lucky we're in jail, you know what's gonna
		go down when we get out? Maybe we oughta
		figure a way to stay in here --
    
				BOBBY
			(grabs his shirt)
		Don't even think like that - and don't mention
		one word about Leo Johnson, you do not know
		Leo Johnson.
    

				MIKE
		But what about --
    
The holding area door opens. Hawk leads James back in and takes him back to
his cell. Bobby jumps up from his cot and moves to the bars.
    
				BOBBY
		Oh, look at that. Here comes that accident
		waiting to happen.
    
				HAWK
		That could constitute a threat, Briggs.
    
				BOBBY
		Gee, I'm sorry.
    
James enters his cell.
							CUT TO:
    
26. INT. SHERIFF'S DEPARTMENT RECEPTION AREA - DAY
    
Truman and Cooper make their way towards the front, as ED HURLEY, a bandage
on his head, rises from his seat.
    
				TRUMAN
		Hey Ed, how's that coconut?
    
				ED
		Kind'a tender. My pride's hurt worse.
    
				TRUMAN
		Yeah, since when can some 18 year old punk take
		Big Ed Hurley out, even if he was wearing knuckle
		dusters. Ed, this is Agent Dale Cooper.
    
				COOPER
			(shakes hands)
		Any relation to James?
    
				ED
		I'm his uncle. His mother's out of town, called
		this morning, asked me to come on over. You
		fellas plan on holding him a while?
    
				COOPER
		No, we can release him into your custody.
    
Truman looks at him.


						(Revised pink 8-18-89)
    
26.  CONTINUED:
    
				ED
		Let me understand; is James being charged?
    
				COOPER
		I had one small doubt which James has
		satisfactorily cleared up for me. He didn't kill
		anybody. But you tell him to be careful; we're
		going to have to release Mike and Bobby today as well.
    
				ED
		Will do.
    
Lucy calls from the switchboard.
    
				LUCY
		Agent Cooper, I've got a call for you from a Mr.
		Albert Rosenfield, sounds like long distance, it
		has that open-air sound wherd it sounds like wind
		blowing, you know like wind through the trees --
    
Cooper moves towards her to take the call. Ed takes Truman by the arm and
lowers his voice.
    
				ED
		Harry, I've been thinking about last night at the
		Roadhouse: something's not right.
    
				TRUMAN
			(kidding him)
		Yeah, when I first saw that bandage I thought
		Nadine might've gotten wind of you and Norma.
    
				ED
		Harry, if Nadine'd gotten wind of me and Norma,
		I'd be playing harp for the Heavenly All-Stars.
		No, the thing is I can remember Mike and Bobby
		grabbing Donna, I stood up to walk over and I
		got all lightheaded, I was out on my feet before I
		got there, I don't even remember getting hit --
    
				TRUMAN
		What are you saying?
    
				ED
		I'm pretty sure my beer was drugged. And you
		know who was tending bar last night.
    
Truman thinks a moment, then nods.
    
							CUT TO:

    
27. COOPER
    
On the phone at the switchboard.
    
				COOPER
		Alright, Albert, bring the boys, you guys can
		have the body all day tomorrow ... no, can't do
		it, they're gonna bury her on Monday ... and
		Albert, if you come through Lewis Fork, I can
		recommend a place for lunch, the Lamplighter Inn.
			(waxing enthusiastic)
		They've got a cherry pie that could kill you.
    
							CUT TO:
28.  EXT. HARDWARE STORE - DAY
    
Carrying a small tray of sandwiches, Norma is going into the hardware store down
the block from the Double R Diner. She holds the door open for a woman who's
exiting, obscured behind a big bag of hardware. It's NADINE HURLEY. Norma
sees her first.
    
				NORMA
			(pleasantly)
		Hi, Nadine.
    
				NADINE
		What are you doing here, Norma?
    
				NORMA
			(pleasantly)
		I might ask you the same question.
    
				NADINE
			(a hint of aggressiveness)
		And I will tell you: I've gotten all new drapes for
		my house. Ed bought them for me yesterday at
		Gentle Jim's and we installed them together.
		They're a beige sheer. I was up. all last night, do
		you know what I was doing?
    
				NORMA
			(a little worried)
		No, I don't.
    
				NADINE
		I was inventing a noiseless, completely silent
		drape runner. And do you know how it works,
		do you know what makes it work? The thing I
		thought of at four this morning while I was
		waiting for my husband to be released from
		intensive care?
    
				NORMA
		What's that?
    
Nadine takes a package out of the bag, wrenches it open and grabs a handfull of ...
    
				NADINE
		Cotton balls. By God, those things'll be quiet
		now.
    
Nadine moves off. Norma enters the store.
							CUT TO:
29.  INT. SHERIFF'S STATION WAITING AREA - DAY
    
Ed Hurley rises, as James is escorted out and unhandcuffed by Hawk. James moves
to Ed.
    
				JAMES
		Did you have to post bail?
    
				ED
		Had a talk with Harry. No charge.
    
				JAMES
			(a source of pain)
		Mom still out of town?
    
				ED
		Yeah. She's still out of town. Let's get out of
		here.
    
				JAMES
			(nods)
		Gonna need a hand from the Bookhouse Boys.
		Somebody's gotta watch my back.
    
				ED
		Already got it covered.
    
They exit.
    
							CUT TO:
    
30.  INT. INTERROGATION ROOM A - DAY
    
Mike sits at the table, as Dale Cooper enters.
    

    
				COOPER
		So tell me, Mike, what are you doing hanging
		around with a guy like Bobby Briggs?
    
				MIKE
		He's my friend.
    
				COOPER
		You don't seem like such a bad kid to me, but
		Bobby Briggs could drag you straight into hell.
		How long has Donna Hayward been your
		girlfriend?
    
				MIKE
		Around two years.
    
				COOPER
		Why were you screaming at her and roughing her
		up last night at the Roadhouse?
    
				MIKE
		That's between her and me.
    
				COOPER
		Between you and her or you, her and James
		Hurley?
    
				MIKE
		What's that supposed to mean?
    
				COOPER
		You guys were out looking for James last night --
    
				MIKE
		That's right, he was fooling around with Laura,
		next thing we know she's dead and he's out
		fooling around with Donna --
    
				COOPER
		You couldn't find James so you picked a fight
		with his gang instead.
    
				MIKE
		They started it.
    
				COOPER
		After Bobby decked Ed Hurley with a pair of
		brass knuckles.

    
				MIKE
		He was defending himself - look, I already spent
		a night in jail, are you charging me with
		something?
    
				COOPER
		Settle down there, punk. I could make one
		phone call and you'd go so far away God couldn't
		find you.
    
Cooper smiles. Mike gets the picture.
							CUT TO:
    
31.  INT. INTERROGATION ROOM B - DAY
    
Truman sits across from Bobby, filling out a report, when Cooper breezily enters.
    
				COOPER
		Hi, Bobby, I was just talking to Mike. Now
		before we get started, have you got your stories
		straight?
    
				BOBBY
		If you tell the truth you don't have to get your
		stories straight. Besides the sheriff tells me we're
		just in here for fighting and it was self-defense.
    
				COOPER
		Right. Well, I guess you can go then.
    
Cooper sits, takes the whistle he whittled out of his pocket and begins to sand it
with a small piece of folded sandpaper. Truman looks at him.
    
				BOBBY
		... now?
    
				COOPER
		Yeah.
    
Bobby stands and makes his way to the door.
    
				COOPER (CONTINUED)
		Oh, Bobby ...
			(Bobby stops at the door)
		Pray for the health and safety of James Hurley,
		because if anything happens to him we're coming
		for you.
    
    
They look at each other. Bobby exits. Cooper stands and takes out his electronic
notebook.
    
				COOPER (COISMNUED)
		What are you sitting around for Harry? We got
		places to go and people to see.
    
				TRUMAN
		I'm gonna start studying medicine.
    
				COOPER
		Why's that?
    
				TRUMAN
		'Cause I'm starting to feel like Dr. Watson.
    
							FADE OUT:
    
				END ACT TWO

    




						(Revised pink 8-18-89)
    
				ACT THREE

32.  (DELETED)
      FADE IN:
    
33.  INT. BLUE PINE LODGE KITCHEN - DAY
    
CLOSE on a trout as it's slit open and held under running water. PETE MARTELL
proceeds to clean the fish in the sink, whistling a happy tune. In a dressing gown,
over a negligee, JOSIE PACKARD enters the kitchen, a happy look on her face.
    
				JOSIE
		On top of the morning to you, Pete.
    
				PETE
		No, Josie, the expression is "top of the morning"...
			(looks up at the clock)
		... and it's just barely morning.
    
				JOSIE
			(pouring coffee)
		So perhaps I should say, 'Bottom of the afternoon.'
    
				PETE
		That'd be more like it.
    
Out of sight, below the counter, we hear a little dog bark. Josie bends down to pet it
    
				JOSIE
		Hello, Koro, good fellow ... is Catherine at the mill?
    
				PETE
		She wanted to run a half-shift on account of us
		closing down yesterday. I told her she was on
		her own, I was goin' fishin.
			(holds up his string)
    
				JOSIE
		Pete, I want to thank you for yesterday, for
		standing up to me with Catherine.
    
				PETE
		No, Josie, it's not you I was --
			(thinks better of it)
		Forget it. Catherine was wrong yesterday --
    
The doorbell rings. Pete goes to answer it. He returns a few moments later.
    
				PETE
		Josie, the Sheriff and the gent from the FBI are
                                (more)


						(Revised 8/.10/89-Blue)
    
    33.  CONTINUED:
    
				PETE (continued)
		here to see you.
    
Josie follows Pete into the living room.
							CUT TO:
34.  INT. BLUE PINE LODGE LIVING ROOM DAY
    
Josie enters with Pete. Cooper and Truman rise.
    
				TRUMAN
		Mrs. Packard, this is Dale Cooper, FBI.
    
				COOPER
		Pleased to meet you, m'am.
    
				JOSIE
		Thank you. Can I offer you gentlemen a cup of joe?
    
				COOPER
		Mrs. Packard, you said the magic word.
    
				TRUMAN
		I'd love a cup, thanks.
    
				PETE
		I'll get that for you. Mr. Cooper, how do you take it?
    
				COOPER
		Black as midnight on a moonless night.
    
				PETE
		Pretty black.
			(Pete exits)
    
				JOSIE
		Please, grab yourself a chair.
    
They all sit. Out of sight, the little dog barks again. 

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

				JOSIE
		Koro.

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

    
				JOSIE        
		Chinese. I am not sure exactly. My late husband
		Andrew named him. "Big, stearning engine" perhaps?
    
Cooper start to bend down to pet Koro, Truman tries to signal him not to. A growl, a yip and
Cooper withdraws his hand.
    
				COOPER
		Mrs. Packard, I'll come right to the point. Mrs.
		Packard, I understand that you'd hired Laura
		Palmer to come see you twice a week to help you
		with your English, is that correct?
    
				JOSIE
		Yes, you see my late husband, Andrew ... I first
		learned English from him, when we met in Hong
		Kong but I have learned after his death that he
		spoke only in what you would call "western cliches" --
    
				COOPER
		That's very interesting, Mrs. Packard, so you
		hired Laura to help you
    
				JOSIE
		That is the ticket, because I was apparently not
		even saying the cliches correctly.
    
				COOPER
		When was the last time you saw Laura?
    
				JOSIE
		Thursday afternoon, about the time the mill blew five.
    
				COOPER
		That would be five o'clock?
    
				JOSIE
		Yes.
    
				COOPER
		When did she leave?
    
				JOSIE
		After one hour, when the lesson was finished. I
		did not see her again.

				COOPER
		How did she seem to you on Thursday afternoon?


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

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

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

				JOSIE
		It was just as she was leaving. There was no time.
    
She stares at the floor. Cooper and Truman look at each other. The phone rings.
    
				JOSIE (CONTINUED)
		Excuse me, please ...
    
She rises and exits. Cooper smiles strangely at Truman.
    
				COOPER
		How long have you been seeing her?
    
				TRUMAN
			(about three different reactions before ... )
		How did you know?
    
				COOPER
		Body language.
    
				TRUMAN
		Geez ... uh, not long. About six weeks. Andrew
		died a year and a half ago.
    
Pete sticks his head back in.
    
				PETE
		You'd never guess; had to make a new pot: there
		was a fish in the percolator.
    
Pete exits.


						(Revised pink 8-18-89)

    
34.  CONTINUED:(3)
    
				COOPER
		Was there an inquest into her husband's death?
    
				TRUMAN
		Yeah. He took his 36-footer out on Black Lake.
		He'd just put in a customized high performance
		engine, there was an explosion on board. We
		found pieces of the boat but nothing of Andrew.
		It was ruled accidental.
    
				COOPER
			(lowers his voice)
		You never found the body?
    
				TRUMAN
		Don't look at me like that. He was like a father to me.

				COOPER
		Take it easy, Harry, you're so far above suspicion
		I can't even see you through the clouds.
							CUT TO:
35.  INT. BLUE PINE LODGE KITCHEN - DAY
    
Josie is on the phone.
    
				JOSIE
		 ... yes, Catherine, I'm listening ...
							INTERCUT:
36.  INT. SMALL PLEASANT MOTEL ROOM - DAY
    
CATHERINE PACKARD MARTELL is on the phone, sipping a drink, unbuttoning her shirt.
    
				CATHERINE
		I just thought you ought to know what your
		sentimental good-will shenanigans cost us
		yesterday, you do know what shenanigans are,
		don't you? ...
    
Josie mouths the word, not at all sure.
    
				CATHERINE (CONTINUED)
		Shutting down the mill for eight hours, plus the
		night-shift, cost us eighty-seven thousand dollars
		and change. Do you really think that would have
		made Andrew happy?
    
She hangs up. Turns and raises her glass and touches glasses with Benjamin Home,
who smiles and swoops down for a kiss.
							CUT TO:

    
37.  INT. BLUE PINE LODGE KITCHEN - DAY
    
Josie exits. Pete scrubs the coffee pot, whistling happily. We move off him to
reveal a small dead fish on the counter, coated with coffee grounds, in a small, thin
pool of steaming percolator water.
							CUT TO:
38. INT. BLUE PINE LODGE LIVING ROOM - DAY

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

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

				JOSIE
		What is "shenanigans?"

				COOPER
			(word perfect)
		Nonsense; mischief; often, a treacherous or
		deceitful trick.
    
Josie looks sad. Koro barks. Truman and Cooper look at each other.
    
							CUT TO:
39.  (DELETED)
    
40.  EXT. SMALL PLEASANT MOTEL DAY
    
Cottages, a little vacation spot tucked away at the base of White Tail Mountain.
    
							CUT TO:
41.  INT. MOTEL ROOM - DAY
    
Catherine Martell is lounging in bed. Benjamin Home is in front of a mirror, tying
his tie.
    
				CATHERINE
		Why do you always have to rush off?
    
				BENJAMIN
			(looks at his watch)
		We've been here over an hour.
    
				CATHERINE
		There was a time when we'd take all afternoon.

				BENJAMIN
		In the sweetness of passing time, this hour will
		soon seem like a day.
    
				CATHERINE
		Sing it to somebody else. I'm not one of your
		teenage peabrain chambermaids.
    
				BENJAMIN
			(insincerely)
		Oh I'm sorry, did I offend your delicate
		sensability?
    
				CATHERINE
		My mistake. I'd gotten used to us conducting
		business and pleasure.
    
				BENJAMIN
		Sweetheart, it's all the same to me.
    
				CATHERINE
		Well I'm no schoolgirl either. What's the next
		step?
    
				BENJAMIN
			(sits beside her on the bed)
		We may not have to do anything: a few more
		local tragedies and josie may run that mill into the
		ground herself.
    
				CATHERINE
		You should have seen her, so proud and weepy
		over that little cheerleader's death, as if she was
		the only one in the world with feelings.
    
				BENJAMIN
		But the fact is those losses are going to look
		beautiful in the books.
    
				CATHERINE
		With the pace we've set it'll still be months
		before the mill's bankrupt. I don't know if I can
		wait that long. Besides, there's always a chance
		my knothead husband may decide to take a peek
		at those dusty old books.
    
				BENJAMIN
		Maybe it's time for a fire.
 
    
				CATHERINE
		Are you talking about business or pleasure?
    
				BENJAMIN
		I'm talking about the Packard sawmill.
			(she gets the idea)
    
				CATHERINE
		All that dry wood lying around ...
    
				BENJAMIN
		A stray spark one night ...
    
				CATHERINE
		... when Pete's off on a toot with Smokey the
		Bear.
    
				BENJAMIN
			(lust in his eyes)
		Now I remember how those hours turned into
		days ...
    
He starts removing his tie. She smiles and reaches up for him.
    
							CUT TO:
    
42.  EXT. GREAT NORTHERN HOTEL AND WATERFALL - DAY
    
Re-establish.
							CUT TO:
    
43.  INT. GREAT NORTHERN HOTEL PRIVATE QUARTERS - DAY
    
Looking in on JOHNNY HORNE, in his Indian headress, standing in the middle of
the room, staring at the ceiling.
    
							CUT TO:
REVERSE ANGLE
    
Truman and Cooper looking in at Johnny, with DR. LAWRENCE JACOBY beside
them. Dr. Jacoby stifles a small giggle and quietly closes the door.
    
							CUT TO:
44.  INT. GREAT NORTHERN HOTEL CORRIDOR - DAY
    
Truman, Cooper and Jacoby move down the corridor.

    
						(Revised pink 8-18-89)
    
44.  CONTINUED: 
    
				JACOBY
		I can't get over it. He just stands there day after
		day, I've never seen anything like it.
    
				COOPER
		Dr. Jacoby, how old is Johnny Horne?
    
				JACOBY
		Twenty-seven going on six.
			(giggles)
		Just kidding. Sorry.
    
				TRUMAN
		And you've been treating him for how long?
    
				JACOBY
		Treating him? Well, with Johnny it's not so
		much a question of treating him --
    
				COOPER
		I understand Laura Palmer was his tutor.
    
				JACOBY
		Monday, Wednesday and Friday, after school.
		Those were the same days I'd come to see
		Johnny and his mother. Laura was Johnny's
		favorite. He knew which day it was, too, he'd
		stand just like that, waiting for her.
    
				COOPER
		Does Johnny get out much?
    
				JACOBY
		Sure, after his schoolwork ... Laura would take
		him out on the grounds hunting for rubber
		buffalo with his little sunction-cupped bow and
		arrow set. Some afternoons, he'd bag the limit.
    
				TRUMAN
		Was she here on Wednesday afternoon?
    
				JACOBY
		Yes she was. I sat in with them. She read him a story.
    
				COOPER
		What story was that?


						(Revised pink 8-18-89)
    
44.  CONTINUED:(2)
    
				JACOBY
			(thinks of it)
		Isn't that interesting? It was "Sleeping Beauty."
    
				COOPER
		You said Laura was a patient of yours as well.
    
				JACOBY
		Yes. But of course all of that information dwells
		in the land of client confidentiality.
			(he beams at them, then reaches behind
			Cooper's ear and pulls out a silver dollar)
		Johnny loves that trick. He thinks we've found
		over four hundred dollars back there.
    
Cooper slow burns.
							CUT TO:
45. INT. PALMER HOUSE BEDROOM - DAY
    
A dark room, the blinds are pulled. A subdued SARAH PALMER sits in a chair,
wearing a robe,  A NURSE enters, moves to her and says quietly ...
    
				NURSE
		Mrs. Palmer, I'm sorry to disturb you, but Donna
		Hayward is here ...
			(Sarah reacts; off the reaction)
		... are you sure you're up to seeing her?
    
				SARAH
		I have to see her. She was Laura's best friend.
    
				NURSE
		Take this right now ...
			(Sarah sticks out her tongue, the Nurse
			puts the pill on her tongue and hands her a
			glass of water)
		I'll send her in.
    
The Nurse exits. Sarah swallows the pill.
							CUT TO:
    
46.  INT. PALMER HOUSE UPSTAIRS HALLWAY - DAY
    
Donna is waiting in the hall, looking at a photo on the wall of a young Laura
playing, when the Nurse comes out of the bedroom and moves to her.
    
				NURSE
		She's sedated. Try not to upset her.
    
    
Donna nods and enters the bedroom.
    
							CUT TO:
47.  INT. PALMER HOUSE BEDROOM - DAY
    
Donna and Sarah see each other and Donna moves into her arms. They embrace,
cry, then Donna sits beside her.
    
				SARAH
		What am I going to do? I miss her, do you miss
		her?
    
				DONNA
		Yes, yes, I miss her so much.
    
				SARAH
		I miss her so much ... I miss her so much ...
    
Sarah wipes away a tear, looks away, then looks back at Donna, tilting her head,
looking at her sadly.
    
Donna hand slowly slides up and touches Sarah, comforting her. Sarah looks down
at the hand
    
							CUT TO:
48.  SARAH'S POV
    
Looking at Donna's hand. She looks up from the hand and sees ... Laura sitting
beside her. Sarah's arms reach forward, clutch her and pull her into an embrace.
    
							CUT TO:
49.  DONNA
    
As Sarah holds her.
    
				SARAH
		My baby ... my baby ...
    
Donna tries to gently pull away. Sarah won't release her.
    
							CUT TO:
    
50.  SARAH
    
Her eyes open wide, unfocused, looking up, seeing a vision ...
    
							CUT TO:
    
51.  SARAH'S VISION - INT. HOSPITAL CORRIDOR - NIGHT
    
Looking down a long corridor, a frightening looking MAN we haven't seen before
comes racing towards us at full speed. We hear some monstrous sound. just as
he's about to reach us we ...
    
							CUT TO:
52.  SARAH
    
She opens her mouth and screams and won't stop. Terrified, Donna struggles and
pulls away from her, trying in vain to find some way to calm her, as the Nurse
rushes into the room.
    
							FADE TO BLACK
    
				END ACT THREE



						(Revised pink 8-18-89)
    

    
				ACT FOUR
    
FADE IN:
    
52.  EXT. GREAT NORTHERN HOTEL - EVENING

As dusk is falling ...
							CUT TO:
    
53.  INT. GREAT NORTHERN CORRIDOR - EVENING
    
Benjamin Horne enters and crosses the lobby. He stops when he hears some
deafening rock MUSIC start coming through the ceiling above him. He heads for
the stairs.
							CUT TO:
54.  INT. AUDREY HORNE'S ROOM - EVENING
    
Audrey is dancing by herself in the middle of the room, swaying slowly and
sensually to the music. Benjamin opens the door and looks in, Audrey doesn't see
him at first. Ben walks over to the stereo and turns off the music. Audrey sees
him, looks at him with some attitude.
    
				BENJAMIN
		How many times have I asked you not to disturb
		the guests with this racket?
    
				AUDREY
		About four thousand times.
    
				BENJAMIN
			(getting right to the point)
		Audrey, Julie tells me you were in with the
		Norwegians just before they all suddenly decided
		en masse to go back to the Old Country without
		signing the contract. Is that true?
    
				AUDREY
		Yes.
    
				BENJAMIN
		You wouldn't have done or said anything that
		might have precipitated their evacuation, would
		you? I'm assuming it was just a coincidence.
    
				AUDREY
		Daddy, I did go in to check out that ridiculous
		smorgasboard, and while I was in there I
		happened to mention I was sad --
    
				BENJAMIN
		About what?
    
    
				AUDREY
			(smiles)
		About my dear, close friend Laura being brutally
		murdered.
    
				BENJAMIN
			(red hot)
		Wipe that smile off your face, young lady. Do
		you realize the kind of money your little
		performance cost this family? If you ever pull a
		stunt like that again you'll be scrubbing bidets in a
		Bulgarian convent.
    
				AUDREY
			(mocking)
		Oh, Daddy, I'm so afraid.
    
				BENJAMIN
			(pauses, very cold)
		Laura died two days ago. I lost you years ago.
    
He exits.
							CUT TO:
56.  EXT. BOBBY BRIGGS HOUSE - DAY
    
Establish
							CUT TO:
57.  INT. BRIGGS DINING ROOM - DAY
    
BETTY BRIGGS is just setting dinner down on the table in front of her husband,
MAJOR BRIGGS and son, Bobby.
    
				BETTY
		Bobby, it's your favorite; meatloaf with pimentos
		and potato chips and there's plenty more chips
		in the kitchen.
    
She sits down at the table with them. Major Briggs and his wife bow their heads
but Bobby doesn't.
    
				MAJOR BRIGGS
		For what we are about to receive, may the Lord
		make us truly thankful.
    
Bobby indifferently moves his meatloaf around the plate and mashes up the chips
with a spoon.
    
    
				MAJOR BRIGGS (CONTINUED)
		Robert, I was hoping we'd have a chance to
		discuss the events of the past few days. Not the
		physical events themselves necessarily, but the
		thoughts and feelings surrounding them.
    
Bobby rolls his eyes. Major Briggs is undeterred.
    
				MAJOR BRIGGS (CONTINUED)
		Rebellion in a young man of your age is a
		necessary fact of life and, candidly, a sign of
		strength. In other words, I respect your
		rebellious nature, Bobby, however, being your
		father, I am obligated to contain that fire of
		contrariness within the bounds established by
		society as well as those within our own family
		structure.
    
Bobby impatiently taps his water glass with his knife.
    
				MAJOR BRIGGS (CONTINUED)
		Bobby, I note your reluctance to engage in a
		dialogue with me, your father. There are times
		when silence is golden. Silence can be taken
		many ways; as a sign of intelligence ... truth being
		invisible ... and the quieter we become, the more
		we can hear ...
    
Bobby shakes out a cigarette, puts it in his mouth. The Major calmly and firmly
backhands Bobby across the face. The cigarette flies across the table and spears
into the meatloaf on Betty's plate.
    
Bobby's stunned more than hurt.
    
				MAJOR BRIGGS (CONTINUED)
		I am a tolerant man, but my patience has its
		limits. "To have his path made clear for him is
		the aspiration of every human being in our
		beclouded and tempestuous existence." Robert,
		you and I are going to work on making yours
		real clear.
    
Betty removes the cigarette from her meatloaf.
    
				BETTY
			(sincerely)
		We're here for you, Bobby.
    
Bobby's hands clench into white-knuckled fists.
							CUT TO:



						(Revised pink 8-18-89)
    
58.  EXT. DOUBLE-R DINER NIGHT
    
Re-establish.
							CUT TO:
59. INT. DOUBLE-R DINER NIGHT
    
The diner's bustling with dinner traffic. Truman and Cooper are seated at the
counter. Shelly pours them some coffee.
    
				SHELLY
		Can I get you anything to go with that, Sheriff?
    
				TRUMAN
		Agent Cooper here might want to try a slice of pie.
    
				COOPER
			(brightening)
		Cherry pie?
    
				SHELLY
		Best in the tri-counties.
    
				TRUMAN
		And could you ask Norma to stop by for a
		second, Shelly?
    
				SHELLY
		Sure thing.
    
				COOPER
			(a twinkle in his eye)
		Nothing's a sure thing, Shelly.
			(Shelly moves off)
		Shelly Johnson with a "j?"
    
				TRUMAN
		Husband's a trucker, Leo. Minor rap sheet.
    
Cooper nods, makes a note as he sips his coffee. As he puts the notebook away
he looks around and sees the LOG LADY seated a couple of chairs away, cradling
her log and drinking coffee. Cooper looks back at Truman.
    
				COOPER (CO.NMNUED)
			(whispers)
		Log Lady?
    
				TRUMAN
		Right.
    


						(Revised pink 8-18-89)
    
59.  CONTINUED:
    
				COOPER
		Hi.
    
She makes a sour face. Cooper turns back to Truman.
    
				COOPER (CONTINUED)
		Can I ask her about her log?
    
				TRUMAN
		Many have.
    
Cooper ponders his choices. Norma Jennings comes out of the kitchen with a
piece of cherry pie, moves to Cooper and Truman and sets down the pie.
    
				NORMA
		Evening, Harry.
    
				TRUMAN
		Norma, like to have you meet Special Agent Dale Cooper.
    
				COOPER
		Federal Bureau of Investigation.
    
				NORMA
		Norma Jennings.
    
				COOPER
		I understand your husband, O. Henry Jennings, is
		serving twenty-seven months in state prison for
		manslaughter.
    
				NORMA
			(good-natured)
		Yes he is. I also have a cousin named Sue who
		runs a beauty shop in downtown Butte, Montana.
    
Cooper takes a bite of pie, closes his eyes and slips into an ecstatic state.
    
				NORMA (CONTINUED)
		Maybe I should come back with the dinner menu.
    
				TRUMAN
		No need for me, I'll have the special.
    
				COOPER
			(comes out of it with a smile)
		Where's my paper and pen, I've got to write a
		poem about this pie.
    


						(Revise.d pink 8-18-89)
    
59.  CONTINUED:(2)
    
				TRUMAN
		Better get your notebook; wait'll you taste the
		special.
    
				COOPER
		Ms. Jennings, is is true that Laura Palmer used to
		help you with the Meals on Wheels program,
		delivering hot dinners to elderly shut-ins?
    
				NORMA
		Yes. Laura helped organize the program.

				COOPER
		When was the last time you saw her?
    
				NORMA
		She came in around dinner time the night before
		she died to pick up her meals for delivery.
    
				TRUMAN
		Do you have the names of the people on her
		route?
    
				NORMA
		I could get them for you.
    
				COOPER
		Would you please? And two more pieces of that
		incredible pie.
    
				NORMA
		Okay.
    
She moves off. Truman looks at him.
    
				TRUMAN
		Man, you must have the metabolism of a
		bumblebee.
    
The Log Lady is getting up to leave and leans in to them as she passes ...
    
				LOG LADY
		For your information, I heard you speaking about
		Laura Palmer?
    
				COOPER
		Yes?

    
				LOG LADY
		One day my Log will have something to say about
		this. My Log saw something that night.
    
She turns to leave.
    
				COOPER
		Wait a minute - what did it see?
    
She holds the log.out.
    
				LOG LADY
		Ask it.
    
A moment of silence. They all look at the log.
    
				LOG LADY (CONTINUED)
		I thought so.
    
The Log Lady exits.
							CUT TO:
60.  EXT. CALHOUN MEMORIAL HOSPITAL - NIGHT
    
Establish.
							CUT TO:
61.  INT. CALHOUN MEMORIAL HOSPITAL - NIGHT
    
Tommy the Hawk Hill is completing an interview with the parents of Ronette
Pulaski, JANEK and SUBURBIS PULASKI. Ronette is visible in b.g., lying on a bed
in intensive care. A STATE TROOPER stands guard in front of the entrance to the
room. (note: do not show Ronette's face)
    
				HAWK
			(summing up)
		So neither one of you saw Ronette after school
		that day ...
    
				MRS. PULSASKI
		That's right.
    
				HAWK
		And as far as you know she went to her after
		school job ...

				JANEK
		Yes. At Horne's Department Store downtown.
    

						(Revised pink 8-18-89)
    
61.  CONTINUED:
    
				HAWK
		What did she do at the department store?
    
				MRS. PULASKI
		She was a salesperson at the perfume counter.
    
				JANEK
		She used to joke it was the best-smelling job she
		ever had.
    
Mrs. Pulaski thinks of her daughter and gets a little teary-eyed. Hawk looks up and
sees ...
    
... the ONE-ARMED MAN looking around the corner in his direction. As soon as
the One-Armed Man sees Hawk and the Trooper he slowly recedes back around
the corner.
    
				HAWK
		Excuse me ...
    
Hawk rises and quietly follows the One-Armed Man around the comer ...
    
							CUT TO:
62.  THE ONE-ARMED MAN
    
As he ducks into a stairwell and waits. Hawk's footsteps pass by ... the One-
Armed Man quietly moves away, down the stairs.
							CUT TO:
63.  HAWK
    
Stops in the corridor. Listens. Comes back. He opens the door to the stairway
... empty.
							CUT TO:
64.  EXT. LEO JOHNSON'S HOUSE - NIGHT
    
In long shot, Norma drives up, Shelly hops out and starts for the house, carrying a
bag of groceries.
    
				SHELLY'S VOICE
		Thanks, Norma. See you tomorrow.
							CUT TO:
65.  INT. LEO JOHNSON'S HOUSE - NIGHT
    
Shelly enters the house, sets down her keys. Silence.
    
				SHELLY
		Leo? ... Leo, honey, you here?
    
She moves towards the kitchen.
							CUT TO:


						(Revised pink 8-18-89)

    
 65.  INT. JOHNSON HOUSE KITCHEN - NIGHT
    
CLOSE on a new bar of soap being dropped into a dark sock. Leo ties the sock
off, swings it around, slaps it into his palm a couple of times.
    
				LEO
		I'll be right out, Shelly.
							CUT TO:
66.  INT. JOHNSON HOUSE LIVING ROOM - NIGHT
    
Leo comes out of the kitchen, swinging the sock around. Shelly turns as he
enters ...
    
				SHELLY
		Hi, Leo
    
She sees the sock in his hand, turns pale and goes weak in the knees.
    
				LEO
		Where's my shirt?
    
				SHELLY
		Shirt?
    
				LEO
			(advancing on her)
		My favorite blue shirt. That's the second one
		you've lost this year ... I'm going to teach you a
		lesson now Shelly about taking care of my
		property; that means not only keeping things
		clean but making sure that things aren't damaged
		or lost -- this is gonna hurt you --
    
She pushes the bag of groceries at him and throws herself onto the couch,
protecting her face, terrified. The groceries fall to the floor, something breaks
and spills.
    
Leo walks over to the stereo and turns it on; loud, heavy metal.
    
Leo starts to spin over his sock, gaining momentum ... and as it flies out of frame
we ...
							CUT TO:
67.  INT. GREAT NORTHERN HOTEL CORRIDOR - NIGHT
    
Audrey Horne is walking down a corridor when a gust of wind slams a heavy door
shut behind her. She jumps, then regains her composure.
							CUT TO:


						(Revised pink 8-18-89)
    

    
69.  INT. GREAT NORTHERN HOTEL CORRIDOR - NIGHT
    
Audrey moves down the corridor. SOUND of the wind continues to howl. When
she hears voices she slows, sneaks around the next comer and peeks through a
partially open door into
    
							INTERCUT:
70.  AUDREY'S POV - BENJAMIN HORNE'S OFFICE
    
Benjamin Horne is pouning a couple of stiff Scotches on the rocks. He hands one
to his brother Jerry, who's walking back and forth, rubbing his hands gleefully
together.
    
				JERRY
		Ben-jamin, Ben-jamin, Ben-jamin --
    
				BENJAMIN
		What the hell are you so happy about?
    
				JERRY
		I'll give you a One-Eyed guess where I'm going
		tonight.
    
				BENJAMIN
		Can you get your mind out of the gutter for one
		second? We've got a tottering empire on our
		hands --
    
				JERRY
		Come on, Brother Ben, I hear they dropped a
		new bombshell up at "Jack's" - straight from the
		perfume counter, am I right? Am I right?
    
				BENJAMIN
			(he's pursuaded)
		Now that you've jogged my memory ...
			(sips his drink)
		... and set it on fire ... I'll drive.
    
				JERRY
		That's the spirit; all work and no play makes Ben
		and Jerry dull boys. Let's roll!
    
They clink glasses and drain their drinks. Audrey moves away, as they start
towards the door. She turns a corner as they exit and walk away.
    
				BENJAMIN
		After dinner, Jer. Gotta spend some quality time
		with the squaw.



						(Revised pink 8-18-89)
    
70.  CONTINUED:

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

71.  EXT. HAYWARD HOUSE - NIGHT  

Re-establish. James Hurley's Harley is parked outside.
							CUT TO:
72.  INT. HAYWARD HOUSE LIVING ROOM - NIGHT
    
Donna escorts James into the living room, where Eileen and Dr. Hayward are waiting.
    
				DONNA
		Mom ... Dad ... this is James ... James Hurley.
    
				DR.HAYWARD
		How do you do, James?
    
				JAMES
		Pleased to meet you, sir -- Mrs. Hayward.
    
				EILEEN
		James, very nice to meet you.
    
An awkward silence.
    
				DR.HAYWARD
		Hope you're hungry, James. Eileen's been
		cooking up a storm.
    
				JAMES
		Yes, sir.
    
Another silence.
    
				EILEEN
		James, can I offer you something to drink? We
		have soft drinks, fruit punch or sparkling cider.
    
				JAMES
		Fruit punch. That'd be good, thank you.
    
				DONNA
		I'll get it, Mom.
    
Donna exits to the kitchen.
    
				DR.HAYWARD
		Have a seat, James.

    
72.  CONTINUED:
    
				EILEEN
		You fellas go ahead and sit at the table. I'll go
		check on the roast.
    
Eileen drives her chair towards the kitchen. James and Dr. Hayward move to the
dining room table and take their seats. Donna returns from the kitchen and sets
down a glass in front of James.
    
				DONNA
		Here's your fruit punch, James.
    
				JAMES
		Thanks, Donna.
    
				DR.HAYWARD
		I don't believe I know your parents, James.
    
				JAMES
		No, sir. My dad died when I was ten. My mom
		... travels a lot.
    
				DONNA
		Ed Hurley down at the Gas Farm is James' uncle.
    
				DR.HAYWARD
		His wife is the lady with the patch?
    
				JAMES
		That's my Aunt Nadine. She's a real character.
    
				EILEEN'S VOICE
			(from the kitchen)
		Will? Can you give me a hand?
    
				DR.HAYWARD
		Excuse me, James.
    
He exits into the kitchen. Donna whispers across the table to James.
    
				DONNA
			(more intimately)
		We can talk after dinner.
    
				JAMES
		It's good to see you.
    


						(Revised pink 8-18-89)
72.  CONTINUED:(2)
    
				DONNA
			(smiles warmly)
		It's good to see you, too.
							CUT TO:
    
73.  EXT. HAYWARD HOUSE - NIGHT
    
Mike and Bobby pull up outside in Bobby's car. They see James bike parked in
front.
    
				BOBBY
		That bastard.
    
				MIKE
		First your girlfriend, then mine.
    
				BOBBY
		Too bad we can only kill him once.
    
He lights a cigarette. They drive slowly off. The rear brakelights disappear into
the darkness. The wind howls.
							CUT TO:
74.  INT. DR. JACOBY'S OFFICE - NIGHT
    
We hear a soft, cool be-bop tune. Lights are low. A pair of strange, green
orthopedic shoes dance expertly into view and execute a few boss moves. We
widen out to see Dr. Jacoby in his fifties-style, Hawaiian-themed rec room.
    
He picks up his mail and sifts through it, continuing to dance. He stops suddenly
when he comes across a slightly bulky plain manilla envelope. He opens the
envelope and finds a single audio cassette tape, without a case. Written on the
cartridge are the words ...
    
		"TO DR. JACOBY, WITH LOVE, LAURA"
    
Overcome with amazement, he instantly turns off the stereo, punches eject,
removes the tape that was playing, inserts Laura's tape and hits play.
    
				LAURA'S VOICE
			(from the tape)
		Hey, what's up, doc? Ha-ha ... it's Thursday
		afternoon about four o'clock and I'm so bored
		I'm making you this tape on the pretty little tape
		recorder you gave me ...
    
We hear background noises on the tape; ambient sound from a department store.
    
Dr. Jacoby nervously starts eating malted milkballs from a bowl on his desk,
crunching them in a single bite.
    

						(Revised pink 8-18-89)
    
74.  CONTINUED: 
    
				LAURA'S VOICE (CONTINUED)
		... and as you probably already noticed, I'm
		gonna mail it to you in the ugly little plain
		envelope you gave me ... for, what was the word
		you used? "confidentiality's sake' ... this is kind
		of fun ... first, you're always bugging me to tell
		you what my dreams are -- let me tell you about
		this one I had last night: it was a doozy ...
    
He reaches into his desk and takes out a pair of headphones, which he puts on.
    
				LAURA'S VOICE (CONTINUED)
		I was in this strange room and there was this
		little man and this other older man I'd never seen
		before either, but they both seemed to know me
		... there was music ... and I was telling all my
		secrets to the older man ...
    
He plugs the headphones in and we no longer hear her voice. As he listens and
chomps on the milkballs, his face registers a whole gamut of emotions.
    
							FADE OUT:
    
				END ACT FOUR