TWIN PEAKS
Episode 1002
by
Mark Frost and David Lynch
FIRST DRAFT: August 2, 1989
ACT ONE
EXT. GREAT NORTHERN HOTEL - EVENING
Establish.
CUT TO:
INT. HORNE RESIDENCE WING - EVENING
JERRY HORNE sits before a roaring fireplace, tumbler of
bourbon in hand, eating nuts compulsively from a giant bowl
while rapidly adding figures on a large computer while scores
of numbers flash up and down on the large computer monitor,
all the while talking into a headset phone receiver in a
melange of Icelandic and English.
In another part of the spacious room, the Horne family sits
quietly around the dinner table. AUDREY HORNE plays listlessly
with her food. A NURSE helps JOHNNY-still-wearing-his-
headdress-HORNE eat, while MRS. HORNE stares at her full
plate. For no discernable reason, Johnny bursts into tears.
The Nurse comforts him and he starts to eat again. In spite
of her feigned indifference, a small, sad tear slips down
Audrey's cheek as she watches her brother.
BENJAMIN HORNE finishes carving up and chewing a big rare
steak and looks around at his family. He puts his napkin on
the table, rises, then smiles.
BENJAMIN
Always a pleasure.
(calls to his brother)
Power down, Jer. We've got a
"meeting."
Jerry gets up, switches off the computer and does an Indian
dance towards and eventually around the dinner table, making
"traditional" Indian noises.
JERRY
(his idea of being a
funny guy)
Nephew Johnny, don't be forlorn...
things're bound to get better in the
morn... then there's Sylvia, who
treats me with scorn... she thinks
Jerry an absolute thorn...
He kisses her; Jerry repulses her. Jerry indian dances toward
Audrey. Johnny breaks down again.
JERRY
...around the horn to little niece
Audrey, the Horne's first born...
(Audrey's amused)
...and here goes Jerry with brother
Ben Horne, long-gone like turkeys
through the corn...
Ben and Jerry exit.
CUT TO:
EXT. BLACK LAKE - NIGHT
A full moon in a dark sky illuminates the cold, placid surface
of Black Lake.
CUT TO:
EXT. HORNE CRUISER - NIGHT
A 1942, solid mahogany 22 foot Fitzgerald and Lee custom
streamliner runabout cuts through the water. Benjamin Horne
is at the wheel, his brother Jerry Horne beside him, spotting
ahead of them through infra-red, night-vision binoculars.
CUT TO:
THEIR POV - BINOCULAR EFFECT
Bright lights on a long peninsula, their destination.
CUT TO:
EXT. DOCK - NIGHT
The boat glides up slowly to the dock. Jerry tosses a line
to a gorgeous young female deckhand, SWABBIE, dressed in a
skimpy, stylized, sailor's uniform. Swabbie ties off the
boat as a SECURITY GUARD, also dressed in a nautically themed
uniform, stands by, watching.
JERRY
Permission to come ashore?
SWABBIE
Permission granted.
Jerry gives Swabbie a kiss. Benjamin follows Jerry out of
the boat onto the dock.
BENJAMIN
Hey, Sailor.
SWABBIE
Good evening, Mr. Horne.
Benjamin tips her a ten-spot and rubs her elbow.
SWABBIE
Thank you, Mr. Horne.
Ben and Jerry start up a flight of stairs to the brightly
lit structure above. Swabbie picks up a phone on a piling
and pushes a button.
SWABBIE
Horne brothers, comin' up.
CUT TO:
EXT. ONE-EYED JACKS - NIGHT
A large sign of a playing card, a one-eyed jack, with neon
flashing "J's" and one pulsating eye, is suspended over two
identical doors. On one of the doors is a small neon sign
that reads, "CASINO." Ben and Jerry come up to the doors and
stop.
JERRY
Now, are we gonna go into the casino
first?
BENJAMIN
I'm not here to lose my shirt, I
just want to take it off.
Jerry rings a bell on the door without the sign. An electronic
buzz, a latch gives, and the door swings open.
CUT TO:
INT. ONE-EYED JACKS "LET'S GET ACQUAINTED" ROOM - NIGHT
Ben and Jerry enter a plush, cozy warmly lit room, easy
chairs, fluffy sofas and a small bar with a brass rail. Jerry
orders drinks from a scantily clad female BARTENDER.
JERRY
Sweetheart, I'd like to order two
drinks, one double scotch on the
rocks and my brother will have a
double scotch on the rocks.
(winks)
BARTENDER
That's two double scotch on the rocks?
JERRY
Next stop, rocket science.
Several of the establishment's sensational and extraordinary
WORKING GIRLS, known collectively as "The 52 Pick-Ups," enter
the room. They sit and luxuriously arrange themselves. Ben
and Jerry take note as they pick up their drinks. In sweeps
BLACKIE "THE BLACK ROSE" O'REILLY, the Madam of the House,
an intelligent, strikingly attractive woman in her mid-
thirties.
BLACKIE
Gentlemen...
BENJAMIN
Blackie...
(he kisses her hand)
"Shall I compare thee to a summer's
day? Thou art more lovely and more
temperate: Rough winds do not shake
the darling buds of May, And summer's
lease hath all too short a date:
Sometimes too hot the eye of heaven
shines, And often is his gold
complexion dimm'd; And every fair
from fair sometimes declines, By
chance or nature's changing course
untrimm'd; But thy eternal summer
shall not fade, Nor lose possession
of that fair thou ow'st, Nor shall
death brag thou wander'st in his
shade, When in eternal lines to time
thou grow'st; So long as man can
breathe, or eyes can see, So long
live this, and this gives life to
thee."
During above we register Blackie's reaction, detached
amusement, and Jerry's reaction, bored indifference. Several
more Pick-Ups wander in and we pay attention to their
reactions and those of the others already in the room, who
see Benjamin an ideal of worldly sophistication and power.
Benjamin finishes and kisses Blackie's hand again. Jerry
comes up to her and says quietly.
JERRY
Which one's the new girl?
BLACKIE
When you really want love... you
will find it waiting for you.
A curtain opens, revealing a gorgeous young WOMAN with the
face of an angel. Ben and Jerry look at each other, then
instantly back to the Woman. Jerry takes a coin out of his
pocket, flips it, and covers his wrist.
Jerry and Ben look down at the coin: heads. Ben smiles, pats
his brother on the back, and starts towards the Woman. Jerry
slaps the coin down on the bar.
CUT TO:
A TAPE RECORDER
A tape playing in the small recorder comes to an end and the
"play" button pops back out. We see that the tape is labeled,
"TO DR. JACOBY WITH LOVE, LAURA."
CUT TO:
INT. DR. JACOBY'S OFFICE - NIGHT
Deeply saddened, Dr. Jacoby finishes listening to the tape,
removes the headphones, takes the tape out of the recorder.
He moves to the artificial palm tree near the wall and removes
one of the coconuts from a branch of the tree.
Jacoby snaps open the coconut, which is actually a stash box
disguised as a coconut, slips the tape inside, snaps it shut,
and attaches it back to the tree.
CUT TO:
EXT. HAYWARD HOUSE - NIGHT
Re-establish.
CUT TO:
INT. HAYWARD HOUSE LIVING ROOM - NIGHT
Dr. and Mrs. Hayward are clearing away pie plates from the
coffee table in front of a fire burning in the fireplace.
Donna and James are sitting on opposite ends of the sofa.
JAMES
That was great huckleberry pie, Mrs.
Hayward.
EILEEN
You only had three pieces, James,
are you sure you wouldn't like
another?
JAMES
No thank you, ma'am.
DR. HAYWARD
How 'bout some more coffee?
JAMES
No thank you, sir.
DONNA
(a semi-subtle signal)
Dad...
DR. HAYWARD
(gets it)
Mrs. Hayward and I are going to say
goodnight to you now, James.
EILEEN
Good night, James.
DONNA
Just leave the dishes, Mom, I'll
clean up.
EILEEN
Thank you, dear, good night.
Mrs. Hayward steers herself into the kitchen.
DR. HAYWARD
Will you be joining us for church
tomorrow, Donna?
DONNA
Yes.
DR. HAYWARD
Nine o'clock sharp.
He winks and exits. Donna and James are alone. From another
room we hear the sound of an engine start up and whine. James
looks at Donna.
DONNA
Elevator.
James nods. A slightly awkward but not uncomfortable silence.
He tentatively reaches over for her hand, she takes it. They
hold hands and look at each other. He slowly pulls her towards
him into a sweet, tender kiss. They look at each other. She
smiles. They kiss again, very passionately.
DONNA
(whispers)
I can't stop thinking about you...
JAMES
(touches her cheek)
I've thought about you all day...
DONNA
I keep thinking of Laura, too.
JAMES
Yeah...
DONNA
What are we gonna do?
JAMES
Donna, I don't feel that what we're
doing is wrong, or what we're feeling--
DONNA
Why not?
JAMES
Because it's the truth. Because I
think it would have turned out this
way sooner or later anyway--
DONNA
I don't know--you do?
JAMES
Yes. I remember a time in school,
remember, in the hall, we were
suddenly alone and we looked at each
other--
DONNA
I remember--
JAMES
I almost told you I loved you then.
DONNA
It's true.
JAMES
It's true, isn't it?
DONNA
I guess because of Laura, I couldn't
say anything, I couldn't even let
myself think about it--
JAMES
Me too.
DONNA
(tender and trembling)
Are we...
(moves closer to him)
...are we... going to be together?
He kisses her. She kisses him. They kiss.
CUT TO:
EXT. GREAT NORTHERN HOTEL - NIGHT
Re-establish.
CUT TO:
INT. DALE COOPER'S ROOM - NIGHT
The door flies open. Long pause. DALE COOPER takes one step
into view, looks into the room, realizes it's safe, then
enters. He plays a little birdcall on his handcarved whittle
whistle. He sees the red message light blinking on his bedside
phone.
Cooper dials the operator.
COOPER
Messages for 315, Special Agent Dale
Cooper...
(he waits)
...Deputy Tommy "The Hawk" Hill? Did
he leave a number?
(jots down the number)
Deputy Hill, this is Agent Cooper...
INTERCUT:
INT. CALHOUN HOSPITAL - NIGHT
TOMMY "THE HAWK" HILL is in the hospital corridor on a pay
phone.
HAWK
Just thought I should let you know
everything's quiet here at the
hospital...
COOPER
How's Ronette Pulaski?
HAWK
Body and spirit are still far apart.
COOPER
What did you find out from her
parents?
HAWK
Little. Ronette recently quit her
job at the perfume counter of Horne's
department store.
COOPER
Is that Benjamin Horne?
HAWK
Yes, sir, family business. Everything
else is good except that at ten
o'clock there was a one-armed man
snooping around intensive care.
As they speak, Cooper looks over and sees a note being slipped
under his hotel room door.
COOPER
One-armed man?
HAWK
Left.
COOPER
Did you question him?
HAWK
Negative. I pursued, but he got away.
COOPER
Alright. Maintain a watch on Ronette
around the clock and we'll talk
tomorrow.
STAY with Cooper as he hangs up, rises, and moves to the
note. He picks it up, opens it and reads...
"HAVE YOU LOOKED INTO ONE-EYED JACKS?"
Cooper sniffs the note and smiles.
CUT TO:
EXT. BLUE PINE LODGE - NIGHT
Establish.
CUT TO:
INT. MARTELL BEDROOM - NIGHT
PETE MARTELL and his wife CATHERINE are uneasily coexisting
in a heavy silence. Pete sits on the edge of the bed, rubbing
some mink oil into his boots. Catherine folds some laundry
and puts it away in a chest of drawers. She sniffs.
CATHERINE
Everything smells like fish around
here.
PETE
Then why don't you wash your socks
separately?
CATHERINE
Why don't you drive your truck into
a tree?
PETE
(smiles)
I got an idea: tomorrow's Sunday,
let's stay up late tonight and bicker.
Catherine takes some laundry into a large walk-in closet and
puts the clothes away. Pete quietly rises, silently picks up
a small vase from the dresser, dumps the contents into his
hand and takes out a small key with a tag.
CATHERINE
(from the closet)
What was that FBI man doing up here
today?
PETE
Nice fella. Asked a few questions.
CATHERINE
About what?
PETE
He talked to Josie mostly. I had a
problem with a fish took a likin' to
my percolator.
CATHERINE
What did he talk to Josie about?
PETE
Why don't you ask her?
Pete sits down with the key in his pocket as Catherine re-
enters.
CATHERINE
Did they talk about my brother at
all?
PETE
Andrew?
CATHERINE
How many brothers do I have?
PETE
I heard them mention him. The
accident.
CATHERINE
What about the accident?
PETE
You know, the usual, how no one found
his body. Mostly they talked about
Laura. How she was up here the
afternoon of the day she died.
CATHERINE
Didn't he want to talk to us?
PETE
I talked to him. Real nice fella.
CATHERINE
Did he express any interest in talking
to me?
PETE
Yeah, but we told him you were on
your world tour, he should contact
your press agent.
CATHERINE
Take your boots off my bed and go to
your room.
PETE
Didn't want to get mink oil on my
bedspread.
Pete rises and exits, whistling.
CUT TO:
INT. BLUE PINE LODGE CORRIDOR/JOSIE'S ROOM - NIGHT
Pete wanders down the hall, taps on a door. JOSIE PACKARD
opens the door. Pete holds up the small key.
PETE
(whispers)
Don't use it til tomorrow. I'll get
her out of the house.
JOSIE
Thanks, Pete.
PETE
You bet'cha.
She takes the key and goes back inside. Pete moves on,
whistling. In her room, Josie opens a small rectangular
lacquer box. She presses the key into the hard clay inside
the box, making an impression of the key. She then removes
the key and closes the box.
CUT TO:
EXT. PALMER HOUSE - NIGHT
Establish.
CUT TO:
INT. PALMER HOUSE LIVING ROOM - NIGHT
Feet pace restlessly back and forth across the carpet. LELAND
PALMER moves to the record player. A record drops on the
turntable. Big band music. Leland listens, sways, tries to
get the feel of the music. Decides it isn't right, not up
tempo enough.
Leland lifts the stylus and drops the needle on another part
of the record, searching frantically for a particular song,
which he finally locates.
Big band again, but fast, loud and brassy. He listens again.
This time it's the right stuff; tears spring into his eyes.
He looks across at Laura's picture on the table. He starts
to dance, in torment of anger, sadness and nostalgic despair,
jitterbugging back and forth in front of the picture.
He makes a loud moaning, wailing sound.
CUT TO:
INT. PALMER HOUSE CORRIDOR - NIGHT
Startled by the sound and the music from downstairs, SARAH
PALMER peeks her head around the corner of the corridor at
the top of the stairs.
She starts quickly down the stairs and moves towards the
living room...
INTERCUT:
SARAH'S POV
As the living room comes into view and she sees her husband
dancing.
CUT TO:
INT. PALMER LIVING ROOM - NIGHT
Sarah enters the room where Leland is dancing and wailing.
SARAH
(frightened)
Leland?... Leland?...
He looks at her, goes right over her and grabs her.
LELAND
Sarah, we have to dance...
He tries to move her, trying desperately to dance with her.
SARAH
Leland, stop, stop it--
LELAND
Sarah, we have to dance--we have to
dance--
SARAH
Leland, Leland--
LELAND
We have to dance--for Laura!
She starts screaming, he starts moaning and moving her around
in front of the fireplace. We MOVE in on the fire.
FADE OUT:
END ACT ONE
ACT TWO
FADE IN:
EXT. TWIN PEAKS SHERIFF STATION - DAY
Establish.
CUT TO:
EXT. REAR OF SHERIFF STATION - DAY
A large blackboard is set up behind the station. Special
Agent Dale Cooper is writing a list on the blackboard with
chalk, consulting his electronic notebook. A small table is
set up near the blackboard, covered with the fruits of Lucy's
morning doughnut run. Four folding chairs are set up near
the table.
Sheriff HARRY S. TRUMAN is using a tape measure to calculate
the distance from a line drawn on the ground in front of the
blackboard to a large nearby rock.
LUCY MORAN is holding the end of the tape measure on the
line, eating a donut. Deputy Hawk is placing an empty pop
bottle on a marked flat spot on top of the rock. Deputy ANDY
BRENNAN is gathering small, round rocks into a galvanized
metal bucket. They all carry mugs of coffee that read, "Twin
Peaks Sheriff's Department."
COOPER
(thinks of something,
flips on recorder)
Diane, 8:17, quick note: definition
of a Chinese word, "Koro," that's
the name of Mrs. Josie Packard's
dog, mixed breed. I believe the word
is Mandarin, I'm sure I know what it
means but I can't lay my hands on
it.
Truman reaches the spot on the rock with the tape and calls
back...
TRUMAN
Exactly sixty feet, six inches.
COOPER
Perfect.
Cooper bites into a doughnut. At the rock, Hawk whispers to
the Sheriff...
HAWK
What do you think he's up to?
TRUMAN
Beats me.
HAWK
Sixty feet, six inches; that's the
distance from home plate to the
pitcher's mound.
TRUMAN
Kinda interesting, huh?
HAWK
Yeah.
Truman starts back, re-spooling the tape measure. Andy shows
Cooper the bucket of rocks.
ANDY
Where would you like these rocks?
COOPER
Set 'em down by the donuts, Deputy.
Andy does. Lucy picks up a coffee pot.
LUCY
Would anyone like a warm-up?
EVERYONE
(severally)
Yes, please... thanks... you bet...
COOPER
Damn good coffee.
(sips, burns his tongue)
...and hot. Would everyone please
take a seat?
Truman, Hawk, Andy and Lucy sit on the four folding chairs.
Cooper takes a telescoping pointer out of his coat pocket
and expands it full length.
COOPER
By way of explaining what we've been
doing and are about to do, I'm going
to first talk to you a little bit
about the country called Tibet.
Cooper flips the two-sided blackboard over, revealing a
detailed map of Tibet and surrounding countries tacked to
the back.
COOPER
Tibet is bordered on the southeast
by Burma, on the south by India and
Nepal, on the west by India and
Kashmir and on the north and east by
China. It is almost completely
surrounded by mountain ranges. An
extremely spiritual country,
practicing a form of Buddhism known
as Tibetan Buddhism, for many
centuries the leader of Tibet has
been known as the Dalai Lama; upon
the death of each Dalai Lama, his
spirit is believed to pass into the
body of a newborn infant. An exacting
series of test are performed to
discover this boy's identity, who is
then rigorously trained to fulfill
his great responsibilities.
The Sheriff's Department is intrigued, but completely
mystified.
COOPER
In 1950, Communist China invaded
Tibet and while leaving the Dalai
Lama nominally in charge, they in
fact seized control of the entire
country. Following a Tibetan uprising
against the Chinese in 1959, the
Dalai Lama was forced to flee for
his life to India, and has lived in
exile ever since.
Cooper collapses his expanding pointer.
COOPER
Following a dream I had three years
ago, I have become deeply moved by
the plight of the Tibetan people,
and have been filled with a desire
to help them.
Cooper flips the blackboard back over. The Sheriff's
Department members look at each other just a tad uneasily.
COOPER
I also awoke from this dream realizing
that I had subconsciously gained
knowledge of a certain deductive
technique, involving mind-body
coordination operating hand-in-hand
with the deepest levels of intuition.
Sheriff, Deputy Hawk, if I could
have your assistance I will be happy
to demonstrate this technique...
Truman and Hawk look at the other, look at each other, and
stand. Cooper expands his pointer again.
COOPER
You'll recall that on the day of her
death, Laura Palmer wrote in her
diary the following entry...
Points to where this line is written along the top left side
of the blackboard...
COOPER
"Nervous about meeting "J." tonight."
Remember also that under the nail on
the ring finger of Laura's left hand
we discovered the letter...
Points to where this is written on the top right side of the
blackboard.
COOPER
"R." In addition, under the nail on
the ring finger of the left hand of
Theresa Banks, the girl who was
murdered last year, we discovered
the letter "T."
He writes the letter "T" next to the "R."
COOPER
Today, however, we are going to
concentrate on the "J's." Harry, if
you would, when I give the word,
would you please read aloud each of
the names we've written on the
blackboard, all of whom had a direct
connection with Laura Palmer.
TRUMAN
Okay... alright.
COOPER
Deputy Hawk, if you would hold this
bucket of rocks up near me where I
can get at them... and would you
please wear kitchen mittens.
HAWK
(looks at Truman, who
nods)
Yes, sir.
Hawk puts on a pair of kitchen mittens and picks up the bucket
of rocks.
COOPER
Deputy Andy, would you please move
down near the bottle and stand by--
Andy rises and runs towards the distant rock, only too happy
to help.
COOPER
(calling out)
Not too near!
Andy waves.
COOPER
Lucy, would you please take the chalk?
LUCY
(rises, takes the
chalk from Cooper)
I'm getting excited.
COOPER
And if I hit the bottle after Sheriff
Truman calls out a particular name,
make a check on the board to the
right of that name--Sheriff, I almost
forgot, when you say the name, also
briefly describe, if known, the
person's relationship to Laura Palmer--
ready?
EVERYONE
(severally)
All set... yes... yep...
ANDY
Ready!
Cooper nods to Hawk, who holds up the bucket, then nods to
Truman.
TRUMAN
James Hurley...
(searches for a
description)
...secret boyfriend.
Cooper picks out a rock and holds it. He closes his eyes.
COOPER
James Hurley.
Cooper opens his eyes, winds up, and hurls the rock towards
the bottle. It strikes the larger rock well below the bottle.
Cooper nods at Truman.
TRUMAN
Josie Packard... was instructed in
English by Laura.
Cooper picks up a rock, closes his eyes.
COOPER
Josie Packard.
Cooper opens his eyes and lets it fly. It sails way above
the bottle, hits a tree and startles a bird that takes flight.
LUCY
So there's no check next to either
name?
COOPER
That's correct--next name, Sheriff.
TRUMAN
Dr. Lawrence Jacoby... Laura's
psychiatrist.
Cooper repeats the rock routine.
COOPER
Dr. Lawrence Jacoby.
Cooper throws again and hits the bottle. It falls off the
rock but doesn't break.
LUCY
You did it, you hit it.
Lucy writes a check next to Jacoby's name.
COOPER
Lucy, make a note that the bottle
was struck but did not break--very
important--Andy, put the bottle back
in exactly the same spot.
Lucy and Andy follow directions. Cooper nods to Truman.
TRUMAN
Johnny Horne... Laura was his special
education tutor.
COOPER
Johnny Horne.
He throws and clanks a fifty-gallon trash can, under a Douglas
Fir.
TRUMAN
Norma Jennings... owns diner, helped
Laura organize the Meals on Wheels
charity program.
COOPER
Norma Jennings.
He throws and misses.
TRUMAN
Shelly Johnson... waitress at diner,
friend.
COOPER
Shelly Johnson.
Cooper throws it again; it ricochets off the large rock,
shoots up and wings Andy in the loaf.
COOPER
Andy, I'm sorry --
LUCY
Sweetie?
ANDY
(immediately reassuring)
It didn't hurt, honest, it didn't
hurt a bit.
TRUMAN
Where there's no sense, there's no
feeling.
They all laugh, including Andy.
COOPER
Sheriff, please continue.
TRUMAN
Joey Paulson... friend of James,
drove Donna to meet him.
COOPER
Joey Paulson.
Cooper opens his eyes, takes aim, throws, and misses. Lucy
takes a loud sip of coffee. Cooper nods to Truman again, who
is slightly confused by the next name on the blackboard.
TRUMAN
(doesn't know who
this is)
Jack with One Eye...
COOPER
Jack with One Eye...
LUCY
There's no "i" in Jack.
COOPER
I think perhaps it means he only has
one eye.
(covers an eye)
HAWK
Sounds like Nadine, Big Ed Hurley's
wife.
TRUMAN
No, there's a casino up north called
One-Eyed Jack's.
COOPER
That's it--
TRUMAN
It's across the border on the Canadian
side.
COOPER
Sheriff, we're gonna have to check
that place out.
TRUMAN
Sure, sure--
LUCY
Agent Cooper, I'm going to erase
this because it's a place, not a
person--
COOPER
Fine. Next name.
TRUMAN
It's the last one, Leo Johnson...
husband of Shelly, drives a truck,
connection to Laura... unknown.
He throws the rock, hits the bottle and breaks it.
CUT TO:
INT. DOUBLE R DINER - DAY
NORMA JENNINGS is on the phone back in the kitchen.
NORMA
Shelly? It's Norma.
SHELLY
(trying to sound normal)
Oh hi, Norma, I was just about to
call you --
NORMA
Are you alright?
SHELLY
I'm fine, I'm fine, actually, I'm
not feeling to good, think I got a
touch of the flu--
NORMA
Shelly, didn't you have the flu last
week?
SHELLY
Norma, I'm okay... I just... can't
come in today.
NORMA
I'm worried about you.
SHELLY
Thank you, Norma, I'll be fine, I
just need to rest.
NORMA
You want me to bring you anything?
SHELLY
No, no, I've got everything here I
need, but thanks anyway, I hope you'll
be okay down there. Heidi should be
able to work my shift, she shouldn't
mind too much, I know she needs the
money--
NORMA
Shelly, don't worry about it, you
work on getting better--
SHELLY
Norma, I know you always feel like
you have to drop by, but don't drop
by, I'm okay...
(she starts to get
tearful, hides it)
I'll see you later.
Shelly hangs up. Norma hangs up slowly and takes a sip from
a cup of coffee, thinking about Shelly. She turns to a small
television set on the counter behind her and turns up the
volume.
We MOVE in on the television screen in time to see...
CUT TO:
THE TELEVISION
CLOSE on the set, as lush MUSIC swells over a robin's egg
blue background and we hear...
ANNOUNCER
(syrupy)
Each day brings a new beginning...
A beautiful, glowing white envelope is set down on the
background and a silk ribbon is effortlessly untied... a
folded white note is taken from the envelope...
ANNOUNCER
...and every holds the promise of
an...
Violins soar as the note is opened and a scarlet red flowing
script writes out the program's title on the virgin white
paper...
ANNOUNCER
...INVITATION TO LOVE...
CUT TO:
NORMA
As she pours herself a piping hot refill, her eyes glued to
the set.
CUT TO:
THE TELEVISION
An establishing shot on the soap opera, a sign strung between
two towering Ponderosa pines that reads:
"THE PINES"
CAMERA pans down to a smaller sign that reads:
"SOUTH GATE"
CUT TO:
SHELLY JOHNSON
In her living room, sitting uncomfortably on the edge of a
chair, sipping coffee, watching her television set...
CUT TO:
THE TELEVISION
Under the "SOUTH GATE" signs, heavy iron gates swing open
and we...
DISSOLVE TO:
INT. "INVITATION TO LOVE" SET #1 - "NIGHT"
A fake-classy elegant generic living room-dining room. A
beautiful, naughty looking redhead, EMERALD, bursts into the
room, steaming. She paces, picks up a silver cigarette box,
takes out a smoke, taps it angrily on the box and fires it
up with a two pound acrylic-glass-sculpture lighter. She
exhales an exasperated burst of smoke.
A nice-good-looking-but-ineffectual young man, CHET, follows
her into the room, carrying a highball.
CHET
Emerald, please, listen to reason--
EMERALD
Reason? Reason? There's no reason--
CHET
Jared's your father--
EMERALD
And Melanie's my sister!
CHET
And she's my wife!
(she smokes)
Your father loves you, poor Jared,
he's been out of the hospital less
than a week--
EMERALD
Ha! He wasn't even sick.
CHET
Yes, but those pains were real. You
shouldn't have spoken that way to
Melanie, she was with him at the
hospital night and day, she was
exhausted when you spoke, she didn't
mean to hurt you--
INTERCUT:
SHELLY
Sipping her coffee, watching the show hypnotically.
CUT TO:
THE TELEVISION
As the show continues...
EMERALD
We'll see who's hurt... Chet, you're
a fool...
(she puts out her
cigarette in his
drink)
And Melanie's a fool. And Jared's
the biggest fool of all.
MONTANA'S VOICE
(from offscreen)
So what does that make me?
They both look towards a pair of open French doors leading
out to a patio... standing there is MONTANA, a big insolent
tough guy in t-shirt and leather jacket, a cigarette hanging
off his lip.
CHET
(stunned)
Montana...
EMERALD
(pause; a sly smile)
...I knew you'd be back.
MUSIC swells. Chet sweats. Montana scowls. Emerald sneers.
The set fades to black.
CUT TO:
INT. ED HURLEY'S HOUSE - DAY
NADINE HURLEY watches, engrossed by the show on her
television...
ANNOUNCER
(from the TV set)
...INVITATION TO LOVE... will
return...
Commercial music in; Nadine, in workout gear, resumes
vigorously rowing on her rowing machine. Wearing an extremely
greasy gas station work shirt, his hands covered with
industrial strength grime, BIG ED HURLEY enters the front
door behind her, stops when he sees Nadine rowing away.
Ed tries to tiptoe around behind Nadine so she doesn't see
him and in doing so steps on a drape runner and a bag of
cotton balls laid out on the floor. He bends the drape runner.
Nadine stops rowing.
NADINE
Ed!
ED
Sorry, honey, I didn't see it there--
NADINE
What are you doing?
ED
I popped a grease cartridge, needed
to change my shirt--
NADINE
You stepped on my drape runner--
ED
Nadine, honey, it's right out here
in the middle of the floor--
NADINE
You think that's an accident? I laid
it out there myself, I was up all
night working on that invention--I'm
going to have the world's first 100%
quiet runner!
ED
I'm really sorry, Nadine--
NADINE
And why aren't you cleaning up at
the Gas Farm?
ED
Ran out of cleaner, honey, Spanky
knocked it over chasing a hubcap--
NADINE
Ed, you make me sick!
Ed nods and moves into the other room. Pumped up with rage,
Nadine re-grips the metal oars and pulls back on them; we
hear the screech of rending steel as the oars bend back like
willow sticks.
CUT TO:
NADINE'S TELEVISION
The soap continues; JARED, a distinguished looking character
of sixty, in smoking jacket and ascot, sits at a desk, tears
streaming down his face. He reaches out a shaking hand for...
CUT TO:
INT. JOHNSON HOUSE - DAY
Shelly continues to watch the soap...
CUT TO:
SHELLY'S TELEVISION
...Jared's hand reaches toward a pistol, hovering above it.
Music. Fade out.
CUT TO:
SHELLY
A sudden, loud knock on the door startles her. She switches
off the set and moves to the door.
SHELLY
Who is it?
BOBBY'S VOICE
Hey, baby, it's the big bad bobcat--
SHELLY
Are you crazy? What are you doing
here?
BOBBY'S VOICE
I just passed Leo, starting to diesel
up in North Bend, the coast's clear,
we got at least twenty minutes, let
me in--
SHELLY
Where's your car?
BOBBY'S VOICE
Parked in the woods, somebody might
see me out here and that'd be worse.
She decides to partially open the door and speak to him,
keeping the bruised side of her face hidden.
SHELLY
Bobby, you can't come here like this,
we can't see each other for a while--
He tries to kiss her, putting his arms around her, she
stiffens up in pain and he sees the bruises on her face.
BOBBY
What the hell happened to you?
SHELLY
Leo Johnson happened to me.
BOBBY
That bastard!
SHELLY
I'm telling you, he's crazy, if he
finds out about us he'll kill you,
he'll kill us both--
BOBBY
If he ever does this to you again,
I'll kill him.
(she gets a twinkle
in her eye)
I mean it.
They kiss tenderly.
SHELLY
Bobby, you gotta go.
BOBBY
You call me soon as you can.
SHELLY
Alright, I'll try.
BOBBY
(winks)
Save it for me, baby.
Bobby moves off. Shelly closes the door.
CUT TO:
INT. BLUE PINE LODGE - DAY
Josie Packard looks out a window and sees...
CUT TO:
EXT. BLUE PINE LODGE - DAY
Pete and Catherine get into Pete's car and drive off.
CUT TO:
INT. BLUE PINE LODGE - DAY
Josie moves away from the door, exits into a corridor...
CUT TO:
INT. BLUE PINE LODGE CORRIDOR - DAY
Josie moves down the corridor and enters another door...
CUT TO:
INT. BLUE PINE LODGE OFFICE - DAY
Catherine's office. Leaving the door open, Josie moves behind
the desk. She searches for and finds a catch that releases a
latch...
...a false shelf of books hinge out from the wall, revealing
an old fashioned wall safe. Josie takes out the key that
Pete gave her and inserts it into the keyhole of the safe.
She manipulates the handle and opens the safe door.
Josie reaches into the safe and lifts out two sets of two
ledger books labeled: PACKARD SAWMILL, RECEIPTS; one set
labeled "1989" and the other "1990."
Josie hears a car drive up and brakes squeal outside.
CATHERINE'S VOICE
I told you to put it in the car--
Josie quickly puts the books back in the safe, closes the
safe, replaces the false bookshelf, and scurries out of the
room.
CUT TO:
INT. BLUE PINE LODGE CORRIDOR/OFFICE - DAY
Just as Josie enters the corridor, Catherine comes up the
stairs to the corridor. Josie hurries back into the office
and hides in the closet.
CATHERINE
(to herself as she
enters the office)
I told that knothead twice to put it
in the car.
Catherine moves to the desk, looking for something, which
she finds. Josie watches from the closet as Catherine
remembers something, picks up a phone, punches in a number
on the auto-dialer and waits.
CATHERINE
Ben, Catherine... where the hell
were you last night? I thought we
had a date... family crisis? You
want to see a family crisis, try
standing me up twice in a row, Mr.
Debonair.
She hangs up and exits. In the closet, waiting, Josie ponders
this information.
FADE OUT:
END ACT TWO
ACT THREE
FADE IN:
EXT. CHURCH - DAY
A church bell rings. Citizens are leaving church.
CUT TO:
EXT. CHURCH - CLOSER - DAY
Doc Hayward pushes Mrs. Hayward in her wheelchair towards
the handicapped access ramp. Donna exits the church behind
them and sees Audrey Horne is standing outside, leaning
against a railing.
AUDREY
(to Donna)
Hi.
DONNA
Hi.
Something in Audrey's look says she wants to talk to Donna.
DONNA
I'll be right there, Dad.
DR. HAYWARD
We're going over to get a Softie
Freeze, you'll be joining us, won't
you?
DONNA
Dad, when I have ever missed a Softie
Freeze?
MRS. HAYWARD
Maybe Audrey would like to join us?
AUDREY
Do you all go for a Softie Freeze
every Sunday?
DR. HAYWARD
Every Sunday after church since Donna
was a little girl.
MRS. HAYWARD
We enjoy is so much. Hope you can
join us.
Mrs. Hayward drives down the ramp.
DR. HAYWARD
Nice to see you in church, Audrey.
Dr. Hayward follows his wife off.
AUDREY
(sincerely)
I wanted to come down cause of Laura.
DONNA
What do you mean? I didn't think you
even liked her.
AUDREY
There were things about her I didn't
like, but she helped take care of my
brother. And I guess I sort of loved
her for that. That's why I'm here.
DONNA
That's really nice of you.
AUDREY
I knew how close you were to her. I
wanted to tell you how sorry I am.
DONNA
Thanks.
Audrey nods, shyly, ready to move off.
AUDREY
You take care.
Donna starts to watch her go.
DONNA
(feeling Audrey's
loneliness)
Why don't you come with us for a
Softie Freeze?
AUDREY
I don't know...
DONNA
Really.
AUDREY
(touched)
Yeah?
DONNA
Sure, come on, they're really good.
AUDREY
Okay.
DONNA
And if we're really lucky, maybe my
dad will tell his story about the
night the porcupine got into the
hospital.
AUDREY
Oh, I'd like to hear about that.
They walk off together towards the parking lot.
CUT TO:
EXT. SHERIFF'S STATION - DAY
Re-establish.
CUT TO:
INT. SHERIFF'S STATION RECEPTION AREA - DAY
Three men in black suits, hats and sunglasses enter the
building, each carrying a stainless steel suitcase. The point
man is ALBERT ROSENFIELD, a brilliant, mannerless FBI
forensics expert, the others are his ASSISTANTS. Lucy looks
up from behind the reception window.
ALBERT
(abruptly)
Tell Agent Cooper that Albert and
his team are here.
LUCY
Albert?
ALBERT
Are we going to have to stand here
all afternoon?
LUCY
No.
ALBERT
Albert. Albert Rosenfield. Ro-sen-
field.
LUCY
(punches into the
switchboard)
Sheriff, this is Lucy, is Agent Cooper
with you?
TRUMAN'S VOICE
(over the speaker)
Yes--
COOPER'S VOICE
(over the speaker)
Is Albert here, Lucy?
LUCY
(surprised)
Yes, he is.
COOPER'S VOICE
We're on our way.
LUCY
(to Albert)
Agent Cooper will be right with you.
ALBERT
(takes out a cigarette)
I can hear perfectly well.
One of his Associates lights his cigarette. None of them see
Lucy stick out her tongue at Albert.
CUT TO:
INT. SHERIFF STATION CORRIDOR - DAY
As Cooper and Truman move towards the reception area.
COOPER
Harry, just so you know, Albert and
his team are the cream of the crop--
TRUMAN
If they're working for you, I wouldn't
expect anything less.
COOPER
Albert's a forensics genius, but I
should warn you he's lacking in some
of the social niceties.
TRUMAN
Nobody's perfect.
COOPER
Isn't that the truth?
They turn a corner and come upon Albert and his team.
ALBERT
What the hell kind of a two-bit
operation are they running out of
this tree house, Agent Cooper?
COOPER
Albert, this is Sheriff Truman.
ALBERT
I have seen some slipshod backwater
burgs in my time, but this place
takes the cake.
Truman gives an astonished look at Cooper, who gestures "see
what I mean?"
ALBERT
What are you waiting for, paint to
dry? We've got work to do, damn it,
they're putting the girl in the ground
tomorrow, half the day's wasted
traveling out here to the middle of
nowhere--
COOPER
(keeps his cool; knows
Albert well)
Albert, I suggest you and the fellas
go to work.
TRUMAN
I'll have one of my men escort you
to the morgue and we'll take one of
your men up to the crime site.
COOPER
(hands him a file)
Results from the pathologist's
autopsy.
ALBERT
(scans it scornfully)
Welcome to Amateur Hour.
(to his men)
Looks like an all-nighter.
They pick up their suitcases. Truman holds the door open for
them.
TRUMAN
(as Albert passes)
I hear you're good at what you do.
ALBERT
Correct.
TRUMAN
That's good, because normally if a
stranger came into my station talking
this kind of crap, he'd walk out
wearing his teeth for a charm
bracelet.
Albert and Truman look eye-to-eye. Albert blinks first, puts
on his shades, and heads out. His men follow. Truman looks
at Cooper, who winks at him.
CUT TO:
EXT. DOUBLE R DINER - EVENING
Establish.
CUT TO:
INT. DINER - EVENING
Norma's brewing a new pot of coffee, when Ed Hurley walks in
and takes a seat at the counter. With a fair number of other
customers scattered about, Ed and Norma interact discreetly
as she pours him a cup of coffee.
NORMA
Fresh pot.
ED
I could use it.
NORMA
Hard day?
ED
They don't get any easier. How 'bout
you?
NORMA
Had a girl sick today. Double shift.
Been on my feet since breakfast.
ED
So much for a day off.
NORMA
Got an appointment with Hank's parole
officer in the morning.
ED
What's that all about?
NORMA
Don't know. Guess I'll find out.
ED
When Hank's hearing?
NORMA
Tuesday.
They not to show their fear to each other. A CUSTOMER sits
down at the counter next to Ed. Norma hands him a menu and
moves away. Ed rises, put a buck on the counter, gives a
Norma a thumbs up as he heads out.
CUT TO:
INT. ED HURLEY'S HOUSE - NIGHT
Ed enters, quietly, moves into the living room. He stops
when he hears moans and cries of exertion coming from another
room; it sounds like someone's making love.
Ed moves to the doorway, slowly opens the door...
...and discovers the cries are Nadine's, who's doing bench
presses on a weight bench with what looks like an enormous
amount of weight.
Ed moves away from the door.
NADINE'S VOICE
Ed? That you?
ED
It's me.
We hear the sound of the huge weight clang to the floor and
Nadine hurries into the room, flushed with excitement.
NADINE
Ed... Ed, I'm so happy, sweetheart,
I have to thank you.
She embraces him, hugs him alarmingly hard.
ED
Why's that?
She looks up at him, her eyes wide and bright.
NADINE
You don't know what you've done for
me.
ED
No, I don't.
NADINE
Ed, you big lug... when you tracked
all that grease in the house today,
you spilled some onto my cotton balls,
but instead of tossin' 'em out I put
the greased ones on my runners--Ed,
just listen to this...
She opens and closes the curtains: completely silent runners.
NADINE
Completely silent...
ED
How 'bout that?
NADINE
(tears of joy in her
eye)
Ed... we're going to be so rich.
She embraces him again. Ed pats her back, tries to manufacture
a smile.
CUT TO:
EXT. GREAT NORTHERN HOTEL - NIGHT
Re-establish. The Sheriff's cruiser pulls up.
CUT TO:
COOPER AND TRUMAN
As they sit in the cruiser, parting for the night, Cooper
consulting his notes, Truman making some of his own.
COOPER
Tomorrow we interrogate the trucker
Leo Johnson and Dr. Lawrence Jacoby...
TRUMAN
Right--
COOPER
We'll see what Albert and his team
have after examining Laura and the
abandoned train car.
TRUMAN
Right--funeral's tomorrow.
COOPER
Right. No change on the girl at the
hospital, Ronette--
TRUMAN
Still in a coma--
COOPER
Is it always this temperature at
night?
TRUMAN
This time of year.
COOPER
This is so pleasant. And the
humidity's so low. In Philadelphia
sometimes you get a heaviness in the
air like wet flannel pajamas.
TRUMAN
Why do you think they call it the
"Great Northwest?"
COOPER
Harry, you're preaching to the
convinced.
They shake hands.
COOPER
You know where to find me.
TRUMAN
Yes, I do.
Cooper gets out of the car.
CUT TO:
INT. GREAT NORTHERN HOTEL BAR - NIGHT
Ben and Jerry Horne stand at the bar, nursing tall beers,
throwing cashews into the air and catching them in their
mouths. Passing by the door, Cooper sees them and enters the
bar.
COOPER
Mr. Horne?
Both Ben and Jerry turn towards him.
COOPER
Mr. Horne?
BENJAMIN
Agent Cooper, I presume.
(they shake hands)
COOPER
FBI.
BENJAMIN
This is my brother Jerry.
JERRY
(shakes hands)
Happy to make your acquaintance.
COOPER
I must say, this is one handsome and
comfortable hotel you have here,
gentlemen.
BENJAMIN
Thank you. We aim to please.
COOPER
Do you get a lot of the vacation
dollar up this way?
BENJAMIN
Yes we do, but of course never as
much as one would like.
JERRY
Nothing a large resort wouldn't fix.
COOPER
A large resort. Is that Jerry with a
"J"?
JERRY
Yes it is.
COOPER
I believe I've met your daughter,
Mr. Horne. What a charming and
attractive girl.
BENJAMIN
("are we talking about
the same person?")
...Audrey?
COOPER
You must be very proud. Well, I'll
say goodnight. Nice to have met you
both.
BENJAMIN
Sleep well.
COOPER
I will. The bed is almost exactly to
the right degree of firmness.
He's gone. The brothers look at each other: "what is with
this guy?"
CUT TO:
EXT. WOODS/INT. CAR - NIGHT
Bobby Briggs and MIKE NELSON pull up in Bobby's car next to
a stand of trees. Bobby kills the engine but the headlights
remain on. They look out at the woods.
MIKE
I don't see him.
BOBBY
He'll be here. Come on, back me up.
Bobby pops the glove compartment. Mike takes a switchblade
out, pockets it. Bobby grabs a flashlight. They step out of
the car.
CUT TO:
EXT. WOODS - NIGHT
Bobby and Mike walk slowly forward, Mike lagging a step or
two behind. They reach a particular tree with a large hollow
knot. Bobby reaches into the knot and pulls out a football.
MIKE
Is it there? It is in there?
Bobby kneels down and reaches into a slit cut across the top
of the hollow football. He pulls out a small packet of white
powder.
BOBBY
Not all of it.
LEO'S VOICE
Cash on delivery, Bobby.
They look up. LEO JOHNSON is standing between them and the
car, backlit by headlights, holding a shotgun.
BOBBY
(rises slowly)
Hey, Leo.
MIKE
Hey.
LEO
Toss it over here, quarterback.
BOBBY
It's empty.
He tosses the football to Leo.
LEO
Is that right? Weren't you supposed
to leave something in there for me?
BOBBY
That's what we wanted to talk to you
about, man.
LEO
Half down, half on delivery. That's
the deal.
BOBBY
You haven't delivered. We already
gave you half.
(holds up the drugs)
This is less than you owe us for
that--where's the rest?
LEO
Where's the rest of the money?
MIKE
There's a problem.
LEO
Problem?
BOBBY
Laura had the other half in a safe
deposit box.
LEO
You think you got problems?
BOBBY
We can get it, Leo, soon as things
settle down.
LEO
(advancing)
You owe me ten grand.
BOBBY
(backing off)
Okay. So we won't take delivery until
we get it for you--
LEO
Look at me--I look like a bank to
you?
BOBBY
Man, I can appreciate your concern,
but this thing with Laura, how'm I
supposed to anticipate a thing like
that?
LEO
Laura was a wild girl.
BOBBY
Tell me about it.
LEO
Maybe. Someday.
Leo's right next to Bobby, Mike behind him. Bobby and Mike
look at each other. Mike reaches into his pocket. Without
taking his eyes off Bobby, Leo slowly swivels the shotgun
around and trains it on Mike.
LEO
Take your hand out of your pocket,
Mike.
Mike and Bobby look at each other. Bobby nods. Mike takes
his hand out.
BOBBY
What's your problem, Leo?
LEO
Problem? You want to know about
problems?
BOBBY
...Okay.
LEO
You go out on the road. You're
drivin'. Back and forth. Gone for
days. You get home and guess what?
BOBBY
What?
LEO
You find out your old lady's been
givin' it away.
BOBBY
Yeah?
LEO
Yeah. Steppin' out. In your own...
damn...
(loud whisper)
...bedroom...
Leo's eyes dart back and forth. Amphetamines. Bobby and Mike
look at each other.
LEO
That's... a problem.
He cocks the gun.
BOBBY
I guess so. I guess it is. You know
who?
LEO
A man needs a clean house.
BOBBY
Sure... so do you know who?
LEO
I will take care of it.
BOBBY
Sure you will... and this other thing,
hell, we'll take care of that, too,
don't you worry about that. We'll
get that cash and we'll square
everything--
LEO
Go out for a pass.
BOBBY
What?
LEO
Go out. Run. Run.
Bobby and Mike back away from him.
BOBBY
Leo, take it easy, okay?
LEO
Run!
Bobby and Mike turn and start jogging away from him, back
towards the car, picking up speed, glancing over their
shoulders.
MIKE
Oh God...
As he reaches the clearing where the car is parked, we hear
a primal scream from the woods behind him.
They turn as the scream dies away and they reach their car.
Something comes soaring up out of the woods and arcs down
towards them...
...the football thuds onto the hood of the car, scaring the
shit out of Mike and Bobby. They look at each other.
BOBBY
Let's get the hell out of here.
They jump into the car and speed off into the night.
FADE OUT:
END ACT THREE
ACT FOUR
FADE IN:
EXT. GREAT NORTHERN HOTEL ROOM - NIGHT
Dale Cooper is undressing for bed. He sets his bedside travel
alarm clock, takes off his wristwatch and sets it down, picks
up his tape recorder.
COOPER
Diane, 1:18 a.m. Long day, turning
in. Albert and his team should have
something for us by morning. Run a
check for me on a Jerry Horne, Twin
Peaks businessman, Jerry with a "j",
h-o-r-n-e. Nothing specific. Call it
an instinct. Check that; intuition.
An instinct is when you get hungry.
Let's also get background on a local
psychiatrist, Dr. Lawrence Jacoby,
and wants-and-warrants on a truck
driver, Leo Johnson, also local. The
air here is fresh and crisp as a
cracker; you don't sleep, you slumber.
Good night, Diane.
He turns off the recorder, sets it down. Picks up a roll of
dental floss and tears off a string.
CUT TO:
EXT. PALMER HOUSE - NIGHT
Re-establish.
CUT TO:
INT. PALMER BEDROOM - NIGHT
Leland is on the phone, sitting on the edge of the bed. Sarah
sits listlessly in a chair.
LELAND
(into the phone)
Yes... yes, Madelaine, dear, we'd
appreciate it a great deal... the
funeral's at two o'clock... alright,
we'll look for you around noon...
thank you, dear... drive safely.
Leland hangs up, turns to Sarah.
LELAND
(gently)
Sarah?... Sarah?
Leland moves over to her and kneels down beside her, as she
turns towards him. During the following, he takes a pill
from a bottle, hands it to her, along with a glass of water.
LELAND
Sarah, that was cousin Madelaine...
SARAH
(a little hazy)
...Donald's girl?
LELAND
That's right, niece Madelaine.
SARAH
...is she here?
LELAND
She's driving in, tomorrow. For the
service.
SARAH
Oh.
Silence. Sarah takes the pill, drinks.
SARAH
I'm going to go downstairs for a
while.
LELAND
Alright.
A long pause before Sarah rises and slowly moves out of the
room. Leland fights back some tears. He takes a pill from
the bottle and swallows it.
CUT TO:
INT. DALE COOPER'S HOTEL ROOM - NIGHT
Dale Cooper lies asleep in bed. We move in slowly on him...
CUT TO:
INT. PALMER LIVING ROOM - NIGHT
NOTE: FROM THIS POINT TO THE LAST SCENE IS DALE COOPER'S
DREAM
Sarah Palmer sits on a couch, eyes half-closed, fighting off
memories...
INTERCUT:
SARAH'S MEMORY - TIME DISTORTED
She moves up the stairs, the morning of the discovery of the
murder. She calls out Laura's name. She looks in her room.
She moves down the hall and calls again.
Sarah shifts uneasily on the couch...
CUT TO:
INT. LAURA'S ROOM - SARAH'S POV - TIME DISTORTED
She enters Laura's room and looks one way, then another...
one way, then another...
Sarah opens her eyes in horror...
A FRIGHTENING MAN is crouched in the corner by the foot of
Laura's bed, clutching the brass rails. It's the same man
Sarah saw in her vision the previous day.
Sarah sits bolt upright and screams...
SARAH
LELAND! I SAW HIM! OH! OH!
INT. LELAND PALMER'S BEDROOM - NIGHT
Leland Palmer frantically dials the phone...
INTERCUT:
INT. LUCY'S APARTMENT - NIGHT
Andy is playing "TAPS" on the trumpet. Lucy is sitting in a
chair hitting a ball attached by a string to a paddle. The
phone on the table beside her rings. She answers.
LUCY
Hello, Lucy Moran's residence, this
is Lucy...
LELAND
Lucy, Lucy!
LUCY
Shh! Andy, shh! I'm trying to talk
on the telephone.
Andy stops playing.
LELAND
Lucy, this is Leland Palmer, I'm
trying to get in touch with the
Sheriff, Sheriff Truman, he's not at
home, can you tell me where he is?
LUCY
You know, Mr. Palmer, I don't.
(puts hand over the
phone, shushes Andy,
he stops playing)
LELAND
Lucy, my wife has just remembered,
she believes she saw the killer,
this morning, in Laura's bedroom--
LUCY
No--how is that possible?
LELAND
I don't know, but she thinks with
someone's help, she could draw the
face that she remembers.
LUCY
Actually, Tommy "The Hawk" Hill is
our police sketch artist, he's very
good, the pictures look just like
the people he's drawing--
LELAND
Lucy, can you please get the Sheriff
and that Deputy over here right away?
LUCY
Okay. You know, I've got an idea, as
soon as we hang up, I'm going to try
the Sheriff in his car, in his
cruiser, and tell him everything
you've told me--
LELAND
Thank you, Lucy.
He hangs up, shaking his head. We stay with Lucy as she hangs
up and quickly punches in another number.
LUCY
(to Andy)
That was Mr. Palmer, he told me that
he thinks his wife remembers that
this morning, possibly when she was
in her daughter's room that she saw
the--
(leaving Andy hanging)
Hello, Sheriff?
CUT TO:
INSERT INT. SHERIFF'S CRUISER - NIGHT
Truman answers the radio call.
TRUMAN
Yeah Lucy, what is it?
INTERCUT:
INT. LUCY'S APARTMENT - NIGHT
Lucy is on the phone.
LUCY
Isn't it funny, I had a feeling you'd
be in your cruiser--Sheriff, Mrs.
Palmer was in her daughter's room
this morning and she just remembered
that--are you sitting down, of course
you are, you're driving--she
remembered that she--saw--the--killer.
TRUMAN
You're kidding...
LUCY
And they want you and Hawk to go
over to their house, she wants Hawk
to make a sketch--
TRUMAN
I'll be right there--ten minutes.
CUT TO:
INT. GREAT NORTHERN HOTEL ROOM - NIGHT
Agent Dale Cooper lies in bed, sleeping fitfully, troubled
by a dream.
CUT TO:
INT. HOSPITAL CORRIDOR - NIGHT
In shadow, a pay phone in the hospital corridor. A FIGURE
that we can't see picks up and dials the phone.
FIGURE'S VOICE
Agent Dale Cooper, please... wake
him...
INTERCUT:
INT. COOPER'S HOTEL ROOM - NIGHT
Woken from his troubled sleep, Cooper answers the phone.
COOPER
(answers the bedside
phone)
Agent Cooper...
FIGURE'S VOICE
Were you sleeping?
COOPER
Yes, who is this?
FIGURE'S VOICE
It's a strange night. There's
something in the air, can you feel
it?
(silence)
You know about Theresa Banks, the
pretty girl they found last year?...
COOPER
Yes, I know about Theresa...
FIGURE'S VOICE
I know the man who did her... I know
about the stitches, with the red
thread... and there's more that I
think you'd enjoy hearing... I'm at
the hospital now.
COOPER
I'm on my way.
He hangs up the phone, starts to get out of bed, and the
phone rings again.
COOPER
Agent Cooper...
INTERCUT:
INT. LUCY'S APARTMENT - NIGHT
Lucy is on the phone, Andy is nearby, listening.
LUCY
Hi, Agent Cooper, it's Lucy from
work?
COOPER
Are you still at work, Lucy?...
LUCY
No, Andy and I are over at my place,
Andy was playing the trumpet and we
were getting ready for bed and do
you know what happened?
COOPER
No, tell me --
(stay with Cooper; a
long answer)
Oh, oh, oh, uh-huh, okay, okay, I
understand... Lucy, tell the Sheriff
to get that sketch and meet me at
the hospital--I've just received a
phone call--
Back on Cooper as he hangs up, picks up his tape recorder
and speaks into it as he starts to dress.
COOPER
Diane, woken from a sound sleep at
the Great Northern Hotel, room 315,
it's 2:24 am. Received two phone
calls, back to back; the first from
a man unknown to me who had certain
confidential information regarding
the Theresa Banks murder. I'm on my
way to meet him now. At the same
time, Mrs. Palmer apparently
remembered or had a vision of the
killer. The Sheriff is on his way to
her and will meet me afterwards.
Diane, when two separate events happen
simultaneously pertaining to the
same object of inquiry, we must always
pay strict attention.
CUT TO:
INT. HOSPITAL - NIGHT
Andy stands in the doorway. The One-Armed Man stands in the
shadows of the room. Cooper and Truman, carrying two police
sketches, join Andy.
ANDY
He's unarmed. He wants to see you
and he wants to see you in this
particular room.
Truman and Cooper turn towards the man.
ONE-ARMED MAN
Don't turn on the overheads. The
fluorescents don't work. I think a
transformer's bad.
COOPER
We know that.
ONE-ARMED MAN
Yes. Wasn't Laura Palmer here earlier?
"Through the darkness of futures
past, the magician longs to see. One
chance out between two worlds...
fire, walk with me"... We lived among
the people. I think you say,
convenience store. We lived above
it. I mean it like it is, like is
sounds... my name is Mike. His name
is Bob.
COOPER
You were in an elevator here.
ONE-ARMED MAN
I was looking for Bob. He sometimes
works among the infirm, the injured
of the species. I was watching, Mr.
Cooper, for over a year. Waiting for
Bob to come out again. I've known of
your interests in the results of his
endeavors... I too have been touched
by the devilish one. Tattoo on the
left shoulder... oh, but when I saw
the face of God, I was changed. I
took the entire arm off.
Truman and Cooper look at each other.
TRUMAN
We'd like to show you a police sketch
of Bob, for verification.
ONE-ARMED MAN
Of course.
(Truman holds up a
bogus sketch)
No, no, that's not Bob.
(Truman holds up the
correct sketch)
That is Bob.
TRUMAN
(to Cooper)
That's the man Mrs. Palmer identified.
COOPER
Where is Bob?
ONE-ARMED MAN
He's here. Right here. He's
downstairs, in the basement.
CUT TO:
INT. HOSPITAL BASEMENT BOILER ROOM - NIGHT
Cooper and Truman enter the basement, guns drawn. KILLER
BOB, the frightening long-haired man, crouches over a circle
of candles on the far side of the room.
Bob's hand reaches in and sets down a half of a heart necklace
onto a pile of dirt in the center of the candles.
Truman and Cooper advance. Bob rises.
KILLER BOB
(strangely)
Hello. Welcome to the killer's lair.
Come down, I won't hurt you. Come
down... is Mike with you?
COOPER
No.
KILLER BOB
Oh, I so much wanted to sing with
him again. Mike? Mike, can you hear
me? "Heads up, tails up, running to
your scallywag Night falls, morning
calls, catch you with my Death Bag."
TRUMAN
The letters? What were the letters
going to spell?
KILLER BOB
Robert. That's my proper name.
Theresa's was a "t."
COOPER
That's right.
Behind Cooper and Truman, unseen by them, Mike is coming up
behind them, a gun in his hand.
KILLER BOB
You may think I've gone insane. But
I promise, I will kill again!
MIKE
Ahh! Like Hell!!!
Mike runs up and fires his gun twice. Bob goes down, mortally
wounded. Mike clutches a pole and twists to the ground, in
agonizing sympathetic pain.
MIKE
Bob... Bob, it hurts something
terrible... wait... wait till your
turn, Bob... oh Bob... wait till
your turn...
Mike dies. Truman takes his gun away. Cooper looks over at
the candles.
COOPER
Make a wish.
A breeze blows out the candles...
DISSOLVE TO:
A title card reads: TWENTY-FIVE YEARS LATER
INT. RED-DRAPED ROOM - DAY
A large, windowless, well-lit, sparsely furnished, red-draped
room. A table and three easy chairs. Dale Cooper, twenty-
five years older, sits in one of the chairs. A LITTLE MAN,
three and a half feet tall, in a red suit, stands with his
back to Cooper, shaking violently. A BEAUTIFUL YOUNG WOMAN
who looks exactly like Laura Palmer sits across from Cooper
in another easy chair.
The Little Man stops shaking, turns to Cooper and claps his
hands once.
LITTLE MAN
Let's rock!
The Little Man sits in a chair beside the beautiful woman.
The Little Man closes his eyes and rubs his hands slowly
together.
The Little Man holds hands with the Woman, they look at each
other, then look at Cooper, smiling enigmatically. The Little
Man rubs his hands slowly again; the shadow of a bird passes
above them.
Both the Little Man and the Woman's speech is oddly stilted.
We see sub-titles under them, with the correct words.
Throughout, Cooper sits still, watches, and listens.
LITTLE MAN
I've got good news! That gum you
like is going to come back in style.
She's my cousin, but doesn't she
look almost exactly like Laura Palmer?
COOPER
But it is Laura Palmer. Are you Laura
Palmer?
WOMAN
I feel like I know her, but sometimes
my arms bend back.
LITTLE MAN
She's filled with secrets. Where
we're from, the birds sing a pretty
song and there's always music in the
air.
Strange saxophone music filters into the air. The Little Man
hops off the chair and begins to dance a strange dance around
the table. The Woman rises, goes over, and gently kisses
Cooper on the mouth. She softly whispers something in his
ear.
CUT TO:
INT. COOPER'S HOTEL ROOM - NIGHT
Cooper shoots up out of his bed, waking from this strange
and disturbing dream. He fumbles for the phone and dials.
COOPER
Harry, it's Cooper, meet me for
breakfast, seven o'clock, here at
the hotel. I know who killed Laura
Palmer.
He hangs up.
FADE OUT:
THE END