Scanned by Mike Dunn
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TWIN PEAKS
#005
MARK FROST
FIRST DRAFT:
September 26, 1989
Revisions:
NOVEMBER 1, 1989 - BLUE
NOVEMBER 7, 1989 - PINK
NOVEMBER 8, 1989 - YELLOW
(Revised 11/1/89, BLUE)
ACT ONE
FADE IN:
INT. GREAT NORTHERN DALE COOPER'S ROOM - NIGHT
Through the walls from adjacent rooms we hear whooping and hollering, a blowing of horns
and ratcheting noise makers. It sounds like a rodeo in Times Square on New Year's Eve.
DALE COOPER sits up in bed, distraught, sleepless. From the bedside table, he picks up his
watch and tape recorder.
COOPER
Diane, it's 4:28 a.m., I've just been woken up by the
most god-awful racket, which you can probably hear over
the sound of my voice ...
(holds up the recorder to capture the sound)
Can you hear that?
(holds it up again)
I've experienced nothing at the Great Northern up until
this moment but the most pleasant, courteous service
imaginable, but this only goes to prove the point that the
minute a traveler leaves home he loses almost 100% of
his ability to control his environment. Diane, I'm
wondering if you could overnight express to me two pair
of those Ear-Pillow Silicon Ear Plugs I used the last
time I had to visit New York. Naturally I didn't bring
them with me on this trip because I didn't think they'd
be necessary ...
He holds the recorder up again.
CUT TO:
2. INT. GREAT NORTHERN DINING ROOM - DAY
Dale Cooper, dressed and slightly bleary-eyed, enters and takes the corner table. Off screen,
through a door to a private dining room, we HEAR a rowdy group of about twelve men and
women singing a bawdy Icelandic drinking song. Harried WAITRESSES come and go out
of the room, bearing huge platters of food. TRUDY approaches Cooper.
TRUDY
Coffee? (reaching Cooper)
COOPER
Please.
(she pours)
What's with the choir practice?
TRUDY
Business junket. From Iceland. Got in about three this
morning.
(Revised 11/1/89, BLUE)
2. CONTINUED:
COOPER
They're on my floor.
TRUDY
Lucky you.
COOPER
It'll take them a day or so to reset their biological
clocks.
WAITRESS
Hope the herring holds out.
He holds out his cup for a refill. She pours. The Icelanders start another song
AUDREY HORNE enters, looking for Cooper, brightens, moves to his table.
AUDREY
How are you?
COOPER
To be perfectly honest, Audrey, I'm tired and a little
on edge.
AUDREY
(sits, saddened)
Oh.
(hoping for approval)
I got a job.
COOPER
That's excellent -
AUDREY
And I thought maybe now I could help you with your
case, guess where I'm -
COOPER
(finishing, rising)
You'll have to excuse me, Audrey, I'm running late this
morning, I only have time for coffee.
AUDREY
Maybe I could go with you.
COOPER
(leaving change, taking receipt)
Thursdays were traditionally a school day when I was
(more)
(Revised 11/189, BLUE)
2. CONTINUED:(2)
COOPER (CONTINUED)
your age.
AUDREY
I can't believe you were ever my age.
COOPER
I've got the pictures to prove it. See you later, Audrey.
AUDREY
See you later. Bye.
She wistfully watches him go. Digs her nails into her palms. The Icelandic group finishes
another song and roars with laughter. JERRY HORNE enters from the private dining room,
carrying a small suitcase, laughing, along with the head Icelander, EINER THORSON. Jerry
claps Einer on the back, they shake hands and embrace and say something in Icelandic. Jerry
turns back to the room and yells to the Icelanders inside ...
JERRY
My brother is going to love you guys!
Jerry exits the dining room.
CUT TO:
3. INT. GREAT NORTHERN HOTEL OFFICE - DAY
BEN HORNE is behind his desk when Jerry hurries in with his bag.
JERRY
I bring you greetings from the fertile, treeless tundra of
Iceland! Brother Ben, there aren't two twigs to rub
together on the whole island - wait'll these guys get a
load of the woods!
BEN
By six this morning we had complaints from nearly
every guest in the hotel, what are they on, nitrous oxide?
JERRY
I have had more serious fun in two days with these nordic
animals and Ben, I'm in love, her name is Heba, she's a
giant snow queen with a smile like sunrise on a ice floe,
you could go blind looking at this girl - look at this
(takes a large package out of his bag)
You see what she gave me? An entire leg lamb!
(unwraps it; huge and slightly grotesque)
Is that beautiful? Chunk some garlic in there, some
crushed mint: rotisserie heaven - come on, you got to
meet 'her -
(CONTINUED)
(Revised 11/8/89, YELLOW)
3. CONTINUED:
BEN
Let 'em sack out for a few hours first, now have they
approved our proposal?
TERRY
(refers to the Ghostwood project map)
Ben, hip pocket, glasnost on ice, they are insane for
Ghostwood Estates. We're on the plane, they're begging
me, "Jerry, please, let us write the check - you fill in the
blanks."
BEN
Let's not be eager beavers until the ink's dry. You grab
some down time. We've laid in a a gala reception for
your fair-haired boys tonight - all of Twin Peaks best
and brightest -
JERRY
'We holding it in a phone booth?
BEN
- and if we still need a kicker to nail the sale I'm
thinking maybe they might enjoy a road trip up to you-
know-where.
(holds a hand over one eye)
JERRY
Jacks!
LELAND'S VOICE
B-b-ben?
A haggard, unshaven LELAND PALMER is standing in the doorway.
BEN
Leland, what are you doing here?
LELAND
I know the new investment group is arriving today ... if
there's anything I can do ...
(CONTINUED)
(Revised 11/8/89, YELLOW)
3. CONTINUED:(2)
BEN
Leland, the best thing you can do right now is follow the
doctor's orders and go home, you need your rest -
LELAND
I just feel ... I just feel I need something, I need
something to ... to occupy my mind ...
(close to tears)
JERRY
(gestures behind Leland's back)
Check-out time.
BEN
Take some time off, for god's sake, fly somewhere, take
Sarah -
LELAND
(unraveling)
I'm afraid to go ...
He crumbles into a chair. From the hallway, we hear the voices of approaching
ICELANDERS, singing another ribald song. Jerry nimbly moves to the door and quietly
shuts it. Ben tries to hush Leland's sobs. The singers continue singing, directly outside the
door now. Then they move on ... Ben and Jerry breathe a sigh of relief. Ben points at Leland,
then sticks up his thumb, "get this guy out of here."
CUT TO:
4. EXT. APARTMENT BUILDING - DAY
Re-establish. Police cars parked outside.
CUT TO:
5. INT. JACQUES RENAULT'S APARTMENT - DAY
Cooper enters the apartment and is met by SHERIFF HARRY TRUMAN, who is supervising
the investigation of the apartment. TROOPERS and two FORENSIC COPS in plain
clothes are working. DOC HAYWARD is on the phone.
TRUMAN
Morning.
COOPER
What've we got, Harry?
TRUMAN
Jacques Renault's a Canadian national, worked the local
lumber fields until he put on a little excess tonnage a
couple seasons ago. That's when he started tending bar
at the Roadhouse.
(CONTINUED)
(Revised 11/8/89, YELLOW)
5. CONTINUED:
COOPER
Do you have any doughnuts here?
TRUMAN
Andy?
Gestures "doughnut", points to Cooper, to ANDY, who nods and starts out.
COOPER
Better wash that down with a cup of joe, I didn't sleep
too well last night.
TRUMAN.
(gestures "coffee" to Andy before he exits)
You're looking a little peaked.
COOPER
There's a large group of insane men staying on my floor.
Where is Jacques Renault, Harry?
TRUMAN
No one's seen him for two days. We've canvassed the
building and the Roadhouse, I sent Hawk to roust his
brother but it looks like Bernie skipped bail; no sign.
Cooper looks up at a ceiling light fixture, as Doc Hayward hangs up the phone and crosses to
them.
HAYWARD
Morning, Agent Cooper.
COOPER
(still looking up)
Doc.
HAYWARD
The blood on that shirt you found here is AB negative.
It's not Laura's blood.
COOPER
So that was Jacques Renault's blood on Leo Johnson's
shirt.
Truman and Doc look at each other. Doc goes back to the phone and dials. Andy returns with
Cooper's coffee and doughnut. Cooper takes them, still looking up.
COOPER
Thank you, Andy.
(more)
(CONTINUED)
(Revised 11/8/89, YELLOW)
5. CONTINUED:(2)
COOPER (CONTINUED)
(takes a bite and a sip)
Could you hold these for a second?
He hands the coffee and doughnut back to Andy, looks up again.
COOPER (CONTINUED)
Where's Leo Johnson, Harry?
TRUMAN
The APB went out last night, nothing yet.
COOPER
Give me a leg up here, would you Harry?
Truman cradles his hands, Cooper takes out a pair of calipers, steps into the cradle and
Truman boosts his up and out of frame. Doc Hayward hangs up the phone and returns.
HAYWARD
Jacques Renault's blood is AB negative.
COOPER
(out of frame)
Thank you, Doc.
Cooper comes back down into frame, gingerly holding a dusty copy of "FLESH WORLD"
Magazine in the calipers. He sets it down on a table, blows off some dust and turns pages with
the calipers.
TRUMAN
"Flesh World" again.
COOPER
Harry, remember this ad with the picture of Ronette
Pulaski?
He turns to the page in question. There's an opened envelope between the pages, with a letter
inside. Cooper carefully removes the envelope.
TRUMAN
We traced that ad. Came into the magazine in a plain
envelope, no name -
COOPER
Here's how it works. The magazine's a clearing house.
Readers write letters in response to ads and send them
into the magazine, then the magazine mails those letters
on to the advertiser. No direct contact.
(more)
(CONTINUED)
(Revised 11/1/89, BLUE)
5. CONTINUED:(3)
COOPER (CONTINUED)
(shows him the envelope)
Ronette received her letters at this P.O. Box.
TRUMAN
That's a local zip code.
COOPER
My guess is this P.O. box will be registered in the name
of Jacques Renault. Let's see who was writing to
Ronette. Post marked Georgia.
He takes out the letter. There are a couple of snapshots inside as well. Cooper, Truman and
Doc look at the snapshots.
HAYWARD
Good night.
TRUMAN
That guy's no Georgia peach.
COOPER
Somehow the beard ruins the effect of the lingerie, don't
you think?
(scans the letter)
Poor bastard.
(folds it up, goes back to the magazine)
By the way, Harry, did you happen to notice the picture
of Leo Johnson and his truck on this page?
Points to the picture of a silver truck cab which we saw before.
CUT TO:
6. EXT. JOHNSON HOUSE - DAY
Leo's truck, the truck in the picture, is parked outside.
CUT TO:
7. INT. JOHNSON'S KITCHEN - DAY
SHELLY JOHNSON is serving a hot breakfast to BOBBY BRIGGS. He's dressed, she's in a
robe. She sets the plate down in front of him. He eats ravenously.
BOBBY
I love when you cook for me.
SHELLY
Leo hates my cooking.
(CONTINUED)
(Revised 11/1/89, BLUE)
7. CONTINUED:
BOBBY
Leo has missed the boat with you, baby. The biggest
mistake of your life was dropping out of the eleventh
grade and marrying that roadhog.
SHELLY
(amused and excited)
What would you do if he walked in right now?
BOBBY
(a hot look)
Come here.
(pats his leg)
Come here.
She sits on his leg. He hugs her, kisses her neck, looks up, mock surprise.
BOBBY (CONTINUED)
Hey, Leo, how's it going, man? What a surprise!
With a big smile he draws Shelly's nickel-plated revolver out of the pocket of her robe and
points it at the imaginary Leo.
BOBBY (CONTINUED)
Now, Leo, Shelly tells me you don't like her cooking.
Tell you what, she and I, we're going to sit here while
you cook breakfast for us, you scumbag, and if you so
much as say one harsh word to this beautiful girl, I'm
going to shoot your ugly face off. Okay, Leo?
He smiles. Shelly laughs. They hear a car drive up outside. Bobby looks out the window.
BOBBY (CONTINUED
Sheriff's deputy. Shelly, you tell him exactly what I
told you to, just like we talked about, okay?
SHELLY
Okay.
The doorbell rings. Bobby kisses her, she goes to the door. Bobby takes the gun and conceals
himself in a room off the kitchen. We hear voices.
SHELLY'S VOICE
Hi... sure, come on in.
INTERCUT:
8. BOBBY'S POV
The living room. Shelly is talking to Deputy Andy Brennan.
(CONTINUED)
(Revised 11/8/89, YELLOW)
8. CONTINUED:
ANDY
Do you know when Leo might be back?
SHELLY
Sorry, he never tells me where he's going.
She lights a smoke and sneaks a look back at Bobby. She winks. Bobby smiles.
SHELLY (CONTINUED)
They called and said you were looking for him, is Leo
in some kind of trouble?
ANDY
(looking into the kitchen)
We just need to talk to him.
SHELLY
This isn't about Laura or anything is it?
ANDY
Why do you say that?
SHELLY
Well, I don't know. I did hear him talking to this guy
the night he left -
ANDY
Which guy?
SHELLY
This guy Jacques Renault? They were outside by Leo's
truck, I could hear 'em, from over in the kitchen -
ANDY
What did they say?
SHELLY
I couldn't hear exactly. They were arguing but I did
hear them mention her name, then they took off together.
ANDY
Shelly, you call us the minute he gets in touch with you,
you be careful of Leo -
(CONTINUED)
(Revised 11/8/89, YELLOW)
8. CONTINUED:(2)
SHELLY
You don't have to tell me that twice. Thanks for
stopping by, Andy.
They move back to the door. Bobby puts the gun in his pocket. Shelly comes back to the
kitchen, Bobby grabs her and kisses her passionately.
SHELLY
How'd I do?
BOBBY
You were great. God, you drive me crazy.
The phone rings. Twice. Shelly answers, as Bobby still kisses her.
SHELLY
Hello? ... hey, Leo, where you calling from?
Bobby stops pawing her, gives her another signal. She responds.
SHELLY (CONTINUED)
What's that? Is anybody looking for you?
(Bobby shakes his head)
Leo, what would anybody be looking for you for? ...
(Bobby nods, encouraging her to continue)
Leo, you know how paranoid you get when you've been
popping bennies on the road a couple days ... so, when
you coming home?
Bobby slips the gun into her hand. She looks at it, looks at Bobby.
SHELLY (CONTINUED
Everything's fine, come on home, Leo ... I miss you, too.
She hangs up. Looks at the gun.
CUT TO:
9. EXT. BIG ED'S GAS FARM - DAY
Establish.
CUT TO:
10. INT. GAS FARM GARAGE - DAY
BIG ED HURLEY and JAMES HURLEY are working together on an engine. James is
wrestling with some emotional demon. Ed takes notice.
JAMES
Mom came home yesterday.
(CONTINUED)
(Revised 11/1/89, BLUE)
10. CONTINUED:
ED
(nods)
She in bad shape?
JAMES
It's getting worse; every time she goes off on a drunk
now, I half expect her to turn up dead. And part of me's
thinking there's worse things that could happen.
ED
Those are hard thoughts.
JAMES
(almost overcome with emotion)
God, I'm ... so ashamed of her.
ED
That doesn't mean we give up. We have to keep trying.
JAMES
What's left to do? Talk about it some more? She won't
get help, she won't listen to either one of us -
ED
I don't know what else we can do --
JAMES
She's killing herself... I don't want to hate her, Ed, but
if she won't let us help her sometimes I think it'd be
better if she'd just get it over with ...
His tears finally come. Ed hugs him.
ED
I know it's rough. But if we give up on her, who else is
gonna give a damn?
A car pulls up out front; we hear it trip the bell wires near the pumps.
JAMES
(pulling away, trying to make light)
... been kind of a rough week.
He goes out to the back. STAY WITH Ed. We hear a car door open and close. Norma
comes into the shop. Too many secrets to rush into each other's arms.
ED
Hey, good lookin'.
(CONTINUED)
(Revised 11/8/89, YELLOW)
10. CONTINUED:(2)
NORMA
I hope you don't mind my coming.
ED
No, no, Nadine won't be back from that patent attorney
over in Fairvale for hours.
NORMA
The famous silent drape runners.
ED
She's already spending the millions.
NORMA
Anyway, I have to put gas in my car like everybody else,
right?
ED
Right.
Pause. Their smiles fade.
NORMA
I didn't want to tell you over the phone. Hank got his
parole.
ED
Okay,
NORMA
He's coming home, I mean back and I ... haven't said
anything to him, yet, I -
ED
Hey, you don't have to explain.
NORMA
I only saw him for a minute before we went into the
hearing and he seemed so hopeful, it just didn't seem
like the right time -
ED
I understand.
NORMA
(Pause)
Have you said anything to Nadine?
(CONTINUED)
(Revised 11/1/89, BLUE)
10. CONTINUED:(3)
ED
(trying not to lie)
I haven't yet, Norma.
NORMA
(half-joking)
Waiting for me to go first?
ED
No. It's just, the more I think about ... Norma,
Nadine's not a well woman.
NORMA
What are you saying?
ED
I don't know, darling -
NORMA
(painfully realizing, pulling back)
I think I do.
ED
Maybe the time isn't right, for either of us right now
NORMA
We've only had to wait twenty years, what's a few more?
We can always hold hands in the nursing home.
(almost laughs as she fights off her tears)
ED
I don't ever want to hurt you, Norma.
NORMA
Maybe that's our trouble, Ed, we never want to hurt
anybody. We never just take what we want. But part of
me's beginning to think that's how you get to the end of
your life and don't have anything to slow for it?
ED
Norma
NORMA
(trying desperately not to cry)
Don't call me. Not for a while, okay?
ED
All right.
(CONTINUED)
(Revised 11/1/89, BLUE)
10. CONTINUED:(4)
NORMA
I love you, Ed.
She goes. He watches.
FADE OUT:
END ACT ONE
(Revised 11/8/89, YELLOW)
ACT TWO
FADE IN:
11. EXT. HORNE'S DEPARTMENT STORE - DAY
Establish. A sign on an old, granite facade. CUT TO:
12. INT. HORNE'S DEPARTMENT STORE EMPLOYMENT OFFICE - DAY
Audrey Home is ushered through the doors and directed to sit across the desk by EMORY
BATTIS, the department store's forty-year old Director of Personnel.
BATTIS
Please, please, come in, sit, sit, can I get you something
to drink, Miss Horne, coffee?
AUDREY
Audrey. Call me Audrey. Nothing, thank you.
BATTIS
Audrey, yes, well, call me Emory.
(an admiring gaze)
My, my, I can remember when your father used to bring
you down here when you were just a little girl -
AUDREY
Did you used to bounce me on your knee, Emory?
BATTIS
(a coughing fit)
Doesn't the time just fly right by -
AUDREY
(has him pegged; a turkey)
So did my father speak to you?
BATTIS
Yes, yes he did, and I can't tell you how excited we are,
Audrey, that you want to come on board and put in a
hitch with us down here at our flagship -
AUDREY
Thank you -
BATTIS
You know, here at Horne's Department Store we carry on
a fifty year tradition, offering the Northwest's most
elegant shopping experience, with the widest variety of
(more)
(CONTINUED)
(Revised 11/1/89, BLUE)
12. CONTINUED:
BATTIS (CONTINUED)
merchandise and the friendliest, most courteous service.
AUDREY
Save it for the customers, Emory.
BATTIS
(blinks)
Excuse me?
AUDREY
You don't exactly have to "sell" me on the place, do
you?
BATTIS
(nervous laugh)
I see your point, indeed I don't, no siree -
AUDREY
(preening)
So... what did you have in mind for me?
BATTIS
(looks, then nervously consults notes)
Let's see, let's see, I suppose driving a delivery truck is
out of the question -
(laughs politely, she pretends to)
Well Audrey, per your father's suggestion, starting low,
aiming high, etc. ... we thought perhaps the wrapping
department.
AUDREY
Wrapping?
BATTIS
Boxes, gifts, etc, etc. Part time, after school.
AUDREY
No, no, no, no; Emory, ix-nay on the oxes-bay.
BATTIS
Certainly not the most glamorous job in the store, but
then your father did specify --
AUDREY
Emory, may I speak frankly?
(CONTINUED)
(Revised 11/1/89, BLUE)
12. CONTINUED:(2)
BATTIS
Oh please do.
AUDREY
Let's talk retail.
BATTIS
Sales?
AUDREY
Perfume.
A slight tremor runs across his features. She picks up on it.
BATTIS
One of our more sensitive areas. Expensive items,
delicate customer relations -
AUDREY
I'm afraid I've got my heart set on it.
BATTIS
(more than reluctant)
I'd have to speak to your father -
AUDREY
Emory, here's what we're going to do. You're going to
to tell my father I'm busy as a bee wrapping boxes down
with the drones and then you're going to put me to work
behind the perfume counter this afternoon --
(before he can speak)
because if you don't I'm going to rip my sweater in
half and scream at the top of my lungs and tell my father
you made a pass at me. Does that help clear things up
for you? Emory?
She grabs her sweater, ready to rip and scream.
BATTIS
Yes. Yes.
AUDREY
(knows what he needs)
Yes what?
BATTIS
Yes, Ms. Horne.
(CONTINUED)
(revised 11/8/89, YELLOW)
12. CONTINUED:(3)
She sits back down, demurely arranges herself and smiles.
AUDREY
Shall we get started on the paperwork?
CUT TO:
13. EXT. GAZEBO - DAY
James Hurley is waiting in a park near a lake. DONNA HAYWARD comes around a corner
looking for him.
DONNA
James?
He turns, sees her, they embrace.
DONNA (CONTINUED)
I got your note
(he still holds her)
Are you all right?
JAMES
Donna, there's a few things I gotta say.
DONNA
What?
JAMES
(extremely difficult for him)
I told you my Dad died when I was ten? ... He didn't
die. We were living in San Francisco. He was a
musician. He was a bum and he ran off and he left us, me
and my mom.
DONNA
I'm sorry.
JAMES
(a rush of intensity)
My mom grew up out here. That's why we moved back.
My mom was a writer, she was good, poems, short
stories. She's an alcoholic.
(looks at her)
If you have a problem with this, I know you didn't ask
to hear it ...
DONNA
I don't have a problem. You tell me.
(CONTINUED)
(Revised 11/8/89, YELLOW)
13. CONTINUED:
JAMES
It's true she was out of town this week, but she wasn't
traveling. What she does is, she goes to another town,
shacks up in some cheap hotel room with a couple bottles
and picks up guys and ...
He's too ashamed to continue. She holds him.
DONNA
It's all right.
JAMES
I'm telling you this because I don't want to have any
secrets from you, I don't want there to be any lies
between us. It's the secrets people keep that destroy any
chance they have for happiness and I don't want us to be
like that...
DONNA
We won't. We won't be.
He kisses her, they hold on to each other.
JAMES
We have to do what's right. What you said yesterday
was true; if we don't do everything we can to figure out
what happened to Laura it'll never go away, our whole
lives -
DONNA
We will, James.
JAMES
She's out there, wandering like a restless spirit -
DONNA
I feel it, too. We owe it to her.
JAMES
(searingly honest)
And we owe it to ourselves or else somehow, someday
Donna, she's going to come between us.
DONNA
What can we do?
JAMES
I've got an idea. Laura's cousin, this girl Madeleine, I
(more)
(CONTINUED)
(Revised 11/8/89,YELLOW)
13. CONTINUED:(2)
JAMES (CONTINUED)
talked to her yesterday, I think she could help us. I want
to ask her to meet us at the diner today, is that alright?
DONNA
Yes.
He kisses her, ready to move off, she stops him, looks him in the eye, strong.
DONNA (CONTINUED).
Count on me, James. No secrets.
He smiles, kisses her again and runs off to his bike, parked nearby. She watches him go.
CUT TO:
14. OMITTED
15. OMITTED
16. INT. JACQUES RENAULT'S APARTMENT/CORRIDOR - DAY
CLOSE on a plate of doughnuts as they're passed among the cops working at the scene. STAY
WITH Dale Cooper as he takes one and grabs a bite as he looks through some drawers in the
kitchen. He's wearing surgical gloves. He takes a bill out of the drawer, lays it thoughtfully
on the counter. He opens a cabinet; a red-and-black plaid shirt hangs inside. A number of
postcards and photographs are thumbtacked to the inside of the door.
DEPUTY HAWK arrives, hands a packet of letters to Truman, they cross to Cooper.
HAWK
That PO box was registered to Jacques Renault.
COOPER
(looking at the letters)
These are all from people responding to Ronette's ad in
the magazine.
(look at Cooper)
Maybe there's something from someone we know.
TRUMAN
(bothered)
There better not be.
(CONTINUED)
(Revised 11/1/89, BLUE)
16. CONTINUED:
COOPER
(noticing something)
Hawk, hand me that magazine again, would you?
Hawk does. Cooper pages through, looking for something.
TRUMAN
What is it?
COOPER
Those letters are addressed to two different ad numbers,
Ronette's and another one ... here it is.
Cooper finds the second ad in the magazine.
COOPER (CONTINUED)
(reading)
"Young student requires instruction in the ways of love.
Only generous, mature men need apply."
INTERCUT:
17. THE MAGAZINE
The ad features a color photograph of a girl in lingerie, suggestively posed in front of dark
red drapes. Her head has been cropped from the photo.
ON COOPER AND TRUMAN
Cooper whips out his magnifying glass and examines the photo.
COOPER
It's Laura.
TRUMAN
You see some distinguishing mark?
COOPER
The drapes.
TRUMAN
Drapes?
Cooper opens the cabinet, points to a color photo pinned to the door of a small log cabin in
the woods, hands the magnifying glass to Harry. He looks through it at the photo ...
INTERCUT:
18. PHOTOGRAPH OF LOG CABIN
Through the magnifying glass, red drapes are visible in the windows.
(CONTINUED)
(Revised 11/8/89, YELLOW)
18. CONTINUED:
ON COOPER AND TRUMAN
COOPER
Red drapes. From my dream, Harry.
(he picks up the bill he set aside)
Can you think of a good reason why an apartment
dweller like Jacques would buy fifty gallons of heating
oil?
TRUMAN
To heat a log cabin?
HAWK
Jacques brother mentioned something about a place up
near state line.
COOPER
Pack a lunch, fellas. We're going to take a walk in the
woods.
OFF the cropped photo of Laura in the magazine ...
CUT TO:
19. INT. DOUBLE R DINER - DAY
Laura's cousin, MADELEINE FERGUSON enters, looks around. James and Donna are
seated at a booth.
JAMES
Madeleine?
She sees them, smiles, crosses over. James rises. Madeleine sits across from them. There's a
MAN sitting alone in the next booth, his back to them.
MADELEINE
Hi. Hi.
DONNA
Hi, I'm Donna Hayward.
MADELEINE
My friends call me Maddy. This is really nice of you
guys. I don't really know anybody in town except Aunt
Sarah and Uncle Leland. And the mood at the house,
you can probably guess, isn't so great right now.
Donna and James look at each other. James nods.
(CONTINUED)
(Revised 11/8/89, YELLOW)
19. CONTINUED:
JAMES
Maddy, would you like something to drink?
MADELEINE
A cherry coke would be great.
JAMES
You got it.
James gets up, goes to the counter.
DONNA
Madeleine, what we wanted to talk to you about ... if I
said you can't, really say a word of this to anybody else,
not a soul, not even your aunt or uncle, would that be
okay with you?
MADELEINE
(lightly)
Sounds like some big secret.
DONNA
It is. Madeleine, James and I knew Laura better than
anyone. She was in some kind of terrible trouble before
she died, worse than any of us could imagine -
MADELEINE
(eyes widening)
What?
James returns with her drink, sits.
DONNA
I'd rather not say too much about things we can't prove
yet.
(CONTINUED)
(Revised 11/8/89, YELLOW)
19. CONTINUED:(2)
JAMES
In some ways, the less you know about it the better.
MADELEINE
You said you can't prove it "yet."
DONNA
We loved Laura. We're afraid the truth might never
come out or that the person who killed her might never
be caught. We've sworn on her memory not to let that
happen.
MADELEINE
... my God. 'You know who did it?
JAMES
We have some ideas.
DONNA
We wanted to talk to you because we need your help.
MADELEINE
What do you want me to do?
DONNA
Laura used to talk about a hiding place she had,
somewhere in her house, maybe her room, I'm not sure.
Nobody else knew about it. We think she may have left
something there that could lead us to the killer.
Pause.
MADELEINE
I'll help you.
DONNA
You will?
MADELEINE
Absolutely.
(CONTINUED)
(Revised 11/1/89, BLUE)
19. CONTINUED:(3)
JAMES
That's great.
MADELEINE
You know, I didn't really know Laura that well, but I
feel like I do, our folks were always telling us how much
alike we were ...
As she speaks, CAMERA MOVES around and behind to the next booth to reveal the Man
sitting with his back to them: it's HANK JENNINGS. He's heard the entire conversation.
He takes a slow sip of coffee. He's fingering his domino key chain.
James, Donna and Madeleine rise and start out.
DONNA
Will you call me if there's anything I can do?
MADELEINE
I don't think there'll be any problem
JAMES
Madeleine, this is really great.
MADELEINE
Call me Maddy.
They're out the door. Hank smiles. A few moments later, Shelly and Norma enter, all
dolled up from the beauty parlor, laughing.
SHELLY
- God, we look like a couple of refugee beauty queens.
NORMA
Shelly, I don't think you know how good looking you
really are.
SHELLY
I sure never felt so glamorous, hope I don't chip a nail
slinging these plates around --
They laugh. They pass Hank's booth on the way back to the kitchen.
HANK
Hello, Norma.
She turns and sees him, stops dead.
(CONTINUED)
(Revised 11-1-89 - Blue)
19. CONTINUED:(4)
NORMA
Hank...
HANK
You look beautiful. You go to Natasha's?
(she nods, can't speak)
Surprised to see me?
NORMA
Yes.
HANK
Got out a day early. Model prisoners get all the breaks.
Norma looks at Shelly, who starts back to the kitchen.
HANK (CONTINUED)
Is that Leo's girl?
NORMA
Wife.
HANK
That Leo. So impulsive.
(a friendly remark)
Not much meat on her.
(a long look)
I don't expect a kiss or anything. Figure I have to earn
my way back into your heart, Norma. But I intend to
try.
(another look)
So, where do I start? I'll wash dishes. Maybe work my
way up to short order one of these days?
NORMA
Washing dishes would be fine.
HANK
Can I finish my coffee first, boss?
He smiles and sips his coffee. They look at each other.
CUT TO:
20. SHELLY
In the kitchen, looking out at them. The TV is on the kitchen, but the sound is off.
CUT TO:
#005 (Revised 11-1-89- Blue)
21. THE TELEVISION
A silent scene from "Invitation to Love." MONTANA grabs CHET by the lapels, yells at
him, slaps him twice and pushes him to the ground. Chet tries to rise.
A high-heeled shoe steps onto Chet's chest, pushing him back down. EMERALD. She laughs
at him, throws herself in Montana's arms. They kiss.
Chet looks up at them, stricken. Montana laughs.
FADE TO BLACK:
END ACT TWO
(Revised 11-1-89- Blue)
ACT THREE
FADE IN:
22. INT. DR. JACOBY'S OFFICE - DAY
We don't immediately realize where we are. Seated in a half circle of chairs are MAJOR
BRIGGS, MRS. BRIGGS and Bobby, who can't believe what he's hearing.
MRS. BRIGGS
He's been spending more and more of his time alone in
his room.
MAJOR BRIGGS
It's become much more difficult to engage him in
conversation.
MRS. BRIGGS
Terrible mood swings.
MAJOR BRIGGS
We've been told by the school that his attendance has
become erratic at best.
MRS. BRIGGS
And of course the recent trouble with public fighting.
Both at the Roadhouse and the funeral.
And now we see who they're talking to, sitting in a leather chair, nodding sagely ...
DR. JACOBY
Are you using drugs, Bobby?
BOBBY
No I'm not.
MAJOR BRIGGS
Alcohol.
MRS. BRIGGS
Alcohol's a drug.
BOBBY
That's not what he meant.
MRS. BRIGGS
Alcohol doesn't count?
BOBBY
Everybody uses alcohol.
(CONTINUED)
(Revised 11-1-89 - Blue)
22. CONTINUED:
DR. JACOBY
Are you unhappy, Bobby?
BOBBY
Shouldn't I be?
DR. JACOBY
That's not for me to say.
Pause.
BOBBY
Have you ever killed anybody?
DR. JACOBY
Have you?
BOBBY
My father has.
MAJOR BRIGGS
During wartime.
MRS. BRIGGS
That's different.
BOBBY
Different from what?
DR. JACOBY
Perhaps I should spend a few minutes with Robert alone.
MAJOR BRIGGS
This is supposed to be family counseling.
DR. JACOBY
And I'll need to spend some time alone with every
member of the family. Bobby first.
MAJOR BRIGGS
Fair enough.
MRS. BRIGGS
Whatever you think best, Doctor.
The Major and the Missus get up and leave the room.
(CONTINUED)
(Revised 11/8/89, YELLOW)
22. CONTINUED:(2)
DR. JACOBY
Bobby, let's cut the crap.
(Bobby looks at him)
Do you feel that your parents don't understand what
you're going through?
BOBBY
That's a good one.
DR. JACOBY
Let's talk about Laura.
BOBBY
Okay. Let's talk about Laura.
DR. JACOBY
(knows some secrets here)
What happened the first time you and Laura made love?
BOBBY
What the hell kind of question is that?
DR. JACOBY
Bobby ... did you cry?
BOBBY
(stunned; this is true)
Did I what?
DR. JACOBY
(also true)
What did Laura do then? Did she laugh at you?
Bobby's completely throw off his guard. Jacoby moves in.
DR. JACOBY
Were you sad when Laura died?
BOBBY
Laura wanted to die.
DR. JACOBY
How do you know that?
BOBBY
(rising emotion)
Because she told me.
(CONTINUED)
(Revised 11-1-89 - Blue)
22. CONTINUED:(3)
DR. JACOBY
What else did she tell you?
(silence)
Did she tell you there was no goodness in the world?
BOBBY
She said people tried to be good but they were really
sick and rotten, her most of all, and the harder she tried
to be good the more rotten she felt because it didn't
mean anything, because every time she tried to help the
world be a better place something terrible came up
inside her and pulled her back down into hell, it took her
deeper and deeper into the blackest nightmare and every
time it got harder to go back up to the light.
Pause.
DR. JACOBY
(on the case)
Did you sometimes have the feeling that Laura was
harboring some awful secret?
BOBBY
Yes.
DR. JACOBY
Bad enough that she wanted to die because of it?
BOBBY
Yes.
DR. JACOBY
Bad enough that it drove her to consciously try to find
people's weaknesses and prey on them, tempt them,
break them down, make them do terrible, degrading
things?
BOBBY
(shocked and frightened)
Yes.
DR. JACOBY
Laura wanted to corrupt people, because that's how she
felt about herself -
BOBBY
(near tears)
Yes.
(CONTINUED)
(Revised 11-1-89 - Blue)
22. CONTINUED:(4)
Pause.
DR. JACOBY
Is that what happened to you, Bobby?
Bobby dissolves into tears.
DR. JACOBY (CONTINUED)
(gently)
Is that what Laura did to you?
BOBBY
Yes. She made me ... she wanted ... so much ... she made
me sell drugs so she could have them ... she made me ...
Bobby can't continue, buries his face in his hands. Jacoby has had something essential
confirmed. He rises, pats Bobby sympathetically on the shoulder, offers him the bowl of ...
DR. JACOBY (CONTINUED)
Malted milk ball?
Bobby shakes his head. Jacoby pops one in his mouth and chews, thinking.
CUT TO:
23. EXT. WOODS - DAY
A dense, dark forest.
CUT TO:
24. EXT. WOODS - DAY
A number of police cars parked in a clearing, the jumping off place for a search party.
Cooper, Truman, Hawk and Doc Hayward. They're preparing to go off into the woods, when
Andy speeds up in his patrol car and gets out.
ANDY
(excited)
Sheriff, Leo Johnson's been gone two days, his wife
hasn't seen him -
TRUMAN
Okay, Andy --
ANDY
But the thing is, I looked into the kitchen? She was
having breakfast and the table was set for two.
COOPER
Good work, Andy. You keep those eyes peeled.
(CONTINUED)
(revised 11-1-89 - Blue)
24. CONTINUED:
Andy beams with pride.
TRUMAN
Andy, I want you to stay with the cars.
(Andy's disappointed)
I need someone to stay near the radio. We'll keep in
touch on the walkies.
Andy nods and starts back to the cars.
TRUMAN
Hawk, lead the way.
Hawk tunes up his sensory apparatus, nods, starts into the woods. Cooper and Truman look at
each other. Cooper nods.
TRUMAN (CONTINUED)
Doc, you sure you're up for this?
HAYWARD
In for a penny, in for a pound, Harry.
TRUMAN
That's the spirit.
They follow Hawk into the woods.
DISSOLVE TO:
25. EXT. WOODS - DAY
A dark, dark grove. The air still and moist. A solitary mournful bird call. Hawk stops,
listens, examines the ground, finds something that leads him on. Cooper, Truman and
Hayward follow.
CUT TO:
26. EXT. LOG LADYS CABIN - DAY
Hawk turns a corner and comes upon a simple, solidly constructed log cabin in a clearing. It is
not the cabin we saw in the photograph in Jacques' apartment. Smoke rises from the chimney.
The others join Hawk in the clearing.
COOPER
Not the one we're looking for.
HAWK
Maybe, maybe not.
TRUMAN
You might want to hang back a step, Doc.
(CONTINUED)
(Revised 11/7/89, PINK)
26. CONTINUED:
HAYWARD
(winded)
Might want to anyway.
As a precaution, Hawk and Truman draw weapons and along with Cooper start to advance. As
they round the corner of the cabin, they come face to face with the LOG LADY, carrying a log.
TRUMAN
Hello.
LOG LADY
About time you got here.
(to herself)
They move so slowly when they're not afraid.
She goes right inside the cabin. Pause. They look at each other. The Log Lady appears in the
doorway again.
LOG LADY (CONTINUED)
Come on then. My log does not judge, it only records.
She disappears again. They look at each other. Cooper nods. Truman calls back.
TRUMAN
Doc?
CUT TO:
27. INT. LOG LADY'S CABIN - DAY
Truman, Cooper, Hawk and then Doc enter. One large room. Simple kitchen, a bed in the
corner. Table with six chairs, six places with a log-motif tea setting. A boarded up fireplace.
Fire extinguishers and a bucket of water in each corner. An axe, a saw and other woodcutting
tools. Framed picture of a lumberjack, on the mantle, beside a funereal urn, with ashes. Log
Lady goes to the kitchen, where she's preparing tea.
LOG LADY
I've got tea. I've got cookies. No cake.
COOPER
That's very kind of you, but I don't know if we have
time to --
Hawk signals him to accept the invitation, then takes the lead and sits at the table.
HAWK
What kind of cookies?
LOG LADY
Sugar. The owls won't see us in here.
(CONTINUED)
(Revised 11/7/89, PINK)
27. CONTINUED:
Hayward sits at the table beside Hawk.
HAYWARD
Some tea would be very nice.
LOG LADY
(to Truman and Cooper, annoyed)
Shut your eyes and you will burst into flames.
TRUMAN
Thank you.
COOPER
Thank you very much.
Truman and Cooper sit. The Log Lady sets down a plate of cookies on the table, along with a
log-motif tea pot, then she takes a seat.
LOG LADY
We'll let it steep.
Pause. Cooper reaches for a cookie. Log Lady lightly slaps his hand.
LOG LADY (CONTINUED)
Wait for the tea. The fish aren't running.
Cooper. looks around, noticing all the firefighting equipment. She looks at him, as if to say,
"Don't laugh. I see everything and it takes it's toll." Pause.
COOPER
Do you use fire for cooking then?
LOG LADY
I go to great lengths to keep it under control.
TRUMAN
M'am, were you expecting us?
LOG LADY
You're two days late. Clues may be as cold as the tea
but that's your concern.
(pause)
My log saw something, something significant. There's
no closer relationship than the logger with the tree.
Pause. Cooper looks at Truman
(CONTINUED)
(Revised 11/ 7 89, PINK)
27. CONTINUED:(2)
TRUMAN
M'am, what did your log see?
LOG LADY
(shakes her head)
Drink first and be ready for the truth..
She checks the pot, decides it's ready and starts to pour. Six cups. Formal manners.
COOPER
(passing the plate around)
Lime, Harry?
LOG LADY
My husband was a logging man.
COOPER
Oh?
LOG LADY
He met the devil. The devil took the form of fire. Fire
is the devil hiding like a coward in the smoke.
HAYWARD
(he knows her)
The day after the wedding, wasn't it Margaret?
She looks away.
HAWK
(to the Log Lady, comforting)
The wood holds many spirits, doesn't it Margaret?
She nods. Pause. They nibble on cookies and drink their tea. The Log Lady turns to Cooper.
LOG LADY
You can ask it now.
COOPER
(to the log; solemnly, respectfully)
What did you see that night? The night Laura Palmer,
was killed?
LOG LADY
(pause to the log)
Shhhh. Let me do the talking.
(she doses her eyes; this is hard for her)
Dark. Laughing. The owls were flying. Many things
(more)
(CONTINUED)
(Revised 11/7/89, PINK)
27. CONTINUED:(3)
LOG LADY (CONTINUED)
were blocked. Laughing. Two men. Two girls.
Flashlights, in the woods, pass by, over the ridge. The
owls were near. The dark was pressing in on her ...
(calmer)
Quiet then. A gentle wind. Footsteps, later, one man
pass by. All quiet. Screams, far away. Terrible.
Terrible. One voice ...
COOPER
(quietly)
Man or girl?
LOG LADY
Girl.... Further up. Over the ridge The owl were silent.
She opens her eyes, blinks. Takes a sip of tea. Hayward dries the tears in his eyes.
CUT TO:
28. EXT. WOODS DAY
A light mist falls. Hawk, Truman, Cooper and Hayward make their way up the ridge through
thick woods.
COOPER
The two girls are Laura and Ronette.
TRUMAN
The two men Jacques, maybe Leo?
COOPER
Maybe.
TRUMAN
Who's the third man?
Hawk stops suddenly, gestures them to be quiet. He listens.
HAWK
Do you hear it?
They listen.. Far away ... music. An angelic voice, soft chords.
HAWK (CONTINUED)
This way.
They continue on.
CUT TO:
(Revised 11-1-89 - Blue)
29. EXT. WOODS SECOND CABIN - DAY
Hawk, Truman, Cooper and Hayward emerge from a thick stand into a clearing; on a rocky
point above them stands the log cabin seen in the photo at Jacques; apartment. Rundown, not
well maintained. Red drapes are visible in a window. Cooper looks at the photo. It was shot
from the angle they're viewing it from now.
The music issues from inside the cabin. The song ends. Pause. The same song begins again.
Truman draws his weapon and takes the lead. Hawk and Cooper draw their weapons and
follow. Hayward sits on a rock and wipes his brow with a handkerchief.
CUT TO:
30. INT. SECOND CABIN - DAY
The door creaks open, throwing the only light into the dark room. Truman, Hawk and Cooper
cautiously enter. The music is louder. Cooper draws aside a set of the heavy, dusty red
drapes, letting more light into the room.
On a simple record player, the tone arm pulled back over a 45 record, the song ends again, the
stylus lifts, returns to the outside, then back onto the outside edge of the record. Scratches,
pops, then the song starts again.
COOPER
(under his breath)
... and there's always music in the air..."
Cooper lifts the stylus off the record. All three men proceed with extreme care, trying not to
move or disturb anything.
The single room is dusty, trashy, a low-rent version of a harem room: an overstuffed
davenport, cheap oriental throw rugs, tasseled satin pillows, empty bottles and full ashtrays.
On a tripod, a 35 millimeter camera, facing a small photo bay created by the drapes and
pillows. Hawk checks it out.
HAWK
There's film in here.
Hawk takes out an evidence bag, removes the film.
Cooper finds a spool of twine lying on the floor
Another tripod shaped object, covered with a cloth. Truman slowly draws the cloth off ... a
mynah bird in the cage reacts drowsily, weak from hunger and thirst. A nameplate on the cage
reads ... "O"
Hawk draws their attention to dark stains on the wood and one of the throw rugs. He examines
it.
(CONTINUED)
(Revised 11-1-89- Blue)
30. CONTINUED:
HAWK
Blood.
Cooper moves to look at it
Truman, backing up from the cage, hits a rocking chair which rocks forward and hits a table,
knocking over a lamp ...
Hawk, looking past Cooper, sees the lamp ...
HAWK
Watch out.
Cooper avoids the lamp as it crashes to the floor. Something skitters off the lamp and rolls
under the davenport Hawk and Cooper look at each other. Cooper reaches in under the
davenport, feels around, finds something. He pulls it out
INTERCUT:
31. A POKER CHIP
A thousand dollar chip, with a small chunk missing. It reads: "ONE-EYED (J)ACK'S"
Cooper and Hawk look at each other.
FADE OUT:
END ACT THREE
(Revised 11-1-89 - Blue)
ACT FOUR
FADE IN:
32. INT. GREAT NORTHERN HOTEL BANQUET ROOM NIGHT
A banner reads:
"FROM ICELAND TO TWIN PEAKS: A GREAT NORTHERN WELCOME!!"
Festive, folksy Icelandic music, plays over the sound system. The reception party is just under
way. CITIZENS mingle with the Icelanders, who cluster around the L-shaped buffet. The
Horne brothers mingle prominently. At the piano, Trudy leads a group of Icelanders in an
Icelandic version of Home on the Range."
CUT TO:
33. INT. BANQUET ROOM ENTRANCE - NIGHT
Script above the door reads, "TIMBER ROOM." A HOTEL EMPLOYEE is at the door,
checking a guest list as people arrive. PETE and CATHERINE MARTELL reach the door.
CATHERINE
Catherine.Martell and spouse.
They're checked off the list and enter. We follow them.
PETE
Go easy on the sauce tonight, okay Cathy?
She stops a passing WAITER with a tray of champagne. Takes two glasses. Slugs one down.
CATHERINE
A few belts and even you might start to look good to
me.
She knocks back the second one, replaces the glasses on the Waiter's tray, takes another glass
and moves off, leaving Pete.
CUT TO:
34. MAJOR BRIGGS AND EINER THORSON
The Officer chats up the head Icelander, while they graze from the buffet.
MAJOR BRIGGS
- of course the modern age has changed forever the way
your people live, Mr. Thorson, but my guess would be
that there still remains a tremendous vestigial interest in
the legends and folklore of ancient Iceland.
EINER
(smiles, doesn't have a clue)
Vestigial. Absolutely.
(CONTINUED)
(Revised 11-1-89 - Blue)
34. CONTINUED:
MAJOR BRIGGS
I know, speaking for myself, that I find these last
remnants of a connection to a natural, more primitive,
almost pagan way of life, endlessly fascinating; locally,
for instance, we have the Sasquatch mythos, or Bigfoot, a
large, evil smelling forest-dweller, which I suppose
would correspond to your "huldufolk" or hidden people.
EINER
Trolls?
MAJOR BRIGGS
Exactly.
(confidentially)
I also happen to be a firm believer in the UFO. I've
seen some high-level classified data that would curl your
hair.
CUT TO:
34A. JERRY HORNE
Jerry is all agog with the new object of his affection, the tall and beautiful Icelandic girl,
HEBA THORSDOTTIR, who's playing with him.
JERRY
Heba. Take a bite of that salmon tartare.
(he feeds her)
Did you know that was an American figure of speech?
HEBA
No, Jerry.
JERRY
"Heba-heba." You've never heard that before?
HEBA
No, Jerry.
JERRY
Do you realize the incredible potential that could result
from our taking a mutual dip into each other's respective
gene pools?
(she doesn't understand the words, but she gets
his meaning; they flirt)
Heba ...
(almost a declaration of love)
... I am going to cook for you.
CUT TO:
(Revised 11-1-89-Blue)
35. CATHERINE MARTELL
Snaring another drink, she spots Benjamin Home chatting up some Icelanders two clusters
away, makes her way to him. She clears her throat, trying to get his attention. He chats on.
She does it again. No luck. She deliberately spills her drink on his shoe.
CATHERINE
Oh.
BEN
Excuse me, gentlemen.
He takes her by the arm and steers her away. Quiet and angry.
BEN (CONTINUED)
My office, give me two minutes to break away.
CATHERINE
(stops, looks at him; a threat)
"Hell hath no fury..."
BEN
What?
(he sees her look)
Two minutes.
He moves off. She grabs another drink and heads for an exit. She passes Audrey, who's semi-
hiding behind a large wooden column, watching the party with bright, disturbed eyes.
Moments later, she watches Ben leave by the same exit. She follows him.
CUT TO:
36. INT. TIMBER ROOM ENTRANCE - NIGHT
JOSIE PACKARD enters the room, looks around, a little lonely and out of place. She moves
to Pete, who's piling up a massive plate of food at the buffet.
JOSIE
Hello, Pete.
PETE
Hey, Josie, quite a spread they laid out, grab yourself
some grub.
JOSIE
(taking a plate, looking around)
So these are the Icemen?
PETE
Somethin' like that.
CUT TO:
(Revised 11/8/89, YELLOW)
37. LELAND PALMER
At the entrance, Leland Palmer shuffles into the room. He's pale, clean shaven but sporting a
large piece of tissue paper stuck to a shaving mishap on his jaw line. He looks shakily around,
wanting very badly to fit in.
CUT TO:
38. INT. HOTEL CORRIDOR - NIGHT
Alone in the hallway, Audrey stops at a small secret door, opens it.
CUT TO:
39. INT. HOTEL WIRING CORRIDOR - NIGHT
Audrey moves a short distance down the corridor in dim light, kneels and slides a cover off a
drilled peephole and looks into ...
INTERCUT:
40. AUDREY'S POV - INT. BEN HORNE'S OFFICE
Catherine pours a drink at the bar, Ben takes the decanter of Scotch from her, pops the top in.
BEN
You're impossible.
CATHERINE
Tell me again, Ben, tell me what you're going to do
BEN
Speak English.
CATHERINE
Tell me how you're going to drive the mill into the
ground, grind that little Chinese flower to a fine dust,
regain control of my brother's land, leave your wife and
marry me.
Audrey reacts.
BEN
And they all lived happily ever after.
CATHERINE
(pleasantly)
Look into my eyes, Ben. Do I look blind to you?
BEN
Excuse me?
CATHERINE
(still pleasant, takes out the chip)
Why did you have this thousand dollar poker chip from
you know where in your pants yesterday?
(CONTINUED)
(Revised 11/8/89, YELLOW)
40. CONTINUED:
Ben looks at it, knows he's nailed. Straight-faced.
BEN
Jerry gave that to me.
She slaps him. He calmly pours himself a drink.
BEN (CONTINUED)
It's a good luck charm that I thought I'd lost. I'm so
relieved you've found it.
She slaps him again. He sighs.
BEN (CONTINUED)
Are you quite finished?
She slaps him again. Satisfied, a bit hot.
CATHERINE
Yes.
She hands him the chip. He grabs her and kisses her hard.
Audrey is laughing so hard she has to cover her mouth and turn away from the peephole.
CUT TO:
41. BEN AND CATHERINE
BEN
(breaking off, breathless)
Not here.
CATHERINE
(whispers)
Let's burn the mill, let's do it, tonight.
BEN
We'll just slip away from the party and hope no one
detects the smell of kerosene upon return, no, my love,
we'll give Josie one last chance to sell.
CATHERINE
You'll talk to her.
BEN
Tonight. Failing that, I've retained the services of a
qualified professional.
(takes one, offers one to her)
Breath mint?
CUT TO:
(Revised 11/8/89, YELLOW)
42. INT. HOTEL CORRIDOR - NIGHT
Audrey comes out the same small door, closes it behind her. She staggers along the corridor,
letting out her laughter, big bursts, hysterical and gilded with an edge of desperation and
madness.
CUT TO:
INT. KING SALMON ROOM - NIGHT
Pete stands next to Einer Thorson, the head Icelander, both holding plates of food.
PETE
Now let me get this straight; your entire country is
above the timber line?
His mouth full of food, Einer nods.
JERRY HORNE'S VOICE
(amplified)
Folks, ladies and gentlemen, can I have your attention
please?
CUT TO:
44. JERRY HORNE
On a one-step riser at the end of the room, at a microphone.
JERRY
Can I have your attention please?
As the crowd congregates towards that side of the room.
JERRY (CONTINUED)
First off, I want to thank you all for turning out tonight
to welcome our neighbors from the magical island of
Iceland. The Ghostwood Estates project is an important
part of our future here in Twin Peaks, and there's no
group we'd rather have as a partner in our future than -
He's drowned out by the blaring sound of big band music from the speakers.
CUT TO:
45. LELAND PALMER
In the middle of the dance floor, he starts to go, a solitary jitterbug. People clear out around
him.
CUT TO:
46. BEN AND CATHERINE
Re-entering the room. Ben exchanges a look with Jerry, who's panicking. Ben whispers to
Catherine.
(CONTINUED)
(Revised 11/7/89, PINK)
46. CONTINUED:
BEN
Dance with him.
(she gives him a look)
This is serious.
Catherine moves out towards Leland.
CUT TO:
LELAND AND CATHERINE
He slickly incorporates her into his dance and they commence to cut a pretty mean rug.
Leland is pouring down tears and making little moaning sounds, but the crowd, happily
clapping along and half-soused, doesn't pick up those details.
INTERCUT:
48 . BEN AND JERRY.
Ben makes his way to his brother.
BEN
Get Jacoby, get a net, get him out of my life.
Jerry nods and moves off. Before he can get very far, he's pulled out onto the floor by Heba
and they begin to jitterbug.
CUT TO:
49. OMITTED
50. OMITTED
51. DANCE FLOOR - HIGH ANGLE
The Icelanders love this new dance craze and spill onto the floor, doing their best to duplicate
Leland's style ...
CUT TO:
52. LELAND AND CATHERINE
Leland picks up his pace. Catherine realizes she's dancing with a man teetering on the edge of
a meltdown.
CUT TO:
53. AUDREY.
Watching from behind a post, away from the dance floor. She's crying.
CUT TO:.
(Revised 11-1-89 Blue)
54. EXT. PALMER HOUSE - NIGHT
Establish.
CUT TO:
55. INT. PALMER LIVING ROOM - NIGHT
Darkness. Madeleine creeps into the room, wearing a nightgown, carrying a shoe box. A
floorboard creaks. She gives a look back upstairs, turns on a lamp, sits, picks up a phone and
quietly dials a number. Waits. Whispers.
MADELEINE
Donna? It's Maddy ... I was looking in Laura's closet
and I couldn't find anything but I looked up and noticed
there was a loose ceiling panel? ... yes, that was her
hiding place, I pushed the panel back, there was a shoe
box up there ...
She takes off the cover of the box.
INTERCUT:
56. THE SHOE BOX
We see four audio cassette tape cases inside. On the top case we can read: "To Dr. Jacoby."
There's a noise from upstairs that startles her.
MADELEINE (CONTINUED)
I'll meet you and James tomorrow. Bring a tape
recorder.
She hangs up, turns off the lamp, puts the cover back on the shoe box and goes back out of the
room.
CUT TO:
57. INT. BEN HORNE'S OFFICE - NIGHT
Darkness. Sounds of the party continue elsewhere. As our eyes become accustomed to the
darkness, we see someone sitting at Ben's desk and the red glow of a cigarette as they inhale.
The door opens. Ben enters the room. Josie turns on the lamp at the desk where she's seated.
Ben crosses to the desk.
BEN
Did anyone see you come in here?
JOSIE
No.
BEN
You do realize the risk if anyone sees us.
(CONTINUED)
(Revised 11/8/89, YELLOW)
57. CONTINUED:
JOSIE
Yes.
He sits on the edge of the desk. Josie puts out her cigarette.
JOSIE (CONTINUED)
How much longer, Benjamin?
BEN
Tomorrow night.
They look at each other. She slowly extends her hand. He takes her hand and kisses it
tenderly. They look at each other.
CUT TO:
58. EXT. LEO JOHNSON'S HOUSE - NIGHT
LEO JOHNSON pulls up in a beat-up pick-up truck with a covered pay-load, stops beside a
small shed outside his half-finished garage. He gets out, looks around, unlocks the shack and
starts to load full gas-cans into the back of the truck.
INTERCUT:
59. INT. JOHNSON'S HOUSE KITCHEN - NIGHT
A single, small lamp. Shelly, in robe and nightgown, moves into the kitchen, looks out the
window at Leo (off-screen). Takes the gun from the table, puts it in her pocket, lights a
cigarette.
CUT TO:
60. LEO
Secures the tarp back over the gas cans and moves towards the house when he's slugged from
behind in the kidneys. He grunts and goes down on one knee.
A SHADOWY ASSAILANT efficiently, silently and systematically dismantles him,
finally turning him and hitting him with three hard right hands to the face. Dazed and
bleeding, Leo never knew what hit him. The Assailant grabs Leo by the lapels and pulls him
close. The Assailant is Hank Jennings.
HANK
You were supposed to mind the store while I was gone,
not open your own franchise -
LEO
Hank-
A short punch, then...
HANK
Do as you're told, Leo. Next time you'll watch me
take your little chippie apart before I kill you.
(CONTINUED)
(Revised 11/8/89, YELLOW)
60. CONTINUED:
Hank Iets him go and disappears.
61. INT. JOHNSON KITCHEN - NIGHT
CUT TO:
Shelly, who hasn't heard a thing, finishes her cigarette. Suddenly, Leo bursts in the door
behind her, staggering to the sink. turns on the water, his face a bloody mess ...
LEO
Shelly, call a doctor -
SHELLY
Leo, what happened? You all right?
LEO
(lashing out)
Just call the damn doctor, do as you're told!
He backhands her, sends her sprawling. She lands hard. Takes the gun from her pocket.
LEO (CONTINUED)
What are you sitting around for? I said -
(sees the gun)
What the hell are you doin' with that?
SHELLY
(taking out the gun)
Don't touch me, Leo, don't come near me -
LEO
(laughing)
What are you gonna do, Shelly, shoot me?
SHELLY
You're not gonna hurt me again -
LEO
(bile seeping above the pain)
You stupid little slut, you don't even know how to use
one -
(he advances on her)
Besides, you haven't got the guts --
Shelly closes her eyes and fires. Leo yells, falls back, knocking the lamp off the table.
Darkness. Screaming. The front door slams open and shut, the screaming moves outside.
Shelly huddles in a comer, clutching the gun, terrified. We hear the pick-up truck start and
drive off. Shelly tries to catch her breath.
CUT TO:
(Revised 11/8/89, YELLOW)
62. INT. GREAT NORTHERN CORRIDOR - NIGHT
Dale Cooper rounds the comer, takes out his room key. He stops, listens to the sounds of the
still raucous Icelandic party going on downstairs. Cooper sadly shakes his head, starts to
unlock his door and realizes it's open. He draws his gun.
CUT TO:
63. INT. COOPER'S ROOM - NIGHT
The door stands open, light coming in from the corridor. Cooper enters a moment later, with
his weapon drawn. He slowly closes the door, moves in, keeping the gun trained on the bed.
COOPER
Reach over slowly and turn on the bedside lamp.
There's someone in the bed. The person turns on the lamp. Audrey. Naked under the sheets,
eyes red with tears.
AUDREY
Don't make me leave. Please don't make me leave.
Cooper slowly lowers his weapon.
CUT TO BLACK:
THE END