7700 Balboa Blvd
Van Nuys, CA 91406
July 7, 1990 - BLUE
July 11, 1990 - PINK
July 13, 1990 - GREEN
July 18, 1990 - YELLOW
1. INT. GREAT NORTHERN DINING ROOM - DAY
Morning. CAMERA MOVES slowly through the dining room, a walking POV. AGENT COOPER and ALBERT ROSENFIELD sit at a table up ahead.
ANOTHER ANGLE reveals this to be the POV of the ASIAN MAN. He continues, allows a waitress to seat him.
2. INT. GREAT NORTHERN CORRIDOR - NIGHT
Cooper and Albert sit at the table arrayed with breakfast foods. Griddlecakes, orange juice, coffee. Cooper eats, expounds. Albert listens.
Buddhist tradition reached the Land of Snow in the fifth
century A.D. The first Tibetan king to be touched by the
Dharma was Ha-tho-tho-ri gnyan-btsan. He, and all
succeeding kings were known collectively as the Happy
Generations. Some histories place the King in the water
snake year of 213 A.D. Others in 173 A.D. A water-ox
year. Amazing, isn't it? The Happy Generations.
Cooper takes a sip of hot coffee, beams. Albert, deadpan, just stares for a very long beat. Then, finally:
Agent Cooper. I'm thrilled to pieces that the Dharma
came to King Ho-Ho and the Land of Schmoes. I really
am. But right now I'm trying hard to focus on the more
immediate problems of our own century. Right here in
You'd be surprised by the connections between the two.
Color me amazed.
(on to business)
Ronette Pulaski has come out of her coma.
I'm thinking Ronette has quite a story to tell, once she
regains her ability to speak.
She's not talking.
Wakened, but silent. Probably shock.
Cooper pulls two police sketches out of his briefcase. Leo Johnson. And Bob, the long-haired man.
I intend to show her these.
(re appropriate sketch)
Leo Johnson. And Bob - the man Sarah Palmer saw in her
vision. The man who came to me in my dream.
(the usual sour sarcasm)
Has anyone seen 'Bob' on Earth in the last few weeks?
Cooper takes a big bite of griddlecake. Albert produces a report, speaks while referring to it:
Fine. I performed the autopsy on Jacques Renault.
Contents of the deceased's stomach revealed beer cans, a
Maryland license plate, half a bicycle tire, a goat, and a
small wooden puppet. Goes by the name of Pinocchio.
You're making a joke.
I like to think of myself as one of the Happy Generations.
(back to report)
The killer snuffed the fat with a pillow. He was
Wearing gloves. Tape used to bind his wrists was stolen
from hospital supply closet. That's all. If Jacques has any
secrets he'll be taking them underground.
Preliminaries suggest arson. I nominate Leo Johnson.
We need a statement from Shelly Johnson.
Hospital says she's well enough.
How do you feel?
I believe it's customary to inquire after the health of one
recently plugged with a thirty-eight. Three times.
Thanks for asking.
Don't get sentimental.
(back to business)
Who shot me, Albert?
My men are interrogating hotel guests. The usual bumper
crop of rural know-nothings and drunken fly fishermen.
No leads so far. The world's most decrepit room service
waiter remembers nothing out-of-the-ordinary about the
night in question. No surprise there. Senor Drool Cup
has, shall we say, a mind that wanders. He -
The waitress interrupts, delivers a check. Cooper holds out a hand, signals he'll pay for it. As Cooper signs his name and room:
I appreciate your coming, Albert. We need the very best.
Dedication to duty isn't exactly what brought me here,
Cooper reacts with surprise. Muted trepidation.
Agent Earle. He retired.
To a comfortable chair complete with wrist restraints at
the local laughing academy.
Nobody knows. Your former partner flew the coop,
Coop. Into thin air.
That's not good ...
HOLD ON Cooper for a beat.
3. INT. GREAT NORTHERN DINING ROOM - DAY
Across the room, someone is watching. It is the Asian Man. He looks long at Agent Cooper.
4. EXT. HOSPITAL - DAY
4. INT. RONETTE PULASKI'S HOSPITAL ROOM - DAY
RONETTE PULASKI gazes at the ceiling with blank expression. ANOTHER ANGLE reveals Cooper and Truman at her bedside. A NURSE in the background. Cooper peers at the girl, then:
The eyes move, nothing else, to acknowledge them.
Cooper produces the two police sketches, prepatory to showing them to her.
Ronette, I'm going to show you some pictures. I want
you to tell me if you have seen these men before. I want
to know if they are the men that hurt you.
His words spark a memory, the memory brings pain. All in her dark eyes. Cooper holds the sketch of Leo Johnson toward her.
Do you recognize this man?
A long beat. Then a surprise. Ronette's arm lifts into the air, as if separate from the rest of her body. Cooper and Truman react. Ronette gingerly takes the sketch from Cooper, brings it closer to her eyes. As if to better view it. Cooper wonders:
Can you see, Ronette?
Ronnette nods, almost imperceptibly. She stares at the sketch for a long, long beat.
Do you know him?
A long beat. Ronette proceeds slowly, as though underwater. Finally she nods. Yes.
Is this the man that hurt you?
Another beat. Then, finally ... she shakes her head. No.
Cooper takes the sketch from Ronette, holds out the second picture. The long-haired man named Bob. Again, Ronette reaches for it, brings the sketch toward her face. Near-sighted, this is the only way she can clearly see it.
SUDDENLY Ronette's entire body seems to seize, her eyes dart about wildly.
Ronette drops the sketch, her hand now knifes through the air, jagged motions, up and down, to the side, and up and down. The nurse hurries forward to aid or restrain. But Cooper intervenes.
She's trying to spell something. Paper.
Truman produces paper and pen, hands them to the girl. Ronette clutches the pen, begins to scrawl.
Ronette. Is this the man that hurt you?
Ronette nods furiously as she writes, tears stream down her checks. She finishes, holds the paper toward them. Cooper takes it. They read.
ANGLE ON PAPER
Ronette's fearful scrawl. TRAIN. LAURA. TRAIN.
BACK TO SCENE
The train car.
But Cooper's not listening. He's staring at the sketch of Bob. The hard features. The long flowing hair. Meanwhile, Ronnette begins to moan. Softly at first. Then building to a terrified scream.
HOLD ON this tableau. Ronette upon the hospital bed. Cooper, Truman, and the nurse hovering about her.
6: EXT. ONE-EYED JACK'S - DAY
7: INT. ONE-EYED JACK'S - DAY
The Get Acquainted Room. Early morning ease pervades. Girls lounge in robes, smoke cigarettes. Two blondes play checkers in a corner. A third girl, NANCY, the Pickup seen previously in Audrey's room, sits and reads the morning paper.
AUDREY HORNE passes through the morning, looking for clues. She sits next to Nancy.
You say that as if it's news.
Audrey lights up, ignores the rebuff, gestures toward the newspaper.
Well, what is news?
Cookout at the Packard Mill.
Audrey peers at the banner headline: MILL BURNS. She reacts with unbridled delight.
I'll bet. Nancy, do me a favor?
(off girl's look)
I'm lookin' for somebody.
Audrey produces a photograph torn from a high school yearbook. Ronette Pulaski.
We worked Spokane together. Shriners and stuff.
You know her?
Sorta. Just a summer girl. She didn't stay long.
Ronette had a friend. Laura. Ever see them together?
Suddenly: a male voice. It's EMORY BATTIS. Battis enters the Get-Acquainted Room, pauses to greet familiar faces.
Audrey tamps out her cigarette, looks for exit.
Got to go. Maybe we can talk sometime.
With that, Audrey, rises, steps away. Nancy looks up from her paper, watches her leave. There's a cold look in her eyes.
Anything you say, 'Miss Horne.'
Busted. Nancy turns her gaze toward Battis by the door.
8. EXT. APARTMENT HOUSE - DAY
DONNA HAYWARD stands at the door, carrying a covered meal tray. She checks a piece of paper, doublechecks the address. And knocks.
Hello? Mrs. Tremond? Meals On Wheels.
A long beat. Donna's about to step away. Then a voice from within:
Donna hesitates, tries the door. It's open. She hefts the tray, steps inside.
9. INT. TREMOND APARTMENT - DAY
A shadowy interior. Pill bottles of every size and description on litter the room. An old woman, MRS. TREMOND, reclines in bed. A SMALL BOY stands before her. He wears a dark suit. The boy's hands move gracefully through the air, perform a magic card trick. The old woman expectorates quietly into a handkerchief. She mutters.
The little boy repeats the magic trick. The old woman spits into the handkerchief, mutters. It's as if Donna was invisible.
The old woman gestures toward a coffee table, more pill bottles, nearby.
Donna sets the tray upon the table, removes its cover. Reveals the meal beneath. The old woman shifts, peers down at the hot food.
Cream corn. "I requested no cream corn.
We detest yellow food.
Next time, I'll...
As they speak, the little boy carries the tray to the old woman, arranges silverware. A playing card slips into view, settles amidst warm chicken and rice.
My niece is a nurse. Sent me hospital food. Can you
Tastes like paste. I ordered Meals On Wheels myself.
Laura Palmer brought them to me. She's dead.
I'm taking over Laura's route.
The little boy cuts a piece of chicken, holds it toward the old woman. She takes the food in her mouth, chews slowly. Donna stands mute, ignored for the moment.
Did you know her well?
The old woman's reply is abrupt, final. She does not desire further conversation. Donna sighs. She will learn nothing here.
Enjoy your meal. I'll remember the corn.
Donna steps toward the door. Suddenly:
(off her look)
You might ask Mr. Smith next door. He was Laura's
friend. Mr. Smith does not leave his room.
The little boy steps to Donna's side. He produces a red rose, sleight of hand, and offers it to her. Donna smiles.
10. EXT. APARTMENT HOUSE - DAY
Donna stands before apartment number 3, knocks. But no one answers. She scribbles a note, slides it under the door.
Donna steps back to her car. Behind her, hands gently part pale curtains. Someone watches her leaving.
11. INT. BEN HORNE'S OFFICE - DAY
BEN HORNE sits at his desk, a mill ledger spread out before him. JERRY HORNE bounds about, nibbling on a block of cheese. Flames leap in the office fireplace.
Ben barks an order into the phone.
Tell Mrs. Horne I'm in a meeting.
Jerry pauses in front of Ben's desk. Gestures. As if to make a formal presentation.
Ben, I'm struggling for understanding. Evidence to be
examined. Two mill ledgers.
One fake, one real.
Josie was running a loser.
Catherine was covering it up.
To our advantage. With our consent.
Which brings us to Andrew Packard's will.
The ledger gambit guarantees the mill goes bankrupt, the
will gives Catherine the mill. Catherine sells to us and
pockets the cash.
The intercom buzzes, intrudes. Ben sighs, picks up the phone.
Now whit?! Tell her I'm still in a meeting.
Ben slams down the phone.
So you promised Catherine the moon. Catherine eats
Jerry offers Ben a bite from the block he's holding. Ben shakes it off, replies:
Josie is a more than pliable business partner.
Query: How pliable?
She gets the cash. We get the mill. And the land for
I wonder ... what does Josie really want?
I don't know. You?
(using Jerry's lingo)
Eternal Query: What do women want?
Jerry's pacing brings him back to the desk, the ledger spread out before him.
(re ledger on desk)
So ... which ledger is this?
Bad news for Catherine.
May flights of angels guide her to her rest.
Bad news for us then.
If it went public.
Let's keep it private.
Dust to dust...
Ashes to ashes.
Ben tosses the ledger to Jerry. Jerry tosses the ledger into the roaring fire. Both pause to watch it burn.
Just then: a harried SECRETARY marches into the office.
I told you I'm in a meeting!
The secretary interrupts, holds out a note for his perusal.
The secretary nods, exits. Ben opens the folded paper, reads. A beat.
No. Audrey appears to be missing.
FADE TO BLACK
END ACT ONE
12. EXT. BLUE PINE LODGE - DAY
Establish. A Sheriff's cruiser parked out front.
13. INT. BLUE PINE LODGE - DAY
Cooper, Truman, and Albert gather about PETE MARTELL at the dining room table. Pete's dazed, a little singed around the edges.
She was afraid. I've never seen Catherine afraid before.
Well. When we went camping she killed a snake. And a
tree hit me one time. She had a reaction.
Albert rolls his eyes. But Cooper preempts him with a stern glance. Pete produces an account ledger, places it on the table.
Catherine asked me to help her find the account ledger.
She asked me to help her.
This was in her safe. Catherine said it was the wrong one.
Josie showed me a second ledger.
Sounds like your wife was cookin' the books.
We couldn't find it anywhere. But I found my high school
yearbook. Midge Jones.
Midge had blue eyes like a robin's egg. And a funny way
of walking. One foot here, one foot there, one foot here,
one foot there.
(he can't help himself)
Feets don't fail me now.
Pete? Let's make a heroic attempt to keep our minds, and
what's left of yours, trained on the night in question. The
night the mill burned down.
Pete looks up, seems to see Albert for the first time.
I don't like you.
No one does, Pete.
Amen to that.
Well bounce my butt out of the Glee Club. Gentlemen,
I've got a job to do.
Did Catherine tell you what was in the ledger?
Heavens no. But she was desperate to find it. Until the
phone rang and she was gone. I saw her car out front. The
mill was burning. So I went inside ...
Pete can't continue.
I'm sorry, Pete. We all are.
Have you found ... her body?
Cooper shakes his head. No.
A mill fire burns somewhere close to two thousand
degrees, Mr. Martell. That's hot enough to incinerate
Cooper places a reproving hand on Albert's, stops him from continuing. Pete fixes Albert with a baleful stare. A beat. Then, in a whisper:
Pete sighs. Then stands, offers.
Let me get you boys some coffee.
Pete shuffles off toward the kitchen. Cooper and Albert trade conclusions. Truman watches quietly, as a spectator at a tennis match.
Leo's clothing reeked of gasoline.
Gas cans found at the hot spot matched those in the back
of his truck.
Catherine hired Leo to burn down the mill.
She gets a phone call. From Leo?
Maybe something went wrong.
Wrong enough. Mill burns. Catherine with it.
I want Shelly Johnson. She can put Leo at the scene.
14. INT. BLUE PINE LODGE KITCHEN - DAY
Pete prepares coffee. Wipes a fugitive tear from his eye. The phone rings. He answers it.
Josie! Where are you?
Pete writes down her reply.
Harry and Agent Cooper arc in the living room with a
man I don't like. I can -
All right, Josie. I won't tell a soul.
15. INT. BLUE PINE LODGE - DAY
Meanwhile, Cooper and Albert continue. Truman spectates as before.
We need a look at Catherine Martell's will.
Who stood to benefit from her death?
Who gets the mill? Or what's left of it.
I'll run the policy for beneficiaries.
Albert turns to Truman, sneers at his silence.
Don't be shy, Prince of Yokels. You too can participate in
the investigatory process.
Truman rises. Cooper grabs him by the arm. Just then: Pete interrupts.
(eyes on Albert)
Excuse me, boys. Coffee. Piping hot.
Morons and mooncalves, everywhere I go.
Pete carries a wooden tray into view. He speaks as he sets and pours coffee for four.
When I met Catherine, she was dating a fellow named
Rodney Pocquet. French-Canadian millionare's son.
Rich as Croesus. Rodney never said it, but he looked
down on me. I know he did. And why not? Rodney in
his fine summer suits. Me in my overalls and boots. I
never minded all that much.
Until he started talking rude to me. Like I wasn't even
there. Rodney Pocquet hurt my feelings. He embarrassed
me in front of my friends. That made me mad.
Pete pauses, sets down the coffee pot. Albert wonders.
(with a sigh)
Is there a point to this insensate ramble?
Well, yes. There is. I hiked up to Rodney's big house.
And I socked him on the jaw. Rodney never talked that
way to me again.
Albert looks to Cooper and Truman. He knows what's coming.
They nod. And Pete floors Albert with a slow right cross to the jaw.
16. INT. THE DOUBLE R DINER - DAY
OPEN ON a police flyer. The official sketch of the long-haired man named Bob. And a headline. HAVE YOU SEEN THIS MAN?
ANOTHER ANGLE reveals DEPUTY ANDY BRENNAN as he carefully attaches the flyer to the inside of the Double R Diner doors. Andy's using scotch tape to affix the paper flyer. He's managed to get a piece caught in his tufted hair. LELAND PALMER and MADDY FERGUSON enter past Andy and move to a booth. Leland is resplendent in sharp suit, bright white hair, and a whole new attitude. He nearly beams.
Best chocolate malteds this side of the Mississippi.
I haven't tried a malt here yet.
Then I insist, dear. Simple pleasures. Life is too short.
NORMA JENNINGS approaches.
Norma, two chocolate malteds, with a dollop of
whipped cream on the top.
You're looking well, Mr. Palmer.
I'm feeling well, thank you.
Norma moves back to the counter. Leland recounts a happy memory.
Laura's favorite was a drink we used to call a Brown Cow.
It's like a root beer float only made with a cola drink
and vanilla ice cream. She had her first, with me, in that
booth right there.
I'm glad you're feeling better, Uncle Leland.
A man must take care of his family. And I still have a
family to take care of.
He reaches over, takes her hands. With pride.
I'm coming through the pain, Maddy. I'm coming
17. INT. DINER - DAY
Behind the counter, Norma makes chocolate shakes. HANK JENNINGS enters the diner, moves behind the counter with a winning smile. Norma can't help but return it.
What are you grinning about?
I look at you, and I feel a little tug at the edge of my
lips, right next to the kissing part. And before I know it,
I'm grinning again.
(trying not to be charmed)
No sale; you're thirty minutes late.
Okay, you found me out.
Hank produces a poloroid, holds it up for Norma to examine.
A 1965 GTO. Convertible. One owner. Forty thousand
miles. Clean and cherry.
For you. It's a surprise, honey. Well, it was.
Where will we get the money? The diner's barely
I put a little money away for something special. Trust
Hank pulls Norma a little closer, brings his hips as close as propriety allows. Norma reacts, but she doesn't move away. Hank nearly whispers.
It's the car you always wanted, Norma. The car I said
I'd get you one day. Remember?
Tell me you remember, Norma.
Norma looks him right in the eyes, gently, but determined to resist him just the same.
With that she picks up the malteds and moves to Leland's booth.
18. INT. THE DOUBLE R DINER - DAY
Norma sets down the malteds.
Thank you, Norma. Now, Maddy, a little piece of
They try their malteds.
What did I tell you? Just another routine miracle of
everyday life here in Twin Peaks.
Uncle Leland, you're doing all the right things.
What do you mean, dear?
When Dad died two years ago, I thought I'd never get
over it. Mom never has. It was focusing on the little
things that got me through it. The "everyday miracles."
Life is a miracle. Maddy, I want to say something to
you, you don't have to answer, in fact you shouldn't. You
should think about it first. Promise first.
You've said you don't really have that much to go back to
in Missoula. You've also said how much you like it here.
What I want to say is: you don't have to go back. You can
stay with Sarah and me if you like, get your own place, of
course, but stay in town. We're family, too. We can
make a family here.
I don't know what to say.
You shouldn't say anything until you eat that malted.
She smiles. They dig in.
(19 & 20 ommited)
21. INT. THE DOUBLE R DINER - DAY
MAJOR BRIGGS enters and sits at the counter, enjoys a cup of coffee, a little contemplation. The LOG LADY appears, sits beside him. Holding, patting her log. She eyes the medals arrayed on the Major's uniform.
You wear bright objects on your chest.
Yes. I do.
Are you proud?
Achievement is its own reward. Pride obscures it.
The Log Lady nods. Major Briggs adds cream to her coffee. She sips.
My log has something to tell you. Do you know him?
I don't believe we've been introduced.
My log requires no introduction. Can you hear it?
No, ma'am. I cannot.
I will translate.
'Deliver the message.' Do you understand?
Major Briggs peers at the Log Lady with the usual impenetrable resolve. Then, a surprise:
Yes. As a matter of fact, I do.
22. EXT. SHERIFF'S STATION - DAY
23. INT. SHERIFF'S STATION - DAY
Deputy Andy marches up to reception, LUCY MORAN behind the sliding glass. He pulls it open with a forceful tug. But Lucy glares ...
No messages, Deputy Brennen.
... and slams it shut. Undaunted, Deputy Andy throws the glass partition open a second time, even more forcefully. Lucy reacts with surprise.
Listen to me, Lucy Moran. You just listen.
(a piece of tape still stuck to his head)
When the Tacoma Sperm Bank was looking for donors,
naturally I applied. But a routine physical revealed that I
was sterile. Sure, I thought it meant I didn't have to
bathe, but the doctors told me the truth. They told me I
can't have babies. So what I want to know now is why are
you having one? And how?
Lucy looks up at Andy, her lips quivering slightly. Then she reaches forward, as if to caress him. Andy reacts, leans closer ... and Lucy TEARS the scotch tape from his head, closes the glass door one last time.
24. INT. SHERIFF TRUMAN'S OFFICE - DAY
Hank Jennings stands and stares at the stag's head mounted on the wall behind Sheriff Truman's desk. There's a placard beneath it that reads: THE BUCK STOPPED HERE. Suddenly, a voice behind him:
Hank turns to find Sheriff Truman and Agent Cooper enter the office.
I'm betting Lucy asked you to wait outside.
Might've. You know me, Harry. I'm an impulsive guy.
Truman sighs, circles to his desk. Retrieves the appropriate form.
I know enough not to waste my time on small talk. So
why don't you sign in like a good boy, and keep your nose
clean for another week.
Hank stares at Harry for a long beat. There is bad blood between them. Then he signs without a word, turns on his heels, and steps out the door. A beat, then:
How long were you and Hank friends?
We grew up together. Ed, Hawk, Hank, myself.
Bookhouse Boys. Back then Hank was the best of us.
But he had a way of setting his heart on something, then
taking it. No matter how much it cost him. One day he
set his heart on Norma. And he took her from Big Ed.
"Never cheat a pal." That was our code. Hank broke it.
An intercom beeper interrupts. Lucy's VOICE is heard:
Sheriff Truman? I have Ben Home on the phone for you.
The line with the light that's blinking.
Thank you, Lucy ... hello? Yes, Ben ... What? ... Right away.
Truman returns the phone to its cradle. He looks up at Cooper, speaks with quiet urgency:
Audrey Horne is missing.
FADE TO BLACK
END ACT TWO
25. INT. SHERIFF'S STATION - DAY
Harry escorts Ben out of his office.
I'd appreciate it if you would keep this quiet, Harry.
I'll do what I can. But...
Audrey has a penchant for the dramatic. The unexplained
disappearance, is, after all, a part of her repetoire. And
with Laura's killer in custody, well, you understand. No
need to panic.
Harry knows different. But Ben's attitude irks him just the same.
I understand, Ben. We'll be in touch.
Ben exits. Harry turns to find Cooper in the office doorway, watching with evident concern.
26. INT. HOSPITAL ROOM - DAY
LEO JOHNSON stares at the ceiling. At the future, at the past, at nothing at all. His eyes
are blank and fathomless.
SHELLY JOHNSON stands with DOC HAYWARD at his bedside. She is dressed in hospital garb. Shelly peers at Leo with fear, muted revulsion. His death was something to be wished for. But this intermediate state is beyond Shelly's ability to understand.
The bullet lodged in Leo's spine. We removed it
successfully. As for possible paralysis, it's too early to
tell. Leo lost so much blood, most of it before we had a
chance to' operate...
I'm afraid tile resulting oxygen deprivation starved his
brain, induced the coma you see here.
He's a vegetable?
(with a sigh)
He is not in pain. Beyond that, it's hard to tell.
Can you make him better?
Shelly's tone suggests she's not exactly pining for cure.
We can maintain his current state. Offer him
nourishment, life support. But beyond that, our only ally
is time. I'm sorry, Shelly.
Me too. Arc they going to put him in prison?
I know he's suspected of several felonies. But he can't be
charged with a crime until he's conscious or ruled
competent to stand trial.
I guess, at the moment, he's kind of in prison anyway.
Yes he is.
She starts to cry, softly. Doc puts a comforting arm around her.
27. INT. GREAT NORTHERN HOTEL LOBBY - DAY
Leland Palmer steps through the lobby. Full of life, new purpose, he nearly skips. A receptionist sees him pass by, doubletakes.
28. INT. BEN HORNE'S OFFICE - DAY
Ben sits behind his desk. Jerry enters, tosses a document upon it.
One life insurance policy. Unsigned.
The agent said Catherine was concerned about "certain
irregularities." Like naming Josie chief beneficiary.
The agent wasn't supposed to show it to her.
Considering Catherine's toasty fate, for our side it's just
(tossing policy in trash)
Win a few, lose a few ... let's get those pickled Icemen on
Jerry starts to dial internationally. Ben picks up an extension. Just then: a cheery shout at the door.
Ben looks up. Now what? Leland hops into the office, all smiles and manic energy.
I've been giving this a lot of thought. The mill fire will
no doubt put contract signing on hold for the moment, so
we must insure that the moment, our moment, does not
pass. I would recommend a quick and cordialfollow-up
phonecall to Iceland, a little gentle handling, just to let
Einer know we're on top of it.
We can handle that.
Just then: the call comes through.
Ben Home for Einer Thorson - Einer! (Icelandic phrase)
What's that? You heard about it how? Mr. Palmer called
you to tell you about the fire?
Leland gives a big "ok" sign to Ben. Jerry rolls his eyes.
No, I wouldn't call it a disaster at all. It was just one of
those things. An unfortunate development but I assure you
it in no way affects our developmcnt plans.
Jerry Horne here, Einer. All systems go. Full speed
Of course, Einer. We will fax you all the pertinent
details. Yes, Einer, immediately. Don't you worry your
attractive little blond head about it, listen, in a meeting,
Ben puts down the receiver.
Leland, here's an idea, let's take you off damage control
and have you concentrate on something you can handle,
like my tax return -
But Leland's not listening. He stares at Ben's desk, the police flyer upon it. Bob the long- haired man. HAVE YOU SEEN ...?
I know him.
Leland picks up the flyer, stares at the sketch. His mood is suddenly quiet, pensive.
My grandfather's summer home at Pearl Lakes. He lived
next door. I was only a boy. But I know him.
I must tell the Sheriff immedidately.
Leland turns on his heels and marches out the door. A beat, then:
I would like, I deserve, a little fun in my day. Nothing
complicated. No big deal. just a little fun.
29. EXT. ONE-EYED JACK'S - NIGHT
30. INT. ONE-EYED JACK'S CORRIDOR - NIGHT
An attractive Fifty-Two PICKUP carries a bucket of ice down the hall. Audrey lingers outside a closed door, wonders.
I'll take it from here. Tag team.
The Pickup shrugs, offers the bucket. And her free hand to 'tag.' Audrey slaps her palm, carries the ice inside.
31. INT. ONE-EYED JACKS ROOM - NIGHT
Emory Battis sits in a comfortable armchair, feet up. He wears an Oriental robe, a Santa's cap, and a silk scarf tied around his eyes. His toenails have been painted bright red, cotton balls between them as they dry.
Battis hears the door open, chirps:
Frosty? My little Snowman?
Audrey enters, sets the bucket at his feet. Battis, blindfolded, grins.
I feel a cold front moving in.
Audrey slips behind him, places her hands over the blindfold. Then slowly unties the knot behind his head.
Mmmm. Better. Visible sin.
Audrey lets the loosened scarf slip down about his chin. Then, before he can react - she pulls it tightly about his neck.
Hiya, Mr. Battis. Remember me?
The voice, a glimpse of her face, tell Battis all he needs to know. He nods.
I'm gonna tell you a bedtime story. Are you listening?
With that she tugs the scarf a little tighter.
Once upon a time there was this innocent little girl
named Red. That's me. And she met a horrible wolf.
That's you. And the wolf took her to a secret place and
did terrible things to her against her will. But the little
girl was tougher than she looked. She kicked the crap out
of the bad old wolf, and told her father all about it.
After that she told the police. And the bad old wolf
went to prison for a thousand years.
As she speaks, Audrey twists the scarf tighter and tighter. Now she releases it. Battis gasps for breath. At last:
What do you want?
I want to know everything you know. The perfume
counter. Laura Palmer. Ronette Pulaski. And One-Eyed
I'm Audrey Horne. And I get what I want. Understand?
Audrey moves as if to tighten the scarf again. Battis protests.
Yes. All right.
A long beat. Battis sighs. And begins:
I work for the owner of One-Eyed Jack's.
Audrey pulls on the scarf. Whenever Battis hesitates, is tempted to lie, she reins him in.
Your father. He owns it all. Hell, he owns everything.
I run girls through the perfume counter. I recruited
Ronnette and Laura.
Did Laura come here?
One weekend. She was using drugs, we threw her out. I
never saw her again. I swear.
Did my father know she was here?
Yes. Yes he did. Mr. Home makes it his business to
entertain all the girls.
Did she know Jac owned it.?
I don't know. Yes. Yes, she probably did.
Audrey finally drops the scarf from his neck. The information - her father, Laura - troubles her deeply. Scares her too. A beat. Then, quietly:
Laura always got what she wanted. Just like you.
The repetition chills her.
FADE TO BLACK
END ACT THREE
32 EXT. HAYWARD HOUSE - NIGHT
JAMES HURLEY sits on a couch in the living room, holds a guitar in his hands. Donnna sits in a chair nearby, watches him play.
It's a slow blues riff, snakes and ladders up the fret board. James concentrates with typically solemn expression, lost in the music. Then he looks up, sees Maddy return to the room with a soda.
Maddy smiles, sways to the music. Then, slowly, she begins to dance. It's a sweet sudden moment. Maddy dancing across the carpet, hips rolling side to side, her body keeping time. James stares at Maddy. The sexy steps. The easy smile. It could almost be Laura dancing there.
Donna sees it too. She frowns, steps quickly from the room.
James abruptly stops playing. Maddy dances a single beat after, then freezes. James follows Donna toward the kitchen.
33 INT. HAYWARD HOUSE CORRIDOR - NIGHT
James catches up to her in the hall. He takes Donna by the arm. Donna whirls violently about to face him.
Donna, what's going on?
Donna interrupts with a passionate embrace. James resists at first. But Donna will not be dissuaded. She bites at his lips, offers soft kisses, then hard. James relents. And their embrace deepens, gives rise to whispered moans. And the fevered kiss continues.
Finally: James pulls away, quite breathless. He looks at Donna in the shadows, as if uncertain who is standing there.
Donna, what's going on?
I'm trembling, James. You made me.
Donna reaches for James, means to pull him back again. But a telephone rings OFF- SCREEN. Doc Hayward's VOICE is heard.
Donna. It's for you. Harold Smith?
Donna reacts. Steps away.
34. INT. HAYWARD HOUSE - NIGHT
Donna moves to the phone, answers.
Hello? Mr. Smith?
I received your note.
I received yours.
I'd like to talk to you.
Great. We can meet ... ?
Here. At noon. The time we meet is critical.
Tomorrow, Donna. I will show you what Laura gave me.
He hangs up. Donna holds the phone for a beat. Now sees James standing in a doorway, wondering who she's talking to.
35. INT. HAYWARD LIVING ROOM - NIGHT
Maddy sits alone. She feels a chill, looks to her right.
ANGLE ON DINING ROOM (Maddy's vision)
BOB, the long-haired man, sits-quietly at the dining, room table. Now he turns to face her, returns Maddy's gaze.
BACK TO SCENE
Maddy screams. Donna and James rush back into the living room.
James rushes to her side, takes Maddy into his arms. She's nearly in shock.
Are you all right?
Maddy turns back toward the dining room, afraid of what she might see. But the long
haired man is gone.
36. EXT. LEO JOHNSON'S HOUSE - NIGHT
37. INT. LEO JOHNSON'S HOUSE - NIGHT
BOBBY BRIGGS and Shelly sit entwined upon a couch.
It's so weird. It's like his eyes are empty but he's looking
at something really far away. Like he's remembering.
I don't want to be afraid of Leo anymore.
Bobby's here, baby. You don't have to be afraid.
Did you find out about the insurance?
I made a couple calls. Told 'em I was Leo's cousin. Leo
gets his disability as long as he's not in prison. It's a lot
of money, Shelly, over five thousand a month. But you
only get it if Leo stays at home.
I don't care about the money. I don't want Leo home.
Leo's in dreamland. We can stick him in a corner and
hang plants from his ears.
Sheriff Truman wants me to make a statement.
No way. Tell the Sheriff you got amnesia or something.
The fire twisted your brain.
I'm feeling pretty twisted right now.
They can't force you to testify against your husband. All
you got to do is get Leo home. Then sit back and collect
Leo owes you, baby. Now we can really make him pay.
You want something nice? We can buy it. You wanna go
someplace special, sit in the sun? It's on Leo.
(warming to the idea)
It'd be nice not to worry about money. I got a shoebox
full of bills ...
Bills. Forget about bills. We're talkin' about a new life
(she knows the answer)
What do you think?
Bobby lifts Shelly's hand to his mouth, kisses it. He gently sucks on a finger. Shelly sighs.
I think I want to get comfortable.
Shelly flows into Bobby's arms, kisses him, playfully bites at his lip. Bobby hums with pleasure.
Bobby Briggs, I'm gonna eat you up.
Just watch me.
Bobby and Shelly sink down upon the couch to make love.
39. INT. AGENT COOPER'S HOTEL ROOM - NIGHT
START CLOSE on Audrey's note to Agent Cooper, still hidden on the floor beneath his bed. A trilling musical scale is HEARD from above.
CAMERA REVEALS Cooper on his bed, shoes off, holding his handmade wooden flute. He pauses to glance at the television glowing in a corner. Then en activates the micro- recorder positioned on a bedside table.
Diane, I received bad news today. Windom Earle has
vanished. Audrey Home is missing. There is of course no
connection, except for the simple fact that my former
partner's disappearance seems to matter less to me than
that of a troublesome high school girl.
Mr. Home is convinced she has run away and will return.
I wish I shared his confidence. Though not his callous
An all-points bulletin, routine checks of the train car and
Jacques' cabin have revealed nothing. Not a trace of her.
Cooper shuts off the recorder. As if to wonder. Then he starts it again. Speaks more softly:
Audrey's absence touches me in ways I did not predict. I
find myself thinking not of clues or evidence, but of the
content of her smile. The way it gives the lie to her
delinquent posing, the hardened exterior which I suspect
is more a matter of self-preservation than a heart that is
cold. Audrey's heart is warm.
Cooper flicks off the recorder. Sets it on his bedside table. just then: a knock at the door.
Just a minute.
Cooper rises with a wince - his wounds still give pain - and steps to the door. The last time he opened it, Cooper received three slugs in the chest. This time he finds Major Briggs standing there.
May I come in?
Briggs enters, Cooper gestures toward the room's single chair. Briggs sits.
I have a message for you.
I am not at liberty to reveal the nature of my work. This
secrecy pains me from time to time. Any bureaucracy
that functions in secret inevitably lends itself to
corruption. But these are the rules I have pledged to
uphold. I believe a pledge is sacred.
Speaking as both a man and a fellow employee of the
federal government so do I.
I may reveal this much. Among my many tasks is the
maintenance of deep space monitors aimed at galaxies
beyond our own. We routinely receive various
communications, space garbage to decode and examine.
The results look something like this.
Briggs produces a paper readout, holds it out for Cooper to examine. The sheet is covered with letters, numbers, signifying nothing.
Radio waves and gibberish, Agent Cooper. Until Friday
night. Saturday morning, to be exact.
When I was shot.
The readout took us by surprise.
Briggs holds out another paper readout, the usual jumbled numbers and letters. And a message at its center: THE OWLS ARE NOT WHAT THEY SEEM. Cooper examines the message, wonders:
Why did you bring this to me?
Briggs holds out one last readout.
Later that morning.
Cooper looks at the paper. More letters, numbers. And something else, quite recognizable, repeated over and over. COOPER. COOPER. COOPER. Cooper reacts, exchanges a look with Briggs.
FADE TO BLACK
39B. INT. COOPER'S HOTEL ROOM - NIGHT
FADE IN. The darkened bedroom. The phone RINGS. Cooper turns on a bedside light, answers it.
I know who it is.
Audrey. Where are you?
Helping you. just like I said.
This is not the time or place for schoolgirl games. I want
you to come home.
Keep your shirt on. I'll be back before you know it.
Wait'll you hear what I found out.
Audrey, if you're in any kind of trouble...
(a teasing hint)
You look real cute in your tuxedo. Like a movie star.
With that she hangs up.
40. INT. ONE-EYED JACKS - NIGHT
Audrey sets down the receiver. She turns, reacts. BLACKIE and Emory Battis stand before her.
Trouble, Miss Home? You don't know trouble. Not by
Audrey looks left and right. No exit. Trapped.
FADE TO BLACK