TWIN PEAKS Episode .002 #2 by Mark Frost David Lynch FIRST DRAFT: August 2, 1989 Lynch/Frost Productions 7700 Balboa Boulevard Van Nuys, CA 91406 (818) 909-7900 "ZEN, OR THE SKILL OF CATCHING A KILLER" 1ST ACT 1. EXT. GREAT NORTHERN HOTEL - EVENING Establish. CUT TO: 2. INT. HORNE RESIDENCE WING - EVENING JERRY HORNE sits before a roaring fireplace, tumbler of bourbon in hand, eating nuts compulsively from a giant bowl while rapidly adding figures on a large computer while scores of numbers flash up and down on the large computer monitor, all the while talking into a headset phone receiver in a melange of Icelandic and English. In another part of the spacious room, the Horne family sits quietly around the dinner table. AUDREY HORNE plays listlessly with her food. A NURSE helps JOHNNY-still-wearing-his-headdress-HORNE eat, while MRS. HORNE stares at her full plate. For no discernable reason, Johnny bursts into tears. The Nurse comforts him and he starts to eat again. In spite of her feigned indifference, a small, sad tear slips down Audrey's cheek as she watches her brother. BENJAMIN HORNE finishes carving up and chewing a big rare steak and looks around at his family. He puts his napkin on the table, rises, then smiles. BENJAMIN Always a pleasure. (calls to his brother) Power down, Jer. We've got a "meeting." Jerry gets up, switches off the computer and does an Indian dance towards and eventually around the dinner table, making "traditional" Indian noises. JERRY (his idea of being a funny guy) Newphew Johnny, don't be forlorn ... things're bound to get better in the morn ... then there's Sylvia, who treats me with scorn... she thinks Jerry an absolute thorn ... He kisses her; Jerry repulses her. Jerry indian dances toward Audrey. Johnny breaks down again. JERRY ... around the horn to little neice Audrey, the Horne's first born ... (Audrey's amused) ... and here goes Jerry with brother Ben Horne, long-gone like turkeys through the corn... Ben and Jerry exit. CUT TO: 3. EXT. BLACK LAKE - NIGHT A full moon in a dark sky illuminates the cold, placid surface of Black Lake. CUT TO: 4. EXT. HORNE CRUISER - NIGHT A 1942, solid mahogany 22 foot Fitzgerald and Lee custom streamliner runabout cuts through the water. Benjamin Horne is at the wheel, his brother Jerry Horne beside him, spotting ahead of them through infra-red, night-vision binoculars. CUT TO: 5. THEIR POV - BINOCULAR EFFECT Bright lights on a long peninsula, their destination. CUT TO: 6. EXT. DOCK - NIGHT The boat glides up slowly to the dock. Jerry tosses a line to a gorgeous young female deckhand, SWABBIE, dressed in a skimpy, stylizied, sailor's uniform. Swabbie ties off the boat as a SECURITY GUARD, also dressed in a nautically themed uniform, stands by, watching. JERRY Permission to come ashore? SWABBIE Permission granted. Jerry gives Swabbie a kiss. Benjamin follows Jerry out of the boat onto the dock. BENJAMIN Hey, Sailor. SWABBIE Good evening, Mr. Horne. Benjamin tips her a ten-spot and rubs her elbow. SWABBIE Thank you, Mr. Horne. Ben and Jerry start up a flight of stairs to the brightly lit structure above. Swabbie picks up a phone on a piling and pushes a button. SWABBIE Horne brothers, comin' up. CUT TO: 7. EXT. ONE-EYED JACKS - NIGHT A large sign of a playing card, a one-eyed jack, with neon flashing "J's" and one pulsating eye, is suspended over two identical doors. On one of the doors is a small neon sign that reads, "CASINO." Ben and Jerry come up to the doors and stop. JERRY Now, are we gonna go into the casino first? BENJAMIN I'm not here to lose my shirt, I just want to take it off. Jerry rings a bell on the door without the sign. An electronic buzz, a latch gives, and the door swings open. CUT TO: 8. INT. ONE-EYED JACKS "LET'S GET ACQUAINTED" ROOM - NIGHT Ben and Jerry enter a plush, cozy warmly lit room, easy chairs, fluffy sofas and a small bar with a brass rail. Jerry orders drinks from a scantily clad female BARTENDER. JERRY Sweetheart, I'd like to order two drinks, one double scotch on the rocks and my brother will have a double scotch on the rocks. (winks) BARTENDER That's two double scotch on the rocks? JERRY Next stop, rocket science. Several of the establishment's sensational and extraordinary WORKING GIRLS, known collectively as "The 52 Pick-Ups," enter the room. They sit and luxuriously arrange themselves. Ben and Jerry take note as they pick up their drinks. In sweeps BLACKIE "THE BLACK ROSE" O'REILLY, the Madam of the House, an intelligent, strikingly attractive woman in her mid-thirties. BLACKIE Gentlemen... BENJAMIN Blackie... (he kisses her hand) "Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do not shake the darling buds of May, And summer's lease hath all too short a date: Sometimes too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometimes declines, By chance or nature's changing course untrimm'd; But thy eternal summer shall not fade, Nor lose possession of that fair thou ow'st, Nor shall death brag thou wander'st in his shade, When in eternal lines to time thou grow'st; So long as man can breathe, or eyes can see, So long live this, and this gives life to thee." During above we register Blackie's reaction, detached amusement, and Jerry's reaction, bored indifference. Several more Pick-Ups wander in and we pay attention to their reactions and those of the others already in the room, who see Benjamin an ideal of worldly sophistication and power. Benjamin finishes and kisses Blackie's hand again. Jerry comes up to her and says quietly. JERRY Which one's the new girl? BLACKIE When you really want love ... you will find it waiting for you. A curtain opens, revealing a gorgeous young WOMAN with the face of an angel. Ben and Jerry look at each other, then instantly back to the Woman. Jerry takes a coin out of his pocket, flips it, and covers his wrist. Jerry and Ben look down at the coin: heads. Ben smiles, pats his brother on the back, and starts towards the Woman. Jerry slaps the coin down on the bar. CUT TO: 9. A TAPE RECORDER A tape playing in the small recorder comes to an end and the "play" button pops back out. We see that the tape is labeled, "TO DR. JACOBY WITH LOVE, LAURA." CUT TO: 10. INT. DR. JACOBY'S OFFICE - NIGHT Deeply saddened, Dr. Jacoby finishes listening to the tape, removes the headphones, takes the tape out of the recorder. He moves to the artificial palm tree near the wall and removes one of the coconuts from a branch of the tree. Jacoby snaps open the coconut, which is actually a stash box disguised as a coconut, slips the tape inside, snaps it shut, and attaches it back to the tree. CUT TO: 11. EXT. HAYWARD HOUSE - NIGHT Re-establish. CUT TO: 12. INT. HAYWARD HOUSE LIVING ROOM - NIGHT Dr. and Mrs. Hayward are clearing away pie plates from the coffee table in front of a fire burning in the fireplace. Donna and James are sitting on opposite ends of the sofa. JAMES That was great huckleberry pie, Mrs. Hayward. EILEEN You only had three pieces, James, are you sure you wouldn't like another? JAMES No thank you, ma'am. DR. HAYWARD How 'bout some more coffee? JAMES No thank you, sir. DONNA (a semi-subtle signal) Dad... DR. HAYWARD (gets it) Mrs. Hayward and I are going to say goodnight to you now, James. EILEEN Good night, James. DONNA Just leave the dishes, Mom, I'll clean up. EILEEN Thank you, dear, good night. Mrs. Hayward steers herself into the kitchen. DR. HAYWARD Will you be joining us for church tomorrow, Donna? DONNA Yes. DR. HAYWARD Nine o'clock sharp. He winks and exits. Donna and James are alone. From another room we hear the sound of an engine start up and whine. James looks at Donna. DONNA Elevator. James nods. A slightly awkward but not uncomfortable silence. He tentatively reaches over for her hand, she takes it. They hold hands and look at each other. He slowly pulls her towards him into a sweet, tender kiss. They look at each other. She smiles. They kiss again, very passionately. DONNA (whispers) I can't stop thinking about you... JAMES (touches her cheek) I've thought about you all day... DONNA I keep thinking of Laura, too. JAMES Yeah... DONNA What are we gonna do? JAMES Donna, I don't feel that what we're doing is wrong, or what we're feeling -- DONNA Why not? JAMES Because it's the truth. Because I think it would have turned out this way sooner or later anyway -- DONNA I don't know -- you do? JAMES Yes. I remember a time in school, remember, in the hall, we were suddenly alone and we looked at each other -- DONNA I remember -- JAMES I almost told you I loved you then. DONNA It's true. JAMES It's true, isn't it? DONNA I guess because of Laura, I couldn't say anything, I couldn't even let myself think about it -- JAMES Me too. DONNA (tender and trembling) Are we... (moves closer to him) ... are we ... going to be together? He kisses her. She kisses him. They kiss. CUT TO: 13. EXT. GREAT NORTHERN HOTEL - NIGHT Re-establish. CUT TO: 13. INT. DALE COOPER'S ROOM - NIGHT The door flies open. Long pause. DALE COOPER takes one step into view, looks into the room, realizes it's safe, then enters. He plays a little birdcall on his handcarved whittle whistle. He sees the red message light blinking on his bedside phone. Cooper dials the operator. COOPER Messages for 315, Special Agent Dale Cooper... (he waits) ... Deputy Tommy "The Hawk" Hill? Did he leave a number? (jots down the number) Deputy Hill, this is Agent Cooper... INTERCUT: 15. INT. CALHOUN HOSPITAL - NIGHT TOMMY "THE HAWK" HILL is in the hospital corridor on a pay phone. HAWK Just thought I should let you know everything's quiet here at the hospital... COOPER How's Ronette Pulaski? HAWK Body and spirit are still far apart. COOPER What did you find out from her parents? HAWK Little. Ronette recently quit her job at the perfume counter of Horne's department store. COOPER Is that Benjamin Horne? HAWK Yes, sir, family business. Everything else is good except that at ten o'clock there was a one-armed man snooping around intensive care. As they speak, Cooper looks over and sees a note being slipped under his hotel room door. COOPER One-armed man? HAWK Left. COOPER Did you question him? HAWK Negative. I pursued, but he got away. COOPER Alright. Maintain a watch on Ronette around the clock and we'll talk tomorrow. STAY with Cooper as he hangs up, rises, and moves to the note. He picks it up, opens it and reads... "HAVE YOU LOOKED INTO ONE-EYED JACKS?" Cooper sniffs the note and smiles. CUT TO: 16. EXT. BLUE PINE LODGE - NIGHT Establish. CUT TO: 17. INT. MARTELL BEDROOM - NIGHT PETE MARTELL and his wife CATHERINE are uneasily coexisting in a heavy silence. Pete sits on the edge of the bed, rubbing some mink oil into his boots. Catherine folds some laundry and puts it away in a chest of drawers. She sniffs. CATHERINE Everything smells like fish around here. PETE Then why don't you wash your socks seperately? CATHERINE Why don't you drive your truck into a tree? PETE (smiles) I got an idea: tomorrow's Sunday, let's stay up late tonight and bicker. Catherine takes some laundry into a large walk-in closet and puts the clothes away. Pete quietly rises, silently picks up a small vase from the dresser, dumps the contents into his hand and takes out a small key with a tag. CATHERINE (from the closet) What was that FBI man doing up here today? PETE Nice fella. Asked a few questions. CATHERINE About what? PETE He talked to Josie mostly. I had a problem with a fish took a likin' to my percolator. CATHERINE What did he talk to Josie about? PETE Why don't you ask her? Pete sits down with the key in his pocket as Catherine re-enters. CATHERINE Did they talk about my brother at all? PETE Andrew? CATHERINE How many brothers do I have? PETE I heard them mention him. The accident. CATHERINE What about the accident? PETE You know, the usual, how no one found his body. Mostly they talked about Laura. How she was up here the afternoon of the day she died. CATHERINE Didn't he want to talk to us? PETE I talked to him. Real nice fella. CATHERINE Did he express any interest in talking to me? PETE Yeah, but we told him you were on your world tour, he should contact your press agent. CATHERINE Take your boots off my bed and go to your room. PETE Didn't want to get mink oil on my bedspread. Pete rises and exits, whistling. CUT TO: 18. INT. BLUE PINE LODGE CORRIDOR/JOSIE'S ROOM - NIGHT Pete wanders down the hall, taps on a door. JOSIE PACKARD opens the door. Pete holds up the small key. PETE (whispers) Don't use it til tomorrow. I'll get her out of the house. JOSIE Thanks, Pete. PETE You bet'cha. She takes the key and goes back inside. Pete moves on, whistling. In her room, Josie opens a small rectangular lacquer box. She presses the key into the hard clay inside the box, making an impression of the key. She then removes the key and closes the box. CUT TO: 19. EXT. PALMER HOUSE - NIGHT Establish. CUT TO: 20. INT. PALMER HOUSE LIVING ROOM - NIGHT Feet pace restlessly back and forth across the carpet. LELAND PALMER moves to the record player. A record drops on the turntable. Big band music. Leland listens, sways, tries to get the feel of the music. Decides it isn't right, not up tempo enough. Leland lifts the stylus and drops the needle on another part of the record, searching frantically for a particular song, which he finally locates. Big band again, but fast, loud and brassy. He listens again. This time it's the right stuff; tears spring into his eyes. He looks across at Laura's picture on the table. He starts to dance, in torment of anger, sadness and nostalgic despair, jitterbugging back and forth in front of the picture. He makes a loud moaning, wailing sound. CUT TO: 21. INT. PALMER HOUSE CORRIDOR - NIGHT Startled by the sound and the music from downstairs, SARAH PALMER peeks her head around the corner of the corridor at the top of the stairs. She starts quickly down the stairs and moves towards the living room... INTERCUT: 22. SARAH'S POV As the living room comes into view and she sees her husband dancing. CUT TO: 23. INT. PALMER LIVING ROOM - NIGHT Sarah enters the room where Leland is dancing and wailing. SARAH (frightened) Leland?... Leland?... He looks at her, goes right over her and grabs her. LELAND Sarah, we have to dance... He tries to move her, trying desperately to dance with her. SARAH Leland, stop, stop it -- LELAND Sarah, we have to dance -- we have to dance -- SARAH Leland, Leland -- LELAND We have to dance -- for Laura! She starts screaming, he starts moaning and moving her around in front of the fireplace. We MOVE in on the fire. FADE OUT: END ACT ONE ACT TWO FADE IN: 24. EXT. TWIN PEAKS SHERIFF STATION - DAY Establish. CUT TO: 25. EXT. REAR OF SHERIFF STATION - DAY A large blackboard is set up behind the station. Special Agent Dale Cooper is writing a list on the blackboard with chalk, consulting his electronic notebook. A small table is set up near the blackboard, covered with the fruits of Lucy's morning doughnut run. Four folding chairs are set up near the table. Sheriff HARRY S. TRUMAN is using a tape measure to calculate the distance from a line drawn on the ground in front of the blackboard to a large nearby rock. LUCY MORAN is holding the end of the tape measure on the line, eating a donut. Deputy Hawk is placing an empty pop bottle on a marked flat spot on top of the rock. Deputy ANDY BRENNAN is gathering small, round rocks into a galvanized metal bucket. They all carry mugs of coffee that read, "Twin Peaks Sheriff's Department." COOPER (thinks of something, flips on recorder) Diane, 8:17, quick note: definition of a Chinese word, "Koro," that's the name of Mrs. Josie Packard's dog, mixed breed. I believe the word is Mandarin, I'm sure I know what it means but I can't lay my hands on it. Truman reaches the spot on the rock with the tape and calls back... TRUMAN Exactly sixty feet, six inches. COOPER Perfect. Cooper bites into a doughnut. At the rock, Hawk whispers to the Sheriff... HAWK What do you think he's up to? TRUMAN Beats me. HAWK Sixty feet, six inches; that's the distance from home plate to the pitcher's mound. TRUMAN Kinda interesting, huh? HAWK Yeah. Truman starts back, respooling the tape measure. Andy shows Cooper the bucket of rocks. ANDY Where would you like these rocks? COOPER Set 'em down by the donuts, Deputy. Andy does. Lucy picks up a coffee pot. LUCY Would anyone like a warm-up? EVERYONE (severally) Yes, please ... thanks ... you bet... COOPER Damn good coffee. (sips, burns his tongue) ... and hot. Would everyone please take a seat? Truman, Hawk, Andy and Lucy sit on the four folding chairs. Cooper takes a telescoping pointer out of his coat pocket and expands it full length. COOPER By way of explaining what we've been doing and are about to do, I'm going to first talk to you a little bit about the country called Tibet. Cooper flips the two-sided blackboard over, revealing a detailed map of Tibet and surrounding countries tacked to the back. COOPER Tibet is bordered on the southeast by Burma, on the south by India and Nepal, on the west by India and Kashmir and on the north and east by China. It is almost completely surrounded by mountain ranges. An extremely spiritual country, practicing a form of Buddhism known as Tibetan Buddhism, for many centuries the leader of Tibet has been known as the Dalai Lama; upon the death of each Dalai Lama, his spirit is believed to pass into the body of a newborn infant. An exacting series of test are performed to discover this boy's identity, who is then rigorously trained to fulfill his great responsibilities. The Sheriff's Department is intrigued, but completely mystified. COOPER In 1950, Communist China invaded Tibet and while leaving the Dalai Lama nominally in charge, they in fact seized control of the entire country. Following a Tibetan uprising against the Chinese in 1959, the Dalai Lama was forced to flee for his life to India, and has lived in exile ever since. Cooper collapses his expanding pointer. COOPER Following a dream I had three years ago, I have become deeply moved by the plight of the Tibetan people, and have been filled with a desire to help them. Cooper flips the blackboard back over. The Sheriff's Department members look at each other just a tad uneasily. COOPER I also awoke from this dream realizing that I had subconsciously gained knowledge of a certain deductive technique, involving mind-body coordination operating hand-in-hand with the deepest levels of intuition. Sheriff, Deputy Hawk, if I could have your assistance I will be happy to demonstrate this technique... Truman and Hawk look at the other, look at each other, and stand. Cooper expands his pointer again. COOPER You'll recall that on the day of her death, Laura Palmer wrote in her diary the following entry... Points to where this line is written along the top left side of the blackboard... COOPER "Nervous about meeting "J." tonight." Remember also that under the nail on the ring finger of Laura's left hand we discovered the letter... Points to where this is written on the top right side of the blackboard. COOPER "R." In addition, under the nail on the ring finger of the left hand of Theresa Banks, the girl who was murdered last year, we discovered the letter "T." He writes the letter "T" next to the "R." COOPER Today, however, we are going to concentrate on the "J's." Harry, if you would, when I give the word, would you please read aloud each of the names we've written on the blackboard, all of whom had a direct connection with Laura Palmer. TRUMAN Okay ... alright. COOPER Deputy Hawk, if you would hold this bucket of rocks up near me where I can get at them ... and would you please wear kitchen mittens. HAWK (looks at Truman, who nods) Yes, sir. Hawk puts on a pair of kitchen mittens and picks up the bucket of rocks. COOPER Deputy Andy, would you please move down near the bottle and stand by -- Andy rises and runs towards the distant rock, only too happy to help. COOPER (calling out) Not too near! Andy waves. COOPER Lucy, would you please take the chalk? LUCY (rises, takes the chalk from Cooper) I'm getting excited. COOPER And if I hit the bottle after Sheriff Truman calls out a particular name, make a check on the board to the right of that name -- Sheriff, I almost forgot, when you say the name, also briefly describe, if known, the person's relationship to Laura Palmer -- ready? EVERYONE (severally) All set ... yes ... yep... ANDY Ready! Cooper nods to Hawk, who holds up the bucket, then nods to Truman. TRUMAN James Hurley... (searches for a description) ... secret boyfriend. Cooper picks out a rock and holds it. He closes his eyes. COOPER James Hurley. Cooper opens his eyes, winds up, and hurls the rock towards the bottle. It strikes the larger rock well below the bottle. Cooper nods at Truman. TRUMAN Josie Packard ... was instructed in English by Laura. Cooper picks up a rock, closes his eyes. COOPER Josie Packard. Cooper opens his eyes and lets it fly. It sails way above the bottle, hits a tree and startles a bird that takes flight. LUCY So there's no check next to either name? COOPER That's correct -- next name, Sheriff. TRUMAN Dr. Lawrence Jacoby ... Laura's psychiatrist. Cooper repeats the rock routine. COOPER Dr. Lawrence Jacoby. Cooper throws again and hits the bottle. It falls off the rock but doesn't break. LUCY You did it, you hit it. Lucy writes a check next to Jacoby's name. COOPER Lucy, make a note that the bottle was struck but did not break -- very important -- Andy, put the bottle back in exactly the same spot. Lucy and Andy follow directions. Cooper nods to Truman. TRUMAN Johnny Horne ... Laura was his special education tutor. COOPER Johnny Horne. He throws and clanks a fifty-gallon trash can, under a Douglas Fir. TRUMAN Norma Jennings ... owns diner, helped Laura organize the Meals on Wheels charity program. COOPER Norma Jennings. He throws and misses. TRUMAN Shelly Johnson ... waitress at diner, friend. COOPER Shelly Johnson. Cooper throws it again; it richochets off the large rock, shoots up and wings Andy in the loaf. COOPER Andy, I'm sorry -- LUCY Sweetie? ANDY (immediately reassuring) It didn't hurt, honest, it didn't hurt a bit. TRUMAN Where there's no sense, there's no feeling. They all laugh, including Andy. COOPER Sheriff, please continue. TRUMAN Joey Paulson ... friend of James, drove Donna to meet him. COOPER Joey Paulson. Cooper opens his eyes, takes aim, throws, and misses. Lucy takes a loud sip of coffee. Cooper nods to Truman again, who is slightly confused by the next name on the blackboard. TRUMAN (doesn't know who this is) Jack with One Eye... COOPER Jack with One Eye... LUCY There's no "i" in Jack. COOPER I think perhaps it means he only has one eye. (covers an eye) HAWK Sounds like Nadine, Big Ed Hurley's wife. TRUMAN No, there's a casino up north called One-Eyed Jack's. COOPER That's it -- TRUMAN It's across the border on the Canadian side. COOPER Sheriff, we're gonna have to check that place out. TRUMAN Sure, sure -- LUCY Agent Cooper, I'm going to erase this because it's a place, not a person -- COOPER Fine. Next name. TRUMAN It's the last one, Leo Johnson ... husband of Shelly, drives a truck, connection to Laura ... unknown. He throws the rock, hits the bottle and breaks it. CUT TO: 27. INT. DOUBLE R DINER - DAY NORMA JENNINGS is on the phone back in the kitchen. NORMA Shelly? It's Norma. SHELLY (trying to sound normal) Oh hi, Norma, I was just about to call you -- NORMA Are you alright? SHELLY I'm fine, I'm fine, actually, I'm not feeling to good, think I got a touch of the flu -- NORMA Shelly, didn't you have the flu last week? SHELLY Norma, I'm okay ... I just ... can't come in today. NORMA I'm worried about you. SHELLY Thank you, Norma, I'll be fine, I just need to rest. NORMA You want me to bring you anything? SHELLY No, no, I've got everything here I need, but thanks anyway, I hope you'll be okay down there. Heidi should be able to work my shift, she shouldn't mind too much, I know she needs the money -- NORMA Shelly, don't worry about it, you work on getting better -- SHELLY Norma, I know you always feel like you have to drop by, but don't drop by, I'm okay... (she starts to get tearful, hides it) I'll see you later. Shelly hangs up. Norma hangs up slowly and takes a sip from a cup of coffee, thinking about Shelly. She turns to a small television set on the counter behind her and turns up the volume. We MOVE in on the television screen in time to see... CUT TO: 28. THE TELEVISION CLOSE on the set, as lush MUSIC swells over a robin's egg blue background and we hear... ANNOUNCER (syrupy) Each day brings a new beginning... A beautiful, glowing white envelope is set down on the background and a silk ribbon is effortlessly untied ... a folded white note is taken from the envelope... ANNOUNCER ... and every holds the promise of an... Violins soar as the note is opened and a scarlet red flowing script writes out the program's title on the virgin white paper... ANNOUNCER ... INVITATION TO LOVE ... CUT TO: 29. NORMA As she pours herself a piping hot refill, her eyes glued to the set. CUT TO: 30. THE TELEVISION An establishing shot on the soap opera, a sign strung between two towering Ponderosa pines that reads: "THE PINES" CAMERA pans down to a smaller sign that reads: "SOUTH GATE" CUT TO: 31. SHELLY JOHNSON In her living room, sitting uncomfortably on the edge of a chair, sipping coffee, watching her television set... CUT TO: 32. THE TELEVISION Under the "SOUTH GATE" signs, heavy iron gates swing open and we... DISSOLVE TO: 33. INT. "INVITATION TO LOVE" SET #1 - "NIGHT" A fake-classy elegant generic living room-dining room. A beautiful, naughty looking redhead, EMERALD, bursts into the room, steaming. She paces, picks up a silver cigarette box, takes out a smoke, taps it angrily on the box and fires it up with a two pound acrylic-glass-sculpture lighter. She exhales an exasperated burst of smoke. A nice-good-looking-but-ineffectual young man, CHET, follows her into the room, carrying a highball. CHET Emerald, please, listen to reason -- EMERALD Reason? Reason? There's no reason -- CHET Jared's your father -- EMERALD And Melanie's my sister! CHET And she's my wife! (she smokes) Your father loves you, poor Jared, he's been out of the hospital less than a week -- EMERALD Ha! He wasn't even sick. CHET Yes, but those pains were real. You shouldn't have spoken that way to Melanie, she was with him at the hospital night and day, she was exhausted when you spoke, she didn't mean to hurt you -- INTERCUT: 34. SHELLY Sipping her coffee, watching the show hypnotically. CUT TO: 35. THE TELEVISION As the show continues... EMERALD We'll see who's hurt ... Chet, you're a fool ... (she puts out her cigarette in his drink) And Melanie's a fool. And Jared's the biggest fool of all. MONTANA'S VOICE (from offscreen) So what does that make me? They both look towards a pair of open French doors leading out to a patio ... standing there is MONTANA, a big insolent tough guy in t-shirt and leather jacket, a cigarette hanging off his lip. CHET (stunned) Montana... EMERALD (pause; a sly smile) ... I knew you'd be back. MUSIC swells. Chet sweats. Montana scowls. Emerald sneers. The set fades to black. CUT TO: 36. INT. ED HURLEY'S HOUSE - DAY NADINE HURLEY watches, engrossed by the show on her television... ANNOUNCER (from the TV set) ... INVITATION TO LOVE ... will return... Commerical music in; Nadine, in workout gear, resumes vigourously rowing on her rowing machine. Wearing an extremely greasy gas station work shirt, his hands covered with industrial strength grime, BIG ED HURLEY enters the front door behind her, stops when he sees Nadine rowing away. Ed tries to tiptoe around behind Nadine so she doesn't see him and in doing so steps on a drape runner and a bag of cotton balls laid out on the floor. He bends the drape runner. Nadine stops rowing. NADINE Ed! ED Sorry, honey, I didn't see it there -- NADINE What are you doing? ED I popped a grease cartridge, needed to change my shirt -- NADINE You stepped on my drape runner -- ED Nadine, honey, it's right out here in the middle of the floor -- NADINE You think that's an accident? I laid it out there myself, I was up all night working on that invention -- I'm going to have the world's first 100% quiet runner! ED I'm really sorry, Nadine -- NADINE And why aren't you cleaning up at the Gas Farm? ED Ran out of cleaner, honey, Spanky knocked it over chasing a hubcap -- NADINE Ed, you make me sick! Ed nods and moves into the other room. Pumped up with rage, Nadine regrips the metal oars and pulls back on them; we hear the screech of rending steel as the oars bend back like willow sticks. CUT TO: 37. NADINE'S TELEVISION The soap continues; JARED, a distinguished looking character of sixty, in smoking jacket and ascot, sits at a desk, tears streaming down his face. He reaches out a shaking hand for... CUT TO: 38. INT. JOHNSON HOUSE - DAY Shelly continues to watch the soap... CUT TO: 39. SHELLY'S TELEVISION ... Jared's hand reaches toward a pistol, hovering above it. Music. Fade out. CUT TO: 40. SHELLY A sudden, loud knock on the door startles her. She switches off the set and moves to the door. SHELLY Who is it? BOBBY'S VOICE Hey, baby, it's the big bad bobcat -- SHELLY Are you crazy? What are you doing here? BOBBY'S VOICE I just passed Leo, starting to diesel up in North Bend, the coast's clear, we got at least twenty minutes, let me in -- SHELLY Where's your car? BOBBY'S VOICE Parked in the woods, somebody might see me out here and that'd be worse. She decides to partially open the door and speak to him, keeping the bruised side of her face hidden. SHELLY Bobby, you can't come here like this, we can't see each other for a while -- He tries to kiss her, putting his arms around her, she stiffens up in pain and he sees the bruises on her face. BOBBY What the hell happened to you? SHELLY Leo Johnson happened to me. BOBBY That bastard! SHELLY I'm telling you, he's crazy, if he finds out about us he'll kill you, he'll kill us both -- BOBBY If he ever does this to you again, I'll kill him. (she gets a twinkle in her eye) I mean it. They kiss tenderly. SHELLY Bobby, you gotta go. BOBBY You call me soon as you can. SHELLY Alright, I'll try. BOBBY (winks) Save it for me, baby. Bobby moves off. Shelly closes the door. CUT TO: 41. INT. BLUE PINE LODGE - DAY Josie Packard looks out a window and sees... CUT TO: 42. EXT. BLUE PINE LODGE - DAY Pete and Catherine get into Pete's car and drive off. CUT TO: 43. INT. BLUE PINE LODGE - DAY Josie moves away from the door, exits into a corridor... CUT TO: 44. INT. BLUE PINE LODGE CORRIDOR - DAY Josie moves down the corridor and enters another door... CUT TO: 45. INT. BLUE PINE LODGE OFFICE - DAY Catherine's office. Leaving the door open, Josie moves behind the desk. She searches for and finds a catch that releases a latch... ... a false shelf of books hinge out from the wall, revealing an old fashioned wall safe. Josie takes out the key that Pete gave her and inserts it into the keyhole of the safe. She manipulates the handle and opens the safe door. Josie reaches into the safe and lifts out two sets of two ledger books labeled: PACKARD SAWMILL, RECEIPTS; one set labeled "1989" and the other "1990." Josie hears a car drive up and brakes squeal outside. CATHERINE'S VOICE I told you to put it in the car -- Josie quickly puts the books back in the safe, closes the safe, replaces the false bookshelf, and scurries out of the room. CUT TO: 46. INT. BLUE PINE LODGE CORRIDOR/OFFICE - DAY Just as Josie enters the corridor, Catherine comes up the stairs to the corridor. Josie hurries back into the office and hides in the closet. CATHERINE (to herself as she enters the office) I told that knothead twice to put it in the car. Catherine moves to the desk, looking for something, which she finds. Josie watches from the closet as Catherine remembers something, picks up a phone, punches in a number on the auto-dialer and waits. CATHERINE Ben, Catherine ... where the hell were you last night? I thought we had a date ... family crisis? You want to see a family crisis, try standing me up twice in a row, Mr. Debonair. She hangs up and exits. In the closet, waiting, Josie ponders this information. FADE OUT: END ACT TWO ACT THREE FADE IN: 47. EXT. CHURCH - DAY A church bell rings. Citizens are leaving church. CUT TO: 48. EXT. CHURCH - CLOSER - DAY Doc Hayward pushes Mrs. Hayward in her wheelchair towards the handicapped access ramp. Donna exits the church behind them and sees Audrey Horne is standing outside, leaning against a railing. AUDREY (to Donna) Hi. DONNA Hi. Something in Audrey's look says she wants to talk to Donna. DONNA I'll be right there, Dad. DR. HAYWARD We're going over to get a Softie Freeze, you'll be joining us, won't you? DONNA Dad, when I have ever missed a Softie Freeze? MRS. HAYWARD Maybe Audrey would like to join us? AUDREY Do you all go for a Softie Freeze every Sunday? DR. HAYWARD Every Sunday after church since Donna was a little girl. MRS. HAYWARD We enjoy is so much. Hope you can join us. Mrs. Hayward drives down the ramp. DR. HAYWARD Nice to see you in church, Audrey. Dr. Hayward follows his wife off. AUDREY (sincerely) I wanted to come down cause of Laura. DONNA What do you mean? I didn't think you even liked her. AUDREY There were things about her I didn't like, but she helped take care of my brother. And I guess I sort of loved her for that. That's why I'm here. DONNA That's really nice of you. AUDREY I knew how close you were to her. I wanted to tell you how sorry I am. DONNA Thanks. Audrey nods, shyly, ready to move off. AUDREY You take care. Donna starts to watch her go. DONNA (feeling Audrey's loneliness) Why don't you come with us for a Softie Freeze? AUDREY I don't know... DONNA Really. AUDREY (touched) Yeah? DONNA Sure, come on, they're really good. AUDREY Okay. DONNA And if we're really lucky, maybe my dad will tell his story about the night the porcupine got into the hospital. AUDREY Oh, I'd like to hear about that. They walk off together towards the parking lot. CUT TO: 49. EXT. SHERIFF'S STATION - DAY Re-establish. CUT TO: 50. INT. SHERIFF'S STATION RECEPTION AREA - DAY Three men in black suits, hats and sunglasses enter the building, each carrying a stainless steel suitcase. The point man is ALBERT ROSENFIELD, a brilliant, mannerless FBI forensics expert, the others are his ASSISTANTS. Lucy looks up from behind the reception window. ALBERT (abruptly) Tell Agent Cooper that Albert and his team are here. LUCY Albert? ALBERT Are we going to have to stand here all afternoon? LUCY No. ALBERT Albert. Albert Rosenfield. Ro-sen-field. LUCY (punches into the switchboard) Sheriff, this is Lucy, is Agent Cooper with you? TRUMAN'S VOICE (over the speaker) Yes -- COOPER'S VOICE (over the speaker) Is Albert here, Lucy? LUCY (surprised) Yes, he is. COOPER'S VOICE We're on our way. LUCY (to Albert) Agent Cooper will be right with you. ALBERT (takes out a cigarette) I can hear perfectly well. One of his Associates lights his cigarette. None of them see Lucy stick out her tongue at Albert. CUT TO: 51. INT. SHERIFF STATION CORRIDOR - DAY As Cooper and Truman move towards the reception area. COOPER Harry, just so you know, Albert and his team are the cream of the crop -- TRUMAN If they're working for you, I wouldn't expect anything less. COOPER Albert's a forensics genius, but I should warn you he's lacking in some of the social niceties. TRUMAN Nobody's perfect. COOPER Isn't that the truth? They turn a corner and come upon Albert and his team. ALBERT What the hell kind of a two-bit operation are they running out of this tree hosue, Agent Cooper? COOPER Albert, this is Sheriff Truman. ALBERT I have seen some slipshod backwater burgs in my time, but this place takes the cake. Truman gives an astonished look at Cooper, who gestures "see what I mean?" ALBERT What are you waiting for, paint to dry? We've got work to do, damn it, they're putting the girl in the ground tomorrow, half the day's wasted traveling out here to the middle of nowhere -- COOPER (keeps his cool; knows Albert well) Albert, I suggest you and the fellas go to work. TRUMAN I'll have one of my men escort you to the morgue and we'll take one of your men up to the crime site. COOPER (hands him a file) Results from the pathologist's autopsy. ALBERT (scans it scornfully) Welcome to Amateur Hour. (to his men) Looks like an all-nighter. They pick up their suitcases. Truman holds the door open for them. TRUMAN (as Albert passes) I hear you're good at what you do. ALBERT Correct. TRUMAN That's good, because normally if a stranger came into my station talking this kind of crap, he'd walk out wearing his teeth for a charm bracelet. Albert and Truman look eye-to-eye. Albert blinks first, puts on his shades, and heads out. His men follow. Truman looks at Cooper, who winks at him. CUT TO: 52. EXT. DOUBLE R DINER - EVENING Establish. CUT TO: 53. INT. DINER - EVENING Norma's brewing a new pot of coffee, when Ed Hurley walks in and takes a seat at the counter. With a fair number of other customers scattered about, Ed and Norma interact discreetly as she pours him a cup of coffee. NORMA Fresh pot. ED I could use it. NORMA Hard day? ED They don't get any easier. How 'bout you? NORMA Had a girl sick today. Double shift. Been on my feet since breakfast. ED So much for a day off. NORMA Got an appointment with Hank's parole officer in the morning. ED What's that all about? NORMA Don't know. Guess I'll find out. ED When Hank's hearing? NORMA Tuesday. They not to show their fear to each other. A CUSTOMER sits down at the counter next to Ed. Norma hands him a menu and moves away. Ed rises, put a buck on the counter, gives a Norma a thumbs up as he heads out. CUT TO: 54. INT. ED HURLEY'S HOUSE - NIGHT Ed enters, quietly, moves into the living room. He stops when he hears moans and cries of exertion coming from another room; it sounds like someone's making love. Ed moves to the doorway, slowly opens the door... ... and discovers the cries are Nadine's, who's doing bench presses on a weight bench with what looks like an enormous amount of weight. Ed moves away from the door. NADINE'S VOICE Ed? That you? ED It's me. We hear the sound of the huge weight clang to the floor and Nadine hurries into the room, flushed with excitement. NADINE Ed... Ed, I'm so happy, sweetheart, I have to thank you. She embraces him, hugs him alarmingly hard. ED Why's that? She looks up at him, her eyes wide and bright. NADINE You don't know what you've done for me. ED No, I don't. NADINE Ed, you big lug ... when you tracked all that grease in the house today, you spilled some onto my cotton balls, but instead of tossin' 'em out I put the greased ones on my runners -- Ed, just listen to this... She opens and closes the curtains: completely silent runners. NADINE Completely silent... ED How 'bout that? NADINE (tears of joy in her eye) Ed ... we're going to be so rich. She embraces him again. Ed pats her back, tries to manufacture a smile. CUT TO: 55. EXT. GREAT NORTHERN HOTEL - NIGHT Re-establish. The Sheriff's cruiser pulls up. CUT TO: 56. COOPER AND TRUMAN As they sit in the cruiser, parting for the night, Cooper consulting his notes, Truman making some of his own. COOPER Tomorrow we interrogate the trucker Leo Johnson and Dr. Lawrence Jacoby... TRUMAN Right -- COOPER We'll see what Albert and his team have after examining Laura and the abandoned train car. TRUMAN Right -- funeral's tomorrow. COOPER Right. No change on the girl at the hospital, Ronette -- TRUMAN Still in a coma -- COOPER Is it always this temperature at night? TRUMAN This time of year. COOPER This is so pleasant. And the humidity's so low. In Philadelphia sometimes you get a heaviness in the air like wet flannel pajamas. TRUMAN Why do you think they call it the "Great Northwest?" COOPER Harry, you're preaching to the convinced. They shake hands. COOPER You know where to find me. TRUMAN Yes, I do. Cooper gets out of the car. CUT TO: 57. INT. GREAT NORTHERN HOTEL BAR - NIGHT Ben and Jerry Horne stand at the bar, nursing tall beers, throwing cashews into the air and catching them in their mouths. Passing by the door, Cooper sees them and enters the bar. COOPER Mr. Horne? Both Ben and Jerry turn towards him. COOPER Mr. Horne? BENJAMIN Agent Cooper, I presume. (they shake hands) COOPER FBI. BENJAMIN This is my brother Jerry. JERRY (shakes hands) Happy to make your acquaintence. COOPER I must say, this is one handsome and comfortable hotel you have here, gentlemen. BENJAMIN Thank you. We aim to please. COOPER Do you get a lot of the vacation dollar up this way? BENJAMIN Yes we do, but of course never as much as one would like. JERRY Nothing a large resort wouldn't fix. COOPER A large resort. Is that Jerry with a "J"? JERRY Yes it is. COOPER I believe I've met your daughter, Mr. Horne. What a charming and attractive girl. BENJAMIN ("are we talking about the same person?") ... Audrey? COOPER You must be very proud. Well, I'll say goodnight. Nice to have met you both. BENJAMIN Sleep well. COOPER I will. The bed is almost exactly to the right degree of firmness. He's gone. The brothers look at each other: "what is with this guy?" CUT TO: 58. EXT. WOODS/INT. CAR - NIGHT Bobby Briggs and MIKE NELSON pull up in Bobby's car next to a stand of trees. Bobby kills the engine but the headlights remain on. They look out at the woods. MIKE I don't see him. BOBBY He'll be here. Come on, back me up. Bobby pops the glove compartment. Mike takes a switchblade out, pockets it. Bobby grabs a flashlight. They step out of the car. CUT TO: 59. EXT. WOODS - NIGHT Bobby and Mike walk slowly forward, Mike lagging a step or two behind. They reach a particular tree with a large hollow knot. Bobby reaches into the knot and pulls out a football. MIKE Is it there? It is in there? Bobby kneels down and reaches into a slit cut across the top of the hollow football. He pulls out a small packet of white powder. BOBBY Not all of it. LEO'S VOICE Cash on delivery, Bobby. They look up. LEO JOHNSON is standing between them and the car, backlit by headlights, holding a shotgun. BOBBY (rises slowly) Hey, Leo. MIKE Hey. LEO Toss it over here, quarterback. BOBBY It's empty. He tosses the football to Leo. LEO Is that right? Weren't you supposed to leave something in there for me? BOBBY That's what we wanted to talk to you about, man. LEO Half down, half on delivery. That's the deal. BOBBY You haven't delivered. We already gave you half. (holds up the drugs) This is less than you owe us for that -- where's the rest? LEO Where's the rest of the money? MIKE There's a problem. LEO Problem? BOBBY Laura had the other half in a safe deposit box. LEO You think you got problems? BOBBY We can get it, Leo, soon as things settle down. LEO (advancing) You owe me ten grand. BOBBY (backing off) Okay. So we won't take delivery until we get it for you -- LEO Look at me -- I look like a bank to you? BOBBY Man, I can appreciate your concern, but this thing with Laura, how'm I supposed to anticipate I thinkg like that? LEO Laura was a wild girl. BOBBY Tell me about it. LEO Maybe. Someday. Leo's right next to Bobby, Mike behind him. Bobby and Mike look at each other. Mike reaches into his pocket. Without taking his eyes off Bobby, Leo slowly swivels the shotgun around and trains it on Mike. LEO Take your hand out of your pocket. Mike. Mike and Bobby look at each other. Bobby nods. Mike takes his hand out. BOBBY What's your problem, Leo? LEO Problem? You want to know about problems? BOBBY ... Okay. LEO You go out on the road. You're drivin'. Back and forth. Gone for days. You get home and guess what? BOBBY What? LEO You find out your old lady's been givin' it away. BOBBY Yeah? LEO Yeah. Steppin' out. In your own ... damn ... (loud whisper) ... bedroom ... Leo's eyes dart back and forth. Amphetamines. Bobby and Mike look at each other. LEO That's ... a problem. He cocks the gun. BOBBY I guess so. I guess it is. You know who? LEO A man needs a clean house. BOBBY Sure ... so do you know who? LEO I will take care of it. BOBBY Sure you will ... and this other thing, hell, we'll take care of that, too, don't you worry about that. We'll get that cash and we'll square everything -- LEO Go out for a pass. BOBBY What? LEO Go out. Run. Run. Bobby and Mike back away from him. BOBBY Leo, take it easy, okay? LEO Run! Bobby and Mike turn and start jogging away from him, back towards the car, picking up speed, glancing over their shoulders. MIKE Oh God... As he reaches the clearing where the car is parked, we hear a primal scream from the woods behind him. They turn as the scream dies away and they reach their car. Something comes soaring up out of the woods and arcs down towards them ... ... the football thuds onto the hood of the car, scaring the shit out of Mike and Bobby. They look at each other. BOBBY Let's get the hell out of here. They jump into the car and speed off into the night. FADE OUT: END ACT THREE ACT FOUR FADE IN: 60. EXT. GREAT NORTHERN HOTEL ROOM - NIGHT Dale Cooper is undressing for bed. He sets his bedside travel alarm clock, takes off his wristwatch and sets it down, picks up his tape recorder. COOPER Diane, 1:18 a.m. Long day, turning in. Albert and his team should have something for us by morning. Run a check for me on a Jerry Horne, Twin Peaks businessman, Jerry with a "j", h-o-r-n-e. Nothing specific. Call it an instinct. Check that; intuition. An instinct is when you get hungry. Let's also get background on a local psychiatrist, Dr. Lawrence Jacoby, and wants-and-warrants on a truck driver, Leo Johnson, also local. The air here is fresh and crisp as a cracker; you don't sleep, you slumber. Good night, Diane. He turns off the recorder, sets it down. Picks up a roll of dental floss and tears off a string. CUT TO: 61. EXT. PALMER HOUSE - NIGHT Re-establish. CUT TO: 62. INT. PALMER BEDROOM - NIGHT Leland is on the phone, sitting on the edge of the bed. Sarah sits listlessly in a chair. LELAND (into the phone) Yes ... yes, Madelaine, dear, we'd appreciate it a great deal .. the funeral's at two o'clock ... alright, we'll look for you around noon ... thank you, dear ... drive safely. Leland hangs up, turns to Sarah. LELAND (gently) Sarah? ... Sarah? Leland moves over to her and kneels down beside her, as she turns towards him. During the following, he takes a pill from a bottle, hands it to her, along with a glass of water. LELAND Sarah, that was cousin Madelaine... SARAH (a little hazy) ... Donald's girl? LELAND That's right, neice Madelaine. SARAH ... is she here? LELAND She's driving in, tomorrow. For the service. SARAH Oh. Silence. Sarah takes the pill, drinks. SARAH I'm going to go downstairs for a while. LELAND Alright. A long pause before Sarah rises and slowly moves out of the room. Leland fights back some tears. He takes a pill from the bottle and swallows it. CUT TO: 63. INT. DALE COOPER'S HOTEL ROOM - NIGHT Dale Cooper lies asleep in bed. We move in slowly on him... CUT TO: 64. INT. PALMER LIVING ROOM - NIGHT NOTE: FROM THIS POINT TO THE LAST SCENE IS DALE COOPER'S DREAM Sarah Palmer sits on a couch, eyes half-closed, fighting off memories... INTERCUT: 65. SARAH'S MEMORY - TIME DISTORTED She moves up the stairs, the morning of the discovery of the murder. She calls out Laura's name. She looks in her room. She moves down the hall and calls again. Sarah shifts uneasily on the couch... CUT TO: 66. INT. LAURA'S ROOM - SARAH'S POV - TIME DISTORTED She enters Laura's room and looks one way, then another ... one way, then another... Sarah opens her eyes in horror... A FRIGHTENING MAN is crouched in the corner by the foot of Laura's bed, clutching the brass rails. It's the same man Sarah saw in her vision the previous day. Sarah sits bolt upright and screams... SARAH LELAND! I SAW HIM! OH! OH! 67. INT. LELAND PALMER'S BEDROOM - NIGHT Leland Palmer frantically dials the phone... INTERCUT: 68. INT. LUCY'S APARTMENT - NIGHT Andy is playing "TAPS" on the trumpet. Lucy is sitting in a chair hitting a ball attached by a string to a paddle. The phone on the table beside her rings. She answers. LUCY Hello, Lucy Moran's residence, this is Lucy... LELAND Lucy, Lucy! LUCY Shh! Andy, shh! I'm trying to talk on the telephone. Andy stops playing. LELAND Lucy, this is Leland Palmer, I'm trying to get in touch with the Sheriff, Sheriff Truman, he's not at home, can you tell me where he is? LUCY You know, Mr. Palmer, I don't. (puts hand over the phone, shushes Andy, he stops playing) LELAND Lucy, my wife has just remembered, she believes she saw the killer, this morning, in Laura's bedroom -- LUCY No -- how is that possible? LELAND I don't know, but she thinks with someone's help, she could draw the face that she remembers. LUCY Actually, Tommy "The Hawk" Hill is our police sketch artist, he's very good, the pictures look just like the people he's drawing -- LELAND Lucy, can you please get the Sheriff and that Deputy over here right away? LUCY Okay. You know, I've got an idea, as soon as we hang up, I'm going to try the Sheriff in his car, in his cruiser, and tell him everything you've told me -- LELAND Thank you, Lucy. He hangs up, shaking his head. We stay with Lucy as she hangs up and quickly punches in another number. LUCY (to Andy) That was Mr. Palmer, he told me that he thinks his wife remembers that this morning, possibly when she was in her daughter's room that she saw the -- (leaving Andy hanging) Hello, Sheriff? CUT TO: 69. INSERT INT. SHERIFF'S CRUISER - NIGHT Truman answers the radio call. TRUMAN Yeah Lucy, what is it? INTERCUT: 70. INT. LUCY'S APARTMENT - NIGHT Lucy is on the phone. LUCY Isn't it funny, I had a feeling you'd be in your cruiser -- Sheriff, Mrs. Palmer was in her daughter's room this morning and she just remembered that -- are you sitting down, of course you are, you're driving -- she remembered that she -- saw -- the -- killer. TRUMAN You're kidding... LUCY And they want you and Hawk to go over to their house, she wants Hawk to make a sketch -- TRUMAN I'll be right there -- ten minutes. CUT TO: 71. INT. GREAT NORTHERN HOTEL ROOM - NIGHT Agent Dale Cooper lies in bed, sleeping fitfully, troubled by a dream. CUT TO: 72. INT. HOSPITAL CORRIDOR - NIGHT In shadow, a pay phone in the hospital corridor. A FIGURE that we can't see picks up and dials the phone. FIGURE'S VOICE Agent Dale Cooper, please ... wake him ... INTERCUT: 73. INT. COOPER'S HOTEL ROOM - NIGHT Woken from his troubled sleep, Cooper answers the phone. COOPER (answers the bedside phone) Agent Cooper... FIGURE'S VOICE Were you sleeping? COOPER Yes, who is this? FIGURE'S VOICE It's a strange night. There's something in the air, can you feel it? (silence) You know about Theresa Banks, the pretty girl they found last year?... COOPER Yes, I know about Theresa... FIGURE'S VOICE I know the man who did her... I know about the stitches, with the red thread ... and there's more that I think you'd enjoy hearing... I'm at the hospital now. COOPER I'm on my way. He hangs up the phone, starts to get out of bed, and the phone rings again. COOPER Agent Cooper... INTERCUT: 74. INT. LUCY'S APARTMENT - NIGHT Lucy is on the phone, Andy is nearby, listening. LUCY Hi, Agent Cooper, it's Lucy from work? COOPER Are you still at work, Lucy?... LUCY No, Andy and I are over at my place, Andy was playing the trumpet and we were getting ready for bed and do you know what happened? COOPER No, tell me -- (stay with Cooper; a long answer) Oh, oh, oh, uh-huh, okay, okay, I understand... Lucy, tell the Sheriff to get that sketch and meet me at the hospital -- I've just recieved a phone call -- Back on Cooper as he hangs up, picks up his tape recorder and speaks into it as he starts to dress. COOPER Diane, woken from a sound sleep at the Great Northern Hotel, room 315, it's 2:24 am. Recieved two phone calls, back to back; the first from a man unknown to me who had certain confidential information regarding the Theresa Banks murder. I'm on my way to meet him now. At the same time, Mrs. Palmer apparently remembered or had a vision of the killer. The Sheriff is on his way to her and will meet me afterwards. Diane, when two seperate events happen simultaneously pertaining to the same object of inquiry, we must always pay strict attention. CUT TO: 75. INT. HOSPITAL - NIGHT Andy stands in the doorway. The One-Armed Man stands in the shadows of the room. Cooper and Truman, carrying two police sketches, join Andy. ANDY He's unarmed. He wants to see you and he wants to see you in this particular room. Truman and Cooper turn towards the man. ONE-ARMED MAN Don't turn on the overheads. The flourescents don't work. I think a transformer's bad. COOPER We know that. ONE-ARMED MAN Yes. Wasn't Laura Palmer here earlier? "Through the darkness of futures past, the magician longs to see. One chance out between two worlds ... fire, walk with me"... We lived among the people. I think you say, convenience store. We lived above it. I mean it like it is, like is sounds ... my name is Mike. His name is Bob. COOPER You were in an elevator here. ONE-ARMED MAN I was looking for Bob. He sometimes works among the infirm, the injured of the species. I was watching, Mr. Cooper, for over a year. Waiting for Bob to come out again. I've known of your interests in the results of his endeavors... I too have been touched by the devilish one. Tattoo on the left shoulder ... oh, but when I saw the face of God, I was changed. I took the entire arm off. Truman and Cooper look at each other. TRUMAN We'd like to show you a police sketch of Bob, for verification. ONE-ARMED MAN Of course. (Truman holds up a bogus sketch) No, no, that's not Bob. (Truman holds up the correct sketch) That is Bob. TRUMAN (to Cooper) That's the man Mrs. Palmer identified. COOPER Where is Bob? ONE-ARMED MAN He's here. Right here. He's downstairs, in the basement. CUT TO: 76. INT. HOSPITAL BASEMENT BOILER ROOM - NIGHT Cooper and Truman enter the basement, guns drawn. KILLER BOB, the frightening long-haired man, crouches over a circle of candles on the far side of the room. Bob's hand reaches in and sets down a half of a heart necklace onto a pile of dirt in the center of the candles. Truman and Cooper advance. Bob rises. KILLER BOB (strangely) Hello. Welcome to the killer's lair. Come down, I won't hurt you. Come down ... is Mike with you? COOPER No. KILLER BOB Oh, I so much wanted to sing with him again. Mike? Mike, can you hear me? "Heads up, tails up, running to your scallywag Night falls, morning calls, catch you with my Death Bag." TRUMAN The letters? What were the letters going to spell? KILLER BOB Robert. That's my proper name. Theresa's was a "t." COOPER That's right. Behind Cooper and Truman, unseen by them, Mike is coming up behind them, a gun in his hand. KILLER BOB You may think I've gone insane. But I promise, I will kill again! MIKE Ahh! Like Hell!!! Mike runs up and fires his gun twice. Bob goes down, mortally wounded. Mike clutches a pole and twists to the ground, in agonizing sympathetic pain. MIKE Bob... Bob, it hurts something terrible ... wait ... wait till your turn, Bob ... oh Bob ... wait till your turn ... Mike dies. Truman takes his gun away. Cooper looks over at the candles. COOPER Make a wish. A breeze blows out the candles... DISSOLVE TO: A title card reads: TWENTY-FIVE YEARS LATER 77. INT. RED-DRAPED ROOM - DAY A large, windowless, well-lit, sparsely furnished, red-draped room. A table and three easy chairs. Dale Cooper, twenty-five years older, sits in one of the chairs. A LITTLE MAN, three and a half feet tall, in a red suit, stands with his back to Cooper, shaking violently. A BEAUTIFUL YOUNG WOMAN who looks exactly like Laura Palmer sits across from Cooper in another easy chair. The Little Man stops shaking, turns to Cooper and claps his hands once. LITTLE MAN Let's rock! The Little Man sits in a chair beside the beautiful woman. The Little Man closes his eyes and rubs his hands slowly together. The Little Man holds hands with the Woman, they look at each other, then look at Cooper, smiling enigmatically. The Little Man rubs his hands slowly again; the shadow of a bird passes above them. Both the Little Man and the Woman's speech is oddly stilted. We see sub-titles under them, with the correct words. Throughout, Cooper sits still, watches, and listens. LITTLE MAN I've got good news! That gum you like is going to come back in style. She's my cousin, but doesn't she look almost exactly like Laura Palmer? COOPER But it is Laura Palmer. Are you Laura Palmer? WOMAN I feel like I know her, but sometimes my arms bend back. LITTLE MAN She's filled with secrets. Where we're from, the birds sing a pretty song and there's always music in the air. Strange saxophone music filters into the air. The Little Man hops off the chair and begins to dance a strange dance around the table. The Woman rises, goes over, and gently kisses Cooper on the mouth. She softly whispers something in his ear. CUT TO:  78. INT. COOPER'S HOTEL ROOM - NIGHT Cooper shoots up out of his bed, waking from this strange and disturbing dream. He fumbles for the phone and dials. COOPER Harry, it's Cooper, meet me for breakfast, seven o'clock, here at the hotel. I know who killed Laura Palmer. He hangs up. FADE OUT: THE END