Episode 4 - The One-Armed Man

FADE IN:

INT. LOG LADY'S CABIN - DAY

Seated at a dining table beside a tea set we see a woman, 'LOG LADY' MARGARET LANTERMEN. In her arms she carries a wooden log. She is speaking to us.

LOG LADY

Even the ones who laugh are sometimes caught without an answer. These creatures who introduce themselves but we swear we have met them somewhere before. Yes, look in the mirror. What do you see? Is it a dream, or a nightmare? Are we being introduced against our will? Are they mirrors? I can see the smoke. I can smell the fire. The battle is drawing nigh.

FADE OUT:

INTRO:

FADE IN:

TUNE: TWIN PEAKS THEME
CREDITS run with the scenes of a bird in a tree, the mill machinery at work, the road into town with the welcome sign, the hotel by the falls and the river.

TUNE ENDS: TWIN PEAKS THEME
FADE OUT:

FADE IN:

TUNE: LAURA PALMER'S THEME
EXT. PALMER HOUSE - DAY

We view the front of the house.

CUT TO:

INT. PALMER HOUSE - DAY

In the living room, we view a photograph of LAURA PALMER as the homecoming queen. Our view PANS the room to a sketch that DEPUTY ANDY BRENNAN, using a charcoal pencil and a pad of paper, is drawing from a description that SARAH PALMER is giving to him of the frightening man she saw in her vision. SHERIFF HARRY S. TRUMAN sits in a chair opposite them. DONNA HAYWARD sits next to SARAH.

SARAH

Yeah, yeah. His hair was long, filthy gray on gray, long hair.

MADELEINE FERGUSON walks up to SHERIFF TRUMAN with a silver coffee set and offers him some coffee. He grabs a cup of the tray and looks at her. MADELEINE, with her long black hair and thick rim glasses, smiles.

SARAH

I saw him ... at the foot of Laura's bed. He looked like an animal.

SHERIFF TRUMAN

Have you ever seen this man before?

SARAH

No, never. His face, my god, his face.

(becomes upset)

LELAND PALMER enters the room, wearing a robe, looking like he just woke up.

LELAND

Sarah, did you tell them about the necklace?

(SARAH composes herself)

Your gonna love that one.

SHERIFF TRUMAN

What necklace?

LELAND

(holds up two fingers)

She's had two visions.

(walks off)

SHERIFF TRUMAN

Go ahead Sarah.

SARAH

Leland?

(walks after him)

Leland?

SARAH stops roughly where he was standing.

SHERIFF TRUMAN

Sarah.

She turns to SHERIFF TRUMAN and tells her earlier vision.

SARAH

Its night. A flashlight beam moves across the ground. A hand, a gloved hand, lifts a rock and takes out a necklace, broken in half. It was Laura's.

DONNA listens and appears disturbed from the realization of SARAH'S vision.

TUNE ENDS: LAURA PALMER'S THEME

CUT TO:

TUNE: INVITATION TO LOVE
TELEVISION

We view a CLOSEUP on the television and see the end of the intro for the television program 'Invitation to Love' as its tune swells down over a blue background with a note shown with a scarlet red flowing script that writes out the program's title on virgin white paper.

ANNOUNCER

... invitation to love.

TUNE ENDS: INVITATION TO LOVE
The INTRO for the show FADES OUT. The show FADES IN to a nerdy looking man, CHET, with thin greasy hair and glasses, and to EMERALD, a woman with long hair and wearing a lot of costume jewelry. CHET is seated and EMERALD stands beside him running her fingers though his hair.

EMERALD

Don't fight it Chet. You know as well as I there's still something between us.

(looks at her greasy hand)

There always will be.

CHET

For god sake Emerald. That may be true but I'm married to your sister now. It's wrong.

EMERALD

Well, you always said you could never tell us apart so ...

CUT TO:

INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY

In the reception office, we see that it is LUCY MORAN, chewing on a pencil top, is watching the program very closely. SHERIFF TRUMAN and DEPUTY ANDY enter the building and walk up to the reception window.

SHERIFF TRUMAN

Morning Lucy. What's going on?

LUCY

Uhh thanks to Jade, Jared decided not to kill himself and he's changed his will, leaving the Towers to Jade instead of Emerald but Emerald found out about it and now she's trying to

(TRUMAN and ANDY look at each other in befuddlement)

seduce Chet to give her the new will so she can destroy it. Montana's planning to kill Jared at midnight so the Towers will belong to Emerald and Montana but I think she's going to double cross him and he doesn't know it yet. Poor Chet.

SHERIFF TRUMAN

What's going on ... here?

LUCY

Uh, Agent Cooper is in the conference room with Dr. Jacoby.

SHERIFF TRUMAN

Thank you.

SHERIFF TRUMAN walks off toward the conference room. ANDY moves closer to the reception window.

ANDY

(softly)

Lucy, why couldn't I spend the night last night?

LUCY

Will you be having coffee Deputy Brennan?

ANDY shies away from LUCY'S cold reply.

CUT TO:

INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY

In the conference room, DR. LAWRENCE JACOBY sits at the long end of the table with the blackboard, with a map of Tibet, in the background. He wears a pair of glasses with one red lens and one blue lens. AGENT COOPER sits at the other end of the table sternly watching DR. JACOBY perform a magic trick. The magic trick has two white balls between the fingers on one hand. He taps that hand against his head and one ball disappears. He opens his mouth to reveal the ball. DR. JACOBY performs the trick twice before COOPER asks ...

COOPER

Was Laura Palmer seeing you because she was addicted to cocaine?

DR. JACOBY

Agent Cooper, I'd like to help ya' but uh ... got a little problem here, uh. Look may-maybe there's some sort of hula we can do around my doctor / patient confidentiality, huh.

COOPER

It is safe to say she came to you because she was having problems?

DR. JACOBY

Oh my yes.

COOPER

Were her problems of a sexual nature?

DR. JACOBY

Agent Cooper, the problems of our entire society are of a sexual nature.

DR. JACOBY stands up, walks over to the blackboard with the map of Tibet and looks it over.

DR. JACOBY

Tibet.

(smiles)

You know, my abiding interests lie to the East as well but only as far as Ha-vai-i

(Hawaii)

. The ancient Hawaiians often turn to the soothing rhizome of the ginger plant to ease the pain of profound confusion. Which, more often then not, was sexual.

COOPER

Ginger is nonaddictive, cocaine is.

DR. JACOBY

Look the-the fact that-that Laura Palmer sought medication, no matter how dubious, was actually a positive sign.

COOPER

Dr. Jacoby, I understand you cared deeply for Laura Palmer. Why is it that you won't help us?

DR. JACOBY moves toward COOPER.

DR. JACOBY

My ... own ... personal investigation, I suspect, will be ongoing for the rest of my life.

SHERIFF TRUMAN enters the room. Now close to COOPER, DR. JACOBY bends slightly to him and says ...

DR. JACOBY

Laura ... had ... secrets ... and around those secrets she built the fortress ... that, well that in my six months with her, I was not able to penetrate and for which I consider myself ... an abject failure.

SHERIFF TRUMAN

Doctor, did Laura ever discuss Bobby Briggs or James Hurley with you?

DR. JACOBY

Now they were boys, Laura was a woman.

COOPER

She had sex with three men the night she was murdered. Were you one of them?

DR. JACOBY looks as if he is going to proudly say yes but sighs and says ...

DR. JACOBY

No.

COOPER

Who killed her Dr. Jacoby?

DR. JACOBY

The night after Laura died, I followed a man that uh ... Laura had spoken to me about. He was driving a red corvette. I followed him to the old sawmill road and then I lost him. And that gentlemen is all I can tell you.

The intercom unit buzzes. LUCY'S voice can be heard over the speaker.

LUCY

Agent Cooper, there's a Gordon Cole on the phone. He say's your expecting his call. Should I put him through?

COOPER

Yes Lucy, put him through. Thank you doctor that will be all.

DR. JACOBY heads out but is stopped at the door by a question.

SHERIFF TRUMAN

You'll be in town doctor?

DR. JACOBY

Well, I'm planning a pilgrimage to Pebble Beach ... but that's not till the end of the month. Hang loose howies.

DR. JACOBY gives a hang loose hand sign and leaves the room.

COOPER

Does Leo Johnson drive a red corvette?

COOPER moves to a small table along the wall, picks up the intercom unit and places it on the table.

SHERIFF TRUMAN

Yes.

COOPER

How we doing on Jacques Renault?

SHERIFF TRUMAN

There's an APB on him. His brother made bail this morning. I got an all points on him too.

COOPER composes himself before turning the intercom unit on. The man speaking over the intercom is GORDON COLE, COOPER'S superior.

COOPER

Harry this is my supervisor.

(presses the button on intercom unit)

Good morning Gordon. How we doin'?

GORDON

(over the speaker)

Cooper, where do we start? The Palmer girl or Albert's new best friend, Harry Truman.

SHERIFF TRUMAN, a little worried, walks over to the window.

COOPER

Laura Palmer.

GORDON

Albert has been very busy. The twine he found in her upper arm is a common household variety, Finley's Fine Twine.

COOPER

And the twine on her wrists?

GORDON

Definitely not a match. No ID yet and those marks on her shoulders, bird bites.

SHERIFF TRUMAN

Bird bites?

GORDON

He'll also be faxing a reconstruction of the plastic fragment from her stomach.

COOPER

Great, tell Albert we're anxiously waiting his results.

GORDON

Now for the bad news Coop. I got an OJ and a AFO here from Albert concerning his mano y mano with the local Sheriff Truman. Albert wants this guy's badge Coop.

A little agitated, COOPER stands up and becomes rather animated as he talks.

COOPER

Gordon, here's how it is. You know Albert. In my opinion Sheriff Truman displayed the patience of a saint 'not' clocking him a day earlier then he did.

GORDON

He wants it filed with the US Attorney.

COOPER

File it under 'F' for forget it.

GORDON

Cooper?

COOPER

And you tell Albert that if he wants to pursue this I'll fight him all the way up the chain to Washington.

DEPUTY ANDY walks into the room.

GORDON

Cooper? Coop, don't get excited and hang up on me now.

COOPER

Talk to you later Gordon.

COOPER presses the button on intercom unit to hang up.

SHERIFF TRUMAN

Thanks. I didn't ... get a whole lot of sleep last night.

COOPER

Harry, the last thing I want you to worry about, while I'm here, is some city slicker I brought into your town relieving himself upstream.

ANDY hands COOPER the drawing he produces using SARAH'S description from her vision.

COOPER

This is the man I saw in my dream.

SHERIFF TRUMAN

You saw this man?

COOPER

I had an intuition that my dream and Sarah Palmer's vision were connected. I didn't go with you this morning because I didn't want to influence her. I'm a strong sender.

(to ANDY)

The eyes were a bit closer together.

The intercom buzzes and LUCY can be heard from the speaker.

LUCY

Deputy Hawk calling in for Agent Cooper.

COOPER picks up a nearby phone.

COOPER

Hawk.

(reply over the phone)

Right. Stay there. Follow him if he moves.

COOPER hangs up the phone and turns to SHERIFF TRUMAN and ANDY.

COOPER

Traveling East on highway 12, how long will it take us to reach the Timber Falls Motel?

SHERIFF TRUMAN and ANDY answer simultaneously.

ANDY

Half in hour.

SHERIFF TRUMAN

Ten minutes.

ANDY

Depends how you go.

COOPER

Hawk's found our one-armed man.

CUT TO:

EXT. TIMBER FALLS MOTEL - DAY

TUNE: FRESHLY SQUEEZED (0:26 - 3:48) (UP TEMPO VARIANT)
We view the front of the motel. A maid is pushing a cart near the rooms. A woodpecker can be heard in the background.

CUT TO:

EXT. TIMBER FALLS MOTEL - DAY

In a parked car in the parking lot of the motel, JOSIE takes photographs. A woodpecker can be heard in the background.

CUT TO:

INT. TIMBER FALLS MOTEL - DAY

In one of the motel rooms, we view a CLOSEUP of CATHERINE MARTELL, in a robe. We PAN down to see that she is rubbing the back of BENJAMIN HORNE, who is laying face down bare back on a bed. In the background, the television program 'Invitation to Love' can be heard.

CATHERINE

I wished I could have seen Josie's face, opening the safe for her lawman Romeo. To show him the double set of books ...

TUNE ENDS: FRESHLY SQUEEZED (0:26 - 3:48) (UP TEMPO VARIANT)
CATHERINE

... and all she finds is the one I've been slowing cooking.

BENJAMIN

Where's the book that spells bankruptcy.

CATHERINE

Uhm, I have more then one hiding place. My desk upstairs.

MONTANA

(from the television)

God forgive me.

EMERALD

(from the television)

Oh darling don't be so ...

CATHERINE

There's a drop panel on the top drawer. Not even Pete the poodle knows about that one. I'm famished.

CATHERINE and BENJAMIN take a sip of wine. We can hear the television program.

MONTANA

(from the television)

Let's get one thing straight I didn't spend the evening busting up the Amazons by dodging blow darts ...

CATHERINE

I suppose room service is too much to expect of this rusticated mildew farm.

BENJAMIN

You would prefer the lumber baron's suite at the Great Northern.

CATHERINE

I'd prefer getting on with setting the torch to that damn mill.

CUT TO:

EXT. TIMBER FALLS MOTEL - DAY

SHERIFF TRUMAN and COOPER drive up in TRUMAN'S police cruiser. DEPUTY TOMMY 'THE HAWK' HILL comes up to them as they drive up. A woodpecker can be heard in the background. As SHERIFF TRUMAN steps out, HAWK points and says ...

HAWK

Harry, he's here at the motel. Room 101, last name is Gerard.

CUT TO:

INT. TIMBER FALLS MOTEL ROOM - DAY

BENJAMIN and CATHERINE lie at the foot of the bed.

BENJAMIN

Now when the mill goes up in smoke. The headline that we're after is Josie Packard torches bankrupt mill in insurance fraud. Not giant wienie roast in the woods.

CATHERINE laughs. He nudges her on.

BENJAMIN

Hmm, hmm.

CUT TO:

EXT. TIMBER FALLS MOTEL - DAY

SHERIFF TRUMAN, with his gun drawn, walks up towards the motel room door where the ONE-ARMED MAN, PHILLIP MICHAEL GERARD, is staying. As he walks, he passes a timber truck rig full of large tree logs. AGENT COOPER and DEPUTY ANDY are right behind him. ANDY has his hand on his gun, still in its holster. COOPER draws his gun and stands behind ANDY. SHERIFF TRUMAN knocks on the door.

SHERIFF TRUMAN

Mr. Gerard, its the police, open up.

ANDY fumbles with his gun to pull it out of the holster and drops it. The revolver discharges when it hits the ground. SHERIFF TRUMAN and COOPER jump. COOPER is furious for the loss of control in a serious situation. He spins around and shouts.

COOPER

Geez!

SHERIFF TRUMAN ducks down, picks up the gun and hands it to ANDY.

CUT TO:

INT. TIMBER FALLS MOTEL ROOM - DAY

BENJAMIN gets out of bed and moves to the window to see what has happened outside. CATHERINE calmly lays back on the bed.

CATHERINE

Gun play. Sounds serious.

BENJAMIN turns to her with a look of seriousness.

CUT TO:

EXT. TIMBER FALLS MOTEL - DAY

SHERIFF TRUMAN, AGENT COOPER and DEPUTY ANDY are still standing outside the door of the ONE-ARMED MAN, MR. GERARD. They all have their guns drawn and directed toward the door.

SHERIFF TRUMAN

Mr. Gerard?

SHERIFF TRUMAN kicks the door in.

CUT TO:

INT. TIMBER FALLS MOTEL ROOM - DAY

SHERIFF TRUMAN and COOPER rush in to the room and find MR. GERARD at the closet drawer wearing only boxer shorts.

SHERIFF TRUMAN

Don't move!

ONE-ARMED MAN

Oh my god!

SHERIFF TRUMAN

Put your hands where I can see them.

Slowly MR. GERARD moves away from the closet drawer to reveal a missing left arm that was concealed behind the closet door. He stands with his right arm raised. SHERIFF TRUMAN and COOPER lower their guns and look at each other.

CUT TO:

INT. TIMBER FALLS MOTEL ROOM - DAY

BENJAMIN moves away from the window holding a small figure. CATHERINE is still in bed.

BENJAMIN

You uh ... let me know if there's any blood shed.

We see what BENJAMIN is holding a small doll with the likeness of Elvis. He picks up his folded clothes off the bed. Unknowingly something falls out of the pocket of his pants to the floor. CATHERINE notices it. BENJAMIN wiggles the doll in his hand at her and says ...

BENJAMIN

I'm going to give little Elvis ... a bath.

He puts the doll in his robe pocket and walks to the bathroom.

TUNE: THE BOOKHOUSE BOYS (2:12 - 2:31) (DRAMATIC VARIANT)
CATHERINE gets up to pick up the item and sees that it is a poker chip. A thousand dollar poker chip from One-Eyed Jacks.

TUNE ENDS: THE BOOKHOUSE BOYS (2:12 - 2:31) (DRAMATIC VARIANT)

CUT TO:

TUNE: LAURA PALMER'S THEME
INT. TIMBER FALLS MOTEL ROOM - DAY

SHERIFF TRUMAN and COOPER stand next to a seated ONE-ARMED MAN, MR. GERARD, who is looking at the drawing of the man from SARAH'S vision.

SHERIFF TRUMAN

What do mean you don't know him? You know this man.

ONE-ARMED MAN

No sir. I've never seen that man before in my life ...

TUNE ENDS: LAURA PALMER'S THEME
ONE-ARMED MAN

... but you know something he ... he kinda looks like somebody. Doesn't he?

COOPER

Mr. Gerard, do you have a friend named Bob?

ONE-ARMED MAN

Oh, Bob Lydecker is just about my best friend in the world.

COOPER

Why have you been at the hospital the past two days?

ONE-ARMED MAN

Bob's in a coma.

SHERIFF TRUMAN

There was a Lydecker assaulted three days ago outside a bar. In Lowtown.

ONE-ARMED MAN

That's Bob.

(nods)

COOPER

Is your friend Bob a doctor?

ONE-ARMED MAN

He's just about the best dern veterinarian in these parts?

HAWK is on the phone near a bedside stand.

HAWK

Thanks.

(hangs up)

He's clean, no record, no warrants.

HAWK tosses MR. GERARD'S wallet to SHERIFF TRUMAN, who hands it to COOPER. COOPER scans it over before handing it to MR. GERARD. SHERIFF TRUMAN gives HAWK an order.

SHERIFF TRUMAN

Take a look at his car.

We watch DEPUTY ANDY nervously move and peer at a closed suitcase standing atop a table.

COOPER

Your middle name is Michael?

ONE-ARMED MAN

Named after my uncle.

COOPER

How'd you lose the arm?

ONE-ARMED MAN

Car accident. I was on the road from Memphis to ... uh ... someplace. Selling pharmaceuticals.

(waxing enthusiasm)

Pretty good job.

A commotion of rumbling comes from the side of the room. We view ANDY slightly embarrassed as he fumbled in opening the suitcase causing its contents of shoes to spill out onto the table and the floor.

ONE-ARMED MAN

That's what I'm selling these days. Everybody needs shoes.

ANDY

There all for the right foot.

ONE-ARMED MAN

Its my sample case.

(picks up a shoe)

Yeah, two day delivery, guaranteed. Oh and we could certainly take care of all your departmental needs.

COOPER

The arm you lost, did it have a tattoo?

ONE-ARMED MAN

What's this all about? I'm a shoe salesman.

SHERIFF TRUMAN

Settle down Mr. Gerard. He just asked you a question.

COOPER

If you won't tell us, we can find out. What did it say?

ONE-ARMED MAN

(moved to tears)

It said ... Mom.

(cries)

CUT TO:

EXT. TIMBER FALLS MOTEL - DAY

In the parking lot, SHERIFF TRUMAN, COOPER and ANDY walk over to their cars. DEPUTY HAWK, kneeling near a puddle of oil, calls SHERIFF TRUMAN over. In the background a woodpecker can be heard.

HAWK

Harry.

SHERIFF TRUMAN

(walks over to him)

What ya' got?

HAWK

Car was already staked out when I got here. It was Josie Packard.

CUT TO:

TUNE: FRESHLY SQUEEZED

EXT. TWIN PEAKS HIGH SCHOOL - DAY

We view the front of the school and its sign.

CUT TO:

INT. TWIN PEAKS HIGH SCHOOL - DAY

In a girl's bathroom, DONNA applies lipstick as AUDREY walks in and lights up a cigarette. The bathroom has one wall lined with mirrors and sinks. The other side of the room is lined with toilet stalls. The walls and doors of the bathroom are decorated with two red lines that wrap around the room and form two peaks at intervals.

AUDREY

I've been doing some research. In real life there is no algebra.

DONNA

Maybe you should run away and join the circus.

AUDREY

Escape. I got a better idea. A tall, dark and handsome stranger falls madly in love with me. Takes me away to a life of mystery and international intrigue

DONNA

You mean the FBI agent? Dream on.

AUDREY

Maybe ... or maybe he'll realize that I'm the woman of his dreams because I'm going to help him figure out who killed Laura.

DONNA

Is that so.

AUDREY

Yeah ...

TUNE ENDS: FRESHLY SQUEEZED

AUDREY

... and your gonna help me. Fact; Laura was seeing James Hurley behind Bobby's back.

DONNA is now combing her hair.

DONNA

What if she was.

AUDREY

So it is true. Fact; Laura had a sweet tooth for nose candy.

DONNA

Well I guess that's not such a big secret.

AUDREY

I didn't know Laura half as well as you and I knew the score, Laura was wild. Come on will you help me?

DONNA

What else have you figured out Sherlock?

AUDREY

The morning of the funeral, Dr. Jacoby is talking to my brother Johnny, trying to get him to go to the funeral. So he tells Johnny that Laura's in a better place now blah-blah-blah and he knows that because ... Laura was his patient.

DONNA

Laura was seeing Jacoby?

AUDREY

It gets better. You ever heard of One-Eyed Jacks?

DONNA

Isn't that that western with Marlon Brando?

AUDREY

Its a place across the border. They have girls working there.

DONNA

Are you saying you think Laura was one of them?

AUDREY

I don't know but if its true wouldn't you want to know about it.

DONNA

Well, it sure'd explain a few things.

AUDREY

You know I think about it ... I think about Laura being in a place like that and I get all shivery ... but its like a hot cold. Like when ... you hold an ice cube on your bare skin for a long time.

DONNA

Audrey, I'll help you but whatever we find out we have to promise to keep it between ourselves. Our secret.

AUDREY

Its a deal ... and I know exactly where to start.

(school bell rings)

Did you know that Ronette and Laura worked in the same place?

DONNA

No.

AUDREY

The perfume counter of my father's department store.

TUNE: HAPPY THOUGHTS
As she walks off, AUDREY throws her cigarette into a sink. DONNA watches her leave, walks up to the sink with the cigarette and turns on the water to douse it out.

TUNE ENDS: HAPPY THOUGHTS

CUT TO:

EXT. STATE PRISON - DAY

We view a tall chain link and barbed wire fence of the prison.

CUT TO:

INT. STATE PRISON - DAY

In a hallway near parole hearing rooms, WILSON MOONIE, a parole officer, exits the hearing room and talks to NORMA JENNINGS, who is standing in the hall.

MOONIE

I've arranged for you to have a little chat with Hank before your hearing. He's glad your here. I hope I didn't come on too strong yesterday.

NORMA

I'll be sure to tell him how helpful you've been, Mr. Moonie.

CUT TO:

TUNE: HANK'S THEME
INT. STATE PRISON - DAY

Escorted by a guard from a separate room, HANK JENNINGS, wearing prison garb, walks over to NORMA.

HANK

Haven't seen you for a while Norma.

NORMA

Been kinda of busy.

HANK

So, business is good?

NORMA

Yeah.

HANK leans to her slightly.

HANK

You've got to back me up in there Norma, please. I got to get out. There starting to put the zap on me big time. I know I have no right to ask of you and you have no reason to believe but ... I'll change. I swear on my life, I have changed. Give me a chance to prove it to you.

TUNE ENDS: HANK'S THEME

CUT TO:

INT. STATE PRISON - DAY

In a parole hearing room, we view a guard standing next to an American flag. Our view PANS to three parole judges sitting at one end of the room. HANK, in handcuffs, and WILSON MOONIE sit at a table positioned in the middle of the room. Behind them, to the back wall of the room, sits NORMA.

HANK

I've replayed it in my mind a million times and I just don't have any answers. A car, in perfect condition, goes out of control. A vagrant, nobody knows, is killed ... while sleeping by the roadside. Why? Why did fate deal me this hand?

PAROLE JUDGE #1

You were not incarcerated for an act of fate Mr. Jennings.

HANK

I accept that ... but it was fate. Maybe, in an odd way, even luck that sent me to prison. Just as much as the car accident.

PAROLE JUDGE #2

What is your point?

HANK

I know I have a lot to make up for. For the life I destroyed and for another life ...

(turns to NORMA)

I very nearly destroyed.

PAROLE JUDGE #2

Mrs. Jennings, your husband would be facing a difficult reentry. How would you help him?

NORMA

I own the Double R Diner in Twin Peaks. I can give him a job. The boss is tough but fair.

PAROLE JUDGE #2

And you would live together as man and wife?

NORMA

Well he is my husband, isn't he?

PAROLE JUDGE #1

Well we have what we need here. We'll make our decision without the inmate present.

TUNE: HANK'S THEME
PAROLE JUDGE #2

Well let you know by five o'clock today.

CUT TO:

INT. STATE PRISON - DAY

We view a CLOSEUP of a double three domino in HANK'S cuffed hands. Our view PANS up to see his shifty eyes.

CUT TO:

INT. STATE PRISON - DAY

The PAROLE JUDGES all leave together. HANK is escorted by a guard out of the room. HANK speaks to NORMA as he passes her on the way out.

TUNE ENDS: HANK'S THEME
HANK

Catch you later.

CUT TO:

EXT. ONE STOP STORE - DAY

We see two old gas pumps labeled 'Indian Head' as SHERIFF TRUMAN and COOPER drive up in TRUMAN'S police cruiser and park along side them. Before they exit the vehicle, COOPER peers outside the window above the store and says ...

COOPER

In my dream, Mike said he and Bob lived above a convenience store.

SHERIFF TRUMAN

Cooper, I'd think you'd be afraid to go to sleep at night.

They both exit the vehicle and walk to the building next to the convenience store. In the background, HAWK gives a high five to a FRIEND.

FRIEND

Hey Hawk.

COOPER stops as ANDY walks up to him. SHERIFF TRUMAN walks on up the steps of the entrance and looks at the pet a small girl holds, who is sitting on the steps.

COOPER

Andy, could you go into the One Stop and get me some twine.

ANDY

Okay.

ANDY walks off. COOPER walks to the building next door, a veterinarian clinic. The log building has a sign above it, 'Aid to the Beast Incarnate'. COOPER and SHERIFF TRUMAN climb the stairs to the entrance and walk in.

CUT TO:

INT. LYDECKER VETERINARY CLINIC - DAY

Inside the building we see several people with different animals, including a llama, waiting to be served.

CUT TO:

INT. LYDECKER VETERINARY CLINIC - DAY

At the reception window, COOPER talks to the RECEPTIONIST and shows her the sketch of the frighting man from SARAH'S vision..

RECEPTIONIST

No, that's not Dr. Lydecker.

COOPER

Does Dr. Lydecker treat birds?

RECEPTIONIST

Why yes, of course.

SHERIFF TRUMAN pulls COOPER away from the window to speak to him.

SHERIFF TRUMAN

You know there are plenty other vets in Twin Peaks.

COOPER

Yes, but only one has a best friend with one arm. Harry ...

A llama disrupts AGENT COOPER as he speaks with SHERIFF TRUMAN by walking between them and even nearly touching his face with its face. The llama snorts as it walks by.

COOPER

... in the heat of the investigative pursuit the shortest distance between two points is not necessarily a straight line.

ANDY walks up to COOPER and SHERIFF TRUMAN.

COOPER

Andy, hand me that spool of Finley's Fine Twine.

COOPER briefly scans it and then hands it to SHERIFF TRUMAN. SHERIFF TRUMAN studies it and looks at ANDY as COOPER walks off to the reception window.

COOPER

Mrs. Lumer, where going to have to confiscate your files.

RECEPTIONIST

What?

COOPER returns to SHERIFF TRUMAN.

COOPER

Harry, as clear as the signs on the turnpike, the bird that attacked Laura Palmer is a client of this office.

FADE OUT:

FADE IN:

EXT. JOHNSON HOUSE - DAY

We view the front of the house with the sounds of ducks from the nearby lake.

CUT TO:

TUNE: FRESHLY SQUEEZED (0:26 - 3:48)

INT. JOHNSON HOUSE - DAY

In the kitchen, we view BOBBY BRIGGS seated on a chair. SHELLY JOHNSON, in her waitress uniform, is sitting on his lap. They are seductively kissing each other.

SHELLY

Oh, I feel so bad for you. I was watching you at the funeral. My heart was aching. I wanted to hold you so much.

(kiss)

BOBBY

That James Hurley. He was seeing Laura behind my back. I'm gonna fix him.

SHELLY

Fix me first.

(kiss)

BOBBY

When is Leo due back?

SHELLY

Don't worry bad boy. I can hear his 'vet a mile away.

BOBBY

Don't mess around with this Shelly. Where is he?

SHELLY

He's with his friend. That creepy Jacques.

She continues to kiss. BOBBY'S mind is elsewhere as he thinks about what she just said.

BOBBY

Jacques ... who?

SHELLY

That Canuk guy that works at the Roadhouse.

BOBBY

Leo and Jacques?

SHELLY

What's the matter?

BOBBY gets up from chair, lifting SHELLY. She is a little confused by his actions.

BOBBY

Gotta think ... I gotta think.

SHELLY

Uhm well ... think later Bobby. I have to get back to the diner in half in hour.

BOBBY

I gotta tell you something.

SHELLY

What? What is it?

BOBBY

I've been on to this for a while and I've been checking it out. Its pretty bad.

SHELLY

Tell me.

BOBBY

Leo and Jacques are running drugs across the border, cocaine. And-and the-they've been selling them at school.

SHELLY

I knew it. I knew Leo was messed up in something.

BOBBY

I think its even possible they were giving drugs to Laura.

SHELLY

Bobby, I have to show you something.

She walks over to a cabinet, pries off a panel and takes out the bloody shirt that she had stashed there.

SHELLY

This was in Leo's truck two days after Laura was murdered.

BOBBY

Are you sure this is Leo's?

She fiddles with the shirt trying to find the collar and reveals 'LJ'.

SHELLY

It has his initials sewn in the collar. He makes me sew them into everything.

BOBBY

Shelly, ... this ... this could be the answer to our prayers.

SHELLY

What do you mean?

BOBBY

You don't need to know. I'm going to take this, okay. You never saw this. Say it. I never saw it.

SHELLY

I never saw it.

BOBBY

Leo's not going to be a problem for us anymore. Just stay clear of him, keep quiet.

She moves back to the cabinet, reaches into the stash compartment and pulls out a gun.

SHELLY

I bought this.

BOBBY

Do you know how to use it?

SHELLY opens the top of her waitress uniform, revealing some lingerie, and holds the gun to her chest.

SHELLY

I thought you could teach me. Teach me Bobby.

BOBBY lustily stares at her, spits his gum out to the floor and moves to her.

TUNE ENDS: FRESHLY SQUEEZED (0:26 - 3:48)

CUT TO:

INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY

We view AGENT COOPER, SHERIFF TRUMAN, DEPUTY HAWK and DEPUTY ANDY enter the building. COOPER, HAWK and ANDY are carrying boxes of files from the veterinarian clinic.

SHERIFF TRUMAN

Fellas, take'em right into the conference room.

SHERIFF TRUMAN moves to the reception window to speak to LUCY.

SHERIFF TRUMAN

Lucy, I need you to go through these files and pull out all people who own birds.

LUCY

How will I know they own birds?

SHERIFF TRUMAN

It will say so on the cards.

LUCY

Okay, I'll start going through files then.

CUT TO:

INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY

In the conference room, we watch HAWK, ANDY and COOPER place the boxes of files, marked 'Lydecker Clinic', on and around the conference table. ANDY speaks to COOPER.

ANDY

Agent Cooper I'm so sorry I don't know what happened. My gun just slipped out of my hand.

COOPER

Well Andy, have you every used your weapon in the line of duty?

ANDY

No sir, I haven't. I can't explain what happened. I've been feeling a little high strung.

COOPER

Well, it was lack of preparation. We'll take care of that.

SHERIFF TRUMAN pokes his head through the open door of the conference room.

SHERIFF TRUMAN

Andy, get some ammunition from the lock box. Meet us downstairs at the pistol range.

COOPER pats ANDY'S shoulder before he and SHERIFF TRUMAN walk off.

CUT TO:

INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY

In the hallway, COOPER and SHERIFF TRUMAN pass LUCY, who is carrying a plant watering pitcher. ANDY enters the hall and moves over to LUCY.

ANDY

Lucy, did you hear what happened? I feel so dumb. I dropped my gun and it went off.

LUCY

Are you all right?

ANDY

Oh yeah, I guess so but ...

LUCY

I would like to chat but I am now under orders to examine these files. So if you excuse me please.

LUCY walks off. ANDY is again bothered by LUCY'S cold reply.

CUT TO:

INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY

In the pistol range, we watch COOPER, SHERIFF TRUMAN and DEPUTY HAWK enter and pass Christmas decorations stored at the sides of the entrance to the room. COOPER is loading his gun as he speaks.

COOPER

Laura Palmer's murder was vicious and calculated. There's no telling what we'll encounter bringing a suspect to ground. After Andy's mishap at the motel. I want to make absolutely certain each of us is comfortable and confident with our firearms.

HAWK notices COOPER'S gun before he puts it back in its holster.

HAWK

Nice piece.

COOPER

Actually its standard issue. I made a few modifications.

(privately to TRUMAN)

How long has Lucy been upset with Andy?

SHERIFF TRUMAN

(points at COOPER)

Body language?

COOPER

In this case it was yelling through a megaphone.

ANDY walks in.

SHERIFF TRUMAN

Six rounds a piece to start with Andy.

ANDY

Okay.

COOPER

Care to tell us about you and Lucy, Andy?

ANDY

Geez, you can tell?

SHERIFF TRUMAN

Not to many secrets left around here.

ANDY

She won't speak to me and I don't know why ... and I don't know why she doing what she's doing. I just can't figure her out.

COOPER

Well there's no logic at work here Andy. Let that one go. In the grand design women were drawn from a different set of blueprints.

HAWK

Amen to that.

HAWK puts on his ear protection cover.

SHERIFF TRUMAN

Amen. Hawk, Andy.

The rest also put on their ear protection cover.

COOPER

Rapid fire.

HAWK confidently and quickly fires his gun at the practice target down the gunnery range. ANDY has a hard time just holding on to the gun as he quickly fires. When their finished, the target sheets are retrieved from the distant shooting area by a motorized line. They all remove their ear protectors and rest them on their shoulders around their neck. HAWK collects the target sheets and hands them to COOPER. COOPER checks over the target sheets to see how they scored.

COOPER

Hawk, six for six. Two kills, high marks. Andy.

(ANDY'S target sheet has no holes)

Andy what we need is practice and lots of it. One hour, three times a week. Harry you'll supply the ordinance.

SHERIFF TRUMAN

Whatever it takes.

HAWK and ANDY walk to opposite sides of the room.

COOPER

Chin up Andy.

(nods his head up)

SHERIFF TRUMAN

You ever been married Cooper?

SHERIFF TRUMAN pulls out his gun and checks it.

TUNE: LAURA PALMER'S THEME (ONE INSTRUMENT V2)

COOPER

No. I knew someone ... once who helped me understand commitment, responsibilities and the risks.

(pulls out his gun and puts on his ear protection)

Who taught me the pain of a broken heart.

Confidently and without blinking COOPER quickly discharges his gun at the target. SHERIFF TRUMAN also confidently fires. After firing, the target sheets are retrieved. They remove their ear protection and retrieve their target sheets. Before they look them over HAWK says ...

HAWK

One woman can make you fly like an eagle another can give you the strength of a lion but only one in the cycle of life can fill your heart with wonder and the wisdom that you have known a singular joy. I wrote that for my girlfriend.

COOPER

Local gal?

HAWK

Diane Shapiro, Ph.D. Brandice

COOPER, impressed, whistles. He returns his attention to the target sheets.

COOPER

Harry, one miss five hits. Three kills, excellent.

SHERIFF TRUMAN silently looks over COOPER target sheet and then hands it to HAWK.

HAWK

Only four hits?

COOPER

Well I put four through the eyes and one through each nostril.

We view the target sheet and see two holes where the eyes and where the nostrils would be in the human form of the target sheet.

HAWK

Nice pattern.

LUCY speaks over the intercom.

LUCY

Agent Cooper, I'm looking at the files from Dr. Lydecker's and, for instance, I have here in the 'A's an Arky who's a part poodle part rottweiler, who lives on Maple and belongs to Mr. Rumple. Then, for example, I have an Annette who's an otter, who lives with a family near Elk river.

COOPER

We wanted the name of birds.

LUCY

I know but the files are all organized alphabetically.

SHERIFF TRUMAN

Lucy, go through the bird file.

LUCY

No no you don't understand. Their organized alphabetically in the names of the pets.

COOPER realizes that finding the bird is going to take quite a while.

COOPER

We're going to need some more coffee.

CUT TO:

INT. DOUBLE R DINER - DAY

At the counter, NORMA picks up a dirty plate and silverware as TOAD, a large and usual customer, drops some change for a tip. A country music tune plays in the background.

NORMA

Thanks Toad. I'll be sure to get this into my retirement fund A-S-A-P.

SHELLY enters the diner, lifts the counter-door, passes and drops it behind her with a slam.

NORMA

Shelly, your gonna scare the customers.

SHELLY walks up to NORMA.

SHELLY

I've got one man two many in my life and I'm married to him. Sound familiar.

NORMA

Maybe you should have a little talk with Leo.

SHELLY

Leo doesn't talk, he hits.

(fiddles with her ring)

He was so great at first, you know. This flashy guy in his hot car. Then we get married and I find out all he was looking for was a maid he didn't have to pay. I feel so stupid.

NORMA

(hugs SHELLY)

Look at us. Two men apiece and we don't know what to do with any of the four of them.

SHELLY

So how did Hank's hearing go?

NORMA

Their going to decide this afternoon.

SHELLY

Have you told him your divorcing him for Ed.

NORMA

When I saw him I ... he might not even get out this time around. I guess my plans are a little up in the air.

SHELLY

Yeah well. I have definitely got plans for Leo.

CUT TO:

INT. DOUBLE R DINER - DAY

At front door, we see JAMES HURLEY enter and walk over to the pay phone just to his left on the wall.

CUT TO:

INT. DOUBLE R DINER - DAY

NORMA

You know what we're going to do Shelly, tomorrow? You and I are going to have a day of beauty. A manicure, a facial, we're going to have our hair done. The works. We're going to be the knockouts of the Double R. And its my treat.

SHELLY

(smiles)

Yeah.

NORMA

Yeah.

CUT TO:

INT. DOUBLE R DINER - DAY

At the pay phone inside the diner, JAMES is speaking to DONNA.

JAMES

Donna.

DONNA

(over the phone)

Hi James.

CUT TO:

INT. HAYWARD HOUSE - DAY

On the phone in the living room, DONNA is speaking to JAMES. In the background, we can see DR. WILL HAYWARD in the kitchen, with an apron draped on his arm, holding a cookbook. He yells to DONNA from the kitchen.

DR. HAYWARD

Donna.

DONNA

(to JAMES)

Hold on.

DR. HAYWARD

Who the heck ever heard of diet lasagna?

DONNA

Just a sec daddy. I'll be right in okay, its James.

DR. HAYWARD

Oh.

DONNA

(to JAMES)

Hi, we're having this church pot luck dinner here tonight.

DR. HAYWARD

Well tell him to get over here. I need help. SOS.

DONNA

Okay.

(laughs)

DR. HAYWARD

Mayday, mayday.

DONNA

(to JAMES)

Would you like to come?

CUT TO:

INT. DOUBLE R DINER - DAY

JAMES

I don't think I'd be very good company.

DONNA

(over the phone)

Well I ... I think we need to talk.

A bell rings from the opening of the front door to the diner. JAMES turns his head to look at who has entered. He sees a dark haired woman walk to the counter of the diner.

DONNA

(over the phone)

Uhm ... I found out some things. Audrey told me some stuff and Mrs. Palmer saw something.

JAMES

What?

DONNA

(over the phone)

Well if you come over I could tell you.

JAMES

I'm going to get something to eat and then I'll be over in a little bit.

DONNA

(over the phone)

Okay, bye.

JAMES hangs up the phone and walks over to the woman. Its MADELEINE standing by the counter waiting for her food order to arrive. JAMES stands right to the side of her and stares at her. At first she doesn't notice but then turns to face him and says ...

MADELEINE

Hi.

(removes her glasses)

JAMES

Who are you?

MADELEINE

My name's Madeleine Ferguson. Laura was my cousin.

JAMES

(introduces himself)

James Hurley.

MADELEINE

Laura and I hadn't seen each other much ... recently. I live in Missoula. Did you know Laura well?

JAMES

I thought I did.

(smiles)

SHELLY

Here you go I got your order ready.

MADELEINE

Thanks a lot.

SHELLY

Mm-hmm.

MADELEINE picks up her food order and holds it in her arms as she speaks to JAMES.

TUNE: LAURA PALMER'S THEME (ONE INSTRUMENT V1)

MADELEINE

I'm picking up food for my aunt and uncle. Aunt Sarah can't cook right now and uncle Leland's up half the night listening to old music and crying and stuff ... but if I was cooking for them they'd be doing even worse.

(laughs)

JAMES still stares at her.

MADELEINE

You think I look like Laura?

JAMES

Yes.

(nods)

MADELEINE

We used to come visit Twin Peaks when I was a kid. It was great. We'd pretend we were sisters. I wish I'd known her better. It's so sad. Well, it was nice to meet you James Hurley.

They shake hands.

JAMES

Nice to meet you too.

TUNE ENDS: LAURA PALMER'S THEME (ONE INSTRUMENT V1)

CUT TO:

INT. DOUBLE R DINER - DAY

On the phone at the end of the counter near the kitchen, NORMA leans behind a large machine as she listens to the outcome of the parole hearing.

NORMA

Thanks for calling Mr. Moonie.

She hangs up the phone, disappointed by the results. SHELLY, carrying two mugs and a plate with a half eaten pie, comes up to her.

SHELLY

Are you okay?

NORMA

Hank got his parole.

TUNE: LOVE THEME FROM TWIN PEAKS

She looks down at the ground.

NORMA

He's coming home.

TUNE ENDS: LOVE THEME FROM TWIN PEAKS

CUT TO:

INT. BENJAMIN HORNE'S OFFICE - DAY

We view a CLOSEUP on a chandelier made with deer antlers. We PAN and ZOOM OUT to see BENJAMIN, dressed in a jogging suit, having a workout on a motion cycle in front of the fireplace. As he pedals, he speaks to someone on a portable phone. As he speaks, AUDREY walks into the room.

BENJAMIN

What's that? No I ... I don't know what you get when you cross a Norwegian and a Swede.

(reply)

Oh, very good sir, very good. I can't tell you how excited we are about bringing Icelandic investment to the great Northwest. Would you put my brother back on please. Jerry, who the hell is that joker. Your sure that he's the boss. Just make sure they don't start taking eggnog into the pilot. Jerr, I got the jet gassed up and on the runway in Seattle. Usher these guys through customs, make your connections and save me some of whatever it is that their having.

(hangs up)

Yeah.

He continues to pedal and just barely notices AUDREY at his side.

BENJAMIN

Oh Audrey. I didn't hear you come in. What is it this time?

AUDREY

Daddy are you ashamed of me?

BENJAMIN

Audrey your uh ... your my daughter.

AUDREY

I was thinking about what we were talking about the other night when you were so mad.

BENJAMIN

It isn't that I'm ashamed of you, Audrey. Its just that I'd wish I could depend on you more. Especially during a trying time like this.

AUDREY

Well that's what I wanted to talk to you about. Dad, I want to change my life. I've decided I want to help you with the family business. I mean, one of these days you'll need someone to take over and obviously it's not going to be Johnny.

BENJAMIN

(slight laugh)

Oh Audrey, I wish that I could believe you.

AUDREY

Daddy please. I saw a friend of mine ... cut down like a flower that had just begun to bloom. Life can be so short.

(exhales)

There isn't all the time in the world. I see that now and I want to change my life.

BENJAMIN

How exactly?

AUDREY

Well I don't need to go to college. You can teach me the business and I'm willing to start at the absolute bottom.

BENJAMIN

Alright. We've got some guest arriving. You go up stairs and start making some beds.

AUDREY

You still don't believe me.

BENJAMIN

Alright, okay,

(stops pedaling)

okay, alright,

(gets off the motion cycle)

alright.

(walks away from her towards his desk)

Where would you start?

AUDREY

Well I think I should start at the department store. Cosmetics or something. Just part time at first till I graduate.

BENJAMIN

Your really serious aren't you?

AUDREY

You have to start to think about the future daddy. Just like I am.

BENJAMIN

The future?

AUDREY

Our family's future. Please let me be your daughter again.

BENJAMIN

Audrey.

He turns and holds out his arms. AUDREY moves to him and gives him a hug.

TUNE: LOVE THEME FROM TWIN PEAKS

As she hugs her father she sees a photograph of LAURA PALMER and herself, dressed in heavy winter clothing, on his desk. The telephone rings. They separate as BENJAMIN moves over to the phone to answers it.

BENJAMIN

Hello this is Benjamin Horne.

The phone call requires privacy. He covers the mouth piece with his hands and says ...

BENJAMIN

I have to take this sweetheart.

AUDREY

Oh okay. Thanks daddy.

Slowly she walks toward the door but before she exits she turns around to look at him. BENJAMIN peers at her to make sure she's leaves before he talks.

BENJAMIN

Thank you Audrey.

AUDREY finally leaves. BENJAMIN returns to the phone.

BENJAMIN

Where've you been?

(reply)

Meet me down by the river in a half hour and be discreet.

TUNE ENDS: LOVE THEME FROM TWIN PEAKS

CUT TO:

EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - NIGHT

We view a CLOSEUP of the sign above the entrance to the building with the sound of crickets in the background.

CUT TO:

INT. TWIN PEAKS SHERIFF'S DEPARTMENT - NIGHT

In the conference room, DEPUTY ANDY, SHERIFF TRUMAN and AGENT COOPER sort out the files from the veterinarian clinic. All three have paper cups of coffee in front of them. SHERIFF TRUMAN appears exhausted, COOPER downs his coffee while ANDY works diligently.

ANDY

Here's a bird. Louis Armstrong, he's a parakeet.

SHERIFF TRUMAN

Put it with the others.

LUCY

(over intercom)

Agent Cooper I got Gordon Cole on the phone.

SHERIFF TRUMAN stands up to stretch his back. COOPER presses a button on the intercom unit in front of him to handle the call.

COOPER

Cooper here.

GORDON

Coop, Albert is faxing you his reconstruction of the plastic object found in Laura Palmer's stomach. He's also determined the bites and marks on her shoulders are made by a parrot or a mynah bird. That's it, your up to date.

COOPER hangs up by pressing the button on the intercom unit. DEPUTY HAWK walks up to him carrying the fax that just arrived.

HAWK

Take a look at this.

He hands the fax to SHERIFF TRUMAN. We view the fax of the drawing of the fragment as part of a circular whole of some kind of object like a coin.

COOPER

Something with the letter 'J'.

SHERIFF TRUMAN

Poker chip.

SHERIFF TRUMAN looks at COOPER.

SHERIFF TRUMAN

One-Eyed Jacks.

ANDY

Waldo!

SHERIFF TRUMAN and COOPER turn to him. ANDY moves to them carrying the file.

ANDY

Harry, Agent Cooper its a mynah bird named Waldo. A mynah bird owned by Jacques Renault.

COOPER grabs the file.

HAWK

I'll get his home address.

COOPER

Gentlemen, when two separate events occur simultaneously pertaining to the same object of inquiry

(slams the file to the table)

we must always pay strict attention. Fellas let's make a house call.

CUT TO:

TUNE: FRESHLY SQUEEZED (DARK VARIANT)
EXT. TENNIS COURTS - NIGHT

From a distance we view two people playing tennis. We PAN to a CLOSEUP of AGENT COOPER'S face.

CUT TO:

EXT. APARTMENT BUILDING - NIGHT

We watch AGENT COOPER, SHERIFF TRUMAN and DEPUTY HAWK run toward the building from their cars. COOPER leads the way to the apartment complex, a two story structure lit by lights and surrounded by pine trees. When they reach the building they run up a stairway to the second level.

CUT TO:

EXT. JACQUES RENAULT'S APARTMENT - NIGHT

At the door to JACQUES apartment, COOPER has his gun drawn and pointed at the door as SHERIFF TRUMAN shouts.

SHERIFF TRUMAN

Jacques, its Harry Truman! Open the door!

CUT TO:

INT. JACQUES RENAULT'S APARTMENT - NIGHT

We view a CLOSEUP of BOBBY'S face as he hears the cops outside and looks around trying to find a way out. He see a window, rushes to it, slam it open and crawls out.

CUT TO:

EXT. APARTMENT BUILDING - NIGHT

BOBBY lands to the ground and runs off into the distance.

CUT TO:

EXT. JACQUES RENAULT'S APARTMENT - NIGHT

SHERIFF TRUMAN kicks the door in. With their guns drawn they rush inside. HAWK runs to the open window.

HAWK

He's headed around the side.

SHERIFF TRUMAN

Go get him.

HAWK runs out of the room.

CUT TO:

EXT. APARTMENT BUILDING - NIGHT

Behind the apartment building we view a police cruiser, with its lights and siren on, drive after the person who they believe is JACQUES.

CUT TO:

INT. JACQUES RENAULT'S APARTMENT - NIGHT

COOPER puts on a pair of latex gloves.

COOPER

Let's get forensics and seal this room Harry.

COOPER spots a blue work shirt, planted there by BOBBY, sticking half way out of a drawer. SHERIFF TRUMAN'S portable police radio buzzes. He picks it up to listen.

HAWK

(over the radio)

Harry.

SHERIFF TRUMAN

Yeah Hawk.

HAWK

(over the radio)

He got away from me. I lost him in the woods.

COOPER picks up the shirt and looks it over.

COOPER

Harry.

COOPER calls SHERIFF TRUMAN over to look at the bloody shirt he just found and shows him the collar.

COOPER

'LJ'. Leo Johnson. Leo Johnson and Jacques Renault.

SHERIFF TRUMAN

That's our connection.

CUT TO:

EXT. RIVER - NIGHT

In the moonlight, through some trees we watch a running river.

CUT TO:

EXT. WOODS NEAR RIVER - NIGHT

We view a PAN of the area and see LEO'S red corvette. LEO stands facing the river while smoking a cigarette. The music comes to a peak just before its ends as BENJAMIN appears and pats LEO on the shoulder, scaring him. LEO quickly turns around. BENJAMIN puts his hands up to show no aggression.

TUNE ENDS: FRESHLY SQUEEZED (DARK VARIANT)
BENJAMIN

Nice touch Leo, nice touch. Bright red sports car for a secret meeting, nice.

LEO

Don't like it. Get somebody else.

BENJAMIN

No no no, Hank said that you were gifted. I believed him but Leo ... your whole approach, its misguided. Major career opportunities staring you in the face and all you can think about is car wax and chicken feed drug transactions.

LEO

Hey I'm out ten thousand dollars. Maybe that's peanuts to you. Not to me.

BENJAMIN

Your in business with a couple a' glue sniffing squish heads, Leo.

LEO

Renault brothers, I broke up their act. This is Bernie.

TUNE: SECRET MEETINGS

LEO gestures with a nod to point out the corpse of BERNARD RENAULT wrapped in canvas and tied securely with rope. They both move over to the corpse.

LEO

Jacques back in Canada. We had a long talk, he's staying there. Jacques was the brains in the outfit. Bernie made bail this morning on possession.

BENJAMIN

(clears his throat)

Do me know if uh ... the late Bernard gave you up?

LEO

I told him if he ever did I'd kill him.

BENJAMIN

Oh, did he?

(reaches into the inside of his coat and pulls out a cigar)

LEO

Nah, he shouldn't have trusted me but like I said Bernie wasn't too bright.

BENJAMIN

Okay, one last chance Leo. Don't disappoint me.

LEO

The mill?

BENJAMIN

Keep it simple.

(bites the end of the cigar)

Insurance investigators should read 'arson'. Block letters about uh ... six feet high.

LEO

The deal as we discussed.

BENJAMIN pulls an envelope from his pocket and hands it to LEO.

BENJAMIN

The rest on delivery.

CUT TO:

EXT. RIVER - NIGHT

We watch the river flow as we listen to ...

BENJAMIN

Three nights Leo, green light. Is that clear enough?

CUT TO:

EXT. WOODS - NIGHT

DONNA and JAMES, holding a flashlight, are walking in the woods.

DONNA

But if Mrs. Palmer knows about the necklace ...

They both kneel at the exact spot where they buried the half gold heart necklace.

JAMES

How? How could she know?

JAMES lifts the rock he hid the necklace under and begins to dig for it using his hand.

DONNA

She said she saw it. She said she had a vision and she saw someone take it.

He can't find the necklace.

JAMES

Donna.

He digs a little deeper and also scatters dirt around trying to feel for it but there's nothing.

JAMES

Donna its not here.

DONNA

Somebody must of seen us. Somebody must have followed us here then.

JAMES

How? How could Mrs. Palmer know?

DONNA

Laura used to say that her mother was kinda of spooky. She used to see things. She'd have these dreams, Laura did too.

A hoot from an owl spooks them and they look around trying to see where it came from. They look up and see ...

CUT TO:

EXT. OWL PERCHED IN TREE - NIGHT

A large owl with yellow eyes perched in a tree above JAMES and DONNA peers down at them.

CUT TO:

TUNE ENDS: SECRET MEETINGS

EXT. WOODS - NIGHT

JAMES and DONNA both look at each other.

JAMES

Maybe we should tell somebody.

DONNA

You mean the police?

TUNE: LAURA PALMER'S THEME
JAMES

Well if it was the killer then he knows we know ...

DONNA

James the police didn't love Laura. Nobody loved her but us.

JAMES

I keep thinking I'm going to see her. I think that, you know, I'm going to catch a glimpse of her out of the corner of my eye. Sometimes its like I really do see her.

DONNA

James listen. We're going to find out who killed her. This is about us. We have to do this for us not just for her.

Still kneeling, they bend toward each other and kiss.

DONNA

James I want to be with you.

From a view above them we see them kiss again.

CUT TO:

EXT. BLUE PINE LODGE - NIGHT

We view the front of the lodge.

CUT TO:

INT. BLUE PINE LODGE - NIGHT

We view the mounted head of a white haired mountain goat hanging on the wall. Below it are its hooves being used to hold up a rifle. We PAN to a phone that rings and JOSIE, wearing a black silk robe, answers it. Behind her in the hallway we see PETE enter the lodge and walk past her holding a fishing pole and the mail.

JOSIE

Hello.

SHERIFF TRUMAN

(over the phone)

Josie its me.

JOSIE

Hi.

SHERIFF TRUMAN

(over the phone)

We just got a break in the Palmer case. I can't get away.

JOSIE

I miss you. I need to talk to you.

SHERIFF TRUMAN

(over the phone)

I want to talk to you too but ...

CUT TO:

INT. JACQUES RENAULT'S APARTMENT - NIGHT

SHERIFF TRUMAN speaks to JOSIE over the phone.

SHERIFF TRUMAN

... Josie were you at the Timber Falls Motel this afternoon?

CUT TO:

INT. BLUE PINE LODGE - NIGHT

JOSIE

I ... have to go. Call me tomorrow.

CUT TO:

INT. JACQUES RENAULT - NIGHT

JOSIE

(over the phone)

Goodbye.

(hangs up)

SHERIFF TRUMAN hangs up the phone disappointed by her response.

TUNE ENDS: LAURA PALMER'S THEME

CUT TO:

INT. BLUE PINE LODGE - NIGHT

PETE sits on a stool at the kitchen counter sorting the mail. JOSIE walks up to him.

PETE

Blow the whistle Josie. Its quitting time.

JOSIE

How did the shift go Pete?

PETE

Oh, cut some wood, made some lumber. I'm so tired I ...

She incorrectly finishes his sentence.

JOSIE

Could eat a horse.

(PETE laughs)

I make you a turkey sandwich.

JOSIE walks around the counter and enters the kitchen.

PETE

Oh that's fantastic Josie. Uhm, is Catherine asleep?

JOSIE

Yeah.

PETE

Good then give me some mayo with that. Josie, uhm ...how do you feel about fish?

JOSIE

To eat?

PETE

No, to catch. See the Fishing Association ... their annual duals coming up and I'm defending champion and this year their adding a mixed doubles division and I thought ... well if-if you were interested uh ... what the heck. Would you like to partner up with me?

She walks over to PETE carrying a plate with his turkey sandwich.

JOSIE

Wow Pete. I don't know the first step about fishing.

PETE

Oh Josie, there's enough fishing in me for the both of us. Well what do you think?

JOSIE

Sure Pete. Let's give it the run of the money.

(smile)

PETE

(very happy)

Josie your my kinda' gal. Here

(hands her the mail, picks up his sandwich)

. I'm going to hit the hay.

JOSIE

Sweet dreams Pete.

PETE

Sweet dreams Josie.

PETE walks off. JOSIE goes through the mail.

TUNE: LAURA PALMER'S THEME
She pauses as she picks one letter out of the rest, slowly opens it and pulls out a black and white sketch of a double three domino. HANK'S domino. She walks out of the kitchen and towards the library.

CUT TO:

INT. BLUE PINE LODGE - DAY

In the library, the telephone rings just as JOSIE walks besides a huge stuffed bear set in a ferocious stance. She answers the phone.

JOSIE

Hello.

HANK

(over the phone)

Did you get my message?

JOSIE

Yes.

CUT TO:

INT. STATE PRISON - NIGHT

We view HANK stick the double three domino into his mouth and suck on it as he pulls it out. Into the phone he says ...

HANK

Catch you later.

CUT TO:

INT. BLUE PINE LODGE - DAY

JOSIE hangs up the phone and caresses herself in fear.

TUNE ENDS: LAURA PALMER'S THEME
FADE OUT:

CLOSE:

FADE IN:

TUNE: LAURA PALMER'S THEME
We view LAURA PALMER'S homecoming picture as the end credits roll.

TUNE ENDS: LAURA PALMER'S THEME

FADE TO BLACK:

Liste