Episode 5 - Cooper's Dreams

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

I play my part on my stage. I tell what I can to form the perfect answer. But that answer cannot come before all are ready to hear. So I tell what I can to form the perfect answer. Sometimes my anger at the fire is evident. Sometimes it is not anger, really. It may appear as such, but could it be a clue? The fire I speak of is not a kind fire.

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:

SONG: ICELANDERS I
EXT. HALF-MOON - NIGHT

We view a CLOSEUP of a tree branch of pine needles and then FOCUS on the background of the moon.

CUT TO:

INT. DALE COOPER'S HOTEL ROOM - NIGHT

In the dark, we hear men singing a song in a foreign language very loudly. FBI SPECIAL AGENT DALE COOPER is roused from his sleep, turns on his light by the bed, checks the time on his wristwatch and grabs his mini tape recorder. Still in bed he turns it on and says ...

COOPER

Diane, it is 4:28 am, I have just been woken up by the most god awful racket which you can probably hear over the sound of my voice.

(pauses to record the loud singing)

Can you hear that? Up until this moment, I've experienced nothing at the Great Northern Hotel but the most pleasant, courteous service imaginable. However, it just goes to prove a point that once a traveler leaves his home he loses almost 100% of his ability to control his environment. Diane I was wondering if you could overnight express to me two pairs of those Ear Pillow silicone ear plugs which I used on my last trip to New York. Naturally I didn't bring them with me on this trip because I didn't feel it would be necessary. However.

COOPER holds the tape recorder up to record the loud song the men are singing. Then he shuts it off.

SONG ENDS: ICELANDERS I

CUT TO:

SONG: ICELANDERS II
INT. THE TIMBER ROOM - DAY

Another loud song being sung by the same group of men permeates the building as COOPER, who appears annoyed, walks into the dining area carrying a coffee cup. A waitress, TRUDY, carrying a pot of coffee, walks up to him before he takes a seat at a table. As he sits she asks ...

TRUDY

Coffee?

COOPER

Please.

She fills the cup he brought with him.

COOPER

What's with the choir practice?

TRUDY

Business junket from Iceland. Got in about three this morning.

COOPER

(drinks his coffee)

Ahh. Their on my floor.

SONG ENDS: ICELANDERS II
The group of men stop singing and cheer.

TRUDY

Lucky you.

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

AUDREY HORNE enters the dining area and slowly makes her way to COOPER.

COOPER

It'll take them a day or two to reset their biological clocks.

He holds his cup out for her to refill it which she does.

TRUDY

Hope the hearing holds out.

COOPER

(as he takes another drink)

Uhmm.

TRUDY walks away just as AUDREY arrives at the table. TRUDY smiles as she walks away and sees AUDREY talk to COOPER.

AUDREY

How are you?

COOPER

(sip of coffee)

Ahh. Well Audrey, to be perfectly honest, I'm tired and a little on edge.

AUDREY

Oh.

AUDREY takes a seat opposite COOPER at the table.

AUDREY

I found a job.

COOPER

Good for you.

AUDREY

And I thought maybe now I could help you with your case. Guess we're goi ...

COOPER raises his hand to interrupt her and stands up.

COOPER

Audrey you'll have to excuse me this morning. I'm running late. I only have time for coffee.

AUDREY

(stands up)

Well maybe I could go with you.

COOPER

Wednesdays were traditionally a school day when I was your age.

AUDREY

(walks up to him, smiles and flirtingly says)

I can't believe you were ever my age.

COOPER

(flirtingly)

I've got the pictures to prove it. How old are you?

AUDREY

Eighteen.

COOPER

Well, see you later Audrey.

AUDREY

See you later.

(he walks off)

Bye.

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

We watch COOPER walk off but before he exits the room we see JERRY HORNE and MR. EINAR THORSON, leader of the Icelander group, enter the room. MR. THORSON, carrying a mug of beer, appears to be drunk as he leans on JERRY'S shoulder. JERRY is carrying some baggage.

JERRY

I'll see you later.

(attempts to repeat in their language)

How do you say that?

MR. THORSON tells him how to say it in their language. He then pats JERRY on the back and walks off. JERRY yells to him and the rest of group in the other room.

JERRY

My brother ... my brother will love you guys!

CUT TO:

INT. BENJAMIN HORNE'S OFFICE - DAY

We FOCUS on a wood carved name of 'BEN', on top of the desk, and PAN to BENJAMIN HORNE as he lights a cigar while sitting at his desk. Behind BEN we see a poster board of the plans for the Ghostwood development project. JERRY bursts into his office and tells him something in the Icelandic language before he says ...

JERRY

Brother Ben, I bring you greetings from the fertile treeless tundra of Iceland.

JERRY walks in and up to BEN'S desk. He puts his large bag on BENJAMIN'S desk.

BENJAMIN

We have had complaints from nearly every guest in the hotel.

BENJAMIN picks up JERRY'S bag and tosses it to the floor.

BENJAMIN

What are they on, nitrous oxide.

JERRY

They are 'insane' for the Ghostwood estates project.

(takes his jacket off and throws it on the couch)

I have had more serious fun in two days with these Nordic animals and Ben I'm in love. Her name is Heba.

(spins around)

She's a giant snow queen with a smile like a sun rise on an ice flow. You could go blind looking at this girl. Look at this.

JERRY opens one of his bags and pulls out a leg of lamb wrapped in plastic. He walks over to BEN'S desk and puts it there.

JERRY

You see what she gave me. An entire leg of lamb. Is that beautiful ...

BENJAMIN

Jerry. Jerry, come on.

(hands him back his leg of lamb)

JERRY

What? Look you crush some garlic, some fresh mint. That's rotisserie heaven. Come on you got to meet her.

BENJAMIN

Jerr just ... grab some down time will ya'.

(stands up)

We've laid in a gala reception for your fair haired boys tonight. All of Twin Peak's best and brightest.

Still holding his leg of lamb, JERRY kisses it and holds it like a baseball bat leaning on his shoulder.

JERRY

(smartass)

We're holding it in a phone booth?

BENJAMIN

And if we still need a kicker to nail the sale.

(puts on his suit jacket)

I'm thinking that maybe they might enjoy a little road trip up to uh ...

BEN covers his left eye with his left hand.

BENJAMIN

... you know where, huh.

JERRY

(smiles)

Jacks. I am honored to know you.

Standing in front of the double doors to the office, the two brothers shake hands.

TUNE: LAURA PALMER'S THEME
In the background we see, LELAND PALMER enter the office through the open doors. He looks like a bit of a mess.

LELAND

Ben?

BENJAMIN

Leland wha-wha-what are you doing here?

LELAND

Well I know there's a new investment group arriving today. If there's anything I can do?

BEN walks up to LELAND and comfortingly grips his arms.

BENJAMIN

Leland, the best thing that you can do is follow the doctor's orders. Go home, you need your rest.

LELAND

I-I-I just feel ... I just feel I need something to occupy my mind.

(lifts a hand to his head)

LELAND moves to the floor and sits. He starts to sob. The Icelander group starts to sing again.

SONG: ICELANDER III

JERRY runs out of the office and into the hall to see what is going on.

BENJAMIN

Leland will you take some time off for god's sake. Fly somewhere and take Sarah.

LELAND

I'm afraid to Ben. I'm afraid.

BENJAMIN gestures to JERRY to close the doors to that racket outside.

SONG ENDS: ICELANDER III

CUT TO:

EXT. JACQUES RENAULT'S APARTMENT BUILDING - DAY

We view SHERIFF TRUMAN'S police cruiser in the parking lot unoccupied but we hear the police radio from it.

SHERIFF TRUMAN

(over the radio)

Hawk, where here in Jacques Renault apartment. Get over here as soon as you can.

In the background we see an officer walking up the steps to the second floor of the apartment building.

TUNE ENDS: LAURA PALMER'S THEME

CUT TO:

TUNE: AUDREY'S DANCE (0:00 - 0:10 W/O SNAPS)

INT. JACQUES RENAULT'S APARTMENT - DAY

We FOCUS on a lamp fixture on the ceiling. We PAN down to SHERIFF HARRY S. TRUMAN as he walks to the door that AGENT COOPER has just entered through.

COOPER

Mornin'.

SHERIFF TRUMAN

Mornin'.

COOPER

What have you got Harry?

SHERIFF TRUMAN

Jacques Renault is a Canadian national. He worked the lumber fields this side of the border. Until he put on a little excess tonnage a couple of seasons ago. That's when he started bartending at the Roadhouse.

As SHERIFF TRUMAN is speaking, COOPER wanders over to the kitchen where a pink box of donuts sits. He opens the box and finds it empty.

COOPER

Harry are there any more donuts?

SHERIFF TRUMAN

Sure. Andy.

SHERIFF TRUMAN gives DEPUTY ANDY BRENNAN an OK hand sign and a thumbs up pointing to the side meant to be read as 'get more donuts'. COOPER sees it and gives SHERIFF TRUMAN a thumbs up.

COOPER

I gotta wash that down with a cup of joe. I didn't get too much sleep last night.

SHERIFF TRUMAN also gestures to ANDY a drinking motion before he leaves.

SHERIFF TRUMAN

Yeah you do look a little peaked.

TUNE ENDS: AUDREY'S DANCE (0:00 - 0:10 W/O SNAPS)

COOPER

There's a large group of insane men staying on my floor. Jacques Renault turn up?

COOPER walks around the room and looks at what the officers are doing as they do their forensic work. We can see DR. WILL HAYWARD on the phone.

SHERIFF TRUMAN

No one's seen him for two days. We compassed the building and the Roadhouse. I've sent Hawk to rouse his brother but it looks like Bernie's jumped bail on us, no sign.

COOPER looks up at the ceiling light fixture and stares at it. Soon he has SHERIFF TRUMAN looking up as well.

DR. HAYWARD

Morning Agent Cooper.

COOPER

Morning doc.

Now DR. HAYWARD is also looking up at the light fixture.

DR. HAYWARD

Um uh the blood on the shirt you found here is AB-. Its not Laura's blood.

COOPER levels his head as he diverts his attention.

COOPER

So it was Jacques Renault's blood on Leo Johnson's shirt.

DR. HAYWARD gives a puzzled look to SHERIFF TRUMAN, who is also mystified by that statement. COOPER returns to staring at the light fixture. The phone rings and DR. HAYWARD moves away to answer it. ANDY comes up to COOPER carrying a donut and a cup of coffee.

COOPER

Oh, thank you Andy.

COOPER takes a bite of the donut and then a sip of coffee. He clearly relishes it. SHERIFF TRUMAN looks up at the light fixture again and soon he has ANDY doing the same thing.

COOPER

What about Leo Johnson?

(to ANDY)

Could you hold this for a second?

COOPER hands his coffee and donut to ANDY to hold as he grabs a pair of tweezers from his coat pocket.

SHERIFF TRUMAN

We think he went out last night. Nothing yet.

ANDY takes a bite of COOPER'S donut.

COOPER

Harry, could you give me a leg up here?

Out of sight we hear DR. HAYWARD on the phone.

DR. HAYWARD

(into phone)

Oh, I need you to find out something for me.

SHERIFF TRUMAN

Sure.

DR. HAYWARD

(into phone)

What's Jacques Renault's blood type?

SHERIFF TRUMAN cups his hands so COOPER can place his foot there. COOPER sets his foot and SHERIFF TRUMAN lifts him up slightly as COOPER takes a step up to reach the light fixture.

SHERIFF TRUMAN

Allyy-oop.

We see DR. HAYWARD with a surprised look on his face as he says ...

DR. HAYWARD

Jacques Renault's blood is AB-.

COOPER

Thanks doc.

DR. HAYWARD

My pleasure.

When COOPER comes back down he holds in his tweezers a copy of Fleshworld, a swingers magazine.

TUNE: AUDREY'S DANCE (0:00 - 0:10 W/O SNAPS)

SHERIFF TRUMAN

Holy smoke, Fleshworld again.

COOPER

Yeah. Harry remember that ad with the picture of Ronette Pulaski?

They both move over to a nearby table. COOPER thumbs through the magazine.

SHERIFF TRUMAN

We traced that ad. It came in a magazine in a plain envelope, no name.

COOPER

The magazine's a clearing house. Readers write letters in response to the ads and mail them into the magazine. The magazine forwards them on to the advertisers.

(finds an envelope in the magazine; looks at TRUMAN)

No direct contact.

(looks at the envelope)

Ronette received her letters at this post office box.

SHERIFF TRUMAN

That's a local zip code.

COOPER

Well my guess is that this post office box will be registered under the name of Jacques Renault.

(looks at TRUMAN)

Lets see who's writing to Ronette. Post marked Georgia

SHERIFF TRUMAN rolls his eyes and looks away. DR. HAYWARD walks up to them. COOPER opens the envelope and pulls out a photograph that he and DR. HAYWARD look at.

DR. HAYWARD

Good night.

(dismayed)

COOPER

I don't know. The beard sort of ruins the effect of the lingerie. What do you think?

COOPER hands the photo to SHERIFF TRUMAN to look at it.

CUT TO:

PHOTOGRAPH

From SHERIFF TRUMAN'S POV we see the photograph. A bearded man, wearing a light blue lingerie, laying in bed.

CUT TO:

INT. JACQUES RENAULT'S APARTMENT - DAY

SHERIFF TRUMAN

The guy's no Georgia peach.

SHERIFF TRUMAN tosses the photograph to the table.

COOPER

Poor bastard. By the way Harry, did you notice the picture of Leo Johnson's truck on that page?

SHERIFF TRUMAN takes a closer look at the magazine.

CUT TO:

FLESHWORLD MAGAZINE

We see SHERIFF TRUMAN'S POV of the picture of LEO'S rig in the magazine ad.

TUNE ENDS: AUDREY'S DANCE (0:00 - 0:10 W/O SNAPS)

MORPH TO:

EXT. JOHNSON HOUSE - DAY

We view the front of the house with LEO'S rig parked out front with the sound of ducks in the background.

CUT TO:

TUNE: THE BOOKHOUSE BOYS (1:12 - 2:11)

INT. JOHNSON HOUSE - DAY

In the kitchen, we see SHELLY JOHNSON, wearing a robe, carrying two plates of food to the table. BOBBY BRIGGS sits at table smoking a cigarette. She places one of the plates in front of BOBBY and the other at an open chair for herself.

BOBBY

I love it when you cook for me.

SHELLY

Leo hates my cooking.

She returns to the stove.

BOBBY

Leo missed the boat with you baby. The biggest mistake of your life was dropping out of the eleventh grade and marrying that roadhog.

By the stove, she turns to face him, smiles and says ...

SHELLY

What would you do if he walked in right now?

BOBBY

Come here.

SHELLY moves over to him.

BOBBY

Come here.

He grabs the belt on her robe, pulls her next to him and sets her down on his lap. She laughs slightly and he kisses her. He reaches into her robe pocket and pulls out the gun she bought. He pretends to point it as if LEO was across the table.

BOBBY

Hey Leo. How's it going man?

(SHELLY laughs)

What a surprise. Now Leo, Shelly tells me that you don't like her cooking. I'll tell you what. She and I, we're gonna sit here. While you cook breakfast for us, you hump. And if you so much as utter one harsh syllable to this ...

(turns to SHELLY)

beautiful girl.

(turns to pretend Leo)

I'm going to shoot your ugly face off, okay man.

TUNE ENDS: THE BOOKHOUSE BOYS (1:12 - 2:11)

They laugh until they hear a car door slams outside. Spooked, BOBBY and SHELLY quickly look at each other, stand up and move to the window to see who it is.

BOBBY

(relieved)

Ohh, the sheriff's deputy. Now Shelly do exactly what we said and everything gonna be fine. Okay.

SHELLY nods and they kiss. BOBBY starts to move away but returns to her for one more kiss before he hides just outside behind the rear door. Nervous, SHELLY takes a few puffs from a cigarette. The door bell rings and SHELLY moves to answer it. BOBBY peers inside through a window in the door. SHELLY turns to look at him before she opens the front door.

SHELLY

Oh hi Andy. Come on in.

ANDY

(walks in)

Hi Shelly. Do you know when Leo might be back?

SHELLY

Uh-uh. Is he in some kind of trouble?

ANDY

No, we just want to talk to him.

As they talk, our view switches to seeing BOBBY smile as he watches them and listens on.

SHELLY

This wouldn't be about Laura would it?

ANDY

Why do you say that?

SHELLY

Well I-I heard him talking to this guy Jacques the night he left.

ANDY

Jacques Renault?

SHELLY

Yeah, um they were outside arguing. I couldn't hear exactly but they did seem to be arguing about her and then they drove off together.

ANDY

Shelly, you call us the minute he gets in touch with you.

SHELLY

Okay, I will. Thanks for stopping by.

ANDY walks out. SHELLY closes the door, leans against the back of the door and smiles as she looks over to BOBBY. She walks over to BOBBY. He reenters the kitchen. She hops into his arms, he picks her up and holds her.

SHELLY

How I do?

BOBBY

You did great.

In the kitchen, they spin around and kiss.

BOBBY

Your driving me crazy.

BOBBY moves to the kitchen counter by the sink and places her on the countertop. ANDY'S police cruiser can be heard driving off outside. The phone rings. BOBBY, kissing her neck, picks it up and holds it at SHELLY'S mouth and ear for her to answer it.

SHELLY

Hello.

(she grabs the phone and pushes BOBBY away)

Hi Leo. Where you calling from?

LEO

(over the phone)

Did anybody come by?

Listening on, BOBBY motions to her to say 'no'.

SHELLY

What's that? Is anybody looking for you? Why would anybody be looking for you?

LEO

(over the phone)

Are you sure?

SHELLY

You know how paranoid you get when you been popping vendies on the road a couple of days. So when are you coming home

LEO

(over the phone)

Soon. Everything okay?

SHELLY

Yeah, everything fine Leo.

TUNE: I MISS YOU
BOBBY puts the handgun he's been holding in SHELLY'S hand as she talks to LEO.

SHELLY

Come on home.

LEO

I miss you Shelly.

Holding the gun in her hand, SHELLY looks it over as she say ...

SHELLY

I miss you too.

TUNE ENDS: I MISS YOU

CUT TO:

EXT. BIG ED'S GAS FARM - DAY

We view a lumber truck rig full of huge cut logs pull into the gas station. It passes another truck also filled with logs parked at the station as it drives in and sets off the entry bell. We PAN to see 'BIG ED' HURLEY, in his shop overalls, working under the hood of a red truck. He lifts his head and sees NORMA JENNINGS at a distance standing by her car.

BIG ED

Hey good lookin'.

Smiling, she moves toward BIG ED.

NORMA

Hope you don't mind my coming.

BIG ED

Oh no.

He walks to her and meets her halfway. Together they walk to a nearby tow truck. NORMA has her hands in her coat pocket. BIG ED holds onto her left arm as they walk.

BIG ED

Nadine won't be back from that patent attorney over there in Fairvale for a couple of hours.

NORMA

The famous silent drape runners.

BIG ED

She's already spending the millions.

NORMA

Well I have to put gas in my car like everyone else, right.

BIG ED

You bet.

NORMA

I didn't want to tell you on the phone ... but Hank got his parole.

BIG ED

Okay.

Now behind the tow truck, they turn to face each other. They lose their smiles. BIG ED looks disappointed.

NORMA

He'll be coming home. I mean back. I only saw him a minute before the hearing. He seemed so hopeful. I didn't want to say anything.

BIG ED

You don't have to explain.

NORMA

Have you said anything to Nadine yet?

BIG ED

Haven't yet.

NORMA

(grin)

Waiting for me to go first?

BIG ED

No. It's just that uh ... Nadine's not well.

NORMA

What are you saying?

TUNE: TWIN PEAKS THEME
BIG ED

I don't know.

NORMA

I think I do.

BIG ED moves a little closer to her.

BIG ED

I don't ever want to hurt you babe.

NORMA

Maybe that's our trouble Ed. We never want to hurt anyone. We never just take what we want. There's a part of me that's beginning to think that ... this is how it is when you get to the end of your life ... and that you don't have anything to show for it.

BIG ED

Norma.

NORMA

Don't call me. I mean ... not for a while, okay.

BIG ED

Okay.

NORMA

I love you Ed.

NORMA walks away. BIG ED turns to watch her walk to her car.

TUNE ENDS: TWIN PEAKS THEME
FADE OUT:

FADE IN:

EXT. HORNE'S DEPARTMENT STORE - DAY

We view the front of the store, a three story masonry building with a covered entry for the front door. A police cruiser drives by.

CUT TO:

INT. HORNE'S DEPARTMENT STORE - DAY

In an office, EMORY BATTIS, the store vice-president, talks with AUDREY. EMORY is a stocky and bald man. He sits behind shelves of trophies and books. In the corners of the room are two Saturn lamps.

EMORY

I can remember when you were just a little girl.

The door to the office is open and behind AUDREY we see a women moving a large box on a shelf.

AUDREY

So did my father speak to you?

EMORY

Yes, yes he did and I can't tell you how excited we are to have you come on board and put in a hitch with us down here at our flagship.

AUDREY

So what did you have in mind for me?

EMORY

Well, Audrey.

(looks over a file in his hands)

As for your father's suggestions, starting low, aiming high, ect. We thought perhaps the um wrapping department; gifts, ect., part time, after school.

She looks up annoyed, objecting to the choices.

AUDREY

(pouty)

No-no-no-no-no. Emory, ...

TUNE: MAY I SPEAK
AUDREY

... may I speak frankly?

EMORY

Oh please do.

She stands up and walks around behind EMORY.

AUDREY

Let's talk retail.

EMORY

Sales?

AUDREY

Perfume.

EMORY

One of our more uh ... sensitive areas; expensive items, delicate customer relations.

AUDREY

I'm afraid I've got my heart set on it, Emory.

EMORY

(uneasy laugh)

I'd-I'd have to talk about it to your father.

She takes a seat on the corner of his desk.

AUDREY

Emory, here's what we're gonna do. Your gonna tell my father that I'm busy as a bee wrapping boxes with the drums. Then your gonna put me to work this afternoon behind the perfume counter.

(grabs his tie)

Because if you don't I'm going to rip my dress in half and scream at the top of my lungs and tell my father that you made a pass at me. Does that help to clear things up for you?

A little bleary, EMORY mouths 'yeah' before clearly saying ...

EMORY

Yes.

AUDREY

Yes what?

She lets go of her grip on his tie and straightens it.

EMORY

(serious tone)

Yes Miss Horne.

TUNE: LOVE THEME FROM TWIN PEAKS

AUDREY gets off his desk and takes a seat back at the chair opposite EMORY.

AUDREY

Should we get started on the paper work?

TUNE ENDS: MAY I SPEAK

CUT TO:

EXT. EASTER PARK - DAY

With Black Lake in the background, we watch DONNA walking past trees toward the gazebo. She walks up the steps of the gazebo and says ...

DONNA

James, I got your note. Are you alright?

JAMES moves to her and they hug. They move apart slightly.

JAMES

Donna, there's some things I gotta say. I told you that my dad died when I was ten. He didn't die. He was a musician. We were living on the West coast. He was a bum and ran off on me and my mom.

DONNA

I'm sorry.

JAMES

My mom is a writer. She was really good; poems and short stories. She's an alcoholic. If you have a problem with this I know you didn't ask to hear it.

DONNA

(nods no)

I don't have a problem. You tell me.

JAMES

Its true, she was out of town this week but ... she wasn't traveling. What she does is, she goes to another town, shacks up in some cheap hotel with a couple of bottles and

(look away)

... picks up guys and ...

Tears form in his eyes. He walks away, still in the gazebo, to look at the lake. DONNA moves to him and hugs him from behind.

DONNA

Its alright.

JAMES

I'm telling you this because I don't want to have any secrets from you. I don't want there to be any lies between us.

(turns to face her)

Its the secrets people keep that destroy any chance they have of happiness and I don't want us to be like that.

DONNA

We won't will we.

They kiss.

JAMES

We have to do what's right. What you said yesterday was true. If we don't do everything we can to figure out what happened to Laura. It will never go away our whole lives.

DONNA

We will James.

JAMES puts his arm around her and leans his head against hers. They both look out onto the lake.

JAMES

She's out there wandering like a restless spirit.

CUT TO:

EXT. BLACK LAKE - DAY

We view JAMES and DONNA'S POV of the still waters of Black Lake with trees close to its shoreline.

DONNA

I feel it too. We owe it to her.

TUNE ENDS: LOVE THEME FROM TWIN PEAKS

CUT TO:

INT. JACQUES RENAULT'S APARTMENT - DAY

We view GARY, an officer, working on the floor as he sweeps particles on the floor with a small brush. Another OFFICER walks up to him with a plate full of donuts and hands it to him.

OFFICER

These are fresh. Here ya' go Gary.

GARY

Oh thanks. Here ya' go Scott.

GARY grabs a donut for himself and then passes the plate to another nearby officer, SCOTT.

SCOTT

Thank you.

(grabs a donut for himself)

Here ya' are.

SCOTT puts the plate of donuts next to AGENT COOPER, who is working in the kitchen. SCOTT walks off but we can still hear him talk in the background as we watch AGENT COOPER grab a donut and take a bite.

SCOTT

Where do you want to mark this?

OFFICER

Mark it duplicate. Do we have one like it?

TUNE: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:30)

COOPER opens an upper cabinet door right in front of him.

CUT TO:

PHOTOGRAPHS

We view AGENT COOPER'S POV of a bunch of photographs taped to the inside panel of the cabinet door. We see a black and white photograph of two men dressed with suit jackets around their waist and a face painted on their bellies. We still hear the other officers speaking in the background.

SCOTT

Um, yeah the same stain we got off the floor.

We PAN to another photograph of a cabin created from a cut portion of a single gigantic log.

OFFICER

Mark it duplicate.

We PAN to another photograph of a cabin. In the windows of the cabin we see ...

COOPER

Hmm, red drapes.

TUNE ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:30)

CUT TO:

INT. JACQUES RENAULT'S APARTMENT - DAY

DEPUTY HAWK enters the kitchen and, standing next to SHERIFF TRUMAN, says ...

HAWK

That P.O. box was registered to Jacques Renault.

HAWK hands SHERIFF TRUMAN some mail he confiscated from the post office box.

COOPER

Those are the letters responding to Ronette's ad in the magazine.

(SHERIFF TRUMAN hands them to him)

Let's see if there's something from someone we know.

(scans the letters, something catches his eye)

Hawk hand me that magazine won't you.

SHERIFF TRUMAN

What is it?

COOPER hands the letters to SHERIFF TRUMAN. HAWK hands the Fleshworld magazine to COOPER, who flips through the pages.

COOPER

Two different ad numbers mailed to the same post office address. Ronette's and one other.

(stops flipping through the pages)

Yeah, here it is.

(reads the ad's accompanying info)

Young student requires education in the ways of love only generous, mature men need apply.

TUNE: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:30)

COOPER pulls out a small magnifying glass from his pocket and looks at the ad's photo.

COOPER

Its Laura.

SHERIFF TRUMAN

You see some identifying mark?

COOPER holds his magnifying glass so SHERIFF TRUMAN can see the red drapes behind the posed woman, LAURA PALMER.

COOPER

The drapes.

SHERIFF TRUMAN

Drapes?

COOPER turns to the cabinet door he was previously looking at and holds his magnifying glass at the photograph so SHERIFF TRUMAN and DEPUTY HAWK can see the red drapes in the windows of the cabin. We view a stepped profile of DEPUTY HAWK, SHERIFF TRUMAN and AGENT COOPER as they look at the photograph.

CUT TO:

PHOTOGRAPH

We view COOPER'S POV of the photograph with a portion magnified through his magnifying glass to see ...

COOPER

Red drapes Harry. From my dream.

CUT TO:

INT. JACQUES RENAULT'S APARTMENT - DAY

COOPER tosses the magazine he was holding to the countertop and picks up a piece of paper.

COOPER

Now why would an apartment dweller like Jacques buy fifty gallons of heating oil?

SHERIFF TRUMAN

(looks at COOPER)

To heat a log cabin.

COOPER

Harry, your all right.

HAWK

Jacques's brother said something about a place up near the state line.

COOPER

Fellas lets pack a lunch. We're taking a walk in the woods.

CUT TO:

EXT. DOUBLE R DINER - DAY

Under darkening skies, we view the front of the diner with its neon sign on and a timber truck rig parked with a full load of tree logs.

CUT TO:

INT. DOUBLE R DINER - DAY

We see HANK JENNINGS bent over the jukebox. He puts a coin in and pushes a button to play a tune from the jukebox.

TUNE: COUNTRY #3
MADELEINE enters the diner and is called over by JAMES.

JAMES

Madeleine.

MADELEINE

Hi.

MADELEINE walks over to the booth where JAMES is standing by.

JAMES

Hi.

DONNA stands up within the booth as MADELEINE comes by. The table has two cups of coffee where JAMES and DONNA were seated. There is also a plate of french fries.

MADELEINE

(to DONNA)

Hi. I'm Madeleine Ferguson. My friends call me Mady. This is really nice of you guys.

(removes her jacket)

I don't really know anybody in town except aunt Sarah and uncle Leland

(takes a seat)

and the mood at the house you can probably guess isn't that great right now.

JAMES

Would you like something to drink?

MADELEINE

Uhm a cherry coke would be great.

(smiles)

JAMES

You got it.

JAMES walks off to order her drink. We see that DONNA cups her hands around her cup of coffee.

DONNA

Madeleine, if I said that you can't really say a word of this to anyone, not a soul. Not even your aunt or uncle. Would that be okay with you?

MADELEINE

That sounds like some big secret.

DONNA

It is. James and I knew Laura better than anyone did. She was in some kind of terrible trouble before she died. Worse then any of us can imagine.

MADELEINE

What?

JAMES returns and takes a seat next to DONNA. He hands MADELEINE her drink.

DONNA

Well I rather not say to much about things we can't prove yet.

MADELEINE

You said you can't prove it 'yet'?

DONNA

We loved Laura. We're afraid that the truth might never come out or that the person who killed her might never be caught. We've sworn on her memory not to let that happen.

MADELEINE

(takes her glasses off)

My god, you know who did it?

JAMES

We have some ideas.

DONNA

We wanted to talk to you about this because we need your help.

MADELEINE

What do you want me to do?

DONNA

Laura used to talk about a secret hiding place she had somewhere in her house. Maybe in her room. I'm not really sure but nobody else knew about it. We think she might have left something there that could lead us to the killer.

MADELEINE

(nods yes)

I'll help you.

DONNA

You will.

JAMES and DONNA look at each other, happy that MADELEINE will help.

MADELEINE

The day before she died ... I had a feeling that Laura was in trouble. I've always felt close to her that's why I came here. You know, I didn't really know Laura that well but I feel like I do.

JAMES, DONNA and MADELEINE collect their jackets, get up from the booth and head out of the diner.

MADELEINE

My folks were always telling us how much alike we were.

TUNE ENDS: COUNTRY #3
TUNE: HANK'S THEME
As they leave, we PAN to the booth next to them right behind where MADELEINE was sitting. HANK is seated there holding his double three domino, drinking coffee and with a newspaper set in front of him. He has been listening in on their conversation. Our POSITION moves so that we can see HANK'S face and still see DONNA, MADELEINE and JAMES leave in the background.

DONNA

Will you call me if there's anything I can do.

MADELEINE

I don't think it'll be any problem.

JAMES

This is really great.

We watch JAMES, DONNA and MADELEINE leave out the front door. They pass NORMA and SHELLY as they enter the diner.

MADELEINE

Hi.

DONNA

Hi Norma.

SHELLY giggles. SHELLY and NORMA both enter with a smile and sporting new hairdos.

SHELLY

We're like a couple of refuge beauty queens.

NORMA

Oh you don't know how really good looking your are Shelly.

SHELLY

Well I never felt so glamorous when I chip a nail slinging plates around.

Unaware, NORMA and SHELLY nearly walk by HANK. HANK reaches out and grabs NORMA'S coat.

HANK

Hi ya' Norma.

NORMA

Hello Hank.

HANK

Surprised to see me huh.

NORMA

Yes.

TUNE ENDS: HANK'S THEME
TUNE: COUNTRY #3
SHELLY pats NORMA'S arm and walks off.

HANK

That Leo's girlfriend?

NORMA

Wife.

HANK

That Leo ... so impulsive. Not much meat on her though.

(he and NORMA smile)

Hey I don't expect a kiss or anything. I figure I got to earn my way back into your heart ... but Norma ... I intend to try. So ... where do I start?

NORMA

Washing dishes would be fine.

HANK

May I finish my coffee first ... boss?

He picks up his cup of coffee and slurps it down.

TUNE ENDS: COUNTRY #3

CUT TO:

TUNE: LOVE THEME FROM TWIN PEAKS

INT. DOUBLE R DINER - DAY

From the kitchen, we see SHELLY peering at NORMA and HANK. She turns to a nearby television that is showing the program 'Invitation to Love'.

CUT TO:

TELEVISION

We view the program 'Invitation to Love'. We see MONTANA, the brute, grabbing the front of CHET'S, the nerd, suit and jerking him around. We also see JARED, the father, tied with a gag in his mouth. MONTANA says something to CHET, that we can't hear, and then starts to broadly slap him across the face. MONTANA throws CHET to the ground and boldly laughs. The show ends by displaying its title written in flowing script on a note laying in a blue background.

TUNE ENDS: LOVE THEME FROM TWIN PEAKS

FADE OUT:

FADE IN:

INT. DR. JACOBY'S OFFICE - DAY

We view CLOSEUPS of BETTY BRIGGS and MAJOR GARLAND BRIGGS as they speak about their son BOBBY.

BETTY

He's been spending more and more of his time alone in his room.

MAJOR BRIGGS

It's become much more difficult to engage him in conversation.

BETTY

Terrible mood swings.

MAJOR BRIGGS

We've been told by the school that his attendance has become erratic at best.

BETTY

Then there's the matter of public fighting both at the Roadhouse and at the funeral.

We see DR. LAWRENCE JACOBY laying back in his office chair with his hands behind his head.

DR. JACOBY

Are you using drugs Bobby?

BOBBY is sitting slumped on the side corner of the couch playing with a zipper on his jacket cuff.

BOBBY

Nope.

MAJOR BRIGGS

Alcohol.

BETTY

Alcohol's a drug.

BOBBY

Well that's not what he meant.

BETTY

Alcohol doesn't count?

BOBBY

Everybody drinks.

DR. JACOBY

Are you unhappy Bobby?

BOBBY

Shouldn't I be.

DR. JACOBY

Well that's not for me to say.

BOBBY

Have you ever killed anybody?

DR. JACOBY

Have you?

BOBBY

My father has.

(points to him)

MAJOR BRIGGS

During war time.

BETTY

That's different.

BOBBY

Different from what?

DR. JACOBY

Perhaps I should spend uh ... a few minutes with Bobby alone.

MAJOR BRIGGS

This is supposed to be family counseling.

BOBBY sighs.

DR. JACOBY

(sits up)

Well then I'll need to spend some time with each member of the family alone but uh ... Bobby first.

MAJOR BRIGGS

Fair enough.

BETTY

What ever you say.

MAJOR BRIGGS and BETTY collect their coats and head toward the door. BOBBY yawns in boredom. Before they exit, MAJOR BRIGGS and BETTY turn to look at their son. DR. JACOBY gets up from his chair and walks over to BOBBY. BOBBY plays with the zipper on his jacket cuff again.

DR. JACOBY

Bobby lets just cut the crap, huh. Okay, so your parents don't understand what your going through right now.

BOBBY

(laughs slightly)

That's a good one.

DR. JACOBY

Lets talk about Laura.

BOBBY

(mockingly; smartass)

Okay lets talk about Laura.

DR. JACOBY

Bobby what happened the first time that ... you and Laura made love?

DR. JACOBY gets his attention. BOBBY stops fiddling and turns to him.

BOBBY

What the hell kinda question is that?

DR. JACOBY

(leans down to him)

Bobby did you 'cry'?

BOBBY

(little angered)

Did I what?

BOBBY stands up and faces him.

DR. JACOBY

And then what did Laura do. Did she laugh at you?

TUNE: LAURA PALMER'S THEME
BOBBY turns and walks away from DR. JACOBY. DR. JACOBY walks up behind him and puts a hand on his shoulder.

DR. JACOBY

We were very sad when Laura died.

BOBBY

Laura wanted to die.

DR. JACOBY

How do you know that?

BOBBY lays down on DR. JACOBY'S lay back chair.

BOBBY

Cause she told me.

DR. JACOBY takes a seat next to BOBBY.

DR. JACOBY

What else did she tell you? Did she tell you there ... there was no goodness in the world?

BOBBY

She said ... people try to be good but their really sick and rotten. Her most of all ... and every time she tried to make the world a better place ... something terrible came up inside her and pulled her back down into hell. Took her deeper and deeper into the blackest nightmare. Every time it got harder to go back up to the light.

DR. JACOBY

Did you sometimes have the feeling that Laura was harboring some ... awful secret?

BOBBY

Yeah.

DR. JACOBY

Bad enough that she wanted to die because of it?

BOBBY

Yes.

DR. JACOBY

Bad enough that it drove her to consciously try to find people's weakness and prey on them, tempt them, break them down, make them do terrible, degrading things?

BOBBY

Yes.

DR. JACOBY

Laura wanted to corrupt people because that how she felt about herself.

BOBBY

Yes.

DR. JACOBY

Is that what happened to you Bobby?

BOBBY starts to cry but he tries to suppress it.

DR. JACOBY

Is that what Laura did to you?

BOBBY

(emotional)

She wanted so much. She made me sell drugs so she could have'em.

MORPH TO:

EXT. HAWK - DAY

As the music soars we watch a hawk soaring through sky.

MORPH TO:

EXT. MOUNTAINS - DAY

We view distant mountains.

MORPH TO:

EXT. WOODS - DAY

DEPUTY HAWK, SHERIFF TRUMAN, AGENT COOPER and DR. HAYWARD are hiking in the woods. HAWK leads the way. COOPER wears an FBI labeled jacket. SHERIFF TRUMAN carries a rifle. DR. HAYWARD, wearing a hat and coat, follows several paces behind using a large wooden pole, as a hiking stick, to help him along. The area of forest they are walking through is desolate, hilly and has many pine trees.

HAWK

This way. Through here.

SHERIFF TRUMAN

(jokingly)

Watch your step there city boy.

COOPER

Thanks Harry.

CUT TO:

EXT. RAVEN - DAY

We watch a raven land and perch onto a tree branch.

CUT TO:

EXT. WOODS - DAY

Leading the group, HAWK finds a very young pine tree snapped. A sign that someone or something has passed by. HAWK put a hand up for them to stop.

SHERIFF TRUMAN

What is it Hawk?

HAWK looks it over, turns to the group and then walks on. The group follows.

CUT TO:

EXT. CABIN - DAY

From a distance, we view a log cabin surrounded by the woods.

CUT TO:

EXT. WOODS - DAY

All but DR. HAYWARD, who is still trying to catch up, stand together looking at the cabin.

COOPER

Not the cabin we're looking for.

HAWK

Maybe, maybe not.

SHERIFF TRUMAN

Might want to hang back a step doc.

DR. HAYWARD

Huh, might want to anyway.

DR. HAYWARD stops just short of them and leans on his pole as he breathes heavily. SHERIFF TRUMAN turns to check on him and shows some concern. DEPUTY HAWK pulls his gun out of his holster.

TUNE ENDS: LAURA PALMER'S THEME

CUT TO:

EXT. CABIN - DAY

They all reach the side of the cabin and slowly, with guns drawn, walk outside the exterior log wall toward the front of the cabin. As they pass a window they duck down slightly. Unexpectedly, the 'LOG LADY' MARGARET LANTERMEN, holding her log, walks around the corner and meets them face to face. Caught off guard HAWK, TRUMAN and COOPER all point their weapons at her.

LOG LADY

'Bout time you got here. They move so slowly when their not afraid.

She walks off around the corner. Under the porch of the cabin, she turns and sees that HAWK, COOPER, SHERIFF TRUMAN and DR. HAYWARD are hanging back a distance away.

LOG LADY

Come on then. My log does not judge.

She walks into her cabin.

CUT TO:

INT. LOG LADY'S CABIN - DAY

From inside the cabin we watch SHERIFF TRUMAN put his rifle down and DR. HAYWARD puts his walking stick down on a bench just outside the door way. A teapot can be heard whistling from the stove. HAWK, SHERIFF TRUMAN and DR. HAYWARD enter but stand near the door. COOPER stands underneath the doorway, just behind them. The LOG LADY pours the hot water from the kettle into a teapot.

LOG LADY

I've got tea. I've got cookies. No cake.

COOPER

That's very kind of you ma'am but I don't believe that we...

HAWK puts his hand up to silence COOPER.

HAWK

What kind of cookies?

LOG LADY

Sugar. The owls won't see us in here.

HAWK turns to SHERIFF TRUMAN, nods and moves to take a seat at the table. DR. HAYWARD follows suit.

DR. HAYWARD

(removes his hat)

Cup'a tea would be very nice.

COOPER and SHERIFF TRUMAN are still at the door. COOPER moves to talk to him but is interrupted by ...

LOG LADY

Shut your eyes and you'll burst into flames.

SHERIFF TRUMAN

(smiles)

Thanks Margaret.

The LOG LADY places the teapot onto the table and sits down. SHERIFF TRUMAN and COOPER move to take a seat at the table.

LOG LADY

We'll let it steep.

COOPER moves to grab a sugar cookie from a nearby tray. The LOG LADY slaps his hand as he touches a cookie.

LOG LADY

Wait for the tea. The fish aren't running.

HAWK grins at him.

SHERIFF TRUMAN

You've been expecting us Margaret?

LOG LADY

Your two days late ... but that's your concern. My log saw something. Something significant.

COOPER

What did your log see?

LOG LADY

Tea first. Then be ready.

She pours each of them a cup of tea.

SHERIFF TRUMAN

(after she pours him some tea)

Thanks.

LOG LADY

My husband was a logging man.

COOPER

Oh.

LOG LADY

He met the devil. Fire is the devil hiding like a coward in the smoke.

DR. HAYWARD

It was the day after the wedding. Wasn't it Margaret?

HAWK

The wood holds many spirits. Doesn't it Margaret?

The LOG LADY picks up her log off the floor beside her, puts it in her arms and holds it towards COOPER.

LOG LADY

You can ask it now.

COOPER looks to SHERIFF TRUMAN, who nods to him to go on. COOPER bends slightly toward the log and says ...

TUNE: WALKING IN THE DARK (MIX)

COOPER

What did you see that night? The night Laura Palmer was killed.

LOG LADY

Sshhh,

(pats the log)

I'll do the talking. Dark. Laughing. The owls were flying. Many things were blocked. Laughing. Two men, two girls. Flashlights pass by in the woods over the ridge. The owls were near. The dark was-was pressing in on her. Quiet then. Later, footsteps. One man pass by. Screams far away. Terrible, terrible. One voice.

COOPER

Man or girl?

LOG LADY

Girl. Further up, over the ridge. The owls were silent.

TUNE: WALKING IN THE DARK (MIX)

CUT TO:

EXT. WOODS - DAY

DEPUTY HAWK, SHERIFF TRUMAN, AGENT COOPER and DR. HAYWARD are again hiking in the woods. HAWK leads the way and DR. HAYWARD still follows several paces behind. A woodpecker pecking and a raven cawing can be heard.

SONG: INTO THE NIGHT

COOPER

The two girls were Laura and Ronette.

SHERIFF TRUMAN

The two men Jacques ... maybe Leo.

COOPER

Maybe.

SHERIFF TRUMAN

Who's the third man?

HAWK stops and they all follow suit.

HAWK

Do you hear it?

They all hear a song drifting through the air.

HAWK

(points)

This way.

CUT TO:

EXT. PERCHED RAVEN - DAY

We watch a raven, perched high on a tree top, fly off.

CUT TO:

EXT. WOODS - DAY

We see AGENT COOPER look down at a photograph he is carrying in his hand. It is the photograph of the cabin with red drapes from JACQUES apartment.

CUT TO:

PHOTOGRAPH

We see COOPER'S POV of the photograph of a log cabin with red drapes in its windows.

CUT TO:

EXT. WOODS - DAY

We view AGENT COOPER'S profile. One by one, SHERIFF TRUMAN, DEPUTY HAWK and DR. HAYWARD step into view. The end result is a stacked view of each of their profiles as they look at the cabin.

CUT TO:

EXT. CABIN - DAY

We view the front of the cabin. It looks exactly like the one in the photograph.

CUT TO:

RAVEN

We view a CLOSEUP of a raven's eye. We ZOOM OUT as we hear the song.

SONG LYRICS

Into the night. I cry out. I cry out your name.

CUT TO:

EXT. JACQUES RENAULT'S CABIN - DAY

They have come upon the cabin they were looking for. The cabin from the photograph in JACQUES apartment. Just below it, near a stone foundation, HAWK and TRUMAN point their guns at the ready. COOPER removes his gun from his holster. SHERIFF TRUMAN gives DR. HAYWARD a hand signal to stay put. DR. HAYWARD takes a seat on the ground to catch his breath as the rest move toward the cabin with their guns drawn.

CUT TO:

INT. JACQUES RENAULT'S CABIN - DAY

The song comes to an end but the record player, with an automated stylus, replays the song it has been playing. We watch HAWK, SHERIFF TRUMAN and COOPER burst into the cabin with their guns drawn. They quickly scan the room, find it empty and puts their guns away before scattering throughout the cabin.

SONG LYRICS

Into the night. Shadows fall, shadows ...

COOPER moves to the record player. Using his tweezers he lifts the stylus from the record, puts it in its cradle and says ...

SONG ENDS: INTO THE NIGHT

COOPER

And there's always music in the air.

SHERIFF TRUMAN lifts the cover off an object, where a bird can be heard, and finds a mynah bird in its bird cage. The bird cage has a name plaque. He reads it out loud.

SHERIFF TRUMAN

Waldo.

DEPUTY HAWK has moved over to a camera on a tripod. He opens the camera.

HAWK

There's film in here.

Using a handkerchief, HAWK removes the film canister. We see COOPER put on some latex gloves and move to the floor to inspect a roll of twine. HAWK has now moved to another area and finds ...

HAWK

Blood.

A cuckoo clock go off but the cuckoo clock bird is not popping out like it should. SHERIFF TRUMAN walks up to it, opens one of the little doors and a bunch of poker chips fall out. Kneeling on the floor, COOPER watches one of the poker chips roll under a chair. COOPER walks over to it and picks it up.

CUT TO:

TUNE: LOVE THEME FROM TWIN PEAKS

POKER CHIP

We see a CLOSEUP of the blue poker chip. Its from One-Eyed Jacks and it has a notch in it at the 'J'. This is the chip where the fragment found in LAURA'S stomach was taken from.

COOPER

One-Eyed Jacks.

TUNE ENDS: LOVE THEME FROM TWIN PEAKS

FADE OUT:

FADE IN:

SONG: HOME ON THE RANGE
(SUNG BY ICELANDERS)

EXT. GREAT NORTHERN HOTEL - NIGHT

We view the glowing lights of the hotel in the dark.

CUT TO:

INT. BENJAMIN HORNE'S OFFICE - NIGHT

In the dark, we see someone seated at BENJAMIN'S desk smoking.

CUT TO:

INT. TIMBER ROOM - NIGHT

We view a sign above the double doors to the room. It says 'Timber Room'. We PAN down to see a couple, MR. and MRS. SCHOLPF, open the doors to the room. A HOSTESS, dressed in a Viking costume and wearing a Viking helmet, stands by the door to greet and check people into the party. Behind her we see the party being held to welcome the Icelandic business group to Twin Peaks.

MR. SCHOLPF

Good evening, Mr. and Mrs. Scholpf.

The HOSTESS looks over the sheet and nods for them to enter. CATHERINE MARTELL and PETE MARTELL are next to be greeted.

HOSTESS

Good evening.

CATHERINE

Catherine Martell and spouse.

PETE looks at her, bothered by the way she addressed him. They walk into the room.

PETE

Go easy on the sauce tonight okay Cathy.

CATHERINE immediately picks up two glasses of champagne from a nearby tray a waiter is holding. She downs one of the glasses, turns to PETE and says ...

CATHERINE

Couple of belts and even you may start to look good to me.

She walks off. PETE, in his good natured way, just smiles. He looks around the room.

CUT TO:

INT. TIMBER ROOM - NIGHT

We see PETE'S POV of the people singing by a piano.

SONG ENDS: HOME ON THE RANGE
(SUNG BY ICELANDERS)

The song ends and people clap. We see that TRUDY was playing the piano.

CUT TO:

INT. TIMBER ROOM - NIGHT

At the buffet table MAJOR BRIGGS, as he serves himself food, speaks to the Icelandic business group leader, MR. EINAR THORSON.

MAJOR BRIGGS

Of course the modern age has changed forever the way your people live, Mr. Thorson. It would be my guess that there still remains a tremendous vestigial of interest in the legends and folklore of ancient Iceland.

MR. THORSON

Vestigial. Absolutely.

CUT TO:

INT. TIMBER ROOM - NIGHT

JERRY talks to HEBA, a tall, beautiful blonde, who stands against a log column holding a plate of food.

JERRY

Did you know that was an American figure of speech?

HEBA

No Yerry

(accent mispronounces)

JERRY

Hepa, Hepa. You've never heard that before?

HEBA

No Yerry

(laughs)

CUT TO:

INT. TIMBER ROOM - NIGHT

We see LELAND enter the room. The HOSTESS smiles and nods to him. Expressionless, he scans the party and brushes his hand through his hair.

CUT TO:

INT. TIMBER ROOM - NIGHT

Again, we watch JERRY talking to HEBA.

JERRY

Did you realize the incredible potential that could result from our taking a mutual dip in each other's respective gene pools.

(HEBA laughs)

Heba, I want to cook for you.

CUT TO:

INT. TIMBER ROOM - NIGHT

In bursting laughter, we see BENJAMIN talking to several members of the Icelandic GROUP. From the bar, we see CATHERINE down another glass of champagne. She grabs another glass and walks over to him.

BENJAMIN

So he says. What do you get when you cross a Norwegian with a Swede? A socialist who wants to be king.

(group laughs)

CATHERINE is now beside BENJAMIN, listening.

BENJAMIN

Well I can remember it was I think oh ... somewhere in the '50s I came ...

(CATHERINE tries to get his attention by clearing her throat)

I came through your country. Beautiful, beautiful. Not many trees though you know but ...

From her glass, CATHERINE pours a little bit of her champagne on BENJAMIN'S shoe. She gets his attention and group's as well as they all quiet down. BENJAMIN looks down at his shoe and taps his wet foot. He turns to look at CATHERINE and then back to the GROUP.

BENJAMIN

Would you excuse me.

GROUP

(severally)

Of course ... yeah ... sure.

BENJAMIN and CATHERINE walk together away from the GROUP.

BENJAMIN

Meet me at my office. Give me uh ... two minutes to break away.

CATHERINE

Hell hath no fury.

BENJAMIN

What? Two minutes.

He walks away from her. We PAN to see AUDREY, leaning against a wood column. She has seen the incident with her father and CATHERINE. She watches CATHERINE walk down the hallway toward her father's office. We hear BENJAMIN in the background.

BENJAMIN

Ah, Thor. I've been meaning to ask you. Are you familiar with the work of Knut Hamsun?

CUT TO:

TUNE: THE BOOKHOUSE BOYS (2:12 - 2:31)

INT. GREAT NORTHERN HOTEL - NIGHT

AUDREY moves down the hall near the HORNE residency and pulls a ring in bedded in the wall that reveals a small panel door.

CUT TO:

INT. AUDREY'S SECRET SPY HOLE - DAY

She enters a small space within the walls between the hallway and the HORNE residency. Out of sight but in BENJAMIN HORNE'S office we hear BENJAMIN and CATHERINE as AUDREY moves within the small space to her spy hole. AUDREY removes a wood panel from the wall to reveal a knot hole in the wood wall in the other room.

BENJAMIN

We agreed. No scenes in front of the guests. Lets keep the melodrama to a minimum. The next thing I know your polishing my shoes with Dom Perigon. Fill me in. What's eating you?

We see AUDREY'S POV of CATHERINE speaking to BENJAMIN in his office.

CATHERINE

Why do you have this thousand poker chip from you know where in your pants yesterday? I thought you preferred women with a certain experience.

She holds it up for him to see. He takes the chip and looks it over as if he wasn't sure what it was.

BENJAMIN

Uhm. Jerry gave me that.

CATHERINE slaps him across the face with her right hand. We see AUDREY silently laugh.

BENJAMIN

Its a good luck charm. I thought I lost it. I'm so relieved ... that you found it.

CATHERINE slaps him across the face with her left hand.

BENJAMIN

Are you quite finished?

Again she slaps him across the face but with her right hand.

CATHERINE

Yes.

BENJAMIN

In that case.

BENJAMIN grabs her by the arms and kisses her. They both hug each other, kiss and CATHERINE lays back on his desk. AUDREY is no longer smiling as she watches them.

CATHERINE

Oh, lets burn the mill. Lets do it tonight.

BENJAMIN

No my love. We'll give Josie one last chance to sell, tomorrow.

(moves off CATHERINE and stands up)

Failing that, I have retained the services of a qualified professional.

BENJAMIN reaches into his pocket and pulls out a packet of mints and offers one to CATHERINE.

BENJAMIN

Breath mint?

AUDREY replaces the wood slat cover. Disturbed by what she saw and heard, she laughs to herself.

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

CUT TO:

SONG: ICELANDER IV

INT. TIMBER ROOM - NIGHT

PETE, holding a glass mug full of milk and wearing a napkin like a bib, talks to MR. THORSON, who is holding a plate of food.

PETE

Now let me get this straight. Your entire country is above the timber line.

They are interrupted as JERRY, using a microphone, gets the crowds attention. HEBA stands behind him in the background.

JERRY

Folks, ladies and gentlemen can I have your attention please.

SONG ENDS: ICELANDER IV

The singing stops and the crowd quiets down.

JERRY

Can I have your attention.

The microphone crackles. He taps it on a edge of a podium that generates some amplified distortion but it all clears up. JERRY laughs.

JERRY

First off, I want to thank you all for turning out to welcome our neighbors from the magical isle of Iceland.

(says an Icelander sentence then repeats it in English)

We are all Icelanders.

The crowd claps and JERRY laughs. We see LELAND in the crowd listening on.

JERRY

The Ghostwood Estates project is an important part of our future here in Twin Peaks and there's no one we'd rather ...

TUNE: IN THE MOOD
As JERRY speaks, a big band tune unexpectedly and unintentionally starts up. People in crowd look around unsure of what is going on. We see that BENJAMIN and CATHERINE have returned to the party.

JERRY

... have as partners in our future then ...

(looks around)

What?

We view LELAND cringe and moan at hearing the big band tune. He irrationally begins to dance, holding his hands in place as if he was dancing with a partner. Alone on the dance floor, people start to look at him. BENJAMIN sees him and his furious. He doesn't want LELAND to upset or frighten his guests so he tells CATHERINE ...

BENJAMIN

Dance with him.

(she gives him a questioning look)

It is serious. Dance with him.

CATHERINE complies. She takes off her shoes, moves over to LELAND, grabs his hands and starts to dance with him. People watch them and several of them can be heard. BENJAMIN waves to JERRY to come over.

PARTY GUEST #1

Alright.

Confused, JERRY puts the microphone down and walks over to BENJAMIN.

PARTY GUEST #2

Jerry, what's going on?

PARTY GUEST #3

Yeah.

BENJAMIN

(to JERRY, now beside him)

Get Jacoby, get a net but get him

(points of LELAND)

out of my life.

LELAND stops dancing but he puts his hands to his head and starts to cry. CATHERINE doesn't know what to do at first but, being a little drunk, mimics him by placing her hands to her head. With both hands on her head she starts to pat her head with both hands treating LELAND'S distress like some odd dance move. HEBA, dancing with JERRY, sees them and start to duplicate the dance. Soon everyone is doing it including BENJAMIN, who is dancing with a women from the Icelandic group. Behind a wood column, AUDREY cries at the sight of LELAND suffering on the dance floor.

CUT TO:

INT. BENJAMIN HORNE'S OFFICE - NIGHT

In the dark, we see someone seated at BENJAMIN desk smoking.

TUNE ENDS: IN THE MOOD

CUT TO:

EXT. PALMER HOUSE - NIGHT

We view the front of the house.

CUT TO:

INT. PALMER HOUSE - NIGHT

In her striped pajamas, we watch MADELEINE quietly walk down the stairs carrying a shoe box. In the dark living room, she takes a seat on the couch, turns on a nearby lamp, picks the up phone and dials.

MADELEINE

Donna, its Mady. I was looking in Laura's room and I remembered when we were younger she used to hide cigarettes in her bed post. The top of one of the posts screws off. I found a tape in her hiding place.

Speaking from upstairs, we can hear SARAH.

SARAH

Leland, where'd you ... where'd you go?

MADELEINE

I'll meet you and James tomorrow okay ... and bring a tape recorder.

TUNE: LAURA PALMER'S THEME
MADELEINE quietly hangs up the phone, turns the light off and walks off. In the background behind her we slowly ZOOM IN on the homecoming picture of LAURA PALMER.

TUNE ENDS: LAURA PALMER'S THEME

CUT TO:

TUNE: IN THE MOOD
INT. GREAT NORTHERN HOTEL - NIGHT

We watch BENJAMIN walking down the hallway to his office.

CUT TO:

INT. BENJAMIN HORNE'S OFFICE - NIGHT

In the dark, BENJAMIN walks into his office and closes the door behind himself. He walks over to his desk and turns on the desk lamp. We see that the mysterious person smoking in the dark is JOSIE PACKARD.

BENJAMIN

Did anyone see you come in here?

JOSIE

No.

He takes a seat beside her on the corner of his desk.

BENJAMIN

You do realize the risk if anyone sees us.

TUNE ENDS: IN THE MOOD
JOSIE

This was hidden in her desk where you said it would be.

BENJAMIN picks up the ledger book, opens it and looks it over.

BENJAMIN

Then we can proceed.

JOSIE

When?

BENJAMIN

Tomorrow night.

He picks up her hand and kisses it.

CUT TO:

TUNE: BAD DEEDS
INT. JOHNSON HOUSE - NIGHT

We see SHELLY light up a cigarette by using the stove burner. Wearing a robe, she nervously awaits the return of LEO. She looks out the window and then takes a seat at the kitchen table where her handgun lays.

CUT TO:

EXT. JOHNSON HOUSE - NIGHT

In a truck, LEO parks, gets out and walks to the outside wall of his house. He lifts a latch that opens a storage compartment built into the outside wall. He pulls out two 5 gallon gasoline cans. He closes the storage doors, picks up the gas cans, walks over to his truck and puts them in. As he turns around, he is suddenly punched in the face, the stomach, again in the face and then is jerked to the ground. LEO, flat on his back, lays quietly as HANK, in a black leather jacket, stands over him grabbing at LEO'S jacket.

HANK

I told you to mind the store Leo not open your own franchise.

LEO

Hank I ...

HANK

Do as your told Leo. Next time, you watch me take your little chippy apart before I kill ya'.

HANK lets go of his jacket and walks away nearly stepping on his head. LEO coughs trying to catch his breath.

CUT TO:

INT. JOHNSON HOUSE - NIGHT

LEO walks inside through the kitchen entrance. As he enters we see that his face has been cut up and is a little bloody. He moves to the kitchen sink. SHELLY sees him and, shocked and concerned, rushes to him.

LEO

Give me a beer Shelly.

SHELLY

Honey what happened? Are you okay?

LEO

JUST GET ME A DAMN BEER!

(shoves her to the ground)

SHELLY scrambles for the gun in the pocket of her robe. Still on the ground, she pulls it out, holds it securely between both of her hands and aims it at LEO.

LEO

Get up and ...

LEO sees her with the gun and nearly starts to laugh.

LEO

(smiling)

What the hell are you doing with that?

SHELLY

Your not going to hurt me again. Don't touch me. Don't come near me Leo.

LEO

You stupid little SLUT!

SHELLY cocks the gun to fire by pulling the hammer back with her thumb.

LEO

You haven't got the guts.

LEO starts to move towards her. SHELLY closes her eyes and pulls the trigger. It discharges and hits LEO. Loudly, we hear LEO grunt like an animal in pain. SHELLY throws the gun to the floor, covers her eyes and cries out in fear. We hear the kitchen door slam shut.

CUT TO:

CEILING LIGHT FIXTURE

We view a CLOSEUP of the kitchen light fixture hanging from the ceiling as it swings back and forth having been disturbed by the ruckus.

TUNE ENDS: BAD DEEDS

MORPH TO:

EXT. WATER FALL - NIGHT

Lit by moonlight, we watch and listen to the cascading water fall.

CUT TO:

INT. GREAT NORTHERN HOTEL - NIGHT

We see DALE COOPER in his FBI jacket, returning from his hike in the woods, walking down the hallway to his his hotel room. As he walks up the hallway the Icelander group start to loudly sing again.

SONG: ICELANDER II
Completely frustrated, he throws his hands out at having to deal with another night of their loud singing. COOPER reaches his door and notices it is slightly open. He immediately backs up, draws his gun and points it forward as he slowly enters his dark hotel room.

CUT TO:

INT. DALE COOPER'S HOTEL ROOM - NIGHT

Inside his room, he notices a figure at his bed. The Icelander group finish their song and clap.

SONG ENDS: ICELANDER II
COOPER trains his gun on the figure and says ...

COOPER

Reach over and turn on the light.

The lamp near the bed is turned on and we see that it is AUDREY, undressed, in his bed under the sheets. She has tears in her eyes. COOPER raises his gun with a look of shock.

TUNE: LOVE THEME
AUDREY

Don't make me leave. Please, don't make me leave.

TUNE ENDS: LOVE 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