Harley Peyton & Robert Engels
FIRST DRAFT: August 28, 1990
REVISED: August 30, 1990 - BLUE
REVISED: August 31, 1990 - PINK
REVISED: September 17, 1990 - GREEN
770 Balboa Boulevard
Van Nuys, CA 91406
1. INT. HAROLD SMITH'S HOUSE - NIGHT
SUDDENLY: HAROLD SMITH looms, gardening tool in hand. It arcs through the air, smashes Laura's diary out of MADDY FERGUSON'S hands. Maddy screams, backs toward the door. But DONNA HAYWARD remains frozen in place, ashen, as Smith turns to her. He speaks quietly at first, almost puzzled. And quite mad.
I trusted you. I invested my heart and my soul in you.
We only wanted to read it, I didn't -
I thought you were different. You made me feel I could
return to the world and find something decent and pure.
But you're just like all the others. You lie, you betray, and
then you laugh about it. You are unclean. You have
Smith raises the tool over his head. Donna remains transfixed. Maddy screams.
Just then: the front door explodes open, JAMES HURLEY tumbles inside. The sound distracts Smith, Donna regains her senses, turns to run. But then she spots Laura's diary open on the floor nearby. Donna moves toward it, as if to grab and flee. Smith yells:
(he rushes toward the diary)
James rushes forward, Smith raises his hand to strike. Donna retreats, James pushes Smith out of the way, takes Donna by the hand. Maddy joins them as they rush our the door. Smith kneels to retrieve the diary. He looks at the open door, the black night beyond it. The world outside. Smith turns and races back to his greenhouse.
CAMERA VIEWS Smith through the large glass panel, his features lurch into view, shadowy, distorted by the glass. He lets out a howl, but we can't quite hear it behind the thick panes.
Muffled, anguished. It sounds a little like "Laura."
2. EXT. HAROLD SMITH'S HOUSE - NIGHT
James, Donna, and Maddy race into the night.
(looking back at house)
He's not coming. He won't. He's afraid.
They stop running, catch breath.
Are you okay? Did he hurt you?
No. I'm fine. I ...
Donna begins to cry. James takes her into his arms. Donna holds him tighter.
Oh James. It's all my fault. I'm so sorry.
Don't cry. It's my fault too.
(to Maddy, as if to include)
We have to tell the Sheriff. We'll tell him everything.
You've had enough trouble. I'll go.
Just hold me. Please.
James takes Donna into a deeper embrace. Maddy stands and watches. Then looks away.
3. EXT. THE BOOKHOUSE - NIGHT
4. INT. THE BOOKHOUSE - NIGHT
AGENT COOPER carries AUDREY HORNE into the Bookhouse interior. She moans softly, drifting in and out. DEPUTY HAWK enters behind him. They are met by, a handsome young man. A Bookhouse Boy named CAPPY.
We're all set up inside.
Cooper nods, no time for conversation. He carries Audrey to a bed inside a curtained area. Cappy pulls back a blue blanket, assists Cooper as he gently sets Audrey upon it. They work with quiet, but discernible urgency.
Cooper checks Audrey's pulse, softly placing two fingers upon her neck. He peers into her eyes, listens to whispered breath.
Sluggish pulse. Pupils constricted. Breathing slow and shallow.
Cooper gently lifts her left arm - every time he touches her it is with great care and precision and checks inside the elbow. Bruises. Red pinpricks.
Needle tracks. Most likely heroin.
Daddy? ... Can you see me Daddy?
Multiple injections over the course of a two day period.
Audrey, can you hear me?
Audrey says nothing. Her eyes roll back. She nearly loses consciousness. Cooper leans closer.
Audrey, you must stay awake. Do you hear me? You've
got to stay awake.
Can you catch me? ... Can you ...?
Cooper watches, helpless, uncertain. Then, urgent, emphatic:
I want you to talk to me. Audrey, Please.
There's a faint note of desperation in his voice. But Audrey cannot hear it. She's lost in a heroin fog, she rambles, slips in and out.
His tongue, so heavy ... a hand in my throat ... it hurts me,
Oh God it hurts ...
(she shivers uncontrollably)
Black cold, the lake, black cold ... can't breathe ... help
me, please help me ... I'm sinking ...
Cooper gently gathers Audrey into his arms.
I'm here, Audrey. I will stay with you. You're right here.
You're right here with me.
Cooper gently places a hand upon her cheek, offers a healing caress. Suddenly: Audrey's hand rises into view, takes Cooper by the palm. Holds on tight.
Audrey's eyes focus. She sees him for the first time.
(weak as a kitten)
I prayed prayed that you would come and you did ...
He holds her.
5. EXT. CITY STREET - NIGHT
Maddy drives off in the station wagon. James and Donna stand together, face to face.
She was so brave. I feel terrible. If anything had
happened to her
No more plans, okay? No more going off on our own.
James, he has Laura's secret diary. He could have killed
He could've killed you too.
Donna offers a gentle kiss, looks deep into James' eyes. A beat, then:
I feel stupid. Ashamed.
After Laura died, everything happened so fast. It's hard
to know exactly what to believe in.
(he's read her mind)
Bur when I saw you tonight I knew exactly what I
It's like if we could put our hearts together, and keep
them that way forever, we'd be safe no matter what.
You and me.
From now on.
James kisses her on the mouth. Donna reacts with whispered repetition.
They kiss with even greater fervor. Their passion in direct contrast to - or perhaps in conjunction with - their innocence.
7. INT. TRUMAN'S OFFICE - NIGHT
Sheriff Truman looks up from a book of mug shots and corresponding paper work as Cooper enters and slumps, exhausted, into a chair across from him.
How is she?
She's through the worst of it. Heroin.
This close to a lethal dose. Sooner or later the dope
would have been lethal. Hard to imagine that kind of
Truman slides the mug book over to Cooper. Points out a shot.
Not really. Take a look. Blackie's killer. I knew I'd
seen him before. Jean Renault.
Eldest to Jacques and Bernard. Hell of a lot more
(hand's Cooper a sheet on Renault)
He runs the northern territories. Drugs, extortion,
gambling; you name it.
(putting the pieces together)
There was a tape in Blackie's office of you playing
blackjack the night you and Big Ed visited the casino.
Jean Renault was after me.
(completing the thought)
The man who caught his brother.
Renault planned to kill me. And he used Audrey as bait.
It's a deeply troubling revelation. A long beat. Truman comforts, reminds:
We got her back, Coop. And she's going to be okay.
Cooper doesn't look convinced, a long beat. Then
I went out of my jurisdiction twice I've violated my
professional code. And Audrey is paying the price for it.
We did what we had to do.
This isn't the first time my actions have brought suffering
to someone I care about. In the name of 'doing what I
thought I had to do.' Dammit. I should have known better.
That doesn't change the fact that Audrey's here now. Not
up at Jack's with a needle in her arm.
You're the best lawman I've ever seen, Cooper. But
sometimes you think too much.
He says the latter with admiration and quiet humor. Cooper appreciates both.
Thank you, Harry.
HOLD ON this tableau for a beat. Cooper and Truman standing together.
8. EXT. GREAT NORTHERN HOTEL - NIGHT
9. INT. GREAT NORTHERN DINING ROOM - NIGHT
The middle of the night. Deserted, errie. Cooper walks through the empty room carrying a briefcase full of cash.
BEN HORNE enters, finds Cooper waiting for him there. Ben is nervous, but trying hard to hide it. How much does Cooper know?
Agent Cooper, I got your call.
What happened? Did you ... ?
We were able to free your daughter without payment.
Cooper hands him the briefcase.
(referring to cash as well as daughter)
Audrey was being held in a brothel north of the border
known as One-Eyed Jack's.
The brothel's Madam was at least partially responsible
for your daughter's kidnapping and subsequent blackmail.
Ben pauses, fearing what Cooper might know. All the things Blackie could have told him.
Did you arrest her?
She was killed before we could question her.
(trying to hide his pleasure)
Murdered by a man named Jean Renault.
(as if hearing the name for the first time)
And this Renault, did you catch him?
(more good news)
(opens briefcase, peers at the inside)
Everything seems to be in order.
Audrey's recovering from a drug overdose.
(paternal in spite of himself)
Drug overdose? Oh my God.
She's going to be all right.
Can I see her?
I wouldn't disturb her now. She's resting, comfortably.
I'll call you in the morning.
Ben doesn't like his tone. But given the time and place, not to mention all the lies he's telling.
Yes, do that, Agent Cooper. Thank you.
Ben reaches out, takes Cooper into a celebratory hug. It's an odd, awkward gesture. Unexpected. Completely devoid of feeling.
Thank you for bringing my Audrey back to me.
Cooper accepts the embrace. Grudgingly. Then extricates himself, prepatory to leaving
Good night, Mr. Horne.
Ben watches, wheels turning, as Cooper steps into the shadows.
FADE TO BLACK
END ACT ONE
10. INT. LEO JOHNSON'S HOME DAY
BOBBY BRIGGS, in sport coat and tie, struggles to push LEO JOHNSON in his wheelchair through the doorway. It's too tight a fit. Bobby curses under his breath, struggles with the chair. Maybe he can slide it through sideways.
SHELLY JOHNSON and an Insurance Representative, TOM BROCKMAN, watch Leo's bumpy progress from the living room. Shelly winces with each shove and bang. Brockman, fifties, unctuous, offers his best sympathy:
Poor fellow, really gone.
You ain't kiddin'.
Bobby finally gets Leo into the living room nearly losing control of the chair, but holds on tight, manages a grim smile for Brockman. The Insurance Agent returns it.
I want you to know how much I admire you kids,
standing by Mr. Johnson. Not taking the easy way out.
Most people would just ship him off.
(as close to piety as he can manage)
Yeah, well, Leo's sorta special to us.
Believe you me, in-home care is the stuff of miracles. It
may not always seem that way to you, but Mr. Johnson
should benefit tremendously from his being here among
his loved ones.
(working, a smile into place)
We certainly hope so.
(while inspecting bed and winch)
Will you be hiring full or part-time help?
Cousin Bobby and I will be here full-time.
I admire your dedication.
(concluding, reaching into briefcase)
Everything looks to be in order. You might want to child-
proof those electrical sockets when you get a chance. Sign
Brockman extracts a form from his briefcase. Shelly signs it.
(returns form to briefcase, hands Shelly envelope)
Shelly opens it, reacts with disbelief.
There must be some mistake.
Bobby takes the check Looks at it. He can't believe it either.
(with a sympathetic nod)
Sad, isn't it? The cost of health care is going through the
It's bringing rain. We're supposed to get five thousand a
Figure state and local taxes, equipment fees, medical and
maintinence costs, administrative fees ... you see the
results. Fortunately with you two here Mr. Johnson will
be more than adequately provided for. Good luck
Brockman extends a hand for shaking. Bobby just looks at him for beat, a little dazed. Then he offers an aimless handclasp. Brockman exits. Shelly turns to Bobby, mortified.
I have to quit my job, Bobby. How am I going to make
it on this?
I don't know.
You don't know? Bringing him home was your bright idea
in the first place -
Shelly stops, swallows hard. Fights a few unwanted tears.
Well you'd better think of somethin'. For both of us.
Just then: a quiet noise from Leo's chair. From Leo. It starts somewhere deep his chest, then pours weakly out his lips. A moan. A protest. Bobby and Shelly both whirl about, stare at Leo with amazement. His face remains blank. His eyes deeply empty. But the sound continues, now stutters just a bit. HOLD ON Leo for a beat.
11. INT. INTERROGATION ROOM - DAY
Donna sits before a doubting Sheriff Truman in the Interrogation Room.
Donna. We, already have Laura Palmer's diary.
No, this is her secret diary.
And she gave it to this "Harold Smith?" Why?
I don't know. To hide it or something.
Did he ever actually show you the diary?
No. But he read from it. I saw her name on the inside
cover. Her handwriting.
Donna, are you and James up to something again, He's
been warned about getting mixed up -
(she can't tell him the whole story)
James has nothing to do with this.
(doesn't believe her)
I'm sorry, it's a little bit like the boy who cried wolf.
The last time you played this game Dr. Jacoby ended up
in a hospital bed.
It's not a game.
(responding to her sincerity)
All right. I'll try to get someone out there to take a look.
We've got our hands full, I can't promise anything -
Sheriff, please -
Suddenly: a loud man stands in the doorway, interrupts. His name is GORDON COLE.
EXCUSE ME! I'M LOOKING FOR A SHERIFF
Cole enters, extends a hand. He's in his forties and wears a pink hearing aid in each ear.
FBI REGIONAL BUREAU CHIEF, GORDON
COLE. THAT'S A REAL MOUTHFUL AND I
CAN'T HEAR MYSELF ANYWAY. I'M AGENT
Nice to meet you, sir. Excuse me a moment, Donna.
They step out into the hallway.
11A. INT. HALLWAY
YOU'LL HAVE TO SPEAK UP. HEARING'S
GONE. LONG STORY. GOT THESE THINGS
CRANKED UP TO THE MAX.
Are you looking for Agent Cooper?
WHEN AN AGENT GOES DOWN IN THE FIELD
I JUMP RIGHT UP AND PAY A VISIT.
Agent Cooper isn't here right now.
ALBERT ROSENFIELD IS NOT COMING BACK,
BUT I'VE GOT HIS WORK RIGHT HERE.
Truman reacts to Cole's errant conversational rhythms. Cole opens his satchel, refers to notes.
ITEM: A VICUNA COAT: FIBERS ALBERT
FOUND IN THE HALL OUTSIDE COOPER'S
ROOM ARE FROM A VICUNA COAT.
The coat was vicuna?
NO THANKS. I ALREADY ATE. GOT THE LAB
REPORT FROM ALBERT ON THE ONE
ARMER'S SYRINGE. SAYS HE'S NEVER SEEN A
DRUG LIKE IT. A COMBO: REALLY WIERD
Donna watches their exchange, impatient, ignored for the moment.
Did Albert say anything else?
PAPERS FOUND NEAR THE BLOODY TOWEL
DOWN THE TRAIN TRACKS FROM THE
CRIME SITE. FROM A DIARY.
Just then: around the corner, another interruption. DEPUTY HAWK leads an angry PHILLIP MICHAEL GERARD, the one-armed salesman, towards lock-up.
Since when is selling shoes against the law?
THERE'S THE ONE-ARMER NOW.
We need to ask you a few questions, Mr. Gerard. Why
don't we all move to my office?
Truman leads them away. Donna comes out of interrogation. HOLD ON Donna for a beat. She sighs, watches them go. She's got no one to tell her story to.
12. INT. BOOKHOUSE - DAY
START CLOSE on Audrey, asleep, peaceful. Ben Horne's voice is heard:
She looks like an angel.
ANOTHER ANGLE reveals Agent Cooper and Ben Horne standing over her. Cooper says nothing, just looks at Audrey. Then he kneels to wake her.
Audrey? You're father is here.
Audrey's eyes flutter open. She's weak, dreamy. Ben comes around from behind Cooper, crouches at her side.
Thank god, Audrey. Thank god.
Ben tries to embrace her. But Audrey focuses, realizes who it is. And recoils. Cooper takes notice. Ben shifts backward, plays the loving father without missing a beat.
I was so worried about you.
(ignoring her tone of voice)
Worried sick. Times like these make a man aware of the
value of life. Every raindrop. Every sunset.
I'm aware of a lot of new things too.
Don't talk now, sweetheart. We're going to get you
home. Safe and warm. In your own bed. God, what a
terrible experience. What terrible people. The things
you must have seen.
(she knows he knows)
I saw so much.
Ben tenses, checks to see if Cooper is listening. He is.
(wanting to sum it all up)
We'll sort it out. Together.
Yes. You and I, Daddy.
That's my girl.
(rises, happy to bring this duel to a conclusion; to
My car's outside. I'll take her home now.
Ben turns back to Audrey. Her tone of voice.
I'd like Agent Cooper to take me home. If that's okay
(flustered, but hiding it well)
Yes. That's Fine. Or ...
(With a cautious look at Cooper)
... we could all go together.
Cooper nods. Wonders what Ben is hiding. And what it is that Audrey knows.
13. INT. ED HURLEY'S LIVING ROOM - DAY
NADINE HURLEY enters, carrying some boxes from Horne's.
Ed, I'm home!
Ed comes out of the kitchen to see her, wearing a teenager's JUMPER DRESS. She plops down a bundle of packages, labeled, "HORNE'S JUNIOR MISS DEPARTMENT."
Isn't this the swellest dress you've ever seen? And you
know, they didn't look at me twice when I used the
credit card - say, Ed, when do my folks get back from
(stoically playing along)
It's neat having the house all to ourselves. Pretend it's
ours. Like we were married or something
We can do that.
(with a wink)
I know some or-her stuff we can do.
You know, silly.
(punches him playfully. It hurts)
You know what I was I thinkin'? Tonight maybe we could
go park by the lake and neck.
Wait a minute. We don't have to go anywhere. Why we
can stay ... right ... here.
Nadine pulls Ed into a deep kiss. Her incredible new strength, her incredible new sex drive. It's all a little dodgy for Big, Ed. A beat. Nadine pulls back, suddenly concerned. Reality keep whispering past her delerium.
When are your parents coming home?
Poor, poor Ed.
14. INT. BLUE PINE LODGE LIBRARY - DAY
START CLOSE on JOSIE PACKARD, lying upon a sofa. Her clothing in disarray, tear tracks on her cheeks. She sits up, unsteady, as if she had been assaulted.
ANOTHER ANGLE reveals JONATHAN, the Asian Man, standing over her. He buckles his belt, adjusts his shirt, looks at her coldly. Boxes are strewn about the floor at his feet; Josie's shopping purchases, now scattered. Jonathan kneels, paws through the baubles and wrapping paper as one might the spoils of a war recently won.
You've kept yourself in fine nick, Josie. Sapphire earrings
... Parisian perfume ... cashmere sweaters, silk blouses.
(quiet and afraid)
He reaches into his jacket pocket, produces an envelope, tosses it to Josie. Josie flinches, the envelope falls to the floor.
A one-way ticket. Seattle, Hong Kong
I have one more day.
Keep what you earn. That was the deal.
(with a look at the purchases)
See how much you can fit into your suitcases. We leave
(afraid to look at him)
Ben Horne hasn't payed me yet; I've been waiting five
Mr. Eckhardt will make it more than worth your while.
You can't make me leave -
Suddenly: Jonathan grabs Josie behind the neck, pulls her forward. Josie shudders, is afraid to resist. Jonathan offers a cold, hurtful kiss. Then he whispers.
(pleading through her fear)
We had an arrangement ...
Jonathan releases her, now turns his grip into a caress, his fingers tracing her jawbone.
Sheriff Truman is important to you. You be to him. You
make him into a fool. But he is important to you
(her silence gives him the answer he needs)
Leave with me tonight. Or I'll kill him.
He doesn't know anything -
Jonathan's fingers move smoothly from jawbone to lips, silence her. It is a gesture both violent and sexual.
The plane leaves at midnight. Be there. Or I will come
for you. And your Sheriff. That's ... the arrangement.
HOLD ON them for a beat.
FADE TO BLACK
END ACT TWO
15. EXT. LAKE - DAY
James pulls up on his bike, approaches Maddy waiting, by the water. Both a little sad. Both wiser.
I think I owe you an apology.
When we were to together you know, just talking ... I felt
something. I just wasn't sure.
(completes his thought)
You looked at me and you saw Laura.
I guess I did.
Want to know somethin' strange? I liked it.
When we were growing up, Laura and I were so close it
was scary. I could feel her thoughts. Like our brains were
connected or something. Our mothers were the same way.
When she died suddenly I had a chance to be Laura. At
least other people saw me that way. Like the way you
looked at me. I liked that too.
It was wrong.
It wasn't one thing or the other. For a while I got to be
somebody different. Now I'm just me again.
James pauses, uncertain. Maddy continues, reassures:
You and Donna belong together. That's the best thing.
It's hard sometimes, you know?
If you really love someone, it's like this bright light is
shining on you every minute. You're right in it. It's great.
But I don't think you can stay that way all the time.
Sure you can.
(looks at her, beat)
I want to. I want to try to make the way my heart feels
last forever. Pretty weird.
Maddy doesn't think it's weird at all. A tender beat. Just a whisper of what might have been between them. Then Maddy offers a confession of her own:
I'm going home tomorrow, James. I came to Twin Peaks
for Laura's funeral. And I stayed for Uncle Leland and
Aunt Sarah, just to help out. But it's time to go ...
So this is goodbye or somethin' ...
I guess it is.
(with gentle humor)
She gives him a sweet kiss. He smiles. They separate.
16. INT. BEN HORNE'S OFFICE - DAY (SUNDOWN)
Ben Horne is pouring two glasses of wine. He hands one glass to someone who is revealed to be Josie.
Jerry brought back a case from some obscure French
vineyard. I've been saving it for just such a special
occasion as this.
(proposes a toast)
To "The Fire."
Horne takes a sip, then steps behind his desk, sits. A more business-like mien.
Now, to what do I owe the pleasure of this call?
I've got the contract with Pete's Signature. I want my
Of course you do.
All of it. Now. Before you get this.
Josie, Josie. Surely a mind as quicksilver as your own can
grasp the complicated position we're in. Fluidity is all.
I can't summon up cash reserves I don't have. But I have
already and will be happy to assure you again that as the
contracted payments arrive from Iceland your percentage
will immediately -
I won't leave this office without my money
Why do I sense this isn't a negotiable position? You're
under some kind of pressure, aren't you?
(a cold warning)
Do not ... play games with me.
Ben smiles, reaches into a drawer, removes a small gold key. He holds it up for Josie to see.
This key unlocks my personal hotel safe. And inside that
safe, I've put together a fascinating dossier on you, dear
Josie, and husband Andrew's little boat that went boom.
So you behave yourself, lady, or, believe me when I say
this ... I will ... bury you.
Josie moves towards him. Shows him a key.
That's a shame. Because if anything unfortunate were to
happen to me, it would lead authorities to a certain safety
deposit box in another city. Inside of which is
enough evident to put you away for three lifetimes.
They'll bury us side by side.
They stare at each other; mongoose and cobra.
Now Josie moves towards Ben seductively, holding the contract.
Your move. Cash.
(pause; an idea)
Happily, I can accomodate you.
He goes back to his desk, retrieves TOJAMURA'S CASHIER'S CHECK and endorses it.
A sign of my good faith. Tokyo bank. Five million
Ben hands the check to Josie. She examines it. Folds it. Puts it away. Hands him the contract.
Well played, Josie.
Ben finishes his wine. She leaves.
17. EXT. LEO JOHNSON'S HOUSE - NIGHT
Establish. And, oddly, the sound of MUSIC from within. Kazoos.
18. INT. LEO JOHNSON'S HOUSE - NIGHT
START CLOSE on Leo Johnson. Wheelchair bound, he wears a festive party hat, Ray Ban shades, and a blank expression. A kazoo hangs from his mouth, it bleats with each jagged breath. But Leo remains perfectly still. On permanent leave in the Land of Nod.
ANOTHER ANGLE reveals Bobby and Shelly. Wearing party hats, piping a jaunty tune on their own kazoos, Auld Lang Syne. Shelly leads Leo to the dinner table, a cake before him. Bobby acts the mocking Master of Ceremonies.
Leo, we figured with you gettin' out and all, well, what
the hell, we sorta wanted to give you a little party. Our
way of saying, hey, Leo Johnson, welcome home.
Welcome home, darling.
Bobby paces, steps behind Leo. Adjusts his glasses. Tweaks his nose.
Cause you're a special guy, Leo. And we just want you to
know that we remember all the great stuff you did for the
ones you loved.
Bobby pulls up Leo's hat, the elastic chin strap stretches, then Bobby lets it snap back down.
Like Shelly here. Who could ask for a more caring and
thoughtful husband? Makin' her clean your dirty clothes.
Wash your dishes. Mop your floors. You're a class act,
man. Top to bottom.
(kneels, speaks right past his ear)
And how 'bout Leo Johnson, wife abuser? There's a guy
you want to party with. Soap in a sock. Internal injuries
and barely leaves a bruise.
(rises, resumes pacing)
But last, and I'm thinkin' not least, we got Leo Johnson,
murderer. Hang your wife up like a piece of meat.
Leave her to burn. Don't let anybody ever tell ya you
don't know how to treat a woman.
Bobby puts his arms around Shelly. Gives her a deep kiss. Both turn to look at Leo in his chair, festively decorated, utterly silent.
(the familiar intonation)
"This is your life," Leo Johnson. You deserve it. Every
Bobby kisses her again, gently pushes her backward, onto the table. Takes one last look at Leo.
Sorta makes you believe in karma, don't it?
Bobby kisses her more passionately, she returns his kisses with equal fervor. He pulls at her blouse, she hurries to unbutton his shirt. But then, she can't help it, Shelly turns to glance at Leo.
Leo remains inert. But the angle, Shelly's guilty conscience, perhaps a flare of light off the Ray Bans, all conspire to suggest movement, some imperceptible shift in Leo's posture.
Shelly SCREAMS. Rolls out from under Bobby.
He moved. I saw him move.
(he reaches or he she pulls away)
No. It's too creepy. It's wrong, Bobby.
Bobby looks from Shelly to Leo. Walks to him.
Okay, Shel. Maybe you're right. I mean I don't wanna
exploit him or nothing.
Bobby carefully removes the party hat, the shades. And the kazoo from Leo's mouth.
Sorry, Leo. We sorta lost control. No need to make
your rehabilitation any more difficult than it already is.
Doc Hayward says you need 'familiar stimulus', so we
just figured, what the hell ... kazoos.
Bobby scoots Leo a little closer to the dinner table, the cake before him, continues, soothes:
Honest, Leo, Shelly and me are gonna do everything we
can to keep you safe and happy.
You want some cake or somethin'? That'd be nice, huh?
With ice cream?
Bobby spoons a big scoop onto the cake as he speaks. Leo does a header into the cake and cream. Shelly gasps.
Bobby pulls Leo's face out of the cake, returns him to a sitting position. Turns to Shelly.
Gee, you gotta be more careful, Leo. Good thing we
didn't light the candles.
A beat. Then, she can't help it... Shelly begins to laugh.
INT. SHERIFF'S STATION - NIGHT
Gordon Cole sits on a bench in the station foyer. He glances at his watch. Adjusts his hearing aids, as if to balance the volume from left to right. Cooper and Truman enter.
AGENT DALE COOPER!
Hello, Gordon. Hope you haven't been waiting too long.
I'VE BEEN WAITING TO SEE YOU HERE FOR
THE BETTER PART OF THE AFTERNOON.
What can I do for you?
NO MATTER WHATSOEVER. NO APOLOGY
NECESSARY. GOT TO MEET THE LOCAL LAW
ENFORCEMENT TEAM. A GREAT BUNCH.
(YOU REMIND ME OF A LITTLE MEXICAN
Truman nods thanks. Cole continues, as sotto voce as he can manage:
CAN I SPEAK WITH YOU IN PRIVATE?
Of course. Harry, may we use your office?
Go right ahead.
HOW ABOUT THE SHERIFF'S OFFICE?
Cooper leads Gordon Cole inside.
20. INT. SHERIFF TRUMAN'S OFFICE - NIGHT
Gordon Cole and Cooper enter.
I BELIEVE IN SECRECY, COOP. I'LL MAKE
THIS FAST. I DIDN'T WANT TO SAY THIS IN
FRONT OF THE MEN.
21. INT. SHERIFF'S STATION - NIGHT
Truman and Hawk stand in the hall. They can, of course, hear every booming word.
IT'S ALBERT'S OPINION YOU MIGHT BE
GETTING IN OVER YOUR HEAD AGAIN.
THAT WORRIES ME, COOPER I FEEL A
CERTAIN RESPONSIBILITY ...
22. INT. SHERIFF TRUMAN'S OFFICE - NIGHT
Back to scene.
Gordon, Albert's wrong.
YOU WENT INTO THE CHUTE IN
PITTSBURGH, COOP. I WANT TO MAKE
DOUBLY SURE THAT DOESN'T HAPPEN
Pittsburgh was a completely different story.
Cole stares at Cooper, obviously having missed what Cooper said. Cooper repeats, this time with appropriate volume.
I WAS WOUNDED IN PITTSBURGH BUT
OTHER THAN THAT THE CASE BEARS NO
I MUST SAY YOU LOOK ALL RIGHT. CIRCLES
UNDER YOUR EYES, YOU COULD CATCH UP
ON YOUR SLEEP, BUT THAT PRETTY MUCH
COMES WITH THE TERRITORY.
Cooper holds up a hand to stop the verbal torrent. Cole stops, unfazed. Now completely focused on his subordinate.
GORDON, I AM TIRED. THERE IS A GREAT
DEAL OF WORK TO DO. BUT MY MIND, BODY,
AND SPIRIT ARE UP TO THE TASK.
WITHOUT A DOUBT. EVERYTHING IS A-
Cole gives Cooper a hearty thumbs up. Cooper responds in kind. Cole withdraws an envelope from his jacket pocket. Truman enters.
Coop, just thought you ought to know we can hear
everything you're saying out there.
ANONYMOUS MESSAGE. SENT TO HOME
BASE WITH YOUR NAME ON IT, COOP.
LOOKS KIND OF FAMILIAR, DOESN'T IT?
Cooper opens the envelope. A small piece of paper falls into view. Cooper examines it. It reads: P to K-4. Cole studies it over Cooper's shoulder.
IT'S A CHESS DEAL.
An opening move. From Windom Earle.
(a look at Cole)
END ACT THREE
23. INT. BEN HORN'S OFFICE - GREAT NORTHERN' - NIGHT
Ben Horne paces while LELAND PALMER sits like a puppy watching him.
I can't be too specific, Leland, but with Jerry on the road
I need you back here. Let's just say I have a much better
sense of what you've been through in the last few weeks.
I appreciate that, Ben. And I appreciate the confidence.
Really I do.
If it weren't for your indictment, I could drop you into
your old slot. Our friendship, our history together. But
first I need to know you're okay.
I am 100%. 110%. Let me prove it to you.
(jumping right in)
We've taken a payment from the Icelanders on
Ghostwood, but a group from the Orient wants in in the
worst way. Jerry's on his way to Tokyo to check them
out. I'm about to take Mr. Big to dinner. We need to
buy a little time here.
First thing we do is re-survey the land. Required because
of the fire. Set up a parade of inspectors, federal, state,
and county 'til Jerry comes back with a full report. If
there is money coming from either direction, we run it
thru the Caymans, pick up some pocket money on the
exchange rate. And if we have to we can drop escrow
into a black hole for six months.
That's my Leland.
The phone RINGS, Ben answers it. Tojomura is waiting for him in the hotel bar. While Ben is occupied, Leland slips over to the bookshelf, a stuffed white fox displayed there. Leland surreptitiously removes a clump of hair from the stuffed animal, secrets it in his coat pocket.
24. INT. BLUE PINE LODGE - NIGHT
Truman hurries into the room, nearly bumps into Jonathan, the Asian man who is loaded down with Josie's luggage. Josie comes out the door from the office, carries luggage as well. Truman tries to read what is happening off of Josie's face.
Harry, I don't believe you have met my assistant, Mr.
Pleased to meet you.
I'll take these to car.
He nods to Truman and exits with the luggage.
What are you doing?
I'm going away.
Pause. She moves away from him.
I always called you from here. It was here I could talk to
you and be everything you wanted me to be.
Where are you going?
I sold the mill. It's over. I'm going home.
Truman grabs Josie, kisses her. She almost loses herself, then pulls away.
I'm sorry, Don't think badly of me.
Jonathan appears in the doorway.
You can't leave.
Are you speaking as the police?
I ... I don't know.
It would be best if you ... forget about me.
Josie picks up her bag. Starts to follows Lee out the door.
I love you.
Josie stops. Truman is down to nothing.
I love you, Josie.
25. EXT. GREAT NORTHERN - NIGHT
26. INT. GREAT NORTHERN LOUNGE NIGHT
Ben Horne and Tojamura take a seat in the lounge after dinner.
Mr. Tojamura, how about a nitecap?
Soda water, please.
(turns to him)
Mr. Horne, allow me to be artless. You have my cashiers
check for five million. I have nothing. Why?
I know so little about you, Mr. Tojamura and this is a
small community. I'm being careful. Trying to be
sensitive to local concerns. You have to understand the
impact this project will have on the community
You waste my time. We shall withdraw.
(backing and filling)
Oh, no. Please, Mr. Tojomura. Consider the position
I'm in. The mill fire has created a raft of unforeseen
problems, psychic as well as financial. It is my duty as
a civic leader to foster the healing process, even at the
temporary expense of my larger business opportunities.
But I assure you -
I know a little about fire. My family was at Nagasaki.
(without a trace of true feeling)
And what a tragedy it was. Horrifying.
From across the room, loud piano playing stops their conversation. They hear a singer.
"I'm wild again. Beguiled again. A simpering,
whimpering child again. Bewitched, bothered, and
bewildered, Am I."
Ben spots Leland across the lounge, singing to TRUDY'S accompaniment.
Excuse me a moment.
"Lost my heart, but what of it..."
Leland moves through the bewildered guests, holding his mic. He stops at a table with an ELDERLY COUPLE.
And where might you folks be from? Twin Peaks? Hey,
that's great, and how about those Steeplejacks, huh?
Leland finishes the song. Police applause.
Thank you. Great Northern audiences are the greatest
audiences in the world.
Ben puts a hand on Leland's shoulder and guides him behind the piano.
Give it a rest, Leland.
(covers the mic)
Temporary insanity, eh, Leland? Let's hope some of
your jury's out there, you're home free.
Tojomura sits at the bar watching. Finds himself sitting next to PETE MARTELL. Pete smiles at him.
(re song, with a nod toward Leland)
"Pal Joey." You like musicals?
Not even "Fiddler On the Roof?" Always makes me
weep like a baby.
I find the adherence to fantasy troubling and
(pondering for an instant)
Yeah, well ...
(clinging to his own oddball beliefs)
Fiddler is something special.
You're not from around here, are you?
I am a visitor.
Can I buy you a sake?
No thank you.
(what he's having)
How about a nice cold milk?
Tojomura frowns. Ecch.
27. INT. CONFERENCE ROOM - NIGHT
Mike the One-Armed Man sits in a chair, swears and fidgets. Cooper, Truman, Gordon Cole, and Hawk stand about him.
Please give me my medicine. I can feel the change.
The drug in your possession contains trace elements
usually found in Haloperidol. Do you suffer from
schizophrenia? Multiple personalities?
It's too late ...
Cooper shows Mike the flyer picture of the Long-Haired Man.
You know this man, don't you? Why did you lie to me
the first time I questioned you?
It wasn't me. Don't you understand? It wasn't me?!!
Mike looks dreadful. Cooper turns to Truman.
Give him the drug.
Cooper turns back to Mike. Reacts. Truman and Hawk SEE what he sees. They freeze. And Mike the One-Armed Man begins a TRANSFORMATION. Mike fights it at first, he arches in his chair as if to fend off some invading spirit. But then his body relaxes completely, his arms fall to the side. Mike's features shift, a shadow passes into his eyes. His head, once bowed, now raises up; he looks Cooper squarely in the eyes.
There is no need for medicine. I am not in pain.
Who are you?
My name is Mike.
What are you?
I am an inhabiting spirit.
Who is Phillip Gerard?
He is host to me.
You spoke to me in my dream. Do you remember?
(a neutral response)
Do you know "Bob?"
He ... was my familiar.
(after a beat)
Where does Bob come from?
There are indications that we come from another world.
Truman and Hawk exchange a glance. They don't believe a word.
What does Bob want?
He is Bob, eager for fun. He wears a smile, everybody
Do you understand the parasite? It attaches itself to a life
form and feeds. Bob requires a human host. He feeds on
fear and life force. I am like Bob. I was once his partner.
(quoting his dream)
"Through the darkness of future past the magician longs
to see ..."
(he completes it)
"... one chants out between two worlds, fire, walk with
But then I saw the Face of God and was purified. I cut
off my arm. And remained close to this vessel.
Inhabiting from time to time for a single purpose.
To find Bob.
To stop him.
(points to the flyer in Cooper's hand)
This is his true face. Few can see it. The gifted and the
Is he near? Is Bob near us now?
For nearly forty years.
A large house made of wood. Surrounded by trees. The
house is filled with many rooms, each alike. But they are
occupied by different souls. Night after night.
Truman and Hawk have no idea what the man is talking about. Cooper does.
The Great Northern Hotel.
FADE TO BLACK