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DRAFT DATE: September 27, 1990
REVISED DRAFT: October 2, 1990 - BLUE
REVISED: October 5, 1990 - PINK
REVISED: October 10, 1990 - GREEN
REVISED/General Distribution: October 12, 1990 - YELLOW
REVISED: October 22, 1990 - CHERRY
Lynch/Frost Productions, Inc.
770 Balboa Boulevard
Van Nuys, CA 91406
1. EXT. PALMER HOUSE - DAY
Establish. SUPER TITLE: Four days later.
2. INT. PALMER HOUSE - DAY
ON the Fireplace MANTLE, a still life: bouquet of FLOWERS, with LAURA'S framed PROM QUEEN PHOTO, on one side, and in a matching frame, a PHOTO OF LELAND on the other. CAMERA MOVES over to the sofa. SARAH PALMER sits with DOC HAYWARD - holding her hand. She's dressed in black, and Doc's wearing a somber suit.
Sarah I'd like you to take this.
COOPER sits in a chair opposite them.
No, Doc, I don't want it. I want to be there. Every
single part of me needs to be there - for both of them.
(looks at Cooper struggling to understand)
Today I bury my husband. Next to my only child. Her
grave is still fresh. There's just a little bit of grass on it.
She stops, numb with grief. Cooper leans in.
Mrs. Palmer, there are things dark and heinous in this
world. Things too horrible to tell our children. Your
husband fell victim to one of them. Long ago, when he
was innocent and trusting. Leland didn't commit these
crimes. Not the Leland you knew.
(a shudder of fear)
The man I saw. That disgusting long hair.
He's gone. Forever.
So is everything dear to me.
Laura and Leland have gone from this life to the next. But
they're with you always. Here ... and here ...
(tapping his head and heart)
The experience we have of people doesn't leave when they
do. If you close your eyes, you can see Laura blowing out
the candles on her birthday cake, Leland mowing the
yard, shaving at the sink ...
(Sarah closes her eyes)
Those moments are yours. Always.
She nods, grateful. Cooper glances at his watch.
She reacts - reality intrudes. Cooper rises, offering her his arm.
Mrs. Palmer, I'd be honored to drive you.
3. INT. HAYWARD HOUSE - LATE AFTERNOON
CLOSE ON the dining room table arrayed with FOOD. Plates are being filled with ham, fried chicken, scalloped potatoes, green beans, waldorf salad, hot rolls, pecan pies, apple cobbler, etc. There's a quiet BUZZ of CONVERSATION.
ANOTHER ANGLE reveals mourners as they gather. NADINE HURLEY stands alone, seemingly preoccupied, waving her hands back and forth over her shoetops. HANK JENNINGS stands at the buffet, loads up a plate of food. CAMERA FOLLOWS Hank as he moves through the crowd.
3. ANGLE ON SOFA
MRS. PALMER sits on the sofa with AUDREY. EILEEN HAYWARD has parked her wheelchair next to them. Hank steps into view. He leans over, sweetly handing Sarah a plate of food.
Here you go. While it's hot.
Thank you very much.
Hank pauses to receive her gratitude, then looks up, reacts. BIG ED HURLEY and NORMA JENNINGS stand together across the room. Talking quietly, sharing some confidence. Hank scowls, watches as Norma steps away. Then returns to the buffet.
(watching Hank walk away)
Do you invite people to these things or do they just show
At a time like this people just naturally come together.
It is a time of reaching out. I remember when my mother
died there must have been a hundred people.
I remember. Donna came to see Laura that night. They
promised they'd be best friends for life. A bond against
Eileen reacts - feeling bad for bringing this up.
No, please, I want to remember. Donna spent the night
that night. Leland said not on a school night, but I said it
I remember that, too.
Eileen takes Sarah's hand, and squeezes it - two mothers loving their daughters.
5. INT. DINING ROOM
Donna's confiding in Big Ed - upset.
This whole town's coming apart. And somehow James
thinks it's all his fault. First Laura, then Maddy. Or
maybe he blames me, I don't know. Two people in love
couldn't cause something like this, could they?
The tears roll down her cheeks - totally bereft. Ed gets out his handkerchief.
C'mon, Donna, honey. He'll come back soon.
Everything's gonna get better.
Nadine rushes over, agitated.
Excuse me, Eddie.
(lowering her voice)
Can you see my underpants in my shoes?
Ed's completely flummoxed. He looks at her gleaming shoes.
I looked down and thought I could see the reflection. Do
you think boys have been looking up my dress?
Sweetheart, I can't see a thing in your shoes. I promise.
Satisfied, Nadine returns to the coffee machine. Donna gives Ed a sympathetic look.
5A. INT. HAYWARD FOYER
COOPER stands by the staircase with Truman and DR. JACOBY. MAJOR BRIGGS joins them.
Welcome home, Dr. Jacoby. You appear to have fully
recovered from your recent setback.
Nothing beats the restorative powers of Hanalei Bay.
Agent Cooper, what's next for you sir?
I'm not entirely sure. I've stockpiled a few weeks of
vacation time. Now might be the time to cash 'em in.
For starters, would you care to join me for an incredibly
pleasant evening of night fishing?
You can fish at night?
Heightens the meditative quality. Beta brain waves
It sounds incredible.
How does sundown tomorrow sound.
I've got a closet full of equipment. You're welcome to it,
Gentlemen, I'm grateful. I didn't know how I was going
to leave Twin Peaks. You've built me a bridge; I'm not
saving good-bye, I'm going fishing.
7. INT. DINING ROOM
DOUGIE MILFORD, septuagenarian publisher of the Twin Peaks Gazette, has squared off against his equally old brother, MAYOR DWAYNE MILFORD, over a plate of food.
What's the matter, doesn't she feed you?
You're just jealous.
Jealous??? I wouldn't want to spend my time changing
diapers. Besides, she's cursed.
With his free hand, Dougie grabs Dwayne's ear, twisting as hard as he can. Dougie bellows in pain, the plate of food stairs to go - Norma grabs the plate, Big Ed grabs the two brothers.
Hey now, c'mon you two, knock it off.
(still twisting Dwayne's ear)
I'm gonna stick his head in the gutter where it belongs!
Dwayne manages a swift kick to Dougie's shin. Dougie yelps, and finally lets go of the ear.
Dougie, Mr. Mayor, gentlemen, I'll ask you to please
remember where you are. And why we're here.
The brothers go in opposite directions - in a huff, Doc walks over to Cooper and Pete, who were watching this.
The Mayor and his brother. Dougie owns the newspaper.
They've had a running feud for about fifty years.
Nobody knows how it started. Something about an old
flame and a rumble seat. I'm not even sure they
The nest's a little stirred up right now. Dougie's engaged
to be married. To a babe.
For the fifth time.
She's twenty-two. He's seventy-eight. Kind of a January-
Remember the first time Dwayne ran for mayor ... when
(who's rejoined them)
Uh, sixty-two, 1962.
Dougie wrote an editorial, came out against Dwayne.
And Dwayne was running unopposed.
Dwayne was dog catcher at the time. So he let all the
dogs from the pound loose in Dougie's house.
Damn dogs ate all the furniture. Broke up Dougie's third
marraige, too, as I recall.
Doc, Truman and Pete enjoy the memory.
(after a beat, a rueful smile)
Harry, I'm really going to miss this place.
They look at each other - Cooper's department is imminent.
FADE TO BLACK
END ACT ONE
NORMA is behind the counter setting up for the day, VIVIAN helping, laying out napkins. Norma catches a look at herself in the MIRROR - then pinches her cheeks to give them color.
You look marvelous. Suffering must agree with you.
Why do you assume I'm suffering?
This business. Your marriage. It's hard on a body, trying
to do what you're doing.
This is my life.
That's the point I'm trying to make.
Norma starts to respond to this latest affront when HANK and ERNIE walk through the front door, all decked out in hunting gear, carrying rifles, which Hank is using to demonstrate.
The sight on yours drifts left; just aim a shade right -
Behold the Great White Hunter. Try not to shoot
yourself in the foot, dear.
(defending his manhood; lying)
Darling, I used to shoot skeet. Didn't I tell you? I was
collegiate champion in the Little Ivy League.
We're after bigger game today.
(first she's heard of it)
When did this little junket come up?
Ernie wants to see wilderness. You know a better way?
You girls mind the home front now.
He takes Ernie's arm and pulls him back out the door - as Ernie waves good-bye to Vivian. Vivian turns to Norma.
Henry seems unusually fond of my Ernie.
Hank says it's like they've known each other in a past life.
(a beat of silence)
It gives me a weird feeling
Hank's always given you a weird feeling.
9. EXT. HIGH SCHOOL - DAY
10. INT. HIGH SCHOOL - DAY
Administrative office. VICE-PRINCIPAL GREEGE sits behind his desk, in conference with Ed Hurley and Dr. Jacoby.
I want to be crystal clear about this. Your asking me to
admit a thirty-five year old woman to the senior class?
Strictly for medical reasons.
(glances at the file)
Well, she never did actually graduate. As I recall, she
left school to marry you, Ed.
You got me there.
We HEAR SOME VOICES outside and Nadine bursts in the door, wearing a little pleated skirt, puffy-sleeved blouse, tennis shoes and socks, hair in a ponytail - deep in teen-land.
Eddie, how much longer? Class is starting!
We'll be right out, Nadine. Just a few more minutes.
Guess what - cheerleading tryouts tomorrow! I saw it on
the bulletin board -
(ushering her out)
That's great, honey. Why don't you practice your splits?
He shuts the door, and sits back down. Greege tries to recover ...
She's certainly trying to recapture that old school spirit.
A classic case of clinical regression. Mr. Greege, what's
important here is that Nadine be allowed to maintain her
own reality. Being eighteen is all she can manage. And it
could be a lot worse. Be glad she's not napping in a crib.
Ed shudders. Greege reaches his decision.
We will admit her under one condition: she has to
perform like a regular student. Ed, my advice to you is
can forget hot dinners. Nadine'll be busy doing her
homework like every other senior.
Ed nods. Grimaces. Another body blow.
11. INT. GREAT NORTHERN COOPER'S ROOM - DAY
FISHING GEAR is arrayed against one wall: rod 'n reel, net, waders, etc. COOPER'S wearing a FISHING VEST while he packs. A black Samsonite is open on the bed - white shirts stacked inside. He softly hums. The door is open behind him. He hears a knock.
Customer relations. Has everything been satisfactory for
you during your stay with us, Mr. Cooper?
Aside from the ugly shooting incident, no complaints.
When are you leaving?
I'm going fishing.
Audrey, I ... in effect I am leaving, yes.
(trying to sound devil may care)
So this is it? You save my life, then break my heart.
Audrey I've explained to you my personal policy of not
getting involved with women who -
I know, I know. I'm a teenager.
And you were involved in a case I was working on.
Someone must have hurt you once. Very badly.
No. Someone was hurt by me. And I will never let that
What happened, did they die or something?
As a matter of fact she did. Would you like to know how?
(after a beat, she looks away; trying to shock)
She was a material witness to a federal crime. We were
supposed to protect her. Twenty-four hours a day.
Myself and my partner, the man who taught me
everything I know about being a special agent. I fell in
love with her. And when the attempt on her life was
finally made I wasn't ready. Because I loved her. She
died in my arms. I was badly wounded. And my
partner, Windom Earle was his name, lost his mind. Do
you need me to be more specific?
Audrey, chastened and horrified, shakes her head.
I like you, Audrey and I care for you. I'll always
consider you my friend.
Friendship is the foundation of any lasting relationship.
It's nice to be quoted accurately.
Well let me tell you something, Agent Cooper; one of
these days, before you know it, I'll be grown-up and on
my own. And you just better watch out.
(likes the idea)
Okay Audrey. It's a deal.
With as much dignity as she can muster, she walks to the door, opens it and turns back to him.
There's only one problem with you. You're perfect.
She slips out, closing the door. Cooper sits down hard on the bed.
Sometimes it's a burden.
12. INT. LEO JOHNSON'S HOUSE - DAY
CLOSE ON BOBBY'S REFLECTION in a MIRROR, trying on a shiny, blue sharkskin suit - a little baggy. We PULL BACK to reveal the mirror is propped up in LEO'S LAP. Several TIES are draped over one of Leo's arms, and a SHIRT hangs from the back of his head.
It's big - but it's bad.
He looks over at Shelly, wearing sweatpants and a man's shirt - tired and depressed.
Leo just got that suit. Fits him a little tighter.
Well it's a shame to let good threads go to waste.
(grabs a BLUE TIE off Leo's arm)
What do ya think- blue or green? I gotta look good. Ben
Horne's a man who notices these things.
You look great. Bobby, take me out tonight. I'll get all
dressed up -
What about the Leo?
I'll get a sitter! Bobby, please, I've got to get out of
here. I'm going crazy!
Sweetheart, lover, listen to me. If I land this "job" with
Mr. Horne, we're on easy street. I'll take care of you in
ways you never dreamed of. Hang in there, and let
Bobby do his thing.
(taking her in his arms)
It's for us, baby.
Over her shoulder, Bobby winks at Leo. He then he kisses her - long and deep. Shelly melts.
She nods, placated. Bobby breaks away.
I gotta ramble. So which is it: blue or green?
He likes the green. My man Leo.
(grabs the green tie and heads for the door)
Doll face, cross your fingers, cross your toes. This is the
The door slams. We HOLD ON Shelly's face, abandoned. She looks over at Leo, holding the mirror, a human valet - and starts to cry.
13. INT. SHERIFF TRUMAN'S OFFICE - DAY
CATHERINE MARTELL stands, looking out a window. Truman walks in carrying a cup of coffee and a small PAPER SACK. Truman sees her, stops short. Nearly drops his coffee.
Forgive my saying so, Catherine. But you're dead.
Catherine shrugs, enjoying his consternation.
Does Pete know?
My husband and I have been duly reunited.
Well, all things considered... Welcome home.
(after a beat)
(shifting gears, more business-like)
Am I under suspicion?
I guess that depends on the answers I get. Maybe you'd
like to call your lawyer.
That won't be necessary. I have nothing to hide.
Good. For starters, where the hell have you been the past
Do you believe in guardian angels, Harry?
Angels? To tell the truth, I'm not so sure what I believe
(voice gathering emotion)
I believe an angel saved my life.
That gets his attention. Catherine braces herself.
I was at home the night of the fire. A man called, a
voice I didn't recognize. He told me to meet him at the
drying shed. A vague threat was implied. So I went
there. I took a gun. That girl, what was her name?
(a memory steeped in melodrama)
She was tied up inside. A bomb went off. The rest is
just impressions, walls of fire crashing, screams. I have
no idea how I escaped. I came to in the woods. Afraid
for my life. More afraid than I've ever been. I dragged
myself through the dark for what seemed like forever,
not even sure if I was dead or alive. As the sky
lightened, things began to look familiar. The woods. A
path. A rock formation. I was flooded with memories
of my childhood. And I thought, well, this is what
heaven is. That's when I saw our old summer cabin in the
distance. I'd walked twenty miles through the night.
Heaven was Pearl Lakes. And only a guardian angel
could have brought me there.
Catherine pauses to wipe the tears from her eyes. Truman leans to grab a box of tissues. Occupied, he doesn't see the brief sneer pass across Catherine's features.
(taking a tissue)
(resuming her artful tale of woe)
We always kept a well-stocked pantry. I went in and
opened a can of tuna fish. And I waited for whoever it
was who had tried to kill me to come and finish the job.
No phone, no newspaper, no television. I tended my
wounds, a loaded gun at my side, terrified that each
moment might be my last.
(swept away in spite of himself)
Why did you come back?
(after a beat)
I ran out of tuna fish.
A little bit of the old Catherine bleeds through. Sarcasm and superiority. Truman takes a closer look. Wonders just what she's really thinking. Where she's really been.
14. INT. SHERIFF'S RECEPTION AREA - DAY
Catherine walks out, just as RICHARD TREMAYNE walks in. He makes a beeline for Lucy.
My dove; great news - I've quit smoking!
What are you doing here?
I wanted to see you. I wanted - to be honest, I wanted to
talk about our bambino.
Lucy, I've been in a gnarly turmoil and do you know
what I've discovered? I, Dick Treymayne, am a terrible,
crashing bore. And what I desperately require in my life
is something, no, someone more important than myself to
think about, to care for. So perhaps you see why that
as a result, I must say, parenthood suddenly appeals to me.
Fatherhood, more specifically. And since I have no skills
in this area, nurturing is a relatively foreign concept, I've
enlisted myself in the "Happy Helping Hand" program;
part-time big brother to some adorable, homeless waif.
Excuse me, are you the Dick Treymayne who works at
Horne's department store?
HAWK walks through reception, glaring at Tremayne.
Yes. And, Lucy, by the way, I have absolute confidence
that the child is mine.
Hawk makes a face, sickened. He rounds the corner, and runs smack into DEPUTY ANDY, who's been listening to all of this. Hawk reacts, but Andy sshushes him. Andy steps into the lobby, confronting Tremayne and Lucy.
Lucy, Dick, I have something, I'd like to say.
(pauses, takes a deep breath, nothing comes out)
Andy, what is it?
I would like to say that we're all in a very difficult
position. I come from a large family. And Mama
always said she couldn't have fussin' and fightin' around
her when she had a bun in the oven. And until we know for
sure who's gonna be throwing that baseball, or building
that doll house we should all be friends.
(extends his hand to a very stunned Tremayne
who finally shakes it - wet noodle style)
So you two go right talk, and I'll see ya.
Lucy and Treymayne stare at each other. Andy backs out of reception and into the hall - practically collapsing into Hawk's arms.
Andy are you crazy?
Hawk, I know Lucy, and I know what'll get her. M orals
and manly behavior.
(pause, an unmanly moment of doubt)
You think I went too far?
They straighten up as Cooper enters past them, carrying fishing gear and goes into Truman's office.
15. INT. TRUMAN'S OFFICE
Truman's making some notes, when Cooper walks in. Truman stands up, smiling.
Harry, I guess this is goodbye. There's a frying pan full
of steelhead trout out there with my name on 'em.
That's why I figure you're gonna be needing this.
Truman picks the PAPER BAG off his desk, and hands it to Cooper; awkward with the emotion he's feeling. Delighted, Cooper reaches into the bag and pulls out an intricately tied FISHING FLY - the brightly colored feathers and tinsel, with streamers hanging down.
When those steelhead are running upstream, they're only
thinking about one thing. Sex. A Green Butt Skunk
breaks their concentration.
(riveted - holding the fly up, admiring it)
A Green Butt Skunk.
Tied it myself. My dad taught me how, and his dad
taught him ...
I don't know what to say ...
(points to the bag)
There's one more thing.
Cooper reaches in and pulls out a TINY PACKAGE, wrapped in tissue. He opens it, revealing a small round badge, like a Boy Scout merit badge; an embroidered DOUGLAS FIR TREE, with a SWORD in its center.
The Bookhouse Boys Patch. We all carry it. I talked to
everybody. We feel you're one of us now.
Harry, I'm honored beyond any ability I might have to
You wear that ... you ever need us, we'll be there.
Harry extends his hand, Cooper grips it. A pact.
16. INT: SHERIFF'S RECEPTION AREA
Truman and Cooper walk into the reception area: Hawk, Andy and Lucy are lined up. Like troops ready for review. Cooper stops, looking at them. Hawk sticks out his hand.
(shaking his hand)
Hawk. If I'm ever lost, I hope you're the man they send
to find me.
May the wind be always at your back.
Cooper moves on to Andy, who's almost in tears.
Deputy Andy, your bravery is exceeded only by the size
of your heart. A rare combination indeed.
They shake hands. Andy's too moved to speak. Cooper moves on to Lucy.
Lucy, I wish you, and yours, the very best. And I hope
you'll invite me to the wedding, whoever it might be.
They embrace. She sniffles. The front doors fly open and PRESTON KING, a black Canadian Mountie in full, red uniform marches in. With him is a man who dresses just like Cooper, SPECIAL AGENT ROGER HARDY.
This is Special Agent Roger Hardy of the FBI -
(seeing him, stepping forward)
Hello, Roger, what are you doing here?
Dale. We've got a problem. Effective immediately,
without pay, I regret to inform you of your suspension
from the FBI.
ON COOPER'S FACE, ever stoic, we FADE OUT ...
END ACT TWO
17. INT. SHERIFF'S STATION - DAY
Truman sits behind his desk, perturbed. Cooper sits opposite him. The Mountie leans against the wall, towering over them. Agent Hardy enters.
Cooper, I suspect you know why I'm here.
(to Truman, re: Hardy)
We're the agents who watch the agents.
(then to Hardy, re: Mountie)
And his presence refers to my crossing into Canada?
Now wait a minute, that was directly related to the case
we were investigating.
Not without my knowing about it it wasn't.
What's the charge, Roger - misfeasance?
Roger nods, serious.
The improper and unlawful execution of an act that, in
itself, is lawful and proper. The rescue of Audrey Horne.
In part. There are also disturbing allegations as to your
motives and your methods.
I'm waiting for some evidence to arrive. We'll convene in
(then re: Truman)
18. INT. GREAT NORTHERN HOTEL - DAY
Bobby confronts Ben's SECRETARY otuside his office door.
Did you tell him it's about the tape he got in the mail
yesterday and it's urgent? Would you tell him that
The Secretary rolls her eyes, and goes back inside. Bobby fumes, now pacing, manic. He doesn't notice Audrey watching him.
A little late for Halloween isn't it?
What are you supposed to be, a lounge lizard?
Shouldn't you be in school?
School numbs my butt. Shouldn't you be?
I'm trying to get an appointment with your father.
What on earth do you want to talk to him about?
A job - business. It's personal.
I didn't know daddy dearest was hiring
He will be - I Just need to talk to him first.
You're up to something, Bobby Briggs. But I'm sure that's
none of my business. Count to ten.
She disappears into her father's office. Bobby's confused but counts anyway.
One ... two ... three ... four ... five ... six ...
The office door opens wide: Audrey smiles, success. Invites him in.
First rule of business is you have to know who to talk to.
(straightening himself up)
Audrey I owe you one.
19. INT. BEN HORNE'S OFFICE - DAY
Opera plays on a boom box. Looking slightly disheveled, Ben sits, stocking feet up on the desk, drinking a milkshake and playing with a weird electronic toy. He doesn't look up.
Mr. Horne, I know you're a busy man and I respect that
and so I'll get right to the point -
I suppose you're here to ask me for Audrey's hand in
marraige or some similar adolescent befuddlement
(looks at him for the first time)
Well, what then?
Bobby sees the ENVELOPE he mailed Ben, laying unopened on the desk. Bobby picks it up, rips the seal, and takes out a CASSETTE TAPE.
I already have somebody to open my mail, kid.
Don't worry; it's from me. This'll just take a second.
Bear with me here, Mr. Horne ...
Bobby nervously tries to fumble the tape into the boom box on Ben's desk. Ben calls on his intercom.
Samantha, could you bring in the fly swatter, please?
There's a "bug" in my office.
20. INT. GREAT NORTHERN HALL/LOBBY - DAY
Two HOUSE SECURITY MEN escort Bobby out of the hotel. He's been roughed up. In the lobby, Audrey looks over and sees Bobby pass by, flanked by the thugs.
Bobby! Herman, Donald; I really don't appreciate friends
of mine being treated like this. I may have to speak to
Father about this.
Her eyes shoot daggers. They're afraid of her. They let go of Bobby.
Run along, boys.
The Thugs move off.
(to Thugs, playing the tough guy)
And you can tell your boss that tape's not the original.
Audrey clocks this last bit of info. She and Bobby walk away, arm-in-arm.
I can't imagine what all this was about.
Audrey, that's twice you've saved my bacon. We could be
talking sainthood. Anything I can do for you?
How about an ice cream?
Cup or cone?
Cone. I like to lick.
21. INT. SHERIFF'S STATION CONFERENCE ROOM - DAY
The VIDEOTAPE of Cooper, recorded at One-Eyed Jack's, plays on the TV MONITOR Hardy and the Mountie sit on one side of the table, Cooper sits on the other.
What was the purpose of your first visit to One-Eyed
To gather information about the murder of Laura Palmer,
from, this man, Jacques Renault.
Who you apparently lured back across the border, where
he was wounded during arrest and subsequently murdered
that night in the hospital.
Renault was a material witness to Laura's murder. Leland
Palmer confessed to Jacques' murder, which I believe he
commited to prevent Renault from ever testifying against
him. Are you judging me responsibile for that?
Coooper looks at the Mountie. He takes TWO PHOTOGRAPHS out of a manilla envelope and tosses them in the middle of the table: one of BLACKIE'S DEAD BODY, the other of DEAD EMORY BATTIS.
Let's talk about your second visit ...
To rescue Audrey Horne from her kidnappers.
Who both ended up dead.
Hardy gives Mountie a look - he'll handle this.
You know procedure. Crossing the border without
contacting Canadian authorities is a serious breach.
Under any circumstances.
I'm not disputing that. Is it the Bureau's position I'm
responsibile for these deaths?
That's what we're trying to determine. This entire
matter has been brought to our attention because Mountie
King was in the middle of a sting operation to nail this
man, Jean Renault.
A photograph of Jean Renault is displayed.
We worked six months to set this up; one night you march
in, Renault escapes, these two are dead and the cocaine we
were using to set him up is stolen from the premises.
I don't know anything about cocaine. But you've
miscounted; three people were killed., Jean Renault
killed Blackie, I didn't know until now about the Battis
murder. And a bodyguard who turned his gun on me was
killed in self-defense.
Hardy looks at the Mountie - who's been thrown by this.
So we've got crossing jurisdictional borders, three dead
bodies and international trafficking of drugs.
Roger, I admit to the border crossing. You already know
the extent of my involvement with the killings. I hope
you know me better than to suspect I'd have any part of a
(eyes boring holes)
I won't know that until you prove it, Cooper. I will tell
you DEA's been called in to investigate. And you've got
twenty-four hours to assemble your defense; in the
meantime I'll require that you surrender your gun and
Pause. Cooper removes his GUN from the shoulder holster, and lays it on the table. From his shirt pocket he produces the case containing his BADGE, places it next to his gun. Hardy nods to the Mountie; he opens the door, summons Truman in, who's waiting just outside. Truman sees Cooper's badge and gun. Cooper stands, smiles at Harry. He walks out, head high.
(motioning to a chair)
Sheriff, I'll need to ask you a few questions.
Let me begin by saying that whatever Agent Cooper is
guilty of will not be held against you; your cooperation
will be very useful - and greatly appreciated by the FBI.
If I understand the law correctly, you (to Mountie)
need extradition papers in order to get a statement from
me. And you (to Hardy) need a subpeona from a judge.
Unless either of you have the appropriate paperwork -
you can take my cooperation and stuff It.
That attitude will not serve you or Agent Cooper -
It's not an attitude, it's a promise. I've had nothing, but
respect for the FBI since the day Cooper walked into my
office. He's the finest law man I've ever known; check
that, the finest man period. I don't know what
information you have or where you got it from, but I can
tell you this ... it's dead wrong
Truman turns on his heels and walks out.
22. INT. HIGH SCHOOL GYM - DAY
CLOSE ON an animated TEENAGE GIRL'S FACE - cheering.
STEEPLEJACKS, STEEPLEJACKS, ROLL 'EM!!!!
ANOTHER ANGLE reveals CHEERLEADING TRYOUTS. Nadine is next in the line of AUDITIONING GIRLS. The P.E. TEACHER and Vice Principal Greege sit behind a table, judging. Behind them hangs a BANNER for the "Twin Peaks Steeplejacks".
TWO WRESTLERS work out in another corner of the gym, under the WRESTLING COACH'S supervision.
The Cheering Girl finishes off with a big jump in the air, touching both toes. The Pep Squad applauds. Nadine is waved forward and eagerly approaches the JUDGES' TABLE.
Greege nods to the P.E. Teacher, who, trying to act normal, writes this down.
I'll need your permission slip, please, Nadine.
Signed by your parents.
Oh. My parents are in Europe.
TWO GIRLS in the line snicker. Greege intervenes.
She's okay. I've spoken. to her hus - to her guardian.
Alright, Nadine, let's start you off with tumbling
Nadine bounces over to center stage. A MALE CHEERLEADER stands by to spot her. He rolls his eyes - condescending. Nadine, grinning ear-to-ear, walks backwards. Further and further, as if this were her routine. We HEAR a few laughs.
With a little jump, she starts running forward, and does a FRONT FLIP, followed by another FRONT DOUBLE FLIP, into a series of CARTWHEELS, landing right in front or the aghast MALE CHEERLEADER. She picks him up by his waist and tosses him into the air.
And he indeed SPINS through the air, across the gym, landing on the matt on top of the wrestlers. The Coach looks from the hapless cheerleader over to Nadine - very impressed.
Nadine beams proudly, barely out of breach.
23. INT. LEO JOHNSON'S HOUSE - NIGHT
SHELLY'S in the kitchen, brushing LEO'S teeth with an electric toothbrush. The whirring produces quite a bit of foam around Leo's mouth, running down his chin. The PHONE RINGS.
I'm not answering -
No! All day, not one word.
It RINGS again, and this time Shelly turns off the toothbrush, slamming it down on the counter. She hops over Leo and answers the phone.
Johnson's Nursing Home.
Well that's just great, Bobby. I'm glad things went so
well. This must've been the longest meeting, in history.
CAMERA MOVES down, shooting Shelly through the spokes of Leo's wheelchair.
Yes, I still love you. Bobby, I've been thinking, we're
really gonna have to put Leo somewhere - in a home.
The wheel of Leo's chair turns one full revolution, rolling slowly through the frame, and stops.
It's not worth it. I don't want the money. I want a life.
Shelly turns and starts to sit; stops, looking at Leo. Something's wrong, but she can't place it.
Bobby, I think he moved. I swear, Leo moved.
Okay, maybe I am losing my mind. That's what I've
been trying to tell you. Get over here tomorrow, first
thing. Please. Bye, lover.
Shelly hangs up, and goes over to Leo - the foam still hanging from his mouth - looking quite mad. Shelly looks at where she thought the chair was, and where it is now. Could it be? She shakes her head. A long day. Shelly moves around in front of Leo, peering cautiously into his eyes.
Leo Johnson, are you in there?
Nothing. Shelly turns away, reaching for a towel. As Leo BLOWS A BUBBLE.
END ACT THREE
24. INT. DINER - NIGHT
Cooper sits in a booth, drinking coffee, and studying a small PORTABLE CHESS BOARD, wearing jeans and a flannel shirt. Truman walks in, relieved to see Cooper, sits opposite.
Who are you playing, with?
Windom Earle. A formidable opponent.
Cooper moves his pawn, then writes his move down on a piece of paper. He puts the note in an ENVELOPE, already addressed to Windom Earle, Personals Dept., USA TODAY.
I've been looking all over for you.
I went to the library. Took a walk. I got hungry.
What was at the library?
William O. Douglas. A man from this neck of the
woods, and one of the great ministers of justice. I was
seeking, inspiration and I found it there.
Preparing your defense?
Yes. Douglas said in times of trouble a man should
immerse himself in wilderness. I'm going fishing.
(rises, lays his money on the counter)
You know, Harry, somewhere between William
Douglas and the Dalai Lama lies the perfect man.
Their attention is drawn to Norma, angrily folding up all the tableclothes and dumping them in a box behind the counter.
Norma appears to be quite upset this evening.
That damn food critic finally wrote a review. Ran this
afternoon in the Seattle paper.
To call it scathing would be kind.
Cooper reaches for his check. Truman takes it.
Let me. I'm the one who still has a paycheck.
Harry, you're aces. Excuse me.
(rises, moves to Norma)
Norma? You know what they say? A critic is a legless
man who teaching running.
Did you read it?
It doesn't matter; you couldn't keep people out of here if
You're very nice, to say so. Thanks.
(as Cooper and Truman head for the door)
Harry, is it hunting season?
Not unless they've switched months on the calender.
Norma chews that over. Cooper and Truman exit.
Harry, it's time to put that Green Butt Skunk to work.
They exit, passing Vivian just entering. She moves to Norma at the cash register.
What's happened to the tablecloths?
The critic has spoken. I feel like a fool.
Darling, pick your lower lip up off the floor. It wasn't
Mother, don't tell me how to feel. This business is all I
have. I just want to keep my regular customers. I don't
care if anyone else ever comes here again. And they won't;
not after "if you're looking for local color stop in, but for
good food - give this one a wide berth."
It said "local charm," not color.
What did you do, memorize the piece of crash?
No. I wrote it.
You might as well know so we can get this particular
melodrama over with. M. T. Wentz, c'est moi.
I can't belive it. Is that why you came to visit. To run
me into the ground?
Norma, darling, I wanted to write a good review, but it's
just not a good restaurant. I can't violate my professional
Ethics? I'm your daughter -
Some standards have to prevail over -
What about standards for common decency? Kindness?
Or don't those fall within the standards of your
Of course they do -
No, the proof's in the pudding. Even if you find it
inedible. I wouldn't treat a dog like this, much less my
As usual, you're over-reacting -
Am I? Maybe I am. But it's my reaction. I'm the one
who's hurt here and how I react is none of your damn
Dear, be sensible -
I am being sensible. Leave this place, now and get out of
my life. I 'm not going to lei you hurt me anymore.
She stares at her. Vivian grows cold and leaves. Norma pours herself a cup of coffee. Tears fall, her hands shake, rattling the cup but she knows she turned a corner.
25. INT. ONE-EYED JACK'S - BLACKIE'S OFFICE - NIGHT
Hank and Ernie, still in hunting attire with rifles, are escorted in by a couple of PICK-UPS.
(giving the girls some chips)
Thanks, kids. We'll take it from here.
(the girls smooch them and exit)
Bagged our limit today, Ern, without firing a shot.
Welcome to the Fun Zone.
I'll remind you I'm a married man. Recently married.
To an extremely wealthy woman. And as we discussed
we're real eager to get into business with you -
I will not steal my wife's money!
Stealing? Who said anything about stealing? You're the
computer whiz, old buddy, hit the keyboard, she won't
even see a ripple in the pond. Look at it this way, Ernie,
if you don't help us, how long do you think she's going to
be your wife?
(Hank has him in half-serious headlock)
Vivian will throw you out of the house, then my partner
will kill you. So I suggest you get with the program,
Jean enters silently. He looks at Ernie, not liking what he sees.
This is him?
(turning to present Ernie)
Ernie, meet Jean Renault. Met him in the woods one
night when he stuck a gun in my ear. Lucky for me I had
my state prosecutor's badge with me. Don't leave home
(Ernie pales, this isn't funny)
Jean, this is the Professor. What he can do with numbers
could make a thousand dollar hooker blush like a nun.
(to Ernie, laying it out)
A recent investment opportunity fell through, leaving us
in a cash-poor position. We need $125,000. Immediately.
(realizing the fix he's in; lying)
I understand completely.
Do you, Professor?
This, this will not be difficult. Just so you know a little
bit more about me, I've been associated with a number
of the most prestigious financial institutions in the
country; I've laundered massive amounts of money, I've
brokered tremendously large deals for the Columbian
and Bolivian industries. In other words, I'm wired in.
Hard-wired I'm your man. Definitely. Definitely your
You said the magic words.
Jean turns around and walks out. Ernie looks at Hank - is this it, I'm a goner?
Nicely done, Ernie. Are you making this up?
(of course he is)
No, no, no, no.
Jean returns, bringing with him Sergeant King, the Mountie, now in civilian dress. He carries a briefcase.
(to Mountie, re: Ernie)
The Professor. Our new broker.
The Mountie lays out his briefcase, opens it, revealing multiple KILOS of COCAINE. Ernie's eyes bug out. Hank pats him on the back.
You can handle this puny little load, can't you Ernie?
(showing the pistol in his belt)
He'll take care of it for us - won't you Professor?
Yes. Yes, yes, yes.
Hank, take the Professor down to the tables. I understand
you have quite a system; roulette, craps. Very scientific.
I did, I used to, I don't, I don't gamble anymore.
We're all gamblers here, Professor. Enjoy life.
A nod to Hank, who quickly ushers Ernie out.
I don't like the look of him.
We'll see, won't we?
(removing one kilo)
Four for us, one to put the last nail in Cooper's coffin.
(taking the key)
I'll call you when it's done.
Where will you put it?
His car. We won't need much. A trace.
I want him crucified.
The Mountie nods. Exits. Stay on jean.
26. EXT. HARRY TRUMAN'S LOG CABIN HOUSE - NIGHT
27. INT. HARRY TRUMAN'S - NIGHT
A SOUND outside. Truman sits bolt up right in bed. He listens. Hears footsteps. He takes his pistol from the holster hanging on the headboard, moves cautiously towards the door in the darkness. He sees a shadow of movement outside the window against a curtain. Then a rattle at the door, someone trying the handle.
Hefting the gun, Truman moves to the door, stands to the side, then pulls the door open inwards. JOSIE PACKARD falls into the room, into his arms. She's exhausted, faint, a wound on her forehead.
Help me ...
She slips into unconsciousness. He holds her.
13. EXT. CAMPSITE - NIGHT
Surrounded by towering Douglas Firs, Cooper and Major Briggs sit by their campfire - putting MARSHMALLOWS on sticks. FISHING GEAR dries against a tree. The remains of their dinner, TROUT BONES and HEADS, lay on tin plates.
Major this is a fascinating concept. The other side of
love is not hate - but fear?
Absolutely. And fear is the absence of love.
For yourself as well.
All perceptions or conditions must begin with the self.
They put their marshmallows over the fire.
So when I let fear into my life, I'm not loving myself.
You are in direct contradiction to a state of loving
acceptance; incapable of it. Direct denial.
Major Briggs, if I may ask a personal question ... do you
Cooper's fascinated. He rotates his marshmallow in the fire.
Then it stands to reason that Leland Palmer didn't.
One could draw that conclusion. There are powerful
forces of evil in the world. It is some men's fate to
confront great darkness. We each choose how to react. If
the choice is fear, then we become vulnerable to darkness.
Cooper looks around, at the literal darkness surrounding him.
Tomorrow I face my own demons, Major Briggs. But,
thanks to you, I believe I will do so without fear. I
carefully considered my actions before proceeding. I
went forward. I must accept the consequences.
You can do no more.
An owl hoots somewhere in the woods. They look for it. A reflective pause.
Major, I think about "Bob." If he truly exists.
I have pondered the some question continuously since this
horror was revealed to us.
I try to imagine him, "it", out there somewhere, lurking.
Searching for prey. Terrible.
Yes. But remember, we have a choice; to think about it in
that way, to fear it, imparts power to evil. There are ways
to resist. You, Sir, are blessed with certain gifts. In this
respect you are not alone. Have you ever heard of the
(takes a bite of marshmellow)
The White Lodge. No.
Excuse me, mine is now seared to perfection.
Briggs pops the whole blackened marshmallow into his mouth. Cooper rises.
I'll be right back, Major. Call of nature. There's nothing
quite like urinating in the open air. I look forward to
hearing about the White Lodge.
The Major, his mouth full, gives a "thumbs up."
29. EXT. WOODS - NIGHT
Cooper moves behind a tree to urinate. An OWL SCREECHES.
ON THE TREE BRANCHES above him, two luminous EYES shine out of the darkness.
Cooper heads back to camp. There's another OWL SCREECH - much louder, more chilling. And between him and campsite, a flash of WHITE LIGHT.
30. MAJOR BRIGGS
Looking into the white light - surrounding a TALL, DARK, CLOAKED FIGURE, face obscured by a cowled hood.
Cooper hurries back to camp, fighting fear with every step.
Major? Major Briggs?
He stops. A new marshmallow is on Briggs' stick, laying in the fire. The MARSHMALLOW IGNITES. Briggs is gone. Cooper looks up, past the fire, toward the white light that first drew the Major's attention.
Cooper runs toward the light, up a dark hill. But as he nears it, the light suddenly goes out. HOLD ON Cooper for a beat.