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FIRST DRAFT: July 17, 1990
REVISED: July 20, 1990 - COMPLETE BLUE SCRIPT
REVISED: July 24, 1990 - PINK
REVISED: July 27, 1990 - GREEN
REVISED: July 31, 1990 - YELLOW
REVISED: Agust 1, 1990 - CHERRY
REVISED: August 3, 1990 - GOLDENROD
1. EXT. TWIN PEAKS HOSPITAL - DAWN
2. INT. RONETTE PULASKI'S HOSPITAL ROOM - DAY
SHERIFF TRUMAN is turning off the alarm on the INTRAVENOUS feeding monitor, the pole holding the intravenous bag is lying on the floor, the bag still connected to it. A screaming RONETTE is being restrained by two NURSES, as DALE COOPER and ALBERT ROSENFIELD arrive in the doorway.
Ronette got out of bed a while ago, pulled out her IV -
Cooper moves to her. Albert examines the IV bag. The contents are tinted blue.
Looks like dye.
Cooper takes out a pair of tweezers.
Hold her down, Harry. Albert, get your microscope.
Albert opens his case, takes out a FIELD MICROSCOPE. Cooper takes out a pair of tweezers, lifts Ronette's left hand. Her ring finger is bruised and bloodied under the nail.
Hold on, Ronette. Hold on.
Cooper goes in with the tweezers. She screams.
He's been here.
We had a 24 hour guard.
Nevertheless, he did this and he tried to taint her IV.
Maybe her screams scared him away.
Maybe she heard a Sousa March and was looking for her
baton. I'll do a work-up on the IV.
It was our man. The letters were never made public.
(turns to face them)
Fellas ... let's stand together for a moment ... it's time I
mentioned something to you I'm not sure ...
but I believe I was visited by a Giant.
(they look at him)
In my room. Twice. He gave me three clues; the first
had to do with Jacques in his body bag and came true
almost immediately. The second was "the owls are not
what they seem," and the third was about a man who
points without chemicals.
They look at him.
Any relation to the dwarf?
You were visited by a giant?
4. EXT. HAROLD SMITH'S APARTMENT - DAY 4.
DONNA HAYWARD stands nervously outside the door. From inside we can hear a piano concerto. Chopin. Before Donna can knock, HAROLD SMITH opens the door. He is handsome, late 20's, dressed comfortably. Smith seems to be inspecting her in a gentle, caressing way.
You're wearing a different dress than yesterday. A better
color for you.
(extending, a hand)
I've forgotten my manners. I'm Harold Smith.
I guess you know who I am.
Smith nods, swings the door open wider. Donna walks into his apartment.
5. INT. SMITH'S APARTMENT - DAY
The front room of Smith's apartment. Neurotically neat, but comfortable. An interior window looks in on an inner room, obscured by curtains.
Please, sit down. Would you like some lemonade? I
also have a little apple butter and some saltines.
Smith sits. She sits across from him.
Don't be nervous, Donna.
I'm not nervous. I'm curious.
Curious about my relationship with Laura.
Why did you send me that letter?
Laura wanted me to get in touch with you if anything
ever happened to her.
She said you would ask a lot of questions.
A Chesire cat smile. Donna decides to slow down.
You don't seem much like a shut in.
You mean, politely, what's the matter with me?
I don't like to go outside. I ... can't. Do you have a
judgement about that you'd like to express?
Donna notices a piece of paper sticking out from under what appears to be the solid edge of a bookshelf
Laura said you were very fair-minded.
If you knew her so well, why didn't she ever mention you
She liked to think of me ... as a mystery in her life.
Then why did you call me?
I am ... I used to be a horticulturist. I raise orchids.
That's why it's so warm. in here. Laura always admired
them. I wrote you because I wanted to know if you'd be
kind enough to place one of them on her grave.
Excuse me just a moment.
He goes into an adjoining room. The door is heavy, with a substantial lock. Donna rises quickly, goes to the bookshelf, tugs on the piece of paper. It won't budge. She notices a gap between the shelf and the wall, moves closer to take a look, then turns abruptly as the heavy door opens behind her and Smith re-enters, carrying, a beautiful orchid plant. He conceals any concern about her movements.
This is a hybrid; a lady-slipper.
Take it, please.
My last gift to Laura.
That's very kind of you, Mr. Smith.
Harold. Laura was very kind to me.
Why don't you like to go outside?
If I knew the answer to that ...
(looks at her, a sweet, aching look of longing;
then has to look away)
Forgive me ...
You're every bit as lovely as Laura said you were
(intrigued, likes him)
I'll be back.
I'll be here.
He smiles. She smiles, exits.
6. SHERIFF'S STATION - DAY
7. INT. CONFERENCE ROOM - DAY
Cooper is taping the poster of the LONG HAIRED MAN on to the blackboard. Below the poster he writes the letters B, R, and T. Truman and Rosenfield watch.
R-B-T: I believe these letters and the giant's clues are in
some way connected to the long haired man.
(writes the names in a circle around the poster.)
Mrs. Palmer saw him in a vision. She called this
morning to say Laura's cousin, Maddy Ferguson, has seen
the man twice in the last three days, also in a vision. I
saw him in my dream.
And Ronnette -
- saw him physically in the train car. Four of us have
seen this man in different forms.
(draws a line from one name to another)
The path is a psychic link that will lead us to this man.
So what did the giant sound like? Kind of a big
No. He spoke very softly, directly and distinctly.
And you gave him the beans you were supposed to use to
buy a cow.
(grins holds up his hand)
No, I gave him my ring.
Albert deadpans, opens his briefcase on the table and goes to work.
Confining my conclusions to the planet Earth ...
Albert takes out THREE SMALL PACKETS OF COCAINE.
The cocaine you found in James Hurley's gas tank is a
match to what we found in Jacques' car and at Leo
Johnson's house. Get the picture?
I've even got the frame.
The handywork of Leo Johnson, currently appearing at
Calhoun Memorial Hospital as Mr. Potato Head.
(retrieves a FLESHWORLD from his case)
The boots are a CircleBrand rare work boot. The ones
we found haven't been worn or tampered with. The
letter "B" from Ronette's finger was cut from a copy of
Fleshworld. A perfect match. This edition features a
swingers club for double amputees. No comment.
Albert points to the poster of the long-haired man.
We sent the portrait of our long haired man to every
agency from NASA to DEA and came up empty. This
cat is in nobody's data base.
A man four of us have seen here in Twin Peaks.
(takes out three crushed bullets)
By the way, you were shot with a Walther PPK. James
(he smiles, starts to load up his case)
The trail of who shot you is cold, Coop, but I hoovered
some fibers from the corridor outside your room. My
ticket out of Trolleyville. I'm headed back to the lab.
Albert snaps his briefcase closed.
Anything we should be working on?
Practice walking without dragging your knuckles on the
He moves to leave, but Truman blocks his path.
Albert, you make fun of everyone and everything and
then act like you deserve an award for it. That's just not
right. Get out of here before I do something I won't
While I will admit to a certain cynicism, the fact of the
matter is I'm merely a naysayer and hatchet man in the
fight against violence. I pride myself in taking a punch
and would gladly take another because I choose to live
my life in the company of Ghandi and King. My
concerns are global. I reject absolutely revenge,
aggression, and retaliation. The foundation of such a
method is love. I love you, Sheriff Truman.
Albert leaves. Truman turns to Cooper. A beat.
Albert's path is a strange and difficult one.
9. INT. RECEPTION WAITING AREA - DAY
Albert exits past reception where LUCY MORAN labors over the letters on the scrabble board in airing area. Cooper exits the room, finds HAWK with JAMES HURLEY, who's just up from lock-up. Cooper nods to Hawk, Hawk moves off.
James, you aren't going to be charged. The cocaine in
your bike did not belong to you -
That's what I was trying to tell you -
James, I don't want to see you down here again.
You're a Bookhouse Boy. You have an obligation to obey
the law. And you have people around you to turn to when
you're in trouble; that's an obligation, too. Stop trying
to figure it all out by yourself. Find somebody to talk
to. Talk to me if you want.
(silence; disappointed and angry)
Go home, James.
James nods and slowly exits. Cooper moves off.
How's it going, Lucy?
75 words, wait a minute, 76 words ... 77. Oh, oh, that's 78.
... going good.
A thumbs up and Cooper's down the corridor. Hawk wanders over to see what Lucy's up to.
Agent Cooper has asked me to find as many words as I
can that contain the letters B, T, and R.
Let's see, I used to be pretty good at this.
RICHARD TREMAYNE thirties, stuffy, in an ascot and tweed jacket, enters the station. He stops to look at the poster of the LONG HAIRED MAN, next to a NO SMOKING sign.
My lunch date is here.
This is the date that made Andy phone in sick?
Lucy nods. Tremayne inserts a cigarette into a holder, turns, sees Lucy, moves to them.
Ah, Lucy, there you are.
(sees the game)
Lucy, I have always considered you a woman of letters.
Tremayne enjoys his own wit, lights up. Hawk looks at Lucy's letters. Makes a suggestion.
Hawk takes Tremayne's cigarette holder and snaps it in half.
(stunned, but chicken)
I say ...
I don't believe we've met. Richard Tremayne, Horne's
Department Store, designer men's wear?
(still in Tremayne's face)
Hawk goes to the conference room. Tremayne focuses on Lucy.
Did I do something to anger him? Not that native
people don't have enough reason to be angry per se -
(cold and neutral)
Let's go to lunch.
Capital. I'm famished. We'll go dutch.
On their way out, LELAND PALMER hurries in, carrying a rolled-up wanted poster.
Lucy, is Agent Cooper here?
10. INT. CONFERENCE ROOM - DAY
Truman and Cooper are back on the giant. Hawk listens.
So how tall was he exactly? Did his head hit the ceiling?
I believe they have ten foot ceilings at the Great
Leland hurries into the room.
I'm sorry I hope I'm not interrupting -
What is it, Leland?
(holds up the poster)
This man. I know him.
When I was a boy my Grandfather had a summer house
up at Pearl Lakes, we went there every year -
You knew him there.
Yes. Now, I know he wasn't a Chalbert. They were our
neighbors on one side. On the other side was a vacant
lot, then there was a white house. That's where he lived.
Can you remember a name?
I think ... I think it was Robertson.
Cooper looks at the letters on the blackboard, then back at Leland.
Robert. Robertson. That's what the letters are spelling,
Hawk, get up to Pearl Lakes, find out who was in that
other house -
Not many folks up there this time of year.
I'll do what I can.
Hawk exits. Leland takes out a match book.
Something else. He used to shoot matches at me. He'd
say, "Do you want to play with fire, little boy?"
He takes a match out of the book and puts it into his hand so that as he lights the march it will shoot out of his hand. He shoots a match that hits the window.
That's our man.
END ACT ONE
11. INT. GREAT NORTHERN LOBBY - DAY
Cooper walks thru the busy lobby heading towards Ben Horn's office. The ASIAN MAN watches Cooper move thru the Lobby. As Cooper gets closer the man slowly pulls a newspaper up to cover his face.
From the other direction, BEN HORNE enters, talking on a cellular phone.
I can't hear you, Jerry, turn the radio down, Jerry ... well,
then go to a room that doesn't have a live orchestra.
(pause, lowering his voice)
Much better. Listen, can you hold off Einer and the boys
till the documents on the mill are executed? Maybe a
twenty four hour troll hunt, a big circle, can you do that
for me, Little Brother? ...
Fiske, fiske. Gotta go, Jer.
Ben hangs up. They speak quietly in a corner of the lobby.
Sir, have you seen or heard anything from your daughter?
Not since I spoke to you yesterday.
She called me late last night.
She didn't say. She referenced seeing me in a tuxedo. I
Was wearing a tux here at the hotel the night I was shot.
Mr. Cooper, as I told you, Audrey's gone missing
before on a semi-regular basis -
Mr. Horne, let's speak frankly. Is there trouble at home?
Do I detect a note of something outside the scope of
Audrey and I have struck up an acquaintance.
Acquaintance. Cooper, here's the best advice you're
going to get all week. Men fall under the spell of
Audrey's charms like ducks in a shooting gallery. It's
not pretty. If you don't want a load of buckshot in your
tailfeathers, park your jalopy outside somebody else's
(a slight retreat)
If I've overstepped my bounds, I apologize. I assure
you I'm here with nothing but the best intentions.
That much is achingly clear and not unappreciated. I'll
leave a lamp in the window and you're my first call
when she comes home to roost.
No, thank you.
Horne moves on. Cooper exits, biting his tongue in self-reproachment. The Asian Man puts down his newspaper and follows Cooper out of the hotel.
12. INT. ROOM AT ONE-EYED JACKS - DAY
A 52 PICK-UP wraps a rubber tube around the arm of AUDREY HORNE who is gagged and tied into a chair. EMORY BATTIS operates a video camera focused on Audrey. A black sheet hangs behind so that it is impossible to tell where she is. BLACKIE O'REILLY tests a syringe, while watching the video feed on a monitor.
That's good, Emory. She's ready for her close-up now.
Battis zooms in as Blackie injects Audrey with the syringe, she jerks in her chair. The Pick-up unties the tube, Audrey fights the drug, then relaxes with a moan.
Blackie moves away. A nervous Battis moves to her, speaks quietly.
We should get rid of her. She knows I sent Laura up
here, she knows her father owns the place -
With what Ben Home will pay to have his funked-up
little daughter back, I'll buy the bastard out.
Look, I don't want to lose my job.
(a little laugh)
Honey, if this doesn't work, you'll lose a lot more than
We can't do this ourselves. Ben Home is dangerous.
She grabs him, holds the syringe to his throat.
Listen, you spineless gasbag, you're in it, up to your
shiny pate. Stop whining and do what I tell you. We'll
have all the help we need.
He nods. She disposes of the syringe. On the tv Audrey's eyes roll back into her head as the heroin takes over.
Look at her. Riding the white tiger. In a few days she
won't want to come down. Just like her father did to
13. EXT. DOUBLE R DINER - DAY
14. INT. DOUBLE R DINER - DAY
Tremayne wolfes down his meatloaf. Lucy nibbles.
- of course, most of the time I keep my department
running like a top, but last Christmas was such a
madhouse, absolutely no time for paper work, I had to
literally invent a system for memorizing customer
orders using mnemonic triggers. For instance you've got
someone looking for argyle socks; that would be file"s"
for sock, subheading "a" for argyle. Now it gets tricky;
a request for a vulcanized macintosh , for instance, is it
heading "r" for raingear or "w" for waterproof? My
familiarity with inventory has me leaning towards "r" -
Richard happily digs into his meatloaf.
Lucy, may I ask you something? Do you find it odd
that I don't switch my fork when I eat, that I bring it to
my mouth with my left hand?
My mother called it "piling."
Actually, it's not odd at all, it's the European way.
He demonstrates and smiles. Pause.
It's been six weeks, Dick. You said you were going to
I know, I ... lost your number.
I work for the Sheriff. You could dial 911.
Lucy, I do apologize. I've been so busy, honestly, I've
hardly had time to feed my cat.
We went out every Thursday for three months. You made
promises. You said you were going to take me to dinner
at the Space Needle in Seattle. And even though you
took me to Family Night at the Pancake Plantation
instead, I still couldn't help but think it would mean
something special, when in fact the only thing special we
did that night was drink two bottles of champagne and
end up on a display bed in Horne's home furnishings. I
admit it was daring and that made it exciting, still I
thought it would lead to more. Like a phone call.
Lucy, I feel terrible that you're upset. Really I do. Let
me make it up to you.
For starters, I know I promised you a new dress at my
20% employee discount and I am going right back after
lunch to arrange something with Ms. Bolbo in women's
wear. Very special indeed.
Oh yeah? How about a maternity dress?
I am pregnant, Richard. Pregnant.
15. INT. DINER BOOTH - DAY
James enters the diner and slides into a booth where MADDY FERGUSON waits. She looks different; a more attractive dress, and her hair seems softer with more of a sheen.
You look great. Cool dress.
It's one of Laura's. It was just hanging there in her room.
Funny, I hardly remember putting, it on.
It looks good on you. It looks, I don't know ... right.
She blushes. Looks away.
I don't know. She said she'd be here. Maddy, can I ask
you something? Does Donna seem different to you?
What do you mean?
Like, doesn't her smoking and stuff bother you? Trying
to act, I don't know, tough all of a sudden.
James, you know her better than I do -
She came to visit when I was in jail and ... I don't know.
She acted like she wanted to do it with me thru the bars.
She didn't care if anybody saw us. It was weird.
Different. It wasn't like her.
I don't know, Maddy. I don't know anything anymore.
Sometimes I feel like I should just take off. Just get on
my bike and ride.
She takes his hand.
Running away won't solve anything.
Sometimes the only person who seems real in a way I
can trust is you.
Donna enters the diner. Notices James and Maddy holding hands. Moves to them. They see her and let go.
Donna, where've you been? You're late.
I met someone from Meals on Wheels.
Did you find out anything?
(an edge, looking at James)
Someone real interesting.
Those old folks must have some pretty great stories.
This was a young man.
Oh yeah? What's wrong with him?
Hard to say. Other than that he's intelligent and
charming and completely different from any one I
What's that supposed to mean?
Why don't you sit here and hold hands and try and figure
Donna leaves quickly. James and Maddy look at each other.
16. INT. CONFERENCE ROOM - DAY
PHILLIP MICHAEL GERARD, the one armed man, is trying to sell shoes to Truman. Sitting on the table is a stack of posters of the Iong haired man. Gerard holds
Now these babies are perfect for heavy field work, and
extremely versatile. Durable with a steel reinforced toe.
They're not quite right.
Gerard replaces the work boot and moves to a shiny CREPE SOLED SHOE.
Now, if the department does any parading, on the
Fourth, Veteran's day, these are your best bet. Add
some silver trimmed laces, it's an eye-catcher.
Little outside my budget, Mr. Gerard.
I understand completely. You need something practical.
A shoe for all seasons.
Gerard places the shoe on the stack of posters of the LONG HAIRED MAN. He notices Bob's picture. Truman picks out a sensible work-boor from the rack.
These are more what I had in mind.
Very popular. The lovely thing about ... lovely thing
The shoe falls our of Gerard's hand. He weaves a bit, obviously faint.
You all right?
I'm sorry, sometimes I get a bit disoriented ...
Can I get you something? Water?
If there's a bathroom, I have a medication.
Let me give you a hand.
Truman helps him to the door.
17. INT. RECEPTION AREA - DAY
Shelly waits at the reception area. Truman notices Shelly as he shows Gerard to the bathroom.
Hi, Shelly, be right with you.
(walking him down the hall)
Mr. Gerard, it 's around the corner, second door on your
Thank you so much.
Behind them, Cooper enters the station, sees Shelly.
Shelly, come on in.
Cooper and Shelly enter the sheriff's office.
18. INT. SHERIFF'S OFFICE - DAY
Truman enters a moment later.
Thanks for coming down, Shelly -
Sheriff, I'm just going to say this. I know I don't have
to so I'm not going to say anything against Leo.
We're not asking you to -
He's my husband. I don't have to testify against my
You're not testifying, you're just giving us a statement.
Doc Hayward says he's too sick, what difference does it
Shelly, we know Leo started the fire and we know you
I'm not going to say anything against him ... I love him.
Okay fine, Shelly, thanks for coming in.
You've obviously thought long and hard about this.
Someday, a little luck and top flight medical
attention, you'll have Leo back. The same old Leo,
strong, active ... impulsive ... that you obviously still
love. Maybe then he'll realize what a wonderful person
TRUMAN AND SHELLY
Thanks again, Shelly and best of luck.
He opens the door for her. She exits.
May I ask?
Shelly's an old fashioned girl. Like those people who
like to keep their money at home in a mattress. She
obviously wants to keep her money at home as well.
The insurance money.
Kind of makes you wonder who shot him, doesn't it?
What two people.
They look at each other.
19. INT. SHERIFF'S STATION BATHROOM - DAY
Phil Gerard stands in front of the mirror, violently agitated. Hands shaking, he takes a SYRINGE out of an embroidered antique MEDICINE CASE. Trying to hurry an injection, he drops the syringe. Scrambling for it he accidently kicks it under a stall.
He goes in after the syringe, can't reach it. A shudder hits him. He freezes. He appears to be undergoing some kind of transformation. The stall door closes. We see his feet kicking, hear violent sounds from inside. Then silence.
The stall door swings open. Gerard exits. He's changed. His face grimer, set to some arduous task.
He looks around. Senses something.
Bob? I know you're near.
I'm after you now.
END ACT TWO
20. INT. ONE-EYED JACKS BEDROOM - DAY
JEAN RENAULT, tall, lean, hard, sits next to AUDREY HORN, who lies barely awake in bed. Blackie's younger, tougher sister NANCY O'REILLY sits nearby, holding a covered tray.
Audrey tries to focus on Jean.
Where am I?
Here, I brought you something.
(takes a piece of hard candy from the tray)
Let me do this for you. Open wide.
Jean places the candy on Audrey's tongue. He slowly swirls it around the inside of her mouth.
English caramels. Sugar's what you need.
Audrey sucks hungrily on his finger. He pulls the candy out of her mouth.
Jean gently strokes her cheek.
Go slow, baby. Candy's dandy. Plenty more where that
came from. My name's Jean.
Nancy lifts the cover from the tray. Jean puts the candy back in her mouth, takes a syringe off the tray.
Sweet sleep. Feel the warmth.
He injects her off-camera. She moans, then starts to nod off. Jean and Nancy exchange a lascivious look.
21. INT. BLACKIE'S OFFICE - DAY
Blackie and Battis watch a TAPE on one the security screens on her desk; Blackie points out Cooper on the tape, in his tux, gambling at One Eyed Jack's.
That's the man.
Oh my God ...
You know him?
FBI, he's FBI, I saw him at the town meeting after Laura
died, he was up here?
I want him.
Jean and Nancy are standing behind them. Blackie stops the tape freezing it on Cooper.
Jean Renault, Emory. Say something weak and fawning.
Jacques was your b-brother.
And this is my sister. Nancy.
I also had a brother named Bernard. This business cost
me them both.
I told you we were going to have help.
Jean grabs Battis by the chin.
I'm your go-between. The father pays me, my cut is
thirty percent. He never knows who snatched his baby.
And I get the man who took care of my brother. What's
He presses Battis' nose up against the screen next to Cooper's image.
And all you have to do is give him to me.
M-mr. Horne can do that maybe.
(pats Battis on the head)
You're going to be a big help, aren't you?
Whatever you want, want me to do.
A tape of the girl. Get it now.
Yes, all right.
(Jean shoves Battis towards the door, dismisses
I'd - I'd like to keep my job, at the store. That's
important to me.
Battis leaves. Blackie and her sister square off. Clearly they hate each other.
What the hell do you bring her here for?
She's with me.
I can see she's with you.
No: she's with me.
She goes back north or this deal goes south.
Jean, tell my sister to behave herself or you'll get mad.
She stays. You get the cash. I get Cooper. Everybody's
happy. Of course, we can't let the girl live now, can we?
23. INT. TRUMAN'S OFFICE - DAY - 23.
Truman talks on the phone looking out the window.
Thanks, Pete. I appreciate the call.
He hangs up. Then looks up to see Cooper in the door way.
Josie called Pete. She'll be back tomorrow afternoon.
Let's get her down here.
Coop, I'd like a favor. I'd like to see her first. Alone.
Harry, we can't let personal feelings interfere with our
Sometimes that's easier said than done.
Talk to her. Bring her in.
She may not be involved with any of it.
I said you could talk to her.
Hawk's knock on the doorframe breaks the tension.
(from a notebook)
Pearl Lakes; there is a vacant lot next to the Palmer
house, and next to that is a white house that's boarded up.
No name on the mailbox.
Run a title check.
County's working on it, plus Power and Light's
searching their records.
When will we hear?
You haven't seen Gerard the shoe salesman, have you?
The one-armed man?
He came in to show me some samples. He got faint and
went to the bathroom. I came back from lunch his
sample case was gone.
The one-armed man was here?
That's what I just said.
In my dream, the one-armed man knew Bob.
Cooper quickly leaves the room. Truman and Hawk look at each other and follow.
24. INT. BATHROOM - DAY
Cooper bursts through the door, looks around, opens each of the stalls. Hawk and Truman enter behind him.
What's the problem?
Cooper gets down on his hands and knees. Sees something, on the floor in one of the stalls. Takes out a handkerchief, reaches in and picks up the syringe Gerard dropped.
We've got to find the one-armed man. It's the giant's
third clue. "Without chemicals, he points."
25. EXT. JAMES HURLEY'S HOME - DAY
A housetrailer on a lonely lot with a couple of aluminum lean-to's off the house. The shades on the window are drawn. James, wheels his Harley into one of the lean-to's. A late model car pulls up with man driving. COLLEEN HURLEY gets out of the passenger side. She is fortyish and gave James his good looks. Her's are on their way out.
Colleen walks towards her son unsteadily.
There he is, the fair haired boy. Where have you been,
My fair haired boy?
I was at school. It's a school day.
God bless the public indoctrination system. Keeps the
kids off the streets, keeps the streets safe for the street
sweepers. In San Francisco, the street sweepers have an
epic quality -
Ma ... Ma, you've been gone for a week.
Kiddo, when the muse calls out, we're helpless to resist.
A poem she said, four days worth. Yes, I replied.
Are you okay?
Myself, I've been better. The poem's pretty good.
She takes out a paper with her poem on it.
I learned early on. Write it down, escape the humdrum
that life has dealt you. Play with marked cards.
(puts on glasses and reads)
"Poet Lariat/Rope, rope/Bulldogged down, rodeo town/
The last of the Sabine Women---"
I don't want to hear this.
"... Sun 'goes down, rodeo town/Lariat ropes a-"
Jimmy, are we being rude?
James pours the rest of her vodka bottle onto the ground.
Fine, if it makes you feel better.
You don't know anything.
I know girl trouble when I see it. Some little logtown
siren's cut you up. I recognize the wound patterns.
You sure can spot it, Ma.
Am I right?
Her name was Laura.
Lash yourself to the mast, Odysseus. Eat the Lotus.
Forger her. Sail on. The danger for you, my darling boy,
is you'll never know whether she's an angel or a harpie sent
from hell to rend your heart, and believe me, she'll be
one or the other.
She was both.
Ah, but that's the secret, Jimmy boy, They all are.
26. INT. HOSPITAL - DAY
Under DOC HAYWARD'S supervision a MALE ORDERLY and another MAN wearing a shirt that reads "Twin Peaks Security Co." finish putting metal restraints around NADINE HURLEY'S wrists, as ED HURLEY stands by.
Is this really necessary?
It's for her own protection Ed. She ripped two pair of
leather restraints last night like they were tissue paper.
How is that possible?
I ran a blood test; she's pumping out adrenaline like a
wildcat well, never seen anything like it.
You being here might calm her down. Talk to her.
Maybe sing. Does she have a favorite song?
Does she have a favorite song?
Short of a trip to Lourdes.
Okay, Doc. But if I'm going to sing to her I'd rather it
was just the two of us.
The restraints are in place, the others leave.
I'll close the door behind me.
Doc pats Ed on the shoulder and exits.
Nadine, Doc says I should sing a song to you. I'm sorry.
I'm not sure what you'd like to hear.
He takes a long look at her, starts to hum, then sing "On Top of Old Smokey." During the chorus, Nadine begins to squeeze his hand. Hard. Ed tries to pull away with no luck. He bravely continues to sing.
Nadine is now practically breaking his hand. Ed keeps singing thru the pain.
Nadine lets go of his hand and snaps the metal meshes that hold her hands. They explode off her wrists. Ed staggers back. Nadine's hands begin to clap in rhythm.
Good God ...
(from miles away)
I'm a jack and you're a jack/Steeple jacks are we...
I'm a jack and you're a jack/Steeple jacks are we
And when we climb up to the top/The cry is "Victory!"
Nadine repeats the cheer. When she finishes she is clear and beaming at Ed.
Hi, Eddie, did you come by to pick me up?
Doc Hayward says tonsillitis or no tonsillitis I can go to
I'm a senior, Eddie, it's my last chance to make the
squad. Like they say, you're only 18 once.
Nadine beams. Ed states at her.
END ACT THREE
27. INT. JACOBY'S HOSPITAL ROOM
Truman and Cooper enter. A beautiful young HAWAIIAN WOMAN kneels beside DR. JACOBY. Cooper and Truman watch her for a moment. She nods to Truman and Cooper.
Dr. Jacoby ...
Gents, this is my wife, Eolani. She lives at our place in
Hanalei. We're practising Kahuna healing.
How do you do?
She nods graciously. A beat. Eolani begins to light candles around Jacoby's bed.
Are you ready to be hypnotized?
I've been under many times. Here, read this, it's the
auto-suggestion program I use.
(hands Cooper a typed sheet; in Hawaiian)
Eolani, start the tape please.
Mrs. Jacoby hits a tape recorder that plays a tape of waves on the shore. Jacoby hands a green volcanic stone with a hole in the middle of it to Truman.
Sheriff, could you hold that just beyond the bed.
He relaxes, focusing on the stone that Truman is holding
Okay, Agent Cooper. I'm ready.
You are standing on a smooth green carpet of grass. Your
ball is fifteen feet from hole. Beyond the green, two
pristine white sandtraps and a lily filled pond yawn out
towards the emerald fairway. A warm whisper of a
breeze moves the flowers on the water ever so slightly.
Jacoby's eyes slowly close.
The hole seems to slowly drift away across the green
towards the pond, carried by the summer wind. The
green grows larger and larger ... the green engulfs you,
enveloping you in a soft blanket of peace ... you stroke
the ball, it drifts towards the hole and gently drops in
its center ...
Jacoby is under.
Can you hear me, Dr. Jacoby?
Raise your right arm.
We're going to the night you came to the hospital.
You are in your hospital room. You are in your room
with Jacques Renault.
Do you smell anything? Burned engine oil?
No. I smell engine oil in the park.
In the park where you were attacked.
Just before. It fills the air. Then someone hits me from
You don't see who it is.
Let's go to the hospital now. You're lying in bed. Does
anyone come into the room?
Nurses, Doc Hayward, you, Sheriff Truman.
What happens after we leave?
I dream I'm at Hanauma Bay. Juggling coconuts at a
Luau. The guests are all Nigerians.
Did anyone else come into the room?
Can you tell me about it?
The sound of tape ripping wakes me up. I see tape going
around Jacques wrists. Now there's a pillow on his
face. He's making a noise that almost sounds like
barking. A bell is ringing. It won't stop. Jacques stops
moving. I look up to see who's holding the pillow.
Who is it? Do you see who it is?
I know him.
29. EXT. THE CEMETERY - NIGHT
Open on LAURA PALMER'S GRAVE. Behind it, Donna approaches slowly until she arrives in front of the gravestone. She sets down Harold Smith's orchid.
This is from Harold Smith.
Sorry I haven't been out since the funeral. Things are
pretty strange. So, anyway, were you sleeping with this
guy Harold or what?
He seems pretty nice. Kind of an oddball. I guess
anybody can start to seem that way when you look close
We have to talk. Maybe you already know about me and
James, but anyway after you died we kind of got
together. This is not something I feel like I'd have to
explain to you because you probably knew how we felt
before we did. How could you be so smart about stuff
like that and so stupid about so much else?
(pause, quiets emotions, then ...)
I'm mad at you; when it was you and me and James it
kind of worked. Now you're one, I love James and
it's a mess. Your cousin Maddy's here and something's
going on with them maybe and I think I'm going to end
up losing both of you.
I wanted so much to be like you. To have your strength
and your courage, but look what it did, look what it
did to you, Laura
(after a beat)
As much as I loved you, Laura, most of the time we
were trying to solve your problems, and you know what,
we still are. Not James' or mine, or Maddy's, yours.
You're dead, but your problems are still hanging around.
It's like they didn't bury you deep enough.
I can't help you anymore. I love you but I can't. It's
not fair. Okay? Deal?
She listens. Quietly.
I love you but it's not fair.
She walks slowly away. Close on the orchid, stirred by a breeze.
30. INT. PALMER'S HOUSE - NIGHT
Maddy sits in the living room folding laundry. Maddy looks up and sees James standing in the door way. Looking for help.
I've been trying to find Donna. I looked everywhere. I
have to talk to somebody.
What's wrong, James?
She came back. She was loaded. She didn't know
anything. God I hate her.
James is pulling himself apart. He tries to talk but nothing comes out. She holds him.
God, you're on fire.
James pulls back a little. Their faces are close. They kiss. Gently at first and then with passion. Maddy pulls away quickly.
She does. Hugging with tenderness. We hear faint sound of voices off
Donna enters, sees Maddy and James pulling apart from their embrace.
Oh God ...
Donna runs out of the room. James slowly stands, going crazy. With a cry, he sweeps an end table clean of pictures, curios and a lamp. James pushes his way past a stunned Leland.
31. EXT. STREET - NIGHT
James runs down the street after her car as it pulls away.
He stops, kneels in the street, puts his hands over his eyes and cries out. He angrily wipes away his tears.
32. INT. PALMER HOUSE - NIGHT
Leland listens to a bewildered Maddy.
All I did was come to a funeral. It's like I fell into a
dream. It's like people think I'm Laura. I not I'm
nothing like her.
It's so hard
She folds into his arms.
I know, I know.
All I know is Laura was my cousin and I loved her and
she died and I don't know anything else.
You want life to be the way it was before ...
So do I, dear. We all do. And try as we might, it just
won't cooperate, will it?
(she shakes her head)
If life could only be like those summers up at Pearl
Lakes. Simple and sweet. If life could only be like that
all the time ...
Leland looks up. Truman and Cooper have quietly entered the room.
Leland? The door was open.
What is it?
Leland, we ...
(he can't do it, looks at Cooper, who nods)
You're under arrest for the murder of Jacques Renault.
33. INT. HAROLD SMITH'S APARTMENT - NIGHT
Smith answers a frantic knocking to find a tearful Donna outside.
I'm sorry, I didn't know where else to go.
Donna, what's wrong?
God, I don't even know if I want to talk about it, I feel
Sit down. Slow down.
I keep telling myself that James is confused, but how
long am I supposed to tell myself that?
Yes. Just when I thought I had it all figured out. Why
do I even care? Why should I care?
You care because you care for him. Don't you?
I wish I didn't. I just want it to stop.
First, you have to stop.
(he studies her benignly)
What was it she always used to say to you? "Donna
Madonna, there's always manana."
How'd you know that?
(an enigmatic smile)
I'll get you something to drink.
Smith moves to the other room to get some whine. Donna sits up. On the writing table by the window Donna notices is another orchid. She walks over to admire it. Next to the plant is an open book and a second book in which Smith has been writing.
34. INSERT: SMITH'S DESK
Donna flips thru the book. It is filled with feminine hand writing. She flips forward to the first page and we read ...
... this is the diary of Laura Palmer ...
FADE TO BLACK:
END ACT FOUR