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Dept. Head's FIRST DRAFT: September 5, 1990
SECOND DRAFT: September 12, 1990 - BLUE
REVISED: September 13, 1990 - PINK
770 Balboa Boulevard
Van Nuys, CA 91406
A1. INT. SHERIFF'S STATION - DAY
Cooper, Hawk, Gerard, and Gordon Cole are gathered near the front, waiting for Truman who joins them from down the corridor.
They're waiting for us up at the Great Northern.
All the guests will be in the lobby?
Full cooperation. Hawk you've got the warrant for
Harold Smith's apartment?
On my way there.
Stay in touch, let us know what you dig up. Gordon, I
understand you're hitting the road for Bend, Oregon.
I'M ON MY WAY TO BEND, OREGON.
OFFICIAL BUSINESS. REAL HUSH-HUSH.
GOOD LUCK TO ALL OF YOU.
BEST OF LUCK TO YOU, TOO, GORDON.
They all shake hands and exit the station, Truman escorting Gerard.
1. EXT. HAROLD SMITH'S APARTMENT - DAY
Police vehicles. Crime scene in progress.
2. INT. HAROLD SMITH'S APARTMENT - DAY
Knocks on the door.
Mr. Smith? Mr. Smith, it's the police, open the door ...
Mr. Smith, we have a warrant to search your apartment ...
The doorknob turns. The door swings open; a beat, then TRUMAN, COOPER and HAWK pour into the room, weapons drawn. The room has been ravaged. Smith's diaries, torn and tattered lie in a pile of paper in the middle of the room. CAMERA follows Truman and Cooper across the room and up to the window looking in the greenhouse ... where we see Smith's legs suspended swinging He's hung himself. Cooper and Truman look at each other. There's a note taped to the window. Cooper reads it:
"Je suis une ame solitaire."
I am a lonely soul.
3. INT. SMITH'S APARTMENT - DAY
FORENSIC field men at work , sifting through the pile of torn and savaged papers in the center of the room. One examines the window looking into the second room. Truman supervises. TWO PARAMEDICS wheel out a gurney; Harold Smith's remains, bagged.
Cooper enters leading a haggard looking PHIL GERARD, the one-armed man, still in his "Mike" stare. Cooper raises a hand, stops the gurney, gestures to Gerard. Gerard puts his hand on the bag, closes his eyes. The working cops stop and stare.
Was he here?
(pause, opens his eyes)
Bob never lingers after death.
Was he here?
(sahakes his head)
Bob has not visited here.
Truman rolls his eyes. Cooper nods to the Paramedics; they wheel Smith out. Gerard, unsteady on his feet, seeks refuge in a chair. Truman takes Cooper quietly aside.
Think this is a good idea, in front of the men and all?
Harry, we're at the chicken-soup stage of this crime.
"It couldn't hurt."
(a blank look)
That's something people say back in Philadelphia.
Truman produces Smith's wallet.
We're trying to get ahold of Jacoby in Hawaii; Smith
was a patient.
Was the agoraphobia for real. Did he ever go outside.
He was a class "A" nutball, that much seems clear.
We'll have it soon.
(a glance back at Gerard)
Wouldn't hurt for Jacoby to get a gander at this guy
(a second glance)
Looks a little green around the gills.
It's not easy being "Mike."
(nods, moves to him)
Would you like some coffee, "Mike"?
Gerard shakes his head. Hawk unearths something from the large paper scrap pile, moves with it to Cooper.
Take a look at this.
Cooper accepts the damaged object, opens it: ... this is the diary of Laura Palmer ...
4. EXT. PALMER HOUSE - DAY
5. INT. PALMER HOUSE - DAY
Bright sunlight. Opera. LELAND and SARAH sit in the sunroom, sipping coffee, reading the paper. Leland hums with the music. He reaches out, easily takes her hand. MADDY enters, watches them for a moment before they notice her.
Uncle Leland, Aunt Sarah ...
What is it, dear?
Would you like some coffee?
Maddy shakes her head, sits beside them.
Did you sleep well?
Very well, thanks.
Sarah pats her hand. Leland and Sarah go back to their paper.
I've been thinking. I've really enjoyed my stay and
everything, but I really feel like it's time to go home.
Sarah and Leland lower their papers.
To Missoula. I've got my job and my apartment and I
just ... miss having my own life, so I think tomorrow I'll
probably be driving back home.
Of course, dear.
We'll miss you, naturally, but we understand
You've been a wonderful help.
You'll come back to visit, won't you?
It's not as if Missoula's at the far end of the solar
That's fine, then. You know we love you.
I love you too.
Sarah touches her cheek tenderly. Maddy hugs her. Everyone smiles.
6. EXT. LEO JOHNSON'S HOUSE - DAY
7. INT. LEO JOHNSON'S HOUSE - DAY
At the kitchen table, a stack of bills and a checkbook beside them, SHELLY and BOBBY are going over the sorry state of finanaces in the Johnson household. LEO sits in his wheelchair, a silent, numb witness.
... so we've got bills here that total ... one thousand and
fourteen dollars ...
(with the checkbook)
Including the insurance money, that'll leave you with ...
Forty-two dollars. Forty-two dollars.
That's a start.
Forty-two dollars for the month? Bobby, how am I
gonna do that? How are we gonna live on 42 dollars a
Me and Leo.
Bobby, you said you were gonna take care of -
I am. I am, Shelly.
I want you to take the necklace back -
We don't have to do that -
Shelly retrieves the box from her hiding place.
I want you to take it back, we need the money -
Shelly, you're gonna keep that necklace -
When am I ever gonna feel glamorous enough to wear it?
Giving Leo a bath? Feeding him his oatmeal?
What about his truck? He's not gonna be cannonballing
down the highway any time soon, it must be worth a -
The police impounded it -
We'll get it back -
They said if it was used in the commission of a crime it
becomes property of the state -
But they haven't charged him with anything -
(a shrill note)
I didn't make the rules!
Okay, okay -
It's like you're blaming me for something -
I'm not blaming you. Take it easy.
(back to Leo)
Leo was into a lot of stuff and he was in it for the money.
He must've had partners. We could ask them.
Not a good idea.
But so you think Leo had money?
Yes. And from the look of that checkbook he never saw
the inside of a bank. He had hiding places.
Snaps his fingers in front of Leo's face.
Leo, you in there? Hey, Leo ...
where did you put the money? M-o-n-e-y -
(probably not in response)
Leo needs new shooooes ...
Maybe a pair of house slippers, pal. And they'll
probably last you a few decades.
Bobby gets a hint of something
(why not ask)
He buy any shoes lately?
No. The police went through everything he owned.
New shoooes ...
He did have me take a pair of boots in for repair.
Have you got the receipt?
You think he had something in -
I don't know. Get the receipt.
Shelly nods, exits. Bobby moves close to Leo, whispers.
You want new shoes, Leo? Give me what I want I'll buy
you a damn shoe store.
Off Leo's mindlessly cheerful reaction ...
8. EXT. SHERIFF'S STATION - DAY
9. INT. SHERIFF'S STATION - DAY
A weak and pale Phillip Gerard sits in the reception area, attended to by Doc Hayward. The plumber we saw in #006, MR ZIPPER is on a ladder, working on the nozzles of the sprinkler system he's in the middle of installing throughout the station.
CLOSE on a couple of steaming cups of coffee as they're carried into the conference room, where Truman and Cooper, are seated at the table. Wearing surgical gloves, Cooper is paging through the diary they found at Harold Smith's. Open beside him is the original diary they found in Laura's room. Cooper compares the two, takes a sip of coffee.
This is Laura's handwriting.
Why would she keep two diaries?
The one we found earlier was a record of events on the
surface. This one apparently tells the story of her inner
The answer may be in there.
Undoubtedly. It's a shame. Mr. Smith saw fit to
mutilate about 45% of the contents.
Hawk enters, carrying an envidence bag containing some torn scraps of paper.
This what you're looking for?
Cooper opens the bag, takes out the scraps and examines them with a magnifying glass, comparing them to the second diary.
Those are the scraps you found near the railroad car.
Yes. Yes. This is where the scraps came from.
(opens the book towards the end)
Look at this.
He points to a section torn out near the end of the book.
Smith ready did a job on this thing.
No, look at the way the pages are torn clean, ripped out
at the roots. Smith ripped and slashed his way through,
like the others we found in his apartment.
(a closer detail)
And look at the edges here at the back; yellowed and
curled. Nine pages. They were taken some time ago.
By the killer. The day she died.
Truman takes the book to examine it.
Before she gave the book to Smith?
Unless I'm very much mistaken.
Doc Hayward appears in the doorway, with news, a piece of paper in his hand.
Excuse me, fellas ...
What was Harold Smith's bloodtype, Doc?
(used to this by now; reads the note in his hand)
The night Laura died Harold Smith never left his
Agent Cooper, just so you know, Gerard is refusing to
take his drug -
You mean "Mike."
Whatever his name is, he's getting weak and unstable. I
can't recommend we let him go much longer without his
(reading the diary)
Oh my Lord ... oh my Lord ...
"... he can can come into my mind, a man who can slip
in and out of you like a wind that goes unnoticed ... it
just struck me that his name is a warning in itself; B-O-
B: Beware of Bob."
Hawk, bring the cruiser around, Harry, bring the diary,
I'll get Gerard, we're taking him to the Great Northern
END ACT ONE
10. EXT. GREAT NORTHERN HOTEL - DAY
11. INT. GREAT NORTHERN HOTEL LOBBY - DAY
A police presence in the lobby has created quite a stir: DEPUTIES are shepherding an interesting mix of HOTEL GUESTS, one by one, past Gerard, seated front of the fireplace. Included are the members of a HIGH SCHOOL MARCHING BAND, each holding their instrument.
Gerard, pale and sweaty, scrutinizes each guest as they are brought before him, shakes his head and they move on. Cooper and Truman stand beside him, Cooper stalwart, Truman exuding a healthy skepticism.
Doc Hayward is nearby, keeping an eye on Gerard.
SUNSHIH TOJAMURA is shown to Gerard. Gerard shakes his head.
12. INT. HOTEL CORRIDOR - DAY
Under a head of angry steam, BEN HORNE makes his way down the corridor.
13. INT. HOTEL LOBBY - DAY
As he eyeballs two visiting FISHERMEN in Tyrolean hats, Gerard starts to hyperventilate. trying to loosen his collar. Hayward moves to him.
Give him room.
I can't, I can't -
Behind them the elevator doors open and Ben Horne strides towards the scene, reaching them just as -
Gerard passes out.
Let's get some room here.
This has gone on long enough -
(somewhat for the crowd's benefit)
What's the meaning of this? Sheriff, what's going on,
Why are my guests being hounded like this?
(moving Horne off)
We're done here, Mr. Horne -
(to the milling crowd)
Thank you all ladies and gentlemen. If everyone would
please just go about your business.
We've got to get him to a bed.
Mr. Horne, could we have the use of a room?
Does he want to check-in?
A look from Cooper asks a favor. Horne complies, points.
Down the corridor.
Horne moves to the front desk to retrieve a key.
Is he all right?
He needs his medication.
(to his deputies)
Come on, fellas, we better carry him.
They pick up the limp Gerard and carry him off down the corridor. Cooper collects the key from Horne.
How's Audrey this morning?
Cooper takes the key and follows the others. Horne moves in a different direction.
14. INT. BEN HORNE'S OFFICE - DAY
Horne enters. AUDREY's in the room, back facing the door.
She turns. A strong, solemn look.
Shouldn't you still be in bed?
I've spent enough time in bed lately.
You're looking much, much better.
He tries to kiss her. She turns her cheek. Looks at him. Ben starts evasive actions, checks his desk calender.
Audrey, dear, if you'd excuse me, I've got a business
meeting scheduled -
I know about One-Eyed Jacks.
You heard me.
(moves towards him)
I know about Blackie. I know about Emory Battis. I
know about Ronnette and I know about Laura.
Ben sits. A cold sweat.
I'm sure I don't know what you're talking about -
Dad, I've been listening to you lie and cheat and chisel
all my life. I know every move in your book, so my
advice is: don't waste your breath.
I see ... your point.
I was there. I saw you.
I need to ask you some so questions.
(a weak smile)
I'll do my best.
You'd better do better than that.
Did you have anything to do with my being kidnapped?
No, I swear on your mother's life -
Leave Mom out of this -
No. No, no, no. God, no.
Did you know Jean Renault was going to kill Emory and
Serves them right, doesn't it? They're the ones who
kidnapped you -
Did you know?
How long have you owned One-Eyed Jacks?
Did you know Laura worked there?
She was only there a brief time -
Did you know?
Did you in any way encourage her to work there?
No, I had no idea. She asked for a job at the
department store, Battis sent her without my knowing -
But you found out.
I saw her there, yes.
Did you sleep with her?
(pause; very quiet)
Did you kill her?
Ben's face twists in a contortion of pain and horror. He shakes his head, but we're not sure if it's anger or denial. His voice quavers, tears fill his eyes.
I ... loved ... her.
He breaks down. Audrey regards her father coldly. She starts away.
What are you doing? Where are you going?
(she's at the door)
What are you going to do?
Audrey stops at the door, gives him a long look. Then exits. Ben tries es to dry his tears, compose himself. He blows his nose in a handkerchief.
16. EXT. DINER - DAY
17. INT. DINER - DAY
NORMA JENNINGS is behind the counter, going over some bills. Shelly comes in from the kitchen. A slow part of the day.
If I'd thought out what it was going to do to my laundry
bills I never would've let Hank talk me into those
I think they look pretty. Where is he, anyway?
(covering her concern)
He must have some business. Or maybe it's radar; my
mother called, she's coming into town. Hank's kind of
allergic to her.
Norma, could we talk for a second?
Sure. What's up?
(trying to hide her emotions)
What with Leo coming home and everything, you know
I'm supposed to be taking care of him and all and it
seems like it's going to be a pretty full time thing, so I
was thinking I'm going to have to, you know, quit my
job, for a while at least anyway and ... oh shoot ...
She can't continue. Norma hugs her,
I promised I wasn't gonna to do this ...
You go ahead.
Anyway, I feel so bad ... 'cause I love you and I love
working here and I don't want to let you down -
You're not going to let me down.
Shelly, you've got your own life to worry about right
now. I'll be fine here.
Yes. And as soon as you're ready you come right back,
it'll be like you never missed a day.
You'll let me come back?
You just try and take a job someplace else and see what
I don't know what to say.
You don't have to say anything.
BIG ED and NADINE enter. Nadine's wearing a girlish outfit. Ed's got a pained expression to match.
(finishing a story as they enter)
- so they sent me in to my senior counselor and I told
him I'd been traveling with my parents for a while but
now I wanted to register for spring semester - come on,
Eddie, let's sit at the counter -
Nadine drags Ed by the hand to the counter.
- I could just die for a chocolate shake, couldn't you?
Hi Norma, say how long have you been working here?
(doesn't get it yet)
Twenty years in April.
Nadine's brow furrows up. Ed tries to gesture to Norma behind Nadine's back.
(decides it's a joke)
You kidder. What a kidder.
'Bout six weeks now, isn't it Norma?
You see? Your parents drag you off to Europe or
someplace for a month and it's like you've been gone
forever - two chocolate shakes please, Norma, extra
whipped cream on mine - hi, what's your name?
Are you in our class at school?
I don't think so.
Yeah. They love it so much they're still over there, can
you believe it? So they said it was okay for me to stay
over at Eddie's, isn't that right, Eddie?
Another helpless gesture to Norma
(a confidential tone)
Say Norma, you're not mad or anything that Eddie and
I are sort of going out or anything are you?
You and Ed?
(Ed shakes his head at her)
No. No. Why should I be?
No reason. I know you two broke up and everything.
I'm just so sweet on him is all.
Isn't he just the dreamiest? I can't wait for the start of
football season, can you?
No. Can't wait.
They all look at her. The coffee cup she's been idly toying, with shatters in her hand.
God, sorry, there's go another one, I have been so clumsy
lately I can hardly believe it.
I'll get another one.
I'll make your shakes.
They move off. Nadine snuggles up to Ed.
Eddie, I'm so happy I could kiss you to death.
Ed looks at her. It seems like a distinct possibility. He tries to smile.
FADE TO BLACK:
END ACT TWO
18. EXT. LEO JOHNSON'S HOUSE - DAY
19. INT. LEO JOHNSON'S - DAY
Bobby enters the kitchen, carrying a large paper bag, followed by MIKE NELSON. Leo's sitting in his chair.
Honey, I'm home. There he is, Mike. The late Leo
Bobby pulls up a chair beside Leo, opens the bag.
Leo, I went to the shoe shop and I showed them the
ticket and look what they gave me.
He pulls out an old pair of Circle brand work boots.
New shooes ...
No, you knucklehead, old shoes. Leo, he gets fixated on
things pretty easily.
Looks like he's been permanently fixated.
Leo, I know you too damn well. There's something in
these, isn't there?
(Leo smiles shyly)
Isn't there? Huh? There's something in your shoes.
(seems to see Mike)
"Where's my ten grand?"
Ten grand? No. It's not Christmas, is it? Ten grand?
Bobby, I think he said something once about muling
stuff in his boot.
Leo, don't go anywhere.
Bobby, gets up, rummages through a drawer, comes up with a hammer, puts the boots on the table and starts whacking at the heel. The first heel comes off, revealing a small, secret and empty compartment in its hollow center, shows it to Mike.
How about that? Come on Leo, sing with me ...
Bobby sings, hammering in time to the music on the other boot.
"I've been working on the railroad all the live long, day/
I've been working on the railroad just to pass the time
The heel comes off. Bobby picks up the contents of the secret compartment: a small, micro cassette.
"Where's my ten grand?"
It's not money, you nitwit.
(takes a speculative look at it)
Or maybe it is ...
20. EXT. SHERIFF'S STATION - DAY
21. INT. SHERIFF'S STATION - DAY
A DEPUTY carries a plate of doughnuts and coffee to the conference room. Mr. Zipper, the plumber, bags one of the doughnuts as the Deputy passes by and enters the conference room, closing the door behind him. Hawk and Truman watch.
That's the third plate of doughnuts Cooper's asked for.
He says he's not coming up for air until he's cracked
what's in that diary.
PETE MARTELL enters the station, spots Harry.
Harry, could we repair to a quiet place for a moment?
Come on into the office.
I won't take up too much of your time.
No trouble at all.
They move into Truman's office.
22. INT. TRUMAN'S OFFICE - DAY
Pete enters, Truman closes the door.
Harry, Josie's gone.
I know. I saw her last night.
(sad and lonely)
I came back from the late shift. She left a note on the
kitchen table. No goodbyes. No explanation. A note.
She sold the mill to Ben Horne.
I signed Catherine's stake over to her a couple days ago.
I didn't think she was going to do it so quickly.
Harry puts a sympathetic hand on her shoulder.
I've lost 'em both. Not that Josie was ever mine to lose.
You don't have to explain.
I loved her. There, I said it. No offense, Harry.
I loved her, too. I stood there and watched her go.
Watched her assistant carry out her bags.
Pause. Something breaks through Pete's melancholic haze.
Asian fella. Never seen him before. Woo?
What'd he look like?
Average height. Medium build. Pony tail.
That was her cousin. Jonathan.
She said he was her assistant. British accent -
This guy could barely speak English.
(knows in his heart)
Pete, this was the same guy.
Harry, I've got a bad feeling.
I'm right there with you.
23. INT. CONFERENCE ROOM - DAY
Remanants of Laura's diary are spread out over the entire conference table. Cooper examines the remaining intact pages in the book, making notes, using a magnifying glass and what scraps he has in front of him to try and reconstruct the contents. He steps away from the table, picks up a cup of coffe and his microrecorder.
(tired and intense)
Diane, it's 5:45 pm, I'm in the conference room with the
remains of Laura Palmer's diary. A great deal of it has
been destroyed, many of Laura's secrets along with it.
Much of what I've been able to decipher supports the
contention of the one-armed man; there are repeated
references to "Bob". He was a threatening presence in her
life from early adolescence. There are intimations of
abuse, molestation. On a regular basis. He is referred
to, on more than one occasion, as a friend of her father's.
And I've just uncovered this entry, dated less than two
weeks before her death.
(reads from diary)
"One of these days I'm going to tell the world about
Ben Horne. I'm going to tell the world who Ben Horne
The door swings open. Audrey Horne is standing in the doorway.
Cooper turns off the tape recorder. Audrey enters, closes the door behind her.
I had to see you, I'm sorry -
Are you all right?
She waves off the question. Something much larger looming over her. Trying to bear up under its weight.
I spoke with my father.
He was sleeping with her. With Laura. I don't know for
how long. Maybe quite a while.
She was up at One-Eyed Jack's. Working there. My
father owns the place. That's what I found out.
Are you sure?
(pause, composes herself)
And Laura knew it too. Laura knew it too.
Pause. Cooper moves to the door.
What are you gonna do?
(opens the door)
What are you gonna do?
Cooper takes her by the shoulders.
I don't want you to have to testify. I'm going to try to
see that that doesn't happen.
What are you gonna do?
Don't say a word to anyone. Go home. Stay in your
room. I'll try to come see you later. Don't answer the
Truman appears in the doorway.
You're going, to arrest him.
She gently disengages herself from him, nods. Tries to smile, but the attempt fails.
I've got to tell Johnny.
Why don't you do that?
She moves out like a sleepwalker.
Have somebody drive her back to the hotel.
What's going on
We need a warrant. A warrant for the arrest of Ben
They look at each other. Truman nods, grimly, heads out. Cooper looks sadly down at the remanants of the diary.
FADE TO BLACK:
END ACT THREE
24. EXT. PALMER HOUSE - NIGHT
25- INT. PALMER HOUSE - NIGHT
SARAH PALMER crawls in on the floor. She appears to have been drugged, fighting to stay awake. She looks up at the living room and has a vision: A PALE HORSE is standing in the middle of the room.
26. INT. PALMER HOUSE - NIGHT
Madeleine enters, carrying a couple of packed bags which she sets down, calling back to someone outside of the room.
I'm going to leave these down here tonight. I'll be all
ready to get an early start.
Behind her in the alcove, Ben Horne comes down the stairs, stops to look at himself in the mirror. He smoothes back his hair. We move to notice that the face staring back out of the mirror is "Bob."
We follow Ben's hand into his pocket. He takes out a pair of rubber surgical gloves and starts to put them on as he moves toward the living room.
Madeleine has finished fussing over his luggage. She turns and notices Sarah stretched out on the floor beside the sofa.
Aunt Sarah? ... Aunt Sarah? ...
As she bends over to look at her, Ben moves in behind her, raising his hands.
FADE TO BLACK:
27. INT. BEN HORNE'S OFFICE - NIGHT
A fax is arriving over the fax machine. Ben Horne crouches over the machine, eagerly rips off the transmission as it's completed. He scans it, smiles and folds it.
Good news, Mr. Tojamura.
TOJAMURA is seated in the office, his VALET a shadow.
My brother Jerry has spoken with your people in Osaka,
he's checked your references with the Tokyo banks and
the answer to your proposal my good friend is a big
We appreciate your promptness.
(shaking his hand)
Speaking for the entire community of Twin Peaks, I
can't tell you how pleased we are to welcome you into
the Ghostwood fold.
Thank you so much.
He snaps his fingers; the Valet produces a thick sheath of contracts.
Contracts. For your perusal.
And fast approval, I'm sure.
Horne accepts the contracts. A knock at the door. The door opens. Cooper, Truman and Hawk. Truman walks right in.
Mr. Horne, we'd like you to come with us please.
Fine, I happen to be in a meeting -
You're wanted for questioning in the murder of Laura
Palmer, is that specific enough for you?
Horne looks from Truman to Cooper.
You're insane -
Tojamura has retreated a few steps. Horne turns to him.
There's been a dreadful mistake.
Come with us now or would you rather go out through
your lobby in handcuffs.
Cooper, what kind of a sick joke is this?
You'd better do as he says.
They take him by the arms. Horne struggles, yelling, composure completely gone.
No! No! You can't do this! You can't do this!
Truman and Hawk drag him out the door, Cooper follows
Tojamura watches them exit. His eyes are bright. He may be laughing.
28. EXT. BLUE PINE LODGE - NIGHT
29. INT. BLUE PINE LODGE - NIGHT
Dim light. In his bathrobe and slippers, Pete putters around the kitchen, humming, heating up a glass of milk. Far off he hears a gust of wind, the sound of a door in the distance. He looks up, nothing, finishes fixing his milk. Takes the glass, at a last minute grabs a cookie and heads off. He comes around the corner and nearly screams when he finds himself nearly face to face with Tojamura.
Who the heck are you?
Tojamura advances towards him, doesn't say a word.
How'd you get in here? Hey - hey!
Tojamura grabs him and kisses him. Pete drops the glass of milk to the floor. Pete struggles. Tojamura pulls back from the embrace. Pete frantically tries to wipe off his lips.
Since the moment we met, I've found myself strangely
attracted to you.
Mister, you better get out of here -
There's something about your eyes; they're warm and
(no trace of an accent; Catherine's voice)
- and blue as the open sky.
(now he's really confused)
Pete ... it's me.
(no response; less patient)
It's Catherine, you dummy.
Tojamura takes off his glasses. Pete sees something he recognizes. Tears come to his eyes.
Oh my God ... you look terrible.
30. INT. SHERIFF'S STATION - NIGHT
Truman, Cooper and Hawk enter with Ben Horne. The Log Lady is waiting in the reception area; she rises. Cooper notices her, looks to Truman.
Take Mr. Horne down to the holding cell.
Hawk and Horne move off. Cooper moves to the Log Lady, Truman follows.
You must go to the Roadhouse. Everything points that
(a gesture to her log)
It won't say. But it insists.
Cooper looks at Truman.
We can't question Horne 'til his lawyer gets here; he's
flying back from Japan, won't be here 'til morning. I
could use a beer myself.
(another look at the Log Lady)
31. INT. ROADHOUSE - NIGHT
A band is playing on stage. DONNA HAYWARD enters. She looks for and finds where James is seated, his back to her, reading.
You heard about Harold Smith?
She sits. James sets the book down. They look at each other.
It's not your fault, Donna
I don't think it's anybody's fault. He was a sick guy.
He wasn't bad.
You don't think he killed Laura?
I don't think so. I think he was ... mixed up. I think he
was hurt inside in a way I didn't understand.
Everybody's hurt inside. That doesn't mean you can go
around trying to knock somebody's brains out.
I think he was defending himself. His life was in that
room, his whole life, and we violated that -
Donna, are you defending him?
No. But he didn't kill Laura. Maybe he was sick and
what he did was wrong. But he didn't deserve to die for
You better be clear about this; that was his choice. If he
didn't want to live there was nothing you or the police or
anybody could do to change that.
(a sad realization)
Kind of like Laura.
I guess so.
God ... nobody told us life was going to be like this.
James takes her hand.
Maybe nobody knew.
They look at each other other, draw some comfort from the thought.
Go for a ride?
She nods. Tears in her eyes. They exit. We pick up and stay with Cooper and Truman as they enter through another door, move to the bar and order beers. The singer on stage begins a new song.
What do we do?
I don't know. Wait.
They watch the band; it's an emotional song, filled with regret and longing. People lean forward, drawn in by the song, but also by a mounting, palpable sense of tension and fear in the air.
Cooper picks up on it, looks at Truman, who feels it as well.
32. COOPER'S POV - THE STAGE
In mid-song, the band vanishes from the stage; the Giant appears in the center of the stage. He looks right at Cooper.
It's happening again. It's happening again.
Cooper appears to be the only one who sees him. He looks again, unsure of what he's seen. The Giant fades away, replaced by the band once again, who finish the song.
Cooper sits stock still, shocked by what he's seen. Truman looks at him.
Someone pats Cooper on the shoulder. Cooper looks up. It's the old ROOM SERVICE WAITER from the Great Northern Hotel. His eyes are filled with tears. He shakes his head, pats Cooper on the shoulder again and moves off.
Cooper stares straight ahead.
He's killed again.
FADE TO BLACK: