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Twin Peaks Fire Walk with Me (1992) script

by David Lynch and Robert Engels
 
FADE IN:

1.    EXT.  WIND RIVER, WASHINGTON - DAY

On screen it reads:

		"1988, WIND RIVER,
	 DEER MEADOW, WASHINGTON"

TERESA BANKS' body wrapped in plastic floating through Hells Canyon, drifting along in Wind River.

On screen it reads:

		 "TERESA BANKS"
FADE OUT:
FADE IN:

2.    EXT.  FBI OFFICE IN PORTLAND

Establish.

3.    INT.  GORDON COLE'S OFFICE

GORDON COLE talks on the speaker phone.

		COLE
	GET ME AGENT CHESTER DESMOND IN
	FARGO, NORTH DAKOTA.

4.    EXT.  HIGHWAY, FARGO, NORTH DAKOTA - DAY

A school bus.  TWO very buxom PROSTITUTES are being handcuffed by a plain clothes special agent, CHESTER DESMOND.  Another AGENT has his gun to the spread eagled BUS DRIVER's head.  The KIDS inside the bus are screaming.  The phone inside Chester Desmond's car starts to ring.  Desmond walks to the car.

5.    INT.  DESMOND'S CAR - DAY

Desmond picks up the ringing phone.

		DESMOND

	Yes...

INTERCUT WITH:

	(more)

	(CONTINUED)

August 8, 1991                                                  2.


5.      CONTINUED:

COLE

		COLE
	CHET, I AM CALLING YOU FROM
	PORTLAND...  OREGON.

DESMOND

		DESMOND
	OK, Gordon.

		COLE
	NO, IT'S OREGON, PORTLAND, OREGON.
	IT'S REGIONAL BUREAU CHIEF COLE.  OUT
	IN PORTLAND OREGON.  I NEED YOU OUT
	HERE, CHET.

		DESMOND
		 (little louder)
	OK, Gordon.

		COLE
	OREGON.  A YOUNG GIRL HAS BEEN
	MURDERED.  SEVENTEEN YEARS OLD.
	NAMED TERESA BANKS.

		DESMOND
		(very loud)
	Okay, Gordon!!!

Desmond electronically lowers the aerial adjusting the volume.

		COLE
	GOT A MAP OF THE ENVIRONS OF THE
	YAKIMA INDIAN RESERVATION WITH
	YOUR NAME ON IT.  BETTER BRING A
	POLE.

		DESMOND
	Smell something fishy, huh?

		COLE
	I'VE GOT A SURPRISE FOR YOU, CHET.
	SOMETHING INTERESTING THAT I WOULD
	LIKE TO SHOW YOU.  ARRANGEMENTS ARE
	BEING MADE AND I WILL MEET YOU AT
	THE PORTLAND, AIRPORT.

6.    EXT.  SMALL AIRPORT OUTSIDE OF PORTLAND - DAY

Small government plane lands.

		(more)

		(CONTINUED)


August 8, 1991                                                  3.


6.      CONTINUED:

ANOTHER ANGLE

Desmond exits the plane.

7.    INT.  SECURITY LOUNGE OF THE AIRPORT - SAME

Desmond enters.  Cole and another man, SAM STANLEY, walk towards him.

		COLE
	   (motioning to the man standing there)
	CHET, GIVE SAM STANLEY THE GLAD
	HAND.  HE'S COME OVER FROM SPOKANE.

Desmond and Stanley shake.

		STANLEY
	It's a pleasure.  I've heard a lot about
	you.

		COLE
	SAM'S THE MAN WHO CRACKED THE
	WHITEMAN CASE.

		DESMOND
	Congratulations.  I heard about that.

		COLE
		 (plowing ahead)
	YOUR SURPRISE, CHET.  HER NAME IS LIL.

LIL walks to them from another room.  She goes into a contorted dance.

8.    LIL'S DANCE

Things we notice.

--  She makes a sour face.

--  She walks in place.

--  She puts one hand in her pocket and makes a fist with the other.

--  While she is doing this, she blinks with both eyes.

--  She is wearing a red wig.

At one point during this Cole adds a sentence.

		COLE
	SHE'S MY MOTHER'S SISTER'S GIRL.

Cole holds four fingers in front of his eyes.


				(CONTINUED)

August 8, 1991                                                  4.


8.      CONTINUED:

		DESMOND
	  (noticing the fingers)
	Federal?

Cole gives him the thumbs up.

Lil finishes her dance.

		COLE
	GOOD LUCK, CHET.
		 (turns to Sam)
	SAM, YOU STICK WITH CHET, HE'S GOT
	HIS OWN M.O. MODUS OPERANDI.
		 (back to Chet)
	YOU CAN REACH ME AT THE
	PHILADELPHIA OFFICES.  I AM FLYING
	OUT TODAY

		DESMOND
	Right, Gordon.  We'll be in touch.

9.    EXT.  HIGHWAY ON THE WAY TO DEER MEADOW - DAY

Desmond's car on the highway.

10.  INT.  DESMOND'S CAR - SAME

As they barrel down the highway -

		STANLEY
	That was really something.  That
	dancing girl.
		 (after a beat)
	What did it mean?

		DESMOND
	Code.  If you work with Gordon you learn
	that right away.

		STANLEY
	Code, I've heard a lot about this.

Desmond pulls his arm back so that only his fingers come out of his
sleeve.

		DESMOND
	Sort of shorthand.

		STANLEY
		(missing the humor)
	Shorthand.  really?


				(CONTINUED)



August 8, 1991                                                  5.


10.     CONTINUED:

		DESMOND
	We're heading into a difficult situation.

		STANLEY
	How do you figure?

		DESMOND
	I'll explain it to you.  Do you remember
	Lil's dance?

As Desmond explains we -

			INTERCUT WITH:

11.  FLASHBACK:  LIL'S DANCE

In slow motion.

ON LIL'S SOUR FACE

		DESMOND
	Lil was wearing a sour face.

		STANLEY
	What do you mean?

		DESMOND
	Her face had a sour look...  that means
	we're going to have trouble with the
	local authorities.  They are not going to
	be receptive to the FBI.

ON LIL BLINKING BOTH EYES

		DESMOND
	Both eyes blinking means there is going
	to be trouble higher up...  the eyes of the
	local authority.  A sheriff and a deputy.
	That would be my guess.  Two of the
	local law enforcers are going to be a
	problem.

ON LIL PUTTING ONE HAND IN HER POCKET AND ONE IN A FIST

		DESMOND (continued)
	If you noticed she had one hand in her
	pocket which means they are hiding
	something, and the other hand made a
	fist which means they are going to be
	belligerent.

ON LIL WALKING IN PLACE


				(CONTINUED)


August 8, 1991                                                  6.


11.     CONTINUED:

		DESMOND (continued)
	Lil was walking in place which means
	there's going to be a lot of legwork
	involved.

WE SEE COLE PUTTING HIS FINGERS IN FRONT OF HIS FACE AND SAYING LIL
IS HIS SISTER'S GIRL.

		DESMOND (continued)
	Cole said Lil was "his mother's sister's
	girl".  What is missing in that sentence?
	The Uncle.

		STANLEY
	Oh, the uncle is missing.

		DESMOND
	Not Cole's Uncle but probably the
	sheriff's uncle in federal prison.

		STANLEY
	So the sheriff had got an Uncle who's
	committed a serious crime.

ON LIL'S RED WIG

		DESMOND
	Right, which is probably why Lil was
	wearing a red wig meaning we are
	headed into a dangerous situation.  Let
	me ask you something, Stanley, did you
	notice anything about the dress?

		STANLEY
	The dress she was wearing had been
	altered to fit her.  I noticed a different
	colored thread where the dress had been
	taken in.  It wasn't her dress or she
	must have lost some weight.

		DESMOND
	Gordon said you were good.  The tailored
	dress is our code for drugs.  Did you
	notice what was pinned to it?

		STANLEY
	A blue rose.

		DESMOND
	Very good, but I can't tell you about
	that.

Stanley rides along quietly for a while.


				(CONTINUED)

August 8, 1991                                                  7.


11.     CONTINUED: (2)

		STANLEY
	What did Gordon's tie mean?

		DESMOND
	What?  That's just Gordon's bad taste.

		STANLEY
	Why couldn't he have just told you all
	these things?

		DESMOND
	He talks loud.  And he loves his code.

		STANLEY
	I see.  He does talk loud.

		DESMOND
	Gordon would not have sent us to Deer
	Meadow without thinking it was a
	high priority situation.

		STANLEY
	It must be a high priority situation.

12.  EXT.  HIGHWAY - SAME

Desmond's car drives off.

			DISSOLVE TO:

13.  EXT.  DEER MEADOW SHERIFF'S STATION - AFTERNOON

Desmond and Stanley arrive.  The Sheriff's Station is in a sorry
state outside...  They walk up to the old steps and enter.

14.  INT.  DEER MEADOW SHERIFF'S STATION, RECEPTION AREA - DAY

Agent Desmond and Stanley walk into a very small reception area.  At
the counter Desmond shows his badge to CLIFF HOWARD, the Deputy.

		DESMOND
	Good afternoon, Federal Bureau of
	Investigation, Special Agent Chet
	Desmond.  I'd like to see Sheriff Cable.

Cliff just smiles for a long minute.

		CLIFF
	Why don't you folks have a seat.  Make
	yourself at home.  It's gonna be a while.

Desmond stays standing and Stanley sits.  After another long moment,
Cliff joins the SECRETARY in a conspiratorial giggle over the long
wait they are planning to give the FBI.  In the middle of a giggle

		(more)

				(CONTINUED)



August 8, 1991                                                  8.


14.     CONTINUED:

Cliff smiles up at Desmond.

		CLIFF (continued)
	Why don't you have some of that coffee.
	It was fresh two days ago.

Cliff has a good laugh over this and leans again over the secretary
pretending to look at some paper work.  They both laugh.

		DESMOND
	Okay, that's it.  I've had enough of the
	waiting room now.

		CLIFF
		 (still smiling)
	Oh.

Desmond walks towards the door that obviously must go to Sheriff
Cable's office.

Cliff blocks his way with his arm across the doorway, daring him to
do something.  While they stare eye to eye, Desmond's hand goes up
slowly towards Cliff's face in a slow mesmerizing way.  Cliff tries
to knock Chet's hand away.  Chet counters by grabbing Cliff's nose
and pinches a nerve to its side injecting Cliff with a great amount
of pain.

		CLIFF (continued)
	AAAHHHHHHHH...

Desmond spins the deputy 180 degrees placing himself on the inside of
the office and then still pressing the nerve guides Cliff down into a
chair.

While the Deputy's eyes tear copiously Desmond turns to the secretary.

		DESMOND
	You can start that FRESH pot of coffee
	right now.

Desmond stalks to Sheriff Cable's office.  Stanley remains behind
continuing to observe every detail.

15.  INT.  SHERIFF CABLE'S OFFICE - DAY

SHERIFF CABLE looks up from his work.

		CABLE
	How the hell did you...

Desmond shows his credentials.

		DESMOND
	Federal Bureau of Investigation, Special
	Agent Chet Desmond.


				(CONTINUED)



August 8, 1991                                                  9.


15.     CONTINUED:

Cliff, still holding his nose, appears just behind Desmond, who turns
to him.

		DESMOND (continued)
	That's all right, Deputy, Sheriff Cable
	can take it from here

Cable signals Cliff to leave.

		DESMOND (continued)
	I'm here to investigate the murder of
	Teresa Banks.

		CABLE
	Well, little fella, we don't need any
	outside help here.  I don't like you
	people sniffin' around my neck of the
	woods.  In fact, when the state boys
	called me about a "J. Edgar" coming up I
	think I said, "So what?"

		DESMOND
	Your behavior is not funny and is
	wasting the time of the Federal
	Government.

		CABLE
	You're lucky I am not wasting you.

		DESMOND
	Well, little fella, let me put it this way.
	The operative word here would be
	"Federal".  With or without the
	semantics of all this, I am now ordering
	you to release all pertinent information
	concerning Teresa Banks, both while
	living and deceased.

Cable retrieves a box with the paper work and some personal effects.
He throws it to Desmond.

		CABLE
	A basic kill.  Banks was a drifter and
	nobody knew her.  My boys have been all
	over this.  It's a dead end.

		DESMOND
	That's why we're here, Sheriff Cable.
	Where's the body?

		CABLE
	Out back in our morgue


				(CONTINUED)






August 8, 1991                                                  10.


15.     CONTINUED: (2)

Desmond starts to leave.

		CABLE (continued)
	It's 4:30.  We close at five.

		DESMOND
	We've got our own clock.  We'll lock up.

As Desmond turns to leave he notices on the wall a framed Newspaper
clipping with picture.

The caption reads:

		"CABLE BENDS STEEL"

The newspaper shows a picture of Cable in a He-Man pose bending a
steel BAR into a U shape.  He turns to leave and Stanley seems to
have appeared right on time.  Desmond moves down the hall and Stanley
follows.

16.  EXT.  SHERIFF'S STATION - DAY

As Desmond and Stanley walk to the adjoining morgue they see a pile of
steel BARS similar to the one they saw Cable bending in the picture.

AT THE MORGUE DOOR

Stanley moves up to Desmond and speaks confidentially.

		STANLEY
	You know, Agent Desmond, I figure this
	whole office, furniture included, is
	worth 27,000 dollars.

Desmond doesn't know what to say to him.  They enter the morgue.

17.  INT.  TINY MORGUE - DAY

Teresa's body is on the platform in the middle of the room,  Stanley
hangs his recorder on the hooks at the end of the autopsy table and
puts on rubber gloves.  Desmond opens Teresa Banks file.

		DESMOND
		(reading)
	Teresa Banks lived at the Canyon
	Trailer Park for a month.  We'll check
	that.  And worked as a waitress at Hap's
	Truck Stop.  Worked the Night Shift.
	Good place for dinner when we're thru
	here, Sam.
	  (flips to another page)
	No one came to claim the body and no
	known next of kin.


				(CONTINUED)





August 8, 1991                                                  11.


17.     CONTINUED:

As Desmond is doing this, Stanley takes out his SPECIAL MACHINE.
Desmond looks up from his work and notices.

		STANLEY
	Solved the Whiteman Case with this.

		DESMOND
	That's what I heard.

		STANLEY
	No one could find those splinters
	without a machine like this.  And no one
	had a machine like this.

		DESMOND
	That's good.

		STANLEY
	Yes, it is good.
		 (looks around)
	What do you think is in these other
	drawers?

		DESMOND
	I don't know, Sam.

		STANLEY
	Maybe, later we could take a look.

		DESMOND
	Sure, but let's finish up with this first.

Getting to work, Stanley's face goes right over Teresa's.

		STANLEY
		(into his recorder)
	Crushed skull.  Probable cause repeated
	blows to the back of the head with an
	obtuse angled blunt object.  Subject
	looks to be between 16 and 18 years of
	age.

		DESMOND
	Cole said she was 17.

Stanley's eyes drift to Teresa's left hand.

		STANLEY
	I wonder where her ring is?

Desmond notices the mark on her hand as well.


				(CONTINUED)







August 8, 1991                                                  12.


17.     CONTINUED: (2)

		DESMOND
	Yeah.
		(looking into the personal effects)
	Personal effects include a watch, under
	garments, and a blue waitress
	uniform...  the ring is missing.  It says
	the rest of her things haven't been
	removed yet from the trailer.  Let's
	hope it's there.

Stanley picks up her left hand.

INSERT: BANKS LEFT HAND

In Stanley's hand.

ON THE SCENE

		STANLEY
	There appears to be a contusion under
	the ring finger of her left hand.

		DESMOND
	Oh.

Stanley peers underneath the fingernail.

		STANLEY
	A laceration.

Stanley brings over his "Whiteman" instrument.  Works the left hand
under it.

		DESMOND
	Accidental?

		STANLEY
	Agent Desmond, would you hold the
	finger for me.  There's something up
	there.

He gets whatever it is with a long set of tweezers.

		DESMOND
	What is it?

		STANLEY
	It is a piece of paper with the letter "T"
	imprinted on it.  Take a look.

Desmond comes around and takes a look.

INSERT: THE LETTER "T".


				(CONTINUED)





August 8, 1991                                                  13.


17.     CONTINUED: (3)

On a piece of paper.

CLOSEUP: DESMOND

Pondering what he has seen.

ON THE SCENE

We move across to a clock on the wall that reads:  5:04.

			DISSOLVE TO:

THE SAME CLOCK

It now reads 3:33.  Stanley zips up a regulation body bag around
Teresa.

			DISSOLVE TO:

18.  EXT.  MORGUE - LATE NIGHT

Desmond and Stanley come out of the morgue.

		STANLEY
	Geez, Agent Desmond, it's three-thirty
	in the morning.  Where are we going to
	sleep?

		DESMOND
	We're not.  You and I are going to get
	some food.

		STANLEY
	Yes, it's been several hours since we've
	eaten.  I didn't realize that so much
	time had past, did you, Agent Desmond?

Desmond takes a long look at Stanley.

		STANLEY (continued)
	You've got your own M.O., don't you,
	Agent Desmond?

Desmond gets in and starts the car.

19.  EXT.  HAP'S DINER - LATE NIGHT

Establish.

20.  INT.  HAP'S DINER, MANAGER'S OFFICE - LATE NIGHT

Desmond and Stanley talk with JACK, the manager who has black wavy
hair with a black full mustache to match, shiny silk shirt with silver
strands sown in and an Indian turquoise belt.  He has a sign on his
shirt that says, "Say 'Goodbye' to JACK".


				(CONTINUED)



August 8, 1991                                                  14.


20.     CONTINUED:

A GUY in the room is working on a light that keeps buzzing and
shorting out.  He doesn't really know what he's doing so he is
poking at the wiring.

		JACK
	Had the FBI here once before.  Back in
	the fifties when Hap was running the
	place.

		DESMOND
	Where's Hap?

		JACK
	He's dead - good and dead.

		DESMOND
	Sorry to hear it.

		JACK
	He didn't suffer.

		DESMOND
	I'd like to ask you a few questions about
	Teresa Banks

		JACK
	Sheriff Cable's already asked me a few
	questions about Teresa Banks.  She
	worked nights for a month.  That's it.

		DESMOND
	Any friends?

		JACK
	No.

		DESMOND
	Ever see her with someone else?

		JACK
	No.

		DESMOND
	Did she ever mention any friends?

		JACK
	No.
		(pointing)
	Ask Irene over there.

He gestures thru a door that leads out to the diner, pointing out a
woman behind the counter.


				(CONTINUED)






August 8, 1991                                                  15.


20:     CONTINUED: (2)

		JACK (continued)
	Now, her name _is_ Irene and it _is_ night.
	Don't take it any further than that.
	There's nothin' good about it.

21.  INT.  HAP'S DINER - SAME

They sit at the counter and IRENE comes over to them.  Behind her is
the coffee and she is working on a cigarette.  Lipstick smeared on
the coffee cup.

		IRENE
	Take a good look around.  There's nobody in
	this place - you're meetin' the reason
	why.  What'll it be?

		DESMOND
	How come Jack let's you work here?

		IRENE
	Jack and I are united in holy matrimony.

		DESMOND
	Say no more.

Stanley is casing the restaurant as Irene pours them a couple of cups
of coffee.

		DESMOND
	   (showing credentials)
	Federal Bureau of Investigation, Special
	Agent Chet Desmond.  I'd like to ask you
	a few questions about Teresa Banks.
	Jack said you knew her.  How well?

		IRENE
	She only worked here a month.  Nice
	girl.  Never seemed to get here on time
	though.  Ask me she had a little problem
	with --

She makes a sniff to indicate a "cocaine problem".

		IRENE (continued)
	Came looking for a job with a friend of
	hers.  Pretty girl.  Could've been her
	sister.

		DESMOND
	What happened to her?

		IRENE
	There was only one job.  Teresa took the

		(more)


				(CONTINUED)



August 8, 1991                                                  16.


21.     CONTINUED:

		IRENE (continued)
	job.  Her friend took a hike.  Never saw
	her again.

		DESMOND
	Did you ever see Teresa take cocaine?

		IRENE
	No.

		DESMOND
	Do you take cocaine, Irene?

		IRENE
	No, I do not.  I never took cocaine or any
	other drugs.  I don't take drugs.

		STANLEY
	Nicotine is a drug.  Caffeine is a drug.

		IRENE
	Who's Shorty?  Those drugs are legal.

		DESMOND
	He's with me.
		(back on the track)
	Anything you would like to tell us about
	Teresa Banks that would help us out?

		IRENE
	I've thought about that.  I think her
	death is what you would call a "freak
	accident".

		DESMOND
	Thanks.

An OLD GUY, long and skinny, smoking, gets Desmond's attention.

		OLD GUY
	You talking about that little girl that
	was murdered?

		DESMOND
	You have something to tell us?

		OLD GUY
	Yeah.

		DESMOND
	What?


				(CONTINUED)







August 8, 1991                                                  17.


21.     CONTINUED: (2)

		OLD GUY
	I can tell shit from shinolah.  Gets me
	along way down that road.

Desmond moves away from him.

		STANLEY
	You think we ought to question him?

Desmond looks down at the coffee cup in Stanley's _left_hand_.

		DESMOND
	What time is it, Stanley?

Stanley checks his watch pouring hot coffee on himself.

		STANLEY
	Oh...

Desmond guides his laugh into a cough.

		STANLEY
		 (looking at his watch while his
		legs burn)
	Agent Desmond, it's...

		DESMOND
	It's late, Sam.

		STANLEY
		(to himself as be dabs his pants
		  with napkins)
	It's not late, it's early.  Really early.

Irene comes up to them with her purse in her hand.  She is going off
duty.

		IRENE
	You know, I never told anybody, but once
	for about three days, just before her
	time, Teresa's arm went completely
	dead.

		DESMOND
	What do you mean?

		IRENE
	Her left arm.  It was numb.  She said she
	couldn't use it.  Said it had no feeling.
	Probably from the drugs she was taking.
		 (after a beat)
	I just thought I ought to tell you.


				(CONTINUED)






August 8, 1991                                                  18.

21.     CONTINUED: (3)

		DESMOND
	Thanks.

Stanley watches her leave.

		STANLEY
	I doubt it was drugs, more likely a
	problem with a nerve.  I could recheck
	the arm for injuries, but for real nerve
	work we are going to have to take the
	body back to Portland.

		DESMOND
	I think that's a good idea.

22.  EXT.  HAP'S DINER - NEAR DAWN

As Desmond and Stanley head towards their car.

		DESMOND
	I think we should see the sun rise at the
	Canyon Trailer Park.

		STANLEY
	Are you speaking to me in a code?

		DESMOND
	No, Sam, I'm speaking plainly and I mean
	just exactly what I say.

		STANLEY
	In that case, we should go to the Canyon
	Trailer Park.

Irene walks past them and towards the parking lot.

		STANLEY AND DESMOND
	Thanks, Irene.  Good...
		(catch themselves)
	Good morning.

		STANLEY
	Thank god it is morning.

23.  EXT.  CANYON TRAILER COURT - DAWN

Desmond and Stanley drive thru to the manager's trailer which is
surrounded by a small white picket fence.  They park and step to the
trailer.  Desmond knocks twice on the door.  From inside they hear a
voice that makes Cole's voice sound like a whisper.

		VOICE
	OH, GOD, WHAT...  WHAT...


				(CONTINUED)






August 8, 1991                                                  19.


23.     CONTINUED:

Just then Desmond and Stanley notice a sign on the door that reads.

		  "DO NOT EVER DISTURB BEFORE 9
		 A.M...    EVER"

		VOICE
	CAN'T YOU READ!

		STANLEY
	Nine's really late.  We are really early.

They both fumble for their badges as they hear the manager coming
closer to the door.  They meet the manager, CARL RODD.

		CARL
	God damn, this better be
	important.

He stops in the middle of this when he sees the badges.

		DESMOND
	Federal Bureau of Investigation, Special
	Agent Chet Desmond and Agent Sam
	Stanley.  Sorry to disturb you, but we
	would like to see Teresa Banks' trailer,
	please.

		CARL
	More popular than Uncle's Day at a
	whorehouse.
		(takes one step out of his trailer)
	GOD DAMN, THAT MORNING SUN IS
	BRIGHT!  BLUE BRIGHT.

Carl steps thru the little picket fence's gate and leads them towards
Teresa's Trailer.

		CARL (continued)
	Mrs. Simmons owns the trailer and she
	lives in town.  Teresa rented it about a
	month ago.

		DESMOND
	Did she have someone with her?

		CARL
	Right.  She had a friend with her.  The
	friend took off.

		DESMOND
	Was there an argument?


				(CONTINUED)







August 8, 1991                                                  20.


23.     CONTINUED: (2)

		CARL
	Not that I know of.  But arguments do
	happen, don't they?

		DESMOND
	Yes they do.  Did she have visitors?

		CARL
	No, hey, I already told this whole damn
	thing to Sheriff "Not-Quite-Able"...
	Here's the trailer now.

He swings open the door.

		CARL (continued)
	And this is exactly the way she left it.  I
	never touched a GOD DAMN THING.
	   (frustration rising)
	GOD!

Desmond and Stanley go in.

24.  INT.  TERESA'S TRAILER

Desmond smells the room.  He and Stanley look around.  Stanley leans
over to Desmond.

		STANLEY
		(whispers)
	She lived alone.

		DESMOND
	She must have known someone.

Desmond notices her personal effects on the dresser, but no ring.

		DESMOND (continued)
	You better dust this place, Sam.

		STANLEY
	I'll get my kit.

25.  EXT.  CANYON TRAILER COURT

Stanley walks towards the car.  He writes in his note book.

		STANLEY
		  (to himself)
	5,600 dollars.

26.  INT.  TERESA'S TRAILER

Desmond notices a picture hanging on the wall.  Takes the picture
down and looks at it thru his magnifying glass.
		(more)


				(CONTINUED)



August 8, 1991                                                  21.


26.     CONTINUED:

INSERT - PICTURE

Teresa Banks is wearing a ring.

BACK ON THE SCENE

Stanley returns with his equipment.  Desmond shows him the photograph.

		DESMOND
	Take a look at this.

		STANLEY
	She's wearing a ring.

Stanley studies it.

		DESMOND
	My guess is there isn't enough detail in
	the photo to get an idea of the design on
	the ring, but we should do a blowup of
	this anyway.

		STANLEY
	(squinting at the picture)
	May I see the magnifying glass, Agent
	Desmond?
		  (takes a look, then looks at
		Desmond)
	There doesn't seem to be enough detail
	in the photo to ascertain the design on
	the ring.

Carl leans in from the outside.

		CARL
	I'm gonna make myself some Good
	Morning America.  You want some?

Both nod "yes".

			DISSOLVE TO:

27.  INT.  TERESA'S TRAILER - LATER

Stanley is finishing up his work.  Carl brings them their coffee.
Desmond tastes the coffee under Sam's watchful eye.

		DESMOND
	You weren't kiddin'.  This stuff's got the
	sting of the forty-eight hour blend.


				(CONTINUED)








August 8, 1991                                                  22.


27.     CONTINUED:

		CARL
	That's right.  That's the best coffee
	you're gonna get around here.

		STANLEY
	 (watching Desmond drink)
	We really do need a good "wake me up",
	don't we, Agent Desmond?
		(after a long look from Desmond)
	We really do need a good "wake me up",
	don't we, Agent Desmond?

A WOMAN sticks her head into the trailer.  She has an ice pack over
one eye and a load of idle curiosity.  Desmond notices her.

		DESMOND
	Did you know Teresa Banks?

She just nods in the negative and leans back out.  Behind her is
Deputy Cliff, who looks into the trailer.

		CLIFF
	Hey, how's J. Edgar doin'?
		(to Carl)
	Bet you appreciate them bustin' your
	mornin' in half, eh, Carl?  Bet they woke
	you up.

		CARL
	They're only doing their job.

		DESMOND
	What are you doing here in the trailer
	court, Deputy?

		CLIFF
	Maybe I just live here, what do you
	think about that?

		DESMOND
	Can I ask you where you were the night
	Teresa Banks was murdered?

		CLIFF
	You can tell J. Edgar that I was at a
	party and I got fifteen fuckin'
	witnesses.

		CARL
	Maybe if you did a little less partyin'
	that little girl would still be alive.


				(CONTINUED)







August 8, 1991                                                  23.


27.     CONTINUED: (2)

		CLIFF
	Is that right, Mr. Jack Daniels?

		DESMOND
	Did you know Teresa Banks?

		CLIFF
	Got a couple of cups of coffee at Hap's
	from her.  That's it.  By the way where
	do you get off questioning a lawman?  I
	could ask you the same question.

		DESMOND
	No you couldn't.

Chet steps towards Cliff who looses his balance and has to step off
the trailer steps.

28.  EXT.  CANYON TRAILER COURT - SAME

Desmond stands in the doorway of the trailer and watches Cliff get
into his car and drive to work.

Stepping away from the trailer Desmond spots something underneath.
He bends down and retrieves a Titleist Golf Ball.

		DESMOND
	Is there a golf course around here?

		CARL
	Not a lot around here, no.  Got some
	clubs, but not very many fellas with
	balls.

Desmond drops the ball in a plastic bag and gives it to Stanley who
puts it in his kit.  Desmond turns to Carl.

		DESMOND
	Thanks for your help, Carl.  Sorry we
	woke you up.

		CARL
	That's alright.  I was having a bad
	dream.  I was dreamin' about a joke
	with no punchline.

Desmond and Stanley nod to Carl and walk to their car.

		STANLEY
	I couldn't help but notice that you had a
	suspicion that Deputy Cliff was the
	murderer.  You did think that, didn't you,
	Agent Desmond?


				(CONTINUED)





August 8, 1991                                                  24.


28.     CONTINUED:

		DESMOND
	He's not the murderer.
		 (after a beat)
	But he's a bozo.

		STANLEY
	Yes, he is like a clown.

Desmond walks around the car to the drivers' side and gets in.

29.  EXT.  SHERIFF'S STATION - MIDDAY

The FBI MOBILE CRIME VAN sits outside as Desmond and Stanley pull up.

30.  INT.  WAITING ROOM, SHERIFF CABLE'S OFFICE - DAY

Cable and Cliff meet Desmond and Stanley as they come in the door.
The CRIME VAN DRIVER sits nearby.  The secretary is behind her desk.

		CABLE
	What the hell is that thing doing out
	there?  You're not taking that body
	anywhere.

		DESMOND
	We're taking the body back to Portland
	and there's not a thing you can do about
	it.

		CABLE
	Maybe not _a_ thing, but maybe _two_
	things.

		DESMOND
	Teresa Banks had a ring.  Any idea what
	happened to it?

		CABLE
	We got a phone, here, that's got a little
	ring.

		DESMOND
	   (turning to Stanley)
	Sam, get the body and put it in the van.
		(to Cable)
	Sheriff Cable, where were you the night
	Teresa Banks was murdered?

		CABLE
		(flexing the muscles in his arm)
	My alibi is as strong as these bands of
	steel.


				(CONTINUED)






August 8, 1991                                                  25.


30.     CONTINUED:

He reaches out and stops Stanley from going out to get the body.
Cable smiles menacingly at Desmond.

		CABLE (continued)
	Cliff told me you asked him the same
	thing.  Why don't we step around back
	and we'll have our final "discussion" out
	doors.

Cable exits followed by Cliff and the giggling secretary.

		STANLEY
	 (coming close to Desmond)
	When he says, "Discussion", how do you
	take that, Agent Desmond?

		DESMOND
	I don't take it, Sam.  I give it.

31.  EXT.  BEHIND THE SHERIFF'S STATION - DAY

Desmond, Cliff, Stanley, Cable, the secretary and the FBI van driver
all have stepped outside by the pile of iron bars.

		CABLE
	Now, J. Edgar, I'm going to take off my
	badge, here.  Do you mind?
	   (takes his badge off)
	The only way you're going to get that
	body is over mine.

He picks up a steel bar and bends it ala the picture in his office.

		CLIFF
		  (to Desmond)
	You try that you little monkey.

		DESMOND
	I think I'll take off my badge as well.

Desmond takes his coat and badge off.  Cable takes his shirt off and
Desmond follows.  Cable is bare-chested and Desmond is in FBI issue
underwear.

Desmond goes to pick up an iron bar and Cable hits him with a sucker
punch.  As Desmond bends away from this Cable rushes at him.  Desmond
stops him with a few well placed punches to his face.  Cable falls
down and Desmond stands over him.  Chet picks up the steel bar and
bends it.  He then tosses the bar away.

Cable stands up and rushes at Desmond who flips and flops him around.
Cable tries one more grand roadhouse punch which Desmond expertly

		(more)


				(CONTINUED)




August 8, 1991                                                  26.


31.     CONTINUED:

ducks.

		DESMOND
	(eyeing Cable's glass jaw)
	This one's comin' from J. Edgar.

Desmond blasts him in the jaw and Cable goes over - lights out, all
systems down.

The no longer giggling secretary and Cliff stand and stare.  Desmond
looks at them.

		DESMOND
	Who's next?

After a moment of unbearable humiliation they shuffle away.

			DISSOLVE TO:

32.  EXT.  SHERIFF'S STATION - AFTERNOON

Stanley and the driver finish loading the body into the van.  Desmond
and Stanley talk.

		DESMOND
	Take the van back to Portland, Stanley.
	I'm going to take one more look at the
	trailer park.

They walk towards the van until Stanley stops.

		STANLEY
		(confidentially)
	One thing that has been troubling me.
	That lamp at the diner.  Do you think
	they were working on it for esthetic
	reasons or was their work due to faulty
	wiring?

		DESMOND
	Faulty wiring.

		STANLEY
	Esthetics are subjective, aren't they,
	Agent Desmond?
		(extends his hand)
	I'm Sam Stanley.  If you ever need me.

		DESMOND
	Thanks, Sam, for the good work.  You
	have a good eye for detail.


				(CONTINUED)







August 8, 1991                                                  27.


32.     CONTINUED:

		STANLEY
	We do notice things, don't we, Agent
	Desmond?  Are you going back to the
	trailer park for the Blue rose?

Desmond smiles at Stanley as they shake.

DESMOND'S POV

As he enters the van, Desmond can barely make out what Stanley says
as he points to the driver.

		STANLEY
		 (very muffled)
	83,000 dollars.

33.  EXT.  THE TRAILER COURT - DAY

Desmond is standing in front of Teresa's trailer with Carl Rodd.

		CARL
		(motioning behind and to the right
	   of Teresa's trailer)
	And that's Deputy Cliff's trailer over
	there.  The red one.

		CHET
	Right.

		CARL
	I'll be in my trailer if you need me.

Carl walks away towards his trailer.  Desmond walks over and around
Cliff's red trailer.  He gets a strange feeling.  He looks past
Teresa's trailer to the edge of the trailer park, where he sees a
HAND appear in the window of a trailer.  Then the hand disappears.

Desmond walks to that trailer.  He knocks on the door but no one
answers.  He looks under the trailer and sees a _mound_of_dirt_with_
_a_small_indentation_at_the_top_.  In the indentation is _Teresa_
_Bank's_ring_.  As he reaches out and touches it, _he_disappears_.

34.  INT. GORDON COLE'S OFFICE, PHILADELPHIA - DAY

Cole and ALBERT ROSENFIELD talk.

		COLE
	EVERY SYLLABLE OF EVERY WORD IS THE
	SOUND OF TWO HANDS CLAPPING.  IS
	THAT WHAT YOU SAID, ALBERT?


				(CONTINUED)








August 8, 1991                                                  28.


34.     CONTINUED:

		ALBERT
	Six to eight hands clapping.  I was
	referring to the possibility of a little
	silence.

The phone rings and Cole answers it.

35.  INT.  PHILADELPHIA FBI OFFICES

AGENT DALE COOPER, in the doorway across the hall, talks to DIANE in
the next room.  While he talks he does some isometrics against the
door frame.

		COOPER
	I know you haven't changed your hair and
	I've seen that beautiful dress before,
	but I must say, Diane, you look
	sensational today.

Diane says something else that we cannot hear.

		COOPER
		 (enjoying this)
	No, I am not trying to buy time.  It's
	Thursday and I know you have changed
	something in the room...  and this time
	you've done very well...
		(stalling)
	And I am going to tell you exactly what
	it is...  in a moment...  you have moved...
		(snaps his fingers)
	Got it!  It's the clock, you've moved it
	12 inches to the left.
		(a laugh)
	Another triumph for the dashing Agent
	Cooper.  And you, Diane, now have to
	clean the coffee cup, get fresh ground
	coffee from Sally and make a damn
	great pot of coffee.

Cooper with a triumphant smile walks over to join Cole and Albert.
But Cole's stern look takes his smile away.

		COOPER
	What is it, Gordon?

		COLE
	COOP, AGENT CHET DESMOND HAS
	DISAPPEARED.  GONE LIKE THE WIND IN
	DEER MEADOW.











August 8, 1991                                                  29.


36.  INT.  SAM STANLEY'S APARTMENT, SPOKANE - DAY

All around the walls of Stanley's apartment are work benches with
adding machinery sitting on top of them.  In the middle of the room
is a portable plastic pool, with milky white water and crystallized
salt formations clinging to the sides like quartz rocks.  From one
odd looking piece of machinery there are wires which extend into the
pool.

Cooper's eyes go to the pool and back to Stanley as Sam talks about
Desmond.

		STANLEY
	Agent Chet said he wanted to check the
	trailer court one more time.  He had me
	drive the van with the body back here.
	Which we did.  It was 105 miles.

		COOPER
	Anything else?

		STANLEY
	Did Gordon show you a woman named
	Lil?

		COOPER
	I'm up to speed, Stanley.

		STANLEY
	Agent Chet wouldn't tell me what the
	Blue Rose meant.

		COOPER
	And neither will I.

		STANLEY
		 (understanding)
	Oh, alright.
		  (reflecting)
	You know, I liked Agent Desmond.  He
	had his own M.O.

Stanley turns to one of his work tables and shows Cooper the Whiteman
machine.

		STANLEY
	I cracked the Whiteman case with this.

		COOPER
	   (trying to stop him)
	Stanley, I heard all about it.

		STANLEY
	No one could've found those splinters
	without a machine like this and no one

		(more)


				(CONTINUED)



August 8, 1991                                                  30.


36.     CONTINUED:

		STANLEY (continued)
	has a machine like this.

		COOPER
	Tell me about the letter.

		STANLEY
	Take a look at this.  Chet and I found it
	under Teresa Banks' ring fingernail.

Cooper looks under the microscope to see the letter they found on
Teresa.

		COOPER
	And no one found the ring?

		STANLEY
	No, sir, we did not.

Cooper straightens up from the microscope.  Stanley extends his hand.

		STANLEY
	I'm Sam Stanley, if you ever need me.

37.  EXT.  CANYON TRAILER COURT - DAY

Carl Rodd shows Cooper to Teresa's trailer.

		CARL
	GOD.  I'm beginning to lose faith in the
	United States Government and that
	includes the telephone system.  Don't
	you folks talk to one another.  That's her
	trailer there and I haven't touched a god
	damn thing.  Agent Chet Desmond come
	by a second time and asked too see
	Deputy Cliff Howard's trailer
		  (gestures to the red trailer)
	...which I showed him.  I went back to
	my trailer...
	  (gestures back to his)
	After that I never saw him again.

		COOPER
	Thank you, Carl.

Cooper starts walking in the opposite direction from Cliff's trailer
picking up on the same odd vibe that struck Desmond.

		CARL
		 (turning back)
	That's not the way to Cliff's trailer.  I
	told you.


				(CONTINUED)





August 8, 1991                                                  31.


37.     CONTINUED:

		COOPER
	I am not going to Cliff's trailer.

		CARL
	Well, where are you going?

		COOPER
	I am going over here.

		CARL
	  (coming along with him)
	God damn, you people are confusing.

Cooper reaches a pack of dirt which is now creased with tire tracks.

		COOPER
	What was here, Mr. Rodd?

		CARL
	A trailer was here.  What the hell do you
	think?

		COOPER
	Can you tell me who's trailer it was...
	and who stayed in the trailer?

		CARL
	An old woman and her grandson.

		COOPER
	Can you tell me what their names were?

		CARL
	Chalfont.  Weird.  Chalfont was the
	name of the folks that rented the space
	before they did.  Two Chalfonts.

Cooper kneels to examine the tracks left by the exited trailer.
As he kneels and inspects the tracks he is overcome by the presence
of SOMETHING.

Cooper struggles to his feet and looks around.  Under a tree and
close to the tracks is a car.

		COOPER
	Is that Agent Desmond's vehicle?

		CARL
	Yep, it sure is.

Cooper walks to it.

AT DESMOND'S CAR


				(CONTINUED)





August 8, 1991                                                  32.


37.     CONTINUED: (2)

Cooper inspects the car.  Coming around to the front of the car he
notices the windshield.  On the windshield someone has written the
words, "Let's Rock".

38.  EXT.  WIND RIVER, NEAR DEER MEADOW - AFTERNOON

Cooper stares into the stream.

		COOPER
		  (dictating into his recorder)
	Diane, it's 4:20 in the afternoon.  I am
	standing here at Wind River where they
	found the body of Teresa Banks.  Diane,
	this case has got a strange feeling for
	me.  Not only has Agent Chester
	Desmond disappeared but this is one of
	Cole's Blue Rose cases.  The clues that
	were found by Agent Desmond and Agent
	Stanley have lead to dead ends.  The
	letter below the fingernail gives me the
	feeling that the killer will strike again.
	But like the song says, "...who knows
	where or when".

39.  EXT.  TWIN PEAKS - DAY

Shot of the Twin Peaks Sign.  Then on screen it reads:

		  TWIN PEAKS ONE YEAR LATER -

   EXACTLY SEVEN DAYS BEFORE THE MURDER OF LAURA PALMER

40.  EXT.  THE PALMER HOUSE - DAY

LAURA PALMER walking towards us.  The picture of a Homecoming Queen.

41.  EXT.  FBI HEADQUARTERS, PHILADELPHIA - DAY

Re-establish.  On screen it reads:

		  "PHILADELPHIA, PENNSYLVANIA"

42.  INT.  COLE'S OFFICE

Cooper talks with Cole.

		COOPER
	Gordon, it is 10:10, on February 15th.


				(CONTINUED)










August 8, 1991                                                  33.


42.     CONTINUED:

		GORDON
	SO?

		COOPER
	I was worried about today from the
	dream I told you about.

		COLE
	RIGHT.
	  (not sure what to say)
	GOOD WORK.

Cooper looks at the calendar in the room and checks his watch.  He
walks from the room.

43.  INT.  HALLWAY BELOW THE SURVEILLANCE CAMERA - SAME

Cooper stares into the lens of the camera for a moment.  Then sprints
to the Surveillance Room.

44.  INT.  SURVEILLANCE ROOM

Cooper stares at the monitor.  Sees nothing on the screen but an
empty hallway.

45.  EXT.  BUENOS AIRES HOTEL - DAY

Nice sunny day.  The dity in all its glory.  On screen it reads:

		 "BUENOS AIRES"

46.  INT.  BUENOS AIRES HOTEL - DAY

PHILLIP JEFFRIES checks into the hotel.

		HEAD CLERK
	Here's your key, Mr. Jeffries.  I hope you
	enjoy your stay here at The Palm
	Deluxe.
		 (grabs a note)
	This is for you.  The joven...  ah...  young
	lady...  she left it.

Rings the bell.  A BELLHOP appears.  Young, sweating, and eager.
Jeffries hands him the key.

		BELLHOP
	612 --- very nice.

He picks up Jeffries' bag and heads for the elevator.

47.  INT.  HALLWAY BELOW THE SURVEILLANCE CAMERA - SAME

Cooper runs out to the hall again stares into the camera.  He stays
there for a moment then runs back to the Surveillance Room.






August 8, 1991                                                  34.


48.  INT.  SURVEILLANCE ROOM - SAME

Cooper stares at the monitor which still shows an empty hallway.

49.  INT.  HALLWAY BELOW THE SURVEILLANCE CAMERA - SAME

BACK ON COOPER

He runs back out the door into the hallway.  Behind him at the end of
the hall a door opens and _Phillip_Jeffries_who_moments_ago_was_in_
_Buenos_Aires_ enters the hallway headed towards Cooper, but Cooper
doesn't see him because he is staring intently into the camera as he
has done twice before.

50.  INT.  SURVEILLANCE ROOM - SAME

Cooper races into the room and stares into the monitor.

51.  ON THE MONITOR

This time Cooper is amazed to see himself staring into the camera,
and behind him is Phillip Jeffries coming towards him and the camera.
On the screen Jeffries walks past Cooper.

		COOPER
		(shouting)
	Gordon.

Cooper runs into Gordon's office.

52.  INT.  GORDON'S OFFICE

As Cooper gets to Gordon's office, Albert and Cole are standing there
staring bug eyed at Phillip Jeffries.

		COLE
	PHILLIP!

Albert stands up.

		ALBERT
	Phillip?

Jeffries moves into the room.  Cooper steps into the office.

		COOPER
	Phillip?

		COLE
	COOPER, MEET THE LONG LOST PHILLIP
	JEFFRIES.  YOU MAY HAVE HEARD OF HIM
	AT THE ACADEMY.

Jeffries stares at the threesome.


				(CONTINUED)






August 8, 1991                                                  35.


52.     CONTINUED:

		JEFFRIES
	I'm not going to talk about Judy.  Keep
	Judy out of this.

		COOPER
	But...

Cole calms Cooper.

		COLE
	STAND FAST, COOP.

		JEFFRIES
	   (pointing at Cooper)
	Who do you think that is there?

		ALBERT
	(trying to calm Jeffries)
	Suffered some bumps on the old noggin',
	eh, Phil?

		COLE
	WHAT THE HELL DID HE SAY?
	   (pointing at Cooper)
	THAT'S SPECIAL AGENT DALE COOPER.
	  (focusing on Jeffries)
	ARE YOU OKAY, JEFFRIES?  WHERE THE
	HELL HAVE YOU BEEN?

		JEFFRIES
	I want to tell you everything, but I don't
	have a lot to go on.  But I'll tell you one
	thing:  Judy is positive about this.

		ALBERT
	How interesting.  I thought we were
	going to keep Judy out of this.

Jeffries stumbles to a chair.

		JEFFRIES
	Listen to me carefully.  I saw one of
	their meetings.  It was above a
	convenience store.

		ALBERT
	Who's meeting?  Where have you been?

		COLE
	FOR GOD SAKES, JEFFRIES, YOU'VE BEEN
	GONE FOR DAMN NEAR TWO YEARS.


				(CONTINUED)







August 8, 1991                                                  36.


52.     CONTINUED: (2)

		JEFFRIES
	It was a dream.
	 (takes Albert by the arm)
	We live inside a dream.

		ALBERT
	And it's raining Post Toasties.

		JEFFRIES
		(shouting)
	NO, NO.  I found something...  in Seattle
	at Judy's...  And then, there they were...

Albert is about to say something, but is stopped by Cole's gentle
pressure on his arm.

		JEFFRIES
	They sat quietly for hours.

53.  INT.  ROOM ABOVE THE CONVENIENCE STORE - DAY

SIX PEOPLE in a large, barren, filthy room.  Cheap plastic storm
windows flap in the cold wind.  In the foreground the Man From
Another Place (Mike) and BOB sit at a formica table.  Behind them
on plastic torn chairs huddle MRS. TREMOND and her GRANDSON.  TWO
BIG WOODSMEN with full beards sit quietly.

		 FIRST WOODSMAN
		(subtitled)
	We have descended from pure air.

	  MAN FROM ANOTHER PLACE
		(subtitled)
	Going up and down.  Intercourse between
	the two worlds.

		BOB
		(subtitled)
	Light of new discoveries.

		  MRS. TREMOND
		(subtitled)
	Why not be composed of materials and
	combinations of atoms?

	  MRS. TREMOND'S GRANDSON
		(subtitled)
	This is no accident.

	  MAN FROM ANOTHER PLACE
		(subtitled)
	This is a formica table.  Green is its
	color.


				(CONTINUED)





August 8, 1991                                                  37.


53.     CONTINUED:

He touches the table.

		 FIRST WOODSMAN
		(subtitled)
	Our world.

	  MAN FROM ANOTHER PLACE
		(subtitled)
	With chrome.  Any everything will
	proceed cyclically.

		 SECOND WOODSMAN
		(subtitled)
	Boneless.

		MIKE
		(subtitled)
	Yes, find the middle place.

Bob begins to scream with anger.

		BOB
		(subtitled)
	I HAVE THE FURY OF MY OWN MOMENTUM.

		TREMOND'S GRANDSON
		(subtitled)
	Fell a victim.

The Man From Another Place raises his hand.

	  MAN FROM ANOTHER PLACE
		(subtitled)
	Fire Walk With Me...

Bob claps his hand and a circle of fire appears in the room.

		BOB
		(subtitled)
	Fire Walk With Me.

THROUGH THE CIRCLE

We see the RED ROOM.

ON THE SCENE

Bob crawls into the Red Room and Mike starts to yell and leaps in
after him.

		 SECOND WOODSMAN
		(subtitled)
	Thus time moves on.








August 8, 1991                                                  38.


54.  BACK IN THE FBI OFFICE

		JEFFRIES
	I followed.

Jeffries begins to cry quietly at his table.

		JEFFRIES
		  (to himself)
	The ring...  ring...

		COLE
		(hinting)
	ALBERT, I'LL TAKE THAT SECOND
	MINERAL WATER.

After a hesitation, Albert gets the "message" and discreetly leaves
the room.

		COLE (continued)
	PHILLIP, LET'S CALM DOWN AND GET ALL
	OF THIS INTERESTING STORY ON PAPER.

Cole tries to raise someone on the intercom but it doesn't seem to
have any juice.

		COLE (continued)
		(into the speaker)
	HELLO...  HELLO.

He is getting nothing.  The static begins to build on the intercom.
The wiring in the wall and the flourescent lights start to hum as
well.

		COLE (continued)
	LET ME HEAR SOME GOOD NEWS.  MY
	DEVICE IS FAULTY.  WHERE THE HELL IS
	THE SOUND IN THIS THING?
	 (pounds on the intercom)
	MAYDAY...

Hearing "May", Jeffries turns and stares at a _calendar_on_the_wall_.
Move into Jeffries.

		JEFFRIES
	May?  1989?

CLOSEUP: JEFFRIES

Staring at the calendar.  it is 1989.

BACK ON THE SCENE

Cooper looks out of the room to see if anyone is coming to help Cole

		(more)


				(CONTINUED)




August 8, 1991                                                  39.


54.     CONTINUED:

who is still trying to get the intercom to work.  The static grows
even louder.

		COLE
	WHAT...  AM I ALONE?

Cole turns back to Jeffries.  _But_there_is_no_one_there_.  Jeffries
is gone.  Papers from Cole's desk are now sticking to Jeffries chair.

		COLE
	HE'S GONE.

		COOPER
	(coming back into the room)
	What?

		COLE
	ALBERT, COME BACK HERE.  HE'S GONE
	CALL THE FRONT DESK.

		ALBERT
		 (on the phone)
	I've got the front desk right now.  He
	never was here.  No record of him
	entering the building...  and the doctors
	should be here any minute.

		COLE
	  (frustration building)
	GREAT.  I, MYSELF, AM GOING TO BE
	READY FOR THEM.

		COOPER
	What's going on?

Albert rushes back into the room.

		COLE
	QUICKLY MEN...  WORD ASSOCIATION,
	COOP.  WHAT ARE YOU THINKING ABOUT
	RIGHT NOW?

		COOPER
	Teresa Banks.

		COLE
	ALBERT?

		ALBERT
	Tylenol.

		COLE
		(to Cooper)
	WHY ARE YOU THINKING ABOUT TERESA

		(more)

				(CONTINUED)



August 8, 1991                                                  40.


54.     CONTINUED: (2)

		COLE (continued)
	BANKS, COOP?

		COOPER
	It was a year ago today that Teresa
	Banks was killed.  I'm wondering if the
	murderer will ever kill again.

		COLE
	ALBERT, WHY TYLENOL?

		ALBERT
	No offense, sir, but after a day with you
	it is mandatory.

55.  INT.  BUENOS AIRES HOTEL CORRIDOR - SAME

Jeffries is suddenly standing in the second story hallway of the
Buenos Aires Palm Deluxe Hotel.  The wall behind him is seared black
and smoking.  A terrified MAID is whimpering and scampering away from
Jeffries trying to stave away an epileptic fit.  She is looking at
him like he is the devil personified.

The bellhop had run further away, but has turned back to see Jeffries
reappear.  He is afraid to come any closer.

		JEFFRIES
		  (to Bellhop)
	Hey...  hey...

		BELLHOP
		  (half crying)
	Oh, Mr. Jeffries.  De shit it come out of
	my ass!  Santa Maria, where did you go?

They stare at each other as the blackened wall continues to smoke.

56.  INT.  SURVEILLANCE ROOM - DAY

Cooper and Cole sit in front of the monitor.  Cooper plays back the
surveillance tape.  _It_shows_Jeffries_coming_up_behind_Cooper_.
_Then_moving_past_him_.  Cooper turns to Cole.

		COOPER
	He was here.

			DISSOLVE TO:

57.  EXT.  HAYWARD HOUSE

Laura Palmer continues down the sidewalk towards us.

On screen it reads:


				(CONTINUED)





August 8, 1991                                                  41.


57.     CONTINUED:

		 "THURSDAY - SEVEN DAYS BEFORE"

Laura stops and turns.  We suddenly find ourselves in front of the
Hayward House.

		LAURA
	Donna?...  Donna?...

LAURA'S POV

DONNA HAYWARD gathering her books and coming out the door.

		DONNA
	Just a minute, Laura.

58.  ON THE SIDEWALK

Donna joins Laura.

		LAURA
	If I am going to get through math today,
	you're going to have to bring me up to
	speed quick.

		DONNA
	You didn't do your homework?

		LAURA
	Noooo...

		DONNA
		(a pal)
	Okay, this test is going to be about the
	theorems I told you about last week.  You
	remember the...

		LAURA
	Don't tell me now.  Tell me right before
	the test.  I won't be able to remember
	long enough.

		DONNA
	You graduating this year will be proof
	that miracles happen.

		LAURA
	Thanks.

Laura tweaks Donna's cheek.

		DONNA
	James called me last night looking for
	you.


				(CONTINUED)





August 8, 1991                                                  42.


58.     CONTINUED:

		LAURA
	When?

		DONNA
	The usual, 9:15.

		LAURA
	He probably wanted to drive over.

		DONNA
	Were you with Bobby?  Or are you two
	still fighting?

		LAURA
	No, and yes.  I don't know what I'm going
	to do about Bobby.  I know he is seeing
	someone else and that's okay with me,
	and he thinks I'm seeing someone else
	and that's not okay with him.

		DONNA
	Are you going to tell him about that
	"someone else"?

		LAURA
	I don't know what to do.

		DONNA
	You know what your problem is?
		(smiles)
	You're just too adorable...

		LAURA
		  (smiles back)
	You know, I think you're right.  I'm just
	too adorable.

Donna grabs her and shakes her shoulders.

		DONNA
		(sing-song)
	Laura Palmer, you're just too adorable.

		LAURA
	 (joining her - laughing)
	I'm just too adorable.  I'm just too
	adorable.

They continue up the sidewalk laughing.

59.  EXT.  TWIN PEAKS HIGH SCHOOL - DAY

Establish.








August 8, 1991                                                  43.


60.  INT.  TWIN PEAKS HIGH SCHOOL - DAY

On Laura and Donna as they walk in.

FIVE of their ADMIRERS watch Laura and Donna with love and worship.
They sing a kind of pining but cool CHANT with knees bent and arms
outstretched.

		ADMIRERS
	"Laura...  Donna...  Laura...  Donna..."

On Donna as they continue down the hall.  A cool MIKE NELSON snaps
his fingers ala Bobby for Donna to come to him.  Without missing a
beat Donna changes directions.  Mike has to hustle to catch up with
her.

		MIKE
		 (putting his arm around Donna)
	That's why you need a real man, Babe,
	you're tough to handle.

		DONNA
	And you're the real man?

61.  INT.  OUTSIDE THE GIRL'S BATHROOM

JAMES HURLEY moves up behind Laura and pushes close to her.

		LAURA
	James...

		JAMES
	Laura, I'll meet you at 2:30 after phys.
	ed.

		LAURA
	Okay.

James smiles and walks off.  Laura enters the girls' room.

62.  INT.  GIRLS' ROOM - DAY

Laura ducks into a stall and does a quick hit of cocaine.  The school
bell rings simultaneously.

63.  INT.  HALLWAY IN FRONT OF TROPHY CASE - SAME

BOBBY BRIGGS saunters into school - late as usual.  The corridor is
empty.  Everyone else is in class.  He walks to Laura's portrait in
the trophy case.  Kisses the glass protecting it.

		BOBBY
	Hey, Baby.

He continues on happy and ultra-cool to his class.

			DISSOLVE TO:






August 8, 1991                                                  44.


64.  SCHOOL CLOCK

It reads:  2:30.

65.  INT.  CUSTODIAN'S ROOM - DAY

James waits for Laura amidst the cleaning drums and brooms.  The door
swings open and Laura slides in wearing only a towel.  They embrace
in the half light.

		JAMES
	Laura, do you love me?

		LAURA
	Yes, I love you.  I've told you, but it
	doesn't really matter.

		JAMES
	Why?  It does.

		LAURA
	No, it doesn't...  just kiss me.

		JAMES
	It does matter.  We're in love.

		LAURA
	James, you don't know what you are
	talking about.  Quit trying to hold on so
	tight.  I'm gone...  long gone like a turkey
	through the corn.

		JAMES
	You're not a turkey.  A turkey is one of
	the dumbest birds on earth.

		LAURA
		  (small smile)
	Gobble, gobble, gobble.

He smiles.  She kisses him and he responds.

		JAMES
	Don't ever leave, Laura, ever.  I'll never
	leave you.

Laura moves into him.  A hopeless embrace.  His eyes full of hope and
Laura's empty.  She pulls him to the floor to make love.

66.  EXT.  THE HIGH SCHOOL - DAY

A bell rings and, after a moment, STUDENTS and TEACHERS start to move
out.  Bobby catches up with Laura and Donna.


				(CONTINUED)







August 8, 1991                                                  45.


66.     CONTINUED:

		BOBBY
	Where were you for the last hour?  I've
	been lookin' for you?

		LAURA
	I was right behind you, but you're too
	dumb to turn around.
	   (laughing with Donna)
	If he turned around he might get dizzy
	and fall down.

Bobby grabs her roughly and spins her around.  Students stop and
stare.

		BOBBY
		  (very angry)
	I'M NOT KIDDIN'.  WHERE WERE YOU?
	WHO WERE YOU WITH?

		LAURA
	Get lost Bobby.

		BOBBY
	Oh, yeah?  You'll be callin' soon and
	maybe I'm not gonna be there.

		LAURA
	   (very smooth, cooing)
	Oh, come on, sweetie, give me one of
	your smiles.

Bobby can't hold onto his anger.  Slowly a huge smile spreads across
his face.

		BOBBY
		(smiling)
	Love ya, Babe.

			DISSOLVE TO:

67.  INT.  HAYWARD HOUSE, LIVING ROOM - DAY

Donna and Laura.  Eating nuts.  Donna is stretched out on the sofa
and Laura is in a chair with her legs over the top.  She is almost
upside down.  Nothing going on.

EILEEN HAYWARD rolls through the living room in her wheelchair and
makes a quick check of the nut supply.

		LAURA
	Hi, E.H.


				(CONTINUED)







August 8, 1991                                                  46.


67.     CONTINUED:

		EILEEN
	   (with a nod to Laura)
	L.P.
		(to Donna)
	D.H.

		DONNA
	Mom H.

Eileen motors out.

		DONNA (continued)
		(to Laura)
	Are you going to see James tonight?

		LAURA
	Why are you suddenly so interested in
	who I am going to see at night?
	Nighttime is my time.

		DONNA
	You're telling me, but only because you
	never let me in on any of it...  you're not
	going to see Bobby, are you?

		LAURA
	Maybe.

		DONNA
	Oh god, Laura.

		LAURA
	Well, why not?

		DONNA
	Because Bobby is a loser, you said so
	yourself.  He's a goon.
	  (she sighs to herself)
	James is the  one.
	   (getting very dreamy)
	He loves you with that "lasting love"...
	"true love".

Laura looks at Donna.

		LAURA
	Yes, James is very sweet.  Why don't you
	get out your violin, Donna?

		DONNA
	Sweet?  God, he's gorgeous.

		LAURA
	James is very sweet and very gorgeous.


				(CONTINUED)




August 8, 1991                                                  47.


67.     CONTINUED: (2)

Donna drifts off.

		DONNA
	I wonder if Mike could ever write a
	poem?

Both of them drift off.

		DONNA (continued)
	Do you think that if you were falling in
	space you would slow down after a
	while or go faster and faster?

		LAURA
	Faster and faster.  For a long time you
	wouldn't feel anything.  Then you would
	burst into fire...  forever.

Donna studies her friend and thinks about what she has said.  After
a beat.

		DONNA
	Maybe I better start our homework.

		LAURA
	Okay, I suppose I should go home.

		DONNA
	Call me.

		LAURA
	Sure.  What do you want me to call you?

		DONNA
	Call me anything just don't call me late
	for dinner.

They laugh.

68.  EXT.  PALMER HOUSE - DAY

Laura coming home from Donna's.

69.  INT.  PALMER HOUSE

Laura comes in the front door.  No one seems to be home.

		LAURA
	Mom...  Mom?

No answer - she heads up to her room.

70.  INT.  PALMER HOUSE, STAIRS AND FAN

Laura moves up to her bedroom.






August 8, 1991                                                  48.


71.  INT.  LAURA'S ROOM - DAY

Laura comes into her room and drops her books on her bed.  She goes
to the window and opens it - takes a package of cigarettes out, pulls
one out and lights it.

She goes to her "public" diary which she keeps on her desk.  Opens it
to page one takes out a packet full of cocaine.  Like a pro she takes
out her "cocaine gadget" from her purse and takes a snort.  Then
another.  Big sigh of relief.

Now she moves to her "private" diary behind her dresser - gets a pen,
ready to write and starts to freak out.  Pages are missing.  First,
she discovers one, then more.

Laura panics.  Dropping her cocaine gadget back into her purse and
taking her private diary, she sprints from the room.

72.  INT.  PALMER HOUSE, ENTRANCE WAY - DAY

Laura runs down the steps nearly colliding with her mom, SARAH PALMER,
coming home with a load of groceries.  A cigarette in her mouth.

		SARAH
	Laura, honey...
		  (smoke going into her tearing
		eyes)
	Cigarette...  Cigarette...

Laura takes it out of her mouth.

		LAURA
	Can I take the car?

		SARAH
	Sure honey, what's the hurry?

		LAURA
	I forgot my books at school.

Laura runs from the house.

		SARAH
	Laura.

		LAURA
	What?

Laura looks back to see her mom dangling the car keys in front of her.
Laura comes back to get the keys still holding the burning cigarette.
Sarah sternly takes the cigarette from Laura's hand.  As they make the
exchange.

		SARAH
	You'll never be a smoker if you don't

		(more)


				(CONTINUED)



August 8, 1991                                                  49.


72.     CONTINUED:

		SARAH (continued)
	start.  I mean it.

Takes a drag.  With barely a nod, Laura is gone.

73.  EXT.  TWO LANE BLACK TOP IN LOTOWN - DAY

Laura speeds through Lotown in her mom's '56 Roadmaster Buick.

74.  EXT.  HAROLD SMITH'S APARTMENT - DAY

Laura skids up outside the apartment.  Then backs the car up to a
darker, more enclosed area amongst some trees.  Cautiously, she gets
out of the car and then hurries to Harold's door.

AT THE DOOR

Laura frantically knocks at the door.  HAROLD SMITH answers.

		HAROLD
	Laura?

75.  INT.  HAROLD SMITH'S APARTMENT - DAY

Laura rushes past him to the sofa, opening the book for him to see.

		LAURA
	My secret diary.  There are pages
	missing.

		HAROLD
	Who would do that?

		LAURA
	Bob.

		HAROLD
	But Bob isn't real.

		LAURA
	The pages are gone.  That's real.

		HAROLD
	Maybe.

		LAURA
	Bob is real.  He's been "having" me since
	I was 12.

Stunned, Harold doesn't know what to do.

		LAURA (continued)
	The diary was hidden too well.  He's the

		(more)


				(CONTINUED)



August 8, 1991                                                  50.


75.     CONTINUED:

		LAURA (continued)
	only one who could know where it was.
	He's getting to know me, now.  He's real
	He speaks to me.

		HAROLD
	What does Bob say?

		LAURA
		(whisper)
	He wants to be me...  or he will kill me.

		HAROLD
	No...  No...

		LAURA
		(strangely)
	Oh, yes...  yes...

Laura starts towards him frightening Harold.

		HAROLD
	What?  Please.

She allows the feeling of Bob to come over her and she begins to
scream.  Harold steps back, but Laura grabs him.  To his face with
a horrifying expression on hers.

		LAURA
	FIRE WALK WITH ME.

She buries herself on his shoulder.

		LAURA
		(whispers)
	The trees...  the trees...

They break.

		LAURA (continued)
	You have to hide the diary, Harold.  You
	made me write it all down.  He doesn't
	know about you.  You'll be safe.

She stares at Harold.  Her eyes widen, terrified with suspicion.

		LAURA
	You're not Bob are you, Harold?  If you
	are, you can kill me right now.  Kill me
	right now, if you are.

		HAROLD
	Laura, no, I'm not.  I'm not Bob.
	 (begins to shake and cry)
		(more)


				(CONTINUED)



August 8, 1991                                                  51.


75.     CONTINUED: (2)

		HAROLD (continued)
	Poor Laura.  I wish I could help you.

He holds her.

		LAURA
	I hate him, I hate it.  Sometimes I love
	it.  But now I'm afraid.  I am so afraid.

		HAROLD
	But you're strong Laura...  so much
	stronger than I...  How can I help you?  I
	can't.  I can't even go outside.

Laura reaches up and tenderly touches his cheek.

		HAROLD (continued)
	What about James?  Can't James help
	you?  You two are so in love.

		LAURA
		(flat)
	He's in love with a girl who's dead.
	  (handing him the diary)
	It _is_ dangerous for you to have it.  I'm
	sorry.

		HAROLD
	  (thinking only of her)
	I'm so sorry, Laura.

She pulls him to her and kisses him passionately.

		LAURA
	I don't know when I can come back.
	Maybe never.

Laura slowly goes out the door.  Harold can only watch.

76.  EXT.  HAROLD SMITH'S APARTMENT - DAY

Laura goes out to the car.

77.  INT./EXT.  BUICK ROADMASTER - DAY

Laura starts the car and takes a snort of cocaine.

Laura pulls out onto the highway.  We stay with her watching her
face - struggling with the prospects of the terrifying future.












August 8, 1991                                                  52.


78.  INT.  PALMER DINING ROOM - NIGHT

Laura rushes in to find her mom setting the table.  Sarah stops and
stares at Laura.

		SARAH
	You lied to me about those school books.
	I found them upstairs on your bed.

		LAURA
	 (suspicion and paranoia)
	What were you doing in my room?

		SARAH
	I was looking for that blue sweater that
	you borrowed which I found balled up in
	the bottom of your closet.  Now why did
	you lie to me?  Where did you go?

		LAURA
	I had to see Bobby.  I know you really
	don't like Bobby, but there was a
	problem and I didn't think you would
	understand.

		SARAH
	Oh, honey, you don't have to lie to me.
	Ever.  You can tell me anything.  I'll
	understand.

		LAURA
	I'm sorry, Mom.

		SARAH
	Now hurry, dinner's almost ready.  Your
	father says he's starving.

			DISSOLVE TO:

79.  INT.  PALMER DINING ROOM - NIGHT

Laura is already at the table.  Sarah puts the rest of the dinner on
the table and sits down just as LELAND PALMER enters from the kitchen.
He is pretending he is a giant.  Using a voice like a giant.

		LELAND
		(big giant voice)
	Hello, Laura.  Hello Sarah.  Where's my
	axe?
		(singing)
	"I'm hungry".

		SARAH
	Oh, Leland.


				(CONTINUED)






August 8, 1991                                                  53.


79.     CONTINUED:

		LAURA
		  (embarrassed)
	Dad.

		LELAND
		  (suddenly speaking Norwegian)
	Hyggelig a mote dem.  Jeg Heter Leland
	Palmer.

Translation is:  How are you?  My name is Leland Palmer.

Laura and Sarah stare at him.

		LELAND
	The Norwegians are coming next week
	and I want you to learn to say what I
	just learned in Norwegian.  So you can
	talk to them.  I want you to learn to say,
	"Hello, my name is Leland Palmer".

		LAURA
	But my name isn't Leland Palmer.

		SARAH
	Neither is mine.  And can't we talk
	about something serious for a change.

		LELAND
	This is serious.  Mr. Benjamin Horne's
	got a delegation of Norwegians coming
	in next week and I want both of you to
	learn to introduce yourself.  Sarah, you
	first.

Leland repeats his phrase for Sarah's benefit.

		LELAND
	Hyggelig a mote dem.  Jeg Heter Leland
	Palmer.

Sarah stumbles through it.

		SARAH
	Hyggelig a mote dem.  Jeg Heter Sarah
	Palmer.

Leland repeats his phrase back to her.  Extends his hand in a friendly
handshake.

		LELAND
	Good.  We'll practice some more.  Laura,
	now you try it.


				(CONTINUED)






August 8, 1991                                                  54.


79.     CONTINUED: (2)

Laughingly, Laura does the same thing.

		LAURA
	Hyggelig a mote dem.  Jeg Heter Laura
	Palmer.

After Laura is done.

		LELAND
	All together now...

Leland extends a hand to each of them.  An air of insanity seems to
come over the Palmer dining room as they all begin to laugh
hysterically and talk in broken Norwegian.

			DISSOLVE TO:

80.  INT.  LAURA'S ROOM - LATE NIGHT

The clock reads:  11:30.  Laura's hands open the window and release
the screen.  Laura silently sneaks out the window and down the side
of her house.

81.  EXT.  SIDE OF THE HIGHWAY - LATER

A big semi comes to a stop at a wide spot in the road.  Laura climbs
into the truck.

82.  INT.  TRUCK - SAME

The TRUCKER smiles.  Eager.

		TRUCKER
	Friend of Leo's, right?  Partyland?

Laura begins to unbutton her blouse.  Turns and sneaks a toot of
cocaine.

		TRUCKER (continued)
		 (catching her)
	Wait a minute.  Leo says this is my
	party.

Laura puts her hand between his legs.

		LAURA
	If you can fuck and drive the party
	starts right now.

Momentarily taken aback, the trucker stares at her.  Laura takes his
hand and puts it on the gear shift.

		LAURA (continued)
	You shift that one.  This one's mine.

She climbs over on top of him.





August 8, 1991                                                  55.


83.  EXT.  THE TRUCK - SAME

The stack blows.  The truck rolls away onto the road.  We watch it as
it moans into the distance - the sound slowly diminishing and fading.

Natures' nighttime sounds take over.  Finally, we hear the _hooting_
_of_an_owl_.

84.  EXT.  PHILADELPHIA FBI OFFICE - DAY

Reestablish.

85.  INT.  OFFICE - DAY

Albert and Cooper.

		ALBERT
	Cooper, the ooze of mumbo jumbo is
	rising up above our heads.  Do you
	honestly think Cole's practice of word
	association works?

		COOPER
	The very fact that we are talking about
	word association means we are in a
	space that was opened up by our
	practice of word association.  The
	world is a hologram, Albert.

		ALBERT
	Yes, it's a great big psychedelic circus
	ride, isn't it, Cooper?

		COOPER
	Albert.

		ALBERT
	You said, "Teresa Banks", so you think
	something is going on somewhere in the
	world right now that is connected with
	her murder?

		COOPER
	Yes.  Either right now or right when I
	thought of it.  The name and memory of
	Teresa Banks is haunting me.  Lately I
	have been filled with a knowingness
	that the murderer will strike again.
	Because it is only a feeling, I am
	powerless to stop it.  And another thing,
	Albert, when the next murder happens
	you will help me solve it.


				(CONTINUED)








August 8, 1991                                                  56.


85.     CONTINUED:

		ALBERT
	Let's test it for the record.  Will the
	next victim be a man or a woman?

		COOPER
	A woman.

		ALBERT
	What color hair will she have?

		COOPER
	Blonde.

		ALBERT
	Tell me some other things about her.

		COOPER
	She's in high school.  She's sexually
	active.  She's on drugs.  She's crying out
	for some help.

		ALBERT
	You're describing half the high school
	girls in America.
		(off Cooper's look)
	What is she doing right now?

		COOPER
		(closing his eyes to see a mental
		picture)
	She is preparing a great abundance of
	food.

Albert lets go a small laugh of disbelief and shakes his head in
exasperation.

86.  EXT.  DOUBLE R DINER - AFTERNOON

Establish.

87.  INT.  DOUBLE R DINER - AFTERNOON

Laura comes out of the kitchen stacking some of her "Meals on Wheels"
on the counter.

On screen it reads:

	"FRIDAY - SIX DAYS BEFORE"

NORMA JENNINGS and SHELLY JOHNSON watch from the cash register.
Shelly is ringing someone out, handing back their change.


				(CONTINUED)







August 8, 1991                                                  57.


87.     CONTINUED:

		NORMA
	Shelly, would you give Laura a quick
	hand with the "Meals on Wheels"?

		SHELLY
	I'm kind of busy, Norma.

		NORMA
	You're not busy, sweetheart, now go.

With a little squeeze of the hand and a gentle shove, Norma moves
Shelly towards Laura who is at the end of the counter.

The door opens to the Diner and ED and NADINE HURLEY come in.  Nadine
stops when she sees Norma.

		NADINE
	I changed my mind, I don't want any
	coffee, Eddie.

Nadine goes out.  As she walks past Ed he looks at Norma and makes a
"What can I do" gesture.

		ED
	Sorry, Norma.

Ed goes out.

SHELLY AND LAURA

Shelly approaches sheepishly.

		SHELLY
	Can I give you a hand getting the dinners
	together?

		LAURA
	That's alright, Shelly.  I know you have
	better things to do.

		SHELLY
	  (disregarding the jab)
	Norma asked me to give you a hand.

		LAURA
	Okay.  You can help me carry them to the
	car.

Shelly gathers up a pile of the dinners and takes them out to the
"Meals on Wheels" car.











August 8, 1991                                                  58.


88.  EXT.  THE DOUBLE R - DAY

Shelly loads her stuff in the back.  She returns to the diner and
Laura follows doing the same.

As Laura places her dinners in the back something catches her eye and
she turns.

LAURA'S POV

Mrs. Tremond and her grandson are standing in the parking lot staring
at Laura.  Mrs. Tremond waves to Laura to come over.  When Laura comes
to them Mrs. Tremond holds out a framed picture.

		TREMOND
	This would look nice on your wall.

She hands Laura the picture.  It is a picture of a room with flowered
wallpaper and a dark doorway in its corner.  Laura's study of it is
interrupted by the grandson.

		GRANDSON
	He's looking for a book with pages torn
	out.  He's walking towards the hiding
	place.  He's moving under the fan now.

ANOTHER ANGLE

Shelly comes out of the Diner with another load of meals.  Laura turns
back to her and then back to the Tremonds, who are walking away from
her and are farther away than they realistically could be.  Laura
comes to Shelly in a panic.

		LAURA
	Shelly, you really can help me.  I can't
	do the "Meals on Wheels" today.  I just
	can't.

		SHELLY
	Okay.

Laura runs off.  Shelly puts her load into the car as she watches
Laura.

89.  INT.  DOUBLE R - DAY

Shelly goes to Norma.

		SHELLY
	Laura just took off.  She asked me to do
	the run today.  Should I do it?

		NORMA
	What's with that Laura?  Yeah, sure,
	take a look around.  There's no one here

		(more)


				(CONTINUED)



August 8, 1991                                                  59.


89.     CONTINUED:

		NORMA (continued)
	anyway.

		SHELLY
	You're right.  There's no one here.

		NORMA
	There's no one here.

		SHELLY
	Norma, are you alright?

Norma just turns away and picks up some dirty dishes.

		NORMA
	Come back as soon as you can.

		SHELLY
	If Leo comes here, he won't believe that
	I am out doing the "Meals on Wheels".

		NORMA
	Don't worry, Shelly, I'll handle Leo.

Shelly leaves the diner.

ON NORMA

In the empty diner Norma walks over and sits in a booth.  She studies
the empty diner.  After a while the cook, TOAD, calls from the
kitchen.  A distant forlorn call.

		TOAD
	Kind of quiet.

CLOSEUP:  ON NORMA

She starts to cry.

90.  EXT.  PALMER HOUSE - DAY

Laura runs home.  Holding the picture from Mrs. Tremond throughout.

		LAURA
		(frantic whispers)
	He's looking for the book, he's going to
	the hiding place!

LAURA'S POV

She stops and stares.  Her house suddenly looks very frightening to
her.  She slowly crosses her front yard and enters the house.









August 8, 1991                                                  60.


91.  INT.  PALMER HOUSE - DAY

Laura comes in the front door still holding the picture.  She crosses
thru the dining room.

92.  INT.  PALMER HOUSE, STAIRS - DAY

Laura moves ever so slowly up the stairs - the fan still and silent
above her.

At the top of the stairs, she stops and stares at her bedroom door.
Her whole body is shaking.  Her hand goes out in front of her.  She
touches her bedroom door and inches it open.

93.  INT.  LAURA'S BEDROOM - DAY

The opening of the door reveals more and more of her room.  Suddenly
it reveals Bob standing in her room at her dresser.  He has pulled
the dresser away from the wall looking for something.

ON BOB

He is frozen.  Smiling at her.

ON THE SCENE

With a scream, Laura bolts from her room.

94.  EXT.  PALMER HOUSE - SAME

Laura races out of the house still holding Tremond's picture.

95.  EXT.  PALMER'S NEIGHBOR'S HOUSE

Laura runs across two yards to a large tree and falls to her knees,
crying.  She looks up and sees her father come out the front door of
her house.  She watches him cross to his car and drive away.

		LAURA
		(frantic whisper)
	What?  It can't be...  It can't be him...  no...
	no...

Laura is coming apart, sobbing.  Behind her, on the sidewalk,
a NEIGHBOR has noticed her.

		WOMAN
	Laura...

A closer look reveals how upset Laura is.

		WOMAN
	What...  Laura are you all right?


				(CONTINUED)







August 8, 1991                                                  61.


95.     CONTINUED:

Laura turns away so the woman can't see her crying.  The woman takes
a couple of steps off the sidewalk onto the grass.

		LAURA
		  (trying to hold it together)
	I...  lost my necklace...  it must have
	fallen.

Laura mimes that she has found her gold half-heart necklace.  She
pretends to be clasping her gold half-heart necklace which was already
around her neck.

		LAURA
		(clumsily)
	Oh, here it is.

Woman moves back to the sidewalk.

		WOMAN
	Well, I'm glad you found it, darling.

Slowly, Laura stands and moves away - leaving Mrs. Tremond's picture
on the grass under the tree.

96.  EXT.  PALMER HOUSE

Laura stands in front of her house.  Terrified.

97.  INT.  PALMER HOUSE - SAME

No Bob.  Listens to the house...  stands in the entrance way.

98.  LIVING ROOM - SAME

Laura listens.  Hears nothing.

99.  STAIRS AND HALLWAY

She stops and stares at the fan then slowly makes her way up the
stairs towards her room.

100.        INT.  LAURA'S ROOM - SAME

No Bob in her room.  The dresser is back in its place.  Laura races
out.

101.        EXT.  PALMER NEIGHBORHOOD STREETS - DAY

Laura runs down the sidewalk.

102.        INT.  HAYWARD HOUSE - DAY

Donna answers the door.  Laura stands there out of breath.


				(CONTINUED)





August 8, 1991                                                  62.


102.    CONTINUED:

		DONNA
	Laura?

		LAURA
	Donna, are you my best friend?

		DONNA
	Of course...

Laura dives toward Donna and into a hug.

		DONNA
	What is it Laura?  What's wrong?

		LAURA
	I just want a friend.  Just one friend for
	just one minute...

		DONNA
	Laura, how about one friend for the rest
	of your whole life?

		LAURA
	Yes, that's what I want.  Thanks D.

		DONNA
	Okay, L.
		(looks into Laura's eyes, a step
		  toward confronting something
		unspoken)
	I am your friend...  always.  But
	sometimes...  lately...  I feel that you
	don't like being around me because I am
	so uptight.
		(off Laura's look)
	No, I am uptight.  I hate it...  I don't want
	to be this way, but Laura I don't...  I
	mean...  I'm your friend no matter what
	way you are.

		LAURA
	You know, even when I think about your
	face I get happier.

They go in and sit down on the couch.

		DONNA
	Do you want to talk?

		LAURA
	No, I want to smoke.

She digs for a cigarette in her purse.


				(CONTINUED)





August 8, 1991                                                  63.


102.    CONTINUED: (2)

		DONNA
	I'm in a mess today, too.
		(takes a breath)
	I'm thinking about doing it with Mike.
	What do you think?

		LAURA
		 (still looking for a cigarette)
	Donna, you are such a crack up.  You
	don't even like Mike.  Is this what you
	are going to do to show me you are not
	uptight.

		DONNA
	This is about sex, not like.
	  (yells to the kitchen)
	Mom, Laura's here and I think I will have
	one of those huckleberry muffins.
		(to Laura)
	You want a muffin?

		LAURA
	If I can smoke it.

		DONNA
	You want a muffin?

		LAURA
	Donna, you are a muffin.

They hear DOC HAYWARD in the kitchen.  He walks in with a magician's
handkerchief.  With a flourish he tries to pull something out of it.
Instead he stands there empty handed.

		DOC
	The red rose.  Where is the red rose?
		  (frustrated)
	You know the light at Sparkwood and
	21?  It worked right there.  I just did it
	right there.

Laura finds a cigarette finally and lights it.

		DOC
	(stands and stares at Laura
		smoking)
	Why is it that you can't smoke at your
	home and I'm a doctor and I don't allow
	smoking in my home and I let you smoke
	in my home?


				(CONTINUED)








August 8, 1991                                                  64.


102.    CONTINUED: (3)

		LAURA
	(smiling her killer smile)
	Because you love me so much.

		DOC
	I do love you, you little smoking
	whipper snapper.

Eileen Hayward brings out the muffins on her lap in her wheel chair.
All four have muffins.

		EILEEN
	These muffins each have at least seven
	full huckleberries in them.

While eating Doc takes out a piece of paper and stares blankly at it.
The girls exchange glances about what Dad is doing as they chew on
the muffins.  Doc is struggling.

		DONNA
	Dad, what in the world are you doing?

		DOC
	What the hell is this?

Donna peeks over his shoulder.

		DONNA
	It's a prescription.

		DOC
	Is it?

		DONNA
	Dad.

		DOC
	My handwriting is so bad that now I
	can't even read it.  You girls better
	hurry up and graduate from high school
	so you can take care of me.

		 DONNA AND LAURA
	We'll take care of you.

They go over to Doc and give him a knuckle rub.  Eileen laughs along
with the two girls.  The phone rings and Doc gets it.

		DOC
		 (on the phone)
	Yep, she's right here, Leland...
		(to Laura)

		(more)


				(CONTINUED)




August 8, 1991                                                  65.


102.    CONTINUED: (4)

		 DOC (continued)
	It's for you.  It's your father.

Laura goes tentatively to the phone.

		LAURA
	Hello...

		 LELAND'S VOICE
	Time to come home for dinner, honey.

Laura hangs up the phone.

		LAURA
	I gotta go.

Donna leads Laura to the door.  There is something wrong and Donna
is beginning to feel it.  Donna tries to cheer her up.

		DONNA
	Goodbye, Muffin.

		LAURA
	No, you're the muffin.

Laura leaves.  As Donna closes the door, Laura calls back to her.

		LAURA
	No, you're right.  I am the muffin.

103.        INT.  PALMER HOUSE - NIGHT

Laura comes in the door and there is Leland at the dining room table
ready for dinner.  Leland sees her.

		LELAND
	Hi, honey, how's Donna?

		LAURA
	Fine.

		LELAND
	School?

		LAURA
	...school's fine...

		LELAND
	Sit down...  sit down...  Are you hungry?

		LAURA
	Not really.


				(CONTINUED)






August 8, 1991                                                  66.


103.    CONTINUED:

Laura just plops into her seat.

		LELAND
	You didn't wash your hands before you
	sat down for dinner did you?

From across the table Leland looks at her fingernails.  He stands to
come for a closer look.

		LELAND
	Let me see.

		LAURA
	Dad...

CLOSEUP: LAURA'S RING FINGERNAIL

		LELAND
	Your hands are filthy...  look, there is
	dirt way under this fingernail.

Sarah, cigarette draped from her lips, is delivering some mashed
potatoes to the table.

		SARAH
	Leland, what are you doing?

		LELAND
	Look at this finger here.

He is looking at THE FINGER.

		SARAH
	Leland...

		LELAND
	Laura didn't wash her hands before
	dinner.
	  (noticing the necklace)
	And look at this.

He reaches for it.  Laura's hand flies up and stops him.  Leland's
other hand comes up and she lets him take the HALF HEART out.

		LELAND
	Oh, is this from a lover?

Laura has no response.

		LELAND (continued)
	Did you get this from your lover?


				(CONTINUED)







August 8, 1991                                                  67.


103.    CONTINUED: (2)

		SARAH
	They don't call them lovers in high
	school, Leland.

		LELAND
	Bobby didn't give you this?

		SARAH
	How would you know if Bobby didn't give
	her that?

Leland starts pinching Laura's cheek.

		LELAND
		(as he is pinching)
	Did Bobby give you that or is there
	someone new?

		SARAH
	Leland leave her alone...  She doesn't like
	that.  Stop it.

		LELAND
	How do you know what she doesn't like?

A beat then a return to what is normal.

		SARAH
	Oh, Leland, sit down and eat you
	dinner.

		LELAND
	Oh, I'll sit down, but none of us are
	going to start eating till Laura goes and
	washes her hands.

Leland sits stoically.  Laura rises from the table.

104.        INT.  BATHROOM - NIGHT

As Laura washes her hands, she stares at her reflection.  Terrified.

			DISSOLVE TO:

105.        INT.  LAURA'S BEDROOM

LAURA'S CLOCK

It says:  10:35.

106.        INT.  LELAND AND SARAH'S BEDROOM

Sarah and Leland get ready for bed.  Leland stops, stands frozen for

		(more)


				(CONTINUED)



August 8, 1991                                                  68.


106.    CONTINUED:

a moment, then begins to cry.

		SARAH
	What is it, Leland?

Leland can barely speak.

		LELAND
	I can't remember the last time I told
	Laura that I loved her.

Sarah goes to Leland.  They embrace, tenderly, across the many years
of their strained marriage.

		SARAH
	Well, honey, go in and tell her now.

107.        INT.  LAURA'S BEDROOM

Laura stares at the hands of the clock.  With a start, she looks up.
Her father is in her room.  He stands in the doorway.

		LELAND
	Laura, honey...

He moves to her and touches her face.

		LELAND (continued)
	I love you.  I love you so much.

Laura can hardly speak.  She squeezes his hand.

		LELAND
	Goodnight, Princess.

He leaves the room.  Laura watches the door close.  She sits frozen
for a moment, with a tear in her eye, then she remembers something.

MRS. TREMOND'S PICTURE

The picture lies there in the night dew under the tree in the
neighbor's yard.

108.        EXT.  PALMER HOUSE, OUTSIDE LAURA'S BEDROOM - NIGHT

Laura goes down the trellises and runs across the lawn.

109.        EXT.  NEIGHBOR'S LAWN - NIGHT

Laura hunts around the tree for the picture, finally finds it.  She
runs back towards her house.










August 8, 1991                                                  69.


110.        INT.  LAURA'S ROOM - NIGHT

Laura climbs through the window and hangs the picture on a little
hook on the wall and crawls into bed.  She turns off the light and
stares at the picture in the dark.

			DISSOLVE TO:

111.        INT.  LAURA PALMER'S BEDROOM - NIGHT

She is asleep.

112.        MRS. TREMOND'S PICTURE

We hold on the picture.  As if by magic, we suddenly begin to move
into the picture - into the room in the picture and thru the dark
doorway in the room in the picture.

On the other side of the dark doorway there is another room.
Mrs. Tremond is standing in that room.  She is beckoning us towards
her and beyond her thru yet another doorway.  We move thru the second
doorway and on the other side of that doorway there is another room.

Mrs. Tremond's grandson is standing in that room.  He is holding his
hands above him as if he is grasping an imaginary glass ball.  As we
move towards the space between his hands a ring of fire appears there
and we move thru that into...

113.        INT.  RED ROOM

The MAN FROM ANOTHER PLACE walks into the red room to a table.
A ring lies upon the table.

COOPER ENTERS THE RED ROOM.  The Man From Another Place turns toward
Cooper.

	  MAN FROM ANOTHER PLACE
	Is it future?  Or is it past?...  Do you
	know who I am?...  I am the Arm...  And I
	sound like this...

The Man From Another Place puts his hand in front of his lips and
makes an Indian Whooping sound.

The Man From Another Place picks up the ring and moves it very close
to us.  We recognize it as Teresa Banks' ring.  The symbols on the
ring are identical to the symbols of Owl Cave.

Cooper seems concerned.

		COOPER
		(to camera)
	Don't take the ring...  Laura, don't take
	the ring.


				(CONTINUED)






August 8, 1991                                                  70.


113.    CONTINUED:

The Man From Another Place moves the ring towards us till the ring
fills the screen.

114.        BACK IN LAURA'S ROOM

Laura in a somnambular state is half awakened by a noise.  She tries
to move her left arm, but it has fallen asleep.  She moves it with
her right arm.

SFX: THE NOISE

It sounds as if someone is calling her name.

ON LAURA

She turns to her right to see who it is, then turning back to her left
she discovers ANNIE BLACKBURN lying in bed with her.  Annie has blood
around her mouth.  She tries to raise herself and strains to speak.

		ANNIE
	My name is Annie.  I've been with Laura
	and Dale.  The good Dale is in the lodge
	and he can't leave.  Write it in your
	diary.

ON LAURA'S DOOR

Her mother calls her name.  The sound is distant and mournful.

ON LAURA

Laura looks towards her door then turns back to Annie but she is gone.
Filled with fear she looks down and in her hand is Teresa Banks' ring.
SHE SCREAMS.  Again, her attention is drawn to her door and her
mother's distant call.  Still holding the ring she gets out of bed
and goes to her door and slowly opens it.

It is dark on the other side of the door.

AT THE DOORWAY OF LAURA'S BEDROOM

In the doorway Laura gets a strange feeling in back of her and turns
to look at Mrs. Tremond's picture.  There in the picture is Laura
(herself) in the doorway looking back into the darkened rooms where
Mrs. Tremond and her grandson were.

115.        MRS. TREMOND'S PICTURE

Laura is in the picture.  In the picture Laura turns around in the
doorway of the picture and looks down at her room.











August 8, 1991                                                  71.


116.        LAURA'S PICTURE POV OF HER ROOM

Laura sees herself asleep in her bed.

CLOSEUP: LAURA

Asleep in her bed.

ON THE SCENE

She wakes up from her dream.  Trying to clear her head.  Looks at the
photo and nothing is there -- looks like the day before.  She looks
in her hand and the ring is gone.

Laura gets out of bed and goes to Mrs. Tremond's picture hanging on
the wall.  She stares at it.  She slowly takes it off the wall and
places it in the trash.  Trembling she does two lines of cocaine.

			DISSOLVE TO:

117.        EXT.  PALMER HOUSE - MORNING

Reestablish.

On screen it reads:

		  "SATURDAY - FIVE DAYS BEFORE"

James comes by on his bike.  He beeps out a signal on the bike's horn.
After a beat Laura runs out to him.

		JAMES
	Where were you last night?  We were
	supposed to get together.  You didn't
	show up.

		LAURA
	You were supposed to show up.  Maybe I
	wasn't.

		JAMES
	We were supposed to be together.

		LAURA
	How can I be together if I'm not
	together?

		JAMES
	You're on somethin' again, aren't you?

		LAURA
	James...


				(CONTINUED)








August 8, 1991                                                  72.


117.    CONTINUED:

		JAMES
	When am I going to see you?

Leland comes out the door of the house.  Looks at Laura and James.
Laura can feel him staring.

		LAURA
	I gotta go.

James just looks at her then guns his bike and roars away.

Laura walks back to the front door where her father stands.

		LELAND
	Who was that?

		LAURA
	A friend from school.

		LELAND
	A special friend?

Laura looks at her Dad, eyeball to eyeball for a moment.  Then she
walks past him to the stairs.

118.        INT.  THE STAIRWAY - DAY

The fan turns slowly as Laura goes up the stairs.

		BOB'S VOICE
	Laura.

Laura's head snaps around.

		LAURA
	No...  No, go away.

		BOB'S VOICE
	I'm glad you let me talk to you.  You
	used to not let me talk to you.

		LAURA
	Go away.  I am not talking to you.

		BOB'S VOICE
	I want you.

Sarah Palmer is at the bottom of the stairs.

		SARAH
	Laura?

Laura jumps.


				(CONTINUED)





August 8, 1991                                                  73.


118.    CONTINUED:

		SARAH
	Laura, now I can't find that blue
	sweater.  Did you take it again?

		LAURA
	Mom...  what are you wearing?

Sarah looks down.  She is wearing the sweater that she is looking for.

		SARAH
	My god, I am going to have another
	breakdown.  God, god.

		LAURA
	Mom, take it easy.

Laura starts down the stairs towards her mother.

		SARAH
	No, no... this can't be happening.

Laura holds her mother.

		LAURA
	Mom, you're not having a nervous
	breakdown.

Sarah pulls away from Laura and wanders into the living room.  Laura
watches her go feeling helpless.

119.        INT.  JOHNSON'S KITCHEN - DAY

LEO JOHNSON is ragging on Shelly.  He is down on his hands and knees
showing her how to scrub the floor.

		LEO
	Someone who knows how to clean knows
	where the object was before she
	started cleaning and then that object
	goes back to its exact same spot.
	Shelly, I know where everything in this
	house is.  Sometimes on the road I
	mentally go through this whole house
	and picture where every item is.

		SHELLY
	Lay off the bennies, Leo.

		LEO
	  (continuing his tirade)
	Anybody can clean the surface of an
	object, but dirt can find its way
	anywhere.  To really clean, you have to

		(more)


				(CONTINUED)



August 8, 1991                                                  74.


119.    CONTINUED:

		 LEO (continued)
	scrub below the surface.
		(shouting)
	WHERE THE DIRT IS, SHELLY.

He scrubs more.

		 LEO (continued)
	That's one thing you are going to learn,
	Shelly, - HOW TO CLEAN.  It takes
	scrubbing, Shelly.  There is no easy way.
	THIS IS WHERE WE LIVE, SHELLY.

		SHELLY
	As if I didn't know.

		LEO
	I'm going to show you how to wash this
	tile and then you're going to do it.

		SHELLY
	Come off it, Leo.  I'm late for work...

		LEO
	What did you say?

Leo goes over the top pulls Shelly down to the floor.

		LEO
	Shelly, I am not fooling around anymore.
	The first thing you've got to WORK on is
	a good attitude.  That's the key.
	Anybody will tell you that.

Gives her a good shot to the back of the head.  Shelly falls to the
floor.  The phone rings.  Leo gets up to get the phone.

		LEO
	Don't even _think_ about going anywhere,
	Shelly.  I'm not finished with you.

He answers the phone.

		LEO
	What are you doing calling me here?...
	No way, you already owe me money...
	Five thousand, to be exact.

Leo looks over at Shelly suspiciously.  (Did she hear him mention the
five thousand?)

		SHELLY
	  (silently mouthing it)
	Five Thousand???







August 8, 1991                                                  75.


120.        INT.  DOUBLE R - DAY

Bobby is calling from the pay phone at the diner.  We hear the end of
the conversation with Leo.  Bobby hangs up.  He puts in another
quarter and dials again.  The phone rings on the other end.

121.        INT.  ROADHOUSE - DAY

A nearly empty Roadhouse.  JACQUES RENAULT answers the phone behind
the bar.

		JACQUES
	How come you only call me when you are
	desperate?  Are you desperate, baby?

			INTERCUT WITH:

122.        INT.  DOUBLE R - DAY

BOBBY

		BOBBY
	You interested or not?

		JACQUES
	Maybe, Bobby, baby.  Maybe.  I have
	friend who has what you want. His
	stuff is the best.

Bobby starts to write information down on a napkin.

		BOBBY
		(excited)
	Jacques...  you crazy Canadian.  This
	sounds BIG...

123.        EXT.  PALMER HOUSE - NIGHT

Donna drives up in her car and gets out.

124.        INT.  PALMER HOUSE, LIVING ROOM - NIGHT

Laura is having a quick shot from the family liquor cabinet.  A knock
on the door.  Laura pulls a jacket on and goes to the door.  Opens it
and sees Donna.  Donna looks at her coat.

		DONNA
	Where are you going?

		LAURA
	No place, fast.
		(a warning)
	And you're not coming.


				(CONTINUED)







August 8, 1991                                                  76.


124.    CONTINUED:

		DONNA
	Come on, Laura.  I'm your best friend.

They move back into the living room.

		LAURA
		(change of subject)
	Isn't tonight the night you are going to
	do it with Mike?

		DONNA
	Laura, aren't you going to fix me a
	drink?

Laura shoots her a look.

		DONNA
	Where are the Cookies?

		LAURA
	You mean Fred and Ginger?

		DONNA
	Dancing.

Donna looks around at all the ashtrays filled to the brim with butts.

		DONNA
	(looking at the cigarettes)
	If I had a nickel for every cigarette your
	mom smoked, I'd be dead.

		LAURA
	Gotta go, Donna.  I'll call you tomorrow.

Laura leaves the house.  Donna trails behind.

125.        EXT.  PALMER HOUSE - NIGHT

Laura gets into her Mom's Roadmaster and takes off.  Donna watches
her go and gets in her car and follows.

126.        INT.  THE ROADMASTER - NIGHT

At the first stop sign Laura takes another hit of cocaine.

127.        EXT.  ROADHOUSE - NIGHT

Laura parks her car and gets out.  At the entrance to the Roadhouse
she meets the LOG LADY, who seems to be waiting for her.  She steps
close to Laura.


				(CONTINUED)







August 8, 1991                                                  77.


127.    CONTINUED:

		LOG LADY
	When this kind of fire starts.  it is very
	hard to put out.

The Log Lady touches her.  Her hand is cooling on Laura's head.
Laura moves in behind it.  Pushing the cool hand into her face and
forehead.

		LAURA
		(whispers)
	Margaret?

		LOG LADY
	The tender bows of innocence burn first
	and the wind rises - then all goodness
	is in jeopardy.

They look into each other's eyes.  The Log Lady turns and leaves.

128.        INT.  ROADHOUSE - NIGHT

LOTS OF BIKERS and the usual gang.  On stage a SINGER sings.

As Laura comes in she makes eye contact with Jacques Renault who is
behind the bar.  Laura sits at a table.

Jacques nods to a COUPLE of BURLY TRUCKERS who come over to Laura
with drinks.  One of them slides her a fifty with a packet of cocaine
inside.

		TRUCKER
	Let's go around the world, babe.

		LAURA
	This isn't going to get you to Walla-
	walla.

They all take a drink.

		TRUCKER
	You do go all the way, don't you, little
	girl?

		LAURA
	Sooner or later.

Laura reaches below the table grabbing him hard by the balls.

		LAURA
	You willing to go all the way?  Huh?  You
	wanna do it for me.  All the way for me
	means all the way - DEAD.

The trucker turns a couple of shades towards white.  Donna comes in

		(more)

				(CONTINUED)



August 8, 1991                                                  78.


128.    CONTINUED:

just as a beautiful song of lost love begins.

Laura and Donna see each other -- As the truckers toss down bourbons
and beer chasers, Laura gets _lost_in_the_song_and_starts_to_cry_.
Donna just stares at her from the other side of the Roadhouse.

AFTER THE SONG

Donna stands and walks over to Laura's table.  She reaches down,
picks up one of the trucker's bourbons and downs it.

		DONNA
	Let's boogie.

		TRUCKER
		(to Donna)
	You part of the deal?

		LAURA
		(answering for her)
	No, she isn't.

Laura and Donna stare at each other.  For Donna's benefit, Laura
turns and gives a big, juicy French kiss to one of the truckers.

		LAURA
		(to the trucker)
	What was your name again?

		TRUCKER
	Buck.

		LAURA
	Buck, that was really nice.

Donna grabs Buck's buddy, TOMMY, and gives him the same type kiss.

		LAURA (continued)
		 (very serious)
	All right, Donna.  Let's go.

129.        EXT.  HIGHWAY 21 - NIGHT

The car barrels down the highway.  It's a beat up Chevy Biscayne,
with a hot monster engine under the hood.

130.        INT.  CAR (BISCAYNE) - NIGHT

Tommy drives sitting next to a case of ice cold beer.  Donna and
Laura sandwich Buck in the back seat.  Donna takes a long swig of
beer.  Laura hides a hit of cocaine from Donna.


				(CONTINUED)







August 8, 1991                                                  79.


130.    CONTINUED:

		DONNA
	(to Laura, a little afraid)
	What are you doing?

		LAURA
	Nothing.

Laura laughs at Donna then holds a beer up to show Donna, then turns
and French kisses Buck.  Donna reaches forward to the front dash and
turns the radio up full blast.  Buck and Tommy start to whoop and
yodel like cowboys.

Buck does an Indian whoop in Laura's face.  Laura freezes in horror.

131.        FLASHBACK:  THE RED ROOM

The Man From Another Place (The Arm) yodels.

132.        INT.  CAR (BISCAYNE)/HIGHWAY 21

Slowly Laura reaches over and touches Buck's face and arm.  Buck
uncorks another yodel.  The fear leaves Laura.

		DONNA
		(to Laura)
	I'm goin' for it.

Donna starts making out with Buck.

133.        EXT.  BORDER TRUCK STOP - NIGHT

Establish.  Tommy takes the car like a rocket into the parking lot
and does a complete three sixty before rocking to a stop.  Several
big rigs shadow the lot.  They all pop out of Buck's car sporting
"long necks".

Laura takes a hit of cocaine and looks up to see Donna watching.
Buck circles Donna with his big arm and puts a toot under her nose.

		DONNA
	No.
		(turns to Laura)
	I don't need to take this to be you
	friend.

		LAURA
	YES YOU DO, DONNA.  What a downer you
	are!!!

		BUCK
		(pointing to skid marks behind a
		heat popping car)
	Hey, Tommy, Jacques beat us here.


				(CONTINUED)





August 8, 1991                                                  80.


133.    CONTINUED:

		TOMMY
	Hold on, I'm chokin' the farm fed.

Tommy stands in the lot with his back to them, pissing.

134.        INT.  BORDER TRUCK STOP - NIGHT

The front room is a bar and restaurant with about THREE PATRONS.
Above the bar is a sign that reads:

	   CAN - A - DO and U.S. OF FUCKIN' "A"

The BARTENDER presses a release underneath the counter that allows
Laura to take her three friends thru a door over which a sign hangs
announcing in red neon letters:

		"PARTYLAND"

135.        INT.  PARTYLAND

The group enters a large room with the filthiest wall to wall carpet
imaginable.  In the back corner is a small stage.  On it a three
piece HELL-METAL BAND is building up toward oblivion.  The LEAD SINGER
is dressed in a buffalo skin complete with at least half the buffalo
head and horns.  He wears spray painted, day glow orange cowboy boots.

Some HALF DRESSED GIRLS and COWBOYS are dancing to the band.  In
darkened corners away from the stage other groups are racing the
band to oblivion.

Laura leans over to Donna noticing her shocked look.

		LAURA
	Don't expect a turkey dog in here.

Jacques Renault comes up to the group.

		JACQUES
	Hey, slow pokes, guess what?  There's no
	tomorrow.

He grabs Laura up and gives her a big, sloppy wet kiss.

		JACQUES
	Baby, you know why?  Cause it'll never
	get here.

		LAURA
	Hey, Jacques...

		JACQUES
		(slurred)
	No "Jacques".  I am the Great Went.


				(CONTINUED)





August 8, 1991                                                  81.


135.    CONTINUED:

		LAURA
		(for Donna)
	I am The Muffin.

		JACQUES
	And what a muffin you have.

The two truckers laugh with Jacques.  He mimes a gun with his right
hand and pointing it to his forehead pulls the trigger with a weak,
slack cheeked puff sound.

		JACQUES
		(slurred)
	I am as blank as a fart.

Laura winks at Buck as he SECRETLY drops a red depth charge into
Donna's beer.

		LAURA
	Hey, Donna, chug-a-lug.

As the cowboys gather around and begin to chant, both Laura and Donna
chug down their drinks.  They finish and Laura smiles and pushes
Donna out onto the dance floor.

They start to dance expertly and smile at each other.  Soon Buck and
Tommy cut in separating the two.

Buck dances Laura over to ANOTHER of his buddies.  The two of them
start to unbutton Laura's blouse as they dance.

The hell-metal band kicks into high gear.  In the pulsating red and
black light Donna sees Laura now topless dancing and kissing with
Buck and his friend.  Donna stops.  Jacques sweeps in.

		JACQUES
	Oh, Laura's friend.  I am "The Great
	Went".

Jacques holds her head in his huge hands.

		JACQUES (continued)
	There is no tomorrow.

DONNA'S POV

The room starts to spin.

			DISSOLVE TO:

WE MOVE AROUND THRU THE EVENING










August 8, 1991                                                  82.


136.        INT.  ROADHOUSE

DONNA

A completely stoned Donna is being dances around by Tommy, who is
falling in love with her.  Through some dancing legs and feet she
spots Laura's blouse on the floor.  Teetering she leans over, picks
up the blouse, and ties it around her waist.

RONETTE PULASKI

RONETTE PULASKI, flying high, makes her way through the crowd to
Laura.  They spot each other and give each other a hug.

		RONETTE
	You smell nice.

		LAURA
	Haven't seen you since I was thrown out
	of One Eyed Jacks.

		RONETTE
	(trying to focus on Laura)
	What else did we do together?  Oh, I
	remember...
	(tries to dance with Laura)
	Hey, you know what?  It's been a year.
	She's been dead a year...  she's been dead
	a year.

Jacques comes up to them.

		JACQUES
	The party twins.  My high school
	sandwich.  Let's put some meat inside...

The three of them move around together.

		RONETTE
	She's been dead a year.

		JACQUES
	Who?

		RONETTE
	Teresa...

		LAURA
	Teresa Banks?  Yeah, a whole year.

		RONETTE
	Yeah, she was going to get rich...  she
	was blackmailing somebody...


				(CONTINUED)







August 8, 1991                                                  83.


136.    CONTINUED:

		JACQUES
	That's right.  She called me.  She even
	asked me what your fathers looked
	like...

		LAURA
		(jolted)
	What?  She asked about my father?

		JACQUES
	But it wasn't him...  she was after a huge
	guy, six foot four with a broken nose.
	She said he looked just like a boxer.
	Speaking of sandwiches...  I think Bobby
	was arranging something for you...
		 (gets the idea)
	Speaking of arrangements...
		(louder)
	SPEAKING OF ARRANGEMENTS...  Why
	don't you two come up to the cabin this
	week?  Leo and I know that Santy Claus
	is coming to town...  Thursday.

Ronette, Laura, and Jacques sway with distorted smiles.

		RONETTE AND LAURA
		  (as they hug and almost kiss)
	Okay, Jacques.

		LAURA
	 (turning to kiss Jacques)
	"The Great Went".

Buck and another FRIEND move in on Laura and Ronette.  Buck pushes
Laura down on the carpet and gets on behind her.  His friend does
the same to Ronette.  The two girls find themselves face to face.

		RONETTE
	Here we go again.  Like we're back at
	One Eyed Jacks.

		LAURA
	  (moaning with pleasure)
	Oh, god.  It sure is.

Ronette looks over Laura's shoulder.

		RONETTE
	Shit, is that Donna Hayward?

Laura looks across the rug through dancing legs and sees Donna's head
tilted way back with some NEW COWBOY on top of her.

		(more)


				(CONTINUED)




August 8, 1991                                                  84.


136.    CONTINUED: (2)

CLOSEUP: LAURA'S FACE

Seeing Donna.

		BOB'S VOICE
	SEE WHAT WE CAN DO TO
	DONNA?

		LAURA
		(screaming)
	NO!  GOD, NO...

ON THE SCENE

Laura stumbles and runs to Donna grabbing Jacques on the way.

		LAURA (continued)
	  (screaming to Jacques)
	Get her out of here...  get her out.

He doesn't seem to be listening.

		LAURA (continued)
		(shouting)
	JACQUES...

Laura falls full of panic to Donna.

		LAURA (continued)
	Donna, what are you doing?

Rips her blouse off her waist.  Donna is completely gone.  Laura
shakes her and screams into her face.

		LAURA (continued)
	Don't ever wear my stuff, don't ever
	wear my stuff.  Never.

		DONNA
		(mumbling)
	Okay, I won't wear your stuff...  Why
	can't I wear your stuff?

		LAURA
	Jacques, help me get her home.  NOW!

Jacques lifts Donna up and Laura follows Jacques and Donna out of
Partyland.  Donna continues to mumble.

		DONNA
	I won't wear your stuff.
		 (then laughing)
	I promise.


				(CONTINUED)





August 8, 1991                                                  85.


136.    CONTINUED: (3)

		LAURA
		 (crying, holding Donna's hand)
	Not you, Donna, not you.

137.        EXT.  TWIN PEAKS CHURCH - SUNDAY MORNING

On the screen it reads:

	"SUNDAY - FOUR DAYS BEFORE"

FOLKS filing out of church.  A COUPLE strolling down the sidewalk.
A happy dog bounds about.

138.        EXT.  BIG ED'S GAS FARM AND THE HURLEY HOUSE - DAY

Out in the yard of the Hurley House Ed Hurley tries to skin a deer
which is hanging off a branch of a tree.  He is not having much luck
and is not showing much enthusiasm either.  Nadine Hurley comes
storming out the house with her own very large butcher knife - very
upset with Ed's progress.

		NADINE
	ED...  ED.
		(pushing him away)
	I'll take over here.

Ed backs off and Nadine dives in slicing.

		NADINE
	You were cutting this deer like a
	sissy...  Sit down and watch while I do
	it.  AGAIN.  THIS YEAR.

Ed slowly backs into the house.

139.        INT.  HURLEY HOUSE - DAY

Ed joins his assistant, SPARKY, and they stand in the living room
gazing out the window at Nadine ferociously skinning the deer.

		ED
		  (with a wink)
	Works every year...

They laugh.

		SPARKY
	Sure wouldn't work at my house.  My
	wife couldn't take the wrapper of a
	twinkie.











August 8, 1991                                                  86.


140.        EXT.  CLEARING IN THE WOODS - DAY

SHERIFF TRUMAN and JOSIE PACKARD break from a kiss.  Smiling, Truman
goes back to gently strumming his guitar.

		TRUMAN
	Josie, I think we should go public.

		JOSIE
	That would be wonderful, but it's only
	been a year since Andrew died.

		TRUMAN
	What are you afraid of?  What people
	think?

		JOSIE
	I don't want to offend the customs of
	your country.

		TRUMAN
	Believe me, Josie, you would not offend
	the customs of this country.  For
	instance, I don't eat fish eyes.

		JOSIE
	Fish eyes?

		TRUMAN
	Even if it offended someone, I wouldn't
	eat a fish eye.

		JOSIE
	Why wouldn't you eat a fish eye, Harry?

		TRUMAN
	I saw a guy eat a fish eye once in
	Seattle.  He was digging through his
	food with his chopsticks for about five
	minutes till he found the fish eye and he
	dropped it into his throat.  I guess it
	must have gotten stuck in his uvula
	because right away he started to have
	trouble.  His throat began to flutter
	there like there was a wind blowing.
	And he couldn't swallow and they rushed
	to him and loosened his collar and they
	were asking him if he was alright and
	he started to turn blue and his eyes
	started to roll back into his head and he
	still couldn't get the fish eye out and
	they tried to do a Heimlich maneuver.  I
	went over to him as they were

		(more)


				(CONTINUED)





August 8, 1991                                                  87.


140.    CONTINUED:

		TRUMAN (continued)
	preparing to do an emergency
	tracheotomy.  They were over him with
	a knife when he suddenly shot the fish
	eye out of his throat and right onto the
	ceiling.  Splat!  It just stuck up there
	and spread out.  It was about the size of
	a half dollar.  And that's why I don't ever
	eat fish eyes.

He plays the guitar for Josie.  Then stops.

		TRUMAN (continued)
	I'm not saying it's right or wrong, it's
	just the way I feel.  It's the custom
	thing I was thinking of.  In America we
	don't use any part of the fish but the
	meat just to the side of the insides.  We
	throw away the tail, the rest of the
	insides and the head.

		JOSIE
	I understand.

		TRUMAN
	We throw away the _whole_ head.

141.        INT.  MOTEL ROOM - DAY

PHILIP GERARD, the one armed man, in a deep sweat kneels in front of
a circle of twelve lit candles, fighting for air and struggling to
hear something.

142.        INT.  HAYWARD HOUSE, LIVING ROOM - DAY

Donna and Laura sit across from one another on the couch.

		DONNA
	I can't remember anything about last
	night.  Is there something I should
	remember?

		LAURA
	No, you should forget about last night.

		DONNA
	Laura, I am your friend.

		LAURA
	I know you are and you don't have to do
	anything crazy to prove it.


				(CONTINUED)







August 8, 1991                                                  88.


142.    CONTINUED:

		DONNA
	You're not mad at me?

		LAURA
	No.

		DONNA
	I feel so bad.  I had nightmares all night
	long.
	   (studies her friend)
	They all knew you at that place.

		LAURA
	What can I tell you?

		DONNA
	How did the car get back here?

		LAURA
	WE got it back, that's all.

		DONNA
	How did I get in the house?  How did I
	get into my bed?

		LAURA
	I can't help you there.

		DONNA
	Was I wearing something of yours and
	you got mad at me?

		LAURA
	All my things have me in them.  I don't
	want you to be like me.

		DONNA
	But I love you, Laura.

		LAURA
	And I love you, too.  But don't wear my
	stuff.

		DONNA
	Why do you do it, Laura?

		LAURA
	Cause I like it.

She takes Donna's head into her hands and kisses her.

ON LELAND

Leland is standing at the other end of the room.  As he stares at the
girls we move in on his face.






August 8, 1991                                                  89.


143.        INT./EXT.  BLUE DIAMOND CITY MOTEL

LELAND FLASHBACK

Leland looking into another room seeing Laura and Ronette sitting face
to face on a bed.

144.        ON THE SCENE

Leland looking at the girls.

		LELAND
	Excuse me, honey...

Laura turns to him with a start.

		LELAND (continued)
	We're late to meet Mom for breakfast.

		DONNA
		(to Laura)
	Catch you later.

Leland and Laura leave.

145.        INT.  LELAND'S CAR - DAY

Leland and Laura drive along.  Leland becomes preoccupied with
something in his rear view mirror.  Laura turns to see a car
erratically coming up behind them.  Leland slows down and stops for
a red light at Sparkwood and Twenty One.  In front of them is a huge
logging truck.  Laura smells something.

		LAURA
	Dad, is the engine on fire?  Something
	is burning.

Leland turns and gives her a look.

The car that was tailing them races around them, races around the
logging truck, and comes back around stopping on Leland's side of
the car.

Leland spots Gerard, the one armed man, behind the wheel - sweating
like crazy.

		LAURA (continued)
	Something is burning.

Leland starts to rev his engine while holding the brake with his left
foot.

		LELAND
	It's the engine.


				(CONTINUED)






August 8, 1991                                                  90.


145.    CONTINUED:

		GERARD
	You stole the corn.  I had it canned
	above the store.

Leland is panicked.  The car is slowly screeching towards the large
lumber truck in front of them.

		GERARD
		(shouting at Laura)
	Miss, the look on her face when it was
	opened.  There was a closeness.  Like
	the formica table top.

The car is now smoking and making a horrendous sound.  Gerard
continues to yell, but we can barely hear it.

		GERARD
	The thread will be torn, Mr. Palmer, the
	thread will be torn.

Leland turns to Laura.  Sweat pours from his forehead.

While Leland is turned away, Gerard holds up his hand with a ring on
the little finger.  He is shouting over the engine noise and the horn
which Leland has begun to blow frantically.

		GERARD
		(shouting)
	It's him.  It's your father.

Laura can't make this out over the noise.

The light turns green.  Gerard takes off away from them.  As soon as
the logging truck moves Leland lets go of the brake and the car flies
into a service station on their right.  Everyone around there has been
watching a commotion on a Sunday afternoon.

		LAURA
	DAD!...  What was that all about?  Who
	was that?

A YOUNG MECHANIC runs up to their car.

		MECHANIC
	Mr., Mr., you shouldn't do that to your
	engine.  You ought to take it easy, Mr.,
	you're going to burn your engine out.

		LELAND
	What the hell was all that?  Why doesn't
	someone do something about all of this.
	My god, that guy came out of nowhere.
	He was harassing my daughter.


				(CONTINUED)





August 8, 1991                                                  91.


145.    CONTINUED: (2)

Leland stares at Laura trying to compose himself.

		LAURA
	Dad, are you all right?

146.        INT.  PALMER HOUSE

CU FLESH WORLD MAGAZINE/LELAND FLASHBACK

The Title "Fleshworld" on a magazine.  In the magazine we see Leland
find a picture of Teresa Banks.  He whispers.

		LELAND
	Teresa Banks.  You look so much like my
	Laura.

Leland dials the phone.

147.        INT.  BLUE DIAMOND CITY MOTEL ROOM

CU TERESA BANKS

She is talking on the phone.

		TERESA
	That sounds like fun...  Where did you see
	my picture?...  Okay, come to the Blue
	Diamond City Motel...  Yes, that's just
	your side of Blue Diamond City...  I'll be
	there.  Room one two three...  Right, as in
	"Get Ready".

			DISSOLVE TO:

148.        INT.  BLUE DIAMOND CITY MOTEL ROOM - LATER

LELAND

On top of Teresa in bed.  All whispers.

		TERESA
		(smiling)
	When's the next business trip, big fella?

		LELAND
	Soon.  How about next time we party
	with the girlfriends you told me about?

		TERESA
	I can arrange that.  I like that.

He kisses her and covers her eyes with a hand.


				(CONTINUED)






August 8, 1991                                                  92.


148.    CONTINUED:

		TERESA
	What are you doing?

		LELAND
	Who am I?

		TERESA
	I don't know.

		LELAND
	That's right.

End of flashback.

149.        BACK IN THE CAR WITH LAURA

Leland is still sitting and staring at Laura.

		LAURA
		  (trying to get his attention)
	Dad...  Dad...  Who was that?  How do you
	know him?  He looked familiar.  Have I
	met him?

		LELAND
	No, you haven't met him.  Have you met
	him?

		LAURA
	No.

		LELAND
	We're late to get to your mother.

		LAURA
	Just sit here for a moment.  You seem
	very upset.

		LELAND
	   (mumbling to himself)
	Guy just pulls up out of the blue...  I
	mean...  what is this world coming to?

150.        LELAND FLASHBACK - BLUE DIAMOND CITY MOTEL

Open on a sign saying Blue Diamond City Motel.

Leland comes down an outside walkway towards an open room.  Suddenly,
he stops short and jumps back.  He cautiously takes a second look and
sees Laura and Ronette sitting on the edge of a king size bed talking.

Leland is about to leave when there is a tap, tap, tap on his back.
He spins around to see Teresa Banks who has come up behind him.


				(CONTINUED)





August 8, 1991                                                  93.


150.    CONTINUED:

		TERESA
	What's wrong?

		LELAND
		 (moving further from the room)
	Nothing, I chickened out.

He shoves a wad of money into her hand and practically runs away.
Teresa cocks her head and wonders, while she watches him hurry away.

End of Flashback.

151.        BACK IN THE CAR WITH LAURA

Leland and Laura are in the car.  Leland starts the car.

		LAURA
	Are you sure you're okay?

		LELAND
	Yes.

Leland pulls out onto the road.  After they drive for a bit.

		LAURA
	Dad?

		LELAND
	Yes.

		LAURA
	Did you come home during the day last
	week?

		LELAND
	No.

		LAURA
	Oh, I thought I saw you.

		LELAND
	You know, I did come home, come to
	think of it, on Thursday.  I had a severe
	headache and I was driving in the
	neighborhood so I just darted in and out
	of the house.
		 (studies Laura)
	Where were you, Laura?  I didn't see
	you?

		LAURA
	I was down the street.


				(CONTINUED)






August 8, 1991                                                  94.


151.    CONTINUED:

Laura studies the look in her father's eye as long as she dares and
then turns away.

CLOSEUP: LELAND

As he drives along.

			DISSOLVE TO:

152.        FLASHBACK - BLUE DIAMOND CITY MOTEL

Teresa watching with her head cocked as Leland hurries off.

			DISSOLVE TO:

153.        INT.  ROADHOUSE

JACQUES ON THE PHONE

		JACQUES
	Hey, Teresa...  what?

		 TERESA'S VOICE
	What does Ronette's father look like?

		JACQUES
	A short guy...  heavy set...  balding...

		 TERESA'S VOICE
	What does Laura Palmer's father look
	like?

		JACQUES
	Very handsome...  wavy black hair.  He
	looks like a movie star.

154.        INT./EXT.  PAY PHONE

ON TERESA

		TERESA
		  (into phone)
	No, this was a big huge guy.  Six four...
	Nose broken...  like he was a boxer.

Teresa hangs up the phone and redials - smiling as though she has won
the lottery.

155.        INT.  LELAND'S OFFICE

ON LELAND

He answers the phone.








August 8, 1991                                                  95.


155.    CONTINUED:

		LELAND
	Hello?

		 TERESA'S VOICE
	Hey Handsome, this is your little party
	girl.

ON LELAND'S FACE

His jaw tightens.

156.        EXT.  DOUBLE R DINER

Leland pulls the car into the Double R.  Sarah stands out front
waving.

		SARAH
		(calling)
	Where were you two?

157.        OMITTED

			DISSOLVE TO:

158.        CLOCK IN LAURA'S ROOM

It reads:  8:00.

Laura sits at her desk staring off into space.

			DISSOLVE TO:

159.        LAURA'S FLASHBACK BEGINS - HIGHWAY 21

Laura remembers the one armed man yelling out to her.  Her attention
now goes to his one hand.  She remembers the look of the ring he was
wearing.

160.        LAURA'S FLASHBACK CONTINUES - THE RED ROOM

Then she remembers the Man From Another Place giving her the ring in
her dream.  It is the same ring.

161.        LAURA'S FLASHBACK CONTINUES - BLUE DIAMOND CITY MOTEL

Then she remembers being in the Blue Diamond City Motel with Ronette
when Teresa entered the room.

		TERESA
	The guy split.

Teresa sits down between them and brings them close to her in a sexual
embrace.  Teresa brushes away some hair that has fallen over her face.

		(more)


				(CONTINUED)



August 8, 1991                                                  96.


161.    CONTINUED:

As she does this Laura sees the SAME RING.

		TERESA (continued)
		  (as she moves her hair away)
	I guess it's just us girls.

END OF FLASHBACK

162.        INT.  LAURA'S BEDROOM

		LAURA
		  (to herself)
	The same ring...

Laura is jolted by Bob's Voice.

		BOB'S VOICE
	That's not important.  I will tell you
	what is important.  The fan will soon be
	starting.

		LAURA
	Who are you?  Who are you REALLY?

	  BOB'S VOICE (continued)
	I am the One who wants to breathe thru
	your nose and taste thru your mouth.

163.        INT.  PALMER LIVING ROOM - NIGHT

Leland pacing the living room.

164.        LELAND: FLASHBACK

_Nighttime_in_the_woods_.  We see Leland crush Teresa Banks' face and
skull with a pipe until she is dead.  We hear the gurgling of the
Wind River behind her.

END OF FLASHBACK

165.        INT.  PALMER LIVING ROOM

BACK ON LELAND

Leland continues to pace.  He wipes some sweat from his forehead.

			DISSOLVE TO:

166.        INT.  PALMER HOUSE, DINING ROOM - MORNING

A sign on the screen reads:


				(CONTINUED)







August 8, 1991                                                  97.


166.    CONTINUED:

	"TUESDAY - TWO DAYS BEFORE"

Laura sits at the dining room table eating her breakfast.  Leland
pokes his head in.

		LELAND
		  (cheerfully)
	Don't forget:  It's Johnny Horne's
	birthday today.

167.        INT.  LAURA'S ROOM - MINUTES LATER

Laura's hands are shaking as she does a line of cocaine.  It is the
last stuff she has -- she puts the empty packet into her diary.

168.        INT.  HIGH SCHOOL - DAY

Laura corners Bobby in a hallway.

		LAURA
	I'm nearly out.

		BOBBY
	It's taken care of, babe.  You and I are
	going to make a big score tonight.
		(gives her a bag)
	This will tide you over.

		LAURA
	Thank you, Bobby.  A big score?

		BOBBY
	Maybe our biggest.  I'll see you two
	doors down from your place at 11:00.

		LAURA
	Don't be late.

She takes off down the hall.  Rounding another corner she sees James
coming towards her.  James looks around to see if the coast is clear
and seeing it is, moves close to her.

		JAMES
	I've got to see you.

		LAURA
	Not now.

		JAMES
	This afternoon?

		LAURA
	Okay.

		(more)


				(CONTINUED)



August 8, 1991                                                  98.


168.    CONTINUED:

		LAURA (continued)
		  (remembering)
	Oh god, it's Johnny Horne's birthday
	today.

		JAMES
	What about tonight?

		LAURA
	I can't tonight.

		JAMES
	What's going on?

		LAURA
		 (freaking out)
	I just can't, James.  I can't do it.

Laura keeps going.  Donna comes around next to James.  Together they
watch Laura walk away.

169.        EXT.  GREAT NORTHERN - DAY

Establish

170.        INT.  GREAT NORTHERN, BENJAMIN HORNE'S OFFICE - DAY

Open on Laura's picture on top of Ben Horne's desk.  Then discover
that Leland is staring at Laura's picture.

Wider we see BENJAMIN HORNE trying to blow up a large rubber Indian
for his son JOHNNY.  SYLVIA and JERRY HORNE stand nearby supervising.

Johnny comes up one inch in front of Leland's face.

		JOHNNY
	Happy Birthday, Johnny.

		LELAND
	Happy Birthday, Johnny.

Johnny moves to one inch in front of Jerry's face.

		JOHNNY
	Happy Birthday, Johnny.

		JERRY
	Happy Birthday, Johnny.

Ben reacts to a huge moccasin print in the middle of the birthday cake
in the middle of his office floor.


				(CONTINUED)







August 8, 1991                                                  99.


170.    CONTINUED:

		BEN
	Why did we have to have the party here
	in my office?

		SYLVIA
	Because Johnny wants it in your office.
	What's so "private" "private" about your
	office, anyway?  Why can't we have the
	party in your precious office?

		JERRY
	It's a lovely place for a party, Ben.  And
	look at the new decorations Johnny's
	provided.

They look down and see Johnny's foot completely ringed in white
frosting roses.  Frosted footprints trail behind him everywhere.

Johnny goes one inch in front of Laura's picture.

		JOHNNY
	Happy Birthday, Johnny.

Leland looks again at Laura's picture.  He looks up at Ben.

		LELAND
	  (oddly confrontational)
	Don't you have a picture of Audrey, Ben?

That sets Sylvia off again.

		SYLVIA
	Don't you have a picture of your own
	daughter, Ben?  Where's Johnny's
	picture?
		(exploding)
	And where's _my_ picture I gave you?

		BEN
	At the photographer's studio getting a
	gold frame with floral monograms of
	your birthday and our wedding vows.

Johnny moves one inch in front of Ben.

		JOHNNY
	Happy Birthday, Johnny.

		BEN
	  (trying not to explode)
	Happy Birthday, Johnny.


				(CONTINUED)







August 8, 1991                                                  100.


170.    CONTINUED: (2)

		JERRY
	Johnny, Johnny...  let your Daddy and your
	Uncle and Leland talk.
		(turning to Ben)
	Ben...  Leland, we can play the French
	against the Norwegians.  What do the
	French love more than anything?

		LELAND
		 (part of Jerry's presentation)
	Boating?

		JERRY
	No.

		LELAND
	Hiking?

		JERRY
	No.

		LELAND
	Eating?

		JERRY
	You'd think so.

		LELAND
	Sex?

		JERRY
	You're getting warmer.

		LELAND
	Trees?

		JERRY
	Exactment.  They are nuts about wood.
	They get goofy over trees.

		SYLVIA
	I've never heard anything like this
	before.  The French liking wood anymore
	than anyone else likes wood.  Are you
	three crazy?

		LELAND
	Sarah's cousin is French and she can't
	stop talking about the trees around
	here.

		JERRY
	History is on our side, Ben.  It's no
	accident that the great explorers were
		(more)


				(CONTINUED)



August 8, 1991                                                  101.


170.    CONTINUED: (3)

		JERRY (continued)
	named Hennepin, Nicollet, Marquette.

		LELAND
	They were looking for wood.

		SYLVIA
		  (exasperated)
	Oh...

As they talk Johnny circles the blowup Indian and with a mighty bang
pops it with his tomahawk.  "Bang".

171.        INT.  TWIN PEAKS SHERIFFS STATION, CONFERENCE ROOM - DAY

TOMMY "THE HAWK" HILL, Truman and ANDY BRENNAN.

		HAWK
	Joey just called in.  Bernie, the mule,
	left Canada about an hour ago.

		TRUMAN
	Then stop watching Jacques and let's
	set a trap for Bernie.

		ANDY
	He's coming in on foot.

		TRUMAN
	That's right, Andy.
	  (looks at him, waiting)
	I guess you're saying there's an awful
	lot of trails for us to cover.

		ANDY
	No, I was thinking what a long hike
	Bernie has to make.

		HAWK
		  (sensing an "Andy" situation)
	I'll get on it.

172.        INT.  BEN'S OFFICE - DAY

Laura quietly lets herself in.  Ben looks up, happy to see her.

		LAURA
		 (very quietly)
	I just wanted to say, "Hello".

		BEN
	You missed the party.  Look at my
	office.  Come here.

		(more)


				(CONTINUED)



August 8, 1991                                                  102.


172.    CONTINUED:

		 BEN (continued)

He wiggles a packet of cocaine in front of her and she steps to him.

		 BEN (continued)
	For a Kiss.

		LAURA
	Sure, I'd do a lot more than that for it.

		BEN
	Ssshhhh, your father's in the next
	office.  You should've seen him get upset
	at Johnny's party about your photo here.

		LAURA
	He's always been jealous of you.  You
	know that.

She moves in closer and kisses him.  He responds.

			DISSOLVE TO:

173.        EXT.  HIGHWAY 21 - NIGHT

Bobby roars thru the night with his radio blasting.

174.        EXT.  PALMER HOUSE - NIGHT

Reestablish.

175.        INT.  LAURA'S BEDROOM - NIGHT

Her clock reads:  10:59.  We move across to get a glimpse of Laura
going out the window.

176.        EXT.  TWO YARDS AWAY FROM THE PALMER'S - NIGHT

Bobby's car skids to a stop and Laura jumps in.

177.        EXT.  BOBBY'S CAR - NIGHT

Whipping down a country road.

178.        INT.  BOBBY'S CAR - NIGHT

Laura and Bobby tooting coke as they fly thru the night.

		BOBBY
	We got to wait till midnight.  But I got
	plenty here to make it.  And I got plenty
	of dough...  right here

		(more)


				(CONTINUED)




August 8, 1991                                                  103.


178.    CONTINUED:

		BOBBY (continued)
		(pats the money that sits next to
		him)
	...for "Bobby_and_Laura's_Big_Score".

He does a big clown laugh.  Laura erupts with the giggles.  They toot
up some more.  Bobby tromps on the gas.

179.        EXT.  THE COUNTRY ROAD - SAME

Pete Martell's POWDER BLUE PICKUP passes them going the other way.
We stay on the pickup as it pulls into Big Ed's Gas Farm.

180.        INT./EXT.  BIG ED'S GAS FARM - SAME

PETE MARTELL pulls into the station.  Big Ed comes out to meet him.

		ED
	Hey, Pete.  Can't believe your tank's dry
	up at the mill.

		PETE
	No...  hell, no.  Just got in the truck,
	started drivin', looked down at the
	gauge and saw a big "E" starin' at me.

		ED
	You know what that Big "E" stands for?
	Big Ed's Gas Farm.

		PETE
	Yep.  You're right.  That's why I'm here.

		ED
	What'll it be?

		PETE
	Fill 'er up.

		ED
	You got it.

		PETE
	I haven't got it yet.

Ed laughs.

		ED
	Nice night.

		PETE
	Yep...
		  (long pause)

		(more)


				(CONTINUED)



August 8, 1991                                                  104.


180.    CONTINUED:

		PETE (continued)
	Yes...
	   (another long pause)
	It is.

Ed starts to clean his windshield.  Pete points out something on the
windshield.

		PETE (continued)
	You missed somethin', Ed.

		ED
		(moving around, trying to see it)
	I did?  I didn't see anything.

		PETE
	Yeah...  look in here.  Look at it from this
	angle.

Ed puts his head inside the truck.

		ED
	I see it.
	   (reaches up to touch)
	Hell, it's on the inside, Pete.
		(flips him the rag)
	The inside is your territory.

Pete starts to clean the inside of his windshield while Ed returns to
work on the outside.

		PETE
		 (as he cleans)
	Even this heavy work beats being at
	home with the old ball and chain.

		ED
	Brother, I hear you talkin'.

181.        EXT.  THE WOODS - NIGHT

Bobby and Laura pull into a little clearing.  Bobby kills the lights.
The doors open.  Laura and Bobby start to make their way thru the
woods.

182.        EXT.  THE WOODS - NIGHT

Laura and Bobby continue thru the woods.  It gets spookier and
spookier.

They reach the meeting place.  Awesomely quiet until a twig snaps,
then a distant howling of a wolf.

Bobby and Laura sit on the floor of the woods and do some more toot.
Laura picks up a leaf and shows it to Bobby.


				(CONTINUED)



August 8, 1991                                                  105.


182.    CONTINUED:

		LAURA
		(whispers)
	Bobby, I found a leaf.

After a moment of staring at it, they both begin to giggle.  She
picks up a twig.

		LAURA (continued)
	Bobby, I found a twig.

They giggle twice as hard.  Laura picks up a pinecone and starts
knocking him on the head with it.

		LAURA (continued)
	Bobby, I found a pinecone.

They giggle three times as hard and start crawling around giggling.
Suddenly, they hear footsteps.  They freeze and try to stifle their
giggles.

		BOBBY
	Here he comes.

		LAURA
	Here he comes.

They both start laughing again.  They see a guy coming through the
woods.  We recognize him as the sullen deputy from Deer Meadow,
Cliff Howard.

		BOBBY
		(suddenly serious)
	Who sent you?

		CLIFF
	Jacques.

		LAURA
	That's right.

The deputy takes out a very big bag of coke, showing it to them.

		LAURA (continued)
	Wow.

Laura just grabs it out of his hand.  The deputy takes out his gun.
Bobby panics and pulls out his gun.  BANG!!

Bobby shoots the deputy in the shoulder, but the deputy still prepares
to shoot at Bobby so Bobby shoots him again.  This time in the chest.

The deputy spins and tries to run, but Bobby shoots him in the back.
He topples over dead.
		(more)


				(CONTINUED)




August 8, 1991                                                  106.


182.    CONTINUED: (2)

BOBBY AND LAURA

They stand there frozen.  Absolutely no more giggles.

		LAURA (continued)
	God, Bobby.  What did you do?

They just stand there looking at the dead body.

		BOBBY
	I shot him.  Oh, my god, I shot him.

Bobby starts for the dead body.

		BOBBY (continued)
	Come on, you gotta help me.

With Laura's help they get the body back to the clearing.  They fall
down to their knees, out of breath, staring at what they have done.
Their faces register the shock of having just killed someone.  Laura
looks at Bobby's stunned expression.

		LAURA
	Look at your face.

A laugh squirts out of Laura.  Bobby turns to her in disbelief.

		LAURA (continued)
	Bobby, you killed Mike.

Bobby stares at her for a second like Laura has gone insane.

		BOBBY
	This isn't Mike.
	(suddenly unsure - surreal)
	Is this Mike?

		LAURA
	Bobby...  ssshhhh...  you killed Mike.

Bobby breaks.  They begin to laugh uncontrollably.

183.        EXT.  WOODS - NIGHT

Wide shot.  The distant sounds of Bobby and Laura laughing.  Up
closer the wind takes over and even closer the hooting of an owl.

			DISSOLVE TO:













August 8, 1991                                                  107.


184.        INT.  THE PALMER HOUSE, FAN AND STAIRS - NIGHT

THE FAN SPINNING

Then - THE FAN'S POV down on Laura entering the stairwell.  We drift
down on Laura.

		BOB'S VOICE
	I want to kill thru you.

Laura stops cold on the stairway.

		LAURA
		  (looking up)
	No.

		BOB'S VOICE
	I want you to kill _for_me_.

		LAURA
	No.  Never.  You'll have to kill me.

		BOB'S VOICE
	I want you to kill _for_me_.

ECU: LAURA

Laura looking up petrified.

			DISSOLVE TO:

185.        INT.  HIGH SCHOOL - DAY

The trophy case with Laura's homecoming queen picture within.

On screen it reads:

		  "WEDNESDAY - ONE DAY BEFORE"

Bobby catches up with Laura in front of her locker.  He shows her the
ten thousand they were going to use to pay for the drugs last night.

		BOBBY
	Babe, I'm on my way out to the woods to
	divvy up the product.  Put this cash in
	your safety deposit box...
		(whispers)
	It's ten thousand dollars.

		LAURA
	   (acting real serious)
	You killed Mike.

Bobby is about to get really pissed when Laura starts laughing again.
Bobby fights to stay in control.


				(CONTINUED)





August 8, 1991                                                  108.


185.    CONTINUED:

		BOBBY
	I'm not going to give you this if you
	don't stop laughing.  It's not one god
	damn bit funny.

Laura stifles her laugh with all her might.  Bobby hands her the
money.  After a beat Laura starts to laugh, but stops herself again
by biting her lip.  Bobby is furious and scared.  Laura covers her
mouth.  Bobby breaks again.

186.        EXT.  THE WOODS - DAY

Bobby's car skids to a stop.  Bobby jumps out and pops the trunk.
He unwraps the big bag of cocaine from a blanket.  He tears a little
hole in it to enjoy a taste test.  The second it touches the tongue
he panics and frantically takes a deeper test.

		BOBBY
		(screaming)
	LAXATIVE!

He sprays and throws the powder every which way in a rage.

		BOBBY (continued)
	SSSSHHHIIITTTT!!!

187.        INT.  LAURA'S ROOM - NIGHT

Laura lies in bed.  She leans over to the bedside table and snorts a
line.  The phone rings and startles her.  She answers it.

			INTERCUT WITH:

188.        INT.  DR. JACOBY'S OFFICE - NIGHT

JACOBY on the phone.

		JACOBY
	Laura, you didn't come and see me today.

		LAURA
		 (in a whisper)
	I couldn't it was Johnny Horne's
	birthday.  I promised I'd be with him.  I
	told you not to call me here.

		JACOBY
	A little trouble with your parents is the
	least of your worries and something I
	am certainly willing to put up with.

		LAURA
	I'm not.


				(CONTINUED)





August 8, 1991                                                  109.


188.    CONTINUED:

		JACOBY
	Did you make me a tape?

		LAURA
	I already made you two tapes.

		JACOBY
	Laura, you have to deal with _all_ of this.

		LAURA
	I'm dealing with it, Doc.  Big time.
	Maybe I'll make you a tape tomorrow.
	Goodnight.

		JACOBY
	Send me a kiss.

She hangs up.

189.        INT.  LELAND AND SARAH PALMER'S BEDROOM - NIGHT

Sarah at her vanity, puts a cigarette out and walks to her bed as
Leland brings up a big glass of warm milk to her.

Sarah looks up at Leland and they share a look as she drinks the milk.

After Sarah finishes her milk Leland walks into the hallway.

190.        INT.  HALLWAY - NIGHT

Leland hits the fan switch.

191.        INT.  STAIRS AND FAN

THE FAN COMES TO LIFE

192.        INT.  LAURA'S BEDROOM - NIGHT

Laura freezes when she hears the fan.  She closes her eyes.

193.        INT.  PALMER BEDROOM - NIGHT

Sarah's head is nodding.  Her heavy eyelids close.  Her eyes pop open
once more.  Sarah sees the white horse in her room.  She falls asleep.

194.        INT.  LAURA'S BEDROOM - NIGHT

The room is dark.  Laura is pressed up against the headboard of her
bed staring at the window.  The fan ominously whirls in the hall.

Bob appears in her window and enters the room.

Bob moves down on top of her.  His hand moves between her legs.  Laura

		(more)


				(CONTINUED)



August 8, 1991                                                  110.

194.    CONTINUED:

fights with all her might to keep staring at his face.  To know it.
To unlock it.  Her hands go up.  She holds his face...  squeezes it
as he moves on top of her.

Slowly, what she always knew deep inside of her becomes clear.

BOB BECOMES LELAND.

She screams and passes out into hell.

195.        INT.  PALMER HOUSE, DINING ROOM - DAY

CLOSEUP:  BOWL OF SOGGY CEREAL

On screen it reads:

		 "LAST MORNING"

ON THE SCENE

Sarah sits at the dining room table smoking.  Laura pushes her spoon
around in the soggy cereal.  Leland stares at her.

		LELAND
	Laura, I would like to talk to you.  Is
	something wrong?

Laura gets up and leaves the room.  Leland stares at the empty door.
He waits for a moment and then follows her.  Sarah, nervously,
watches him go.

196.        INT.  LAURA'S ROOM

Laura is getting her school materials together when Leland enters.

		LELAND
	Laura.  What's wrong this morning?

		LAURA
		(whispering threat)
	Stay away from me.

Never taking her eyes off him, she works her way around him and
leaves the room.

We stay on Leland.  His face changes.  He knows she knows and he
knows what he has to do.

197.        EXT.  SIDEWALK IN FRONT OF THE PALMER HOUSE - DAY

Laura walks to school.  All the beautiful, natural sounds of morning
sound like hell to her.  Distorted chants from hell.










August 8, 1991                                                  111.


198.        INT.  HIGH SCHOOL CLASSROOM - DAY

Laura studies the clock hand going round and round.  Every sound in
the room is distorted.

THE BELL RINGS

IN SLOW MOTION

Laura rises from her chair.  Camera stays on her empty chair.  The
chair she will never sit in again.

			DISSOLVE TO:

199.        INT.  PALMER DINING ROOM - NIGHT

A PLATE OF ASPARAGUS.  The mashed potatoes and the roast beef have
been mostly eaten.  On screen it reads:

		  "LAST NIGHT"

Laura and her mother sit, eating alone.

		LAURA
	I hate asparagus.

		SARAH
	Sure you do, it's good for you.

They eat in silence for a moment.

		LAURA
	Where's Dad?

		SARAH
	Ben asked him to stay late to plan for
	the Norwegians.

		LAURA
	If it's okay with you I'm going to
	Bobby's to do my homework.

		SARAH
	It's a school night...  back by nine.

200.        EXT.  BRIGGS HOUSE - NIGHT

 Establish.

201.        INT.  BRIGGS LIVING ROOM- NIGHT

MRS. BETTY BRIGGS lets Laura in the front door.

		LAURA
	Hi, Mrs. Briggs...


				(CONTINUED)





August 8, 1991                                                  112.


201.    CONTINUED:

		BETTY
	Hi, Laura, Bobby's in the basement.

		LAURA
	Right where he belongs, right.

GARLAND BRIGGS chuckles off screen.

202.        INT.  BRIGGS HOUSE, BASEMENT RECREATION ROOM - NIGHT

Laura comes down stairs and sees Bobby lying on the floor.  His hands
covering his eyes.

		LAURA
		(concerned)
	What's up, Bobby?

Laura sits down next to him.

		BOBBY
	Bad news, kid, it was baby laxative.

		LAURA
	What was?

		BOBBY
	The stuff we got last night.

		LAURA
	Baby laxative?  We can't snort baby
	laxative.

		BOBBY
	No shit...
		(whispers)
	We killed a guy for baby laxative.

		LAURA
	What is the world coming to when you
	kill a guy for baby laxative?

		BOBBY
	Don't get funny with me again.

		LAURA
	I'm not...  Bobby I'm gonna need some
	more stuff.  I mean it.  I'm out.

		BOBBY
	Yeah, and I'm gonna need that ten
	thousand dollars back.


				(CONTINUED)







August 8, 1991                                                  113.


202.    CONTINUED:

		LAURA
	Sure, but I can't get it till after school
	tomorrow.

		BOBBY
	Let's ditch this place and party.

		LAURA
	Not tonight.  Just give me something to
	take home to hold me over till
	tomorrow.

		BOBBY
	Why?  Why not?  Where are you goin'?

Laura smiles and leans forward.  She kisses him and he responds.

		LAURA
	Bobby, I'm goin' home.  To bed...  my nice
	warm bed...

They kiss again.  He looks up and listens for his parents.

		BOBBY
		(whispers)
	We can do it right here.

		LAURA
		(flat)
	Bobby...

Bobby sees that she is not in the mood.

		BOBBY
	You don't want me.  You just want the
	stuff, don't ya?

Laura stares at him.

		BOBBY (continued)
	It's okay.

He reaches in his pocket and gives her a nice bag of coke plus pills.

		BOBBY (continued)
	Bobby's got it.

		LAURA
		(taking the packet)
	Thanks, Bobby.
	  (looking at the packet)
	And my little round friends, too.

They head upstairs.







August 8, 1991                                                  114.


203.        INT.  BRIGGS LIVING ROOM - NIGHT

Mr. Briggs is reading aloud to Mrs. Briggs from the book of
Revelations.  As Bobby hears this he turns to Laura and makes a look
of horror which says, "Can you believe I live here".  Laura smiles.

Bobby takes Laura to the door.  He gives her a small kiss, "Good
Night".  After she leaves he cuts back thru the living room and just
as he clears the room he lights up.

		BRIGGS
	(looking up from the Bible)
	Robert, put out the cigarette.

And Briggs returns to the Bible.

204.        INT.  SHERIFF'S STATION, INTERROGATION ROOM - NIGHT

Sheriff Truman and Andy sit at the small table with doughnuts and
coffee.  Andy monitors the radio.  LUCY MORAN cuts thru on the
intercom.

		LUCY
		(over the intercom)
	Sheriff Truman?

Truman hits the intercom button.

		TRUMAN
	Yes, Lucy?

		LUCY
		 (over intercom)
	Mrs. Packard called and said she heard
	what she thinks could be a prowler
	outside her house.

		TRUMAN
	Okay, Lucy.  I better get on up there.

He releases the intercom button.  But Lucy continues to talk over the
intercom.

		  LUCY'S VOICE
	It's probably raccoons which is what it
	was last week...

		TRUMAN
		(to Andy)
	You stay here and monitor the radio.  Let
	me know right away, if you hear from
	Hawk.

		  LUCY'S VOICE
	And last week I thought of the same

		(more)


				(CONTINUED)



August 8, 1991                                                  115.


204.    CONTINUED:

	 LUCY'S VOICE (continued)
	thing.

		ANDY
	Okay, Sheriff Truman.

		  LUCY'S VOICE
	Raccoons remind me of my aunt who
	lives in Wyoming where they have
	raccoons, too.

Truman stands up, puts on his gun and leaves.  Lucy's voice continues
as we watch Andy sit there alone.

	 LUCY'S VOICE (continued)
	She couldn't get rid of her raccoons
	because she made the big mistake of
	feeding them albacore tuna.  I don't
	know why she fed them albacore tuna.
	And albacore tuna is so expensive.
	 (voice raising an octave)
	Sheriff Truman how did you get up
	here?

Over the intercom Andy hears Lucy make a small hysterical cry.  He
stands and runs from the room.  Stay on the intercom.  Lucy's voice
continues.

	 LUCY'S VOICE (continued)
	Andy?  Are you there?  I am very
	confused.  Who am I talking to?  Andy,
	are you there?

205.        INT. SHERIFF'S STATION, RECEPTION - SAME

Lucy gets up from the intercom.

		LUCY
	Maybe I'm alone.
	  (whispers, frightened)
	Andy...  where did Andy go?

She races from her station and collides with Andy coming up from the
interrogation room.  They both scream.

206.        INT.  PALMER HOUSE, LIVING ROOM - NIGHT

Sarah sits smoking and reading a cheap magazine as Laura moves thru
the living room.

		LAURA
	Good night, Mom.


				(CONTINUED)






August 8, 1991                                                  116.


206.    CONTINUED:

		SARAH
	Good night, sweetheart.

Laura moves up the stairs.

207.        INT.  LAURA'S ROOM - NIGHT

She does three lines of Bobby's cocaine.

ON THE CLOCK IN HER ROOM

It reads:  9:30.

ON LAURA

Trying to hold on.  The phone rings.

		LAURA
		(whisper)
	James...  Yes, okay...  No, James, I do love
	you, but...  Okay, I'll meet you in fifteen
	minutes...

She hangs up the phone and does another line of cocaine then swallows
down a handful of red round friends from Bobby - the pills.

		LAURA (continued)
	Fifteen minutes...  god, why did I say
	that?...  what did I say?...

208.        INT./EXT.  PALMER HOUSE

As Laura sneaks out she sees her dad coming home.

209.        EXT.  PALMER HOUSE

LELAND

Leland comes out of the car.  Laura ducks into some bushes and hides.
Leland stops in the middle of the yard sensing something.  He looks
right at where Laura is hiding.  She can't tell if he can see her or
not.

CLOSEUP: LAURA

She hears James' bike coming in the distance.

		LAURA
	 (frantically to herself)
	Go inside...  go inside...

James' bike sounds closer and closer.  Leland turns, opens the front
door and goes into the house.

James drives up.  Leland's face appears looking out the front window.
Laura jumps on the bike behind James and off they go.





August 8, 1991                                                  117.


210.        EXT.  HIGHWAY 21 - NIGHT

James and Laura drive thru the night.

211.        EXT.  CLEARING IN THE WOODS - NIGHT

James brings the bike thru the woods and stops in the little clearing.
James tries to kiss Laura, she pushes him away.

		JAMES
	What the hell is wrong with you?

		LAURA
	That's right.  There's no place left to go
	is there, James?

		JAMES
	What do you mean?

		LAURA
	You know it and I know it.

		JAMES
	What is wrong with us?...  We have
	everything.

		LAURA
	Everything, but everything.

		JAMES
	Oh, Laura.

		LAURA
		 (mimicking him)
	"Oh, Laura..."

She gives him a terrible slap.

		JAMES
		(ironic)
	You always hurt the ones you love.

		LAURA
	You mean the ones you pity.

		JAMES
	Say anything you want...  I know you love
	me and I love you.

		LAURA
	I do love you.
		(whispers)
	Let's get lost together.


				(CONTINUED)







August 8, 1991                                                  118.


211.    CONTINUED:

They kiss again.  Hot.  Hands everywhere.

		LAURA (continued)
		 (breaking away)
	Shit, maybe he'll kill you.

		JAMES
	What?

		LAURA
	When he finds out.

		JAMES
	What?

		LAURA
	Bobby killed a guy.

		JAMES
	What are you talking about?  Bobby
	didn't kill anybody.

		LAURA
	You want to see...

		JAMES
	See what?

		LAURA
		(disgusted)
	Right.  Open your eyes, James.  You don't
	know me.  Even _Donna_ doesn't know me.
	Your Laura disappeared...  It's just me
	now.

James grabs her trying to control her.  She twists out of his arms.

		LAURA (continued)
	How 'bout this, James?

She lifts her hand and gives him the finger.  James ignores the
finger and kisses her, but she's gone ice cold.

		LAURA (continued)
	I think you want to take me home now,
	James.

She leads him back to the bike.  He won't start it.

		LAURA (continued)
	Oh, quit crying.  I've had enough of your
	fucking caring.

He kicks the bike to a start.  Behind him, Laura watches and silently
starts to cry.






August 8, 1991                                                  119.


212.        EXT.  HIGHWAY 21 - NIGHT

Laura and James on the bike make their way down to Sparkwood and
Twenty One.

Laura leans way back on the bike.

LAURA'S POV

Looking up at the trees as they fly by in a dark blur.

LAURA AND JAMES

		LAURA
	The trees...  the trees...

Laura screams with agony and tries to get off as they approach the
light.  Laura falls off as they skid to a stop.

		JAMES
	 (confused and terrified)
	Laura...

Laura crawls back up and puts her hands around James' neck.

		LAURA
	(from far away she screams)
	JAMES, I LOVE YOU.

For a moment she focuses on him.  She looks like the Laura that James
loves.  Innocent and Beautiful.

Laura turns and sees the woods.  It pulls her.  She releases her hold
on James and runs into the waiting darkness.

The red light swings in the wind above James.  It turns green, but he
doesn't move.  When the light turns red again, James guns the engine
and lifts the bike up on its back tire.  James screams then roars down
the road away from us.

Off to the side of the road lies Doc Hayward's wilted red rose.

213.        EXT.  PACKARD LOGGING ROAD - MIDNIGHT

Laura runs up thru the woods.  At the Packard Logging Road Laura
meets Jacques, Leo and Ronette all standing around Leo's red corvette.

		JACQUES
	Right on time, baby.

		LAURA
	Buy me a ticket to The Great Went.


				(CONTINUED)








August 8, 1991                                                  120.


213.    CONTINUED:

		JACQUES
	We're on our way, Baby.

		LAURA
	Let's go _all_ the way.

They pile into Leo's 'Vet and peel down the dirt road.

214.        INT.  JACQUES' CABIN - NIGHT

The foursome getting roasted and toasted - very high.

Jacques starts to tie Laura up with some light rope.

		LAURA
	   (drugged, screaming)
	Don't tie me up, tonight.  Don't tie me
	up.

Jacques and Leo laugh.  Jacques starts to tie Laura up while Leo holds
her.  Laura struggles and screams begging them not to do it.  With
Laura tied up, Leo starts to tie up Ronette.

			DISSOLVE TO:

215.        INT.  JACQUES' CABIN - LATER

Both girls are half naked and have been tied up.  WALDO the bird is
screeching.  Jacques is straddling Laura and is hurting her badly.
Leo puts a One Eyed Jacks THOUSAND DOLLAR POKER CHIP in her mouth.

		LEO
	Bite the bullet, baby.

Like a ghost Leland appears in the window.

No one sees him.

Laura continues to scream.  Leo gets up and goes for the bottle of
bourbon.  He takes a swig and then steps back to Jacques and Laura.

		LEO
	   (referring to Laura)
	Let me have a little of that.

		JACQUES
	 (pointing at the bourbon)
	Let me have a little of that, baby.

Leo holds the bottle tight.  Jacques stands up and decks Leo with his
big French Canadian paw.  He grabs the spilling bottle from the floor
and stumbles outside.









August 8, 1991                                                  121.


216.        EXT.  JACQUES' CABIN - NIGHT

When Jacques comes out of the cabin, Leland trips him, grabs the
bottle and breaks it over Jacques head, knocking him out cold.

Leo hears the crash and comes outside.  He sees Jacques bleeding on
the ground.  He panics and weaves down the hill to his corvette and
takes off.

Leland goes into the cabin.  His smiling eyes are on Laura while he
rapes Ronette.  Laura watches as her fear drives her to hysteria.

217.        EXT./INT.  LOG LADY'S CABIN - NIGHT

In the darkness the Log Lady holds her log and listens.  She hears
distant screams.  The camera moves down her leg to reveal her tattoo,
beet red and burning.

218.        EXT.  TRAIL - SAME

Philip Gerard, the one-armed man, runs like a madman up the trail
towards Jacques' cabin.

219.        EXT.  PATHWAY FROM THE CABIN - NIGHT

With the face of the devil, Leland double time marches Laura and
Ronette out the cabin door and thru the woods.

		LAURA
		(screaming - pleading for her life)
	DADDY...  DADDY...

220.        EXT.  JACQUES' CABIN - NIGHT

Gasping for breath Gerard arrives at the cabin too late.  He stares
at the open doorway.  Jacques lies passed out at his feet.  Gerard
cocks his head straining to hear something.  He hears distant screams.

		GERARD
	Bob, I can hear you singing.

221.        INT.  TRAIN CAR - NIGHT

Leland hauls the two girls into the train car.

He SLIDES THE DOOR SHUT and it is completely quiet.

BOB AND LELAND going in and out like breathing.  The two girls shudder
in the corner as he circles them.

Leland grabs Laura and begins to wrap the twine around her arms
bending the arms back.

		LAURA
		(whispers)
	Are you going to kill me?







August 8, 1991                                                  122.


222.        EXT.  WOODS - NIGHT

Gerard tearing thru the woods.  The wind comes up carrying with it
cries and screams and the sounds of BOB.

223.        INT.  TRAIN CAR - NIGHT

Leland hoists Laura up so that she hovers facing the floor a foot
off the ground.  He places a mirror on the floor directly under her
face.

IN THE MIRROR

Laura sees herself turn into Bob.  Leland screams into space.

		LELAND
	DON'T MAKE ME DO IT.

		LAURA
	NO, YOU HAVE TO KILL ME.

		LELAND
	I always thought you knew it was me.

		LAURA
	 (into Bob in the mirror)
	NO!  YOU CAN'T HAVE ME.
		(to Leland)
	KILL ME.

224.        EXT.  TRAIN CAR - NIGHT

Gerard arrives outside.  He bangs on the train door.

		GERARD
	LET ME IN.  LET ME IN.

The door opens a little bit because Ronette is pushing it with her
feet.  Gerard reaches up to help her when suddenly she flies over
his head having been hit.

Ronette hits the ground, her unconscious head bent back at an odd
angle.

ECU: GERARD

He listens to the sounds of murder inside the train car.

225.        INSIDE THE TRAIN CAR

Laura screaming

Knife entering flesh.

Bob screaming.


				(CONTINUED)





August 8, 1991                                                  123.


225.    CONTINUED:

Bloody knife thru the air.

Leland screaming.

226.        EXT.  TRAIN CAR

ECU: GERARD

Gerard leans in to take a look and steps back laughing.  he yells out
for Bob to hear.

		GERARD (continued)
	THAT'S HIS OWN DAUGHTER YOU'RE
	KILLING.

He continues to laugh and runs away from the train car.

A few moments later Leland stumbles out of the car carrying the body
of Laura Palmer wrapped in a plastic shroud.  Leland's shirt is puffed
out - a bloody towel inside.

227.        EXT.  WOODS/RIVER - NIGHT

Leland/Bob lowers the plastic shrouded Laura into the river.

228.        EXT.  GLASTONBURY GROVE - NIGHT

Leland stumbles to the centre of Glastonbury Grove and stops.  A
frightening wind carries haunting music.  He digs into his pockets
for the pages torn from Laura's secret diary.  he tosses them and
the bloody towel to the wind.

He goes to the centre of the circle of the twelve sycamore trees.
The red curtains appear and he passes between them entering the red
Room.

229.        INT.  THE RED ROOM

It is not empty.  Gerard is just leaving the other side of the room.

LELAND walks thru the Red Room after him.  He walks down a corridor
and _into_the_Red_Room_again_.

There on the other side of the room Leland sees Gerard and the Man
From Another Place sitting side by side in a chair facing him.

Leland stops when he sees them.  He divides.  One half becomes Bob -
opaque.  The other half floats up and becomes Leland - transparent.

ON BOB

He reaches up and grabs Leland's wound.

		(more)


				(CONTINUED)




August 8, 1991                                                  124.


229.    CONTINUED:

ECU - LELAND'S WOUND

Bob heals Leland's wound.

ON THE SCENE.

Gerard and the Man From Another Place speak in unison.

		GERARD/THE MAN FROM
		  ANOTHER PLACE
		(subtitled)
		(in unison)
	Bob, you're not going home without me.  I
	want all my garmonbozia.  (corn)

			DISSOLVE TO:

230.        EXT.  WATER'S EDGE BY THE PACKARD SAWMILL - DAWN

At high tide Laura Palmer's body is floating up to and bumping against
the logs.

231.        EXT.  GLASTONBURY GROVE

On screen it reads:

		"TWO MONTHS LATER"

232.        INT.  HOSPITAL EMERGENCY WARD - NIGHT

Annie is being brought in on a stretcher.  A NURSE talks to a
PARAMEDIC as they rush her towards the emergency room.

		NURSE
	What happened?

		MEDIC
	I don't know.  Sheriff Truman just
	brought her in from Glastonbury Grove.

233.        INT.  THE RED ROOM

The Man From Another Place stands with Cooper.

	  MAN FROM ANOTHER PLACE
	Is it future?  Or is it past?...  Do you
	know who I am?...  I am The Arm...  And I
	sound like this...


				(CONTINUED)










August 8, 1991                                                  125.


233.    CONTINUED:

The Man From Another Place puts his hand in front of his lips and
makes an Indian Whooping sound.

		COOPER
	  (looking at the table)
	Where is the ring?

	  MAN FROM ANOTHER PLACE
	Someone else has it now.

		COOPER
	That would indicate that it's the future.

	  MAN FROM ANOTHER PLACE
	The later events have never been kept a
	secret.

		COOPER
	Where am I?  And how can I leave?

	  MAN FROM ANOTHER PLACE
	You are here and there is no place to
	go...

A pause.

	  MAN FROM ANOTHER PLACE
		(shouts)
	BUT HOME!

The Man From Another Place begins to laugh uncontrollably.

234.        INT.  HOSPITAL ROOM - NIGHT

A NURSE mops the sweat from Annie's forehead.  Annie tries to get
thru to her.

		ANNIE
	My name is Annie.  I've been with Laura
	and Dale.  The good Dale is in the lodge
	and he can't leave.  Write it in your
	diary.

The nurse pats Annie's forehead and takes her hand.  We see
_TERESA/LAURA'S_RING_ on Annie's ring finger.  The nurse gently
slides the ring off Annie's finger.

235.        INT.  ANOTHER ROOM IN THE HOSPITAL

The nurse enters.  With an anticipatory smile, then a selfish laugh,
she puts the ring on her finger.










August 8, 1991                                                  126.


236.        INT.  HOTEL ROOM, GREAT NORTHERN - NIGHT

Doc Hayward and Sheriff Truman watch the door of the bathroom
anxiously.

		TRUMAN
	Coop...  Coop...

		DOC
	Cooper are you alright?

Not getting any response Truman breaks open the door.

237.        INSIDE THE BATHROOM

Cooper, in his pajamas, lies on the floor.  The mirror above the sink
is shattered with blood all over it and the sink.  Cooper smiles up
at them strangely.

		COOPER
		(smiling strangely)
	I slipped and hit my head on the mirror.
	The glass broke as it struck my head.
		(laughs)
	It struck me as funny, Harry.  Do you
	understand me, Harry, it struck me as
	funny.

		DOC
	You are going right back to bed.

Doc and Truman help Cooper up.

		COOPER
	But I haven't brushed my teeth yet.

Cooper smiles at the uneasy pair.

238.        BLACK LODGE/RED ROOM

Laura is sitting in a chair.  As the end credits begin...

We move back to see that Laura is sitting in Cooper's lap in the
same chair.

FADE OUT.
THE END

 
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