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Twin Peaks Movie Script

Writer(s) : Mark Frost, David Lynch, Robert Engels

Genres : Drama, Horror, Mystery, Thriller

Search IMDb : Twin Peaks


                           T W I N   P E A K S
                           -------------------

                            Fire Walk With Me,

                         Teresa Banks and the Last

                        Seven Days of Laura Palmer

                               Screenplay by

                        David Lynch and Bob Engels

                          Typed By:  Deep Thought

                                                Lynch/Frost Productions

                                                Shooting Draft

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: COLE

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

                                  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.

        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.

                                  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?

                                  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

                            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.

                                  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
        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.

        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

        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.

        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.

                                  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.

        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".

        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.

                             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
                        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?

                                  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.

                                  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...

        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?

                                   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)

        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.

                                   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.

                                   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?

                                  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.

        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
        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.

                                  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?

                                  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.

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
                        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.

                                  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

        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.

                                  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.

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.

                                 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.

                                 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.

        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.

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
        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
                        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:

                      "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.

                                   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.

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:

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.

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.
                                  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.

        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.

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

                             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
                        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)
                        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.

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.

                                   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.
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.

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.

                                  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.

                                   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.

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
                        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.

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?

        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.

                                   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.

                                   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?

                                   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)
                        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.
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?

                                   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
        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.

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.

        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.

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...

                                   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.

                                   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
                        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???

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.

                                   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.

                                 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
        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.

                                   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.

                                   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.

                                   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

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, 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...

                                  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.

        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.

                                   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.

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
                        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.

                                   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.

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.

                                  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.

        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".

        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.

                                  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.

                                  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.

        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.

                                  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.
        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:

                        "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.
                               (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.

                                    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.

                                   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
                        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.
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.

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.

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.

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.

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.

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?

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.

        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.

        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...

        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.

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