Teresa Banks and the Last Seven Days of Laura Palmer

Screenplay by David Lynch and Bob Engels

Typed By Deep Thought

August 8, 1991

FADE IN:

1. EXT. WIND RIVER, WASHINGTON - DAY

On screen it reads:

"1988, WIND RIVER,
DEER MEADOW, WASHINGTON"

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

On screen it reads:

"TERESA BANKS"

FADE OUT:

FADE IN:

2. EXT. FBI OFFICE IN PORTLAND

Establish.

3. INT. GORDON COLE'S OFFICE

GORDON COLE talks on the speaker phone.

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

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

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

5. INT. DESMOND'S CAR - DAY

Desmond picks up the ringing phone.

DESMOND

Yes...

INTERCUT WITH:

(more)

(CONTINUED)

**

August 8, 1991 2.

5. CONTINUED:

COLE

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

DESMOND

DESMOND
OK, Gordon.

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

DESMOND
(little louder)
OK, Gordon.

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

DESMOND
(very loud)
Okay, Gordon!!!

Desmond electronically lowers the aerial adjusting the volume.

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

DESMOND
Smell something fishy, huh?

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

6. EXT. SMALL AIRPORT OUTSIDE OF PORTLAND - DAY

Small government plane lands.

(more)

(CONTINUED)

**

August 8, 1991 3.

6. CONTINUED:

ANOTHER ANGLE

Desmond exits the plane.

7. INT. SECURITY LOUNGE OF THE AIRPORT - SAME

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

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

Desmond and Stanley shake.

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

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

DESMOND
Congratulations. I heard about that.

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

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

8. LIL'S DANCE

Things we notice.

-- She makes a sour face.

-- She walks in place.

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

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

-- She is wearing a red wig.

At one point during this Cole adds a sentence.

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

Cole holds four fingers in front of his eyes.

(CONTINUED)

**

August 8, 1991 4.

8. CONTINUED:

DESMOND
(noticing the fingers)
Federal?

Cole gives him the thumbs up.

Lil finishes her dance.

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

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

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

Desmond's car on the highway.

10. INT. DESMOND'S CAR - SAME

As they barrel down the highway -

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

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

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

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

DESMOND
Sort of shorthand.

STANLEY
(missing the humor)
Shorthand. really?

(CONTINUED)

**

August 8, 1991 5.

10. CONTINUED:

DESMOND
We're heading into a difficult situation.

STANLEY
How do you figure?

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

As Desmond explains we -

INTERCUT WITH:

11. FLASHBACK: LIL'S DANCE

In slow motion.

ON LIL'S SOUR FACE

DESMOND
Lil was wearing a sour face.

STANLEY
What do you mean?

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

ON LIL BLINKING BOTH EYES

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

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

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

ON LIL WALKING IN PLACE

(CONTINUED)

**

August 8, 1991 6.

11. CONTINUED:

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

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

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

STANLEY
Oh, the uncle is missing.

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

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

ON LIL'S RED WIG

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

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

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

STANLEY
A blue rose.

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

Stanley rides along quietly for a while.

(CONTINUED)

**

August 8, 1991 7.

11. CONTINUED: (2)

STANLEY
What did Gordon's tie mean?

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

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

DESMOND
He talks loud. And he loves his code.

STANLEY
I see. He does talk loud.

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

STANLEY
It must be a high priority situation.

12. EXT. HIGHWAY - SAME

Desmond's car drives off.

DISSOLVE TO:

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

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

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

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

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

Cliff just smiles for a long minute.

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

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

(more)

(CONTINUED)
**

August 8, 1991 8.

14. CONTINUED:

Cliff smiles up at Desmond.

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

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

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

CLIFF
(still smiling)
Oh.

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

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

CLIFF (continued)
AAAHHHHHHHH...

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

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

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

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

15. INT. SHERIFF CABLE'S OFFICE - DAY

SHERIFF CABLE looks up from his work.

CABLE
How the hell did you...

Desmond shows his credentials.

DESMOND
Federal Bureau of Investigation, Special
Agent Chet Desmond.

(CONTINUED)
**

August 8, 1991 9.

15. CONTINUED:

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

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

Cable signals Cliff to leave.

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

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

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

CABLE
You're lucky I am not wasting you.

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

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

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

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

CABLE
Out back in our morgue

(CONTINUED)

**

August 8, 1991 10.

15. CONTINUED: (2)

Desmond starts to leave.

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

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

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

The caption reads:

"CABLE BENDS STEEL"

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

16. EXT. SHERIFF'S STATION - DAY

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

AT THE MORGUE DOOR

Stanley moves up to Desmond and speaks confidentially.

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

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

17. INT. TINY MORGUE - DAY

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

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

(CONTINUED)

**

August 8, 1991 11.

17. CONTINUED:

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

STANLEY
Solved the Whiteman Case with this.

DESMOND
That's what I heard.

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

DESMOND
That's good.

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

DESMOND
I don't know, Sam.

STANLEY
Maybe, later we could take a look.

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

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

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

DESMOND
Cole said she was 17.

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

STANLEY
I wonder where her ring is?

Desmond notices the mark on her hand as well.

(CONTINUED)

**

August 8, 1991 12.

17. CONTINUED: (2)

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

Stanley picks up her left hand.

INSERT: BANKS LEFT HAND

In Stanley's hand.

ON THE SCENE

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

DESMOND
Oh.

Stanley peers underneath the fingernail.

STANLEY
A laceration.

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

DESMOND
Accidental?

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

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

DESMOND
What is it?

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

Desmond comes around and takes a look.

INSERT: THE LETTER "T".

(CONTINUED)

**

August 8, 1991 13.

17. CONTINUED: (3)

On a piece of paper.

CLOSEUP: DESMOND

Pondering what he has seen.

ON THE SCENE

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

DISSOLVE TO:

THE SAME CLOCK

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

DISSOLVE TO:

18. EXT. MORGUE - LATE NIGHT

Desmond and Stanley come out of the morgue.

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

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

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

Desmond takes a long look at Stanley.

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

Desmond gets in and starts the car.

19. EXT. HAP'S DINER - LATE NIGHT

Establish.

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

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

(CONTINUED)
**

August 8, 1991 14.

20. CONTINUED:

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

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

DESMOND
Where's Hap?

JACK
He's dead - good and dead.

DESMOND
Sorry to hear it.

JACK
He didn't suffer.

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

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

DESMOND
Any friends?

JACK
No.

DESMOND
Ever see her with someone else?

JACK
No.

DESMOND
Did she ever mention any friends?

JACK
No.
(pointing)
Ask Irene over there.

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

(CONTINUED)

**

August 8, 1991 15.

20: CONTINUED: (2)

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

21. INT. HAP'S DINER - SAME

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

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

DESMOND
How come Jack let's you work here?

IRENE
Jack and I are united in holy matrimony.

DESMOND
Say no more.

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

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

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

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

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

DESMOND
What happened to her?

IRENE
There was only one job. Teresa took the

(more)

(CONTINUED)
**

August 8, 1991 16.

21. CONTINUED:

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

DESMOND
Did you ever see Teresa take cocaine?

IRENE
No.

DESMOND
Do you take cocaine, Irene?

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

STANLEY
Nicotine is a drug. Caffeine is a drug.

IRENE
Who's Shorty? Those drugs are legal.

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

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

DESMOND
Thanks.

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

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

DESMOND
You have something to tell us?

OLD GUY
Yeah.

DESMOND
What?

(CONTINUED)

**

August 8, 1991 17.

21. CONTINUED: (2)

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

Desmond moves away from him.

STANLEY
You think we ought to question him?

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

DESMOND
What time is it, Stanley?

Stanley checks his watch pouring hot coffee on himself.

STANLEY
Oh...

Desmond guides his laugh into a cough.

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

DESMOND
It's late, Sam.

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

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

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

DESMOND
What do you mean?

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

(CONTINUED)

**

August 8, 1991 18.

21. CONTINUED: (3)

DESMOND
Thanks.

Stanley watches her leave.

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

DESMOND
I think that's a good idea.

22. EXT. HAP'S DINER - NEAR DAWN

As Desmond and Stanley head towards their car.

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

STANLEY
Are you speaking to me in a code?

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

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

Irene walks past them and towards the parking lot.

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

STANLEY
Thank god it is morning.

23. EXT. CANYON TRAILER COURT - DAWN

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

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

(CONTINUED)

**

August 8, 1991 19.

23. CONTINUED:

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

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

VOICE
CAN'T YOU READ!

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

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

CARL
God damn, this better be
important.

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

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

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

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

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

DESMOND
Did she have someone with her?

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

DESMOND
Was there an argument?

(CONTINUED)

**

August 8, 1991 20.

23. CONTINUED: (2)

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

DESMOND
Yes they do. Did she have visitors?

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

He swings open the door.

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

Desmond and Stanley go in.

24. INT. TERESA'S TRAILER

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

STANLEY
(whispers)
She lived alone.

DESMOND
She must have known someone.

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

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

STANLEY
I'll get my kit.

25. EXT. CANYON TRAILER COURT

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

STANLEY
(to himself)
5,600 dollars.

26. INT. TERESA'S TRAILER

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

(CONTINUED)
**

August 8, 1991 21.

26. CONTINUED:

INSERT - PICTURE

Teresa Banks is wearing a ring.

BACK ON THE SCENE

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

DESMOND
Take a look at this.

STANLEY
She's wearing a ring.

Stanley studies it.

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

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

Carl leans in from the outside.

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

Both nod "yes".

DISSOLVE TO:

27. INT. TERESA'S TRAILER - LATER

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

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

(CONTINUED)

**

August 8, 1991 22.

27. CONTINUED:

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

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

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

DESMOND
Did you know Teresa Banks?

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

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

CARL
They're only doing their job.

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

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

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

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

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

(CONTINUED)

**

August 8, 1991 23.

27. CONTINUED: (2)

CLIFF
Is that right, Mr. Jack Daniels?

DESMOND
Did you know Teresa Banks?

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

DESMOND
No you couldn't.

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

28. EXT. CANYON TRAILER COURT - SAME

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

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

DESMOND
Is there a golf course around here?

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

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

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

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

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

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

(CONTINUED)

**

August 8, 1991 24.

28. CONTINUED:

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

STANLEY
Yes, he is like a clown.

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

29. EXT. SHERIFF'S STATION - MIDDAY

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

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

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

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

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

CABLE
Maybe not _a_ thing, but maybe _two_
things.

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

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

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

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

(CONTINUED)

**

August 8, 1991 25.

30. CONTINUED:

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

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

Cable exits followed by Cliff and the giggling secretary.

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

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

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

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

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

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

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

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

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

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

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

(more)

(CONTINUED)

**

August 8, 1991 26.

31. CONTINUED:

ducks.

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

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

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

DESMOND
Who's next?

After a moment of unbearable humiliation they shuffle away.

DISSOLVE TO:

32. EXT. SHERIFF'S STATION - AFTERNOON

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

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

They walk towards the van until Stanley stops.

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

DESMOND
Faulty wiring.

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

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

(CONTINUED)

**

August 8, 1991 27.

32. CONTINUED:

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

Desmond smiles at Stanley as they shake.

DESMOND'S POV

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

STANLEY
(very muffled)
83,000 dollars.

33. EXT. THE TRAILER COURT - DAY

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

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

CHET
Right.

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

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

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

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

Cole and ALBERT ROSENFIELD talk.

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

(CONTINUED)

**

August 8, 1991 28.

34. CONTINUED:

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

The phone rings and Cole answers it.

35. INT. PHILADELPHIA FBI OFFICES

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

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

Diane says something else that we cannot hear.

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

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

COOPER
What is it, Gordon?

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

**

August 8, 1991 29.

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

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

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

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

COOPER
Anything else?

STANLEY
Did Gordon show you a woman named
Lil?

COOPER
I'm up to speed, Stanley.

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

COOPER
And neither will I.

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

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

STANLEY
I cracked the Whiteman case with this.

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

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

(more)

(CONTINUED)
**

August 8, 1991 30.

36. CONTINUED:

STANLEY (continued)
has a machine like this.

COOPER
Tell me about the letter.

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

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

COOPER
And no one found the ring?

STANLEY
No, sir, we did not.

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

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

37. EXT. CANYON TRAILER COURT - DAY

Carl Rodd shows Cooper to Teresa's trailer.

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

COOPER
Thank you, Carl.

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

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

(CONTINUED)

**

August 8, 1991 31.

37. CONTINUED:

COOPER
I am not going to Cliff's trailer.

CARL
Well, where are you going?

COOPER
I am going over here.

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

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

COOPER
What was here, Mr. Rodd?

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

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

CARL
An old woman and her grandson.

COOPER
Can you tell me what their names were?

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

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

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

COOPER
Is that Agent Desmond's vehicle?

CARL
Yep, it sure is.

Cooper walks to it.

AT DESMOND'S CAR

(CONTINUED)

**

August 8, 1991 32.

37. CONTINUED: (2)

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

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

Cooper stares into the stream.

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

39. EXT. TWIN PEAKS - DAY

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

TWIN PEAKS ONE YEAR LATER -

EXACTLY SEVEN DAYS BEFORE THE MURDER OF LAURA PALMER

40. EXT. THE PALMER HOUSE - DAY

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

41. EXT. FBI HEADQUARTERS, PHILADELPHIA - DAY

Re-establish. On screen it reads:

"PHILADELPHIA, PENNSYLVANIA"

42. INT. COLE'S OFFICE

Cooper talks with Cole.

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

(CONTINUED)

**

August 8, 1991 33.

42. CONTINUED:

GORDON
SO?

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

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

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

43. INT. HALLWAY BELOW THE SURVEILLANCE CAMERA - SAME

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

44. INT. SURVEILLANCE ROOM

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

45. EXT. BUENOS AIRES HOTEL - DAY

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

"BUENOS AIRES"

46. INT. BUENOS AIRES HOTEL - DAY

PHILLIP JEFFRIES checks into the hotel.

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

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

BELLHOP
612 --- very nice.

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

47. INT. HALLWAY BELOW THE SURVEILLANCE CAMERA - SAME

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

**

August 8, 1991 34.

48. INT. SURVEILLANCE ROOM - SAME

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

49. INT. HALLWAY BELOW THE SURVEILLANCE CAMERA - SAME

BACK ON COOPER

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

50. INT. SURVEILLANCE ROOM - SAME

Cooper races into the room and stares into the monitor.

51. ON THE MONITOR

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

COOPER
(shouting)
Gordon.

Cooper runs into Gordon's office.

52. INT. GORDON'S OFFICE

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

COLE
PHILLIP!

Albert stands up.

ALBERT
Phillip?

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

COOPER
Phillip?

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

Jeffries stares at the threesome.

(CONTINUED)

**

August 8, 1991 35.

52. CONTINUED:

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

COOPER
But...

Cole calms Cooper.

COLE
STAND FAST, COOP.

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

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

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

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

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

Jeffries stumbles to a chair.

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

ALBERT
Who's meeting? Where have you been?

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

(CONTINUED)

**

August 8, 1991 36.

52. CONTINUED: (2)

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

ALBERT
And it's raining Post Toasties.

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

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

JEFFRIES
They sat quietly for hours.

53. INT. ROOM ABOVE THE CONVENIENCE STORE - DAY

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

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

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

BOB
(subtitled)
Light of new discoveries.

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

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

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

(CONTINUED)

**

August 8, 1991 37.

53. CONTINUED:

He touches the table.

FIRST WOODSMAN
(subtitled)
Our world.

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

SECOND WOODSMAN
(subtitled)
Boneless.

MIKE
(subtitled)
Yes, find the middle place.

Bob begins to scream with anger.

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

TREMOND'S GRANDSON
(subtitled)
Fell a victim.

The Man From Another Place raises his hand.

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

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

BOB
(subtitled)
Fire Walk With Me.

THROUGH THE CIRCLE

We see the RED ROOM.

ON THE SCENE

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

SECOND WOODSMAN
(subtitled)
Thus time moves on.

**

August 8, 1991 38.

54. BACK IN THE FBI OFFICE

JEFFRIES
I followed.

Jeffries begins to cry quietly at his table.

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

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

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

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

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

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

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

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

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

JEFFRIES
May? 1989?

CLOSEUP: JEFFRIES

Staring at the calendar. it is 1989.

BACK ON THE SCENE

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

(more)

(CONTINUED)

**

August 8, 1991 39.

54. CONTINUED:

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

COLE
WHAT... AM I ALONE?

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

COLE
HE'S GONE.

COOPER
(coming back into the room)
What?

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

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

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

COOPER
What's going on?

Albert rushes back into the room.

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

COOPER
Teresa Banks.

COLE
ALBERT?

ALBERT
Tylenol.

COLE
(to Cooper)
WHY ARE YOU THINKING ABOUT TERESA

(more)

(CONTINUED)
**

August 8, 1991 40.

54. CONTINUED: (2)

COLE (continued)
BANKS, COOP?

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

COLE
ALBERT, WHY TYLENOL?

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

55. INT. BUENOS AIRES HOTEL CORRIDOR - SAME

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

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

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

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

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

56. INT. SURVEILLANCE ROOM - DAY

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

COOPER
He was here.

DISSOLVE TO:

57. EXT. HAYWARD HOUSE

Laura Palmer continues down the sidewalk towards us.

On screen it reads:

(CONTINUED)

**

August 8, 1991 41.

57. CONTINUED:

"THURSDAY - SEVEN DAYS BEFORE"

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

LAURA
Donna?... Donna?...

LAURA'S POV

DONNA HAYWARD gathering her books and coming out the door.

DONNA
Just a minute, Laura.

58. ON THE SIDEWALK

Donna joins Laura.

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

DONNA
You didn't do your homework?

LAURA
Noooo...

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

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

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

LAURA
Thanks.

Laura tweaks Donna's cheek.

DONNA
James called me last night looking for
you.

(CONTINUED)

**

August 8, 1991 42.

58. CONTINUED:

LAURA
When?

DONNA
The usual, 9:15.

LAURA
He probably wanted to drive over.

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

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

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

LAURA
I don't know what to do.

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

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

Donna grabs her and shakes her shoulders.

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

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

They continue up the sidewalk laughing.

59. EXT. TWIN PEAKS HIGH SCHOOL - DAY

Establish.

**

August 8, 1991 43.

60. INT. TWIN PEAKS HIGH SCHOOL - DAY

On Laura and Donna as they walk in.

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

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

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

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

DONNA
And you're the real man?

61. INT. OUTSIDE THE GIRL'S BATHROOM

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

LAURA
James...

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

LAURA
Okay.

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

62. INT. GIRLS' ROOM - DAY

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

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

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

BOBBY
Hey, Baby.

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

DISSOLVE TO:

**

August 8, 1991 44.

64. SCHOOL CLOCK

It reads: 2:30.

65. INT. CUSTODIAN'S ROOM - DAY

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

JAMES
Laura, do you love me?

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

JAMES
Why? It does.

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

JAMES
It does matter. We're in love.

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

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

LAURA
(small smile)
Gobble, gobble, gobble.

He smiles. She kisses him and he responds.

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

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

66. EXT. THE HIGH SCHOOL - DAY

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

(CONTINUED)

**

August 8, 1991 45.

66. CONTINUED:

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

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

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

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

LAURA
Get lost Bobby.

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

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

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

BOBBY
(smiling)
Love ya, Babe.

DISSOLVE TO:

67. INT. HAYWARD HOUSE, LIVING ROOM - DAY

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

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

LAURA
Hi, E.H.

(CONTINUED)

**

August 8, 1991 46.

67. CONTINUED:

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

DONNA
Mom H.

Eileen motors out.

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

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

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

LAURA
Maybe.

DONNA
Oh god, Laura.

LAURA
Well, why not?

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

Laura looks at Donna.

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

DONNA
Sweet? God, he's gorgeous.

LAURA
James is very sweet and very gorgeous.

(CONTINUED)

**

August 8, 1991 47.

67. CONTINUED: (2)

Donna drifts off.

DONNA
I wonder if Mike could ever write a
poem?

Both of them drift off.

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

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

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

DONNA
Maybe I better start our homework.

LAURA
Okay, I suppose I should go home.

DONNA
Call me.

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

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

They laugh.

68. EXT. PALMER HOUSE - DAY

Laura coming home from Donna's.

69. INT. PALMER HOUSE

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

LAURA
Mom... Mom?

No answer - she heads up to her room.

70. INT. PALMER HOUSE, STAIRS AND FAN

Laura moves up to her bedroom.

**

August 8, 1991 48.

71. INT. LAURA'S ROOM - DAY

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

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

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

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

72. INT. PALMER HOUSE, ENTRANCE WAY - DAY

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

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

Laura takes it out of her mouth.

LAURA
Can I take the car?

SARAH
Sure honey, what's the hurry?

LAURA
I forgot my books at school.

Laura runs from the house.

SARAH
Laura.

LAURA
What?

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

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

(more)

(CONTINUED)
**

August 8, 1991 49.

72. CONTINUED:

SARAH (continued)
start. I mean it.

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

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

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

74. EXT. HAROLD SMITH'S APARTMENT - DAY

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

AT THE DOOR

Laura frantically knocks at the door. HAROLD SMITH answers.

HAROLD
Laura?

75. INT. HAROLD SMITH'S APARTMENT - DAY

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

LAURA
My secret diary. There are pages
missing.

HAROLD
Who would do that?

LAURA
Bob.

HAROLD
But Bob isn't real.

LAURA
The pages are gone. That's real.

HAROLD
Maybe.

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

Stunned, Harold doesn't know what to do.

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

(more)

(CONTINUED)
**

August 8, 1991 50.

75. CONTINUED:

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

HAROLD
What does Bob say?

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

HAROLD
No... No...

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

Laura starts towards him frightening Harold.

HAROLD
What? Please.

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

LAURA
FIRE WALK WITH ME.

She buries herself on his shoulder.

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

They break.

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

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

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

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

(CONTINUED)
**

August 8, 1991 51.

75. CONTINUED: (2)

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

He holds her.

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

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

Laura reaches up and tenderly touches his cheek.

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

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

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

She pulls him to her and kisses him passionately.

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

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

76. EXT. HAROLD SMITH'S APARTMENT - DAY

Laura goes out to the car.

77. INT./EXT. BUICK ROADMASTER - DAY

Laura starts the car and takes a snort of cocaine.

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

**

August 8, 1991 52.

78. INT. PALMER DINING ROOM - NIGHT

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

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

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

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

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

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

LAURA
I'm sorry, Mom.

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

DISSOLVE TO:

79. INT. PALMER DINING ROOM - NIGHT

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

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

SARAH
Oh, Leland.

(CONTINUED)

**

August 8, 1991 53.

79. CONTINUED:

LAURA
(embarrassed)
Dad.

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

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

Laura and Sarah stare at him.

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

LAURA
But my name isn't Leland Palmer.

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

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

Leland repeats his phrase for Sarah's benefit.

LELAND
Hyggelig a mote dem. Jeg Heter Leland
Palmer.

Sarah stumbles through it.

SARAH
Hyggelig a mote dem. Jeg Heter Sarah
Palmer.

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

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

(CONTINUED)

**

August 8, 1991 54.

79. CONTINUED: (2)

Laughingly, Laura does the same thing.

LAURA
Hyggelig a mote dem. Jeg Heter Laura
Palmer.

After Laura is done.

LELAND
All together now...

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

DISSOLVE TO:

80. INT. LAURA'S ROOM - LATE NIGHT

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

81. EXT. SIDE OF THE HIGHWAY - LATER

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

82. INT. TRUCK - SAME

The TRUCKER smiles. Eager.

TRUCKER
Friend of Leo's, right? Partyland?

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

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

Laura puts her hand between his legs.

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

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

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

She climbs over on top of him.

**

August 8, 1991 55.

83. EXT. THE TRUCK - SAME

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

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

84. EXT. PHILADELPHIA FBI OFFICE - DAY

Reestablish.

85. INT. OFFICE - DAY

Albert and Cooper.

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

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

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

COOPER
Albert.

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

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

(CONTINUED)

**

August 8, 1991 56.

85. CONTINUED:

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

COOPER
A woman.

ALBERT
What color hair will she have?

COOPER
Blonde.

ALBERT
Tell me some other things about her.

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

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

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

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

86. EXT. DOUBLE R DINER - AFTERNOON

Establish.

87. INT. DOUBLE R DINER - AFTERNOON

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

On screen it reads:

"FRIDAY - SIX DAYS BEFORE"

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

(CONTINUED)

**

August 8, 1991 57.

87. CONTINUED:

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

SHELLY
I'm kind of busy, Norma.

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

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

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

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

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

ED
Sorry, Norma.

Ed goes out.

SHELLY AND LAURA

Shelly approaches sheepishly.

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

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

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

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

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

**

August 8, 1991 58.

88. EXT. THE DOUBLE R - DAY

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

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

LAURA'S POV

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

TREMOND
This would look nice on your wall.

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

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

ANOTHER ANGLE

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

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

SHELLY
Okay.

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

89. INT. DOUBLE R - DAY

Shelly goes to Norma.

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

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

(more)

(CONTINUED)
**

August 8, 1991 59.

89. CONTINUED:

NORMA (continued)
anyway.

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

NORMA
There's no one here.

SHELLY
Norma, are you alright?

Norma just turns away and picks up some dirty dishes.

NORMA
Come back as soon as you can.

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

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

Shelly leaves the diner.

ON NORMA

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

TOAD
Kind of quiet.

CLOSEUP: ON NORMA

She starts to cry.

90. EXT. PALMER HOUSE - DAY

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

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

LAURA'S POV

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

**

August 8, 1991 60.

91. INT. PALMER HOUSE - DAY

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

92. INT. PALMER HOUSE, STAIRS - DAY

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

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

93. INT. LAURA'S BEDROOM - DAY

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

ON BOB

He is frozen. Smiling at her.

ON THE SCENE

With a scream, Laura bolts from her room.

94. EXT. PALMER HOUSE - SAME

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

95. EXT. PALMER'S NEIGHBOR'S HOUSE

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

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

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

WOMAN
Laura...

A closer look reveals how upset Laura is.

WOMAN
What... Laura are you all right?

(CONTINUED)

**

August 8, 1991 61.

95. CONTINUED:

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

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

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

LAURA
(clumsily)
Oh, here it is.

Woman moves back to the sidewalk.

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

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

96. EXT. PALMER HOUSE

Laura stands in front of her house. Terrified.

97. INT. PALMER HOUSE - SAME

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

98. LIVING ROOM - SAME

Laura listens. Hears nothing.

99. STAIRS AND HALLWAY

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

100. INT. LAURA'S ROOM - SAME

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

101. EXT. PALMER NEIGHBORHOOD STREETS - DAY

Laura runs down the sidewalk.

102. INT. HAYWARD HOUSE - DAY

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

(CONTINUED)

**

August 8, 1991 62.

102. CONTINUED:

DONNA
Laura?

LAURA
Donna, are you my best friend?

DONNA
Of course...

Laura dives toward Donna and into a hug.

DONNA
What is it Laura? What's wrong?

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

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

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

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

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

They go in and sit down on the couch.

DONNA
Do you want to talk?

LAURA
No, I want to smoke.

She digs for a cigarette in her purse.

(CONTINUED)

**

August 8, 1991 63.

102. CONTINUED: (2)

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

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

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

LAURA
If I can smoke it.

DONNA
You want a muffin?

LAURA
Donna, you are a muffin.

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

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

Laura finds a cigarette finally and lights it.

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

(CONTINUED)

**

August 8, 1991 64.

102. CONTINUED: (3)

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

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

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

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

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

DONNA
Dad, what in the world are you doing?

DOC
What the hell is this?

Donna peeks over his shoulder.

DONNA
It's a prescription.

DOC
Is it?

DONNA
Dad.

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

DONNA AND LAURA
We'll take care of you.

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

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

(more)

(CONTINUED)

**

August 8, 1991 65.

102. CONTINUED: (4)

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

Laura goes tentatively to the phone.

LAURA
Hello...

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

Laura hangs up the phone.

LAURA
I gotta go.

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

DONNA
Goodbye, Muffin.

LAURA
No, you're the muffin.

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

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

103. INT. PALMER HOUSE - NIGHT

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

LELAND
Hi, honey, how's Donna?

LAURA
Fine.

LELAND
School?

LAURA
...school's fine...

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

LAURA
Not really.

(CONTINUED)

**

August 8, 1991 66.

103. CONTINUED:

Laura just plops into her seat.

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

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

LELAND
Let me see.

LAURA
Dad...

CLOSEUP: LAURA'S RING FINGERNAIL

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

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

SARAH
Leland, what are you doing?

LELAND
Look at this finger here.

He is looking at THE FINGER.

SARAH
Leland...

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

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

LELAND
Oh, is this from a lover?

Laura has no response.

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

(CONTINUED)

**

August 8, 1991 67.

103. CONTINUED: (2)

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

LELAND
Bobby didn't give you this?

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

Leland starts pinching Laura's cheek.

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

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

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

A beat then a return to what is normal.

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

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

Leland sits stoically. Laura rises from the table.

104. INT. BATHROOM - NIGHT

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

DISSOLVE TO:

105. INT. LAURA'S BEDROOM

LAURA'S CLOCK

It says: 10:35.

106. INT. LELAND AND SARAH'S BEDROOM

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

(more)

(CONTINUED)
**

August 8, 1991 68.

106. CONTINUED:

a moment, then begins to cry.

SARAH
What is it, Leland?

Leland can barely speak.

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

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

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

107. INT. LAURA'S BEDROOM

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

LELAND
Lau