Twin Peaks Episode 3 - The Screenplay
Typed (well, scanned actually) by Mike Dunn
About the formatting: I've tried to retain as close as possible the formatting of the original script, but it's not an exact copy. All the text is the same, but the spacing might be a bit different here and there. Also, I've removed the page numbers. These scripts are provided for archival purposes and for your information. If you absolutely must have an exact copy of the original script, I suggest you buy a copy of the original script from someone.
LYNCH/FROST PRODUCTIONS, INC.
7700 Balboa Blvd.
Van Nuys, CA 91406
8 1 8 - 9 0 9 - 7 9 0 0
September 26, 1989
October 3, 1989 - Blue
1. EXT. GREAT NORTHERN HOTEL - DAY
Morning breaks over the stately hotel.
2. INT. GREAT NORTHERN DINING ROOM - DAY
DALE COOPER, at the corner table, takes a sip of coffee and orders breakfast from waitress
Shortstack of griddlecakes, maple syrup, lightly heated
and a slice of ham. Nothing beats the taste of maple
syrup when it collides with ham.
Griddlecakes, side a' ham. Warmup?
Cooper nods appreciatively. Trudy refills his cup, exits. Cooper takes a sip, nearly hums
with approval. Then looks up to find AUDREY HORNE standing before him. Audrey
smiles, beautiful, rubs a little sleep out of her eyes.
Good morning, Colonel Cooper.
Just Agent, Audrey. Special Agent.
(caressing the words)
Please. Sit down.
I'm in a hurry.
She doesn't know what to say or do. So she offers a nervous shrug instead.
Audrey, that perfume you're wearing is incredible.
Do you really think so?
Cooper takes a pen from his pocket, hands it to her with a napkin.
Write your name down for me.
She takes the pen and writes carefully, hands it back to Cooper. He looks at it.
Audrey, there's something you'd like to tell me.
Beat. All she wants is to be close to him. Cooper produces a note from his pocket.
You slipped this under my door night before last.
Cooper nods. Audrey comes clean.
I wanted to help you. For Laura.
Were you and Laura friends?
But I understand her. Better than the rest.
What is "One-Eyed Jack's?"
It's a place up north. Men go there.
What about women?
Women work there.
Did Laura work there?
I don't know. Laura worked at my father's department
He named it after himself.
(on to something)
Where at Horne's department store?
At the perfume counter.
(making the connection)
So did Ronette Pulaski.
(it must mean something)
Cooper looks up, sees SHERIFF TRUMAN and LUCY MORAN coming towards him
from the far end of the dining room. Cooper looks at Audrey's writing.
The right-ward slant in your handwriting indicates a
romantic nature, Audrey. A heart that yearns. Be careful.
I'm going to have to ask you to leave now.
(sees the Sheriff, flustered)
Cooper nods, winks. Audrey blushes, rises.
Thank you for talking to me.
She leaves as Truman and Lucy reach the table, eager to hear Cooper's news: the identity of
Laura's killer. The Waitress arrives with Cooper's breakfast.
Two more coffees please.
(re: Audrey as she exits)
(back to Truman and Lucy)
Hungry? The griddlecakes are outstanding.
(sits; hushed, urgent)
Who killed Laura Palmer?
Truman and Lucy lean in, the suspense is killing them. Trudy pours coffee for them, as
Cooper takes a bite of griddlecake, then, finally:
Let me tell you about the dream I had last night.
Truman nods at Lucy. She whips our a steno, pad and pencil.
No. You were there, Harry. And so were you, Lucy. Do
you have a sketch artist?
Andy sketches from time to time.
Interesting. I dreamed it was Deputy Hawk. Find out if
Sarah Palmer has had any disturbing dreams. If she has,
there may be important clues in her dreams as well.
My dream is a code waiting to be broken. Break the
code, solve the crime.
Break the code, solve the crime.
In my dream, Sarah Palmer saw her daughter's killer
crouched at the foot of her bed. Hawk sketched a picture
of the killer. I got a phone call from a one-armed man
named Mike. The killer's name was Bob.
Bob and Mike?
Different Bob. Different Mike. They lived above a
convenience store. Mike couldn't stand the killing any
longer so he cut off his own arm. Bob vowed he would
kill again. So Mike shot him.
(takes another bite)
Do you know where dreams come from, Harry?
Acetylcholine neurons fire high, voltage impulses into the
forebrain. The impulses become pictures, the pictures
become your dream. But no one knows why we choose
these particular pictures.
Was that the end of your dream?
(back to business)
Suddenly it was twenty-five years later. I was old,
sitting in a red room. There was a midget in a red suit
and a beautiful young woman who looked exactly like
Laura Palmer. The little man told me my favorite gum
was coming back in style and didn't his cousin look
exactly like Laura Palmer?
The beautiful girl. Sometimes her arms bend back.
She's filled with secrets. Where they're from birds sing a
pretty song and there's always music in the air. Then the
midget did a dance. Laura kissed me on the mouth.
And whispered the killer's name in my ear.
Who was it?
I don't remember.
Harry, our job is simple: break the code, solve the crime.
Cooper finishes his pancakes.
What does the midget stand for?
Just about everything, Lucy.
Just then: Sheriff Truman's walky-talky shrieks. He answers it.
Yeah ... Uh-huh ... Right away.
(turns it off)
That was Andy. There's a fight at the morgue.
(he knows why)
3. EXT. THE DOUBLE "R" DINER - DAY
Townsfolk finish breakfast, exit from the diner.
4. INT. THE DOUBLE "R" DINER - DAY
NORMA JENNINGS and PAROLE OFFICER WILSON MOONEY occupy a booth in
the back. Mooney sips coffee, notes Norma's good looks with a roving eye. In mid-
... in short, your husband has been a model prisoner, an
inspiration to guard and inmate alike. He greets the day
with a smile and confounds adversity with a kind word.
He's a credit to his serial number.
Mooney says it with a little come-hither grin. Norma just stares, takes a drag off her
cigarette, ignores him. Mooney is forced to continue:
Hank's parole hearing is scheduled for Wednesday.
Barring unforeseen circumstance, with your full support
before the board, he should be released shortly thereafter.
(biting her tongue)
I'm sure Hank appreciates your unwavering devotion.
Now, I'll need to check some information. You and
Hank have been married for ...
Since high school.
There are no children.
I can't have any.
How would you characterize your current relationship?
What do you mean, Mr. Mooney?
Are you planning a divorce, Mrs. Jennings?
Not a divorce, no.
Mooney hears the qualification.
Will you help Hank rind the job he needs to effect a
I own the Double "R", Mr. Mooney.
A beat. Norma can't stand him and Mooney knows it. Still, he presses on:
You're quite a girl, Norma. You must get all kinds of
Romeos in here begging for favors. How do you keep
them from your door?
It's his last attempt. Norma knocks it out of the ballpark:
I usually tell them my homicidally jealous husband is
doing three-to-five for manslaughter but expects to
become a productive member of society real soon.
Well. That should conclude our session for today.
No, no. Thank you, Mrs. Jennings -
Too late. Norma's already out of the booth, stepping back to the counter. Mooney picks up
his file, watches her leave him.
ANGLE ON COUNTER
A pale and wan SHELLY JOHNSON, newly arrived, sets her purse beneath the cash register.
I didn't expect you till after the funeral.
I figured you could use some help.
Norma pauses, looks beneath the register. She can SEE Shelly's purse, slightly open. And
she can see a brand new handgun inside it.
(lowers her voice)
Shelly, what're you doing with a gun in your purse?
"Nothin'." Nobody does "nothin'" with a gun.
I bought it. It's for protection. Peace of mind, anyway.
You know, what happened to Laura.
You'd be better off hiring a lawyer.
I can't afford one.
Well watch yourself. Understand?
Shelly nods, pouts. Norma cases up a little.
Careful you don't murder your makeup.
Norma grins, slips off toward hungry customers.
5. INT. TWIN PEAKS MORGUE - DAY
SUDDENLY we are inside the Twin Peaks morgue in the midst of a reeling argument.
DOC HAYWARD squares off opposite ALBERT ROSENFIELD, the impossibly rude
pathologist. DEPUTY ANDY BRENNAN stands to the side, mute, ineffectual. And
BEN HORNE physically separates the two men.
A white partition separates the men from the body of Laura Palmer.
I have never in my life met a man with so little regard for
human frailty. Have you no compassion?!
I've got compassion running out of my nose, pal. I'm the
Sultan of Sentiment!
Horne pushes them apart. Hayward and Albert pause, red with fury. Finally:
"Doctor" Hayward -- and I use the term so loosely my
gums are flapping -- I have traveled thousands of miles,
and apparently several centuries to this forgotten sinkhole
in order to perform a series of tests. I do not ask you to
understand them. I am not a cruel man. I only ask you to
get the hell out of my way so I can finish my work!!
We are here to escort Laura Palmer's body to the
cemetary. If you think, for one minute, that we will leave
here without her, you are out of -
All right all right all right. Dr. Rosenfield. Please. You
are not dealing with the unsophisticated here.
Albert rolls his eyes so hard they, nearly spin out of the sockets.
(the high road)
Leland Palmer could not be with us today. I have agreed
to appear on his behalf. And I know I speak for all of us,
the Palmer family included, when I say that we
understand and appreciate the value of your work. But, as
their representative, I must insist we consider the feelings
of the Palmer family as well.
Deputy Andy clears his throat, figures he might assist:
Dr. Rosenferd, we just got to get Laura's body to the
funeral on time.
Did you speak?!
Andy wishes he was invisible. Albert turns calmly back to Horne.
Mr. Horne. I realize that your position in this fair
community pretty well guarantees venality, insincerity
and a rather irritating method of expressing yourself.
Stupidity, however, is not a necessarily inherent trait, so
please listen carefully. You can have a funeral any old
time. Dig hole, plant coffin. I, however, cannot perform
these tests next year, next month, next week, or tomorrow!
I must perform them now. So please, why don't you and
the rest of the Bumpkin Brigade return to porch
rockers and resume whittling. I've got a lot of cutting
and pasting to do --
That does it. I'm taking charge of the body, you won't
touch Laura again from this moment on --
Hayward steps toward the partition, Albert grabs him by the arm.
Nor so fast, Old-Timer --
They square off, ready to fight again. Horne tries pull them apart. And, just in time,
Agent Cooper and Sheriff Truman step into the morgue, the fray.
Harry, thank God --
Cooper, this mindless old fool is obstructing a criminal
investigation. Cuff him.
He won't release Laura's body for the funeral, he's not
Certainly has a way with an insult though.
Hey that's enough.
Zip it, Squarejaw.
I do not suffer fools gladly. Fools with badges, never. I
want no contact with this hulking boob -
I've had about enough of your insults.
Albert steps forward, grabs him by the lapels.
Oh yeah? Well I've had about enough of morons and half-
wits, cretins and congenital idiots, dolts, dunces,
dullards, and dumbbells. And you, Chowderhead,
lummox with badge and billy club, you, Sheriff Yokel
you blithering hayseed, you have had enough of me!??
(calm as ice)
Yes I have.
Truman levels Albert with a single punch to the jaw. Albert tumbles backward onto his butt.
A beat. Albert looks up at Truman, shocked beyond measure.
Cooper intervenes in a flash. He turns to Truman, orders:
Harry, wait in the car.
Truman starts to speak, sees the steel in Cooper's eyes. He exits without a word.
Oh well. That's nice. How appropriate.
(gets to his feet, yells after Truman)
The rustic sucker punch. Why not gunplay? A hail of
bullets would be nice --
That's enough. The Sheriff didn't mean anything.
He hit me.
Well. I'm sure he meant to do that.
Albert starts to rail, but Cooper shuts him up with a gesture.
Albert, I want the girl's body released to her family now.
I want to see your test results by noon. Those are orders.
Albert weighs his options, nods assent, marches off. A tense beat. Ben Horne clears his
throat. Doc Hayward turns to Cooper.
Thank you, Agent Cooper.
Cooper nods. Hayward, Horne, and Andy follow Albert out of the room. A beat. Cooper
remains, looks at the white partition. He steps toward it.
ANGLE ON PARTITION
Agent Cooper pauses for a moment. stares quietly at Laura Palmer's body. HOLD ON
Cooper. The sadness in his eyes.
END ACT ONE
6. EXT. LEO JOHNSON'S HOUSE - DAY
Truman and Cooper pull up to the Johnson house, park the cruiser next to Leo's truck rig.
They step out of the cruiser. Truman stops, deeply troubled about the morgue altercation.
I can't believe I decked him. It was out of line, it was
unprofessional, it was probably illegal.
Harry, there are many ways to handle an insult. But
sometimes there's just no substitute for a stiff right hook.
Tell me I'm not going to get my butt kicked by the
Albert's been hit before. He will be hit again. You'll get
your buttkicked over my dead body.
(takes a deep breath, enjoys)
Look at that, there's a duck on the lake. Fill me in on
Leo's one of those guys you keep on your list and you
keep an eye on, but we've never caught him with his hand
in the cookie jar.
They turn a corner and come upon LEO JOHNSON, behind the house, chopping wood. Leo
glances at them, continues to chop wood furiously. They advance.
Excuse me. Leo Johnson?
Who the hell are you?
This Is Special Agent Cooper of the FBI, Leo. He'd like
to ask you a couple questions.
Leo stops chopping, glares at Truman. But he just returns it. Leo mutters, resumes chopping.
Leo. Is that short for Leonard?
That's a question?
Did you know Laura Palmer?
How well did you know her?
I said I didn't.
I knew who she was, all right? Everybody did.
Do you have a criminal record, Leo?
Nothing. You can look it up.
(he already did)
A speeding ticket. April, 1986. A second moving
violation, illegal U-turn. September, 1988 -
I paid my debt to society.
Where were you the night of Laura Palmer's murder?
(pleased with his alibi)
On the road. I called my wife Shelly about that time.
She'll confirm that?
She will if you ask her.
Leo suddenly stops chopping, sticks the axe deep into the wood. He looks at Cooper and
Truman, unafraid. Cooper and Truman look at each other.
7. "INVITATION TO LOVE" - "NIGHT"
START CLOSE on a television screen, lush MUSIC over a robin's egg blue background, the
familiar voice intoning:
... and every hour holds the promise of an ...
INVITATION TO LOVE ...
FADE UP ON insolent tough guy MONTANA in t-shirt and leather jacket. Luscious
EMERALD eyeing him like a cool drink of water. And ineffectual CHET.
So, Montana, did you find that rainbow you were looking
Lots of rainbows. No pot of gold.
I'm not sure how I'm feeling about this.
Chet, get Montana a drink. He must be thirsty after a
year in the rain forest.
Emerald sashays across the living room, steps lightly into Montana's arms. She offers him a
welcome kiss -- a little too ardently for Chet's liking.
How long are you planning to stay, Montana?
Montana looks up from Emerald's beestung lips.
Long enough to see my ex-wife; how is Jade, Chet?
Chet shivers. The music swells.
8. INT. PALMER HOUSE LIVING ROOM - DAY
ANOTHER ANGLE reveals a television in the Palmer house. A NURSE turns her eyes
from the screen, withdraws a syringe from Leland Palmer's arm. She discards the empty,
carefully draws medication into a second syringe, and places it on a tray. Just then: the
STAY WITH Leland as the nurse walks to the front door. Leland watches television.
9. "INVITATION TO LOVE"
JARED, distinguished in smoking jacket and ascot, weeps, finishes a suicide note addressed
to Emerald and Jade. He takes a gun into his hands, lifts it slowly. Suddenly: someone
knocks at the door, calls to him.
Daddy! Open up! Daddy it's jade!
Jared pauses, looks at the door, the gun. Music swells.
DURING ABOVE, we HEAR the Palmer's front door open, some muted exchange, two
sets of footsteps returning to the living room. Finally:
Leland looks up, sees the Nurse and MADELEINE FERGUSON standing before him.
Madeleine is twenty, quite beautiful, She wear glassses, has jet black hair worn long. She sets
down a suitcase. A closer angle REVEALS that she looks very much like Laura Palmer.
Leland stares at Madeleine for a long beat. As if he didn't recognize her. Then, with great
(rises, steps closer, takes her by the hands)
Uncle Leland, I'm so sorry, I ...
Madeleine pauses, a sob catches in her throat. She begins to cry. Leland carefully wipes a
tear from her deep blue eyes. Madeleine looks up at him, whispers:
Oh Uncle Leland ...
Leland takes her into a healing embrace. He's crying too. HOLD ON them for a beat.
10. "INVITATION TO LOVE" - "NIGHT"
Jared holds the gun in his hands, listens to his daughter's tearful pleading.
Daddy! Daddy please!
Finally, Jared sets the gun on his desk, steps to the door. He opens it. And JADE, his
beautiful, compassionate, perfect daughter leaps into his arms. She is Emerald's twin.
Oh Daddy. I was so afraid. I love you Daddy.
HOLD on father and daughter for a beat.
11. EXT. HAYWARD HOUSE - DAY
12. INT. HAYWARD HOUSE LIVING ROOM - DAY
Doc Hayward steps into the living room, dressed for the funeral save for the tie which hangs
undone around his neck. Donna waits for him. She looks at his tie, manages a small smile.
Dad, you're hopeless.
Donna knots her father's tie. She does not speak. Her eyes are red from crying. Hayward
takes a look at his daughter, consoles:
Want to talk about it?
Oh, Dad, I ... I can't believe they're burying Laura today.
It's so ... final. I think and I think and it just doesn't
Death never does.
So what are we supposed to do?
(after a beat)
I live with death and dying every day. There are times
when it's merciful, almost a relief. But often it seems
nothing but needless and cruel. It made me furious, for
many years. Furious and helpless. As you go through life,
you learn to accept it. Because we have to. Even when it
hurts bad enough to break your heart.
My heart is breaking. And I don't know how to stop it.
Donna looks up at her father. Her eyes are bright with tears. Father and daughter embrace.
13. EXT. BRIGGS HOUSE - DAY
14. INT. BRIGGS DINING ROOM - DAY
BOBBY BRIGGS sits at the dining room table, smoking a cigarette. Quiet, seemingly
downcast. But his eyes are angry and cold. He wears dark funeral clothes, a tie. Bobby turns,
finds MAJOR BRIGGS standing across the room.
Robert, this may be a good time for a brief discussion.
You want to talk about cigarettes? Today?
No. But put it out. It's a filthy habit, especially for a
Bobby grinds out the cigarette in an ashtray. He glowers. Major Briggs sits next to him,
places a hand on Bobby's knee. He means well, but physical affection does not come
naturally to him. It feels a little forced.
MAJOR BRIGGS (CONT'D)
I've attended my share of funerals. Too many. Any man
who dies in war dies too soon. Laura died too soon as
Yeah. She did.
But we have a responsibility to the dead, Robert.
Responsibility is the linchpin that binds our society
together. Each man responsible for his actions, each
action contributing to the greater good.
What's the good of putting somebody in the ground?
It is man's way of achieving closure. In ceremony begins
understanding, and the will to carry on without those we
must leave behind. And Robert, in your life, you must
learn, will learn, to carry on without them.
I know you experience a certain reluctance to enter fully
into meaningful exchange. That leads to stalemate, and a
desire on my part to force certain wisdom upon you.
That's not necessarily a bad thing, sometimes it is the
best course available.
Briggs pauses, rethinks. Then, a direct emotional statement ...
Son. Don't be afraid. We'll all be there together.
Bobby takes a closer look at his father. These are words he understands. But they have
absolutely nothing to do with the way he's feeling.
Afraid of what?
I'm not afraid of any damn funeral. Afraid? I can hardly
wait. Afraid? I'm gonna turn it upside--down.
The anger pours out of him. For once Major Briggs is speechless. But no matter, just then
BETTY BRIGGS steps into the room, and, with a too bright smile ...
Father and son turn jaundiced eyes her way.
15. EXT. TWIN PEAKS POLICE STATION - DAY
16. INT. POLICE STATION RECEPTION AREA - DAY
Cooper and Sheriff Truman step through the station reception area. DEPUTY TOMMY
THE HAWK appears, keeps pace beside them.
Agent Cooper. No sign of the man with one arm.
Keep trying, Deputy. He's out there somewhere.
Cooper and Truman continue towards the conference room.
If anyone can find him, Hawk can.
17. INT. INTERROGATION ROOM A - DAY
Cooper and Truman enter. Albert Rosenfield sits at the table, with a huge file of test results.
He refuses to acknowledge Truman's presence. Not even a glare.
Okay, Albert, what've you got?
Enough evidence to save your butt and get mine out of this
We're all ears.
Albert considers hurling an insult, instead tosses a glassine envelope on the table.
Contents of envelope found in Palmer diary. Cocaine.
Toxicology results also positive. The little lady had a
(throws a second envelope)
Fibers of twine embedded in her wrists and upper arms.
Two different kinds of twine.
Fibers of twine found in the railroad car, a match to the
sample from the wrist. The same twine was used to bind
the wrists of the Pulaski girl. My conclusion, she was tied
up twice at different locations on the night of her death.
(he points to his wrists)
Once here. Like this.
He gestures to his upper arms, pulls them back into an uncomfortable position. I
Sometimes my arms bend back.
Truman glances at him, intrigued. Albert reveals another glassine.
Traces of pumice in standing water outside the railroad
car, suggesting soap. The kind used for heavy cleaning.
Same pumice particles appear on the back of Laura's
neck. Not her home-use brand. My conclusion: the killer
washed his hands and leaned in for a kiss ... like this.
He demonstrates. Truman is disturbed by the implication.
Albert shows them a photo.
Distinctive wounds on Laura's shoulders and neck.
Appear to be claw marks, bites of some kind.
It's trying to think. How quaint.
Cooper silences Albert with a stern look. Albert produces another envelope.
A small plastic fragment from her stomach, partially
dissolved by digestive acids. I'm taking it with me back
to the lab for reconstruction, as the local facilities give
new meaning to the word 'primitive.'
(closes the file with some fanfare)
Those are the highlights. I'm not entirely displeased, but
a couple more days with the body and who knows what I
might have come up with --
Good work, Albert.
Just then, Deputy Andy enters, dressed in funeral blues.
Sheriff' Time to go?
Albert, you'll excuse us. We've got to get to a funeral.
Truman and Andy head out. Cooper moves to follow. But Albert calls after him:
Cooper? May I have a word with you? Alone?
Cooper nods to Truman and Andy. They exit. Albert pulls out a document.
One more item.
(he slides it across the table)
A report concerning the physical assault on my person
which you witnessed this morning. I think you'll find it
accurate. It requires your signature.
Cooper reads through the report with amazing speed. A beat, then:
Albert, I'm not going to sign this --
Albert, I hope you can hear this. I've only been in Twin
Peaks a short time. But in that time, I have seen decency,
honor, and dignity. I have seen grief to break your heart.
Murder is not a faceless event here. It's not a statistic to
be tallied up at the end of every day. Laura Palmer's
death has affected each and every man, woman, and child.
Because life has meaning here. Every life. And that's a
way of living I thought had vanished from this earth. It
hasn't, Albert. It's right here in Twin Peaks.
Sounds like you've been snacking on some of the local
Cooper sets the report on the table, carefully pushes it back to Albert.
With your behavior towards these good people, count
yourself lucky I don't file a report of my own that could
bury you so deep in a building in Washington you'll never
see the sun.
Albert turns pale, collects his papers, exits without another word. Cooper looks out the
window, produces his miniature tape recorder, speaks into it.
Diane, it's 12:27 PM. I'd like you to check into my
pension plan options regarding outside real estate
investment. I'm thinking of purchasing some property at
what I assume will be a very reasonable price.
Cooper stops recording, pauses to ponder.
END ACT TWO
18. EXT. BLACK LAKE CEMETARY - DAY
OPEN ON a lovely smalltown cemetary, the usual weathered headstones. ANOTHER
ANGLE reveals Laura Palmer's burial site. The freshly dug grave. A hydraulic frame used
to lower the casket. And two WORKERS testing the hydraulics, one sitting on the coffin
bed, the other raising and lowering it.
19. EXT. BLACK LAKE CEMETARY - DAY
A gleaming hearse in the cemetary parking lot. A mortician supervises the unloading of
Laura's casket, for transfer to the grave. MUSIC over.
20. EXT. ED HURLEY'S HOUSE - DAY
21. INT. ED HURLEY'S HOUSE - DAY
ED HURLEY steps into the living room wearing an ill-fitting dark suit. He takes but three
strides before Nadine appears in a flurry, leaps into his arms. She nearly knocks him off his
feet. Ed endures an embrace of lengthy duration, Nadine snuffling about his ear. Finally, she
steps back, beaming, out of her mind:
Why sure, Nadine.
How do I look?
Nadine's wearing a faded black dress. Her idea of funeral clothes. The buttons are
incorrectly fastened. Ed looks at the dress, Nadine's manic smile.
You look fine, Nadine.
Last night was wonderful, Ed. You came back to me.
Now we're together again. Not that we weren't, but now
I feel like we're really together.
Nadine leaps back into his arms. Ed receives her with stunned expression.
At high school, I used to watch Norma and you at those
football games? She was so pretty. You were such a
handsome couple, but I knew, I always knew once you got
to know me that we'd be together. Even though I was just
a little nobody, a little brown mouse, I was always
hoping ... and wasn't I right? Wasn't I right?
Nadine pauses, the memories come and go. She looks up at Ed, back in the moment:
Do you remember?
Nadine's mind spins and shifts, it's slowly slipping away. And Ed doesn't know what the
hell to do about it. So he reaches out to her, carefully redoes the top two buttons on her dress.
Nadine's got them reversed.
Sure, Nadine. I remember.
(smiles, a blank)
Just then: the sound of a motorcycle outside. Not knowing what else to do, Ed goes to the
A beat. James enters. But he's wearing jeans and a leather jacket. Ed frowns.
You ready? I don't want to be late.
I'm not going.
What do you mean you're not going. It's Laura.
I'm not going. I can't.
Too late. James turns and walks out the door. Big Ed makes no move to follow.
22. EXT. GREAT NORTHERN HOTEL - DAY
Establish. A limousine waits our front.
23. INT. GREAT NORTHERN CORRIDOR - DAY
Dressed for the funeral, Audrey moves down a corridor in the hotel residence wing, STOPS
to peak into ...
24. AUDREY'S POV - INT. BEN HORNE'S OFFICE - DAY
JOHNNIE HORNE sits on the floor, attired in an expensive suit. DR. LAWRENCE
JACOBY kneels at his feet, whispers urgently to the boy, trying to convince him to remove
the familiar Indian headdress.
Audrey watches from outside the doorway, listens to Jacoby whisper and cajole. She can see
tears glistening in the doctor's eyes.
25. EXT. BLACK LAKE CEMETARY - DAY
A flowered trellis stands at the entrance from the parking lot to the burial grounds. The
LOG LADY arrives wearing a surprisingly appropriate funeral dress, clutching her log to her
breast. She steps among mourners as they emerge from automobiles. Cooper, Sheriff
Truman, and Deputies Andy and Hawk get out of the police crusier, join the throng.
26. EXT. BLACK LAKE CEMETARY - DAY
Mourners step through the trellis into the cemetary proper. Doc Hayward escorts Donna onto
the green grass, she pauses, sees Mike waiting for her nearby.
Just a sec.
Donna steps away from her father, walks to Mike. She looks at him, says nothing. An
awkward beat, then:
Hey. I'm sorry about the other night. I didn't mean
(reaches for her, she pulls away)
Hey, I said I was sorry ...
I don't want to see you anymore, Mike. Please don't
bother me again.
Mike watches, shellshocked, as she walks away.
27. EXT. BLACK LAKE CEMETARY - DAY
Ed escorts Nadine through the cemetary. He sees Donna returning to her father.
Go on ahead, Nadine. I'll catch up.
Nadine seems uneasy, a little lost.
I promise. It'll be fine.
Nadine nods, reassured, moves off. Ed steps toward Donna, intercepts.
Where's ... ?
He's not coming. He wouldn't.
Ed can only shrug. Donna sees her father waiting, there's no rime to talk. She's upset, tries to
hide it and walks on.
Ed turns, finds Norma standing behind him. She's troubled.
(an uneasy glance around)
Not the best place to talk.
I know. Hank's parole hearing is tomorrow. He could be
out next week. Maybe sooner.
Ed nods. He doesn't want to talk about it here. She sees Nadine standing nearby and
Nadine looks nice.
Yeah. She's feeling good today.
There's sympathy in his voice, sadness too. Norma understands. Ed manages a smile and
28. EXT. BLACK LAKE CEMETARY - DAY
Lastly, Ben Horne escorts Leland and SARAH PALMER into the cemetary. Mourners stop
and stare. Sarah squints in the sunlight, clutches Leland's hand. And Madeleine Ferguson
walks behind them, wearing dark glasses.
Ben spots Catherine nearby. He nods to Madeleine, allows her to escort Leland and Sarah
ahead. Ben remains, waits for Catherine to join him.
(as they walk, aside)
Taking care of the Palmers, are we?
It's the only decent thing to do.
Had to shut down the mill again. All that grief. 'Few
more tragedies it'll roll over and play dead.
See you at the funeral.
Ben and Catherine separate, poker-faced.
29. EXT. LAURA'S GRAVESITE - DAY
Mourners gather around the grave. Laura's burnished casket sits on its hydraulic bed, the dark
hole beneath it. And FATHER CLARENCE prepares his oration. Father Clarence is an old
man, red-faced; he fumbles with a number of prayer books and hymnals. This is no ordinary
service for him. He is as deeply saddened as those who wait for him to comfort them.
I am the resurrection and the life, saith the Lord; he that
believeth in me, though he were dead, yet shall he live;
and whosoever liveth and believeth in me shall never die.
In the distance, a lone figure steps through headstones toward the grave. James Hurley. He
walks closer, eyes locked on Laura's casket. Bobby sees him coming, darkens, scowls. Donna
sees James too. She finds Bobby in the throng, notes his fury. And so begins, as Father
Clarence continues, a CHAIN OF GLANCES.
For none of us liveth to himself, and no man dieth to
himself. For if we live, we live unto the Lord; and if we
die, we die unto the Lord.
Donna looks to Sheriff Truman for help.
But Sheriff Truman is looking at Josie.
Josie meets his gaze. Then looks away, as if too shy to stare at him here.
Josie turns to Pete Martell. Pete nods, ever sociable.
(continued, over glances)
Whether we live, therefore, or die, we are the Lord's.
Blessed are the dead who die in the Lord; even so saith the
Spirit, for they rest from their labors. The Lord be with
And with thy spirit.
Let us pray.
Pete turns from Josie, looks to his wife.
But Catherine is leering at Ben Horne.
Ben returns her gaze, but is jostled by Bobby shoving past him toward the grave.
0 God, entrust this child Laura to thy never-failing care
and love, and bring us all to thy heavenly kingdom;
through the same thy Son Jesus Christ our Lord, who
liveth and reigneth with thee and the Holy Spirit, one
God, now and forever. Amen.
Father Clarence clears his throat. But before he can continue, Johnny Home brays out a rather
Thank you, Johnny.
THE CHAIN OF GLANCES CONTINUES:
Shelly spots Bobby, sees his anger, follows his stare to James.
James is looking at Donna, seeking comfort, approval.
But Donna, having witnessed Bobby's fury, now looks to Big Ed for help.
I baptized Laura Palmer. I instructed her in Sunday
school. And like all of you, I came to love her with that
special love we reserve for the headstrong and bold.
Laura was bright, beautiful, charming. But most of all she
was, I think, impatient. Impatient for her life to begin,
for the rest of the world to catch up with her many dreams
Big Ed doesn't notice Donna's distress. He's busy trying to get Norma's attention.
Norma doesn't see him. She's looking at Nadine.
Nadine, oblivious as always, is gazing intently at Leland and Sarah Palmer, Madeleine
beside them. Nadine wipes tears from her eye.
If we appear to put those dreams to rest today, do not
believe it. For those of us who loved her, those dreams
will never die. They live on inside each of us.
(as ill-timed as before)
Madeleine looks up, sees Nadine peering at her from across the grave.
Madeleine looks away, only to find Audrey staring at her from the other side.
Audrey notes the resemblance to Laura, reacts.
Audrey looks to find Agent Cooper in the throng, she wants him to see it too.
And as for Cooper, he's been watching this chain from the start, fascinated by all the
connections and clues it offers him.
Suddenly Cooper frowns. He sees Bobby Briggs plowing through the crowd, stepping
quickly toward Father Clarence, the grave.
Laura used to tell me that I talked too much. I won't
make that mistake here. It is enough to say that I loved
her, and will miss her for the rest of my days.
(getting into his own call and response
Bobby steps to the front of the gravesite, nearly howls the repetition:
(Revised 10-3-89, Blue)
Everything stops. Bobby confronts the grave and the gathered mourners with grief and rage.
What are you looking at? What are you waiting for? You
make me sick. You damn hypocrites make me sick.
Everybody knew she was in trouble. But we didn't do a
thing. Who killed the Prom Queen?! You did. We all
did. And pretty words won't bring her back. Keep your
prayers. Laura doesn't need them. She would've laughed
at them anyway
Bobby's cracking up, tears pool in his eyes. James moves to stop him. Mike hurries forward,
ready to fight. Bobby sees James approaching, he leaps in his direction.
But Cooper gets there first, Truman, Andy, and Hawk close behind. They pull the boys
apart, stop the fight before it happens. Amidst the shouting and commotion, Johnny Horne
lifts his head toward the sky, lets out an atavistic howl:
Audrey rushes to comfort him. The howl, the brawl, all contribute to a growing sense of
chaos, trouble and grief in the air. Major Briggs grabs his son and drags him away from the
grave as Bobby screams at James:
I'll get you! You're dead! I'll get you!
And now, unnoticed for the moment, Leland Palmer lets go of his wife's hand, steps quietly
toward the casket. He stares at it for a long beat, the tumult erupting all around him. Then,
quite suddenly, without warning ...
Leland Palmer leaps onto the casket, shouting and wailing ...
Gasps of shock. Truman and Cooper step forward immediately, but Leland's jump has
activated the hydraulics, the casket begins to sink from view. A CARETAKER frantically
reverses the controls, brings Leland and the casket up again. But just as Truman and Cooper
seem about to grab him, the casket begins to descend, remains beyond their grasp.
Laura! My baby!
And so it goes, the casket rising and falling, Truman and Cooper now enlisting the deputies
to form a human chain, the mourners reacting with shock and dismay.
And now, at long last, Sarah Palmer takes tentative steps forward, her eyes seem to clear, and
she shouts, roars at her husband:
DON'T RUIN THIS TOO!!
A sudden silence descends upon the gravesite. Sarah Palmer remains frozen, Madeleine at her
side. Mourners glance at each other, begin to disperse. The funeral of Laura Palmer has
END ACT THREE
30. EXT. DOUBLE R DINER - NIGHT
Nightfall at the Double R.
31. INT. DOUBLE R DINER - NIGHT
OPEN ON a pair of hands, female, acting out a pantomime on the Double R counter. One
hand, palm down, held out straight, suggests a coffin/platform. The other, two fingers
pointed down, skips across the counter, suggesting leaping feet. In this manner, accompanied
by buzzing lips approximating the sound of hydraulics, Shelly Johnson reenacts the funeral
imbroglio. Her fingers skip across the counter, leap upon the coffin, and BZZZZZ, the
hydraulics go up and down and up and down ...
ANOTHER ANGLE reveals Shelly in the Double R. She's entertaining several old coots at
the counter, demonstrating Leland Palmer's leap onto the casket -- and into local lore.
Norma passes by, frowns.
Shelly puts her hands behind her back as if to promise no more finger puppets. But the
moment Norma moves on, she's at it again, fingers flying, lips buzzing, much to the delight
of the crusty old regulars.
32. INT. DOUBLE R DINER - NIGHT
Sheriff Truman, Big Ed Hurley, and Deputy Hawk share a booth in the back, drinking coffee
and eating pie. They speak just above a whisper. They're trading secrets, not funeral gossip.
Maybe we should tell him.
I feel bad keeping him in the dark. What the hell, he's
going to figure it our sooner or later anyway.
Don't be so sure.
(looking over Ed's shoulder)
Want to bet?
Truman SEES Cooper enter the diner, step toward their booth.
Right on time.
Careful who you trust, Harry. He's not one of us.
Evening, Harry. Ed, Hawk.
Truman gestures to the space beside him. Cooper sits down.
I got your note. What's up?
Ed signals to Norma, she steps over to take Cooper's order.
Agent Cooper, how would you like some fresh
I would love some huckleberry pie.
(for Norma's benefit)
Heated. Vanilla ice cream on the side. Coffee.
Coming right up.
Norma steps away. Cooper turns to Ed.
How Iong have you been in love with Norma?
Ed blanches, says nothing. Truman turns to him.
See what I mean?
Ed nods. Cooper takes note of the exchange, looks to Hawk, Sheriff Truman.
There's something you fellas want to tell me.
Better tell him.
Hawk nods assent. A beat. Sheriff Truman begins:
Someone's running drugs into Twin Peaks from over the
border. We've been working undercover, trying to set up
a bust: top to bottom. Nobody walks.
Jacques Renault, bartender at the Roadhouse, we figure
him for the middleman. Ed was staking him out the
night you got into town. Renault slipped something into
Felt like somebody hit me on the head with a hammer.
I didn't know you were a deputy, Ed.
A little outside your juristiction, isn't it?
Somebody's sellin' drugs to high school kids. That's in
I call on Ed when I need him. He's not the only one I
Just then: Norma arrives with Cooper's pie and coffee.
Thank you, Norma.
Cooper digs in, gives Norma a hearty thumbs-up. Norma smiles, walks away.
This must be where pies go when they die.
Cooper takes another bite. Sheriff Truman waits for some reaction to all he's told him.
Finally, Cooper sets down his fork, begins:
Someone's bringing, drugs into Twin Peaks. Laura
Palmer was on drugs. You call on Ed to help you out.
Ed's a good man. Local bartender's a mid-level player,
okay, it's hard to get by on minimum wage. Now Harry,
please. What is it you really want to tell me?
Sheriff Truman looks at the others. They encourage him to continue
You're going to have to trust me. No matter how it
I trust you, Harry.
(after a beat, looking for words)
Twin Peaks is different. A long way from the world.
You've noticed that.
Indeed I have.
And that's the way we like it. But there's a back end to
that that's different too. Maybe that's the price we pay
for all the good things.
What is it?
(lowering his voice)
There's a sort of evil out there. Something strange in the
hills. It takes different forms, but it's been there for as
long as anyone can remember. And we've always been
here to fight it.
Men before us. Men before them. More after we're gone.
We protect our own. We have to.
A secret society.
The others exchange looks.
Let's take Agent Cooper for a little ride.
The Book House.
33. EXT. THE ROADHOUSE - NIGHT
A dusty parking lot surrounds the slightly seedy honky tonk. Behind it, another, smaller
structure. The Book House. Sheriff Truman and the others arrive in a cruiser and a patrol car,
exit. Cooper takes a deep breath of cool night air.
Truman leads Cooper towards the Book House.
How long have you been Sheriff, Harry?
How long have you been meeting here?
Longer than that.
(they, reach the door)
It's a funny thing. Seems like every time you solve a
mystery, there's another one right behind it.
Cooper smiles. He can appreciate that sort of thinking.
34. INT. BOOK HOUSE NIGHT
They enter. It is a clubhouse of sorts, chairs and tables, a comfortable atmosphere. And
walls lined with bookshelves, tomes on every imaginable topic. Cooper stops, reacts.
There's a burly hirsute MAN, wearing a gag, tied to a chair at the center of the room. James
Hurley and JOEY PAULSON stand guard.
You know James. Joey Paulson.
Hello, Agent Cooper.
Hello, James. Joey. Who's this?
Bernard Renault. Jacques' brother. Janitor had at the
roadhouse. Bernard had an ounce of cocaine in his kit bag.
Thought we'd ask him a couple questions.
Cooper nods, getting into the spirit. Truman removes Bernard's gag.
(after a beat)
Did you ever sell drugs to Laura Palmer?
I don't sell drugs.
How much does Jacques pay you to be the mule?
Jacques don't pay me nothing, I'm no mule.
So that ounce we found, that was for personal use?
Where's your brother been? Not at work the last few
I don't know. He got business.
I don't know.
Who else does Jacques work with?
Why don't you ask him yourself? He be back tonight.
He's coming to work?
(stating the obvious)
He the bartender, isn't he?
Bernard grins, triumphant. Cooper looks at Truman, steps closer.
Bernard, we have you tied up in a chair. You're mixed up
in a wide variety of felonies with your brother. What I
want to know is, why in the world would you tell us when
and where to find him?
That wipes the grin off his face. Bernard looks at his feet, says nothing. Cooper doesn't
mind. He already knows the answer.
35. EXT. COUNTRY ROAD - NIGHT
JACQUES RENAULT walks down a country road, peers through the dark at the Roadhouse
in the distance. Jacques stops suddenly, reacts.
36. JACQUES' POV - THE ROADHOUSE
There's a redlight on top of the honky-tonk, it shines and blinks a warning. Jacques takes one
look at it, knows what it means. He turns and runs as fast as he can in the opposite direction.
37. INT. LEO JOHNSON'S HOUSE - NIGHT
Leo stands over the kitchen sink, carefully cleans and polishes a pair of heavy boots. The
phone rings. Leo sets the boots on a towel, answers it.
38. EXT. PHONE BOOTH - NIGHT
Jacques is calling from a phone booth, breathless, sweating from the run.
The bust light's on. Bernard's in trouble.
I saw it. You gotta get me out of here, Leo. Border run.
Where are you?
Phone booth by the Cash and Carry. I don't like waitin',
Shut up. I'm on my way.
Leo hangs up, grabs his jacket and a small bag. Shelly enters, wonders.
Where you goin'?
You don't need to know.
He exits. Shelly grabs her purse, kneels down in the kitchen near a cabinet. Without
hesitation - she's done this before -- Shelly carefully removes some of the cabinet's slats,
revealing a hiding place. She reaches into the hole, pulls out Leo's bloody shirt. Satisfied,
she returns it, then digs into her purse, removes her brand new Colt .32, looks at it for a beat.
Then puts it with the shirt below and replaces the slats.
39. EXT. ROADHOUSE - NIGHT
Cooper, Truman, Ed, and Hawk exit, Truman heads for his cruiser, gets on the radio.
You and Hawk wait inside the Roadhouse. Ed and I'll
watch the road, I'll call for some back-up.
Jacques' half-way to the border by now.
We don't know that yet.
Cooper directs their attention to the blinking red light on top of the Roadhouse.
I don't remember seeing that blinking red light before,
The others look up. Truman realizes what's up. Hangs up his radio.
I'll take Bernard in and book him.
I'll give you a hand, Harry.
Hawk, why don't you run Agent Cooper back to the Great
(as they start off)
Buy you a drink, Hawk?
40. INT. GREAT NORTHERN BAR - NIGHT
A short time later. A sad song plays on a jukebox. Couples gather on the small dancefloor,
a few GUESTS mingle at the bar. Cooper and Hawk sit at small table near the fireplace.
Their mood is quiet, contemplative. It's been a long day.
(after a beat)
Did you know her, Hawk?
Laura? Caught her speeding a couple times. Let her talk
me our of the ticket. That wasn't hard.
Laura Palmer didn't have to die. It's wrong. It makes
A beat. Cooper takes a pull from a longneck beer. He quietly wonders:
Do you believe in the soul?
The question takes Hawk by surprise. He takes a closer look at Cooper.
More than one?
Blackfeet legend. Waking souls that give life to mind
and body. A dream soul that wanders.
Where does it wander?
Faraway places. The Land of the Dead.
Is that where Laura is?
Laura's in the ground, Agent Cooper. That's all I know
Cooper reacts, takes a closer look. Tommy 'The Hawk' Hill, agnostic Blackfoot. There's
more to him than meets the eye. A beat. Cooper lifts his glass into the air, proposes a toast:
To Laura. Godspeed.
They touch glasses, toast. That's when Cooper sees Leland Palmer stepping between tables
to the dance floor.
Leland walks onto the dance floor, stands quite still. The juke selects another title. Big
band music pours into the room. Leland listens intently. He looks up, his eyes bright with
tears. A beat. Leland Palmer begins to dance.
At first his actions go unnoticed. But gradually couples turn to regard him, this sad man
dancing across the floor. Some giggle, others look with sympathy. Most begin to disperse.
But Leland keeps dancing, he pleads With those who remain:
Dance with me. Please. Dance with me.
As his pleadings grows more desperate, Cooper and Hawk step quickly to the dance floor,
mean to lead him away.
Mr. Palmer. Leland?
Gradually, Leland hears them, finally focusing on them.
It's time to go home.
Pause. He nods weakly, Cooper and Hawk gently lead Leland between them out of the
41. EXT. BLUE PINE LODGE - NIGHT.
Establish. A full moon sailing overhead.
42. INT. BLUE PINE LODGE KITCHEN - NIGHT
Lights are low, a small table has been set with silver, candies, and white linen. A romantic
supper for two. Josie wears a silk robe, something sheer beneath it. Sheriff Truman wears the
ardent expression of a man in love.
Pete steps into view carrying dinner on a large platter.
Pan-fried Rainbow. Caught 'em this morning.
Pete serves the trout to each.
Thank you, Pete.
It's nothing. Old family recipe.
Truman pours a little wine, offers:
Pour you a glass, Pete?
No, no. You kids enjoy. Never mind the dishes. We'll
get 'em later.
He intends to leave them alone. Truman smiles appreciatively, thanks Pete with a wink. He
watches Pete step from the room. A beat. Josie toys with her food, silent, preoccupied.
Something is troubling her. And Truman knows it.
Heart a' gold, old Pete.
Yes, he is.
Josie, what's wrong?
Josie looks up from her dinner. Candlelight shimmers all around her.
God you're beautiful.
Josie tries to smile. But her eyes are full of fear. Truman leans closer.
Josie something's wrong, I want you to tell me.
(after a beat)
They want to hurt me. I know they do. Something
horrible is going to happen, Harry.
Who? Who's going to hurt you?
Ben and Catherine.
CAMERA MOVES from the table, finally REVEALS an intercom speaker on the wall,
nearly out of sight, a silent ear listening.
43. INT. MARTELL BEDROOM - NIGHT
Catherine Martell sits at a small desk, car pressed close to an intercom console/ speaker. She
manipulates the volume knob, listening to every word they say.
Catherine keeps the mill account books in her safe. Two
books. Two accounts.
Two? Can you show me?
44. INT. BLUE PINE LODGE OFFICE - NIGHT
Josie leads Truman into the office, trips the hidden catch, releases the false bookshelf, and
reveals the wall safe. She inserts the key, tugs at the handle.
Why would she keep two sets of books?
The usual reasons would have something to do with
stealing. Maybe more.
Josie opens the safe, both look inside, react. There is only one ledger inside.
But there were two.
Truman removes the ledger, thumbs through it.
Nothing unusual here.
There were two.
45. INT. MARTELL BEDROOM - NIGHT
Catherine smiles. She's holding the other ledger in her hand. Just then: footsteps, Pete enters.
She slips the ledger in a drawer and turns down the intercom. Pete catches this last action.
Have you seen my tackle box?
The next time you and the merry widow want a peek in
my safe, don't go to so much trouble. Be a man about it,
Pete. Ask me to my face.
Pete stares at her for a beat. He'll fight another day.
Maybe I'll check the truck.
Pete exits. Catherine gloats.
46. INT. BLUE PINE LODGE KITCHEN - NIGHT
Truman and Josie sit before the wood-burning stove. Josie burrows into Truman's arms,
shivers, speaks just above a whisper, revealing her deepest fears:
When Andrew died I was so alone. I couldn't think, I
didn't know what to do. Catherine said she would help
me. And Ben would help me too.
Ben and Catherine ...
They lied to me. They didn't care about Andrew. They
didn't care about me. All they want is to take the mill
away from me.
I have never said this before to anyone. Harry, I believe
Andrew's death was not an accident. And I believe they
will try to kill me too.
A tear runs from her eye. Truman pulls her closer, trying to make some sense of this.
Josie, Josie. Nothing's going to happen to you. Not
now, not ever. I'll make damn sure of that.
Truman kisses her gently. Josie sighs, returns his kiss with greater fervor. They settle into a
long embrace, whisper between kisses.
You don't have to be afraid.
Josie places her head against his chest, holds on tight.
Days like today, death feels like the biggest thing in the
world. But it's not, Josie. Nor for us.
I'm not afraid of death. I'm afraid of losing you.
A beat. Josie begins to recite while trembling in his arms:
All things howsoever they flourish
Return to the root from which they grew.
This return to the root is called Quietness;
Quietness is called submission to Fate;
What has submitted to Fate has become part of the always-
To know the always-so is to be Illumined;
Not to know it, means to go blindly to disaster.
He who knows the always-so has room in him for
He who has room in him for everything is without
To be without prejudice is to be kingly;
To be kingly is to be of heaven;
To be of heaven is to be in Tao.
Tao is forever and he that posssess it,
Though his body ceases, is not destroyed.
HOLD ON Josie for a beat. Safe in Truman's arms.
47. EXT. BLACK LAKE CEMETARY - NIGHT
Cooper stands watch at the cemetary, a night wind howling about him. He peers into the
dark, Laura's grave in the distance. The Land of the Dead. A beat, then:
Can you hear 'em?
Cooper turns to find an old CARETAKER at his side, gazing out into the night.
It's the metal and the wood, I guess. Some caskets, you
stick 'em in the ground, and the wood starts to expand,
starts to rub against that metal. And if it rubs just so, you
get a strange sort of sound. If the night's just right, and
the wood -- teak and brass are the best -- well, it's like
music. You can almost hear the caskets singin'.
Needless to say, it's a notion Cooper finds fascinating.
48. EXT. BLACK LAKE CEMETARY - NIGHT
Minutes later. CAMERA STARTS AT GROUND LEVEL, green grass, dark graves.
Suddenly Cooper LOWERS INTO FRAME, presses his ear to the ground. As if to listen
for the casket's singing. That's when he hears another sound. Footsteps, someone walking
toward Laura Palmer's grave.
Cooper slips into the shadows. He watches a lone figure step to Laura's grave. But he can't
make out the face. At least until the mystery man lights a cigarette.
(Revised 10-3-89, Blue)
49. COOPER'S POV
It is Dr. Lawrence Jacoby. He inhales deeply, stares down at Laura's grave. He holds a
bouquet of flowers in his free hand.
50. EXT. BLACK LAKE CEMETARY - NIGHT
Jacoby sets the flowers by the headstone. Cooper steps into view, speaks gently.
I didn't see you at the funeral.
A long beat. Jacoby finally turns to Cooper, seems to notice him for the first time. Then,
eyes bright with tears, he whispers:
I'm a terrible person, Agent Cooper. I pretend that I'm
not. But I am.
Cooper says nothing. He'll let the man talk.
I listen to their problems all day. I give them advice,
solutions that are supposed to "improve" their lives.
These people think of me as a friend.
But the truth is, I ... I don't really care. When I'm not
working I wear ear plugs so I don't have to hear them
talk. Nothing ... ever ... touches me.
Except for Laura.
I couldn't come today. I just couldn't.
I hope she'll understand ...
HOLD ON them for a beat. Jacoby's sad tears in the dark.
END ACT FOUR