Make your own free website on Tripod.com








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


                            Fire Walk With Me,

                         Teresa Banks and the Last

                        Seven Days of Laura Palmer







                               Screenplay by

                        David Lynch and Bob Engels



                          Typed By:  Deep Thought

















						Lynch/Frost Productions

						Shooting Draft












**


	August 8, 1991							1.


FADE IN:

1.	EXT.  WIND RIVER, WASHINGTON - DAY

	On screen it reads:

                            "1988, WIND RIVER,
                         DEER MEADOW, WASHINGTON"

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

	On screen it reads:

                              "TERESA BANKS"


	FADE OUT:

	FADE IN:

2.	EXT.  FBI OFFICE IN PORTLAND

	Establish.

3.	INT.  GORDON COLE'S OFFICE

	GORDON COLE talks on the speaker phone.

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

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

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

5.	INT.  DESMOND'S CAR - DAY

	Desmond picks up the ringing phone.

                                  DESMOND

			Yes...

	INTERCUT WITH:

                                  (more)


								(CONTINUED)





**


	August 8, 1991							2.


5.	CONTINUED:

	COLE

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

	DESMOND

                                  DESMOND
			OK, Gordon.

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

                                  DESMOND
                              (little louder)
			OK, Gordon.

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

                                  DESMOND
                                (very loud)
			Okay, Gordon!!!

	Desmond electronically lowers the aerial adjusting the volume.

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

                                  DESMOND
			Smell something fishy, huh?

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

6.	EXT.  SMALL AIRPORT OUTSIDE OF PORTLAND - DAY

	Small government plane lands.

                                  (more)


								(CONTINUED)


**


	August 8, 1991							3.


6.	CONTINUED:

	ANOTHER ANGLE

	Desmond exits the plane.

7.	INT.  SECURITY LOUNGE OF THE AIRPORT - SAME

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

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

	Desmond and Stanley shake.

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

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

                                  DESMOND
			Congratulations.  I heard about that.

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

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

8.	LIL'S DANCE

	Things we notice.

	--  She makes a sour face.

	--  She walks in place.

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

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

	--  She is wearing a red wig.

	At one point during this Cole adds a sentence.

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

	Cole holds four fingers in front of his eyes.


								(CONTINUED)



**


	August 8, 1991							4.


8.	CONTINUED:

                                  DESMOND
                          (noticing the fingers)
			Federal?

	Cole gives him the thumbs up.

	Lil finishes her dance.

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

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

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

	Desmond's car on the highway.

10.	INT.  DESMOND'S CAR - SAME

	As they barrel down the highway - 

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

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

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

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

                                  DESMOND
			Sort of shorthand.

                                  STANLEY
                            (missing the humor)
			Shorthand.  really?


								(CONTINUED)




**


	August 8, 1991							5.


10.	CONTINUED:

                                  DESMOND
			We're heading into a difficult situation.

                                  STANLEY
			How do you figure?

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

	As Desmond explains we -

							INTERCUT WITH:

11.	FLASHBACK:  LIL'S DANCE

	In slow motion.

	ON LIL'S SOUR FACE

                                  DESMOND
			Lil was wearing a sour face.

                                  STANLEY
			What do you mean?

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

	ON LIL BLINKING BOTH EYES

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

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

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

	ON LIL WALKING IN PLACE


								(CONTINUED)



**


	August 8, 1991							6.


11.	CONTINUED:

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

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

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

                                  STANLEY
			Oh, the uncle is missing.

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

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

	ON LIL'S RED WIG

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

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

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

                                  STANLEY
			A blue rose.

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

	Stanley rides along quietly for a while.


								(CONTINUED)


**


	August 8, 1991							7.


11.	CONTINUED: (2)

                                  STANLEY
			What did Gordon's tie mean?

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

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

                                  DESMOND
			He talks loud.  And he loves his code.

                                  STANLEY
			I see.  He does talk loud.

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

                                  STANLEY
			It must be a high priority situation.

12.	EXT.  HIGHWAY - SAME

	Desmond's car drives off.

							DISSOLVE TO:

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

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

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

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

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

	Cliff just smiles for a long minute.

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

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

                                  (more)

								(CONTINUED)
**


	August 8, 1991							8.


14.	CONTINUED:

	Cliff smiles up at Desmond.

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

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

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

                                   CLIFF
                              (still smiling)
			Oh.

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

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

                             CLIFF (continued)
			AAAHHHHHHHH...

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

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

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

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

15.	INT.  SHERIFF CABLE'S OFFICE - DAY

	SHERIFF CABLE looks up from his work.

                                   CABLE
			How the hell did you...

	Desmond shows his credentials.

                                  DESMOND
			Federal Bureau of Investigation, Special
			Agent Chet Desmond.


								(CONTINUED)
**


	August 8, 1991							9.


15.	CONTINUED:

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

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

	Cable signals Cliff to leave.

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

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

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

                                   CABLE
			You're lucky I am not wasting you.

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

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

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

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

                                   CABLE
			Out back in our morgue


								(CONTINUED)



**


	August 8, 1991							10.


15.	CONTINUED: (2)

	Desmond starts to leave.

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

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

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

	The caption reads:

                            "CABLE BENDS STEEL"

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

16.	EXT.  SHERIFF'S STATION - DAY

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

	AT THE MORGUE DOOR

	Stanley moves up to Desmond and speaks confidentially.

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

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

17.	INT.  TINY MORGUE - DAY

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

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


								(CONTINUED)


**


	August 8, 1991							11.


17.	CONTINUED:

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

                                  STANLEY
			Solved the Whiteman Case with this.

                                  DESMOND
			That's what I heard.

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

                                  DESMOND
			That's good.

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

                                  DESMOND
			I don't know, Sam.

                                  STANLEY
			Maybe, later we could take a look.

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

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

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

                                  DESMOND
			Cole said she was 17.

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

                                  STANLEY
			I wonder where her ring is?

	Desmond notices the mark on her hand as well.


								(CONTINUED)




**


	August 8, 1991							12.


17.	CONTINUED: (2)

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

	Stanley picks up her left hand.

	INSERT: BANKS LEFT HAND

	In Stanley's hand.

	ON THE SCENE

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

                                  DESMOND
			Oh.

	Stanley peers underneath the fingernail.

                                  STANLEY
			A laceration.

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

                                  DESMOND
			Accidental?

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

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

                                  DESMOND
			What is it?

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

	Desmond comes around and takes a look.

	INSERT: THE LETTER "T".


								(CONTINUED)


**


	August 8, 1991							13.


17.	CONTINUED: (3)

	On a piece of paper.

	CLOSEUP: DESMOND

	Pondering what he has seen.

	ON THE SCENE

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

							DISSOLVE TO:

	THE SAME CLOCK

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

							DISSOLVE TO:

18.	EXT.  MORGUE - LATE NIGHT

	Desmond and Stanley come out of the morgue.

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

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

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

	Desmond takes a long look at Stanley.

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

	Desmond gets in and starts the car.

19.	EXT.  HAP'S DINER - LATE NIGHT

	Establish.

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

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


								(CONTINUED)
**


	August 8, 1991							14.


20.	CONTINUED:

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

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

                                  DESMOND
			Where's Hap?

                                   JACK
			He's dead - good and dead.

                                  DESMOND
			Sorry to hear it.

                                   JACK
			He didn't suffer.

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

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

                                  DESMOND
			Any friends?

                                   JACK
			No.

                                  DESMOND
			Ever see her with someone else?

                                   JACK
			No.

                                  DESMOND
			Did she ever mention any friends?

                                   JACK
			No.
                                (pointing)
			Ask Irene over there.

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


								(CONTINUED)



**


	August 8, 1991							15.


20:	CONTINUED: (2)

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

21.	INT.  HAP'S DINER - SAME

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

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

                                  DESMOND
			How come Jack let's you work here?

                                   IRENE
			Jack and I are united in holy matrimony.

                                  DESMOND
			Say no more.

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

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

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

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

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

                                  DESMOND
			What happened to her?

                                   IRENE
			There was only one job.  Teresa took the

                                  (more)


								(CONTINUED)
**


	August 8, 1991							16.


21.	CONTINUED:

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

                                  DESMOND
			Did you ever see Teresa take cocaine?

                                   IRENE
			No.

                                  DESMOND
			Do you take cocaine, Irene?

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

                                  STANLEY
			Nicotine is a drug.  Caffeine is a drug.

                                   IRENE
			Who's Shorty?  Those drugs are legal.

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

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

                                  DESMOND
			Thanks.

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

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

                                  DESMOND
			You have something to tell us?

                                  OLD GUY
			Yeah.

                                  DESMOND
			What?


								(CONTINUED)




**


	August 8, 1991							17.


21.	CONTINUED: (2)

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

	Desmond moves away from him.

                                  STANLEY
			You think we ought to question him?

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

                                  DESMOND
			What time is it, Stanley?

	Stanley checks his watch pouring hot coffee on himself.

                                  STANLEY
			Oh...

	Desmond guides his laugh into a cough.

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

                                  DESMOND
			It's late, Sam.

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

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

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

                                  DESMOND
			What do you mean?

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


								(CONTINUED)



**


	August 8, 1991							18.

21.	CONTINUED: (3)

                                  DESMOND
			Thanks.

	Stanley watches her leave.

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

                                  DESMOND
			I think that's a good idea.

22.	EXT.  HAP'S DINER - NEAR DAWN

	As Desmond and Stanley head towards their car.

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

                                  STANLEY
			Are you speaking to me in a code?

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

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

	Irene walks past them and towards the parking lot.

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

                                  STANLEY
			Thank god it is morning.

23.	EXT.  CANYON TRAILER COURT - DAWN

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

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


								(CONTINUED)



**


	August 8, 1991							19.


23.	CONTINUED:

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

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

                                   VOICE
			CAN'T YOU READ!

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

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

                                   CARL
			God damn, this better be
			important.

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

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

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

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

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

                                  DESMOND
			Did she have someone with her?

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

                                  DESMOND
			Was there an argument?


								(CONTINUED)




**


	August 8, 1991							20.


23.	CONTINUED: (2)

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

                                  DESMOND
			Yes they do.  Did she have visitors?

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

	He swings open the door.

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

	Desmond and Stanley go in.

24.	INT.  TERESA'S TRAILER

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

                                  STANLEY
                                (whispers)
			She lived alone.

                                  DESMOND
			She must have known someone.

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

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

                                  STANLEY
			I'll get my kit.

25.	EXT.  CANYON TRAILER COURT

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

                                  STANLEY
                               (to himself)
			5,600 dollars.

26.	INT.  TERESA'S TRAILER

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


								(CONTINUED)
**


	August 8, 1991							21.


26.	CONTINUED:

	INSERT - PICTURE

	Teresa Banks is wearing a ring.

	BACK ON THE SCENE

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

                                  DESMOND
			Take a look at this.

                                  STANLEY
			She's wearing a ring.

	Stanley studies it.

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

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

	Carl leans in from the outside.

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

	Both nod "yes".

							DISSOLVE TO:

27.	INT.  TERESA'S TRAILER - LATER

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

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


								(CONTINUED)





**


	August 8, 1991							22.


27.	CONTINUED:

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

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

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

                                  DESMOND
			Did you know Teresa Banks?

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

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

                                   CARL
			They're only doing their job.

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

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

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

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

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


								(CONTINUED)




**


	August 8, 1991							23.


27.	CONTINUED: (2)

                                   CLIFF
			Is that right, Mr. Jack Daniels?

                                  DESMOND
			Did you know Teresa Banks?

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

                                  DESMOND
			No you couldn't.

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

28.	EXT.  CANYON TRAILER COURT - SAME

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

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

                                  DESMOND
			Is there a golf course around here?

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

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

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

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

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

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


								(CONTINUED)


**


	August 8, 1991							24.


28.	CONTINUED:

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

                                  STANLEY
			Yes, he is like a clown.

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

29.	EXT.  SHERIFF'S STATION - MIDDAY

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

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

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

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

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

                                   CABLE
			Maybe not _a_ thing, but maybe _two_
			things.

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

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

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

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


								(CONTINUED)



**


	August 8, 1991							25.


30.	CONTINUED:

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

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

	Cable exits followed by Cliff and the giggling secretary.

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

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

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

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

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

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

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

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

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

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

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

                                  (more)


								(CONTINUED)

**


	August 8, 1991							26.


31.	CONTINUED:

	ducks.

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

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

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

                                  DESMOND
			Who's next?

	After a moment of unbearable humiliation they shuffle away.

							DISSOLVE TO:

32.	EXT.  SHERIFF'S STATION - AFTERNOON

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

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

	They walk towards the van until Stanley stops.

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

                                  DESMOND
			Faulty wiring.

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

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


								(CONTINUED)




**


	August 8, 1991							27.


32.	CONTINUED:

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

	Desmond smiles at Stanley as they shake.

	DESMOND'S POV

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

                                  STANLEY
                              (very muffled)
			83,000 dollars.

33.	EXT.  THE TRAILER COURT - DAY

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

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

                                   CHET
			Right.

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

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

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

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

	Cole and ALBERT ROSENFIELD talk.

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


								(CONTINUED)





**


	August 8, 1991							28.


34.	CONTINUED:

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

	The phone rings and Cole answers it.

35.	INT.  PHILADELPHIA FBI OFFICES

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

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

	Diane says something else that we cannot hear.

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

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

                                  COOPER
			What is it, Gordon?

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








**


	August 8, 1991							29.


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

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

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

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

                                  COOPER
			Anything else?

                                  STANLEY
			Did Gordon show you a woman named
			Lil?

                                  COOPER
			I'm up to speed, Stanley.

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

                                  COOPER
			And neither will I.

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

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

                                  STANLEY
			I cracked the Whiteman case with this.

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

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

                                  (more)


								(CONTINUED)
**


	August 8, 1991							30.


36.	CONTINUED:

                            STANLEY (continued)
			has a machine like this.

                                  COOPER
			Tell me about the letter.

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

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

                                  COOPER
			And no one found the ring?

                                  STANLEY
			No, sir, we did not.

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

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

37.	EXT.  CANYON TRAILER COURT - DAY

	Carl Rodd shows Cooper to Teresa's trailer.

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

                                  COOPER
			Thank you, Carl.

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

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


								(CONTINUED)


**


	August 8, 1991							31.


37.	CONTINUED:

                                  COOPER
			I am not going to Cliff's trailer.

                                   CARL
			Well, where are you going?

                                  COOPER
			I am going over here.

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

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

                                  COOPER
			What was here, Mr. Rodd?

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

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

                                   CARL
			An old woman and her grandson.

                                  COOPER
			Can you tell me what their names were?

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

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

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

                                  COOPER
			Is that Agent Desmond's vehicle?

                                   CARL
			Yep, it sure is.

	Cooper walks to it.

	AT DESMOND'S CAR


								(CONTINUED)


**


	August 8, 1991							32.


37.	CONTINUED: (2)

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

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

	Cooper stares into the stream.

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

39.	EXT.  TWIN PEAKS - DAY

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

                       TWIN PEAKS ONE YEAR LATER - 

           EXACTLY SEVEN DAYS BEFORE THE MURDER OF LAURA PALMER

40.	EXT.  THE PALMER HOUSE - DAY

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

41.	EXT.  FBI HEADQUARTERS, PHILADELPHIA - DAY

	Re-establish.  On screen it reads:

                       "PHILADELPHIA, PENNSYLVANIA"

42.	INT.  COLE'S OFFICE

	Cooper talks with Cole.

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


								(CONTINUED)







**


	August 8, 1991							33.


42.	CONTINUED:

                                  GORDON
			SO?

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

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

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

43.	INT.  HALLWAY BELOW THE SURVEILLANCE CAMERA - SAME

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

44.	INT.  SURVEILLANCE ROOM

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

45.	EXT.  BUENOS AIRES HOTEL - DAY

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

                              "BUENOS AIRES"

46.	INT.  BUENOS AIRES HOTEL - DAY

	PHILLIP JEFFRIES checks into the hotel.

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

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

                                  BELLHOP
			612 --- very nice.

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

47.	INT.  HALLWAY BELOW THE SURVEILLANCE CAMERA - SAME

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



**


	August 8, 1991							34.


48.	INT.  SURVEILLANCE ROOM - SAME

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

49.	INT.  HALLWAY BELOW THE SURVEILLANCE CAMERA - SAME

	BACK ON COOPER

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

50.	INT.  SURVEILLANCE ROOM - SAME

	Cooper races into the room and stares into the monitor.

51.	ON THE MONITOR

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

                                  COOPER
                                (shouting)
			Gordon.

	Cooper runs into Gordon's office.

52.	INT.  GORDON'S OFFICE

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

                                   COLE
			PHILLIP!

	Albert stands up.

                                  ALBERT
			Phillip?

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

                                  COOPER
			Phillip?

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

	Jeffries stares at the threesome.


								(CONTINUED)



**


	August 8, 1991							35.


52.	CONTINUED:

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

                                  COOPER
			But...

	Cole calms Cooper.

                                   COLE
			STAND FAST, COOP.

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

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

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

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

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

	Jeffries stumbles to a chair.

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

                                  ALBERT
			Who's meeting?  Where have you been?

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


								(CONTINUED)




**


	August 8, 1991							36.


52.	CONTINUED: (2)

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

                                  ALBERT
			And it's raining Post Toasties.

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

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

                                 JEFFRIES
			They sat quietly for hours.

53.	INT.  ROOM ABOVE THE CONVENIENCE STORE - DAY

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

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

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

                                    BOB
                                (subtitled)
			Light of new discoveries.

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

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

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


								(CONTINUED)


**


	August 8, 1991							37.


53.	CONTINUED:

	He touches the table.

                              FIRST WOODSMAN
                                (subtitled)
			Our world.

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

                              SECOND WOODSMAN
                                (subtitled)
			Boneless.

                                   MIKE
                                (subtitled)
			Yes, find the middle place.

	Bob begins to scream with anger.

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

                             TREMOND'S GRANDSON
                                (subtitled)
			Fell a victim.

	The Man From Another Place raises his hand.

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

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

                                    BOB
                                (subtitled)
			Fire Walk With Me.

	THROUGH THE CIRCLE

	We see the RED ROOM.

	ON THE SCENE

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

                              SECOND WOODSMAN
                                (subtitled)
			Thus time moves on.





**


	August 8, 1991							38.


54.	BACK IN THE FBI OFFICE

                                 JEFFRIES
			I followed.

	Jeffries begins to cry quietly at his table.

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

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

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

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

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

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

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

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

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

                                 JEFFRIES
			May?  1989?

	CLOSEUP: JEFFRIES

	Staring at the calendar.  it is 1989.

	BACK ON THE SCENE

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

                                  (more)


								(CONTINUED)

**


	August 8, 1991							39.


54.	CONTINUED:

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

                                   COLE
			WHAT...  AM I ALONE?

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

                                   COLE
			HE'S GONE.

                                  COOPER
                        (coming back into the room)
			What?

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

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

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

                                  COOPER
			What's going on?

	Albert rushes back into the room.

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

                                  COOPER
			Teresa Banks.

                                   COLE
			ALBERT?

                                  ALBERT
			Tylenol.

                                   COLE
                                (to Cooper)
			WHY ARE YOU THINKING ABOUT TERESA

                                  (more)

								(CONTINUED)
**


	August 8, 1991							40.


54.	CONTINUED: (2)

                             COLE (continued)
			BANKS, COOP?

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

                                   COLE
			ALBERT, WHY TYLENOL?

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

55.	INT.  BUENOS AIRES HOTEL CORRIDOR - SAME

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

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

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

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

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

56.	INT.  SURVEILLANCE ROOM - DAY

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

                                  COOPER
			He was here.

							DISSOLVE TO:

57.	EXT.  HAYWARD HOUSE

	Laura Palmer continues down the sidewalk towards us.

	On screen it reads:


								(CONTINUED)


**


	August 8, 1991							41.


57.	CONTINUED:

                      "THURSDAY - SEVEN DAYS BEFORE"

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

                                   LAURA
			Donna?...  Donna?...

	LAURA'S POV

	DONNA HAYWARD gathering her books and coming out the door.

                                   DONNA
			Just a minute, Laura.

58.	ON THE SIDEWALK

	Donna joins Laura.

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

                                   DONNA
			You didn't do your homework?

                                   LAURA
			Noooo...

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

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

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

                                   LAURA
			Thanks.

	Laura tweaks Donna's cheek.

                                   DONNA
			James called me last night looking for
			you.


								(CONTINUED)


**


	August 8, 1991							42.


58.	CONTINUED:

                                   LAURA
			When?

                                   DONNA
			The usual, 9:15.

                                   LAURA
			He probably wanted to drive over.

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

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

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

                                   LAURA
			I don't know what to do.

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

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

	Donna grabs her and shakes her shoulders.

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

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

	They continue up the sidewalk laughing.

59.	EXT.  TWIN PEAKS HIGH SCHOOL - DAY

	Establish.





**


	August 8, 1991							43.


60.	INT.  TWIN PEAKS HIGH SCHOOL - DAY

	On Laura and Donna as they walk in.

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

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

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

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

                                   DONNA
			And you're the real man?

61.	INT.  OUTSIDE THE GIRL'S BATHROOM

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

                                   LAURA
			James...

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

                                   LAURA
			Okay.

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

62.	INT.  GIRLS' ROOM - DAY

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

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

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

                                   BOBBY
			Hey, Baby.

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

							DISSOLVE TO:



**


	August 8, 1991							44.


64.	SCHOOL CLOCK

	It reads:  2:30.

65.	INT.  CUSTODIAN'S ROOM - DAY

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

                                   JAMES
			Laura, do you love me?

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

                                   JAMES
			Why?  It does.

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

                                   JAMES
			It does matter.  We're in love.

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

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

                                   LAURA
                               (small smile)
			Gobble, gobble, gobble.

	He smiles.  She kisses him and he responds.

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

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

66.	EXT.  THE HIGH SCHOOL - DAY

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


								(CONTINUED)




**


	August 8, 1991							45.


66.	CONTINUED:

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

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

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

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

                                   LAURA
			Get lost Bobby.

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

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

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

                                   BOBBY
                                 (smiling)
			Love ya, Babe.

							DISSOLVE TO:

67.	INT.  HAYWARD HOUSE, LIVING ROOM - DAY

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

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

                                   LAURA
			Hi, E.H.


								(CONTINUED)




**


	August 8, 1991							46.


67.	CONTINUED:

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

                                   DONNA
			Mom H.

	Eileen motors out.

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

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

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

                                   LAURA
			Maybe.

                                   DONNA
			Oh god, Laura.

                                   LAURA
			Well, why not?

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

	Laura looks at Donna.

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

                                   DONNA
			Sweet?  God, he's gorgeous.

                                   LAURA
			James is very sweet and very gorgeous.


								(CONTINUED)

**


	August 8, 1991							47.


67.	CONTINUED: (2)

	Donna drifts off.

                                   DONNA
			I wonder if Mike could ever write a
			poem?

	Both of them drift off.

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

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

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

                                   DONNA
			Maybe I better start our homework.

                                   LAURA
			Okay, I suppose I should go home.

                                   DONNA
			Call me.

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

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

	They laugh.

68.	EXT.  PALMER HOUSE - DAY

	Laura coming home from Donna's.

69.	INT.  PALMER HOUSE

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

                                   LAURA
			Mom...  Mom?

	No answer - she heads up to her room.

70.	INT.  PALMER HOUSE, STAIRS AND FAN

	Laura moves up to her bedroom.



**


	August 8, 1991							48.


71.	INT.  LAURA'S ROOM - DAY

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

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

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

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

72.	INT.  PALMER HOUSE, ENTRANCE WAY - DAY

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

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

	Laura takes it out of her mouth.

                                   LAURA
			Can I take the car?

                                   SARAH
			Sure honey, what's the hurry?

                                   LAURA
			I forgot my books at school.

	Laura runs from the house.

                                   SARAH
			Laura.

                                   LAURA
			What?

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

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

                                  (more)


								(CONTINUED)
**


	August 8, 1991							49.


72.	CONTINUED:

                             SARAH (continued)
			start.  I mean it.

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

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

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

74.	EXT.  HAROLD SMITH'S APARTMENT - DAY

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

	AT THE DOOR

	Laura frantically knocks at the door.  HAROLD SMITH answers.

                                  HAROLD
			Laura?

75.	INT.  HAROLD SMITH'S APARTMENT - DAY

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

                                   LAURA
			My secret diary.  There are pages
			missing.

                                  HAROLD
			Who would do that?

                                   LAURA
			Bob.

                                  HAROLD
			But Bob isn't real.

                                   LAURA
			The pages are gone.  That's real.

                                  HAROLD
			Maybe.

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

	Stunned, Harold doesn't know what to do.

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

                                  (more)


								(CONTINUED)
**


	August 8, 1991							50.


75.	CONTINUED:

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

                                  HAROLD
			What does Bob say?

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

                                  HAROLD
			No...  No...

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

	Laura starts towards him frightening Harold.

                                  HAROLD
			What?  Please.

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

                                   LAURA
			FIRE WALK WITH ME.

	She buries herself on his shoulder.

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

	They break.

                             LAURA (continued)
			You have to hide the diary, Harold.  You
			made me write it all down.  He doesn't
			know about you.  You'll be safe.
		
	She stares at Harold.  Her eyes widen, terrified with suspicion.

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

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


								(CONTINUED)
**


	August 8, 1991							51.


75.	CONTINUED: (2)

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

	He holds her.

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

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

	Laura reaches up and tenderly touches his cheek.

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

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

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

	She pulls him to her and kisses him passionately.

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

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

76.	EXT.  HAROLD SMITH'S APARTMENT - DAY

	Laura goes out to the car.

77.	INT./EXT.  BUICK ROADMASTER - DAY

	Laura starts the car and takes a snort of cocaine.

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









**


	August 8, 1991							52.


78.	INT.  PALMER DINING ROOM - NIGHT

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

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

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

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

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

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

                                   LAURA
			I'm sorry, Mom.

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

							DISSOLVE TO:

79.	INT.  PALMER DINING ROOM - NIGHT

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

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

                                   SARAH
			Oh, Leland.


								(CONTINUED)



**


	August 8, 1991							53.


79.	CONTINUED:

                                   LAURA
                               (embarrassed)
			Dad.

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

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

	Laura and Sarah stare at him.

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

                                   LAURA
			But my name isn't Leland Palmer.

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

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

	Leland repeats his phrase for Sarah's benefit.

                                  LELAND
			Hyggelig a mote dem.  Jeg Heter Leland
			Palmer.

	Sarah stumbles through it.

                                   SARAH
			Hyggelig a mote dem.  Jeg Heter Sarah
			Palmer.

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

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


								(CONTINUED)



**


	August 8, 1991							54.


79.	CONTINUED: (2)

	Laughingly, Laura does the same thing.

                                   LAURA
			Hyggelig a mote dem.  Jeg Heter Laura
			Palmer.

	After Laura is done.

                                  LELAND
			All together now...

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

							DISSOLVE TO:

80.	INT.  LAURA'S ROOM - LATE NIGHT

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

81.	EXT.  SIDE OF THE HIGHWAY - LATER

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

82.	INT.  TRUCK - SAME

	The TRUCKER smiles.  Eager.

                                  TRUCKER
			Friend of Leo's, right?  Partyland?

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

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

	Laura puts her hand between his legs.

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

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

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

	She climbs over on top of him.


**


	August 8, 1991							55.


83.	EXT.  THE TRUCK - SAME

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

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

84.	EXT.  PHILADELPHIA FBI OFFICE - DAY

	Reestablish.

85.	INT.  OFFICE - DAY

	Albert and Cooper.

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

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

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

                                  COOPER
			Albert.

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

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


								(CONTINUED)





**


	August 8, 1991							56.


85.	CONTINUED:

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

                                  COOPER
			A woman.

                                  ALBERT
			What color hair will she have?

                                  COOPER
			Blonde.

                                  ALBERT
			Tell me some other things about her.

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

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

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

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

86.	EXT.  DOUBLE R DINER - AFTERNOON

	Establish.

87.	INT.  DOUBLE R DINER - AFTERNOON

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

	On screen it reads:

                        "FRIDAY - SIX DAYS BEFORE"

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


								(CONTINUED)




**


	August 8, 1991							57.


87.	CONTINUED:

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

                                  SHELLY
			I'm kind of busy, Norma.

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

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

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

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

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

                                    ED
			Sorry, Norma.

	Ed goes out.

	SHELLY AND LAURA

	Shelly approaches sheepishly.

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

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

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

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

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








**


	August 8, 1991							58.


88.	EXT.  THE DOUBLE R - DAY

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

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

	LAURA'S POV

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

                                  TREMOND
			This would look nice on your wall.

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

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

	ANOTHER ANGLE

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

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

                                  SHELLY
			Okay.

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

89.	INT.  DOUBLE R - DAY

	Shelly goes to Norma.

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

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

                                  (more)


								(CONTINUED)
**


	August 8, 1991							59.


89.	CONTINUED:

                             NORMA (continued)
			anyway.

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

                                   NORMA
			There's no one here.

                                  SHELLY
			Norma, are you alright?

	Norma just turns away and picks up some dirty dishes.

                                   NORMA
			Come back as soon as you can.

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

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

	Shelly leaves the diner.

	ON NORMA

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

                                   TOAD
			Kind of quiet.

	CLOSEUP:  ON NORMA

	She starts to cry.

90.	EXT.  PALMER HOUSE - DAY

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

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

	LAURA'S POV

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






**


	August 8, 1991							60.


91.	INT.  PALMER HOUSE - DAY

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

92.	INT.  PALMER HOUSE, STAIRS - DAY

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

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

93.	INT.  LAURA'S BEDROOM - DAY

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

	ON BOB

	He is frozen.  Smiling at her.

	ON THE SCENE

	With a scream, Laura bolts from her room.

94.	EXT.  PALMER HOUSE - SAME

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

95.	EXT.  PALMER'S NEIGHBOR'S HOUSE

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

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

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

                                   WOMAN
			Laura...

	A closer look reveals how upset Laura is.

                                   WOMAN
			What...  Laura are you all right?


								(CONTINUED)




**


	August 8, 1991							61.


95.	CONTINUED:

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

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

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

                                   LAURA
                                (clumsily)
			Oh, here it is.

	Woman moves back to the sidewalk.

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

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

96.	EXT.  PALMER HOUSE

	Laura stands in front of her house.  Terrified.

97.	INT.  PALMER HOUSE - SAME

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

98.	LIVING ROOM - SAME

	Laura listens.  Hears nothing.

99.	STAIRS AND HALLWAY

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

100.	INT.  LAURA'S ROOM - SAME

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

101.	EXT.  PALMER NEIGHBORHOOD STREETS - DAY

	Laura runs down the sidewalk.

102.	INT.  HAYWARD HOUSE - DAY

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


								(CONTINUED)


**


	August 8, 1991							62.


102.	CONTINUED:

                                   DONNA
			Laura?

                                   LAURA
			Donna, are you my best friend?

                                   DONNA
			Of course...

	Laura dives toward Donna and into a hug.

                                   DONNA
			What is it Laura?  What's wrong?

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

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

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

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

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

	They go in and sit down on the couch.

                                   DONNA
			Do you want to talk?

                                   LAURA
			No, I want to smoke.

	She digs for a cigarette in her purse.


								(CONTINUED)


**


	August 8, 1991							63.


102.	CONTINUED: (2)

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

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

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

                                   LAURA
			If I can smoke it.

                                   DONNA
			You want a muffin?

                                   LAURA
			Donna, you are a muffin.

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

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

	Laura finds a cigarette finally and lights it.

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


								(CONTINUED)





**


	August 8, 1991							64.


102.	CONTINUED: (3)

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

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

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

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

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

                                   DONNA
			Dad, what in the world are you doing?

                                    DOC
			What the hell is this?

	Donna peeks over his shoulder.

                                   DONNA
			It's a prescription.

                                    DOC
			Is it?

                                   DONNA
			Dad.

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

                              DONNA AND LAURA
			We'll take care of you.

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

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

                                  (more)


								(CONTINUED)

**


	August 8, 1991							65.


102.	CONTINUED: (4)

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

	Laura goes tentatively to the phone.

                                   LAURA
			Hello...

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

	Laura hangs up the phone.

                                   LAURA
			I gotta go.

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

                                   DONNA
			Goodbye, Muffin.

                                   LAURA
			No, you're the muffin.

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

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

103.	INT.  PALMER HOUSE - NIGHT

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

                                  LELAND
			Hi, honey, how's Donna?

                                   LAURA
			Fine.

                                  LELAND
			School?

                                   LAURA
			...school's fine...

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

                                   LAURA
			Not really.


								(CONTINUED)



**


	August 8, 1991							66.


103.	CONTINUED:

	Laura just plops into her seat.

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

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

                                  LELAND
			Let me see.

                                   LAURA
			Dad...

	CLOSEUP: LAURA'S RING FINGERNAIL

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

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

                                   SARAH
			Leland, what are you doing?

                                  LELAND
			Look at this finger here.

	He is looking at THE FINGER.

                                   SARAH
			Leland...

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

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

                                  LELAND
			Oh, is this from a lover?

	Laura has no response.

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


								(CONTINUED)




**


	August 8, 1991							67.


103.	CONTINUED: (2)

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

                                  LELAND
			Bobby didn't give you this?

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

	Leland starts pinching Laura's cheek.

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

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

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

	A beat then a return to what is normal.

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

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

	Leland sits stoically.  Laura rises from the table.

104.	INT.  BATHROOM - NIGHT

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

							DISSOLVE TO:

105.	INT.  LAURA'S BEDROOM

	LAURA'S CLOCK

	It says:  10:35.

106.	INT.  LELAND AND SARAH'S BEDROOM

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

                                  (more)


								(CONTINUED)
**


	August 8, 1991							68.


106.	CONTINUED:

	a moment, then begins to cry.

                                   SARAH
			What is it, Leland?

	Leland can barely speak.

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

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

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

107.	INT.  LAURA'S BEDROOM

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

                                  LELAND
			Laura, honey...

	He moves to her and touches her face.

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

	Laura can hardly speak.  She squeezes his hand.

                                  LELAND
			Goodnight, Princess.

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

	MRS. TREMOND'S PICTURE

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

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

	Laura goes down the trellises and runs across the lawn.

109.	EXT.  NEIGHBOR'S LAWN - NIGHT

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







**


	August 8, 1991							69.


110.	INT.  LAURA'S ROOM - NIGHT

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

							DISSOLVE TO:

111.	INT.  LAURA PALMER'S BEDROOM - NIGHT

	She is asleep.

112.	MRS. TREMOND'S PICTURE

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

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

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

113.	INT.  RED ROOM

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

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

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

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

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

	Cooper seems concerned.

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


								(CONTINUED)



**


	August 8, 1991							70.


113.	CONTINUED:

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

114.	BACK IN LAURA'S ROOM

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

	SFX: THE NOISE

	It sounds as if someone is calling her name.

	ON LAURA

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

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

	ON LAURA'S DOOR

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

	ON LAURA

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

	It is dark on the other side of the door.

	AT THE DOORWAY OF LAURA'S BEDROOM

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

115.	MRS. TREMOND'S PICTURE

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








**


	August 8, 1991							71.


116.	LAURA'S PICTURE POV OF HER ROOM

	Laura sees herself asleep in her bed.

	CLOSEUP: LAURA

	Asleep in her bed.

	ON THE SCENE

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

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

							DISSOLVE TO:

117.	EXT.  PALMER HOUSE - MORNING

	Reestablish.

	On screen it reads:

                       "SATURDAY - FIVE DAYS BEFORE"

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

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

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

                                   JAMES
			We were supposed to be together.

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

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

                                   LAURA
			James...


								(CONTINUED)





**


	August 8, 1991							72.


117.	CONTINUED:

                                   JAMES
			When am I going to see you?

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

                                   LAURA
			I gotta go.

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

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

                                  LELAND
			Who was that?

                                   LAURA
			A friend from school.

                                  LELAND
			A special friend?

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

118.	INT.  THE STAIRWAY - DAY

	The fan turns slowly as Laura goes up the stairs.

                                BOB'S VOICE
			Laura.

	Laura's head snaps around.

                                   LAURA
			No...  No, go away.

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

                                   LAURA
			Go away.  I am not talking to you.

                                BOB'S VOICE
			I want you.

	Sarah Palmer is at the bottom of the stairs.

                                   SARAH
			Laura?

	Laura jumps.


								(CONTINUED)


**


	August 8, 1991							73.


118.	CONTINUED:

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

                                   LAURA
			Mom...  what are you wearing?

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

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

                                   LAURA
			Mom, take it easy.

	Laura starts down the stairs towards her mother.

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

	Laura holds her mother.

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

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

119.	INT.  JOHNSON'S KITCHEN - DAY

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

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

                                  SHELLY
			Lay off the bennies, Leo.

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

                                  (more)


								(CONTINUED)
**


	August 8, 1991							74.


119.	CONTINUED:

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

	He scrubs more.

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

                                  SHELLY
			As if I didn't know.

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

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

                                    LEO
			What did you say?

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

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

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

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

	He answers the phone.

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

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

                                  SHELLY
                          (silently mouthing it)
			Five Thousand???




**


	August 8, 1991							75.


120.	INT.  DOUBLE R - DAY

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

121.	INT.  ROADHOUSE - DAY

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

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

							INTERCUT WITH:

122.	INT.  DOUBLE R - DAY

	BOBBY

                                   BOBBY
			You interested or not?

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

	Bobby starts to write information down on a napkin.

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

123.	EXT.  PALMER HOUSE - NIGHT

	Donna drives up in her car and gets out.

124.	INT.  PALMER HOUSE, LIVING ROOM - NIGHT

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

                                   DONNA
			Where are you going?

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


								(CONTINUED)




**


	August 8, 1991							76.


124.	CONTINUED:

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

	They move back into the living room.

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

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

	Laura shoots her a look.

                                   DONNA
			Where are the Cookies?

                                   LAURA
			You mean Fred and Ginger?

                                   DONNA
			Dancing.

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

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

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

	Laura leaves the house.  Donna trails behind.

125.	EXT.  PALMER HOUSE - NIGHT

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

126.	INT.  THE ROADMASTER - NIGHT

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

127.	EXT.  ROADHOUSE - NIGHT

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


								(CONTINUED)




**


	August 8, 1991							77.


127.	CONTINUED:

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

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

                                   LAURA
                                (whispers)
			Margaret?

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

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

128.	INT.  ROADHOUSE - NIGHT

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

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

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

                                  TRUCKER
			Let's go around the world, babe.

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

	They all take a drink.

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

                                   LAURA
			Sooner or later.

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

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

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

                                  (more)

								(CONTINUED)
**


	August 8, 1991							78.


128.	CONTINUED:

	just as a beautiful song of lost love begins.

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

	AFTER THE SONG

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

                                   DONNA
			Let's boogie.

                                  TRUCKER
                                (to Donna)
			You part of the deal?

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

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

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

                                  TRUCKER
			Buck.

                                   LAURA
			Buck, that was really nice.

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

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

129.	EXT.  HIGHWAY 21 - NIGHT

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

130.	INT.  CAR (BISCAYNE) - NIGHT

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


								(CONTINUED)




**


	August 8, 1991							79.


130.	CONTINUED:

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

                                   LAURA
			Nothing.

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

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

131.	FLASHBACK:  THE RED ROOM

	The Man From Another Place (The Arm) yodels.

132.	INT.  CAR (BISCAYNE)/HIGHWAY 21

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

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

	Donna starts making out with Buck.

133.	EXT.  BORDER TRUCK STOP - NIGHT

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

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

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

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

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


								(CONTINUED)


**


	August 8, 1991							80.


133.	CONTINUED:

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

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

134.	INT.  BORDER TRUCK STOP - NIGHT

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

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

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

                                "PARTYLAND"

135.	INT.  PARTYLAND

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

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

	Laura leans over to Donna noticing her shocked look.

                                   LAURA
			Don't expect a turkey dog in here.

	Jacques Renault comes up to the group.

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

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

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

                                   LAURA
			Hey, Jacques...

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


								(CONTINUED)


**


	August 8, 1991							81.


135.	CONTINUED:

                                   LAURA
                                (for Donna)
			I am The Muffin.

                                  JACQUES
			And what a muffin you have.

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

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

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

                                   LAURA
			Hey, Donna, chug-a-lug.

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

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

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

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

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

	Jacques holds her head in his huge hands.

                            JACQUES (continued)
			There is no tomorrow.

	DONNA'S POV

	The room starts to spin.

							DISSOLVE TO:

	WE MOVE AROUND THRU THE EVENING







**


	August 8, 1991							82.


136.	INT.  ROADHOUSE

	DONNA

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

	RONETTE PULASKI

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

                                  RONETTE
			You smell nice.

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

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

	Jacques comes up to them.

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

	The three of them move around together.

                                  RONETTE
			She's been dead a year.

                                  JACQUES
			Who?

                                  RONETTE
			Teresa...

                                   LAURA
			Teresa Banks?  Yeah, a whole year.

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


								(CONTINUED)




**


	August 8, 1991							83.


136.	CONTINUED:

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

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

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

	Ronette, Laura, and Jacques sway with distorted smiles.

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

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

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

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

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

	Ronette looks over Laura's shoulder.

                                  RONETTE
			Shit, is that Donna Hayward?

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

                                  (more)


								(CONTINUED)

**


	August 8, 1991							84.


136.	CONTINUED: (2)

	CLOSEUP: LAURA'S FACE

	Seeing Donna.

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

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

	ON THE SCENE

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

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

	He doesn't seem to be listening.

                             LAURA (continued)
                                (shouting)
			JACQUES...

	Laura falls full of panic to Donna.

                             LAURA (continued)
			Donna, what are you doing?

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

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

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

                                   LAURA
			Jacques, help me get her home.  NOW!

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

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


								(CONTINUED)


**


	August 8, 1991							85.


136.	CONTINUED: (3)

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

137.	EXT.  TWIN PEAKS CHURCH - SUNDAY MORNING

	On the screen it reads:

                        "SUNDAY - FOUR DAYS BEFORE"

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

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

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

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

	Ed backs off and Nadine dives in slicing.

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

	Ed slowly backs into the house.

139.	INT.  HURLEY HOUSE - DAY

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

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

	They laugh.

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








**


	August 8, 1991							86.


140.	EXT.  CLEARING IN THE WOODS - DAY

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

                                  TRUMAN
			Josie, I think we should go public.

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

                                  TRUMAN
			What are you afraid of?  What people
			think?

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

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

                                   JOSIE
			Fish eyes?

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

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

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

                                  (more)


								(CONTINUED)


**


	August 8, 1991							87.


140.	CONTINUED:

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

	He plays the guitar for Josie.  Then stops.

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

                                   JOSIE
			I understand.

                                  TRUMAN
			We throw away the _whole_ head.

141.	INT.  MOTEL ROOM - DAY

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

142.	INT.  HAYWARD HOUSE, LIVING ROOM - DAY

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

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

                                   LAURA
			No, you should forget about last night.

                                   DONNA
			Laura, I am your friend.

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


								(CONTINUED)




**


	August 8, 1991							88.


142.	CONTINUED:

                                   DONNA
			You're not mad at me?

                                   LAURA
			No.

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

                                   LAURA
			What can I tell you?

                                   DONNA
			How did the car get back here?

                                   LAURA
			WE got it back, that's all.

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

                                   LAURA
			I can't help you there.

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

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

                                   DONNA
			But I love you, Laura.

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

                                   DONNA
			Why do you do it, Laura?

                                   LAURA
			Cause I like it.

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

	ON LELAND

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



**


	August 8, 1991							89.


143.	INT./EXT.  BLUE DIAMOND CITY MOTEL

	LELAND FLASHBACK

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

144.	ON THE SCENE

	Leland looking at the girls.

                                  LELAND
			Excuse me, honey...

	Laura turns to him with a start.

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

                                   DONNA
                                (to Laura)
			Catch you later.

	Leland and Laura leave.

145.	INT.  LELAND'S CAR - DAY

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

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

	Leland turns and gives her a look.

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

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

                             LAURA (continued)
			Something is burning.

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

                                  LELAND
			It's the engine.


								(CONTINUED)



**


	August 8, 1991							90.


145.	CONTINUED:

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

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

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

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

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

	Leland turns to Laura.  Sweat pours from his forehead.

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

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

	Laura can't make this out over the noise.

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

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

	A YOUNG MECHANIC runs up to their car.

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

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


								(CONTINUED)


**


	August 8, 1991							91.


145.	CONTINUED: (2)

	Leland stares at Laura trying to compose himself.

                                   LAURA
			Dad, are you all right?

146.	INT.  PALMER HOUSE

	CU FLESH WORLD MAGAZINE/LELAND FLASHBACK

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

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

	Leland dials the phone.

147.	INT.  BLUE DIAMOND CITY MOTEL ROOM

	CU TERESA BANKS

	She is talking on the phone.

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

							DISSOLVE TO:

148.	INT.  BLUE DIAMOND CITY MOTEL ROOM - LATER

	LELAND

	On top of Teresa in bed.  All whispers.

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

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

                                  TERESA
			I can arrange that.  I like that.

	He kisses her and covers her eyes with a hand.


								(CONTINUED)



**


	August 8, 1991							92.


148.	CONTINUED:

                                  TERESA
			What are you doing?

                                  LELAND
			Who am I?

                                  TERESA
			I don't know.

                                  LELAND
			That's right.

	End of flashback.

149.	BACK IN THE CAR WITH LAURA

	Leland is still sitting and staring at Laura.

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

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

                                   LAURA
			No.

                                  LELAND
			We're late to get to your mother.

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

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

150.	LELAND FLASHBACK - BLUE DIAMOND CITY MOTEL

	Open on a sign saying Blue Diamond City Motel.

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

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


								(CONTINUED)


**


	August 8, 1991							93.


150.	CONTINUED:

                                  TERESA
			What's wrong?

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

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

	End of Flashback.

151.	BACK IN THE CAR WITH LAURA

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

                                   LAURA
			Are you sure you're okay?

                                  LELAND
			Yes.

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

                                   LAURA
			Dad?

                                  LELAND
			Yes.

                                   LAURA
			Did you come home during the day last
			week?

                                  LELAND
			No.

                                   LAURA
			Oh, I thought I saw you.

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

                                   LAURA
			I was down the street.


								(CONTINUED)



**


	August 8, 1991							94.


151.	CONTINUED:

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

	CLOSEUP: LELAND

	As he drives along.

							DISSOLVE TO:

152.	FLASHBACK - BLUE DIAMOND CITY MOTEL

	Teresa watching with her head cocked as Leland hurries off.

							DISSOLVE TO:

153.	INT.  ROADHOUSE

	JACQUES ON THE PHONE

                                  JACQUES
			Hey, Teresa...  what?

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

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

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

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

154.	INT./EXT.  PAY PHONE

	ON TERESA

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

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

155.	INT.  LELAND'S OFFICE

	ON LELAND

	He answers the phone.





**


	August 8, 1991							95.


155.	CONTINUED:

                                  LELAND
			Hello?

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

	ON LELAND'S FACE

	His jaw tightens.

156.	EXT.  DOUBLE R DINER

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

                                   SARAH
                                 (calling)
			Where were you two?

157.	OMITTED

							DISSOLVE TO:

158.	CLOCK IN LAURA'S ROOM

	It reads:  8:00.

	Laura sits at her desk staring off into space.

							DISSOLVE TO:

159.	LAURA'S FLASHBACK BEGINS - HIGHWAY 21

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

160.	LAURA'S FLASHBACK CONTINUES - THE RED ROOM

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

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

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

                                  TERESA
			The guy split.

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

                                  (more)


								(CONTINUED)
**


	August 8, 1991							96.


161.	CONTINUED:

	As she does this Laura sees the SAME RING.

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

	END OF FLASHBACK

162.	INT.  LAURA'S BEDROOM

                                   LAURA
                               (to herself)
			The same ring...

	Laura is jolted by Bob's Voice.

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

                                   LAURA
			Who are you?  Who are you REALLY?

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

163.	INT.  PALMER LIVING ROOM - NIGHT

	Leland pacing the living room.

164.	LELAND: FLASHBACK

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

	END OF FLASHBACK

165.	INT.  PALMER LIVING ROOM

	BACK ON LELAND

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

							DISSOLVE TO:

166.	INT.  PALMER HOUSE, DINING ROOM - MORNING

	A sign on the screen reads:


								(CONTINUED)




**


	August 8, 1991							97.


166.	CONTINUED:

                        "TUESDAY - TWO DAYS BEFORE"

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

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

167.	INT.  LAURA'S ROOM - MINUTES LATER

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

168.	INT.  HIGH SCHOOL - DAY

	Laura corners Bobby in a hallway.

                                   LAURA
			I'm nearly out.

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

                                   LAURA
			Thank you, Bobby.  A big score?

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

                                   LAURA
			Don't be late.

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

                                   JAMES
			I've got to see you.

                                   LAURA
			Not now.

                                   JAMES
			This afternoon?

                                   LAURA
			Okay.

                                  (more)


								(CONTINUED)
**


	August 8, 1991							98.


168.	CONTINUED:

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

                                   JAMES
			What about tonight?

                                   LAURA
			I can't tonight.

                                   JAMES
			What's going on?

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

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

169.	EXT.  GREAT NORTHERN - DAY

	Establish

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

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

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

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

                                  JOHNNY
			Happy Birthday, Johnny.

                                  LELAND
			Happy Birthday, Johnny.

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

                                  JOHNNY
			Happy Birthday, Johnny.

                                   JERRY
			Happy Birthday, Johnny.

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


								(CONTINUED)




**


	August 8, 1991							99.


170.	CONTINUED:

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

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

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

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

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

                                  JOHNNY
			Happy Birthday, Johnny.

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

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

	That sets Sylvia off again.

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

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

	Johnny moves one inch in front of Ben.

                                  JOHNNY
			Happy Birthday, Johnny.

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


								(CONTINUED)




**


	August 8, 1991							100.


170.	CONTINUED: (2)

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

                                  LELAND
                      (part of Jerry's presentation)
			Boating?

                                   JERRY
			No.

                                  LELAND
			Hiking?

                                   JERRY
			No.

                                  LELAND
			Eating?

                                   JERRY
			You'd think so.

                                  LELAND
			Sex?

                                   JERRY
			You're getting warmer.

                                  LELAND
			Trees?

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

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

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

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


								(CONTINUED)
**


	August 8, 1991							101.


170.	CONTINUED: (3)

                             JERRY (continued)
			named Hennepin, Nicollet, Marquette.

                                  LELAND
			They were looking for wood.

                                  SYLVIA
                               (exasperated)
			Oh...

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

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

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

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

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

                                   ANDY
			He's coming in on foot.

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

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

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

172.	INT.  BEN'S OFFICE - DAY

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

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

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

                                  (more)


								(CONTINUED)
**


	August 8, 1991							102.


172.	CONTINUED:

                              BEN (continued)

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

                              BEN (continued)
			For a Kiss.

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

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

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

	She moves in closer and kisses him.  He responds.

							DISSOLVE TO:

173.	EXT.  HIGHWAY 21 - NIGHT

	Bobby roars thru the night with his radio blasting.

174.	EXT.  PALMER HOUSE - NIGHT

	Reestablish.

175	INT.  LAURA'S BEDROOM - NIGHT

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

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

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

177.	EXT.  BOBBY'S CAR - NIGHT

	Whipping down a country road.

178.	INT.  BOBBY'S CAR - NIGHT

	Laura and Bobby tooting coke as they fly thru the night.

                                   BOBBY
			We got to wait till midnight.  But I got
			plenty here to make it.  And I got plenty
			of dough...  right here

                                  (more)


								(CONTINUED)

**


	August 8, 1991							103.


178.	CONTINUED:

                             BOBBY (continued)
                     (pats the money that sits next to
                                   him)
			...for "Bobby_and_Laura's_Big_Score".

	He does a big clown laugh.  Laura erupts with the giggles.  They toot
	up some more.  Bobby tromps on the gas.

179.	EXT.  THE COUNTRY ROAD - SAME

	Pete Martell's POWDER BLUE PICKUP passes them going the other way.
	We stay on the pickup as it pulls into Big Ed's Gas Farm.

180.	INT./EXT.  BIG ED'S GAS FARM - SAME

	PETE MARTELL pulls into the station.  Big Ed comes out to meet him.

                                    ED
			Hey, Pete.  Can't believe your tank's dry
			up at the mill.

                                   PETE
			No...  hell, no.  Just got in the truck,
			started drivin', looked down at the
			gauge and saw a big "E" starin' at me.

                                    ED
			You know what that Big "E" stands for?
			Big Ed's Gas Farm.

                                   PETE
			Yep.  You're right.  That's why I'm here.

                                    ED
			What'll it be?

                                   PETE
			Fill 'er up.

                                    ED
			You got it.

                                   PETE
			I haven't got it yet.

	Ed laughs.

                                    ED
			Nice night.

                                   PETE
			Yep...
                               (long pause)

                                  (more)


								(CONTINUED)
**


	August 8, 1991							104.


180.	CONTINUED:

                             PETE (continued)
			Yes...
                           (another long pause)
			It is.

	Ed starts to clean his windshield.  Pete points out something on the
	windshield.

                             PETE (continued)
			You missed somethin', Ed.

                                    ED
                     (moving around, trying to see it)
			I did?  I didn't see anything.

                                   PETE
			Yeah...  look in here.  Look at it from this
			angle.

	Ed puts his head inside the truck.

                                    ED
			I see it.
                           (reaches up to touch)
			Hell, it's on the inside, Pete.
                            (flips him the rag)
			The inside is your territory.

	Pete starts to clean the inside of his windshield while Ed returns to
	work on the outside.

                                   PETE
                              (as he cleans)
			Even this heavy work beats being at
			home with the old ball and chain.

                                    ED
			Brother, I hear you talkin'.

181.	EXT.  THE WOODS - NIGHT

	Bobby and Laura pull into a little clearing.  Bobby kills the lights.
	The doors open.  Laura and Bobby start to make their way thru the
	woods.

182.	EXT.  THE WOODS - NIGHT

	Laura and Bobby continue thru the woods.  It gets spookier and
	spookier.

	They reach the meeting place.  Awesomely quiet until a twig snaps,
	then a distant howling of a wolf.

	Bobby and Laura sit on the floor of the woods and do some more toot.
	Laura picks up a leaf and shows it to Bobby.


								(CONTINUED)
**


	August 8, 1991							105.


182.	CONTINUED:

                                   LAURA
                                (whispers)
			Bobby, I found a leaf.

	After a moment of staring at it, they both begin to giggle.  She
	picks up a twig.

                             LAURA (continued)
			Bobby, I found a twig.

	They giggle twice as hard.  Laura picks up a pinecone and starts
	knocking him on the head with it.

                             LAURA (continued)
			Bobby, I found a pinecone.

	They giggle three times as hard and start crawling around giggling.
	Suddenly, they hear footsteps.  They freeze and try to stifle their
	giggles.

                                   BOBBY
			Here he comes.

                                   LAURA
			Here he comes.

	They both start laughing again.  They see a guy coming through the
	woods.  We recognize him as the sullen deputy from Deer Meadow,
	Cliff Howard.

                                   BOBBY
                            (suddenly serious)
			Who sent you?

                                   CLIFF
			Jacques.

                                   LAURA
			That's right.

	The deputy takes out a very big bag of coke, showing it to them.

                             LAURA (continued)
			Wow.

	Laura just grabs it out of his hand.  The deputy takes out his gun.
	Bobby panics and pulls out his gun.  BANG!!

	Bobby shoots the deputy in the shoulder, but the deputy still prepares
	to shoot at Bobby so Bobby shoots him again.  This time in the chest.

	The deputy spins and tries to run, but Bobby shoots him in the back.
	He topples over dead.
                                  (more)


								(CONTINUED)

**


	August 8, 1991							106.


182.	CONTINUED: (2)

	BOBBY AND LAURA

	They stand there frozen.  Absolutely no more giggles.

                             LAURA (continued)
			God, Bobby.  What did you do?

	They just stand there looking at the dead body.

                                   BOBBY
			I shot him.  Oh, my god, I shot him.

	Bobby starts for the dead body.

                             BOBBY (continued)
			Come on, you gotta help me.

	With Laura's help they get the body back to the clearing.  They fall
	down to their knees, out of breath, staring at what they have done.
	Their faces register the shock of having just killed someone.  Laura
	looks at Bobby's stunned expression.

                                   LAURA
			Look at your face.

	A laugh squirts out of Laura.  Bobby turns to her in disbelief.

                             LAURA (continued)
			Bobby, you killed Mike.

	Bobby stares at her for a second like Laura has gone insane.

                                   BOBBY
			This isn't Mike.
                        (suddenly unsure - surreal)
			Is this Mike?

                                   LAURA
			Bobby...  ssshhhh...  you killed Mike.

	Bobby breaks.  They begin to laugh uncontrollably.

183.	EXT.  WOODS - NIGHT

	Wide shot.  The distant sounds of Bobby and Laura laughing.  Up
	closer the wind takes over and even closer the hooting of an owl.

							DISSOLVE TO:










**


	August 8, 1991							107.


184.	INT.  THE PALMER HOUSE, FAN AND STAIRS - NIGHT

	THE FAN SPINNING

	Then - THE FAN'S POV down on Laura entering the stairwell.  We drift
	down on Laura.

                                BOB'S VOICE
			I want to kill thru you.

	Laura stops cold on the stairway.

                                   LAURA
                               (looking up)
			No.

                                BOB'S VOICE
			I want you to kill _for_me_.

                                   LAURA
			No.  Never.  You'll have to kill me.

                                BOB'S VOICE
			I want you to kill _for_me_.

	ECU: LAURA

	Laura looking up petrified.

							DISSOLVE TO:

185.	INT.  HIGH SCHOOL - DAY

	The trophy case with Laura's homecoming queen picture within.

	On screen it reads:

                       "WEDNESDAY - ONE DAY BEFORE"

	Bobby catches up with Laura in front of her locker.  He shows her the
	ten thousand they were going to use to pay for the drugs last night.

                                   BOBBY
			Babe, I'm on my way out to the woods to
			divvy up the product.  Put this cash in
			your safety deposit box...
                                (whispers)
			It's ten thousand dollars.

                                   LAURA
                           (acting real serious)
			You killed Mike.

	Bobby is about to get really pissed when Laura starts laughing again.
	Bobby fights to stay in control.


								(CONTINUED)


**


	August 8, 1991							108.


185.	CONTINUED:

                                   BOBBY
			I'm not going to give you this if you
			don't stop laughing.  It's not one god
			damn bit funny.

	Laura stifles her laugh with all her might.  Bobby hands her the
	money.  After a beat Laura starts to laugh, but stops herself again
	by biting her lip.  Bobby is furious and scared.  Laura covers her
	mouth.  Bobby breaks again.

186.	EXT.  THE WOODS - DAY

	Bobby's car skids to a stop.  Bobby jumps out and pops the trunk.
	He unwraps the big bag of cocaine from a blanket.  He tears a little
	hole in it to enjoy a taste test.  The second it touches the tongue
	he panics and frantically takes a deeper test.

                                   BOBBY
                                (screaming)
			LAXATIVE!

	He sprays and throws the powder every which way in a rage.

                             BOBBY (continued)
			SSSSHHHIIITTTT!!!

187.	INT.  LAURA'S ROOM - NIGHT

	Laura lies in bed.  She leans over to the bedside table and snorts a
	line.  The phone rings and startles her.  She answers it.

							INTERCUT WITH:

188.	INT.  DR. JACOBY'S OFFICE - NIGHT

	JACOBY on the phone.

                                  JACOBY
			Laura, you didn't come and see me today.

                                   LAURA
                              (in a whisper)
			I couldn't it was Johnny Horne's
			birthday.  I promised I'd be with him.  I
			told you not to call me here.

                                  JACOBY
			A little trouble with your parents is the
			least of your worries and something I
			am certainly willing to put up with.

                                   LAURA
			I'm not.


								(CONTINUED)


**


	August 8, 1991							109.


188.	CONTINUED:

                                  JACOBY
			Did you make me a tape?

                                   LAURA
			I already made you two tapes.

                                  JACOBY
			Laura, you have to deal with _all_ of this.

                                   LAURA
			I'm dealing with it, Doc.  Big time.
			Maybe I'll make you a tape tomorrow.
			Goodnight.

                                  JACOBY
			Send me a kiss.

	She hangs up.

189.	INT.  LELAND AND SARAH PALMER'S BEDROOM - NIGHT

	Sarah at her vanity, puts a cigarette out and walks to her bed as
	Leland brings up a big glass of warm milk to her.

	Sarah looks up at Leland and they share a look as she drinks the milk.

	After Sarah finishes her milk Leland walks into the hallway.

190.	INT.  HALLWAY - NIGHT

	Leland hits the fan switch.

191.	INT.  STAIRS AND FAN

	THE FAN COMES TO LIFE

192.	INT.  LAURA'S BEDROOM - NIGHT

	Laura freezes when she hears the fan.  She closes her eyes.

193.	INT.  PALMER BEDROOM - NIGHT

	Sarah's head is nodding.  Her heavy eyelids close.  Her eyes pop open
	once more.  Sarah sees the white horse in her room.  She falls asleep.

194.	INT.  LAURA'S BEDROOM - NIGHT

	The room is dark.  Laura is pressed up against the headboard of her
	bed staring at the window.  The fan ominously whirls in the hall.

	Bob appears in her window and enters the room.

	Bob moves down on top of her.  His hand moves between her legs.  Laura

                                  (more)


								(CONTINUED)
**


	August 8, 1991							110.

194.	CONTINUED:

	fights with all her might to keep staring at his face.  To know it.
	To unlock it.  Her hands go up.  She holds his face...  squeezes it
	as he moves on top of her.

	Slowly, what she always knew deep inside of her becomes clear.

	BOB BECOMES LELAND.

	She screams and passes out into hell.

195.	INT.  PALMER HOUSE, DINING ROOM - DAY

	CLOSEUP:  BOWL OF SOGGY CEREAL

	On screen it reads:

                              "LAST MORNING"

	ON THE SCENE

	Sarah sits at the dining room table smoking.  Laura pushes her spoon
	around in the soggy cereal.  Leland stares at her.

                                  LELAND
			Laura, I would like to talk to you.  Is
			something wrong?

	Laura gets up and leaves the room.  Leland stares at the empty door.
	He waits for a moment and then follows her.  Sarah, nervously,
	watches him go.

196.	INT.  LAURA'S ROOM

	Laura is getting her school materials together when Leland enters.

                                  LELAND
			Laura.  What's wrong this morning?

                                   LAURA
                            (whispering threat)
			Stay away from me.

	Never taking her eyes off him, she works her way around him and
	leaves the room.

	We stay on Leland.  His face changes.  He knows she knows and he
	knows what he has to do.

197.	EXT.  SIDEWALK IN FRONT OF THE PALMER HOUSE - DAY

	Laura walks to school.  All the beautiful, natural sounds of morning
	sound like hell to her.  Distorted chants from hell.







**


	August 8, 1991							111.


198.	INT.  HIGH SCHOOL CLASSROOM - DAY

	Laura studies the clock hand going round and round.  Every sound in
	the room is distorted.

	THE BELL RINGS

	IN SLOW MOTION

	Laura rises from her chair.  Camera stays on her empty chair.  The
	chair she will never sit in again.

							DISSOLVE TO:

199.	INT.  PALMER DINING ROOM - NIGHT

	A PLATE OF ASPARAGUS.  The mashed potatoes and the roast beef have
	been mostly eaten.  On screen it reads:

                               "LAST NIGHT"

	Laura and her mother sit, eating alone.

                                   LAURA
			I hate asparagus.

                                   SARAH
			Sure you do, it's good for you.

	They eat in silence for a moment.

                                   LAURA
			Where's Dad?

                                   SARAH
			Ben asked him to stay late to plan for
			the Norwegians.

                                   LAURA
			If it's okay with you I'm going to
			Bobby's to do my homework.

                                   SARAH
			It's a school night...  back by nine.

200.	EXT.  BRIGGS HOUSE - NIGHT

	 Establish.

201.	INT.  BRIGGS LIVING ROOM- NIGHT

	MRS. BETTY BRIGGS lets Laura in the front door.

                                   LAURA
			Hi, Mrs. Briggs...


								(CONTINUED)


**


	August 8, 1991							112.


201.	CONTINUED:

                                   BETTY
			Hi, Laura, Bobby's in the basement.

                                   LAURA
			Right where he belongs, right.

	GARLAND BRIGGS chuckles off screen.

202.	INT.  BRIGGS HOUSE, BASEMENT RECREATION ROOM - NIGHT

	Laura comes down stairs and sees Bobby lying on the floor.  His hands
	covering his eyes.

                                   LAURA
                                (concerned)
			What's up, Bobby?

	Laura sits down next to him.

                                   BOBBY
			Bad news, kid, it was baby laxative.

                                   LAURA
			What was?

                                   BOBBY
			The stuff we got last night.

                                   LAURA
			Baby laxative?  We can't snort baby
			laxative.

                                   BOBBY
			No shit...
                                (whispers)
			We killed a guy for baby laxative.

                                   LAURA
			What is the world coming to when you
			kill a guy for baby laxative?

                                   BOBBY
			Don't get funny with me again.

                                   LAURA
			I'm not...  Bobby I'm gonna need some
			more stuff.  I mean it.  I'm out.

                                   BOBBY
			Yeah, and I'm gonna need that ten
			thousand dollars back.


								(CONTINUED)




**


	August 8, 1991							113.


202.	CONTINUED:

                                   LAURA
			Sure, but I can't get it till after school
			tomorrow.

                                   BOBBY
			Let's ditch this place and party.

                                   LAURA
			Not tonight.  Just give me something to
			take home to hold me over till
			tomorrow.

                                   BOBBY
			Why?  Why not?  Where are you goin'?

	Laura smiles and leans forward.  She kisses him and he responds.

                                   LAURA
			Bobby, I'm goin' home.  To bed...  my nice
			warm bed...

	They kiss again.  He looks up and listens for his parents.

                                   BOBBY
                                (whispers)
			We can do it right here.

                                   LAURA
                                  (flat)
			Bobby...

	Bobby sees that she is not in the mood.

                                   BOBBY
			You don't want me.  You just want the
			stuff, don't ya?

	Laura stares at him.

                             BOBBY (continued)
			It's okay.

	He reaches in his pocket and gives her a nice bag of coke plus pills.

                             BOBBY (continued)
			Bobby's got it.

                                   LAURA
                            (taking the packet)
			Thanks, Bobby.
                          (looking at the packet)
			And my little round friends, too.

	They head upstairs.




**


	August 8, 1991							114.


203.	INT.  BRIGGS LIVING ROOM - NIGHT

	Mr. Briggs is reading aloud to Mrs. Briggs from the book of
	Revelations.  As Bobby hears this he turns to Laura and makes a look
	of horror which says, "Can you believe I live here".  Laura smiles.

	Bobby takes Laura to the door.  He gives her a small kiss, "Good
	Night".  After she leaves he cuts back thru the living room and just
	as he clears the room he lights up.

                                  BRIGGS
                        (looking up from the Bible)
			Robert, put out the cigarette.

	And Briggs returns to the Bible.

204.	INT.  SHERIFF'S STATION, INTERROGATION ROOM - NIGHT

	Sheriff Truman and Andy sit at the small table with doughnuts and
	coffee.  Andy monitors the radio.  LUCY MORAN cuts thru on the
	intercom.

                                   LUCY
                            (over the intercom)
			Sheriff Truman?

	Truman hits the intercom button.

                                  TRUMAN
			Yes, Lucy?

                                   LUCY
                              (over intercom)
			Mrs. Packard called and said she heard
			what she thinks could be a prowler
			outside her house.

                                  TRUMAN
			Okay, Lucy.  I better get on up there.

	He releases the intercom button.  But Lucy continues to talk over the
	intercom.

                               LUCY'S VOICE
			It's probably raccoons which is what it
			was last week...

                                  TRUMAN
                                 (to Andy)
			You stay here and monitor the radio.  Let
			me know right away, if you hear from
			Hawk.

                               LUCY'S VOICE
			And last week I thought of the same

                                  (more)


								(CONTINUED)
**


	August 8, 1991							115.


204.	CONTINUED:

                         LUCY'S VOICE (continued)
			thing.

                                   ANDY
			Okay, Sheriff Truman.

                               LUCY'S VOICE
			Raccoons remind me of my aunt who
			lives in Wyoming where they have
			raccoons, too.

	Truman stands up, puts on his gun and leaves.  Lucy's voice continues
	as we watch Andy sit there alone.

                         LUCY'S VOICE (continued)
			She couldn't get rid of her raccoons
			because she made the big mistake of
			feeding them albacore tuna.  I don't
			know why she fed them albacore tuna.
			And albacore tuna is so expensive.
                         (voice raising an octave)
			Sheriff Truman how did you get up
			here?

	Over the intercom Andy hears Lucy make a small hysterical cry.  He
	stands and runs from the room.  Stay on the intercom.  Lucy's voice
	continues.

                         LUCY'S VOICE (continued)
			Andy?  Are you there?  I am very
			confused.  Who am I talking to?  Andy,
			are you there?

205.	INT. SHERIFF'S STATION, RECEPTION - SAME

	Lucy gets up from the intercom.

                                   LUCY
			Maybe I'm alone.
                          (whispers, frightened)
			Andy...  where did Andy go?

	She races from her station and collides with Andy coming up from the
	interrogation room.  They both scream.

206.	INT.  PALMER HOUSE, LIVING ROOM - NIGHT

	Sarah sits smoking and reading a cheap magazine as Laura moves thru
	the living room.

                                   LAURA
			Good night, Mom.


								(CONTINUED)



**


	August 8, 1991							116.


206.	CONTINUED:

                                   SARAH
			Good night, sweetheart.

	Laura moves up the stairs.

207.	INT.  LAURA'S ROOM - NIGHT

	She does three lines of Bobby's cocaine.

	ON THE CLOCK IN HER ROOM

	It reads:  9:30.

	ON LAURA

	Trying to hold on.  The phone rings.

                                   LAURA
                                 (whisper)
			James...  Yes, okay...  No, James, I do love
			you, but...  Okay, I'll meet you in fifteen
			minutes...

	She hangs up the phone and does another line of cocaine then swallows
	down a handful of red round friends from Bobby - the pills.

                             LAURA (continued)
			Fifteen minutes...  god, why did I say
			that?...  what did I say?...

208.	INT./EXT.  PALMER HOUSE

	As Laura sneaks out she sees her dad coming home.

209.	EXT.  PALMER HOUSE

	LELAND

	Leland comes out of the car.  Laura ducks into some bushes and hides.
	Leland stops in the middle of the yard sensing something.  He looks
	right at where Laura is hiding.  She can't tell if he can see her or
	not.

	CLOSEUP: LAURA

	She hears James' bike coming in the distance.

                                   LAURA
                         (frantically to herself)
			Go inside...  go inside...

	James' bike sounds closer and closer.  Leland turns, opens the front
	door and goes into the house.

	James drives up.  Leland's face appears looking out the front window.
	Laura jumps on the bike behind James and off they go.


**


	August 8, 1991							117.


210.	EXT.  HIGHWAY 21 - NIGHT

	James and Laura drive thru the night.

211.	EXT.  CLEARING IN THE WOODS - NIGHT

	James brings the bike thru the woods and stops in the little clearing.
	James tries to kiss Laura, she pushes him away.

                                   JAMES
			What the hell is wrong with you?

                                   LAURA
			That's right.  There's no place left to go
			is there, James?

                                   JAMES
			What do you mean?

                                   LAURA
			You know it and I know it.

                                   JAMES
			What is wrong with us?...  We have
			everything.

                                   LAURA
			Everything, but everything.

                                   JAMES
			Oh, Laura.

                                   LAURA
                              (mimicking him)
			"Oh, Laura..."

	She gives him a terrible slap.

                                   JAMES
                                 (ironic)
			You always hurt the ones you love.

                                   LAURA
			You mean the ones you pity.

                                   JAMES
			Say anything you want...  I know you love
			me and I love you.

                                   LAURA
			I do love you.
                                (whispers)
			Let's get lost together.


								(CONTINUED)




**


	August 8, 1991							118.


211.	CONTINUED:

	They kiss again.  Hot.  Hands everywhere.

                             LAURA (continued)
                              (breaking away)
			Shit, maybe he'll kill you.

                                   JAMES
			What?

                                   LAURA
			When he finds out.

                                   JAMES
			What?

                                   LAURA
			Bobby killed a guy.

                                   JAMES
			What are you talking about?  Bobby
			didn't kill anybody.

                                   LAURA
			You want to see...

                                   JAMES
			See what?

                                   LAURA
                                (disgusted)
			Right.  Open your eyes, James.  You don't
			know me.  Even _Donna_ doesn't know me.
			Your Laura disappeared...  It's just me
			now.

	James grabs her trying to control her.  She twists out of his arms.

                             LAURA (continued)
			How 'bout this, James?

	She lifts her hand and gives him the finger.  James ignores the
	finger and kisses her, but she's gone ice cold.

                             LAURA (continued)
			I think you want to take me home now,
			James.

	She leads him back to the bike.  He won't start it.

                             LAURA (continued)
			Oh, quit crying.  I've had enough of your
			fucking caring.

	He kicks the bike to a start.  Behind him, Laura watches and silently
	starts to cry.



**


	August 8, 1991							119.


212.	EXT.  HIGHWAY 21 - NIGHT

	Laura and James on the bike make their way down to Sparkwood and
	Twenty One.

	Laura leans way back on the bike.

	LAURA'S POV

	Looking up at the trees as they fly by in a dark blur.

	LAURA AND JAMES

                                   LAURA
			The trees...  the trees...

	Laura screams with agony and tries to get off as they approach the
	light.  Laura falls off as they skid to a stop.

                                   JAMES
                         (confused and terrified)
			Laura...

	Laura crawls back up and puts her hands around James' neck.

                                   LAURA
                        (from far away she screams)
			JAMES, I LOVE YOU.

	For a moment she focuses on him.  She looks like the Laura that James
	loves.  Innocent and Beautiful.

	Laura turns and sees the woods.  It pulls her.  She releases her hold
	on James and runs into the waiting darkness.

	The red light swings in the wind above James.  It turns green, but he
	doesn't move.  When the light turns red again, James guns the engine
	and lifts the bike up on its back tire.  James screams then roars down
	the road away from us.

	Off to the side of the road lies Doc Hayward's wilted red rose.

213.	EXT.  PACKARD LOGGING ROAD - MIDNIGHT

	Laura runs up thru the woods.  At the Packard Logging Road Laura
	meets Jacques, Leo and Ronette all standing around Leo's red corvette.

                                  JACQUES
			Right on time, baby.

                                   LAURA
			Buy me a ticket to The Great Went.


								(CONTINUED)





**


	August 8, 1991							120.


213.	CONTINUED:

                                  JACQUES
			We're on our way, Baby.

                                   LAURA
			Let's go _all_ the way.

	They pile into Leo's 'Vet and peel down the dirt road.

214.	INT.  JACQUES' CABIN - NIGHT

	The foursome getting roasted and toasted - very high.

	Jacques starts to tie Laura up with some light rope.

                                   LAURA
                           (drugged, screaming)
			Don't tie me up, tonight.  Don't tie me
			up.

	Jacques and Leo laugh.  Jacques starts to tie Laura up while Leo holds
	her.  Laura struggles and screams begging them not to do it.  With
	Laura tied up, Leo starts to tie up Ronette.

							DISSOLVE TO:

215.	INT.  JACQUES' CABIN - LATER

	Both girls are half naked and have been tied up.  WALDO the bird is
	screeching.  Jacques is straddling Laura and is hurting her badly.
	Leo puts a One Eyed Jacks THOUSAND DOLLAR POKER CHIP in her mouth.

                                    LEO
			Bite the bullet, baby.

	Like a ghost Leland appears in the window.

	No one sees him.

	Laura continues to scream.  Leo gets up and goes for the bottle of
	bourbon.  He takes a swig and then steps back to Jacques and Laura.

                                    LEO
                           (referring to Laura)
			Let me have a little of that.

                                  JACQUES
                         (pointing at the bourbon)
			Let me have a little of that, baby.

	Leo holds the bottle tight.  Jacques stands up and decks Leo with his
	big French Canadian paw.  He grabs the spilling bottle from the floor
	and stumbles outside.






**


	August 8, 1991							121.


216.	EXT.  JACQUES' CABIN - NIGHT

	When Jacques comes out of the cabin, Leland trips him, grabs the
	bottle and breaks it over Jacques head, knocking him out cold.

	Leo hears the crash and comes outside.  He sees Jacques bleeding on
	the ground.  He panics and weaves down the hill to his corvette and
	takes off.

	Leland goes into the cabin.  His smiling eyes are on Laura while he
	rapes Ronette.  Laura watches as her fear drives her to hysteria.

217.	EXT./INT.  LOG LADY'S CABIN - NIGHT

	In the darkness the Log Lady holds her log and listens.  She hears
	distant screams.  The camera moves down her leg to reveal her tattoo,
	beet red and burning.

218.	EXT.  TRAIL - SAME

	Philip Gerard, the one-armed man, runs like a madman up the trail
	towards Jacques' cabin.

219.	EXT.  PATHWAY FROM THE CABIN - NIGHT

	With the face of the devil, Leland double time marches Laura and
	Ronette out the cabin door and thru the woods.

                                   LAURA
                    (screaming - pleading for her life)
			DADDY...  DADDY...

220.	EXT.  JACQUES' CABIN - NIGHT

	Gasping for breath Gerard arrives at the cabin too late.  He stares
	at the open doorway.  Jacques lies passed out at his feet.  Gerard
	cocks his head straining to hear something.  He hears distant screams.

                                  GERARD
			Bob, I can hear you singing.

221.	INT.  TRAIN CAR - NIGHT

	Leland hauls the two girls into the train car.

	He SLIDES THE DOOR SHUT and it is completely quiet.

	BOB AND LELAND going in and out like breathing.  The two girls shudder
	in the corner as he circles them.

	Leland grabs Laura and begins to wrap the twine around her arms
	bending the arms back.

                                   LAURA
                                (whispers)
			Are you going to kill me?




**


	August 8, 1991							122.


222.	EXT.  WOODS - NIGHT

	Gerard tearing thru the woods.  The wind comes up carrying with it
	cries and screams and the sounds of BOB.

223.	INT.  TRAIN CAR - NIGHT

	Leland hoists Laura up so that she hovers facing the floor a foot
	off the ground.  He places a mirror on the floor directly under her
	face.

	IN THE MIRROR

	Laura sees herself turn into Bob.  Leland screams into space.

                                  LELAND
			DON'T MAKE ME DO IT.

                                   LAURA
			NO, YOU HAVE TO KILL ME.

                                  LELAND
			I always thought you knew it was me.

                                   LAURA
                         (into Bob in the mirror)
			NO!  YOU CAN'T HAVE ME.
                                (to Leland)
			KILL ME.

224.	EXT.  TRAIN CAR - NIGHT

	Gerard arrives outside.  He bangs on the train door.

                                  GERARD
			LET ME IN.  LET ME IN.

	The door opens a little bit because Ronette is pushing it with her
	feet.  Gerard reaches up to help her when suddenly she flies over
	his head having been hit.

	Ronette hits the ground, her unconscious head bent back at an odd
	angle.

	ECU: GERARD

	He listens to the sounds of murder inside the train car.

225.	INSIDE THE TRAIN CAR

	Laura screaming

	Knife entering flesh.

	Bob screaming.


								(CONTINUED)


**


	August 8, 1991							123.


225.	CONTINUED:

	Bloody knife thru the air.

	Leland screaming.

226.	EXT.  TRAIN CAR

	ECU: GERARD

	Gerard leans in to take a look and steps back laughing.  he yells out
	for Bob to hear.

                            GERARD (continued)
			THAT'S HIS OWN DAUGHTER YOU'RE
			KILLING.

	He continues to laugh and runs away from the train car.

	A few moments later Leland stumbles out of the car carrying the body
	of Laura Palmer wrapped in a plastic shroud.  Leland's shirt is puffed
	out - a bloody towel inside.

227.	EXT.  WOODS/RIVER - NIGHT

	Leland/Bob lowers the plastic shrouded Laura into the river.

228.	EXT.  GLASTONBURY GROVE - NIGHT

	Leland stumbles to the centre of Glastonbury Grove and stops.  A
	frightening wind carries haunting music.  He digs into his pockets
	for the pages torn from Laura's secret diary.  he tosses them and
	the bloody towel to the wind.

	He goes to the centre of the circle of the twelve sycamore trees.
	The red curtains appear and he passes between them entering the red
	Room.

229.	INT.  THE RED ROOM

	It is not empty.  Gerard is just leaving the other side of the room.

	LELAND walks thru the Red Room after him.  He walks down a corridor
	and _into_the_Red_Room_again_.

	There on the other side of the room Leland sees Gerard and the Man
	From Another Place sitting side by side in a chair facing him.

	Leland stops when he sees them.  He divides.  One half becomes Bob -
	opaque.  The other half floats up and becomes Leland - transparent.

	ON BOB

	He reaches up and grabs Leland's wound.

                                  (more)


								(CONTINUED)

**


	August 8, 1991							124.


229.	CONTINUED:

	ECU - LELAND'S WOUND

	Bob heals Leland's wound.

	ON THE SCENE.

	Gerard and the Man From Another Place speak in unison.

                            GERARD/THE MAN FROM
                               ANOTHER PLACE
                                (subtitled)
                                (in unison)
			Bob, you're not going home without me.  I
			want all my garmonbozia.  (corn)

							DISSOLVE TO:

230.	EXT.  WATER'S EDGE BY THE PACKARD SAWMILL - DAWN

	At high tide Laura Palmer's body is floating up to and bumping against
	the logs.

231.	EXT.  GLASTONBURY GROVE

	On screen it reads:

                            "TWO MONTHS LATER"

232.	INT.  HOSPITAL EMERGENCY WARD - NIGHT

	Annie is being brought in on a stretcher.  A NURSE talks to a
	PARAMEDIC as they rush her towards the emergency room.

                                   NURSE
			What happened?

                                   MEDIC
			I don't know.  Sheriff Truman just
			brought her in from Glastonbury Grove.

233.	INT.  THE RED ROOM

	The Man From Another Place stands with Cooper.

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


								(CONTINUED)







**


	August 8, 1991							125.


233.	CONTINUED:

	The Man From Another Place puts his hand in front of his lips and
	makes an Indian Whooping sound.

                                  COOPER
                          (looking at the table)
			Where is the ring?

                          MAN FROM ANOTHER PLACE
			Someone else has it now.

                                  COOPER
			That would indicate that it's the future.

                          MAN FROM ANOTHER PLACE
			The later events have never been kept a
			secret.

                                  COOPER
			Where am I?  And how can I leave?

                          MAN FROM ANOTHER PLACE
			You are here and there is no place to
			go...

	A pause.

                          MAN FROM ANOTHER PLACE
                                 (shouts)
			BUT HOME!

	The Man From Another Place begins to laugh uncontrollably.

234.	INT.  HOSPITAL ROOM - NIGHT

	A NURSE mops the sweat from Annie's forehead.  Annie tries to get
	thru to her.

                                   ANNIE
			My name is Annie.  I've been with Laura
			and Dale.  The good Dale is in the lodge
			and he can't leave.  Write it in your
			diary.

	The nurse pats Annie's forehead and takes her hand.  We see
	_TERESA/LAURA'S_RING_ on Annie's ring finger.  The nurse gently
	slides the ring off Annie's finger.

235.	INT.  ANOTHER ROOM IN THE HOSPITAL

	The nurse enters.  With an anticipatory smile, then a selfish laugh,
	she puts the ring on her finger.







**


	August 8, 1991							126.


236.	INT.  HOTEL ROOM, GREAT NORTHERN - NIGHT

	Doc Hayward and Sheriff Truman watch the door of the bathroom
	anxiously.

                                  TRUMAN
			Coop...  Coop...

                                    DOC
			Cooper are you alright?

	Not getting any response Truman breaks open the door.

237.	INSIDE THE BATHROOM

	Cooper, in his pajamas, lies on the floor.  The mirror above the sink
	is shattered with blood all over it and the sink.  Cooper smiles up
	at them strangely.

                                  COOPER
                            (smiling strangely)
			I slipped and hit my head on the mirror.
			The glass broke as it struck my head.
                                 (laughs)
			It struck me as funny, Harry.  Do you
			understand me, Harry, it struck me as
			funny.

                                    DOC
			You are going right back to bed.

	Doc and Truman help Cooper up.

                                  COOPER
			But I haven't brushed my teeth yet.

	Cooper smiles at the uneasy pair.

238.	BLACK LODGE/RED ROOM

	Laura is sitting in a chair.  As the end credits begin...

	We move back to see that Laura is sitting in Cooper's lap in the
	same chair.

							FADE OUT.


                                  THE END











**