Episode 1 - Traces to Nowhere
FADE IN:
INT. LOG LADY'S CABIN - DAY
Seated at a dining table beside a tea set we see a woman, 'LOG LADY' MARGARET
LANTERMEN. In her arms she carries a wooden log. She is speaking to us.
LOG LADY
I carry a log ... yes. Is it funny to you? It
is not to me. Behind all things are reasons. Reasons can even explain the
absurd. Do we have the time to learn the reasons behind the human being's
varied behavior? I think not. Some take the time. Are they called detectives?
Watch ... and see what life teaches.
FADE OUT:
INTRO:
FADE IN:
TUNE: TWIN PEAKS THEME
CREDITS run with the scenes of a bird in a tree, the mill machinery at work,
the road into town with the welcome sign, the hotel by the falls and the
river.
TUNE ENDS: TWIN PEAKS THEME
FADE OUT:
FADE IN:
TUNE: DANCE OF THE DREAM MAN (UPBEAT VARIANT)
EXT. GREAT NORTHERN HOTEL - DAY
Dawn breaks over the Great Northern and the nearby waterfall.
CUT TO:
INT. DALE COOPER'S HOTEL ROOM - DAY
We get a PANNED view of FBI SPECIAL AGENT DALE COOPER'S hotel room. Starting
at the bedside table where his gun is located we PAN to see two deer hooves
holding up a rifle over his bed, a mounted turkey on a table in the corner
of the room, a painting with ducks and to a mounted fish. We hear him before
we see him, but DALE COOPER is perched six inches above the floor hanging
from an apparatus connected to his boots. He is wearing boxer shorts, a
t-shirt and a pair of socks. He is talking into the tape recorder which
is sitting on the carpet near his head.
COOPER
Diane ... 6:18 am, room 315, Great Northern Hotel
up here in Twin Peaks. Slept pretty well. Non-smoking room. There's no
tobacco smell. That's a nice consideration for the business traveler. A
hint of douglas fir needles in the air. As Sheriff Truman indicated they
would, everything this hotel promised, they've delivered: clean, reasonably
priced accommodations ... telephone works ... bathroom in really tip-top
shape ... no drips, plenty of hot water and good, steady pressure ... could
be a side benefit of the waterfall outside my window ... mattress firm,
but not too firm ... and no lumps like that time I told you about down
in El Paso. What a nightmare that was, but of course you've heard me tell
that story once or twice, haven't you Diane. Haven't tried the television
yet. Looks like cable, probably no reception problems. But the true test
of any hotel, as you now well know Diane, is that morning cup of coffee.
Which I'll be getting back to you about within the half hour.
COOPER grabs his tape recorder and shuts it off. He then removes himself
from the hanging apparatus and stands up. With the tape recorder in his
hand he starts it up again.
TUNE ENDS: DANCE OF THE DREAM MAN (UPBEAT VARIANT)
COOPER
Diane, it struck me again earlier this morning.
There are two things that continue to trouble me, and I'm speaking now
not only as an agent of the Bureau, but also as a human being. What really
went on between Marilyn Monroe and the Kennedys? And who really pulled
the trigger on JFK?
CUT TO:
INT. TIMBER ROOM - DAY
In the dining area of the Great Northern Hotel, DALE COOPER sits at a table
as a WAITRESS pours him a cup of coffee. COOPER holds his hand up to stop
her from leaving.
COOPER
Wait a minute, wait a minute ... (he sniffs the
coffee) hmmm. (he sips) You know, this is, excuse me, a damn fine cup
of coffee. I've had I can't tell you many cups of coffee in my life and
this ... this is one of the best.
The WAITRESS smiles, places the pot of coffee on the table and grabs a pencil
and a pad of paper to take his food order.
COOPER
Now I'd like two eggs, over hard. I know don't
tell me, it's hard on the arteries, but old habits die hard, just about
as hard as I want those eggs ... bacon, super-crispy, almost burned, cremate
it ...
CUT TO:
INT. TIMBER ROOM - DAY
TUNE: FRESHLY SQUEEZED (0:26 - 3:48)
AUDREY HORNE, standing across the room, is watching COOPER order. She slips
into her beguiling, rip-your-heart-out routine as she sashays across the
dining area to COOPER'S table.
COOPER
(just finishing up) ... that's great and I'll
have the grapefruit juice, just as long as those grapefruits ...
He sees AUDREY approaching his table.
COOPER
... are freshly squeezed.
The WAITRESS departs. AUDREY smiles.
AUDREY
COOPER
(stands up) Federal Bureau of Investigation, Special
Agent Dale Cooper.
AUDREY
COOPER
(pleasantly) Miss Horne, unless I miss my guess,
your father is Benjamin Horne, the owner of this fine establishment, so
I imagine you can sit anywhere you like. I'd also like to add that it would
be my pleasure.
AUDREY
Thank you. (sits) Your here investigating the
murder of Laura Palmer.
COOPER
Were you friends with Laura Palmer?
AUDREY
Not exactly. See, Laura tutored my older brother
Johnny three times a week. Johnny's twenty-seven and he's in the third
grade. He's got emotional problems, it runs in the family. Do you like
my ring?
She holds out her hand to show him her ring.
COOPER
AUDREY
You know sometimes I get so flushed, its interesting.
(absentmindedly rubs her left palm) Do your palms ever itch?
COOPER studies her benignly. AUDREY continues her beguiling routine.
TUNE ENDS: FRESHLY SQUEEZED (0:26 - 3:48)
CUT TO:
EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
TUNE: FRESHLY SQUEEZED (0:00 - 0:25) (W/O SNAPS)
We watch AGENT COOPER enter the building.
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
Near the entrance, DEPUTY ANDY BRENNAN is watching two workmen welding with
a blowtorch by the ceiling. ANDY takes a big bite of his plum frappe turnover,
just as COOPER breezes through the front door and waves brightly as he passes.
COOPER
ANDY
(his mouth completely full) Good morning, Agent
Cooper.
LUCY MORAN, at the coffee station holding a cup of coffee and a donut, turns
to face COOPER, with her mouth full.
COOPER
LUCY
(barely intelligible) Agent Cooper, I got jelly
for you special, the Sheriff's in the conference room at door across from
the ...
Not fully comprehending what LUCY has told him, COOPER answers ...
COOPER
I'll look for him in the conference room.
AGENT COOPER walks down the hall.
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
In the conference room, SHERIFF HARRY S. TRUMAN, coffee mug in hand, takes
an enormous bite of a humongous donut. COOPER whisks in, sees him and says
...
COOPER
SHERIFF TRUMAN tries to chew.
COOPER
Sheriff, lets get James Hurley up from cell four
and talk to him straight. He was in love with Laura Palmer, my bet is she
told him whatever dirt she knew about Mike and Bobby and who knows what
else. (Truman listens, still chewing) Then lets have a little chat with
those two perpetrators, lets also run a top to bottom on Bobby's vehicle
, see what that brings us. We'll also check on the autopsy on Laura Palmer
and see what that brings in. Oh, we're also gonna want to talk to Mr. and
Mrs. Palmer but lets give them a few of days to deal with their grief.
Now I got the rest of our day mapped out, lets meet back here in three
minutes. Harry, I really have to urinate.
COOPER walks off but stops near the doorway and says ...
COOPER
Oh, by the way, coffee at the Great Northern,
incredible.
After COOPER exits, a relieved SHERIFF TRUMAN finally swallows his mouthful
of donut.
TUNE ENDS: FRESHLY SQUEEZED (0:00 - 0:25) (W/O SNAPS)
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
TUNE: LAURA PALMER'S THEME
In the conference room, DR. WILL HAYWARD opens a folder containing LAURA'S
autopsy report, ready to share the results to SHERIFF TRUMAN and COOPER.
DR. HAYWARD
Harry, as you know, I delivered Laura. I've known
her all her life, she was my daughter's best friend. I couldn't bring myself
to do the postmortem, so I called Joe Fielding in from Fairvale. He did
the work, I assisted. Well, this is what he found. (puts on glasses, consults
sheet) Time of death estimated to be between midnight and four AM. What
killed her was loss of blood. Numerous shallow wounds, no single one serious
enough to have caused death. Bite marks on her shoulders also on her tongue,
probably self-inflicted. Lesions on wrists, ankles, and upper arms, where
she was bound. We're waiting on the toxological tests for drug use. (he
takes off his glasses) Within the last ... twelve hours, she had sexual
relations with at least three men.
COOPER
You've examined Ronette Pulaski as well?
DR. HAYWARD
(composing himself) Yes , ... uhh ... there's
no question in my mind the same perpetrator attacked both of them in that
train car.
SHERIFF TRUMAN
Doc, when, if ever, will Ronette be able to talk
to us?
DR. HAYWARD
She had a severe head injury, it's still early
to tell, add to that the psychological impact of the fear, ... probably
... witnessing what was happening to Laura before she ...
DR. HAYWARD looks at a close-up picture of LAURA taken where she was found
on the beach.
DR. HAYWARD
So beautiful. Who would do a thing like that?
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
EXT. JOHNSON HOUSE - DAY
We see a stencil on the door of LEO'S rig, 'BIG PUSSYCAT'. The trucker,
LEO JOHNSON, is obsessively cleaning the cab of his semi rig with a dustbuster.
A bucket of hot water, some sponges, and a hose are at the ready nearby.
SHELLY JOHNSON, in her waitress uniform, comes up to the truck.
SHELLY
Leo. Leo, honey? I have to go to work now and
Norma should be here any sec ... Leo?
TUNE: WALKING IN THE DARK 
32K
He turns off the dustbuster and turns to her with a cigarette hanging from
his lips.
LEO
Did you finish cleaning my boots?
SHELLY
Yeah, I did them and I did the laundry too.
LEO
SHELLY
He grabs a canvas bag full of dirty clothes from his cab and flings it at
her.
LEO
She catches the bag.
SHELLY
Okay Leo, when I get home I'll do it.
LEO
SHELLY
She starts back towards the house, LEO resumes cleaning.
CUT TO:
EXT. JOHNSON HOUSE - DAY
Behind the house, SHELLY dumps the clothes out of the grocery bag into the
washer. She sorts out the clothes in the washer. She stops short when she
sees a large, dark red bloodstain on a blue work shirt.
SHELLY
She starts to tremble and hears a car horn beep from the front of the house.
LEO shouts from the front of the house ...
LEO
SHELLY makes a brave decision: quickly folds the bloodstained shirt and
stashes it in a nearby drawer. She closes the washer door and starts it
just as LEO comes by.
LEO
Shelly, did you hear me say Norma's here?
SHELLY
SHELLY starts out but LEO catches her by the arm.
LEO
I'm gonna come by the diner sometime today. (pinches
SHELLY'S cheek softly and holds it) Be a good girl and save me a piece
'a pie.
SHELLY
(manages a smile) Sure, Leo.
LEO works her cheek for a moment, squeezing a bit harder. SHELLY hides her
fear.
TUNE ENDS: WALKING IN THE DARK 32K
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
In the conference room, we see JAMES HURLEY seated across from SHERIFF TRUMAN
and COOPER.
COOPER
James, you were placed under arrest for suspicion
of murder, the murder of Laura Palmer. Now you have no previous criminal
record, is that correct?
JAMES
COOPER turns on the VCR and we see the same videotape of LAURA and DONNA
HAYWARD at the picnic that we saw earlier. JAMES watches the video.
COOPER
Did you shoot this video?
JAMES bows his head in silence. COOPER fast forwards the tape to the freeze
frame of the motorcycle reflected in LAURA'S eye.
COOPER
That's your cycle isn't it?
JAMES looks up and sees it.
JAMES
Yes, sir. The three of us went up there two Sundays
ago.
COOPER
(gently) James, you were in love with Laura. The
two of you were seeing each other secretly. No one else at school, or any
of her friends knew about it. She was the homecoming queen, she was dating
the captain of the football team. How much longer did you think you could
keep this relationship a secret?
JAMES
Well, it was secret because that's the way she
wanted it.
COOPER
Why? Was she afraid of Bobby?
JAMES
COOPER
Did you know that she was using cocaine?
JAMES
COOPER
Did you ever use cocaine with her?
JAMES
No, I tried to get her to stop and she did for
a while.
COOPER
Why did she start using again?
JAMES
Something happened a couple of days ago.
COOPER
JAMES
(getting emotional) I don't know. I think something
scared her because she wouldn't see me. She wouldn't even talk to me.
COOPER
(big exhale) When was the last time you saw her?
TUNE: LAURA PALMER'S THEME
JAMES
The night she died. She snuck out of the house
about 9:30. About 12:30 I stopped the bike at the light at Sparkwood and
21, and she jumped off and ran away. I didn't see her again.
COOPER
Did you and Laura have a fight?
JAMES
Not exactly but she said she couldn't see me anymore.
COOPER
JAMES
COOPER reaches into his pocket and pulls out LAURA'S half-heart necklace.
COOPER
JAMES
COOPER looks at LAURA'S diary, opened in front of him, at the page for February
5th; the page marked 'DAY ONE.'
COOPER
James, what happened on February 5th and who has
the other half of this heart?
Tears form in JAMES'S eyes. He fights them back as he recounts that day.
WHITE OUT TO:
EXT. EASTER PARK - DAY
We see LAURA PALMER, sitting on a picnic blanket, playfully looking at JAMES.
LAURA
James, guess why I'm so happy today.
JAMES
Because your skin is so soft and you smell so
good?
LAURA
JAMES
LAURA
Because I really believe that you love me. Now
my heart belongs to you.
She "breaks" the heart in two.
WHITE OUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
Sitting in the conference room with his head down, JAMES suddenly looks
up at COOPER.
JAMES
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
EXT. JOHNSON HOUSE - DAY
LEO is putting the last touches on polishing his truck, when he's struck
by a troubling thought. He opens the storage bins on his cab and then frantically
moves to the cab and searches behind and under the driver's seat. He can't
find what he's looking for.
LEO
Damn it. Where's that shirt.
He jumps down from the cab and runs towards the house.
CUT TO:
EXT. JOHNSON HOUSE - DAY
LEO throws open the top of the washer, pulls out the full load of soggy
laundry and searches through them, looking for the bloody shirt that he
does not find.
LEO
He slams the washer hard. The washer goes "tilt" and makes a loud,
rhythmic clanking sound.
FADE OUT:
FADE IN:
TUNE: FRESHLY SQUEEZED (0:26 - 3:48)
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
In their holding cells, MIKE NELSON is sitting on his steel bunk cot while
BOBBY BRIGGS, sitting on top of the sink, lays against the wall and the
bars at the corner of the cell.
MIKE
Hey Bopper, ... since when does Leo Johnson call
me at my parent's house?
BOBBY
MIKE
Yesterday. He was looking for you. He wanted to
know where the other half of the money was.
BOBBY
(sigh) What'd you tell him, Snake?
MIKE
(stands up) As far as I knew, he didn't have any
of it yet. I thought the deal was we were supposed to give it to him today.
BOBBY
Yeah, well. I gave him half already.
Surprised and a little angry, MIKE turns away from BOBBY.
MIKE
BOBBY
Hey, I saw him the other night, okay?
MIKE
BOBBY
The night Laura died. I went to see Leo, cause
I had this money burning a ten-thousand dollar hole in my pocket.
MIKE
What about the other half?
BOBBY
(closes his eyes) It's in Laura's safety deposit
box.
MIKE
(turns to face BOBBY) So you didn't get it back
from her?
BOBBY
She was supposed to hand it over today. Then she
went and checked out on us.
MIKE
So how we gonna get that ten grand for Leo?
BOBBY
(wise-ass) I don't know, Snake. Maybe we could
sell light bulbs door-to-door.
MIKE
Oh that's great, that's just ... that's just great.
This isn't funny, Bobby.
BOBBY
MIKE
You know, we're lucky, we're lucky we're in jail,
because you know what's gonna go down with Leo when we get out of here?
BOBBY
(pushes MIKE then grabs his shirt) Shut up man.
Don't mention one word about Leo Johnson, you do not know Leo Johnson.
The holding area door opens. DEPUTY TOMMY 'THE HAWK' HILL leads JAMES back
in and takes him back to his cell. BOBBY moves to the cell bars, grabs the
bars with both hands and stares at JAMES. Before entering his cell, JAMES
returns the stare.
TUNE ENDS: FRESHLY SQUEEZED (0:26 - 3:48)
CUT TO:
TELEVISION
TUNE: LAURA PALMER'S THEME (INSTRUMENT SOLO V1)
We view a CLOSEUP of the video of LAURA and DONNA prancing around at the
picnic. As the tape plays, we view a close-up of LAURA'S face as she stares
into the camera. An unknown voice speaks 'HELP ME'.
TUNE ENDS: LAURA PALMER'S THEME (INSTRUMENT SOLO V1)
CUT TO:
INT. HAYWARD HOUSE - DAY
Donna enters the living room from the stairs where her mother, EILEEN HAYWARD,
sits in her wheelchair drawing with a pencil.
DONNA
Mom? (EILEEN doesn't hear her) Mom?
EILEEN
DONNA gives her a kiss.
DONNA
Mom, it's 10:30, why didn't you wake me? I was
supposed to go down to the sherrif's office.
EILEEN
They called this morning and said they could wait
until tomorrow to see you. Your father and I thought you needed your rest.
You woke us crying in your sleep last night, do you remember?
DONNA
EILEEN
We feel so badly for you, we're so sorry.
DONNA takes a seat beside her mom.
DONNA
Mom, it's so strange. I know I should be sad,
and I am, part of me is, but its like ... its like I'm having the most
beautiful dream and the most terrible nightmare all at once.
TUNE: TWIN PEAKS THEME
EILEEN
Your father said you went out last night to meet
a boy named James Hurley. Does this have anything to do with him?
DONNA
(nods, decides to confide) Can this be between
you and me?
EILEEN
DONNA
James and Laura were seeing each other the last
two months. I was the only one who knew about it. Mom, James was so good
for her, you don't know how troubled Laura was. Last night, I had to see
him we were the two closest people in the world to her. But I feel so bad
now.
EILEEN
DONNA
Because we realized ... that all this time ...
we were the ones falling in love. So I feel like I've betrayed my best
friend ... (teary eyed) ... and if its true, then why am I so happy?
EILEEN
DONNA falls into her mother's arms.
TUNE ENDS: TWIN PEAKS THEME
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
In the hall, SHERIFF TRUMAN and COOPER make their way towards the front.
'BIG' ED HURLEY, with a bandage on his head and facing the boxes of donuts
at the coffee station, turns to meet them.
SHERIFF TRUMAN
You wanna see these guys ... separately or together.
COOPER
No, we can see them together.
SHERIFF TRUMAN
(to COOPER) Okay. (to ED) Hey Ed, how's that coconut?
BIG ED
Well its kind'a tender ... but my pride's hurt
worse.
SHERIFF TRUMAN
Ed, this is Special Agent Dale Cooper.
COOPER
(shakes hands) Pleasure. Any relation to James?
BIG ED
I'm his uncle ... and he works for my garage.
His mother's out of town and I look after him when she's away. You fellas
plan on holding him?
COOPER
No, we can release him into your custody.
SHERIFF TRUMAN looks at COOPER.
BIG ED
Let me understand is James being charged?
COOPER
I had one small doubt which he cleared up for
me. He didn't kill anybody. But you tell him to be careful because we're
going to have to release Mike and Bobby today as well.
BIG ED
LUCY calls from the switchboard in her office.
LUCY
Agent Cooper, I've got a call for you from a Mr.
Albert Rosenfield, sounds like long distance.
COOPER
(to BIG ED and TRUMAN) Excuse me.
COOPER walks away from them and towards LUCY'S office to take the call.
SHERIFF TRUMAN
LUCY
(to COOPER as she hands him the phone) It has
that open air sound, you know, where it sounds like wind blowing, like
wind blowing through trees.
COOPER
BIG ED takes SHERIFF TRUMAN by the arm and lowers his voice.
BIG ED
Harry, I've been thinking about last night at
the Roadhouse, and something's not right.
SHERIFF TRUMAN
(kidding him) Yeah, when I first saw that bandage
I thought maybe ol' Nadine got wind of you and Norma.
BIG ED
Harry, if Nadine got wind of me and Norma, I'd
be playing harp for the Heavenly All-Stars.
SHERIFF TRUMAN
(smiles) Ain't that the truth.
BIG ED
I was there seeing Norma but I was also on my
stakeout. Now I can remember Mike and Bobby grabbing Donna and I got up
to walk over and I got all lightheaded. I was out on my feet before I got
there. I don't even remember getting hit.
SHERIFF TRUMAN
What do you mean you don't remember?
BIG ED
I'm pretty sure my beer was drugged. Jacques Renault
was tending bar.
SHERIFF TRUMAN thinks a moment, then nods.
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
COOPER is on the phone near LUCY'S reception office.
COOPER
All ... Alright, Albert, bring the boys, you guys
can have the body all day tomorrow. (listens to reply) No, I can't do it,
they're gonna put her in the ground on Monday. Albert listen, if you come
up through Lewis Fork, I can recommend a place for lunch, the Lamplighter
Inn. (waxing enthusiastic) They've got a cherry pie there that'll kill
ya'.
CUT TO:
INT. TWIN PEAKS GENERAL STORE - DAY
Inside the store, near the front window is a toy train running and blowing
a train's steam whistle. Outside the window, carrying a small tray of sandwiches
is NORMA JENNINGS. She is walking to the store which is just down the block
from the Double R Diner. As NORMA enters, she almost runs into a woman who's
exiting, carrying a big bag of hardware. It's NADINE HURLEY.
NORMA
NADINE
What are you doing here, Norma?
NORMA
(pleasantly) I might ask you the same question.
NADINE
(a hint of aggressiveness) And I will tell you.
I've gotten all new drapes for my house. Ed bought them for me yesterday
at Gentlemen Jim's and we installed them together. They're a beige sheer.
I was up all last night, do you know what I was doing?
NORMA
(a little worried) No, I don't.
NADINE
I was inventing a noiseless, completely silent
drape runner. And do you know how it works, do you know what makes it work?
The thing I thought of at four this morning when I was waiting for my husband
to be released from intensive care?
NORMA slightly shakes her head. NADINE takes a package out of the bag.
NADINE
Cotton balls. By god, those things'll be quiet
now.
NADINE moves past NORMA out the door. NORMA rolls her eyes at her senselessness.
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
In the waiting area near the entrance, BIG ED rises from his seat, as JAMES
is escorted out and unhandcuffed by DEPUTY HAWK. JAMES moves toward BIG
ED. BIG ED and HAWK exchange a gesture of a finger drawn down the temple.
JAMES
Did you have to post bail?
BIG ED
No, I had a talk with Harry there's no charge.
JAMES
(a source of pain) Mom still out of town?
BIG ED
Yeah, she's still out of town. Let's get out of
here.
JAMES
(nods) Gonna need a hand from the Bookhouse Boys.
Somebody's gotta watch my back.
BIG ED
They exit the building.
CUT TO:
TUNE: FRESHLY SQUEEZED (0:26 - 3:48)
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
In an interrogation room, MIKE and BOBBY sit at a table across from SHERIFF
TRUMAN. DALE COOPER enters carrying the whistle he whittled and is sanding
it with a small piece of folded sandpaper.
COOPER
Hi, Mike, Bobby. Now before we get started, have
you two fellas got your stories straight?
BOBBY
If we tell the truth, we don't have to get our
stories straight.
MIKE
Besides, the sheriff told us we're just in here
for fighting and uh ... it was self-defense.
SHERIFF TRUMAN looks at COOPER.
COOPER
Right. Well, I guess you can go then.
BOBBY
COOPER
MIKE and BOBBY stand and make their way to the door. SHERIFF TRUMAN puts
his feet up on the table.
COOPER
(blows on his whistle) Oh, fellas ... one more
thing.
MIKE and BOBBY stop at the door and turn to him.
COOPER
Pray for the health and safety of James Hurley,
because if anything happens to him, we're coming for you.
MIKE and BOBBY stare at COOPER before leaving.
COOPER
Sheriff? (slaps his sandpaper to free it of dust,
places it in his pocket) What are you sitting around for. We got places
to go and people to see.
SHERIFF TRUMAN
I think I'm gonna start studying medicine.
COOPER
SHERIFF TRUMAN
Cause I'm beginning to feel a bit like Dr. Watson.
TUNE ENDS: FRESHLY SQUEEZED (0:26 - 3:48)
FADE OUT:
FADE IN:
INT. BLUE PINE LODGE - DAY
We view a CLOSEUP of a trout as it's slit open and held under running water.
In the kitchen, PETE MARTELL proceeds to clean the fish in the sink, making
a 'zip' sound each time he slices into the fish. In a dressing gown, over
a negligee, JOSIE PACKARD enters the kitchen, with a happy look on her face.
JOSIE
On top of the morning to you, Pete.
PETE
Uhm, no, Josie, the expression is top of the morning
... and it's just barely morning.
JOSIE
Pete, I want to thank you for yesterday, for standing
up to me with Catherine.
PETE
Forget it, Catherine was wrong yesterday, period.
JOSIE
The house intercom buzzes. PETE pushes a button on a nearby unit to answer
it.
PETE
SHERIFF TRUMAN
Pete, its Harry. I got Agent Cooper with me. We're
here to see Mrs. Packard.
PETE turns to look at JOSIE with a concerned look.
JOSIE
Uhm ... I'll make a fresh pot of coffee.
CUT TO:
INT. BLUE PINE LODGE - DAY
COOPER is entering data into his electronic notebook as JOSIE, wearing a
red dress, enters the living room with PETE carrying a pot of coffee and
two mugs. COOPER and SHERIFF TRUMAN rise up from their seats on the couch.
JOSIE
SHERIFF TRUMAN
Mrs. Packard, Dale Cooper, FBI. You'll remember
him from the town meeting from last night, I'm sure.
COOPER
(shakes her hand) Pleased to meet you, ma'am.
SHERIFF TRUMAN
Agent Cooper, you remember Pete Martell.
COOPER
PETE
(nods because his hands are full) You bet.
JOSIE
Uhh, can we offer you gentlemen a cup of joe?
COOPER
Mrs. Packard, you said the magic word.
SHERIFF TRUMAN
PETE places the cups down on the coffee table and starts to pour.
PETE
Sure, I'll pour that for ya'. Uhh, Mr. Cooper,
how do you take it?
COOPER
Black as midnight on a moonless night.
PETE
(looks at COOPER) Pretty black.
After pouring them a cup of coffee, PETE exits the room.
JOSIE
COOPER
Mrs. Packard, I'll come straight to the point.
Mrs. Packard, I understand that you'd hired Laura Palmer to come visit
you twice a week to help you with your English, is that correct?
JOSIE
COOPER
When was the last time that you saw her?
JOSIE
Thursday afternoon, about the time the mill blew
five.
COOPER
That would be five o'clock?
JOSIE
COOPER
JOSIE
In an hour, when the lesson was finished. I didn't
see her again.
COOPER
How did she seem to you on Thursday afternoon?
JOSIE
Something was bothering her but we didn't have
a heart-to-heart on it. Something she said, though, that stuck on my mind.
She said, I think now, I understand how you feel about your husband's death.
COOPER
Did she say what that was in reference to?
JOSIE
No, but after what happened to her, I can't help
hearing it in my head ... like some haunting melody.
JOSIE glances at SHERIFF TRUMAN. COOPER peers over to SHERIFF TRUMAN to see that he is staring
at JOSIE.
COOPER
The phone rings.
JOSIE
COOPER
JOSIE rises and exits the room to answer the phone. COOPER grins at SHERIFF TRUMAN.
COOPER
So Harry, how long have you been seeing her?
SHERIFF TRUMAN
(about three different reactions before...) How
did you know?
COOPER
SHERIFF TRUMAN
Geez Louise... uh, not long, six weeks. Andrew
died a year and a half ago.
COOPER and SHERIFF TRUMAN take a drink of their coffee just as PETE briskly
walks back into the room.
PETE
Fellas don't drink that coffee. You'd never guess,
there was a fish ... in the percolator. (he takes away the cups of coffee
from SHERIFF TRUMAN and COOPER) Sorry.
COOPER and SHERIFF TRUMAN already had a mouthful of the coffee and swallowed
it. Both of them sit on the couch with sour faces from the taste of the
fishy coffee.
CUT TO:
INT. BLUE PINE LODGE - DAY
We see JOSIE on the phone in the kitchen.
JOSIE
... yes, Catherine, I'm listening.
CUT TO:
INT. TIMBER FALLS MOTEL - DAY
In a room of the motel, we see CATHERINE MARTELL on the phone, sitting on
a bed and unbuttoning her shirt.
CATHERINE
I just thought you ought to know what your sentimental
good-will shenanigans cost us yesterday, you do know what shenanigans are,
don't you?
CUT TO:
INT. BLUE PINE LODGE - DAY
JOSIE mouths the word, not at all sure.
CATHERINE
(over the phone) Shutting down the mill cost us
eighty-seven thousand dollars and change. Do you really think that would
have made brother Andrew happy?
CUT TO:
INT. TIMBER FALLS MOTEL - DAY
CATHERINE hangs up, turns, raises a glass and touches glasses with someone.
CUT TO:
INT. BLUE PINE LODGE - DAY
JOSIE hangs up the phone and exits. We see PETE scrubing the coffee pot,
pausing to smell the pot and finding it still fishy. We PAN to the counter
beside the sink and see a small dead fish on the counter coated with coffee
grounds.
CUT TO:
INT. BLUE PINE LODGE - DAY
JOSIE reenters the living room. SHERIFF TRUMAN and COOPER rise. Preoccupied,
JOSIE, mouths a word to herself.
SHERIFF TRUMAN
Jocelyn ... (covering himself) Mrs. Packard?
JOSIE
COOPER
Nonsense, mischief, often a deceitful or treacherous
trick.
SHERIFF TRUMAN and COOPER look at each other. JOSIE looks sad.
CUT TO:
INT. TIMBER FALLS MOTEL - DAY
We see BENJAMIN HORNE, in front of a mirror, putting on his tie. In the
reflection we see CATHERINE lounging in bed.
CATHERINE
Why do you always have to rush off?
BENJAMIN
CATHERINE
There was a time when we'd used to take the whole
afternoon.
He turns around and walks towards her with a glass of champagne in his hand.
BENJAMIN
In the sweetness of passing time, this hour will
soon seem like a day.
CATHERINE
Sing it to somebody else. I'm no peabrain chambermaid
looking for a tumble in the broom closet.
BENJAMIN
(insincerely) Sorry, didn't mean to offend your
delicate sensibilities?
CATHERINE
Oh no, my mistake. I'd gotten used to our conducting
business and pleasure.
BENJAMIN
Sweetheart, it's all the same to me.
CATHERINE
Don't sweetheart me you old dog. I'm no schoolgirl
either. What's the next step? Do we escalate?
BENJAMIN
We may not have to do anything. A few more local
tragedies and Josie might just run the ol' mill into the ground all by
herself.
He refills his glass with champagne.
CATHERINE
The rate we're going its gonna be years before
the mill's bankrupt. I don't want to wait any longer. Besides, my knothead
husband may peek in the ledger and sniff out the creative arithmetic.
BENJAMIN moves to lean over the bed near her toes.
BENJAMIN
Maybe it's time to ... uh ... start a little fire.
CATHERINE
Are you talking about business or pleasure?
BENJAMIN
I'm talking about the Packard Saw Mill.
She gets the idea.
CATHERINE
BENJAMIN
A stray spark ... (kisses her toe) one night...
CATHERINE
... some night when Pete's off on a toot with
Smokey the Bear.
BENJAMIN
(lust in his eyes) Now I remember how all those
hours turned into days.
BENJAMIN starts removing his tie. CATHERINE smiles as he kisses her above
the breasts.
CUT TO:
INT. PALMER HOUSE - DAY
In the living room, a subdued SARAH PALMER sits on the sofa, wearing a robe.
LELAND PALMER is standing next to SARAH.
LELAND
Sarah, darling, I'm sorry to disturb you sweetheart
... but uhm ... Donna Hayward is here. Take this now. (gives SARAH a pill
and a glass of water) I'll send her in.
DONNA is standing near the entrance to the room but out of SARAH'S sight.
LELAND walks over to DONNA.
LELAND
DONNA
DONNA sits beside SARAH on the couch. SARAH sits up straight facing DONNA.
SARAH
I don't know what I'm going to do? I miss her
so much, you miss her?
TUNE: VISIONS BEYOND
DONNA
SARAH
I miss her so much ... I miss her so much ...
I miss her so much.
SARAH closes her eyes and lays her head low. DONNA, teary eyed, looks at
her sadly. DONNA'S hand slowly slides up and touches SARAH'S hand, comforting
her. SARAH looks down at the hand and looks up to see LAURA'S face in place
of DONNA'S.
SARAH
(overwhelmed) Laura, oh Laura, my baby.
SARAH'S arms reach forward, clutching DONNA and pulling her into an embrace.
SARAH
TUNE ENDS: VISIONS BEYOND
As SARAH holds her, DONNA tries to gently pull away but SARAH won't release
her. As SARAH slowly opens her eyes she sees another vision.
CUT TO:
INT. PALMER HOUSE - DAY
TUNE: WALKING IN THE DARK (LAST PORTION)
Viewing SARAH'S vision, a man with long grayish hair and wearing a jean
jacket, is crouched behind a bedpost in LAURA'S bedroom. The man is staring
right up at her.
CUT TO:
INT. PALMER HOUSE - DAY
SARAH releases DONNA, puts her hands to her head and screams. DONNA is frightened,
she stands up and backs away slightly from SARAH. LELAND rushes into the
room.
LELAND
SARAH
LELAND holds SARAH as she continues to scream.
TUNE ENDS: WALKING IN THE DARK (LAST PORTION)
FADE OUT:
FADE IN:
EXT. CALHOUN MEMORIAL HOSPITAL - NIGHT
We view the front of the hospital.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - NIGHT
DEPUTY TOMMY 'HAWK' HILL is completing an interview with the parents of
RONETTE PULASKI, JANEK and SUBURBIS PULASKI. The PULASKIS are seated on
a bench just outside RONETTE'S room. RONETTE is visible in background, lying
on a bed in intensive care.
HAWK
(summing up) So neither one of you saw Ronette
after school that day.
SUBURBIS
(her head down) That's right.
HAWK
And as far as you know, she went to her after
school job.
JANEK
Yes, Horne's Department Store downtown.
HAWK
What did she do at the department store?
SUBURBIS
She was uh, uh ... a salesgirl ... (looks up at
HAWK) at the perfume counter.
JANEK
She used to joke it was the sweetest smelling
job she ever had.
SUBURBIS thinks of her daughter and gets a little teary-eyed. HAWK looks
up and in a reflecting mirror sees the ONE-ARMED MAN get out of a nearby
elevator and walk off down a hallway.
HAWK
(to the PULASKIS) Excuse me.
HAWK quietly follows the ONE-ARMED MAN around the corner. HAWK sees the
ONE-ARMED MAN enter a room at the far end of the hallway. HAWK walks down
to the room and enters it.
CUT TO:
TUNE: LOVE THEME FROM TWIN PEAKS
INT. CALHOUN MEMORIAL HOSPITAL - NIGHT
Inside the room, HAWK finds it empty. Nearby is a sign that reads 'MORGUE'
and 'OXYGEN STORAGE'. The fluorescent lights in the room produce a subdued
blue light and emit a buzzing sound. As HAWK turns to leave he hears a door
latch close.
TUNE ENDS: LOVE THEME FROM TWIN PEAKS
CUT TO:
INT. BENJAMIN HORNE'S OFFICE - DAY
TUNE: AUDREY'S DANCE
In BENJAMIN's office inside the Great Northern Hotel, we see AUDREY dancing
by herself in the middle of the room. She is swaying slowly and sensually
to the music that is playing very loudly over the stereo. BENJAMIN opens
the door and looks in. AUDREY doesn't see him at first. BENJAMIN walks over
to the stereo and turns off the music.
TUNE ENDS: AUDREY'S DANCE
AUDREY continues to sway as if the music were still on but opens her eyes.
BENJAMIN
How many times have I asked you not to disturb
the guests with this racket?
AUDREY
About four thousand. (smiles)
He moves towards the door as if he was about to leave but stops short, turns
to AUDREY and says ...
BENJAMIN
Audrey, Julie tells me ... that uh ... you were
in with the Norwegians just before they all suddenly decided (applies some
lip balm) en masse to return to the old country, without signing the contract.
Is that true?
AUDREY
BENJAMIN
You wouldn't have done or said anything that might
have precipitated their evacuation, would you? I mean, I'm assuming that
this was just a coincidence.
AUDREY
Daddy, I did go in there to check out that ridiculous
smorgasbord, and while I was in there I happened to mention that I was
sad.
BENJAMIN
About my dear, close friend Laura being brutally
About what?
AUDREY
About my dear, close friend Laura being brutally
murdered.
BENJAMIN
(red hot) Do you realize the kind of money that
your little performance just cost this family?
He move to her, grabs her and shakes her slightly. Then he points a finger
in her face.
BENJAMIN
If you ever ... pull another stunt like that you
are gonna be scrubbing bidets in a Bulgarian convent.
AUDREY
(mocking) Oh, Daddy, I'm so afraid.
BENJAMIN
(very cold) Laura died two days ago. I lost you
years ago. (leaves the room)
TUNE: AUDREY'S DANCE
We ZOOM in on AUDREY'S face as she stares off into the room.
TUNE ENDS: AUDREY'S DANCE
CUT TO:
INT. BRIGGS HOUSE - DAY
MAJOR GARLAND BRIGGS and his wife, BETTY BRIGGS, bow their heads as they
pray before eating dinner but BOBBY just sits slumped back in his chair.
MAJOR BRIGGS
For what we are about to receive, may the lord
make us truly thankful.
BETTY
MAJOR BRIGGS
Robert, I was hoping we'd have a chance to discuss
the events of the past few days. Not necessarily the physical events themselves,
but rather the thoughts and feelings surrounding.
BOBBY rolls his eyes and sits quietly. MAJOR BRIGGS is undeterred.
MAJOR BRIGGS
Rebellion in a young man your age is a necessary
fact of life, and, candidly, a sign of strength. In other words, Robert,
I respect your rebellious nature. However, being your father, I am obligated
to contain that fire of contrariness within the bounds established by society
as well as those within our family structure.
BOBBY still sits quietly.
MAJOR BRIGGS
Robert, I note your reluctance to enter in a dialogue
with me, your father. There are times when silence is golden. Silence can
be taken many ways, as a sign of intelligence the quieter we become, the
more we hear...
BOBBY puts a cigarette in his mouth and looks at his father. MAJOR BRIGGS
calmly and firmly slaps BOBBY across the face. The cigarette in his mouth
flies across the table and spears into the meatloaf on BETTY'S plate. BOBBY'S
stunned more than hurt.
MAJOR BRIGGS
Now I am a tolerant man, but my patience has its
limits. To have his path made clear is the aspiration of every human being
in our beclouded and tempestuous existence. Robert, you and I are going
to work to make yours real clear.
BETTY removes the cigarette from her meatloaf.
BETTY
(sincerely) We're here for you, Bobby.
BOBBY shakes his head slightly in befuddlement.
CUT TO:
EXT. DOUBLE R DINER - NIGHT
TUNE: DANCE OF THE DREAM MAN
We view a CLOSEUP on the neon 'RR' sign.
CUT TO:
INT. DOUBLE R DINER - NIGHT
The diner is bustling with dinner traffic. SHERIFF TRUMAN and DALE COOPER
are seated at the counter. SHELLY pours SHERIFF TRUMAN some more coffee
as COOPER drinks his.
SHELLY
Can I get you anything to go with that, Sheriff?
SHERIFF TRUMAN
Agent Cooper here might want to try a slice of
that pie.
COOPER
(brightening) Cherry pie?
SHELLY
Best in the tri-counties.
SHERIFF TRUMAN
And could you ask Norma to stop by a second, Shelly?
SHELLY
COOPER
(a twinkle in his eye) Nothing's a sure thing
Shelly.
SHELLY brandishes a grin at COOPER'S remark and then walks off. COOPER motions a distaste in his mouth.
COOPER
Damn, I still can't get the taste of that fish
filtered coffee out of my mouth.
SHERIFF TRUMAN
Me neither. (drinks some coffee)
COOPER
Shelly Johnson with a 'J'?
SHERIFF TRUMAN
Mm-hmm, husband's a trucker, Leo. Minor rap sheet.
COOPER nods and makes a note as he sips his coffee. As he puts the notebook
away, he looks around and sees the 'LOG LADY', MARGARET LANTERMEN, seated
a couple of chairs away, cradling her log and drinking coffee. COOPER looks
back at SHERIFF TRUMAN.
COOPER
SHERIFF TRUMAN
COOPER
Spotting COOPER'S actions, the LOG LADY responds with a sour scowl and looks away. COOPER turns back to SHERIFF TRUMAN.
COOPER
Can I ask her about her log?
SHERIFF TRUMAN
COOPER ponders his choices. NORMA JENNINGS walks up to COOPER and
SHERIFF TRUMAN and sets down a plate with a slice of cherry pie.
NORMA
SHERIFF TRUMAN
Norma, like to have you meet Special Agent Dale
Cooper.
COOPER
(shakes her hand) Federal Bureau of Investigation.
NORMA
COOPER
Mrs. Jennings, is it true that Laura Palmer used
to help you with the Meals on Wheels program, delivering hot dinners to
elderly shut-ins?
NORMA
Yeah, Laura helped organize the program.
COOPER starts to eat his pie.
SHERIFF TRUMAN
Do you have the names of the people on her route?
NORMA
I could get them for you.
COOPER
Would you please? And uh ... two more pieces of
this incredible pie. (takes another bite)
NORMA
(her eyes widen and she smiles at COOPER) Okay.
NORMA moves off. SHERIFF TRUMAN looks at him.
SHERIFF TRUMAN
Man-oh-man, you must have the metabolism of a
bumblebee.
As COOPER eats his pie, the LOG LADY comes up to them as she passes.
LOG LADY
For your information, I heard you speaking about
Laura Palmer?
COOPER
LOG LADY
One day my log will have something to say about
this. My Log saw something that night.
COOPER
She holds the log out.
LOG LADY
A moment of silence. COOPER, unsure what to do, peers down at
the log. Disappointed by his lack of action the LOG LADY counters ...
LOG LADY
The LOG LADY walks off carrying her log.
TUNE ENDS: DANCE OF THE DREAM MAN
CUT TO:
INT. JOHNSON HOUSE - NIGHT
In the kitchen, LEO is cutting open a football with a knife at the table.
SHELLY has been dropped off at the house by NORMA. LEO hears SHELLY outside
the house and immediately hides the football on top of a cabinet.
SHELLY
Thanks, Norma. See you tomorrow.
TUNE: 1?
We view a CLOSEUP on a bar of soap being dropped into a dark sock. LEO ties
the sock off and holds it in his hand. SHELLY enters the kitchen carrying
a full grocery bag. She hasn't looked at LEO yet.
SHELLY
Hi Leo, brought you some pie.
SHELLY removes a plate with a slice of pie from the bag as LEO turns around
and comes toward her with the stuffed sock in hand. SHELLY looks up to see
the sock in his hand and turns pale holding the slice of pie.
LEO
SHELLY
SHELLY slowly backpedals as LEO advances on her.
LEO
He slaps the pie plate out of her hands.
LEO
That's the second one you've lost this year! I'm
going to teach you a lesson now, Shelly, about taking care of my property!
That means making sure things aren't lost or damaged!
SHELLY
(very frightened) Hold on, please Leo.
LEO
SHELLY
TUNE ENDS: 1?
LEO walks over to the radio on top of the refrigerator and turns it on to
a very loud tune.
TUNE: NADINE'S THEME 11K
SHELLY
SHELLY now crouches into an incompletely built corner of the room, with
her hands covering her face and head. LEO starts to twirl the sock, gaining
momentum and as it flies out of view, we hear it hit with a thud.
TUNE ENDS: NADINE'S THEME 11K
CUT TO:
EXT. HAYWARD HOUSE - NIGHT
We view the front of the house and see JAMES'S motorcycle parked out front
near the street.
CUT TO:
INT. HAYWARD HOUSE - NIGHT
The door bell rings.
DONNA
DONNA answers the door and escorts JAMES into the living room, where EILEEN
and DR. HAYWARD are waiting.
DONNA
Mom, Dad ... this is James, James Hurley.
DR. HAYWARD
JAMES
Nice to see you, sir ... Mrs. Hayward.
EILEEN
Very nice to meet you, James.
An awkward silence.
DR. HAYWARD
Well I hope you're hungry. Eileen's been cooking
up a storm.
JAMES
EILEEN
Would you like something to drink? We have some
soft drinks and some fruit punch and some sparkling cider.
JAMES
Ah, fruit punch. That'd be good, thank you.
DONNA
EILEEN
DONNA exits to the kitchen.
EILEEN
Uhm, why ... why don't you fellas sit down at
the table and I'll ... I'll go check on the roast.
EILEEN drives her chair towards the kitchen. JAMES and DR. HAYWARD move
to the dining room table and take their seats. DONNA returns from the kitchen
and sets down a glass in front of JAMES.
DONNA
JAMES
DR. HAYWARD
I don't believe I know your parents, James.
JAMES
No, sir. My dad died when I was ten and my mom
... travels a lot. She writes for the paper sometimes.
DONNA
Ed Hurley down at the Gas Farm is James's uncle.
DR. HAYWARD
His wife is the lady with the patch?
JAMES
Yes sir, that's my Aunt Nadine. She's a real character.
They all laugh slightly.
EILEEN
(from the kitchen) Will? Can you come give me
a hand please?
DR. HAYWARD
DR. HAYWARD exits into the kitchen. DONNA whispers across the table to JAMES.
DONNA
(more intimately) We can talk after dinner.
JAMES
It's good to see you. (smiles)
TUNE: LAURA PALMER'S THEME
DONNA
(smiles warmly) It's good to see you, too.
DONNA and JAMES both extend an arm out over the table and hold hands.
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
EXT. HAYWARD HOUSE - NIGHT
MIKE and BOBBY pull up outside the house in MIKE'S car. They see JAMES'S
motorcycle parked in front.
TUNE: FRESHLY SQUEEZED (0:26 - 3:48)
BOBBY
MIKE
First your girlfriend, then mine.
BOBBY
Too bad we can only kill him once. (lights a cigarette)
TUNE ENDS: FRESHLY SQUEEZED (0:26 - 3:48)
CUT TO:
INT. DR. JACOBY'S OFFICE - NIGHT
TUNE: LAURA PALMER'S THEME
We watch DR. LAWRENCE JACOBY insert an audio tape into his stereo and push
the play button. He is eating malted milkballs that he is carrying in his
left hand.
LAURA
(from tape) Hey, what's up, doc? Its Laura Palmer
in case you haven't guess. I'm making you another one of these tapes.
DR. JACOBY stands up to retrieve a pair of headphones hanging from a hook
on the wall above the stereo and plugs them in. The sound of LAURA'S voice
is now coming from the headphones that he is carrying around in his hands.
He then walks over to his fifties-style, Hawaiian-themed rec room and grabs
a coconut off a short, fake palm tree. He moves over to a large lounge chair
and lays back on it.
LAURA
Which as you already know I've mailed it to you
in one of the envelopes you gave me. It's Thursday the twenty-third, and
I'm so bored ... actually I'm in kind'a of a weird mood. (slight cry in
her voice) Doc, James is sweet ... but he's so dumb. I should've met you
a long time ago Dr. Jacoby cause right now I can take just so much of sweet.
I just know I'm going to get lost in those woods again tonight. I just
know it. Remember me telling you about that mystery man. Well ...
DR. JACOBY puts the headphones over both ears and and we no longer can hear
her voice. As he listens his face registers a whole gamut of emotions. He
then opens the coconut, which is actually a stash box disguised as a coconut,
in his hand to reveal the gold half heart with the leather necklace inside
that was buried under the rock in the woods by JAMES and DONNA. DR. JACOBY
lifts the necklace out of the coconut and starts to cry as he continues
to listen to the tape.
TUNE ENDS: LAURA PALMER'S THEME
FADE OUT:
CLOSE:
FADE IN:
TUNE: LAURA PALMER'S THEME
We view LAURA PALMER'S homecoming picture as the end credits roll.
TUNE ENDS: LAURA PALMER'S THEME
FADE TO BLACK:
