Pilot - Northwest Passage
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
Welcome to Twin Peaks. My name is Margaret Lantermen.
I live in Twin Peaks. I am known as the log lady. There is a story behind
that. There are many stories in Twin Peaks. Some of them are sad, some
funny. Some are stories of madness, of violence. Some are ordinary. Yet
they all have about them a sense of mystery. The mystery of life, sometimes
the mystery of death. The mystery of the woods, the woods surrounding Twin
Peaks. To introduce this story let me just say it encompasses the all.
It is beyond the fire. Though few would know that meaning. It is a story
of many but it begins with one and I knew her. The one leading to the many
is Laura Palmer. Laura is the one.
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:
EXT. LAKESHORE BY THE BLUE PINE LODGE - DAY
Dawn breaks over the lake with the sounds of birds and a distant foghorn.
Ducks can be seen on the lake.
CUT TO:
TUNE: LAURA PALMER'S THEME
INT. BLUE PINE LODGE - DAY
We FOCUS on a black porcelain figure of two dogs. We PAN to a nearby mirror
and see JOSIE PACKARD, a beautiful Asian woman, in the reflection. Dressed
in a pink robe, she is humming as she applies her makeup.
CUT TO:
INT. BLUE PINE LODGE - DAY
CATHERINE MARTELL, a stout woman with curly red hair, is sipping coffee
in the kitchen as her husband PETE MARTELL, wearing a hat and tugging fishing
gear, walks in. PETE walks up to CATHERINE, kisses his palm and pats her
on the cheek. She gives no response. In a dour voice he says ...
PETE
He raps his knuckles on the counter and walks out the door.
CUT TO:
INT. BLUE PINE LODGE - DAY
In her room, JOSIE hears a door close and looks around still humming.
CUT TO:
EXT. BLUE PINE LODGE - DAY
PETE, carrying a fishing pole and tackle box, is walking away from his house
along a walkway near the lakeshore. There is a sound of a distant foghorn.
PETE
A lonesome foghorn blows.
He stops walking, turns to look out onto the lake and from a distance sees
some plastic alongside a colossal cut tree log laying on the lakeside. He
slowly walks over to the item and discovers that it is a human form wrapped
in plastic.
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
INT. BLUE PINE LODGE - DAY
In the kitchen, PETE is on the phone and is visibly shaken.
PETE
Oh dear. Lucy, Lucy this is Pete Martell. Lucy
put Harry on the horn.
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
SHERIFF HARRY S. TRUMAN is pouring himself a cup of coffee. LUCY MORAN,
in her office, tells SHERIFF TRUMAN which phone to pick up and he stands
bewildered in the process.
LUCY
Sheriff its Pete Martell up at the mill. I'm going
to transfer it to the phone on the table by the red chair ... the red chair
against the wall ... the ... the little table with the lamp on it. The
lamp that we moved from the corner. The black phone not the brown phone
The black phone rings and SHERIFF TRUMAN answers it.
SHERIFF TRUMAN
CUT TO:
INT. BLUE PINE LODGE - DAY
PETE
She's dead. Wrapped in plastic
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
SHERIFF TRUMAN
Well hold on, hold on a second Pete. Where? You
stay right there I'm on my way.
TRUMAN hangs up the phone and walks over to LUCY.
SHERIFF TRUMAN
You'd better get Dr. Hayward. Tell him to meet
me up at the Packard Mill. The dock right below the dam and rouse that
Andy out of bed and tell him to get his butt up there now.
LUCY
SHERIFF TRUMAN
LUCY gives a shocked look; SHERIFF TRUMAN points at her and says...
SHERIFF TRUMAN
Lucy, not a word about this to anyone until you've heard from me.
CUT TO:
EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
SHERIFF TRUMAN walks out of the department building and enters his patrol
cruiser. He starts it up, turns on the police lights and siren then takes off.
CUT TO:
EXT. LAKESHORE BY THE BLUE PINE LODGE - DAY
TUNE: LAURA PALMER'S THEME
PETE leads SHERIFF TRUMAN, DR. WILL HAYWARD and DEPUTY ANDY BRENNAN, carrying
a camera, to the body wrapped in plastic.
PETE
DR. HAYWARD
Do you want forensics first?
SHERIFF TRUMAN
Naw, she's been in the water.
DR. HAYWARD
Better take some pictures.
ANDY
SHERIFF TRUMAN
ANDY
SHERIFF TRUMAN
Then we'll turn her over.
ANDY
ANDY takes a few snapshots and then begins to cry.
DR. HAYWARD
SHERIFF TRUMAN
Come on Andy. The same thing as last year at Mr.
Blodge's barn.
DR. HAYWARD
ANDY
SHERIFF TRUMAN
Is this gonna happen every damn time.
ANDY
(sobbing) I'm sorry, I'm so sorry.
SHERIFF TRUMAN
I want you to go up to the corner's van and bring back that stretcher.
ANDY
SHERIFF TRUMAN watches ANDY walk off.
DR. HAYWARD
Harry let's roll her over.
SHERIFF TRUMAN and DR. HAYWARD roll the body over and crouch beside it.
TRUMAN pauses and looks at DR. HAYWARD before uncovering the plastic. They
slowly pull the layers of plastic away from the face of the body.
DR. HAYWARD
SHERIFF TRUMAN
CUT TO:
INT. PALMER HOUSE - DAY
We see SARAH PALMER, LAURA'S mother, in her kitchen with a cigarette in
hand as she shouts to the upper floor.
SARAH
Laura. Sweetheart. I'm not going to tell you again.
She exhales and speaks softly.
SARAH
Yes I am. (shouts) Laura!
SARAH walks over to the stairs and peers up. The ceiling fan is on.
SARAH
Laura. For goodness sakes.
SARAH goes up the stairs and checks LAURA's bedroom.
SARAH
Laura's room is empty. SARAH walks over to bathroom.
SARAH
Laura. (knocks on door) Laura? Laura honey are you downstairs?
SARAH peers into LAURA'S bedroom and finds the bed unmade and the room empty.
CUT TO:
INT. PALMER HOUSE - DAY
We view a CLOSEUP of the ceiling fan as it revolves.
CUT TO:
INT. PALMER HOUSE - DAY
In the kitchen, SARAH picks up the phone and starts dialing with a cigarette
still in hand.
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
INT. BRIGGS HOUSE - DAY
MAJOR GARLAND BRIGGS, a plump, bald man dressed in an Air Force uniform,
is seated at the kitchen table as his wife BETTY BRIGGS picks up the ringing
phone.
BETTY
Hellooo. (playing with scissors in her hand)
CUT TO:
INT. PALMER HOUSE - DAY
SARAH
Beth it's Sarah. Listen I just went up to wake
Laura and she's not here. Is she with Bobby?
CUT TO:
INT. BRIGGS HOUSE - DAY
BETTY
Well she could be. He leaves every morning at
five to go running and then he goes to football practice.
CUT TO:
INT. PALMER HOUSE - DAY
SARAH
(nervous) Can you ... umm ... find out? Can ...
can you reach him? I'll ... I'll call the school.
CUT TO:
INT. BRIGGS HOUSE - DAY
BETTY
Just a minute I got the number to the field office
here.
CUT TO:
INT. PALMER HOUSE - DAY
SARAH
Thanks. Thanks Beth. You know I'm wondering if
maybe she went out with Leland he had an early meeting.
CUT TO:
INT. BRIGGS HOUSE - DAY
BETTY
Oh, I'm sure that's it. Either that or she's with
Bobby.
CUT TO:
INT. PALMER HOUSE - DAY
SARAH
Sure. I'll ... I'll call up to the hotel, thanks.
SARAH hangs up the phone.
CUT TO:
INT. BRIGGS HOUSE - DAY
BETTY shows some concern as she hangs up the phone.
CUT TO:
INT. TWIN PEAKS HIGH SCHOOL - DAY
Football coach MAX HARTMAN answers SARAH's questions from a phone inside
the boy's locker room.
MAX
No, Bobby hasn't shown up for practice yet today.
Come to think of it, as a matter of fact, he's been late every day this
week Mrs. Palmer. And last week and maybe even the week before...
MAX hangs up the phone and shrugs after being rudely cut off.
CUT TO:
INT. PALMER HOUSE - DAY
We see SARAH with a disturbed look on her face. She dials another number
on the telephone.
CUT TO:
EXT. GREAT NORTHERN HOTEL- DAY
We view the front of the hotel and the waterfall.
CUT TO:
EXT. GREAT NORTHERN HOTEL - DAY
TUNE: AUDREY'S DANCE
AUDREY HORNE, a young and very pretty brunette, approaches a car that is
to chauffeur her to school. As she takes a seat we view a CLOSEUP of her
shoes as the driver closes the door behind her.
TUNE ENDS: AUDREY'S DANCE
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
Beside a roaring fire, BENJAMIN HORNE, a tall man with curly black hair,
is talking business with LELAND PALMER, LAURA'S father, who is seated on
a couch in front of the fire.
BENJAMIN
LELAND
Are you not even going to mention that we have
not as yet acquired access to the Packard land?
BENJAMIN hocks a loogey and spits it into the fire causing it to spark and
crackle. LELAND turns away at the sight of this.
BENJAMIN
Sorry. (clears his throat) We have solid information.
The Packard Saw Mill is going to go belly up within a year. We are going
to able to get it for a song, one verse no chorus. Now let's get out there
and get those cheese eaters where they live.
LELAND
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
BENJAMIN HORNE is animatedly speaking to Norwegian businessmen. Sitting
beside him is a translator that is interpreting his selling speech.
BENJAMIN
Clean, wholesome environment much like your very
own. (translator speaks) With a quality of life to rival the very best.
(translations) That this country has to offer and that is what the Ghostwood
Country Club and Estates will be. Now, when I first spoke to Sven he was
naturally very concerned about the quality of air. If you permit me Sven
(motioning to SVEN JORGENSON) to repeat what you told me after your run,
'my air sacks (Ben breathes in deeply and pounds his chest on the exhale)
have never felt so good.'
After the translation the crowd laughs.
JULIE, a hotel employee, approaches LELAND and whispers.
JULIE
Your wife's on the phone again. She says its urgent.
In the background the translator is speaking to the crowd in Norwegian and
again the crowd laughs.
LELAND
Excuse me a moment gentlemen. I'll be right back.
BENJAMIN
(whispered to Leland) Make it snappy huh. (to
the group) So, here in Twin Peaks health and industry go hand in hand.
(translation)
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
LELAND is led by JULIE to a phone in a different room.
JULIE
I'll transfer you to the health spa.
LELAND
TUNE: LAURA PALMER'S THEME
The telephone rings and LELAND picks up the receiver.
LELAND
SARAH
(over the phone) Is Laura with you?
LELAND
SARAH
(over the phone) She didn't go with you this morning?
Outside the window behind LELAND we see SHERIFF TRUMAN'S police cruiser
parking. LELAND does not notice it.
LELAND
No. What's ... honey, what's wrong? What's this
all about.
CUT TO:
INT. PALMER HOUSE - DAY
SARAH
She's not here. She wasn't here this morning.
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
LELAND
Well she's ... umm ... probably with Bobby.
CUT TO:
INT. PALMER HOUSE - DAY
SARAH
CUT TO:
INT. GREAT NORTHERN HOTEL- DAY
LELAND
Well then there you are ... that's it. Let's not
worry I mean ... they're probably together. (finally
notices SHERIFF TRUMAN as he enters the room)
CUT TO:
INT. PALMER HOUSE - DAY
SARAH
But she would've left a note. Why didn't she leave
me a note? She would've told me.
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
LELAND
Honey, honey, honey take it easy please, please.
SHERIFF TRUMAN walks up to JULIE'S counter and asks her...
SHERIFF TRUMAN
I'm looking for Leland Palmer.
JULIE
He's right over there on the phone.
LELAND
Sheriff Truman. (speaking
slightly into the phone with a growing, concerned look)
CUT TO:
INT. PALMER HOUSE - DAY
SARAH
What? Who? What did you say? (starts
to tear) Oh my god.
CUT TO:
INT. GREAT NORTHERN - DAY
LELAND puts the phone to his chest as SHERIFF TRUMAN comes toward him.
SARAH
(over the phone) Oh my god. Oh ... my god. Laura.
No.
CUT TO:
INT. PALMER HOUSE - DAY
SARAH
Laura. Oh Leland please where is it? Tell me.
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
SHERIFF TRUMAN
LELAND
Is this about Laura? (he has
the phone mouth and ear piece against his chest)
SHERIFF TRUMAN
LELAND lets out a sigh.
SARAH
(over the phone) Leland ... tell me. Oh ... my
... baby.
LELAND drops the phone and begins to cry.
CUT TO:
INT. PALMER HOUSE - DAY
SARAH hears the phone crash to the floor.
SARAH
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
SHERIFF TRUMAN
BENJAMIN
(unaware of the situation) Leland we're ready
to go with the contracts. (finally catches on) Leland. What's wrong?
LELAND
(in tears) My daughter is dead.
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
We view a CLOSEUP on the phone. We PAN to follow the phone cord to the receiver
lying on the floor with the cries from SARAH emanating from it.
CUT TO:
INT. PALMER HOUSE - DAY
SARAH tugs at her hair and shrieks in grief.
TUNE ENDS: LAURA PALMER'S THEME
FADE OUT:
FADE IN:
EXT. DOUBLE R DINER - DAY
We watch a car pull up to a parking spot at the diner and see HEIDI, a stocky
woman dressed in a waitress uniform, get out.
CUT TO:
INT. DOUBLE R DINER - DAY
HEIDI enters the diner. Behind the counter, we see SHELLY JOHNSON, a thin
and beautiful brunette. Next to her is NORMA JENNINGS, the owner of the
diner. Sitting near SHELLY at the counter is BOBBY BRIGGS, wearing a black
leather jacket.
SHELLY
What kept you Heidi? Seconds on knockwurst this
morning?
HEIDI
(with a German accent) I ... I couldn't get my
car started
SHELLY
To busy jump starting the old man, huh.
HEIDI produces a silly and odd giggle.
BOBBY
I thought you Germans were always on time.
HEIDI continues to giggle.
NORMA
I thought the only time you cared about Bobby
was making time.
BOBBY
SHELLY
BOBBY
I'm going to practice. I can drop you by your place on the way.
SHELLY looks at NORMA. NORMA is already looking at her, studying her expression.
SHELLY
BOBBY pays in loose change tossed on the counter. On the way out he approaches
the jukebox.
BOBBY
Here's a tune for you gals. (places a coin in
the jukebox) Okay, Norma. (points
to NORMA) I'll see you in my dreams.
NORMA
BOBBY
Don't do anything I wouldn't do.
As he leaves out the door the jukebox plays a tune very loudly.
TUNE: I'm Hurt Bad 
42K
CUT TO:
EXT. DOUBLE R DINER - DAY
The tune on the jukebox can still be heard but not as loudly as BOBBY and
SHELLY enter BOBBY'S car.
BOBBY
I think she knows about us.
SHELLY
Norma? (BOBBY nods) No, fat chance. I think she
hot to trot for you herself.
The two look deeply into each other eyes and then nervously peer around
to see if anyone is watching, then they kiss.
TUNE ENDS: I'm Hurt Bad 42K
CUT TO:
EXT. ROAD TO JOHNSON'S HOUSE - DAY
BOBBY and SHELLY watch a police car past them at high speed with its siren
on. After the cop car passes SHELLY takes a drink from a flask.
TUNE: AUDREY'S DANCE
SHELLY
It's happy hour in France. Come on cowboy light
your fire.
BOBBY
Your right. (sarcastically) Just a little pick
me up before home room.
SHELLY
I thought I was your little pick me up.
SHELLY moves the flask to BOBBY lips so that he can take a drink.
BOBBY
(laughs) Ha. Baby your more like a three stage
rocket. A pocket rocket.
SHELLY
And what stage are we in now?
BOBBY
Are you sure that your old man is still on the
road?
SHELLY
Yes, he called me last night from Butte. That's
a long ways away and he ain't got a phone in his truck. So quit worrying
and start scurrying mister touchdown.
TUNE ENDS: AUDREY'S DANCE
BOBBY'S eyes widen and he slams on the brakes as he sees LEO JOHNSON'S rig
parked next to the house.
BOBBY
SHELLY
BOBBY immediately backs up the car and again slams his brakes.
SHELLY
SHELLY exits the car and BOBBY turns his car around and peels out as he
drives off.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
SHERIFF TRUMAN escorts LELAND up a long corridor of the hospital. They come
upon DR. HAYWARD, who is waiting just outside the examining room.
DR. HAYWARD
LELAND
DR. HAYWARD gives LELAND a hug.
SHERIFF TRUMAN
Leland I hate to put you through this.
LELAND
No, I have to see her. I have to see what was
done to my little girl.
SHERIFF TRUMAN
SHERIFF TRUMAN and LELAND enter the dark examining room where the body is
covered with a sheet. The sheet is pulled back and the table light is turned
on. LELAND cries at the sight of his daughter.
LELAND
My baby. That's my little girl. God ... God ...
SHERIFF TRUMAN
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
We view a CLOSEUP of LAURA PALMER'S face.
CUT TO:
EXT. WOODS - DAY
We view a CLOSEUP of a pine tree being blown in the wind.
CUT TO:
INT. TWIN PEAKS HIGH SCHOOL - DAY
TUNE: AUDREY'S DANCE
We see kids walking around to their lockers and to their classes. All appears
normal. DONNA HAYWARD is approaching her locker. As she opens it, she notices
AUDREY at her locker. AUDREY is changing her shoes to red pumps and then
lights a cigarette. DONNA and AUDREY exchange smiles. In the background
a school bell rings as DONNA is attending to her locker. JAMES HURLEY, a
friend of her's dressed in black jeans and a black leather jacket, walks
up to her.
JAMES
DONNA
JAMES
Nice day for a picnic. (smiles)
DONNA
DONNA closes her locker and walks off to class. In the hall background,
kids are scrambling to class but one kid can be seen doing an odd dance
as he moves away from his locker.
CUT TO:
INT. TWIN PEAKS HIGH SCHOOL - DAY
BOBBY has just entered the building. We see two girls huddled together talking.
One of them says ...
HIGH SCHOOL GIRL
Bobby Briggs they're looking for you.
BOBBY
HIGH SCHOOL GIRL
BOBBY
Well here I am in school.
BOBBY raises his arms and makes a crowd cheering-like sound. He slowly walks
over to his friend MIKE NELSON, who is leaning against a wall in the hallway.
BOBBY
MIKE
BOBBY
(jokingly looks up). Where?
MIKE
BOBBY
From behind BOBBY a MRS. JACKSON, the principal's secretary, calls out.
MRS. JACKSON
Bobby, your wanted in the office.
BOBBY turns his head around toward the voice and answers...
BOBBY
Who wants me in the office.
MRS. JACKSON
MIKE
(whispers to BOBBY) Watch out.
BOBBY
BOBBY slowly moves in half-steps, a mock jog, toward the office.
TUNE ENDS: AUDREY'S DANCE
CUT TO:
INT. TWIN PEAKS HIGH SCHOOL - DAY
We FOCUS on AUDREY'S red pumps and then PAN up to her face and then view
the whole room. A teacher, MS. ALICE BRADY, is taking roll.
ALICE
TERRY
ALICE
MARTHA
ALICE
DONNA
ALICE
AUDREY
ALICE
JAMES
A POLICE OFFICER appears at the door and catches ALICE'S attention.
POLICE OFFICER
ALICE
POLICE OFFICER
Is their a Bobby Briggs in this class room?
ALICE
No, he's in 107. (looks to class for verification)
107 (and nods).
POLICE OFFICER
Could I speak to you for a moment please?
ALICE
ALICE and the POLICE OFFICER huddle to a conversation. A second POLICE OFFICER
#2 enters the room and talks to the POLICE OFFICER. A girl screams. We get
a view outside through a window in the room and see that girl running as
she screams.
POLICE OFFICER
(slightly muffled, spoken only to ALICE) There'll
be an announcement. Thank you for your time.
DONNA and JAMES look at each other and then to LAURA'S empty desk. They
both have a look of shock in their eyes. DONNA grabs her hand and begins
to cry.
DONNA
ALICE
(slight tremble) There'll be an announcement from
the principal.
JAMES is so shocked he snaps a pencil in his hand with his thumb. DONNA
cries uncontrollably. AUDREY appears to have no concern but shows a slight
interest in it all.
CUT TO:
INT. TWIN PEAKS HIGH SCHOOL - DAY
In the principal's office, BOBBY is seated at a round table next to DEPUTY
ANDY and DEPUTY TOMMY 'HAWK' HILL. SHERIFF TRUMAN and MRS. JACKSON enter
the room.
BOBBY
I told you. I got up early like I always do. I
went running like I always do. I went for some breakfast at the Double
R and I didn't go to practice because I didn't feel like it. (quickly slaps his
hands to the table and then snaps his fingers)
TUNE: AUDREY'S DANCE
HAWK
Why didn't you feel like it Bobby? Were you upset
about something?
ANDY
Something troubling you Bobby? You want to tell
us about it?
BOBBY
(sighs) Look you guys. Please, what did I do?
What's going on?
MRS. JACKSON
Mr. Wolchezk there's rumors all over school. Maybe
its best that they heard it from you.
SHERIFF TRUMAN
Mr. Wolchezk why don't you go ahead and make that
announcement.
MR. WOLCHEZK
SHERIFF TRUMAN
MR. WOLCHEZK
Excuse me. (leaves the room)
BOBBY
What is it sheriff? What's going on?
TUNE ENDS: AUDREY'S DANCE
SHERIFF TRUMAN
(sits down next to BOBBY) Now Bobby you look at
me. Your girlfriend Laura Palmer's been killed. She was found just after
dawn. Now she was with you last night and you weren't where you were supposed
to be this morning. Have these fellas advised you of your rights?
BOBBY
(in a slight shock) Yes, but I didn't know why.
Laura's dead?
SHERIFF TRUMAN
Yes. Did you understand your rights as they were
explained to you?
BOBBY
(surprised and annoyed) You think ... I killed
her.
SHERIFF TRUMAN
Bobby we're gonna have you make a phone call. You
can call your parents and they can arrange to get a lawyer to be with you
when we talk to you again. Andy, get Bobby out to make his call.
BOBBY
(stands up) I loved her ... and she loved me!
You think because I wasn't at football practice that I killed my girlfriend.
You are crazy! (ANDY grabs him) You get off me.
TUNE: LAURA PALMER'S THEME
BOBBY struggles to free himself of ANDY'S grip but SHERIFF TRUMAN also grabs
BOBBY and holds him. BOBBY stops struggling.
SHERIFF TRUMAN
Bobby we're gonna talk about this later.
CUT TO:
INT. TWIN PEAKS HIGH SCHOOL - DAY
The principal of the school MR. WOLCHEZK sits next to the microphone for
the school's intercom system.
MR. WOLCHEZK
May I have your attention please. This is principal
Wolchezk. I am deeply saddened to have to tell you that early this morning
your classmate Laura Palmer was found dead. This is a terrible moment for
all of us.
CUT TO:
INT. TWIN PEAKS HIGH SCHOOL - DAY
We PAN a view of an empty school hallway.
MR. WOLCHEZK
(over the intercom) For all of us who knew her.
CUT TO:
INT. TWIN PEAKS HIGH SCHOOL - DAY
We see DONNA crying and JAMES in shock and teary eyed.
MR. WOLCHEZK
(over the intercom) Her friends, her family. It
is very important that we all try to help each other through this difficult
time.
CUT TO:
INT. TWIN PEAKS HIGH SCHOOL - DAY
We watch MR. WOLCHEZK as he speaks.
MR. WOLCHEZK
The police have asked me to ask each of you if
you have any information about Laura's activities after school yesterday
or yesterday evening. Please come forward. I am dismissing all classes
for the day but before we leave I would like to ask each of you to join
me in a moment of silence for Laura and her dear memory.
He shuts off intercom and uncontrollably begins to sob.
CUT TO:
INT. TWIN PEAKS HIGH SCHOOL - DAY
We see DONNA crying and being consoled by several friends. James is still
in shock and teary eyed.
CUT TO:
INT. TWIN PEAKS HIGH SCHOOL - DAY
We view a CLOSEUP on LAURA PALMER'S homecoming picture in the school trophy
case.
TUNE ENDS: LAURA PALMER'S THEME
FADE OUT:
FADE IN:
INT. PALMER HOUSE - DAY
We view a CLOSEUP of a photograph of LAURA PALMER.
CUT TO:
INT. PALMER HOUSE - DAY
SARAH is crying on the couch but quiets down as a sedative given by DR.
HAYWARD calms her down. SHERIFF TRUMAN is also in the room waiting for SARAH
to calm down. DEPUTY ANDY is standing in the background.
DR. HAYWARD
You can talk to her now Harry.
DR. HEYWARD sits beside SARAH and holds her arm.
SHERIFF TRUMAN
Do you know what time it was when you last saw
Laura, Mrs. Palmer?
SARAH
SHERIFF TRUMAN
SARAH
Uhh, it would have been about nine. Yes, nine
... o'clock ... pm. She came home from Bobby's (becomes emotional) and
she was going up the stairs. (more emotional) Those stairs, right there.
She looks at the stairs, then to the ceiling and hears footsteps; the ceiling
fan is revolving.
SARAH
SHERIFF TRUMAN
Your husband and one of my men.
SARAH
(sigh) I can tell from the sounds that it isn't
her. (grimaces with tears)
CUT TO:
INT. PALMER HOUSE - DAY
Upstairs in LAURA'S bedroom, we see DEPUTY HAWK looking over her possessions.
LELAND is seated on LAURA'S bed with a pillow in his lap. DEPUTY HAWK lifts a book
up, looks it over and then asks LELAND...
HAWK
LELAND
(looks at the book) Uhmm. (nods yes).
HAWK
Do you know where the key to this is, sir?
LELAND
(shakes his head for no) Do you have to take that?
HAWK
We'll return it as soon as possible.
HAWK places the diary in a box. Next, he opens a box on LAURA's desk. He
finds and takes out a video camera.
CUT TO:
INT. PALMER HOUSE - DAY
SARAH is sitting back on the couch in her living room, calmed down by the
sedative. SHERIFF TRUMAN sits by her. DEPUTY ANDY and DR. HAYWARD stand
in the background.
SHERIFF TRUMAN
Did she say anything to you?
SARAH
(deep breathe) She said good night. And I said
... (grimace) good... good night ... sweet ... sweetheart.
A telephone rings in the background. SHERIFF TRUMAN nods to ANDY to get
the phone. ANDY goes to another room, out of sight, to answer it.
SHERIFF TRUMAN
Mrs. Palmer, can you remember, did she make or
receive any phone calls?
SARAH
I heard her phone ring ... once.
SHERIFF TRUMAN
About what time was that?
SARAH
(cries) I don't know who it was.
ANDY
SHERIFF TRUMAN stands up and walks over to ANDY.
ANDY
That was Lucy. Got a call from a guy that works
up at the mill. Janek Pulaski. Says his daughter didn't come home last
night and she didn't show up at school today either.
CUT TO:
INT. PACKARD SAW MILL - DAY
We view several machines at work as they process timber.
CUT TO:
EXT. PACKARD SAW MILL - DAY
We see a bird's eye view of the mill.
CUT TO:
INT. PACKARD SAW MILL - DAY
In the accounting office inside the mill, PETE MARTELL is seated at a desk
doing some paperwork.
PETE
Two by fours and four by eights. Two by fours
and four by eights. Two by fours and four by eights.
Suddenly, PETE is distracted by the yelling of CATHERINE.
CUT TO:
INT. PACKARD SAW MILL - DAY
Outside the office but still inside the mill building, JOSIE and CATHERINE
are making their way to the office.
CATHERINE
Do you hear me! You can't do that to my workers.
Don't walk away from me like that! Come on back here! Your not going anywhere
and your not going to tell anybody anything.
JOSIE and CATHERINE enter the office. JOSIE turns around to face CATHERINE and says...
JOSIE
Catherine, I'm sorry if this offends you but I am the owner of this saw mill.
CATHERINE
And you don't know the first thing about this
mill. That's why I'm running it.
JOSIE
I've never taken this authority before but maybe
I should have.
CATHERINE
Your not shutting us down.
JOSIE
Catherine, I have the final say-so. Peter push
the plug.
CATHERINE
PETE has been watching the confrontation between both women.
PETE
Oh, Catherine. Please (walks over to the phone,
picks it up) Shorty, tell the boys to pull the plug. (response) That's
right.
A whistle sounds and machines start to power down. JOSIE moves over to the
mill intercom microphone. CATHERINE leaves the office.
JOSIE
May I have your attention. This is Josie Packard.
CUT TO:
INT. PACKARD SAW MILL - DAY
Outside the office but still inside the mill building, CATHERINE is walking
down the stairs from the office. JOSIE can be heard over the intercom.
JOSIE
I've decided today, in the light of what has happened,
all work here will stop.
CATHERINE
JOSIE
This morning, as you know, the body of Miss Laura
Palmer ...
CATHERINE stops near the bottom of the stairs and looks at a nearby MILL
WORKER, who is looking back at her.
CATHERINE
JOSIE
(over the speakers) ... was found ...
MILL WORKER
JOSIE
(over the speakers)... near our dock.
CATHERINE
CUT TO:
INT. PACKARD SAW MILL - DAY
We see MR. PULASKI being escorted to a police car by a cop.
JOSIE
(over the speakers) Just now, your coworker and
friend Mr. Janek Pulaski has learned that his daughter, one of Laura's
schoolmates, is missing since last night.
CUT TO:
INT. PACKARD SAW MILL - DAY
We view several areas in the mill as workers stand around and listen to
JOSIE over the speakers.
JOSIE
Today, all work here will stop. The mill will
shut down. Perhaps you can spend the day with your families. Thank you
all for your attention.
CUT TO:
INT. PACKARD SAW MILL - DAY
We view a huge circular saw blade come to a complete stop.
CUT TO:
EXT. TRAIN BRIDGE - DAY
TUNE: LAURA PALMER'S THEME
With the sound of the wind blowing, we see a young girl, RONETTE PULASKI,
walking slowly along the train tracks of a bridge. She is wearing only slip
that is dirty. Her makeup is smeared and there are tied loops of twine around
each wrist that have been cut and are hanging free. Nearby, at the end of
the bridge, an ENGINEER is arranging the track switch. Out of the corner
of his eye he spots RONETTE.
ENGINEER
CUT TO:
TUNE: THE BOOKHOUSE BOYS (1:12 - 2:11)
TUNE ENDS: LAURA PALMER'S THEME
EXT. BIG ED'S GAS FARM - DAY
JAMES HURLEY is on his motorcycle and he pulls in to his uncle's gas station.
As he drives in, JAMES sets off a bell alerting 'BIG' ED HURLEY, a very
tall man dressed in a plaid flannel and blue jeans, who comes out of the
station to meet him. JAMES parks his motorcycle but doesn't get off it.
JAMES
BIG ED
JAMES
BIG ED
JAMES
Can't do it. If you see Donna could you give this
to her?
JAMES hands BIG ED a folded piece of paper.
BIG ED
NADINE
JAMES starts up his motorcycle and drives off. NADINE HURLEY, BIG ED'S wife
who has a patch over her left eye, is yelling to BIG ED from their home
behind the gas station.
TUNE ENDS: THE BOOKHOUSE BOYS (1:12 - 2:11)
NADINE
Ed! They said those drapes would be ready by ten.
Now I want those drapes up by nightfall!
BIG ED walks over to his truck, gets in, starts it up and drives off.
CUT TO:
INT. CAR - DAY
TUNE: DANCE OF THE DREAM MAN
We view the interior of FBI SPECIAL AGENT DALE COOPER'S car as he is driving
along the highway. He is alone in his car and is talking into a mini tape
recorder that he is holding in his left hand.
COOPER
Diane, 11:30 am, February 24. Entering the town
of Twin Peaks, five miles South of the Canadian border, twelve miles West
of the state line. I've never seen so many trees in my life. As W. C. Fields
would say I'd rather be here then in Philadelphia. Fifty-four degrees on
a slightly overcast day. Weatherman said rain. If you get paid that kind
of money for being wrong sixty percent of the time it beat working. My
mileage is 79,345. Gauge is on reserve. Riding on fumes here. I've got
to tank up when I get into town. Remind me to tell you how much that is.
Lunch was ... uhh ... (retrieves
a receipt from his pocket) six dollars and thirty-one cents at the
... Lamplighter Inn, that's on highway two near Lewis Fork. That was a tuna
fish sandwich on whole wheat, slice of cherry pie and a cup of
coffee. (emphasized) Damn
good food. Diane, if you ever get up this way that cherry pie is worth a
stop. Okay. (picks up card) Looks
like I'll be meeting up with a ahh ... Sheriff Harry S.
Truman. Shouldn't be to hard to remember that. That will be at the Calhoun
Memorial Hospital. I guess we're going to go up to intensive care and take
a look at that girl that crawled down the railroad tracks off the mountain.
I'm pretty sure I'll be checking into a hotel. I'm sure the sheriff will
be able to recommend a clean place, reasonably priced. That's what I need,
clean place, reasonably priced.
CUT TO:
EXT. ROAD INTO TWIN PEAKS - DAY
COOPER continues to talk as he passes the 'Welcome to Twin Peaks' sign.
COOPER
Oh Diane, I almost forgot. I got to find out what
kind of trees these are. Their really something.
TUNE ENDS: DANCE OF THE DREAM MAN
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
SHERIFF TRUMAN and AGENT COOPER meet for the first time in a hallway of
the hospital.
SHERIFF TRUMAN
COOPER
SHERIFF TRUMAN
Sheriff Harry S. Truman. (extends his hand for
greeting)
COOPER
Dale Cooper, FBI (shakes hands). Pleasure.
SHERIFF TRUMAN
COOPER clears his throat and they both proceed to walk up the hall.
SHERIFF TRUMAN
Have any trouble finding the place?
COOPER
No, no trouble to find. I came out over Highway
Two near Lewis Fork. I stopped at a little place called the Lamplighter
Inn, had a slice of cherry pie, incredible.
SHERIFF TRUMAN
Well I'll tell ya' we're sure glad to have the
FBI here. We're kinda lucky in the way that Ronette step out across the
state line. The whole town is very badly shaken up.
COOPER
Yeah, sure its a nice quiet place, something like
this. (stops TRUMAN in the hall, now face to face) Sheriff let me just
talk to you in the hallway here for just a second. There's a few things
we got to get straight right off the bat. Now I've learned about this the
hard way, its best to talk about it up front. When the bureau gets called
in, the bureau's in charge. Now your going to be working for me. Sometimes
local law enforcement has a problem with that. I hope you understand.
SHERIFF TRUMAN
Like I said, we're glad to have you here.
COOPER now moves a little closer to SHERIFF TRUMAN and sports a grin.
COOPER
Sheriff, what kind of fantastic trees have you
got growing around here? Big, majestic.
SHERIFF TRUMAN
COOPER
(repeated in amazement) Douglas firs. (changes
expression) Can someone give me a copy of the coroner's report on the dead
girl.
SHERIFF TRUMAN
Well the autopsy hasn't been done yet. But I'll
take you down stairs to the morgue when we're finished here.
COOPER
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
SHERIFF TRUMAN and COOPER meet with DR. SHELVY at the open office station
in the intensive care area of the hospital.
SHERIFF TRUMAN
Dr. Shelvy, this is FBI Agent Cooper.
DR. SHELVY
Glad to know you. (shakes hands with COOPER)
COOPER
DR. SHELVY
She's in shock, suffering from exposure.
COOPER
DR. SHELVY
DR. SHELVY leads the way to RONETTE'S bed as COOPER and SHERIFF TRUMAN follow
her.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
DR. SHELVY, COOPER and SHERIFF TRUMAN are beside RONETTE'S bed. RONETTE
is lying on the hospital bed unconscious. She is hooked up to several machines
that are beeping.
COOPER
DR. SHELVY
COOPER
DR. SHELVY
We're waiting for the results.
COOPER
(turns around to SHERIFF TRUMAN) Any connection
to the dead girl?
SHERIFF TRUMAN
Same high school. As far as we know they hardly
knew each other. No connection.
COOPER
Hmm. I'd like to question her.
DR. SHELVY
This girl doesn't even know where she is or if
she is.
COOPER
What exactly are you saying?
DR. SHELVY
We need a CAT scan and we are not equipped for
that here. My opinion, she may have neurological damage. She's just not
responsive at all.
COOPER
I'd like to examine her fingers?
DR. SHELVY looks at SHERIFF TRUMAN with a puzzled look. SHERIFF TRUMAN shrugs
and gives a blank stare.
DR. SHELVY
COOPER moves over to RONETTE and grabs her left hand. With a small magnifying
glass he looks at her fingernails.
SHERIFF TRUMAN
They've already scrapped for particles.
COOPER
Nah. That's not what I'm looking for. (continues
looking) No, no. There's nothing here. Not a thing.
As COOPER puts her hand down RONETTE mumbles.
RONETTE
No. No. Don't go there. Don't ... don't go there.
DR. SHELVY
COOPER
RONETTE is again unconscious.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
COOPER and SHERIFF TRUMAN are in an elevator, we watch a man with one arm
walk inside. The doors close. On the next floor the doors open and the ONE-ARMED
MAN steps out. In front of the open door stand two nurses behind a counter
and DR. LAWRENCE JACOBY. DR. JACOBY is talking to the nurses.
DR. JACOBY
... there's this fish and I pull him out of the
water. Big mouth, got a big mouth and it starts talking to me. Wo... (notices
COOPER and SHERIFF TRUMAN standing quietly in the elevator as the doors
close) Hey, hey.
DR. JACOBY tries to get COOPER'S and SHERIFF TRUMAN'S attention but is cut
off by the closing of the elevator doors.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
As COOPER and SHERIFF TRUMAN exit the elevator on their intended floor.
They are met by DR. JACOBY who used the stairs to get to them.
DR. JACOBY
SHERIFF TRUMAN
DR. JACOBY
(slightly out of breath) Terrible, terrible tragedy.
SHERIFF TRUMAN
DR. JACOBY stands quietly with his hands in his pockets and with large ear
plugs in his ears. He wants to be greeted with COOPER.
SHERIFF TRUMAN
This is special agent Dale Cooper.
DR. JACOBY pulls out one of his ear plugs. Having misheard TRUMAN, he asks...
DR. JACOBY
SHERIFF TRUMAN
DR. JACOBY
Agent. (points at COOPER) F B I.
COOPER
DR. JACOBY
(slight laugh) Dr. Lawrence Jacoby agent Cooper.
Laura was a patient of mine. Listen, your on your way to the morgue now.
Do you mind if I join you?
COOPER
(scans DR. JACOBY from head to toe) Yes I do. Why
would you want to?
SHERIFF TRUMAN
It's sort of against procedure doctor.
DR. JACOBY
Well, no offense. I ... I thought I could be of
some help.
COOPER
You still could be, at another time.
DR. JACOBY
Oh. I ... I understand completely, yeah. Oh. By
the way, (slight laugh) Laura's ... uhh ... Laura's parents ... (slight
laugh) they didn't know that she was seeing me. (little crazed laugh)
COOPER and SHERIFF TRUMAN look at each other and then walk off. COOPER turns
his head to look at DR. JACOBY and then to SHERIFF TRUMAN as they walk down
the hospital hallway.
COOPER
That guy is a psychiatrist?
SHERIFF TRUMAN
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL- DAY
In the examining room with LAURA, COOPER is seated to the left side of LAURA
and SHERIFF TRUMAN sits opposite of him. To the foot of the table, and in
the background, is a DOCTOR'S ASSISTANT. The overhead fluorescent lights
are flickering and are producing a buzzing sound.
DOCTOR'S ASSISTANT
I have to apologize again for the fluorescent
lights. I ... I think its a bad transformer.
COOPER
COOPER moves the table light to LAURA'S left hand that he is examining with
his little magnifying glass.
SHERIFF TRUMAN
Agent Cooper, we did scrape those nails when we
brought her in.
COOPER
There it is, there it is. Oh my god, there it
is.
SHERIFF TRUMAN
COOPER
Would you leave us please?
DOCTOR'S ASSISTANT
COOPER
Ahh, would you leave us alone please?
DOCTOR'S ASSISTANT
The DOCTOR'S ASSISTANT leaves and closes the door behind himself. COOPER
grabs a tweezer from the doctor's tool pan.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
We view a CLOSEUP of LAURA'S left ring finger as COOPER probes underneath
the fingernail with the tweezer. He slowly pulls out a piece of paper from
underneath the fingernail.
CUT TO:
INT. CALHOUN MEMORIAL HOSPITAL - DAY
The overhead fluorescent lights are still flickering and buzzing. AGENT
COOPER retrieves his mini tape recorder from his pocket and turns it on.
COOPER
Diane. I'm at the Twin Peaks county morgue with
the body of the victim ... (to TRUMAN) What's her name?
SHERIFF TRUMAN
COOPER
Laura Palmer. I got here before the autopsy. Diane,
its the same thing. I told you I had a feeling we'd see this again.
SHERIFF TRUMAN
COOPER
Ring finger, under the nail. Let's see what he
left us.
COOPER places the piece of paper on a small sheet of glass and flattens
out the piece of paper. The small piece of paper has a single letter on
it.
COOPER
Its an 'R'. Diane, give this to Albert and his
team don't go to Sam. Albert seems to have a little more on the ball. (to
SHERIFF TRUMAN) We need a bag and tag this.
SHERIFF TRUMAN
Okay, Cooper. Are ya' going to let me in on whatever
the hell is going on here.
COOPER
(smiling) Sheriff, we've got a lot to talk about.
FADE OUT:
FADE IN:
EXT. BIG ED'S GAS FARM - DAY
We watch a truck being driven by BIG ED ring the service bell as he pulls
into his gas station. DONNA is sitting in a parked car near the station
building. She gets out and walks over to BIG ED, who has just come out of
his truck.
DONNA
BIG ED
BIG ED gives DONNA a big hug.
BIG ED
DONNA
BIG ED
DONNA
BIG ED
DONNA
Do you know where he went? I've already been up
to the Roadhouse.
BIG ED
I don't know honey. He told me to give you this.
BIG ED gives DONNA the note JAMES gave him. DONNA opens the note and it
reads.
'Meet Me At The Roadhouse After 9:30.'
A car, driven by MIKE NELSON, approaches the gas station and pulls in. He
does not leave his vehicle or shut off the engine.
MIKE
(to DONNA) What the hell are you doing?
DONNA
MIKE
I've been looking all over for you. In case you
didn't realize, Bobby is in a lot of trouble. He's my best friend and your
supposed to be with me Donna and we're going down to the police station
to be with him.
DONNA
Look, don't tell me where I ought to be! Second
of all, Laura was my best friend.
MIKE
BIG ED
MIKE
BIG ED
MIKE
Oh Ed, I'm not your friend. (switches attention
to DONNA) Donna get to the sheriffs right now.
MIKE revs the engine of his car and drives off, setting off the station
bell and squealing his tires as he goes onto the road.
DONNA
Boy, I sure know how to pick them, huh.
CUT TO:
EXT. HURLEY HOUSE - DAY
NADINE sneaks her head outside the front doorway and yells out to BIG ED.
NADINE
Ed! You waiting for the drapes to hangs themselves!
CUT TO:
EXT. BIG ED'S GAS FARM - DAY
BIG ED and DONNA are standing together near the entrance to the gas station.
He turns around to look at NADINE.
BIG ED
CUT TO:
EXT. HURLEY HOUSE - DAY
NADINE pokes her head back inside the house and slams the door.
CUT TO:
EXT. BIG ED'S GAS FARM - DAY
BIG ED
(turns to DONNA) Well, I know how to pick them
too.
DONNA
Ed, will you do me a favor. If James comes around
will you tell him I'm looking for him.
BIG ED
You bet. (places his hands on her shoulders) And
Donna, you take it easy.
DONNA
She walks off back to her car.
CUT TO:
EXT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
We view the front of the building as we hear booming thunder.
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
TUNE: FRESHLY SQUEEZED (0:00 - 0:25)
AGENT COOPER and SHERIFF TRUMAN are sitting next to each other at a long
table in a conference room. They are examining the items collected from
LAURA'S room. COOPER is holding a videocassette.
SHERIFF TRUMAN
That's the ... uhh ... video tape we just saw.
The one we found from Laura's bedroom.
COOPER
Right. At a certain point I'm going to want to
show this to the boyfriend.
SHERIFF TRUMAN
COOPER
(puts the videocassette down) Did you complete
your forensics? (picks up the diary)
SHERIFF TRUMAN
COOPER
(examines the diary) No key yet huh?
SHERIFF TRUMAN
With his thumbs, COOPER forces the diary open. This breaks the locking mechanism
and shoots the mechanical parts out which chime as they dance across the
table. COOPER looks at SHERIFF TRUMAN.
SHERIFF TRUMAN
COOPER
(turns on his mini recorder). Diane, I just opened
Laura Palmer's diary. This is the ... uhh ... last entry dated February
23. It reads, "asparagus for dinner again, I hate asparagus. Does
this mean I'll never grow up." And then she's written, "nervous
about meeting 'J' tonight". That's the letter 'J', Diane. (flips through
the pages) Yeah, that is the last entry. Well that's something to get started
on.
SHERIFF TRUMAN
Yeah. That's one out of twenty-six.
COOPER
Yeah, one out of twenty-six. (flips through the
front pages of the diary) Diane, I just turned back eighteen days to day
one. What we have taped to the page here is a plastic envelope containing
a white residue and what looks to be a key to a safety deposit box. Sheriff,
after you very carefully remove this key I'm going to run this envelope
and my bet is it will test positive for cocaine.
SHERIFF TRUMAN
(surprised) That's impossible.
COOPER
(looks at SHERIFF TRUMAN) You ever been surprised
before?
SHERIFF TRUMAN
Mr. Cooper, you didn't know Laura Palmer.
COOPER
Let's get started on a court order to open that
safety deposit box and maybe we'll both find out a few things about Laura
Palmer.
COOPER stares at SHERIFF TRUMAN as he puts down the diary. He grabs the
next item on the table.
COOPER
Diane, I'm holding in my hand a small box of chocolate
bunnies.
TUNE ENDS: FRESHLY SQUEEZED (0:00 - 0:25)
CUT TO:
EXT. WOODS - DAY
TUNE: LAURA PALMER'S THEME
We PAN a view of the forest under a stormy sky with the sound of thunder
rumbling.
CUT TO:
EXT. ABANDONED TRAIN CAR - DAY
Under a stormy sky, several police officers and police dogs are wandering
around an abandoned train car. DEPUTY ANDY is sitting just outside the train
car and is speaking into his portable radio.
ANDY
LUCY
(over the radio) Andy, is that you?
ANDY
Tell Harry we found where ... it happened. Where
Ronette and Laura were taken ... and tortured. Tell Harry (becoming upset)
I didn't cry. (starts to cry)
LUCY
(over the radio) Andy ...
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
We see LUCY seated in the reception office as she talks to ANDY over a headset.
She tries to console him.
LUCY
... are you okay? Sweetie.
CUT TO:
EXT. ABANDONED TRAIN CAR - DAY
ANDY
But Lucy (speaks as he's crying) It so horrible.
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
LUCY
CUT TO:
EXT. ABANDONED TRAIN CAR - DAY
ANDY
(very emotional) Oh god. (puts his gloved hand
to his eyes)
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
SHERIFF TRUMAN and COOPER sit next to each other at the table in the conference
room. Sitting opposite of them is BOBBY and his lawyer, GILMAN WHITE. At
the end of the table is a television with a built-in videocassette player.
COOPER
Bobby, this is just to reaffirm that you have
been advised of your constitutional rights. Am I correct?
BOBBY
COOPER
Bobby, did you kill Laura Palmer?
BOBBY
COOPER
She was studying at your house until about nine-thirty
last night isn't that right.
BOBBY
GILMAN
BOBBY
COOPER
Did she drive herself home?
BOBBY
COOPER
You two had a big fight last week didn't you?
BOBBY
So what, if I had a fight with her, if I sang
songs with her, if I went skipping rope with her! (wrestles slightly with
GILMAN who is tugging at his arm for restraint) What difference does it
make! I didn't kill her!
COOPER turns his head and looks at SHERIFF TRUMAN with a grin. Then he turns
to BOBBY, still wearing the grin.
COOPER
Bobby, here's how this works. We ask the questions
and you answer the questions that we ask. Briefly and to the point.
Again COOPER turns his head and looks at SHERIFF TRUMAN with the grin. COOPER
grabs the remote control for the videocassette player and plays the tape
from LAURA'S camera. BOBBY watches the video of LAURA and DONNA having a
picnic in the mountains.
COOPER
Did you shoot this video Bobby?
BOBBY
COOPER
Well, if you didn't then who did? Did you know
Laura was seeing someone else? That's what you two fought about last week.
Look at these pictures. Look how happy she is.
The video shows LAURA and DONNA prancing around together near a picnic spread.
COOPER
Ever do cocaine with Laura, Bobby?
BOBBY
(shifts his attention from the monitor to COOPER)
I don't do drugs.
GILMAN
Excuse me, but what are you charging my client
with?
COOPER grabs an electronic notebook, a calculator-like device, on the table
and starts typing in info with one hand.
COOPER
That's right. Your a football player, aren't you
Bobby? Bobby if you knew who she was seeing, ...
COOPER hands the device to SHERIFF TRUMAN who looks at the display and reads
...
CUT TO:
ELECTRONIC NOTEBOOK
We see SHERIFF TRUMAN'S POV of the display.
'HE DID NOT DO IT'
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
COOPER
... trust us on this, now is the time to tell
us.
BOBBY
Why don't you ask Donna. She was there with her.
COOPER
Because I'm asking you. Come on Bobby, give me
a name. Here's a hint, first initial 'J'.
BOBBY looks at the monitor and leans in closer, he mumbles 'J'.
BOBBY
No. She wouldn't do that to me.
COOPER
You didn't love her anyway. Let him go.
CUT TO:
INT. GREAT NORTHERN - DAY
AUDREY and JULIE are seated at the concierge's desk. AUDREY is pushing a
pencil into to bottom of a Styrofoam cup filled with coffee. A hotel employee,
BOB, comes up to the desk.
BOB
Julie, the Norwegians are signing the contracts
at four o'clock. When Mr. Horne returns, make sure that they do not hear
about Laura Palmer's death. That will blow the whole deal, got it.
JULIE
BOB
AUDREY
Okay Bob. Okay Bob. Okay. Julie, what would happen
if I pulled this out.
JULIE
AUDREY then pulls the pencil out of the bottom of the cup of coffee and
coffee pours out onto the concierge's desk.
JULIE
Oh, oh, oh. Audrey, look what you've done. Audrey.
JULIE scrambles to mop up the spilled coffee with her already wet office
papers. AUDREY smiles and taps the pencil on the desk.
AUDREY
Did they scarf the whole damn smorgasbord.
AUDREY stands up and walks into the next room where the meeting is taking place.
JULIE
Audrey, Audrey honey. Don't you go in there. Audrey,
don't ... uhh ... don't go in there, Audrey.
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
TUNE: NAUGHTY AUDREY 35K
AUDREY enters the room where the business meeting is being held. Inside
the room is a table laden with food. The Norwegians are all seated and facing
the leader of the group. AUDREY walks over to the table of food, then wanders
over near the door she came in and leans against the wall. Slowly, one by
one, the Norwegians spot AUDREY and she eventually attracts the attention
of the whole group. The leader of the group, SVEN, speaks.
SVEN
(in a Norwegian accent) Excuse me, is there something
wrong, young pretty girl?
AUDREY
They found my friend Laura, lying face down on
a rocky beach, completely naked. She'd been murdered.
SVEN looks at the group and the group looks at him then they all suddenly
look back at AUDREY.
TUNE ENDS: NAUGHTY AUDREY 35K
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
In the hallway, BOBBY walks up to his friend MIKE, who is leaning against
a wall near the reception office.
MIKE
BOBBY
Snake. We're out of here man.
MIKE
Just a sec, Donna's still in there.
BOBBY
You straightened her out yet.
MIKE
I don't know what's up with her, man.
BOBBY
Forget her, I got it figured, Laura and her. That
cop mentioned something about the letter 'J'. We're looking at some freakin'
biker and some freakin' biker gonna get his head busted open. (he smashes
his hands together)
MIKE
What's his name and we'll finish this quick.
BOBBY peers into the open door of LUCY'S reception office. LUCY looks back
at BOBBY.
BOBBY
BOBBY and MIKE walk towards the front door. MAJOR BRIGGS, BETTY and their
LAWYER are near the front door.
MAJOR BRIGGS
(to BOBBY) I'll be home this evening if you need
a sympathetic ear.
BOBBY
I don't need a damn sympathetic anything. (walks
out the door)
MAJOR BRIGGS
(to BETTY) You know dear I have no idea what's
going on here.
BETTY
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
TUNE: LAURA PALMER'S THEME
COOPER is sitting on the table next to the television in the conference
room. Sitting in a chair next to him is DONNA. COOPER is playing the tape
of the picnic for her to see.
COOPER
So your on a picnic, just the two of you. Way
up in the mountains, not another soul around.
DONNA
Is there some law against having a picnic.
COOPER
Donna this is interesting to me because with just
the two of you out there. I can't for the life of me figure out how these
pictures got taken.
DONNA
Ahh ... Well ... that, that's easy... there was
... this ... umm ... hiker that came along. This woman hiker, had a backpack
and uhmm ... we asked her to take the pictures for us. (tears)
COOPER
DONNA
I don't know. I don't think we asked her. I forgot.
I don't know.
COOPER
Donna who are you protecting?
DONNA
(more tears) Nobody, that's really what happened.
COOPER
Does this person's name start with the letter
'J'?
DONNA
No, she didn't tell us her name.
COOPER
Donna, this is serious business. More serious
then Laura falling in love with someone other then her boyfriend. Much
more serious then you know.
LUCY
(over the intercom) Agent Cooper, the sheriff's
ready to roll up to the site and I got something else for you here.
COOPER
(to the intercom) You can come on in. (to DONNA)
I know Laura was your best friend. You've been through a lot today. We're
finished here for the time being.
DONNA
She leaves the room.
TUNE ENDS: LAURA PALMER'S THEME
LUCY and SHERIFF TRUMAN enter the conference room.
SHERIFF TRUMAN
Go ahead Lucy. Tell Agent Cooper what you heard.
LUCY
Okay. Now, after you were done with Bobby and
he was taken back to his cell. Well then his parents were standing by the
door with his lawyer and Bobby he was released and he came out and he saw
his friend Mike, who was down by the water cooler. Which is near my desk.
COOPER nods at her to get to the point.
LUCY
Okay, okay. Well I pretended to be typing but
I was typing what Mike and Bobby were saying and ... well they didn't say
exactly who it was they were talking about ... but anyway. Here's what
they were saying.
COOPER
They said the person we're looking for is a biker.
LUCY
SHERIFF TRUMAN
COOPER rewinds the videotape, plays it and then pauses it.
CUT TO:
TELEVISION
We view a CLOSEUP of the television which shows a closeup of LAURA'S eye.
In the reflection of LAURA'S eye a motorcycle can be seen.
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - DAY
COOPER
SHERIFF TRUMAN
LUCY
TUNE: LAURA PALMER'S THEME
CUT TO:
TELEVISION
We again view a CLOSEUP of the television which shows the reflection of
the motorcycle in LAURA'S eye.
MORPH TO:
EXT. MOUNTAINS NEAR TWIN PEAKS- DAY
We FOCUS on a motorcycle. We PAN and see JAMES HURLEY next to the motorcycle
sitting on the grass. The area looks like the picnic spot seen in the video
from LAURA'S room.
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
TUNE: NAUGHTY AUDREY 35K
In the lobby, the Norwegians are hastily going out the door while bell hops
are scuttling their baggage around. The CONCIERGE is behind the lobby counter
and is a ringing a bell for the bell hops.
CONCIERGE
The Norwegians are leaving. The Norwegians are
leaving. The Norwegians ...
CUT TO:
EXT. GREAT NORTHERN HOTEL - DAY
BENJAMIN HORNE stops SVEN near a car that SVEN is packing with his baggage.
The Norwegian TRANSLATOR is right behind BENJAMIN.
SVEN
(in a Norwegian accent) Everyone here is gone,
not gut (good).
BENJAMIN
You are throwing away an investment opportunity
of a lifetime.
SVEN
Better that then throw a lifetime away.
The TRANSLATOR steps in to talk to SVEN. BENJAMIN turn to him and madly
says ...
BENJAMIN
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
Inside the lobby, AUDREY peers out the window to her father and laughs.
TUNE ENDS: NAUGHTY AUDREY 35K
CUT TO:
EXT. WOODS - DAY
TUNE: NIGHT LIFE IN TWIN PEAKS
We PAN a view of the forest under a stormy sky with the sound of thunder
rumbling.
CUT TO:
INT. ABANDONED TRAIN CAR - DAY
TUNE: LAURA PALMER'S THEME
TUNE ENDS: NIGHT LIFE IN TWIN PEAKS
COOPER and SHERIFF TRUMAN are inside the abandoned train car and are examining
the dark interior with a flashlight. Blood can be seen scattered about the
floor. Against one wall is a plywood box, on top of it is a bloodied towel.
They search the floor and find a bloodied hammer. In the center of the train
car they find a mound of dirt.
COOPER
Sheriff. (gives SHERIFF TRUMAN the flashlight
to hold, turns his mini recorder on) Diane, its four-ten in the afternoon
at the scene of the crime. Here's something we haven't seen before. A mound
of dirt approximately a foot and a half in diameter on top is a gold necklace
with a gold heart. Correction, half a gold heart. At the base of the mound
of dirt is a torn piece of newsprint written with the words, which appear
to be in blood, fire walk with me. (to TRUMAN) Sheriff you and I have got
to find who's got the other half of that heart.
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
EXT. MOUNTAINS NEAR TWIN PEAKS- DAY
JAMES HURLEY sits on the grass with his motorcycle parked behind him. He
is looking at the gold half heart with a leather necklace that he is holding
with both hands.
CUT TO:
EXT. GREAT NORTHERN HOTEL- DAY
We view the front of the hotel and the waterfall.
CUT TO:
INT. GREAT NORTHERN HOTEL - DAY
In the HORNE residency of the hotel, JOHNNY HORNE is wearing an Indian headdress
and is seated on the floor near a large doll house. JOHNNY is banging his
head against the doll house. Near him, at the dining table sits SYLVIA HORNE,
his mother, and AUDREY together drinking coffee. From behind them, a NURSE
descends a spiral staircase from the floor above.
NURSE
Mrs. Horne it might help if you talk to Johnny
yourself.
SYLVIA
So, you think it might help. Well you can tell
Johnny one more time that Laura isn't coming this afternoon to work with
him (pause as she looks at Johnny) and tomorrow afternoon or any afternoon.
Now what is so difficult to understand about that! (slams a fist to the
table)
The NURSE quietly walks back up the spiral staircase.
CUT TO:
INT. TWIN PEAKS BANK - DAY
MARGARET HONEYCUTT, a bank employee carrying a safety deposit box, leads
COOPER and SHERIFF TRUMAN to a small room within the bank. As they enter
the room they see a deer head trophy laying on the table.
MARGARET
Oh. (at the sight of the trophy) It fell down.
I knew Laura she was always so nice.
She hands the safety deposit box to SHERIFF TRUMAN.
COOPER
When was the last time she came in?
MARGARET
Oh, I couldn't tell you exactly ... ahh ... we
have so many boxes.
COOPER
MARGARET
Well we have plenty of paperwork.
COOPER
Can you tell me how long she's had this box?
MARGARET
I'd say about six months.
COOPER stares at her.
MARGARET
I ... I could check for you.
COOPER
Would you please and close the door on your way
out.
MARGARET
COOPER
Using LAURA'S key from her diary, he opens the safety deposit box and sees
a magazine.
COOPER
SHERIFF TRUMAN
COOPER reaches into the box to remove the magazine. As he picks up the magazine
he finds a stash of money, COOPER picks it up and thumbs through it.
COOPER
There's over ten thousand dollars here. That's
a lot of girl scout cookies.
Sporting a grin, COOPER looks at the magazine again and finds a dogeared
page.
COOPER
There's a page that's marked.
He opens the magazine to the marked page. At the bottom right corner of
the page there is a photo of RONETTE posed in lingerie. The ad has been
circled with a marker.
COOPER
There's your connection, Ronette Pulaski.
SHERIFF TRUMAN
On the opposite page is a black and white picture of LEO JOHNSON'S rig parked
outside his home.
MORPH TO:
EXT. JOHNSON HOUSE - DAY
We view LEO'S rig parked outside his home.
CUT TO:
INT. JOHNSON HOUSE - DAY
SHELLY, wearing a robe, is sitting in front of the television and is watching
a news report about the murder. LEO is sitting on the sofa. He is looking
over different cigarette butts in the ash tray.
LEO
Shelly, would you please turn the television set
off.
SHELLY
Why Leo, I want to see this.
LEO
SHELLY gets up and shuts off the television.
LEO
Shelly, sit down here a minute and help me out.
(SHELLY sits beside him) What kind of cigarettes do you smoke?
SHELLY
LEO
No you don't, you smoke these (shows one cigarette
butt to her). What are these doing here?
He shows her a different cigarette butt.
TUNE: WALKING IN THE DARK 32K
SHELLY
Come on Leo. I pick up different packs from the
diner all the time, me and Norma.
LEO
There's two things Shelly. When I come home this
house should be clean and I mean clean.
SHELLY
LEO
Number two, you smoke one brand of cigarettes
from now on because if I ever see two different brands of cigarettes in
this house again I'm going to snap your neck like a twig.
SHELLY
Okay, Leo. You have nothing to worry about with
me darlin'.
LEO
That's right. (takes a drink from his bottle of
beer)
TUNE ENDS: WALKING IN THE DARK 32K
CUT TO:
EXT. BIG ED'S GAS FARM - NIGHT
We view a CLOSEUP of BIG ED'S neon sign for his gas station that has a duck
perched above the lettering and a smoke stack emitting smoke on the top
of the sign.
CUT TO:
INT. BIG ED'S GAS FARM - NIGHT
A phone rings and BIG ED answers it.
BIG ED
Big Ed's gas farm, this is Ed speaking.
CUT TO:
INT. DOUBLE R DINER - NIGHT
In the kitchen, NORMA is on the phone and is speaking to BIG ED.
NORMA
I'm sorry, I know I promised not to call you there
...
CUT TO:
INT. BIG ED'S GAS FARM - NIGHT
NORMA
(over the phone) ... but I have to see you. I
feel so bad.
BIG ED checks out the window toward his house. All is clear.
BIG ED
It's okay. Why don't I ... uhh ... meet you at
the Roadhouse around nine-thirty.
CUT TO:
INT. DOUBLE R DINER - NIGHT
NORMA
Thank you Ed. I'll see you tonight.
CUT TO:
INT. BIG ED'S GAS FARM - NIGHT
BIG ED
BIG ED hangs up the phone and looks around to his house. In the window he
sees NADINE opening and closing, opening and closing the drapes. BIG ED
looks down to the ground and shakes his head in bewilderment.
CUT TO:
INT. TWIN PEAKS TOWN HALL - NIGHT
COOPER and SHERIFF TRUMAN sit next to each other at a large table for speakers
at one end of the room, opposite the entrance. The room is filled with the
chatter of people.
COOPER
(a little excited) I think I saw a cotton tail
rabbit.
SHERIFF TRUMAN
It must have been a snowshoe rabbit.
COOPER
SHERIFF TRUMAN
COOPER
A snowshoe, (amazed) snowshoe rabbit.
COOPER scans the room filling with people and spots an Asian woman walking
forward.
COOPER
SHERIFF TRUMAN
That is one of the most beautiful women in the
state, Mrs. Packard.
COOPER
SHERIFF TRUMAN
COOPER
SHERIFF TRUMAN
Died in a boating accident last year. Andrew Packard
practically built this town. Brought her over from Hong Kong, six years
ago, left her everything. Which didn't exactly please his sister. That's
her right there.
TRUMAN gestures to the woman, CATHERINE MARTELL, who is sitting on the other
side of her husband, PETE MARTELL, that MRS. JOSIE PACKARD is sitting next
to.
SHERIFF TRUMAN
The original deep freeze.
COOPER
Who's the glad handy dandy?
COOPER gestures to a man that has come up to JOSIE and is holding her hand.
SHERIFF TRUMAN
Benjamin Horne, local big wig, he owns half the
town. He's not after her, he's after her land.
MAYOR DWAYNE MILFORD, an elderly man, is at the podium banging a gavel.
The lights in the room flicker on and off as a woman holding a log is switching
them on and off to get people's attention.
COOPER
Who's the lady with the log?
SHERIFF TRUMAN
We call her the log lady.
The lights continue to flicker on and off as people slowly start to quiet
down.
MAYOR
Ladies and gentlemen. Can I have your attention?
(he looks around) Is this thing on? (pats the microphone) Is this thing
on!
SHERIFF TRUMAN
SHERIFF TRUMAN moves to the podium and adjusts the microphone as the MAYOR
sits down.
SHERIFF TRUMAN
Thank you Mayor Milford. Agent Cooper.
SHERIFF TRUMAN gestures to AGENT COOPER to come to the microphone. COOPER
clears his throat as he approaches the podium.
COOPER
Thank you sheriff. Ladies and gentlemen, Federal
Bureau of Investigation Special Agent Dale Cooper. One year ago almost
to the day in a town in the Southwest corner of this state the body of
a young girl named Teresa Banks was found. She had no family, no one came
forward to claim her body. It wasn't even news, until today. There are
irrefutable similarities that for obvious reasons I can not discuss that
lead us to conclude that Laura Palmer was the second and Ronette Pulaski
would have been the third victim of the same killer. Now there is a chance
that the person that committed these crimes is someone from this town,
possibly even someone you know. You are the leaders of this community.
It is vitally important that this not turn into a witch hunt. I would strongly
suggest a temporary curfew for those under eighteen years of age. Keeping
your kids off the streets now may teach them a degree of caution that may
protect them in the days and the weeks to come. I will remind you that
these crimes occurred at night.
CUT TO:
EXT. STREET LIGHT - NIGHT
A lonely street light, being blown in the wind, changes signals from green,
to yellow and to red.
CUT TO:
INT. HAYWARD HOUSE - NIGHT
TUNE: LAURA PALMER'S THEME
EILEEN HAYWARD, in her motorized wheelchair, is next to DR. HAYWARD who
is seated beside her in the living room.
DR. HAYWARD
When I left the house Sarah was sleeping. Leland
made it through the day somehow. I'm not sure I could have done the same.
EILEEN
DR. HAYWARD
Eileen, the brutality it ... the madness of it.
Their not releasing many details, wisely I suppose. At the scene where
it happened, no one else knows this, they found part of a necklace ...
CUT TO:
INT. HAYWARD HOUSE - NIGHT
Upstairs, DONNA is listening in on the conversation below.
DR. HAYWARD
... half of a golden heart. It was Laura's, they
knows this because she was wearing it in a video of a picnic they found.
The reason I'm telling you this that Donna was in the video with her and
she won't tell them who shot it or who else was with them. But they think
the killer may have the other half of the heart.
DONNA returns to her room which she shares with her sister HARRIET HAYWARD.
HARRIET is sitting up in bed with paper and pencil in hand.
HARRIET
Donna, which do you like better? The blossom of
the evening or the full flower of the evening.
DONNA
Well, listen to me. This is serious.
HARRIET
Well this is serious too.
DONNA
Sshhh. I'm going out the window in a few of minutes
and I need you to cover for me.
HARRIET
Aren't you aware that there is a curfew. They
just announced it on the radio.
DONNA
Yes, I know there's a curfew Einstein. That's
why I need you to cover for me.
HARRIET
I suppose this will include a phone conversation
with Mike, mister bonehead boyfriend, (whispered) wow.
DONNA
No, this is about Laura and its really, really
serious.
HARRIET
DONNA grabs her stuffed toy and playfully rubs it at her nose.
HARRIET
DONNA
DONNA walks over to the bedroom window and open it. She climbs out the window
and starts down.
DONNA
Oh, I'll need to borrow your bike.
HARRIET
Oh, well ... then put a little air in the back
tire. Would you?
DONNA
(teasingly) Yeah, Harriet don't forget to brush
your teeth.
HARRIET
(to herself) Actually, now that some time has
passed. I like the full blossom of the evening.
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
EXT. HAYWARD HOUSE - NIGHT
TUNE: AUDREY'S DANCE
BOBBY and MIKE pull up to the HAYWARD HOUSE in BOBBY'S car. As they get
out they throw beer cans out of the car and MIKE walks up to the front door
while BOBBY stands on top of the hood of his car.
BOBBY
Hey snake, don't take any oink-oink off that pretty
pig.
MIKE
Don't you worry about that.
MIKE reaches the front door and rings the bell.
CUT TO:
INT. HAYWARD HOUSE - NIGHT
HARRIET opens her bedroom door to listen on the conversation below.
CUT TO:
EXT. HAYWARD HOUSE - NIGHT
DR. HAYWARD answers the door.
MIKE
Hi Dr. Hayward, I'd like to talk to Donna.
DR. HAYWARD
Donna's up stairs getting ready for bed, Mike.
DR. HAYWARD looks past MIKE and sees BOBBY. BOBBY is pretending to surf
on the hood of his car with a beer in hand.
DR. HAYWARD
Your not drinking and driving are you?
MIKE
Well we're ... uhh ... all pretty broken up about
what happened today sir. Besides, Bobby is doing most of the driving.
DR. HAYWARD
I'll see if she wants to come down. Mike would
you mind waiting out here please.
DR. HAYWARD closes the door on MIKE.
CUT TO:
INT. HAYWARD HOUSE - NIGHT
HARRIET has been listening from her bedroom. She closes her door and sits
on her bed expecting her father.
HARRIET
The best way to plan with mice and men.
CUT TO:
EXT. HAYWARD HOUSE - NIGHT
We see BOBBY on the hood of his car as yells to MIKE, who is waiting at
the door.
BOBBY
MIKE shrugs on the holdup. BOBBY drinks some beer and continues to surf
on the hood of his car.
CUT TO:
INT. HAYWARD HOUSE - NIGHT
DR. HAYWARD opens the door of DONNA'S bedroom and enters but finds only
HARRIET in the room.
DR. HAYWARD
HARRIET
Dad, I'm gonna to tell it you and I'm gonna tell
it to you straight.
DR. HAYWARD
HARRIET
She gestures to the window that DONNA went out of. DR. HAYWARD points at
her.
DR. HAYWARD
CUT TO:
EXT. HAYWARD HOUSE - NIGHT
DR. HAYWARD opens the front door and speaks to MIKE who was smoking a cigarette
and hastily threw it away.
DR. HAYWARD
MIKE
Wha ... what you mean she snuck out.
DR. HAYWARD
Mike, maybe you have some idea where she might
have gone maybe you can help us find her.
MIKE
Oh, we'll find her. Don't you worry about that.
MIKE walks over to BOBBY'S car.
MIKE
MIKE and BOBBY get into the car and take off.
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - NIGHT
In her office, LUCY is talking to SHERIFF TRUMAN over the police radio.
LUCY
Sheriff I got a call for you from ...
CUT TO:
INT. SHERIFF TRUMAN'S POLICE CRUISER - NIGHT
We see SHERIFF TRUMAN and AGENT COOPER sitting in SHERIFF TRUMAN'S police
cruiser.
LUCY
(over the police radio) ... Dr. Hayward. I explained
to him that you were on a stake out at the Roadhouse but he still would
very much like to talk to you.
SHERIFF TRUMAN
Go ahead Lucy, patch him through.
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - NIGHT
LUCY
I'm going to patch him through to you now, sheriff.
(pushes a few buttons) I'm patching you through now Dr. Hayward.
CUT TO:
INT. SHERIFF TRUMAN'S POLICE CRUISER - NIGHT
DR. HAYWARD
(over the police radio) Harry, my daughter Donna
snuck out of the house. I don't know where she's gone.
SHERIFF TRUMAN
Doc, you rest easy now. I'm going to put out an
all points for her. We'll keep our eyes peeled.
DR. HAYWARD
(over the police radio) Thanks Harry.
SHERIFF TRUMAN
You betcha. Lucy, you take care of that all points
now, okay.
LUCY
(over the police radio) Alright sheriff.
COOPER
Of course Donna snuck out.
SHERIFF TRUMAN
COOPER
Meaning how else is she gonna lead us to that
biker.
SHERIFF TRUMAN
CUT TO:
EXT. BOOKHOUSE - NIGHT
We view the front of the BOOKHOUSE. Several different motorcycles are parked
in front.
TUNE ENDS: AUDREY'S DANCE
CUT TO:
INT. ROADHOUSE - NIGHT
SONG: FALLING
On the stage a FEMALE SINGER is singing a song.
CUT TO:
INT. ROADHOUSE - NIGHT
We view the interior of the Roadhouse which is packed with several different
kinds of people seated at the bar, the tables and the booths. We FOCUS on
a booth where BIG ED and NORMA are seated.
BIG ED
So all afternoon I've been hanging drapes.
NORMA
(laughs slightly) Drapes?
BIG ED
NORMA
You know how I feel about you Ed. Don't do it
for me, do it for yourself. (smiles) Its Tammy Wynette time darling.
BIG ED
Yeah. What about you and Hank?
NORMA
I told you, I'm going to leave Hank.
BIG ED
Before or after he gets parole?
NORMA playfully grabs his nose and then lets go.
NORMA
I love you Ed. I want to do what's best for both
of us.
BIG ED
Uhm, when your sweetheart's husband is in the
joint for manslaughter the word parole has got a nasty ring to it.
They both smile at each other and hold hands.
CUT TO:
INT. ROADHOUSE - NIGHT
We view a CLOSEUP on the FEMALE SINGER as she is singing.
FEMALE SINGER
... falling, falling, falling, falling in love.
CUT TO:
INT. SHERIFF TRUMAN'S POLICE CRUISER - NIGHT
We see SHERIFF TRUMAN and COOPER sitting in a police cruiser staked out
by the Bookhouse. COOPER is whittling a piece of wood with his pocketknife.
COOPER
SHERIFF TRUMAN
Okay, I'll ... I'll bite again. Why are you whittling?
COOPER
Because that's what you do in a town where a yellow
light still means slow down not speed up.
SONG ENDS: FALLING
CUT TO:
EXT. ROADHOUSE - NIGHT
TUNE: FRESHLY SQUEEZED (0:00 - 0:25)
SHERIFF TRUMAN and COOPER watch a car pull into the parking lot of the ROADHOUSE
which is just across from the BOOKHOUSE.
CUT TO:
INT. SHERIFF TRUMAN'S POLICE CRUISER - NIGHT
SHERIFF TRUMAN
COOPER
There's liable to be a little trouble this evening.
TUNE ENDS: FRESHLY SQUEEZED (0:00 - 0:25)
CUT TO:
INT. ROADHOUSE - NIGHT
SONG: THE NIGHTINGALE
On the stage we see a FEMALE SINGER singing a song.
CUT TO:
INT. ROADHOUSE - NIGHT
MIKE and BOBBY enter the ROADHOUSE and scan the room for DONNA. BOBBY plays
with the zipper on his sleeve. They walk over to the bar and have a seat.
JOEY, a bookhouse boy, spots MIKE and BOBBY and tells his friend SCOTTY,
another bookhouse boy.
JOEY
Scotty, Mutt and Jeff just crawled in.
SCOTTY turns around to see MIKE and BOBBY. He turns to JOEY and says ...
SCOTTY
Oh what a wonderful world.
CUT TO:
INT. SHERIFF TRUMAN'S POLICE CRUISER - NIGHT
SHERIFF TRUMAN and COOPER see DONNA on her bicycle.
COOPER
Looks like sooner then later.
COOPER finishes whittling and blows on his whittled whistle.
COOPER
Why don't you whistle for a little backup.
SHERIFF TRUMAN
I can see which way the wind is blowing. (grabs
the police radio microphone) Lucy, get us a backup unit down here at the
Roadhouse, right away. Make that two backup units and call Dr. Hayward.
Tell him we found his daughter and she's fine.
LUCY
(over the police radio) Alright sheriff.
COOPER gives SHERIFF TRUMAN a thumbs up.
CUT TO:
INT. ROADHOUSE - NIGHT
DONNA enters the ROADHOUSE and scans the room for JAMES but is spotted by
MIKE.
MIKE
DONNA! (scares DONNA) What are you sneaking around
for? Everybodies looking for you.
MIKE and BOBBY get off their bar stools and walk over to DONNA. MIKE grabs
hold of DONNA.
MIKE
DONNA
MIKE
... are exactly the same.
DONNA
MIKE
DONNA
MIKE
DONNA
Get your hands off me! Let go of me! Get off me!
As DONNA and MIKE struggle BIG ED comes over from his booth.
BIG ED
DONNA
Don't hurt him. Let me go!
BOBBY sneaks around BIG ED and hits him from behind with brass knuckles.
BOBBY
Lights out mister monkey wrench.
BIG ED falls to the floor. SCOTTY, JOEY and a few other Bookhouse boys leave
their seats and fight with MIKE and BOBBY. MIKE is quickly overpowered as
BOBBY continues to fight but is also overwhelmed. JOEY grabs DONNA.
JOEY
You guys got it covered? (to DONNA) Don't worry
I'll take you to James.
CUT TO:
EXT. ROADHOUSE - NIGHT
SHERIFF TRUMAN and COOPER watch JOEY and DONNA run out of the ROADHOUSE
and climb onto a motorcycle. Police sirens can be heard in the background.
SHERIFF TRUMAN
Joey Paulsen. That's a 'J'.
COOPER
No, he's taking her to somebody else.
SHERIFF TRUMAN
I suppose you what me to follow them at a discreet
distance.
COOPER
JOEY and DONNA take off on the motorcycle and SHERIFF TRUMAN follows them.
CUT TO:
INT. ROADHOUSE - NIGHT
We see BOBBY and MIKE under restraint of several Bookhouse boys and are
now getting beat up.
SONG ENDS: THE NIGHTINGALE
CUT TO:
EXT. ROADHOUSE - NIGHT
Several police cars pull in to the parking lot of the ROADHOUSE.
CUT TO:
EXT. ROAD - NIGHT
We watch JOEY and DONNA on a motorcycle. JOEY is driving really fast to
avoid the cops.
JOEY
CUT TO:
INT. SHERIFF TRUMAN'S POLICE CRUISER - NIGHT
We watch SHERIFF TRUMAN and COOPER as they pursue the motorcycle with JOEY
and DONNA.
SHERIFF TRUMAN
Do you think they spotted us?
COOPER
CUT TO:
EXT. ROAD - NIGHT
We view SHERIFF TRUMAN'S police cruiser driving on a deserted road.
CUT TO:
INT. SHERIFF TRUMAN'S POLICE CRUISER - NIGHT
SHERIFF TRUMAN and COOPER have lost sight of the motorcycle with JOEY and
DONNA.
TUNE: LAURA PALMER'S THEME
COOPER
Well Harry I think we lost them (looks out the
window and breathes deeply). Man, smell those trees, smell those douglas
firs.
SHERIFF TRUMAN sticks his right arm out over COOPER'S chest to silence him.
SHERIFF TRUMAN
They hear a sound coming from the woods.
COOPER
SHERIFF TRUMAN
An old logging road. The only access is five miles
back at the Packard Mill. (turns the police cruiser around) I told doc
Hayward his daughter was okay.
COOPER
My fault Harry not yours.
CUT TO:
EXT. WOODS - NIGHT
JOEY drops off DONNA with JAMES who was waiting alongside a dirt road in
the forest.
JAMES
JOEY
JOEY takes off on his motorcycle. JAMES is standing next to his motorcycle.
DONNA moves to stand very close to him.
DONNA
James, their looking for you.
JAMES
I'm going to talk to them but I think there going
to lock me up.
DONNA
JAMES
I don't have an alibi for last night. I was with
her.
DONNA
James, what happened last night?
JAMES
It was kinda like a nightmare. Donna, she was
a different person.
DONNA
JAMES
I'm telling you there were things she was involved
with, things she let herself get pulled into. Things she thought you hate
her for. She said there were things about me ... she said even Donna doesn't
know me.
DONNA
I knew her, I knew her better then she thought
I did.
JAMES
Donna, she said something about a guy getting
killed.
DONNA
JAMES
She didn't say but she said ... Bobby ... told
her that he killed this guy.
DONNA
JAMES
This is why I had to see you. It all makes some
kind of terrible sense that she died. That someone killed her, I don't
know I can't explain it. I didn't know whether to believe any of this last
night. I mean half the time she wasn't making any sense. I couldn't calm
her down. I could hardly keep her on the bike. We came to the light at
Sparkwood and 21 and ... she ... she put her hands around my neck ... and
she screamed she loved me. I looked into her eyes, they were clear. Its
like she was Laura again. She was so sad. She sounded so desperate. Then
she ran off ... (mumbles to a cry)
DONNA
(she hugs JAMES) Its okay, its not your fault
James. (runs her fingers through his hair) Its okay. James, its alright.
James.
JAMES starts to kiss DONNA on the cheek and then they both kiss. JAMES suddenly
pulls away.
DONNA
JAMES
DONNA
JAMES
I change my mind, I'm not sorry.
They look into each others eyes and kiss again.
DONNA
Oh James. James. (sirens can be heard in the background)
Oh James, those are sirens.
JAMES
I gotta go to the police. I don't have an alibi.
After she left I just rode around most of the night.
DONNA
James the necklace you gave Laura with the golden
heart, you have to give me the other half.
JAMES
DONNA
Because they found the half where she was killed
and they think the killer will have the other half. If you go down there
with the necklace and no alibi.
JAMES
DONNA
JAMES
DONNA
JAMES
DONNA
JAMES
DONNA
JAMES and DONNA bend down towards the ground. JAMES lifts a rock off the
ground and digs below it. They place the necklace into the hole, cover it
with dirt and place the rock on top.
JAMES
JAMES and DONNA get on his motorcycle and drive off.
CUT TO:
EXT. ROAD - NIGHT
We see JAMES and DONNA riding on his motorcycle.
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
TUNE: THE BOOKHOUSE BOYS (1:12 - 2:11)
INT. SHERIFF TRUMAN'S POLICE CRUISER - NIGHT
SHERIFF TRUMAN, eating a donut, and COOPER are seated in the parked police
cruiser as JAMES and DONNA drive on by.
COOPER
What goes around comes around.
SHERIFF TRUMAN
SHERIFF TRUMAN turns on the police siren and pursues the motorcycle. JAMES
pulls his motorcycle to the side of the road and stops.
SHERIFF TRUMAN
That's not Joey its James Hurley.
TRUMAN grabs his microphone for the cruiser's loudspeaker.
COOPER
SHERIFF TRUMAN
(through the loudspeaker) James, stand away from
the bike. Stand away from the girl, put your hands behind your head.
JAMES complies by getting off his bike and, facing them, puts his hands
on his heads. DONNA moves towards the police cruiser.
DONNA
COOPER
SHERIFF TRUMAN, slightly annoyed, looks at COOPER and then exits his vehicle.
DONNA
James, he didn't do anything.
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - NIGHT
Having just entered the building, we see JAMES in handcuffs and being escorted
by SHERIFF TRUMAN. Behind them is DONNA and COOPER. As they enter the building
they meet DR. HAYWARD. LUCY, DEPUTY ANDY and DEPUTY HAWK are also present
in the room.
SHERIFF TRUMAN
Lucy, get an arrest form ready. Doc, I'm going
to release her to you but I want her back up her for questioning first
thing in the morning.
DR. HAYWARD
SHERIFF TRUMAN
Andy, Hawk, put James back in number four.
DONNA
JAMES
ANDY and HAWK escort JAMES to the prison cells.
TUNE ENDS: THE BOOKHOUSE BOYS (1:12 - 2:11)
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - NIGHT
TUNE: AUDREY'S DANCE
In the prison cell, ANDY and HAWK escort JAMES to his cell. In another cell
of the same room are MIKE and BOBBY. MIKE and BOBBY stare at JAMES as he
passes by.
BOBBY
HAWK
We'll be back to check on you later.
ANDY and HAWK place JAMES in his cell. As they walk away they both stare
down BOBBY.
BOBBY
BOBBY and MIKE grip the cell bars as they stare down JAMES who lays against
the wall in his cell staring back at them.
TUNE ENDS: AUDREY'S DANCE
CUT TO:
INT. DR. HAYWARD'S VEHICLE - NIGHT
DONNA and DR. HAYWARD are sitting in his vehicle and are having a somber
conversation.
DONNA
DR. HAYWARD
Donna, after what happened today. I'm sure you
understand what you put your mother and me through tonight. But I also
know you well enough to know you wouldn't have done it unless you had a
good reason. But we also have another problem facing us young lady.
TUNE: LAURA PALMER'S THEME
DR. HAYWARD
Where's your sister bicycle?
DONNA
(smile) Uhh, I left if at the Roadhouse.
DR. HAYWARD
Well, we'll have to go get it. I understand you
promised Harriet you'd put some air in the back tire.
DONNA
(smiles again) Yes I did.
DR. HAYWARD
We're so thankful to have a daughter like you.
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - NIGHT
SHERIFF TRUMAN and COOPER enter the conference room holding cups of coffee
and find the table laden with stacked donuts of all varieties.
COOPER
SHERIFF TRUMAN
Yep. Lucy, sets it up for us every night.
LUCY
(over the intercom) Sheriff, is everything okay.
There's extra jelly donuts for Agent Cooper and there's some extra decaf,
(COOPER grabs a powdered donut) you know Andy's been drinking so much caffinated
coffee lately ...
SHERIFF TRUMAN
Thank you Lucy. You can go back to work now and
no listening.
COOPER breaks up his powdered donut, by hand, into little bite size pieces.
COOPER
Sheriff that reminds me. Can you recommend to
me a good, inexpensive hotel or motel. Now it doesn't have to be fancy
and I mean that.
COOPER eats a piece of donut and immediately wipes his hands with a paper
napkin.
SHERIFF TRUMAN
I can give you a good rate up at the Great Northern.
COOPER
Because you know I think I'm going to be here
for some time and these motels, they'll promise you a good rate and then
when you get there its a whole different story. Now all I need is a bed,
a bathroom, a telephone and sometimes a television in the unlikely event
that one day I'll get a chance to knock off early.
SHERIFF TRUMAN
I can get you a good rate up at the Great Northern.
COOPER
Sold. (extends his hand to shake goodbye) Well,
tomorrow come early
As COOPER heads out of the room he pulls out his mini tape recorder and
turns it on.
COOPER
Diane, its 12:28 am. Looks like I'll be staying
locally at a place called the Great Northern Hotel. The sheriff set the
arrangements ... (walks off)
SHERIFF TRUMAN remains seated at the conference table laden with donuts
and smiles to himself as he hears COOPER walk off.
CUT TO:
INT. TWIN PEAKS SHERIFF'S DEPARTMENT - NIGHT
TUNE: AUDREY'S DANCE
BOBBY and MIKE are still gripping the cell bars and staring down JAMES who
lays against the wall in his cell staring back at them.
BOBBY
When you least expect it.
BOBBY and MIKE then start to loudly bark (sounds like 'arf') like dogs at
JAMES. Before they stop barking, BOBBY lets off a howling shout that turns
into an odd howling scream that slowly trails off in volume. JAMES continues
to just stare back at them.
TUNE ENDS: AUDREY'S DANCE
CUT TO:
EXT. BLACK LAKE - NIGHT
We look out onto the lake. In the background is the large log that LAURA
was found near by. The lake and surroundings are lit with the light of the
moon and there is a sound of a distant foghorn.
CUT TO:
EXT. BLUE PINE LODGE - NIGHT
SHERIFF TRUMAN walks up to the BLUE PINE LODGE and finds JOSIE, wearing
a mink coat, waiting for him at the front porch.
JOSIE
SHERIFF TRUMAN
Hey Jo. (flirtingly) I understand you wanted to
see the sheriff up here.
JOSIE
(flirtingly) Yes I did. Right over here.
A distant foghorn blows in background as JOSIE and TRUMAN kiss.
CUT TO:
INT. BLUE PINE LODGE - NIGHT
CATHERINE, in a nightgown, is seated near the front window with a telephone
to her mouth. She peers at SHERIFF TRUMAN and JOSIE outside.
CATHERINE
BENJAMIN
(over the telephone) Well let's get together and
talk about it.
CATHERINE
CUT TO:
INT. GREAT NORTHERN HOTEL- NIGHT
TUNE: LAURA PALMER'S THEME
BENJAMIN HORNE hangs up the phone.
BENJAMIN
CUT TO:
EXT. BLUE PINE LODGE - NIGHT
SHERIFF TRUMAN and JOSIE hold each other and look towards the large log
that LAURA was found near by. In the background is the moonlit lake with
the sound of a distant foghorn.
SHERIFF TRUMAN
It must have happened about this time twenty-four
hours ago.
JOSIE
TUNE ENDS: LAURA PALMER'S THEME
CUT TO:
TUNE: WALKING IN THE DARK 32K
EXT. STREET LIGHT - NIGHT
We see a lonely street light, being blown in the wind, showing red.
CUT TO:
INT. PALMER HOUSE - NIGHT
SARAH is lying on the couch in her living room with her eyes closed.
CUT TO:
INT. PALMER HOUSE - NIGHT
We view the dark stairs that lead to the upper story. The fan is on and
the blades are circulating.
CUT TO:
INT. PALMER HOUSE - NIGHT
SARAH is lying on the couch with her eyes closed and starts to grimace.
She is having a vision.
CUT TO:
EXT. WOODS - NIGHT
We view a CLOSEUP of a moving flashlight spot on the ground of the forest
floor. It moves until it comes to the rock where the half heart necklace
is buried.
CUT TO:
INT. PALMER HOUSE - NIGHT
SARAH sits up on the couch and shrieks at the image of the rock in the forest.
CUT TO:
EXT. WOODS - NIGHT
We watch a gloved hand reach out and move the rock where the half heart
necklace is buried.
CUT TO:
INT. PALMER HOUSE - NIGHT
SARAH puts her hand to her mouth and continues to shriek with the sight
of the vision.
CUT TO:
EXT. WOODS - NIGHT
The gloved hand pulls out the half heart necklace buried in the dirt.
TUNE ENDS: WALKING IN THE DARK 32K
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:
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