Pilot - Northwest Passage - Page des fans de Twin Peaks

30 Jan 2017

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

Gone fishing.

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

Morning Pete. Harry

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

What is it?

SHERIFF TRUMAN

We got a body up there.

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

Its over here.

DR. HAYWARD

Do you want forensics first?

SHERIFF TRUMAN

Naw, she’s been in the water.

DR. HAYWARD

Better take some pictures.

ANDY

Who is she?

SHERIFF TRUMAN

Andy, pictures.

ANDY

Sorry.

SHERIFF TRUMAN

Then we’ll turn her over.

ANDY

Sure. Okay.

ANDY takes a few snapshots and then begins to cry.

DR. HAYWARD

Oh Andy.

SHERIFF TRUMAN

Come on Andy. The same thing as last year at Mr. Blodge’s barn.

DR. HAYWARD

Give me the camera Andy.

ANDY

(sobbing)Sorry.

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

(sobbing) Okay, sorry.

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

Good Lord. Laura.

SHERIFF TRUMAN

Laura Palmer.

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. Now means now.

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.

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

Are they ready to sign?

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

Uhhh, Benjamin.

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

Ok, thank you.

TUNE: LAURA PALMER’S THEME

The telephone rings and LELAND picks up the receiver.
LELAND

Sarah, what is it?

SARAH

(over the phone) Is Laura with you?

LELAND

No, why?

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

I can’t find Bobby.

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.

LELAND

Is this about Laura? (he has the phone mouth and ear piece against his chest)

SHERIFF TRUMAN

I’m afraid it is.

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

No! (cries) Ohhh! Noooo!

CUT TO:

INT. GREAT NORTHERN HOTEL – DAY

SHERIFF TRUMAN

Okay?

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

You heading out Shelly.

SHELLY

Yeah, I’m heading home.

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

That’d be great thanks.

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

Not if I see you first.

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

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

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

Butte!

SHELLY

Backup.

BOBBY immediately backs up the car and again slams his brakes.

SHELLY

I’ll call you later.

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 I’m so sorry.

LELAND

Seventeen years old.

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

Okay.

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

Let’s get out of here.

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

Have you seen Laura?

DONNA

No. Not yet.

JAMES

Nice day for a picnic. (smiles)

DONNA

Oh yeah. (smiles)

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

Who is?

HIGH SCHOOL GIRL

Sheriff.

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

Hey snake.

MIKE

Hey man. Something’s up.

BOBBY

(jokingly looks up). Where?

MIKE

You think I’m kidding.

BOBBY

What, me worry.

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

Right now young man!

MIKE

(whispers to BOBBY) Watch out.

BOBBY

Ohh.

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 Franklin.

TERRY

Here.

ALICE

Martha Grimes.

MARTHA

Here.

ALICE

Donna Hayward.

DONNA

Here.

ALICE

Audrey Horne.

AUDREY

Here.

ALICE

James Hurley.

JAMES

Yo.

A POLICE OFFICER appears at the door and catches ALICE’S attention.

POLICE OFFICER

Excuse me? Room 106?

ALICE

Uh-hmm. (and a nod)

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

Certainly.

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

(whispered) Laura.

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

Now?

SHERIFF TRUMAN

Now’s the time.

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

What time?

SHERIFF TRUMAN

Yes.

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

Who’s up stairs?

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

Her diary?

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

(returns back) Harry.

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, don’t you dare.

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

Bitch.

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

What’s your name?

JOSIE

(over the speakers) … was found …

MILL WORKER

Fred Korat.

JOSIE

(over the speakers)… near our dock.

CATHERINE

Your fired.

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

What the hell.

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

Laura’s dead.

BIG ED

Yeah, I heard.

JAMES

She was the one.

BIG ED

Buy you a coffee?

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

You bet.

NADINE

Ed!

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

Agent Cooper?

COOPER

Yes.

SHERIFF TRUMAN

Sheriff Harry S. Truman. (extends his hand for greeting)

COOPER

Dale Cooper, FBI (shakes hands). Pleasure.

SHERIFF TRUMAN

Good to meet you.

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

Douglas firs.

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

Fine.

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

Doctor how’s the girl.

DR. SHELVY

She’s in shock, suffering from exposure.

COOPER

Could I see her?

DR. SHELVY

Alright, this way.

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

Was she raped?

DR. SHELVY

Several times.

COOPER

One perpetrator?

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

All right.

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

Ronie.

COOPER

Ronette.

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

Harry.

SHERIFF TRUMAN

Dr. Jacoby

DR. JACOBY

(slightly out of breath) Terrible, terrible tragedy.

SHERIFF TRUMAN

Yes.

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

Uhm, Gary Cooper?

SHERIFF TRUMAN

Agent Cooper.

DR. JACOBY

Agent. (points at COOPER) F B I.

COOPER

Right.

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

Yeah.

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

Its quite alright.

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

What?

COOPER

Would you leave us please?

DOCTOR’S ASSISTANT

(misheard) Jim.

COOPER

Ahh, would you leave us alone please?

DOCTOR’S ASSISTANT

Oh, certainly.

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

Laura Palmer.

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

What have you got here?

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

Hi Ed.

BIG ED

(surprised) Hey Donna.

BIG ED gives DONNA a big hug.

BIG ED

I’m so sorry.

DONNA

Have you seen James yet?

BIG ED

He came by.

DONNA

Is he Okay.

BIG ED

No.

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

Well … I …

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

Get in the car.

BIG ED

Muffle it junior.

MIKE

Mind your own business.

BIG ED

Your on my lot friend.

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

Yo! Okay!

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

Okay.

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

You say when.

COOPER

(puts the videocassette down) Did you complete your forensics? (picks up the diary)

SHERIFF TRUMAN

You bet, all done.

COOPER

(examines the diary) No key yet huh?

SHERIFF TRUMAN

We’re still looking.

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

(smile) Why not.

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.

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

Andy. Sweetie.

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

Yes.

COOPER

Bobby, did you kill Laura Palmer?

BOBBY

No!

COOPER

She was studying at your house until about nine-thirty last night isn’t that right.

BOBBY

Yeah.

GILMAN

Bobby.

BOBBY

Yes, sir.

COOPER

Did she drive herself home?

BOBBY

Yes.

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

No.

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

Okay.

BOB

Thank you.

AUDREY

Okay Bob. Okay Bob. Okay. Julie, what would happen if I pulled this out.

JULIE

You wouldn’t.

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

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

Hey buddy.

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

(to MIKE) Come outside.

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

Let’s just go home.

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

What was her name.

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

Okay.

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

Yeah.

SHERIFF TRUMAN

(amazed) Yeah.

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

Looks like a hog to me.

SHERIFF TRUMAN

(amazed) Holy smoke.

LUCY

(amazed) Holy smoke.

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
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

You stay out of this!

CUT TO:

INT. GREAT NORTHERN HOTEL – DAY

Inside the lobby, AUDREY peers out the window to her father and laughs.

TUNE ENDS: NAUGHTY AUDREY

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

You don’t keep records?

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

Okay.

COOPER

Thank you.

Using LAURA’S key from her diary, he opens the safety deposit box and sees a magazine.

COOPER

Fleshworld.

SHERIFF TRUMAN

Man oh man.

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

I can not believe it.

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, turn it off.

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

Whatever’s around.

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
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

Okay.

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

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

Alright sweetheart.

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

A snowshoe.

SHERIFF TRUMAN

Right.

COOPER

A snowshoe, (amazed) snowshoe rabbit.

COOPER scans the room filling with people and spots an Asian woman walking forward.

COOPER

Who’s the babe.

SHERIFF TRUMAN

That is one of the most beautiful women in the state, Mrs. Packard.

COOPER

Packard Saw Mill?

SHERIFF TRUMAN

Yep.

COOPER

Where’s Mr. Packard?

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

Hang on mayor.

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

Poor dear, poor Sarah.

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

(whispered) Jerk.

DONNA grabs her stuffed toy and playfully rubs it at her nose.

HARRIET

Okay.

DONNA

Thank you.

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

Snake man, lets go!

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

Where’s your sister?

HARRIET

Dad, I’m gonna to tell it you and I’m gonna tell it to you straight.

DR. HAYWARD

Harriet.

HARRIET

See that window.

She gestures to the window that DONNA went out of. DR. HAYWARD points at her.

DR. HAYWARD

Later.

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

Donna’s not here.

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

Roadhouse. Lets go!

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

Meaning what?

COOPER

Meaning how else is she gonna lead us to that biker.

SHERIFF TRUMAN

Right.

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

Drapes. Lots of them.

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

Know why I’m whittling?

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

Mike and Bobby.

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

You and Laura …

DONNA

Get your hands off me.

MIKE

… are exactly the same.

DONNA

Leave me alone.

MIKE

Exactly the same.

DONNA

Get your hands off me!

MIKE

NO!

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

That’s enough.

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

Harry, your all right.

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

Hold on!

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

Give me a donut.

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

I think I hear them.

They hear a sound coming from the woods.

COOPER

What’s down there.

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

Thanks Joe.

JOEY

Your welcome James.

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

Why?

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

What are you saying?

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

Who?

JAMES

She didn’t say but she said … Bobby … told her that he killed this guy.

DONNA

Oh my god.

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

Oh my god.

JAMES

I’m sorry.

DONNA

Oh my god.

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

Why?

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

What about you?

DONNA

I’ll get rid of it.

JAMES

No.

DONNA

We’ll hide it.

JAMES

Alright. We’ll bury it.

DONNA

Okay.

JAMES

Right here.

DONNA

Okay.

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

I’ll take you home.

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

And around and around.

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

I told you.

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

He didn’t do anything.

COOPER

She’s probably right.

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

Alright Harry.

SHERIFF TRUMAN

Andy, Hawk, put James back in number four.

DONNA

James.

JAMES

Its gonna be alright.

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

You.

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

Good night officers.

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

I’m sorry dad.

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

A policeman’s dream.

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

Hello sheriff.

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

He’s here again.

BENJAMIN

(over the telephone) Well let’s get together and talk about it.

CATHERINE

Alright.

CUT TO:

INT. GREAT NORTHERN HOTEL- NIGHT

TUNE: LAURA PALMER’S THEME

BENJAMIN HORNE hangs up the phone.

BENJAMIN

Alright.

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

I’m afraid.

TUNE ENDS: LAURA PALMER’S THEME

CUT TO:

TUNE: WALKING IN THE DARK
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
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:

Pilot – Northwest Passage

Pilot – Northwest Passage

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