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Twin Peaks Pilot - The Screenplay

Typed (well, scanned actually) by Mike Dunn
About the formatting: I've tried to retain as close as possible the formatting of the original script, but it's not an exact copy. All the text is the same, but the spacing might be a bit different here and there. Also, I've removed the page numbers. These scripts are provided for archival purposes and for your information. If you absolutely must have an exact copy of the original script, I suggest you buy a copy of the original script from someone.








			NORTHWEST PASSAGE



			Mark Frost    David Lynch










Revised First Draft
December 7, 1988







				ACT ONE

In DARKNESS the sound of a meadowlark's song.

FADE IN:

THE MEADOWLARK

The bright eye and beak of the bird, backlit by the first light of the rising sun.

EXT. INTERSTATE HIGHWAY "21" - DAWN

A long, straight, empty stretch of road leads up between two mountains, Whitetail
and Blue Pine, the Twin Peaks.

EXT. TWIN PEAKS TOWN SQUARE - DAWN

The picturesque center of the town of Twin Peaks; a small, neatly manicured park
with a pristine white gazebo its centerpiece. Fronting the park is the '30's-style
streamlined, concrete and glass City Hall. An early rising MAN walks two Irish 
setters through the square.

EXT. TWIN PEAKS DOWNTOWN - DAWN

In the shadow of a smaller mountain Sparkwood Hill, we see the slightly run down
business district, the core of Twin Peaks' old downtown.  A slow-moving freight 
train rumbles through the train station.

EXT. RESIDENTIAL STREET - DAWN

A quiet, tree-lined street. White, clapboard houses with open porches. A
MILKMAN carries a crate of clinking milk bottles up the steps to one of the
houses. Behind him, a yellow schoolbus cruises slowly by.

EXT. INTERSECTION - DAWN

Where Sparkwood Road meets Highway "21", a traffic light cycles from green to
yellow to red.

EXT. ED HURLEY'S GAS STATION - DAWN

On the highway. Not yet open for business.- No sign of life.

EXT. THE ROADHOUSE DANCE HALL - DAWN

A dog drifts through a parking lot, littered with last night's trash and beer bottles. 
The club's neon patron-snatcher flickers back and forth between two images of a 
couple doing the jitterbug.

EXT. DOUBLE "R" DINER - DAWN

Open for business Two Diesel rigs idle in the oil-stained gravel lot outside. A
couple of nighthawks sober up at the counter. A pretty country-western ballad 
plays on the jukebox inside.

EXT. GREAT NORTHERN HOTEL - DAWN
An imposing granite structure overlooks the city from high on White Tail 
Mountain, one of the Twin Peaks. Automatic sprinklers kick on across the vast 
green-black lawns.

EXT. PACKARD SAWMILL - DAWN
A massive industrial structure on the south shore of Black Lake. Sawdust and 
steam shoot out of funnels and pipes. A distant tug shepherds a logjam towards 
the sawmill gates. A piercing steam whistle signals the end of the night shift.

EXT. THE PACKARD RESIDENCE - DAWN
Outside the huge log house, called Blue Pine Lodge, PETE MARTELL, a late-middle-
aged man, sets some fishing gear in the back of a pick-up, then goes inside.

INT. BLUE PINE LODGE KITCHEN - DAWN

Pete grabs a thermos of coffee and an apple, kisses his wife, KATHERINE 
PACKARD MARTELL, a sturdy, weathered woman, mid-fifties, fully dressed, at the 
table, newspaper and coffee in hand. She doesn't react to the kiss. Pete exits.

							CUT TO:

INT. BLUE PINE LODGE MASTER BEDROOM - DAWN.

GIOVANNA PASQUALINI PACKARD, a beautiful woman in her thirties, wearing a 
silk negligee, sits at a vanity table, combing her hair, lost in a dreamy state of 
mind. From outside, she hears Pete's pick-up drive off, turns to look out the 
bedroom's large picture window.

							CUT TO:
GIOVANNA'S POV

Looking down to the shores of Black Lake. A large logjam is visible near the 
sawmill dock.
							CUT TO:

EXT. SAWMILL DOCK - DAWN
Pete lifts his fishing gear from the pick-up end walks out onto the dock to drop a 
line.
							CUT TO:
 
PETE 
                    
He's about to cast out his line when his expression changes; he sees something
horrible. He sets his tackle and makes his way down a wooden stairway to a
landing at water level. He jumps across a gap of dark, oil-slicked water onto the
edge of a cabled log-raft. He steps cautiously across the shiny, barkless logs,
slowing as he approaches what it was that caught his eye ...
                    
							CUT TO:
A WOMAN'S BODY
                    
Face down, lying on the log raft, cut, bruised, broken and lifeless.
                    
PETE
                    
Shaking, he turns to go for help.
							CUT TO:
MAIN TITLE SEQUENCE - DAY
                    
Highway "21", empty, running up between the twin peaks. A flying wedge of
motorcycle riders driving Harley's ride into view; seven young men, all between
seventeen and twenty-one, clean-cut, wearing black leather jackets. With MAIN 
TITLES and MUSIC over, we see the gang ride through various parts of the city.
                    
END TITLES
                    
FADE IN:
                    
EXT. SAWMILL DOCK - DAWN
                    
Pete, the middle-aged man, hurriedly punches in a number on a pay phone at the
end of the dock.
                    
				PETE
		Lucy, put Dan on the horn. 
							CUT TO:
                    
INT. SHERIFFS OFFICE - DAWN
                    
SHERIFF DAN STEADMAN, rugged, early forties, pours his first cup of coffee, as
the dispatcher, LUCY MORAN, turns to him from the switchboard.

				LUCY
		Sheriff, sounds like Pete Martell up at the Mill.
                    
Steadman punches line one and picks up the call.
                    
				STEADMAN
		Sheriff Steadman ... now hold on a second, Pete,
		where? ... you stay right there, I'm on my way.

							(CONTINUED)

CONTINUED:
                  
He hangs up, grabs his hat and coat and heads for the door.
                  
				STEADMAN
			(to Lucy)
		You better get Dr. Hayward, tell him to meet me
		up at the Packard Mill, the dock right below the
		dam - and roust that Andy out of bed, tell him
		to get his butt up there now.
                  
				LUCY
		What is it?
                  
				STEADMAM
		We got a body up there. You don't say a word
		to anybody till you hear from me.
                  

Steadman exits.
							CUT TO:
EXT. SHERIFF'S OFFICE - DAWN
                  
Steadman hops into his souped-up Diamond County Sheriffs Department cruiser,
fires up the big V-8 and rooster-tails it towards the highway, as his red and blue
toplights start spinning.
							CUT TO:
EXT. PACKARD MILL DOCK - MORNING

Steadman pulls up, lights still spinning, just as the Diamond County Coroner's
station wagon pulls up alongside. Steadman gets out and joins DR. WILLIAM
HAYWARD, the Medical Examiner, a tall, distinguished gray-haired man of sixty,
and they move towards the dock.
                  
				HAYWARD
		What've we got?
                  
				STEADMAN
		Let's go find out.
                  
They make their way down the wooden steps to the log raft. Waiting there are
Pete, his wife Katherine and Giovanna Packard, wearing a coat over a brocade
bathrobe, her beautiful hair and make-up in stark contrast to the harsh
surroundings.
                  
				PETE
		We haven't touched anything.

				STEADMAN
		Thanks, Pete.
			(tips his hat)
                                         
     
				STEADMAN (CONTINUED)
		Mrs. Packard ... Katherine...
     
				KATHERINE
		Our security guard didn't see anything.
     
Steadman nods, he and Hayward move forward to the body, on the edge of the
logs. Without touching anything, Hayward kneels beside the body and begins to
examine details.
     
				HAYWARD
		You want forensics first?
     
				STEADMAN
			(shakes his head)
		She's been in the water. Go ahead.
     
				HAYWARD
		Let's get some pictures.
     
Above them, on the dock, DEPUTY ANDY BRENNAN, young, intelligent but
awkward and shy, climbs down the stairs, carrying a forensic examination kit and a
camera.

				ANDY
		You need the kit, Sheriff? I've got the kit.
     
				STEADMAN
		Good. Bring that camera down here, Andy.
     
				ANDY
		Right.
			(as he passes the others)
		Ladies ... Pete.
     
				STEADMAN
		Doc wants some pictures before we turn her
		over.
     
				ANDY
			(staring at the body)
		Who is she?
     
				STEADMAN
		Andy, the camera. Then we'll turn her over and
		find out.

                   
				ANDY
		Sorry. Sure. Okay.
                   
Andy puts down the kit and shoots various angles of her back, as the others stand
out of the way. Andy kneels down to get a closer shot, pauses, slumps back down
to a sitting position and starts to weep.
                   
				HAYWARD
		Oh, Andy.
                   
				STEADMAN
		My God, Andy. Same thing as last year in Mr.
		Blodgett's barn.
                   
				ANDY
		Sorry. I'm sorry. I'm so sorry.
                   
				STEADMAN
		Is this gonna happen every damn time?
                   
				HAYWARD
		Give me the camera, Andy.
                   
Hayward takes the camera from him and takes some more pictures. Steadman
notices that a crowd of mill workers are gathering above on the dock.
                   
				STEADMAN
 			(giving him an out)
		Andy, get up on the dock and dear that crowd
		back.
                   
				ANDY
		Okay, Dan. Sorry.
                   
Drying his eyes, Andy walks back and starts up the ladder.
                   
Hayward takes a closeup of the girl's wrist, where he's found some small,
distinctive wounds. He puts the camera down on the forensic kit.

				HAYWARD
		Let's turn her over. Give me a hand here.
                   
Steadman and Hayward grasp her by the shoulders and knees end gently turn the
body over.
							CUT TO:
THE GIRL'S HEAD
                   
As the body turns and the face comes into view.
							CUT TO:


STEADMAN AND HAYWARD
                   
Seeing the face, they're both hit with a shock of recognition.
                   
				HAYWARD
		Oh Lord.  Laura ...
                   
				STEADMAN
		Laura Palmer.
                   
				HAYWARD
		Sweet Jesus ...
                   
				GIOVANNA
			(shocked)
		Laura? Is it Laura?
                   
Steadman looks back towards the others, where Giovanna has stepped forward
towards them. He catches her eye. Nods.
							CUT TO:
EXIT. LAURA PALMER'S HOUSE - MORNING
                   
A quiet, upper middle-class neighborhood. Manicured lawns. A PAPERBOY rides
by on a bike, flings a paper onto the front steps of the Palmer house.
                   
							CUT TO:
INT. PALMER HOUSE - MORNING
                   
SARAH PALMER, a thin, nervous chain-smoker, mid-forties, turns some bacon
over on the griddle, lights a cigarette and goes to the bottom of the stairs.
                   
				SARAH
		Laura, sweetheart, I'm not gonna tell you again!
			(silence; she waits)
		Laura!
			(no response; to herself)
		Oh for goodness sakes ...
                   
She starts up the stairs. 
							CUT TO:
                   
INT. PALMER HALLWAY
                   
Sarah opens the door to Laura's bedroom.
                   
				SARAH
			(annoyed)
		Laura, now means /I> -
                   
She stops short. Laura's bed has apparently been slept in but there's no one in
the room. Sarah walks down the hall to the bathroom and knocks on the door.
                  
				SARAH
		Laura?
                  
No answer. She tries the door, opens it. No one inside. Sarah goes back into the
hall, starting to worry.
                  
				SARAH
			(louder)
		Laura! Honey, are you downstairs?
                  
She goes into Laura's room. Notices for the first time that the window is open and
the lace curtains are blowing in the breeze.
                  
Sarah picks up the white princess phone beside Laura's bed, dials and waits for
someone to answer.
                  
				SARAH
			(into the phone)
		Bette, it's Sarah, listen, I just came up to wake
		Laura and she's not here, is she with Bobby?
							INTERCUT:
INT. BRIGGS HOUSE KITCHEN - MORNING
                  
BETTY BRlGGS, a healthy, solid woman, early forties, is on the phone. Her
husband, MAJOR GARLAND BRIGGS, a rock-hard Air Force career man, sits at the
table in background, ramrod-stiff, drinking black coffee.

				BETTY
			(into the phone)
		She might be, Sarah, but Bobby leaves here
		about five to go running and then goes on to
		football practice.

				SARAH
		Can you reach him? Can you find out? I'll call
		the school -

				BETTY
		I've got the number of the fieldhouse here, let
		me get that for you - it's 474 -

				SARAH
			(writing it down)
		Thanks, Bette -
			(a new idea)
		You know, I'm wondering if she might have gone
		out with Leland, he had an early meeting -

				BETTY
		I'm sure that's it, or she's with Bobby -
    
				SARAH
		Sure, let me call up to the hotel, thanks.
    
She hangs up, then starts to dial another number.
							CUT TO:
    
EXT. TWIN PEAKS HIGH SCHOOL FIELDHOUSE - MORNING
    
MAX HARTMEN, the genial, verbose football coach, picks up the phone at the
fieldhouse window. Football players are practicing on the field in background.
    
				HARTMAN
			(into the phone)
		Yeah, hello, this is the Coach ... yeah, Mrs.
		Palmer, no, Bobby didn't show up for practice
		yet, matter of fact, come to think of it, he's been
		late every day this week, possibly even last week
		and the week before, although he might be here
		before you know it - well, I could have him call
		you Mrs. Palmer, is it urgent? ... okay, sure, fine.
    
							CUT TO:
EXT. GREAT NORTHERN HOTEL - MORNING
    
Re-establish.
							CUT TO:
    
INT. GREAT NORTHERN PRIVATE DINING ROOM - MORNING
    
A group of fifteen NORWEGIAN BUSINESSMEN sit around an executive dining
table, talking animatedly in Norwegian while consuming an immense, hearty
breakfast.
							CUT TO:
INT. GREAT NORTHERN HOTEL OFFICE - MORNING
    
In an inner office, BENJAMIN HORNE, a roguish, charismatic man, mid-forties
looks in at the Norwegians, then consults with his lawyer, LELAND PALMER, a
handsome, refined man of fifty, who takes a sheath of legal contracts from a
briefcase and shows them to Horne.

				HORNE
			(glancing at the contracts)
		Are they ready to sign?
    
				LELAND
		You don't want to mention to them that we don't
		as yet have access to the Packard land -
    
				HORNE
		By the time we're ready to start building we'll
		have that land, what they don't know won't hurt
		them -
			(holds up a hand to silence him)
		- I have solid information that the Packard
		Sawmill will go belly-up within a year. We will
		buy it for a song; one verse, no chorus.
			(hands back the contracts)
		Let's go get these cheese-eaters where they live.
    
As they move into the dining room, we MOVE to a LARGE MAP on the wall,
topographical of Twin Peaks and environs.
    
On the map, in a red-shaded area northeast of the Packard Sawmill on Black Lake
we see the words: "PROPOSED SITE FOR GHOSTWOOD COUNTRY CLUB AND
ESTATES"
							DISSOLVE TO:
INT. HOTEL DlNING ROOM - MORNING
    
Benjamin Home stands at the head of a table, addressing the fifteen Norwegian
businessmen. Beside him, an INTERPRETOR translates each sentence into
Norwegian. Leland Palmer sits at Horne's right hand.
    
				HORNE
			(in the middle of his spiel)
		... and great opportunities for growth and
		expansion with a minimal capital outlay ... a clean
		and wholesome environment much like your own
		... with a quality of life to rival the best our
		country can offer ... of course when I first spoke
		to Sven he was naturally concerned about the air
		here ... if you'll permit me to repeat what you
		told me after your run this morning, Sven ...
			(pounds his chest enthusiastically)
		"My air sacs never felt so good!"
    
After the translation, the group all nod good-naturedly and SVEN turns red.
During which a HOTEL EMPLOYEE enters and discreetly whispers something to
Leland Palmer. Palmer nods and rises.
    
     
				LELAND
		Excuse me a moment, gentleman.
			(he stars out)
     
				HORNE
 		So you see, here in Twin Peaks, industry and
		health go hand in hand ... a harmonious and
		beneficial coexistence ...
     
Palmer exits.
							CUT TO:
INT. GREAT NORTHERN HOTEL OFFICE - MORNING
     
A waiting room with a large picture window looking out on the front lawn. Leland
Palmer enters and picks up the phone.
     
				LELAND
		Leland Palmer ...
							INTERCUT:
INT. PALMER HOUSE - MORNING
     
Sarah Palmer, on the phone in the kitchen, lighting another cigarette with the butt
of the one she's just finishing.
     
				SARAH
		Honey, it's Sarah, is Laura with you?
     
				LELAND
		No, why?
     
				SARAH
			(slightly hysterical)
		She didn't go with you this morning?
     
				LELAND
		No, what's wrong, what's this about?
     
				SARAH
		She's not here, she wasn't here this morning -
     
Looking out the window, Leland sees Sheriff Steadman drive up, park and walk
towards the hotel.
     
				LELAND
		She's probably with Bobby -
     
				SARAH
		I can't find him -

				LELAND
		Well that's it then, let's not worry -
   
				SARAH
		She would've left a note, why didn't she tell me?
		Why didn't she leave me a note?
   
				LELAND
		Sarah, calm down, darling, please ...
   
Looking out towards the lobby he sees Steadman, speaking to the DESK CLERK,
who points in to where Leland is on the phone. The Sheriff sees Leland, locks
eyes with him and starts walking towards him.
   
				LELAND (CONTINUED)
			(the first hint of alarm, to himself)
		Sheriff Steadman ...
   
				SARAH
			(panicking)
		Who? What did you say?
   
				LELAND
			(trying to cover)
		Please. Sarah. I'm going to have to call you
		back.
   
				SARAH
			(seeing it all, coming unglued)
		Oh my God ... oh my God, Laura, no, Laura!
   
				LELAND
		Sarah ...
   
The Sheriff reaches Leland, hat in hand. Leland covers the mouthpiece of the
phone.
   
				STEADMAN
		Mr. Palmer ...
   
				LELAND
		Is this about Laura?

				STEADMAN
		I'm afraid it is, sir.
   
We hear Sarah screaming for Leland over the phone.
							CUT TO:

SARAH
				SARAH
		Leland, what is it? My baby! Tell me, oh God,
		Leland!
							CUT TO:
LELAND
    
Having heard the news, he goes back to the phone.
    
				LELAND
			(trembling, trying to stay calm)
		Sarah, I'm on my way home ... please, Sarah.
    
He hangs up. Picks up and struggling to remember the number, unsteadily
punches it in.

				LELAND
		Janice, this is Leland, oh God ...
			(he's momentarily overcome, then)
		... I want you to go next door and stay with Sarah
		until I get there - please just do it.
    
He hangs up.
    
				STEADMAN
		Let me drive you, sir.
    
Palmer nods, points vaguely back towards the meeting room.
    
				LELAND
		I, uh, should tell Mr. Home and the ...
    
				STEADMAN
		I'm sure they'll understand.
    
Benjamin Horne appears in the doorway.
    
				HORNE
		Leland, we're ready to go over the contracts ...
			(sees him)
		Leland?
    
				LELAND
		My daughter's dead.
							CUT TO:
EXT. PALMER HOUSE - MORNING
    
JANICE HOGAN, the Palmer's next door neighbor, exits the front door of her
house and runs next door to the Palmers' house. She knocks on the door. We
hear a heart-rending wail of grief from inside.
    

				JANICE
		Sarah?!
    
She opens she door and rushes inside. Pause.  Another cry.
							CUT TO:
EXT. DOUBLE "R" DlNER - MORNING
    
Re-establish. A Volkswagen beetle pulls up and a UNIFORMED WAlTRESS gets out
and goes inside.
							CUT TO:
INT. DOUBLE "R" DINER - MORNING
    
SHELLY JOHNSON, a young, slim waitress, is putting on her coat, as the other
waitress, HEIDI, a hefty German girl, enters. The owner of the diner, NORMA
JENNlNGS, a statuesque, well-preserved forty year old former beauty queen, pours
a warm-up for BOBBY BRIGGS, handsome, muscular high school senior, wearing a
a letter jacket.
    
				SHELLY
			(popping gum)
		What kept ya, Heidi? Seconds on knockwurst
		this morning?
    
Heidi, a bubbly, easily embarrassed girl, giggles and blushes.
    
				HEIDI
		I couldn't get my car started.
    
				SHELLY
		Too busy jumpstartin' the old man.
    
				BOBBY
		Thought you Germans were always on time.
    
				NORMA
		Bobby, I thought the only time you cared about
		was makin' time.
    
Bobby and Shelly exchange a slightly guilty look. Bobby rises, puts some change
on the counter.
    
				BOBBY
		Hey, Shelly, you headin' out?
    
				SHELLY
		Headin' home.

    
				BOBBY
		I gotta go to practice, I could drop you at your
		place on the way.
    
				SHELLY
		That'd be great, thanks.
    
				BOBBY
			(as they go, holds up a quarter)
		Here's a tune for you gals. Norma, I'll see you in
		my dreams.
    
				NORMA
		Not if I see you first.
    
				BOBBY
		Don't do anything I wouldn't do.
    
He drops the quarter in a jukebox, punches a song in. Bobby and Shelly exit the
diner as an aggressively cheerful German Polka blares from the jukebox.
    
							CUT TO:
EXT. DINER - MORNING
    
Bobby opens the door of his souped-up Buick Electra '88 convertible for Shelly.
    
				BOBBY
			(under his breath)
		I think she knows about us.
    
				SHELLY
		Norma? Fat chance. She's probably hot to trot
		for you herself.
    
She gets in.
							CUT TO:
INT. BOBBY'S CAR - MORNING
    
Bobby climbs in behind the wheel and starts the car. They look around for a
moment, make sure no one is watching them, then kiss hotly.
    
				SHELLY
		I was thinkin' about you.
    
				BOBBY
		Yeah?
     
				SHELLY
		All night.
			(she caresses him intimately)
     
				BOBBY
		All right.
     
He steps on it and peels out of the parking lot.
							CUT TO:
EXT. LUCKY HIGHWAY "21" - MORNING
     
As they drive down the highway, a Sheriff's cruiser, lights and siren blaring,
approaches them, heated the other way.
							CUT TO
INT. BOBBY'S CAR - MORNING
     
Shelly and Bobby watch the cruiser as it zooms by them, then look back. She
takes a pull off a silver flask and knocks it back. Bobby looks at her.
     
				SHELLY
		Hey, it's happy hour in France.
			(offers it to Bobby)
		Come on. Breakfast of champions.
     
				BOBBY
		Right. 'Little pick-me-up before Home Room.
     
				SHELLY
		Thought I was your little pick-me-up.
     
				BOBBY
		Baby, you're more like a three-stage rocket. A
		pocket rocket.
     
				SHELLY
		What stage are we in now?
     
				BOBBY
		You sure your old man's still on the road?
     
				SHELLY
		Called me last night from Tacoma. Talked dirty
		to me for an hour. And he ain't got a phone in
		his truck.
                        	(a highly suggestive look)
		Quit worryin' and start scurryin', Mr. Touchdown.

Bobby steps on it.
							CUT TO:
 
EXT. WINDING ROAD - MORNING
    
At the base of Sparkwood Mountain. Bobby drives around a corner and starts up
a steep driveway leading to Shelly's house. They drive around another corner and
Bobby slams on the brakes when they see the cab of a large semi rig parked in
the driveway in front of the house.
							CUT TO:
INT. BOBBY'S CAR - MORNING
    
				BOBBY
		Jesus ...
				SHELLY
		He's home. Damn. Damn it.
			(bangs her head back against the headrest)
    
Bobby throws it into reverse and backs up behind a stand of trees.
    
				SHELLY (CONTINUED)
		Damn it. Call you later.
    
							CUT TO:
EXT. BOBBY'S CAR - MORNING
Shelly jumps out of the car. Bobby backs down the driveway at thirty miles an
hour.
							CUT TO:
INT. BOBBY'S CAR - MORNING
    
Bobby drives away from Shelly's. Breathes a sigh of relief.
							CUT TO:
EXT. PALMER HOUSE - MORNING
    
Sheriff Steadman drives his cruiser into the driveway and Leland Palmer steps out
on the passenger's car. Mrs. Palmer comes frantically out of the house and down
the steps. He stops. She moves close to him, sees the grief in his eyes, then runs
to him, screaming, hitting him, sobbing hysterically. He struggles to hold onto
her until she collapses in his arms.

							FADE TO BLACK:
    
				END ACT ONE




				ACT TWO

FADE IN:

EXT. CALHOUN MEMORIAL HOSPITAL - MORNING
    
A '30's Federal-style structure on the edge of the old downtown. The Coroner's
station wagon is parked outside an entrance to the basement.
							CUT TO:
INT. MORGUE CORRIDOR - MORNING
    
Dr. Hayward is seated in the corridor. He rises as Leland Palmer and Sheriff
Steadman come around the corner.
    
				HAYWARD
		Leland, I'm so sorry.
    
				LELAND
		Seventeen years old.
    
Hayward puts his arms around his old friend. They embrace. Palmer pulls away.
Looks at the door marked "CORONER." Steels himself for what's coming.
    
				STEADMAN
		Hate to put you through this.

				LELAND
		No. I have to see her. I want to see what was
		done to my little girl.
    
Steadman leads him through the door.

							CUT TO:
INT. MORGUE - MORNING
    
Leland watches as a MORGUE ATTENDANT slides open a refrigerated vault holding
the body of Laura Palmer. The Attendant removes the sheet. Palmer inhales
sharply. His face crumbles. He reaches out blindly, puts a hand on Steadman's
shoulder. Steadman holds him up.
							CUT TO:
EXT. TWIN PEAKS FIELDHOUSE - MORNING
    
Bobby slows down to cruising speed, pulls up alongside a group of Twin Peaks
High School football players, jogging on the other side of a chainlink fence.
    
				BOBBY
		Hey, suckers.
    
MIKE NELSON, one of the players peels off from the group and slows to speak to
him.
    
				MIKE
		Hey, man, you better get your butt over to
		school, something's up.
    
				BOBBY
		That's what she said
    
				MIKE
		You think I'm kidding.
    
				BOBBY
		What, me worry?
    
Bobby smiles, taps the accelerator and drives off.
							CUT TO:
EXT. TWIN PEAKS HIGH SCHOOL - MORNING
    
Bobby tools into the school parking lot. Gets out. Notices a Sheriff's department
cruiser parked outside, lights flashing.
							CUT TO:
INT. HIGH SCHOOL MAIN HALL - MORNING
    
Bobby enters the building, passes a cluster of kids standing outside the office.
Bobby notices the kids staring at him and stares aggressively back.

				A GIRL WITH GLASSES
		Bobby Briggs, they're looking for you.
    
				BOBBY
		Who is?
    
				ANOTHER KID
		Sheriff is.
    
				BOBBY
		Well here I am in school.
    
MRS. JACKSON, the Principal's Secretary, standing inside the school office, sees
Bobby in the hallway through the glass partition. She steps outside to speak to
him.
    
				MRS. JACKSON
		Bobby, you're wanted in the principal's office.
    
				BOBBY
		Who wants me in the principal's office?
 
     				MRS. JACKSON
		Right now, young man.
     
Bobby throws a swaggering look back at the group of kids and saunters into the
office.
							CUT TO:
INT. CLASSROOM - DAY
     
Senior Home Room class. MARGARET HONEYCUTT, the teacher, is calling the
roll.
     
				HONEYCUTT
		... Terry Franklin ...
     
The kids raises their hands as she calls their names.
     
				HONEYCUT (CONTINUED)
		... Martha Grimes ... Donna Hayward ...
     
A very smart and very pretty girl, DONNA HAYWARD, daughter of Dr. Hayward,
looks up and responds.
     
				DONNA
		Here.
     
Looking out the door window, Donna notices two State Troopers walking up to
the door.
     
				HONEYCUTT
		... Audrey Horne ...
     
Benjamin Horne's daughter, AUDREY HORNE, a delicate, Botticelli-like beauty,
with a halo of wavy black hair and dark, haunted eyes, raises her hand.
     
				HONEYCUTT (CONTINUED)
		... James Hurley ...
     
JAMES HURLEY, a handsome, clean-cut young man with intelligent eyes, in a black
leather jacket, seated in the back corner, his motorcycle boots up on the back of
the chair in front of him.
     
				JAMES
		Yo.
     
One of the State Troopers enters the classroom and signals Honeycutt. The other
Trooper remains standing outside the door.
   
				TROOPER #1
Excuse me, ma'am, is Bobby Briggs in this class?
   
				HONEYCUTT
		No, he's in 107.
   
				TROOPER #1
		Could I speak to you for a moment, please?

				HONEYCUTT
		Certainly.
   
Honeycutt moves over to the Trooper. He speaks quietly to her. The class
watches closely.

GIRL runs by outside the window, in the interior grass courtyard, crying
hysterically.
   
A buzz of curiosity builds through the classroom. Mrs. Honeycutt turns and looks
towards the seat next to Donna. The one empty seat in the room.
   
Donna notices Honeycutt's look. Donna looks at her arms. Covered with
goosebumps. Without knowing why, her eyes tear up. Donna turns to look at
James. He's staring right at her, sharing the same sudden fear.
   
The Second Trooper sticks his head back into the classroom.
   
				TROOPER #2
		We got him.
   
The First Trooper hurries out and they move off down the hall towards the office.
Honeycutt turns to the class, her face a mask of unsettled emotions.
   
				HONEYCUT
			(voice trembling)
		There'll be an announcement from the Principal's
		office ...
   
She can't continue, her lip quivering violently. One more word and she'll dissolve
in tears. She goes to her desk and sits and stares off into the comer.
   
				DONNA
			(silently, to herself)
		Laura ...

A pencil snaps in James' hand.

							CUT TO:

INT. PRINCIPAL'S OFFICE - MORNlNG
   
The told State Troopers enter the office. Bobby is seated in the middle of the
room. Surrounded by Deputy Andy Brennan, a second deputy, a black man,
BERNIE HILL, and the School Principal, GEORGE WOLCHEZK, a stolid, pale,
balding man, mid-fifties.
   
				BOBBY
			(frightened)
		- I told you, I got up early like I always do, I
		went running like I always do, I went to breakfast
		at the Double "R" and I didn't go to practice
		'cause I didn't feel like it.
   
				BERNIE
		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
		Look, you guys, please, what'd I to? What's
		goin' on?

The door opens. Sheriff Steadman enters. Red-eyed, Mrs. Jackson, Wolchezk's
secretary, leans in behind him to say ...
   
				MRS. JACKSON
		Mr. Wolchezk, there's rumors all over school.
		Maybe it'd be best if they heard it from you.
   
Wolchezk nods. Steadman indicates to him "just a moment".

				BOBBY
		What is it? What's going on? Sheriff?
   
				STEADMAN
		Now, Bobby, look at me. Your girlfriend, Laura
		Palmer has been killed. She was found just after
		dawn. 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
		Yes, but I didn't know why - Laura's dead?
     
				STEADMAN
		Yes Did you understand your rights as they were
		explained to you?

				BOBBY
		Yeah, Jesus, you think I killed her?
     
				STEADMAN
			(firmly)
		Bobby, we're gonna have you make a phone call,
		you can call your folks and they can arrange to
		get a lawyer to be with you when we talk some
		more -- Andy, take Bobby out to make his call --
     
				BOBBY
		I loved her! And she loves me!

Pause. Andy takes Bobby by the arm. Bobby shakes him off.
     
				BOBBY (CONTlNUED)
		You think 'cause I wasn't at football practice that
		I killed my girlfriend? You guys are   nuts!
     
				STEADMAN
			(no more arguments)
		Bobby ..we're gonna talk about this later. Mr.
		Wolchezk, why don't you go cheat and make
		that announcement?
     
Andy leads Bobby out of the room. Wolchezk nods. Goes to the public address
system microphone behind his desk. Picks up the microphone. Flips on the
system. Collects himself.
     
				WOLCHEZK
		May I have your attention please ... may I have
		your attention ... this is Principal Wolchezk ... 
							CUT TO:
INT. HIGH SCHOOL CORRIDOR - MORNING
     
We slowly drift down the corridor away from the office. Bobby is visible in the
office, through the glass partitions, making his phone call. The sound of the
announcement fades in and out, echoing through the empty halls as we pass
different class rooms.
     
				WOLCHEK'S VOICE
			(over)
		... I am deeply saddened to have to tell you that
		early this morning your classmate Laura Palmer
		was found dead ...
    
We hear shrieks and cries of grief from the various classrooms.
    
				WOLCHEK'S VOICE
		... this is a terrible moment for all of us, for all of
		us who knew her, her friends and family and it is
		important that we all try to help each other
		through this difficult time ... the police have
		asked me to ask all of you, if you have any
		information concerning Laura's activities after
		school yesterday, or yesterday evening to please
		come forward ... I am hereby suspending all
		classes for the day but before we leave I would
		like to ask all of you to join me in observing a
		moment of silence ...
                                    (his voice breaking)
		... for Laura and her dear memory ...
    
We come to rest on a trophy case in the hallway. Prominent among the trophies
is a large photo of Laura, wearing a crown and gown, with Bobby in background,
and bearing the caption:
    
		HOMECOMING QUEEN, 1988, LAURA PALMER.
    
We stay on the photo throughout the moment of silence.
							CUT TO:
DONNA HAYWARD
    
In her classroom, raising her head up after the moment of silence, tears streaming
down her face. Another GIRL puts her arms around Donna's shoulders,
comforting her. Tears and cries of disbelief from throughout the classroom.
Donna looks back at ...
							CUT TO:
JAMES HURLEY
    
Wiping the tears from his eyes, covering up his total emotional destruction.
    
							CUT TO:
EXT. PALMER HOUSE - DAY
    
Two sheriff's department cruisers and a state trooper's car are parked outside.
One of the Troopers we saw at the high school is talking on his radio. a small
group of NEIGHBORS have gathered at a discreet distance, watching the house,
talking with quiet concern among themselves.
							CUT TO:
 
INT. PALMER HOUSE LIVING ROOM - DAY
    
Sarah Palmer reclines on a Barca-lounger, a cold compress on her forehead. His
bag open beside him, Dr. Hayward has just administered an injection to Sarah,
discarding the syringe and rolling her sleeve back down her arm. Janice brings
Sarah a glass of water.
    
Andy Brennan stands at the foot of the stairs. Sheriff Steadman is seated on an
ottoman next to Sarah, quietly questioning her.
    
				STEADMAN
		What time was it when you last saw Laura, Mrs.
		Palmer?
    
				SARAH
			(the sedative taking effect)
		What time? Uh, I suppose, let me see ... it
		would have been about nine I think, yes, nine
		o'clock. She came back from Bobby's and was
		going up those stairs, those stairs right there.

				STEADMAN
		Did she say anything?

				SARAH
			(dreamy)
		No. She said goodnight. And I said,
		"Goodnight, sweetheart" Then I heard her door
		close.
    
She's close to tears for a moment, then it passes. Hayward takes her hand and
holds it. Sarah hears footsteps upstairs.
    
				SARAH (CONTlNUED)
		Who's upstairs now?
    
				STEADMAN
		Your husband and one of my men.
    
				SARAH
		I can tell from the sounds that it isn't her ...
    
Steadman and Hayward exchange a look.
							CUT TO:
INT. LAURA'S BEDROOM - DAY
    
Leland Palmer sits on the unmade bed, his hand absent-mindedly brushing the
bedspread. Deputy Bernie Hill is unobtrusively searching the room. He opens a
dresser drawer beside the bed and discovers a locked diary, embosses with Laura's
initials.
     
				BERNIE
		Do you know where the key for this is, sir?
     
				PALMER
			(shakes his head)
		Do you have to take that?
     
				BERNIE
		We'll return it as soon as possible.
     
Palmer nods. Bernie places the diary in a cardboard box along with other
collected evidence; her schoolbooks, letters, etc.
     
Bernie moves to and opens the closet door. Turns on an overhead light. The first
thing he sees is a video camera sitting on a shelf.
							CUT TO:
INT. PALMER LIVING ROOM - DAY

Steadman continues to gently question Sarah.

				STEADMAN
		Can you remember, Mrs. Palmer ... did she
		make or receive any phone calls?

				SARAH
		I heard her phone ring once.

				STEADMAN
		About what time was that?

				SARAH
		I don't know who it was ...
     
The phone rings. Steadman looks at Andy, who goes into the kitchen to answer
it.

				STEADMAN
		Do you recall the time?
     
				SARAH
		I was combing my hair ...

				STEADMAN
		You ware getting ready for bed.
     
				SARAH
		Yes. Leland was just coming home ...
     
She fades Sandman realizes the interrogation is effectively coming to an end.
The doorbell rings. Janice moves to the door, opens it and admits FATHER
CLARENCE HUTCHINSON, a rumpled, white-haired Episcopalian minister.
     
				JANICE
		Father ...
     
				FATHER CLARENCE
			(nods, quietly)
		How is she?
     
Janice takes his hat and coat.
     
				JANICE
		She's been asking for you.
    
Clarence moves into the living room Steadman rises.
     
				FATHER CLARENCE
			(nodding to the other men)
		Sarah?
     
Sarah looks up It him. Blinks. He takes her hand, sits beside her. 

				SARAH
		There's no more pain now, is there?
     
				CLARENCE
			(gently, soothing)
		Our thoughts and prayers guide her to her rest.
		And she is at peace, Sarah. The peace of the just
		and the good.
     
Sarah sits back, finding some comfort in his words. Returning from the kitchen,
Andy signals Steadman over to him.
     
				ANDY
			(quietly urgent)
		That was Lucy. Got a call from a guy 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.

Off Steadman's concern ...
							CUT TO:

INT. PACKARD SAWMIILL - DAY
     
A State Trooper rapidly walks JANEK PULASKI, a barrel-shaped mill worker, past
the powerful, ripping saws towards the exit. Pulaski's eyes are red from tears and
stress.
							CUT TO:
INT. SAWMILL CATWALK - DAY
     
On a catwalk outside the office, over the din of the mill, Katherine Packard is
confronting Giovanni Packard, as an ernbarrassed Pete Martell stands by, near a
Iarge, control console.
     
				KATHERINE
		You're not going anywhere and you're not telling
		anybody anything!
     
				GIOVANNA
			(Italian accented, slightly fractured syntax)
		Katherine, I am sorry if this offends you, but I
		am the owner of this sawmill -

				KATHERINE
		And you don't know the first thing about this
		sawmill, that's why I'm running it -
     
				GlOVANNA
		I haven't exercised this authority before but
		rnaybe I should have -
     
				KATHERINE
		You're not shutting us down!
     
				GIOVANNA
			(with surprising firmness)
		No! I have the final say-so. Pete, push the plug!
     
				KATHERINE
		Pete, don't you dare!
     
Pete considers for a moment, then pushes some large buttons and throws some
switches. Katherine storms off.
							CUT TO:
A STEAM WHISTLE
     
As it screeches, signalling a work stoppage.
							CUT TO:

THE SAWS
     
As the power is cut end they grind to a halt.
							CUT TO:

EXT SAWMILL - DAY
                   
Janek enters the State Trooper's car, the Trooper closes the passenger door, gets
in on the dnver's side and drives off, siren wailing.
							CUT TO:
INT. SAWMlLL OFFICE - DAY
                   
Giovanna flips a switch activating the mill's antiquated public address system and
speaks into a large, silver microphone.
                   
				GIOVANNA
			(Italian accented, slightly fractured English)
		Thank you, may I have your attention ... this is
		"Jo" Packard ...
							INTERCUT:
THROUGHOUT THE MILL
                   
The faces of the WORKERS are turned up towards the office and the speakers.
                   
				GIOVANNA (CONTINUED
		This morning, as you know, the body of Miss
		Laura Palmer was found near our dock. Just now
		your friend and co-worker Mr. Janek Pulaski has
		learned that his daughter Sharon, one of Laura's
		schoolmates, is missing since last night ... I
		suffered the loss of someone dear to me not long
		ago and when my husband, Andrew, died the
		kind words and feelings that you expressed to me
		helped me so much. You are very kind people.
		I have decided that today, in the lights of what
		has happened, all work here will stop, the Mill
		will shut down. Perhaps you will spend the day
		with your families and once again you can all
		extend your good wishes to the Pulaskis and to
		the Palmers.
			(pause)
		Thank you all for your attention.
                   
Silence throughout the mill,
							CUT TO:
KATHERlNE
                   
In a hallway, listening to Giovanna on one of the loud speakers.
                   
				KATHERINE
			(to the speaker)
		Bitch!
                   
She turns and sees startled MILL WORKER standing behind her, hat in hand.
                   

				KATHERINE (CONTINUED)
		What's you name?
     
				WORKER
		Fred Truax.
     
				KATHERINE
		You're fired!
     
She storms off.
							CUT TO:
EXT. HIGHWAY "21" - DAY
     
An empty road. Silence, suddenly broken by James Hurley, on his motorcycle,
cutting through the wind with reckless abandon.
							CUT TO:
EXT ED HURLEY'S GAS STATION - DAY
     
James drives the bike off the highway, into the station and pulls up next to the
pumps. Without a glance at the office, he screws off the cap and starts filling the
bike's gas tank.
     
ED HURLEY, James' uncle, a thin, taciturn man of forty, steps out of the office and
walks out to James as he tops off his tank and hangs up the nozzle. Mindful of his
state, Ed waits for James to speak.
     
				JAMES
		Laura's dead.
     
				ED
		I heard.
     
With restrained emotion, Ed puts a hand on James' shoulder. James inhales
deeply, choking back his feelings. Looks at his Uncle. Looks away.
     
				JAMES
		She was the one.
     
				ED
			(nods, waits)
		'Buy you a cup a' coffee?
     
Pause.
     
				JAMES
		'Can't do it.
     
Before he's overcome with pain, James takes out a folded note, hands it to Ed.

                   
				JAMES (CONTINUED)
		If Donna comes by, would you give this to her?
                   
				ED
		You bet.
                   
James hops on the bike, kicks it to life and roars off. Ed watches him go. The
door to the office opens and Ed's wife, NADINE, a small, angry woman, wearing a
black patch over her left eye, calls out at him.
                   
				NADINE
		Ed? They said those drapes'd be ready by ten;
		now I want those drapes up by nightfall.
                   
Ed exhales heavily, waves at her without looking at her and heads for his pick-up,
parked nearby.
							CUT TO:
                   
EXT. REMOTE MOUNTAINOUS TWO-LANE HIGHWAY - DAY
                   
A eighteen-wheel logging truck with a full load barrels along, downshifting to brake
its speed on the steep decline.
							CUT TO:
EXT. WOODS - DAY
A rustling in a dark thicket. Bloodied bare feet stumbling aimlessly town a slope.
                   
							CUT TO:
INT. LOGGING TRUCK CAB - DAY
                   
As the DRIVER muscles his cab around a horseshoe bend, he sees someone step
out onto the road a few hundred feet ahead. The Driver steps on the brakes and
downshifts frantically. The engine whines in protest.
							CUT TO:
                   
THE WHEELS
                   
Of the big rig screech along the blacktop, burning and smoking.
                   
							CUT TO:
THE DRIVER'S POV
                   
Through the windshield, as the truck closes rapidly on the missing high school girl,
SHARON PULASKI, standing in the middle of the road, dazed, helpless, bruised
and cut, wearing only bra and panties.
							CUT TO:


THE TRUCK
      
Finally lurches to a halt only a few Inches from Sharon. Her lost, brutalized face
opens into a silent scream.
							CUT TO BLACK:
					END ACT TWO






				ACT THREE
FADE IN:

INT. HOSPITAL lNTENSIVE CARE - DAY
     
Sharon Pulaski lies in a hospital bed, attached by various tubes to life-support
machines and monitors. a Nurse fluffs a pillow under her head, as another fits an
oxygen tube to her nostril.
							CUT TO:
GROUP OF TRACKlNG DOGS
     
Barking, restless, anxious to follow a scent. They're on the highway, where Sharon
came out of the woods. The logging truck is pulled off the road, the Driver is
talking to Andy Brennan, who's filling out a report.
     
Deputy Bernie Hill drives up in a cruiser, exits, carrying a plastic evidence bag
containing the clothes Sharon was wearing. He takes them over to the dog's
HANDLERS. The Handlers open the bag and give the dog's the scent.
     
A number of Deputies and CIVILLAN VOLUNTEERS follow the dogs, as they pick
up the trail and strain at their leashes, bounding up the hill into the woods.
     
							DISSOLVE TO:
EXT. HIGHWAY - DAY
     
A nondescript, government-issue, tan sedan drives up towards Twin Peaks. Passes
a sign that reads:

		"WELCOME TO TWIN PEAKS. POPULATION 51,201"
     
							CUT TO:
INT. SEDAN - DAY
     
Behind the wheel is FBI field agent DALE COOPER, mid-thirties, handsome in an
unremarkable way. He activates and speaks into a microphone attached to his
lapel, connected to a small, Walkman-sized tape recorder clipped to his belt.
     
				COOPER
		Diane, 2:15 in the afternoon, November 14.
		Entering town of Twin Peaks. Five miles south of
		the Canadian border, twelve miles west of the
		state line. Never seen so many trees in my life.
		As W.C. Fields would say, I'd rather be here than
		Philadelphia. It's 54 degrees on a beautiful sunny
		afternoon. Weatherman said rain. If you could
		get paid that kind of money for being wrong 60%
		of the time it'd beat working. Mileage is 79,345,
		gauge is on reserve, I'm riding on fumes, have to
		tank up when I get into town, remind me to tell
		you how much that is. Lunch was $6.31 and I left
		her a dollar tip, at the ...
			(digs out a restaurant receipt)
		... Lamplighter Inn, that's on Highway 2 near
		Lewis Fork. That was a tuna fish sandwich on
		whole wheat and a slice of cherry pie and coffee.
		Damn good food. And if you ever get up this
		way, Diane, that cherry pie is worth a stop.
		Okay.
			(looks for his notes)
		I'll be looking for a ...
			(reads)
		... Sheriff Daniel Steadman, he's going to be at
		the Calhoun Memorial Hospital with that girl they
		pulled off the mountain. I'll be checking into a
		motel after we're through there. Sure the
		Sheriff'll be able to recommend a clean place.
		Reasonably priced.
     
Turns off the microphone. Turns it back on again.
     
				COOPER (CONTINUED)
		Forgot to mention. I stopped for coffee and a
		pit stop about 10:30, little diner near Bitteroot
		Lake. Excellent coffee. Forgot to get the
		receipt, can you believe it? That was seventy fire
		cents and I left a quarter on the counter. Got to
		find out what kind of trees these are. They're
		really something.
     
Turns off the microphone. Whistles "Rhapsody in Blue."
							CUT TO:
EXT. CALHOUN MEMORIAL HOSPITAL - DAY
     
In long shot, we see Dale Cooper drive up, get out of the car where he's greeted
by Sheriff Steadman and together they enter the hospital.
							CUT TO:
INT. HOSPITAL CORRIDOR - DAY
     
Steadman and Cooper walk down the corridor.
     
				STEADMAN
		Sure glad to have you here. Kind'a lucky, in a
		way, Sharon stepped out across the state line.
		Whole town's really badly shaken up -
     
				COOPER
		Sure it is, nice, quiet place, something like this.
		Let me stop you right here in the hallway for
 		second, Sheriff.
			(they stop; matter of factly)
		There a few things we ought to get straight right
		off the bat. I've learned this the hard way and it's
		better to talk it out up front. When the Bureau
		gets called in, the Bureau's in charge. You're
		going to be working for me and sometimes local
		law enforcement has a problem with that. Hope
		you understand.
                  
				STEADMAN
		Like I said, we're glad to have you.

				COOPER
		And what kind of fantastic trees have you got
		growing all around the area? Big, majestic -
                  
				STEADMAN
		Ponderosa pine.
                  
				COOPER
			(savors the sound)
		"Ponderosa Pine."
			(stars walking again)
		Can somebody get me your coroner's report on
		the dead girl while we're in with the witness?
                  
				STEADMAN
		'Haven't done the autopsy yet. We can go
		downstairs to the morgue when we're done here.
                  
				COOPER
		Fine. What've we got from Sharon so far?

				STEADMAN
		She hasn't said word one since we found her.
                  
They enter an office, past a stationed POLICEMAN. Janek and his wife, MARIA
PULASKI, and two of their other CHILDREN sit on a bench by the door.
                  
							CUT TO:
INT. INTENSIVE CARE - DAY
                  
Sharon Pulaski lies in bed, an IV in her arm, hooked up to monitors, attended by
two NURSES. Steadman and Cooper enter. Seeing them, the attending physician,
an attractive woman, DR. SHELVY, moves towards them from the bed.
                  

				STEADMAN
		Dr. Shelvy, this is FBI Agent Dale Cooper.
     
				SHELVY
		Glad to know you.
     
				COOPER
		Doctor. How's the girl?
     
				SHELVY
		She's in shock. Suffering from exposure.
     
				COOPER
		Was she raped?
     
				SHELVY
		Yes. More than once.
     
				COOPER
		One perpetrator?
     
				SHELVY
		Waiting for the tests.
     
				COOPER
			(to Steadman)
		Any connection to the murdered girl?
     
				STEADMAN
		Same high school. Far as we know they hardly
		knew each other.
			(shrugs)
		No connection.
     
				COOPER
		Can I question her?
     
				SHELVY
		This girl doesn't even know where she is. Or if
		she is.
     
				COOPER
		What are you saying?
     
				SHELVY
		We need a CAT scan and we aren't equipped for
		that. My opinion is there may be neurological
		damage. She's just not responsive at all.

     
				COOPER
		I d like to look at her fingers.
     
Shelvy and Steadman look at each other.
     
				SHELVY
		All right.
     
Cooper moves to Sharon. Her eyes are open, looking up at the ceiling, moving
restlessly. Cooper picks up left hand, looks closely at the wrists, sees the
distinctive wounds and a look of intense interest comes over him. He immediately
looks very closely at her fingernails.
     
				STEADMAN
		We already scraped for particles.
     
				COOPER
		That's not what I'm looking for.
			(looks closely, almost to himself)
		Nothing here ... not a thing ...
     
				SHARON
			(a sort of drugged, horrified whine)
		Don't go there ...
     
				SHELVY
			(moving quickly to her side)
		Sharon?
     
				COOPER
		Sharon?
     
Sharon almost seems to focus on them for a moment. A single tear runs from her
eye.
							CUT TO:
INT. ELEVATOR - DAY
     
We see the floor indicator numbers light up, going down as the elevator descends.
Steadman and Cooper ride down, along with a ONE-ARMED MAN. THE door 
opens on the first floor. We notice a MAN talking to a NURSE, seated behind a
desk, eating her lunch off a cafeteria tray. She laughs uneasily at something the
Man says. The One-Armed Man exits. The elevator doors close.
     
The elevator descends to the basement. The doors open. Steadman and Cooper
exit.
							CUT TO:

INT. MORGUE EXAMINATION ROOM - DAY

Bright overhead lights pop on, momentarily blinding us. A low, vibratory throb
of humming rnachinery. Steadman and Cooper and a MORGUE ATTENDANT walk
to a stainless steel examination table in the middle of the white-tiled room.
 
Laura Palmer's body lies on the table, covered by a shroud of cloudy plastic.
Cooper takes her left arm out from under the cover and examines her fingers.
 
				STEADMAN
		We did scrape the nails when she came in.
 
				COOPER
			(sees something under the nail of her ring
			finger; energized)
		There it is. Here it is. Oh my God, there it is.
 
				STEADMAN
		What?
 
				COOPER
			(to the Morgue Attendant)
		Leave us alone please.
 
The Attendant looks at Steadman. He nods. The Attendant exits.
 
				COOPER (CONTINUED)
			(pointing to her nail)
		Sheriff, I need something to grab onto this.
 
Steadman uncovers and rummages through an autopsy tool tray, finds and hands
Cooper a pair of fine tweezers. Cooper separates the nail from the finger, works
the tweezers in and dislodges a small, white speck from under the nail onto a
stainless steel tray.

Cooper turns on his microphone, swings a mounted magnifying glass over the
tray, pulls it down over the speck and turns on its attached light.
 
				COOPER (CONTINUED)
		3:27 PM. Diane, Twin Peaks County Morgue.
		With the body of the victim ... what's her name?
 
				STEADMAN
		Laura Palmer.
 
				COOPER
		Laura Palmer. Got here before the autopsy. It's
		the same thing, Diane, told you I had a feeling
		we'd see this again

				STEADMAN
		What've you got there?
                  
				COOPER
		Ring finger. Under the nail. Let's see what he
		left us.
							CUT TO:
THROUGH THE LOOKING GLASS
                  
Using the tweezers, Cooper turns over the speck and we see printed on the tiny
piece of white paper is the letter "R" .
                  
				COOPER (CONTlNUED)
		It's an "r". Diane, let's give this to Albert and his
		team, don't go to Sam, Albert seems to have a
		little more on the ball.
                  
RESUME SCENE
                  
As Cooper turns off the mic and turns to Steadman.
                  
				COOPER (CONTINUED)
		Need to bag and tag this.

				STEADMAN
		You gonna let me in on whatever the hell's going
		on here?
                  
				COOPER
		Sheriff, we've got a lot to talk about.
							CUT TO:
EXT. BACK OF ROADHOUSE - DAY
                  
Donna Hayward drives up in a Mercedes-Benz station wagon and parks behind the
Roadhouse Nightclub, near a couple of motorcycles, in front of a large, wooden
shed. On the roof of the shed is an erector-set-like oil derrick-shaped structure,
supporting a small, blue neon sign that reads:
                  
							"HEMINGWAY'S"

Donna goes up the steps to the door, knocks and enters. 
							CUT TO:
                  
INT. HEMINGWAY'S - DAY
                  
A sparsely furnished coffee house. Two walls with shelves packed with books.
On the wall behind a small raised platform is a large, black and white photograph
of Ernest Hemingway. Two BIKERS in black leather sit at one of the tables,
reading books. JAKE MORISSEY, the large, friendly owner of the Roadhouse and
"Hemingway's", wearing an apron, is cleaning an unique brass Espresso machine.
   
				DONNA
		Is James around?
   
				JOKE
   		He was. You just missed him.

				DONNA
		Thanks.
   
Donna exits.

							DISSOLVE TO:
EXT. ED HURLEY'S GAS STATION - DAY
   
The Mercedes-Benz station wagon is parked across the highway from the gas
station.

							CUT TO:
INT. MERCEDES-BENZ STATION WAGON - DAY
   
Donna Hayward sits in the driver's seat, the engine running, listening to the radio, a
Golden Oldies station, watching the road.
							CUT TO:
HER POV
   
As Ed Hurley drives up in his pick-up, turns into the station parking lot and parks.
   
							CUT TO:
DONNA
   
Puts the car in gear, drives across the highway into the station and pulls up next to 
Ed's pick-up.
							CUT TO:
THE BED OF THE PICK-UP
   
Inside is a large, wrapped package with a label that reads, "GENTLE JIM'S 
DRAPES." Ed turns from the truck bed, as he sees Donna get out of her car and
approach him.
   
				DONNA
		Hi, Ed.
   
				ED
		Hey, Donna.
   
He sees she's about to burst into tears, opens his arms and embraces her. She
weeps.
    
				ED (CONTINUED)
		I'm so sorry ...
    
She nods, starts to regain her composure.
    
				DONNA
		Have you seen James?
    
				ED
		He came by.
    
				DONNA
		Is he okay?
    
				ED
		No.
    
				DONNA
		You know where he went? He wasn't up at
		"Hemingway's."
    
				ED
		I don't know. But he said to to give this to you.
    
He hands her a folded note. Donna opens it. It reads:
    
			"21 BILLIARDS. SEE JOEY AFTER NINE."
    
Out on the highway, a white 1959 Chevy Impala slams on its brakes, hits the horn,
the driver does a squealing U-turn to pull into the gas station parking lot and stops
near Donna and Ed. Mike Nelson, Bobby's friend, is driving the car. He leans out
the window.

				MIKE
			(furious; to Donna)
		Hey! What the hell are you doin' here?
    
				DONNA
		I --

				MIKE
		We've been lookin' alI over for you! In case you
		didn't know it, Bobby's in a lot of trouble! He's
		my best friend, you're supposed to be with me
		and we're goin' down to the police station to be
		with him!

				DONNA
		Don't tell me where I ought'a be - and by the
		way, Laura was my best friend -
    
				MIKE
		Get in the car!
    
				ED
			(he's heard enough)
		Muffle it there, Junior.
    
				MIKE
		Mind your own business!
    
				ED
		You're on my lot, friend.
    
				MIKE
		Not for long! Donna, you get to the sheriff's
		right now!
    
Mike guns it and digs out in the loose gravel, fishtailing onto the highway. Donna's
trembling with anger and frustration.

				DONNA
		Boy, do I know how to pick 'em. 
    
Nadine throws open a window in their apartment above the garage and calls out.
    
				NADINE
		Ed! You waitin' for those drapes to hang
		themselves?!
    
				ED
			(waves dismissively at her; to Donna)
		I know how to pick 'em too.

They both manage a small smile. Donna heads for her car.
    
				DONNA
		If you see James, tell him I'm looking for him.

				ED
		You bet. Take it easy now, Donna.
							CUT TO:
    
EXT. SHERIFFS OFFICE - DAY
    
Re-establish.
							CUT. TO:

INT. EVIDENCE ROOM - DAY
                   
Steadman and Dale Cooper are seated at a table, examining the box of evidence
that was taken from Laura Palmer's bedroom. Steadman takes a video cassette out
of the box.
                   
				COOPER
		That's the tape you found in the video camera in
		Laura's room.
                   
				STEADMAN
		Right.
                   
				COOPER
		At a certain point I'm going to want to show that
		to the boyfriend.
                   
				STEADMAN
		You say when.
                   
Cooper puts on a pair of thin, rubber gloves and looks into the box of Laura's
belongings.

				COOPER
		Did you complete all your forensics?
                   
				STEADMAN
		Yes.
                   
Cooper picks up Laura's locked diary.
                   
				COOPER
		No key yet, huh?
                   
				STEADMAN
		Still looking.
                   
Cooper casually snaps open the lock, opens the diary and uses an orange stick to
turn to the last entries. He activates his tape recorder.
                   
				COOPER
		Diane, I've just opened Laura Palmer's diary. This
		is the last entry, dated yesterday, November 13...
			(reads)
		"Cloudy. Sort of giddy. Not even cautiously
		optimistic. Day Eighteen. Eight o'clock.
		Asparagus for dinner again. I hate asparagus.
		Does this mean I'll never grow up" ... then she's
		written ...
			(counts)

     
				COOPER (CONTlNUED)
		... nine questions marks ... "Nervous about
		meeting 'J' tonight." That's the last entree.
			(to Steadman)
		That's something to get started on.
     
				STEADMAN
			(writing down the letter "J")
		One out of twenty-six.
     
Cooper turns back a few pages and reads again.
     
				COOPER
		Day fourteen. Indian summer. Picnic at Le
		Sparkwood Cafe - al fresco. Am I this happy?"
     
							INTERCUT:
THE DIARY

As Cooper continues to thumb back through the pages, he finds a small key inside
a small, slit glassine envelope, taped to a page.
     
				COOPER
			(instant recognition)
		Diane. I Just turned back eighteen days; it says
		here, "Day One." What we've got taped to the
		page here is a glassine envelope containing a
		white residue and what looks to be a key to a ...
			(thinks, places It)
		... safety deposit box.
			(closely examines envelope)
		Sheriff, after you very carefully remove this key,
		we're going to run this envelope and my bet is
		it'll test positive for cocaine.
     
				STEADMAN
			(indignantly)
		That's impossible -

				COOPER
		You ever been surprised before?

				STEADMAN
		Mr. Cooper, you didn't know Laura Palmer -

				COOPER
		Benefit of the doubt, innocent until proven
		guilty, but that's still cocaine in that envelope.
    
Holds out the envelope. Steadman takes it.
    
				COOPER (CONTlNUED)
		Get started on a court order to open her deposit
		box and maybe we'll both find out a few things
		about Laura Palmer.
    
Steadman exits. Cooper reaches into the box again.
    
				COOPER (CONTINUED)
		Diane, I'm holding in my hand a box of small,
		chocolate bunnies ...
							CUT TO:
INT. POLICE STATlON HOLDING CELL - DAY
    
A despondent Bobby Briggs sits at a table with his parents, Bette and Major
Briggs. Across from them is Bobby's lawyer, a shoe, rotund, silver-throated man
by the name of GILMAN WHITE.  A DEPUTY enters to announce ..
    
				DEPUTY
		We're ready for you.
    
He waits to escort them out.

				GlLMAN
			(instructing Bobby)
		Now Bobby, remember what I told you; the
		Federal Bureau of Investigation does not
		appreciate smart talk. You answer their
		questions, openly and honesty. If you're having
		any trouble, any strange feelings, any questions,
		you consult with me, that's why I'm here. If
		there are any questions I would prefer that you
		not answer directly, I will so signal you. Is that
		understood?

Bobby nods sullenly.
    
				MAJOR BRlGGS
		What do you say to Mr. White, Robert?

				BOBBY
		Yes, sir.
    
The Deputy moves to Bobby. Bobby rises and walks out with him. White picks
up his briefcase and follows.
							CUT TO:
    

INT. INTERROGATION ROOM - DAY
    
Steadman and Cooper enter and take seats across the table from Bobby and
Gilman White. There is a TV and VCR on a stand in the corner.
    
				COOPER
			(right to the point)
		Bobby, did you kill Laura Palmer?
    
				BOBBY
		No!
    
				COOPER
			(writes something on a piece of paper)
		She was studying at your house until about nine
		thirty last night, isn't that right?
    
				BOBBY
		Yeah.
			(looks at Gilman)
		Yes, sir.
    
Cooper shows Steadman the piece of paper: on it he's written, "He didn't do it."
Steadman is nonplusses.
    
				COOPER
		She drive herself home?

				BOBBY
		Yes.
    
				COOPER
		You had a big fight with her last week, didn't
		you?
    
				BOBBY
		So what?
    
Gilman puts a hand on Bobby's arm.
    
				BOBBY (CONTINUED)
		If I had a fight with her, if I sang songs with her,
		if I went skipping rope with her what difference
		does it make? I didn't kill her.
    
				COOPER
		Bobby, here's how this works, we ask questions
		and you answer only the questions that we ask.
		Briefly and to the point.
    
Cooper picks up a remote control and turns on the VCR in the corner. A picture
appears on the monitor.
							INTERCUT:
THE MONITOR
    
A slightly fuzzy picture: Donna and Laura in a sunlit forest glade, having a Indian
summer picnic on a red and white checked blanket, blanket and mugging for the
handheld video camera. We don't see or hear the camera operator.
    
				COOPER
			(watching Bobby carefully)
		Did you shoot this video, Bobby?
    
A cold, jealous rage rises in Bobby as he watches the girls laughing, seeing only
Laura and her happiness.
    
				BOBBY
		No.
    
				COOPER
		If you didn't take them, who did? Did you know
		that Laura was seeing someone else?
			(no answer)
		That's what you fought about last week, isn't it,
		Bobby? Look at these pictures, look how happy
		she is.
			(no answer)
		'You ever take cocaine with Laura?
    
				BOBBY
			(shocked)
		I never did that!
    
				GILMAN
		Excuse me but what are you charging my client
		with?
    
				COOPER
			(smiles, as he writes again)
		That's right, you're a football player, aren't you,
		Bobby?
    
He shows Steadman the pad; on it he's written: "Kid's a lousy liar."
    
				COOPER (CONTINUED)
		If you knew who she was seeing, trust me on
		this, now's the time to tell us.

     
				BOBBY
		Why don't you ask Donna? She was there with
		'em!
     
				COOPER
		I'm asking you, Bobby. Give me a name. Here's
		a clue. First initial "J."
     
Bobby can't, or won't, come up with a name.
     
				BOBBY
			(almost to himself)
		"J" ...
			(self-pirying)
		She wouldn't. She wouldn't'a done that to me.
			(aImost mumbling)
		I can't believe it. I can't believe it ...
     
				COOPER
			(as he rises)
		You didn't love her anyway.
			(to Steadman)
		Let him go.
     
Cooper exits. Steadman tries to give the appearance of keeping up
     
							CUT TO:
INT. SHERIFF'S STATION - DAY
     
Cooper exits the interrogation room. He looks towards the desk and sees Donna
speaking to Lucy, the dispatcher. Mike is standing sullenly nearby. Cooper makes
a bee-line for Donna.
     
				COOPER
		Donna?
			(she looks up at him)
		You and I are going to have a little talk about a
		picnic.
     
Donna looks at Cooper, then at Mike.
							CUT TO:
EXT. MOUNTAIN SIDE FOREST - DAY
     
A TRACKER is holding back two of his dogs, who are barking furiously at the
mouth of a hillside cave. A Trooper stands by with his gun drawn.
     
Deeply shaken, Deputy Andy Brennan exits the cave a moment later, holding a
flashlight and his gun. He absent-mindedly walks past the others and they watch
him drift into the woods.
							CUT TO:


EXT. THE WOODS - DAY
                  
Andy slumps down onto a rock. Sets down his pistol and takes out his handi-talk
radio and, with difficulty, activates it. His gun slides off the rock into the dirt.
                  
				ANDY
			(shaking)
		Lucy... Lucy...
							INTERCUT:
INT. SHERIFF'S OFFICE SWITCHBOARD - DAY

Lucy, at the switchboard, speaks over her headset.

				LUCY
		Andy, is that you? ... I can hardly hear you ...

				ANDY
		Tell Dan, we found where ... it happened ...
		Ghostwood Forest, about three miles east of the
		highway ... tell Dan ...
			(he can't continue)
                  
				LUCY
			(quietly, tenderly)
		Andy, are you okay? Sweetie?
                  
				ANDY
		I didn't cry ... but Lucy ... it's horrible ... oh,
		God ...
                  
He can't fight it. He starts to cry.

							FADE TO BLACK:
                  
				END ACT THREE





				ACT FOUR
    
FADE IN:
    
EXT. SHERIFF'S STATION - DAY
    
Steadman backs his four-wheel vehicle up to the back door, throws open the rear
gate and goes into an open equipment room.
							CUT TO:
INT. SHERIFF'S STATION - DAY
    
Cooper guides Donna into the interrogation room and closes the door. Cooper
studies her.
    
				COOPER
		Have a seat, Donna.
							CUT TO:
INT. SHERIFF'S STATION - DAY
    
Bobby's parents and Gilman White are talking near the exit, as Bobby is released
by a Deputy from the holding cell area. Bobby looks at his parents, then sees
Mike waiting by a water cooler near the front desk, where Lucy is typing. Bobby
walks over to Mike.
    
				MIKE
		Hey, buddy.
    
				BOBBY
		Hey, Snake, we're outta here.
    
				MIKE
 		Just a sec', Donna's in there.
    
				BOBBY
			(low and angry)
		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.
 		We're lookin' at some freakin' biker. And some
		freakin' biker is gonna get his head busted open.
    
				MIKE
		Who is it?
    
Lucy pauses in her typing and slightly turns her head towards them. Bobby picks
up on it.
    
    
				BOBBY
		Come out here.
    
They head for the exit, passing his parents and lawyer.
    
				MAJOR BRIGGS
			(formal but sympathetic)
		Robert, I'll be at home this evening if you need a
		sympathetic ear.
    
				BOBBY
		I don't need any damn sympathetic anything.
    
Bobby and Mike leave the building.
							CUT TO:
INT. INTERROGATlON ROOM - DAY
    
Cooper and Donna, his questioning in progress.
    
				COOPER
		You mean to tell me you and Laura went on this
		picnic alone, just the two of you?
    
				DONNA
		What's wrong with that?
    
				COOPER
		Deep into the woods, 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 -
    
He turns on the VCR with the remote and we see the video of the picnic.
    
				COOPER (CONTINUED)
		I can't for the life of me figure out how these
		pictures got taken.
    
Donna, feeling trapped and frightened, thinks fast.
    
				DONNA
		Oh. Oh, that. That's easy. There was a hiker, 
		came along with a backpack and we asked her to
		take the pictures.
          
				COOPER
		What was her name?
      
				DONNA
		I don't think we ever asked her. Or I forget.
		Maybe we did, I don't remember.
      
				COOPER
			(non-threatening)
		Donna ... who are you protecting?

				DONNA
		Nobody. That's what really happened.

				COOPER
		Does the person's name start with the letter "J"?
      
				DONNA
			(blushing)
		I told you, she didn't tell us her name.
      
				COOPER
		Donna, this is serious business. More serious
		than a girl falling in love with someone other than
		her boyfriend. Much more serious than you
		know.
      
Donna remains silent. We hear a beep, an intercom on the desk activating.
      
				LUCY'S VOICE
		Agent Cooper, the Sheriff's ready to roll up to
		the site and I've got something else for you here.
      
				COOPER
			(into the speaker)
		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 rises. She exits. Steadman and Lucy enter.
      
				STEADMAN
		Tell Agent Cooper what you heard Lucy.

				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
		Uh-huh, uh-huh -
    
				LUCY
		Okay, okay. Well, I pretended to be typing but I
		was typing what Mike and Bobby were saying,
		well they didn't say exactly who it was that they
		were talking about but anyway here's what they
		were saying -
    
She offers him a typed page. He doesn't take it
    
				COOPER
		They said the guy we're looking for is a biker.
    
				LUCY
			(crestfallen)
		Yeah ...
    
				STEADMAN
			(amazed again)
		Yeah.
    
Cooper turns on the VCR with the remote, fast forwards the picture, then lets it
run at normal speed until Donna moves up extremely close to the lens. He freezes
the frame and points to a partial reflection of a motorcycle in the pupil of her
eye.
    
							CUT TO:
EXT. MOUNTAIN OVERLOOK - DAY
    
A motorcycle is parked on a high crest, overlooking a wooded valley and the town
in the deep background. We hear the sound of SIRENS wailing in the distance.
    
James Hurley sits on a rock. His eyes red, his face torn with grief. He holds a
small envelope in one hand. His other hand holds something protectively in a
closed fist.
							CUT TO:
HIS HAND
    
As it opens and we see he's holding a gold necklace in the shape of half of a heart.
He rubs it lovingly and closes his hand again.

INT. MOUNTAlNSIDE CAVE - DAY
     
In the darkness, we see a powerful beam of light sweep slowly across the walls,
revealing random patterns of spayed blood. The light follows the trail of the
blood across a dirt floor and up a raised mound of blood-saturated dirt.
     
On top of the mound is the other half of the heart-shaped gold necklace and just
below it a folded piece of paper. Something is written on the paper in what could
be blood.

We see it is Dale Cooper holding the flashlight. Behind him are Steadman and
some other officers. Cooper reaches in with a gloved hand, gently turns over the
note and reads ...
     
			FIRE.  WALK WITH ME.
     
							CUT TO:
A TV SET
     
On the monitor is a news report showing location video footage of Cooper,
Steadman and the other officers emerging from the mountainside cave.
     
				LOCAL REPORTER
			(voice-over)
		... from what is believed to be where the brutal
		slaying of Laura Palmer occurred. And tonight,
		Sharon Pulaski ...
     
We see a high-school yearbook picture of Sharon.
     
				LOCAL REPORTER (CONTlNUED
		... the second intended victim, who apparently
		escaped her captor and fled to safety, remains
		hospitalized in critical condition at Calhoun
		Memorial ...
     
During above we pull back to discover we're in a cheaply panelled and furnished
living room.
							CUT TO:
SHELLY SIMPSON
     
The Double "R" Diner waitress, wearing a bathrobe and smoking a cigarette, is
watching the set in her living room. She flicks her cigarette into the ashtray,
unable to take her eyes off the set.
     
Her husband, LEO JOHNSON, a lanky, sinewy, pallid man of thirty, pomaded hair,
wearing a torn t-shirt, dirty jeans and white socks, his heavy boots nearby on the
floor. He holds an open bottle of creme de menthe.
   
				SHELLY
		Lord, I can't believe it. I can't believe it.
    
Leo has not taken his eyes off the ashtray.
							CUT TO:
LEO'S POV - THE ASHTRAY
    
Filled with butts. Two different brands.
							CUT TO:
RESUME SCENE
    
Leo continued to look at the ashtray.
    
				LEO
			(politely)
		Shelly ... turn off the TV.
    
				SHELLY
		Why? Why? I went to see this -
    
She turns to him. Sees the look on his face. Gets up immediately and turns off
the television.
    
				LEO
		Shelly, sit down here a minute and help me out.
    
She sits obediently. He still hasn't looked at her.
    
				LEO (CONTINUED)
		What kind of cigarettes do you smoke?
    
				SHELLY
		Whatever's around.
    
				LEO
		No you don't.
			(he picks up a butt from the ashtray)
		You smoke these.
			(he picks up a different brand butt)
		What are these doing here?
    
				SHELLY
		Come on, Leo, I get different packs at the diner.
		Me and Norma.
    
Pause.

    
				LEO
		There's two things, Shelly. First, this house
		should be cleaned up for me when I come home
		... I mean clean.
    
				SHELLY
		Okay -
    
He holds up a hand and silences her instantly.
    
				LEO
			(evenly)
		Number two. You smoke one brand of
		cigarettes from now on. Because if I ever see
		two different brands of cigarettes in any ashtray
		in this house again, I'm gonna snap your neck
		like a twig.
    
Trembling, he takes a big swig of creme de menthe and locks eyes with her.
    
				SHELLY
		You got nothing to worry about with me, darlin'.
    
She forces a smile. He looks at her hard. Right through her.
							CUT TO:
EXT. THE GREAT NORTHERN HOTEL - DAY

Re-establish.
							CUT TO:
INT. GREAT NORTHERN HOTEL LOBBY - DAY
    
On a small TV monitor at the front desk, continuing the report on the news about
Laura. Watching are the DESK CLERK and the group of Norwegians we saw earlier
in the day, who are in the process of checking out of the hotel. Two BELLMEN
are loading their baggage on a trolley.
    
				LOCAL REPORTER'S VOICE
			(voice over, on the TV)
		... cheerleader, Homecoming Queen, most
		popular girl in school, friend to many in the
		community. Seventeen years old. Laura Palmer,
		found dead this morning, the victim of violent
		crime ...
    
During above, we see Benjamin Horne, the Translator, and Sven Jorgenson, the
group's leader, are standing beside a nearby column, speaking in hushed, urgent
tones.

				HORNE
		- Mr. Jorgenson, I urge you to reconsider, I want
		to appeal to your best nature -
    
The Translator tries to translate simultaneously and then struggles to keep up with
them both.
    
				SVEN
			(over the translator)
		Best nature? We have best nature at home; no
		violent crime, crime rate nothing -

				HORNE
		It is a great injustice to judge our community by
		this horrible exception to the rule, I have a
		daughter myself, she's the same age, she goes to
		the same high school -
    
				SVEN
		Everyone here have gun! Not good!
    
				HORNE
		Sir, you are throwing away the investment
		opportunity of a lifetime -
    
				SVEN
		Better that then to throw lifetime away -
    
				HORNE
			(to the Translator)
		You keep out of this!
							CUT TO:
EXT. GREAT NORTHERN HOTEL - DAY
    
We drift from the hotel over to "The Grange"; a large, adjacent manor house, the
private home of Benjamin Home.
							CUT TO:
EXT. GRANGE - CLOSER ANGLE - DAY

In an upstairs window, we see JOHNNY HORNE, Benjamin Horne's twenty-seven
year old son, standing alone, looking out over the lawn. He turns away from the
window.
							CUT TO:
   
INT. JOHNNY HORNE'S BEDROOM - DAY
    
Johnny throws himself down to a sprawling position on the floor and we see that
the room is filled with large, expensive toys. He begins to bang his head on a
exquisite, doll house replica of "The Grange" itself. 
							CUT TO:

INT. GRANGE DOLL HOUSE - DAY
     
With every impact, the furniture and small figurines inside bounce violently up and
down.

							CUT TO:
INT. GRANGE DINING ROOM - DAY
     
SYLVIA HORNE, Johnny's mother, Benjamin's wife, and Audrey Horne, her
daughter, sit at the dining room table, having tea from a sterling tea service.
Strained silence. Audrey stares at the heel of her black leather pump. Sylvia hears
approaching footsteps and presses a hand to her forehead in exasperation. A 
NURSE enters the room.
     
				NURSE
		Mrs. Horne, I think it might help if you'd talk to
		Johnny yourself -
     
				SYLVIA
			(pained sarcasm)
		Oh, you think it might help? You tell Johnny,
		one more time, that Laura is not coming to work
		with him this afternoon, tomorrow afternoon or
		any afternoon. What is so difficult to understand
		about that?
							CUT TO:
INT. ED HURLEY'S GARAGE - LATE AFTERNOON
     
A small television on a work bench is on, continuing the news report. Ed is doing 
a lube job on a late model Oldsmobile up on the rack. His wall phone rings. He
walks over and picks it up.
     
				ED
		Ed's Garage, Ed speaking.
							INTERCUT:
     
INT. DOUBLE "R" DlNER KITCHEN - LATE AFTERNOON
     
Norma, the bombshell waitress and diner owner, is on a wall phone in the
kitchen. The diner is humming with activity.
     
				NORMA
			((hushed, urgent)
		I know I promised not to call there, but I have to
		see you ... I feel so bad, I can't tell you ... 
     
				ED
		I know. It's okay.
     
He reaches down, turns up the sound on the small television and glances out the
back window, up the small hill towards his house.
							CUT TO:

ED'S POV - HIS HOUSE
                   
In the big picture window of his living room, we see a new set of drapes being
closed, then opened, then closed, then opened. 
							CUT TO:                  
RESUME SCENE
                   
Ed turns back to the phone.
                   
				ED
		I'll try to meet you at the Roadhouse, 'round 9:30.

He hangs up. Turns the sound on the tv back down.
							CUT TO:
EXT. BANK - DAY
                   
The flag flies at half mast.
							CUT TO:
INT. BANK - DAY
                   
Cooper and Steadman are being lead into a back room by ALICE BRADY, a
uniformed bank guard. During below, she retrieves Laura's safety deposit box.
                   
				ALICE
			(slightly hysterical)
		I knew Laura she was always so nice -

				COOPER
		When was the last time she came in?
                   
				 ALICE
		Oh, I couldn't tell you exactly, there are so many
		boxes here -
                   
				COOPER
		You don't keep records.
                   
				ALICE
		Well we have plenty of paper work as it is, you
		know, with a town this size -
                   
				COOPER
		Can you tell me how long Laura has had the box?
                   
				ALICE
		I'd say about six months, I could check for you -
                   
				COOPER
		Would you please? And you can just give me the
		box, m'am, we'll take it from here.

Cooper takes the box. He and Steadman enter a smaller, privacy room. Cooper
sets the box down and opens it with the key he found in Laura's diary. He reaches
inside and lifts out the sole item in the box.
                  
A magazine entitled:  "SEX TOYS: SWINGERS, COAST-TO-COAST."
                  
				STEADMAN
		Jesus ...
                  
Just touching the edge of the pages, Cooper leafs through the magazine. A thick,
rubber-band wrapped packet of one hundred dollar bills fall out.
                  
				COOPER
		Over ten grand. That's a lotta Girl Scout cookies.
                  
Cooper turns the magazine to a dog-eared page.
							INTERCUT:
THE MAGAZINE
                  
Featuring ads and photographs of men and women, soliciting various sexually-
oriented responses. One of the ads is circled. It is a burn-out, flashbulb photo of
Sharon Pulaski, in sex lingerie, a drugged glaze in her eyes.

				COOPER
		There's your connection.
 							CUT TO:
EXT. TOWN SQUARE - EARLY EVENING
                  
Cooper and Steadman walk through the town square, past the gazebo, towards city
hall.
                  
				COOPER
			(stopping to look at the gazebo)
		I've seen these in pictures before, but there is an
		actual gazebo, right here in your city square. That
		is beautiful.
                  
				STEADMAN
			(looks at his watch)
		You know we're gonna be late for that meeting -
                  
				COOPER
			(continuing on)
		You know, I'm from Philadelphia and a thing like
		this, a gazebo, in a town square that is so
		meticulously maintained
			(head snaps around, noticing another
			detail)
		- look how these hedges are clipped 

They head towards a side entrance in city hall. We MOVE to PICK UP a group of
REPORTERS, milling around between a few television news crew trucks in front of
city hall and STAY WITH one REPORTER, taping a stand-up news report in front of
the hall's imposing mahogany doors.
                   
				REPORTER
		- I'm speaking to you tonight from in front of
		the Town Hall of Twin Peaks, where, just behind
		me, the City Council and Chamber of Commerce
		have called an emergency session to discuss the
		tragic events that have rocked this remote,
		peaceful community. How will the community
		react? We'll be here to bring that news to you as
		soon as it's available to us.
							CUT TO:
INT. TOWN HALL AUDITORIUM - DAY
                   
On a raised dais, Dale Cooper watches the City Council and Chamber of
Commerce MEMBERS moving down the aisles, milling about, taking their seats.
Prominent among them is Benjamin Horne. Seated near him are Katherine and
Pete Martell. Cooper's eye catches Giovanna Packard as she enters. He almost
does a double take. He leans over to Sheriff Steadman and asks discreetly ...
                   
				COOPER
		Who's the babe?
                   
				STEADMAN
		That's Mrs. Packard
                   
				COOPER
		Packard Sawmill?
			(Steadman nods)
		Where's Mr. Packard?
                   
				STEADMAN
		Died in a boating accident last year. Andrew
		Packed practically built this town. Brought her
		back from Italy four years ago. Left her
		everything. Which didn't exactly please Packard's
		sister 
			(points to Katherine)
		... that's her over there. The original deep
		freeze.
     
				COOPER
			(meaning Giovanna)
		So rich and available. Bet there's a line outside
		her door.
     
Benjamin Horne crosses to Giovanna, with a greeting of unctious sympathy.
     
				STEADMAN
		My advice is, take a number.
     
				COOPER
		I'm not big on crowds.
			(seeing Horne)
		Who's the glad-handing dandy?
     
				STEADMAN
		Benjamin Horne. Local big-wig. Owns half the
		town. He's not after her, he's after her land.
     
At the podium, with some considerable effort, DWAYNE MILFORD, the frail,
eighty-six year old Mayor of Twin Peaks, nearing the end of his 23rd consecutive
term, gavels the meeting to order and speaks into the microphone.
     
				MILFORD
			(shaking, nearly deaf)
		Ladies and gentlemen, if I could have your
		attention ...
			(smacks the microphone)
		 ... is this thing on?! Is this thing on?!
     
Steadman steps in beside Milford, pats him encouragingly on the back and adjusts
the microphone so Milford can speak into it more directly.
     
				MILFORD (CONTINUED)
		We have all today shared in the grief ... the grief
		that flies to death. The tragic death of young Miss
		Palmer, so beautiful, so innocent. And this grief
		is attended by Fear. Tonight it preoccupies us.
		And to help us assuage our Fears, I give you
		Sheriff Steadman.

He yields to Steadman, who first helps Milford to his seat.
     
				STEADMAN
		Folks, I'll get right to the point. Laura Palmer
		was brutally murdered. It looks like Sharon
		Pulaski barely escaped the same fate. When
		Sharon turned up across the state line, this
		became a matter for the FBI. And after hearing
		what Agent Dale Cooper had to tell me, I, for
		one, am grateful for his and the Bureau's help. I
		think you'll feel the same way. Agent Cooper?
     
He yields the microphone to Dale Cooper.
     
				COOPER
		Ladies and Gentlemen, Federal Bureau of
		Investigation, Special Agent Dale Cooper.
		Kidnapping. Rape. Murder. These are words
		you're fortunate enough not to hear very often in
		your town. I wish I could tell you that you won't
		hear them again. But these are the facts; one
		year ago, almost to the day, in a town in the
		southwest comer of this state, the body of a girl
		named Teresa Banks was found. She had no
		family, no one came forward to claim her body.
		It was hardly even news. Until today.
			(a stir runs through the room)
		There are irrefutable similarities that for obvious
		reasons I will not specify, that lead us to conclude
		that Laura Palmer is the second, and Sharon
		Pulaski would have been the third victim, of the
		same killer.
			(the room is abuzz)
		There is a chance that the person who
		committed these crimes is someone from this
		town, possibly even someone you know. You
		are the leaders of this community. It's vitally
		important that this not turn into a witch hunt. I
		would like to propose that you enact some
		specific measures to protect the innocent and
		bring the guilty to justice ...
     
He consults his notes.
     
				COOPER (CONTINUED)
		I would propose a public service announcement
		over local media asking for any information
		regarding these crimes, with a hotline number,
		manned by volunteers or commnunity-funded
		operators, to field and sort through these calls ...
		an investigation like this can turn on the most
		seemingly insignificant piece of information. I
		would also strongly suggest that you impose a
		temporary curfew for those under eighteen years
		of age. Keeping your kids off the streets now
		will teach them a degree of caution that may
		protect them in the days and weeks to come. I
		will remind you that these crimes occurred at
		night.
							CUT TO:
EXT. SPARKWOOD MOUNTAIN - NIGHT
     
The sound of wind through the pines. An owl hoots.
							FADE TO BLACK:
     
				END ACT FOUR






				ACT FIVE

FADE IN:
    
EXT. TOWN SQUARE - NIGHT
    
The gazebo in the empty square. Silence.
							CUT TO:
EXT. INTERSECTION - NIGHT
    
Where Sparkwood Road meets Highway "21", a traffic light cycles from green to
yellow to red. A cold wind sets the light swinging. 
							CUT TO:
    
EXT. DOUBLE "R" DlNER - NIGHT
    
A few cars in the lot. The dinner crowd at the counter, seeming to huddle
together against the darkness.

							CUT TO
EXT. HIGHWAY "21" - NIGHT
    
A group of motorcycle riders, the group we saw under credits, glide by the
Roadhouse in formation.
							CUT TO:
EXT. THE HAYWARD HOUSE - NIGHT
    
Warm lights in the windows against the cold night.
							CUT TO:
INT. HAYWARD HOUSE STAIRWELL - NIGHT
    
Donna Hayward stands silently on the stairwell, evesdropping on a conversation in
the living room below, between her father Dr. Hayward and her mother, EILEEN
HAYWARD, a beautiful, pale women, early forties, confined to a wheel chair, a
blanket covering her paralyzed Iegs.
    
				HAYWARD
			(quietly, confidentially)
		- Leland held up all through the day, I don't
		know that I could have done the same -

				EILEEN
		The poor dear ... poor Sarah ...

				HAYWARD
		Eileen, the brutality ... the madness of it ...

				EILEEN
		I know...
			(reaches for his hand)

				HAYWARD
		They're not releasing many details. Wisely, I
		think. At the scene, where it happened ... no
		one else knows this ... they found part of a
		necklace, Laura's necklace. Half of a golden
		heart. She was wearing it in a video they found
		... I'm telling you this for a reason; Donna was in
		that video with her ... they don't know who shot
		the video or who else was with them ... but they
		think the killer may have the other half of that
		heart ...
     
Alarmed, Donna starts to slowly creep back up the stairs, undetected.
     
							CUT TO:
     
INT. HAYWARD HOUSE UPSTAIRS CORRIDOR - NIGHT
     
Donna creeps down the carpeted corridor and into her bedroom.
     
							CUT TO:
INT. DONNA'S BEDROOM NIGHT
     
As Donna enters, HARRIET, Donna's thirteen year old whiz-kid sister, lies on the
bed, chewing on a pencil, writing a poem. A radio is on softly in background
     
				HARRIET
		Which do you like better, "the blossom of the
		evening" or the "full flower of the evening"?
     
				DONNA
			(closes the door, hushed)
		Now listen to me, squirt, this is serious.
     
				HARRIET
		Well, this is serious too.
     
				DONNA
		Shhhhh ... I'm going out the window in a few
		minutes and you're going to cover for me -
     
				HARRIET
		Aren't you aware that there's a curfew? They just
		announced it on the radio -
     
				DONNA
		I know there's a curfew, Einstein, that's why I
		need you to cover for me.

				HARRIET
		I suppose this'll include a phone conversation
		with Mike, Mr. Bonehead Boyfriend.
     
				DONNA
		This is about Laura. And it's really serious.
     
				HARRIET
		Check.
     
They squeeze each other's hands with strong and pure sisterly affection. Donna
puts on her jacket, slides open the window.
     
				DONNA
		I'm gonna need to borrow your bike.
     
				HARRIET
		Oh, well then put a little air in the back tire.
     
				DONNA
		Don't forget to brush your teeth.
     
Donna steps out into the branches of a large oak tree.
							CUT TO:
EXT. HAYWARD HOUSE - NIGHT
     
Donna drops silently to the ground from the oak tree and creeps around the
house, out of sight of the windows. She ducks alongside a hedge edging the yard
and into an alley behind the house.
     
Donna takes Harriet's bike, leaning against the side of the garage, climbs on the
bike and pedals down the deserted alley.
							CUT TO:
EXT. NEIGHBORHOOD STREET - NIGHT
     
Donna rides silently through the quiet streets and turns onto the Highway 21
service road.
							CUT TO:
INT. CONVENIENCE STORE - NIGHT
     
Mike Nelson and Bobby Briggs are loitering by the magazine rack, slightly beered-
up. They're waiting for a CUSTOMER at the register to exit. He finally does. The
CASHIER says to Mike and Bobby ...
     
				CASHIER
		Okay, bring it here. Make it fast.
     
Mike quickly lugs a case of beer to the counter. Bobby throws down some bills.
The Cashier rings up the sale.
                
				BOBBY
			(a strange smile)
		Fuel for the party animal.
                
				CASHIER
		You guys better stay off the streets with that;
		there's a curfew tonight.
                
Bobby picks up the case and they quickly exit.
							CUT TO:
EXT. CONVENIENCE STORE - NIGHT
                
They climb into Bobby's convertible. Both crack open a cool one and chug it as
Bobby revs up the engine.
                
				BOBBY
		That biker? That "J" must be for James ... James
		Hurley.
                
				MIKE
		What're we gonna do about it?
                
				BOBBY
		They weren't at "Hemingway's", bastards are
		hidin' out!
                
				MIKE
		There's always some of those eggheads hangin'
		out at the Roadhouse.
                
				BOBBY
		We're gonna go down there ...
                
				MIKE
		No, first we're gonna get Donna and get some
		answers.
                
				BOBBY
		Let's boogie.
                
They speed off.
							CUT TO:
EXT. POOL HALL - NIGHT
                
Donna rides up and leans her bike against the side of a crude, one-story
cinderblock building with a sign that reads: "21" BILLLARDS: RACK 'EM UP." Donna
enters.
							CUT TO:

INT. POOL HALL - NIGHT
    
Five tables under low lights, two being used. Rough PATRONS sit at small formica
tables, drinking beer and watching the players. All eyes hook onto Donna, the
only woman in the joint.
							CUT TO:
INT. BOBBY'S CONVERTIBLE - NIGHT
    
Bobby and Mike cruise down the street. They both finish their beers and toss the
cans into the road. They pull up and park in front of Donna's house. Mike hops
over the door and starts towards the door.
    
				BOBBY
		Don't take any more crap from that pretty bitch.
    
							CUT TO:
EXT. HAYWARD HOUSE FRONT DOOR - NIGHT
    
Mike reaches the door and rings the doorbell.
							CUT TO:
INT. DONNA'S BEDROOM - NIGHT
    
Harriet hears the doorbell, goes to the window, looks out and sees Mike standing
at the door and Bobby in the car at the curb. She droops down on the bed.
    
				HARRIET
			(to herself)
		The best laid plans of mice and men.
							CUT TO:
EXT. HAYWARD HOUSE FRONT DOOR - NIGHT
    
Dr. Hayward opens the door.

				MIKE
		Hi, Dr. Hayward, l'd like to talk to Donna?
    
				HAYWARD
			(smells the beer)
She's upstairs getting ready for bed, Mike. Hope you're not drinking and driving.
    
				MIKE
		We're all pretty broken up about what happened
		today. Besides, Bobby's driving.

				HAYWARD
			(pause, firmly)
		I'll see if she wants to come down. Mike, if you
		wouldn't mind waiting out here.

Dr. Hayward closes the door. Mike turns, makes a "what can you do" gesture to
Bobby.
     
				BOBBY
			(yells back to him)
		Get it in gear, Snake!
							CUT TO:
     
INT. HAYWARD HOUSE UPSTAIRS CORRIDOR - DAY
Dr. Hayward knocks on the door and enters Donna's bedroom
							CUT TO:
INT. DONNA'S BEDROOM - DAY
     
A contrite Harriet sits on the bed, waiting, as her father enters.
     
				HAYWARD
		Where's your sister?
     
				HARRIET
		I'm gonna tell it to you and I'm gonna tell it to
		you straight.
     
				HAYWARD
		All right.
     
				HARRIET
		See that window?
							CUT TO:
INT. SHERIFFS OFFICE - NIGHT
     
On her headset, Lucy the dispatcher answers an incoming call.
     
				LUCY
		Sheriff's Office ... Sheriff's out right now, Dr.
		Hayward, but I can patch you through to him ...
     
She patches the phone line into a radio dispatch line.
							CUT TO:
EXT. ROADHOUSE PARKING LOT - NIGHT
     
The Sheriff's cruiser is parked among the crush of cars in the roadhouse parking
lot.
							CUT TO:
INT. SHERIFF'S CRUISER - NIGHT
     
Steadman and Cooper are in the front seat. Cooper is whittling a small stick with a
pocket knife. Through the windshield, they have a prime view of "Hemingway's",
behind the Roadhouse building. About twenty motorcycles, mostly Harleys, are
parked outside.
    
We hear the cruiser's two-way radio kick on.
    
				LUCY'S VOICE
		Sheriff, I got a call for you from Dr. Hayward ...
    
				STEADMAN
			(picking up the mic and responding)
		Put him through ...
							INTERCUT:
    
INT. HAYWARD HOUSE SECOND FLOOR CORRIDOR - NIGHT
    
Dr. Hayward on the phone. Harriet peeks out at him from the bedroom door.
    
				HAYWARD
		Dan, my daughter Donna's snuck out of the
		house, I don't know where she went, I'm very
		worried about her.
    
Cooper nods, not surprised.
    
				STEADMAN
		You rest easy. I'll put out an all points for her,
		we'll keep our eyes peeled

				HAYWARD
		Thanks, Dan. Keep me posted

				STEADMAN
		You bet.
    
Hayward hangs up. STAY with Steadman and Cooper.
    
				COOPER
		Of course she went out.
    
				STEADMAN
		Meaning what?
    
				COOPER
		How else is she gonna lead us to that biker?

				STEADMAN
			(trying not to appear confused)
		Right.
     
				COOPER
			(pause; continues to whittle)
		You know why I'm whittling?
     
				STEADMAN
			(playing along)
		Why are you whittling?
     
				COOPER
		Because that's the kind of thing you do in a town
		where a yellow light still means slow down, not
		speed up.
			(he smiles)
		Couple a' months of this and I'll have that clarinet
		I always wanted.
     
He whistles "Rhapsody in Blue" again. Steadman looks at him.
     
							CUT TO:
EXT. HAYWARD HOUSE - NIGHT

Dr. Hayward opens the front door. Mike hastily puts out his cigarette. We hear
the whine of Mrs. Hayward's electric wheelchair approaching the front door.
     
				HAYWARD
		Mike, Donna's not here. I've notified the sheriff..
     
				MIKE
		What do you mean, she snuck out?
     
				HAYWARD
		Maybe you have some idea of where she might
		have gone, maybe you could help us find her.
     
				MIKE
		We'll find her. Don't you worry.
     
He runs back to Bobby's car, jumps in.
     
				MIKE
		Roadhouse.
     
Bobby floors it.
							CUT TO:

INT. POOL HALL - NIGHT
     
Donna looks at her watch, looks around uneasily. The pool players and patrons
are grouped around the room, watching her, whispering to each other about her.
SHORTY, the Neanderhal-looking pool hall owner, comes out from the backroom
through a beaded curtain and approaches Donna.
     
				SHORTY
		Sweetheart ...
     
She takes a step back from him.
     
				SHORTY
		... hey, settle down, is your name Donna?
     
				DONNA
		Yeah.
     
				SHORTY
		Police were by here earlier. Joey said he'll meet
		you at the roadhouse.
     
				DONNA
		Thanks.
     
				SHORTY
			(as she heads for the door)
		Don't mention it. Come back any time. Set you
		up with a free rack.
							CUT TO:
EXT. POOL HALL - NIGHT
     
Donna gets on her bike and heads off down the road to the Roadhouse, which we
can see in the distance.
							CUT TO:
EXT. ROADHOUSE PARKING LOT - NIGHT
     
Mike and Bobby drive up and park. They get out of the car.
     
INT. STEADMAN'S CRUISER - NIGHT
     
Steadman and Cooper watch Mike and Bobby head into the Roadhouse.
     
				COOPER
			(matter of fact, still whittling)
		There's liable to be a little trouble this evening.
     
Steadman looks at him. Takes a sip of coffee. And a bite of doughnut.
     
							CUT TO:
INT. ROADHOUSE - NIGHT

A warm but slightly seedy honky-tonk. A GIRL SlNGER in black leather is up on
the small stage, fronting a four-piece, avant-garde rock COMBO. She's singing a
song called, "The Nightingale."
    
At a quiet booth near the back, Ed Hurley and Norma Jennings are holding hands
across the table.
    
				NORMA
		Drapes?
    
				ED
		Drapes. Lots of 'em.
    
				NORMA
		Ed, please, you know how I feel about you; don't
		do it for me, do it for yourself, pull the pin, it's
		Tammy Wynette time, darlin'.
    
				ED
		Yeah? What about you and Hank?
    
				NORMA
			(obviously frightened at the thought)
		I told you, I'm gonna give Hank his walkin'
		papers.
    
				ED
		Before or after he gets his parole?
    
				NORMA
		Ed, I love you, I'm gonna do what's right ... for
		both of us.
    
				ED
			(making light of it)
		Your sweetheart's husband's in the joint for
		manslaughter, the word "parole" has a nasty ring
		to it.
    
She manages a smile. Looking up, Ed sees Mike and Bobby enter the Roadhouse,
look around and head for the bar.
							CUT TO:
FIVE BIKERS
    
Some of the clean-cut group we saw during opening credits, seated at a table down
front, watching the singer. One of them, JOEY, spots Mike and Bobby at the bar.
    
				JOEY
			(looks at his watch, to the others)
		Mutt and Jeff just crawled in.
    
Mike and Bobby see Joey and the bikers. Bobby points a menacing finger at Joey.
    
							CUT TO:
EXT. THE ROADHOUSE - NIGHT
    
Donna parks her bike beside the Roadhouse and heads for the door.
    
							CUT TO:
INT. STEADMAN'S CRUISER - NIGHT
    
Steadman and Cooper watch Donna enter the Roadhouse.
    
				COOPER
			(still whittling)
		Looks like sooner than later.
    
He finishes whittling, looks at the stick, puts it in his mouth and blows; he's made
a whistle.
    
				COOPER (CONTINUED)
		Why don't you whistle for a little back-up?
    
Steadman picks up his radio microphone.
    
				STEADMAN
			(the slightest bit testy)
		I can see which way the wind's blowing.
			(into the mic)
		Lucy, this is Dan, can we get a back-up unit down
		here at the Roadhouse? Make that two back-up
		units. And call Will Hayward, tell him we found
		his daughter and she's fine.
    
He looks over at Cooper. Cooper makes a "thumbs-up."
							CUT TO.
INT. ROADHOUSE - NIGHT
    
Donna enters the Roadhouse and looks around. She stops short when she sees
Mike and Bobby at the bar. Mike sees Donna.
    
				DONNA
			(to herself)
		Damn ...

				MIKE
			(yells)
		Hey! Everybody's looking for you! What are you
		sneakin' around for?!
      
Reaction throughout the bar. Mike and Bobby rise and start towards her. Ed
looks up from the back booth, sees them. Donna sees Joey and the other bikers
at the front of the room. Mike and Bobby see her looking at Joey and put two
and two together. Mike grabs Donna.
      
				MIKE (CONTINUED)
		It's the same thing! You and Laura are exactly the
		same!
      
				DONNA
		Take your hands off me!
      
Mike pushes Donna hard against the wall. Joey and the other bikers rise. The
Singer stops singing, the band starts to tail off. Ed rises from his booth.
      
				NORMA
		Watch your back, Eddie.
      
				ED
			(to Mike, crossing the room)
		That's enough!
      
As Ed moves towards Mike, Bobby dips a hand into his letterjacket pocket and
slips on a set of brass knuckles. The bikers start towards Mike and Bobby.
      
				DONNA
		You head him, stay away from me!
      
				MIKE
		I didn't hear Dick!
      
Ed moves past Bobby and grabs Mike's arm. Bobby hits down on the back of
Ed's head with the knuckles and Ed goes down with a groan.
      
				BOBBY
		Lights out, Mr. Goodwrench.
      
The band members are already packing their instruments. Patrons are backing
away.
							CUT TO:
THE BIKERS

Close the last few yards with a rush and the fight is on. Mike lets go of Donna.
She backs into the shadows. The fighting is hard and vicious. Mike and Bobby
have a size and weight advantage, and are given to dirty fighting, but it's countered
by the bikers superior numbers and technique. Approaching SIRENS are heard in
the distance.
							CUT TO:
     
INT. STEADMAN'S CRUISER - NIGHT
     
As they watch patrons pile out the front exit and the sounds of the fight reach
them, Steadman goes to open his door. Cooper stops him.
     
				COOPER
		Not just yet
     
Steadman Stops.
							CUT TO:
     
INT. ROADHOUSE - NIGHT

Joey hears the sirens, sees Donna slipping away, says to his compatriots ...

				JOEY
		You guys got it covered?

				ANOTHER BIKER
		No sweat.
     
The biker knocks Mike back with an uppercut. The SIRENS are very close now.
Joey moves over to Donna, grabs her by the hand.
     
				DONNA
 		Joey -
     
				 JOEY
		Come with me.
			(lowering his voice)
		I'll take you to James.
     
He leads her towards a rear exit. The fight continues behind them.
     
							CUT TO:
EXT. ROADHOUSE - NIGHT
     
As Joey and Donna exit the rear of the roadhouse, two State Trooper patrol cars
are roaring into the parking lot. They slam to a halt near the front entrance and
four TROOPERS pour out of the cars towards the Roadhouse.
							CUT TO:

INT. STEADMAN'S CRUISER - NIGHT
     
Steadman and Cooper watch Donna and Joey hop onto the back of his motorcycle
and he stomps the engine to life. Steadman and Cooper look at each other.
     
				STEADMAN
		Joey Paulson. That's a "J."
     
				COOPER
		He's taking her to somebody else.
     
Steadman looks at him again.
     
				STEADMAN
		I suppose you want me to follow them at a
		discreet distance.
     
				COOPER
		Dan, you're all right.
     
Steadman starts the car.
							CUT TO:
EXT. ROADHOUSE PARKING LOT - NIGHT
     
Joey and Donna ride out a rear driveway exit. Steadman and Cooper follow at a
discreet distance.
							CUT TO:
INT. JOEY'S MOTORCYCLE - NIGHT
     
Donna grabs Joey's back. Joey looks in his rearview mirror.
							INTERCUT:
JOEY'S POV - THE MIRROR
     
Joey sees Steadman's cruiser behind them.
     
				JOEY
			(to Donna)
		Hold on!
     
Joey guns it up Sparkwood Mountain Road
							CUT TO:
STEADMAN AND COOPER'S POV
     
Through the windshield, as the motorcycle pulls away.
     
				STEADMAN
			(deadpan)
		Gee, you think they spotted us?
     
				COOPER
		Gimme a doughnut.
							CUT TO:

EXT. JOEY'S MOTORCYCLE - NIGHT
     
Joey reaches the top of the hill, glances behind him, smiles, then turns right off
the road and into the woods. Within moments they completely disappear. Pause.
Steadman's cruiser reaches the top of the hill and continues straight past the
turnoff.
							CUT TO BLACK:
				END ACT FIVE





				ACT SIX

FADE IN:

EXT. WOODS ROAD - NIGHT

   
Steadman's cruiser is stopped by the side of this remote road.
							CUT TO:
INT. CRUISER - NIGHT
   
Steadman and Cooper have the windows open, listening. Cooper takes a deep
breath.
   
				COOPER
		Man ... smell those trees. Smell those Ponderosa
		Pines.

We hear a far-off sound of a motor; it could be a motorcycle.
   
				STEADMAN
		I think I hear it.
   
The sound fades.

				COOPER
			(pointing in the direction of the sound)
		What's down there?
   
				STEADMAN
		Logging road. The only access is from the
		Packard Mill.
   
He starts the engine and executes a fast turn.
   
				STEADMAN (CONTlNUED)
			(angry at himself)
		And I told Hayward his daughter was okay.
   
				COOPER
		My fault, Dan, not yours.
   
The cruiser flies down the road past a sign that reads: "PACKARD MILL EXIT, 5
MILES."
							CUT TO:
EXT. WOODS - NIGHT

A quiet clearing in the woods. SOUND of an approaching motorcycle. Joey and
Donna drive out of the woods into the clearing. Joey stops the cycle. Donna gets
off . Joey turns off the engine. Night sounds and silence. They wait. We hear
sirens, way off in the distance.
               
Donna hears the sound of a motorcycle. It comes closer. James Hurley rides into
the clearing on his cycle. He nods to Joey.
                  
				JAMES
		Thanks, Joey.
                  
				JOEY
		No problem, James.
                  
Joey fires up his cycle, nods to Donna and rides off, James kills the engine and
gets off his cycle. The sound of Joey's bike fades away.
                  
James and Donna look at each other. They embrace.
                  
				DONNA
		She loved you so much. You must be dying
		inside.
                  
They separate.
                  
				JAMES
		And you ...
			(a different thought)
		I still can't believe it. I don't know if I'll ever
		believe it. I'll never see her again ,
			(fights back tears)
                  
				DONNA
		They're looking for you, I didn't tell them
		anything, but I have to tell you -
                  
				JAMES
		I'm gonna talk to them. But I think they're going
		to lock me up -
                  
				DONNA
		Why?
                  
				JAMES
		I don't have any alibi for last night -
			(anguished)
		I was with her, I saw her last night. She snuck
		out, We went riding. Out here. I have to
		explain this to you.
                  
Donna's silent, waiting.

				JAMES (CONTINUED)
		We had a fight. She told me some things.
		About her, about herself. She said, "There are
		things about me. Even Donna doesn't know
		me."
     
				DONNA
		What do you mean?
     
				JAMES
		I'm telling you, there were things she was
		involved with, things she let herself get pulled
		into, things she thought you'd hate her for.
     
				DONNA
		Tell me what you're talking about.
     
				JAMES
		She told me these things, then she said she
		wanted me to be a part of it, she wanted to be
		with me but she couldn't help herself ...

				DONNA
		James ...
     
				JAMES
		She wanted me to get high with her last night.
		She was different, she was on something. It was
		kind of like a nightmare ... Donna, she was a
		different person. 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 -
     
				DONNA
			(leveling with him)
		I knew her. I knew her better than she thought.

				JAMES
		Did she ever tell you any of this?

				DONNA
		She didn't have to. Sometimes it was just a look
		on her face. There were things that Mike and
		Bobby said -
     
				JAMES
		Mike and Bobby. Those bastards! They were
		involved with this, I don't know how exactly -
		but she said you weren't in on any of it.
                   
				DONNA
		I was her friend. I wanted to help her but
		whenever we got too close to it she always
		seemed too ashamed -
                   
				JAMES
		I got really mad at her last night, she was
		screaming stuff at me, crazy stuff, people she was
		seeing, people she met through Mike end
		Bobby, people she started seeing again, and
		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
		I didn't know whether to believe any of it, half
		the time she wasn't making any sense, but then
		when they found her this morning ...
                   
				DONNA
		James, what happened last night?
                   
				JAMES
		She was hysterical, I couldn't calm her down, it
		was after midnight, we started driving down the
		Hill, I could hardly keep her on the bike, I was
		trying to hold onto her, it was like she wanted to
		jump off right onto the highway - we stopped at
		the light at Sparkwood and "21" and she did
		something so strange, she grabbed me around
		the neck and she screamed she loved me - I
		looked in her eyes, they were clear, it was like
		she was Laura again. She was so sad. She
		sounded so desperate, I'll never forget it ... then
		she ran off ... that was the last time I saw her ...
		the way she said it, that she loved me ... I let her
		go and she died ...
    
He can't fight back the tears. She starts to cry. They blindly move into each
others arms.
    
				DONNA
		It's not your fault ... it's not your fault ... 
    
Her face moves up close to his. Their tears intermingle.
    
				DONNA (CONTINUED)
		It's okay ... it's okay...
    
She strokes the back of his head. He squeezes her. The comforting moves more
towards need.
    
				DONNA (CONTINUED)
		James ... James, it's okay ...
    
His lips find hers. They kiss with urgent, building passion, yielding to it and to
each other. Then something stops them both simultaneously. They pull slightly
away and look at each other.

				DONNA (CONTINUED)
		Oh my God ...
    
				JAMES
		I'm sorry.
    
				DONNA
		Oh my God ...
    
She touches his cheek lightly. He looks at her.
    
				JAMES
		I changed my mind. I'm not sorry.
    
She Gently lays her head on his shoulder. Approaching SIRENS are heard again in
the distance.
    
				JAMES (CONTINUED)
			(reacting to the sirens)
		I've got to go to the police. I'm gonna tell 'em
		what I told you. I don't have an alibi. After she
		left I just rode around most of the night. When
		Bobby finds out about me and Laura -
       
				DONNA
		I think they already know.
   
				JAMES
		I want you to watch out for those two.

				DONNA
			(remembering)
		James, that necklace you gave Laura, the other
		half of the gold heart, you've got to give it to me.
   
				JAMES
		Why?
   
				DONNA
		They found the other half, where she was killed.
		They think the killer has 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
		I'll hide it somewhere.
   
				JAMES
		All right.
			(looks at her directly)
		Let's bury it, right here.
   
She senses that this act is about what just happened between them. With the heel
of his boot, Jones digs out a shallow trench. He opens his hand, they both look
at the necklace. He lets the necklace slide out of his hand into the hole. She
kneels down and covers the necklace with dirt. James reaches back, comes up
with a white rock and uses it to mark the burial spot.
   
The sirens come closer.

				JAMES (CONTINUED)
		We should go. I'll take you home -

                  
				DONNA
		We shouldn't be seen together. I snuck out to
		see you, there's a curfew -
                  
				JAMES
		Climb on.
                  
They move to his cycle. He climbs on and starts it. She gets on the back. He
turns back to her, she slides her arms around him. They take off. Up through the
woods, towards the highway.
							CUT TO:
EXT. DIRT PATH - NIGHT
                  
Donna and James ride through the woods. They come to a sharp crest, onto the
surface of the highway and speed off past the sign that reads: "PACKARD MILL
EXIT 5 MILES."
							CUT TO:
INT. STEADMAN'S CRUISER - NIGHT
                  
Steadman and Cooper sit parked off the exit, watching the highway and the Mill
Road. Cooper's leaning out of the window, looking up at the night sky.
                  
				COOPER
			(overawed)
		There's the Little Dipper ... Orion's belt ... I
		never saw so many stars ... 
                  
They hear James' approaching motorcycle. Moments later it flies by their line of
sight.
                  
				COOPER (CONTINUED)
		What goes around, comes around.
                  
Steadman steers the cruiser out after them, hits the siren and lights.
							CUT TO:
EXT. JAMES' MOTORCYCLE - NIGHT
                  
James looks back at the Sheriff's cruiser and decides not to run. He slows and
pulls off the side of the road. Moments later, Steadman's cruiser pulls up behind
them.

							INTERCUT:
INT. STEADMAN'S CRUISER - NIGHT
                  
Steadman sees who's on the bike.
                  
				STEADMAN
		That's not Joey that's James Hurley.
                  
				COOPER
		He'll do.
                  
Steadman draws his gun, picks up the microphone and flips on his external
speaker.
                  
				STEADMAN
			(amplified)
		James, stand away from the bike, stand away
		from the girl and put your hands on top of your
		head.
                  
James follows the instructions.
                  
				DONNA
			(moving towards Steadman)
		He didn't do anything!
                  
				COOPER
		She's probably right.
                  
Exasperated, Steadman looks at him.
							CUT TO:
EXT. SHERIFF'S STATION - NIGHT
                  
A couple of TV NEWS CREWS and some REPORTERS are set up outside the
station, as Steadman drives up in the cruiser. The Crews move in and tape
Steadman and Cooper as they escort Donna and James into the station. James is
wearing handcuffs.

				NEWSMEN
			(variously)
		Sheriff, is he a suspect? What's his name? Is he
		being charged? What about the girl, are they
		both suspects? Sheriff, what can you tell us?
                  
				STEADMAN
		Nothing for you folks at this time ... no
		comment.
							CUT TO:
INT. SHERlFF'S STATION - NIGHT
                  
Seated near the front desk, Dr. Hayward rises as Steadman and Cooper enter with
Donna and James. Andy Brennan comes towards them as well.
                  
				STEADMAN
		Will, I'm gonna release her to you but I want her
		back up here for questioning first thing in the
		morning ... Andy, give him a phone call and take
		James into holding -
     
				JAMES
		My mom's out of town.
     
				STEADMAN
		We're gonna have to hold you overnight.
				ANDY
		Dan, we've got those guys from the Roadhouse
		back there -
     
				COOPER
		Separate cell.
     
Before Andy leads James off, Donna touches James' arm. Hayward, Steadman and
Cooper notice the tenderness in her gesture. James eyes move from Donna, to
Hayward and back to Donna.
     
				JAMES
		It's gonna be all right.
     
Andy and James move off.
     
				HAYWARD
		Thank you, Dan.
     
Hayward and Donna move towards a side door. Hayward puts an arm around his
daughter and they exit.
							CUT TO:
EXT. SHERIFF'S STATION SIDE EXIT - NIGHT
     
On a side of the building away from the reporters, Hayward opens the car door
for Donna and she gets in.
							CUT TO:
INT. HAYWARD'S CAR - NIGHT
     
Hayward gets in beside Donna and closes the door.
     
				DONNA
		I'm sorry, Dad.
     
				HAYWARD
		Donna, I'm sure you understand what you've put
		your and Mother and I through tonight. I also
		know you well enough to know you wouldn't
		have done it unless you had a very good reason
			(she nods)
		But we do have another problem facing us,
		young lady ...
			(mock stern)
		Where ... is Harriet's bicycle?
    
				DONNA
			(breathes a sigh of relief, has to think)
		I left it at the Roadhouse.
    
				HAYWARD
		Well, we'll go pick it up.
			(starts the car)
		And I understand you promised Harriet you'd put
		some air in the back tire.
    
				DONNA
		Yes I did.
    
Hayward smiles, touches her head, lovingly, looks at her.
    
				HAYWARD
		We're so thankful to have a daughter like you.
    
Her eyes glisten, she smiles, nods, looks away. Hayward drives off.
    
							CUT TO:
INT. SHERIFF'S STATION HOLDING CELL AREA - NIGHT
    
Andy finishes putting James' belt and the contents of his pockets in a large
envelope, then leads James through a doorway into the holding cell area corridor.
    
On their way to the cell, they pass Mike and Bobby in a separate cell. Mike and
Bobby rise when they see James. Bobby fixates on James, points a finger at him
as he passes.
    
				BOBBY
		You.

James stops and looks at him, as Andy opens the door of a nearby cell.

				BOBBY (CONTINUED)
		When you least expect it.

				ANDY
		That could constitute a threat, Briggs.

				BOBBY
			(cold as ice)
		Oh, gee, I'm sorry.
    
James just looks at him.                            ..
    
				ANDY
		Let's go, James.
    
James enters the cell. Andy closes and locks the door.
    
				ANDY (CONTINUED)
		Stick your hands out.
    
James sticks out his hands, Andy unlocks and removes the handcuffs.
    
							CUT TO:
INT. SHERIFF'S STATION FRONT DESK - NIGHT
    
A weary Steadman and Cooper meet near the water cooler.
    
				STEADMAN
			(hands him a Dixie cup)
		Buy you a drink?

				COOPER
		Dan, I forgot to ask you; can you recommend to
		me a good, inexpensive hotel or motel? Now it
		doesn't have to be fancy and I mean that.
    
				STEADMAN
		I can get you a good rate up at the Great
		Northern.
    
				COOPER
		Because my guess is I'm going to be here for a
		while and you know a lot of these motel chains
		that advertise on TV promise a reasonable rate
		but then you get there and it's a different story.
		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.
    
				STEADMAN
			(slight pause)
		I can get you a good rate up at the Great
		Northern.

				COOPER
		Sold.
                   
Cooper offers his hand. Steadman shakes it.
                   
				COOPER
			(looks at his watch)
		Tomorrow comes early.
                   
				STEADMAN
		I'll have Lucy make the arrangements for you with
		the Hotel.
                   
				COOPER
		I'll get my gear together.
			(Cooper starts off, switches on his tape
		recorder, speaks into the mic)
		Diane, it's 12:28 a.m., looks like I'll be staying
		locally at a place called the Great Northern Hotel
		- Sheriffs getting me a rate ... 
                   
He's gone. Steadman crosses back towards his office, where Lucy calls him from
the switchboard.
                   
				LUCY
		Sheriff, just got a call from Mrs. Packard up at the
		Lodge, a possible prowler?
                   
				STEADMAN
		Probably raccoons in the garbage again. I'll take
		it, Lucy, tell 'em I'm on my way.
                   
Steadman heats out.
							CUT TO:
EXT. STEADMAN'S CRUISER - NIGHT

Driving through the deserted downtown streets.
							CUT TO:
INT. STEADMAN'S CRUISER - NIGHT
                   
Steadman driving
							CUT TO:
EXT. PACKARD LODGE - NIGHT
                   
Steadman's cruiser turns off the steep road and into the driveway of Blue Pine
Lodge, the large, log-cabin Packard homestead. He parks near the rear of the
house, exits the car and moves towards the house.
              
As Steadman nears the kitchen door, Giovanna opens it.
              
				GIOVANNA
		Hello Sheriff.
              
				STEADMAN
		Hey, Jo ... understand there's a prowler up here.
              
				GIOVANNA
			(as he enters)
		Yes there is. Right over here.
              
She pulls him the rest of the way in, turns off the lights and in the dark, they kiss
passionately.
              
				GIOVANNA (CONTINUED)
		I've been wanting to do that all day. I felt so sad.
		So alone.
              
				STEADMAN
			(strokes her hair)
		Well, the sheriff's here now.
              
They kiss again. He holds her. They are standing in front of a large picture
window, with a panoramic view looking down over the Saw Mill on Black Lake.
              
				GIOVANNA
		I used to think it was so peaceful here.
		Everything's changed. Do you feel it?
			(looks out the window)
		Can anything ever be the same again?

We see a closer angle of the log jam where Laura's body was found
              
				STEADMAN
		It must've happened about this time. Twenty-
		four hours ago ...
              
				GIOVANNA
		I'm afraid.
							CUT TO:
INT. KATHERINE PACKARD'S BEDROOM - NIGHT
              
Darkness. Pete Martell is asleep in bed, snoring slightly. Katherine, in a bathrobe,
stands looking out the window, her face gnarled in anger, looking at the Sheriff's
cruiser parked outside. She has the phone receiver in her hand, punching in a 
number. She waits. The phone is answered
  
				KATHERINE
			(whispers)
		He's here again ...
			(she listens)
		AIright.
  
She hangs up the phone.
							CUT TO:
  
INT. GREAT NORTHERN HOTEL OFFICE - NIGHT
  
Benjamin Horne quietly hangs up the phone.
							CUT TO:
  
EXT. SAWMILL DOCK - NIGHT

Close shot of the log-jam where the body was found, logs gently thudding
together, as they bob in the black water.
							CUT TO:
EXT. TOWN SQUARE - NIGHT
  
The gazebo.
							CUT TO:
EXT. TWIN PEAKS - NIGHT

The quiet business district. Sparkwood Hill looms up behind the Town Hall and
the train station.
							CUT TO:
EXT. ED HURLEY'S GAS STATION - NIGHT

No lights. No sign of life.
							CUT TO:
  
EXT. THE ROADHOUSE DANCE HALL - NIGHT
  
The sign's neon dancers flicker back and forth.
							CUT TO:
  
EXT. INTERSECTION - NIGHT
  
Sparkwood Road and Highway "21." The traffic light cycles from green to yellow
to red.
							CUT TO:
EXT. DOUBLE "R" DINER - NIGHT
  
Parking lot empty. Two LONERS at the counter.
							CUT TO:
EXT. HIGHWAY "21" - NIGHT

Empty
							CUT TO:
EXT. WOODS - NIGHT
  
Thick woods. Sound of footsteps treading softly though the brush.
  
							CUT TO:
EXT. WOODS CLEARING - NIGHT
  
A flashlight beam finds the white rock that James used to cover the necklace. A
gloved hand reaches in, moves the rock, digs for and uncovers the necklace. The
hand takes the necklace, then replaces the rock. The light switches off.
  
							FADE TO BLACK:

				THE END