Twin Peaks Fan Script for Season 3

Author Unknown

THREE DAYS LATER

8:00 AM

The long rectangular table is lined with doughnuts, cups of coffee, opened folders stuffed with papers, and four sweaty pairs of hands. Three pairs on the left side of the table; the other set of hands drum on the right.

"You say, he went behind the curtains?"

"He's already answered that question!"

"I want to ask it again."

"But-"

"That's right, he went past the scorched earth and-"

"Did you see this 'midget' or 'giant'?"

"No, as I've said, I didn't-"

"WHAT?"

"No!"

"SPEAK UP, IF YOU COULD."

"I said, "No, I didn't see anyone!"

"WHAT?"

"He said,'He didn't see anyone!"

"OH. FBI AGENTS DON'T GO SMASHING THEIR HEADS-"

"Where exactly does 'BOB' fit in, Sheriff?"

"I'm not sure, but I believe-"

"I THOUGHT BOB WAS LELAND PALMER?"

"Well, that's not what the Sheriff has told me."

"I believed BOB was Leland too, but Coop-"

"WHERE COULD A MIDGET BUY A RED LEISURE SUIT, HARRY?"

"I don't know, Gordon!"

On the opposite side of the table, the FBI regional bureau chief Gordon Cole sat up, adjusting his external hearing aid, and reached for a doughnut. To Gordon's left, sat FBI Internal Affairs special agent Roger Hardy, next to him, FBI pathologist Albert Rosenfield. The sheriff of the tiny town of Twin Peaks, Harry S. Truman, sat on the opposite side of the table.

HARDY: Gordon! I do not believe midgets buying leisure suits will help our investigation. Now the last time I was here in Twin Peaks, I was investigating Agent Cooper's possible drug running. At that time, I suggested Cooper be given a thorough psycho-analysis. I still believe this to be the case.

GORDON: THAT REMINDS ME, D.E.A. AGENT BRYSON HAS SENT A LETTER SUPPORTING COOP!

ALBERT: How helpful.

HARDY: It is my belief that Agent Cooper was perhaps slowly slipping since he arrived in Twin Peaks. The Palmer girl could possibly have reminded him of Caroline Earle. When Windom Earle arrived, Cooper snapped.

HARRY: Agent Hardy, you have no idea what's really going on.

HARDY: And you do, sheriff? Believing a boogey man, some midget, the Lion, and the Scarecrow and the other characters from Cooper's dreams.

HARRY: I never said 'I believe them'... and I've never said I didn't. But you would have to be a complete idiot to dismiss them after Cooper, Leland Palmer, Sarah Palmer, Madeleine Ferguson, Laura Palmer, and Windom Earle all saw 'BOB' and this world, they called the Black Lodge.

HARDY: Leland was a cold-blooded murderer. Sarah Palmer is under heavy medication. I've already told you that I believe Cooper is crazy. Laura and Madeleine are dead. Windom Earle escaped from a lunatic asylum. And Windom Earle has not been apprehended.

ALBERT: Well, maybe, if we had sent some men to help Coop catch Windom Earle, Coop wouldn't be in this mess!

GORDON: COOP, WOULDN'T CONFESS? CONFESS TO WHAT???

Hardy looked to Albert and then to Gordon. Agent Hardy's stern eyes gave away the signal. Both men sat back in their chairs.

HARDY: Sheriff Truman, did Agent Cooper ever mention a 'Blue Rose'?

A puzzled look crosses Harry's brow. The sheriff takes a long pause.

HARRY: No.

The three G-men exchange a concerned look.

GORDON: THAT REMINDS ME. AGENT SAM STANLEY IS IN SPOKANE. I'M HAVING HIM DRIVE UP. (to Harry) SAM, PERFORMED THE AUTOPSY ON TERESA BANKS.

HARRY: Oh.

Agent Hardy pushes his chair away from the table, and stands up. He pulls up several files and places them underneath his arm.

HARDY: I'm going to the hospital now, to visit Agent Cooper. See if his condition has changed any. Albert, I want you and Sheriff Truman to review Cooper's paper work. I'm having his secretary, Diane, send all his tapes. GORDON, I want you to meet with Col. Reily and Major Briggs on the space transmissions! See if you can find out any more on the Major's disappearance. Gentlemen, we have men combing the woods and one stationed permenately at Glastonbury Grove. Don't worry, Sheriff, we'll catch Windom Earle.

Having finished his speech, Agent Hardy exited the room. Harry, Albert, and Gordon relax a bit. They stand, gathering their things, to exit the conference room.

HARRY: Why does it seem that Agent Hardy is running the show?

ALBERT: Because he is. The pencil pushing, rubber necked, primates who created the chain of command system in the bureau have given Internal Affairs free reign.

Harry nods, although he could not possibly know less about Federal Bureau of Investigations procedure. Harry turned to Gordon.

HARRY: Gordon, why didn't the bureau send help to catch Earle on the fly?

GORDON: YOU KNOW HARRY, I HAVEN'T READ THAT BOOK IN AGES. I WANTED TO SAY IN THERE, THAT I REQUESTED BACK UP FOR COOP. GUESS IT GOT BOGGED DOWN.

ALBERT: In bureaucratic red tape.

GORDON: I'M PLANNING TO ASK SHELLY JOHNSON, ALBERT, HOW'D YOU GUESS?

HARRY: Never mind, Gordon! Good Luck with Briggs and Reily!

Harry and Gordon exchanged the big thumbs up as Gordon turned and exited the Sheriff's Station. Albert and Harry turned and walked down the hallway.

ALBERT: Any word on this bank explosion, Harry?

HARRY: No. Reports say dynamite was inside the vault. We only have two possible witnesses still with us.

ALBERT: Do you suspect robbery?

HARRY: No. It's possible, but I don't think so... Albert, this town has gone to hell in a hand basket over the last month or so, since Laura Palmer's death. The last few days, with this bomb going off inside the bank vault, the town has had a terrible cash flow problem. There's been a run on the bank.

ALBERT: When will you be able to talk to the witnesses?

HARRY: Doc Hayward says today if... you know, Albert-

ALBERT: Don't say another word, Harry. I enjoy weeding through paperwork as much as I enjoy using a sawed-off shotgun for major dental repair.

HARRY: Let's go to the hospital then.

Harry smiles as the two law enforcers, turn and head toward the lobby. Harry stops at the front counter.

HARRY: Lucy, could you... Lucy???

Twin Peaks Sheriff's Station receptionist/secretary Lucy Moran's head pops up from behind the glass, where she had been watching a small television at her desk.

LUCY: Yes, Sheriff Truman?

HARRY: What's happening now, Lucy?

LUCY: Well, I've missed 'Invitation To Love' for the last week, but I believe the twins, Emerald and Jade, have had a cat fight with Alice and Andrea because Chet left Emerald for Andrea, who's just brought Chet nothing but bad luck, like losing the fellowship to Wayne, who's plotting to kill Alice. The detective following Jade is really after the jewels in the hidden city. The gate keeper thinks Chet knows about it, but if he isn't careful in his scheme, Chet may go nuts and get everyone killed for the clue, Emerald's step dad has locked in his safe.

HARRY: [to Albert] Why I ask, I don't know? [to Lucy] Lucy, just tell Andy to get a statement from Donna Hayward, since I won't be here.

Harry and Albert exit out the double doors of the Sheriff's Station and get into Harry's Bronco cruiser. As they pull their seat belts on, Harry turns to Albert.

HARRY: Albert, what did Agent Hardy mean by 'Blue Rose'?

ALBERT: Harry, I love you, but I can't tell you.

HARRY: You can't?

ALBERT: I can't.

Harry digests the fact and starts up the car. They pull out of the parking lot as a cruiser pulls in. Deputy Andy Brennan gets out of his patrol car, and walks into the Sheriff's Station. He sees his future wife, Lucy, at the counter.

LUCY: How's Agent Cooper?

ANDY: He's sleeping, I think. Hawk's guarding him.. Do you know where Harry was going?

LUCY: I bet he and Agent Rosenfield are going to the hospital. Sheriff Truman wants you to get a statement from Donna Hayward about Benjamin Horne's accident.

ANDY: Why?

The scene fades into the second floor, EAST WING OF CALHOUN MEMORIAL HOSPITAL, where Twin Peaks deputy Tommy "Hawk" Hill stands guard at a door in front of a tall, skinny young man.

YOUNG MAN: Hawk...

HAWK: No.

YOUNG MAN: Ha-a-w-w-k...

HAWK: No.

YOUNG MAN: Hawk, you are obstructing justice... Haven't you ever heard of 'Freedom of the Press'?

HAWK: [laughing] What has gotten into you, DJ? You do one internship with the Seattle Times, and now you think your Bob Woodward.

DJ: Who? Look Hawk, a FBI agent is in the hospital. The public has a right to know why???

Hawk moves in, nose to nose, with the young cocky Dwayne Milford, Jr. Intimidation is a tool, Deputy Hawk has used on more than one occasion.

HAWK: I said 'No' and I meant 'NO'!

Hawk cuts off his speech, to move quickly back to his position at the door, blocking Agent Roger Hardy, who was about to open the door.

HAWK: Sheriff Truman wants no one to enter this room alone.

HARDY: I'm afraid I'm in control here, not your sheriff.

DJ: [to Hawk] Who's this guy?

HAWK: [to Hardy] I have orders. And I'm not going to let you go in alone.

DJ: Hawk, who is this guy???

HARDY: Deputy Hawk, I can have you arrested.

HAWK: [not budging] Maybe you should be trying to arrest Windom Earle.

DJ: [turning to Hardy] Earl, who is this Mr. Windom?

HARDY: Alright deputy, you can come in with me.

DJ: I'll go with him!

HAWK: Come with me, Agent Hardy.

Hawk steps to the side, pushing open the door. Hardy enters the room, as Hawk turns and follows him in. DJ attempts to follow the two in casually, but Hawk places one hand on his chest, pushing him back into the hallway. DJ frowns as the door is locked.

Dejected, DJ turns and walks over to one of the nurse's stations at the end of the hallway. From inside his sports coat, DJ pulls out a small brown package and places it down. And with that, Dwayne Milford, Jr. exits the hospital...

INSIDE THE SMALL WHITE HOSPITAL ROOM OF FBI SPECIAL AGENT DALE COOPER, Agent Hardy and Deputy Hawk pull up some stools next to his bed. Cooper lays in his bed motionless. On a tray pulled over the bed, a half dozen doughnuts and a large cup of hot coffee are positioned to temp the patient. With this sight of Cooper, Agent Hardy seems lost.

HARDY: How badly was Agent Cooper injured?

HAWK: The doctors can only examine his forehead.

In Hawk's own mind, he questions what 'mental' injuries Agent Cooper had taken inside the Black Lodge.

HAWK: A slight concussion and a one inch cut. Cooper has spent most of these past two days asleep though. He must be having some bizarre dreams though.

HARDY: Why is that, deputy?

HAWK: He hasn't touched that coffee once.

Agent Hardy reaches over to a bedside table and turns on a dictaphone machine.

HARDY: Cooper. If you can hear me. This is Agent Hardy, Internal Affairs.

COOPER: [with eyes still closed, barely audible mutter] I know.

Hawk and Hardy exchange a glance. Had he been awake all along? Hawk moves in closer to Cooper and Hardy for a reason he cannot comprehend: fear.

HARDY: Cooper. Do you remember anything from that night? Windom Earle?

COOPER: [as if in a trance] The next time you see him, it won't be Windom.

HARDY: Are you saying Earle escaped?

COOPER: [giggling] Windom went beyond the abyss. He is here.

HARDY: What- [Hardy looks to Hawk quickly, suspiciously] What was in the Black Lodge?

COOPER: I don't know. I've never been there.

HARDY: [upset] Did you see 'BOB'?

HAWK: [to Hardy, shocked] I thought you didn't believe in such things.

HARDY: [ignoring Hawk] Cooper, did you see anything? BOB? The midget? the-

COOPER: He's going to fly the coop... [laughs] Annie saw the door... she could walk through it... The magician wasn't home, he went left... the wrong world entered he... Pull A Ram Ear [pause, his voice drops lower] Agent Jacobs is dead.

HARDY: [sitting up] What did he say???

COOPER: Agent Jacobs is dead... I was there. [laughs] He's been put out to dry... Time to go bye...

Cooper's face loses any signs of animation; he falls back into his sleep. Hardy motions his head to Hawk, and the two begin to exit the room. Cooper stirs.

COOPER: You can tell Harry... BOB's not from around here.

Hawk and Hardy exit the room; Hardy is visibly shaken by what has transpired.

HARDY: Have you ever seen him like that?

HAWK: Never. I think Cooper met evil in Glastonbury Grove.

HARDY: But... How? Could... Agent Jacobs?

HAWK: Cooper's is currently heavily drugged. He hasn't left this room.

HARDY: But if he hasn't left this room, then how could he have know Agent Jacobs was here?

HAWK: What are you saying, Agent Hardy?

HARDY: Jacobs is the agent we have guarding Glastonbury Grove. I... I tried to contact him as I drove over here... I just assumed he was away from his car.

Hardy and Hawk exchange a puzzled look...

Slowly moving away from the two, down the hospital's hallway. A nurse exits a door to the left. INSIDE THE ROOM, Doctor Jacoby, Doc Hayward, and Norma Jennings encircle the bed of Annie Blackburn.

ANNIE: I'm fine.

DOC HAYWARD: [to the others] Annie has no physical problems as far as our tests go.

ANNIE: I'm fine. I'm fine.

NORMA: What's wrong with her?

JACOBY: I believe that she may be experiencing post-traumatic stress from the kidnapping, I mean, we have no idea what Windom Earle did to her after he kidnapped her, therefore resulting in her present condition.

ANNIE: I'm fine.

DOC HAYWARD: Annie, I believe you should be getting some rest.

ANNIE: I'm fine. [giggles] I'm fine. I'm fine.

JACOBY: Annie, do you remember the night of the Miss Twin Peaks Contest?

ANNIE: I'm fine. I'm fine. I-I-I'm f-f-fine. I'm fine. I'm fine. I'm fine. I'm fine.

NORMA: It's me, Annie. Can you say anything else? Please?

ANNIE: I'm fine. I'm fine. I'm fine. I'm fine. I'm fine. I'm fine. I'm fine. I'm fine. I'm-

"Fine" Donna Hayward says calmly as she sits across from Deputy Andy Brennan, in the small, dense, MEETING ROOM OF THE TWIN PEAKS SHERIFF'S STATION. Donna sits on one side of the table while Andy is seated on the other, their views of each other, almost entirely blocked by the mountains of files and evidence, which Harry and Cooper had gone through while battling Windom Earle.

ANDY: Sheriff Truman just wants to know the facts, Donna.

DONNA: About what?

ANDY: Ben Horne's accident from the night of the Miss Twin Peaks Contest.

DONNA: What about it?

ANDY: Well, Doc and Mrs. Hayward, your father and mother, and Mrs. Horne, Ben Horne's wife, say Ben slipped, then banged his head on the mantel.

DONNA: Yes, that's what happened.

ANDY: Oh... but the medical report shows he hit the mantel with his head moving up.

DONNA: He was slipping, that's what happened.

ANDY: Oh... your sisters weren't present, right?

DONNA: Correct.

ANDY: Right?

DONNA: Yes, that's right. What else does Sheriff Truman want?

ANDY: Oh... I mean, well, he just wanted a statement.

DONNA: You have the facts, that's it.

ANDY: Oh, well, [pause] thanks.

Donna stands and turns to exit as something in the room catches her eye. She walks over and examines the small Japanese tree, which Windom had sent.

DONNA: Harold loved this.

ANDY: What?

DONNA: Harold Smith, he loved this Bonsai. You should place it in the cemetery next to him.

ANDY: But this tree isn't Mr. Smith's.

DONNA: Yes, it is... it was. He showed it to me one day when we had a picnic. He kept it right by his front door. Harold called it 'Little Laura'.

ANDY: J'ai une achete solitaire.

As Andy and Donna stare down at the midget tree...

Out in the LOBBY OF THE SHERIFF'S STATION, Richard 'Dick' Tremayne stands outside Lucy's desk. Lucy speaks into her phone headset.

LUCY: Dick, what's a seven letter word - water mammal? [Dick throws his arms up in disgust] Oh, try 'Manatee', Agent Stanley! [pause] It does. Great. [pause] Yes, I'll tell the sheriff as soon as I get off the phone! Goodbye, Agent Stanley.

DICK: Lucy, how much longer must I wait?

LUCY: [punching the phone] Sorry, Dick. That was just Agent Sam Stanley of the FBI! He's running a little late and it's important that I get his message to Sheriff Truman as soon as possible.

DICK: Impressive. Lucy, the reason I've come to see you today is-

LUCY: Sorry, Dick. I've already decided that no matter who the natural father of my baby is, I want Andy to be the father.

DICK: Lucy, I'm not here to win you back.

LUCY: [disappointed] You're not.

DICK: No. Though the idea is tempting. No, it seems that someone has stolen several tape recorders from the Horne's Department Store storage room.

LUCY: When?

DICK: Well, the timing is in question, since as you know, I deal in men's fashion. Normally Emory Battis, the general manager, would take care of such things. But with his untimely death, and Mr. Horne's accident, I seem to be in charge. As far as we can figure, the tape recorders were stolen sometime during the last ten days. Who took them? It's a mystery.

LUCY: Sheriff Truman probably won't have time to solve your 'mystery', but I'll see if Andy can take a statement.

Just then, Andy comes running around the corner. Dick holds up his hands to stop the running deputy.

ANDY: Not now, Dick. Lucy, I've got to find Sheriff Truman.

DICK: Lucy, you've made a 'wise' choice.

But Andy is gone, running out the double doors of the Sheriff's Station, just as the entrance bell at the DOUBLE "R" DINER chimes. Bobby Briggs enters. Bobby stops dead in his tracks when he notices his father, Major Garland Briggs, and Col. Reily seated at the end of the counter.

MAJOR: Robert, I didn't know today was a school day vacation.

BOBBY: It's not Dad, this... is just a lunch break.

Bobby smiles and quickly moves to the opposite side of the counter to his girlfriend, waitress Shelly Johnson.

BOBBY: Alright, Shelly, I'm here. What's the problem?

Shelly picks up a shoe box from behind the counter, and places it in front of Bobby. Lazily, Bobby removes the top, to find inside a Bewick's Wren, covered in blood, dead. It has been shot several times. Bobby catches a whiff of the odor, and pushes the box away.

SHELLY: It came in the mail, this morning.

BOBBY: Who sent it?

SHELLY: Who do you think?!? Leo! Bobby, you've got to be with me tonight.

BOBBY: Shelly, I would if I could, but-

SHELLY: Bobby, how can you say that?

BOBBY: But... [pause] Look, why would Leo have sent a dead bird?

SHELLY: He wants me dead, Bobby! Don't you see, he's-

Before Shelly can finish, Mike Nelson, Bobby's best friend, bursts into the diner.

MIKE: Bobby! We've got trouble.

BOBBY: What do you mean 'trouble'?

MIKE: I mean, Andrew Booker trouble.

Bobby stands up. Shelly can't believe it.

SHELLY: Bobby!

BOBBY: [grabbing a napkin, he scrawls out a phone number] This is the number of the pay phone at school. You can call me between history and science at one o'clock. I'll come right over after school.

Mike and Bobby move toward the door as Agent Gordon Cole enters the diner carrying a dozen roses in one hand. Bobby turns back to Shelly, but Mike drags him out. Gordon makes a beeline for Shelly, handing her the flowers.

GORDON: A ROSE IS A ROSE! BUT NOT ONE THORN ON YOUR TRUE BEAUTY!

SHELLY: Remember, I can hear you. Keep it down...

GORDON: Oh, I'm sorry. Shelly, it's been a painfully eternity since I last saw your face.

SHELLY: Well, it's only been a week.

GORDON: Not to me, dear. I'm afraid I've business now, but perhaps later, I could stop by for some pie?

SHELLY: Please do. And bring some agent friends.

GORDON: Alright. [turning] LOG LADY! HOW ARE YOU!

Margaret, the Log Lady, is shocked by the loud outburst.

LOG LADY: I was just fine!

GORDON: WHAT?

LOG LADY: I said: 'I'm fine'!

GORDON: SUPER!

Gordon gives her the big thumbs up. He spins on his stool from the counter, and bounces over to the booth where the Major and Col. Reily sit.

GORDON: COLONEL REILY AND MAJOR BRIGGS, I PRESUME. GORDON, GORDON COLE, REGIONAL BUREAU CHIEF F.B.I. SORRY, I'M LATE, BUT I HAD TO PICK UP SOME FLOWERS FOR MY LITTLE HEARING AID. [Gordon sits next to them] NOW, WHAT CAN YOU TELL ME ABOUT SPACE TRANSMISSIONS?

REILY: I'm not sure we should speak about classified information here.

GORDON: MIGHT NOT WANT TO TALK ABOUT IT HERE.

MAJOR: We could try the Sheriff's Station.

GORDON: I SUGGEST THE SHERIFF'S STATION.

Shelly walks up to their booth, with a coffee pot in hand.

SHELLY: Coffee anyone?

GORDON: Yes, please.

MAJOR: Thank you, yes.

REILY: No thanks, I don't like coffee.

The Double "R" diner is completely silent as all eyes fall upon the non-coffee drinking Col. Reily.

LOG LADY: You're not from around here, are you?

REILY: Well no. [feeling uneasy being the center of attention] I just don't like coffee.

LOG LADY: You're like my husband. Coffee turned his hair gray.

Reily finds no comfort in that fact, since he is already bald. Reily picks up his hat and motions to Cole and Briggs. Gordon follows Reily quickly out the door, but Major Briggs hangs behind as Shelly comes over.

MAJOR: Mrs. Johnson?

SHELLY: Yes?

MAJOR: Well, I'm not sure if this is my place, but I notice you and my son, Robert, are rather close friends.

SHELLY: Yeah, Bobby and me are, I guess.

MAJOR: Well, I suppose I should tell you... when I was abducted by the chess murderer, Windom Earle, I was being held prisoner with your husband.

SHELLY: What? Leo was a prisoner?

MAJOR: Mrs. Johnson, you're husband, Leo, and I were chained to a wall, fighting for our lives. Leo was able to reach the keys and he released me. I believe by doing so, he saved my life. [pause] As he did so, Leo said to me, 'Save Shelly' 'Save Shelly' [pause] I just thought I should tell you.

With that, Major Briggs stands and exits as Shelly is left puzzled and touched by her husband's gesture. Into the diner, a young strong athlete, wearing a Twin Peaks High varsity jacket strides.

ATHLETE: Waitress, could you bring out those meals I ordered to my car...

Back in COOPER'S ROOM IN CALHOUN MEMORIAL HOSPITAL, Harry and Hawk listen to the dictaphone machine. It plays out Cooper's cryptic message from earlier.

From dictaphone: "the wrong world entered he... Pull A Ram Ear [pause] Agent Jacobs is dead." "What did he say???" "Agent Jacobs is dead... I was there. [laughs] he's been put out to dry... Time to go bye... [pause] You can tell Harry... BOB's not from around here."

Hawk stops the tape.

HARRY: That was weird. Has Coop said anything else?

HAWK: Not a word.

HARRY: Hawk, did Cooper ever mention a 'Blue Rose'?

HAWK: No. Does it have something to do with what he said?

HARRY: I don't know. These rumblings on this tape. It's puzzling.

COOPER: I can't explain it.

Stunned, Hawk and Harry turn to see Cooper sitting up in bed.

HARRY: Coop, how long have you been with us?

COOPER: Long enough to hear that tape. Harry, I don't remember saying a thing on that tape.

HAWK: What about the mirror?

COOPER: Mirror?

HARRY: Three days ago, you slipped and cracked your head against the mirror in your Great Northern hotel room. Doc Hayward and I had to bust in the door to the bathroom, and we found you laughing. Shortly afterward, you passed out. Coop, you've been here in the hospital asleep for three days.

COOPER: [feeling his forehead] That's funny. I don't remember that either. Those mutterings I said on that tape must be my subconscious memories from the Glastonbury Grove incident.

HARRY: Do you remember that night of the Miss Twin Peaks Contest? The Black Lodge?

COOPER: Harry, if I'd reached the Black Lodge, I wouldn't be here now. I remember a series of identical, interconnecting rooms. The midget was there, and so was the giant. I believe they act in similar roles, except one for evil, and one for good.

HARRY: Do you remember Annie? Earle?

COOPER: I never saw Annie. Windom... My God, poor Windom-

HARRY: What?

COOPER: As I was exiting, I saw BOB... he took Windom's soul. We've got trouble.

HAWK: Is Windom Earle still alive?

COOPER: No, but... when I said,'The next time you see him, it won't be Windom', it's because the next time we see Windom, it will be BOB. Harry, there's no telling what evil will occur. [pause] I've got to get out of here.

HARRY: Hold on now Coop. You've been out cold three days, the doc was never sure what was wrong with you. You need rest.

COOPER: Harry, Combine Windom Earle, BOB, the Black Lodge, and we've got problems of epic proportions. Windom Earle was a problem I brought upon the community of Twin Peaks. Until he is out of commission, I will have no rest.

Bursting into the room, Albert is taken aback by an awake Coop.

ALBERT: Well, and on the third day, he rose from the dead. Nice of you to drag me back to Happy Valley again, Cooper.

COOPER: Albert.

HARRY: How's Annie doing?

ALBERT: She says she's fine. About four hundred times in a row in fact. Annie is visiting Ga-ga land this spring break.

COOPER: It's my fault. I should see her.

ALBERT: Coop, unless you want to push her over the edge; you should stay away.

A loud hiss emits from a walkie-talkie, Albert is wearing on his belt. Albert pulls it to his mouth.

RADIO: 19 to 30. Do you read me?

ALBERT: 30 here, go ahead 19.

RADIO: Albert, we need you here NOW. Agent Jacobs was found at Oh-nine, forty-eight. He was dangling from a tree limb [static] Someone [static] possibly Earle hung him in the last seventeen hours. [static]

ALBERT: What's your twenty?

RADIO: [static] Ten miles, north east, Highway J. Agent Hardy will meet you at the turn. Ten-four.

ALBERT: Ten-four. [places the radio back on his belt] Things are getting crazy around here.

HARRY: Hawk, get Cooper's clothes from the nurse. [Hawk nods and exits] This is only going to get worse.

COOPER: I'm afraid so, Harry. Albert, get moving and look for sheets of torn paper.

ALBERT: It's good to have you back, Coop. [exits]

COOPER: Harry, I'm worried about that tape; Agent Jacobs, Windom Earle, PULL A RAM EAR... I might...

HARRY: What?

COOPER: It's just... I need a mirror.

HARRY: Coop, I'd be nuts to let you near a mirror-

COOPER: Harry, my forehead is not moving. I promise.

Not exactly sure, Harry moves a partition and slides a curtain, so Cooper can see a large mirror hung above a sink in a corner of the room. Cooper lifts himself out of bed, and walks over to the mirror. He stares at his reflection, puzzled by his own appearance.

HARRY: No worry, there's no toothpaste.

Cooper searches his own face for... what? Cooper gives up his investigation and turns back, while doing so catches a glimpse of a reflection in the mirror of a blue jeans jacket... Cooper spins around; looking at an open window. Nothing. He spins back to the mirror. Nothing. Had there been anything?

HARRY: What?

COOPER: Nothing. I'd thought-

HAWK: [entering the room] Here are your clothes, Agent Cooper.

COOPER: Thanks Hawk. Harry, we should get back to the Sheriff's Station, now!

HARRY: Sure, but first I've got to question Audrey Horne about the bank explosion.

COOPER: Bank explosion?

Cooper throws on a shirt, as Deputy Brennan burst into the hospital room. Andy has been running, and is terribly out of breath.

ANDY: Sheriff Truman, Hawk, Agent Cooper, I-uh-uh-uh

HARRY: Andy sit down, you're hyper-ventilating.

Andy sits on the edge of the bed, trying to collect himself.

ANDY: I w-w-was talking t-t-t-to D-Donna about B-Ben H-H-H- Horne's acci-accident.

COOPER: Accident?

ANDY: She... She said the pl-plant was H-H-H-H-Har-Har-Har

HARRY: You mean the bonsai tree, Earle sent? Yes, it's mine.

ANDY: NO! It's H-H-Harold Smith's! Whew!

COOPER: [rushing to Andy] Harold Smith, Windom Earle! Agent Jacobs...

HARRY: Coop, what are you saying?

COOPER: Andy, Hawk, Harry. Harold hadn't hung himself! He had help!

ANDY: How?

HAWK: Huh?

In ANOTHER HOSPITAL ROOM, Jerry Horne is seated bedside of his bed-ridden brother, Ben.

JERRY: How are you, big brother? How's the old noggin'?

BEN: I told you, I'm fine. Now quit stalling, what's the news?

JERRY: Sylvia wants a divorce, Ben.

BEN: [looking down; shaking his head] Wouldn't you?! I tell you, Jerry, she's not the same girl I married for her father's money.

JERRY: I thought you married her because she was pregnant with Johnny?

BEN: That was reason Number Two. You try... try to do something good... and look what happens... I suppose Sylvia wants everything?

JERRY: Do you want the 'good news' or the 'bad news'?

BEN: I could use some good news about now?

JERRY: [looking down to his note pad] She wants the store, the Pearl Lakes property, the shares of stock, half the yearly profits of the Great Northern Hotel, and a $100,000 settlement.

BEN: Jesus, Jerry, what's the bad news?

JERRY: She's not asking for custody of the children.

BEN: Huh, they might hinder her ability to shop. The children... Jerry, how are they? Is Audrey-

JERRY: She's just fine, Ben. She's just two doors down, and they're about to release her. She had handcuffed herself to the vault of the bank, and the handcuffs saved her life.

BEN: Yes, well... Oh God, Jerry. How's Donna Hayward?

JERRY: Calm down, she's fine. At this very minute, Donna's up at the Great Northern, taking care of Johnny.

BEN: Has Will spoken to her yet?

JERRY: With you, the Bank, and the Miss Twin Peaks disaster, I don't believe Doc Hayward's had time.

BEN: Time... How can he tell Donna that he's not her biological father?

The door to Ben's room swings open and a nurse comes bouncing into the room.

NURSE: Mr. Horne, a package arrived for you.

She hands it to Ben. It is the package which Dwayne Milford, Jr. had left at the nurse's station earlier. Ben hands it to Jerry, and Jerry begins tearing the package open.

BEN: Be careful, Jerry, it could be a 'present' from Sylvia.

Upon opening the box, Jerry is shocked... he hands the small box to Ben. Ben pulls an index card from the box, which reads:

ROADHOUSE

TODAY 3:00

BE THERE OR ELSE

Ben and Jerry exchange a stare as Ben squeezes the box's other content; a small domino...

INSIDE THE ROADHOUSE, policemen and lawyers rustle about. Seated at the Bang Bang Bar's farthest end, Hank Jennings and Dwayne Milford Jr. plot.

HANK: Are you sure Ben Horne got it?

DJ: Yes. Hank, what the hell's going on? You never told me you were up on a murder charge!

HANK: You didn't ask.

DJ: Where's my hit?

HANK: Not until Ben Horne shows up.

DJ: What?! You owe me!

HANK: I don't owe you. Who took care of you, Dwayne, Jr., huh? Me!

DJ: What do we do when Mr. Horne arrives?

HANK: We? We do nothing. You leave. Meet me at the Double "R" diner at midnight, I'll have your stuff.

DJ: Hank, why do you have to tonight? Wait until-

HANK: I'll be a free man tonight, and you'll be served. Now beat it.

DJ leaves the bar, as Hank sucks on his lucky domino key chain. The black in Hank's leather jacket fades into the dark ceiling of TWIN PEAKS HIGH SCHOOL'S BOILER ROOM. Bobby and Mike stand under the lone light source, a 40 watt bulb hanging low on a cord from the ceiling.

BOBBY: This is nuts. What does Andrew Booker want anyway?

MIKE: What do you think? When he told me, he looked as pale as a ghost.

BOBBY: I'm missing economics. I don't have time for some screw up, who-

Bobby's cut off as a wooden baseball bat crashes across his chest. Mike tries to turn, but receives a similar hit. Bobby and Mike land in a pitiful pile as they gasp for air.

Andrew Booker, Twin Peaks High's all-star offensive tackle stands above them. Andrew is the PERSON WE SAW ENTERING THE DOUBLE R TALKING TO SHELLY EARLIER. Andrew takes the bat and smacks the light's cord; making the bulb swing back and forth. He rubs the letter of his Twin Peaks High varsity jacket.

ANDREW: I thought I'd take up a new sport.

BOBBY: What in the hell do you want?

ANDREW: Oh turkey- Bobby Briggs speaks to the screw-up.

MIKE: I think my ribs are cracked.

ANDREW: Well, I guess then I have your attention. Now, let's see... you're missing economics... how about you supply my demand. Rabbit!

BOBBY: Andrew, listen, Leo Johnson's long gone... How can we get any cocaine, huh?

ANDREW: Leo's not gone, why Shelly said she received a present just today, in the mail from him. [laughs] Moose!

BOBBY: You leave Shelly alone!

ANDREW: Afraid that isn't part of our trade talks. Look at my hand... [he raises his hand, which trembles greatly] so shaky, I'm surprised I could shoot that bird... Shelly told me she liked it.

BOBBY: What?

ANDREW: She said so as I was slamming her in my car trunk... This will be a barter, ya see. I get cocaine; Shelly gets no pain.

BOBBY: You don't have her!

ANDREW: [reaching into his jacket pocket, pulls out a napkin] I believe this is the number for the pay phone at school. You told her to call you today... Now you get me some snow, or Shelly will have an economic embargo sized headache. 10:00 tonight. Under the bleachers or else... Just remember, you're the one who got me addicted. Ha Ha. Owl.

Andrew raise the bat and with a mighty swing, destroys the light bulb.

Harry and Cooper sit in the BASEMENT OF THE SHERIFF'S STATION, going through boxes labeled: Evidence.

HARRY: Lord, Harold had a lot of junk. Cooper, what are we looking for anyway?

COOPER: Harry, we're looking for something that connects Harold Smith and Windom Earle.

HARRY: Why do you think there is a connection?

COOPER: Because of what Donna Hayward said about that plant, 'Little Laura' and because Harold was hung.

HARRY: What do you mean?

COOPER: Windom Earle's deadliest weapon is his mind. While Windom was in prison, two prisoners in neighboring cells were found hung; just days before they were to be released from the asylum. The man who Windom claimed to have taught him chess died from hanging. Now Agent Jacobs.

HARRY: But-

COOPER: Harry, nothing in these boxes have any personal attachment to Harold Smith. We know nothing of his past. Something must tell us or-

Cooper stops mid-sentence as he notices something inside one of the boxes. Cooper reaches in and pulls out a small, sharp knife.

COOPER: I thought so.

HARRY: [taking the knife from Cooper, noticing some letters on the knife's handle] Holy Smokes. W.E.

COOPER: Windom Earle. The weapon Windom used to stab me and kill Caroline was never found. Windom probably mailed this to Harold Smith minutes after attacking us.

HARRY: Hold on, Coop. One - the evidence clearly shows Harold Smith committed suicide. Two - why would Windom send a knife to Harold? Three - how did you know Harold would have it? and Four - what was the relationship between Harold and Earle?!?

COOPER: One - he did, but with a push. Two - as a threat. Three - because Windom wanted us to find it. Four - you've answered your own question. [Harry reacts puzzled]. Harry, I know this doesn't make sense yet, but with 'BOB' in Windom Earle, Agent Jacobs is the first of many victims that we can expect. [pause] Now, what else did you find?

HARRY: [examining his finds] Well, five water hoses, a tape deck, several coffee cans used as flower pots, money belt, red loafers, and a small transistor radio... I suppose Harold wanted to talk to someone.

COOPER: Or listen to someone.

HARRY: What's our plan, now? I've got Hawk combing the woods for the cabin Earle held Major Briggs in, and Andy's questioning the bomb survivors.

COOPER: I'm not sure. Windom Earle will-

Cooper is cut off by Gordon's voice blasting from a speaker phone.

GORDON: COOP! YOU AND HARRY BETTER GET UP HERE, PRONTO! REILY AND BRIGGS HAVE SOME NEWS ABOUT THE SPACE TRANSMISSIONS, WHICH WILL TURN YOUR SOCKS INSIDE OUT!

Minutes later, Cooper and Harry in HARRY'S OFFICE across from Reily, Briggs, and Cole.

REILY: Project Blue Book's first Twin Peaks connection came some thirty years ago. Fighter pilots would lose contact with the base while flying over this area late at night. Transmissions would interfere with cockpit radios. Those transmissions were believed to have come from outer space, although now we are not so sure. They could have come from electro-magnetic fields in high mountain regions.

MAJOR: These transmissions are how Col. Reily and I became involved.

REILY: That's true. Combined with several claims of mystic unidentified objects being reported, the Air Force set up a special division of Blue Book to the north of Spokane. Discreet investigations in Twin Peaks proved no one knew anything about the transmissions, though some less reliable sources claimed some religious indian magicians were at work. The transmissions problem reached an apex in the mid to late sixties when they disturbed airlines.

BRIGGS: This is when the FBI joined in, and Windom Earle came. We rarely saw him, because, at that time, we worked on a technical side of the problem. He worked on a personal side.

REILY: Of all the agents sent, Earle was the only one to investigate the supernatural rather than extra- terrestrial causes. He was intrigued with the notion of evil. Windom Earle desperately wanted to find 'evil' and destroy it. I believe he once told me his parents were killed in a hotel fire.

COOPER: That's correct. Windom was only eight. He was being pulled out, when he saw the ceiling collapse on them.

BRIGGS: A terrible experience.

REILY: Windom talked with the natives, spent long days walking alone in the woods. He investigated the occult here and in Canada.

COOPER: Is that where he fell in love?

REILY: Yes, a local girl. Bizarre girl, she was. I believe Earle met her in a cult. Windom was becoming more difficult to control and even more difficult to believe. He would tell stories of monsters, and witches, and fire-

BRIGGS: - and the Black Lodge.

REILY: Yes. Finally, he was pulled from the project.

GORDON: WE PULLED HIM. HE WENT ON R AND R FOR EIGHT MONTHS. HE CAME BACK FINE. COULDN'T HAVE BEEN BETTER.

REILY: Earle had love twist him into knots. Once he was gone, he could forget about her and return to normal.

HARRY: What happened to the girl?

REILY: That we don't know.

COOPER: I believe she'll be found in a small unmarked grave in Camptown, Canada.

REILY: Why do you believe that?

COOPER: Because that's where Harold Smith's mother is reportedly buried. She died in childbirth. Left him the house he lived in.

HARRY: Holy smokes. How did you figure this out?

COOPER: Guesswork. Harold Smith had no personal items because he grew up alone, in Boston, with a nanny his father, Windom Earle, hired. After Windom married Caroline, Harold was sent here to the house where he died. The blood type of Harold's father, I'm reading this from Harold's birth certificate, matches Windom's. The timing of the birth matches the period Windom was here.

BRIGGS: What does this mean?

COOPER: Very little in the big picture, I'm afraid.

GORDON: TELL COOP AND HARRY ABOUT THE SPACE TRANSMISSIONS.

HARRY: Transmissions?

BRIGGS: The plane radio interference ended around 1969. Project Blue Book stayed on, as a monitor of the heavens above, in an unofficial capacity.

REILY: We still received signals, which I am unable to discuss here, but for the most part, we received jumbled mess. Until about two years ago.

BRIGGS: In a routine sweep, we picked up signals from the woods around Twin Peaks.

HARRY: Ghostwood National Forest?

REILY: There, as well as other places. Some scrabbled junk; some cryptic messages.

COOPER: Like the one Major Briggs showed me.

REILY: Yes, but we have noted two others in the last month. One as recently as March 9th: HOLD THIS RAM. There was, of course, the message we showed Agent Cooper: THE OWLS ARE NOT WHAT THEY SEEM, which we received March 2nd. And a third message dates back to February 23rd: PULL A RAM EAR.

COOPER: What?!?

REILY: Pull A Ram Ear.

HARRY: Coop, are you thinking what I'm thinking?

COOPER: Yes. Laura Palmer was killed on the night of February 23rd. I was shot by Josie Packard on the second. Madeleine Ferguson was killed the 9th. Gentlemen, I believe it's safe to say, taking in this new information, we are dealing with a whole new ball of wax...

AT CALHOUN MEMORIAL HOSPITAL, Pete Martell sits up in bed with mouth open wide, and a painful expression on his face. Deputy Andy Brennan is at his side, puzzled.

ANDY: Do you want something?

Pete remains in his silent, painful-looking pose.

ANDY: Are you in pain?

Pete's mouth remains open, as if silently screaming.

ANDY: Should I get the nurse?

CATHERINE: You idiot, you've put your notebook down on his injured leg!!! [closing the door behind her, as she enters]

ANDY: Oh. [he removes the notebook] I'm sorry.

PETE: [grimacing] That... That's alright, Andy.

ANDY: The doctors say you're able to be questioned. You know, about the bank explosion?

PETE: That's right. I was right there when it happened. Reminded me of the time, Bobby Joe Noe and I were on Iwa Jima. Bobby Joe accidently set off a grenade in the mess tent. I remember because after it went off, we called it the 'mess' tent. Catherine, do you remember Bobby Joe?

CATHERINE: No.

PETE: Yeah, Bobby Joe Noe.

ANDY: Was he in the bank?

PETE: No, Noe wasn't. Andrew... Andrew... dear sweet Andrew. The last thing I remember is Andrew jumping on top of me. He covered me, and he... he saved my life.

ANDY: Andrew Noe?

PETE: No, Andrew Packard.

ANDY: Oh... but he's dead?

PETE: Of course he is, now.

ANDY: But Andrew Packard died in a boating accident years ago.

CATHERINE: No, he didn't

PETE: I had thought he did.

ANDY: Then who placed the dynamite in the bank?

PETE: Thomas Eckhardt.

CATHERINE: But he's dead.

ANDY: Of course he is, now.

PETE: Uh, Andy, could you come back a little later; I promise I'll explain it to you then.

Out of confusion, Andy simply nods and walks out of the room. Catherine walk over to a window.

CATHERINE: [tearful] My poor brother, Andrew. Well, this time I've really lost him. He's probably fighting with Thomas and Josie in hell... I... I can't go on-

PETE: Now honey, Andrew loved you. Hell, he saved my life, and I loved him like a brother. Course, when I married you, he became my brother. Well, brother-in-law. It just seems that curiosity killed this cat. Now, Andrew loved you because you are a fighter. And of course, cause you were his sister. Andrew wouldn't want to see you quit.

Pete lets his words sink in, then he shrugs and reaches to the side table to grab the day's newspaper. A man enters, without knocking, carrying a briefcase.

MAN: Mr. and Mrs. Martell?

CATHERINE: Yes, what is it that you want?

MAN: I'm H.T. Burger, Attorney. I've come to inform you of the will reading.

CATHERINE: What will?

BURGER: Why Andrew Packard's, of course.

CATHERINE: My brother's will has already been read.

BURGER: You mean the old will, which was read after he faked his death. I'm sure a court will overturn that one. This is his new, true will.

CATHERINE: I don't believe it!

PETE: [squeezing the newspaper] Why I don't believe it! Catherine, get Andy back in here quick!

CATHERINE: What on earth for?

PETE: Just do it!

Catherine leaves the room, and returns seconds later with Deputy Brennan.

ANDY: What is it, Mr. Martell?

PETE: Look at this!

Pete shows Andy, the Twin Peaks Gazette, with his finger on a clearly marked ad:

W. Knight takes B. Queen

Check. - W. E.

DEEP IN THE WOODS, Deputy Hawk pulls the Police cruiser to one side. He gets out and follows another set of tire tracks on foot. Hawk sees a small cabin ahead in the woods. He draws his gun. He moves to the cabin door; throws it open; quickly covering the room with his pistol. Hawk turns in disgust when he sees the bloody body, covered in spiders.

BACK IN THE SHERIFF'S STATION, Harry and Cooper listen to their radio. Hawk is calling in.

HAWK: [over radio] Harry... Harry... He's dead. [static] He's dead.

HARRY: [into radio] Is it Earle? Is Windom Earle dead?

HAWK: [over radio] No... Windom Earle's cabin, but he's long gone...

COOPER: [into radio] Hawk, is it Leo... Leo Johnson?

HAWK: [over radio] No... No... it's Agent... it's Agent Hardy! He's been stabbed. Agent Hardy's dead!

IN EARLE'S SECRET CABIN, the body sits up, somewhat trapped between several boxes. Stabbed repeatedly in the upper torso. Spiders crawl over the body. Through an open window, an owl can be seen perched on a tree branch. From another place, a hideous laugh echoes in the woods repeatedly...

TWIN PEAKS

1:00 PM

The door to THE CABIN is covered by a yellow slip - CRIME SCENE - DO NOT CROSS. Past the door, inside the hideout, flashes from camera lights explode, men dust for fingerprints. Forensic experts examine blood spots on the floor. To the immediate right, Gordon, Cooper, Hawk, and Albert stand, watching the covered body of Agent Roger Hardy being carried out.

GORDON: ...REPORT THIS TO NOW TO INTERNAL AFFAIRS. I'LL NEED YOUR FINDINGS QUICK, ALBERT. IN FACT, I'LL NEED THEM YESTERDAY.

Gordon Cole walks away, as Hawk turns to Cooper.

HAWK: Where's Harry?

COOPER: He's with Col. Reily and Major Briggs. Honestly, Hawk, I feel that the FBI brought Earle and this pandemonium, and the FBI should place things back in their proper accord. Harry has a bank explosion to solve. I don't want him to forget his responsibility to this community. I'll find Windom Earle.

HAWK: Alright. [pause] Remember your back up if necessary.

Hawk rubs a finger across the side of his forehead. The Bookhouse Boys signal. Hawk then turns and leaves.

ALBERT: Cooper, what do you want first? The bad news or the worse news?

COOPER: The worse.

ALBERT: Evidence shows Agent Hardy was killed here. That means Earle either held a gun on him or-

COOPER: Or Agent Hardy came here on his own.

ALBERT: Exactly, and I believe, probably true. Agent Hardy was stabbed, as you could guess, just as Earle stabbed you and Caroline back in Pittsburgh.

COOPER: The questions are now: How did Agent Hardy know where this was? And why did he come here? For that matter: Where is Leo Johnson?

ALBERT: Here's two more: How did Windom Earle get all this equipment? [Albert motions to all the technical equipment lining the cabin] This computer, the weapons, the bug Windomn Earle planted in the Bonsai tree... this is all-

COOPER: All Federal Bureau of Investigations' equipment, I know.

ALBERT: At Agent Jacobs body, I found the sheets of paper you were looking for. [He hands them to Cooper]

COOPER: From Laura Palmer's secret diary, which Harold Smith had. I... I wonder...

ALBERT: What?

COOPER: I wonder if they helped me catch Leland Palmer to avoid my stumbling on to something else... In Glastonbury Grove that night, Leland's spirit said he hadn't killed anyone.

From outside the cabin, an agent calls to Albert and Cooper.

AGENT: We found their tracks outside!

Outside, they stare at two sets of footprints, which head out in opposite directions.

COOPER: [pointing down] These tracks toward town are from Leo Johnson. The dragged feet suggest at least one of those deadly spiders in there got him. He might not even be still alive. The other tracks are from Windom Earle, heading toward White Tail Mountain. Albert, grab a team and follow Earle's tracks.

ALBERT: Where will you be?

COOPER: Back at the Sheriff's Station, I want to- ...Do you smell something?

ALBERT: No, what?

COOPER: [pause] Nothing... Gather up your team?

Albert returns to the cabin. Cooper moves to his left, pushes past several bushes and tree limbs, and then swiftly turns his head upward. An owl sits on a branch high above him. The owl stare back into Cooper's eyes.

"Hey there, little boy..."

Cooper spins toward the voice  BOB is on all fours, dancing like an animal between the trees. BOB pulls a pack of matches from his back pocket.

"Wanna play with fire, little boy?"

AT THE DOUBLE 'R' DINER, Bobby and Mike attempt to question Heidi the German waitress.

MIKE: This isn't working, Bobby.

BOBBY: Shut up, man. Now Heidi, Where is Shelly?

HEIDI: Ya?

BOBBY: Is she gone?

HEIDI: Ya. ya.

BOBBY: Where did Shelly go, Heidi?

Big Ed Hurley burst into the diner quickly, and walks up to the boys surrounding Heidi.

BIG ED: Heidi, where's Norma?

HEIDI: Ya, Ya. Boontiba. Coffee?

BIG ED: No. Do you know where Norma is?

HEIDI: Ya.

BOBBY: Look Ed, why don't you go back to the grease, monkey?

MIKE: Lay off him, Bobby. [pulling Ed aside] Have you found Nadine, yet?

BIG ED: No, she's disappeared that night. Nadine's probably right mad with Norma, you and me. It may be a while before we see here again.

HEIDI: Norma's at the hospital and Shelly left.

BOBBY: What did you say?!

HEIDI: Ya.

Big Ed turns and exits the diner. Bobby grabs Mike by the arms.

BOBBY: Andrew Booker's got Shelly, and we've got to do something...

AT THE GREAT NORTHERN HOTEL, Donna Hayward sits on the floor of Ben's office, with Johnny Horne. Johnny has a walkman on with the headphones buried into his long dark hair. He also wears his tall indian feather cap. Johnny and Donna have toy buffaloes and horses to play with.

DONNA: We don't seem too different. I'm certainly glad to have a brother. I grew up around two younger sisters. I guess you know about younger sisters. They look up to you, when you're the oldest. So you pretend to be an adult, you know, have all the answers. All you really want is to be is the baby in your parent's arms again. [pause] Well, now that I know you're my brother, I guess I'm no longer the oldest. [pause] You have a nice smile, Johnny.

JOHNNY: [yelling] Indian.

DONNA: That's right, Indian. Ha. Laura told me she liked visiting you. I wish I had come then. I could have known my big brother... It doesn't make much sense, my birth... Why? Your dad was married. Mom was dating my dad, I suppose. It just doesn't make sense.

Donna begins to cry. Behind her the door swings open, as Dwayne Jr. backs into the room, his arms holding a pile of rubber buffalos.

DJ: Okay partner, today we can- [he stops upon seeing Donna] Uh, hi... Hi! You must be Mrs. Rhodes' substitute, huh?

DONNA: [wiping the tears] She's not coming today.

DJ: Is everything okay? I mean... uh, I don't suppose- uh she told- uh, you about me?

DONNA: No.

DJ: Oh, uh, I'm Mr. Monster, I mean, Mr. Mustard, no, uh- I'm Johnny's tutor.

DONNA: Aren't you Mayor Milford's son?

DJ: That's right, I'm Mr. Milford, uh, Dwayne Junior. And you are...?

DONNA: Donna. Donna Hayward.

DJ: You're Doc Hayward's girl! Right, the oldest right? [Donna nods] Gosh, I go away to college and look what happens... Everybody grows up. Well, uh, Donna, shouldn't you be in school? You're still in school, right?

DONNA: Yeah, I'm a senior. But I'm taking the day off to be with Johnny.

DJ: You don't have to do that... I'll take him off your hands. Go have fun! A pretty girl, like you, should be out and about. I think I remember when I was a senior, you were on the sub-freshman cheerleading team, right? Uh, you should be out cheering.

DONNA: I should call Ben to-

DJ: No, that's alright. You run on, I'll call him.

DJ walks over to Donna, and helps her stand up. He places an arm over her shoulder and leads her to the door. A puzzled Donna follows.

DONNA: I shouldn't just leave, Johnny-

DJ: It's alright, Donna. I won't say a word to Mr. Horne. Perhaps if you want to spend some time with Johnny, I could bring him over tonight, and we could, uh, go have dinner somewhere? The Double R? [DJ opens the door, and motions Donna out] You guys still live over on Church Lane?

DONNA: Yes.

DJ: Great! Eight O'clock. [DJ swings the door]

DONNA: Eight? [the door shuts in her face]

Outside in the hallway, Donna stands; looking at the door, she somehow ended up on the wrong side of. Shrugging, she turns and walks down the hallway into the hotel's lobby. In the lobby by the concierge desk, Audrey Horne leans on a crutch. The two girls exchange an awkward glance from across the lobby. Donna approaches her recently, discovered sister.

DONNA: Hey... Are you alright?

AUDREY: Yes... it was quite an experience... Imagine being knocked out and waking up a few minutes later waking up across the room, chained to the vault door, lying in a pile of money. [pause] I'm okay... they just want me to stay off this ankle.

DONNA: Great... do... do you know?

AUDREY: Yes, I know. My mother visited me yesterday and told me.

DONNA: I-

AUDREY: My mother is asking my father for a divorce.

DONNA: I'm sorry. I, I...

AUDREY: It's not your fault. [pause] Your mother and father?

DONNA: They... they haven't said anything. Dad, well, he's been working at the hospital non-stop. My mother... she took my sisters out of town... I suppose she's trying to tell them.

AUDREY: Why didn't they tell us?

DONNA: I really don't know who I am anymore. And... and I'm bitter and mad at all of them.

AUDREY: I came here, as soon as I heard you were meeting your older brother.

DONNA: Yeah, Mayor Milford's son is in there taking care of him now.

AUDREY: DJ!?!

DONNA: Yeah, what is it?

AUDREY: He... he was with Johnny that night!

DONNA: What are you talking about?

AUDREY: Back when I was, like six, Johnny and Dwayne Junior went camping...

DONNA: And?

AUDREY: That was the night of the big forest fire. We lost our family cabin up on Pearl Lakes. That's the night, DJ burnt down the entire north side. Dad forbids DJ from ever seeing Johnny.

Donna is taken aback with this news. Donna helps Audrey as they move through the SECRET PASSAGE. Audrey finds and removes the loose sideboard. By doing so, the two can see into Ben's office. DJ and Johnny sit on the floor, surrounded by a pile of audio cassettes.

DJ: I give you all these tapes and you forget to label them?! There's no way in hell, I'm gonna be able to listen to all of them. Ha. Wait until the cops find out we swiped all those tape recorders from your dad's store. We'll be in jail.

JOHNNY: I... I sorry.

DJ: That's okay, buddy. But you got to think!

AUDREY: [whispering to Donna] Johnny just made a sentence. He hasn't made one in years!!! He hasn't spoken in years.

DJ: You would make one horrible reporter; I mean, you didn't even think to put one in Agent Cooper's room... What do we have? [DJ picks up a tape] A guy cheating on his wife.. [he picks up another] Two high school kids making out and talking about deep sea fishing... Here's one, a woman who thinks she hears screaming from her dresser drawer knob. What could I use at the Gazette, huh?

JOHNNY: Try better, I will-

DJ: Look, it's alright. I mean, that was our first test. We should be proud of a woman with a talking drawer knob... I think graduating from junior college has ruined my immaturity.

JOHNNY: Like Donna?

DJ: You mean, Doc Hayward's girl, who was just in here. She's pretty. I tell you, first you get Laura Palmer, she gets killed and you get another pretty teenager. Teach me your secrets.

JOHNNY: You like her.

DJ: Drop it, Johnny. I said she's pretty, alright. You know, your little sis turned out okay. [DJ walks to Ben's desk and takes a picture of Audrey] Remember when she had all that baby fat. Huh?

JOHNNY: Indian brave.

DJ: Yeah, I remember that. You'd play Indian Brave, I'd be Cowboy Bill, and I'd have to rescue her from the stake. Remember when your mom found out we were tying Audrey to the coat rack.

JOHNNY: Fun.

DJ: Fun? My dad spanked me so hard! Audrey used to run up and pinch me and call me 'Sneaky.'

JOHNNY: Right name.

DJ: Yeah, those were the days. Before your pop banished me...

JOHNNY: Not your fault.

DJ: Great, tell me. Why don't you ever tell anybody else? I might not have been the crucified child.

JOHNNY: People, I saw... Fire. Owl.

DJ: Yeah, yeah, yeah, I think a lot of people saw fire, ha! I tell you, I didn't see anything... Just that moon-

JOHNNY: Indian.

DJ: Please! Why don't you talk to anybody else?

JOHNNY: Laura, I talk. Laura talk.

DJ: Yeah, you talked to Laura Palmer, big deal. Look what happened to her! I suppose I'm next. Those people you saw that night, I bet they helped that crazy old nut Palmer kill her, huh?

JOHNNY: Kill me, if thought... I thought.

DJ: You're full of it, you know that.

JOHNNY: Meet tonight. They will.

DJ: Don't even try it! The last time, you dragged me through the mud, no one was there!

JOHNNY: Wind strong. Strong.

DJ: No, NO! The answer is 'no'. I've gotta be somewhere tonight at midnight. I repeat: no!

IN ANNIE BLACKBURN'S ROOM AT CALHOUN MEMORIAL HOSPITAL, Sheriff Truman speaks with Doc Will Hayward.

DOC: Pete Martell, Audrey Horne, and Ben Horne.

HARRY: They've all checked out?

DOC: Yes, and you can throw into that list, Agent Cooper. With the exception of Audrey, they all checked out without their doctor's permission. Plus, I was just talking to Jacoby. That man, we were holding for you in the psychiatric ward, Gerard escaped.

HARRY: The one-armed man escaped! Why now?

ANNIE: [from her bed] I'm fine. I'm fine.

HARRY: How... how's Annie?

ANNIE: I'm fine.

HARRY: How's Annie?

ANNIE: I'm fine.

HARRY: Well I'll be. It's almost like-

DOC: Like she's answering what Cooper was babbling after he smashed his forehead into that mirror.

HARRY: Yeah.

DOC: I'll be here throughout the day... if you need me.

Doc Hayward exits out of the room, as Annie's sister, Norma Jennings enters.

NORMA: Harry!

HARRY: Norma. How have you been holding up?

NORMA: I'm holding. How's Agent Cooper? Is that why you're here?

HARRY: He's fine.

ANNIE: I'm fine.

HARRY: Listen Norma, the town's been a wreck since the bank explosion and the Miss Twin Peaks blackout. I've been swamped and I forgot to tell you about today.

NORMA: What about today?

HARRY: Hank's trial begins today. Hank's back in town. You need to be at the Roadhouse at five.

NORMA: He's going to be set free- I know it. He is!

HARRY: Norma, calm down. There's no way, Hank-

NORMA: Hank's too smart... He'll trick them! He'll come back!

HARRY: [placing his arms around her, to calm her down] You'll be safe. Hank's being charged with the attempted murder of Leo Johnson and charged with drug dealing less than a month after being released from prison. There's no way Hank could even make bail. He's going to prison, I'll see to it.

NORMA: [almost crying] If he gets free... he'll kill me.

Norma buries her head into Harry's chest. Placing a hand on her chin, Harry turns her head upward, so their eyes can meet. Harry moves in slowly; short pecks to her lips. Norma pulls him closer as the two embrace passionately. Suddenly, Norma pushes away. Harry's eyes are spinning

HARRY: Oh my God. I'm sorry... I don't know-

Behind them, the door opens, as Big Ed Hurley enters the room. Harry and Norma let their hug slide. Seeing that Norma has been crying, Ed misunderstands their holding and walks over to her. Ed gives her his own big hug.

BIG ED: Don't you cry now, Norma. Annie will be just fine.

ANNIE: I'm fine.

With this, Norma bursts into tears again. Harry moves uneasily to the door.

HARRY: I... I've got to... work. I'll see you at the Roadhouse at five, Norma.

Harry leaves.

BIG ED: What's wrong?

NORMA: Hank's back.

OUTSIDE IN THE HALLWAY, Truman meets up with Colonel Reily, Major Briggs, Doctor Jacoby and Deputy Andy.

HARRY: Jacoby, what's the prognosis?

JACOBY: I believe with the correct stimulus, we can hypnotise Major Briggs into recalling his disappearance a few weeks ago, camping with Agent Cooper.

MAJOR: Windom Earle kidnapped me to find this information about my disappearance and it's connection to the Black Lodge. Hopefully, we can discover if I told him anything important.

REILY: We've briefed Doctor Jacoby on the top secret nature of this work.

HARRY: Good. [to Doctor Jacoby] Will Hayward says that Gerard, the one-armed man, has disappeared.

JACOBY: We had him in a locked, padded room. Somehow, our one- armed friend got out.

HARRY: I really didn't need that kind of news. Andy, have you talked with Pete Martell? What's the word on the bank?

ANDY: Thomas Eckhardt, who's dead, planted a bomb to kill Andrew Packard, who's dead.

HARRY: Josie!

MAJOR: What?

HARRY: Nothing, I just seem to be running in a circle. [talking to himself] Josie, Leland, heck Laura, who'd have guessed about them? They all revolve around this creature: 'BOB'.

JACOBY: Bob?

HARRY: These things fit into a puzzle, like those old word jumbles. Did Cooper ever mention 'Blue Rose' to any of you? [the group shakes their heads 'no'. Pause] Then this morning, Coop said, 'BOB's not from around here.'

REILY: That's funny. I was told the same thing earlier today.

HARRY: What do you mean?

REILY: Some woman with a log. She said I wasn't from around here because I didn't like coffee.

HARRY: The Log Lady. Did she say anything else? About owls?

REILY: No. Well, she did say her husband didn't like coffee. It turned his hair grey.

HARRY: His hair grey?

Somewhere in the back of his mind, Harry has several horrible possibilities running around. Harry moves away from them in a trance. He runs for the door.

HARRY: Go on with the hypnosis without me.

ANDY: But Harry-

HARRY: Not now, Andy. [Harry is gone]

JACOBY: Laura Palmer once mentioned a man named "Bob".

REILY: [to Andy] Deputy. Start working on those space transmissions. I understand you solved the Owl Cave carvings. Now break the code of those messages.

MAJOR: Pull A Ram Ear...

AT THE ROADHOUSE, Jerry Horne paces from side to side behind his brother, Ben's, wheelchair.

JERRY: Where is he? He's not here. [pacing] He's not here. [pacing to other side] He's not here.

BEN: Jerry, do I have to get this in stereo?

JERRY: Where is he? It's three o'clock.

BEN: He'll be here. Hank's not stupid.

"Well, thank you."

Ben and Jerry spin around to see Hank Jennings sitting at their table. Hank shows no signs of the pounding he received courtesy of Nadine Hurley. Hank is all smiles.

HANK: It's good to see you guys... It's been a while.

BEN: What in the hell are you doing back in town?

HANK: I knew you'd be glad to see me.

JERRY: How's prison, Hank? I hear it's much more enjoyable the second time around.

HANK: Well, I wouldn't really know.

BEN: I suppose they don't send cocaine dealers to jail anymore?

HANK: Of course, they do. But not when the charges are dropped. You see, all they had on me was circumstantial. A photo of me with a crooked mountie, that's all.

BEN: What about your former partners?

HANK: Well, Jean Renault is dead, may he rest in peace. Dudley Do-right is pleading, get this, not guilty. So he can't afford to testify against me. And Ernie Niles, my father-in-law, has decided to protect his family... position. I'm in the clear.

BEN: Congrats Hank, really. Now what do you want from me?

HANK: Well, there is one other tiny problem. I'm being charged with the attempted murder of Leo Johnson. Now they don't have a weapon or a motive pinned on me, but they do have an eye witness. Leo was about to bury an axe in this witness' skull when I shot him.

JERRY: You!... [lowering his voice, controlling his anger] You said Leo was chopping wood in his house when you shot him! You idiot!

HANK: I made a mistake, sorry. Now this witness, who's life I saved because Leo was going to axe him into pieces, was very shaken at the time, and he could possibly have fingered me incorrectly.

BEN: And why do you believe that?

HANK: Because, you two are going to pay this witness a large sum of money to say that. Or else, I'll give the prosecution a motive, of why I might have attempted to murder ole Leo. Course when they find out the Horne brothers paid me to kill Leo, they'll ask why? Next they'll discover it was to cover up the fact that you paid Leo to set fire to the mill. Then I'm sure certain land schemes will be open to the public. The two of you will be facing what, murder, arson, fraud-

BEN: You think they'll believe you, Hank? Confessed vehicular manslaughter.

HANK: Well, audio tapes don't lie. [Ben and Jerry move uneasily] I taught Leo the same trick. Now this witness, Bobby Briggs, had better be here at five to clear me. Or else.

BEN: You want us to change his mind in two hours?

HANK: You better get going.

Hank stands and moves to the bar. Ben violently turns his wheel chair toward his brother, Jerry.

BEN: I've tried to be good. To live honestly, truthfully. And in less than a week, I've destroyed the Hayward family, received divorce papers, and now I'm being blackmailed. Jerry, go to the hotel, get all the cash from the safe. I'll find young, Bobby.

Ben spins his wheel chair around, and rolls out of the Roadhouse. Jerry watches him go, then moves to Hank at the bar.

JERRY: What in the hell do you think you're doing?

HANK: Watch it, Jerry, this place has about four officers in here to protect you from me. [laughs] I have to be out tonight, don't I? Are you going to be there, big boy?

JERRY: [grabbing Hank's arm] You watch yourself or you'll be found hanging in Mr. Blotcher's barn too.

HANK: [pushing the smaller Jerry off] I'll see you tonight, Jer. Woo, Woo.

The White Tail Falls show a slow, passage of water, of time. Located on the high cliff next to the falls, the GREAT NORTHERN HOTEL rests, a proud landmark of Twin Peaks. In the HOTEL ROOM #315 of Agent Cooper, the door is being unlocked. Dwayne Jr. and Johnny Horne enter the room.

DJ: [calling] Room service! Good, he's still in the hospital. Now the plan: you stand in the hallway at the corner, if you see Agent Cooper or anyone else suspicious, scream 'indian' at the top of your lungs.

JOHNNY: Indian.

DJ: Good. Now this will take me at least five minutes to get set up in the air vent. If you see somebody, delay them.

JOHNNY: Indian.

Johnny leaves the room, as DJ locks the door behind him. DJ proceeds to jump on the bed; pulls out a screwdriver from his back pocket, and loosens the screws to the air vent above Cooper's bed. With the cover loosened, DJ slides a small tape recorder into the vent.

Suddenly DJ turns his head quickly, as the door is being unlocked. DJ drops the screws, and ducks under the bed to hide. Agent Cooper enters the room wearing a devilish grin. Cooper moves to his night table and picks up his personal tape recorder.

COOPER: Diane, it's three-thirty-eight P.M. Cooper and Robert have the same amount of letters. And don't I have a letter under my ring finger [laughs] The magician doesn't know what he's missing. Oh yes, oh yes, Unguin will be here tonight. The owls are ready to take flight.

Cooper's keen eyes notices a screw on his bed. He looks around, heightening his senses.

COOPER: Fe-fi-foe-fum. The giant smells a-

Cooper is cut off by a knock at the door. He walks over and opens it. Audrey stands on the other side; towels in her arms.

AUDREY: Hi, uh, I'm here to inspect the bathroom. [giggle]

COOPER: I'm so very glad to see you, Audrey.

AUDREY: Great. Why don't we go into the bathroom, and see how the new mirror is?

Audrey leads Cooper into the bathroom and shuts the door behind her. From the hallway, Donna sneaks into Cooper's room.

In the bathroom:

AUDREY: Well, what do you think?

COOPER: Perfect.

Cooper stares into the mirror, but the reflection he sees back is not his own. Grinning back is the evil 'BOB'.

Outside in the room, Donna looks under the bed.

DONNA: [whispering] Come out, quick.

DJ slides out from underneath the bed and hops up, making a slight thump. Inside the bathroom, Cooper hears the noise. He turns from the mirror and steps out of the bathroom; blocking Donna and DJ's escape.

COOPER: What are you doing here?

The two freeze in a guilty state, then:

DJ: I'm Dwayne Milford, Junior, from the Twin Peaks Gazette. I, uh, understand you slipped and bumped your head on a mirror here. [Cooper looks on, silently] Well, we, at the paper, are, uh, going undercover to discover if the, uh, Great Northern Hotel is at fault. Now that you know about us, uh, guess the story's dead. We'll be leaving.

COOPER: [serious] Don't go yet. [smiling] Why Donna, we never got a chance to finish our dance.

DJ: Too bad, she's got to leave. [DJ pushes her out the door] Ms. Horne, if you could help us.

AUDREY: Certainly. [to Agent Cooper] I'm sorry. Ice Cream later?

DJ places an arm around Audrey, and leads her past Cooper into the hall. Cooper watches as Donna grabs Johnny, and the four disappear around a corner. On the opposite end of the hallway, an extremely tall room service waiter turns the corner.

WAITER: Fell a victim.

Cooper turns an angry frown toward the old waiter, who continues down the hall. Cooper returns to his room, and the screw on his bed cover. Looking upward, Cooper stands on the bed, and easily removes the tape recorder placed inside the vent.

"GET DOWN FROM THERE, COOP. IT'S TIME TO FLY"

Cooper spins on his bed, to see Gordon Cole standing in his room.

COOPER: What is it, Gordon?

GORDON: NO I'M NOT WEARING ANY MAKE-UP. COOP, ALBERT'S TEAM HAS FOUND WINDOM EARLE. WE NEED YOU BACK AT THE SHERIFF'S STATION. LET'S MOVE!

COOPER: [softly] Uh-oh. [louder for Gordon] Lead the way!

GORDON: OF COURSE I KNOW THE WAY!

Cooper hops off the bed, leaving the tape recorder on the mattress. The lawmen exit the hotel.

IN BEN HORNE'S OFFICE AT THE GREAT NORTHERN, Audrey, Donna, Johnny and DJ meet.

DJ: Thanks for getting me out of there. I heard that he was a little odd, but that Agent Cooper's nuts.

AUDREY: We should have let you been caught. Bugging rooms!

DJ: I can explain!

DONNA: You can explain using Johnny, and not letting anyone know he could understand.

DJ: Well, uh. [pause] So dinner's off tonight, huh?

AUDREY: [taking Johnny aside] Johnny, I'm your sister, you should have come to me.

JOHNNY: No one talk to me. Alone. [Johnny begins to sob]

AUDREY: [also in tears] I'm sorry. I'm so sorry.

DJ: That night... the night of the fire. After what happened, your dad already thought he was retarded. But then with us going out, and the fire starting. Everybody blamed us. I think it makes sense that Johnny hasn't been talking.

AUDREY: You did start that fire!

DJ: No, I didn't! Neither did Johnny!

DONNA: Johnny, you talked to Laura?

JOHNNY: Filled with secrets. Loved her. The ring... They took her.

DONNA: Who's 'they'?

JOHNNY: Meet tonight. Close. Here.

DJ: He doesn't know what he's talking about. That night of the fire, he claims to have seen 'them.'

JOHNNY: They real. Here now.

DJ: Right, I suppose you saw them, instead of yelling when you saw Agent Cooper coming back to his room.

JOHNNY: He not come down hall...

As Johnny is talking, a pair of hands cover up the peephole from the secret passageway...

IN THE BACKYARD OF THE BRIGGS' HOUSE, Mike and Bobby are down on their knees, digging a hole behind some shrubs.

MIKE: Are you going to tell me why we're doing this?!?

BOBBY: Look man, Andrew Booker is crazy and he's got Shelly.

MIKE: We don't know that for sure.

BOBBY: He's got her, alright!

MIKE: Well suppose he does, there's no way we are going to get cocaine! Leo's gone!

BOBBY: [pause] There's a place in Low Town. Leo took Laura and I there once...

MIKE: I don't want to know anymore. Well, when we get there, how are we going to pay for it? The safe deposit box went sky high when the bank exploded.

BOBBY: That's what we're digging for.

MIKE: You buried money?

BOBBY: No...

Bobby thrusts his shovel down into their pile. A 'clank' ensues as the shovel hits a metal object. He quickly clears the dirt and pulls from the ground, a rusty metal lunch box.

Bobby holds the lunch box in his hands, which begin to tremble. He drops the lunch box and begins to cry.

MIKE: What is it? Bobby?

Mike picks up the lunch box and opens it. Inside is a small handgun. Although he knows none of the facts, Mike understands exactly why Bobby has begun to cry.

MIKE: I'm sorry, man.

BOBBY: [sobbing] I was high on cocaine, with Laura... Jesus, I had totally forgotten. I can't believe it, like it was a dream. I tried to blank my mind...

"Bobby"

The two high schoolers stand to see Ben Horne, in a wheelchair, parked in the Briggs' driveway. The two drop their shovels and walk over to Ben.

BEN: [seeing Bobby] Are you alright?

BOBBY: [wiping the tears away] Yes, Mr. Horne. Do you need something?

BEN: Yes, but I think we should discuss it alone.

BOBBY: This is Mike Nelson, he's okay.

BEN: Yes, well, hello Mike. Well, let me say, Robert, that you are a fine young gentleman. And I have a proposition which could earn you a large amount of money. Today. [the boys smile]

BOBBY: Mr. Horne, Mike and I find ourselves in a desperate need of cash. I'm ready to do anything you need.

Bobby, Mike and Ben smile, with an uneasy agreement already reached...

AT CALHOUN MEMORIAL HOSPITAL, Andy, Col. Reily, Major Briggs, and Doctor Jacoby sit on the floor in his office.

JACOBY: There doesn't seem much more we can do.

MAJOR: I'm sorry I couldn't perform.

JACOBY: No problem. Several people are immune to hypnosis. I've tried every trick in the book. You're disappearance will remain in your little gray cells.

REILY: This is the first time I've heard you mention of a hooded guardian, this 'Dweller on the Threshold'.

BRIGGS: I remember that Agent Cooper had mentioned that he saw a hood and cloaked figure when I vanished.

JACOBY: Who is this person, Major?

BRIGGS: I believe... he may be our only hope.

JACOBY: When Sarah Palmer asked to see you the day after the Miss Twin Peaks contest, she felt a power, a force. She might be able to help.

REILY: [pause] How's our puzzle coming, Deputy?

Andy sits indian style and stares at a sheet of paper in front of him. On the paper:

PULL A RAM EAR

THE OWLS ARE NOT WHAT THEY SEEM

COOPER

HOLD THIS RAM

IN THE HOSPITAL WAITING ROOM, Doc Hayward holds Norma's hands.

DOC: I fear Annie might not come out of this, unless we do something now. Norma, what can you tell me of Annie's health, including her mental health.

NORMA: She's always been so quiet. I was so much older, and she just kept to herself. Mainly she read books. Of course, there was that time you saw her before.

DOC: Yes, when she was in high school, or just out. Annie had slit her wrists. Did she ever talk to you about it?

NORMA: She had a broken heart. She wouldn't tell me much.

DOC: Did she ever mention who the boy was?

NORMA: Handsome young devil. He used to live around here. Perhaps you remember him, John Justice Wheeler.

"Jack," Audrey cries as she hops on her bad ankle through the LOBBY OF THE GREAT NORTHERN HOTEL to greet him.

AUDREY: What are you doing back so soon?

JACK: Careful girl, flying to Brazil and back in a five day period has turned my legs to gelatin.

AUDREY: I can't believe your here.[kissing him]I missed you so much.

Across the lobby, Donna, DJ, and Johnny watch the happy couple. Dwayne Jr. is fuming.

DONNA: Who's that?

DJ: John 'Justice' Wheeler. How'd he and Audrey become so close?

DONNA: You're face is turning red.

DJ: Huh?

DONNA: You're so jealous that your face is turning red.

DJ: Jealous? Please. I'm not jealous. Really, I'm not.

JOHNNY: Yes.

DJ: I'm not!

Audrey places an arm against Jack and leans on him, as she and Jack walk over to the group. Slowly, DJ places an arm around Donna, who smiles and places an accompanying arm around him. Audrey gives a queer glance, when she sees them.

AUDREY: Uh, everybody, this is Jack, Jack Wheeler. And Jack, you know Johnny, and this is Donna Hayward, and this is Dwayne Milford, junior.

JACK: [with a crooked smile] I remember ole DJ.

DJ: Jack was a few years ahead of me in high school, but we knew each other.

AUDREY: Jack, let me get you a room.

Audrey bounces over to the front counter.

JACK: [leaning over and whispering in DJ's ear] You still using nose candy?

DJ: [back with anger] You still selling it?

Jack flashes his grin, which before now had never shown its evil side. Audrey bounces back and holds Jack's arm.

AUDREY: Can we go for another picnic?

JACK: Not this minute, I've got some business to attend to, but hopefully some time tonight. Walk me to my room.

Audrey and Jack move back across the lobby to his bags. Once there, they exchange a short kiss. In response, DJ pulls Donna in close and kisses her. Audrey watches the spectacle in disbelief. Jack motions to her, and they leave down a hallway. DJ watches them leave with anger... then turns awkwardly back to Donna.

DJ: Sorry about that. It's just, well, I mean...

DONNA: It's alright.

DJ: It's just well, when I was a kid, it's like Audrey was my, well, she was like my dog. And you don't want to see your dog licking someone else, so-

DONNA: It's alright. [she places a finger over his mouth] Perhaps we could practice in case they come back. Sneaky?

DJ: [dazzled by this response] Well, okay.

This time, Donna initiates the kiss. They brake and seem lost in each other's eyes.

JOHNNY: Indian.

IN THE BASEMENT OF THE TWIN PEAKS SHERIFF STATION, Cooper, Gordon, Albert and Hawk peer through the small window in the door into the holding cell.

GORDON: DEAR LORD, DOES HE HAVE A PULSE?

ALBERT: Barely. His mind is sending enough waves to keep his heart moving and lungs working. Otherwise, he's in La- la land.

HAWK: His eyes haven't moved.

GORDON: LOOKS LIKE HE DRANK EIGHT POTS OF COFFEE.

Past the heads, in the holding cell, Windom Earle sits on the floor, propped against a chair. He has his arms around his legs. He does not move.

ALBERT: We had to roll him back here.

HAWK: What do you think, Agent Cooper?

COOPER: Hawk, there is a man who spent his whole life looking for evil. Well, oh boy, he found it.

Cooper laughs wickedly; the others stare at him. Then slowly all eyes move back to Windom Earle.

GORDON: ALBERT, HAS YOUR TEAM FINISHED IT'S REPORT?

ALBERT: I'll have the reports in shortly!

GORDON: GOOD. I'M EXPECTING AGENT HARDY'S BIO ANY MINUTE.

Gordon and Albert move away from the cell, and head upstairs. Hawk turns to Agent Cooper.

HAWK: You said Windom Earle's soul was now possessed by evil. It looks like no soul is here now.

COOPER: Oh, BOB is here. Trust me. [pause] I'm going to see where Harry and the Major are.

Cooper moves around the corner in the basement, past the shooting range, and down to the storage area. Cooper rummages through the boxes of Harold Smith's possessions, until he finds the knife. The knife Windom had stabbed him with. Pay back time.

Hawk is seated at his post. His concentration elsewhere. From inside the room, the sound of an owl's call. Hawk spins out of his chair. Windom is standing right on the opposite side of the door; peering back through the window at Hawk. Hawk is shocked by Windom, and never sees the wrench being raised behind him. With one swift move, Hawk collapses to the floor. With the keys wrestled from Hawk's belt, the door is opened. The blade of the knife reflects light up into Cooper's eyes, which fade into the eyes of BOB, which in turn fades into Windom Earle's. A pair of feet drag a motionless body outside the cell. Then they collapse. Someone turns the corner. An alarm sounds as a fire exit has been opened. Albert and Gordon come quickly down the stairs, guns drawn. They pull back their weapons upon seeing the cell door open and Hawk and Cooper lying on the floor.

AT THE ROADHOUSE, a large gavel bangs down. Judge Sternwood calls the people to be seated and opens the make-shift courtroom for discussion. District Attorney Daryl Lodwick sits at the prosecution table; looking nervously around the room. Hank Jennings and his lawyer, Wilson Mooney, sit happily at the defense table. Bobby and Mike are seated in the front row of chairs; Ben and Jerry Horne, a few rows behind them. Norma Jennings placed herself in the rear of the room. Big Ed sneaks in the door. In a back booth, an unseen guest smokes a cigarette. Sid, Judge Sternwood's aide, acts as bailiff.

STERNWOOD: Now before we get this show on the road, I'd like to know where Sheriff Harry S. Truman is?

LODWICK: The sheriff called. He had urgent business. His wishes are for us to continue without him. I have a written testimony on behalf of the sheriff, all signed and legal.

STERNWOOD: Very displeasing. Where is Mrs. Johnson, Mr. Lodwick?

LODWICK: Your honor, Shelly Johnson was given a subpena over a week ago and she's probably just running a little late.

STERNWOOD: I see. Now Mr. Lodwick, before I start any formal proceedings, I'd like to know what points of evidence you wish to point out against the defendant?

LODWICK: Your honor, we have an eye witness, who saw the defendant, Hank Jennings, shoot Leo Johnson.

STERNWOOD: I see. And what other evidence?

LODWICK: In as far as...?

STERNWOOD: I mean evidence, a murder weapon, motives?

LODWICK: We have reason to believe business deals between the defendant and Mr. Johnson-

STERNWOOD: Reason to believe? Sid, did you hear that? Reasons to believe. This is a court of law. Mr. Lodwick, have you spoken with your eye witness recently?

LODWICK: Well, no, I-

STERNWOOD: Spare me, Mr. Lodwick. Before we waste any valuable time on this case, I should inform you of something. Shortly before we came to order, your witness, a young man named Bobby Briggs came to me to tell me that he'd felt pressure from the local law enforcement to name the shooter. He had named Hank Jennings, merely because, and I quote, 'He kinda looked like him.' Although lying to the police is a certain sin, I respect the courage of young Bobby to come here today and tell the truth. [pause] Now Mr. Lodwick, does the state want to proceed with the charge without Mr. Briggs' testimony?

LODWICK: No your honor, but-

STERNWOOD: Well until such time, I will officially drop any charges on the defendant. He is free to go.

Hank explodes with a cheer and hugs his lawyer, Mooney. A stuffed envelope is handed to Bobby from Jerry Horne. Norma quickly leaves crying as Big Ed chases after her. Hank moves to shake Judge Sternwood's hand as Jerry moves to the corner booth. From a sideways glance, Hank carefully watches Bobby and Mike leave the Roadhouse. Hank has a plan for them...

In the back booth, the smoker puts out his cigarette as Jerry sits down.

JERRY: He's free. Now what are we going to do about him?

OCCUPANT: Not here. Not now.

JERRY: Then you've got a plan?

By this time, Ben has wheeled himself to the booth, and with a bit of shock at seeing the smoker exclaims:

BEN: Why Jack?! What are you doing back so soon?

JACK: I came back when I heard what had happened to Audrey. And of course, to save the little Pine Weasel.

BEN: Why that's great, Jack! Does-

Ben is cut short by a tap to his shoulder. He wheels himself around to see.

BURGER: Ben Horne? I'm H.T. Burger. I've come to inform you that you have been left something in Andrew Packard's will. Tonight, I'll be reading the will in a conference room of the Great Northern Hotel. Ten o'clock, sharp. If you could please attend?

Harry walks around THE CABIN. No one seems to be home. He decides to forgo his badge and enter. He scans the room, but no one is home, and more interestingly, no pictures hang to show to whom the cabin belonged. Harry grows inquisitive; he begins opening drawers and pantry doors. What was he looking for?

Seeing a night table, Harry moves to it; he's drawn to it. Harry opens up the drawer. The picture sits on top of a pile of similar pictures. Harry removes a sheet of paper from his pocket. There are some differences: the short dark hair, glasses, clean face... but the eyes; the eyes are the same; piercing, narrow, fiendish. Harry holds the picture and the drawing together. What had changed the man in the photo to this? Slowly, behind him, the front door of the cabin is opened...

BACK AT THE SHERIFF'S STATION, Cooper and Hawk apply ice to the back of their heads. Albert looks on in disbelief.

ALBERT: So neither of you saw anyone?

HAWK: No, he came at me from behind.

COOPER: I don't know why, but I can't even remember being hit.

ALBERT: Coop, your noggin has been bumped around so much, I'm surprised you didn't have a vision of an obese woman telling you who shot Jack Kennedy.

COOPER: Thank you, Albert. I'll take it that you're concerned. But I believe we have a deadly situation on our hands, now that we are positive Windom Earle has help.

HAWK: Do you want me to start tracking him?

ALBERT: That's okay, Tonto, we've got professionals who catch criminals and don't let them escape from locked cells!

COOPER: [scolding] Albert!

GORDON: [entering the hallway] JUST GOT THE AGENT HARDY PERSONAL FILE, AND BOY, DO I HAVE SOMETHING YOU WON'T BELIEVE.

COOPER: Agent Hardy worked with Windom Earle on Project Blue Book.

GORDON: NO, AGENT HARDY WORKED ON PROJECT BLUE BOOK WITH EARLE.

COOPER: Gentlemen, it's time to lay the cards on the table. The way I see this, Windom Earle will cause a great deal of damage before the night is through. Now the first point of business: I believe Agent Hardy's first visit to Twin Peaks was to keep me in town until Windom arrived. DEA Agent Bryson could see I was being framed, why couldn't Agent Hardy? Keep in mind, Agent Hardy left Twin Peaks just hours before we found Earle's first victim. Hardy set up Windom's cabin with FBI equipment. Being in internal affairs, Roger could have delayed or even destroyed requests for my back up in apprehending Earle. When Earle murdered Jacobs, it upset Hardy, who went to the cabin to meet with Windom. Windom kills him there. Now someone, possibly Leo Johnson, helped Windom escape... We know someone, even a group, could be helping Windom. Helping evil.

ALBERT: Who? And why?

COOPER: Excuse this sidetrack, but you were here, when Leland said: 'They made me kill Laura.' 'They made me kill her.' Windom spoke of the dugpas and a 'them'. Who are 'they'? [to Hawk] Hawk, this goes no further than this room. [to Gordon and Albert] Remember when Agent Philip Jeffries appeared a year ago. He said: "I found the ring. And there 'they' were."

GORDON: RING?

COOPER: I'm not sure. Possibly the ring, the giant took from me when I was shot by Josie Packard. But I believe 'they' are the senders of the space transmissions. Now, I was the only one to see Laura Palmer's secret diary, which we found at Harold Smith's. I did this in sensitivity to the town. Windom left pages from Laura's secret diary at Agent Jacobs body; further hinting his involvement with Harold Smith. And his involvement with 'them'. The group who ordered Leland to kill Laura. In Laura's diary, she wrote of meetings, secret gatherings in the woods. Drugs, sex, and murder in those woods. A group of people who met secretly in the trees?

HAWK: The Circulars...

COOPER: Who?

HAWK: The Circulars... they don't exist any more. An off- shoot Indian religion. Evil, cannibalism. They formed long ago... in the woods. But today, impossible. The legend had them disbanding decades ago.

COOPER: Over twenty years ago? When the space transmissions ended?

HAWK: Yes, but- they could have only one or two living members. And keeping it secret from the town?

COOPER: Is it secret from the town? Or has the town of Twin Peaks become blind to the evil? The evil you and Harry said was underneath... and in the woods.

HAWK: But legend claims not all Circulars were evil.

COOPER: The ones Windom met certainly were.

ALBERT: Cooper, just because Laura Palmer had a little tete-a- tete in the woods, doesn't mean Windom met any Circulars, or Smurfs, they both contain the same dollop of reality, or if you're just free flowing with bile, please contain yourself to this dimension.

COOPER: Gentlemen, if we remember the story of the tortoise and the hare, the rabbit had the race won until overconfidence destroyed his best-laid plans. Now, Gerard, the one-armed man, spoke of BOB's killing being a complete circle of gold. Now, Windom Earle, the rabbit, should be busy munching on carrots, while the tortoise, Gerard, gives chase. We, on the other hand, need to get in the race. And we can by finding the Circulars.

ALBERT: Coop, you've taken one too many blows to the head.

GORDON: COULD YOU REPEAT THAT, COOP? BUT LOUDER!

IN THE CABIN, Sheriff Truman sits patiently, waiting for a refill on his cup of joe. His mug is refilled and he accepts graciously.

HARRY: Thank you. Why... why didn't you say anything earlier?

LOG LADY: Couldn't speak. The owls are listening, watching, no reason to speak. It wouldn't have helped.

HARRY: You'd be surprised. How many years ago did he die?

LOG LADY: Twelve. Terrible fire.

HARRY: I remember. Destroyed several cabins. Wasn't there another man who died?

LOG LADY: Cameron Burns. He died a pun. My husband had a phrase. He kept it in his locker at the fire station: 'Fire Walk With Me'.

HARRY: [taken back] When you saw the wanted poster, did you...

LOG LADY: Know that it was my husband's face? No, evil has changed him from the man I knew, into a beast.

HARRY: Your husband's name was?

LOG LADY: Bart Lanterman, Robert Barthalamew Lanterman.

HARRY: Whew. He gave you the oil. The gateway?

LOG LADY: [pointing to the police sketch of BOB] That is not my husband. That is evil... evil needs... wants a face. Evil takes those who fight it. Darkness wins the battle and keeps the body as it's prize. The soul is then trapped.

HARRY: Where is your husband's soul? [Margaret looks down to the log in her hands] In the log?

LOG LADY: Your eyes would explode in the sun. My log says... your love is trapped in wood.

HARRY: What does evil want? How do we defeat it?

LOG LADY: My log says 'Evil has taken a new face'... oh no, avoid the fire. Evil can only be defeated by love. The owls have chosen. Now, they merely wait for the ritual, tonight. The face will die...

MEANWHILE AT CALHOUN MEMORIAL HOSPITAL...

REILY: What's keeping Doctor Jacoby?

MAJOR: I understand that Sarah Palmer was heavily sedated. She's needed lots of time to adjust to not having her family. [to Andy] How is our puzzle coming?

ANDY: Slow, but I think I may have something here. 'Pull A Ram Ear' could be-

The lights above them begin to flicker. Then the lights go totally out. Quickly, the tube bulbs begin to flash rapidly; a strobe light gone astray. Dr. Jacoby backs into the room.

REILY: What happened to the lights, doctor?

JACOBY: [strange voice] It must be the transponder.

MAJOR: Are you alright, Doctor Jacoby?

JACOBY: [strange voice] Why no. Someone has knocked me out and put me in a supply closet. But- [he turns around to reveal that it is not Jacoby, instead Windom Earle in disguise] I'm fine. And if at first you don't succeed- [Windom pulls out a gun] Try, try again.

Windom shoots Briggs in the chest. Then disappears in a black flash of light. Drawing his gun, Andy gives chase.

MAJOR: The gate keeper will help...

Briggs goes out of reality as Reily tries to help him...

TWIN PEAKS

6:30 PM

Bounded and gagged, Shelly Johnson sits tied to a chair in theLIVING ROOM OF HER HOUSE. Andrew Booker walks in circles around her. Andrew holds a long knife.

ANDREW: Shelly... Shelly, you can pick 'em, can't you? Your husband, Leo, a drug smuggler, a wife beater, an arsonist, a cheater, and a murderer... Your boyfriend, Bobby, a drug dealer, a liar, and also a murderer... Great guys, huh? Oh, Bobby's football player mentality is working hard. He hasn't even come to look for you here!?! Your own house! Well, I'm ready for him if he'd stumble across us here... And don't worry. Cow. We've got plans for him... and for you, Rodent!

Andrew begins to rock the chair Shelly is tied to back and forth with a violent rage. Shelly tries to scream, but gets only a muffle out from the gag. Andrew slaps her, and continues to shake her using all his might.

THE VIOLENT SCENE IN THE JOHNSON KITCHEN FADES INTO THE INTERIOR OF THE HAYWARD LIVING ROOM, where Dwayne Jr. and Donna are kissing on the sofa. Their embrace grows stronger as DJ leans over her. Laying back on the sofa, Donna begins to unbutton his shirt. DJ lifts her sweater, but stops and raises himself off her.

DJ: [with a puzzled expression] Uh, I, uh, don't want to sound silly, but what are we doing?

DONNA: [smiling, shaking her head ] I don't know. [they burst into laughter]

DJ: I mean, it's not that I want to stop. I don't want to stop. I really don't want to stop. Really, I-

DONNA: But...?

DJ: But I want you to be sure. We just met a couple of hours ago. For me, at least, this isn't normal.

DONNA: The way I see it: we are two people who need somebody, anybody. This afternoon, I was feeling very alone. There's nothing strange in this. [pause] I don't want to stop.

DJ: You don't?

DONNA: No. Do you?

DJ: Hell no.

They embrace again, when Donna quickly pulls back.

DONNA: Whoa. Look at the clock. It's a quarter to seven.

DJ: We promised Johnny to be back at seven.

DONNA: I'll go grab the flashlights, and rain gear.

Donna bounces back to the kitchen. DJ rebuttons his shirt and wanders over to the mantel. There is a small spot of blood from where Ben's head had hit. Several family pictures line the mantel, but two catch his eye. The first being Donna's junior prom picture with Mike Nelson. The second is a picture of Donna and Laura Palmer hugging James Hurley. DJ had no knowledge of James, but had several encounters with Laura. He hoped Donna was not the same type of person.

The door bell rings out, and Dwayne moves to the door.

DJ: [calling] I'll get it!

Opening the door, an overwhelming sense of deja-vu filled his mind. The two young men eyed each other.

DJ: Hello.

JAMES: Hi. Is Donna here?

DJ: Why yes, come in. [long pause, as he steps aside for James to enter ] You... you wouldn't happen to be her boyfriend, would you?

JAMES: Well, yeah.

DJ: Great. She's said a lot about you.

DONNA: [coming out from the kitchen] DJ, who was at the door? [she freezes when seeing James] James!

JAMES: Donna! [James runs and hugs her]

DONNA: When did you get back? Why didn't you tell me?

JAMES: I've called. I've written. No one's been here for the last couple of days. [pause] Out on the road, I met several people, but I couldn't escape the past. I called Uncle Ed. Principle Wolchezk told him if I came back this week, he'd let me graduate. He's worried about losing his job over the drop out rate. So, wind in my hair, two wheels and me, I came back. I never forgot you, Donna. I love you.

DONNA: [nervously] James, this is DJ.

JAMES: Aren't you Mayor Milford's son?

DJ: Yeah, when your dad's the mayor, everybody know's you. You are?

JAMES: James, James Hurley.

DJ: Okay, you looked familiar. [to Donna] James' mother writes for the Gazette occasionally. [explaining] When my uncle passed away, I came back from Spokane to oversee things. Donna is helping me.

JAMES: Really?

DJ: Article on wildlife at night. [DJ grabs the flashlights and rain gear from Donna] But I suppose she'll want to spend tonight with you. So I'll be going.

DONNA: But-

DJ: [making eye contact] It's alright, really. You two are in love. I'm jealous. [DJ moves to the door]

DONNA: What time will you be in tonight?

DJ: Oh late, I'm sure. After midnight.

DONNA: I'll be there, at the Great Northern.

With their eyes locked, Donna and DJ seem moved by the awkwardness of the situation. He opens the door.

DJ: Goodbye. [DJ leaves]

JAMES: What is it?

DONNA: I can't talk about it. But James, I'm so glad you're back. We have a lot to talk about...

THE HALLWAY AT CALHOUN MEMORIAL HOSPITAL is lined with every type of law enforcement officer available. Sheriff Truman desperately tries to move through the crowd. He pushes his way through into Jacoby's office. Inside the room, Cooper, Hawk, Andy, Reily, Albert, and Doc Hayward are gathered.

HARRY: I got here as soon as I could. How is he?

DOC HAYWARD: The Major is in critical condition. He survived the surgery to remove the bullet, but it punctured internal organs. If he comes to, Major Briggs may stay in a condition similar to what happened to Leo Johnson after he was shot. Doctor Jacoby took a strong blow to the head, but he should be alright.

ANDY: [sobbing] It's my fault. All my-

HARRY: Andy, calm down.

ANDY: It was. He may die. [crying]

The group lowers their eyes to the floor. Albert steps forward.

ALBERT: [grabbing Andy by the shoulders] Deputy Brennan. I want you to be quiet for the next thirty seconds because I'm going to do something I do not do often. The best law enforcers lose their emotions the first time they punch the clock and can't regain them until they're in Florida, wearing funny shirts with a gold watch on their wrist. You still have yours, and damn that's lucky. You've saved Sheriff Truman and solved the Owl Cave petroglyph, but we can't cry or celebrate until Windom Earle is behind bars. So pull yourself together.

ANDY: [who had stopped crying] Alright.

COOPER: Thanks Albert. Harry, what do our troops look like?

HARRY: We've got every cop from Fairville and the Tri-Cities, ten Diamond County officers, and six State officers, plus seven of your men, blanketing the city.

COOPER: Good.

"Agent Cooper! Agent Cooper!"

F.B.I. Agent Sam Stanley shuffles into the room, his arms wrapped around his 'machine'. Albert roles his eyes.

SAM: Agent Cooper. I was informed by Lucy Moran of the Twin Peaks sheriff's department that I would find you here. Agent Cooper, you're out of your hospital bed?

ALBERT: Keen power of observation there, Sam.

SAM: Agent Rosenfield, I'm glad to see you.

COOPER: Everybody, meet Agent Sam Stanley. Sam, everybody.

HARRY: [reaching his hand out, they shake] Sheriff Truman, call me Harry. I understand you worked on the Teresa Banks case.

SAM: That's correct. [shocked] Has Agent Desmond reappeared?

Cooper and Albert exchanged a knowing glance. Hawk and Harry make eye contact; they are puzzled.

COOPER: Sam, I want you to go with Doc Hayward here, and examine an injured man on our team, Major Garland Briggs. I want you to monitor him in case he says anything.

Confused Sam is lead away by Doc Hayward out of the room.

COOPER: Colonel Reily, head back to your base; grab any information you have on Agent Roger Hardy and Project Blue Book. Then bring that, and any man power you can spare back up to town. [Reily nods and leaves] Albert, I want you to take three of our men up to Glastonbury Grove and stand watch... Earle should be returning there soon. [Albert leaves] Harry, Hawk, Andy. Round up the car, we need to have a meeting and I know just the spot.

Reily, Albert and the three local officers head out. As they exit the room, Doctor Jacoby with a bandaged head, enters the room, with Sarah Palmer under one arm.

JACOBY: Sarah has a message for you, Agent Cooper.

COOPER: Mrs. Palmer?

SARAH: [in a low dark, slowed voice] I'm in the Black Lodge with Agent Cooper.

Cooper moves backward, struck by the tone of her voice. Sarah Palmer shakes in fits of rage; she's having a vision...

SARAH: The tattoo! It's on your left arm!!!

Cooper attempts to lift his left arm, but it has gone numb. With his right arm, he pulls back his jacket. As Cooper does this, time seems to slow down. He unbuttons his shirt and pushes back his sleeve to reveal his upper arm. On the bicep, is the Owl Cave Symbol! Cooper staggers with recognition.

Sarah Palmer lets out a shriek of hysteria. Doctor Jacoby tries in vain to keep her on her feet. Cooper looks down and sees his stomach bleeding. Several officers rush into the room, and try to subdue the screaming Sarah.

The lights flash. Cooper opens his eyes, and looks to his torso. It is not bleeding. He looks to his arm, the tattoo of the Owl Cave symbol is gone. Cooper rebuttons his shirt, and pushes his way out of the room.

IN A DIFFERENT HALLWAY, Harry calls to Sam Stanley.

HARRY: Agent Stanley!

SAM: Yes, Sheriff Truman. Can I help you?

HARRY: This is a bit of a strange question, but earlier today, Gordon Cole and Albert mentioned a 'Blue Rose'.

SAM: [excited] Did they tell you about it?!

HARRY: Well, not exactly, they just asked if Agent Cooper had mentioned it.

SAM: Oh, quite exciting. I've gone back and studied some of the cases, from the beginning with Agent Jeffries, up to the Laura Palmer case. And then I figured it out.

HARRY: Cases? What does the 'Blue Rose' mean?

SAM: I can't tell you, Sheriff Truman.

HARRY: You can't? It's a mystery?

SAM: That's right, you've got all the clues, but you've got to put them together, in order. As if you're placing stones in a path. Normally, in your presence, I would never bring it up.

HARRY: [pause] What did you mean in there about an 'Agent Diamond'?

SAM: Agent Desmond. He and I worked the Teresa Banks case.

HARRY: And...

SAM: He disappeared into thin air. Just like all the others.

HARRY: Cooper disappeared into thin air, three days ago. In Glastonbury Grove.

SAM: But he's back. Makes you think. [pause] Sheriff Truman, can I ask a favor from you?

HARRY: Of course.

SAM: I want to dig up Leland Palmer. Give him a post mortem.

HARRY: Why?

SAM: This machine. Cracked the Whitman case with this. Agent Rosenfield's still fuming. We couldn't have solved it without a machine like this. And no one else has a machine like this.

HARRY: [slowly nodding] Sure. You've got my permission. Just be sure to get Sarah Palmer's. She's in with Cooper now.

Agent Stanley moves away, as Cooper rounds the corner.

COOPER: Ready Harry? We've got some facts to straighten out...

The TOWN of TWIN PEAKS moves at a slow rate. The stop light, swinging in the wind, is synchronized to turn red to any on-coming traffic. The chamber of commerce decided this, hoping travellers would get out of their cars and spend money in the town. The light is red now.

Slowly moving down the hallway of Twin Peaks High, a picture of Homecoming Queen Laura Palmer sits locked away in a storage case. Fading into a slow moving trip down a Great Northern hallway. An evil light shines on the Palmer house, and AT THE DOUBLE R DINER, Norma sits in the back crying. At a booth near the front of the diner, Mayor Milford and his fifty years younger bride to be, Lana, sit.

LANA: ...because if I had I would have been kidnapped like that Blackburn girl.

MAYOR: Well, I'm just glad you're not angry. I voted for you to be Miss Twin Peaks, but those others, eh...

LANA: No. Now when are we going to get married?

MAYOR: Well, uh, you see, uh, Dwayne Jr. He, well...

LANA: What sugar?

MAYOR: He's like his mother. She, uh, well, she and I, we tried to have kids for so long. I'd really given up. I was fifty-, uh,uh and she was forty, uh, uh, One night after bingo, I had won, you see. We, well.. we... and Dwayne Junior was born. They... they told her child birth would be tricky. A forty-three year old woman shouldn't... [tearing up] She died... He's my only child.

LANA: Sugar, I'll treat him like my own son.

MAYOR: Son? Damn, he's your age!

LANA: Baby face, don't worry. I want to have at least two children of our own.

MAYOR: Children!?! What the-

Into the diner, Sheriff Truman, Cooper, Andy and Hawk stride to a booth.

HARRY: Coop, I'm not sure we should be eating when Earle is-

COOPER: Harry, battling Windom will be difficult enough. No reason to forfeit an edge, by doing so on an empty stomach.

MAYOR: You! You! [he gets up and approaches Harry and Cooper] This is a pleasant little town! Kidnappers! Arson! Girls being murdered! Banks exploding! Where have you been? [to Harry] I should have your badge, ha ha. This-

HARRY: Mister Mayor, please.

MAYOR: People don't think it's safe to live here anymore! I'll fire you! Fires! I'm too old for... kids! What am I suppose to do... I'm almost eighty!!! I can't have kids! It'd kill me! I won't-

LANA: [placing her arm around him] Come on, sugar. Let's go home.

MAYOR: Too old, I am! [he whines as he's lead out the door]

The group watches them leave; then sits at a booth on the opposite side of the room. Harry does not sit, but instead moves back into the kitchen. He sees Norma crying.

HARRY: Norma, what's happened?

NORMA: Why weren't you there?

HARRY: Norma, I had something come up. I-

NORMA: [no longer crying; becoming angry] He's free!

HARRY: What? How? Bobby Briggs saw Hank-

NORMA: Bobby didn't testify. Said he wasn't sure.

HARRY: But- [pause] Bobby's father... The Major was shot today. He may not make it. Dear Lord, what's happened to this town?

Harry and Norma are lost in each others' eyes. The passion still exists, but the uneasiness does too. Harry puts a hand on her arm.

HARRY: Today at the hospital-

NORMA: [pulling her arm away] Don't! Don't say anything.

HARRY: I just... I've been going nuts since Josie died. I'm sorry if I did anything to hurt you...

NORMA: Hank will be coming here soon.

HARRY: Norma, I want you to grab some things, and head up to the Great Northern. Stay there tonight. I'll be by later tonight.

NORMA: You will?

HARRY: I promise.

NORMA: Will you spend the night? [looking longingly into his eyes]

HARRY: I will.

Harry and Norma embrace in a slow passionate kiss. Whatever feelings Norma had for Big Ed have vanished; she has finally found a man who could be good to her. As they split apart, Harry looks down and quietly leaves the kitchen. Norma watches him return to his booth. Heidi stands next to his table taking their order. Norma's sense of warmth turns to a feeling of nervousness. She moves slowly, but knows one thing: she is being watched. Turning around slowly, she sees Hank in the back corner.

HANK: Hi honey, I'm home. Time to clean up our house.

NORMA: You wouldn't try anything with Harry here.

HANK: No, but neither will you. Gosh, I'm not even gone two weeks and you've gone from being my buddy Big Ed's whore, to the sheriff's. What a scandal if the local press found out. 'Wife loves husband's best friend.'

NORMA: Only you could think you're still friends, Hank.

HANK: If only you knew... But still, we are moving, babe. Moving to live off... I mean, live with your mother in Seattle. I okay-ed it with her. I've already told Irene down at the realtors, so we can sell this dump.

NORMA: Don't try to make a joke.

HANK: No joke, honest. Since you and I are married, and I co-signed the mortgage on this dump, when you bought it.

NORMA: I paid for this diner, not you!

HANK: Yes, with money from papa Blackburne's life insurance. But the bank doesn't care who paid, just who's name is on the sheet. I'll be back around midnight. Be ready to go.

Hank blows her an imaginary kiss. He laughs, then turns and exits. Out in the diner...

HARRY: So Agent Hardy worked on Blue Book with Earle. Whew, I wonder if he knew about Harold Smith?

COOPER: Probably.

HARRY: How do you see the Circulars fitting in this?

COOPER: Reily said Earle feel in love with a woman in a cult, my guess: the Circulars. There is a circle of trees in Glastonbury Grove.

HARRY: Why shoot Major Briggs?

COOPER: Good question. When Major Briggs disappeared he spoke of the White Lodge. A figure in a hood and cloak blocked my path to the Major and the light. Perhaps Major Briggs had found the entrance to the White Lodge.

HARRY: The Log Lady said evil could be defeated by love.

COOPER: Evil doesn't want the competition so they had Windom Earle kill Briggs.

HAWK: But the only thing Major Briggs remembered was fire, and a giant owl.

HARRY: Fire Walk With Me. [Cooper looks to him] The Log Lady... her husband, the forest fighter, his motto was 'Fire Walk With Me.' His name was Robert.

ANDY: Oh boy.

HAWK: But Leland Palmer claimed 'BOB' came to him, when he was a child.

HARRY: Evil came to him as a child. Evil's present form is BOB, so he said BOB came.

COOPER: Excellent observation Harry.

HARRY: Yeah, well considering I've been sheriff here for eight years, while drugs, murders, rapes, and secret gatherings are occurring under my nose. I suppose it's a good observation! My best help comes from a woman who speaks to a log!

COOPER: Harry.

HARRY: The bank exploded, so I suppose I should guess aliens did it.

ANDY: Really!?

HARRY: Coop, where do we go from here?

COOPER: I don't know. We've got to find some Circulars and maybe they can help us with the code: Pull A Ram Ear.

HARRY: If Windom Earle knew where the Black Lodge was, why did he kidnap Annie?

HAWK: What do you mean?

HARRY: He must have had a reason. [thinking back to his conversation with the Log Lady] Evil wants a face...

COOPER: What's that?

Norma walks up to the table and the conversation stops.

NORMA: Guys, I've got to close up early tonight. No problem?

HARRY: No, we can finish up at the station.

NORMA: Heidi will get you some boxes. I'm sorry if I caused a problem.

COOPER: No problem.

Cooper's keen eye catches the coat Norma is carrying. Inside one of the pockets is a small handgun. Cooper looks upward to Norma's face, but sees the eye contact between Norma and Harry instead. Norma turns and exits the diner.

COOPER: So Harry, how long have you and Norma been-

HARRY: Coop!

The two exchange their usual friendly glance and laugh.

MEANWHILE MIKE AND BOBBY DRIVE DOWN A DIRT ROAD; slowly, quietly, and cautiously. Mike has the wheel; Bobby clutches the revolver in his hands. The headlights are off.

MIKE: It's only a little past eight. Do you think we're too early?

BOBBY: I don't care. Andrew Booker wants us under the bleachers at school at ten. We need this stuff now.

MIKE: Cocaine dealers might not start hosting before ten... Sure did get dark quick. Bobby, I can't even see a road; we're in total darkness. I don't see a cabin.

BOBBY: This is it. Keep moving... slowly. [Mike slams on the brakes; shaking the car] What???

MIKE: Did you see that?

BOBBY: No. But if you did, something's out there. Keep your eyes open. These guys are the kind which shoot first, ask questions later.

Suddenly, they are blinded by a large spotlight pointing directly at them. Mike slams the brakes again. Bobby turns and notices their car is surrounded by men in military fatigues and armed with uzis. The men shout things to the car in French, neither Bobby nor Mike understand.

MIKE: I'm glad I'll die over this.

BOBBY: Calm down, money speaks a universal language.

Armed men open the doors and motion for the two teens to get out.

A huge wooden door swings open as the football stars are ushered into A CABIN. Joseph St. Claire, a tall man with a thick long mustache, stands in the center of the room. He is flanked by two extremely large guards. Joseph speaks English poorly, through a thick French accent.

JOSEPH: I am expecting no one. You, I do not know. You will have one minute to explain why I not kill you.

BOBBY: We have lots of money. We'll give it to you in exchange for a certain item.

JOSEPH: Money, I like. Still, I'll kill you. Keep money and 'certain' item.

BOBBY: But wouldn't that hurt business?!

JOSEPH: No. I kill you, not business. We not expect you. Today, we are closed. [Raising his gun] You have five seconds to live. Five. Four.

"Put that gun down, Joseph."

BOBBY: Jack!

JACK: [who is standing behind them] Bobby Briggs. On a school night, too. I'm shocked. Joseph, you better start treating our guests better.

JOSEPH: I did not know, sir.

BOBBY: Sure, pal.

JACK: Well Bobby, I saw you accept money from the Horne's today as you changed your testimony on ole Hank. I just didn't think you'd waste it on this.

BOBBY: We're in a bind. Jack, this is Mike.

JACK: Nice to meet you, Mike.

MIKE: That goes double for me.

JACK: You two are lucky I came back today. And I brought an extra amount of a 'certain' item. Joseph, if you will... [Joseph exits] You are Twin Peaks' future. I was once and now you are. I wonder what you're doing later tonight?

BOBBY: We're kind of booked.

MIKE: [under his breath] Good pun.

JACK: That's a shame. A group, I belong to, we're having a meeting tonight. Always looking for new members. Great parties.

BOBBY: Sounds great, but we've got important business. Perhaps the next time?

JACK: You can count on it. Ah, there's Joseph.

Joseph returns with the guards and a pouch over his right shoulder. Joseph gives the sack to Bobby. Mike lets out a sigh of relief. He turns and finds himself face to face with an odd old man. The man has a thick shock of grey hair on top of his large round head. His eyes bulge out and dance in the socket. But what Mike finds most bizarre is that while he is sitting down; the old man is standing up, but they are face to face.

OLD MAN: It's going, how?

Mike grimaces, turns for help.

JACK: Don't be alarmed, that's only old George... Has trouble with English. He's French Canadian, so he doesn't understand us all too well.

BOBBY: How's it going, little man?

OLD MAN: From around here, I'm not. [the old man laughs. Mike and Bobby smile half heartily]

JACK: George used to work at a circus, but quit. Circus made fun of little people.

BOBBY: [handing his money to Jack] Well, I guess we'll split. Bye Jack... George.

OLD MAN: Watch for fires! Death follows you. Takes those you love... I've got a chair down here for you.

Mike leaves the cabin, followed by the confused Bobby. Jack smiles as he puts on his glasses...

While a force moves down the HALLWAY OF CALHOUN MEMORIAL HOSPITAL, Annie Blackburne opens her eyes...

For unknown reasons, Ronette Pulaski is in the EMERGENCY ROOM screaming at the top of her lungs...

IN THE WOODS, The wind blows thetree branches, which rock in a steady pulse. The flashlights search the tall branches above.

DJ: She'll be coming round the mountain, when she comes

She'll be coming round the-

AUDREY: Do you have to sing?

DJ: You never went camping when you were a kid, did you?

AUDREY: No. [pause] I didn't want to.

JOHNNY: mountain, when she comes

She'll be coming round mountain [DJ joins in]

She'll be coming around the mountain

She'll be coming around the mountain, when she comes.

Johnny and Dwayne Jr. laugh; they look back to Audrey, who finds none of this amusing. Johnny continues to lead the way. Bringing up the rear, Audrey slips and falls to the ground, screams at the pain. The two men rush back to her aid.

DJ: What happened?

AUDREY: My ankle. I'm not suppose to be on it.

DJ: I understand, but saddle shoes aren't great for hiking. Looks like your perky plaid skirt may be ruined too.

AUDREY: This is all I had!

DJ: Well, maybe we should call it a night.

JOHNNY: No! Close!

AUDREY: I think I can keep going.

DJ: You shouldn't be walking on it.

AUDREY: I could ride on your back.

DJ: Thanks for volunteering me. [he throws Johnny an angry look. Then, turns and lets Audrey hop on his back] Well, lead on, Chief.

Johnny leads them off; the sound of the falls can be heard.

AUDREY: Dwayne, I didn't know you knew Donna?

DJ: I don't. I met her about one o'clock today.

AUDREY: You two seem to have hit it off.

DJ: You mean, the kissing in the lobby? I guess I'm irresistible. Just one problem, she dumped me about ninety minutes ago, when her boyfriend got back in town.

AUDREY: Oh.

DJ: How long have you known Jack Wheeler?

AUDREY: We're in love.

DJ: So you can't have known him too long then, huh?

AUDREY: That's rude.

DJ: Rude like the way you and your family blamed me for a forest fire, I didn't even start!

AUDREY: I didn't do anything! [pause] I asked to see you before the bank blew up.

DJ: Thanks for thinking of me when you're around explosives. [pause] Audrey, I haven't seen you since you were a kid; how did you know I was back in town?

AUDREY: Contacts. I've got them. I overheard it at the Miss Twin Peaks Contest.

DJ: Ha!

JOHNNY: Shhh!

The three gather closely. Johnny has heard something in the bushes ahead. The leaves are ruffled again. Dwayne Jr. reaches into his jacket and pulls out a hand gun.

AUDREY: [whispering] What are you doing with that?

DJ: Didn't think we'd need it.

He places Audrey down; they move toward the brush. DJ moves some branches when he sees a figure in the dark. He reaches out, grabbing the man by the back of the shirt and throwing him to the ground. Audrey and Johnny turn the flashlights on the figure as Dwayne points his barrel at him. They are shocked to see a one-armed man, Gerard, breathing heavy and convulsing.

DJ: Talk stranger or you'll receive a bullet implant!

GERARD: What can I answer to one who doesn't hear?

DJ: [shaken by the remarks] What are you doing here?

GERARD: My name is Mike. I seek what you do. Salvation. They will meet tonight. I was a cycle ahead. You... you were there... you saw us; We saw you. Fire was big that night.

DJ: [half angry, half crying] Stop it! You better start talking some sense before I remove your other arm, you freak!

GERARD: [pointing to Johnny] You! You were there too! We've been watching that one!

JOHNNY: Saw you.

DJ: What are you talking about?! ... nothing, we didn't see anything!

GERARD: Sometimes those can not. Only the gifted... and the damned.

DJ: He's nuts.

AUDREY: Let's get out of here.

JOHNNY: No. They will be. Soon.

GERARD: Very soon. We must hide from the owls.

DJ: Johnny... we're going home. Now.

JOHNNY: No, fight.

GERARD: I will show you where. [Gerard stands] This way.

Gerard moves back into the brush, with Johnny following. DJ remains frozen, gun pointing out.

DJ: (crying to himself) I didn't... I didn't see anything...

AUDREY: We've got to protect Johnny.

DJ moves so Audrey can climb on his back. He slowly puts the handgun back in his pocket. They move down into the brush.

AUDREY: My palms are itching.

DJ and Audrey look upward into the dark night...

AT THE SHERIFF'S STATION, Andy and Lucy eat together in the lobby.

ANDY: Would you like some chicken?

LUCY: No.

ANDY: Corn?

LUCY: No.

ANDY: Bread?

LUCY: No.

ANDY: Soup?

LUCY: No.

ANDY: Coffee? [no response] Lucy?

LUCY: No.

ANDY: Cherry pie?

LUCY: No.

ANDY: Stuffing?

LUCY: No.

ANDY: Green beans?

LUCY: No.

INSIDE THE CONFERENCE ROOM, Hawk, Harry, and Cooper sit in a circle.

COOPER: Something must happen soon? Any luck, Hawk?

HAWK: I just got off the phone from the chief of my tribe. He claims no knowledge of any Circulars.

HARRY: Even when legend has them existing, numbers reached only as high as sixty, maybe. Coop, we have no evidence. Not one reason to believe a new batch of Circulars are here.

HAWK: When talking to the Chief, he spoke of the good deeds they did.

COOPER: So the cannibalistic aspects of the tribe are forgiven?

HAWK: You can not assume Windom Earle's evil is from the Circulars.

COOPER: I'm sorry Hawk. I just am driven to the notion that we are on the right track. We need to know whoever meets at night. And while we're at it, we'd need a map to find them. [he snaps and turns to the Owl Cave carving, still on the black board] A map!

HARRY: Coop, I've been thinking. You said BOB was in Earle, but when Albert and his men found Earle, it looked-

COOPER: Harry, if I could have a minute... In this petroglyph... [he points features out] This... this is the giant and the little man. Here's the circle of trees representing Glastonbury Grove. [pause] Now what's this? [Cooper points to a bunch of vertical lines in the center of the carving] Hawk?

HAWK: It looks like- the falls!

HARRY: The falls?

HAWK: White Tail falls.

COOPER: Exactly what I was thinking? Water coming over the falls.

HARRY: But...

COOPER: What?

HARRY: I see the falls, but when I first looked... I thought I saw curtains.

COOPER: Yes! Now, we have something. The falls... the curtains. If this is the falls, look at it's relation to the fire: The Great Northern Hotel.

HAWK: When Gerard escaped last time, I found him near the falls.

COOPER: Even though Harry and I had just pulled Leland/BOB over on Sparkwood, 'MIKE' Gerard was at the falls. We need Gerard.

HARRY: It's a good thing he escaped, in a way. Doc Hayward would never have let you near him after the last way you treated him.

COOPER: The one-armed man. An evil spirit. Circulars. Windom Earle. Harold Smith. Roger Hardy. Space transmissions. Pull A Ram Ear. A dead homecoming queen. I can see the connections like wires holding Peter Pan afloat, but why?

HAWK: Why?

COOPER: Why kill Laura Palmer?

HARRY: Evil needs a face.

COOPER: Hawk, get Andy in here.

Hawk opens the door, and they can see Andy and Lucy in the lobby.

ANDY: Crackers?

LUCY: No.

ANDY: Orange Juice?

LUCY: No.

ANDY: Water?

LUCY: No. No, I don't want any food. I want... oh, never mind.

ANDY: Lucy... would you marry me?

LUCY: [moved by the words] Yes! That's what I want.

Lucy and Andy kiss. Andy drops his plate on the floor. Harry, Hawk and Cooper watch on, smiling.

ANDY: Lucy, I want you to listen to me. I wrote a short poem about you. [he pulls a sheet of paper from his pocket, reading]

A girl in the moon, by the lake,

in the night,

in a breeze,

on a dock,

near a fence,

with a bench,

in a dress,

in the rain,

by a boat,

in the water,

near another boat,

next to fish,

on the sand,

by a-

COOPER: Um, Andy?

ANDY: Darn, I lost my space... A girl in the moon, by the lake, in the night, in a-

COOPER: Andy, I'm sorry, but could you help us in here?

ANDY: Oh alright. [to Lucy] I've got to help Harry and Agent Cooper.

Andy stands and enters the conference room. Harry closes the door behind them.

HARRY: Congratulations, Andy.

ANDY: Thanks. [pause] What do you need?

COOPER: We need to have the space transmissions solved.

ANDY: I can't figure them out. That one is really tough.

HARRY: What one? Which one?

ANDY: The owls are not what they seem.

COOPER: Have you solved the others?!?!

ANDY: Yes. [pause] Couple of hours ago. [long pause]

HARRY: What is the solution, Andy?

Andy walks over to the blackboard. He turns it around and writes: 'Pull A Ram Ear' on the board.

ANDY: Pull A Ram Ear.

Andy takes the chalk and begins to rearrange the letters in a different order. The three other men can not believe their eyes. Andy points to his new creation.

ANDY: Laura Palmer. [he writes the next code] Hold This Ram. [he rearranges the letters] Harold Smith. [he writes the next code] Cooper. [Andy rearranges the letters again] Eco-rop. I'm not sure what Eco-rop means.

HARRY: Holy smokes. Those weren't space garbage; they were death warrants.

COOPER: Harry, Harold Smith heard his own death being issued on his short wave radio. Realized they wanted him dead. Killed himself. [pause] Hawk, gather up Gordon and the men, tell them to put on the SWAT gear. We're going to the falls...

MEANWHILE, an old man sits in a small dark green room. The old timer smokes a pipe, and rocks in his rocking chair. He waits. The man, who had lost his wife and eldest son, held a map. The grandfather clock next to him has loud clicks to break the silence. His wife had foreseen things years ago. Of course, she had died several years ago, having died for her younger son's sins. From the barrel of the old man's pipe, a bubble emerges, floating upward in the air.

It pops...

OUTSIDE BIG ED'S GAS FARM, Norma and Big Ed stand talking. The wind has picked up.

BIG ED: Legally, he can't sell the place.

NORMA: Well, legally Hank can't shoot Leo Johnson and get away with it.

BIG ED: Stay here tonight Norma.

NORMA: I'm not going to spend the rest of my life afraid of him.

BIG ED: You don't have to darling. Divorce him.

NORMA: Are you divorcing Nadine?

BIG ED: I love you, Norma.

NORMA: That doesn't answer the question, Ed.

BIG ED: Unlike Hank, Nadine's been great to me. I even love her, in a way. I never wanted to hurt her. So I never told her my feelings for you. And I just hurt her more. When I find her, we're going to sit down-

NORMA: I'm leaving.

BIG ED: Norma, I won't let Hank hurt you again

Norma gets in her wagon and leaves. Big Ed retires to his garage. In a dark shadow, Nadine moves away...

IN THE STREET IN FRONT OF THE HAYWARD HOUSE:

DONNA: What are your plans for tomorrow?

JAMES: I don't know. You think you have problems, then you hear someone else's. Whew. I'm sorry Donna, this must be rough.

DONNA: No one's told me anything. Not my mom, not my dad. Not Ben Horne. Why would he ignore me his whole life?

JAMES: Are you going to be okay?

DONNA: I hope so. I'm glad you're back, James.

JAMES: We are meant to be together. Let's go on a picnic tomorrow.

DONNA: I'd like that.

JAMES: Well, I've gotta get going. Principle Wolchezk left some homework for me in the school mailbox. Then I've gotta find my mom. [James leans forward and kisses Donna] Everything will be alright.

James kick starts his motorcycle and drives off down the street. Donna watches him ride away. She turns and walks back toward the her house. Entering the house, Donna finds herself in total darkness. She flicks the light switch in vain. The power must be off. She moves cautiously to the kitchen, then remembers DJ had taken the flashlights. Donna moves into her dining room in search of candles. Footsteps behind her...

DONNA: [spinning around] Dad? Is someone there?

A light, a bright spotlight, beams down on the dining room table. In the center of it's beam, a ring lays on the table. Donna moves forward, picking it up. On the ring is the Owl Cave Symbol.

FLASH. Donna sees a flame in front of her. She freezes when she sees it's in the cradled hands of Pierre Tremond.

PIERRE: Frankincense. A fragrant gum that is burned.

Donna backs away, right into the loudmouth Mrs. Tremond, the woman she met with Andy and Agent Cooper.

MRS. TREMOND: You must be mistaken. My mother died years ago and I have no children.

Out of the darkness steps, the older bed ridden Mrs. Tremond.

TREMOND: Wisteria! Wow BOB Wow!

A hand comes over Donna's mouth as she tries to scream. The room turns black...

Black as the night sky, Bobby and Mike stand under THE TWIN PEAKS HIGH FOOTBALL BLEACHERS, waiting for Andrew Booker.

BOBBY: Where in the hell is he, man? He was suppose to be here by now. Man, if he touched Shelly, I'll kill him.

MIKE: This has been one great day. Your girlfriend is kidnapped, we get belted with a baseball bat, blackmailed, you lie under oath, and then we are held at gunpoint by some drug dealers. I have to ask myself: Why am I here?

BOBBY: Look, I've got a plan. I've still got the gun. Andrew tries anything, he's history. Trust me.

MIKE: Right. You know we lost all our money.

BOBBY: It was in Laura's safe deposit box.

MIKE: Still, we risked everything for that cash, and never saw a dime. We screwed up.

ANDREW: Sure did, Raccoon. [Bobby and Mike spin around to see him]

BOBBY: Who's that with you?

HANK: [stepping into the light] Bobby Briggs, you should be in Hollywood. I believed you when you were in court. Bobby did great, Andrew.

ANDREW: That's great, turtle.

BOBBY: What the hell is going on?

HANK: Calm down, pal. You got your half?

BOBBY: Where's Shelly?

HANK: She's fine. And if you'd hand over that cocaine, you'd see for yourself.

BOBBY: Why should I trust you?

HANK: Because I'm holding an automatic pistol in my pocket, and I'm pointing it right at your head. [Hank smiles; then pulls the trigger. The bullet explodes into a wood board right above Bobby's head] Now hand it over. And Shelly will be fine.

Bobby thinks of going for his gun. Mike gives him a warning glance. Instead, Bobby reaches into his pocket, and pulls out the stash of cocaine. He tosses it to Hank.

BOBBY: Now where's Shelly?!

HANK: Shelly's fine. Tied up. Back at her place.

ANDREW: We had some fun, rabbit. Fun.

Bobby moves toward Andrew, when Hank pulls the trigger again. The bullet grazes Bobby's jacket.

HANK: Put your hands in the air. Both of you.

BOBBY: [he and Mike do so] What's the deal?

HANK: Bobby, you don't understand this, do you? Everything's gone according to my plan. Now I can't spend the rest of my life in jail for shooting a scumbag like Leo Johnson, can I? I had to shut you up. But how? I have no money, so I couldn't bribe you. I couldn't kidnap Shelly, or your dad, or your mom. Aside from the difficulty of kidnapping folks while being in jail, you'd have gone straight to the cops if I had. No, I had to fix it so you'd want to change your testimony, without telling the cops why. Luckily, your criminal background and dealings with the Horne's made this so simple. [Hank pulls out a pair of handcuffs from his free pocket] Andrew, if you would do the honors.

Hank tosses the handcuffs to Andrew, who slowly grabs one of Mike's hands and places a cuff on it. Andrew then grabs one of Bobby's hands and places the other cuff on it. Andrew repeats the task with their other free hands. Only problem: a huge bleacher beam is in the middle. Bobby and Mike are trapped. Andrew walks over to Hank.

ANDREW: [softly] I want my cut now.

HANK: [back to him] I promised half to DJ Milford. Meet us at the Double R diner tonight at midnight.

BOBBY: [calling to them] You've got what you want! Why keep us here?!

HANK: I'm not going to keep you here. [Hank motions to a gasoline can sitting on the field] I'm going to kill you here.

ANDREW: What about the girl?

HANK: Do what you like with her. [pause] Then kill her. [calling] Bye guys.

Hank struts across the football field away from them. Andrew grabs the gasoline can and begins to spread the gas over the wooden bleachers. He slowly lights a match and sets the bleachers a blaze. The bottom row burns quickly, and the fire spreads.

ANDREW: This gives new meaning to 'Football Team Bonfire'.

BOBBY: [SCREAMING] I'M GONNA KILL YOU! HANK! HANK!

MIKE: HANK!!!

Booker walks away... from the growing flame... from the screams of fear... from the smell of burning flesh. The red and yellow blaze slowly fades into the white moon. UNDER A HUGE BUSH IN THE FOREST, Johnny Horne and the one-armed man stare into the trees. Dwayne Jr. and Audrey huddle closely behind them.

DJ: I always wondered what sitting in a bush would be like.

GERARD: Silence. The owls will hear you.

DJ: Yeah right. [to Audrey] Well Dorothy, we've got Johnny, who needs a brain. Hook here, who needs an arm and a heart.

AUDREY: I guess that means you need some courage.

DJ: I think of myself as Toto.

GERARD: Quiet. Near... very near.

AUDREY: The noise from the falls is so loud; I can't hear anything.

JOHNNY: Look!

Audrey and DJ lean forward to see in the clearing, an owl has landed. The owl's head spins around 360 degrees; it's checking the woods. After feeling safe, the owl hoots loudly into the night air. Quickly, another hoot emits from the forest. Then another. Then another. Out from the darkness, people walk into the clearing. Some carry torches, some carrying coolers. About twenty people enter. They hoot as they enter. Audrey recognizes a few from town, the others she does not know.

Suddenly, in unison, the gatherers begin hooting loudly, insanely into the night. The owl flies away...

Dwayne Junior stares in disbelief. He turns his head quickly to his right. Peering out into the dark woods, he looks... He squints, hoping to discover what it is he can see. DJ drops his jaw.

About twenty yards from the clearing, a little girl is chained to a tree...

The sheriff's Bronco cruiser races down THE DARK ROAD, followed by several patrol cars. Inside the lead car, Truman drives as Cooper handles the radio.

COOPER: [into radio] Remember no lights, no sirens. Discovery of this meeting takes total concentration and one hundred percent effort. Over. [he puts down the speaker] Harry, I'm worried.

HARRY: I would be too. You lead all these officers into the woods, without any proof, in search of Circulars. Coop, if we don't find something, they'll put you back in the hospital and re-examine that bump on your head.

COOPER: That bump is what I'm worried about. I feel I should be removed from this case. Possibly even locked up.

HARRY: What?

COOPER: [pointing out the windshield] Look out!!!

Harry slams on the brakes, forcing the following patrol cars to do the same. In the middle of the road, Annie stands in her hospital gown.

ANNIE: I'm fine. I'm fine. I'm fine. I'm fine. I'm fine...

Inside THE JOHNSON HOUSE:

ANDREW: I'm going to take off the gag; so I can hear you scream, Shelly. [he does so] Now scream, platypus!!!

SHELLY: [terrified] You're crazy! SOMEBODY HELP ME!!!

Andrew pulls out a gun. He points it at Shelly's head.

Outside the Johnson house, you can hear a woman scream... Then a gun shot... You can hear this from the road... but no one is on the road... The town is completely still... The Main Street traffic light, swinging in the wind, turns red...

TWIN PEAKS

10:30 PM

UNDERNEATH A RED FLAME, WHICH WAS THE HIGH SCHOOL BLEACHERS, Mike Nelson and Bobby Briggs lay on the ground. The bleachers were made by the school spirit club with wood donated from the Packard Saw Mill, following the famed undefeated team of 1968. At the time it was built, a flame retardant was painted over the wood. But considering the gasoline Andrew poured over it, the flames grow, and the wood burns. Mike's left hand, being hancuffed to Bobby's right; and Mike's right to Bobby's left, makes the situation helpless. The beam which they are stuck around, catches fire at the top.

MIKE: Bobby, my sneakers are on fire!!!

Bobby looks over. He pulls one hand, and therefore one of Mike's, toward his jacket.

BOBBY: Roll your foot in the dirt! If I could only reach the gun...

Bobby's hand moves within inches of the gun, tucked in his pants, when suddenly Mike screams and pulls his and Bobby's arm away. The fire has spread to his leg. His right foot and calf are black from the fire. The blaze above them rages, as the bleachers begin to collapse.

MIKE: AHH!

BOBBY: Let me reach the gun!

MIKE: [howling in pain] Ahh!

Bobby strains with no avail, as Mike cries in agony. Twisting his head, Bobby sees a figure ducking under the flames. Crawling quickly to the trapped two, James Hurley places an arm on Bobby's side.

BOBBY: Hurley! There's a gun on my back!

James searches the leather jacket; and upon finding the gun, James points the barrel at a link in the handcuffs' chain. BANG. The bullet dents the link, but does not break it. James pulls the trigger again. The link burst into pieces, separating one set of hands.

James tugs Bobby up, and the two drag Mike by the still locked hand out from under the bleachers. Mike grimaces in pain. They pick him up and carry him down to a small stream behind the stadium. Placing the burnt leg in the water, Bobby fumbles through his pockets, pulling out his car keys.

BOBBY: Get my car! He's gotta go to the hospital!

James drops the gun, and runs off with the car keys. Bobby picks up the gun, and with one shot separates the second pair of handcuffs. Bobby hugs Mike with all his might.

BOBBY: You're gonna be alright, man. You hear me!

James spins the car across the grass and skids up to the two. Bobby coughs, as he begins to lift Mike. James jumps from the car, and assists Bobby place Mike in the back seat.

BOBBY: Hurley, where's your bike?!?

JAMES: Student lot.

BOBBY: Get Mike to the hospital, I've got to save Shelly!

JAMES: Bobby, you should go to the hospital!

BOBBY: [coughing] No time! [he runs toward the student lot] I'll see you there!

James runs to the driver's seat and speeds off to Calhoun Memorial with Mike. In the student lot, Bobby jumps on the motorcycle and speeds away.

But as Bobby is jumping on James' bike, Andrew Booker is cocking the gun AT THE JOHNSON HOUSE.

Andrew aims the gun right at her forehead. Shelly unleashes an ear piercing scream.

She closes her eyes and prays to heaven. Shelly's life of mistakes, sorrow, and grief flashs in front of her eyes.

She can hear the trigger being pulled back. The shot ringing out. The body hittiing the floor...

Shelly opens her eyes. To her surprise, it is not her body lying on the floor. Andrew Booker is sprawled across the floor... a bullet wound in his chest. His eyes gaze out into the tile floor. Standing above the body, Leo holds the handgun. He looks down in confusion to his hands. Leo had meant to grab the gun, then kill Andrew. Somehow, he had done so in one move.

Shelly shakes her head. She had given Leo the bathrobe he wore, which was filthy. The first thought racing to Shelly's mind is: Am I still safe? Shelly searches Leo's face for the answer. Leo is equally as dangerous as Andrew Booker, if not more so. Unable to speak, Shelly looks deeply into Leo's eyes.

Leo raises the gun. Shelly gasps. But Leo turns the gun to point at Andrew. He fires another bullet into the downed football star.

Leo kneels at Shelly's side. Placing his hand against her cheek.

LEO: Save Shelly.

SHELLY: You saved me. Leo, you saved me.

Leo's head begins to tremble. Too many spiders have bitten him. Leo knows he will not live to see tomorrow. He drags his feet back out the door. Never turning back once...

SHELLY: Leo? Leo! Help me... Untie me! Leo?!

MEANWHILE ON THE GREAT NORTHERN HIGHWAY, Cooper and Harry gather Annie up in their arms. The troops from the following patrol cars gather around them.

HARRY: Somebody get a blanket!

COOPER: Annie... Dear Lord, what have I done to you?

ANNIE: I'm fine. I'm fine.

Hawk runs up with a blanket and they wrap it around the shivering Annie.

COOPER: [beginning to cry] I love you, Annie. I'm... I'm sorry. [he hugs Annie tightly] Dance with me!

ANNIE: I'm fine.

COOPER: Somebody dance with me! [he searches the group] Help her!

HARRY: Coop, calm down!

COOPER: [pulling himself together] I'm sorry. I'm not sure why I...

HAWK: What do we do now?

HARRY: Somebody's got to take Annie back to the hospital.

COOPER: No, hold that. It's going to take more men than we have now to comb the woods between town and the falls. We can't afford to lose one more. We'll lock Annie in your truck.

Harry puts an arm around Agent Cooper, and leads him away from the men.

HARRY: Coop, what in the hell is going on? We've got an insane killer on the loose. You have led eight men out into the middle of nowhere, hoping to find a group which doesn't even exist. A sick woman is walking down the middle of the street and you just did the best 'Leland Palmer' impersonation I've seen. I'm not a difficult person, but you've got me running in circles... Poor choice of words, I know.

COOPER: Harry, we're on the right track. Annie's appearance here confirms it.

HARRY: I'm trying, but I can't believe this. You were right about Leland. The connection between BOB, Laura, and the Log Lady's husband. I've believed deep down that in some way, somehow there is a reasonable explanation. I've never seen BOB, or any dancing midgets, or a Black Lodge, or helpful giants. What am I suppose to do?

COOPER: Believe me, Harry. Listen to your heart. Forget what you've been told. Now, we've been tracking something, something big, Laura Palmer's death was a light which showed us this path, this path to a confrontation with the evil that men do. Now, I'm taking the Federal agents and we'll be sweeping those woods. I need your help. But you're the sheriff here. The decision on the other men is your's.

HARRY: Coop, I can't... [pause] Oh to hell with it. Hawk! I want you to place Annie... put her in the truck. Lock her in it. We've got some Circulars to catch.

Cooper smiles and gives a big thumbs up. Harry shakes his head.

A speeding brown sedan blows past Bobby; he turns his head wondering about the car. THE JOHNSON HOUSE is ahead on the left. Turning the wheel abruptly, the motorcycle's rear wheel spins out. Bobby falls to the ground as James' bike slides on it's side into the Johnson's house.

Jumping up, Bobby pulls out his gun and runs into the house. The lights are out. He spins around searching the house.

BOBBY: Shelly!

Walking into the kitchen, Bobby sees the body of Andrew Booker lying on the floor. Next to the body is an overturned, empty chair.

BOBBY: Andrew. Cat. Rat. Bat. Idiot... Shelly! Shelly? Shelly, it's Bobby!

Bobby wonders where his girlfriend might be...

BOBBY: Hank.>

Fading slowly, darkly, the scene changes into THE WOODS. Under a natural, thick, dark hedge:

DJ: Weird. The girl hasn't moved or screamed or anything. Not one of our friends over there have gone near her or even looked at her.

AUDREY: [squeezing into the space next to him] Bizarre, that's what this is. [pause] My whole life I kept silent, to myself. I suppose that's why I never knew my own brother could comprehend. I just... I just wanted to escape from this town and my parents.

DJ: It's normal to want to escape and be free. You don't want to know how I 'escaped'. Do you ever want to stop?

AUDREY: Yeah sometimes. I've spent the last months trying to find the 'why?' All I've needed is someone to hold.

DJ: That's all anyone needs. But that someone is always the hardest to find. [pause] Audrey, I want you to know I've always-

GERARD: [interrupting] He's getting close. BOB is coming. I've got him now.

AUDREY: Who's Bob? Could you start explaining things and in plain English?

GERARD: [panting] I was once his familiar. Then I took the arm off. He's afraid of me.

DJ: No-o-o-o-o. How could that be? With your pleasant demeanor?

GERARD: I was his familiar. He was inside me. I had a tattoo. When BOB was inside me, it changed. The forces... I had to kill. Kill. A circle of gold. But I saw the light, the face of God. I was saved... Took the arm clean off. The Circulars... those you see. They took the arm. They ate the arm.

DJ: Thanks. That's the grossest thing I've heard in quite some time.

AUDREY: What have these people done to Johnny?

GERARD: Nothing... yet. But he saw something he should not have. He saw the face taken. In the fire. We've been watching our little Indian. [pointing to the clearing] See!

Out in the clearing, a new figure has entered the group. An old, tall, senile old man.

DJ: Audrey? Who is it?

AUDREY: He works overnight room service at the Great Northern.

JOHNNY: Indian! Indian! Indian!

DJ: Shh! Look, we should get out of here. I'm grabbing that little girl, then we're going to split.

Dwayne Jr. slides out from underneath the shrubs and crawls in the direction of the chained little girl. Upon reaching the girl, he is struck by the girl's strange expression. Her face is completely blank; like a zombie.

DJ: [whispering] Hi there. What's your name?

GIRL: No. No, don't hurt me.

DJ: Shh! I'm not going to hurt you. What's your name?

GIRL: Danielle. The trees... help me... the trees!

DJ: What about the trees?

DANIELLE: The trees are talking. The ghosts.

DJ: Danielle, it's okay. We're gonna get you home.

DANIELLE: Help me. They'll hurt me.

DJ: No one will hurt you, but you must whisper, okay?

After releasing her from the chains, DJ wraps the girl in his arms. Stroking her hair, Dwayne turns and heads back to the shrub. His progress stops when a hand grabs him from behind, and throws him to the ground. Turning around, DJ finds himself face to face with Windom Earle. Windom points a gun down at him.

DJ: Oh hell.

Windom lets out a sinister laugh. DJ releases one hand off Danielle and slides it toward his pocket and the handgun. Before reaching it, Windom cocks his gun. The grinch gives a smile.

And Windom never sees the frying pan coming up behind his head. With a swift blow, Johnny puts Windom Earle on to the ground. Audrey is at Johnny's side.

DJ: You brought a frying pan?

JOHNNY: I didn't think we'd need it.

AUDREY: Let's get out of here.

DJ: To your car, this girl needs to get to a hospital. Where's the one-armed man?

AUDREY: He disappeared.

DJ: Good. Johnny help Audrey. I'll help Danielle, here.

Audrey leans on Johnny's shoulder and they make their escape. DJ picks up Danielle again, and takes one last peek into the clearing. Dwayne Jr. drops his jaw as he sees Hank and Jack Wheeler enter the group. DJ turns and hustles to catch up with Audrey and Johnny. Windom Earle raises his injured head. He's heard something...

WINDOM: Johnny help Audrey...

Windom falls back into unconsciousness...

IN INTENSIVE CARE AT CALHOUN MEMORIAL HOSPITAL, Doc Hayward hovers over the bed of Major Briggs. Agent Sam Stanley is in the doorway directing.

SAM: Right this way gentlemen.

Tim and Tom Pinkle lumber through the doorway, carrying a body bag. Tom has his walking cane under his arm. They sling it up on a bed in a corner of the room opposite of Major Briggs'.

TIM: My brother Tom's blind, but he loves digging. He got away from me in the grave yard and started digging up the wrong plot. It's not safe, but Tom loves digging.

SAM: Good job. So this is Leland Palmer?

TIM: Yes, that's him. Stuffed him ourselves. Normally, we just do taxidermy, but Tom loves stuffing. There's not enough business in just embalming in a small town like this.

SAM: So you run Tim and Tom's Taxi-dermy and embalm on the side?

TIM: That's right. The taxi cab came because Tom loves to drive. I shouldn't let him drive, but Tom loves driving.

DOC: Thanks, Tim.

TOM: Welcome to Twin Peaks.

Tim exits holding the door, wide open for Tom, who swings his cane widely from side to side, as he exits.

SAM: Doc Hayward, the income from running a taxi business, a taxidermy, and a mortuary business would generate eighteen thousand dollars a year at most in a town this size.

DOC: Thanks, Sam. [pause] Now Agent Stanley, I want to reiterate my objection to you bringing that body in here. The Major's condition is critical. Any germs Leland's body might bring with it, could be serious.

SAM: Doctor Hayward, were you friends with Leland Palmer?

DOC: Yes, yes I was. Close friends. His daughter, Laura, was my daughter's best friend. My wife is extremely close with Sarah Palmer.

SAM: Okay. Who performed the autopsy on Mr. Palmer?

DOC: Joe Fielding over in Fairville. He performed Laura's autopsy as well.

SAM: Okay. Doctor Hayward, I must be in this room to protect the Major from another attack, and to monitor him. I need to see Leland Palmer's body as well.

DOC: Yes, but-

The door burst open as a nurse ducks her head in.

NURSE: Will, we need you now. A boy's been brought in with serious burns. Mike Nelson!

DOC: Mike!

Doc Hayward runs out of the room. Sam pulls his machine up to the body bag on the table. Behind him, Sam can not see the Major slowly shake his head...

BACK AT THE GREAT NORTHERN HOTEL, in Ben's private office, Ben Horne, Catherine Martell, and Pete Martell wait for the arrival of the lawyer. And more importantly, the new, true will of Andrew Packard. Ben sits in his wheelchair, Pete on the couch, and Catherine paces by the fireplace.

CATHERINE: Where is that lawyer? It's eleven!!!

PETE: Maybe, darling, this is some kind of hoax.

BEN: It'd be so Andrew, to pull such a grand leg pull. First, faking his death. He must have realized how long the last will would take to process. Then, he returns, not informing anyone of a second will. I bet he leaves everything to Josie.

CATHERINE: Don't even joke about that.

PETE: In his own way, Andrew loved Josie. Then, so did I.

BEN: So did I. Sheriff Truman did as well. Josie had that effect on people.

CATHERINE: Gentlemen, if you please. My brother's death, only three days passed, has injured me... injured my soul. Right when Andrew had everything.

BEN: Including my ten acres on Pearl Lakes. Oh well, better Andrew Packard than the soon-to-be-former Mrs. Horne. I never told her I'd given it away to be released from jail. Ha. Sylvia wasn't even it town when I was jailed... Say, didn't Leland draw up Andrew's first will?

CATHERINE: Yes... poor bastard.

BEN: Yeah. The last time I saw Josie, she'd taken the five million 'Tojamora' had given me. [Catherine laughs] The last time I saw Andrew was him speeding across the lake on that boat of his. Leland, the last time I saw Leland Palmer, he was running around in a cell as crazy as a loon. Leland, Andrew, Josie. These are the people I've spent my entire adult life with. Quite different from our childhood, I suppose. I remember playing in sand lots, not a care in the world, my little baby brother Jerry...

Slowly, deliberately, fading into the four-eyed face of Jerry Horne as he enters the CLEARING IN THE WOODS. Noticing Hank and Jack, Jerry moves past several others to his spot.

JERRY: Sorry I'm late gentlemen, what have I missed?

HANK: The witch doctors haven't kicked the shindig off yet.

JACK: I'd watch those words, old friend.

JERRY: Hank, you're very lucky you didn't screw things up things at the Roadhouse.

HANK: You mean you're very lucky. [pause] Where're the girls?

JACK: Ritual first. I know some are coming though.

HANK: You know Justice, I haven't seen you in a while, but it sounds to me like you follow the old codgers.

JACK: You don't? Then why are you here?

HANK: Well, I sorta come for the parties and the pleasures. Why'd think Jerry's here?

JERRY: Hank! [to Jack] Nothing personal, but this beginning stuff is weird.

JACK: You don't think I know. But you both drank from the cup?

JERRY: You're a little young, Jack my boy. But just because they say something doesn't mean, pardon me, Jack.

JACK: [angry ] That is not so! I never told anyone why I left Twin Peaks all those years ago. Told everyone it was to continue my business in Canada with my mother. I lied. Several years ago, the elders told me to go to Vikings, British Columbia and wait. Do you know what happened? I met someone... he was in my business. He had a South American connection. I've spent the past several years dealing with him. Under a 'Save The Rain Forest' motif. Five days ago, the elders called me. I had to fly to Brazil. Kill him. Do you know who he was? He was the older brother of this Agent Cooper character! I killed him. Agent Cooper's brother!

[pause]

JERRY: So.

HANK: To be honest Jack, I thought you left all those years ago because of that ugly little incident between you and my sister-in-law, Annie. She tried to kill herself and never told anybody why...

JACK: [standing up] I'll go see what is keeping the elders.

HANK: [watching him leave] Punk. Little Jer, what's with him?

JERRY: Hank, do you realize how close you are to being Jack's next great experience.

HANK: [laughs] Right. Say where's Rightie?

JERRY: Who?

HANK: You remember... the shoe salesman with one arm, the guy with the coke.

JERRY: [filled with hatred] I don't see him, do you?

HANK: Don't blame him if he doesn't show. It won't be the same without Jaques... without Laura Palmer. Tied to the chair.

JERRY: That reminds me, you bastard. I first wanted to kill you when you screamed: 'Jerry Horne and the unseen unknowns at the cabin.'

HANK: The little screw was tied, blindfolded, and stoned off her gord. She couldn't remember. Of course, with you, it's not surprising.

JERRY: She was blindfolded for a reason, [cutting off] Looks like the party's about to start.

The Tremond clan, including Pierre, enter the clearing. They walk up to the tall, room service waiter, who stands with Jack and the Canadian midget. Grandma Tremond speaks in a low deep voice.

OLDER TREMOND: The girl has been released.

WAITER: Who released her?

OLDER TREMOND: He does not know. Only the names: Johnny and Audrey.

JACK: What?!?

OLDER TREMOND: Audrey. This is a poor step. Jupiter and Saturn must break. The owls have left. Fear.

MIDGET: He's coming.

JACK: I'll take care of this. No need for the signal.

Jack turns and walks back over to Hank and Jerry.

JACK: There's a problem. The virgin's been released.

JERRY: Don't tell me there was another little kid.

HANK: [laughing] The grandparents like the sick stuff.

JACK: I don't understand you two... the scripture says it must be done. And you never have to see the child or the chosen one.

JERRY: Hearing some little kid scream as some sick nut molests her tends to ruin my party mood.

HANK: (laughing)But he'd love some pictures! Well, it seems like nothing's going on, I'm leaving.

JACK: The post-ritual activities will go on. A beautiful young woman was picked. I brought some great stuff up. I know something big will happen tonight.

JERRY: Last time something really big happened, you weren't even here and they nearly burnt down the damn forest.

HANK: I've got an appointment, so I'll leave before the fire.

Hank struts out of the clearing.

JERRY: I'm going to go too.

JACK: You don't even see what's happening in your own house, do you?

JERRY: What are you talking about?

JACK: The elders said the girl was set free by a Johnny and an Audrey.

JERRY: What?

JACK: Your nephew and niece. Earlier today, I snuck into the secret passage in Ben's office and I saw Johnny talking. Talking in sentences.

JERRY: That's good news, you hump.

JACK: You seem to forget the past. Johnny's not-

JERRY: Don't you dare say anything. You've been brainwashed.

JACK: No, I've seen the light. You have not.

JERRY: [turning to leave] Go tell it to the mountain.

JACK: I'm going to find Audrey. If you please, wait here. I want to bring her back. Discover why she's broken the chain.

JERRY: IF YOU-

JACK: Don't worry... I too have been touched.

OUTSIDE THE JOHNSON HOUSE, Bobby jumps up, landing with all his might on the kick start of James' bike. Nothing. He repeats the process. Nothing. Again. Again. Again. Nothing. Bobby hops off the motorcycle. He has no choice. Bobby looks around then begins to walk back toward town. Andrew Booker was dead. Shelly was gone. Bobby had only one connection between the two: Hank Jennings.

IN THE WOODS, Hawk leads the team deeper into the trees. Each member has a gun drawn; ready for any unexpected turn. They move slowly on to an unlit path.

HAWK: Someone has traveled here recently.

ANDY: How can you tell? I can't even see you.

HARRY: We're moving closer to the falls.

COOPER: Wise choice. The sound of the water crashing down will cover their noise.

The group continues on, only hesitating for the tripping Deputy Brennan. Cooper searches the trees, fearing a fowl above with an empty soul. Harry hopes that the woods prove useless. Even without the aid of a flashlight, Hawk could see the signs: Someone... possibly someones, had traveled this path within the past hour. A trail which led to where? In the rear, Andy wondered why the four federal officers behind him were still wearing their sunglasses.

Cooper reaches forward grabbing Hawk's arm.

COOPER: We're being watched.

Hawk stops. The message is passed back to the rest of the travellers. Cooper reaches into his trench coat, grabbing his flashlight. Turning his head to his right, Cooper holds his arm straight out. Flicking the switch, a beam of light shoots out into the woods. The eight guns point directly at the target. Standing in the circle of light, Annie shakes in her gown and sash from the Miss Twin Peaks contest.

HARRY: Holy smokes!

ANDY: The doors were locked! I promise. She was sleeping.

HAWK: How did she get that outfit? Impossible...

HARRY: Well, uh, Coop?

COOPER: I told you; we're on the right track. [to a couple of the federal officers] Jenkins, Adams, take her back to the cars. Watch her.

Two Feds move to Annie and lead her away. Cooper motions for Hawk to continue.

Sliding down the next ridge, Hawk hears a voice from below a bush. The woods are covered by the sound of the falls. Hawk signals to Harry and Cooper. Cooper steps to the bush; waves to the Sheriff. They pounce down, grabbing the one-armed man by the ankles and pulling him out.

HARRY: Gerard.

GERARD: You can call me: MIKE. [to Cooper] BOB has been close.

COOPER: I know. We won't let him escape this time.

GERARD: He won't let you escape this time. [laughs] Listen.

Slicing through the air, the call of an owl erupts... followed by another... then another... soon the air is filled with calls. Cooper presses toward the sound. Through the trees, he sees the group. All standing erect and hooting into the night. Harry and the others join in Cooper's amazement.

HARRY: I can't believe this.

HAWK: There's Jerry Horne. And the two old women. [Hawk points toward the two Tremonds: mother and grandmother] Those are the two who live in the house next to the old Palmer cabin on Pearl Lakes. The ones I spoke to after Leland Palmer said he lived next to BOB as a child.

HARRY: Leland said BOB lived in that white house.

COOPER: Donna Hayward, Andy and I spoke with the younger one. Ms. Tremond, who lives next to Harold Smith.

ANDY: Sheriff, Calvin Murphy's out there too!

HARRY: An orderly from the hospital?

COOPER: Harry, did you ever wonder how Ronette Pulaski's I.V. was dyed and the letter 'B' placed under her fingernail while she was under guard?

HARRY: [pause] Yeah.

COOPER: The circle is now complete.

HARRY: Where in the hell have we come to?

COOPER: The End.

FED #1: No sign of Windom Earle.

COOPER: He's here. [whispering to himself] Even if it's not him.

HARRY: Andy. I want you to go back to the cars. Radio for backup. I want all the units here. Do you think you can find your way back? [Andy nods] Okay, move. Bring back more walkie-talkies.

Andy nods and heads back in the direction of the automobiles.

GERARD: BOB's restless... Eager for fun. He just wants to go home.

COOPER: Gentlemen, spread out and circle these Circulars. We can not afford to let anyone escape.

The men start to disperse. Harry places an arm over Cooper's shoulder.

HARRY: Coop, I just had a frightening thought. As unbelievable as this day has been, we can't legally arrest these people without Earle showing up. Hooting like an owl in the woods is not against the law.

COOPER: Windom Earle will be here. I'm as sure of that as I am of the moon setting and the sun rising.

HARRY: Coop, right now I'd give the moon fifty-fifty odds.

Cooper places a hand over Harry's nose, and squeezes it saying "Honk, honk." Somehow, Sheriff Truman laughs and turns to find his post.

AT THE DOUBLE R DINER, Hank unlocks the front door and lets himself in.

HANK: Norma? [calling louder] Norma! [Hank tries the lights but nothing happens] Get a flashlight, Norma, power's out! Norma? Booker? DJ?

DJ: That's right.

Hank spins upon hearing the voice. A loud clank rings through the air as Hank is hit with a frying pan. Hank collapses to the floor...

The lights are on at the Double R. Hank is tied to a metal chair and sits in the middle of the diner. Johnny stands behind him, frying pan cocked and ready. DJ stands in front of Hank pointing his gun at his prisoner. Hank regains consciousness.

HANK: What happened?

DJ: You met a non-stick frying pan at point blank.

HANK: Dwayne Junior, what in the hell are you doing?

DJ: No questions, just answers. What was that group in the woods about?

HANK: What group in the woods?

DJ: Johnny.

Johnny swings the pan down across the back of Hank's skull, but in a less forceful move. Hanks groans with a grimace of pain.

DJ: Now what about that group by the falls?

HANK: Jesus, that hurt. It's... it's nothing. They meet once a month, sometimes less.

DJ: Who are they? What do they do?

HANK: Nobody. Just a group. They have parties. You'd like 'em.

DJ: Johnny. [Johnny hits Hank again] Hank, I want to know.

HANK: Stop it... It's just a group... the older folks; they perform religious stuff. Then we all get high, drunk, stoned.

DJ: Murder? Arson? Arson? [pause] Johnny.

HANK: Wait, wait okay! Maybe they might... I don't know. No one does. It's the old timers. [pause; breaking down] Wanted me to waste Harry way back when... kill my best friend... I told them I'd watch him. I created the Bookhouse Boys... so I could keep track of Harry.

DJ: There was a little girl! A little girl chained to a tree!

HANK: They did it. Something about needing a virgin. We never see anything or anyone. We don't even go near there. We just... we just have to hear it... [Hank begins to cry ] Coach, I just wanted to win... Sure, I destroyed the stadium lights... they couldn't pass. We beat them. Coach, why'd you suspend me? That game, we should have one... not tied. I'm sorry. So sorry... [Hank collapses into a eyes sobbing/mouth quivering whine ]

DJ: Johnny... let's get out of here.

HANK: [snapping out of it] Wait! I got your hit. Gonna share it with him? The freak?

JOHNNY: What? What?

DJ: Nothing, forget about it.

HANK: What DJ? You don't want the cocaine? Or did you not want your freaky friend to know you helped blackmail his dad?

JOHNNY: No. No! Indian!

DJ: It's not that way. I didn't know.

HANK: Hey Retard Boy!. DJ helped in exchange for cocaine.

JOHNNY: INDIAN!

Johnny runs out of the diner in a spastic fit, DJ chases after him. Hank smiles and tries to free himself from the chair.

MEANWHILE AT BIG ED'S GAS FARM, a drawer underneath the register is opened. A gloved hand reaches into the drawer and removes a handgun...

WHILE AT THE GREAT NORTHERN...

CATHERINE: Well, it's about time you showed up, Mr. Burger.

BURGER: Sorry, I'm so late. One of my associate's had misplaced it.

BEN: Misplaced a will?

BURGER: No, I've got the will. They misplaced the tape. [he holds up a video cassette] One of our secretaries accidently took the tape home. [Burger moves to the television and VCR] May I?

BEN: Go right ahead.

CATHERINE: Do you mean to tell me that my brother made a video will? I don't believe it.

PETE: I bet Andrew wanted to build some sort of magical suspense over the will. When my father died, bless his soul, Pop created a feeling of confusion and wonder about his will and the whole family felt it.

CATHERINE: Pete, your father didn't leave a will!

PETE: That's why we were confused.

CATHERINE: Oh shut up!

BURGER: Are we ready?

The three nod and Burger presses play on the VCR. Andrew Packard's face appears on the screen.

PACKARD: [clearing his throat] Well hello family, friends, country men. [laughs] Not to be melodramatic, but I wanted to tell you-

The screen explodes into static. The picture slowly clears, into the opening of the program "Invitation To Love".

CHET: Emerald, you can't tell Jade, but the underground city is here!

Burger shrugs, as Catherine, Ben, and Pete look on in disbelief...

As Truman watches the devilish group chant IN THE WOODS, the shadow of an approaching figure crossed his eyes. Spinning his revolver around, Harry points the barrel between the figure's eyes.

COOPER: Kind of jumpy, Harry?

HARRY: Coop, don't ever sneak up like that.

COOPER: Sorry. Did you notice one of the leaders?

HARRY: Yeah, the old, tall room service waiter from the Great Northern.

COOPER: No... the guy next to him.

HARRY: [standing up to get a better view] A midget!

COOPER: [huge smile] I wonder if he'd like to dance. [smile fades] The only thing now is to wait... For Earle... For BOB... For evil. Tonight, we'll discover if man was created in God's self image. Or in his familiar's.

HARRY: What?

COOPER: Look out there. It's the communion of our race. Why has evil attacked Leland Palmer, Laura, ...my mother? Evil wants a face because the fiend in his own form is less frightening than when he rages in the breast of man.

HARRY: How can we defeat evil? We can't even define the concept. In my mind, I'm trying to rationalize this. Am I insane?

COOPER: No. Keep your head clear. Windom will be here soon.

AT THE DOUBLE 'R' DINER, the bell rings as the door is opened. Still tied to the chair, Hank can't turn to see his guest.

HANK: Hello? Who's there? Look, the diner's closed, the lights are out, and I'm kind of tied up. Could you help me out?

Silent pause. Footsteps approach Hank.

HANK: Hello?

Moving past his right ear, Hank listens to the footsteps stop directly in front of him. A light reflects off the gun.

HANK: NO!!!

The blast knocks the chair over. Blood spills on to the floor. As Hank's heart stops beating... a street light turns red...

THE DOOR SWINGS OPEN IN INTENSIVE CARE, as an exhausted Doc Hayward staggers into the room. Agent Sam Stanley is away from Major Briggs' bed, sitting beside the corpse of Leland Palmer. Sam has his 'machine' up on the bed next to Leland.

SAM: Doctor Hayward, could you assist me for a moment?

DOC: Certainly Sam. In case, you're wondering the surgery on Mike Nelson was successful. I think he'll regain use of his leg after minor rehabilitation.

SAM: Did you step out of the room for a moment, Doctor Hayward?

DOC: Yes, Agent Stanley.

SAM: Oh. Could you please hold this hand [Sam looks into his 'machine'] this hand very steady.

Doc Hayward holds Leland's hand exactly as Sam has suggested. Sam reaches to his shirt pocket and pulls a set of tweezers. He reaches over and pulls on Leland's ring fingernail.

The nail won't budge, until Sam rips the nail completely off, revealing a small piece of paper.

SAM: It is a small piece of paper, the M.O. would say typing paper. Let's see what he left us.

Sam uses the tweezers to flip the paper. On the paper is a typed letter 'R'...

BACK IN THE WOODS...

HARRY: Coop, where's Gerard the one-armed man?

COOPER: I handcuffed him around that tree.

HARRY: Good. We're just past midnight. At this time, twenty- four hours ago, you were in a hospital bed unconscious.

COOPER: Shows you how time flies. [pause] What I wouldn't give for a big, hot cup of joe, right now.

HARRY: I'm glad to here you say that.

COOPER: Why?

HARRY: Earlier, in the hospital, you wouldn't touch the coffee. We thought we had lost you.

COOPER: But?

HARRY: Then we heard Colonel Reily say his dislike for coffee and the Log Lady's-

Cooper spins around suddenly. His eyes searching the area. Had he heard something? Had he smelled something?

COOPER: Harry, pull out your gun.

There it was again. Something was calling...

HARRY: I heard it.

The faint voice calls out over the trees. A high voice calling out a name: 'Laura'! The noise grew and grew. Both men can distinctly make out the sound.

COOPER: There!

He points up a steep ridge behind them. Atop the ridge, just 40 yards away, Donna Hayward stands, calling 'Laura'.

HARRY: Donna Hayward!

COOPER: Be careful. Windom Earle is here.

WINDOM: That's right! [Windom steps out from behind Donna, a gun pointed at her head] Don't take another step forward, Dale.

COOPER: If you touch one hair on that girl's head!

WINDOM: I don't care about her head. I want her soul!

Cooper takes one step up the ridge, knocking a twig, which is attached to a branch. The action causes the branch to swing into Cooper's chest, knocking him down. Windom laughs in glee.

WINDOM: I told you not to take another step forward!

Harry kneels down to Cooper's aid and finds blood rushing across Cooper's abdomen. Truman turns to see that attached to the branch was a knife... the knife with the W.E. initials... Harold Smith's house. Cooper tries to stops the bleeding, by applying pressure.

HARRY: [screaming out] All troops move out! Arrest everyone in sight! Andy, call Lucy, get an ambulance here now!

The group in the clearing is shocked as the officers pounce into the clearing with guns and badges out. An insane pandemonium takes over the woods.

COOPER: [standing up] I'm alright. We've got to catch Earle.

Cooper looks quickly up the ridge, but both Earle and Donna are gone.

COOPER: Damn.

Cooper starts to climb the ridge with Harry right behind.

HARRY: You can't-

COOPER: If we don't catch Windom Earle before the sun rises, Donna will be dead as will our chances of stopping this once and for all.

HARRY: Where is Earle going?

As the two law enforcers reach the top of the ridge, they see the light and the only landmark for miles.

COOPER: The Great Northern Hotel!

AT THE GREAT NORTHERN, IN BEN'S OFFICE:

CATHERINE: Your secretary taped her soap opera over my dead brother's last will?!?

BURGER: I'm sure she didn't record over the whole thing... [Burger fast-forwards the tape] And if she did she's fired.

BEN: Mr. Burger, you are looking at a date in district court.

PETE: Can't we just watch this... Emerald and Chet have found the underground city... [Catherine's glare shuts Pete up] Well, I'm sure it will be in repeats.

BURGER: Here we go. [he rewinds the tape a bit] Luckily, she didn't tape over it all. Here it is. [Burger presses play]

PACKARD: [the tape spurts back to Andrew Packard] all-er-fla enjoy this, Pete. You've been a close friend. I know you will make me proud.

PETE: Thanks, Andrew. For whatever you gave me?

CATHERINE: Hush!

PACKARD: Now, we come to Little Benjamin Horne, Jr. I bet you're wondering why I'd leave you something in my will. Well, here it is: You're father, Ben Sr. was the best friend I've ever had. Big Ben and I built this town into what it is today. We worked, we played, and played... I miss him dearly. Now, your father loved to go to the cabin out on Pearl Lakes with me. I remember you used to come out to the cabin with us some times. When that fire burnt down that place, it took a piece of your daddy's heart with it. I understand your family still owns that property.

BEN: If Sylvia counts, yes.

PACKARD: -'m leaving you 15 tons of my grade A white pine stock. I want you to take that wood from the lumber yard and go build a new cabin in memory of your father. I can tell he'd like that.

BEN: [tearing up] I can too.

PACKARD: Turning finally to my little sister, Cathy. Something tells me you're probably still fuming because I gave the mill to Pete, but I want-

CATHERINE: WHAT!!! Stop that tape! [Burger does] What in the hell is he talking about?

BURGER: I guess my secretary taped over that part. In the written will, he does leave the mill and the land to Pete.

CATHERINE: Why!?!

PETE: Yeah, why?

BURGER: It says he felt the Martell's had been cheated and swindled out of what they deserved. It was Andrew Packard's dying wish they be given what was rightfully theirs.

PETE: [gulp] Why... that means... I'm rich. I'm rich!

BEN: Congratulations, Pete.

PETE: Thanks. I'm rich?

CATHERINE: Play that tape again. He must be mistaken... kidding.

BURGER: No, I'm sure he leaves it all to your husband.

Burger presses play on the videotape machine.

PACKARD: -fuming because I gave the mill to Pete, but I want you to listen carefully to what I have to say. [pause] I'm so fond of you and Pete. I'm terribly upset neither of you tried to convince the other to have a child. The Martell's and the Packard's, two dynasty families, will come to an end. I am obviously part of the blame in this. But that is my point. [pause] When Thomas Eckhardt and I were younger, we... well, we enjoyed the company of women, now and again. And... to cut to the chase... I have a child. And you must raise this child in the line of the Packard family. The child still lives in Twin Peaks, the child's name is-

TWIN PEAKS

MIDNIGHT

PACKARD: -Hurley, James Hurley. Named after my grandfather, James Packard. His mother and I, well, several years back, we exchanged emotions. Short. Nothing romantic about it. I've sent her money at regular intervals to keep the boy fed. Well, I call him boy, now he must be in his upper teens, a young man. I regret not having stepped forward earlier; a Miss Josie prevented that. I'd have never let her near him. But as you watch this, I've obviously passed on and the boy needs to know who he is. Catherine, take care of the boy. You can track him down through Big Ed Hurley, his uncle. Runs a gas stop just southeast of town. Catherine, raise the boy as your own. I want the world to know him as James Packard... And Cathy, I love you.

Burger stops the tape. Catherine is crying. Pete hops over to her, placing an arm around her shoulder. Ben raises himself out of his wheelchair and painfully walks Burger to the door.

AT A STREET CORNER DOWNTOWN, Leo Johnson collapses again. His legs have almost no strength. He pulls the handgun from inside his robe and dumps the weapon down a gutter drain. He struggles his way back on to his feet and returns to his path.

WHILE AT THE JOHNSON HOUSE, a speeding car with siren roaring, races into the driveway. Two men jump from the car with guns drawn. They quickly burst into the house and find the long-dead body of Andrew Booker waiting for them on the kitchen floor.

OUTSIDE CALHOUN HOSPITAL'S EMERGENCY ROOM, Bobby Briggs deposits his gun in a trash can. He staggers into the emergency room. James Hurley sees him and moves to him.

BOBBY: Hurley. How's Mike?

JAMES: He's in intensive care. Doc Hayward saved the leg. Are you okay?

BOBBY: I'm fine, uh, but your bike's back at Shelly's. She's gone. Disappeared. Hank...

SHELLY: [from behind him] BOBBY!

BOBBY: [turning] Shelly! [he runs to her and grabs her in his arms. Placing several kisses across her face] Oh baby, I thought... oh baby.

SHELLY: I love you.

BOBBY: What happened to you?

GORDON: JUST YOUR LOCAL LAW ENFORCEMENT COMING TO THE RESCUE. GOOD THING, THE DINER WAS CLOSED OR I MIGHT NEVER HAVE GONE OVER TO HER HOUSE. Who's this, Shelly, your brother?

SHELLY: Not quite, he's my boyfriend.

GORDON: Your what?

SHELLY: My boyfriend.

GORDON: WHAT?!?

SHELLY: My boyfriend.

GORDON: SPEAK UP, DEAR. HE'S YOUR WHAT?... OH. I GET THE PICTURE. UNDERSTAND COMPLETELY. I DON'T... WELL... I SEE. [to Bobby] SON, YOU TAKE CARE OF MY PEARL HERE. I'VE GOT TO... CRIME NEVER RESTS... I'LL BE [Shelly kisses Gordon on the cheek] DAMN. BYE SHELLY. SON. HURLEY, LET'S ROLL. NO TIME FOR BROKEN HEARTS.

Gordon places an arm over James' shoulder and they exit the emergency room.

BOBBY: Where are they going?

SHELLY: James said something about going to the Bookhouse?

BOBBY: Baby, what happened to you? I went to your house and Andrew Booker's dead.

SHELLY: Leo. He saved me. Then left me tied to a chair. Gordon got there seconds later. Rushed me here, worried that I was hurt.

BOBBY: Thank heavens for Gordon. And Leo.

A crying voice calls "Bobby!" He turns to see his mother in tears. Bobby dashes to her, wrapping her in his arms. He tries to question his mother, but she explodes in tears. Somehow, Bobby knows and begins to cry.

From a door, Audrey Horne exits with a nurse, who little Danielle hugs around the legs.

AUDREY: And she be alright?

NURSE: We'll keep her overnight, but she's perfectly fine. Her parents are coming over right now, they'd be glad to meet you.

AUDREY: I've got to get home, but take care of my little angel.

IN THE GREAT NORTHERN LOBBY, Norma Jennings hurriedly enters and gets on the elevator. Through a different door, Jack Justice Wheeler enters and crosses to the front desk, where concierge Randy St. Claire sits.

JACK: Randy, are there any messages for me?

RANDY: Yes sir. Ms. Audrey Horne called from the hospital looking for you. She should be returning as we speak.

JACK: Good. Randy, when Ms. Horne arrives would you please send her to my room?

RANDY: Sure thing, Jack.

Jack heads down a hallway to his room, as Cooper and Truman swing the double doors open. They stand in the doorway. Cooper has a makeshift bandage around his torso. The two survey the lobby.
HARRY: Where would Earle be?

COOPER: Anywhere. Everywhere. The main objective of his mind is to confound and cultivate logic. He led us here, leaving a trail of terror, but for what reason?

HARRY: A trap?

COOPER: Exactly.>

Hawk and Andy step up on either side of Harry and Coop.

HARRY: Hawk, what's the outlook on our bust of the Circulars?

HAWK: They're being escorted to the jail right now. Agent Rosenfield has taken control. Only one or two possibly escaped.

COOPER: Excellent. Once the Circulars are behind bars, we'll need the man force changed to the Great Northern.

ANDY: Lucy connected me with Agent Cole, and he's on his way up here with some guys from the Bookhouse.

COOPER: Good. Now gentlemen spread out. Go in every room. Remember Windom Earle's penchant for disguise. We'll need radio contact constantly, so keep your eyes and ears open.

HARRY: Earle's got Donna Hayward, so be careful. Hawk take the front grounds, Andy you're out back. I'll search the lobby, restaurant, and offices.

COOPER: I'll search the rooms; bottom floors up. Okay, spread out.

The group splits apart, as our view follows Cooper's movement to the guest rooms. Almost dreamlike in nature, Cooper pulls a matchbook from his coat pocket. As if by an uncontrollable force, he strikes the match lit...

MEANWHILE AT THE HURLEY HOUSEHOLD, Big Ed and Nadine sit across from each other at their kitchen table. A handgun is on the table between them.

BIG ED: Nadine. [pause] Nadine. [pause] Hank Jennings is dead.

NADINE: I know. [pause]

BIG ED: Yeah... [pause] Nadine, do you remember when we ran off and got hitched?

NADINE: Of course I do. [stopping; warming] You told the pastor that you were an unemployed lumberjack. [they both laugh] I remember when we got home. You were so afraid of my father.

BIG ED: Your father? I was afraid of your mother!

NADINE: Those early days were difficult.

BIG ED: I couldn't make much money as a mechanic at Mo's Motors. You took that job at the Wagon Wheel.

NADINE: Oh Ed. You always wanted to leave, back then... and yet you didn't want to...

BIG ED: I was young. Hell, we both were. I'm sorry for what I've done to you, Nadine.

NADINE: Norma. Oh Ed, what have we done? I always knew. [Nadine begins to cry] I always knew...

Nadine picks up the gun and points it at Ed, who is naturally startled.

BIG ED: What are you doing, Nadine?

NADINE: You'll understand, Eddie.

Nadine fires a blast into Ed, who's chair falls over backwards. Nadine cries as she turns the gun toward her own head...

AT THE GREAT NORTHERN, our view moves slowly, cautiously toward the door of the room. An arm extends out and turning the knob, opens the door. Audrey Horne smiles as she sees the relaxed figure of Jack Wheeler, all smiles, inside his room. Jack motions her into the room with a swoop of his arm. Jack closes the door behind her and locks it. His smile grows in size and sinister proportions. Audrey sits on the edge of his bed.

AUDREY: I really can't stay for long. I've got to find Agent Cooper. I've had an incredible night; you wouldn't believe it. I-

JACK: I understand you called?

AUDREY: Just about half an hour ago, you weren't in so-

JACK: I had to take care of some business in town. Now Audrey, where did you call from?

AUDREY: The hospital, I'm trying to tell you. [pause] Is something wrong?

JACK: Nothing... I was just worried about you.

AUDREY: Oh that's sweet. But I'd better find Agent Cooper.

Audrey attempts to stand, when Jack places his hands on her shoulders and pushes her back to the bed.

JACK: Don't leave me, Audrey.

AUDREY: Jack, what are you doing? I've got to-

JACK: You were in the woods, tonight. Weren't you? [Audrey moves away from Jack on the bed] There was a little girl there. Where is she, Audrey? Where is she?

AUDREY: We took her to the hospital! She'd-

JACK: We? Who - you and Johnny? There was another man present, who? [Audrey remains silent] Who? [Jack slaps a quick hand across her cheek] Who?

Audrey jumps up from the bed, Jack rolls off the bed, blocking her path. He grabs her in his arms.

JACK: Audrey, who!

AUDREY: [scared] DJ Mil-

JACK: [tightening his grip] That little punk! What were you doing with him?! You're mine Audrey! We love each other!

AUDREY: [struggling to free herself] I don't know you!

Jack grabs the back of Audrey's head with one hand, With his other hand, he reaches into his sports coat and pulls out a handgun. He shoves the barrel under her chin.

JACK: Yes, yes you do! How did your father describe it? Quality Time. Oh yes, indeed. Things were so good. A picnic by the lake. Dinner on the town. Sex on the plane. It is love.

AUDREY: I don't know you.

Jack rushes her backwards, throwing her down on to the bed. He jumps on top of her, pinning her to the bed.

JACK: I need you. You need me.

AUDREY: Jack, let me go!

JACK: No, the tide has risen! Don't make me do this again! Don't make me do this again!!!

Audrey's scream echoes down THE HALLWAYS of the Great Northern. Cooper spins around upon hearing the yell. Cooper brings his walkie-talkie to his lips.

COOPER: Harry, Hawk, Andy. Get up here now! Earle's in a room on the second floor, right wing.

Cooper draws his gun and places his hand on Jack Wheeler's room's doorknob.

"Dale..." a tired voice calls from behind him.

COOPER: [spinning to see an empty hallway] Dad? Dad, where are you?

VOICE: Come here, son... I need you...

Truman, Hawk, and Andy race through THE LOBBY, weapons drawn; startling the visitors resting there. They dash into the long wooden HALL to find it empty. The three scan the area numerous times. Harry grabs his wireless.

HARRY: Cooper, where are you? Cooper, do you copy?

COOPER: [over the walkie-talkie] I'm sinking. Lower. Lower. Help me.

HARRY: Where are you? Cooper!

COOPER: [thru walkie-talkie] No... no. Yoop. it's Woo Woo. Time's up.

HARRY: Coop! Coop! [no response] Cooper.

COOPER: [thru walkie-talkie] I'm in my room. Number 3-1-5. Nothing wrong with that. Tree-bol-oar. Tree-bol-oar.

HARRY: [to Hawk] Go call Lucy. Get everyone here now! [Hawk rushes away] Andy, I want this building evacuated now! Now!

Andy runs back toward the lobby, as Truman finds the stairwell and darts up the two flights.

BACK IN THE LOBBY, Andy runs up to the front desk:

ANDY: Sheriff Truman orders this hotel to be evacuated.

RANDY: Andy, what are you talking about?

ANDY: Sheriff Truman wants everyone out.

RANDY: Are you sure? Remember last July 4th? What you did at the town picnic?

ANDY: Everyone out now!

RANDY: Look, I'm not doing anything without Mr. Horne's approval. After the Sheriff dragged everyone through the lobby for that one armed guy-

ANDY: I'm sorry about this.

Andy back away from the front desk, surveying the lobby. His eyes widen when he sees his chance. Andy reaches a hand to the wall, pulling down the fire alarm. The peaceful lobby erupts with the noise of the alarm. The sprinkler system explodes with water spraying all of the room. A stampede of people run for the doors. Hawk fights his way into the lobby. Catherine and Pete head outside, as a limping Ben hobbles to Randy at the desk.

BEN: What in the name of God is going on!

Hawk and Andy race up the stairs to COOPER'S ROOM, where Harry steps out of the bathroom. No one was there. Harry gives one more check under the bed. Nothing. He looks up into the spraying water sprinkler. Befuddled and wet, Harry steps out into THE HALL, with Hawk and Andy following. Harry walks halfway down the hallway and turns in frustration.

HARRY: Cooper's not here! What in the hell happened with the sprinkler system!

ANDY: You wanted the hotel evacuated. This was the only way.

HARRY: Good work. City will be sued and we'll probably lose our jobs, but I would have done the same thing.

The water pressure slows; and the sprinklers die.

OUTSIDE BY THE MAIN ENTRANCE, Ben Horne stands in front of an angry, wet mob.

RANDY: They cut off the alarm, Mr. Horne.

BEN: Good. Uh, if I could have everyone's attention! Everyone! I apologize for this minor inconvenient occurrence. We had a small fire in our kitchen and-

MAN #1: [cheerfully] Mr. Horne, I was in the kitchen, there wasn't a fire.

HORNE: [upset] Thank you. Well, I welcome all of you to return into the hotel and everyone can receive a complimentary cocktail in the Timber Room.

MAN #2: How about a 'dry' martini!

BEN: Well, yes, uh...

IN THE HALLWAY, the officers stand together:

HAWK: What should we do now?

HARRY: Good question. The only thing I found in Cooper's room was his radio. Where is he?

MEANWHILE AT THE SHERIFF'S STATION, Lucy speaks into the phone.

LUCY: The Great Northern? No, we have no report of a fire. It's probably a false alarm. Okay Marshall, if we hear anything, I'll call you down at the station.

Lucy hangs up the phone as Leo Johnson falls into the lobby. Albert runs up to Leo. He feels Leo's neck.

LUCY: Leo Johnson!

ALBERT: He's dead.

Albert reaches into Leo's palm and removes the object the dead man had carried from Windom Earle's secret cabin. A chess piece: the King with a note attached by string to it. Albert reads the note.

ALBERT: 'Knight takes King. Checkmate.'

Lucy gasps, as Agent Stanley enters the Sheriff's Station. Sam sees Albert over the body of Leo.

SAM: Agent Rosenfield, you've killed him.

ALBERT: Sam, your observational powers are surpassed only by Ray Charles.

SAM: [taking the jab] I see. Well Agent Rosenfield, you were present when Leland Palmer killed himself in this building, weren't you?

ALBERT: Sam, we don't have time for your-

SAM: Upon my recent examination of Leland Palmer, I found this clue.

Sam reaches into his pocket, removing a small plastic bag. Albert takes the bag, and notices the contents. A small piece of paper with a typed 'R'.

ALBERT: You found this on Leland Palmer? Left hand, ring finger?

SAM: That's right. Now take into consideration, the order in which the letters were discovered.

Sam moves to the window of Lucy's space, pulling up a sheet of paper and a pencil. Lucy and Albert lean over to see.

SAM: I read up on the case, on my drive up here. It's interesting, because the file says to stop and eat at a place called the Lampligther Inn for a slice of, I quote, 'heavenly' cherry pie. Yet, when I reached the restaurant at 11:38 this morning, they still hadn't finished baking the pies. I had to settle-

ALBERT: Sam!

SAM: Sorry. The letter 'T', I found under Teresa Bank's fingernail, a little over a year ago. Agent Cooper found the letter 'R' under Laura Palmer's fingernail next.

ALBERT: I found the next two letters. A 'B' was placed under the fingernail of Ronette Pulaski, while she was at the hospital. The last letter was an 'O' under Madeleine Ferguson's fingernail.

SAM: Until I discovered this last letter 'R' under Leland Palmer's nail. So in order, the letters are [Sam writes them on a sheet of paper] T - R - B - O - R.

LUCY: The 'E' is missing.

Long pause as both Sam and Albert stare into her eyes.

ALBERT: Cooper said 'BOB' was spelling 'Robert'. So the 'E' should have been placed the week after Laura Palmer was killed and before the time Leland placed the letter 'B' under Ronette's nail. What happened during that week?

LUCY: Leo Johnson! He was shot that week.

Albert kneels beside the body of Leo Johnson, examining his ring fingernail.

ALBERT: Nothing. Leland Palmer killed Jaques Renault that week!

SAM: Agent Cooper had Jaques' autopsy re-examined after the Leland Palmer admitted he was Laura's killer. No letter.

ALBERT: Damn. I was called to Twin Peaks twice during that week and a half. The first time to perform a second autopsy on Laura. The next time...

LUCY: You came back after Josie Packard shot Agent Cooper...

MEANWHILE OVER AT THE GREAT NORTHERN, Audrey struggles to release her wrists and ankles from the ropes Jack has bound them in. Jack sits next to her on the bed stroking her hair. Audrey's mouth is gagged. They are both wet from the sprinkler system.

JACK: Well, we've had our shower for tonight. Oh Audrey, why did you go into the woods tonight? Everything was so perfect. Tonight, the circle is to be completed. [Audrey tries to squirm away from his hand] Don't fight our love. Annie Blackburn tried to fight love. She had to learn the hard way. Couldn't handle it. Now, we must complete.

Jack begins to pull up her sweater up...

OUT IN ANOTHER HALLWAY, Harry, Hawk, and Andy watch a lit match fall in between them. Turning their heads quickly, they see Cooper standing outside his room in the doorway. Cooper's smile grows from ear to ear. Slowly Hawk, Harry, and Andy eyes move upward to see that Cooper's jet black hair has changed; now a sharp piercing white. He places the matchbook back in his coat pocket.

HARRY: Coop - your hair? It's white!

COOPER: Too much coffee's made my hair turn grey. Don't ya get it? Leland saw the face of God. [Cooper cranks his neck back, and hoots like an owl] Woo. Woo. Donna... don't take the ring! [Cooper laughs; Harry draws his gun] What? No time for fun? Get you with my death bag!

HARRY: I want you to place both hands over your head!

COOPER: You can't arrest what doesn't exist.

ANDY: What's wrong with Agent Cooper?

HAWK: That's not Agent Cooper.

COOPER: Harry, you've come around? You never believed before, do you now? I doubt you do, cause if you did [laughing] you would have already fired the gun. We are so close! Now just shoot me. Shoot me!

HARRY: No.

COOPER: Breathe in the air. Come on guys, take a whiff.

HARRY: I don't smell anything.

HAWK: Oil.

ANDY: Yeah, burnt oil or something?

HARRY: I don't smell it. Nothing.

COOPER: Then I've already won! Oh Harry, time for one last test...

Harry has the woods creep back into his mind; those trees dark and hiding. The logs that form the hallway's walls, slowly fades into the trees. Into the trees. Into the night. Harry blinks. In a half-second, Cooper throws the himself backwards into his room.

In a slow motion, Harry and the deputies give chase. They throw their bodies on the side of the wall outside Cooper's room. Guns raised and ready.

Harry nods the signal, and the three pounce in a spread formation of outstretched guns into the doorway. A red curtain blocks their path.

ANDY: That wasn't here before. Where's Agent Cooper?

HARRY: He's on the other side.

A moment of silence passes over them as they realize the double message in Harry's words.

HARRY: We're going through.

Harry makes eye contact with his two deputies, and with another nod, they part the curtain and enter...

Harry down on one knee. Hawk bending over him. Andy standing tall. All three guns extended. They are totally motionless. Frozen in their assumed positions. Only their eyes move. Surveying the room in total amazement. No one had expected this, really.

Slowly the perfectly framed trio widen their eyes. The room is not a single bed suite at the Great Northern. Instead, the room is encircled by red curtains. Red curtains from Cooper's dream. From Laura Palmer's dream. The floor is a zig-zagged pattern of alternating light and dark stained wood. There is no furniture. The room is brightly lit. There is music in the air. After a long pause, Andy speaks.

ANDY: Where are we?

Abnormally long pause.

ANDY: Where are we?

Long pause.

HAWK: No idea.

HARRY: We're not in Kansas anymore.

ANDY: Where's Agent Cooper?

HARRY: [standing and turning to face his men] [pause] Go get some help.

Hawk and Andy nod slowly. Hawk motions to Andy and they exit the curtains as easily as they had entered. They find themselves outside Cooper's room in the Great Northern hallway. Immediately, Hawk and Andy make eye contact. Nervous, desperate, fleeting thoughts race from their stomachs to their minds.

ANDY: Hawk. Hawk, do you think we should have-

HAWK: No.

The deputies dash back through the doorway, part the curtains to find: Themselves alone, in Agent Cooper's hotel room. Puzzlement. The room is empty.

Suddenly, a huge burst of flames explodes in Cooper's bed. Within seconds, the bed is a fire ball, with the blaze spreading to the night stand and the wall. The two deputies cover their faces from the smoke and run into the hall. Andy runs to the nearest alarm and pulls it. The siren rings out again, but the sprinkler system merely sprouts droplets like a leaky faucet. The water pressure had been destroyed on the last go round. Andy looks desperately to Hawk...

IN THE TIMBER ROOM, Ben Horne drags a hand down his face as the siren blares through the air. Standing up painfully from his chair, Ben raises his arm in the air.

BEN: Everyone stay calm! I'm sure this is another false alarm. Don't panic! We'll find someone to kill the alarm shortly. Seems we've lost the pleasant rain which accompanied the last one. In the mean time, I want you to enjoy this little lady we stole away from another establishment to sing here in the Timber Room, because, uh, as I've heard mentioned, 'The Great Northern audiences are the best audiences in the world.'

Ben motions and up on the small stage used for the 'Save The Pine Weasel' fashion show, the Roadhouse songstress sings of love and fire. Ben throws his hand in the air, motioning Trudy the waitress over.

BEN: Trudy, try to keep this mob happy. I'll go find out what in the hell is going on.

With each painful step, Ben exits into the lobby. As he struggles to the front desk. Gordon Cole, James Hurley, Cappy & Joey and the Bookhouse Boys, as well as the first waves of police back-up crash into the lobby.

GORDON: GENTLEMEN, COVER ALL THE EXITS. NO ONE IS ALLOWED TO LEAVE UNDER ANY CIRCUMSTANCES. [pause] IS THERE AN AIR RAID SIREN?

JAMES: That's the fire alarm!

MEANWHILE IN JACK WHEELER'S BEDROOM, Jack has almost finished undressing Audrey, when he stops, sits up, and reflects.

JACK: This really doesn't have to be so difficult. I didn't want to hurt you. This is your fault. If you had only come to me with Johnny. Everything would have been fine. Everything was fine until tonight. You see those meetings out in the woods. That's how I met your brother, recruit them young. [Jack begins to unbutton his own shirt] Now my love, you will comply.

Jack places his hand on one of Audrey's legs. She attempts to scream. Jack raises his hand to slap her. His eye catches a picture of a large mouth bass on the wall. Jack stares into the picture, before realizing that he was caught by something else. In a reflection caught by the glass covering the picture, Jack sees DJ Milford standing behind him. Jack spins his head around.

Crack. The handle of DJ's handgun smacks across Jack's forehead. Jack tumbles off Audrey and over the side of the bed. DJ jumps across the bed, on top of him. They struggle in a punching match on the floor. Audrey rips one hand free from the bedpost. She pulls the gag from her mouth. She rolls onto her side, and starts to untie her other arm.

Jack and Dwayne Jr. force each other to stand; Jack grabbing his hands over DJ's hand with the gun. DJ throws his other hand into the match, and with his body, shoves Jack into the back corner of the suite. In their struggle for the gun, Jack gets face to face with DJ.

JACK: Saw you at the Double 'R' before ole Hank met his maker.

DJ: I thought that might be your handiwork.

JACK: You little runt. After I shoot you, I'll shoot Audrey. Switch guns and tell the police you shot her then yourself.

DJ: Great plan, but Johnny and I bugged this room!

Jack's eyes race to the air vent above his bed. DJ uses this lapse to throw one of Jack's hands off the gun. Jack stumbles backwards, his weight falling on a dresser.

With his one hand still clutching the gun, Jack uses his other to grab a clock on the dresser. Jack swings the clock down on DJ's head, knocking Dwayne to the floor. Jack rips the gun from DJ's wrist then, swings D.J.'s gun around and points the weapon down on DJ.

JACK: Goodbye.

The bullet pierces the air. Jack rocks on his feet. He looks down into the bullet wound in his abdomen. Raising his head up, Jack sees Audrey across the bed from him, pointing his own gun at him. A stunned Jack points the gun in his hand at Audrey.

She fires again. Jack explodes backwards into the window, smashing glass everywhere. Audrey fires again and Jack's body tumbles backwards out the window into the night. He falls to the dark ground below. DJ lifts himself up from the floor, as Audrey drops the weapon to the bed.

OUTSIDE IN THE HALLWAY, two officers rush toward the room, from which the shots came. They draw their guns.

DJ: You saved me.

AUDREY: [tearing up] I saved us. DJ, Jack had something to do with that little girl in the woods. How could he-?

DJ: [rushing to hug her in his arms] It's okay. It's alright. He's gone.

DJ squeezes Audrey deeper into his arms. She cries against his chest. The door to the room is kicked hard. DJ separates from her, grabbing the gun on the bed. He aims at the door.

The officers kick the door again, and the wood burst open. Seeing DJ with a gun in his hand the second officer fires quickly into Dwayne Jr's abdomen. DJ collapses to the floor.

AUDREY: NOOOOO! NO!!!

She falls to the floor; crying over DJ's bloody body.

DOWN IN THE GREAT NORTHERN LOBBY, Andy runs wild to Gordon and Ben.

ANDY: Fire! Fire! The hotel's on fire!

BEN: Look Deputy, you are personally responsible for over two hundred people and their possessions being drenched, I'm not-

A screaming woman races across the lobby.

WOMAN: FIRE! There's a fire!

GORDON: GUNFIRE? WHERE?

BEN: Dear Lord. [to Andy] There's a real fire in the hotel?!

ANDY: That's what I've been trying to tell you.

BEN: [nervous] Fire? Fire! The water pressure's dead! The sprinkler system won't work! FIRE! EVERYONE OUT! FIRE! CALL THE FIRE DEPARTMENT!

Ben hobbles into the Timber Room to spread the news. The guests explode in an insane race to the exit, as the Songstress and band continue playing. An officer runs into the lobby.

OFFICER: Agent Cole! Get an ambulance! A man's been shot!

The once peaceful lobby explodes with a dash of guests from the Timber Room toward the exit. At the same time, Albert, Sam, Lucy, and the next wave of officers enter the lobby. A giant logjam at the entrance builds into hysteria. The lobby is of confusion and mayhem.

James Hurley stands in the center of the madness, being pushed and shoved in all directions. Suddenly, a thrust of the crowd knocks him off his balance and he falls into the arms of Catherine Martell. James bounces up, nervously before turning to see Catherine. As the air fills with a hymn of an unknown origin, a bond between the two is struck.

The panic of the lobby fades from noise into silence as Bobby Briggs sits at the BEDSIDE OF HIS FATHER. Shelly and Mrs. Briggs stand against the door. The Major moans.

MAJOR: Son - Robert?

BOBBY: Dad, I'm here! You're going to be alright! The doctors-

MAJOR: Robert... It's good to talk to you... The man... the man who shot me... he's dangerous... We've got to stop him.

BOBBY: Dad, save your energy. Rest. You'll be fine. Just-

MAJOR: Son... I know my destiny... I've seen the place before. The house I dreamed of... A man says someone's got a seat saved for me... following you.

Bobby's eyes want to burst from his head? What was happening? Why did he flash back to Laura? Had she said the same?

MAJOR: Robert, I've got to go... if we are to defeat him. Robert, take care of your mother... In the past few weeks, I've disappeared, been kidnapped... drugged... now this... Jupiter's equinox... [pause] Bobby?

BOBBY: [crying] Daddy?

MAJOR: Tell Agent Cooper: 'It's over'. Marry Shelly... love is powerful... in the end, it's all we have... If not, powerful enough...

Major Briggs is dead. Bobby drops his head on to his father's chest. An incredible breeze; a gust of wind rushes through the room, to which Bobby is oblivious. Outside the window, an exploding wall of fire fronts the black night sky...

The flames fade into the BLAZE IN COOPER'S GREAT NORTHERN ROOM, which Hawk continues to throw a blanket over; to no avail. As the view moves out of the room into the Great Northern HALLWAY, Johnny Horne and Gerard the one-armed man stand side by side...

IN ANOTHER PLACE ENTIRELY...

Harry holds his gun with two hands, poised and ready. He moves into another hallway. No one. Moving down the red curtains, the sheriff comes to another opening. Gun first, he enters. Nothing. The room contains three large lounge chairs and a tall standing lamp. No one. He thought of himself as a mouse trapped in an endless maze. Dazed and confused, Harry sits in one of the large chairs.

Unexpectedly, he hears voices. Harry stands and cocks his gun. Two shadowy figure walk in silhouette figures on the opposite side of the curtain. They approach the entrance; Harry's jaw tightens as a hand pulls back the curtain...

PACKARD: ...so I said to hi-em: Well I nor-mal-lee have two eggs and a glass of or-ran-ge juice.

ECKHARDT: Ha ha. You ole dawg. Ha ha.

And so Thomas Eckhardt and Andrew Packard walk casually past the sheriff. They speak in a backwards slurred way, but Harry can understand them.

PACKARD: Harry, gud to C you. [back to Eckhardt] So, the fa-mer had dis bux-um, yung maid-en wife woo like to mi-ilk the-

The two gentlemen exit the opposite side of the room. Harry is dumbfounded. He lowers his gun.

COOPER: Harry!

Sheriff Truman spins around to find himself face to face with Cooper. Harry reels backward raising his gun up to point at Cooper's face. Cooper speaks normal.

COOPER: Harry, calm down. That won't work here.

HARRY: Cooper, don't move. I'm not afraid to use this.

COOPER: I'm positive you're not. Harry, don't worry. I believe BOB and Windom are down a couple of rooms. [surveying] Pretty strange, huh? Every time I think I know my way around, something changes. Wild.

HARRY: Coop, you... this... Your hair!

COOPER: I understand. You saw me in the Great Northern with white hair.

HARRY: [gulp] Yeah.

COOPER: He's in here too. Better judgement suggests we avoid him, me. Amazing tapestry, don't you think?

HARRY: Coop, where are we?!?

COOPER: Good question. Not the Black Lodge nor the White Lodge. I've been pondering that question the eternity I've been in here. I call this place the waiting room, the Red Room.

HARRY: Uh huh. This isn't happening.

COOPER: If you say so, Harry.

HARRY: Let's go back and exit...

COOPER: Wrong way. The basic scheme is that you exit the Red Room, walk down the hallway, and re-enter the Red Room. Except at a different point in time. Which reminds me, guess where I came from. [Harry is silent and stiff] Laura Palmer's dream. This was a new one. She's asleep in bed, yet they are trying to give her the ring! I've got to stop her. If she doesn't accept the ring, she will not be killed.

HARRY: Coop, Laura Palmer's dead.

COOPER: If you say so, Harry. But if we leave now, we probably won't remember anything. Nothing would be accomplished. BOB will simply continue to kill through Windom, or worse, through me. There must be some way to block BOB's exit out into our world. Besides if we exit back when you entered, we would suffer severe burns from the fire, which is destroying the Great Northern.

HARRY: [totally dazed] Oh.

COOPER: I've been using the wrong side of my brain for too long. [beat] Did you see Andrew Packard?

HARRY: Yeah.

COOPER: He explained what happened during the bank explosion. Interesting story-

HARRY: Coop, is this where the dead go?

COOPER: No, some visit though.

HARRY: Josie?

COOPER: I think you better find that out for yourself.

Cooper motions to the exit. Harry walks outside the curtains into the hallway. He walks to the next opening, and parting the curtains re-enters the Red Room. It is identical, except that next to the lamp is a small dresser. A soft faint voice calls out his name. He hears the voice emitting from the top drawer's knob. Harry falls to his knees.

HARRY: Josie?

KNOB: They're coming. Coming...

HARRY: Josie! Where are you? Josie!

All light disappears from the room. Then returns. Slowly, light continues until the effect becomes a strobe. Cooper rushes into the room.

COOPER: We've got trouble right here in River City.

HARRY: Coop, it's Josie! She's in the wood!>

COOPER: I know. But we should leave this-

HARRY: Earlier, before- you mentioned a ring! If we can stop Laura Palmer's death... we could possibly stop Josie's. Coop-

COOPER: Harry, the ring... it's not of our Earth. I don't understand it's being... but a part of me does... a part of me which is trapped in this place for the next thirty years... for the next eternity. We need to leave.

The lights stop their strobe. Cooper and Harry look to the chairs and see the Little Man seated next to the Giant. Cooper steps forward.

LITTLE MAN: Th-E Pa-ath is K-Lear.

COOPER: [nods to the Little Man] How can we defeat it?

GIANT: Love only can not. As it happened before, it must so happen again. Twice already. The third time makes the circle.

COOPER: What has happened before?

GIANT: Two points make line only. The lamb. The man in the moon has passed. Go find redemption.

The Giant extends one giant hand and points to the exit. The Little Man rubs his hands together and smiles his wicked grin. Cooper lowers his head and turns to exit. A bedazzled Harry slowly follows him out. Cooper walks in a slow pace.

HARRY: Coop? [pause] Coop? What's going on? My mind's beyond dreams.

Cooper turns to face Harry. His expression is solid as a rock, except his eyes are watered.

COOPER: My father is dead.

Harry drops his head down. This situation must be hopeless. He looks back up into Cooper's eyes for the answer. Cooper slowly nods, then says:

COOPER: Fire Walk With Me!

A wall of flames blasts it's heat...

Cooper turns back and walks to the entrance into the Red Room. As he pauses second guessing, Cooper re-enters the Red Room. Harry follows.

Inside the room, Cooper's father rocks in his chair, as the grandfather clock next to him winds backwards at an uneven pace. The chimes of the clock ring out softly. Mr. Cooper's face turns a bright shade of baby blue. A slow buzzing builds as the room's focus collapse onto Mr. Cooper's right eye. All energy in the room is being drawn into that eye. The white of his eye... The white of his eye...

The white of his eye becomes a long white hallway; lavishly decorated and filled with a bright white light. Cooper's father is gone. Truman and Coop exchange glances. Cooper leads the way down the long white hall. An open door on their immediate right does not call their attention, instead Cooper continues walking toward an open door on his left. He purposely stops outside the threshold of the room. Harry steps up to his side.

Inside the doorway, a large white cardroom with a trio playing cards sit in the center. Leland Palmer places a card down on the table. He smiles and motions to Laura, across the table from him. Madeleine watches; waiting her turn to play her hand. In the background, a turntable plays "Pennsylvania 6-5000." The room emits tranquility. Cooper turns to Truman. They continue on.

The hall crosses a second hall; Cooper and Truman turn right. Through a tall glass French door opening, the pair walk out into a tropical garden. Harry scans the garden before fixing his eyes on a figure.

HARRY: Coop?

Harry motions to Cooper. He turns to face Major Briggs on a fine throne in a corner of the garden. They walk over to him.

COOPER: Garland. [Cooper nods his head]

MAJOR: [the Major speaks in the backward slur of the netherworld] Com-plete. Con-tent. Calm.

COOPER: It is near.

MAJOR: Be-yond near. [pause] He thrusts his fists against the post, and st-ill insists he seeeees the ghost.

COOPER: [nodding] He thrusts his fist against the posts, and still insists he sees the ghost. Why?

MAJOR: It has fe-ear. [pause] You R the manatee; watch out four the bow-oat.

COOPER: Can we defeat them?

MAJOR: No man kan an sir 'Yes' ah nd 'No', ah nd st-ill tell the true-uth. It's bee coming k rowd ed 'round he ear.

With this, the Major raises his hand pointing to a trail, which goes deeper into the garden. Cooper and Truman turn to the path and walk into the thick, dark vegetation. The vines, flowers, and bushes slowly give way to tall trees. Harry looks skyward. He can not see the tops of the trees. They reach up into infinity. Harry pats the stern Cooper on the shoulder.

HARRY: Coop, I haven't said anything in a while, because, well, I've got no where to start. Some time next week, I'm going to realize what's happening. [pause] What are we trying to do?

COOPER: Sometimes it's better not to understand.

Harry nods.

BACK IN TWIN PEAKS, ON THE GREAT NORTHERN FRONT LAWN, Hawk runs to the group of leaders: Gordon, Albert, Andy, Col. Reily, and Ben Horne.

HAWK: No sign of Jack Wheeler's body. Blood and glass are on the ground beneath the window. He may have moved off to the east woods.

BEN: Look, I want that bastard found! My daughter is having a breakdown! I've got the Mayor's son bleeding to death in the lobby! Where is that damn ambulance?!

ALBERT: Your little piece of Eden called Twin Peaks has had a murder, a suicide, and a shooting in the last hour.

ANDY: Hawk, what's the word on Big Ed?>

BEN: What about the FIRE!?!

GORDON: FIRE, YES, WE KNOW.

REILY: I have some men attempting to fight the blaze; we need that water pressure and we can't get it!

GORDON: THE FIRE DEPARTMENT'S ON IT'S WAY. BUT THEY HAD A FALSE ALARM EARLIER AND THEY'RE VOLUNTEERS...

BEN: What about my hotel-

TRUDY: [calling from the lobby] Mr. Horne, your brother's on the phone! He's in jail! [Ben turns and hobbles off to the hotel]

GORDON: ALRIGHT MEN. THIS FIRE WILL FLUSH OUT EARLE. WE NEED THIS HOTEL SURROUNDED WITH ALL THE MEN WE'VE GOT.
Off to their right, James Hurley is flanked by Catherine and Pete Martell. Both Martell's have an arm around the young James.

JAMES: So this is true?

CATHERINE: I would never create such a cruel twist of fate.

JAMES: Well, what do we do now?

PETE: James, have you ever thought about trees?

JAMES: Trees?

PETE: [slowly stressing the word] Trees... Trees... Trees...

As Pete repeats the word, the tight shot of his mouth fades into THE DARK, MYSTERIOUS, TREES which Cooper and Truman walk through. Most of the trees are black and grey. Truman looks to the black clouds above; as Cooper walks determined.

HARRY: These trees are dead.

COOPER: There's no turning back. [Cooper halts] Someone's here.

Harry draws his gun. A scornful look from Cooper makes the sheriff place it back. Agent Cooper motions and they split up to search the dense woods. Harry looks upward into the trees. Cooper stares at the grey ground. He follows the ground. Plop! A drop hits Cooper's shoe. The liquid is an usually bright red. Jerking his head upward, Cooper sees the figure dangling above him.

COOPER: Harry!
Truman runs back to meet Cooper, stopping in shock when he sees...
HARRY: Oh my Lord. Earle.

Hanging from a twisted branch, by a long piece of twine, Windom Earle swings slightly in the breeze. A low constant moan emits from Earle's mouth, as well as a steady stream of blood. He has a blank expression on his face, although his body suffers spastic convulsions. His soul, facing unknown punishment, was lost. Cooper begins to cry for his former partner, then lowers his head and walks away. Truman follows him.
The clouds above them rock with thunder. They return to the path, and continue deeper into the woods. Somewhere in the distance, It watches them. Cooper knew this to be true. He turns his head in the direction. He sees the evil grin of BOB, dancing and hiding behind the trees. BOB moves from tree to tree, watching, waiting, hiding. BOB will not attack here, Cooper realizes. But they are coming close to home. BOB's domain.
The trail winds around a short patch of moss, then slides down a hill leading to a large log building. The building bares a strange resemblance to the rear entrance to One-Eyed Jacks. Cooper quickly looks into Harry's eyes. The unspoken dialogue is clear: This is it. The time is now. And so with a nod of Harry's head, they enter the Black Lodge...

"Coop? Cooper!" Harry spins around, looking into the black nothing which surrounds him. Turning back, Truman finds himself nose to nose with Leland Palmer.

LELAND: Eye did knot kill any bod E.. [laughs] Eye did kill any bod E. I did knott.

Harry turns away. The room begins to light up, in a strobe manner. He is in a place similar to the Red Room, but the furniture is chard and smoking. The wall of curtains are burning in several places. Leland is gone. The dizzy Truman begins to walk toward the entrance.

Suddenly, Donna Hayward appears in front of him. She is lifeless, wearing a night gown. A gown which Harry has seen before... Harry looks down to see Donna is not actually standing, but instead, hanging barely an inch off the floor. Donna floats into the room of ashes, when Harry notices the hand behind her; and the laughter...

The hand moves as if it has Donna a puppet on strings. Then moving out from behind her, the creature which no sane person could see, the man whom the Palmer's had seen, who Cooper had dreamed, who Hawk had drawn, whom the Log Lady had loved. Harry's eyes want to explode from his skull. He now sees BOB.

BOB: Harry, what happened to Josie!?!

Harry stumbles backwards as Donna snaps into Josie on sight. BOB howls at his trick. Harry pulls his revolver and fires three quick shots at BOB's head. But the shots give off a distant, hallow sound, as if taken in a tunnel or underwater. BOB roars with laughter. Harry turns his head downward to see that his stomach and chest took the three bullets. Harry falls to the floor in a puddle of his own blood. As he looks up, Josie and Donna alternate in BOB's clutches as rapidly as the strobe lights.

HARRY: Josie...

BOB roars with delight. Donna takes full spotlight. She is oblivious to her surroundings. BOB smiles and turns Donna next to him for a kiss.

"Let Her Go!"

The room darkens. Harry looks up to see BOB being grabbed by the "MIKE", Gerard, the one armed man. They wrestle and scream.

Donna has fallen into the arms of Johnny Horne. The one armed man tears at the tattoo on BOB's arm.

"MIKE": I'm going to rip your soul out!

BOB screams; the room goes black...

The light returns. The one armed man lies on the floor dead. BOB is gone. No longer wounded, Harry staggers over to Johnny and Donna...

GIVING UP ON REUNITING WITH HARRY, Cooper wanders in the Black Lodge. He crosses through many rooms. The rooms have a dark floral-patterned wallpaper, which is tattered and coming off. Cooper stumbles through each doorway, re-entering the room again. He knows it is taking him too long to come to the place. Cooper turns into another room to find what he expected...

He is in the doorway to Laura Palmer's bedroom. Laura is asleep in the bed. He looks up to the wall, where a painting of the floral-wallpaper room is hung. Cooper sees the back of his own figure standing, facing out, in the doorway in the painting. The ceiling of Laura's bedroom erupts with a flickering electrical light. Laura sits up in bed. Her eyes have no color.

Cooper takes one glance to her hand... she is wearing the ring... the ring BOB and MIKE had made from a green formica table top... in a tiny room of above a convenience store... carved into the formica of the ring... the symbol... the symbol Windom Earle had inverted in Owl Cave...

LAURA: [in a twisted, backwards warble] It's gud to seee you, Age-ent Coo-per.

Cooper looks to the mirror on Laura's dresser. The reflection staring back at him is the white haired, blank eyed version of himself. The evil grinning Doppleganger. Slowly the window in the room begins to open, and crawling in: the evil BOB. Cooper steps backwards toward the door. Then, Cooper stops, and stands tall, raising his chin. His evil twin nods back to him.

DOPPLEGANGER: How's Annie? How's Annie! Here's Annie!

Walking out from behind him, Annie steps into the spotlight of the mirror, then the room. Annie is wearing her Miss Twin Peaks gown and sash. Annie walks to Cooper.

ANNIE: [pointing to Cooper] Wh-I did yoo kill meh?

BOB: Y-or face! Twen-tea-five y-ears! [BOB roars] Remem-ber when yoo fall-oh-ed me n the Phil-adell-phia streets! Shouldn't fall-oh yerself, boy!

The doppleganger Cooper raises his right hand. It begins to tremble and shake. The evil Cooper stops it with his left hand.

DOPPLEGANGER: That's the way they act, be-four we chopp them off.

LAURA: Wh-eye did you ki-ill me, Ah-gent Coo-per?

COOPER: I - I didn't stab Caroline.

ANNIE: Yes. [pause] Yes, you did. You've killed me as well.

COOPER: Annie! I... I...

BOB: We killed your mother... you took the ring... and hid it in your bed.

COOPER: That's not true!

BOB: We met. Three missing years. Kidnapped Windom. Drugged.

COOPER: It's not...

A vision of the empty eyed Leland Palmer fades into the room.

LELAND: When he was in me... I didn't know... and when he was gone... I couldn't remember.

Leland vanishes. In front of Cooper, a wall of flames flash; in the blink of an eye... he is back in the Red Room. Harry enters with Johnny Horne by his side. The unconscious Donna Hayward is in Johnny's arms.

HARRY: Cooper!

Raising a hand, Cooper prevents them from coming further into the room. BOB and the silver haired Cooper take their places on either side of Laura. A gust of wind rocks the room. They blend into one, inside Laura. Annie falls to the floor. Cooper runs to her; lifting her head.

COOPER: Annie! Annie! I love you. I didn't kill them. I won't kill you. I-

ANNIE: [softly] I know... I'm fine.

COOPER: Annie! Oh Annie!

LAURA: Another victim.

COOPER: No! I've never killed anyone!

LAURA: Yoo w-ill.

Laura lungs at him, knocking Cooper backwards through a ring of fire. He lands on his back, outside the Black Lodge on a cold grey ground. The sky above cracks with lightning as a hard rain falls down upon him.

The evil figure of Laura jumps atop his chest and begins to dig her hands into a growing spot of blood in Cooper's abdomen. The long red fingernails break into his skin as he struggles with all his might. The figure above him alternates between Laura and Caroline Earle. The pressure on his chest is killing him. In the distance, Cooper can hear Truman's cry. Cooper can not breathe.

COOPER: [gasping] I love you... forgive me...

The pressure stops. Laura begins to cry. She bends over and kisses him. Laura vanishes...

Cooper rolls on to his stomach, peering up the ridge toward the woods. The tall cloaked figure, whom Cooper had last seen when the Major had vanished, stands at the edge of the woods. Caroline and Laura stand at his side. The grey, evil figure of BOB hangs from one of the trees, in a cross position. The woods glow behind the cloaked figure. He turns and leads Laura and Caroline back toward the White Lodge.

As Cooper sits up, Harry grabs him in a bear hug. Johnny carries Donna over. Cooper and Truman face one another, unable to distinguish the tears from the constant rain, which hits their faces. Cooper looks up into the pouring clouds. Harry follows Cooper's eyes upward - to the fire sprinkler on the ceiling. Johnny, Donna, Cooper and Truman find themselves sitting in a drenched bed in COOPER'S ROOM AT THE GREAT NORTHERN HOTEL.

HARRY: [shocked] Coop! Your hair's black!

COOPER: Yes?

HARRY: Well, just a second ago, it was white!

COOPER: What? [rubbing his eyes, seeing Johnny and Donna] Donna! Harry, where's Earle?

HARRY: I don't know... I thought you had him!

COOPER: Annie! My Lord, where's Annie?!

HARRY: Cooper, don't worry, we left here back in the patrol car.

COOPER: Harry, I need to make sure she's aliv... alright.

HARRY: Coop, I...

Andy bounces into the room; Cooper and Harry look up to him.

ANDY: Agent Cooper! Sheriff Truman! Are you alright? We thought the fire had taken you.

DONNA: [waking up] Where...?

HARRY: What fire, Andy?

ANDY: The fire in the hotel. The fire in this room. [Andy scans the room, appraising] Why is the room not burnt? Huh?

COOPER: Andy, what's happened to Windom Earle?

FLASH. Earle hangs in the hallway. His legs have been cut off and lay on the floor. FLASH. Blood covers most of the floor. Hawk takes another picture. FLASH. Widening the view from the hanging Windom, Albert and Cooper stand face to face.

ALBERT: ...with the water pressure back. Somehow, the hotel has extremely minimal damage. One of the local firemen found him. Whoever killed Earle used the fire as a diversion.

COOPER: [pointing to the floor] How did he get here?

ALBERT: No one knows. It's obvious from the saw in his hands, that he chopped off Earle's legs. I haven't done any test, but best assumption is that he slipped in the blood, fell, broke his neck.

COOPER: That still doesn't explain how he got Earle in a noose or how he hung Windom from the ceiling.

Pulling our view out further, a body lays on the floor. It is the body of "MIKE" a.k.a. Philip Gerard the one-armed man. Dead.

IN THE LOBBY OF THE GREAT NORTHERN:

DOC: Donna!

DONNA: Dad! [Donna runs through the busy lobby, hugs him] Dad, what's going on?!

DOC: I was so worried about you. In the hands of that monster.

DONNA: Daddy, I don't remember what... [she buries her face in his shoulder, crying]

DOC: There, there, you're alright now.

Will Hayward looks across the madcap lobby, into the eyes of Ben Horne, who is hugging his daughter. They understand.

BEN: It's okay, darling. Everything's going to turn out well.

AUDREY: But Jack-

BEN: That jack - ass left a trail of blood. The police will find him, trust me.

AUDREY: But I-

BEN: Trust me. I told them I wouldn't sue the town if they catch him. The hotel wasn't damaged too terribly. Your uncle Jerry's imprisonment may well be a blessing in disguise. Jer isn't being charged, but seems to have been hired as legal council for all who were. And with Jerry as their lawyer, they'll be in prison for a long, long time.

Walking briskly past them, Sheriff Truman hurries into the arms of Norma Jennings.

HARRY: I just found out. When did you hear about it?

NORMA: [crying] A little while ago. First, they tell me that my husband's dead. Then I hear Ed's in intensive care. And poor Nadine... I... I-

HARRY: Doc Hayward says Ed should be alright. Norma, Nadine was a sick woman. It's not your fault. [pause] We'll find whoever shot Hank, I promise.

Harry moves in for an embrace. They kiss... Norma pulls back slowly.

NORMA: Harry, what is that your holding?

HARRY: [lifting the object] Oh. This is my drawer pull. I don't know why, but I grabbed it from one of the rooms. I need to keep it near.

Puzzled Norma shakes it off, and she pulls Harry in for another kiss. Cooper and Gordon smile at Harry as they walk past him out into the washed scene of flashing lights from the dozens of police cars, fire engines, and ambulances in the front lot.

From one of the ambulances, Bobby and Colonel Reily join up with Cooper and Gordon.

BOBBY: Agent Cooper... My father-

COOPER: I know Bobby. I'm very sorry. Your father was a great man.

BOBBY: My father had a message for you. [pause] He said: 'It's over.'

COOPER: [taken aback; pause] I understand. Thank you, Bobby.

Bobby nods his head, then slowly moves back to an ambulance, where Shelly sits. Bobby and Shelly hug. Gordon turns away.

GORDON: LITTLE LADY'S HAD QUITE A ROUGH NIGHT. HUSBAND DIES. BOYFRIEND'S FATHER DIES.

COOPER: Major Briggs. An incredible man. I believe Bobby Briggs will have trouble coping with this loss.

REILY: Tomorrow, I'll have a talk with the boy. Garland Briggs was a great pilot, soldier, and friend. The son should know of his father's accomplishments.

Gordon and Cooper smile as Col. Reily bows his head and exits. Albert swaggers into the picture.

ALBERT: How's bout we boys go a fishin'?

COOPER: [smiling] Albert, your father's a marine?

ALBERT: Forty-three years of service. Honorable discharge. How'd you guess?

Cooper, Gordon, and Albert move away from the hotel's entrance to make way for exiting firemen. The firemen walk past an ambulance which Dwayne Jr. lays outside on a stretcher. Audrey kneels next to him, leaning over his face.

DJ: Don't worry, my stomach stopped the bullets. [laughing] I suppose they're waiting for more injured parties before we get going to the hospital, huh? I could have crawled there by now. [laugh]

AUDREY: Don't joke. You're hurt.

DJ: Not really. I was just grazed once. See what happens when we're together... Good thing we didn't have dinner tonight, or I'd be a goner.

AUDREY: [looking down] They haven't found Jack yet.

DJ: Oh no. Guess that means you'll have to stay with me, and protect me until he's caught.

Audrey laughs and they both smile. Audrey leans forward and kisses him. DJ raise his arms around her.

DJ: If I'd known all it took was a bullet wound; I'd have shot myself all those years back when we played cowboys and indians.

AUDREY: Sneaky. [They kiss again]

JOHNNY: Indian!

DJ: [startled] What the-? Johnny! Good to see you pal.

DJ and Johnny start hand wrestling. Audrey steps back, and notices Donna wrapped in a blanket on the hotel's front steps. She walks over to her.

AUDREY: Are you okay?

DONNA: Yeah, I guess. They didn't hurt me.

AUDREY: No, I meant...

DONNA: Yes. We'll work it out. I'd really like to be sisters with you.

AUDREY: I'd like that, too.

JAMES: Here she is!

Donna looks up to see James, with an arm around both Catherine and Pete.

PETE: Well son, you've definitely found yourself a pretty girl.

CATHERINE: Yes, I'd say so. She reminds me of Ersa, your cousin, once removed.

DONNA: [confused] James, what's going on?

JAMES: Donna, I'd like you to meet my Aunt Catherine and my Uncle Pete.

CATHERINE: Call me Cathy.

Across the parking lot, Agents Sam, Albert, Cooper, and Gordon have formed a think tank.

SAM: ...the missing 'E'. Leland's post-mortem was done in Fairville, performed by Joe Fielding.

COOPER: That's who performed Laura Palmer's autopsy.

ALBERT: Well, if I hadn't seen Laura myself, I'd tell you to check her grave.

GORDON: WHAT ABOUT THOSE CIRCULARS?

ALBERT: We're keeping them all over night, for questions. But only a few will be charged. The two older women who kidnapped Hayward's girl. We have a couple more on possession of narcotics. Coop, you'll be happy to know the little midget was loaded with cocaine.

COOPER:[nodding] Gordon, what's the word on Jack Wheeler?

GORDON: TELL HER, WHAT?

ALBERT: We've got some of the local vigilantes from the Bookhouse after him.

Truman, Hawk, and Andy rush past them; Harry hangs back to catch Cooper.

HARRY: Never a dull moment around here.

COOPER: What's wrong, Harry?

HARRY: Have to run down to the Double R and check out the area. Then I've got to go to the hospital and check on Big Ed.

COOPER: What's this?

HARRY: You haven't heard?

GORDON: COOP, HOW'D YOU FIND OUT ABOUT THE HOMICIDE?

COOPER: What?

TRUMAN: Earlier tonight, somebody shot and killed Hank Jennings at the Double R diner. Also, Nadine Hurley shot Big Ed, then turned the gun on herself.

COOPER: Are they alright?

TRUMAN: Nadine's dead. I'm going to check on Ed in a bit.

GORDON: COOP, I DIDN'T TELL YOU ABOUT THE MURDER BECAUSE AT THE CRACK OF DAWN, YOU AND I ARE HEADING SOUTH.

COOPER: What?

TRUMAN: What's going on, Gordon!

GORDON: CAN'T TELL YOU, SHERIFF. IT'S TOP SECRET.

ANDY: [calling from a patrol car] Sheriff Truman! The Mayor's on the radio!

TRUMAN:[calling back ] Not now, Andy!

ANDY: [calling] The Mayor says it's urgent!

Truman looks to Cooper, then turns to go to the squad car. Cooper turns on his fellow G-men.

COOPER: What's going on?!

ALBERT: Gordon thought you needed a change of scenery. You've been here a while.

COOPER: But what about the Circulars?

SAM: Being moved in the morning to the state pen, south of Tacoma.

COOPER: But there's still investigations: Agent Hardy's death. Windom Earle's. The One-armed man's. Major Briggs'. Leo Johnson's. Hank Jennings?

GORDON: COOPER, I COULDN'T MAKE OUT ONE WORD YOU JUST SAID. BUT YOU'RE DONE HERE. THE ONLY THING LEFT HERE IS PAPER WORK; OR IT'S THE LOCAL AUTHORITIES PROBLEMS, WHICH THE BUREAU CAN'T TOUCH. I'M HAVING ALBERT AND AGENT STANLEY IN CHARGE OF THE WRAP UP HERE.

ALBERT: And am I glad to be stuck in this backwoods 'burg.

COOPER: Gordon, I still have a vacation coming!

GORDON: COOP, YOU JUST GOT OUT OF A HOSPITAL THIS MORNING, AND ALREADY YOU'VE BEEN KNOCKED OUT AND STABBED.

COOPER: But-

GORDON: LOOK, WE'VE GOT A WHOLE LOT OF SHAKING GOING ON DOWN IN BEND, OREGON. TWO WEEKS AGO, SOME FOOLS WENT DEER HUNTING WITH STOLEN AUTOMATIC RIFLES. THE BULLETS FROM THE DEER MATCH THOSE USED IN A BANK HEIST IN BAKERSFIELD LAST YEAR.

SAM: Sounds like quite a mess. [Agent Cole leans in] I said: 'QUITE A MESS!'

GORDON: YEAH, THOSE DEER DIDN'T KNOW WHAT HIT 'EM.

Cooper is not listening; his face is on Harry. Cooper walks toward the Twin Peaks sheriff's car. He quickly turns back.

COOPER: Gordon, I quit.

GORDON: NOW DON'T GO OFF AND TELL ME: 'YOU WANT TO QUIT'.

Cooper turns around and continues to walk to Harry, Hawk, and Andy, who have been joined by Lucy.

ALBERT: What is it about this town? To have such an effect on Cooper.

SAM: Agent Desmond disappeared down in Deer Meadow. Do you think Agent Cooper's caught the same bug?

ALBERT: I don't know, Sam. I don't know.

SAM: Yeah. And where was the missing letter: 'E'?

The Agents turn and walk off. On the front steps, Sylvia Horne runs to hug Audrey and Johnny, as well as confront Ben... Sitting not far away, Will Hayward holds his daughter, Donna in his arms. They look up and smile as Eileen Hayward rolls up to them in her wheelchair. Donna's two sisters push the wheelchair from behind... Sitting on a back bumper of an ambulance, Norma and Bobby have an arm around Shelly; comforting her... Pete swings an invisible axe in his hands as Catherine and James look on, laughing... Pulling a fork upward with his left hand, Richard Tremayne leans toward the smiling Trudy... The Log Lady ducks behind the fire engine, as Tim Pinkle darts around a corner calling for her...

COOPER: [into his cassette recorder] Diane, it's... [pause] Diane, I seem to have lost my watch. Make a note to run by George's Watch Store on Forty-ninth. They have good watches; reasonably priced. By the position of the moon, I believe it is two-twenty eight A. M. [pause] Have recently expressed to Agent Cole my desire to terminate my relationship with the Bureau. Please type up a formal letter, for I fear he may not have comprehended my low voice. Unsure of my future with the F.B.I., but if this is the end, Dianne, please consider a rewarding life joining me in Twin Peaks Sheriff's Station. Lucy is over worked and pregnant. And you'll just love the trees.

Lucy, Andy and Hawk smile as Cooper takes a stiff stance behind Harry. Lucy hands Cooper a small folder.

HARRY: [into the patrol car's radio] ...yes Dwayne, yes sir. Now... But... Yes, your son was shot, but... no sir, it wasn't me... They are taking him to the hospital right now. He seems fine... yes, there was another murder... No, there's nothing new on the bank explosion, but-

COOPER: [grabbing the receiver from Harry] Mayor Milford, Deputy Dale here. We'll have a complete run down of the events leading up to the bombing of the bank on your desk at 10 A.M. tomorrow morning. [he places the radio down]

HARRY: Coop, how can we-

COOPER: Harry, don't ask me how, but I have a complete understanding of the bank explosion.

HARRY: I thought you were leaving?

COOPER: Talked Gordon into letting me stay on. Now Hawk, I want you to find Jones, the South African female friend of Thomas Eckhardt, that lady who tried to do in Harry. She's should be in King County Female Correctional Facility down by Spokane.

HAWK: [smiling] Right on it! [Hawk runs off]

COOPER: Now Andy, I believe I saw Catherine and Pete Martell by the fire engine. We'll need to bag the puzzle box pieces and dust them.

ANDY: Well. Alright. [Andy staggers off]

COOPER: Lucy, you head back to the office. You'll find my father's number under 'C'. I want you to call him up, and make sure he's alright. Then go home and go to bed, you're pregnant.

LUCY: On my desk drawer next to the-?

COOPER: Yes, your desk drawer by the typewriter. Thanks. [Lucy pecks Coop on the check; then hurries away]

HARRY: Coop, what do you want me to do?

COOPER: Harry, you are the sheriff. I believe you and I will work on Hank Jennings' murder. I see our suspects including: Big Ed and Nadine; we can check and see if the gun Nadine used was the same gun that killed Hank. Norma-

HARRY: Now, wait a minute.

COOPER: Harry, I know you love her. But Norma hated her husband, and when we were in the Double R earlier, I saw Norma with a handgun. [Harry is shocked] Also, let's be sure to check the guns that Jack Wheeler and the mayor's son had tonight. We need the Bookhouse Boys to find Jack Justice Wheeler now.

HARRY: Dwayne Junior and Jack Wheeler?

COOPER: Also, we have the dead boy in the Johnson's house. Shelly claims Leo shot him.

HARRY: She may be covering for Bobby Briggs.

COOPER: I don't think so, but it's possible. Anyway, add both Leo and Bobby to our suspects in Hank's murder. Shelly, to a lesser degree, because she was with Gordon most of the night. Now, this report Lucy handed me, says Hank was found with his things packed. Could have been meeting someone. Possibly a third party is involved.

HARRY: Coop. Nadine, Leo, and Andrew Booker are dead. Big Ed and Dwayne Jr. are injured with bullet wounds themselves. Jack Wheeler's run off into the woods.

COOPER: Yes, this could make the interrogation process difficult.

HARRY: We can't question Bobby right after his father's death.

COOPER: No. Or Norma, after her husband's death and... Annie!

HARRY: My drawer pull says you should be careful.

COOPER: Your drawer pull?

HARRY: Cooper, what do you know of Annie's past? Who she was before?

COOPER: Harry, I don't need-

ANNIE: Dale!

Cooper spins to see Annie facing him. She steps out of the patrol car.

COOPER: Annie!

Cooper runs to her. Throwing his arms around her, Cooper gives her a long and passionate kiss. They pull apart and Cooper makes a strange expression on his face.

Taking one hand, Cooper digs under his ring fingernail and flicks out a speck of paper. He stretches his neck; then pulls Annie close to him. Cooper spins her around; his eyes closed. He squeezes her back.

Turning, the hand on the back of Cooper's head wears a ring...

The face over Cooper's shoulder is not Annie's...

At least not to people who see such things...

It was Laura Palmer's...

Part innocent... part evil... Laura gives a huge grin...

Nearby lays a speck of paper...

On the ground...

The typed letter: 'E'.

THE END

Notes from the Author:

Thank you for your support. I love feedback!

"Someday" I hope to complete another Twin Peaks piece I'm working on: "THE LELAND PALMER TRANSCRIPTS", which would be similar to "The Secret Diary of Laura Palmer" & "The Autobiography of Agent Dale Cooper: My Life, My Tapes." The premise is Dwayne Milford, Jr. uses the Freedom of Information Act to acquire all of Leland's paperwork and journals and then publishes them in the Gazette. The combined effect is the story of Leland's life, answering questions about those summers up on Pearl Lakes, why Maddy's parents wouldn't come to Laura's funeral, and how BOB was with Leland for so many years without ANYBODY noticing. We'll see his side to many events which happened in Laura's diary as well as Cooper's tapes as well as FWWM and the series.

Notes about "The Owls Are Not What They Seem"

Many ideas in my script came from FWWM & the series, but plenty came from the books. These might be some of the more obscure ones...

-Little Danielle, who was chained to the tree, was a character in The Secret Diary, as was the idea of chaining a girl to a tree.

-In the diary, Laura has a dream of a "devil" saving a chair in hell for Bobby Briggs.

-The drug cabin in Low Town is based on one mentioned in Laura's diary.

-The Circulars are VAGUELY mentioned in Access Guide to Twin Peaks (had there been a third season...) so I connected them to parties described in Laura's diary.

-Tim and Tom Pinkle are based on their appearance in the Access Guide as well as a small scene in a script from the second season of the television series. (This scene dealt with the Pinkle's driving Jack Wheeler to the airport in their taxi; I'm not sure if it was ever filmed, it never made it to air.)

-Cooper's family stories as well as Windom's hung chess teacher & hung prision mate are from My Life, My Tapes.

-James Packard, Andrew's grandpa, is mentioned in the Access Guide.

- Dwayne Jr. was a character I created when I was attempting to write articles for the short lived TWIN PEAKS GAZETTE. (He was originally Dougie Jr., but when Audrey mentioned Dwayne Jr. in the last episode, I changed his name)

- If you have any other questions, don't hesitate to write.