(Fourth Edit 6-27-18)

TWIN PEAKS: EPISODE 1: "I'LL SEE YOU AGAIN IN 25 YEARS"

S3:E1: TEASER

INT. BLACK LODGE - STOCK AND NEW FOOTAGE (CGI)

The red draped room, chevronned floor. 17 year old Laura Palmer sits across from an aged FBI Special Agent Dale Cooper as the diminutive Man from Another Place watches. LAURA (backwards speak): "I'll see you again in 25 years ... meanwhile ..." Laura poses her hands. SLOW MORPH to present, aging Laura. As we morph to present, an object appears in Laura's posed hands: A vase from the Hayward house, with 12 unique roses, in 12 states of life, one appearing one starting to die at a time. COOPER: "Laura? ... Laura Palmer?"

INT. WHITE LODGE - (CGI)

Curtains of white vapor. Floor of moving chevronned green fractals. Cooper and The Giant sit across from each other, on two of four facing white marble vine encrusted thrones. COOPER: "... Laura Palmer ... Laura ..." GIANT (simultaneous forwards & backwards speak 'simulwards' speak): "Twelve you must save, one is in the woods, two in the owls, six you must uncover, and three you have already saved." COOPER: "But I saved no one. Laura, Theresa, Annie, Maddy, Josie, so many..." GIANT (simulwards speak): "You must choose to take all their garmonbozia, or save yourself." COOPER: "I choose pain and sorrow."

EXT. PALMER HOUSE - NIGHT

Caption: '25 years later. February 23'. Closer to the house, we see through to Sarah Palmer's bedroom, and Sarah asleep. She is lit by the intermittent light and shadows of the ceiling fan, unseen down the hallway.

INT. PALMER HOUSE - SARAH'S BEDROOM - NIGHT

Sarah sleeps. She turns uncomfortably. On her night stand, a pack of smokes, ashtray, empty scotch glass, by a picture of Laura sitting in front of the Palmer House.

INT. SARAH'S DREAM - WOODS - DAY (CGI)

In a woodland clearing, Sarah, still, sits on a white horse, sidesaddle, in her white wedding dress. Sarah smiles warmly at Cooper, who we see standing in woods, his FBI suit spotless. SARAH: "I can only see you in your dreams." COOPER: "Am I dreaming, Sarah?" SARAH: "No, you are dreaming Laura." Cooper looks consternated. SARAH: "Leland!" Leland Palmer appears, hovering and angled to the ground 30°, head pointing to horse's chest, in wedding tux. LELAND (backwards speak): "Is it happening again? Where's my Laura?"

INT. PALMER HOUSE - SARAH'S BEDROOM - NIGHT (CGI)

Sarah scream-wakes from nightmare. As screams continue, INSERT SHOT BOB CRAWLING ON CEILING NEAR CEILING FAN. Bob's filthy greasy grey and white hair hangs in wild tangles, knotted in the fan's breeze, as he crawls like a slinking animal past Laura's door toward Sarah's bedroom. BOB: "I'm coming for you, bitch!" More screams into:

TWIN PEAKS THEME and OPENING SEQUENCE starring exclusively original Twin Peaks & Fire Walk With Me cast members.

S3:E1: ACT ONE

EXT. PALMER HOUSE - LATER - NIGHT

Two Twin Peaks Sheriff cruisers parked headlight to headlight, people on street in bed clothes. The street and house twinkle with red, white, and blue as the cruisers flash.

INT. PALMER HOUSE - LIVING ROOM - NIGHT

Lit by flashes, Deputy Chief Hawk Hill stands by open front door and an entryway table with a picture of Laura before prom, phone, empty ashtray. HAWK: "Sarah, you sure you're okay?" Sarah sits between Deputy Chief Andy Brennan and Doctor Will Hayward. SARAH: "I left the window open, so hot, that fan ..." She weeps. SARAH: "Seventeen years old, twenty five years ago, tonight." Andy weeps. She motions to take his head in her arms, he does. DOC HAYWARD: "Sarah, you can't let these dreams upset you, you know your medication-" JACOBY (OS): "Sarah needs her dreams, we all do, buckaroo." Doc Hayward turns to see Doctor Lawrence Jacoby in doorway. DOC HAYWARD: "Who let you in here!?" Hawk holds Jacoby back. SARAH: "Get that, Hawk, I can't ..." Then phone rings. Looks. INTERCUT with EXT. LOG LADY'S CABIN - PORCH - NIGHT: Margaret Lanterman, the Log Lady, stares out into the woods from her sparse front deck, holding her log, her cell phone raised. Hawk picks up phone. HAWK: "Hello. Palmer residence." LOG LADY: "Hawk, my log wanted to tell you three things. 'The crow and the hawk kills the owl, the pies are all that they seem, and sparkwood burns to ashes.' That is all my log can say, but he has seen the phoenix on his brightest day." HAWK: "Thank you, Margaret. I understand. I will listen to the wind. Goodbye, Margaret." Hawk hangs up phone. Sarah lets Andy up, motions to Hawk. SARAH: "Did she see Laura?" HAWK: "No, Sarah, she saw something elsewhere." Sarah sighs, relaxes into her chair. SARAH: "I see my Laura." Andy wipes a red tear from Sarah's face. Jacoby pokes his face in. JACOBY: "Channel, Sarah, channel-" Doc Hayward grabs him as paramedics arrive. Sarah looks up at Paramedic Mike Nelson. SARAH: "You!" MIKE: "Now, Mrs. Palmer, you got to let me do my job." Sarah screams. SARAH: "What are all these people doing in my house!" Hawk quietly exits.

EXT. SHERIFF'S STATION - NIGHT

The station's security door entry pad blinks red. The doors seemed mismatched to the station's agrarian wood exteriors, statue, and its iconic wooden banner sign, 'TWIN PEAKS SHERIFF'S DEPARTMENT.'

INT. SHERIFF'S STATION - RECEPTION - NIGHT

Lucy Brennan types on a keyboard at her 10-screen computer dispatcher station. She touches her bluetooth earpiece. LUCY: "She can see Laura? Oh ... Andy ... Hold Deputy Chief Brennan." Lucy presses button. LUCY: "Deputy Briggs? Deputy? Multiple disturbances at Roadhouse. Reply. Over. ... Deputy Briggs?"

EXT. ROADHOUSE - THE IMMEDIATE PAST - NIGHT

Bobby Briggs, in Twin Peaks Sheriff's uniform, stands next to his cruiser and a row of Harley Davidson hogs. Bobby shuts off his flashers. Bobby listens to his police radio. ANDY (Crying, VO): "Oh Lucy, she cried blood. Lucy, it was horrid, and she said she saw Laura, she saw Laura tonight." Radio distorts, echoes. ANDY (distortion, VO): "Tonight ... tonight ..." LUCY (distortion, VO): "She can see Laura? Oh ... Andy ... Hold ... Chief ... Briggs? Multiple ... See Laura? Reply. Over. See Laura?" Bobby blinks. Bobby stares into woods behind Roadhouse. Bobby blinks. Distortion fades. Bobby blinks. He turns his head as: Bobby watches Shelly leave Roadhouse.

INT. ROADHOUSE - MOMENTS EARLIER - NIGHT

In the dark high-beamed bar, not smoke but dust has arisen from the aftermath of a bar fight, no one moving, crowd circling Joey Paulson, who has his knee on an unseen man's back, arms wrenched back. Dark save the bars neon and the flashers of Bobby's cruiser outside windows. Tables pushed all hitherto and helter skelter. Busted beer bottles. Peanuts scattered everywhere. Scrunched paper reading partially, 'KEEP TWIN PEAKS ...' JOEY: "I ain't moving until the Sheriff gets here, and neither are you!" Bobby's flashers shut off. Joey looks to Shelly Hurley, at bar, and nods her to the door. Shelly's name tag reads 'Double R Café' above 'Shelly Hurley' above 'General Manager'. Shelly wears her sky blue Double R Café uniform under a Bookhouse Boys leather jacket. She nods and exits.

EXT. ROADHOUSE - BACK TO CONTINUOUS - NIGHT

Bobby watches Shelly leave Roadhouse, get into a 2010 baby blue Dodge Charger, and pull out in a storm of dust and squealing tires. Bobby gets into his cruiser and follows.

EXT. SPARKWOOD & 21 - MOMENTS LATER - NIGHT - (CGI)

Center stop light green. Shelly's Charger pulls up to James Hurley, astride his 1978 Electra Glide Harley Davidson motorcycle. Bobby's cruiser stops in distance. James opens his leather jacket. Shelly gets out and slams door. She goes to James, who holds her. Unseen woman in woods moves douglas fir branch to watch the two of them. JAMES: "This is exactly where she was. Laura." Stop light yellow. SHELLY: "James, this isn't safe. Leo was released today, and his buddies just trashed the Roadhouse. James, they said they're going to kill me and Bobby." Stop light red. JAMES: "Bobby and I aren't friends anymore." Light glows redder. SHELLY: "James, Bobby has to kill Leo, it's the only way." JAMES: "No." Light bright red. JAMES: "What the hell's wrong with that light?" Donna emerges from woods, crying, holding her left arm, pointing to light. Bobby exits cruiser, walks towards, entranced. James is stunned to see Donna and Shelly notices. James and Shelly watch Donna point and methodically walk toward the brightening signal light. Bobby arrives. The stoplight explodes, SLOW MOTION showering twinkling red glass and white sparks that form an image of Laura Palmer made of sparkles and brilliance, her hands posed. More sparks and glass. Behind Laura, an image of Cooper appears, made of glass and stars.

S3:E1: ACT TWO

EXT. SPARKWOOD & 21 - NIGHT

Caption: 'Midnight February 24.' The six other hanging stop lights blink red. As Donna, Shelly, Bobby, James stand dumbfounded in glass, Major Garland Briggs steps out of woods. He wears his Air Force Major uniform with 36 ribbons. GARLAND: "You see son, the juxta-" BOBBY: "F*ck! ... Dad! ... F*ck, I could've shot you!" GARLAND: "The juxtaposition of extraordinary events into our seemingly lackluster but rich lives may prompt us to question our turbulent and oftentimes consternating perception of reality and meaning. Son, it is through painstaking exploration, then understanding, then mastering our universe through a lens of moral veracity, that we all emerge from melancholy, passivity, darkness onto a path of fulfillment, achievement, enlightenment." Astonished, Bobby glares at Garland. GARLAND: "Such is the nature of my work, and your quest, son."

EXT. SKY ABOVE SPARKWOOD & 21 - NIGHT

The group below in shattered glass, the center stop light dark, 6 others blinking red and shorting out to darkness lit only by the cruiser's headlight's and James' Electra Glide. Tilting up beyond Sparkwood through Twin Peaks to the Great Northern on a far opposing hill.

INT. GREAT NORTHERN - BEN'S OFFICE - NIGHT

Audrey Horne enters, vexed, drops overnight bag. She wears a scarlet business suit and hat, the webbing of her black gauze veil covering one eye and draping down to her cheek. AUDREY: "Daddy, what is too secret to say on the phone?" Benjamin Horne, sporting an Armani suit, stands from his desk, chomping a carrot stick. BEN: "Eavesdropping, Audrey, eavesdropping. Come with me." Ben points the way with his carrot. They exit to:

INT. GREAT NORTHERN - BANQUET HALL - MOMENTS LATER - NIGHT (CGI)

Johnny Horne is sitting on the conference table and has built a huge face of Laura out of fruit on the table, an astoundingly accurate autistic and artistic replica of the trophy case photo. AUDREY: "Johnny!" Audrey moves to Johnny, then onto table, sitting with him. She brushes a headdress feather from his face. Face-to-face, they hold each other and sway back and forth. Johnny points at replica. JOHNNY: "Coo-per." Audrey halts her sway, almost shocked. AUDREY: "Johnny, you made Laura, not Agent Cooper." JOHNNY: "Coo-per." Audrey hangs her head. Johnny almost awkwardly removes Audrey's hat, she smiling as he does, to stare into her stunning sky blue eyes. The webbing sticks to his fingers as he tries to drop the hat. Audrey smiles and untangles him, dropping the hat to the floor. From doorway: SILVIA (OS): "Don't you go in there!" Jerry Horne and Sylvia Horne stop at doorway. Jerry squeezes past an infuriated Sylvia. JERRY: "Uncle Jerry's here! What's my favorite nephew building? Like father, like son, huh, Ben?" JOHNNY: "Coo-per." Johnny gets up, motions Audrey to help move table. Jerry rushes in, giddy to help, as they move table to display it in front of bay window. Johnny sits on end of table and stares out window. Jerry stares out, trying to see where Johnny blankly stares. BEN: "Audrey, call your sister." SYLVIA: "Audrey, don't you dare!"

EXT. DOUBLE R CAFÉ - NIGHT

The large red neon R's of the café are dark. The neon sign switches on. The neon sign switches off. We see inside the dark windows of the café, as an interior light clicks on.

INT. DOUBLE R CAFÉ - NIGHT

The café is dark. Donna sits across from James in the only lit booth. Shelly enters from kitchen, bringing cherry pie and coffee. JAMES: "You sure Aunt Norma won't mind us being in here?" SHELLY: "As long as I'm here, we're fine." James turns to Donna. JAMES: "What were you doing at Sparkwood and 21?" DONNA: "I knew you would be there, James. It would have been happening to her just about now." JAMES: "This can't be real, this isn't happening." DONNA: "James, Laura is calling to us, it's real, and its up to us." SHELLY: "Donna, we have bigger worries, in the real world." Donna takes a bite of pie as her cell phone rings. DONNA: "Hello ... Audrey? ... What!? Your mother will not-" Donna looks at her phone, grabs her stuff and exits. JAMES: "That was weird." SHELLY: "James, I think she's trying to seduce you back into her life. James, look at me!"

EXT. BIG ED'S GAS FARM AND HURLEY HOUSE - LATER - NIGHT

An owl stares into night. Owl is staring at Big Ed's Gas Farm. Lights shut off on station. Lights already out on Big Ed's 'TowTownNow' and Big Ed's 'Classic Auto Repair.' Big Ed Hurley exits station, enters his black 1999 Ford F150 Thunder, and drives into town. Across street at his house, drapes open noisily revealing Norma Hurley.

EXT. DOUBLE R CAFÉ - NIGHT

Ed pulls up, exits his Thunder to waiting James and Shelly. ED: "James, what's going on?" JAMES: "We need some help from the Bookhouse Boys." ED: "Leo?" SHELLY: "Yeah ..." JAMES: "Uncle Ed, we, we saw Laura." ED: "You'd better come over." They nod, exit to vehicles.

EXT. BIG ED'S HOUSE - LATER - NIGHT

We see vehicles and hog parked outside. Through open windows, we see Ed, James, and Norma holding Shelly. Owl hoots. Owl turns its head to Sheriff's cruiser, flashers on, no siren, as it speeds by. Flashers in the owl's saffron eyes.

EXT. SHERIFF'S STATION - MOMENTS LATER - NIGHT

Cruiser pulls up, Sheriff Harry Truman exits.

INT. SHERIFF'S STATION - RECEPTION - CONTINUOUS - NIGHT

As Harry approaches, Lucy holds up a finger, then finishes typing. HARRY: "Lucy, was that all points an open mike?" LUCY: "I had several calls, Sheriff Truman, and the system had a glitch, and everyone heard me and Andy, the stuff with Sarah and Laura, and three vandalism reports, and five arrests at the roadhouse! And Sheriff, they wrapped the Packard Mill Tower in plastic. Plastic!" HARRY: "Feels like a full moon."

EXT. SHERIFF'S STATION AND SKY - CONTINUOUS - NIGHT

Far above the station below, we see past the Great Northern, the upper lake to falls, and in the far distance, the woods and hills of Ghostwood Forest.

INT. BLACK LODGE (CGI)

The red curtained room is bare of furnishings. The One Armed Man, Phillip Michael Gerard, hovers on his side, looking as if his missing arm is buried in the chevronned floor. The floor becomes translucent, showing the Man from Another Place dancing on the ceiling of the room below in the spot where the arm would be. ONE ARMED MAN (backwards speak): "Doppelganger." He points to Man from Another Place. His real arm shakes, goes numb. ONE ARMED MAN (backwards speak): "Kill your arm, or die." We see Cooper, watching the spectacle, his brow furled. COOPER: "How do I get back?" ONE-ARMED MAN (backwards speak) & LOG LADY (VO, stock): "Shut your eyes, and you'll burst into flames." Cooper shuts his eyes, bursts into flames, and fades away. We see the face of the One Armed Man, and as he speaks, we MORPH through faces: One Armed man to Man from Another Place to Bob to Leland to Windom Earle to evil Dale to Laura, each face growing in fury, insanity, blood, contortion, shrieks, saying: ALL (backwards speak): "F-i-r-e, w-a-l-k w-i-t-h m-e!" The final shriek of Laura AUDIO BLENDS into an owl's screech. Then a dozen screeches simultaneously.

EXT. GHOSTWOOD FOREST AND SKY - NIGHT

The tapestry of the douglas firs oscillate in ripples and billows of the night breeze.

EXT. GHOSTWOOD FOREST - DIRT ROAD INTERSECTION - NIGHT (CGI)

A circle of twelve owls silently watch the dark intersection, with three showroom 2016 Trans Am racing cars (red, black, green) parked in the woods. An old two tone green and brown 1972 Ford pickup truck pulls up, drops Leo Johnson off, drives away. In sunglasses and with his greying long hair in ponytail. He goes to the intersection. LEO: "Keys!" Thugs emerge from each Trans Am. Leo points to black one. LEO: "Keys!" Thug tosses keys to Leo. LEO: "Leave!" Thugs enter remaining cars and begin to pull out, as we now see from above intersection, the flapping owls forming a 'clock's face' at its 12 hour points, and the cars driving away, trailing dust at 12:00 and 3:00 o'clock. MATCH SHOT TO:

INT. NADINE & MIKE'S HOUSE - ANGLE ON CLOCK - NIGHT

Clock reads 3:00 a.m. We see the red long trailing curls of Nadine Nelson from behind as she lifts her patch. She seems to weep. She removes her patch, drops it to floor. Door opens, Mike in paramedic uniform. MIKE: "Oh my god, I am not working another f*cking night shift, I-" He is impaled against the wall as Nadine almost tackles him. NADINE: "Oh Mike, I can see, I can see, I can see!" Mike grins, removes a medical flashlight and tests the new eye. Nadine's sparkling chestnut eyes. Smiling broader, they kiss.

EXT. WOODS - ESTABLISHING - LATER - DAWN

Thunder rumbles in distance. Douglas firs swaying. From the trees, we see the mist of the Great Northern waterfall, then the Great Northern, then, through the open bay window, Johnny's sculpture of Laura.

INT. GREAT NORTHERN - BANQUET HALL - DAWN

Johnny, Audrey, and Donna sleep in nightgowns and PJs on floor in a makeshift camp out. Sleeping bags, cushions, pillows. We see Johnny's headdress parked atop a totem pole. The feathers ruffle as a light breeze blows in through bay window.

EXT. PALMER HOUSE - LATER - MORNING

A cherry red 2010 Ford Toyota Highlander Hybrid SUV pulls up with the Double R logo: a ridged golden pie circle, the crust removed to form 'RR' in red glowing rich cherries, glistening with filling.

INT. PALMER HOUSE - LIVING ROOM - MORNING

Betty Briggs and Eileen Hayward, in wheel chair, sit with Sarah, holding hands. The ladies do not touch their steaming coffees. BETTY: "Sarah, we have to believe Laura is in heaven." Sarah nods, lips quivering. EILEEN: "Will said your heart is strong, but all this stress you're putting on yourself isn't good for you and wouldn't make Laura happy." Knock at door. Eileen wheels over to answer it, as Sarah looks toward ceiling fan. Norma in her Double R uniform at door, enters with Meals-on-Wheels tray. NORMA: "Sarah, I thought I'd stop by personally to update your diet card." Sarah extends her arms, and when Norma attempts to give her the tray, Sarah brushes it aside, and embraces Norma. NORMA: "But the real reason I stopped by is to tell you, um, I don't know how to say this..." Sarah smiles. NORMA: "...but five people say they saw Laura last night." Sarahloses her smile, nods and barely voices: SARAH: "Six." Betty nods and Eileen shakes her head. EILEEN: "Norma! Don't upset her with crazy rumors!" Sarah looks to a glassy eyed Betty. BETTY: "Garland ..." Ceiling fan stops, Norma notices. SARAH: "Bobby, Donna, Shelly, James." Betty nods, weeping. Sarah comforts Betty. SARAH: "Now, Beth, sh-sh-sh." Sarah removes lid on meal, grabs boysenberry pie, takes bite. SARAH: "Oh my!" Sarah eats entire piece. Questioning looks from other women as they watch. Sarah sips her coffee. Sarah sighs deeply, smiling warmly. Norma smiles big. Sarah pounds the wall. Ceiling fan starts.

EXT. SPARKWOOD & 21 - LATER - DAY

A work crew repairs light. Hawk takes pictures of broken glass and odd burn marks from previous falling sparks, showing an arrangement looking like a tower of burn marks, with red glass forming an image of flames around the tower's base. MATCH SHOT TO:

EXT. PACKARD MILL RUBBLE AND SMOKE STACK - DAY

The tower is wrapped in plastic at its base. Nearby, a fallen dilapidated faded sign: 'Future sight of the Ghostwood Country Club and Estates.'

EXT. PACKARD HOUSE AND LAKE - DAY (CGI)

We see the tiny Great Northern in the extreme distance, then across the entire expanse of the upper lake of Twin Peaks, the log. The huge log beside which Laura was found 25 years ago. On the shore, the exact spot, we see it swarming with newly hatched ticks. A crow lands and pecks them up, one by one.

INT. PACKARD HOUSE - LIVING ROOM - DAY

Within the rustic walls, fine furniture and elegant lavish furnishings, Catherine Packard Martell talks on her cell phone: CATHERINE: "I don't care if its just vandalism, I want it investigated!" Muffled sound on phone. "It was my house that girl was found wrapped up like that, like a fish! They are mocking me, and so are you!" She hangs up, opens a drawer on a bureau, and removes a Taurus 45 revolver, engraved 'The Judge'. She checks the six bullets in the cylinder, and slaps the cylinder closed. She dons a full length red fox fur, and places the Judge in her pocket. She sets a security code, and exits front door. The security pad flashes red: 'ARMED.'

EXT. TWIN PEAKS TOWN ROADS & EASTER PARK AND INT. CATHERINE'S CAR - LATER - DAY

Catherine drives a black 1951 Lancia Ardea, a powerful looking former armored car. She drives by Easter Park, and slows, as she sees a cloaked woman in white in the gazebo pointing at her from the gazebo, moving her point as Catherine's Ardea passes. CATHERINE: "F*cking lunatics. Lunatics. This town is swarming with lunatics!" The Ardea keeps moving.

EXT. EASTER PARK - AT GAZEBO - DAY

Cloaked woman turns, her hood looking like Laura's plastic cloaked face. Ronette Pulaski. RONETTE: "Don't go there..."

EXT. GHOSTWOOD MEMORIAL GRAVEYARD - PARKING LOT - LATER - DAY

The Ardea is parked in the shade of the graveyard's fluffy Scotch Pines. More rumbles in the far distant clouds.

EXT. GHOSTWOOD MEMORIAL GRAVEYARD - DAY

Catherine stands at a tombstone: 'Pete Martell'. CATHERINE: "Oh, Pete, why? What's wrong with this town!?" As she hangs her head, we travel up and over many graves, until we descend to a pile of dirt. The dirt is by an open grave. The tombstone is tipped over. We see the name on the tombstone: Laura Palmer. Next to Laura's fallen stone, the standing gravestone: Leland Palmer. We FADE into:

INT. TWIN PEAKS HIGH SCHOOL - STOCK FOOTAGE - DAY

We see the trophy case with Laura's photo, as we hear excerpt of Harriet Hayward's poem: HARRIET (stock, VO): "It was Laura. ... and I saw her glowing ..." Gersten Hayward's music (Mendelssohn, stock) plays in background. HARRIET (stock, VO): "...In the dark woods, I saw her smiling. We were crying, and I saw her laughing. In our sadness, I saw her dancing. It was Laura, living in my dreams."

EXT. GHOSTWOOD FOREST AND SKY - DAY

Gersten's music fades as we pan over the spring verdure of Ghostwood forest. Rumbles of thunder. As we travel over the trees, and deeper into the forest, we stop before a train track and the glistening tracks' reflected bright sunlight. The track is sandwiched deep between the thicket of the woods. Farther down, several abandoned train cars rest on their sides, off tracks, overgrown with forest greenery.

INT. TRAIN BOXCAR - STOCK FOOTAGE - NIGHT (CGI)

Laura screams as Bob stabs her. FADE to INT. BOXCAR - PRESENT DAY - DAY, turning ninety degrees, showing car is rusted, laying on its side, off tracks. Through the open end the boxcar, we see a figure outside, the unmistakable silhouette of Agent Cooper. As we move closer, we see the blended face of Cooper-Bob in flashes.

INT. PALMER HOUSE - CEILING FAN AND STAIRS - DAY

Sarah smacks the fan control box, it pops off wall, as 3 fluttering pages fall, revealing missing pages of Laura's secret diary, face down on the floor. Sarah picks them up, silently gasps, and slightly crushes them to her bosom. She shutters.

EXT. EASTER PARK - AT GAZEBO - DAY

Ronette has her still pointed hand out, then snaps her finger ala Laura's snap in the Black Lodge 25 years ago.

INT. DOUBLE R CAFÉ - CONCURRENT - DAY

Major Briggs and the Log Lady both look up. Before the two, coffee and apple/raspberry pie, not whole raspberries, but raspberries separated into tiny fruitlet beads. GARLAND: "It's time, Margaret." LOG LADY: "No, first the pie, then the log will burn." GARLAND: "Margaret, are you sure?" LOG LADY: "One does not question the Log, nor its intentions." GARLAND: "Fair enough, the pie." Norma pours coffee, smiling. NORMA: "Ready for the check, folks?" LOG LADY: "No. Twelve more pieces, cut from the same pie." NORMA: "Margaret you know we cut our pies in six pieces." LOG LADY: "Twelve." A clock on the wall clicks to 12 noon.

S3:E1: ACT THREE

EXT. SHERIFF'S STATION - HARRY'S OFFICE WINDOW - DAY

We move slowly into INT. HARRY'S OFFICE through window to Harry's buck deer trophy. Caption underneath the trophy: 'THE BUCK STOPPED HERE.' Harry's office shows a lifetime of Twin Peaks memorabilia: Native American totem lamp, a picture of Josie Packard, his chessboard in mid game, books on law enforcement next to nature guides next to copies of the Twin Peaks Gazette. Fishing poles resting against a locked fire arm cabinet. Midday sun showering in, the lightest breeze lifting papers here and there. Harry lightly snoozes in his chair. COOPER (stock, VO): "...a catnap in your office chair..." Harry wakes suddenly. Hawk stands watching. HARRY: "Hawk...?" HAWK: "You were dreamquesting. I was your spirit guide." HARRY: "What?" HAWK: "Signs are appearing, Harry. Just as the bear, the wolf, even the salmon leave impressions on their habitats, so the spiritual world leaves signs. It's time for war paint." HARRY: "War paint? Signs? Honestly, Hawk, what signs?"

EXT. SPARKWOOD & 21 - DAY

The Sparkwood & 21 street sign shows two yellow dots graffitied in the o's in Sparkwood. Closer to the sign - Bam! It's bashed off its wooden post by an aluminum bat, and as we stay on the shattered post, the perpetrators and their vehicle are not seen, but we HEAR LAUGHTER of men and women over sound of squealing tires. Squealing turns to:

INT. CALHOUN MEMORIAL HOSPITAL - NADINE'S ROOM AND HALL - DAY

Squealing wheel of gurney, as it is pushed by sign: 'Room 315 Exam: Special' then passes Mike, folded arms, in hall, just within earshot of Nadine, who is being examined by Doc Hayward. She regards herself in a hand mirror. DOC HAYWARD: "This beats me, Nadine. Because you've never let that patch leave your face, except for your husbands and me, its either a bona fide miracle, or maybe it just healed under there all this time. Although a rational, younger doctor might suspect stem cell rejuvenation through some godforsaken cloning process, which is why I'm sending this sample in to get its epi-genomic history. They'll know if this is new tissue or ... I don't know ... But two things I do know: one, you have 20/20 vision in that eye and, two, I'm not equipped here to do all the optometric tests-" NADINE: "I'm a princess now." Nadine's sparkling chestnut eyes. In hall, Ed turns corner and walks by Mike. MIKE: "What the f*ck are you doing here?" ED: "Not that's its your business, but my daughter just gave birth, friend." MIKE: "Oh, Ed, I'm not your friend. Say anything to make Nadine feel bad, and I will end you, Ed, my friend." At a distance, we see the two men, reflected and warped in the hallway intersection's security mirror. Both men do not move.

EXT. SKY ABOVE TWIN PEAKS - DAY (CGI)

Within a cloud, with glimpses of the town below. We see the strange 'miracle moment' when enough microdroplets merge to form a droplet heavy enough to fall as rain. Reflected in this floating droplet: the microdroplets clustering toward it, the cloud, a catalyst dust particle, Twin Peaks. The drop falls.

EXT. PACKARD TOWER - DAY & NIGHT (CGI)

We see the tower, wrapped in plastic, the Ghostwood sign, then we RAPIDLY REVERSE TIME, the sign rejuvenates, and the mill is unburnt in seconds. CATHERINE (VO): (maniacal laughter). We REVERSE again to the present. Catherine's Ardea screeches up near tower and plastic. CATHERINE (VO): (maniacal laughter) as laughter, her peeling out, and the screech of an owl mix.

EXT. DOUBLE R CAFÉ - DAY (DRONE CAM, CGI)

We whip from quick reflections: rain pool reflecting café window reflecting car rearview mirror reflecting droplet of dew on cold drink reflecting pedestrian's watch (6 o'clock) reflecting the two red neon R's of the Double R. Quick mirrored reflections: 4 R's, upside-down, backwards, both, only top halves of R's reflected, resting on a merger of one R reflected on its spine: forming an odd double headed R with two tails.

INT. DOUBLE R CAFÉ - CONTINUOUS

Clock reads 6. Heidi giggles. She yells to the back. HEIDI: "I'm off!" She turns to laughing customers, looks both ways, and produces two slices of huckleberry pie, serving them quietly, giggling. She makes a shh gesture, then pretends to pick up both pies and smash them into her own face, giggles, then the customers' faces. Giggles. HEIDI: "So I tell those nasty boys I'd put razor blades in pie anytime they came back defacing that photograph Laura. Photo was fine, but faceplate was destroyed. That's when I threw pies at their crotches." She giggles more, then suddenly serious. "But it's not funny to be called a 'Laurite.'" Customers stop laughing. HEIDI: "So I yell, 'I'm German! I'm a reformed Laurite!'" More laughing, giggling. SKETCHY CUT TO:

INT. UNKNOWN RESIDENCE - DAY

We see a flat screen TV with static snow. An ad pops on showing: EXT. TWIN PEAKS WOODS - DAY. ANNOUNCER (VO, BEN): "If you loved 'Invitation to Love,' you'll cherish 'PINK SWEAT,' shot and set right here in Twin Peaks, featuring faces you know and love, on a roller coaster of love, death, and, my oh my, the intrigue! Unlike anything else in the universe. Evolving exponential entertainment. Coming soon to all media." More snow.

EXT. WOODS - DAY (CGI)

Garland and Log Lady stand by large campfire. As smoke drifts down the hill, we see Hawk and Harry ascend the hill toward them. Hawk turns to Harry. HAWK: "These signs." They arrive at fire. LOG LADY: "You're twenty one minutes late, so I will be brief." She hands out pitch gum to chew; they do. LOG LADY: "The log must burn tonight. Five are here (pats log), One is new, Five can listen, but cannot see or hear. And the final One is One to One." Margaret unceremoniously tosses her log into the fire. Harry almost grabs it and Hawk stops him. Embers fly up then swirl. The entire forest behind them blurs and spins. Garland, Harry, Hawk, Margaret at four compass points around swirling fire, rife with crimson streaks in orbits about the four.

EXT. WOODS - GLASTONBURY GROVE - THE POOL - DAY (CGI)

We see the alkali encrusted pool of tar, and as we travel below the ground, instead of dirt, INT. BLACK LODGE, empty save the chevrons and shades. Each world filling half our view. This view rotates 180 degrees, and becomes its OPTICAL NEGATIVE, then BLACK & WHITE (optical negative), then fades to white.

EXT. WOODS - OLD MILL ROAD - DAY (CGI)

Street sign: 'DEAD END' & 'Old Mill Road'. Leo's black Trans Am pulls up. Leo exits. He looks around. Lights a smoke. An owl hoots. He pulls a black Taurus PT1911 semi-automatic 45 ACP, and aims at owl. His gun wrist is grabbed. LEO: "What the f*ck!" Leo punches assailant. Leo recognizes that he is facing a snarling, sneering, grinning 'Evil Dale.' LEO: "You!" EVIL DALE: "No. You." Leo struggles, kicking and punching with his free arm to no avail. EVIL DALE: "Welcome to the Black Lodge." As Evil Dale bursts into flames, a parliament of owls descend on the two, and when the owls disperse, only Leo remains. Leo looks up, savage, his face MORPHS between Leo and Bob. Leo-Bob tears the hair tie from his pony tail, throwing his hair around his savage face. LEO-BOB: "I promise I will kill again. And again. And again."

EXT. WOODS AND SKY - CONTINUOUS

Panoramic above Ghostwood forest, the trees in heavy wind. We see over the upper lake to hills choked with douglas firs. As our view pans, the sun glints and reflects off something on a far opposing cliff.

EXT. WOODS & GREAT NORTHERN - DAY

Special Agent Dale Cooper has his 25 year old tape recorder out, ready to speak. Cooper's left pinky ring and the recorder's plastic face glint in the sun. Cooper is dressed in his immaculate FBI suit and tie. Cooper breathes in deep. Exhales. Smiles. COOPER: "Diane, I've emerged from the Black Lodge, I believe it to be 25 years later, and I know how to stop the murderer of Laura Palmer. I know how to save Laura. Incredulous as that sounds, and if this device is working, Diane, I bring clues from the Black Lodge." Cooper breathes in, exhales. COOPER: "Diane, I'm on a cliff, above and to the northwest of what I believe to be the Great Northern Hotel, some change to its architecture. Damn fine coffee! Diane, I have returned to those douglas firs! I have returned to where life has meaning. I have returned to Twin Peaks." Cooper clicks his fingers to music.