In the Red Room, Mr C is sitting in a chair. He and the chair are on fire. Black smoke billows from the chair.

Cut to Gerard placing the seed on a chair and then placing Cooper’s hair next to it. “Electricity!” He walks away and the seed starts to hop and then floats up. A copy of Dale Cooper is created. “Where am I?” he asks with a huge smile. Cut to the red door in Vegas. The doorbell rings and Janey answers it. She sees Dougie standing at the door. Sonny Jim comes running and hugs his father. They hug, and Dougie says, “Home.”

Cut back to the woods. Cooper is still standing in the woods – presumably 1989.

Cooper is with Laura Palmer, holding her hand in the woods. Again the strange sound and Laura goes missing. The scream. Cooper stands there looking at the trees.

Immediate cut to Gerard and Cooper sitting in the waiting room. Gerard asks if it’s future or past. Cooper sits there with his FBI lapel pin on looking at Gerard who vanishes. The camera zooms in on the empty chair. He’s now in the corner of the room and waves Cooper over. Coper follows. Down the hall and into another room with the Arm. “I am the Arm and I sound like this…” the Arm says. “Is it the story of the little girl who lived down the lane?” the Arm asks. “Is it?”

Cut to the camera going down a hallway in the lodge and Cooper is now sitting with Laura telling him her secret. Cooper looks surprised by the secret. She now screams and is pulled away – it’s the same scream and sound that Cooper had experienced in the woods.

Cut to Cooper entering a room and walking over to Leland Palmer who is sitting in a chair. “Find Laura,” he says to Cooper. Cooper moves on, and back down a hallway. He raises his hand as he walks down the hall and the curtains at the end begin to shake. As he approaches they shake even more. He goes through them and exits out what looks to be Glastonbury Grove. There is a circle of trees and the large pool of oil. Outside the ring is Diane. He walks to her. She asks, “Is it you. Is it really you?” He says yes and asks if it’s really Diane. She also says yes. The curtains fade in the background.

Cut to Cooper and Diane driving a car down a desolate road. The car they are in is old. They drive in silence until Diane asks if Cooper is sure that he wants to do “this.” “You don’t know what it’s going to be like – ” she says, but Cooper interrupts. “I know that. We are at that point now. I can feel it.” A few seconds later, Cooper says, “Look, almost exactly 430 miles.” Cooper drives a short distance and then pulls over – “Exactly 430 miles.” Diane turns to Cooper asking him to think about it. He gets out and walks down the road. He looks up at the electrical poles and can hear the electricity humming. He looks at his watch and then goes back to the car. “This is the place, alright.” She asks Diane to kiss him. “Once we cross, it could all be different.” They kiss in the front seat of the car. “Let’s go,” she says to him. He starts the car and drives slowly across. Electricity ignites and suddenly they are on a dark road at night.

They drive in silence for quite some time. Fade to black.

They pull into an old single-story motel, still driving the old model car. Cooper pulls into a parking spot and walks to the office. Diane sits in the car waiting. As she sits there watching the office, she sees herself step out from behind one of the columns. They stare at each other. Cooper exits the office (the double is no longer there) and goes to the room directly in front of the car. He stands there waiting for Diane, who now gets out. They go into the room and close the door behind them.

Diane turns the light on and Cooper asks her to turn the light off. Diane asks what they do now and Cooper tells her to come over to him. They kiss and the music starts: “When the twilight is gone….and those song birds are singing…when the twilight is gone…you’ve come into my heart…and here in my heart is where you will stay….” The two begin a strange and uncomfortable sexual ritual. Dark music replaces the oldies song as Diane seems to struggle. The 50s song starts again with the slight humming of dark music. Diane begins to place her hands over Cooper’s face, periodically looking up to the ceiling, and appears to begin to cry. The ominous music and the 50s song mix strangely together and comes to an end.

Cooper wakes up in bed. Diane is nowhere to be seen. He calls her name and scans the room. No answer. He sits at the edge of the bed and sees a note. He picks it up and reads it: “Dear Richard. Richard? When you read this, I’ll be gone. Please, don’t try to find me. I don’t recognize you anymore. Whatever we had together is over. Linda. Richard? Linda?”

Cut to the outside of the motel. It’s now a two-story building with palm trees to the side of the room. Dale Cooper walks out of the room and to his car – a modern Crown Victoria – and it’s parked across the lot instead of right in front of the room. He looks back at the motel and examines the building and his surroundings. He gets into the car and pulls out of the parking lot.

He drives past a cafe – Judy’s. He pulls into the parking lot and parks his car. Inside the small diner are a husband and wife, three cowboys, the waitress and the cook. Cooper sits down at a booth and the waitress pours him a cup of coffee. He asks if there is another waitress, and she tells him that there is but that it’s her day off. She then complains it’s her “third day off.” She walks away to pour coffee for the cowboys who start to pull on her. She tells them to stop and Cooper tells them to leave her alone.

The three cowboys get up and walk to Cooper. The first one tells him to get out of the booth and pulls out his gun. Cooper grabs the gun, slams the man’s hand on the table and then kicks him between the legs. He draws his own weapon and shoots the second cowboy in the foot. He then aims the gun at the other cowboy. He tells the cowboy to put his gun on the ground twice. The cowboy does so and then sits on the floor. Cooper gets up and takes the guns to the bar where the waitress is. The husband and wife watch the incident from across the restaurant.

Behind the bar, his gun still drawn, Cooper tells the waitress to write the address of the other waitress on a piece of paper. As she does this, Cooper drops the cowboys’ guns into the fryer, but not before saving the french fries from overcooking. After dropping the guns into the oil he warns the cook that he should step back in case the bullets go off. The waitress hands the address over to Cooper. She is nervous, and Cooper says, “It’s okay. I am with the FBI.” He takes the address, walks past the cowboys, out to his car.

Cut to a quiet street. Cooper pulls over at a house – the street number is 1516. Next to the house is an electrical pole with the number 6 on it. A hum of electricity can be heard. He gets out of the car and walks to the house. He knocks.

Inside the house, a woman named Carrie Page comes to the door and asks who it is. Carrie looks just like Laura Palmer – 25 years older. “FBI,” Cooper says on the other side. She immediately opens the door and asks if he found “him.” Cooper seems surprised and says, “Laura?” “You didn’t find him?” she asks. “Laura?” he repeats. She tells him that he has the wrong house and that she isn’t Laura Palmer. He asks her name and she says “Carrie Page.” She wants to go but Cooper stops her, pressing her about Laura Palmer.

C: Your father’s name was Leland.
P: Okay…
C: Your mother’s name was Sarah.
P: (Carrie’s face seems to change here as she begins to think about the name) Sa-Sarah?
C: Yes, Sarah.
P: What’s going on?
C: It’s difficult to explain. As strange as it sounds, I think you’re a girl named LAura Palmer. I want to take you to your mother’s home. Your home at one time. It’s very important.
P: Uhm. Listen. Normally somebody like you comes around and I tell them to fuck off. This door would be slammed in their face. Right now, I’ve got to get out of dodge anyway. It’s a long story. So riding with the FBI might just save my ass. Where are we going
C: Twin Peaks Washington
P: DC?
C: No. Washington state.
P: Is it a long way?
C: It’s a ways away.

Carrie invites Cooper in as she collects her things. In the sparse living room is a dead man sitting on a couch. He has a bullet wound in his head and blood is splattered over the wall. On the mantel is a small white horse figurine. Behind it sits a blue dish. There’s a gun on the floor in front of the fireplace. The phone rings but Carrie doesn’t answer it. She asks Cooper if she needs a coat and he tells her to bring one if she has one. She goes back and grabs a coat. She informs him that she has no food and Cooper says that he will buy her food along the way. “All right, let’s go!” she says as they leave – the phone still ringing.

Cut to them driving in the car. Carrie asks if he is really an agent. He pulls out his badge. She is glad that they are getting out of Odessa.

They continue to drive into the night. It’s now dark. Cooper notices a pair of headlights behind them. After some time Carrie notices too and worries that someone is following them. When she asks, Cooper doesn’t answer. After some more time, the car passes them and they continue to drive. At one point Carrie says, “Odessa….I tried to keep a clean house. Keep everything organized. It’s a long way. In those days I was too young to know any better.”

They stop off and get gas at a modern looking Valero. They continue their journey.

They continue to drive, and as they cross a bridge approaching Twin Peaks, the sound changes every so slightly. Cooper drives past the Double R Diner. It’s closed and dark – but it’s missing the TO GO sign on the side of the building. He asks if she recognizes anything – they are driving down Laura’s street. She says she doesn’t. He pulls in front of the Palmer house and turns off the car.


Kyle MacLachlan and Sheryl Lee in a still from Twin Peaks. Photo: Suzanne Tenner/SHOWTIME

C: Do you recognize that house?
P: No.
(They get out of the car and walk up the steps to the house – holding hands)
(Cooper knocks on the door twice and a woman answers)
W: Yes?
C: FBI. I’m Special Agent Dale Cooper. Is Sarah Palmer here?
W: Who
C: Sarah Palmer.
W: No there is no one here by that name.
C: Do you know Sarah Palmer?
W: No
C: IS this your house. Do you own this house or do you rent this house.
W: Yes we own this house
C: Who did you buy it from?
W: (looking into the living) Honey, what is the name of the woman who sold us the house? (looks at Cooper) Chalfont. A Mrs. Chalfont.
C: Do you happen to know who she bought it from?
W: No I don’t. But (Now turns back to the living room) Honey, do you know who owned it before Mrs. Chalfont. (Back to Cooper) No.
C: What is your name?
W: Alice. Alice Tremond.
C: Okay. Sorry to bother you so late at night.
W: That’s okay.
C: Good night.
W: Good night. (closes door)


Cooper and Carrie walk down the steps back into the street. Carrie walks toward the car and Cooper walks a bit off. He turns back and looks at the house. Carrie does the same.

Cooper takes a few steps forward still looking up. “What year is this?” he asks.

Carrie looks at him and then up at the house. Suddenly the voice of Sarah Palmer can be heard – calling Laura’s name – from the pilot episode. Carrie screams and Cooper turns to her.

The lights in the Palmer house turn off and the house lights up in a bright light and then black as Laura’s scream continues to echo in the darkness….

Finally, we are left with the moment that Laura Palmer leans down and whispers a secret into Dale Cooper’s ear. It’s been slowed down and the credits begin to roll over the whispering Laura and her secret that we may┬ánever know…

(Note – at the end of each part, the Lynch/Frost productions visual appears. When it appears, it is accompanies with a quick snippet of electricity. This time around there is none – just the humming of atmospheric music.)