(no subject)

'Gritty', Cooper knows, is a word often used to describe the lawman's life. He's never thought much of the adjective. That changes, of course, when he takes the time for a quick shower, and realizes just how sandy he is.

Once out:

Click.

"Diane, I think I finally really understand what it means -- "

[A pause; the sound of velcro.]

" -- to have sand in your -- "

[Muffled, as though through fabric.]

" -- craw."

Click.

***

The Timber Room at the Great Northern is set up for a wedding. Cooper's used to it. He's been here before -- only it was for the Mayor's brother's wedding, to the same woman. The Georgia Succubus. Lana Budding Milford.

Cooper takes a lesson from Moiraine, and chooses a spot by the bar that gives him a good vantage point of the entire room. When Hawk walks through the door, Cooper lifts a hand, and whatever surprise Hawk's face shows is quickly hidden.

"Agent Cooper. Good to see you."

"Likewise, Hawk." Cooper gives him a small smile. "Harry's -- " Catherine Martell isn't anywhere around. " -- up at the Martell's. Something's up." He nods to the room. "Anything I need to know?"

Hawk fills him in, voice low, as more people stream in. There's Dr. Jacoby, Lucy and Andy (exchanging doe-eyed looks), Major Briggs and his wife Betty, John Justice Wheeler, a dark-haired woman holding an unlit cigarette, a vaguely-familiar-looking blonde, Cooper's landlady Mary Witherspoon --

And Catherine Martell. Followed about two seconds later by Hank Jennings. Cooper and Hawk exchange looks, and observe. Hank sits next to Catherine.

"Where's Pete?"

Hawk shakes his head. "I don't know."

Cooper catches sight of someone in his peripheral vision. Someone he knows well. Audrey Horne is dressed professionally, in a black power suit, impeccably coiffed and impossibly young. Tired-looking, too, Cooper thinks as he watches her lean forward over the shoulder of John Justice Wheeler and whisper in his ear -- and then she straightens, and looks toward the front of the room -- where Mayor Dwayne Milford is standing, stoop-shouldered, tuxedo-clad, and shifting from foot to foot. Trudy Chelgren waits by the piano, surrounded by three men with accordions.

And as Audrey crosses the room, Cooper turns his head...and sees Dick Tremaine, Audrey's shadow, slink into the Timber Room and skulk to a seat.

Everything may not be ship-shape and Bristol fashion, but at least there's nothing going on that will require intervention.

For the moment.

(no subject)

Click.

"Diane, I'm sitting on a large concrete planter outside of Calhoun Memorial Hospital, waiting for Hawk to pick me up for a ride back to the station. I think we can count this a good day's work."

[CUT TO: A double-occupancy hospital room, where Ben Horne is in the bed closest to the door. Ed Hurley is in the other bed.

And Nadine Hurley sits between them, alternating between stroking Ed's hand and scowling ferociously at Ben.]

"Nobody knows who drugged the guards outside Ben Horne's room, but Ben survived the assassination attempt. We don't know who made the attempt, either -- but with Jerry Horne, Genevieve Renault, and Hank Jennings in custody, chances are that Ben Horne is safe."

"Especially with Nadine around."

[CUT TO: A bed in the emergency room. Catherine Martell sits on the edge of it, arm in a cast, eyes downcast.

Footsteps approach, and Catherine turns around to see Pete approaching, hat in his hand, looking wary, looking worried.

Catherine gets up and puts her arms around him. Pete pats her shoulder as though he doesn't know what to do.]

"Audrey knows that we've got her uncle in custody, and she's going to notify her father. And I've got my ribs taped up again, and I'm looking forward to going home and getting a full night's sleep."

[CUT TO: A sheaf of papers. The top one has Catherine Martell's signature on it. They're the papers that Catherine and Audrey signed, giving up control of Ghostwood. The sheaf is held in somebody's hand.

Audrey's hand.

She's leaning back, half-sitting against her father's desk, staring out the window. In her other hand is a lit cigarette.]

"I never thought I'd be grateful to see the Icelandic equivalent of the cavalry, considering their atonal conduct the last time they were in town, but Heba seems to know what she's doing. I'm looking forward to sitting down with her and Harry."

"But not today."

[CUT TO: The entrance to Calhoun Memorial, and a large concrete planter, and Cooper sitting on its edge.]

"Remind me, Diane -- I owe Albert a letter. And I really ought to see about getting somebody in to get the sand out of my drain."

Click.

[FADE TO BLACK]

EXECUTIVE PRODUCERS

MARK FROST
DAVID LYNCH