Cole keeps Cooper behind after Hayward and Truman leave, telling him, "You'd better dust off your own black suit. With Windom rolling around loose on the deck, we need you back on the team." Cooper asks just what Cole means by this by way of filling some time because this show goes on for a whole hour! So Cole repeats, using many the same words as before, "Coop, it gives me great pleasure to reinstate you into the Federal Bureau of Investigations." In unison they promise to "pursue, capture, and incarcerate," which I guess is the title of the opening number of F.B.I! The Musical, and then give each other a well-choreographed thumbs up, which I guess is Tommy Tune's idea for a unifying dance move for this, the opening number.
Back in the woods, Earle holds a deck of cards, telling Leo to pick three. And so he does. Earle flips them over one by one, revealing three queens. On the queen of clubs, a tiny cardboard cutout of Donna's head covers the face of the queen on the card. Ditto for the queens of diamonds and spades, with tiny Audrey and Shelley faces appearing on the other cards, respectively. Where did he get these tiny, tiny pictures? Earle tells Leo to "pick the king," and on the next card he pulls out, tiny Cooper covers the face of the king. And then, Earle continues, pulling a card from behind Leo's neck, "We need one more queen. The Queen of Hearts." He pulls a flier for Miss Twin Peaks onto the table and plot-develops, "Let's see, what do you get if you win? You get a dozen roses, scholarship to the college of your choice, the accolades of your peers. Oh, what else? Oh, yes. You get to die. A royal execution." He puts down the Queen of Hearts with a blank face onto the flier, and then slams the joker on top of it, reminding us, "And Cooper gets to watch," before laughing maniacally for an extended period of time because that's just exactly what crazy people do.
The Sassy Shuffle shuffles on, as Donna "Slim Faster" Hayward steps out of The Largest Stationwagon In Suburban History and walks all stealthily into the Great Northern. We soon find that she is in pursuit of her mother, who is trying to claw her way to a tier just slightly above Sylvia-Horne-dom and establish herself a character arc in a hurry before the great pre-cancellation sell-off begins and this show turns into a wacky sitcom about a wacky F.B.I agent and a stuffed, talking rabbit. Eileen Hayward (I call her this, for this is her name) glides down the hallway and pops a wheelie into Ben's office, speaking words we cannot hear from Donna's P.O.V. Donna retreats to the reception desk, catching a glimpse of Nadine and Mullet Mike checking out of their room and into obscurity, telling the concierge that everything was "unbelievable." Donna approaches and asks the same concierge if Audrey is around, and practically before he's even out of the shot, Audrey herself is standing at the desk. They must be looking to make up some of time they lost panning through total darkness for three minutes. That's heads-up directing, right there. Donna launches right on in: "Would you know any reason why my mom is visiting your dad?" Audrey suggests that maybe she's helping out with the "Stop Ghostwood" campaign. That's just like Eileen, always helping out the cause. Donna says she doesn't think it has anything to do with that, or she would have said something to Donna about it. Which she hasn't. Well, maybe she should have lied, and they could have put some of this conjecture to rest. Audrey asks if she's at the Great Northern. Donna confirms that she is, "in his office together." Is she? IS SHE?