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EPISODES |
PARTS ONE THROUGH EIGHTEEN (2017)
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Opening Credits (0:55-2:14) Along a sycamore-lined dirt road hemmed by wooden and wire fencing, a blood-soaked Mr. C. walks at a faster clip than one might expect from a man who just survived being shot by his partner, manhandled by a cohort of spectral woodsmen, and exorcised of his demonic companion in Part Eight. He comes upon a red bandanna hanging from a fencepost, presumably marking the path to waiting accomplices, and rips it from the post. (2:15-2:42) On the plane back to Philadelphia from Yankton Federal Prison, Gordon Cole is looking out the window. Agent Preston approaches him from the flight deck carrying a hot cup of coffee, passing, on her way, Diane and Albert who are sleeping on opposite sides of the aisle in the front cabin. She delivers the coffee to Cole and allows him a moment to sip it before handing over the satellite phone: “Patched in through the office, it’s a Colonel Davis for you from the Pentagon. Urgent!”. Gordon takes the phone, and she cautions him to keep his voice down, shooting an exaggerated side-long glance back toward slumbering Diane and Albert as he greets her warning with his signature stentorian “Whaaat?!”. After sternly upbraiding the Colonel for perceived use of profanity, Gordon realizes that the offending word was actually “Buckhorn.” “Buckhorn, South Dakota. West South Dakota. By golly, we’re over east South Dakota right now!”. As the Colonel briefs him, Cole asks Preston to “take this down: K.n.o.x. Knox. Lieutenant Knox. Buckhorn Police Department.” As Cole shouts the letters and repeats the name, Diane stirs from her slumber, seemingly taking note, as a look of knowing concern crosses her face. “Alright. Thank you, Colonel!,” Cole yells, and hangs up the phone. (2:43-4:10) Mr. C. arrives at a ramshackle farmstead just off the sycamore-lined dirt road. As he balls the bandana into his jacket pocket, Hutch approaches and greets him, concerned that Mr. C.’s belated arrival is a departure from the plans laid with his wife Chantal in Part Two: “Hey partner. We was expecting you last night. Looks like you been spillin’.” Never one for pleasantries, Mr. C. gets right to it: “Who owns this establishment?” “Farmers,” Hutch replies, “they’re sleeping out back. Whatchu need?”. Mr. C. produces the firing-pin-less .357 from his back pocket and hands it to Hutch: “A couple of clean phones and something for this.” Hutch sizes up the revolver with contempt, proposing an alternative and announcing Mr. C.’s arrival to his wife, all folksy like: “Aww, fuck that. I’ll get you some real nice puppies and some biscuits. Hey Chantal…boss man’s here…grab the kit.” “Is he hurt?,” Chantal yells with concern, emerging from one of the farmstead’s rustic out-buildings: “Shit (upon seeing his beleaguered condition)…we was waiting for you all night…where’d they get you?”. Mr. C. lifts his blood-drenched shirt to reveal a bullet hole on the left side of his abdomen, prompting a yowl from Hutch and a command from Chantal to rest up: “Looks like you was lucky…I’ll get the kit…get inside!” She retrieves a large blue duffel from a black van with dark-tinted windows (South Dakota license-plate DSX 636) and follows them inside. (4:11-5:15) Back on the plane, Cole approaches a fitfully sleeping Diane, putting his right hand on her left shoulder and gently massaging her awake, inquiring whether she’s willing to abide a brief detour to Buckhorn for something “quite important.” After receiving her emphatic stock reply (“Fuck you Gordon, I want to go home!”), Cole counters (as the awkward shoulder massage continues) that the detour might interest her, given that it “involves a man that Cooper once knew.” “A Blue Rose case?”, Diane asks. “Yes!”, Cole confirms. With a look of resignation, Diane summons the two empty vodka bottles that Albert supplied her for the flight to Yankton and waves them expectantly at Cole. “Coming up,” he promises; “got to talk to the pilots first.” At the cockpit, Cole informs the pilots of the reroute to Buckhorn as Rosenfield, just barely awake, glances across the aisle at a burdened Diane. Noticing his gaze, she prepares an insult, but Albert pre-empts her, turning his back to resume napping: “I know…I know…fuck you, Albert!.” Looking disgusted, Diane takes out her phone and attempts to check it, only to find it blocked. In the rear cabin, Agent Preston answers the satellite phone and then hurries it up the aisle to Cole who is procuring Diane’s vodka provisions from the mini-bar. It’s Crooked Warden Murphy bearing the bad tidings that Cooper has escaped. “How the hell did that happen?!,” Gordon screams into the phone. Dropping the receiver from his ear before Murphy can reply, he conveys the disturbing news to Rosenfield, Preston, and Diane: “Cooper’s flown the coop!”. (5:16-7:15) Mr. C. and Chantal round the corner of a modest ranch farm house, nonchalantly passing by the presumed corpses of its proprietors—a portly, bald man in brown suspenders slumped, seated, against the house with a woman sprawled across his lap. They approach a jacked-up black Silverado pick-up parked behind the house, as a rested and refreshed Mr. C. reaches into his back pocket to produce a pink flip-phone and begins texting while Chantal leans against the truck aggressively chewing gum. The phone display shows the second frame (“2/2”) of a small-case punctuation-less text composed to an “unknown” recipient: “around the dinner table the conversation is lively”; the display reports the time as “11:09p,” though the broad South Dakota daylight suggests the phone is mistaken. (7:16-7:50) After sending the text, Mr. C. immediately dials Duncan Todd in Las Vegas, who sits in dread as the designated iPhone he desperately wishes would never ring buzzes menacingly from a drawer in his desk. “Did you do it?” Mr. C. bluntly inquires without waiting for a greeting from Todd. “Not yet,” Todd reports, petrified. “Better be done next time I call,” Mr. C. replies with cold malice. Badly shaken, Todd attempts to return to working but decides it’s wiser to act immediately and summons Roger into the room. (7:51-8:36) A denim-bedecked, shotgun-toting Hutch shambles up alongside Mr. C. and Chantal with an ammo can and a duffle bag, presenting the open bag—presumably full of weapons—for Mr. C’s approval: “How’s that Boss?” “It’s real good, Hutch,” Mr. C. replies, stowing the weapons in the cab of the truck and nearly taking Hutch’s head off with the side view mirror: “I want you to kill a warden within the next two days.” “A warden. Alright.,” Hutch bumbles, sounding several bicycles shy of a full deck, “you want Chantal to mess with him before I kill him?”. “He’ll sing for me,” Chantal cheerfully offers, smiling lasciviously and lewdly popping her pelvis, thumbs in her front pockets. “Whatever you want,” Mr. C. replies, “and then I’ve got a double-header for you in Vegas.” “Oh let’s play two!,” Hutch exclaims to a guffaw from Chantal. “I’ll text you details after you do the warden. Remember this: Warden Murphy. Yankton Federal Prison. Kill him at home, at work, or on the way.” Hutch dumbly replies “’Kay!” as if taking instructions to replace a spark plug in a lawnmower rather than to execute three human beings, and then instructs Chantal to “give the boss man a wet one.” Mr. C. turns to Chantal who removes her gum and kisses him deeply as Hutch looks stupidly around, distracted by a plane passing overhead. As the embrace ends, Chantal puts her gum back in her mouth, lamenting that she “wishes it was more,” to which Mr. C. offers to take a rain check. “You got it sweetheart!,” she says, pulling a bag of Cheetos from her back pocket and planting it in Mr. C.’s hand while gazing plaintively into his eyes as though a woman sending her man off to war. Taking the Cheetos, Mr. C. produces the flip-phone from his back pocket and tosses it to the ground, telling Hutch to “kill that phone and clear out of this place.” Hutch points the way to main road and, as Mr. C. departs, pumps a flurry of buckshot into the pink flip-phone. (8:37-10:25) At the Las Vegas Metropolitan Police Department, Cooper and Janey-E wait in the lobby as the Detectives Fusco finish questioning Bushnell Mullins on Dougie Jones’s situation. “Did he ever give you any problems?,” one of the Fuscos wonders. “Naaaah, I’ve never had any trouble with Dougie at all…he’s a solid citizen!” Fusco: “So you can’t think of any reason why someone would try to kill him?” Mullins (perhaps thinking about the Mitchum brothers): “Not off the top of my head; 'course in the insurance business, people have been known to hold a grudge if things don’t go their way.” Fusco: “It’s usually about money, Bushnell, pure and simple. No one needs any more reason than that. So what’s his background? How long’s he been with you?” Mullins: “Twelve years now. He’s a good worker. He’s slow…steady…” Fusco (prompting an eruption of laughter from his colleague “Smiley”): “Little more emphasis on the slow.” Mullins: “Dougie had a car accident, as I recall, not long before he came to work for me. Every once in a while he shows some…lingering effects…his wife can talk to that better than I can.” Indicating that the meeting is over, the Fuscos express their appreciation to Mullins for coming to the station. The tenor of the meeting, which had been amiable, suddenly sours as it dawns on Mullins that he is being dismissed. He looks intently at the Fuscos, then glances out into the waiting room at Cooper and Janey-E, angry that the Fuscos seem to have no intention of taking the case seriously. After an awkward pause, he says “Well I really appreciate your help” in a register that betrays his belief that they haven’t been much help at all. After a protracted silence from the Fuscos, Mullins continues: “Damn strange business. First his car blows up and then somebody tries to kill him.” The Fuscos look on steely-eyed, not sure what to make of Mullins’ resolve. “We’ll get back to you as soon as we have something.”, Flattop non-committally offers. Mullins draws a deep breath, surveying the Fuscos with a stone-faced frown and closing and opening the fingers of his right hand repeatedly into and out of a balled fist, maybe to communicate that this former boxer means business (or perhaps in a veiled nod to Lil’s code for “trouble with local law enforcement” in FWWM). The detectives watch in silence as Mullins finally departs their office. (10:26-12:46) As the Fuscos leer out from their office window, Mullins enters the waiting area where Cooper and Janey-E are sitting: “Dougie, you can take the rest of the day off.” Relieved, Janey-E expresses her intent to take him to the doctor. Mullins continues: “Starting tomorrow, you and I are going to work together to get some answers.” “Answers,” Cooper blankly replies. Mullins pats Janey-E on the left shoulder in a kind display of empathy and leaves. The Fuscos, watching all the while, resume their conversation: “So get this…there is nothing, I mean nothing on our Mr. Douglas Jones prior to 1997. No driver’s license, no passport, no social…class records, tax records…no birth certificate.” They attempt to puzzle out the mystery, wondering whether Dougie is under witness protection and whether maybe a connection at the Justice Department can furnish answers. Stymied, the conversation takes a different direction, as Cueball suddenly asks Flattop whether he “Got that taillight fixed?”. “To the tune of 239 bucks…for a fucking taillight!”, Flattop snaps. “Must be a beauty,” quips Cueball, prompting Smiley—who is standing in the middle holding the open file on Dougie—to erupt into his trademark oafish laugh. Flattop is not initially amused, and—sensing this—Smiley turns to him and attempts to bring him in on the gag: “Remember that Australian guy with the pliers?”. The three of them break into peals of obnoxious laughter, which undoubtedly seems perverse to Janey-E, who peers in disapprovingly from the waiting area. Flattop brings the conversation back on point: “Shall we talk to them again?” “It’s like talking to a dog,” Cueball replies. “And she does all the barking,” Flattop observes, impressed with himself. They look out their office window to see Janey-E reaching across Cooper to put his empty mug on the coffee table next to him. Cue ball has a brainstorm: he delivers “Dougie” a fresh mug of coffee with intent to lift his fingerprints from the previous one. The mission succeeds, and just as he is bagging the evidence (“Gotcha!”), their Sargent emerges to inform them that “the palm prints came back on that gun” with a match to “our old friend Ike the Spike;” “we just got a twenty on him at an off-strip motel.” Preparing to “join the fun” of busting Ike, the Fuscos hand over the evidence bag to their Sargent for “prints and DNA please,” and instruct him to let the Joneses go, which he pledges to do after logging the mug. (12:47-16:55) Stuck in the waiting room until the Sarge finishes with the mug, Cooper swigs coffee while staring at the opposite wall as Janey-E inspects her fingernails, adjusts her hair, and sits in bored silence. Cooper gazes intensely at something across the room which we discover is a gold-fringed star-spangled banner perched in a flag-stand in the corner. A nostalgic arrangement of America the Beautiful fades in and plays as he stares, moist-eyed, at the flag. As the music plays, a trim, smartly dressed woman in bright red stiletto heels walks through the room, diverting Cooper’s gaze from the flag to her shoes, which he follows intently across the room. As she passes an electrical outlet, his gaze is diverted yet again, drawn back to the outlet as the music takes a dark turn into a low groan and a look of deep concentration overtakes his face. (16:56-18:46) The Detectives Fusco traverse the police station parking lot, stopping to admire flattop’s $239 right taillight on a shitty Cherokee before proceeding to their police vehicles. At the Premiere Motel, Ike the Spike is pounding Evan Williams and attempting to raise “JT,” first on his cell phone, and now on his other line: “The message is no cigar; taking medical leave.” He hangs up and downs a shot. As the police gather in the motel parking lot, he pounds another, grabbing a suitcase and throwing his jacket over his wounded right hand to make his escape. As he walks down the hall, three police enter with guns drawn. Ike calmly turns and walks in the other direction, only to end up facing the Detectives Fusco, all brandishing heat in his general direction. Flattop melodramatically announces the charge: “Ike, you’re under arrest for attempted murder.” Cue ball follows up: “We have your palm print.” Not to be outdone, Flattop clinches it: “As a matter of fact, Ike, we have your whole palm.” Smiley erupts, as Ike drops the suitcase and jacket to put his arms up in surrender, revealing a right hand thickly wrapped in gauze and emitting a defeated whimper. (18:47-21:02) The sun breaks through the trees behind the Twin Peaks Sheriff’s Department, where Andy and Lucy are seated at their desks perusing furniture online at the Canworth Furniture Design website. After clicking back and forth between two fabric options on a lounge chair, Lucy stridently walks back to Andy’s desk and peevishly proclaims, “Andy, I really love the beige chair,” before pouting back to her place. Brooding, Andy gets up and bumbles over to her desk, equally petulant: “And Lucy, I really love the red chair.” Once he’s back in his seat, Lucy returns to his desk yet again: “And I really love the beige chair, Andy.” After a short while, Andy is back at her side, repentant: “I’m sorry, Punky. You can get the beige chair.” He nuzzles her head and pats her left shoulder before returning to his desk. With a gleam in her eye and a self-satisfied giggle, Lucy purchases the red chair, twirling in her swivel to catch a glimpse of Andy at his desk, proud of her altruism. (21:03-23:38) We see a shot of ceiling timbers in an as-yet unfamiliar house and hear the heavy footfalls of a large man running, as an agitated voice we discover to be that of Sylvia Horne rings out: “Mary, what are you doing? Who let him out?” A man in blue pajamas streaks across the banisters of a second-story balcony at top speed,” as Sylvia cries “Who let him out? Johnny? Johnny, where are you?” Johnny suddenly emerges from a door on the first floor, running at breakneck speed into a room across the hall where we hear a crash and the electrical pop and flash of a lamp hitting the floor. There’s a blood-smeared hole in the drywall with streaks of blood leading down to the floor, where a frantic Sylvia Horne discovers Johnny lying, bloody face to the baseboard, surrounded by the remains of a shattered framed photograph of the falls at the Great Northern. She reaches out to touch his left shoulder, crying his name. (23:39-24:32) Betty Briggs is seated at a table in her condo logging some screen-time on her MacBook Pro. Bobby arrives and she greets him warmly and offers him coffee. He graciously declines because he’s there on business with Hawk and Sheriff Truman; they have some questions for her. She consents and he goes to the door to usher in Hawk and Truman, giving her a few seconds to collect herself. One gets the distinct impression she knows exactly what’s coming. After the obligatory pleasantries, Sheriff Truman announces their intention to inquire about Cooper’s visit with the Major the day before he died. Betty puts her hand up to stop the inquiry in its tracks and delivers an astonishing monologue that holds her interlocutors mesmerized: “Alright, listen to me. Right after Agent Cooper left that day, Garland pulled me aside and he said that one day our son Bobby, and Hawk, and Sheriff Truman—I didn’t know it would be this Sheriff Truman—he said that they would come and ask me about Special Agent Dale Cooper. He squeezed my shoulders when he told me this. I tried to ask him what it was about, but he wouldn’t say anymore. He just said, ‘When they come to ask you about Agent Cooper, you give them this.’ And now you’re here.” As they dangle at the edge of her every word, she suddenly switches gears and offers coffee to her rapt audience. Shell-shocked, they hastily decline in unison as the burning desire to know more consumes them. “Alright,” she says. “Come with me.” She gets up from the table and walks all of eight steps to an ornate red Victorian arm chair in the living room. Anxiously patting the wood trim of its high back, she says “This is the chair. I can’t believe this day has come.” Pointing to the trim, she instructs them to “watch, right here,” as she bends down and turns a switch on the side, opening a secret panel in the trim containing a mysterious, seamless metal cylinder about the size and shape of a small cigar. She cradles it in her hands and says to an increasingly emotional Bobby, “when your father told me this, you were a very long way from where you are today. Somehow he knew that it would all turn out well. He saw this life for you. Your father never lost faith in you.” She brings the cylinder over to the men who stand dumbfounded, as if in a trance, and hands the cylinder to Sheriff Truman, breaking the spell to the great relief of all by bringing things back around to refreshments: “Well fellas, let’s have that coffee.” (24:33-28:07) At the Buckhorn morgue, Diane, Cole, Preston, and Rosenfield report for their meeting with Lieutenant Knox and Detective Mackley. As they file into a receiving area, Cole conspicuously blurts “the waiting room!” as Diane makes a beeline for a green couch against the back wall and Albert announces the arrival of Knox and Mackley right behind them. Cole invites Diane to join the group and, brazenly lighting a cigarette, she snaps “I’m not in the mood to see a dead body this morning. I’ll just wait for you guys here.” Mackley informs her that she can’t smoke in the building, and after glaring at him for a few seconds to let the full weight of her contempt sink in, she yells “It’s a fucking morgue” and continues smoking with impunity. Defeated, Mackley leads the group back to where Briggs’ body is stored as Gordon, the last one out of the waiting room, casts a disapproving glance over his left shoulder back at Diane. Spitting a homophobic slur in their direction as they leave, she waits to be sure they’re gone and checks her phone. After some frustrated fidgeting to get the phone to comply, she discovers a text message from “Unknown,” properly punctuated and in all caps: “AROUND THE DINNER TABLE, THE CONVERSATION IS LIVELY.” As she looks up from the phone, her eyes narrow to slits, burning holes in the door that the rest of the group just exited. (28:08-29:38) As they walk toward the autopsy room, Knox informs the group that Mackley was the investigating officer and that he’ll bring them up to speed. Mackley unloads the sordid tale: “William Hastings was having an affair with the local librarian Ruth Davenport. Now Davenport’s head was found atop the headless body of your Major Briggs. Once we took Hastings into custody, his wife was murdered in their house, apparently by their lawyer—a man named George Boutzer—who is now also in custody. And the next day, Hastings secretary died in a car explosion.” Before Mackley can get any further, Albert grabs his arm and interrupts: “What happens in season two?”. “Apologies in advance for Albert,” Cole sheepishly adds. (29:39: 30:22) As they file into the autopsy room, Coroner Talbot is waiting for them and wastes exactly no time looking Albert up and down as he sizes up the body. Mackley breaks the silence: “Well, this is your Major Briggs.” He goes on to inform them that “Hastings, along with the help of Ruth the librarian, was researching and publishing some strange little blog about some alternate dimension.” Albert interjects, “This from the principal of your local high school!”, to which Talbot zings “not to mention marble champion of the sixth grade!” Sparks fly between them as Albert takes the bait: “When did he lose his marbles?”. Without missing a beat, Talbot cocks her head and returns volley with perfect poise barely suppressing a self-satisfied smirk forced north to her brow: “When the dog got his cat’s eyes.” Albert offers a sarcastic smile but is clearly smitten, a fact which is not lost on a side-eyed, faintly smirking Cole. Albert snaps the case file and takes the floor: “About one week ago Hastings ended his blog entry with this cryptic sentence: ‘today we finally entered what we call ‘The Zone’ and we met the Major.’” He looks down at the corpse and observes that “this is the body of a man in his forties,” which Talbot breathlessly confirms, gazing luridly into Albert’s eyes. He turns back to Cole with a knowing look, and Cole pulls him out into the hall. (30:23-31:54) Cole puts his arm on Albert’s shoulder and draws him close: “Let’s think out loud.” Albert gets right to it: “Major Briggs would have been 72. As you know, we thought he died in a fire in that government facility outside Twin Peaks 25 years ago, at about the age this man is now.” Cole lets these words sink in and counters: “Well consider this. Cooper knew Briggs, Cooper was around Briggs 25 years ago, and now Cooper shows up in this neck of the woods.” Albert amplifies the point: “On the loose in this neck of the woods.” “Right.”, Cole adds with resolve. As they rejoin the company in the autopsy room, Talbot remembers something and turns to an instrument trolley behind her to retrieve the ring she discovered in Briggs’ gut: “And I found this in his stomach…it’s inscribed; it says, ‘to Dougie, love Janey-E.” Rosenfield, Cole, and Preston all look equally baffled, and Cole announces that they’ll need to interview Hastings. (31:55-33:17) The wind blows and birds sing before a thickly-wooded mountainside. A backpacking-toting, TCH-addled Jerry Horne is still in the woods, still in his mother’s hat, and leering down his right leg to his foot, which timidly explains to him, in a voice caught somewhere between a Teletubby and Marcel the Shell with Shoes On, that “I am not your foot.” Unpersuaded, Jerry tentatively reaches down to try to grab his foot, only to recoil, short of breath, as the foot will not move, appearing as though it is staked to the forest floor. He leans back, shifting his weight to his bent left leg, as if engaged in an invisible tug of war. He attempts to grab is foot again and again recoils, practically hyperventilating upon touching it. He steels his resolve to go in for a third attempt and this time succeeds, screaming “Go away!”, before pulling his own foot out from under him and crashing to the forest floor. (33:18-35:17) Ever the epitome of human flourishing, Deputy Chad lunches alone on two microwave dinners in the Twin Peaks Sheriff’s Department conference room; kernels of corn are visible in one of the trays. Returning from their revelatory meeting with Betty Briggs, Sheriff Truman, Hawk, and Bobby enter the building through the front entrance as Lucy cautions them that “I’m not here! I’m on my lunch break!”. Chortling into his magazine, Deputy Chad slurps at his lunch as Sheriff Truman, Hawk, and Bobby bust into the conference room. “No lunch in the conference room, Chad,” Sheriff Truman scolds. “I know, but you guys have coffee and donuts in here all the time,” comes Chad’s sheepish excuse. “Chad, take your lunch to the lunchroom,” Truman demands. Offering a half-hearted apology, he assures the Sheriff it won’t happen again and awkwardly gathers his magazine, bowl, mug, and two trays and makes for the door without a free hand to open it. Hawk stands just a few feet from the door but looks on in contempt, forcing Chad to suffer the indignity of pleading for help before opening the door to let him out. (35:18-36:59) As the door shuts behind him, Truman asks Bobby to open a window to dispel the stench of Chad’s microwaved garmonbozia. Hawk and Truman take places as the table as Bobby leans against the windows. Truman inspects the cylinder, observing its properties: “no seams, no openings—how the heck you supposed to open this thing.” “Maybe there’s a hidden button,” Hawk ventures, but Truman can’t find one. The Sheriff notices Bobby beaming by the window: “What are you smiling at?” Scarcely able to believe it himself, but obviously most pleased, Bobby says “I know how to open that. My Dad brought one home one night.” “You having fun with us, Bobby?”, Truman edgily asks. “Yeah, sort of, yeah,” Bobby admits. “Go for it!”, Truman commands. Bobby informs them that they have to go back outside and, surprised but compliant, Truman and Hawk follow him out, passing Lucy slurping a soda and noshing on an enormous sandwich, her hand raised in defiant signification that she is still off-duty (37:00-38:11) Outside, as Hawk and Truman observe, Bobby winds up and throws the metal cylinder hard against the concrete sidewalk, sending it caroming into the grass. He retrieves it and holds it to his ear as a resonant sound not unlike a long note held on a harmonica fills the air. He runs it back to Hawk and Truman and holds it to their ears to share the sound. Astonished, Hawk exclaims “What the…?!”, only to be shushed by Bobby, who puts the cylinder to his ear again, clearly waiting for something. The single resonant note abruptly transitions into the sound of tiny gears meshing and a pin dropping into place, at which point Bobby hastily throws the cylinder hard against the concrete. As Hawk and Truman look on stupefied, Bobby fetches the cylinder and returns beaming, handing it to Truman in pieces. Truman removes a smaller cylinder nested into the main fuselage and extracts two tiny scrolls of paper from it. He hands the empty cylinders to Hawk, unrolls the first paper, and reads: “253 yards east of Jack Rabbit’s Palace. Before leaving Jack Rabbit’s Palace, put some soil from that area in your pocket. And two dates and a time—same time—2:53. That’s two days from now and the day after. Jack Rabbit’s Palace? I never heard of such a place!” As Truman puzzles through the cryptic message, Bobby looks on, anxiously running his tongue along his smiling top teeth, clearly dazzled and unable to believe what he is hearing. “He did it again! Wow! I know exactly where Jack Rabbit’s Palace is. My Dad, when I was a little kid, took me to this place near where his station used to be. It was our make-believe world, you know where we made up stories and *laughs in disbelief* I was the one who named it Jack Rabbit’s Palace.” Reeling from Bobby’s revelation, Truman manages “He saw all of this…whatever this is…” “That’s my Dad!”, Bobby resolutely confirms. “Well go up there two days from now and you can lead the way, just as your Dad wanted.” Truman suddenly notices the second paper hiding under the thin first layer. “Wait a minute…there’s something else…,” he says, displacing the top sheet to reveal a string of letters and three digit numbers separated by front-slashes and two discernible words back-to-back with a third instance of the word cut in half: “COOPER/COOPER/COO”. “Two Coopers!”, Hawk exclaims, as Bobby and Truman struggle to take it all in. (38:12-41:09) Back in Buckhorn, Diane leans against the wall on the steps of the Police Department smoking a cigarette. Cole and Preston arrive on the scene, and Cole announces with a slight smirk that they’ve come to join Diane while “Albert is indisposed,” presumably carrying out a meticulous inspection of a certain body. A long, awkward silence ensues as Diane smokes, Gordon looks nervously back and forth between Diane’s eyes and her cigarette, and Tammy struggles in vain to conceal that she’d rather be sliding down a razor and landing in a pool of manure than keeping company with Diane. Eventually, Gordon extends his fore and middle fingers to indicate his intent to bum a drag and Diane complies over Tammy’s protest (“Gordon?!”) as he puts the cigarette to his lips and closes his eyes in ecstasy, inhaling deeply and then curling his lips and wincing as the welcome quitter’s wallop hits home. “Whoa!”, he blurts with a wistful boyish grin, admiring the cigarette in his hand. “We used to smoke together way back when, do you remember?” Offering what seems to be a genuine smile, Diane concurs, “Yeah, we sure did, Gordon. Sure did.” Gordon contemplates another hit and raises his hand to take it, but thinks better of it and hands it back: “Thanks, Diane.” “You want to finish it off?”, she asks with a broad grin. He shakes his head no, smiling back. (41:10-43:18) A brown-jump-suited Bill Hastings, head in shackled hands, is blubbering away in a Buckhorn Police Department interrogation room. Mackley, Cole, Preston, and Diane are assembled behind the two-way glass and Cole gestures to Preston that she’ll be doing the honors. She enters the room and introduces herself, spawning a fresh meltdown as Hastings takes in the fact that he is now the target of an FBI investigation. She informs him that she is recording the conversation and requests that he state his name and age for the record: Hastings: “William Hastings. 43.” Preston: “Mr. Hastings, are you the author of an online journal or blog entitled “The Search for the Zone?” Hastings: “Yes.” Preston: “What sort of things do you write about.” Hastings: “Different things.” Preston: “Approximately two weeks ago, did you write an entry about encountering what you described as an “alternate reality”?” Hastings: “A different dimension. Yes. But it’s real. It’s all real.” Preston asks him how long he’s been interested in the subject, and he says many years and that he’s done a lot of reading. She reminds him, however, that his latest post goes well beyond reading: “You actually found and entered such a place and that while in this place, you wrote, “we met the Major.” Hastings concurs and the story comes bursting forth: “You see, Ruth was very good at uncovering hidden records, and she had indications that if we went to a certain place at a certain time we would enter the dimension and make contact with a certain person, and so we went there.” “And that’s where you found the Major?”, Preston inquires. “He was hiding there…or hibernating as he said…and other people were maybe going to find him and he wanted to go to a different place and so he asked us to get him numbers…important numbers…coordinates. And we found them in the place he told us to go—a secure military database.” “Do you still have those coordinates?” “No Ruth had them. She wrote them on her hand so that she wouldn’t forget.” “What happened then, William?”, Preston pushes for pay-dirt and gets it: “We brought him back the numbers last Thursday and then something terrible happened. These others came in and they grabbed me by the neck and they pushed me down and they said ‘What’s your wife’s name? What’s your wife’s name?’. Phyllis, I said. I didn’t kill Ruth! I didn’t kill her! You have to believe me! I loved her! It’s all my fault! It never should have happened!” As Hastings trails off into incoherence, Preston regroups and presents him with six mugshots, asking him if the man he refers to as “the Major” is represented there. He identifies the Major straight away at bottom left and Preston asks him to circle, sign, and date the photo. He does so, mumbling “9/29” as he scrawls the barely legible date next to his signature. Preston returns the document to the case file and goes back in for the goods: “Can you tell me what happened?” Temporarily calmer, Hastings resumes his fantastic story: “We gave him the numbers and he started to float up and he said some words—“Cooper…Cooper”—right before his head disappeared. It was something like no one has ever seen before...YOU DON’T KNOW YOU WEREN’T THERE…he…he…it was beautiful. And then Ruth was dead. It was so terrible and I had to hold her and then I woke up and I was in my home.” Preston presses him for specifics: “Did the Major kill Ruth?” “No…there were so many people there. You have to believe me. I didn’t kill Ruth. I don’t know what’s happening to me. Why can’t you help me? We were so happy together. We were going to go to the Bahamas. We were going to scuba dive and drink mixed drinks on the beach…” As he becomes increasingly agitated and repetitive in his descriptions of their planned Bahamanian escape, Albert sums up what some of the kinder people in the room also seem to be thinking: “Fruitcake anyone?”. (43:19-49:56) Laura’s theme fills the air as we move from fog rolling in over the mountain, to the falls beneath the Great Northern, to a taxidermy ram’s head and mounted antlers inside the hotel. Ben Horne and Beverly are once again at work attempting to suss out the origin of the singing bowl noise that has taken up resonance in the receiving room outside Ben’s office. They move to the lamp in the corner of the room where the sound is loudest and Beverly observes that the tone is mesmerizing, prompting Ben to compare it to “the ring out of a monastery bell—it has the same quality…otherworldly.” They turn toward one another in an accidental embrace that is anything but, her hand on his lapel, his on her arm. He caresses her cheek with more caring than we are used to from him, “Beverly, I can’t do this. I don’t know why it is.” “You’re a good man, Ben,” she replies, though the embrace seems far from over and neither seems convinced. (49:57-52:31) At the Roadhouse, Hudson Mohawke DJs a set as Ella—by all indications a sparkle junkie—sits alone in a booth amidst a bowl of peanuts and a can of cheap-ass beer, in turns moving to the music and worrying at a wicked rash under her left arm. Her friend Chloe (who is also clearly powdered up) plunks down into the booth across the table from her as Ella swigs her beer. “You know that Zebra’s out again,” Chloe says, smiling. They both laugh. A half-hearted, profanity-rich conversation ensues about Ella’s employment situation; she lost her old job flipping burgers because she came in high a couple times, so now she has a new job flipping burgers across the street. They laugh nervously, drink awkwardly, and Chloe shells and gobbles peanuts, Ella scratching away intermittently at the rash. As Au Revoir Simone takes the stage to perform “A Violent Yet Flammable World,” Ella inquires of Chloe, “Have you seen that penguin?”. “Whaaat?”, Chloe counters. “You know, the penguin.” They both sit back, laughing, revealing meth-mouths full of rotting teeth, as Ella goes back to work on the rash. (52:32-55:40) Au Revoir Simone closes out the evening as the credits roll: "Tonight I sleep to dream of a place that's calling me. It's always just a dream, still I cannot forget what I have seen. The crowd's hard to believe, at their faces I'm looking, but your feet I'm following in soft steps on a path the way you lead." (55:41-58:43)
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Opening Credits (0:55-2:14) Mr. C. and Ray Monroe are driving into the night, putting as much distance as they can between Yankton Federal Prison and the cheap beige rental furnished to them by Warden Murphy. As Ray pilots the car, Mr. C. reaches into his jacket pocket to retrieve his cell phone. Upon waking it, he says “They’ve got three tracking devices on this car.” He observes a blue screen with three black rectangular buttons in parallel: the top one depicts a green capital “C”; the middle one depicts the word “FIRE” in red all-caps; and the bottom one depicts a green capital “D” followed by a symbol that appears to be a DVD or compact disc followed by a green capital “X” (if the DVD icon is a stylized letter “o”, the button would read DOX). He clicks each button and instructs Ray to “get up close behind this truck,” gesturing to a box truck in the left lane in front of them. Ray pulls up behind the truck and Mr. C. types the license plate of the truck into his phone: DEGWW8. “That should do it,” he says, and tosses the phone out the window. (2:14-3:05) With the tracker situation sorted, Ray gets chatty. Ray: "Hope you’re not sore at me for running off. Sure was stupid of me to get caught up like I did. Thanks for getting me out of there. How did you do this?" Mr. C.: "Darya told me what happened. You needed to get out, Ray." Ray: "Where’s Darya?" Mr. C.: "She’s waiting for a phone call when we get some place safe." Ray: "Where are we going?" Mr. C.: "You’d probably like to go to that place they call “The Farm.”" Ray (smirking): "That’s what I was thinking. We’re heading in the right direction. Just saying. They’re not going to let us just walk, are they? Bound to be looking for us soon." Not much for the small talk, Mr. C. curtly changes the subject. Mr. C.: "You have something I want, Ray." Ray: "Yes, I do. I got it memorized. All the numbers. Memorized perfectly. But honestly Mr. Cooper, I think it might be worth some money. Maybe…. quite a lot of money." Mr. C. (perturbed): "You think so, do you?" Ray: "Yes sir, I do." Mr. C. looks at Ray with a contempt that feels certain to be a prelude to violence, but remains composed and lets Ray have the last word for the moment. Highway lights hurtle by as an awkward silence hangs between them. Mr. C. breaks the silence: “There it is. Take that little road up there on the right. Let’s get off this highway, Ray.” They take the right and follow bright yellow curve signs through an S-curve that straightens into a pitch-black two-lane road. The headlights struggle to discern double-yellow as Mr. C. and Ray sit in eerie silence, their faces betraying the imminent treachery they’ve plotted for one another. A white fence materializes out of the darkness into the headlights as the road curves right and the pavement comes to an end. The darkness overwhelms the headlights and the road becomes a narrow band of gravel, barely visible more than a few feet ahead. Ray finally breaks the protracted silence: “You mind if I pull over for a sec? I gotta take a leak.” Mr. C. is amenable to the request (“Go for it.”), but casts an intense sidelong glance at Ray as if to extract a premonition of his true purpose. (2:15-6:40) Ray gets out of the car and goes to the side of the road to urinate. In the car, Mr. C. opens the glove box to discover the “friend” he requested of Warden Murphy: a nickel-plated .357 Colt Python. He inspects the chambers, finds them loaded, and exits the car, making a point to shut the door, arrogantly throwing stealth to the wind. He approaches his accomplice, coming up behind him with the .357 trained on his back: “Ray, I want that information.” Sounding confused, Ray offers a delayed “Yes?”. “Looks like you’re out half a million,” Mr. C. gloats. Hitching up his fly and looking the opposite of concerned, Ray counters “Well, I think you’re wrong about that.” He turns to face Mr. C. brandishing a hand-canon of his own, and Mr. C. immediately pulls the trigger three times, releasing three brittle metallic clicks that betray the Warden’s failure to install a firing pin. Mr. C. looks down at the revolver in shock, as Ray spills the beans (“Tricked ya…fucker!”) and pumps two rounds of hot lead into Mr. C.’s stomach, propelling him backward into the dirt, arms outstretched and legs parted as if mid-snow-angel. (6:41-7:47) As Ray approaches Mr. C. poised to execute a finishing shot to the head, a white light floods Mr. C.’s body and an intervention from another dimension announces itself. As if from the trees but at the same time clearly from another place entirely, throngs of unkempt, bearded men dressed for difficult lives outdoors swarm the scene, feverishly dancing around Mr. C.’s body in an otherworldly ritual as Ray—fallen backwards to the ground in the midst of this spectral dance—looks on in horror. The combination of Ray’s sluggish movements, muted screams, and a sound-tracking of Beethoven’s “Moonlight Sonata” slowed to a crawl through molasses over a steel-drum suggests that time is occurring here in two registers: Ray remains on Earthly time while the woodsmen’s ritual proceeds on another clock. Three of the woodsmen huddle over Mr. C’s body and begin scratching at his wounds and smearing his blood over his torso, face, and neck. One of the woodsmen pushes Mr. C.’s head up as another massages his stomach. A grotesque amniotic-sac-like bladder emerges from the gore and BOB’s face gazes out at Ray who looks on in terror. As the ritual continues, Ray scrambles to the car and speeds away, leaving the woodsmen to their exorcism. A fog rolls through as white light intermittently floods the scene and then dissipates into pitch black. From out of the pitch, a half moon briefly emerges from the clouds and disappears. (7:48-11:24) Speeding through the dark, a deeply shaken Ray Monroe leaves a telephone message for “Philip” (who we assume to be Philip Jeffries): “It’s Ray. I think he’s dead but he’s found some kind of help so I’m not 100% and…um…I saw something in Cooper that may be the key to what this is all about. I told him where I’m going, so if he comes after me, I’ll get him there. (11:25-11:54) Amidst an onslaught of industrial noise and feedback, a tuxedo-clad MC welcomes a rowdy crowd to the Roadhouse, “proud to welcome the Nine Inch Nails.” A leather-clad, dark-shaded Reznor growls into the mic: “You dig in places til your fingers bleed. Spread the infection where you spill your seed. I can’t remember what you came here for. I can’t remember much of anything anymore: she’s gone, she’s gone, she’s gone away.” (11:55-16:33) As the feedback from the end of NIN’s performance drones on, we see Mr. C.’s corpse lying abandoned in the place where he fell upon being shot. Out of utter stillness, he snaps wide awake from beyond death, sitting bolt upright, dead eyes besmirching his blood-smeared visage. (16:34-16:54) An establishing shot of the desert before dawn informs us that the date is July 16, 1945 in White Sands, New Mexico at 5:29 am MWT. A launch countdown commences: “10-9-8-7-6-5-4-3-2-1”. At zero, a truncated electronic blip precedes a bedazzling flash of white light and the frenetic strings of Penderecki’s “Threnody for the Victims of Hiroshima” scream unimaginable horrors. A deathly mushroom of hellfire blooms from the parched desert floor illuminating and deforming the smoke rocket trails sent up by the unholy gods of scientism to measure the shockwave. As the mushroom expands, the desert floor becomes an obscene, malignant cauliflower spreading inexorably, transforming the blasted earth into a demonic cruciferous mountain range. The burgeoning cap of the mushroom inevitably subsumes all. (16:55-19:02) Squid ink spills dissipating smoke specked amber in blackness star fall specks amber burn black pubic malignant sperm ripples tea-stained rice paper dead starlight swarm wasphorde reverse negative star fall scraping hell fire explodes invaginated fuschia perforations expelling antimatter flak and volcanic proto hatred molten to ashen tsunami rains skyward fire columns voided. (19:03-21:53) A stylized mid-century convenience store materializes from out of the void. A persistent temporal disturbance makes it feel as though we are attempting to tune in what is before us on a ham radio—each time we almost alight upon the frequency the signal is dropped but then weakly reasserts itself again just before we give up on dialing it in. So it is that smoke billows out from the door and then doesn’t. And then does. And then doesn’t. Then it does. And doesn’t. Same with bright light, beaming and not, not and then beaming. Suddenly there are woodsmen, blasted, unkempt, arms at their mid-sections, fists closed or open, shuffling then standing then shuffling again. There are two gas pumps in front, each with a light bulb on top, and stacks of cans—one suspects full of corn—in the windows of the blasted building. Another light beams out from top right and at far right we see a staircase, perhaps to an upper room. At far left, a corner of the gas pump overhang is mysterious illuminated from off camera. As attempts to dial in the scene before us continue to fail, the focus changes and we see a dark field with four halos of light—one at top left by the overhang, one above each gas pump, and one at tip-top right, suggestive of a stellar constellation. Close-ups of the windows flicker and intensify and we see woodsmen at work within the store, but the tune-in failures result in intermittent splicings of an abandoned store. In the midst of an off-kilter backlit close-up of the store, a portal opens out of a widenening gyre into blackness. (21:54-24:35) Experiment is hovering in the black, a female humanoid form, arms outstretched but reversed such that her right arm emanates from her left shoulder and vice versa. Her head is round with petite horns and there is a gaping orifice in the middle of her otherwise featureless face. Seized by a poison, she heaves and wretches three times, forcefully disgorging a vomit of viscous fluid that emanates from her like an umbilical cord or a demonic Nerds-rope. The fluid is teeming with eggs of various sizes and also bears along a large black tumor in which we see BOB’s face. An egg breaks out of the fluid and crosses behind the BOB tumor out into the black. (24:36-25:22) Swirling fire and ash open a burning heart from the deepest of the deep and a pebble of molten gold comes hurtling toward us from the center of the distant heart of fire. Red shooting stars shuttle past at blinding speed, giving way to a violent violet ocean. After a time, we see a distant column of stone erupting from the violent sea. Up the slender island of rock we slowly climb to a silver castle with a silo-like dome. A small slot in the wall approaches and we pass through it. (25:23- 29:25) Old jazz music, possibly bask-masked, plays quietly from a phonograph in an elaborate room with a dazzling woman—Señorita Dido—sitting placidly on a sofa. It appears to be the same room, or at least a room within the same place, where Cooper and the Giant (credited as “???????”) were sitting in the first scene of the new series. At left is a large thimble-shaped transmitter, similar to the one Cooper encountered on the odyssey with Naido in Part Three. Señorita Dido is swaying almost imperceptibly gently to the music. There are traces of reversed sound as she moves, indicating that sound is backwards here, despite the fact that the music at times seems as though it is playing forward. The thimble transmitter begins to ping and the Giant (“???????”) emerges from behind it, looking curiously at it. He turns to face Dido and they come to an understanding. He gazes out toward the slot from which we entered with a look of grave concern as the pinging thimble continues to transmit its warning. He turns to the thimble, looks down at two circular gauges in front of him and reaches out to flip a switch that stops the pinging. He walks over to Dido, they come to an understanding, and he turns to leave the parlor, disappearing behind the thimble. (29:25-32:55) As the music grows faint, the Giant ascends a flight of stairs. His footfalls are reversed and they make a gentle, disorienting plinth-plinth-plinthing on the rug. He enters a large room with another thimble transmitter in the center and walks across to a large stage with a third thimble and a small balcony nearby. He looks up at the stage, puts up his hand, and a screen appears, depicting the atomic explosion at White Sands that we witnessed just minutes before. He takes in the mushroom cloud, the convenience store and woodsmen, and finally the Experiment through which the malignant destroyer of humanity that is BOB was spewed forth into the black. He pauses the feed on BOB’S image. The music turns ethereal, almost funereal, and the Giant ascends toward the ceiling alongside the stage and hovers in mid-air, a spotlight from the back of the house illuminating him. Señorita Dido enters from the back of the hall and is walking with somnambulant dignity toward him as the music and lone spotlight lull us into a dream-state. One is moved to certainty that they are up to something very serious. The spotlight projects her shadow onto the wall beneath the Giant and as she approaches him, her shadow and her figure nearly converge at the very moment that a faint orange light begins to emanate from his head. She takes up a place just under his floating feet near the lip of the stage as the freeze-frame of BOB is replaced by a skyfull of twinkling, falling stars. She looks up at the giant and smiles in awe, breathing in deep drafts. Light teeming with particles emanates from the Giant’s head and takes up the form of a river and tributaries, then a uterus with fallopian tubes pushing out of the river, particles swarming. We feel that universes are being born as thick coils of particles form at the top of the light funnel, like a labyrinth of possibilities for being. Dido looks on with increasing wonder. One light particle becomes particularly large, and as Dido gazes above her, enraptured, it gathers momentum and burgeons into a large pearlescent orb, pushing out from the uterus of light and floating down into Dido’s outstretched hands. She receives it and pulls it toward her like her beloved, fully present to the experience and awed by it. Gazing into the orb, she sees Laura’s face amongst the stars, which twinkle and drift and shoot across the tiny globed sky. She kisses the orb and lifts it back into the air, setting it free. It ascends to a magnificent golden machine where it enters a flute-like tube, gets distilled into a single particle, and then launched from the tube on a collision course with Earth, moving like a suspended penny toward its destination. Dido looks on in awe as the golden penny descends. (32:56-41:19) An establishing shot of the New Mexico desert clicks off the numbers from 1945 to August 5, 1956. A single egg sits amidst the ripples of windswept desert sand. The egg hatches and a creature emerges, insect-like and winged, but with the hindquarters of a frog. It struggles off into the desert like a clumsy beetle. In the sky, a full moon is overwhelmed by clouds. (41:19-43:23) On a moonlit evening alive with the music of crickets and cicadas, a teenage boy and girl emerge from behind a New Mexico gas station that can’t help but bring to mind a certain convenience store. The boy asks the girl, “Did you like that song.” “Yes, I did like that song,” she self-assuredly replies. They walk slowly, encompassed by the magic of anticipation. The girl stops short: “Oh, look! I found a penny! And it’s heads up! That means it’s good luck!” As she inspects it, we wonder whether it might be a manifestation of the golden penny distilled from pearl of light bearing Laura’s image, sent to Earth to protect her. The boy offers, “I hope it does bring you good luck.” She repays him with a winsome smile. (43:24-44:27) A black silhouette descends from the sky and a woodsman walks forth into the desert. Meanwhile, a couple drives along a country desert road in the dark. Up ahead, another car is stopped and overtaken by woodsmen. We pick up the signs of temporal disturbance and discontinuity again, as the muffled screams of the man and woman in the car seem slower and farther away than the distorted speech of the woodsman: “Gotta light?”, he inquires repeatedly. Though we hear these words intelligibly, the temporal divergence of the couple from what we see unfolding on screen suggests that the words may be unintelligible to them. They speed away in terror but seemingly unscathed. (44:28-46:38) The boy and the girl are walking down the road to her house, making awkward but expectant small talk. Girl: “You live in town don’t you?” Boy: “Yes.” Girl: “You live by the school?” Boy: “How did you know that?” Girl: “I just do. So, I thought you were going with Mary.” Boy: “No, that’s over.” Girl: “Are you…sad…about that?” Boy: “No.” Girl: “Ok, that’s good…that’s good…that’s good.” (Her hands are together; she’s fidgeting with her thumb.) Girl: “It was really nice of you to walk me home.” Boy: “I really wanted to. Do you mind if I give you a kiss.” Girl: “Sigh…I don’t I don’t know. I just…” Boy: “Please. Just one.” Girl: (sigh…nervous laugh…closes eyes and tilts head) Boy: (leans in and gives her a gentle peck on the lips) Weak-kneed, the girl makes her way to the house, clearly on cloud nine. She waves dreamily from the porch at her smiling boy. (46:39-49:00) The woodsman traverses a hill and sees a radio station. He walks toward the station amidst a symphony of cricketsong. At the station, a 45 spins on the platter as a voice sings out “When the twilight is gone and no song birds are singing…” KPJK is “On the Air.” A disc jockey sits behind a booth sizing up the plan for the evening broadcast. The clock in the booth reads 10:16 pm. As the song plays, we see a radio in a mechanic’s garage where a man is working on a car; we see a lunch counter in a diner where a woman is cleaning up. We see the freshly-kissed young girl sitting on the bed and beaming (and notice that she has two curious abrasions on her knees about the size of quarters). The woodsman enters the radio station, shambling into the office. A receptionist approaches him and shrinks back in horror when he asks her for a light. He grabs her head with black hands and crushes her skull. She sinks ruined to the floor. He casts his eyes on the man in the booth and enters, asking yet again for a light. The man turns around, utterly petrified, as the request is repeated in the same distorted monotone. The woodsman takes the disc jockey’s head in one hand and applies pressure. We hear the skull begin to give way, as the woodsman violently rakes the record off the platter, broadcasting static into the night. The auto mechanic, the woman at the diner, and the young girl—all of whom were listening to the broadcast—notice the abrupt interruption. In full knowledge of how to broadcast, the woodsman goes live into the mic: "This is the water and this is well. Drink full and descend. The horse is the white of the eyes and dark within.” All the while torturing the disc jockey, he repeats this mantra a second time and the woman in the diner collapses. After the fourth time though, the mechanic drops to the floor. (49:01-53:24) The locust-frog crests a hill and moves slowly but inexorably toward its destination. (53:25-53:55) The young girl is still listening to the broadcast, the woodsman’s occult mantra filling her room. She reaches toward the radio presumably to turn it off, but just as he repeats “and dark within,” she succumbs to sleep. Outside, we see the locust-frog pull to within striking distance of her open window. It haphazardly flies up to the window and crawls in. As the mantra continues, it crawls over to the girl and we observe that its feet have five distinct digits that eerily resemble the fingers of a human hand. On cue, she opens her mouth wide and the locust-frog crawls in, its humanoid feet pulling into the cavity. She closes her mouth and swallows. All the while, the woodsman’s mantra incessantly repeats: “drink full and descend.” The disc jockey, who has by now suffered prolonged and merciless torture at the hand of the woodsman is finally done in, as blood cascades to the floor in what seems to be buckets. The woodsman’s eyes roll back in his sockets such that only the whites remain visible as he finally finishes the job. He shambles out of the station and is briefly bathed in white strobing light as he emerges into the night. As he disappears into the pitch black, we hear the distressed whinnying of horses or indigenous ritual chanting or perhaps a mélange of both. (53:56-57:23) The credits begin to roll and we are taken abruptly from the black night back into the girl’s room. She is asleep and her eyes flicker as if she is having a dream. We hear the faint scratching of the needle on the vacated platter back at KPJK still broadcasting into the night and it faintly reminds us of the sound coming through the phonograph when the Giant gave Cooper the clues and this terrifying warning: “You are far away.” (57:24-58:00)
Opening Credits (0:55-2:14) A paranoid Jerry Horne is alone in the woods at bright midday wearing his mother’s hat. With feverish intensity, he erratically scans his surroundings: ferns, mossy trees, clusters of foliage. Does the field of vision seem to flicker, or is it his imagination? Or ours? He produces an iPhone and calls his brother Ben, informing him that “Someone stole my car!”. Through the speaker phone, Ben confusedly replies, “What’s going on? Someone stole your car?”. As if Ben’s search for clarification is a corroborating piece of evidence for Jerry’s own bizarre claim, Jerry stammers: “You say the same thing?”. A befuddled Benjamin Horne leans into the phone: “What? Jerry?”. In an intense moment of epiphany, an agonized look seizing his face, Jerry yells, “I think I’m HIGH!”. Disgusted and incredulous, Ben’s tone of concern shifts into a more dismissive register: “Oh good lord, Jerry!”. Ben moves still nearer to the phone, as if closer proximity to the mic will illuminate his brother’s unhinged behavior. Fully in the grips of a cannabis-induced existential crisis, Jerry screams “I don’t know where I am!,” his chest heaving in shallow gasps. Ben sits by as the line goes dead. (2:15-4:07) Deputy Chief Hawk and Sheriff Frank Truman sit at the conference table in the Twin Peaks Sheriff’s Department perusing Hawk’s discovery from the bathroom stall door: three of the four missing pages that were ripped from the secret diary that Laura Palmer had entrusted to her friend Harold Smith for safekeeping; a single page remains missing. Truman picks up a page and reads Laura’s words through the evidence bag: “This came to me in a dream last night: ‘My name is Annie. I’ve been with Dale and Laura. The Good Dale is in the Lodge and he can’t leave. Write it in your diary.” Puzzled, Truman inquires: “Dale as in Special Agent Dale Cooper? What do you think it means?” Hawk’s not altogether certain, but he says that he is sure these pages are what the Log Lady wanted him to find in telling him that his heritage would help him to discover something missing. Annie, he thinks, is “Annie Blackburn…a girl who went into that place.” After confirming that these are genuine pages from Laura’s diary, and that one remains missing, Hawk obliges a request from Truman to explain how he thinks they ended up in the Sheriff’s Department bathroom. He hands Truman a page from the diary that more or less outs Leland Palmer, Laura’s father, as her abuser and rapist. Truman reads it: “It’s 1:30 am. I’m crying so hard I can hardly breath [sic]. NOW I KNOW IT ISN’T BOB. I KNOW WHO IT IS.” Hawk follows up: “I’m sure it was Leland who hid these pages. He found them and realized that she knew.” Leland hid the pages, Hawk suspects, when they had him in for questioning for the murder of Jacques Renault; “maybe he thought we were going to frisk him and that’s when he hid them.” Struggling to put the pieces together, Truman quizzically observes that Laura never met Cooper; he came to town after she died. Hawk reminds Truman that Annie’s warning came to Laura in a dream, and goes on to make the terrifying ramifications of this warning more explicit: “This thing she said: ‘the Good Dale is in the Lodge and can’t come out.’ But Harry saw Cooper come out of the Lodge with Annie that night. Doc and Harry took him over to the Great Northern. But if the Good Cooper is in the Lodge and can’t come out, then the one who came out of the Lodge with Annie that night…was NOT the good Cooper.” Truman takes in this unwelcome revelation with a wince, “And he left town soon after…who else saw him that day?” Hawk: “Like I said, Doc Hayward, but I don’t know who else.” Truman: “Let’s bring Harry up to speed and see what he thinks.” (4:08-7:35) Sheriff Frank Truman picks up the phone to reach out to the other Sheriff Truman, his convalescing brother Harry. From Frank’s end of the conversation, which is all we see or hear, we assume that a hospital employee has put him on hold to summon Harry. Harry comes to the phone, and though we must infer the details of what he says to Frank from Frank’s sad if stoic response, it becomes clear that Harry has experienced some kind of set-back in his treatment. Sensing that Harry is too fragile for a discussion of the diary pages at the moment, he demurs on pursuing the conversation, telling Harry not to worry about it and to get some rest: “it’s nothing urgent.” The brothers share a tender moment as the conversation ends: “And Harry: do me a favor; beat this thing!” (7:36-8:42) On a farmstead somewhere in Twin Peaks, Deputy Andy Brennan gestures toward a Ford flatbed truck in the background that sits adjacent to his empty police cruiser, lights still flashing; the truck bears a striking resemblance to the one that Richard Horne was driving in the hit and run in Part Six. A terrified farmer, clearly in fear for his life, pleads with Andy to leave the premises, presumably because the police presence is likely to draw unfriendly attention from Horne or one of his unsavory associates. “But if you weren’t driving the truck, I have to know who was,” Andy scolds. The farmer pledges to tell him the whole story off the premises, and Andy suggests a rendezvous off the logging road above Sparkwood and 21, “just past the Joneses down by the creek.” Growing more paranoid by the second, now veritably begging Andy to go, the farmer pledges to meet him in two hours at the appointed location, to which Andy replies: “4:30 then.” As we take in the possibility that “4:30” might be relevant to the Giant’s command to Cooper to “remember 430” on the outset of the series, Andy returns to his cruiser. No less terrified for Andy’s departure, the farmer retreats into the house through the back door which closes behind him. (8:43-9:44) Still looking for leads on the diary pages, Frank Truman follows up with Doc Hayward, one of the few people to have seen Cooper after he emerged from the Lodge and before he skipped town. After a brief telephone conversation to learn Hayward’s Skype handle—MiddleburyDoc—Truman “saddles up” and they proceed to video chat. “What’s this all about?”, asks Hayward. Truman lays it on him: “Doc, do you remember way back to the night Harry called you in to examine Special Agent Dale Cooper at the Great Northern?” Noticeably chilled by the question, Hayward replies, “I can’t remember what I had for breakfast this morning, but I remember that…we all knew Coop and that morning he was acting mighty strange. I took him to the hospital and I had him checked out while I made my rounds. About an hour later I saw him sneaking out of intensive care fully dressed. He turned and looked at me and I saw that strange face again. I called out to him. He didn’t say a word. He just turned around and walked out.” “What was he doing in Intensive Care?,” Truman wonders. Increasingly downcast, Hayward continues: “I thought at the time he might have been looking in on Audrey Horne…that terrible business at the bank and she was in a coma.” Intuiting that this trip down memory lane is upsetting the elderly Hayward, Truman abruptly changes the subject to how the fish are biting. After an odd report from the good Doc about two trout in his pajamas that unluckily ended up breakfast, Truman brings the conversation to a close: “Keep working the sunny side of the river, Doc.” (9:45-13:21) Following up on the hit on Major Briggs’ fingerprints in Buckhorn, U.S. Navy Lieutenant Cindy Knox enters the Police Department and introduces herself to Detective Macaulay, making no bones about her mission: “You submitted fingerprints to our database a few days ago and I need to verify the source.” Playing dumb, Macaulay informs her that he can show them to her, but their search was blocked—“must have been from your end?,” he deadpans. Refusing to play ball, Knox repeats her request dressed up in a patronizing smirk: “I’d like to see the prints please. Where did you lift them from? The crime scene?” “No,” Macaulay laughs, “from the body.” Knox’s confidence dissipates: “There’s a body?” “There’s a body alright,” Macaulay chortles. (13:22-14:13) In the Buckhorn morgue, Coroner Constance Talbot pulls Briggs out of cold storage and lifts the sheet to reveal his beheaded corpse to an astonished Knox. In disbelief, Knox looks to Macaulay: “Where’s the rest of him?” “We don’t know!”, Macaulay replies, exasperated. Knox intensifies her gaze on the corpse: “How old was this man?” “Late forties,” Talbot offers. Looking utterly bewildered, Knox tries again: “When did this man die?”. Talbot does the math and guestimates that Briggs died within the last five or six days. Knox fails to suppress a gasp: “You’re sure this is the body you took the prints from?”. Talbot provides assurances and offers to pull the prints again, as Macaulay—lodging another dig at federal obstruction—sardonically observes how much easier their investigation would be if they knew who the body was. Flustered, Knox excuses herself to make a phone call and walks out into the hall. (14:13-15:21) Shell-shocked, Knox calls Colonel Davis at the Pentagon: “It’s not just prints this time…it’s a body. It’s him.” Surprised but stoic, Davis presses Knox on whether she’s certain, and upon receiving her assurance prepares to excuse himself to “make that other call” to the FBI. “Just one thing,” Knox persists, “actually two things: his head is missing and he’s the wrong age.” As she clarifies the situation for a confused Davis, elaborating that the body is that of a man in his late forties who died a few days ago, a dark blurry figure appears at the end of the hall just barely visible over her shoulder and the music takes a turn for the menacing (16:10). Davis counters that Briggs should be in his seventies if he died recently and that there must be some mistake, but Knox protests that she’s seen the body herself and that the coroner verified the age and the prints; as she speaks the dark figure shambles down the hall toward her, revealing itself to be akin to the soot-faced specter two cells down from Bill Hastings in Part Two (and to the “woodsmen” we meet in Part Eight). Colonel Davis orders her to stay there, pledges to get back to her, and picks up the phone to call the FBI. As Knox turns to rejoin Talbot and Macaulay in the morgue, she seems to sense the dark presence and appears to throw a sidelong glance directly at it, but registers nothing like the response one would expect had she actually seen what the viewer sees. Back in the Morgue, she orders Talbot and Macaulay not to give anyone else access to the body and rebuffs yet another attempt from the latter to wring information from her: “You didn’t hear it from me, but I don’t think this is going to be your investigation for very much longer.” The dark figure walks past the open door and down the hall. (15:22-17:25) Under a print of a stylized ear of corn hovering above a sheath of dense cirrocumulus clouds, Gordon Cole—eyes closed and reclining—has his hearing aids turned up and is whistling himself a tune, the looming portrait of the Trinity atom-bomb explosion threatening to envelop him from behind. A pounding at the door sends his hearing aids shrieking. “Come in!”, he yells, adjusting the aids. Albert enters and Cole asks him how it went. The answer is “not well:” “I said ‘Hello, Diane!’, she said ‘This is about Cooper, isn’t it?’, I said ‘Maybe.’, she said—and I quote—“No fucking way!”; “I was at home dripping wet on the verge of pneumonia fifteen minutes later. How was your evening, Chief?” Cole: “This is not good news, Albert; she needs to see him!”, Cole yells in his signature stentorian tone. In a classic spat of Cole-Rosenfield repartee, they negotiate the terms of their next move: Albert: “Your turn!” Gordon: “But you’ll go with me?” Albert: “Say please!” Gordon: “What?” Albert: “You heard me.” Gordon: “Please!” (17:26-18:52) In an elaborate Philadelphia brown-stone straight from a brochure on affluent living in the atomic age, a boy-toy in a smartly-tailored smoking jacket opens the front door for Cole and Rosenfield: “FBI, Champ! Friends of Diane’s!”, Cole barks. The boy toy ushers them into the living room, and Diane emerges from the dining room in a stunning red silk robe, cigarette in one hand and coffee in the other. She’s not happy to see them: “Oh my God!”. As the boy toy leaves, blowing her a kiss, Diane makes her intentions known to Cole: “Well, this won’t take long: I’m just going to say the same thing to you I said to him.” Refusing to be put off, Cole begins the negotiations, as he and Albert help themselves to seats on the couch in the living room and Diane stands defiantly at the edge of the dining room: Gordon: “Now take it easy, Diane, and let’s just sit down and have nice simple chat. You got any coffee?” Diane: “No. And I don’t have any cigarettes either.” Gordon: “Ahhhh! The memory of tobacco! But I gave it up.” Diane: “Fuck you, Gordon.” Albert: “Now you’re getting the personal treatment.” Diane: “Oh, you want personal? Fuck you too, Albert!” Gordon: “Now that we’ve got the pleasantries out of the way…” Albert (under his breath to Gordon): “I never even got this far.” Gordon: “Your former boss and former Special Agent Dale Cooper is in a federal lock-up in South Dakota.” Diane (defiantly, clearly trying to mask her pain): “Good!” Gordon: “Diane, this may require a slight change of attitude on your part.” Diane: “My attitude is none of your fucking business.” Diane turns around and disappears into the dining room to retrieve coffee service, as Gordon notes to Albert that she’s a “tough cookie—always was!”. She reappears momentarily with a tray and cups of coffee for Gordon and Albert. Gordon thanks her with conviction, takes a sip, and obligatorily pronounces the coffee damn good, as Diane settles into a chair across from them, looking pained and dragging deeply on her cigarette. Tossing her head with a flourish, she dares Cole to get on with it: “So, say what you came here to say.” Cole looks at Albert and nods at him to fill her in: Albert: “We have a feeling something is wrong. We don’t know exactly what it is. But we need someone who knows him extremely well to have a talk with him and afterward to tell us what you think.” Diane: (heaves a sigh, looking terrified) Gordon: “This is extremely important, Diane, and it involves something that you know about. And that’s enough said about that.” Anxiously rubbing the thumb and middle finger of her smoking hand together, Diane exhales and steels her resolve. “Federal prison. South Dakota.” She is resigned to making the trip and determined, too. (18:53-22:01) A Gulfstream G450 is in flight on its way to South Dakota, windows mysteriously blinking some unknown code as the jet passes over a snowcapped mountain. Aboard are Diane, Rosenfield, Cole, and Special Agent Tammy Preston en route to Yankton Federal Prison in Souix City for Diane’s private meeting with Cooper. Gordon looks on as Albert procures vodka from the snack cart and hands it to Diane: “Judge not lest ye be judged. Just the fact that you’re here speaks louder than words,” he offers. She raises the bottle in a mock toast and wearily replies, “Fuck you, Albert!”, as he walks to the rear cabin with a wry smile to join Cole. Preston follows Albert into the back cabin and presents Cole and Rosenfield with a side-by-side of Cooper’s finger prints from twenty-five years ago and Cooper’s finger prints in prison two days ago: “Identical, right?” (as Preston talks, we see Diane looking put out in the front cabin, as Tammy clearly grates on her). “Maybe,” Albert hesitates. “What do you see,” Preston asks? Albert observes that the scoop mark is reversed, hypothesizing that an incompetent guard flipped the print trying to make it look like the original. Cole points to the reversed print, looking knowingly at Albert, and cryptically says “Yrev…the backwards word.” A puzzled Preston is lost: “What does this all mean?”, she wonders aloud. Cole congratulates Tammy for doing excellent work—“passing one test after another!”—and bids her to put out her hands. She offers them palms up and he tells her to flip them over. Starting with her left pinky finger, he takes each of her fingers between his right pointer finger and thumb, lightly pinching each while saying one word per finger: “I’m very, very happy to see you again old friend.” When he’s pinched each finger, he returns to her left ring finger—the same one whose print was reversed on Cooper’s recent prison prints—and touches the fleshy lobe just above her knuckle: “This is the spiritual mound, the spiritual finger…you think about that Tammy.” She looks utterly baffled, but Albert has new business to discuss and produces the only known photo of Cooper in the last 25 years, depicting Mr. C. looking like a third-rate Miami Vice guest villain poolside at his mansion outside of Rio. “By the time we checked it out it belonged to some girl from Ipanema,” he deadpans. Tammy misses the joke completely, exclaiming “Looks like the man we met in prison.” In the front cabin, Diane overhears and winces, either in disapproval of Albert’s sense of humor, or of Tammy’s density, or both. “The man we met in prison,” Cole repeats, nodding his head. (22:02-24:19) Diane, Cole, Preston, Rosenfield and some suits from the prison are walking with purpose down a corridor in the Yankton Federal Prison. Diane reminds Cole of their terms: “Ten minutes, tops! And I speak to him alone.” Cole emphatically affirms the arrangement: “That’s exactly the way it’s going to be, Diane. You control the curtain and the microphone.” As Diane is marshaling her courage and prepping her game face, Preston interrupts in an ill-timed attempt to be cordial, offering to Diane that “we’re very appreciative.” “What did you say your name was?”, Diane snaps. “Tammy.” “Fuck you, Tammy!” (24:20-24:56) Diane enters the meeting room. It’s dark and she collects herself, visibly shaken, adjusting the microphone and finally activating the curtain. It rises to reveal a dead-eyed Mr. C staring out from behind the glass, shackled hands in his lap. Diane stands to meet his gaze. “I knew it was going to be you. It’s good to see you again, Diane”, he drones in a voice so malevolent and dead that it can only be described as a vacuum of empathy. Looking rattled but unblinkingly holding his dead gaze, Diane engages: Diane: “Oh yeah, when was that Cooper? When did we see each other last?” Mr. C.: “Are you upset with me Diane? Diane: “What do you think?” Mr. C.: “I think you’re upset with me.” Diane: “When was the last time we saw each other, Cooper?” Mr. C. (in an especially menacing tone that recalls The Mystery Man): “At your house.” Diane (searching him for any sign of life, as if she suspects that he is pulling memories from her by some feat of magic rather than producing them from the bottomless void of unspooled selfhood before her): “That’s right. [She doesn’t seem convinced.] You remember that night?” Mr. C.: “I’ll always remember that night.” “Same for me. I’ll never forget it,” she replies, but her eyes tell another story and the passion has gone out of her voice. She now knows Cooper isn’t there and that anything Mr. C. says is a feint. “Who are you?”, she asks, eyes boring into him. “I don’t know what you mean, Diane.” Perhaps still searching for a shadow of doubt in what she already feels beyond certainty, she implores Cooper to look at her: “Look at me. Look at me!” Her last ditch hope met with nothing but rapacious emptiness, Diane makes haste to shut the curtain, nostrils flaring and breathing in staccato, and bolts the room. (24:57-27:38) On a beeline from the visiting room, a deeply shaken Diane leads a procession down the corridor with Rosenfield, Preston, and Cole in tow. Halfway down the hall, Warden Murphy intercepts Cole, who offers him the glad hand, thanks him for the opportunity, and instructs him in no uncertain terms to “hold this man until you hear from us!” As Cole departs, Warden Murphy looks troubled, like a man who knows this may not be a commitment he can keep. (27:39: 28:04) Rosenfield and Preston wait by the town car, each signaling via body language that they haven’t gotten anything from Diane, who stands alone on the far side of the car. As Cole approaches and announces himself, she grabs him and pulls him over to a safe distance from the group: Diane (in agony): “Listen to me! That is not the Dale Cooper that I knew.” Cole (turning up his hearing aid): “Please tell me exactly what you mean.” Diane (beside herself): “It isn’t time passing. Or how he’s changed. Or the way he looks. It’s something here (points to heart) or something that definitely isn’t here (crying).” Cole: “That’s good enough for me Diane, that’s good enough for me.” Diane unabashedly embraces him and Cole awkwardly allows it, trying to keep it professional and reluctant really to return the hug in earnest. As she composes herself and fidgets with the vodka bottle, Cole follows up: “That last night you mentioned in there. Something I need to know about?” As Rosenfield, Preston, and assorted prison staff look on at a distance, Diane replies, “You and I (he cannot hear) YOU AND I will have a talk sometime.” She looks at Gordon, struggling to remain composed, and offers another mocking toast, her agony fully on display: “Cheers! To the FBI!” (28:05-29:56) Two guards escort Mr. C. back to cell, and as one of them takes off his restraints through the bars, he says: “Listen to me a minute: Tell Warden Murphy I have a message for him. I need to speak with him in his office.” “Yeah right!,” the guard laughs in his face. “Just tell him we need to speak about…a strawberry.” (29:57-30:34) We see fog creeping up the side of a heavily wooded mountain in Twin Peaks, as Laura Palmer’s theme plays in the background. Off the logging road near Sparkwood and 21 at the appointed rendezvous point, Andy waits for the farmer on whose property he saw the Ford flatbed. He looks up and down the road but sees no sign of the man. A cut back to the farmstead reveals that the back door we saw the farmer close behind him as Andy departed earlier that afternoon is now menacingly ajar; a low drone sounds to confirm our unease. Getting restless, Andy looks at his watch (a Rolex!), which shows the time at 5:05 pm, a full thirty-five minutes after the scheduled meeting time of 4:30. He returns to his cruiser and leaves. (30:35-31:45) Two guards bring Mr. C. into Warden Murphy’s office. “Sit him down and leave,” Murphy barks at them. They shackle Mr. C. to the chair and follow orders. “I’ve turned off the security cameras. We can speak freely…(he pulls out a .357 and points it at Cooper)…and privately.” Mr. C. wastes no time: “The dogleg. That dog had four legs. One you found in my trunk. The other three went out with the information you’re thinking about right now to people you don’t want coming around here if anything bad happens to me.” Initially skeptical, Murphy wonders, “how do I know you know anything about…THIS?” After an agonizing pause, as if perhaps he is extracting the very thought from Murphy’s mind that minute, Mr. C. utters: “Joe McCloskey”. At the sound of this name, Warden Murphy goes ashen and weak-kneed, and—sucking wind and visibly shaking—puts down the gun and takes a seat. “What do you want?, he asks, utterly defeated. “I want a car. Cheap rental if you like. For myself and Ray Monroe. I want a friend in the glove compartment. 1:00 am tonight. Smooth and safe. And if your mind should wander to a place where I might not make it out of here alive, remember the doglegs. I’m not interested in you. You’ll never see me again and no one will ever hear anything again about Joe McCloskey or your late Mr. Strawberry.” Warden Murphy swallows hard as Mr. C. gazes emptily through him. (31:46-34:13) In the circle drive outside Lucky 7 Insurance, Janey-E stands in front her terrible car waiting for the man she believes to be her husband Dougie to finish work. Inside, the corrupt agent Anthony Sinclair is pumping Cooper for information about the meeting with Bushnell Mullins earlier that morning (shown in Part Six). Outside, Janey-E has finally had it with waiting, slams the door to her Jeep, and heads inside to get Cooper. Meanwhile, Sinclair is getting exactly nothing out of Cooper, who is ignoring him entirely while vacantly digging at his desk pad with a pen, as if still hard at work on the illustrated history of Sinclair’s insurance fraud, complete with chicken-scratched chutes and ladders on imaginary case files. Lucky 7’s secretary enters and informs them that police officers are there to talk to Dougie. Sinclair beats it like a broom to a squirrel in the birdseed upon hearing the word ‘police,’ and after an awkward interchange, the secretary assumes that Cooper’s preference is to have the police meet with him in his office. (34:14-36:12) The secretary goes to fetch the police and comes back followed by three homespun lugs who not only seem to have purchased their wardrobes together at Men’s Wearhouse in 1993, but also appear to be brothers or cousins, as the cue-ball of the three holds out a badge and absurdly announces them to Cooper as “Detectives Fusco” (sort of like “attorneys general”; the credits reveal that, indeed, all three characters share the same surname). Cooper repeats “badge” and reaches out to touch it, but before the interaction can go farther off the rails, Janey-E storms in to the rescue in full mama-bear mode, standing at Cooper’s side ambiguously holding his arm at the bicep in a gesture that teeters between controlling and affectionate: Janey-E: “What’s going on here?” Detectives Fusco: “Who are you ma’am?” Janey-E: “I’m his wife. What’s going on here?” Detectives Fusco: “We’re here about his car.” Janey-E: “That’s why I’m here.” Detectives Fusco: “What do you mean by that?” Janey-E: “I’m picking him up. He doesn’t know where his car is.” Detectives Fusco: “Was it stolen?” Janey-E asks Dougie whether it was stolen, and he blankly repeats: “Stolen.” Sensing a break in the story, two of the three Detectives Fusco whip out their note pads, as Bushnell Mullins—attracted by the commotion on the premises of his business—enters behind them looking concerned. Cue ball Fusco asks Cooper directly, “Did you report the car stolen, sir?”. Cooper blankly repeats “Sir.”. Getting increasingly hot under the collar, Fusco re-asks the question at a stentorian volume, at which point Janey-E intervenes again: “No. He did not report the car stolen. I would know. His car went missing. We haven’t seen it. Isn’t that your department?” Once again, she masterfully turns a situation in which Cooper is on the ropes into one where his persecutors are eating out of her hand. What began as an interrogation of Cooper over what happened to Dougie’s car ends up an interrogation of Detectives Fusco over their various failures: to find the stolen car, to disclose information about its whereabouts, to refrain from badgering a stressed-out couple at the end of a long day. Sensing that the detectives are withholding important information, Mullins steps forward and skeptically interjects that “you did find his car, didn’t you?”, as Janey-E scowls ever more disapprovingly at their incompetence. Cue-ball admits it: “The car’s been found. It was involved in an apparent explosion.” “Multiple fatalities,” offers Flat-top. Janey-E (yelling): “Why didn’t you tell us that to begin with?” Cue-ball Fusco: “The deceased had ties to a gang associated with multiple car thefts.” Janey-E: “Well, there’s you’re answer. Now, if you don’t mind, our son is home alone waiting for his supper and in case you think we’re neglecting him, he’s being watched by our neighbor as a favor, and we’d like to go—we were supposed to be home by now, at the end of a very long and stressful day, which I’ll tell you about later Dougie, c’mon, let’s go.” Much more conciliatory than we’ve seen him so far, Cue-ball attempts to request further paperwork, to which Flat-top promptly replies that it can wait, hands Janey-E a business card, and cordially invites her to follow up in the morning, thanking them for their time and wishing them a good evening. On the way out, Cue-ball quips to Mullins that “I guess he won’t have any trouble collecting the insurance,” which elicits a bizarre guffaw from the third heretofore silent Fusco, “Smiley.” As the Detectives Fusco depart, Mullins, too, wants a word with Cooper about the Sinclair files, but an indignant scowl from Janey-E morphs Mullins from imposing to cordial like a Jedi mind-trick, putting a prompt end to the would-be meeting: “You go ahead. We can take care of that tomorrow.” (36:13-40:31) Making their way to the car, Janey-E leads Cooper through the lobby of the Lucky 7 building chattering a mile a minute about her snappy solution to his extortionist problem (from Part Six) and her hopes for the insurance money and their nest-egg from the jackpots (from Part Three and Part Four). As they exit the building, she enjoins Cooper to forsake gambling and carousing for the sake of their family future, at which point the soundscape is suddenly flooded with the terrifying musical equivalent of whales sounding off from deep under water. On cue, Ike the Spike Stadtler emerges from a group of bystanders with a .45-magnum trained on Cooper. Muscle-memory kicks in and with speed and precision that one witness later describes as “cobra-like,” Cooper pushes Janey-E out of harm’s way, grabs Ike’s arm with gun in hand, neutralizes him with a devastating open-handed strike to the trachea, and wrestles Ike’s gun-hand to the ground, squeezing it with both hands, as a recovered Janey-E attacks Ike from behind, screaming bloody murder. Without warning, the Arm (or perhaps the Arm’s doppelgänger, though no malignant tissue appears visible) sprouts up out of the very pavement in front of them, repeatedly screaming “Squeeze his hand off!” until Cooper complies and administers a second tracheal strike that sends Spike reeling, sans the heel of his right palm, into the crowd and away. Cooper stands up as if in a trance, eyes drifting toward what we suspect is the lawman statue (though we don’t actually see it) as Janey-E embraces and consoles him. (40:32-41:56) The scene is transformed by dusk as the lights and sounds of a search helicopter, police vehicles, and crime-scene photos shuttering in rapid-fire dramatically fill the square; it almost feels as though we’ve entered a tawdry Las Vegas true crime show struggling to keep its slot in primetime. The off-kilter mood persists as a series of noticeably quicker-than-usual edits depict, in turns, Janey-E and Cooper (ever reaching for badges) interviewed by police, and witnesses describing the attacker (little girl: “He smelled funny.”) and Cooper (young woman: “Douglas Jones—he moved like a cobra—all I saw was a blur.”), presumably to the media. The scene concludes with a shot of the gloved hands of a forensics tech prying Ike the Spike’s right palm flesh from the left side of the handgun’s grip module—a shot that is doubly strange for the facts that it is framed by a spotlight (with the rest of the scene noticeably dimmed) and that the spotlighted event (Ike’s palm-flesh being extricated from the wrong side of the grip module) depicts either a clear continuity error or yet another instance of Lodge-induced mirroring/flipping. (41:57-42:43) Establishing shots of the falls, the hotel, and a yawning concierge pushing papers behind a sweeping wooden desk announce the Great Northern. As we pan past a colorful winged totem sculpture, a sound like a singing bowl fills the receiving room adjacent to Ben Horne’s office. Ben and his assistant Beverly are puzzling over the advent of this humming sound, moving around the room in a vain effort to discern the source of the sound. They stand uncomfortably close together and there is palpable sexual tension between them. “When did you first start hearing this?”, Ben wonders. “Sometime last week? But I think it’s louder now. Maybe that’s because nobody’s here,” Beverly replies. With his hands hovering uncomfortably close to her breasts, Ben says: “Don’t move. Just listen carefully. Where do you think it’s coming from?” They traverse various areas of the room to no avail, chuckling at the awkwardness of the situation. As they move past her desk, Beverly notices the key to Room 315: “Oh, this might be of interest. It came in the mail today.” She tosses it to Ben. Ben: “Wow. My God! That’s an old one! We switched to cards over twenty years ago. Room 3-1-5. Wait a minute. I think that was the room where Agent Cooper was shot.” Beverly: “Who’s agent Cooper?” Ben: “FBI. He was here, I don’t you, maybe 25 years ago, investigating the murder of (with emphasis) Laura Palmer.” Beverly: “Who’s Laura Palmer?” Ben (as if coming out of a trance): “Oh! That, my dear, is a long story!” They stand awkwardly in one another’s presence, Beverly beaming at Ben, no one rushing to fill the maturing silence. Finally, Ben asks Beverly to have maintenance “check out that hum in the morning,” and as Beverly refuses to withdraw her smiling presence, Ben notes that “it’s getting way past quitting time.” Beverly dons her jacket preparing to go, and says “Thank you, Mr. Horne.” “Ben,” he warmly replies. She nods in smiling approval, gathers her things, and walks to the door, pausing for a dramatic farewell: “Good night, Ben.” “Beverly,” he nods. As she leaves, he wistfully sizes up the key (“Hmmm.”) and heads into his private office as the singing-bowl hum rings out from the wood. (42:44-47:32) Beverly arrives at home, where her sick husband Tom is convalescing. His at-home caregiver greets Beverly at the door, informing her that Tom had a rough day and is somewhat better, but needed extra pain medication. She departs on the news that Tom has waited for Beverly’s return to eat dinner, which is on the stove. “He’s missing you,” she says with uncomfortable urgency. Beverly walks in with a smile: “Sorry I’m late, honey. You hungry?” Tom, in his bed clothes, sighs heavily from his wheelchair, oxygen and IV by his side. “I heard you drive up. Why were you late?”, he accusingly inquires. “I had some things to do,” comes the dreaded stock reply; “would you like your dinner?” Tom is curious, and not in the happy sort of way: “What things?” “I had some work to do. Some things came up and I had to do them. Are you hungry?” “Not really,” he heaves, defeated. We get the sense that this routine is pretty well rehearsed, as Beverly’s fuse is short: “I know you’re sick and suffering. Do not use that to fuck with me! Do you know how lucky I am to have this job to help us survive? Oh, for crying out loud, don’t fuck this up Tom!” He stares back at her, dejected. (47:33-49:48) At the Roadhouse, Booker T.’s “Green Onions” rocks the juke. The bar is closed and a bearded young man in black sweeps the floor as Jean Michel Renault attends to business behind the bar. After an ample two minutes of watching the Roadhouse employee sweep the floor, the phone rings and the lascivious Jean Michel picks up, laughing in response to the caller’s opening salvo. “Of course he loved it! Who wouldn’t? Wait, he owes me for two! He wanted blondes I sent him two blonds.” The caller informs Renault that the women were under-aged, and Jean Michel protests that they both had good IDs: “This has nothing to do with the Roadhouse. The Roadhouse has been owned by the Renault family for 57 years we’re not going to lose it now because of a couple of 15-year-old straight-A students.” The caller continues to press for a discounted rate, but Renault isn’t biting: ‘No, those girls…they are whores pure and simple. From what I hear though, they are straight-A whores…He owes me for two.” (49:49-53:12) It’s 1:00 am at Yankton Federal Prison and the plot to spring Mr. C. and Ray Monroe seems to be unfolding according to plan. A guard shines a flashlight down the desolate cell block. The door to cell 27 slides open and Mr. C., now dressed in his civies, emerges into the light. Monroe follows suit from a cell down the corridor and another guard leads them out of the facility and down into a receiving area where a nondescript beige rental awaits them. The guard hands Mr. C. his phone: “Keys are in the car.” Mr. C. tells Ray to drive and they depart the prison as Warden Murphy looks on, troubled, from a balcony above the lot. (53:13-55:35) “Sleep Walk” plays over the juke box as Norma does paperwork in a back booth and Shelly serves coffee to a customer happily ensconced among a sizeable R&R nightshift crowd. A young man (credited as “Bing”) runs into the diner, shouts “Anyone seen Billy?”, and immediately leaves. (NOTE: His words are garbled enough to invite curiosity as to whether he might have said “Anyone seen Bing?”). A look of puzzlement crosses Shelly’s face, but the rest of the diner seems unperturbed, and her concern diminishes as she approaches Heidi and shares a laugh. The diners continue to enjoy the evening as the credits roll, and just one second before the bitter end, Bing is back in the restaurant, seemingly with a companion. (55:59-58:00) In Memory of Warren Frost.
Opening Credits (0:55-2:15) Still loitering at the base of the lawman statue, Cooper is struggling to get his closed fist out of Dougie’s garish green jacket, case files hanging in the balance. Officer Reynaldo approaches him again, reminding him of the no-loitering policy, and asks his name. “Dougie Jones,” Cooper offers in his now-signature monotone, reaching out to touch the officer’s badge. Upon being asked where he lives, he mumbles “Lancelot Court, red door.” Upon being asked whether he’s been drinking or taking drugs, he manages “case files.” Sensing that all is not well but that Cooper is more in need of help than a jail cell, Reynaldo kindly offers to take Cooper home, parrying his multiple attempts to touch the officer’s badge. (2:16-4:01) Back at the Jones residence, Sonny Jim is upstairs reading in bed. Janey-E fields a knock at the door to find Cooper with an officer on each arm: “He seems a little disoriented.” “That’s on a good day,” she concurs, and thanks the officers for their kindness, as Cooper reaches out one more time to stroke Reynaldo’s badge. Preparing to depart, Officer Reynaldo notices an envelope in front of the door that he assumes is one of Cooper’s case files and hands it to Janey-E. The police leave, and Janey-E suddenly remembers that Dougie’s car is missing and that she basically left him stranded. She apologizes for failing to pick him up from work and leads him into the kitchen, volunteering to fix him a sandwich. (4:02-5:16) As Janey-E and Cooper enjoy crunchier-than-average sandwiches by light of a stunning yellow lamp, she pledges to take him to the doctor for a good looking-over tomorrow at lunch. She inquires about the pile of folders: “What are these?”. Cooper manages a muddled “case files” through a mouthful of sandwich. “And this one?” Janey-E wonders, holding up the loose envelope that Officer Reynaldo handed her: “There’s nothing written on it.” Getting no response, she bids him to go upstairs and say goodnight to Sonny Jim. He sits munching potato chips. She grabs his arm and repeats the command, shouting it yet again when he fails to ascend the stairs with all due speed. Looking resigned, she takes another bite of the sandwich. (5:17-7:08) Still reading in bed, Sonny Jim sees “Dougie” walk past his room, ambling around aimlessly on the upper level. Cooper reappears in the doorframe and Sonny Jim beckons him to sit down next to him on the bed. After a second, more insistent invitation, Cooper finally joins Sonny Jim on the bed, still smacking on potato chips to Dougie’s son’s delight. Chewing slowly, Cooper sizes up another potato chip for a bite, but offers it to Sonny Jim instead, who declines: “I’ve already brushed my teeth.” He asks if he can keep his cowboy light on until he’s asleep. Cooper drones “asleep,” after which Sonny Jim turns off his reading light and claps to activate the much brighter cowboy light, which fully illuminates the room. The two take turns clapping the cowboy light on and off. They are interrupted by Janey-E, who yells at Cooper to get downstairs immediately. Sonny Jim protests in disappointment that “He was going to stay with me!”, but Janey-E fires back “Not tonight he isn’t!” and goes to the stairs to intercept Cooper on his way down. (7:09-10:06) Janey-E grabs Cooper by the collar and corrals him back to the kitchen table: “You were supposed to set up a time to pay them off, and now this arrives!” She presents him with a photo of him and Jade. With a small but noticeable smile, Cooper says “Jade,” infelicitously following up with “Jade give two rides.” Janey-E, furious, spits “I’ll bet she did! And you admit you know her?! Look at you two holding each other like that.” The phone rings several times. Janey-E finally picks up and Dougie’s extortionists ask her whether she received their note. With each of their attempts to call the shots, Janey-E becomes more belligerent, bullying the debt-collectors into meeting her at a park at the corner of Guenevere and Merlin by the mall: “I’ll be the one carrying the red pursue. Noon thirty tomorrow!” She slams down the phone and sighs deeply: “What a mess you’ve made of our lives, Dougie!” “If that’s work,” she follows up, “you’d better start right away. The last thing we need is for you to lose your job, Dougie!” She gets up to go say goodnight to Sonny Jim, noting that “Tomorrow’s a big day!”. Cooper pathetically repeats “big day” and she somehow finds it within herself, rage notwithstanding, to kiss him on the head. Dougie looks down at the case files from Lucky 7 and puts his right index finger on the 7. We hear a low sonic groan, not unlike that of a lonesome foghorn blowing. (10:06-13:46) As the groan crescendos into a steady hum, we see a trafflic light gently swaying in the night breeze—a light that calls to mind Sparkwood and 21 in Twin Peaks. The light is green, but then progresses backwards, oddly, through yellow to red. A moment after the light turns red, the hum gives way to electrical interference. (13:46-14:02) Philip Gerard, the one-armed-man, casts about the Lodge with his arm extended. He is looking for Cooper at Dougie’s residence. Cooper is seated at the kitchen table reviewing the case files and looks up to see Gerard, aptly framed by the fireplace. Making a forceful waving gesture, as if his arm is a piston generating and radiating energy, Gerard says “You have to wake up. Wake up.” Increasingly agitated, he pleads “Don’t die. Don’t die. Don’t die,” ramping up the waving gesture, as if somehow to energize Cooper from across an uncrossable boundary. Cooper gazes at the case files, as Johnny Jewel's "Windswept" lulls us into the dream. Pencil gripped in his fist, Cooper begins determinedly to scrawl lines and rudimentary pictures of ladders, stairs, and small explosions on the case files in strategic locations shown to him by pinpricks of green light—presumably illumination from the same “cosmic flashlight” that helped him to find the winning one-armed bandits in part two and ferret out Anthony Sinclair’s deceit in the team meeting at Lucky 7 in part five. (14:03-19:08) Special Agent Albert Rosenfield is driving on a cold, rainy night in Philadelphia, wishing Gordon Cole “a super night.” Gordon replies, “Thank you, Albert, and let me remind you that this work you are doing tonight is very, very important and I’ll be thinking of you as I drink (a woman’s voice interrupts: “Here you go, honey!”) this fine Bordeaux.” Albert replies “I love a night on the town when it’s 34 degrees and raining.” Albert exits the vehicle and opens an umbrella, struggling when it catches the wind as he moves from the street to the sidewalk: “Fuck Gene Kelly, you motherfucker!”. He enters “Max Von’s Bar,” the watering hole alluded to in part four when he assured Cole that he knew where “that one certain person we need to look at Cooper” drinks. The venue teems with people as Albert negotiates his way to the bar. An impossibly elegant woman with exact platinum hair sits smoking at the bar with her back to him. Albert addresses her: “Diane.” Diane Evans, Cooper's legendary secretary and personal confidant, presumed by many to be mythic until this very moment, turns slowly to reveal a worried face both beautiful and severe. She greets him: “Hello Albert.” (19:09-21:14) We see a logging yard and hear industrial milling equipment. The camera pans up from a black late-model Corvette and ranges over several henchmen carrying heavy artillery before landing on Red—the creep from the Roadhouse who was making eyes (and shooting gestures) at Shelly from the bar in part one. Someone off camera is vigorously snorting cocaine, which we soon learn is in fact “sparkle”—presumably the “Chinese designer drug” that Sheriff Truman refers to in part four when discussing TPHS student Denny Craig’s death by overdose with Deputy Briggs. Richard Horne is wiping his nose and trying unsuccessfully to retrieve his eyeballs from the back of their sockets after a monster hit: “Whoa! That is…WHEW!”, Horne struggles to manage. “That’s right, Small Time. You can pick the rest of it up at Mary Anne’s,” Red sneers, as his drum-mag-rifle-wielding bodyguard smirks at Horne’s inept efforts to remain composed. “How’d you know that name. Do you know the area?,” Horne unguardedly blurts, still twitching from the hit (“Shit…that stuff kicks!”). (21:14-22:22) Without warning, Red throws a punch that narrowly if precisely misses Horne, pivoting to the side and then back forward, as if rehearsing a kung fu form: “Have you ever studied your hand?”. Horne looks increasingly unsettled as Red hurls another pulled-punch, adding that he “likes the place” and plans “to bring the ‘sparkle’ directly in from Canada.” Before Horne can respond, Red erupts into a bizarre tantrum, his foot stomping in time with his right arm which slaps into his side. “I have a problem with my liver,” Red offers the bewildered Horne. Horne concurs with Red’s enthusiasm for Twin Peaks—this “sleepy town,” with its elderly Sheriff and law enforcement “asleep at the wheel” (and on the take, too, as we saw was the case with Deputy Chad in part five)—but before Horne can finish his shtick, Red thrusts his arms forward in yet another unprovoked outburst, then absurdly inquires, working his hands through his hair: “Did you ever see the movie ‘The King and I’? As Horne attempts to get his bearings, Red’s tone shifts from menacingly playful to jugular-venting serious: “You got this under control? I’ll be watching you, kid.” In a drug-fueled bout of false confidence that seems likely to cost him his life, Horne sneers “Yes. Don’t call me ‘kid.’” Red doubles over laughing, his bodyguard’s smile widening to the edge of a chuckle. “Just remember this, KID: I will saw your head open and eat your brains if you fuck me over. You can count on that.” As Horne’s confidence evacuates him faster than feral burro urine into a Texas spring, Red reaches into his pocket, puts a dime in the center of his palm (heads-side-up) and—without a word—flips it end-over-end from his thumb high into the air. An undulating, shimmering metallic hum fills the otherwise pin-drop silent room as the coin travels upward. Reaching the apex of its flight, the dime doesn’t fall, but—to Horne’s unmitigated bafflement—turns end-over-end for a full fifteen seconds suspended in mid-air. Red shoots a targeted glance at Horne’s adam’s apple, and the undulating hum terminates in Horne’s disgorging the dime from his mouth into his hand. As he searches his fingers for the coin in utter disbelief, the hum resumes and Red catches the coin in his right fist, opening his fingers to reveal the coin tails-side-up. “This is you,” he says, before transferring the coin hand over fist onto the back of his left hand, where Horne, lips quivering in terror, observes it heads-side up: “This is me. Heads I win, tails you lose.” (22:23-27:33) High as a noctilucent and fuming at his humiliation, Horne recklessly pilots a large old Ford flatbed through the streets of Twin Peaks, desperately trying to regain composure. (27:34-27:52) At the New Fat Trout Trailer Park, Bill is poised to take park proprietor Carl Rodd for his morning drive into town. Mickey, cheerful and slovenly, breaks into an awkward trot that nearly costs him his pants in order to catch a ride into town from Carl; he “needs to get Linda’s mail at the P.O.” Carl obliges him and observes that it’s a beautiful day. Mickey’s noticed that Carl makes this trip almost every morning and inquires as to why. Carl responds that it’s a way to get out of the trailer park—at his age, he has very little to look forward to “except the hammer slamming down.” Mickey protests with apparently genuine compassion: “Don’t say that Carl; you’ve still got a lot of tread left!” They talk in the car about Linda’s slow progress with some physical ailment—it’s taken six months to procure the electric wheelchair they’ve been struggling to get through Medicaid. “Fucking government,” spits Carl, and lights up a smoke, offering one to Mickey (who admits to wanting one despite having quit about a year ago). Chortling, Carl counters that “I’ve been smoking for 75 years every fucking day.” Beaming, boyish grins spread ear-to-ear across both of their faces, as Carl cheats death for another long drag. (27:53-30:07) It’s a slow morning at the R&R and the eternally sunny Miriam and her ever giddy server Heidi are gabbing and giggling about all the restaurants in town that “magically” always seem to have irresistible desserts with Miriam’s “name on them;” this morning, she quips, there were two such piece of pie. Shelly observes that they keep the pie stands full because Miriam is “one of their best pie customers ever.” “That’s because Norma makes the best pies,” says Miriam, and they all agree, as she orders two cups of coffee for takeout: “Decaf for me and one regular for one of the moms who loves R&R coffee!” As Shelly fetches the joes-to-go, Heidi asks Miriam “How’s school this year?”. After an almost imperceptible hesitation that nonetheless raises skepticism about what comes next, Miriam replies that “The kids this year are so cute!”, eliciting further giggles from Heidi. Miriam pays her tab, all smiles and pleasantries, offering a sizeable tip that—after she’s gone—Heidi observes she can’t really afford to leave. Shelly says to a receptive, chortling Heidi, “Poor thing! She just loves our pies! Next time, let’s treat her, okay?” (30:08-31:31) Richard Horne barrels down the road, still seething: “Magic motherfucker! I’ll show you a fucking kid!” He shifts down, laughs maniacally, and bellows a war whoop worthy of a drug-addled Howard Dean. (31:32-31:50) Carl Rodd sits on a park bench meditatively (melancholically?) enjoying a cigarette and gazing up into a gorgeous tree canopy. His reverie is interrupted by a mother and her young son joyfully playing some idiosyncratic version of tag: son runs away and then abruptly stops, and mom catches up to him and hugs him. They disappear into the park laughing and Carl smiles into his coffee, even as a foreboding foghorn-like drone sets the jocular mood on edge. (31:51-32:53) As Horne nears a column of stopped traffic at a busy intersection, his high is losing steam and his malice is approaching a boil. He pounds the ceiling and elects to blow the stop sign, pulling across a double yellow into the oncoming traffic lane. As he hurtles toward the intersection with no intention of stopping, the mother and her little boy stray onto the scene, their game of tag momentarily delayed at the intersection. A well-meaning trucker, observing no oncoming traffic, waves the two across. The mother smilingly acknowledges his kindness, releasing the boy from her embrace to resume the game, and he dashes into the road. He stops halfway across and turns to receive his mother, only to be hit full speed by Horne, who predictably doesn’t stop to assess the aftermath. His shattered mother runs to him, undone, pulling him from the pavement and holding his broken body to her breast. Bystanders pour from cars, gaping and gawking. As Horne speeds away, he sees a horrified Miriam clutching her coffee caddy on the street outside the R&R, wide eyes following him and beholding him with sustained, slack-jawed contempt. But for the whisper of hesitation in her response to Heidi’s inquiry about school and her curiously incautious tip, the chilling thought that her response to Horne might be something more than garden variety loathing at witnessing a stranger kill a child and flee the scene would never have crossed our minds. (32:54-34:10) A burgeoning herd of bystanders looks on useless as the grief-dismantled mother cradles her dying son. Carl arrives on the scene and watches with saucer-eyed awe as the boy gives up the ghost and a yellow-green flame-like apparition ascends into the cloudless blue sky, finally dissipating. “God!,” Carl barely manages, and as his gaze descends from the sky to the street, he sees the mother anew, alone and inconsolable, his eyes filling with urgent compassion. He approaches her slowly but deliberately and puts a hand on her shoulder, radiating the fullness of his presence resolutely into her eyes—an act all the more poignant for the irresolution of the gathering crowds that surround them. Nearby, we see a telephone pole labeled with a large number 6 and a string of smaller numbers just above it (324810)—a pole that is seemingly the self-same one as that under which Agent Chet Desmond vanished while investigating the Teresa Banks murder in the old Fat Trout Trailer Park just after discovering the Owl Cave Ring. As our attention is drawn up the pole to the transformer and wires above it, an electrical hum and persistent static drown out the mother’s crying. (34:11-36:10) Mr. Todd sits in his opulent Las Vegas office behind a laptop. As he types, his work is interrupted when a square the color of arterial blood suddenly materializes in the center of his screen. Eyes widening and pulse quickening, he enters a key stroke to dismiss this harbinger of evil, turns to the credenza behind him to secure a tissue, and opens a small safe (combination 1609#), fastidiously using the tissue to remove a white 8.5x11 envelope. He places the envelope on his desk and a petrified sidelong glance reveals that a single black dot menacingly adorns the top of the envelope. (36:11-37:27) As the Coroner van pulls out of Rancho Rosa freshly freighted with three charred bodies consumed in the explosion of Dougie’s car, the police are on the scene towing away wreckage and cataloguing evidence, including Dougie’s license plate which was propelled by the blast all the way to the neighbor’s roof. Across the street, junkie mom is yelling “1-1-9” as usual. The cop who is retrieving the plate reports the number from the roof: “David-Union-George-Edward-Lincoln-Victor—got it?” Authorities evidence-tag and flag the aftermath of the explosion—ash, random bits of plastic, rubber tubing, a stray side-view mirror—and the bombed-out shell of the car is secured for towing. (37:28-38:27) The Premium Motel in sunny Las Vegas looks anything but premium. Ike ‘The Spike’ Stadtler is sitting at a dingy motel desk, drinking Bulleit bourbon and throwing dice, recording the results in a small spiral notebook. An icepick with a braided leather handle and strap sits within arm’s reach. From under the door, the envelope from Mr. Todd’s office emerges into the room onto a nauseatingly deep shag of moss-colored carpeting. The Spike retrieves it and pulls out two glossy photos: one of Dougie and one of Lorraine—the “worrier” hired by Mr. Todd to kill Dougie, presumably to take him out of the equation and thus thwart Mr. C.’s efforts to escape recall to the Lodge. As Lorraine’s theme strikes up in the background (“I'm a...I'm a...I'm a good man!”), the Spike intently traces the outline of each of their faces with the icepick, committing them to memory. The music stops abruptly as he stabs Lorraine’s photo at the left brow and then sinks the pick deep into the bridge of Dougie’s nose, leaving it stuck in the desk. (38:28-40:05) At Lucky 7 Insurance, the coffee-running intern and Cooper are exiting the elevator into the office suite. As the intern hustles his standard cargo of two full caddies of joe through the lobby, Cooper dallies in the elevator, goofy grin on swole and case files clutched to his chest, allowing the doors to open and close twice before disembarking with a huge smile. He pauses for a jolt of joe and the doors close hard around his shoulders, sandwiching him between them. An electric buzzer sounds and Cooper looks with befuddlement back into the elevator as the intern frantically gestures for him to get the lead out. (40:06-41:03) Glass, metal, granite, and succulent-studded Danish modern planters in beaming primary colors are the order of business in the indoor office courtyard at Lucky 7. Bushnell Mullins stands sentry at the door of his posh executive suite as the intern and Cooper enter the courtyard. Mullins yells “Jones!” twice, getting nowhere with Cooper, but alerting Anthony Sinclar that something is up. Losing his patience, Mullins screams “Dougie! In my office! Now!”. The intern temporarily parks the coffee on a cactus planter and pushes Dougie into Mullins’ office, as a paranoid, shifty-eyed Sinclair peers anxiously through the blinds from his nearby office. (41:04-42:13) As Cooper vacantly drinks coffee with both hands, Bushnell Mullins is perusing “Dougie’s” case files in all their scrawled, ladder-and-stair-bedecked glory. Throwing up his arms in frustration, a bewildered Mullins barks, “What the hell are all these childish scribbles? How am I going to make any sense out of this?” Cooper’s jaw tenses and he speaks with more labored determination than we’re used to: “Make…sense of it.”. “I’m thinking you may need some good professional help, Dougie.” “Help Dougie,” Cooper stammers. As Mullins returns to the documents and Cooper to two-handed coffee consumption, the latter becomes transfixed by a poster behind Mullins depicting him in his much younger years as dashing boxer “Battling Bud” Mullins--“Tougher than the rest,” with eyes on lock, gloved fists raised, and a rakish half-smile. Cooper puts up his dukes in imitation of the young Battling Bud, as the old one sizes him up disapprovingly and continues to consult the files. In returning to a claim about plate glass loss for a policy Dougie wrote, Mullins has a moment of vision; he begins moving back and forth between policies issued by Dougie and policies issued by Sinclair, noting discrepancies and eventually detecting a disturbing pattern. In disbelief, he looks up at Cooper and says in full earnest: “Dougie! Thank you! I want you to keep this information to yourself; this is disturbing to say the least. I’ll take it from here, but I may need your help again. You’ve certainly given me a lot to think about.” “Think about…”, Cooper repeats, as Mullins rises to offer him a well-earned, heartfelt handshake. Cooper slowly rises from the chair and instead of taking Mullins hand, he turns and mimics Mullins’ gesture. “You’re an interesting fellow,” Mullins bemusedly observes. (42:14-46:09) Children are swinging in the park and a lone plastic camel observes an anxious Janey-E from a sand-covered play area as she sits at a picnic table awaiting Dougie’s extortionists. Two garden variety Vegas sleazebags approach and she wastes no time: “Now let’s get to it!” She demands to know what Dougie did to end up indebted. They explain that he took points on a game, got greedy and doubled-down, failed to pay up the $20,000 he owed, and has now been delinquent for three weeks. “The meter’s still running…it’s up to 52,” says a raspy-voiced, chopped-and-mulleted ‘stache in a Rogers & Hollands rope chain. She recaps the deets to their satisfaction, and then rips them a new one, informing them in no uncertain terms that the Jones family cannot and will not be paying them $52,000: “We are not wealthy people. We drive cheap, terrible cars. We are the 99-percenters and we are shit on enough and we are certainly not going to be shit on by the likes of you!” ‘Stache-chain attempts to take back the mic, and gets steam-rolled: “$25,000-that is my first, last, and only offer.” She produces a huge cash roll and when one of them attempts to grab it from her, she spits another stream of vitriol: “What kind of a world are we living in where people can behave like this—treat other people this way without any compassion or feeling for their suffering. We are living in a dark, dark age and YOU are part of the problem.” Expressing her intention never to see either of them again, she shoves the cash at the grabby one and storms off in a fury. As she slams the car door, grabby shudders with a start and ‘stache-chain wheezes, “TOUGH dame.” “Tough!”, grabby concurs. (46:10-48:37) Lorraine—the “worrier” whose botched hit on Dougie has her in the shit with Mr. Todd (and now Ike the Spike, too)—is seated at her desk talking on the phone. Behind her head, a makeshift panel of cardboard is haphazardly affixed to the wall with electrical tape; a small pipe protrudes from the middle of the panel, which close observation reveals is cut from a box of the same make as those seen in the glass box room in NYC in part one. “Three bodies?!,” she exclaims with terror into the receiver, presumably in response to being informed of the car bomb by her associate Gene, the muscle-car assassin who failed her. These words have barely escaped her lips as screams, slashing, and the sound of a body hitting the floor ring out from an adjacent room. A blood-spattered Spike comes tearing around the corner and into the office, overwhelming a resistant Lorraine with relentless stabbing, savagely twisting the icepick in her heart to make sure the job is done. A second unlucky co-worker stands astonished in the doorframe and, having seen too much, meets a similar fate off camera after a brief chase, becoming Spike’s third victim—yet again, “Three bodies!”, as if Lorraine’s final words on the phone had been a prognostication of her own violent end. As he leaves the scene, Ike notices with anguish that his spike has suffered irreparable damage, bent beyond repair at a ninety-degree angle, the tip twisted and blunted. “Oh no!,” he whines in a wildly incongruous pip-squeeky tenor. (48:38-49:45) Richard Horne drives the old Ford flatbed into a secluded area off-road in the shadow of the mountains. Leaving the truck running, he gets out to inspect the damage from the hit and run. Seeing blood, he curses and violently kicks the grill, hightailing it back to the cab for cleaning materials. With a rag and some bottled water, he hastily and insufficiently attempts to wipe away the evidence and hurries to get back behind the wheel. (49:46-50:49) In the bathroom at the Twin Peaks Sheriff’s station, Hawk is washing his hands. After drying them, he checks his look in the mirror and reaches into his front pocket to retrieve a comb, liberating a buffalo nickel which rolls across the room and under a stall, settling Indian-heads-up under an old-fashioned floor-mounted flush pedal. Hawk enters the stall to retrieve this lucky token of his heritage and surmises in a flash of intuition that the Log Lady’s prophecy from part one--that he'll find something missing pertaining to Dale Cooper with a little help from his Native American background--is now coming to pass. He slowly turns his gaze to the bottom corner of the stall door and lights upon immediate corroboration: a metal trademark with yet another Indian head image reads “Nez Percé Manufacturing”—a reference, incidentally, to the tribe that originally held the Owl Cave Ring and whose Chief, Twisted Hair, gifted it to Meriwether Lewis as Lewis described in a letter to President Thomas Jefferson that made it into the dossier presented in The Secret History of Twin Peaks. (50:50-51:40) His attention now acutely focused, Hawk notices that the top right corner of the stall door is missing two rivets where the sheet metal finish plate is pulling away from the door panel. Realizing that the plate and the panel can be pried apart, he gets a step ladder, flashlight, and crow bar to get the job done right. As he’s prying the door apart, Deputy Chad comes in, book and mug in hand: “What the hell?” “Use the ladies room, Chad,” Hawk curtly replies. Chad persists, wondering if Hawk has “cleared this with the Sheriff,” and goads him like a grade-school tattletale on his way out: “I’ll tell him if you don’t.” “You do that, Chad,” Hawk says with contempt. Having popped off the latch, Hawk reaches down between the plate and the panel to retrieve several pages of handwritten notes that look tantalizingly similar to pages one might find in Laura Palmer’s secret diary. [Editor’s note: One wonders instantly whether those pages include the tell-tale words that young Cooper’s future love interest Annie spoke to Laura in a dream the week before her death (as we saw in Fire Walk With Me): “Good Dale is in the Lodge and he can’t get out. Write it in your diary.” We’ll have to wait and see.] Hawk inspects the pages, drinking in the deep significance of his discovery, and leaves the bathroom. (51:41-53:33) Sheriff Truman is doling out assignments in the dispatch room, when his wife Doris comes barreling in with new complaints about her father’s car not being fixed. As she becomes increasingly agitated, he shepherds her off to his office to calm her down. Ever the shitbag, Deputy Chad can’t resist informing his colleagues that he “wouldn’t take that kind of shit off of her.” The compassionate dispatcher kindly reminds him that Doris hasn’t been the same since the Trumans’ son committed suicide, to which Chad callously replies—twisting his fist at his eye in a mockery of crying—“He couldn’t take being a soldier…boo hoo hoo.” Surveying Chad in disgusted disbelief with eyes like daggers, the dispatcher turns away to take an incoming call. (53:34-55:27) Sharon Van Etten performs “Tarifa” at the Roadhouse, singing lyrics at times curiously resonant with the story of which she is a part: “I wish it was 7 all night” and “Send in the owl, tell me I’m not a child.” As the credits roll, the concluding lines of her song may as well be a prayer for Agent Cooper:
“You summon Forget about everyone else Fall away somehow To figure it out.” (55:28-58:25) Opening Credits (0:54-2:13) Sin City lights twinkle in the Nevada night as Johnny Jewel’s desperately aloof “Flame” sets a solitary mood. At Rancho Rosa, Gene and Jake, Dougie’s would-be assassins, are still waiting outside the house where Dougie’s abandoned car sits empty. Gene is on the phone explaining their predicament to Lorraine, a neurotic, raven-haired, ren-faire jewelry-bedecked woman sitting at a desk in a dingy office. She’s noticeably terrified and panicking that Dougie is still alive: “Fuck Gene! This job was supposed to be done yesterday. Are you trying to get me killed?” Gene asks for instructions, but she f-bombs him again and slams down the phone. “She’s a worrier,” Jake offers. (2:14-3:00) Obviously in fear for her life and unsure of what to do next, Lorraine hesitantly takes out a blackberry and nervously types something, looking as though she’d much rather be sliding down a razor and landing in a manure lagoon than engaging whatever horrors lie at the other end of her electronic communication. We see a single decrepit lightbulb jutting outward from a makeshift electrical box that dangles from exposed conduit. A windowsill is visible just beneath the filth-ridden fixture, which hangs thick with the remnants of a spider web full of hollow exoskeletons and other detritus. Presumably inside the building (which we later learn is located in Buenos Aires, Argentina), a small black box with two red pinprick lights sits centered on an earthen plate atop what appears to be an ancient copper trunk; we hear the phone ring followed by an electronic beep. Lorraine types the number “2” into the Blackberry, above which we see the abbreviation “ARGENT” (Argentina) followed by the number “159” at the far-right margin. Both pinprick lights on the black box flash twice, accompanied by beeping. (3:01-4:02) The beheaded, gutted torso of a man we assume to have been Major Briggs sits on the autopsy table in the Buckhorn morgue. Constance Talbot informs Detectives Macklay and Harrison of the cause of death, quipping that “It took me awhile, but I think someone cut this man’s head off. But here’s the headline…I already gave you the headline.” When the detectives appear nonplussed, she doubles down that “she’s still doing standup on the weekend,” and proceeds to show them an inscribed ring that was found in the body’s otherwise empty stomach: “To Dougie, With Love, Janey-E.” The detectives exchange befuddled glances. (4:03-5:04) Mr. C. lies in his cell staring at the ceiling. He says “And now, food is coming” and on cue, a guard brings a square and pushes it through the tray gate in the cell door. Mr. C. turns to wash his hands and has a vision of he and Bob laughing maniacally in the lodge, followed by Cooper’s doppelganger bashing his head into the mirror in room 315 of the Great Northern and seeing Bob there. We return to the cell, where Mr. C. gazes into the mirror to witness his face morph almost imperceptibly into the visage of Bob. “You’re still with me, Mr. C. observes. “That’s good.” (5:05-7:22) In a bland suburban office building in Twin Peaks, Mike Nelson sits behind a computer at an unkempt desk, his cheap suit hanging on him like a cheap suit. He requests that his assistant send “Steven” in, and Steven Burnett—the drug-addled boyfriend of Shelly’s daughter Becky—slumps into the room, clearly expecting good news about a hoped-for job. Still an Olympic-sized douchebasket even after all these years, Mike gratuitously dashes Steven’s hopes in a stream of unremitting verbal abuse about the inadequacy of his resume and work ethic, finally inviting him to “Get his ass out of here.” As the door closes behind a crestfallen Steven, Mike scanlessly observes, utterly without irony, “What an asshole!” (7:23-8:43) At the Twin Peaks Sheriff’s Department, Frank Truman is sitting in Hawk’s office talking to his brother Harry about his illness. Over the intercom, Lucy interrupts to inform Frank that his wife Doris is coming back to talk with him. She rages onto the scene, complaining about everything from “Dwight’s” diarrhea, to an imminent visit from the twins, to a leaky pipe that she suspects is destined to lead to a black mold infestation. Frank assures her that the busy plumber has promised to have the pipes fixed by tomorrow, but she rants on—unsatisfied—now about the cost of a bigger bucket to catch the drip, and then onto “Dad’s car,” which she deems a “deathtrap” notwithstanding Frank’s protest that “Sammy” declared it sound. “You are impossible!”, she yells at the seemingly impassable Frank as she departs. (8:44-11:21) Janey-E hustles Sonny Jim out to the car for school. As she fixes Cooper’s tie, she informs him that she stashed the $425,000 in their “secret place,” and bids him to call the people to whom he owes money and give them their $50,000, after which “we’ll be free and clear!” As she talks, Cooper gazes off toward Sonny Jim, waiting seemingly dejectedly in the car, and tears up in an uncharacteristically emotional moment, given his fugue state. “You’re acting weird as shit,” Janey-E exclaims, finishing his tie. “Don’t forget to call them, and no more drinking and gambling,” she admonishes him. “Now get to work.” As he vacantly repeats “Work!,” she realizes that his car is still missing and scolds him into the car for an unscheduled ride to work. (11:22-12:48) At Rancho Rosa, hapless assassins Gene and Jake fruitlessly roll past Dougie’s abandoned car yet again in their orange Toxic-Masculinity-Mobile SS. As they disappear around the corner, the camera tracks back up the street to reveal a second muscle car, jet black and tricked out with stoopid aftermarket rims and tires. Five young men size-up Dougie’s car and then drive away. (12:49-14:33) Janey-E, Sonny Jim, and Cooper pull up in front of Dougie’s workplace, Lucky 7 Insurance. After several unsuccessful attempts to get Cooper to leave the car, she inquires whether he is “having another one of his episodes.” She opens the door and pushes him out. He shuffles away from the car, leaving the door wide open. (14:34-15:34) On the way into the office, Cooper stops to gape at a statue of an old west lawman pointing a six-shooter at nothing in particular in the general direction of the building; red balloons that seem to be sculptural elements of another nearby building hover in the distance under the lawman, as Cooper raises his arm to mimic the lawman’s stance. He enters the office building and stands awkwardly in the lobby. After an excruciatingly long take of Cooper turning aimlessly in place, a breathless intern from Lucky 7 breezes onto the scene cradling two full drink caddies to his chest: “Off in dreamland again Dougie? Well get the lead out, pal, because team meeting starts in three minutes!” Nose to the coffee, Cooper briskly follows the intern toward a bay of elevators. (15:35-17:20) They board the elevator and the intern hits “7 UP!”. Cooper begs for coffee and through persistence persuades the intern to give him “Frank’s coffee. He never drinks it anyway.” As Cooper awkwardly but wholeheartedly imbibes, the intern notices his enthusiasm and excitedly laughs, “Hahaha! That’s DAMN good joe, aye Dougie?”. “Damn good Joe!,” Cooper vacantly repeats as a women looks on incredulously. The elevator opens and the intern laboriously shepherds Cooper through the lobby of Lucky 7 Insurance into a conference room. (17:21-19:12) As people filter into the meeting, Anthony Sinclair—a pugnacious alphacock later described as Lucky 7’s “top agent”—grabs the man he believes to be Dougie from behind, applies a playful headlock, and says “Look who’s back from bendersville—and with a new haircut—I covered for your ass, so you owe me bigtime!” Getting zero back from zombie Coop, he gives up. At the conference table, some creep called Darren comes onto a female colleague who brazenly reminds him that he’s married, as poor Frank realizes with frustration that “Dougie” has commandeered his coffee. The intern proffers an extra green tea latte in its stead and Frank seems pacified, smiling oddly as he sips the tea. (19:12-21:35) The head suit, Bushnell Mullins, calls the meeting to order and becomes agitated as “Dougie” fails to comply until the intern rustles him into place. Once everyone is seated, Tony Sinclair leads, informing the group that the Beeker case and the Littlefield case have been proven and must be paid out. When Mullins protests that forensics made Littlefield for arson, Sinclair rebuffs him, saying that it all checked out and that the claims must be honored. As Sinclair waits for Mullins’ reply, a pale green light emanating from Cooper’s direction subtly flickers across his face, compelling Cooper loudly to interject: “He’s lying!”. All at the table are shocked, and Sinclair is clearly threatened. Mullins demands to see “Dougie” in his office immediately following the meeting, where he reads him the riot act for publicly slandering Lucky 7’s “best agent.” The word “agent” clearly resonates with Cooper, who repeats it multiple times. Mullins puts a stack of case files in Cooper’s hands and tells him that his future at the company depends on getting them done overnight. (21:36-25:00) Dismissed from the meeting, Cooper stands doubled-over in the hall struggling to avoid soiling himself. Assuming the men’s room is locked, the woman who denied creepy-married-Darren just minutes ago volunteers to sneak Cooper into the women’s room to relieve himself, inexplicably volunteering to make out with him while they’re in there. Despite being an alcoholic gambling addict whose occasional catatonics barely raise an eyebrow from his co-dependent family, friends, and colleagues, “Dougie” apparently still has a way with the ladies somehow. (25:00-25:59) At the Silver Mustang, the pit boss who presided over Cooper’s jackpot spree has just been informed that his mafia overlords are coming for him. Oddly, the wise-guys bringing the hurt are accompanied by three cabaret dancers who look on indifferently as their companions dole out a merciless beating to the pit boss in retribution for the $425,000 that Cooper won on his watch. After throttling him bloody, firing him, and telling him to leave town or die, they give his job to the next guy in line, strenuously requesting to be informed if Cooper ever sets foot in the Silver Mustang again. (26:00-28:47) At Rancho Rosa, the bomb under Dougie’s car blinks away as the little boy from across the street gazes out the window, snacking on Saltines. His drugged-out mother lies slumped in a chair, passed out behind a card table. The boy heads across the street to Dougie’s car and reaches underneath to grab the black device. Before he can do so, the black muscle-car reappears and five men leap out, chasing him from the car. Three of the men jimmy the door and attempt to start the car, causing a violent explosion that presumably kills all three. As the bodies burn, the remaining two men flee, and the boy runs home. His mother stirs from her stupor as he gazes out the window at the flaming wreckage which reflects a roaring fire over his face in the glass. (28:48-31:25) Jade is at the car wash ready to reclaim her sparkling Wrangler when Chris, the man towel-drying it, asks her if she has a John in Washington State. He reaches into his pocket and produces the Great Northern key, room 315 (postage guaranteed if found!). Jade eyes it and sighs “Oh, Dougie!” before walking over to a nearby mailbox and dropping it in. (31:26-32:20) Inside the R&R Diner, Norma is doing paperwork as Shelly attends to the counter. Becky, Shelly’s troubled young-adult daughter, enters dressed in an apron with a bread delivery in tow. Becky and Norma exchange genuine smiles. Norma instructs Toad to receive the delivery and he greets Becky warmly and takes the basket. Becky lingers at the front counter talking to her mother and the mood changes—she needs money. Norma looks on with a sad combination of concern and resignment as Shelly empties her apron and then her purse to assemble a meager $72. Allowing her mother intimately to sweep the hair from her face before she leaves, Becky pledges her love to Shelly and exits to join Steven in a white Trans-Am t-top with a cherry red interior and a phoenix on the hood to match. As she hops into the car, Steven wipes coke-drip from his nose. Shelly heaves a deep sigh as Norma approaches the counter, reminding her that this is the third time Becky’s asked for money in two weeks: “If you don’t help her now, it’s going to get a lot harder to help her later.” “We both know that tune, don’t we?” Shelly dejectedly replies. (32:21-34:33) Becky and Steven count their money, as Steven assures a skeptical Becky that “I’m good for it” and “will pay her back.” Noticing Shelly and Norma watching disapprovingly from the Diner, Steven relocates the car to escape their gaze. He backs the car up to the railroad tracks in a vacant lot, they kiss, and he claims, pathetically, that he’s “going to take my girl out to dinner.” He pulls out a vial of coke for a little confidence-booster, and Becky is incredulous that he has exhausted the whole vial in one day. “You know how nervous I get for interviews,” Steven protests, offering her a hit from the top of his hand which she reluctantly accepts. “Besides, I got some great fucking feedback today,” he lies, transforming his humiliation at the hands of Mike Nelson into a triumph he’ll tell her about at dinner. “And on the way,” he giddily boasts, “I’ll tell you I love you, how beautiful you are, how sexy you are…” He moves on to admiring her physique (“majestic tits” and the like—this guy is all charm) and closes with a pun that seems funnier by dint of the now-burgeoning coke high: “I’ll get you some bread…I heard you’ve been kneading it all day!”. They drive off as “I Love How You Love Me” fills the car and the camera adulates Becky’s bedazzled, soaring, smiling face for what seems like days. (34:34-38:29) Back in Vegas, “Dougie” haplessly impedes a flustered gaggle of Lucky 7 colleagues rushing to exit an elevator at the close of business. He ends up outside, standing under the lawman statue, fixated for some odd reason on the lawman’s pants. A transition indicates the passage of time as Cooper continues to stand, transfixed, at the feet of the lawman. (38:30-40:01) Andy and Hawk are perusing case files in the Twin Peaks Sheriff’s Department conference room. As they search, apparently fruitlessly, Andy asks “Hawk, have you found any Indians?” “No Andy!”, Hawk replies with consternation. (40:02-41:19) “It’s seven o’clock! Do you know where your freedom is?” Coming to us “live and electrified from Studio-A high atop the escarpments of White Tail Peak—the roof (ruff! ruff!) of the American Hindu Kush,” Dr. Jacoby—now in character as the ramped-up, vlog-casting “Dr. Amp”—fires up a Souza march and proceeds to rant against…well, pretty much everything. “The fucks are at it again!”, he cries, targeting “the same vast global corporate conspiracy, different day; you can’t see it without a cosmic flashlight,” which of course Dr. Amp promptly produces, illuminating his face from below. As Dr. Amp ranges through the various poisons to which daily life in late capitalism routinely subjects us, we are treated to a glimpse of his viewership—Jerry Horne sparks up a joint, tuning in from a tablet in the forest somewhere, as Nadine Hurley watches, rapt and smiling, from her home office. Having whipped himself into a fury, Dr. Amp attempts to calm himself with a sip of “huckleberry extract and clean boiled water from the artisan springs of White Tail Peak” (“fuck that acai berry shit from the amazon!”). The rant finally wraps in a plea to his viewers: “You must see, hear, understand, and act…act now!” The recommended action in question, we immediately learn, is to purchase one of the good Doc’s gold shit-digging shovels for just $29.95 (“Dig your way out of the shit and accept no substitutes!”). (41:20-45:55) [NOTE: Be sure to check out my take on the hermeneutic significance of Dr. Amp's role in Twin Peaks so far!] At the Pentagon in Arlington, Virginia, Lieutenant Cynthia Cox enters Colonel Davis’s office to inform him of yet another database hit on a fingerprint match for the missing Major Garland Briggs—the sixteenth such hit over the past 25 years. The hit came from the police in Buckhorn, South Dakota, Cindy explains. Though Colonel Davis strongly suspects that this is another “wild goose chase,” he observes that “if it’s real…and it won’t be…but if it is, we’ll need to contact the FBI.” Cindy drops a cynical jibe about South Dakota this time of year (seemingly obligatory of government employees traveling to the Badland State, like Albert Rosenfield before her), and salutes the Colonel goodbye, tossing a sarcastic nod at his suggestion that she book a first class ticket. (45:56-47:12) Trouble is performing "Snake Eyes" at the Roadhouse. A cruel-faced young man, Richard Horne, sits alone in a booth for four dragging on a cigarette, flagrantly ignoring a no smoking sign posted just above him. He gapes lasciviously at four young women in an adjacent booth, ashing his cigarette directly onto the table with contempt. When a Roadhouse employee approaches and asks him to stop smoking, he becomes belligerent and replies “Make me!,” as the young women look on with increasing interest. Ever the insufferably meddlesome jackass, Deputy Chad (in plain clothes) intervenes, pledging to handle the situation. He asks Richard for a smoke, and Richard goes one better and gives him the entire pack. As Richard continues smoking with impunity, Deputy Chad leaves the table, looking into the pack to see a fat roll of Ben Frankies inside. He winks at Horne and leaves, removing all doubt that he is the cause of the Twin Peaks' Sheriff's Department's lack of traction on the trafficking of the "Chinese designer drug" coming in from Canada that Sheriff (Frank) Truman and Deputy Briggs discussed in Part Four (and by extension, the cause of TPHS student's Denny Craig's death by overdose). As the band plays, a pretty woman called Charlotte from the next table over asks Richard for a light. He invites her to sit next to him, and as she attempts to sit down, he violently pulls her toward him, groping her breasts. “What’s your name?,” he demands, his voice a toxic cocktail of menace, rage, and contempt. “Charlotte,” she reluctantly offers, petrified. The sexual assault continues unabated: “You want to fuck me, Charlotte?” She struggles and her friends protest as he tightens his hand around her throat and his rapey, misogynistic bullshit becomes too deplorable to repeat. A strobe light flashes as Trouble’s set continues. (47:13-51:27) Special Agent Tammy Preston lingers over a photo of the young Dale Cooper. She lines it up aside a mugshot of the incarcerated Mr. C., opening a fingerprint database on an apparent hunch. She notices something significant, presumably, and enlarges one of the key prints to inspect it more closely, glancing down at the hard copy of the prints and seeming to track some sort of discrepancy in the records. (51:28-53:02) Mr. C. sits handcuffed at a table, preparing to make his “private” phone call about which Gordon Cole expects a full report from Warden Murphy. A security door beeps and opens, and the warden enters, plugs in a telephone, and places it before Mr. C. who thanks him by name, blankly but still somehow malevolently. The warden enters a monitoring room where a guard and a detective assure him that everything is being recorded. Mr. C. is centered on the monitor, staring menacingly into the camera. He says, “Now that we’re all here, I’ll make my call. Who should I call? Should I call Mr. Strawberry?” Visibly shaken, Warden Murphy mutters, “What the hell?” Mr. C. continues, “No, I don’t think I’ll call Mr. Strawberry. I don’t think he’s taking calls.” Warden Murphy puts his hand to his mouth, looking simultaneously incredulous and terrified; the gesture seems involuntary. “I know. I know who to call,” says Mr. C. He picks up the phone, deliberately punches several numbers, receives an unfamiliar tone (as if for an international connection) and then dials a lengthy series of numbers, deliberately but with inhuman speed. As he finishes dialing, there is a mechanical clicking sound, like a metal security door engaging a heavy lock, and then electronic pandemonium ensues, as every light, camera, and siren in the prison begins going haywire at once. The warden and officers watch in astonishment as Cooper sits calmly—phone to ear—gazing piercingly into the camera. He finally speaks into the receiver, “The cow jumped over the moon,” and then replaces the phone in the cradle, abruptly terminating the chaos. Flabbergasted, Warden Murphy queries “What’d this guy just do?” (53:03-56:00) An aeriel shot of Buenos Aires, Argentina, shows us the city before an abrupt cut back to the decrepit lightbulb and a pan down to a long look the enigmatic black box on the earthen plate. The two red lights on the box blink twice, and the box suddenly folds in on itself, rapidly collapsing into what appears to be a small pebble of pyrite. (56:01-56:33)
Dusk has fallen, but Cooper is still in the square outside Lucky 7 standing at the base of the lawman statue, fondling his bronze shoes. A kindhearted security guard informs him that there is no loitering in the square, but then passes by, leaving Cooper unmolested and alone in the company of the lawman as the credits roll. (56:33-58:41) Opening Credits (1:22-2:42) Back at Silver Mustang Casino, “Mr. Jackpot’s” winning streak is up to 29 mega-jackpots and the gape-jawed, beleaguered casino staff is already well past sweating bullets when Cooper offers a second tip to the frazzled old woman that brings the tally to 30 mega-jackpots. As the chaos unfolds, Bill Shaker from Allied Chemicals recognizes a man he believes to be “Dougie Jones,” only to be met with blank stares from a dazed and confused Cooper. Shaker downs a hotdog while his increasingly concerned date senses that something isn’t quite right with poor Cooper. Sensing that the man he believes to be Dougie Jones could use a little rest, Shaker suggests that Cooper should take a brief cab ride home (“just 6-8 minutes from here”) to the house “with the red door on Lancelot Court” (“the red door—that’s how I always find it”). Cooper walks toward the cab stand, perhaps to catch a taxi to the house with the red door on Lancelot Court, but is intercepted by a pit boss who takes him into the casino manager’s office. After several awkward attempts to woo Cooper into sticking around for what the manager clearly hopes and prays will be a reversal of fortune, he gets an address out of Cooper, orders him a limo, and sends him on his way with a huge bag of cash and a stern warning that any future exploits at the casino will be closely monitored. (2:43-10:35) The limo driver is incredulous that the confused man under his charge doesn’t seem to know his own address, but is kind and accommodating nonetheless. With only the red door clue to help them on their way, and despite multiple reminders from the limo driver that it is difficult to see colors in the dark, they finally find the house on Lancelot Court. As Cooper and the limo driver wait awkwardly by the car in front of Dougie’s house, an owl flies overhead. “Damn…those things spook me,” the limo driver confides in Cooper. After what seems like an interminable wait, Dougie’s wife—unaware that what is left of her husband is now tucked safely into the pocket of a one-armed-man from another place—emerges from the house furious that Dougie has been gone for three days, and incensed that he has missed “Sunny Jim’s” birthday—a boy one assumes must be Dougie’s son. Initially confused and upset, Dougie’s wife softens significantly upon realizing that the man she mistakenly believes to be her husband won the cash fair and square (with a little help from the Lodge, of course). With great relief, she observes that “it will be enough to pay them back” and that “this is the most wonderful, horrible day of my life.” She scurries off to fix him a sandwich and a leftover piece of chocolate cake from Sunny Jim’s birthday, expressing her relief and gladness that he is home. As she disappears into the kitchen, Cooper says, in his vacant way, “home.” (10:36-16:38) FBI man “Bill” leads Gordon Cole into a lavish office that we soon learn belongs to Special Agent Denise Bryson. In the intervening 25 years, she has ascended to Chief of Staff of the entire FBI. In an awkward exchange, Cole asks Bill how “Martha” is doing and wonders if she ever fixed that thing with Paul, to which Bill replies that Paul is now at the North Pole, prompting an enthusiastic “Well, there you go!” from Cole. Cole sits down and waits for Bryson to emerge, noticing an elaborate bouquet of roses on the seat next to him. They discuss the Cooper affair and Bryson chides Cole for taking Agent Tamara Preston on the imminent trip to South Dakota, insinuating that Cole’s interest in the young, beautiful Agent Preston is less than ideally professional. Cole replies stringently that he is “old school” in this regard. He reminds Bryson that—prior to her transition from Dennis to Denise—when she was a confused young agent sowing her oats, “I had enough dirt on you to fill the Grand Canyon and I never used a spoonful because you were and are a great agent. And when you became Denise,” he continues, “I told all of your colleagues—those clown comics—to fix their hearts or die.” Bryson acknowledges Cole’s kindness and Agent Preston’s talent and assures Cole that she’s “speaking more as a woman now than as the chief of staff of the entire Federal Bureau of Investigation,” breathlessly observing the thrill she gets from saying the unabbreviated name of the bureau out loud. “There’s room for more than one beautiful woman in the Federal Bureau of Investigation,” Cole assures her. After a mention of raging hormones that induces a wince from Cole, and an admission from Bryson that Cole is onto something big, the meeting ends and Bill shows Cole out while Bryson fans her face to dispel a hot-flash. (16:39-20:44) Back at the Sheriff’s station in Twin Peaks, Lucy is talking to Sheriff Truman on the telephone. She believes he is fishing somewhere far away. Unbeknownst to her, however, he is actually poised to walk into the station having just parked his truck and, as he is talking to Lucy, his mobile phone drops the connection. When he unexpectedly appears at Lucy’s desk, she finds it so shocking that she faints and is knocked backward in her chair to the floor. Andy rushes to her aid, lamenting the advent of cellular technology, and the Sheriff heads back to dispatch for an update. He finds out, among other things, that Dennis Craig, a high school student, OD’d on drugs at his desk. Sheriff Truman heads back to the conference room for a meeting with Hawk and encounters Deputy Bobby Briggs on the way. He asks Bobby whether he has any information on Denny Craig’s overdose, which he suspects is a “Chinese designer drug”. Before hastily excusing himself to pee (“I have to go so bad my back teeth are floating!”), Bobby explains that his video-surveillance of the Washington/Canada border has been more successful at capturing footage of wildlife than any evidence of drug-running. (20:45-24:24) As Andy explains how cell phones work to Lucy, who apparently can’t get her mind around the concept after years of trying, Hawk and Sheriff Truman debrief on the Log Lady’s prophecy that Hawk needs to find something missing. A lesser deputy called Chad, marked by an earlier throwaway conversation as an officious prick, mocks the Log Lady, Lucy and others, and is told to leave by Sheriff Truman. As he departs unrepentant (“I’m going to have a word with my pinecone!”), Bobby enters the conference room and sees the old Laura Palmer case files arrayed on the table. As Laura’s Love Theme plays, Bobby melodramatically breaks down: “Brings back some memories.” Sheriff Truman brings a teary-eyed Bobby into the loop on the Log Lady’s prophecy regarding Cooper and Hawk, and Bobby adds that Cooper was the last person to see his father, Major Briggs, alive just days before his death in a fire. Another deputy enters, announcing the arrival out front of Wally Brando, erstwhile son of Andy and Lucy, who—having arrived unannounced—wants to pay his respects to Sheriff Truman.” “Oh boy,” sighs a put-upon Sheriff Truman, who exists the conference room to humor Wally. (24:25-29:50) As his proud parents beam with a hand each of shoulder, Wally regales his audience with a Brando-esque monologue that ranges from news of his adventures on the road to a resolute decision to allow his parents to do as they will with his childhood bedroom ("they've wanted to make it into a study"). Given his affectations and flamboyance, one can’t help but wonder whether Dick Tremayne is his biological father, Andy’s undying devotion notwithstanding. (29:51-34:30) Returning to Lancelot Court outside Las Vegas, we see Cooper sitting in Dougie’s bedroom. As he inspects the furniture, visions of Mike (the one-armed man) appear, transforming the room into the Lodge. Mike informs Cooper that he was tricked and holds up the golden pearl that contains whatever’s left of Dougie. “Now one of you must die,” says Mike, presumably meaning that either Cooper or Mr. C. must cease to exist in real-space in order for the other to resume full sapience and agency. Mike disappears and Dougie’s wife rushes in, realizing that the man she mistakenly believes to be her husband is in dire need of a tinkle break (not unlike Bobby, oddly, just a two scenes before). She leads him to the bathroom to relieve himself. Cooper looks into the mirror, leading his head into it and inspecting his reflection in a way that calls to mind the final episode of the first run. Dougie’s wife helps him get dressed, but leaves him to do his own tie. Before he can tackle that challenge, Sunny Jim appears and gives him a bemused thumbs-up, which Cooper confusedly reciprocates. At breakfast, cooper shows up with his tie draped across the top of his head, much to Sunny Jim’s amusement. Both Dougie’s wife and son seem oddly happy to accommodate their befuddled would-be husband and father, who continually struggles to show even the vaguest ability to negotiate the usual banalities of breakfast time. From a cup that says “I am Dougie’s coffee,” Cooper take a large, presumably scalding swig of his favorite drink, violently spits it on the floor, smiles maniacally, and says something unintelligible (that might be “Hi” or “Hey” or “Hot” or all of the above), as an owl cookie jar peers out at us from behind his shoulder. (34:31-42:45) At the Buckhorn Police Department, forensics expert Constance Talbot attempts to run “the prints taken off the male John Doe” and discovers that this information is restricted to those with military clearance. (42:46-43:10) Elsewhere in South Dakota, Cole, Albert, and Preston arrive for their meeting with a man who is believed to be the long lost Special Agent Dale Cooper, but is actually Mr. C., his dark doppelganger. On the car ride to the meeting, Cole’s hearing impediments result in backseat hilarity as Agent Preston rides in front to ward off carsickness. When they arrive at the prison, a detective explains that Mr. C. was found in a wrecked car having vomited an unidentified poison that sent a patrolman to the hospital. The confiscated contents of the car’s trunk—a large parcel of cocaine, an assault rifle, and a severed dog leg—are arrayed on the table. Albert quips, “No cheese and crackers?”, and Cole apologizes for his rudeness. Mr. C.’s harrowing, fully-mulleted mugshot appears on the screen, and the group hastens to the cell to talk with the prisoner. When the privacy curtain goes up and Cole and Mr. C. make eye contact, Mr. C. flashes a thumbs-up and Cole reciprocates the gesture. Speaking like an automaton in a voice considerably lower than his usual register, Mr. C. seems to say to Cole “Yrev, very good to see you, old friend”, inviting speculation—apparently confirmed by Cole himself just minutes later—that Mr. C.’s reverse pronunciation of the first “very” has tipped Cole off that he is a doppelganger from another place. Mr. C. explains that he needs to be debriefed by Cole, as he has been working undercover with Philip Jeffries, and that he was on his way to fill Cole in on all the twists and turns of the case when his car accident happened. Seconds later, he repeats the same odd monologue verbatim, prompting expressions of horror-tinged bewilderment from Preston, Rosenfield, and Cole. He claims that he has left messages in order to assure that Jeffries knows it’s safe and asks when Cole will get him out of prison. Cole explains that the police have cause to hold him for the time being, but that they will work on a plan to get him home for a debriefing in due time. Mr. C. chillingly replies in his robotic monotone, “I’ve never really left home, Gordon.” They exchange thumbs-ups and Gordon lowers the curtain. (43:11-50:51) Outside the interrogation room, the detectives explain that they can hold Mr. C. for two days, and Cole requests that they let Mr. C. have his “private” phone call and then inform Cole “all about it”. Cole, Albert, and Preston debrief in the parking lot, but Preston is wearing a wire which prevents Cole from turning his hearing aids up loud enough for a discrete conversation. He asks her to wait in the restaurant. As she departs, Cole takes a leering glance at her backside that makes one wonder whether Denise Bryson wasn't on to something in questioning his motives for putting Preston on the case. Once they are alone, Albert confesses to Cole that Philip Jeffries had requested information on the identity of “their man in Columbia”—information which Jeffries alleged that Cooper desperately needed—and Albert complied and gave Jeffries the information. A week later, their agent in Columbia was killed. Cole, in disbelief, looking deep into Albert’s eyes and plaintively repeating his name, seems to come to a resolution: “This business that we witnessed today with Cooper—I don’t like it; something is wrong. Could be the accident but I don’t think so.” Their conversation is interrupted by feedback as Albert’s foot scrapes a pebble which causes Cole’s hearing aids to go haywire, causing a sensation like “a knife in my brain.” “I don’t think he greeted me properly, if you take my meaning,” Cole continues, “something is very wrong. Albert, I hate to admit this, but I don’t understand this situation at all. Do you understand this situation, Albert?” “Blue Rose,” Albert replies. “It doesn’t get any bluer—Albert, before we do anything else, we need one certain person to take a look at Cooper—do you know where she lives?” Says Albert in reply, “I know where she drinks.” (50:52-55:22) At the Roadhouse, Au Revoir Simone performs “Lark”. (55:23-57:53)
Opening Credits (1:00-2:13) Cooper is hurtling through space. Our vantage-point on his plummeting alternates back and forth from a top and bottom view, an effect which creates a circular motion, turning the points of light racing past him into eddies radiating into an ocean of blackness. We see a burst of what looks like dense purple smoke or perhaps liquid dye blooming into an aquatic solution and spreading into the water, and the resulting violet haze melds into Cooper’s star fall. The haze materializes into a soot-covered brutalist building that might have been the former mayor’s home in an abandoned South American capital city were it to have been built in our world. A large window is just visible on the left side of the structure behind a balcony onto which Cooper suddenly falls from out of a turgid, dark-violet sky. (2:14-3:05) An endless sea agitated by wind shimmers beneath a black void suspended in heavy violet cloud cover. Cooper surveys the vast expanse of water from the balcony and a ribbon of beach is visible. He turns and opens the window and climbs through it. A woman in a red velvet dress with a disfigured visage (her eyes appear to have skin sutured over them) sits in a cavernous fire-lit room. She reaches out to Cooper and they hold hands. The firelight flickers, bathing them in red, but the field of vision flickers and skates too, as if some spatio-temporal disturbance is interrupting the experiential flow. With their hands joined, Cooper asks her "Where is this? Where are we?". The woman's speech is inaudible or unintelligible or both. Loud, aggressive knocking perforates their interactions, which continue to flicker and skate like an old filmstrip. Cooper notices a large, ornate electrical socket labeled “15” and moves toward it. The woman implores him not to go near it and steps in front of him to prevent his approach. Her waving arms conjure noises like knives being sharpened or heavy shears rending tissue. As the knocking grows louder, she leads him across the room, out a door, and up a ladder onto a small rectangular structure suspended in deep space. On top of the structure sits a transformer that looks like a copper pot-still. As the knocking reaches a fever pitch, the woman throws a switch on the transformer which electrifies the room below, stopping the violent banging, but also electrocuting her and plunging her into deep space, presumably lost. Cooper surveys the space scape and sees a giant vision of the face of Major Briggs, who exclaims "Blue Rose" and drifts off. Cooper gazes out into the starry deep and then heads back down through the hatch. (3:06-13:06) When Cooper reenters the room below, he finds it changed—activating the transformer seems to have moved him into a different location in spacetime. The ceiling is illuminated, there is a fire in the fireplace, and an “American Woman” resembling an aged Ronette Pulaski is sitting in a plush blue loveseat in front of the fire. A single blue rose sits in a vase on a black lacquered table. Across the room is another giant electrical outlet, this one bearing the number 3. She looks at him plaintively, then glances at her watch. As the watch strikes 2:53 pm, a light switches on next to the electrical outlet, which begins to emit a charge, crackling away across the room. (13:07-15:09) (NOTE: Given that the first fifteen minutes of this episode is probably the most beautiful television ever made, you may wish to consult my photo essay "Truth and Goodness Dwell in Beauty" to get a richer sense of Cooper's epic journey.) Mr. C. is driving the black Lincoln on a South Dakota highway. The chintzy dashboard clock reads 2:53 pm. One hears an electrical hum and crackling coming from the cigarette lighter, which glows green. The lighter is suddenly huge and blurred in our field of vision. (15:10-15:37) Cooper is inspecting the number 3 socket, which emits a loud electrical hum and draws his head toward it. The woman by the fire jumps up and exclaims "When you get there you will already be there!" Cooper draws nearer to the socket and it begins to draw him in, his face twisted and flickering in white heat. (15:38-16:33) Mr. C. is driving increasingly recklessly, the Lincoln veering and swerving all over the road. An electrical hum and intermittent crackling announce that the cigarette lighter has become a portal to another place, threatening to draw him back into the Lodge. (16:34-16:49) Cooper draws nearer to the number 3 socket. Loud, aggressive banging starts up again, inviting the inference that whatever horror was stalking Cooper back in the room with the 15 socket has managed to stay on his tail. The woman by the fire agitatedly admonishes Cooper to hurry. “My mother is coming," she warns. As the banging continues, Cooper is pulled through the socket like a log through a chipper. Only his shoes are left behind, falling empty to the floor as Cooper completely disappears into the outlet. (16:50-17:44) Mr. C., now swerving ever more violently, loses control of the car and rolls it. As the clock strikes 2:53, he chokes back vomit and the Lodge curtains flicker into the desert-scape in front of him as the cigarette lighter socket crackles and hums. (17:45-19:36) A saccharine billboard announces that the suburban sub-divisional purgatory before us is the Rancho Rosa housing development near Los Vegas, Nevada. Yet another man who looks disturbingly like Special Agent Dale Cooper sits on a dingy bed entertaining a paid escort. He is dressed in frumpy, ill-fitting clothing, has a ludicrous wig, and is noticeably favoring a tingly, limp left arm. His escort calls him “Dougie” and asks what’s wrong with his arm. She takes several hundred dollars from his flaccid left hand and announces that she is “going to get cleaned up.” Looking confused and sluggish, Dougie attempts to stand up and his left arm falls slack, revealing the Owl Cave Ring on his finger. He struggles to put on a distastefully loud yellow sport-coat with one arm while fighting growing nausea and collapses from the exertion. (19:37-21:15) Mr. C. writhes about in the wrecked Lincoln, holding back vomit as the Lodge encroaches on the South Dakota highway, red curtains dancing above the desert floor. (21:16-21:26) Dougie struggles across the floor while his escort showers. After a few dry heaves, he gives up the garmonbozia, vomiting a mixture of creamed corn, bile, and blood onto the tawdry beige carpet as translucent Lodge curtains ripple in front of him. With a giant bang, he disappears behind the curtains, prompting alarm from his showering companion: “What was that? Dougie?”. (21:27-22:27) Struggling mightily against increasingly overpowering nausea, Mr. C. sees a vision of Dougie seated in a lounge chair behind the Lodge curtains. Unable to contain it any longer, Mr. C. violently vomits creamed corn, black bile, and blood in waves before passing out behind the wheel. (22:28-23:00) Dougie is in the Lodge with Mike, the one-armed man. He tells Mike that he “feels funny,” and Mike replies that "Someone manufactured you for a purpose but I think now that's been fulfilled." Looking befuddled at the thought that he is a mere golem whose game is up, Dougie nervously observes that his left hand is shrinking and soon the Owl Cave Ring slides to the floor. Without warning, Dougie’s head implodes into a menacing black vapor and a gold pearl materializes from out of the vapor. In a flicker, an entity that appears similar to the Arm's disfigured head snaps into the frame and ingests the gold pearl, only then to disgorge it onto the seat before disappearing. Mike picks up the ring from the floor and the gold pearl from the middle of the seat, puts the ring on the black marble table with the gold pedestal, and pockets the pearl. (23:00-26:15) In the pressboard palace back in Rancho Rosa, a pile of creamed corn vomit soaks into the beige carpet. A black vapor emanates from a nearby electrical socket and Special Agent Dale Cooper materializes out of the vapor, his head settling only inches from Dougie’s garmonbozia pile. Just out of the shower, Dougie’s companion (who heard all the ruckus but did not witness Dougie’s untimely departure or Cooper’s unexpected arrival) is surprised to discover a man she believes to be Dougie now in a sleek black suit and a decidedly more dapper hairstyle. At her behest, they leave the house, though Cooper seems confused about what has transpired, vacant to the point that he is unable even to put on his shoes without assistance. As the escort helps him to pull himself together, they discover a key to room 315 at the Great Northern Hotel in his jacket pocket. (26:16-29:44) Realizing that he is incapable of functioning by himself at the moment, Dougie’s escort--identifying herself as "Jade" ("You mean Jade has to give you two rides?!")--takes Cooper to the Silver Mustang Casino, where he can "make a phone call to AAA to get help". En route from Rancho Rosa, two hired guns are lying in wait conspiring via walkie talkie to find an opportunity to assassinate the man they believe to be Dougie. One of them has a rifle and pledges to take the kill shot as Jade's Wrangler leaves the complex. But just before Jade and Cooper cross paths with the shooter, they hit a speed bump, causing Cooper to drop the Great Northern key and thus to bend down in his seat to rummage for and finally retrieve it, resulting in the would-be shooter's coming to believe there's no second person in the car with Jade. The shooter radios his partner, identified as "Gene", who infers that Dougie is still inside the house and pledges to put a tracker on his car (license plate "Duge LV") and meet the shooter "back at Mikey's". (29:45-32:09) A small child across the street observes Gene putting the tracker on Dougie's abandoned car, as his Mom--a strung-out oxy junkie--intermittently yells "119" while popping pills with a three-finger Evan Williams chaser. She lights a cigarette with a butane torch and goes slack, looking as desolate and defeated as the forsaken red balloon on the floor behind her. Perhaps her son has been to a birthday party recently. One never knows. (32:10-34:01) South Dakota Highway Patrol is approaching Mr. C.’s wrecked Lincoln, with the vomit-ridden Mr. C. still passed out inside. Patrolman "Billy" approaches and is overcome by the stench of garmonbozia vomit. His partner calls for hazmat backup and helps Billy to safety. (34:02-34:57) Birds are chirping at sunrise over the Twin Peaks Sheriff's Department. Andy and Lucy have assembled the evidence related to the Laura Palmer case and Cooper’s investigation of it, and Hawk has brought the coffee and donuts as promised. The “Donut Disturb” sign has been posted on the conference room door. Hawk recounts the Log Lady’s clue that they have convened to decode: "Something is missing and I need to find it. The way I will do it has something to do with my heritage." In a fit of panic, Lucy confesses her concern that a chocolate bunny she cribbed from evidence and ate over twenty-five years ago in an attempt to settle a bubble of gas while pregnant is the item that has gone missing. She wonders aloud whether Native Americans use chocolate as a remedy for unsettled stomachs. Could Margaret Lanterman’s clue be pointing to the missing chocolate bunny? Hawk considers this absurdity and, after waffling for a moment or two, declares with confidence that "It's not about the bunnies." (34:58-39:42) A fully gas-masked Dr. Jacoby is outside his trailer in the woods working at a homemade contraption that enables him expediently to spray-paint shovels gold, five shovels at a go. He uses foot pedals to rotate the shovels for thorough paint coverage. After finishing the five shovels on his rig, he hangs them across the way to dry. (39:43-43:02) Jade and Cooper (whom Jade believes to be a stroke-impaired Dougie) pull into the Silver Mustang Casino. Jade assures Cooper that someone will help him and gives him $5 and advice to call a doctor for help from the Silver Mustang. Encouraging Cooper to depart the car, she says "You can go out now.", which triggers a memory in Cooper of Laura Palmer saying precisely those words to him just before he departed the Lodge. Jade pushes him out of the car and, after a couple of false starts, he laboriously negotiates the revolving door into the casino. (43:03-44:11) Upon entering the Casino, Cooper approaches a security guard, holds out Jade’s five-dollar bill, and vacantly says "Call for help!”. The confused guard tells him that the machines are in the back, but that he'll need to get change first. After getting change from a friendly booth cashier, he heads to the slots, where he observes a bearded man in the midst of winning a jackpot, exclaiming "Hell-O-ooooo!" upon cashing in. Following a flaming apparition of the Black Lodge curtains and floor that presumably only Cooper can see (but that is curiously visible from a third-person perspective on several occasions, indicating that it may be visible to others as well), Cooper goes from machine to machine, cracking one jackpot after another and mechanically exclaiming "Hell-O-ooooo!" each time, making a protege of a grizzled old woman who is initially skeptical of his talent, but soon realizes that she can cash in on his prescience for jackpots of her own. (44:12-51:58) In Philadelphia, Agents Gordon Cole, Albert Rosenfield, and Tammy Preston are assembled with other agents discussing a presumably unrelated murder case concerning a congressman. The other agents file out, but at Cole’s request, Preston stays to brief Cole and Rosenfield on the glass box murders in New York City. She notes that NYPD knows nothing, none of the guards could be found, and there's no information at all but an ID of the victims, Sam Colby and Tracy Barbarado. She explains the camera set up, shows stills of the white figural blur that showed up in select photos, and reports that the crime scene is completely clean: no fingerprints, no fibers, no nothing. Just then, Cole receives a phone call that Special Agent Dale Cooper is holding on the line, and Albert, Tammy, and Cole rush to Cole's office to take the call. Cole arranges an interview with Cooper at 9:00 am in the Black Hills of South Dakota, and bids Tammy and Albert to join him. Ever reluctant to suffer fools in backwater bergs, Albert quips: “Perfect. I’ve been dying to see Mt. Rushmore.” As Cole departs, Rosefield says to Preston, “The absurd mystery of the strange forces of existence. How about a truckload full of valium?”, prompting a raised eyebrow and a stern twitch of the mouth from Tammy. (51:59-56:13) At the Roadhouse, The Cactus Blossoms perform “Mississippi” as couples twirl on a crowded dance floor and the credits roll. (56:14-59:16) In Memory of DON S. DAVIS and MIGUEL FERRER Opening Credits (0:55-2:11) Bill Hastings sits alone in the Buckhorn Jail. His wife Phyllis is escorted in for a "brief" visit. Bill confesses that he is in trouble and that, though he wasn't in Davenport’s apartment at the time of the murder, he dreamed of the apartment and the horrors therein. Ever the fountainhead of empathy, Phyllis hisses "Fuck off, I know about the affair." Bill counters that he knows about her affair with George—their family attorney—and "maybe someone else." After taunting him about getting life in prison, she abruptly departs, unable to conceal a triumphant smile: “Goodbye, Bill.” Head in hands, Bill starts to unravel as the full weight of his misfortune hits him. As Phyllis leaves the station, she encounters their lawyer George on his way in, informs him that Bill knows about their affair, and shamelessly observes with great relish that she’ll see him back at the Hastings residence when he’s done with poor Bill. Seemingly alone and destitute, Bill sits abjectly in his cell, his unselfconscious suffering escaping him in guttural moans and vain petitions to divinity. But he is not in fact alone. Just two doors away sits a soot-covered man dressed in black with eyes wide open and bugged out—his hat and clothing suggestive of a mountaineer or prospector. As the camera sweeps past, the soot-faced man vanishes but for a spectral vision of his face, which then drifts away. (2:12-6:49) At the Hastings residence, Phyllis gets home to find Mr. C. waiting for her in the dark. With a knowing gleam in her eye and the twitch of a smile, she greets him: “What are YOU doing here?”. "You did good,” he mockingly replies. “Followed human nature perfectly." Brandishing a pistol, he announces "This is George's gun!" and shoots her from across the room through the back of the head and out an eye. Mr. C. drops the weapon and leaves. (6:50-7:51) We see Las Vegas by night. Mr. Todd, seated in a lavishly appointed office amidst a quarter million dollars of designer Italian furniture (and another five large in calla lilies), summons "Roger," gives him two stacks of cash, and says "Tell her she has the job." Roger gingerly requests permission to ask a question: "Why do you let him make you do these things?" With a terrifying sense of foreboding, Mr. Todd replies: "You’d better hope that you never get involved with someone like him—never have someone like him in your life.” After an awkward pause, Roger makes a beeline for the door as Mr. Todd ponders his resignment to a life in captive servitude to the unspeakable. (7:52-9:36) A lonesome train whistle blows. The cheerful dinging of warning bells and the warm alternating pulses of circular red light fail profoundly to render the night congenial. A freight train runs past a country railroad crossing in the pitch dark. A car closes in on the Motor Lodge Motel. (9:37-10:15) Mr. C. sits in a diner booth with Darya, Ray, and "Jack" (who is slurping at a third plate of spaghetti). The mood is tense. Ray ill-advisedly taunts Mr. C., noting that Darya informed him that Mr. C. is worried about something coming up in the next two days. With a sharp edge of menace, Mr. C. assures Ray that he's not worried about anything, but that he will indeed be on his own the day after tomorrow. Ray volunteers to follow up with a contact—namely, Bill Hastings’ secretary—about “information that Cooper needs.” Cooper emphatically corrects him: "If there's one thing you should know about me, Ray, it's that I don't need anything, I want. And I better be able to trust this information.” Ray is confident: "She’s Hastings’ secretary; she knows what he knows." Ray and Darya subtly exchange knowing glances that seem to betray a secret confidence of treachery. This exchange is not lost on Mr. C., whose jaw goes almost imperceptibly tense before he raises his coffee cup to drink. (10:16-12:41) Dark trees are blowing in the Washington wind. Now a flashlight searches the pines as the familiar music of the woods envelops us. Margaret Lanterman is calling Hawk, who proves to be the man holding the search light. "Where are you walking tonight, Hawk? The stars turn and a time presents itself. Hawk, watch carefully." Margaret expresses regret that she can’t join Hawk in the wood, invites him for coffee and pie, and bids him to keep her posted. The tell-tale signs that Hawk is approaching Glastonbury Grove are revealed one by one, and as he surveys the trees, the curtained portal appears. (12:42-15:42) In the Black Lodge, a Venus de Medici modestly stands witness over three lounge chairs. In the flutter of a lash, two of the chairs are occupied as Cooper (Old Good Dale iteration: OGD) and Mike—the one-armed man—sit adjacent to one another. Mike says "Is it future or is it past? Someone is here." He vanishes. Laura Palmer, now aged these 25 years, slowly approaches and sits down: L: "Hello Agent Cooper. You can go out now. Do you recognize me?" C: "Are you Laura Palmer?" L: "I feel like I know her, but sometimes my arms bend back." C: "Who are you?" L: "I am Laura Palmer." C: "But Laura Palmer is dead." L: "I am dead, yet I live." Laura puts her hand to her face and removes her visage to reveal a brilliant, beaming white light beneath it as Cooper stares incredulously, bathed in the illumination emanating from her. Cooper asks "When can I go?". Laura approaches him, bends down to kiss him on the mouth, and whispers in his ear, recalling a similar tableau that might have happened decades before, yesterday, minutes ago, or even just in another, parallel now. Cooper gasps in distress. Laura begins to tremble and, seized by an unseen force, is violently borne away as her banshee-shaming shrieks saturate the rippling fabric of the Lodge. Quickly recovered from the shock, Cooper blankly observes as a wind blows up the curtains and a white steed appears at the horizon of the chevron floor. Cooper and Mike are suddenly seated (once again?). Mike repeats his question (or perhaps asks it for the first time, again): "Is it future or is it past?". He leads Cooper to a room in which a young sapling with a fleshly, pulsing humanoid head (void of features but for an open scar of a mouth) writhes in an electrical energy field. “The evolution of the arm," Mike declares. The Arm obliges its audience: "I am the arm and I sound like this [slurping, blowing sound]. Do you remember your Doppelganger?" Cooper is overcome by a vision of Bob and the man we will come to know as Mr. C. laughing maniacally and cavorting through the Lodge as Cooper chases him in vain. Says the Arm, "He must come in before you can go out." (15:42-25:52) Mr. C. is storing his Benz with Jack's help. After getting both sets of keys, he summons and kills Jack. Cause of death? Malevolent facial massage, it would seem. (25:53-27:18) Menacing storm clouds fill a huge South Dakota sky and lightning illuminates them from underneath. Mr. C. pulls up to room 6 at the Motor Lodge Motel. Darya is on the phone and, alarmed, rushes to get off. She claims she was talking to Jack about "the secretary's car." Having just killed Jack via demonic stress relief, Mr. C. knows she is lying. He says Ray blew off a meeting, and asks her where her .45 is: “Can I borrow it for a job?”. She says "What's mine is yours." He takes the gun and gets into bed with her, embracing her. He informs her that Jack is dead and that he killed him after Jack wired the car. He plays a tape of Ray telling Darya, just minutes ago, that he is in federal prison for smuggling weapons, that he got another call from Jeffries, and that, in his absence, Darya must “hit Cooper if he’s still around tomorrow.” Mr. C. learns from Darya that she and Ray have been contracted a half million dollars to kill him. Darya doesn't know who hired them (“Ray knows.”) and she doesn't know why they want him dead. Mr. C tells Daria that he is scheduled to be pulled into the Black Lodge, but has a plan to avoid returning. He interrogates Darya, asking if she knows any geographical coordinates. She doesn't. From his jacket pocket, he produces an ace of spades the central image of which has been altered to resemble…what, exactly? (an alien? A cootie? A bulldog? The yawning mouth of a mysterious cave between two mountains?)…and asks if she's ever seen it before. “No.” She struggles to free herself. His patience at its end, he punches her, puts a pillow over her head, and shoots her to death with her own gun. (27:18-36:15) Retrieving a communications briefcase from the motel bathroom, he attempts to contact Philip Jeffries. A threatening voice mentions a meeting with Major Briggs and declares that Mr. C. is "going back in tomorrow". Mr. C. suspects it isn't Jeffries after all, and when the voice goes silent, he logs into the FBI network to download information about Yankton prison where Ray is allegedly being held on weapons charges. After securing the plans for Yankton on a handheld device, he leaves. (36:16-39:48) Mr. C. knocks on the next door down, room 7. Chantal answers the door holding a soda and a handgun. Mr. C. requests a clean-up in room 6. “Sure Boss.” Chantal welcomes Darya’s death as good news. “I was getting jealous of that bitch." Mr. C informs Chantal that he needs her and her husband Hutch stationed in a certain area in a few days. Taking advantage of Hutch’s current absence, however, Mr. C. calls Chantal to him and gropes her between the legs. She laughs ambiguously, inviting the question of whether she is complicit or coerced. (39:48-41:06) Cooper and Mike are in the Lodge, standing before the Arm. The Arm says "253 time and time again. Bob. Bob. Bob. Go now! Go now!" Cooper walks down a hall and attempts to exit the curtain, but is stymied. He walks back into the main lobby and through it to another corridor. Behind this curtain, he comes upon Leland Palmer, who implores him to "Find Laura." Cooper walks out of the room and the Lodge begins to shift and blur. The Arm and Mike are shown, as is a statue of Venus de Milo (not a Venus de Medici, as before, perhaps indicating a temporal or spatial transition or a passage between Lodges). Mike blurts "Something's wrong." The Arm hisses "My doppelganger," as if to warn Cooper that an encounter with its own dark double is imminent. Cooper walks toward the Venus de Milo. Farther down the corridor, he opens the curtain to see Mr. C. driving down a desert road. He closes the curtain and as he turns away from it, the Venus morphs into the Arm (dark or light, we can only guess) who frenetically accosts Cooper, enveloping him in electrified limbs, its head pulsing and suddenly stained yellow and blackened as if riddled with cancer. The Arm screams "Non-exist-ent!" and the chevron floor, now like pieces of a wooden puzzle box pulled apart, gapes opens and plunges Cooper into water and then through to an infinite space of dazzling stars, through which he plummets until he lands on the entrance to the glass box in the skyscraper in New York City. He dematerializes and floats into the box, hovering there with arms outstretched, before seeming to become frozen in place, as if a plate in an old camera, snapping back and forth into different depth settings inside the box. He eventually disappears out the back end of the box and is returned to flying through space and time. (41:07-48:30) We find ourselves abruptly back in Twin Peaks, at the Palmer residence late at night. Sarah Palmer sits in front of a huge flat-screen television, wasting away among overflowing ashtrays, smoking and drinking, and watching nature shows of she-lions devouring a wildebeest. In high definition, every gory detail is salient. (48:30-49:46) At the Roadhouse, The Chromatics are on stage performing "Shadow": "Shadow, take me down with you, for the last time." James Hurley enters with an friend and they go to the bar for beers. From James' vantage-point, we see a table of women from a distance; Shelly and her friends are doing tequila shots and jawing about Shelly’s daughter Becky’s love life. Shelly is convinced that something is wrong with Steven, but her friends speak up on his behalf. One of them notices James looking over and comments that he is weird, but Shelly quickly defends him, revealing that he had a motorcycle accident and “is just quiet now.” “James has always been cool.” A douchewad across the room makes eye contact with Shelly and follows up with a gunshot gesture in her direction: "Pow!" is on his lips. She smiles, tosses her head, and looks away. The Chromatics play on as the credits roll. (49:46-54:57) In memory of FRANK SILVA.
Laura Palmer and Cooper are in the Black Lodge. Laura says, “See you again in 25 years!” (1:26-2:14) We see establishing shots of Twin Peaks: the mill, smoke stacks, a hallway full of lockers at TPHS, the screaming girl who raced across the courtyard as Laura’s death was announced to the school, and Laura's ubiquitous homecoming photo. (2:15-3:15) Opening Credits (3:15-4:45) The Giant (G) and Cooper (Old Good Dale iteration: OGD) are in a black room with a large phonograph: G: “Listen to the sounds” (a scratchy, inaudible voice comes through phonograph); “It is in our house now.” OGD: “It is?” G: “It all cannot be said aloud now. Remember 430. Richard and Linda. Two birds with one stone.” OGD: “I understand.” G: “You are far away.” Cooper flickers and disappears. (4:46-7:14) Cut to a Washington state mountain-scape. We see a trailer in a state of backwoods disarray that is confirmed to be Jacoby’s when a truck pulls up to deliver a box of shovels and the trailer’s inhabitant takes off a gas mask to reveal his signature red/blue filtered glasses underneath. Jacoby rebuffs an offer of help from the delivery person and says that he prefers to work alone. (7:15-9:30) We see establishing shots of New York City at night. Arrayed before us is an impeccably yet minimally appointed warehouse boasting lavish mid-century modern furniture and a curious glass and metal chamber at center stage with various surveillance equipment arrayed around it. A college-aged young man, Sam Colby, is monitoring the glass box from a platform across the room, occasionally changing out memory cartridges in cameras and storing full cards in a mobile vault. A buzzer sounds, followed by a voice-over informing him of a delivery. (9:30-13:50) A surly rent-a-cop sits stone-faced at a desk. A college-aged woman, Tracey, has arrived with lattes for herself and the young man. She requests to follow him back into the main room for coffee, but is rebuffed by the young man and the guard. After flirtations that suggest that Tracy will eventually find her way into the back room ("You’re a bad girl, Tracey!"), she gets into the elevator and descends as her would-be beau returns to box-watching, now with two coffees to enjoy. (13:51-16:45) The Great Northern hovers magisterially atop the falls. As Ben Horne and his new assistant, Beverly Page, discuss a strategy for dealing with influential New York clients whose devotion to the on-site spa is threatened by a skunk attack, a TCH-addled, silver-beard-bedecked Jerry Horne enters rambling in his inimitable way about his legal marijuana enterprise and the enhanced edibles he is currently enjoying. He makes a sexist remark about Beverly and is immediately upbraided by a decidedly less-lecherous version of his brother than we have heretofore seen. Has the proprietor of One Eyed Jack’s turned over a new leaf, we wonder? (16:45-19:25) At the Twin Peaks Sheriff's Department, a man is looking for Sheriff Truman. Lucy explains that there are currently two Sheriffs by that name: one sick, one fishing. (19:25-20:37) On a back road in South Dakota in the darkest dead of night, Mr. C. (Old Evil Dale iteration: OED) arrives at a country shack in a late-model Mercedes Benz coupe. A hapless would-be guard waves a shotgun in Mr. C’s face only to be dispatched like a rag doll. Mr. C. enters the shack to find a good ol’ boy called Otis drinking moonshine in the company of a gangly young man in overalls and a man in a wheelchair seated in the back of the room. After incapacitating the recovered guard a second time, Mr. C. engages a disturbing matriarch called Beulah. He commands Beulah to fetch Ray and Darya—two people with whom we must assume he is engaged in criminal enterprises—from the back, adding that Beulah should “put something better at your front door.” "It's a world of truck drivers," Beulah wearily retorts, and goes to summon Ray and Darya. They enter and Mr. C. informs them it’s time to go. They exchange gestures of tenderness with the tall man and the man in the chair, as if they are beloved family members soon to be long parted. Ray, Darya, and Mr. C. file out into the night, as Otis repeats “Mr. C., Mr. C.” and takes a labored swing of shine. (20:38-25:30) Back in New York city, box-watcher Sam is logging memory cards. Tracey arrives with coffee again and is delighted to find the surly rent-a-cop off-duty. Tracey and Sam try not to "overthink this opportunity" and enter the back room. Sam says an anonymous billionaire set up the chamber room; his job is to "watch the box and see if anything appears inside." After a perfunctory discussion of the surveillance equipment and a refreshingly explicit request for consent, they get down to the real purpose of the visit--"mak[ing] out a little." As they couple, the glass box fills with black smoke and a white apparition, seemingly humanoid with large, black, sunken eyes but little in the way of a nose or mouth, materializes therein. Just as the amorous co-eds realize with terror that the situation’s gone deep south, the figure descends on them, in one fell swoop shattering the glass box and shredding them in a blurry haze of crimson-spattered grey. (25:30-35:38) Meanwhile, at a non-descript apartment building in Buckhorn, South Dakota, the scattered, portly Marjorie Green and her tiny canine companion are sweating the seeming disappearance of their neighbor Ruth Davenport—a disappearance all the more troubling for the stench emanating from her desolate apartment. Mrs. Green calls the police and leads Buckhorn Police officers Olsen and Douglas to apartment 216 where they are stymied by the locked door. Ridiculousness ensues as she sends the police on a fool’s errand in search of a key from the beleaguered maintenance man Hank, when it turns out that Mrs. Green herself has had the key all along, with a mandate to water Ruth’s plants in her absence. Upon entering apartment 216, Olsen and Douglas discover a dead woman in bed with the sheets pulled up to her chin. Her face is badly disfigured and her eye socket is seemingly corroded, as if her face has been eaten away by acid. (35:39-42:30) Outside in the parking lot, Hank the maintenance man is at his truck, clutching a satchel presumably full of contraband and blaming someone called Harvey for contacting police. He rebukes Harvey, claiming that the stuff in the satchel is “mine and Chip’s” and that Harvey had his chance but bowed out of the deal. (42:31-42:55) Back in Ruth Davenport’s apartment, the forensics team has assembled and is carefully removing the bedclothes to discover that the dead woman’s head has been severed and placed above what appears to be the corpse of a separate beheaded man, bloated and well into the process of decomposition. (42:56-44:18) The wind is blowing amidst dark Douglas firs. At a cabin in the woods, Margaret Lanterman--the Log Lady—is telephoning Deputy Hawk. Her log has a message for him: "Something is missing and you have to find it. It has to do with Dale Cooper. The way you'll find it has something to do with your heritage.” (44:19-46:20) Behind a computer in the Buckhorn Police Department, forensic pathologist Constance Talbot lights upon a surprising match to fingerprints found throughout Ruth Davenport’s apartment: Bill Hastings, the principal at Buckhorn high school. She tells one of the officers that the severed head found in apartment 216 definitely belonged to Ruth Davenport, but that there are no leads on whose body was discovered in the bed. (46:21-47:38) A team of officers from the Buckhorn Police go to the Hastings household to arrest Principal Hastings, now under suspicion for the murder of Ruth Davenport and heaven knows what else. An unsettling wolfhead door-knocker greets them, followed by a disaffected Phyllis Hastings who seems more concerned about ruined dinner plans than about her husband’s arrest. Bill Hastings is led off in handcuffs, no doubt thinking to himself that—notwithstanding the difficult circumstances—his current predicament is still way better than playing Shaggy in a shite Scooby Doo movie. (47:39-49:22) Back at the Twin Peaks Sheriff's Department, Hawk is sifting through old evidence looking for missing Cooper-related items. As ever, Andy and Lucy threaten to be more trouble than they are worth and Hawk seeks to guide them toward more productive contributions, pledging to be ready with coffee and donuts first thing in the am if they can assemble all the old files. (49:23-50:34) In the Buckhorn Police Department, officers Olsen and Douglas and a representative of the South Dakota State Police are interrogating Bill Hastings. When they ask about Ruth Davenport, Hastings admits the name sounds familiar, but claims to be unable to recall when he last saw her and vehemently denies ever having been to her home. Upon being asked to account for his whereabouts over the last three days, Hastings gets flustered and asks for his lawyer, George. With the interrogation at a standstill until his attorney arrives, Hastings is jailed. One gets the distinct impression that he is a man unraveling. (50:35-57:45) At the Hastings home, Phyllis Hastings—still kvetching about spoiled dinner plans—is served a search warrant, and police commence searching the house. In the trunk of Bill's car, despite searching with a deficient flashlight that strobes on and off for no discernible reason, police find a gnarly piece of what looks like human or animal flesh. Bill Hastings is increasingly in the stew, it would seem. (57:46-59:50) The Giant is in the black room with the phonograph, sitting in a silence intermittently interrupted by static as credits roll over the desolate phonograph. (59:50-1:01:28) In memory of Catherine Coulson.
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