PARTS ONE THROUGH EIGHTEEN (2017)
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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.