PARTS ONE THROUGH EIGHTEEN (2017)
Hover over the featured photo and click "play" to browse episodes. Click the featured photo to peruse that episode below the header.
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.