A Skeleton Key to Twin Peaks: Part Eighteen

For a primer on how to use this tool, read A Skeleton Key to Twin Peaks: Overview

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New Narrative Conflicts Introduced

  1. Richard & Diane's Last Shag: Is it a ritual? For what purpose? 430 miles from what and into what did they crossover? More questions than answers with this one.

Episodic Part Summary By Scene and Focus


Scene 1 ????, Red Room / Nevada, Las Vegas, Jones Home (0:01:39 - 0:03:09)

Mr C burns in the Red Room chair. Phillip put the golden seed along with Cooper’s hair into the chair and says, “Electricity.” The ball bounces and rises and Dougie Jones is born. He looks around and says, “Where am I?” The Red Room chevrons roll into the red door of the Jones home and the doorbell rings. Janey-E says, “Just a second,” and opens the door to see Dougie in his  black suit. She says, “Dougie!” Sonny Jim says, “Dad!” and comes running. Dougie says, “Home.”

That’s our Dougie:

Home

Cooper Escapes

????


Scene 2 Washington, Twin Peaks (1989), Woods Near Sparkwood & 21 / ????, The Red Room / (0:03:09 - 0:09:45)

The scene replays where Cooper loses Laura in the woods. Cooper looks around and is back in the Red Room, where Philip asks him, “Is it future or is it past?” Cooper considers him and Philip disappears, leaving an empty chair where Laura Palmer originally appeared. Philip is standing on the other side of the room, beckoning Cooper, who gets up with a gasp and walks briskly towards Mike. He walks down the hall and enters the room with the Arm, who introduces itself and says, “I am the arm. And I sound like this (arm sounds). Is it the story of the little girl who lived down the lane?” Cooper consider this. The arm asks again, “Is it?” Cooper now is being whispered to by Laura and he says, “Huh?” She screams and gets pulled out again. He looks to the ceiling, seemingly shocked, then walks back into the large room, confronting Leland, sitting in a chair. He says, “Find Laura.” Coop hears a soft ringing tone and walks down the hall, commanding the curtains to ripple with his hand. He enters and is in Glastonbury Grove, where he meets Diane, who seems surprised to see him. She asks, “Is it you? Is it really you?” He smiles at her and says, “Yes, it’s really me, Diane. Is it really you?” She says yes. They smile at each other lovingly. The Red Room curtains disappear.  

Save Laura Palmer


Scene 3 Desert Road Day (year and place undetermined, 430 miles from somewhere) / Desert Road night (year and place undetermined) /  Motel (0:09:45 - 0:24:41)

Coop and Diane are driving an old bench seat car down a desert road. There are no power lines at first. Diane looks at Coop and then back to the road, where there are now large power lines. They are in the same car. Diane asks if he’s sure he wants to do this. He doesn’t respond. Now there are many power lines. She says, “You don’t know what it’s going to be like once we…” He interrupts and says, “I know that. We’re at that point now. I can feel it.” There are mile markers and signs in addition to the power lines. He looks at the car’s gauges and says, “Look. Almost exactly 430 miles.” Diane seems worried but Coop seems sure. He pulls over and stops the car. He says, “Exactly 430 miles.” Diane grabs his arm and says, “Just think about it, Cooper.” He opens the door and gets out, walking towards the power lines which are sizzling with electricity. His hands are spread wide, as if to steady himself and he looks up at the power lines, checks his watch and turns around in a circle, nodding his head. He takes a breath and walks back towards the car. Daine seems more concerned now. He gets in and says, “This is the place, all right.” He asks Diane to kiss him. He says, “Once we cross, it could all be different.” They kiss passionately and the break. Diane says, “Let’s go.” Coop puts the car in drive and they start moving forward, the power lines sizzling and a hum grows. They cross over some barrier.

Now they are driving at night. There are lights in the distance. They appear to be wearing the same clothes and are not speaking. There are signs and markers on the road, illuminated by the car headlights. Insects chirp as they pull up to a single-story motel, with a neon Open sign in the window. They are still driving the old car. Coop gets out and goes to the motel office. Diane watches the door and sees herself appear by one of the posts. She studies herself but does not react. Coop comes out and the second Diane is gone. Coop walks towards door 7 and looks at Diane. She gets out of the car and joins him in front of room 7. They enter. She closes the door behind them and turns on the light. Coop says, “Turn off the light.” She asks what they do now. He says, “You come over here to me.” She walks over and he says, “Diane.” They kiss and the Platters “My Prayer” begins to play. They are making love but an ominous music rises behind the Platters. It appears as if she is drawing Mr C out in Cooper. As she looks to the sky, “My Prayer” starts playing again. She kisses him but he does not kiss her back as she rides on top of him. She begins to rub his face and cover his face with her hands. She looks to the ceiling and seems to be in distress while in the middle of ecstasy.

Coop wakes up and it is daylight. The motel room still seems dated as if it were in the 50s or 60s. Diane is gone. He calls out to her but she is nowhere to be found. There is a letter on the nightstand. It says, “Dear Richard, When you read this, I’ll be gone. Please don’t try to find me. I don’t recognize you anymore. Whatever it was we had together is over. Linda.” Coop does not know what is happening. He repeats, “Richard. Linda.”

Richard and Linda’s Last Shag


Scene 4 Texas(?), Motel / Texas, Odessa, Judy’s Diner, Carrie Page’s House / FBI Vehicle Traveling from Odessa to Twin Peaks / Washington, Twin Peaks (year undetermined) / (0:24:41 - 0:56:55)

He exits the motel but it is different now, a two story more modern motel and it looks like the palm trees fit better in Southern California or Florida. Coop gets into a modern Lincoln and looks back disconcertingly at the room he just exited. He pulls out of the lot and it is a cloudy day that threatens rain. There is a post-2000 SUV parked in the lot he is leaving.

Coop is driving in Odessa now, City Limit Population 99,940. He passes Maersk trucks and eventually comes to a Judy’s Coffee Shop. He pulls in. A waitress named Kristi is pouring coffee for an older couple, the woman reading the Odessa Daily News. Coop gets out of the car and looks around, then takes a seat in a booth. Kristi offers him coffee and he watches her pour, before asking if there’s another waitress that works here. She says, “Yeah. It’s her day off. Actually, it’s her third day off.” She walks to another table to offer coffee and gets sexually harassed by three large cowboys. Coop tells them to leave her alone. One gets up and comes over to the table, then asks, “The fuck you doin?” Coop says, “What? And leans back in his booth. The cowboy pulls a gun and tells him, “Get the fuck out of that booth.” Coop disarms him, kicks him in the crotch, pulls his weapon and shoots Cowboy 2 in the foot and demands the other one put his gun on the ground (twice). He does this like Mr C would. He tells him to sit down, then Coop gets up, grabs the guns and walks to the back. The woman asks, “Who is he?” Coop walks to the kitchen and tells the waitress to write the address of the other waitress on a piece of paper. He then puts the guns in the hot oil, warning the cook to stand back because the bullets might go off. He says this in a very Mr C-like tone. He tells the waitress that it’s okay, he’s with the FBI. Coop walks out without even glancing at the cowboys. Cowboy 1 asks, “What the fuck just happened?” Coop pulls up to 1516 and hears electricity crackling above a wire. There is crap all over the yard, no grass; the place is a dump. He knocks on the door and Laura Palmer answers in a southern drawl. He says he’s the FBI and she opens the door immediately. She asks if he found him. Coop says, “Laura.” Her eyes grow wide and she asks, “You didn’t find him?” He says, “Laura” again. She says he’s got the wrong house. He says, “You’re saying you’re not Laura Palmer?” She asks, “Laura who? No, I’m not her.” He asks her name. She says it’s Carrie Page. He asks her to wait when she tries to shut the door. He says, “So the name Laura Palmer means nothing to you?” She has had enough. She says, “Look, I don’t know what you want but I’m not her.” He says, “Your father’s name was Leland.” She says, “Okay” (almost as if she didn’t know her father and is just accepting this at face value. He says, “Your mother’s name is Sarah.” She seems taken aback by this and asks, “S-Sarah?” He says yes. She closes her eyes and seems to take a deep breath. She asks him what’s going on. He says, “It’s difficult to explain. As strange as it sounds, I think you’re a girl named Laura Palmer. I want to take you to your mother’s home. Your home at one time. It’s very important.” She considers this and says, “Umm...Listen, normally somebody like you comes around and I tell them to fuck off. This door’d be slammed in their face. Right now, I gotta get outta dodge anyway. It’s a long story. So ridin’ with the FBI just might save my ass. Where we going?” He says, “Twin Peaks, Washington.” She asks DC? He says Washington State. She asks if it’s a long way. He confirms. She’s going to get her things. He comes in and there is a dead man, shot in the head in the chair. Coop seems surprised by this. There is a white horse on the mantle, standing in front of a blue plate. There is an automatic rifle on the floor by the fireplace and there seems to plastering tools. On the lower mantle. She comes running back in and asks if Washington is north and if she needs a coat. He says bring a coat if you’ve got one. She says she doesn’t have any food here. He says he’ll get food on the sway.

In the car, Carrie asks if he is really an FBI Agent. He shows her his badge and says yes. She says, “Well at least we’re getting out of this fuckin’ town of Odessa.”

It’s night now and they have been driving a long time, cars and road signs roll by. And they drive. And Drive. And Drive. Eventually, Carrie looks behind her, as does Cooper, like someone is following them. She asks if someone is following them. He doesn’t respond but continues looking behind them. Eventually the car passes them. And they drive. Laura says, “Odessa. I tried to keep a clean house, keep everything organized.”  And they drive. She says, “It’s a long way.” She falls asleep. Coop continues to drive. She says, “In those days, I was too young to know any better.”

They stop at a Valero station and gas in $2.89 for 87 octane and 3.09 for premium.

And they drive, eventually crossing Ronnette’s Bridge. They pull up to the RR Cafe (no RR2Go sign though). Coop asks her if she recognizes anything. She doesn’t. He stops outside 708 and asks her if she recognizes that house. She looks and all the lights are on. She says no. They get out and walk up to the front door. He offers his hands, she takes it and he says, “Come on.”

Carrie looks at him as they walk up, staring dreamily. He knocks and they look at each other. He knocks again. She looks around, as if something is familiar. A blonde woman answers the door and says, “Yes?” Coop says, “FBI. I’m Special Agent Dale Cooper. Is Sarah Palmer here?” The woman asks, “Who?” He repeats. She says, “No, there’s no one here by that name.” Then she looks at Laura. Coop asks, “Do you know Sarah Palmer?” She says no. Coop asks, “Is this your house? Do you own this house or do you rent this house?” She says, “Yes, we own this house.” Coop asks, “Who did you buy it from?” She asks her husband, “Honey, what was the name of the woman who sold us this house?” She gets an answer and says, “Chalfont, a Mrs. Chalfont.” Coop considers this a moment then asks, “Do you happen to know who she bought it from?” She said, “No I don’t, but…” She asks her husband and peeks back around the door and says, “No.” Coop asks her what her name is. She says, “Alice. Alice Tremond.” Coop says, “Okay. Sorry to bother you so late at night.” Alice says, “That’s okay.” They say goodnight and Coop and Carrie walk back to the street. Coop stops in the middle of the street and Carrie turns slowly around. Coop turns to look at the house and so does Carrie. The wind rustles and all the lights are on in the house. She dreamily looks from the house to Coop. Coop stumbles forward, hand outstretched (as if reaching for the door handle back in the Great Northern basement). She is watching him. He asks, “What year is this?” She blinks and considers this, then looks back to th house. We hear Sarah Palmer calling, “Laura!” (from the pilot before her death was revealed). Carrie starts to shake and screams piercingly, the same scream Coop heard in the Woods when Laura was taken. He is shocked by this, but not moved into action. The lights in the house go out and the screen goes black but the scream echoes.

Save Laura Palmer


Cast

Kyle McLachlan:Special Agent Dale Cooper

Matt Battaglia:Cowboy 3

Laura Dern:Diane Evans

Francesca Eastwood:Texas Waitress Kristi

Pierce Gagnon:Sonny Jim Jones

Heath Hensley:Cowboy 1

Sheryl Lee:Laura Palmer

Sheryl Lee:Carrie Page

Rob Mars:Cowboy 2

Mary Reber:Alice Tremond

Al Strobel:Phillip Gerard

Naomi Watts:Janey-E Jones

Ray Wise:Leland Palmer

Grace Zabriskie:Sarah Palmer


Music

  • “My Prayer”:Written by Georges Boulanger and Jimmy Kennedy:Performed by The Platters

Voice of The Return (Summary)

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COMING SOON: Twin Peaks Returns Part Two

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A Skeleton Key to Twin Peaks: Part Seventeen

For a primer on how to use this tool, read A Skeleton Key to Twin Peaks: Overview

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New Narrative Conflicts Introduced

  1. Save Laura Palmer: In many ways, this has been the original narrative, introduced back in the early 1990s. 

Episodic Part Summary By Scene and Focus


Part 17 Scene 1, South Dakota, Buckhorn (0:01:40 - 0:07:01)

Albert pours Gordon a drink while Gordon stares at his gun. He says, “I couldn’t do it.” Albert tells him he’s gone soft in his old age and then repeats it when Gordon doesn’t hear him. Gordon says, “Not where it counts buddy.” Tammy moons at him with this remark. They toast to the Bureau then Cole tells them a story, something he’s kept from Albert for 25 years. “Before he disappeared, Major Briggs shared with me and Cooper his discovery of an entity, an extreme negative force called, in olden times, ‘Jowday.’ Over time, it’s become ‘Judy.’ Major Briggs, Cooper and I put together a plan that could lead us to Judy. Then, something happened to Major Briggs, and something happened to Cooper. Philip Jeffries, who doesn’t really exist anymore, at least not in the normal sense, told me a long time ago, he was on to this entity. And he disappeared. Now, the last thing Cooper told me was, ‘If I disappear like the others, do everything you can to find me. I’m trying to kill two birds with one stone.’ And now, this thing with two Coopers. And recently, a paid informant named Ray Munroe sent a cryptic message indicating that the Cooper we met at prison is looking for coordinates, coordinates from a certain Major Briggs.” Gordon expresses how sorry is from keeping the plan from Albert and that he doesn’t know if it’s unfolding properly because they should’ve heard from, “Our dear Dale Cooper.” Just then the phone rings; it’s Agent Headley in Vegas. They found Douglas Jones but they don’t know where he is. Bushnell comes in and has a message from Dougie for Cole. “I am headed for Sheriff Truman’s. It is 2:53 in Las Vegas and that adds up to a 10, the number of completions.” Cole thanks Mullins and thanks him very much. Cole hangs up the phone and asks, “DOUGIE IS COOPER? HOW THE HELL IS THIS?” Albert and Tammy look around then Tammy recounts that they blew up Dougie Jones’s car, tried to shoot him and he’s been spotted in the company of two organized crime figures. He electrocuted himself by sticking a fork in a wall socket. Albert says, “That’s strange, even for Cooper.” Gordon says, “A Blue rose case, most definitely.” Tammy says he was hospitalized in a coma until this afternoon, to which Cole replies, “Pack it up! I know where he’s going!"

FBI Finds Cooper

Cooper Escapes


Part 17 Scene 2, Washington, Twin Peaks, Sheriff’s Station, Great Northern Hotel (0:07:01 - 0:010:19)

It’s night time at the Sheriff’s Station and the cells are quiet, the drunk having passed out against the bars. Chad stirs, gets up from his cot and movers to the edge of the bed but his movement stirs the drunk out of his stupor and Chad desists from his plan, calling the guy a “Fucker,” which he promptly repeats.

Cooper is driving at night.

Naido is at it again and no one knows what she is or what she’s doing.

Ben Horne is talking to a Sergeant Williams, a police officer in Jackson Hole Wyoming. Jerry was captured naked in Wyoming, telling a tale of how his binoculars killed someone. Ben is going to arrange for him to be picked up and he’s sending some clothes.

Revisit Old Twin Peaks

Meet New Twin Peaks


Part 17 Scene 3, Washington, Twin Peaks, Blue Pine Mountain / ????, The White Lodge / Twin Peaks, Sheriff’s Station / ????, The Red Room / Twin Peaks, The Great Northern Hotel / ????, The Dark Motel / Twin Peaks, 1989 /  (0:10:19 - 0:35:06)

We see the power lines and hear the crack of electricity as Mr C drives in the dark. Mr C’s truck is parked at the edge of the forest and he is stepping through the deep woods. We see the place, 253 yards due East from Jack Rabbit’s Palace. Mr C approaches it and steps into the smoke. We hear the electrical scratching and see the flashing lights. The vortex appears and Mr C disappears as expected.

In the White Lodge, we seem to be in the room the Fireman sent the golden orb forth in Part 8. He is still floating in the air and Major Brigg’s head hangs disincorporated from any body on the right side of the screen as we look at it straight on; he doesn’t speak. On the left side of the screen is a lateral cage with Mr C’s face inside. Between them is the placement tube that deposited Laura’s orb in Part 8. On the screen is a picture of the grove that Mr C just stood inside. Electricity and smoke boil underneath Mr C’s cage and a flashing light comes from the door behind the cage, on stage right. The Giant is now looking at the Palmer home. He waves his arm and the picture changes in a stream to a wooded view. We see into the room that was flashing behind Mr C’s cage and there are dozens of those power bells, flashing electicity and sparking crackle sounds. We hear a gear and pulley lock into place and Mr C’s cage starts moving towards the golden tube, gets pulled in and then deposited inside the screen. Mr C stands with his back to us, in black and white. We see him appear in color, his back still to us. Naido wakes up, agitated. Mr C turns around and sees the Sheriff’s Station and asks, “What is this?” He is clearly angry. He walks towards Andy, who greets him warmly and invites him inside.

Naido is getting everyone else stirred up in the cell.

Andy brings Cooper in and he is greeted warmly by Lucy. Sheriff Truman is very skeptical when he meets Truman and Mr C is surprised by Frank instead of Harry. Frank invites him into his office to sit down. Andy starts to remember something from his time with the Fireman, him guiding Lucy into place before running off.

Chad puts his plan into motion. He has a key in his boot, is able to unlock his cell, get into the locker room and secure a firearm.

Mr C sits in Truman’s office and Truman does as well but Mr C does not want coffee. Andy runs to tell Hawk that Cooper is back. Truman calls him by name twice and Mr C says, “In the flesh.”

The drunk starts peeling at his face.

Lucy stands up to look at Andy, who is running by the front desk, saying, “Very important! Very important!” She sits back down after he runs down the hall.

Andy is looking for Hawk and Cahd pulls the gun on him. Chad insults him and Freddie readies his glove, knocking Chad out completely. Andy cuffs Chad to the cell and gets Naido out of her cell.

Lucy takes a call and stands up, saying, “WHO?”

Truman asks Mr C, “What brings you back to Twin Peaks, Agent Cooper?” Mr C says, “Unfinished Business.” Lucy interrupts and begs Truman to take the call on line 2. Mr C looks on scrutinously. Frank picks up the phone and it’s Dale Cooper, who announced himself as, “Federal Bureau of Investigations, Dale Cooper.” They are just entering Twin Peaks city limits. He asks if the coffee’s on. Mr C smells the ruse and pulls his weapon, firing but hitting Frank’s hat, which lifts comically off his head. Lucy stands behind Mr C,  having shot him in the back and killed him. Cooper asks, “What was that?” Truman says, “Lucy?”

Andy says, “I’ve got to get you all upstairs.”

Truman looks at the body on the floor and says, “I think this one’s dead, Agent Cooper.” Coop says emphatically, “Don’t touch him! Stay away from that body!” Freddie, James and Naido enter the room with Andy. Lucy says she understands cellular phones now. Hawk comes running in and asks, “What the hell?” Truman says that Agent Cooper said don’t touch that body. Hawk says, “But that is Agent Cooper.” Frank says, “No, it’s not.” The Woodsman music starts up and they appear and begin their blood resurrection ritual while everyone looks on in shock. Coop and the Mitchum Brothers pull up and come running in. The Woodsman extract the Bob bubble, which floats threateningly in the air of Truman’s office. Cooper seems afraid of the bubble, unable to act and the BOB bubble rushes and bites at Cooper, who falls to the ground, unable to rise. Freddie says, “Oy,” and starts walking towards the BOB bubble. Cooper stands up and asks if he’s Freddie, who says, “That’s right. And this is me destiny.” He then starts battling with BOB, who attacks him and knocks him to the ground and bloodies his face. Freddie lands a punch, knocking the BOB ball back. BOB attacks again, knocking Freddie back down. He stands back up and lands another punch, then stands above the BOB ball and punches it through the floor, where fire shoots up from the hole, the screen shaking. The Woodsman music fades and the BOB ball rises into the air for one final strike, knocking Freddie down again. Dale calls for him to get up. Freddie rises, and BOB threatens to, “Catch you with my death bag.” BOB attacks and Freddie lands the dolorous blow, breaking the BOB bubble into several black shards, which ascend into the ceiling and disappear. Freddie is on his hands and knees and asks, “Did I do it?” Coop says, “You did it, Freddie!” Coop then walks over to Mr C’s body and places the ring on his finger. His body begins smoking and disappears. Rod says, “One for the grandkids,” and Bradley nods, stupefied. Cooper asks Frank if he has the room key to the Great Northern Hotel, Room 315. Frank asks how he knew about it and Coop says, “Major Briggs told me that Sheriff Truman had it.” Frank produces the key and hands it to Cooper.

Cole and team come squealing into the Sheriff’s lot.

Coop sees Naido and is taken aback, his face becomes frozen in afterimage on the screen. Bobby Briggs walks in and says, “What’s going on around here.” Bradley says, “Took the fucking words right out of my mouth.” Coop says, “Major Garland Briggs. Bobby, your father was well aware of what’s going on here today.” Bobby asks what that is. Coop says, “Many years ago, information your father gathered brought him together with Director Gordon Cole who...is here right on time.” Cole and team walk in and they greet each other and smile. Coop says, “And that’s what brought us to where we are today.” Then he looks serious and says, “Now, there are some things that will change. The past dictates the future.” The Y girls come in, carrying sandwiches and drinks. Candie says, “It’s a good thing we made so many sandwiches.” She and Coop smile at each other. Coop asks Frank to give him his regards. Naido walks towards Coop, helped by James and Freddie. They touch hands and she sheds her Tulpa exterior, revealing herself as Diane, after her face splits open vaginally and a black eyeball-looking meat orb descends into the Red Room, hanging above the chevron floor, Diane’s face appearing inside the black orb and Diane appearing where Naido stood seconds before in Sheriff Truman’s office wit red hair like ‘Lil in FWWM. Coop smiles and says, “Diane!” Diane smiles calmly at him and they kiss passionately. They break the kiss and Diane says, “Cooper, the one and only.” Coop says, “Do you remember everything?” Diane says, “Yes,” and exhales sharply. They both look as the clock on the wall which is bouncing to 2:53, back to 2:52 over and over again.

Diane grabs Coop’s arm and he slowly says (like Mr C in prison), “We live inside a dream.” In a normal voice, he says, “I hope I see all of you again, every one of you.” The light in the room begins to dim and Coop calls out, “Gordon!” Gordon says, “Coop!” and the screens fades to black with Cooper’s face still superimposed over the screen. 

Cooper Escapes

????

Mr C Has A Plan

FBI Finds Cooper

Meet New Twin Peaks

Revisit Old Twin Peaks

Bang Bang Band on Stage


Scene 4 Washington, Twin Peaks, The Great Northern Hotel / ????, The Dark Motel / Twin Peaks, 1989 / (0:35:06 - 0:59:12)

Walking through darkness, Coop, Diane and Cole approach the door in the generator basement room of the Great Northern Hotel, the now familiar hum ringing out. Coop pulls out the key, unlocks the door and says, “Now listen, I’m going through this door. Don’t try to follow me, either of you.” He hugs Diane and shakes Cole’s hand, who says, “Be thinking of you, Coop.” Cooper opens the door and steps inside. Before he does though, he looks back at Diane and says, “See you at the curtain call.” Diane looks at Cole, almost uncertainly. Coop steps in and closes the door behind him. He walks in Mike approaches him and, in a normal voice says, “Through the darkness of future past, the magician longs to see. One chants out between two worlds, Fire Walk With me.” Electricity sparks and Coop and Mike seem to change positions and/or faces, then fade out.

They are walking through woods and down the corridor to the stairwell above the convenience store. They begin walking up the stairs that lead to the Dark Motel, Coop following Mike. A switch is heard and the jumping boy is moving erratically down those same stairs. A door opens and crickets chirp, the Dark Motel still looking as it did when Mr C visited, Jeffries’ room light still on and his smoke still pouring, the machine sound still humming in a pattern. Coop calls out, “Phillip?” Phillip says, “Please, be specific.” Coop says, “The date. February 23. 1989.” Philip says, “I’ll find it for ya. It’s slippery in here. It’s good to see you again, Cooper. Say hello to Gordon, if you see him. He’ll remember the unofficial version. This...is where you’ll find Judy.” The camera zooms in on Cooper’s face. Jeffries says, “There may be someone. Did you ask me this?” Mike shakes his head no but Cooper just looks on. The owl cave symbol appear but the ears break off from the diamond and form another diamond, which then morphs into an infinity symbol (or 8) with a small, dark orb. The 8 rotates and the orb moves counter-clockwise to the other side of the lower loop, stopping at the 5’o clock position. Jeffries says, “There it is. You can go in now. Cooper, remember.” Mike says, “Electricity.” Sparks start flying and Cooper and Mike stutter in and out of frame, the screen freezing on Cooper with his eyes shut, a deep rhythmic wooshing and he fades to black.

The ceiling fan in the Palmer home bears witness to James pulling up to pick up Laura in Fire Walk With Me. Leland watches from the window with murder in his eyes. Events unfold as we know them, until Cooper appears in the woods where Laura and James stop for their final exchange. Laura spots Cooper in the woods and screams.

Laura never makes to Leo and Jacques car though, because Cooper approaches her as she sits on a log, after she has run off on James at Sparkwood and 21. She sees Cooper as asks who he is, if she knows him. He stays silent and she says, “Wait, I’ve seen you in a dream.” Laura’s Theme plays. She approaches him, his arm is stretched out to her. She takes his hand.

Her body, wrapped in plastic disappears from the rocky shore outside of the Packard home.

Laura asks him where they are going and Coop says, “We are going home.”

Josie is humming softly. Pete kisses his wife and goes off to fish (and actually makes it this time).

Cut to the Palmer home where an animal wailing permeates the home. Sarah Palmer eventually comes into the room with a bottle, grabs Laura’s picture and throws it to the ground, then starts stabbing it with a broken bottle on the living room floor, wailing and screaming, her hand stuttering back and forth in time. The screen goes black.

Coop and Laura are walking through the woods, walking towards the White Lodge vortex but Laura disappears along with the same scratching sound the giant played for Coop in Part 1. Laura’s scream rings out through the woods and he looks around, aimlessly for her.

Julee Cruise starts singing “The World Spins.” The lyrics are:

Haley’s Comet’s come and gone / The things I touch are made of stone / Falling through this night alone / Love don’t go away / come back this way / Come back and stay forever and ever / The world spins

Save Laura Palmer

????


Cast

Kyle McLachlan:Special Agent Dale Cooper/Mr C

Jay Aaseng:Drunk

Dana Ashbrook:Deputy Bobby Briggs

Phoebe Augustine:Ronette Pulaski

Chrysta Bell:FBI Agent Tammy Preston

Jim Belushi:Bradley Mitchum

Richard Beymer:Ben Horne

Joan Chen:Josie Packard

Giselle Damier:Sandie

Eric DaRe:Leo Johnson

Don S. Davis:Major Garland Briggs

Laura Dern:Diane Evans

Jay R. Ferguson:Special Agent Randall Headley

Miguel Ferrer:FBI Agent Albert Rosenfield

Robert Forster:Sheriff Frank Truman

Nathan Frizzell:Voice of Phillip Jeffries

Harry Goaz:Deputy Andy Brennan

Michael Horse:Deputy Chief Tommy “Hawk” Hill

Robert Knepper:Rodney Mitchum

Piper Laurie:Catherine Martell

Andrea Leal:Mandie

Sheryl Lee:Laura Palmer

David Lynch:FBI Deputy Director Gordon Cole

James Marshall:James Hurley

Don Murray:Bushnell Mullins

Jack Nance:Pete Martell

Walter Olkewicz:Jacques Renault

John Pirruccello:Deputy Chad Broxford

Kimmy Robertson:Lucy Brennan

Carlton Lee Russell:Jumping Man

Amy Shiels:Candie

Frank Silva:Bob

Al Strobel:Phillip Gerard

Carel Struycken:The Fireman

Jake Wardle:Freddie Sykes

Ray Wise:Leland Palmer

Nae Yuuki:Naido

Grace Zabriskie:Sarah Palmer

Julee Cruise: Herself


Music

  • “Sub Dream”:Written and Performed by David Lynch and Dean Hurley
  • “The World Spins”:Music by Angelo Badalamenti:Lyrics by David Lynch:Performed by Julee Cruise

Voice of The Return (Summary)

A Skeleton Key to Twin Peaks Returns Part 17.png

CLICK HERE to read A Skeleton Key To Twin Peaks The Return Part Eighteen

JB Minton is the author of POETRYSEXLIFE..AND THE THIRD FLOOR MAGISTRATES TOOK THE RAPE and is a Technologist, Podcaster and Twitch Streamer. Follow JB on FacebookTwitter and the Web.

Follow the Red Room Podcast on Twitter and FacebookReview and Subscribe to the Red Room Podcast on iTunesSubscribe to The Blue Rose Magazine and follow @BlueRoseMag1 on TwitterFollow @ScottLuckStory on Twitter and The Web to keep up with Scott Ryan's fantastic critical and accessible books on Television as an art form.

Purchase JB Minton's Book on Amazon Kindle

Purchase JB Minton's Book on Amazon Kindle

On the Ending of Twin Peaks The Return: "How Do You Say Goodbye to Art That Never Leaves You?"
Photo by Clem Onojeghuo on Unsplash

Many people feel this about Harry Potter, Lord of the Rings, Game of Thrones, and Star Wars. These are grand works of art that combine dramatic storytelling with swashbuckling adventure, fueled by mind-blowing cinematography and special effects. Twin Peaks only has two of those four elements and, after watching The Return, I would argue that it pierces deeper than any of those mega-series. Hardly swashbuckling, Dale Cooper as Dougie Jones, our protagonist hero, remains completely silent over four-fifths of his on screen time and his arch-nemesis doesn’t speak much more than that either. The war in Twin Peaks is a quiet one but is also the most dangerous conflict the human species has ever engaged in, because it is a war for our souls. This war is much like the one we fight together, separately every day, foolishly believing we are alone, swinging our swords in the darkness, when in reality we whiff the quiet dark together with our blades and if we were to swing in unison against the common enemy?

Well things would change in a instant, wouldn’t they? 

This insight is the legacy of Twin Peaks The Return. We watched the goodness of simplicity and silence broil into a liquid gold benevolence that poured from our silent hero, Dale Cooper, into the hearts and minds and spirits of those around him, while his arch-nemesis doppleganger, in quest for the deep black, created empty thought forms, filled them with deadly poison, set them in place on the board of life, and yet still watched them fall to the gold.

In Oliver Stone’s film Nixon, there is a point where E. Howard Hunt tells John Dean, “Nixon is the darkness reaching out for the darkness and eventually it’s either you or him.” No truer thing could be said of Dale Cooper’s evil double, Mr C. While on the other side of the mirror, Dougie Cooper carries the simple goodness of a baby Buddha, frustrating, foiling and foaming his spiritual light all over their lives, turning their screaming mouths into soft smiles. 

This is a show for poet warriors of light who seek to illuminate the darkness and walk away from pain. 

Welcome to Twin Peaks. May you never leave. 

JB Minton

Sunday, September 3, 2017 (before the airing of the final two Parts)

Twin PeaksJoshua MintonComment
A Skeleton Key to Twin Peaks: Part Sixteen

For a primer on how to use this tool, read A Skeleton Key to Twin Peaks: Overview

Share of Voice Part 16.png

Episodic Part Summary By Scene and Focus


Scene 1 Washington, Twin Peaks, Ghostwood Forest (0:01:41 - 0:09:49)

Ominous music and low headlights guide Mr C and Richard Horne down paved rural roads. They approach a forked road and Mr C pulls the truck to a stop, checking a device in his hand for accuracy. He looks up the hill to his right and then turns on the floodlights and directs them up the hill. He gets out of the truck and Richard follows. Richard asks what now and Mr C tells him to pay attention and he’ll find out. Mr C says, “I’m looking for a place,” then condescendingly adds, “Do you understand the place?” Richard does not. Mr C says, “Three people have given me coordinates to that place. Two of the coordinates match. What would you do, Richard?” He says, “I’d check out the two that match.” Mr C tells him he’s a very bright young man and they are very close to the two that match. Mr C says it’s right up there and we see a large stone at the top of a steep hill. Richard asks if they are going up there now and Mr C confirms this. Out of the darkness, Jerry Horne comes running up and stops when he hears and the sees the truck. He says, People?” then pulls out a set of field binoculars. Looking in the wrong end, making everything small, he surveys the situation and says, “Dear God.” Ominous music strikes again as Mr C and Richard approach the stone. Richard asks if this is it and Mr C says, “I bet it’s right up there on that rock.” Mr C says, “I’m 25 years your senior. Take this and get on up there.” He hands him the device. He adds, “It’ll beep when you’re close and make a continuous tone when you’re on it. Let me know what you find.” Richard walks slowly as odd reverberations start whistling through the air, his shadow playing across the face of the stone as he approaches, Mr C looking on backlit as if some kind of dark angel, and Jerry Horne watching it all in miniature through the wrong end of his binoculars.  The beeping grows more steady as Richard climbs the rock. He says, “I’m there,” just as a lightning bolt strikes him dead, lighting up Mr Cs face and torso, his eyes remain dead, small dusty balls of light bouncing off Richard as he screams in agony. Jerry watches the scene unfold in the small eye of his binocular lens and Richard’s scream and shadow start phasing in and out as smoke and and light eventually overcome him and his body disappears with a pop. Jerry collapses to the ground, wheezing and gasping while Mr C simply says, “Oh. Goodbye my son.” He then turns are walks back towards the truck. Jerry smashes his binoculars to the ground, shouting “Bad binoculars…” over and over. Mr C pulls his phone out and sends a text “:-) ALL” but the phone beeps  and we see that he has three bars of service, it is 2:05 AM and the text is not delivered. He puts the phone in his pocket and gets back in the truck.

Mr C Has A Plan

????

Richard Horne is Evil

Revisit Old Twin Peaks

 


Scene 2 Las Vegas, Jones Home / Hospital (0:09:49 - 0:15:30)

Chantal and Hutch pull up in front of the Jones home. They park and Chantal leans back, her foot up on Hutch’s leg, eating her Cheetos. Hutch asks if she heard the birds this morning and she, “Sure as shit did.” Two FBI cars pull up and Hutch asks what this is. Chantal sees the FBI and asks what the hell they are doing here. No one is home at the Jones home, while the Hutchens look on. Wilson gets put on stakeout duty while his boss is headed to the Lucky 7 Insurance company. Chantal says, “Good riddance.”

Dougie Jones is in a coma and there is a beeping along with a steady breathing machine. Bushnell comes in and says, “I just heard what you been telling me. He’s in a coma but his vital signs are good, strong.” Janey-E says that when people go into a coma they can stay there for  years. Bushnell doesn’t think  Dougie will do that. Sony Jim asks is comas have anything to do with electricity. Janey-E says not but Bushnell counters that, “In this case, it did.” Bushnell consoles Janey-E and we hear the Mitchum Brothers coming down the hall. They enter the room respectfully, carrying a big basket. They Y Girls come in carrying, “What you call finger sandwiches.” They just want to be as helpful as possible and pay their respects. Bradley leans in to look closer at Dougie and says, “All things considered, he looks good.” Janey-E says yeah while she beams at Dougie, clearly in love and yet still worried. They ask Janey-E for a key so they can stock their house. Bradley asks, “It was, like what, electricity?” Janey-E nods. 

Cooper Escapes

Mr C Has A Plan

FBI Finds Cooper


Scene 3 Buckhorn South Dakota, Mayfair Hotel (0:15:30 - 0:16:07)

Devices are whirring and beeping in the FBI hotel room in Buckhorn as Gordon looks at all the blinking lights with what looks like concern.  

FBI Finds Cooper


Scene 4 Las Vegas, Hospital / Jones Home / Hospital (0:16:07 - 0:31:32)

Sonny Jim and Bushnell are drinking their sodas when Sonny Jim whispers to his mother that he has to go pee. Janey-E says, “Let’s go find you the little boy’s room.” and they get up to leave. Bushnell gets a phone call and Phil tells him the FBI was there looking for Dougie. Bushnell incredulously asks, “What’s he done now, he’s in a coma?” Phil told them he was at the hospital and they left about ten minutes ago. Bushnell walks up and looks closer at Dougie, the monitor beeping, the breathing machine whirring. Bushnell shakes his head in wonder.  

Cut to the Jones home. Wilson and his partner find a good spot down the street from Dougie’s house, facing the Hutchens van. Hutch says, “Looks like it’s gonna be a long day.” He asks if she remembers that guy, Sammy. She does. He passed away and Hutch owed him money. She asks if he felt bad about that and he says, “Eh.” A white limo pulls up, followed by a large catering van. Hutch asks, “What is this now?” The Mitchum brothers get out, followed by a circus of food and the Y Girls. Hutch asks if one of them is Dougie, Douglas, to which Chantal asks. “Do any of them look like our boss? No stupid, none of them is Dougie.” He asks her to settle down and she flips, pointing at the Cheetos, saying it’s the, “Last fucking bag!” He then asks if she’s on the rag and she screams, “What if I fucking was?” That’s enough for Hutch. He disengages. They watch the madness and Chantal says, “Looks like a fucking circus parade.” Wilson confirm this by saying, “Stretch limo. Girls in pink. No Douglas Jones.” Then a beefy bald man pulls up in a Zawaski accounting, inc Mercedes, leather jackets and boots. He gets out of the car and walks up to the Hutchens’ van window. He says, “Hello. Hello. You’re in my driveway.” Hutch leans up and looks at the street, then says, “We’re not in your driveway.” Chantal says, “We’re not even close to your fucking driveway asshole.” Hutch gives here a What are you doing look and she explodes at the man, “Go fuck yourself!” The man looks at Hutch and says, “I move car.” He then plows into the van, not pushing it. Chantal has had enough and she takes a pistol shot at him, nearly hitting him. He gets out and runs to the trunk, coming back up with his own pistol. He shoots her and wings her. Hutch gets his shotgun and says, “This shit is fucking up the whole thing.” He shoots a concentrated blast into the windshield as the accountant ducks for cover. He yells, “Get us the fuck out of here,” and Chantal hops into the driver’s seat, starts the van and plows into the accountants car, knocking him to the street. She backs up and tears around his vehicle but the accountant changes to the automatic setting on his pistol and peppers the van, killing Chantal and Hutch, their van careening into the a yard. The Mitchum brothers come out of Dougie’s house, guns drawn and hunched down. Bradley asks, “What the fuck kind of neighborhood is this?” Rodney says, “People are under a lot of stress, Bradley.” They both agree and then agree to put down their guns, get the girls, and leave quietly. The FBI then disarm and arrest the accountant who seems to go along with it peacefully.

Cut to the hospital. Dougie is still on the machine and Bushnell starts hearing that same tone from the Great Northern. He follows it around the room and out into the hallway. After he leaves, Mike appears in full Red Room on the chair next to the bed. Cooper wakes up at 25:14 and rips the tubes out of his mouth and arms. He sits up and looks a Mike, who says, “You are awake.” Cooper says, “One hundred percent.” Mike says, “Finally. The other one. He didn’t go back in. He’s still out. Take this.” Mike hands him the Owl Cave ring and there is a tone. Cooper asks him if he has the seed. Mike shows it to him. Cooper pulls a bit of his hair out and hands it to Mike, saying, “I need you to make another one.” Mike says he understands and takes the hair, looks at it, then puts it in his pocket before disappearing. Cooper closes the ring in his fist and puts it under his pillow in the hospital bed just as Janey-E and Sonny Jim enter the room. Cooper motions for Sonny Jim to come up and sit on the bed. He calls them by name. Bushnell comes in and says, “Dougie’s back! Oh, I knew it!” Cooper asks Janey-E to go find a doctor and for Sonny Jim to go with his mom. He then says, “Bushnell, pass me some of those sandwiches. I’m starving!” Bushnell tells him the FBI is looking for him and Cooper says, “Perfect.” The doctor comes in and he asks the doctor to confirm that his vitals are, “A-OK.” He asks Bushnell to hand him his clothes. She asks, “Dougie do you think this is a good idea?” Cooper says, with absolution, “It’s a good idea.” The doctor confirms he’s A-OK and Cooper asks Janey-E to bring the car around. Cooper thanks Bushnell for the clothes. As they walk down the hall, Sonny Jim says, “Dad sure is talking a lot.” Janey-E says, “Yeah, he sure is, Sonny Jim.” Cooper is tying his shoes and says, “Bushnell, I’m going to need to borrow the .32 snubnose your wear in the shoulder holster under your left arm.” Bushnell is floored and says, “Sure thing, Dougie.” He asks if everything is alright and can he help him in any way. Cooper says he can get the Mitchum brothers on the phone. He calls their personal number. Cooper takes the phone and tells Rod that he’s bringing his family to the casino in 20 minutes and asks them to meet him in the lobby. Rod says, “Whatever you need, Dougie!” They are gassing up the jet now, to head to Spokane, WA. Rod stands up, button his jacket and says, “Let’s go. Meeting Dougie in the lobby.” Bradley calls the girls into action and the Mitchum machine is rolling. As Bradley says, “I wonder what Dougie’s up to now,” “Falling” starts playing. Cooper tells Bushnell that he has a feeling a man named Gordon Cole will call here. If he does, he wants Bushnell to read his message (hands him a piece of paper). He shakes his hand and says, “You’re a fine man, Bushnell Mullins. I will not soon forget your kindness and decency.” Bushnell asks, as Cooper leaves, “What about the FBI?” Cooper turns and smiles at him, then says, “I am the FBI.” He tells Janey-E to move over, he’ll drive. She protests but he says it’s okay, then gets in and tells them to fasten their seat belt. The FBI pull into the hospital just as Cooper pulls away. “Falling” continues to play as Coop drives towards the Silver Mustang Casino. Sonny Jim says, “Dad can drive. Really good.” Janey-E is still incredulous but smiling.

Cooper Escapes

Mr C Has A Plan

FBI Finds Cooper


Scene 5 Buckhorn South Dakota, Mayfair Hotel / Red Room (0:31:32 - 0:43:25)

Diane sits at the bar, smoking and receives the :-) ALL text. She shudders and the “Falling” music stops. Silence echoes as she looks stunned. She opens her purse, looks inside, takes a drink and starts remembers. She says, “I remember. Oh, oh Coop. I remember.” She grabs her phone and starts typing in numbers, then hits send. She says, “I hope this works.” She shudders and looks around, a menacing look in her eye. We see she has a handgun in her purse. American Woman starts playing as she walks towards the elevator. She pushes the button. The camera hangs in front of her as she approaches the FBI command center hotel room. She stops in front of the room and Gordon seems to be looking through the door, asks her to, “Come in, Diane.” She comes in and sits, looking disheveled. She says, “You asked me about the night that Cooper came to visit me. I’m going to tell you.” Albert offers her a drink. She opens her purse and Cole watches her closely, scanning her up and down. She drinks. He looks over Albert. She pulls cigarettes out of her purse. She says, “It was three, maybe four years after I stopped hearing from Cooper. I was still working at the Bureau. One night, no knock, no doorbell, he just walked in. I was standing in my living room.” She exhales deeply. She says, “I was so happy to see him. I held him so close. And we, uh...we sat on my sofa and started talking. I just wanted to hear everything about where he’d been and what he’d been doing.” She clutches at her neck. She says, “He only wanted to know about what had been going on at the Bureau. It felt like he was grilling me but I told myself he was just excited to hear about Bureau news. Then he leaned in.” she touches her lips slowly. “He leaned in to kiss me. It only happened once before. But as soon as his lips touched mine, something went wrong and I felt afraid and he saw the fear in me.” Her hand hangs in front of her face and she closes her eyes and starts crying. “And he smiled. He smiled. And his face.” She waves her hands outward from her mouth. “And that’s when it started. He raped me. He raped me. Afterward, he took me somewhere, an old gas station.” She starts shaking and looks at her phone We see the ALL again. She remembers something and says, “I’m in the sheriff’s station. I’m in the sheriff’s station...because, because...I’m not me. I’m not me.” Albert unholsters his firearm. Diane pulls her gun and tries to shoot Cole but Albert and Tammy both pull their guns faster, shooting Diane who jerks up and out like Laura did in the Red Room, only bullet holes remain in the chair where she was sitting. Cole looks contemplative. Tammy says, “Wow, They’re real. That was a real Tulpa.” Cole looks at them and asks, “Sheriff's Station?”

Diane is sitting in the Red Room. Mike says, Someone manufactured you.” She casually says, “I know. Fuck you.”Her mouth opens and her jaw crunches. She hunches in her shoulders and her face opens up, that same black smoke we saw with Dougie, a golden orb pops out and her torso begins inflating and deflating rapidly, disappearing into smoke and light, Mike covering his eyes. A silver ball is left in the chair.

Mr C Has A Plan

FBI Finds Cooper


Scene 6 Las Vegas, Silver Mustang Casino / Mitchum Brothers Limo (0:43:25 - 0:48:37)

The Mitchum Brothers are happy to see Dougie looking great. The plane is standing by. Janey-E asks where they are going. Cooper asks for a minute, taking his new family aside. Bradley says,
“You know, Dougie’s talking with a lot of assurance.” Rod says, “Maybe something to do with the coma?” Bradley snaps his finger and says, “Side effects.” Cooper kneels down to talk to Janey-e and Sonny Jim. He says, “I have to go away for a while but I want to tell you how much I’ve enjoyed spending time with both of you.” Janey-E is floored. Cooper says, “You’ve made my heart so full.” She asks what he’s saying. Cooper says, “We’re a family. Dougie, I mean, I will be back.” Janey-E asks, “You’re not Dougie?” Sonny Jim demands that he’s his Dad. Cooper assures him by saying, “I’m your Dad, Sonny Jim and I love you. I love you both.” He hugs them and says he has to go, that they’ll see him soon. “I’ll walk through that Red Door and I’ll be home for good.” Janey-E hugs Sonny Jim then runs to Cooper, begging him not to go. He says he has to. She kisses him deeply, her heart is breaking. She says, “Whoever you are, thank you.” Cooper gives a backward look as he and the Mitchum brothers leave.

The Mitchum Brothers need a drink to hear Dougie’s story. Rod says, “You don’t sell insurance. You’re an FBI agent who's been missing for 25 years and we need to get you to a town called Twin Peaks, to a Sheriff’s station?” Bradley adds, “Dougie, we love you but we are not traditionally welcome at such places…” Rod adds, “Or by aforementioned type people, law enforcement types.” Cooper says, “I read you 100 percent. Friends, that’s about to change. I am witness to the fact that you both have hearts of gold.” Candy says, “They do. They really do.” Bradley and Rod smile and Brade puts his arm around Coop on his brother’s shoulder. Rod slaps his brother’s hand in a loving gesture as Coop’s goodness washes over the entire scene.

Cooper Escapes


Scene 7 Washington, Twin Peaks, Roadhouse (0:48:37 - 0:57:36)

MC Pinecone introduces Edward Louis Severson on stage. Eddie Vedder plays “Out of Sand,” the lyrics are:

Can’t climb to Heaven on the cross / One liar’s promise drained the blood from my heart / Came a message in the dark / Offered the hand of a disembodied man / While I still had a chance / But now it’s gone / Gone / And I am who I am / Who I was / I will never be again / Running out of sand / I stare at my reflection to the bone / Blurred eyes look back at me / Full of blame and sympathy / So, so close / Right roads not taken / Future’s forsaken / Dropped like a fossil or stone / Now it’s gone / Gone / And I am who I am / Who I was / That will never come again / Running out of sand / Oh oh-oh-oh / A drunk octopus wants to fight / Fearful of dream, there’ll be no sleep tonight / Fine at dinner, dead by dessert / Victim or witness / We’re gonna get hurt / Fragile existence with echoes of worth / I can’t stop the bleeding / Nor the tears from thine eyes / There’s another us somewhere with much better lives / With God as our witness / But He won’t testify / Ah, Oh now it’s gone / Gone / And I am who I am / Who I could have been / I will never have the chance / Running out of sand / Running out of sand / Running out of sand

Audrey enters with Charlie in the middle of the song and they walk up to the bar, Charlie ordering two martinis, offering Audrey the seat on the bar stool. After Eddie’s song is over, Audrey and Charlie both are sitting at the bar as Audrey looks around nervously. Charlie says, “Here’s to us, Audrey.” She toasts to Billy. MC Pinecone announces, “Ladies and Gentemen, Audrey’s Dance.” The crowd clears away and Charlie seems taken aback, watching Audrey, who seems to fall into a trance. She gets up from the bar stool and saunters into the floor, the lights casting a hazy glow, a spotlight lights up her circle and she sways and grooves like she once did in the RR Diner 25 years ago. She smiles and the crowd sways with her. A man breaks the trance by punching another man, screaming, “Monique! Monique. That’s my wife, asshole!” He throws a beer bottle and jumps on the man, pounding him with punches. Audrey looks at Charlie and runs to him, hands on his shoulders, she begs, “Get me out of her.” An electric zapping sound and cut to Audrey staring into what looks like a makeup mirror in a glowing white room, her hair pulled back and she looks at her reflection, completely shocked. She asks, “What Wha-What?” That electric hum moves back to the Roadhouse band playing out “Audrey’s Dance,” as if it were a sound check.

Audrey’s Drama

Bang Bang Band on Stage


Cast

Kyle McLachlan:Special Agent Dale Cooper/Mr C

Chrysta Bell:FBI Agent Tammy Preston

Jim Belushi:Bradley Mitchum

Richard Bucher:Man Hit with Bottle

Scott Cameron:Throwing Man

Jonny Coyne:Polish Accountant

Giselle Damier:Sandie

Owain Rhys Davies:Agent Wilson

Laura Dern:Diane Evans

Josh Fadem:Phil Bisby

Eamon Farren:Richard Horne

Sherilynn Fenn:Audrey Horne

Jay R. Ferguson:Special Agent Randall Headley

Miguel Ferrer:FBI Agent Albert Rosenfield.

Pierce Gagnon:Sonny Jim Jones

David Patrick Kelly:Jerry Horne

Robert Knepper:Rodney Mitchum

Andrea Leal:Mandie

Sheryl Lee:Laura Palmer

Jennifer Jason Leigh:Chantal Hutchens

Bellina Logan:Female Doctor

David Lynch:FBI Depty Director Gordon Cole

Clark Middleton:Charlie

Don Murray:Bushnell Mullins

Tim Roth:Gary “Hutch” Hutchens

Amy Shiels:Candie

JR Starr:MC

Al Strobel:Phillip Gerard

Naomi Watts:Janey-E Jones

Eddie Vedder:Edward Louis Severson III


Music

  • “Night Electricity Theme”: Written and Performed by Dean Hurley
  • “American Woman (David Lynch Remix)”: Written by Kallie North, Jessyca Wilson,Jason White, and Butch Walker: Performed by Muddy Magnolias
  • “Out of Sand”: Written and Performed by Eddie Vedder

Voice of The Return (Summary)

A Skeleton Key to Twin Peaks Returns Part 16.png

CLICK HERE to read A Skeleton Key to Twin Peaks Part Seventeen

JB Minton is the author of POETRYSEXLIFE..AND THE THIRD FLOOR MAGISTRATES TOOK THE RAPE and is a Technologist, Podcaster and Twitch Streamer. Follow JB on FacebookTwitter and the Web.

Follow the Red Room Podcast on Twitter and FacebookReview and Subscribe to the Red Room Podcast on iTunesSubscribe to The Blue Rose Magazine and follow @BlueRoseMag1 on TwitterFollow @ScottLuckStory on Twitter and The Web to keep up with Scott Ryan's fantastic critical and accessible books on Television as an art form.

Purchase JB Minton's Book on Amazon Kindle

Purchase JB Minton's Book on Amazon Kindle

A Skeleton Key to Twin Peaks: Part Fifteen

For a primer on how to use this tool, read A Skeleton Key to Twin Peaks: Overview

Episodic Part Summary By Scene and Focus


Scene 1 Twin Peaks, Big Ed’s Gas Farm / RR Diner  (0:01:39 - 0:10:43)

Nadine is carrying her golden shovel all through town, to Big Ed’s Gas Farm. When she gets there, she confesses her love to him and that she’s been “A selfish bitch” to him and kept him and Norma apart. She wants him to be free because she’s fine now. She also confesses that she’s been watching the Jacoby show. She wants them to enjoy the rest of their lives together and that she’s happy just thinking of their happiness. She states that, “True love is giving the other what makes them happy.” Ed doubts her sincerity but she states that her walking here gave her plenty of opportunity to turn back. She’s serious.

Otis Redding’s “I’ve Been Loving You Too Long” starts playing as Ed pulls up to the RR Diner. He goes in and tells Norma that he’s free and they can be happy now. Norma gives him a cold response by saying, “Ed, I’m so sorry. Walter’s here.” She sits down with Walter and Ed is in despair, asking Shelly for a cup of coffee and, “A cyanide tablet.” But Norma breaks it off completely with Walter and he weasels out of the RR after whining to her that she’s making a big mistake. She has a wonderful family and wants to take care of them. Meanwhile, Ed seems to be meditating to find his center and makes the slightest smile as Walter walks out behind him. The camera zooms in closer to Ed and in the lower right frame, we see Norma’s loving hand embrace his shoulder. The look lovingly into each other’s eyes and Ed says, “Marry Me?” They kiss deeply as Shelly looks on with tears in her eyes. Norma says, “Of course.” Shelly stands smiling and crying and their kiss closes out a beautiful moment that has been a long time coming. The scene ends with what appears to be ripples in the clouds above the RR as Otis Redding wails, “I LOVE…!”

Revisit Old Twin Peaks


Scene 2 Wooded Area (0:10:43 - 0:24:05)

A scratching electricity sound sparks as we see the same power lines that Andy saw in his vision in the White Lodge. A vehicle is traveling on a dark road in a rural area with no streetlights. There is a road sign and we see Mr C in the driver’s seat, bouncing around. He pulls into a side lot and we see a translucent Woodsman in front of the vehicle. It’s the Convenient Store. Threnody for the Victims of Hiroshima starts playing. Mr C gets out of the car and follows the Woodsman up the stairs, where they both disappear with static crackling. Now the camera moves through translucent trees as an atmospheric wind blow and then Mr C is walking into the room with the wallpaper we saw Laura Palmer enter in Fire Walk With Me, from the framed photo that Mrs. Tremond gave to her. Mr C says, “I’m looking for Phillip Jeffries.” A woodsman looks at him and then pulls a switch, lighting up the whole room in crackling electricity. The jumping man appears, bouncing around the screen and Sarah Palmer’s face is superimposed over him. The electricity stops and the Woodsman pulls the switch the other way. Another Woodsman appears in the doorway, while the one sitting down grabs a wooden staff and stabs in on the floor once, a resounding thud following. Mr C follows the standing Woodsman into the darkness beyond. They are walking down a black hall that seems immense, a light at the end of the room showing a dimly lit stairwell, possibly the same one that Gordon saw when he looked into the Vortex in South Dakota. They enter the stairwell and ascend the stairs, the woodsman taking the lead. They turn right and enter another room which ends in a door. Mr C opens the door onto a motel parking lot that looks like a ghostly version of the hotel that Leland saw Laura and Ronette at when he arranged a sexual foursome with Teresa Banks. Insects chirp in the background and there are trees visible over the roof of the single story motel. A single light is on as a woodsman walks Mr C up to the only room with that light (room #8). Mr C reaches the door and looks back to see what looks like a woman approaching in a dirty bathrobe and neglige. The person speaks backwards, saying, “I’ll unlock the door for you.” Mr C backs away as this person approaches the door and put a key in the lock, then opens the door. They look at each other with hard gazes as the person walks away, the door open into a dark room. Mr C walks into the room and closes the door behind him. A dim fluorescent ceiling light bulb erratically blinks, illuminating dingy curtains and the low light outside. The dirty wall seems to blink in and out of focus and then either fades away or slides away, revealing a what looks to be one of the Fireman’s alarm bells. There are three antennae on top and an arm that is producing smoke that roils inside of a low luminous sphere; there is a smoke haze under the sphere and a boiling noise. The device clanks and human and the tinny voice of Philip Jeffries says, “Oh, it’s you.” Mr C say, “Jeffries.” Jeffries says, “Thank God.” Mr C asks why Jeffries sent Ray to kill him. Jeffries seems surprises and says he called Ray. Mr C says, “So you did send him? Did you call me five days ago?” Jeffries says, “I don’t have your number.” Mr C says, “So it was someone else who called me?” Jeffries says they used to talk and Mr C agrees. Ominous music plays as the flashback from Fire Walk With Me appears, where Jeffries says, “We’re not going to talk about Judy at all.” Mr C says, “1989. You showed up at FBI headquarters in Philadelphia and said you’d met Judy.” Jeffries says, “So, you are Cooper?” The light blinks on Mr C’s face and he asks, “Philip, why didn’t you want to talk about Judy? Who is Judy? Does Judy want something from me?” Jeffries says, “Why don’t you ask Judy yourself? Let me write it down for ya.” Smoke numbers start puffing out of the device. 48055(to the first power)91… Mr C asks again, “Who is Judy?” Jeffries says, “You’ve already met Judy.” Mr C asks what he means. A phone rings in the room and Mr C looks at it. He asks again, “Who is Judy?” And again. Jeffries remains silent. Mr C walks to the phone to pick it up the electricity sparks, lighting him up with unnatural light. Cut to the convenient store smoke stuttering in and out the front door (from Part 8) and then to the phone booth outside the convenient store, where Mr C appears, ejected from the Dark Motel. Mr C stutters in an out of the frame and looks at the receiver as the line goes dead with a droning dial tone. He hangs it up and starts walking towards his truck but Richard Horne stands between him and his vehicle. Richard says, “I recognized you back at the farm. You’re FBI.” Mr C asks how he figured that. Richard says he saw his picture in a fancy FBI suit. Mr C asks where he saw that picture and Richard says his Mom had it. Mr C asks who his Mom is and Richard says, “Audrey Horne.” Mr C tilts his head and looks deeper at Richard who says, “And your name’s Cooper.” Mr C hocks a loogie and then punches and disarms poor Richard, kicking him twice. He tells him not to threaten him again and to get in the truck, that they’ll talk on the way. He then texts “Las Vegas,” which ties this scene to the text Diane receives in Buckhorn. They pull away and the convenient store lights up with electricity, smoke and scratching noises. The trees become illuminated and the convenient store disappears, leaving an empty lot with strange lights rolling over the ground. 

Mr C Has A Plan

The FBI Finds Cooper


Scene 3 Washington, Twin Peaks, Forest Near Fat Trout Trailer Park (0:24:05 - 0:30:49)

Cyril Pons is walking his dog with an earflap hat in the woods. Cut to Stephen and Gersten, huddled near a large tree in the forest. Stephen has a gun in one hand and is rubbing his right leg with the other. Gersten asks him why and he says, “There is no why. I did do it.” She says, “No. She did it.” He says he can’t, that he did it. She tells him to stop it, that he didn’t do anything, that he’s fucking stoned. She asks what she gave him. She kisses him and asks for the gun. He asks if she’s going to come up with him. She says no and he’s not going up either. He tells her to look at him, that he’s a high school graduate. He says, “You see this?” He puts a bullet in the gun, points at his temple and says, “Right through here. It’s going to end it.” He says, “And when I see you come up, but, I may not even see you there. I mean...I mean gone. Where will I be? Will I be with the rhinoceros? The lightning in the bottle? Please.” She tells him it’s okay and he says, “Or will I be completely turquoise?” He feels something and jerks violently. He says, “This is the end. I got a duty to do.” He tells her to do whatever she wants and that he liked fucking her. He says he liked to get down and fight with her and fuck. She starts sobbing. He liked her cunt, sometimes because it’s so amazing. He tells her that she’s making him cry and to, “Stop it, cunt.” Cyril comes upon them and Stephen sees him and freaks out, hiding hte gun. Cyril runs away and Gersten runs around the tree. We hear a gun cocking and a gunshot. Gersten wipes her hair in and out of  her face, completely unhinged on the other side of the tree, she looks up to the tree tops in some kind of resolve. Cut to Cyril Pons walking back into the Fat Trout trailer park, telling Carl Rodd that about what he say and points to a trailer, saying he lives there. 

Shelly’s Daughter Wrong Guy


Scene 4 Washington, Twin Peaks, The Roadhouse (0:30:49 - 0:33:12)

MC Pinecone announces Sharp Dressed Man by ZZ Topp is one of their favorites. He turns a paper dial up past ten. The crowd starts dancing. James and Freddie walk up to a booth where Renee is sitting with her husband Chuck and another couple. James says it’s good to see her, which sets Chuck off. He asks James if he has a death wish, while Renee tries to calm him down. Chuck threatens to kill him and says not to talk to his wife other. Chuck jumps up and punches James to the ground, then starts beating him severely. Chuck’s friend jump in and Freddie says, “Oy, you  best stop this.” Chuck’s friend says, “Fuck you, punk!” Freddie lightly punches him, which causes the song to stop with a record scratch and a reverberation seems to ripple through the crowd. Freddie then punches Chuck, who goes flying back to the ground, Renee completely freaking out. Chuck is convulsing on the ground, while Freddie helps James up. James asks someone to call 911 because these guys are really hurt. He then apologizes to Renee and says that Chuck’s eyes don’t look right.  

Revisit Old Twin Peaks

Meet New Twin Peaks


Scene 5 Nevada, Las Vegas, FBI Office (0:33:12 - 0:33:56)

Wilson enters the office and says that Douglas Jones and his wife Jane are ready for questioning. He asks Wilson if they gave him any trouble and Wilson says no but the kids aren’t happy. He says, “Kids--uh?” These are not the Jones they were looking for and Wilson is in trouble again. 

FBI Finds Cooper


Scene 6 Nevada, Las Vegas, Mr. Todd’s Office  (0:33:56 - 0:34:56)

Mr. Todd’s is working late again. He asks Roger to come in a minute. He asks Roger if they’ve heard from Anthony. Rogers says no and is ordered to find him now. We see a gun enter the frame and Mr Todd’s head is blown away. Then Roger is shot in the chest. It’s Chantal and she walks away, wearing the same pumps the French woman had on in Cole’s hotel room. Chantal is on the phone, likely with Hutch. She says, “Hi Hun.” We hear Roger wailing, which makes Chantal come back and put another round in him, silencing poor Roger forever. Chantal says, “Yeah, one down, one to go. Yeah, french fries and extra ketchup.”

Mr C Has a Plan


Scene 7 Washington, Twin Peaks, Sheriff’s Station (0:34:56 - 0:36:26)

The bloody drool man repeats “Put him in eight,” after Hawk. James and Freddie are in jail now and James asks if those guys are okay. Hawk tells him they are both in intensive care. James looks across the way and sees Naido, then says, “What the hell?” Naido is reaching out and chattering oddly. Chad screams, “Shut up!” Bloody drool man repeats.

Revisit Old Twin Peaks


Scene 8 Nevada, Las Vegas, Hutch’s Van (0:36:26 - 0:37:51)

Chantal and Hutch eat their Wendy’s while Hutch says that the government murders all the team, so-called Christian nation, might as well be, “Thou Shalt Kill. Forgiven No One. Show No Mercy. Fuck ‘em in the ass. It’s a nation of killers. Killed all along. Killed damn near all the Indians.” Chantal says her fun is over when they actually kill someone because it’s no fun torturing a corpse. She complains that she hasn’t gotten to torture anyone in a long time. She also hates the little ketchup packs but is happy Hutch got her desert. They love each other.  Hutch says it’s a beautiful night and Chantal points out Mars in the sky.

Mr C Has A Plan


Scene 9 Nevada, Las Vegas, Jones Home (0:37:51 - 0:41:53)

Janey-E gives Dougie his chocolate cake. She loves him and is very happy. She asks if it’s delicious. She says it’s like all their dreams are coming true. She walks away and he starts pushing buttons on the remote, while continuing to eat his cake. Eventually he turns on the television. Sunset Boulevard comes on television and the Mr Demille says, “Get Gordon Cole.” Cooper’s eyes go wide at Gordon Cole’s name and he punches buttons until the television pauses. We hear electric crackle as Cooper looks at the outlet. Fork in hand, he crawl to the outlet and tries to put the fork in there, prongs first. This doesn’t work so he turns the fork around. There is an electrical pop and Janey-E screams as Cooper collapses. Sonny Jim asks frantically what happened.

Cooper Escapes


Scene 10 Washington, Twin Peaks, Log Lady’s House / Sheriff’s Station (0:41:53 - 0:47:34)

The Log Lady calls Hawk one last time. She says, “Hawk, I’m dying.” He says he’s sorry. She says, “You know about death, that it’s just a change, not an end. Hawk, it’s time. There’s some fear, some fear in letting go. Remember what I told you. I can’t say more over the phone but you know what I mean, from our talks, when we were able to speak face to face. Watch for that one, the one I told you about, the one under the Moon on Blue Pine Mountain. Hawk, my log is turning gold. The wind is moaning. I’m dying. Good night, Hawk.” Hawk says, “Good night, Margaret.” They hang up and Hawk says, “Goodbye, Margaret.” He looks very somber. The moon is half phase and dark clouds woosh past, covering the Moon completely. Sheriff Truman is sitting in a dark conference room looking at fish when Bobby, Lucy and Andy come in. Hawk intercommed them and asked them to come. Hawk enters and tells them that Margaret Lanterman passed away tonight. Lucy says, “The Log Lady’s dead?” Frank takes his hat off and leans back in his chair. They all look down with remorse. The light in Margaret’s cabin fades out.

Hawk is Missing Something

Revisit Old Twin Peaks


Scene 11 Washington, Twin Peaks, Horne House (0:47:34 - 0:50:29)

Audrey and Charlie are at the threshold of the house but Audrey is unnerved. She’s tired of waiting for the phone. Billy hated that place but...she notices that Charlie has his coat on and he says, “Of course I do. We’re going out to the Roadhouse.” He’ll need his coat. She says that he’s really something. Charlie tells her to put her coat on, that it’s late and he’s sleepy. She goes off on a tirade about how much he complains, that it’s like being with a, “Sick dog.” He asks, “Are you going to put your coat on or talk me to death right here on the threshold?” She says that when she and Billy go places, he never speaks to her the way he does. He says, “Yes. Well, I am Charlie and he is Billy.” She says that she likes Billy better. He asks if she’s putting her coat on. He’s just about had it. She says she never really saw him before the way she’s seeing him now, like she’s meeting a different person. She asks who he is. He’s done. “Off comes the coat.” She attacks him, choking him, asking him, “Do you know how much I fucking hate you?”

Audrey’s Drama


Scene 12 Place (0:50:29 - 0:00:00)

The Viels “Axolotl” plays. The lyrics are:

I’m glowing bright obsidian / Axolotl amphibian / Un-elemental chemicals / Got me growing six black tentacles / A little nightmarish a little maudlin / Good golly and go get that kid some laudenum / Salvation’s more than I can afford / Who needs the devil when you’ve got the lord? / Oh my soul / Losing control / Who built this heart? / Oh my God / Now Sister Maggie’s coming in fleet-foot / Baby’s got a belly full of black soot / I got the feeling I better just stay put / Ah she’ll love you better than any real man could / An accidental amphibian / I’m growing giddy as a Gideon / Another head for the chopping board / Who needs the devil when you’ve got the lord? / Oh my soul / Losing control / Who built this heart? / Oh my god / Oh my soul / Losing control / Who built this heart? / Oh my God / Oh my soul / Who built this heart?

A young woman is sitting alone in a booth. Two large bikers walk up to her and she says that she’s waiting for someone. They pick her up and set her on the floor, then take the booth. She sits for several moments, looking stunned, then starts crawling into the crowd before breaking out in shrieks. No one seems to notice or care.

Meet New Twin Peaks

Bang Bang Band on Stage


 

Cast

Kyle McLachlan:Special Agent Dale Cooper/Mr C

Jay Aaseng:Drunk

Joe Adler:Roger

Madchen Amick:Shelly Briggs

Dana Ashbrook:Deputy Bobby Briggs

David Bowie:Phillip Jeffries

Catherine Coulson:Margaret Lanterman (The Log Lady)

Owain Rhys Davies:Agent Wilson

Eamon Farren:Richard Horne

Sherilynn Fenn:Audrey Horne

Jay R. Ferguson:Special Agent Randall Headley

Miguel Ferrer:FBI Agent Albert Rosenfield

Patrick Fischler:Duncan Todd

Robert Forster:Sheriff Frank Truman

Nathan Frizzell:Voice of Phillip Jeffries

Mark Frost:Cyril Pons

Pierce Gagnon:Sonny Jim Jones

Harry Goaz:Deputy Andy Brennan

Grant Goodeve:Walter Lawford

Michael Horse:Deputy Chief Tommy “Hawk” Hill

Caleb Landry Jones:Steven Burnett

Sheryl Lee:Laura Palmer

Jennifer Jason Leigh:Chantal Hutchens

Peggy Lipton:Norma Jennings

James Marshall:James Hurley

Everett McGill:Big Ed Hurley

Clark Middleton:Charlie

Casey O’Neill:Skipper

John Pirruccello:Deputy Chad Broxford

Kimmy Robertson:Lucy Brennan

Wendy Robie:Nadine Hurley

Tim Roth:Gary “Hutch” Hutchens

Rod Rowland:Chuck

Carlton Lee Russell:Jumping Man

Malachy Sreenan:Bosomy Woman

Harry Dean Stanton:Carl Rodd

JR Starr:MC

Jessica Szohr:Renee

Jake Wardle:Freddie Sykes

Naomi Watts:Janey-E Jones

Alicia Witt:Gersten Hayward

Charlyne Yi:Ruby

Nae Yuuki:Naido

Finn Andrews:The Veils

Sophia Burn:The Veils

Uberto Rapisardi:The Veils


Music

  • “I’ve Been Loving You Too Long” : Written by Otis Redding and Jerry  Butler : Performed by Otis Redding
  • “Summer Night”: Written by Angelo Badalamenti and David Lynch : Performed by Thought Gang
  • “Sharp Dressed Man” : Written by Billy Gibbons, Dusty Hill, Frank Beard : Performed by ZZ Topp
  • “Threnody for the Victims of Hiroshima” : Written by Krzysztof Penderecki : Performed by Warsaw National Philharmonic
  • “AXOLOTL” : Produced by El-P, Wilder Zoby, and Finn Andrews : Written by Finn Andrews, Jaime Meline, and Wilder Zoby : Performed by The Veils

Voice of The Return (Summary)

A Skeleton Key to Twin Peaks Returns Part 15.png

COMING SOON: Twin Peaks Returns Part Two

JB Minton is the author of POETRYSEXLIFE..AND THE THIRD FLOOR MAGISTRATES TOOK THE RAPE and is a Technologist, Podcaster and Twitch Streamer. Follow JB on FacebookTwitter and the Web.

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