A Skeleton Key to Twin Peaks: Part Ten
Part Ten was Richard Horne's episode.

Part Ten was Richard Horne's episode.

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

New Narrative Conflicts Introduced

No new narratives were introduces but we did merge the A Billionaire Has a Plan narrative, since we discover he was indeed involved in the installation of the box. 

Episodic Structure

This was Richard Horne's episode, taking in a massive quarter of the Share of Voice. This was followed by Mr C's Plan with 20% SOV and Cooper Escapes for 17%. These were the primary narratives in this episode since the Bang Bang Band on stage captured the next highest SOV at 13%. Using the Bang Bang Band to divide the primary and secondary narratives of each Part turns out to be a pretty good measuring stick. That being said, it would be interesting to extract the 25 minutes and 4 seconds that have been devoted in all ten published parts and watch the parts without these musical breaks.

Coming in with a short tail of less than 20% SOV is a potpourri of narratives [5% Meet New Twin Peaks with the Mitchum Brothers; 5% Jacoby ranting; 4% Shelly's Daughter Wrong Guy; 3% Hawk and Log Lady in probably the worst edited section aired so far; and finally 2% SOV for Revisit Old Twin Peaks.

Episodic Part Summary By Scene and Focus


Scene 1 Washington, Twin Peaks, Trailer (0:01:41 - 0:04:53)

Richard Horne comes to visit Miriam about her witnessing him mowing down the little boy. She says she already told the police it was he who did it and that she also wrote a letter to Sheriff Truman. He becomes maniacal and attacks her, then turns on her gas, and lights a candle. He calls Deputy Chad as he flees the scene, and berates him (“pussy,” and “fuckface”) to tell him to get ahold of that letter. Chad agrees to do it, but at a price. As the scene closes, we see inside the trailer, the lit candle, the open oven, and Miriam lying in a pool of her own blood but she is still breathing. 

Richard Horne is Evil


Scene 2 Washington, Twin Peaks, Fat Trout Trailer Park (0:04:53 - 0:07:00)

Carl Rodd is strumming his guitar, singing “Red River Valley,” outside the Manager’s Trailer when something is thrown from a window in the trailer across the street. There is a domestic dispute happening in there. It’s Steven, yelling at Becky, threatening that, “...I will throw all of this shit out the window! Quit fucking speaking to me about what I do and don’t fucking do!” Carl says, “It’s a fucking nightmare.” Steven is obviously going through withdrawal. He is screaming in her face as Becky is huddled into the couch in a defensive posture. He is screaming, “I don’t tell you shit, like why you don’t ask for a raise. How much money do you make, anyways? You barely make minimum wage! We can’t even afford this shithole.” Then he says, “I don’t tell you to clean this fucking place up!” Then he gets really angry and pins her down and holds his fist up to punch her, saying, “Don’t you fucking move! Don’t you fucking…” Now he’s leaning in close, saying, “Listen to me! Listen to me! Don’t you give me that fucking innocent look. I know exactly what you did. You fuck. Ah shit.”

The lyrics to Carl’s song “Red River Valley” are:

From this valley / they say you are leaving / I will miss your bright eyes and sweet smile / For they say you are taking the sunshine / That will brighten my pathway awhile / come and sit by my side, little darling / do not hasten to bid me adieu / just remember that red river valley

Shelly’s Daughter Wrong Guy


Scene 3 Nevada, Las Vegas, Nice Home (0:07:00 - 0:09:30)

There is a fly buzzing around the room as Rodney Mitchum marks a casino video surveillance log. Candie is chasing the fly, which lands near his mouth and he spits it away. She grabs a remote control and smashes him in the face when the fly lands on it. She goes into hysterics when she sees she hit him. Bradley runs in to aid and the scene becomes a mess of crying and yelling and pulling Candy off of him in her grief.

Meet New Twin Peaks


Scene 4 Nevada, Doctor’s Office / Mitchum House / Jones Home (0:09:30 - 0:18:15)

Cooper is with the doctor and Janey-E recites a litany of Dougie’s crimes beginning with disappearing after planning Sonny Jim’s party for six months, drinking, gambling, etc. She is looking away from both of them as she confirms that it’s a downward spiral. The doctor asks him if he’s been exercising. He starts touching the stethoscope as the doctor tries to listen. The doctor tells him his heart and lungs sound fantastic. Janey-E sees Cooper’s trim body and begins to see him in a different light. His blood pressure is 100 over 70. “Perfect.” Janey-E is definitely looking at him in a new light as she affirms, “Remarkable.”

    Cut to one of the Mitchum Brother's house. Candy is still bawling but all of the Stepford Wives are there. Rodney is dressed in a nice suit and he has a cut and bruise on his face. He is getting a refill on his martini. They are watching the news. Rodney eventually tells her, “Candy, I’m fine. I’m okay.” The local news comes on and it’s a story about how, “They got Ike!” This makes the brothers very happy that, “Ike finally stepped on his dick.” Now they can call off the hit on Ike. They also show Ike’s attempt on Mr. Douglas Jones. Dougie is trying to touch the badges. Bradley asks him to freeze the show on Cooper. He says, “That’s our Mr. Jackpots, Rodney. Turns out, our Mr. Jones is actually Mr. Jones.” Rodney says, “What a fuckin’ world.” Candy, finally able to stammer out a sentence between sobs, asks Rodney, “How can you ever love me after what I did?” Rodney is dumb stricken and Bradley looks like he wants to run from the room.

    Cut to Janey-E, who is definitely still steaming hot from the doctor’s office. She clenches her feet in her shoes and she is watching him eat. She asks, “Dougie, do you find me attractive?” He chews. She asks, “Well? Do you?” He chews. She says, “I find you attractive.” He shoves a huge piece of cake in his mouth. She asks, “Dougie?” and giggles. Cut to sex with Janey-E on top yelling out his name repeatedly as she reaches orgasm, while his hands flop on the bed and his face in blissful wonder. Her shouting wakes up Sonny Jim. Romantic music starts playing as the lovers embrace, Cooper’s eyes staring at the ceiling in wonderment, the old Cooper smile on his face. Janey-E says, “Dougie, I love you.”

    That’s our Dougie

    • Exercising
    • Also
    • Peeee-culiar
    • Weight

    Cooper Escapes


    Scene 5 Washington, Twin Peaks, Jacoby’s Trailer (0:18:15 - 0:20:43)

    Jacoby is in rare form tonight:

    “...And the fucks are at it again! Fuck you who betray the people you were elected to help! We’re sheep to these monsters and they don’t give a shit! We grow our wool, and just when we’re getting warm, they come along with their electric clippers, and shear our wool off, and we’re just naked, screaming little fucks! No wool for us!” Cut to Nadine drinking an iced coffee and watching Jacoby. He continues, “Freezing and hungry! In the night. In the dark. And they don’t give a shit! Then when we get sick, the pharmaceutical companies make billions! They own the fucking hospitals, filled to the brim. They own the morgues. They own the embalming fluids! They own the mortuaries, the graveyards! These fucks!” He grabs a rag and wipes the spit from his mouth. Cut to Nadine’s store “Run Silent, Run Drapes,” with a drape silently moving back and forth, revealing a gold shovel in the store window. The drapes are silent because you can hear crickets. Cut to Nadine watching him again. He continues, “Is it the government’s business who we marry? What the fuck do we care what the government thinks about who we marry? Are we gonna invite them to the wedding? Fuck no! Oh, they wouldn’t come anyway. they’re -they’re too busy fucking! Fucking us at the grocery store! At the bank! At the gas pump! They’re feeding our children chemical shit coated in sugar! Why don’t these monsters bite into those tasty treats themselves? Cause they’ll die in the streets just like us! And then they’ll bloat like a big red fucking balloon. Stop! Stop distracting yourself with all this diverting bullshit and pay attention. Save the children! Every parent wants to save their child! Buy yourself a shovel, dig yourselves out of the shit and get educated!” Cut to Nadine who says, “Oh, he’s so beautiful.”

    Jacoby Fights the Man


    Scene 6 Nevada, Las Vegas, Jones Home (0:20:43 - 0:21:21)

    The Jones’s are leaving for work and school, but Janey-E pulls Cooper aside, pulls him close, and says, “I can’t stop thinking about last night. You’re so wonderful.” She kisses him and says, “I just had to tell you that. Okay, let’s get you to work.”

    That’s our Dougie

    • Wonderful

    Cooper Escapes


    Scene 7 Washington, Twin Peaks, Ghostwood Forest (0:21:21 - 0:21:43)

    Jerry is still wigging out in the woods. He is holding his phone up, looking for a signal. It beeps and loses the signal. He doubles over and screams, “You can’t fool me. I’ve been here before!” 

    Revisit Old Twin Peaks


    Scene 8 Washington, Twin Peaks, Sheriff’s Station / Horne House  (0:21:43 - 0:28:58)

    Deputy Chad intercepts the letter from Miriam to the Sheriff but both the mailman and Lucy are suspicious of his actions and motives. Chad starts his subterfuge with Lucy by saying what a beautiful day it is. He then says, “I’ll bet you and Andy wake up every day and say what a beautiful day it is.” Lucy says, “Well that depends on what time it is. I mean, sometimes there’s not even enough time to think of anything. One time, Andy was even thinking that the clock had stopped. And then we realized that we didn’t even know what time it was. It seemed like forever.” Chad goes out to retrieve the mail, slips Miriam’s letter into his shirt, comes back in and gives Lucy the rest of the mail. He says, “Beautiful day. This calls for another donut.” He takes a glazed.

    Cut to Richard Horne driving and scheming. Cut to Johnny staring at a weird teddy bear with a clear plastic globe head that constantly repeats, “Hello, Johnny. How are you today?” Johnny is wearing a helmet and his face is badly bruised from his run in with the wall. His hands and feet are tied to the chair he is sitting in and he looks miserable. Orchestral music is playing. A voice beeps in through the intercom and says, “Uh, Mrs. Horne, your grandson Richard is on his way in.” Sylvia walks into the room with nervous purpose and opens the front door, shouting, Don’t even think of getting out of your car, Richard.” He gets out and says, “Came to see you, Grandma.” She says, “Stay away or I’ll call the sheriff.” He says that he just wants a couple of dollars. Johnny is distraught at seeing Richard. Sylvia tells him to go ask his grandfather but he won’t give him anymore, will he? He says, “I got money. But I want more. You always wanted me to leave town, right?” She nods. He says, “So help me out and I’ll be out of here.” She says, “Don’t come any closer, Richard. I mean it.” Johnny falls to the floor, trying to get out of the chair. Richard is now wrestling his grandmother, saying, “I will squeeze the shit out of you, bitch. You cocksucking, bitch.” He looks at Johnny and says, “And I’ll cornhole that piece of shit. NOW GIVE ME SOME FUCKING MONEY!” He wants the money from the safe and does a lot of shouting to get it. He goes to open the safe and she is on the floor, crying over Johnny, who is also on the floor. Sylvia says, “Oh, we can’t make him mad.” Richard comes back in with a stack of cash and dumps her purse all over the floor. He takes her jewelry as well as her silverware. When leaving, he turns and looks at her with loathing, and asks, “Why do you have to make something so simple, difficult? Cunt.” He walks out and she tends to Johnny.

    Richard Horne is Evil


    Scene 9 Nevada, Las Vegas, Mr. Todd’s Office (0:28:58 - 0:30:38)

    Mr. Todd is informed by Roger that, “It’s true. It’s all over the news. They got Ike.” Mr. Todd thanks him and dismisses him. He then call Anthony from Lucky 7 Insurance over. Anthony is sitting in a waiting area (still in the same room) and comes shuffling up. Mr. Todd gives Anthony a mission, asking him if he recalls his rivals and bitter enemies The Mitchum Brothers. Mr. Todd says, “You’re going to visit the brothers now. You’re gonna pin the blame for the insurance claim that we conspired to deny for them, a loss of 30 million that hit ‘em hard, on the back of Douglas Jones. You’re gonna convince them that Mr. Jones has it out for the brothers, a personal vendetta. Then we’re gonna sit back, and we’re gonna watch as the Mitchum Brothers take care of our Mr. Jones problem.” If Anthony fails to deliver on this, then he’ll have to kill Dougie himself.

    Mr C’s Plan

    Cooper’s Escape


    Scene 10 South Dakota, Buckhorn, Hotel Restaurant  (0:30:38 - 0:31:23)

    Albert is eating dinner with Constance Talbot and they are getting along famously. Gordon calls, Tammy Perkins over and they marvel and laugh at, “Albert and the lady from the morgue.” They are happy for their friend in this “sweet” moment. They leave the room with Gordon’s hand firmly around Perkins waist.

    Revisit Old Twin Peaks


    Scene 11 Nevada, Las Vegas, Silver Mustang Casino (0:31:23 - 0:40:44)

    Anthony from Lucky 7 comes into the Silver Mustang and Rodney immediately sees him and asks, “What does he want? That insurance fuck? It’s after midnight.” Bradley says, “I could throw a car further than I’d trust that rat fuck.” They send Candy down to get him and it’s clear something is broken with her programming. She appears to no longer be listening to Rodney but she is listening to Bradley. She takes forever to bring him back up and the brothers are not happy about it. Rodney says, “I know. I know.” Bradley says, “If we fire her, she’s got no place to go.” They ask Candy what she was talking to Anthony about on the floor. She says, “Oh, that we’re in the version layer. That it’s going to be hot and smoggy tomorrow, and I told him that we are so lucky to have air-conditioning cooling in our casino.” The brothers are floored by this nonsense. Rodney finally turns to him and asks, “Okay, Mr. Insurance Man, what do you want?” Anthony tells them that, Your new hotel, which burned badly down to the ground a few months back, was ruled arson by an official investigation. Now, I may have sold you your policies, sirs. But I didn’t handle the claim. It was done by Douglas Jones, who works for our firm.” The name resonates. Anthony says, “I thought you should know from me, unofficially, ‘ON MY OWN,’ that this Mr. Jones did everything in his power to prevent you gentlemen from getting the insurance relief from the loss you suffered, that I believe to his day you deserved. Douglas Jones seems to have a personal vendetta against you and he still insists that that claim will never be paid out, and he’ll do everything in his power to make sure it never happens.” They ask if that’s it. It is. “You have an enemy in Douglas Jones.” The brothers are coming unravelled. Rodney says, “Now I know how Brando felt. Calling him tomorrow, this Douglas Jones to set up a meeting.” Bradley says, “Right you are Rodney.” Rodney says, “He took us for 30 million, 447 thousand dollars.” Bradley looks disgusted and says, “Motherfucker. You fuck us once, shame on us. You fuck us twice, shame on you. You’re dead.”  

    Mr C’s Plan

    Cooper’s Escape


    Scene 12 South Dakota, Buckhorn, Gordon Cole’s Hotel Room (0:40:44 - 0:43:44)

    Gordon Cole is doodling and drinking wine in his hotel room. He is drawing a strange lizard creature with antlers and a long, reaching hand about to grab it.  As he opens his hotel door, he looks upwards and to the left. We see a crying scene of Laura Palmer from Fire Walk With Me, the scene is now superimposed on Gordon Cole as he watches it. We hear Sarah Palmer’s voice call out, “Laura!” The scene fades and Albert is standing in the door. Albert sees where Gordon is looking and turns to see if something is behind him. They look at each other and Gordon says, “Albert. Come on in.” Albert tells him to turn up his hearing aid. Albert hands Gordon a piece of paper and says, “Diane received this text on her phone at 11:13 this morning. ‘Around the dinner table, the conversation is lively.’ Now that came in after Cooper escaped. It pinged off a cell tower in Philly, so at first, I thought it was one of her boyfriends. It seems she has a stable of male suitors--but Tammy traced this one back from there to a server in Mexico.” Cole asks, “Mexico? Did she respond?” Albert says, “She sent the following heavily encrypted message: ‘They have Hastings. He’s going to take them to the site.’ Doesn’t sound like boyfriend talk.” Gordon seems very disappointed by this. He says, “I felt it when she hugged me, but this confirms it.” Albert asks what they should do and Gordon says, “ Keep her close.” Tammy Perkins walks around the corner in slow motion and there is an echoing sound of energy. Her knock makes Gordon wince. Tammy has a file. She asks, “You remember the penthouse murders in New York City?” They do. She hands the file over and says, “This was just found on one of the earliest cards.” It’s a picture of Mr C with a hand drawn “#003” at the bottom in marker. He is standing in front of the glass box speaking with a bald man, in a beard with glasses and what looks like a robe on. Gordon says, “Dale! This is something.”

    The FBI Finds Cooper

    Mr C’s Plan

    A Billionaire Has a Plan (Merged with Mr C. Has a Plan)


    Scene 13 Washington, Twin Peaks, Great Northern (0:43:44 - 0:45:01)

    Ben Horne is on the phone with Sylvia. He asks, “What did he do?” She says he came in and attacked them and stole all her money.” He closes his eyes and holds the phone against his head, pointed outward. He says, “Oh, damn it.” He asks if Johnny is okay. She says, “No concerns for me, as usual. What do you mean, Johnny? It was me he attacked.” Ben emphatically says, “Sylvia, of course I’m concerned about you too. How much money did he take?” She says, “Everything I had in the safe, thousands of dollars. And you, you’re going to make this up to me.” He says, “No, I am not sending you any more money, Sylvia!” She says he is and she’s calling her lawyer right now. She hangs up on him and he hangs up, head cradled in his hands, and says, “Beverly, do you want to have dinner with me?”

    Richard Horne is Evil


    Scene 14 Twin Peaks Sheriff’s Station & Log Lady Home (0:45:01 - 0:46:51)

    The Log Lady is talking to Hawk on the phone. She looks very scared. She says, “Hawk. Electricity is humming. You hear it in the mountains and rivers. You see it dance among the seas and stars and glowing around the moon, but in these days, the glow is dying. What will be in the darkness that remains? The Truman brothers are both true men. They are your brothers. And the others, the good ones, who have been with you. Now the circle is almost complete. Watch and listen to the dream of time and space. It all comes out now, flowing like a river. That which is and is not. Hawk, Laura is the one.” The wind howls and we see clouds blow cover over the moon.

    Hawk is Missing Something


    Scene 15 The Roadhouse (0:46:51 - 0:53:46)

    Rebekah Del Rio is singing “No Stars.” They lyrics are:

    My dream is to go to that place. You know the one. Where it all began on starry night. On a starry night. When it all began. You said Hold me. Hold me. Hold me. Don’t be afraid. Don’t be afraid. We’re with the stars. I saw them in your eyes. En tus palabras. Y en tus besos. Tus beso. Abajo de una noche. Llena, llena de estrellas. Under the starry night long ago. But now it’s a dream. Yo vi en tus ojos. Yo vi las estrellas. Pero ya no ay. Ya no hay. Estrellas. Pero ya no hay. Ya no hay estrellas. No stars. No stars. Ya no hay estrellas. No stars. No stars. No stars. No stars. No stars. No stars. Ya no hay estrellas. No stars. No stars. No stars. No stars. No stars. No stars. No stars.

    Bang Bang Band on Stage


    Cast

    Kyle McLachlan:Special Agent Dale Cooper/Mr C

    Jane Adams:Constance Talbot

    Joe Adler:Roger

    Stephanie Allyne:Soccer Mom

    Chrysta Bell:FBI Agent Tammy Preston

    Jim Belushi:Bradley Mitchum

    Richard Beymer:Benjamin Horne

    John Billingsly: Doctor Ben

    Catherine Coulson: Margaret Lanterman (The Log Lady)

    Giselle Daimer:Sandie

    Jan D’Arcy: Sylvia Horne

    David Dastmalchian:Pit Boss Warrick

    Eric Edelstein:Detective “Smiley” Fusco

    Eamon Ferren:Richard Horne

    Miguel Ferrer:FBI Agent Albert Rosenfield

    Patrick Fischler:Duncan Todd

    Pierce Gagnon:Sonny Jim Jones

    Michael Horse:Deputy Chief Tommy “Hawk” Hill

    Caleb Landry Jones:Steven Burnett

    David Patrick Kelly:Jerry Horne

    Robert Knepper:Rodney Mitchum

    David Koechner:Detective D. Fusco

    Andrea Leal:Mandie

    Sheryl Lee:Laura Palmer

    Sarah Jean Long:Miriam Sullivan

    David Lynch:FBI Deputy Director Gordon Cole

    Greg Mills:Paul

    Moby:Musician

    John Pirruccello:Deputy Chad Broxford

    Kimmy Robertson:Lucy Brennan

    Wendy Robie:Nadine Hurley

    Eric Rondell:Johnny Horne

    Amanda Seyfried:Rebecca (Becky) Burnett

    Amy Shiels:Candie

    Tom Sizemore:Anthony Sinclair

    Sara Sohn:Sheena

    Harry Dean Stanton:Carl Rodd

    Russ Tamblyn:Dr. Lawrence Jacoby

    Naomi Watts:Janey-E Jones

    Christophe Zajac-Denek

    Rebekah Del Rio:Herself


    Music

    • “Red River Valley”: Performed by Harry Dean Stanton
    • “Slow Dreams”:Written and Performed by Johnny Jewel
    • “Headless Chicken”:Written by Angelo Badalamenti and David Lynch : Performed by Thought Gang
    • “Charmaine” : Written by Erno Rappe & Lew Pollack : Performed by Mantovani and His Orchestra
    • “No Stars” : Written by David Lynch, John Neff, Rebekah Del Rio : Performed by Rebekkah Del Rio

    Voice of The Return (Summary)

    No one, and I mean no one, can say that Twin Peaks is confusing when you break it down to the numbers. Consider that the top four narratives (Cooper EscapesThe FBI Finds Cooper, Mr C Has a Plan and Hawk is Missing Something) 70% of the entire screen time. These narratives together are telling the story of what happened after Cooper and Mr C switched bodies and Cooper got trapped in the lodge. These narratives are filled with secrets but few mysteries. The big mysteries of the series (like all of Part 8, the weird double blinking light box in Brazil, the glass box in New York City, Dougie's manufacturing and Cooper's return through the Power Station and outlet) compose a mere 7.6% of screen time. And I'd be willing to say that the short tail of 23% that is left over is all subplots and supporting narratives that add flavor and drive the primary narratives in interesting ways. Twin Peaks Returns is filled with secrets and mysteries but they are constellations of metaphors that are observable and understandable on an emotional level if not an intellectual one. For anyone who says that we should just be watching Twin Peaks and not try to figure it out, well that's like lying on one's back during sex and just letting your arms flop. It may feel good during the first half but eventually you have to get into the game if you want to get anything out of it.

    COMING SOON: Twin Peaks Returns Part Eleven

    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 Nine

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

    New Narrative Conflicts Introduced

    No new narrative conflict were introduced. In fact, we removed 

    Episodic Structure

    First thing's first - this was a big episode in that three narratives got merged into other ones. I merged the Dougie Might Be Dying narrative into Mr C's Plan because it was part of his plan. I probably could have done this long ago but it only affected Part Three. I merged A Murder Hit From Vegas into Mr C's Plan because we confirmed in this episode that Mr C was indeed the man who ordered the hit originally in Part 2. And finally, I merged A Woman is Murdered in South Dakota with The FBI Finds Cooper because these storylines have now merged. I also foresee a time within two episodes where the Hawk is Missing Something is going to merge with FBI Finds Cooper, but we'll cross that Ronnette's Bridge when we come to it. 

    Now, let's examine the rest of this episode. First, the FBI Finds Cooper took up the lion's share of the episode with 31% share of voice. Following this up, at 19% SOV within only one scene is Cooper's Escape, which even though secondary in focus for this episode, remains the primary storyline so far. Following this is Hawk Is Missing Something at 17% SOV over two amazing scenes that put the Sheriff's Department on a direct collision course with The FBI, whatever happened to Major Briggs and probably Mr C and maybe even Cooper and Laura Palmer (all speculation at this point). At 14% SOV is Revisiting Old Twin Peaks, followed by Mr C Has A Plan at 8%. Rounding off the episode at 6% we Meet New Twin Peaks in the form of two new nasty Twin Peaks ladies in a dirty booth in the Roadhouse.Finally, Au Revoir Simone capped the episode at 5% SOV with Bang Bang Band On Stage. They were no The Nine Inch Nails but they rocked the ending of Part 9.

    Episodic Part Summary By Scene and Focus


    Scene 1, South Dakota (?)  Country Road (0:01:39 - 0:02:07)

    Mr. C is walking down a country road and it is sunny and it is a sunny and beautiful morning. He approaches a post with a red handkerchief tacked to it. He pulls it off and walks ahead, his eyes a murderous black and his face, body and clothes a caked and bloody mess.

    Mr C’s Plan

     


    Scene 2 The Sky Above South Dakota, FBI Private Jet N450GD (0:02:07 - 0:03:37)

    The tail numbers on the jet are backwards. Gordon Cole is looking out the window as Tammy Preston approaches with a cup of coffee in one hand and her laptop and other items in the other hand. Gordon thanks her and she says he’s welcome. She sits down and says, “ Patch in through the office, it’s a Colonel Davis for you at the Pentagon. Urgent. Try to keep your voice down.” He takes the walkie talkie phone and loudly asks, “What?” She gestures to the sleeping Albert and Diane. Gordon puts the phone to his ear and says, “Hello? Colonel, what have you got?...I don’t appreciate your language one bit Colonel…” This makes Tammy sit back as she observes the conversation. Gordon continues, “Oh, a place. Buckhorn. Buckhorn, South Dakota. West South Dakota.” He look out the jet window. “Well, by golly, we’re over east South Dakota right now.” He motions to Tammy’s laptop and says, “Take this down.” Gordon says, “Hold on. Capital K, small N, Small O, small X. Knox. Lieutenant Knox. Buckhorn Police Department. All right. Thank you, Colonel.” He hangs up the walkie talkie phone.

    The FBI Finds Cooper


    Scene 3 South Dakota, A Farm (0:03:37 - 0:04:42)

    Mr C is walking up the drive at the farm. He is approached by Hutch, who says, “Hey, Partner. We was expecting you last night.” He looks Mr C over and says, “Looks like you’ve been spilling.” Mr C ignores him and asks, “Who owns this establishment?” Hutch answers, “Farmers.” Mr C asks, “Where are they?” Hutch says, “Oh, they’re sleeping out back.What you need?” Mr C reaches into his pocket, says, “A couple of clean phones,” then hands him the revolves, “And something for this.” Hutch looks at the the pistol and says, “Well, fuck that. I’ll get you some real nice puppies and biscuits.” He calls out, “Hey, Chantal. Boss man’s here. Grab the kit.” She calls out from inside the barn, “Is he hurt?” She comes stomping out, sees Mr C and says, “Shit. We was waiting for you all night. Where’d they get you?” Mr C lifts his tshirt and show the large bullet holes in his abdomen. She looks him over and then looks up at his face and says, “Looks like you was lucky. I’ll get the kit. Go on inside.” She walks to the van and pulls a large duffle bag out.

    Mr C’s Plan


    Scene 4 The Sky Above South Dakota, FBI Private Jet N450GD (0:04:42 - 0:06:41)

    Gordon wakes a disgusted Diane and says, “Rather than return directly to Philadelphia, would you mind if we made a short trip to Buckhorn, South Dakota It’s quite important?” Diane has had enough of this nonsense and says, “Fuck you, Gordon. I want to go home.” Gordon reiterates, “This is important and it could be of interest to you, Diane.” She looks almost lovingly at him. He continues, “An old case involving a man Agent Cooper once knew.” Diane asks, “The Blue Rose case?” Gordon confirms. She frowns a consent and lifts up two empty liquor bottles. Gordon looks at them and says, “Coming up. Got to talk to the pilot first.” Albert stirs and wakes. Gordon walks into the cockpit and tells the pilot, “Been a change of plans. We’re going over to Buckhorn, South Dakota.” Diane looks over at Albert and he says, “I know. I know. Fuck you, Albert.” He turns over to face the jet window and closes his eyes. She huffs and picks up her phone but her signal is blocked. She throws her head back against the jet seat and sighs with a worried look on her face. Tammy Preston receives a phone call. She answers, “Agent Preston.” Gordon confirms, “Good,” in the background. She says, “Yes, I understand. I’ll get him.” Gordon is walking up the aisle with two full liquor bottle and sees Tammy approaching with the walkie talkie phone. She says, “It’s Warden Murphy.” Cole takes the walkie and says, “Warden Murphy?” The Warden can be over head saying, “Your man Cooper escaped.” Gordon asks, “What? How the hell did that happen?” He takes the phone down and announces to the plane, “Cooper flew the coop.”   

    The FBI Finds Cooper

    Mr C’s Plan


    Scene 5 South Dakota, A Farm / Nevada, Las Vegas, Mr. Todd’s Office (0:06:43 - 0:09:51)

    Mr C and Chantal come walking around a corner and there are what look like two drunk or dead bodies, one propped up against a shack wall and one laid out on the ground. There is a large black truck with huge wheels. As they approach the driver’s door, Mr C pulls out a flip phone and starts composing an MMS to an unknown recipient. It says, “around the dinner table the conversation is lively.” He sends the message and then dials another number to make a call.

    Cut to Mr. Todd in Las Vegas whose phone buzzes and he looks up with dread. He opens a drawer, picks the phone out and answers it. Mr C’s voice asks, “Did you do it?” Mr Todd says, “Not yet.”

    Cut back to Mr C standing next to Chantal, her thumbs hooked into the front pockets of her jeans. Mr C says in the phone, “Better be done next time I call.” He hangs up his phone.

    Cut back to Mr. Todd. who also hangs up and looks at the phone with a terrified look. He puts the phone back in the drawer and looks around dazed, closing his eyes with dread. He opens them and continues typing, swallowing twice, he finally pushes a button on a device that looks like a desks phone. He says, “Roger, come in here.”

    Cut to Hutch walking up the truck with a sawed off shotgun in his hand and an ammo case and another small duffle bag. He opens the duffle and shows Mr C, asking, “How’s that boss?” Mr C looks in the bag and says, “It’s real good, Hutch.” Mr C puts the gear behind the seat in the truck, shuts the door and says to Hutch, “I want you to kill a warden within the next two days.” Hutch asks, “A warden? All right. You want Chantal to mess with him before I kill him?” She says, “He’ll sing for me.” Mr C looks at her and says, “Whatever you want.” She smiles at him like he’s perfect. Mr C then says to them both, “Then I got a doubleheader for you in Vegas.” Hutch says, “Oh, let’s play two.” Mr C says, “I’ll text you details after you do the warden. Remember this. Warden Murphy, Yankton Federal Prison. Kill him at home, at work, or on the way.” Hutch nods and says, “Okay.” Then he says, “Hey Chantal, give the boss man a wet one.” She takes her gum out and grabs Mr C and they kiss deeply with evil passion while Hutch looks up at a jet traveling overhead. They break the kiss and Chantal, still holding Mr C, says, “I wish it was more.” He says, “I’ll take a rain check.” She says, “You got it, sweetheart.” She then pulls what looks a fun sized bag of Cheetos from her back pocket and lays them in Mr C’s hand. Mr C pulls the phone from his pocket, throws it on the ground and says, “Kill that phone. And clear out of this place.” Hutch confirms, points behind the truck and says, “The main road is that way.” Mr C gets into the truck, starts it up and drives off. He does not wave goodbye. Hutch chambers the shotgun and blows the phone away.

    Mr C’s Plan


    Scene 6 Nevada, Las Vegas, Police Department / Off Strip Motel (0:09:51 - 0:20:29)

    Cooper and Janey-E are in the waiting room. Bushnell is talking to the Fuscos. One asks, “Has he ever given you any problems?” Bushnell says, “No. I never had any trouble with Dougie at all. He’s a solid citizen.” Fusco asks, “So you can’t think of any reason why someone would try to kill him?” Bushnell says, “Not off the top of my head. Of course, in the insurance business folks have been known to hold a grudge if things don’t go their way.” Another Fusco says, “It’s usually about money, Bushnell. Pure and simple. Nobody needs more reason than that.” Bushnell nods in confirmation. Fusco continues, “So what’s his background? How long has he been with you?” Bushnell says, “Twelve years now. He’s a good worker. He’s slow. Steady.” Fusco says, “Little more emphasis on the ‘slow.’” Middle Fusco cackles. Bushnell says, “Dougie had a car accident, as I recall, not long before he came to work for me. Every once in a while, he shows some lingering effects. [gesturing to Janey-E] His wife can talk to that better than I can.” The Fuscos stand and one says, “Well, we appreciate you coming down, Bushnell.” Bushnell looks them up and down and finally says, “Well, I really appreciate your help. He turns to leave, then turns back and says, “Damn strange business. First his car blows up and then somebody tries to kill him.” He looks deeply into each of their faces. They seem to be without pity. Bushnell exhales and a Fusco says, “We’ll get back to you as soon as we have something.” Bushnells squares up and starts clenching his fist. None of the detectives look at the fist. Bushnell turns and leaves the room. The Fuscos watch him leave. Bushnell walks up to Dougie and Janey-E and says, “Dougie, you can take the rest of the day off.” Janey-E says, “Well, that’s great, because I can take him to the doctor.” Bushnell nods and says to Cooper, “Starting tomorrow, you and I are going to work together and get some answers.” Dougie repeats the word. Bushnell seems concerned by this, and pats Janey-E’s shoulder as he leaves. One Fusco says to the others, “So get this. There is nothing and I mean nothing on our Mr. Douglas Jones prior to 1997.” No driver’s license, passport, social, class records, tax records, no birth certificate. Could be Witness Protection, one Fusco suggests and the other asks if he still has that guy in Justice. They are going to run it by him. They then go into a laughing rib about a $239 taillight. One asks, “Remember the Australian guy with the pliers?” They all get to laughing over that memory. Janey-E can hear them laughing and looks into the office. One Fusco asks, “Should we talk to him again?” Another says, “It’s like talking to a dog.” Another says, “And she does all the barking.” One has an idea. He gets Dougie’s Prints and DNA from the coffee cup and is going to send it to the lab. The Sergeant comes in to claim the specimen and eerie jazz music starts playing as he tells the detectives that the palm prints came back off that gun. Their old friend Ike the Spike. The detectives all look at each other knowingly. And they just got a 20 on him at an off strip motel. Sarge is to let the Jones go right after he logs this into evidence. Cooper drinks coffee, staring at the American Flag. “America the Beautiful,” starts playing until a woman in bright red heels walks by and catches his attention. He follows her shoes out all the way down the hall but his gaze comes back to the power outlet while a buzzing ominous tone grows. Cut to Fuscos in the parking lot looking over the new taillight.

    Cut to the Motel where Ike the Spike is closing down shop. Jazz music continues to play. He’s a leaving a message for JT. He’s been trying his cell with no luck so now he’s trying this line. “Here’s the message. No cigar. Taking medical leave.” He hangs up the phone and takes a big drink. The detectives pull into the Motel parking lot and greet the other police officers. Ike finishes off the bottle, looks himself in the mirror and downs it. He zips up his suitcase and leaves the room to start walking down the hall. Cops appear at the other end, guns raised. The Fuscos come up behind him and say, “Ike, you’re under arrest for attempted murder. We have your palm print. As a matter of fact, Ike. We have your whole palm.” The other starts laughing. Ike drops his bag, holds up his hands, one of which is bandaged to the forearm and he groans.

    That’s Our Dougie

    Answers

    Cooper Escapes

    Mr C’s Plan


    Scene 7 Washington, Twin Peaks, Sheriff’s Station / A Home(0:20:29 - 0:23:58)

    It is morning and the sun is breaking through the Twin Peaks Trees behind the Sheriff’s Station. Lucy and Andy both have an opinion about which color chair they want. Andy likes the red chair and Lucy likes the beige. Andy gives in and Lucy orders the red chair for him because true love.

    Cut to a home. Johnny Horne is out and running around. Someone yells, “Who let him out? Where is he?” Loud footsteps thud as a man runs full speed into the wall, glass shattering and a light flashes and goes out. A woman exclaims, “Johnny!” We see a hole in the wall with a bloody trail going down. There is a picture of what looks like Dwight Eisenhauer and the Great Northern waterfall in black and white. Johnny is bleeding from the head and he has long hair. He’s probably dead. A woman approaches the body and screams Johnny’s name twice and gets down on her knees. She says, “Oh, my God.”

    Revisit Old Twin Peaks


    Scene 8 Washington, Twin Peaks, Betty Briggs’ Home (0:23:58 - 0:27:33)

    Betty Briggs sits at the kitchen table typing at her Macbook Air. Bobby Briggs comes in with Hawk and Sheriff Truman. She offers coffee and he says they need to ask her some questions. She seems disturbed. Sheriff Truman starts explaining that they are here to ask her about Agent Cooper’s visit with Garland the day before...she holds her hand up and finishes his sentence. She then tells a story that after Cooper left that day, Garland pulled her aside and said that one day Bobby, Hawk and Sheriff Truman would come ask about Special Agent Dale Cooper. He squeezed her shoulders when he told her this. He didn’t say any more than this, just told her when they come to ask, give them this. She says, “And now you’re here.” She offers coffee and they decline. She asks them to come with her. She walks to a chair and says that this is the chair, that she can’t believe this day has come. She says to watch right here. She flips a handle and pulls out a tube, then says, “Bobby, when your father told me this, you were a very long way from where you are today. Somehow, he knew that it would all turn out well. He saw this life for you. Your father never lost faith in you.” She walks up and hands the tube to Sheriff Truman. Bobby is overcome with emotion. She then says, “Well fellas, let’s have that coffee.” They all agree and smile.

    Hawk is Missing Something


    Scene 9 South Dakota, Buckhorn, Morgue (0:27:33 - 0:32:43)

    Diane, Gordon, Albert and Agent Preston all enter the morgue waiting room. Gordon exclaims it to be what it is and Albert says, “They’re right behind us.” Gordon says, “Ah.” Cindy Knox and Macklay walks in and Gordon greets them by name. He calls to Diane who says, “I’m not in the mood to see a dead body this morning. I’ll just wait for you guys here.” She lights a cigarette and Macklay says, “I’m sorry ma’am, you can’t smoke here.”  Diane exhales and yells, “It’s a fucking morgue!” Macklay seems offput and motions for everyone to leave. Gordon looks back at Diane as they exit.” Diane shakes her head and says, “Fucking pansies.” After she hears the door close, she checks her phone and sees the message “Around the dinner table, the conversation is lively,” the text Mr C sent earlier.It is listed as an unknown contact in her phone and there is foreboding music playing as she reads the text. She looks straight ahead with a determined look. Cut to the group walking into the morgue. Cindy says, “Detective Macklay handled the case when it came in. He’ll brief you on background.” Macklay says, “William Hastings was having an affair with the local librarian, Ruth Davenport. Now, Davenport’s head was found atop the headless body of your Major Briggs. Once we took Hastings into custody, his wife was murdered in their house, apparently by their lawyer, a man named George Bouncer, who is now also in custody. And the next day, Hastings’ secretary died in a car explosion.” Albert interrupts him and says, “What happens in Season 2?” Macklay doesn’t think this is funny and gestures for them to enter the morgue room with Major Brigg’s body. Gordon says, “Apologies in advance for Albert.” Gordon walks in with his arm around Agent Perkin’s waist. Cindy smiles at the coroner who gives her a finger salute. They all enter and observe the body. Macklay says, “Well, this is your Major Briggs. It turns out that William Hastings along with the help of Ruth the Librarian was researching and publishing some strange little blog about some alternate dimension.” Albert looks up from the paper he is reviewing and says, “This from the principal of your local high school.” The coroner says, “Not to mention, marble champion of the sixth grade.” Albert asks, “When did he lose his marbles?” She says, “When the dog got his cat’s-eyes.” They smile at each other and Gordon smiles also. Tammy looks outside the moment. Albert opens up the folder again and says, “About one week ago, Hastings ended his blog entry with this cryptic sentence, ‘Today, we finally entered what we call the Zone, and we met the Major.’” Albert looks at the headless corpse and says, “This is the body of a man in his 40s.” The coroner says yes. Albert looks at Gordon and Gordon calls him by name into the adjacent room. Gordon says, “Let’s think out loud.” Albert says, “Major Briggs would have been 72. As you know, we though he died in a fire in that government facility outside Twin Peaks 25 years ago. About the age this man is now.” Gordon says, “Well, consider this - Cooper knew Briggs. Cooper was around Briggs 25 years ago, and now Cooper shows up in this neck of the woods.” Albert adds, “On the loose in this neck of the woods.” Gordon considers, nods and says, “Right.” He slaps Albert on the shoulder and they come back into the morgue room. The coroner holds up a finger and retrieves a plastic bag from a drawer. She retrieves Dougie’s wedding ring from the bag and says, “And I found this in his stomach. It’s inscribed. It says, ‘To Dougie, love Janey-E.’” They consider this for a moment and Gordon says to Macklay, “We need to speak with this William Hastings.” Mackaly nods.

    FBI Finds Cooper

    Mr Cs Plan

    Cooper Escapes


    Scene 10 Washington, Twin Peaks, Deep Woods (0:32:43 - 0:34:43)

    Jerry Horne is so high that his foot is talking to him, telling him it’s not his foot. After several moments of gearing up, he finally shouts, “GO AWAY!’ and grabs his foot off the grab, falling on his back.

    Revisit Old Twin Peaks


    Scene 11 Washington, Twin Peaks, Sheriff’s Station (0:34:43 - 0:40:35)

    Deputy Chad is eating his lunch in the conference room, reading a magazine and is breaking the rule. When Frank Truman, Hawk and Bobby come in, Sherrif Truman greets Lucy and she says, “Sheriff Truman, I’m not  here. I’m on my lunch break. She takes a bit of sandwich.” Truman, Hawk and Bobby enter the conference room and the Sheriff kicks Chad out unceremoniously and Hawk reticently helps him with the door before he leaves. Truman asks Bobby to open a window. Sheriff sits down and starts examining the tube. He says, “No seams. No openings. How the heck you supposed to open this thing?” Hawk suggests a hidden button and Truman doesn’t see anything. The Sheriff looks up and sees Bobby smiling and asks him what he’s smiling at. Bobby says, “I know how to open that. My Dad brought one home one night.” Truman asks, “You having fun with us, Bobby?” Bobby laughs and says, “Yeah, sort of.” Sheriff hands him the tube and says, “Go for it.” Bobby says, “We gotta go back outside.” They get up and go back outside. Lucy is holding her hand up, palm outward, as they exit. Bobby says okay and throws the tube on the concrete. He picks it up and holds it to his ear then to Hawk’s who hears the ringing and says, “What the?” Bobby shushes him and holds the tube back up to his ear, when it stops ringing, he throws it again to the ground and runs to retrieve it. It’s opened. He hands it to the Sheriff who removes two pieces of paper from the tube. The first one says, “253 yards east of Rabbits Palace” There is a red circle in the middle with a red arc above the symbol Mr C showed Darya on the card. Below these are two equal triangles. Under these are written “2:53” and “10/1” and “10/2.” To the right of this is, “Before Jack Rabbit’s. Put some soil from that area in your pocket. The Sheriff says, “That’s two days from now and the day after.” Bobby is shaking his head in disbelief. The Sheriff says he never heard of such a place as Jack Rabbit’s Palace. Bobby says, “He did it again. Wow.” The Sheriff asks what. Bobby says, “I know exactly where Jack Rabbit’s Palace is. My dad, when I was a little kid, he took me to this place. It was near where our station used to be. It was our make-believe world, you know, where we made up stories. I was the one who named it Jack Rabbit’s Palace.” Truman considers and says, “He saw all this? Whatever this is.” Bobby nods and says, “Well, that’s my dad.” Truman says, “We’ll go up there two days from now and you can lead the way, just as your dad wanted.” Truman then says, “Wait a minute and notices the second slip of paper. It’s the satellite information from Season 2. Truman says, “Cooper/Cooper.” Hawk says, “Two Coopers.” They look at each other.  

    Hawk is Missing Something


    Scene 12 South Dakota, Buckhorn, Police Department Outside / Inside (00:40:35 - 0:49:21)

    Diane is smoking outside the police station. Gordon and Tammy Preston come out. Gordon says, “We came out to join you, Diane, while Albert’s indisposed. They stand like this, Gordon smiling at Diane smoking, for a long time. Tammy shifts awkwardly, hand on hip, while Diane and Gordon stare at each other. Gordon eventually reaches for her cigarette and she gives it to him. Tammy warns, “Gordon…” Gordon inhales the cigarette and Diane smiles at him. He makes a funny face as he exhales, considers the cigarette, and says, “Whoa!” He looks at Diane and says, “We used to smoke together way back when. You remember?” Diane looks down, considering, and says, “Yeah, we sure did, Gordon. We sure did.” Tammy is not amused by any of this. Gordon hands the cigarette back and says, “Thanks, Diane.” She asks if he doesn’t want to finish it off. He says no.

    Cut to William Hastings crying in the interrogation room. Gordon motions for Tammy to enter the room. She introduces herself and he cries because she’s with the FBI. Tammy tells him she’s recording the conversation. He says Okay, gives him name and says he’s 43. She asks him if he’s the author of the blog The Search for the Zone. He confirms. She asks what sorts of things he writes about. He says, “Different things.” She asks, “Approximately two weeks ago, did you write an entry about encountering what you described as an alternate reality?” He says, “A different dimension. Yes, but it’s real. It’s all real.” She asks how long he’s been interested in this subject. He says many years, that he does a lot of reading. She says that this time he wrote that actually found and entered such a place. He confirms. She says, “ And while in this place, you wrote, and I quote, ‘We met the Major.’” He says, “Yes. You see Ruth was very good at uncovering hidden records. And she had indications that if we went to a certain place at a certain time, we would enter the dimension and make contact with a certain person. And so we went there.” She asks, “And that’s where you found the Major?” He says, “He was hiding there, or ‘hibernating.’ as he said. And other people may, were maybe going to find him, and he wanted to go to a different place. And so he asked us to get him numbers. Important numbers. Coordinates [Gordon looks at Albert]. And we found them in the place he told us to go, a secure military database.” Tammy asks if he still has those coordinates. He says, “No Ruth had them, she wrote them on her hand though, so she wouldn’t forget.” Tammy asks what happened then? He says, “We brought him back the numbers last Thursday. And then something terrible happened. These others -- these others came in and they grabbed me by the neck and they pushed, they pushed me down. They said, ‘What’s your wife’s name!? What’s your wife’s name!?’ Phylis, I said. I didn’t kill Ruth. I didn’t kill her. You have to believe me. I loved her. This is all my fault. It never should have happened.” Tammy brings out a sheet of photos and asks him if any of the six men are the major. He points him out. Tammy asks him to draw a circle around the man he calls the major and to sign and date it. He complies. She closes the book as asks if he can tell her what happened. He takes a breath and says, “We gave him the numbers and he started to float up. And he said some words, ‘Cooper. Cooper.’ Right before his head disappeared. It was something like no one has ever seen before. I’ve never seen anything like it. I’ve never read anything like it. You don’t know. You weren’t there. It was, he, it was beautiful. And then Ruth was dead. It was so terrible. And I had to hold her. And then, I woke up and I was in my home. I was in my home.” Tammy asks, “Did the Major kill Ruth?” He says, “No, there were so many people there. You have to believe me. Please, I didn’t kill Ruth. I loved her. I loved her. I don’t know what is happening to me. Why can’t you help me, please. We were so happy together. We were going to go to the Bahamas. We were going to scuba dive and drink mixed drinks on the beach. We were gonna soak up the sun and look at the beautiful sunsets. She said to me, she said, ‘Bill, let’s just go. Let’s just do it. Let’s go to the Bahamas. Let’s go scuba diving.’ I want to go scuba diving.” Albert says, “Fruitcake, anyone?”
    The FBI Finds Cooper


    Scene 13 Washington, Twin Peaks, Great Northern (0:00:00 - 0:51:57)

    Twin Peaks music plays as we see the Great Northern at night. Ben Horne and Beverly are again looking for the source of the ringing sound in his office. It seems to be greatest in the corner with the lamp. Security couldn’t find anything, even though they checked everywhere. She says, “It’s kind of a mesmerizing tone.” He agrees and submits, “The ring out of a monastery bell has the same quality or the otherworldly.” They move to turn and end up in a close embrace, starting into each other’s eyes. Ben says, “Beverly, [touching her face gently] I can’t do this. I don’t know why it is.” They hold hands and she says, “You’re a good man, Ben.” He caresses her shoulder.

    Revisit Old Twin Peaks


    Scene 14 Bang Bang Bar (0:51:57 - 0:55:05)

    A DJ is playing house music with spooky sounds. A young blonde woman is drinking a Rainbow beer, itching her armpit at a booth. Another young brunette woman sits and asks, “You know, that zebras out again?” They laugh at this. The blonde drinks from the can of beer. The brunette says, “Haven’t seen you in a while.” The blonde says she got a new job. The brunette asks her what happened. She says, “I got fired. Fucker fired me.” The brunette says, “That’s fucked.” The blonde admits she came in high a couple of times. The blonde can’t remember and doesn’t understand what the deal was because she did the work. She asks, “How can you fuck up serving burgers.” She has a wicked rash that she’s scratching. She got a new job working across the street serving burgers. They laugh and drink. The blonde asks, “Have you seen that penguin, you know that penguin?” She scratches again and again…

    Meet New Twin Peaks


    Scene 15 Bang Bang Bar (0:55:05 - 0:58:08)

    Au Revoir Simone are now on stage singing “A Violent Yet Flammable World,” the lyrics are:

    “Oceans shape the sides / Touching down in the space / Soaking from a warm goodbye / An early rise offers kindly / Tonight I sleep to dream / Of a place that’s calling me / It is always just a dream / Still I cannot forget what I have seen / The crowd’s hard to believe / At their faces I’m looking / But you’re feet I’m following / In soft steps on a path the way you lead / I don’t want to lose myself / It’s a whisper / It’s a funny thing / We fold like icicles on paper shelves / It’s a pity / to appear this way / You’re flying / When your foreign eyes / Trace the heights / of the city / Steaming / With rocks and clouds we breathe / Violent skies / A shock to my own body / Speech is wild / Alive sacred and sounding / From across and beyond / Wild / O, far beyond / I don’t want to lose myself / It’s a whisper / It’s a funny thing / We fold like icicles on paper shelves / It’s a pity / To appear this way / Hold, hold, hold on / I swear I saw it somewhere / Waving, Wading / One, Two Three / Above the wakes that follow / Hold, hold, hold on / I swear I saw it somewhere / Waving, wading, one, two, three / above the wakes that follow / I don’t want to lose myself / Tonight I sleep to dream / Of a place that’s calling me / It’s a whisper / It is always just a dream / It’ a funny thing / Still i cannot forget what I have seen / We fold like icicles / With rocks and clouds we breathe / On paper shelves / A shock to my own body / It’s a pity / Alive sacred and sounding / To appear this way / From across and beyond, oh, far beyond

    Bang Bang Band on Stage

    Cast

    Kyle McLachlan:Special Agent Dale Cooper/Mr C

    Jane Adams:Constance Talbot

    Dana Ashbrook:Deputy Bobby Briggs

    Chrysta Bell:FBI Agent Tammy Preston

    Richard Beymer:Benjamin Horne

    Brent Briscoe:Detective Dave Macklay

    Larry Clarke:Detective T. Fusco

    Jan D’Arcy: Sylvia Horne

    Don S. Davis:Major Garland Briggs

    Laura Dern:Diane Evans

    Eric Edelstein:Detective “Smiley” Fusco

    Sky Ferreira: Ella

    Miguel Ferrer:FBI Agent Albert Rosenfield

    Patrick Fischler:Duncan Todd

    Robert Forster:Sheriff Frank Truman

    Harry Goaz:Deputy Andy Brennan

    Michael Horse:Deputy Chief Tommy “Hawk” Hill

    Ashley Judd:Beverly Paige

    David Patrick Kelly:Jerry Horne

    David Koechner:Detective D. Fusco

    Sheryl Lee:Laura Palmer

    Jennifer Jason Leigh:Chantal Hutchens

    Matthew Lillard:William Hastings

    David Lynch:FBI Deputy Director Gordon Cole

    James Morrison:Warden Dwight Murphy

    Don Murray:Bushnell Mullins

    John Pirruccello:Deputy Chad Broxford

    Jelani Quinn:Desk Sergeant

    Adele Rene:Lieutenant Cynthia Knox

    Kimmy Robertson:Lucy Brennan

    Eric Rondell:Johnny Horne

    Tim Roth:Gary “Hutch” Hutchens

    Charlotte Stewart:Betty Briggs

    Naomi Watts:Janey-E Jones

    Karolina Wydra:Chloe

    Christophe Zajac-Denek:Ike “The Spike” Stadtler

    Hudson Mohawke:Himself

    Heather D’Angelo:Au Revoir Simone

    Erika Forster:Au Revoir Simone

    Annie Hart:Au Revoir Simone


    Music

    • “America The Beautiful” : Written by Samuel A. Ward : Performed and Arranged by the U.S. Airforce Band

    • “Human” : Written and Performed by Hudson Mohawke

    • “The Chair” : Composed and Performed by Angelo Badalamenti

    • “A Violent Yet Flammable World” : Written and performed by Heather D’Angelo, Erika Forster, and Annie Hart


    Voice of The Return

    A Skeleton Key to Twin Peaks Returns Part 9.png

    COMING SOON: Twin Peaks Returns Part Ten

    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 Eight

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

    New Narrative Conflicts Introduced

    No new narratives were introduced in Twin Peaks Part Eight. 

    Episodic Structure

    Hoo boy, where we go. The structure of Part Eight is actually straight forward. Lynch & Frost up the amperage on Mr C's Plan by a handsome 32% over average so far and they also up the volume (so to speak) on the Bang Bang Band on Stage with the amazing Nine Inch Nails performance of "She's Gone Away." It was strange seeing this Bang Bang Band on Stage narrative happen so early in the episode and it was a leading indicator of what was about to come. Then David Lynch reached his nicotine stained fingers out to the mystery knob and turned it, and kept turning it, and kept on turning it, to a, get this, SEVEN THOUSAND SIXTY THREE PERCENT INCREASE over the average of what they've shown so far. Keep in the mind that the only scenes that I've classified as "?????" were the box with blinking lights scenes. Even the weird "Power Station" scenes from Part 3 actually fall under the Cooper Escapes narrative, so even though they are weird and arguably unexplainable at present, at least they are within context. But I lump the 41 minutes and 47 seconds that start with the Trinity Test and end with the girl burping up beetle frog slime as a great big question mark, and how wonderful that is to say!

    Episodic Part Summary By Scene and Focus


    Scene 1 South Dakota, Cheap Rental Car (0:01:40 - 0:11:22)

    Mr C and Ray are driving in the dark. Mr C pulls his phone out there is an app with three black boxes. One box has a capital C. The second box says “FIRE” and the third has a small capital D with a large tan circle with a small black circle inset and a capital “X” next to it. There is a slider arrow at the bottom of the app. He says, “There are three tracking devices on this car," he taps each of the boxes and tells Ray to get up close behind as semi-truck. He types “DEGWW8” into the phone, rolls down the window, says, “That should do it,” and throws the phone out. Ray says, “I hope you’re not sore at me for running off. It sure was stupid of me to get caught up like I did. Thanks for getting me out of there.” Mr C says nothing. Rays asks, “How’d you do this?” Mr C says, “Darya told me what happened. You needed to get out, Ray.” Ray asks where Darya is. Mr C says, “She’s waiting for a phone call when we get someplace safe.” Ray asks, “Where are we going?” Mr C says, “You’d probably like to go that place they call “The Farm.” Ray says that’s what he was thinking and they are heading in the right direction but they aren’t going to let them just walk. “Are they?” Mr C says, “You have something I want, Ray.” Ray pauses and says, “Yes, I do. I got it memorized. All the numbers, memorized perfectly. But honestly, Mr. Cooper, I think it might be worth some money.” Cooper looks at him menacingly. Ray says, “Maybe, quite a lot of money.” Mr C says, “You think so, do you?” Ray says, “Yes sir, I do.” Mr C doesn’t respond but a moment later sees something up the road and says, “There it is. Take that little road up there on the right. Let’s get off this highway, Ray.” They are traveling down a dark road now and eventually Ray pulls over off road and stops the car and asks, “You mind if I pull over a sec? I gotta take a leak.” Mr C says, “Go for it,” and looks at Ray again. Ray stops, the headlights shining into the darkness, and walks away from the car. Mr C opens the glove compartment and pulls out a loaded pistol. He gets out and approaches Ray, saying, “Ray, I want that information.” Ray says, “Yes?” Mr C raises the gun and says, “Looks like you’re out half a million.” Ray pulls his own gun out, his back still to Mr C and says, “Well, I think you’re wrong about that.” He turns around and Mr C squeezes the trigger three times but the gun doesn’t fire. He looks down at it. Ray says, “Tricked ya, fucker,” and shoots Mr C twice but there is a strange cut here between the bullets. Mr C falls down, shot. The camera careens up to Mr C’s body as Ray walks up to shoot him in the head. Flashing lights descend and a strange music starts playing. Woodsmen start shifting towards the murder scene and Ray is shocked and terrified. The Woodsmen are translucent and dancing around Mr C’s body. Ray looks around at them all, his gun hanging limp and useless in his hand. The Woodsmen are now on their knees patting the dirt softly, working through Mr C’s body which is also now translucent as it flashes in and out of phase. The ominous atmospheric music builds. One of the Woodsmen is working on Mr C’s bloody stomach, smearing the blood everywhere while others are dancing in circles around the body. They are now smearing the blood all over his face and they may be ripping into his belly. They appear to be mixing the dirt with the blood and smearing it all over his body. Now they are done with this dark ritual and Mr C’s body lies still while the Woodsmen wait. Ray is sitting down in shock and moaning, watching this grisly scene unfold. Other Woodsmen are still dancing around the body, moving around and potentially through Ray. One Woodsmen holds Mr C’s head up by the neck so that it is looking at Ray and Ray is scooting backwards on the ground, still seated. Now a BOB bubble is being extracted from Mr C’s open chest and belly, there is an amniotic sac surrounding BOB’s maniacal face. This is Ray’s breaking point. He gets up and runs for the car while the Woodsmen continue their dancing ritual. Ray slips and falls, quickly getting back up and bolting into the car. He backs up and floors it in drive, getting the hell out of there as fast as he can. The license plate on the car is “UTD 643.” As Ray pulls away, the Woodsmen phase in and out, dancing, while dust lifts and hangs in the air. They disappear while the lightning and music play on and the dust floats. The lightning stops and the screen fades to black.

    Cut to dark shadows obscuring a quarter Moon.  

    Cut to Ray in the car, talking to Phillip. Ray says, “I think he’s dead. But he’s found some kind of help, so I’m not 100 percent. And I...I saw something in Cooper. It may be the key to what this is all about. And I told him where I’m going, so if he comes after me, I’ll get him there.” Ray hangs the phone up.

    Mr C’s Plan


    Scene 2 The Bang Bang Bar (0:11:22 - 0:16:00)

    Lights are flashing again and we see a guitar and someone turning a knob. It also sounds like thunder but the electronic kind. Pan back and Trent Reznor is one stage with Nine Inch Nails. An MC is standing in front of a microphone with a large pine cone on it. He says, “Ladies and Gentlemen, the Roadhouse is proud to welcome the Nine Inch Nails.” They start playing “She’s Gone Away,” and the lyrics are as follows:

    You dig in places ‘till your fingers bleed / Spread the infection where you spill your seed / I can’t remember what she came here for / I can’t remember much of anything anymore / She’s gone she’s gone she’s gone away / She’s gone she’s gone she’s gone away / Away.../ Away…/ A little mouth opened up inside / Yeah, I was watching on the day she died / We keep licking while the skin turns black / Cut along the length but you can’t get the feeling back / She’s gone she’s gone she’s gone away / She’s gone she’s gone she’s gone away / She’s gone she’s gone she’s gone away / She’s gone she’s gone she’s gone away / Away.../ Away…/

    Bang Bang Band on Stage


    Scene 3 Field (0:16:00 - 0:16:20)

    The ring of the Nine Inch Nails song reverberates in the field as Mr C’s corpse lays peacefully with arms outstretched. He sits up, eyes closed and the ringing stops. He opens his black eyes, bloody faced and filthy. Fade to black.

    Mr C’s Plan


    Scene 4 White Sands New Mexico July 16, 1945 5:29 AM (MWT) / ????? / New Mexico Desert August 5, 1956 (0:16:20 - 0:58:07)

    Atmospheric wind swirls and we are at what looks like the top of a mountain, looking down into a valley. A mechanical voice starts counting down from ten and clicks after one. There is a brilliant flash of light from the valley below as Pendereckis “Threnody to the Victims of Hiroshima” plays. We start zooming in and there is a mushroom cloud in the center of the valley with what looks like lightning streaks next to it. The devastation rises and smaller clouds gather and roll beneath the ascending mushroom cloud, like a virus spreading across the valley. We continue moving into the center of the mushroom cloud with an intense atmospheric whooshing. Inside the cloud there are explosions of black, explosions of other colors and opaque movements of these colors with speckles of black spots. Now we see a field of black with hundreds of jittery white dots moving in a swarming pattern. Back to the opaque colors with flashes of yellows and reds. Now we see a negative image with what looks like an X ray with sperm-like objects moving in a common pattern. Now there is an explosion of white objects against a black background, like an electric dandelion blown into the wind or bubbles under water moving at high velocity. A pattern of back and forth rowing emerges and morphs into a violent digging of light into darkness. Now a fiery explosion is coming towards us, followed by what looks like the blues and whites and yellows of stars being born in a nebula or fireworks exploding. Now we see a dusty tunnel with a bright light in the middle. There are multiple explosions of light with thundering sounds and we shift between these gaseous tunnel explosions of yellow into reds, each explosion producing a rippling effect on the gas and dust around it. Now, a full blown yellow explosion is consuming the screen, growing larger and more violent. The nuclear furnace burns and swells with the music. There is a shift to black and white as explosions rip across the screen from every direction and a dark dust cloud rolls across...

    ...giving way to an empty convenience store with two gas pumps outside, each with one lightbulb at the top of the pump. There are two hanging lights above the front windows and door and what looks like a phone booth. There are stacks of cans visible through the largest front window and a staircase leading up on the right side. Lights begin flashing as the door opens and closes, like it’s phasing through time. A dust cloud rolls out of the door, also in phases of light. Bright flashes of light happen inside the store and dust starts rolling out again. Now the bright flashes inside are occurring more rapidly and the dust cloud grows to cover the entire store. The dust cloud dissipates to allow visibility and people are suddenly walking all around. They look like the Woodsmen but they do not appear to be burned. They are moving all around the inside and outside of the convenience store, coming in and out, walking all around the pumps. They do not appear to be walking up the stairs. Their fists seem to be out in front of them quite often. Cut to a closer shot in front of the far right gas pump and the men continue to walk around with their fists out. In at least one flash, someone is standing behind those stacked cans inside the convenience store. The men disappear and the view moves back out the larger convenience store while the camera goes out of focus and then back in focus, repeating several times, causing the lights to flash as a static sputtering starts, like a 35mm film rolling in a movie theater. Now the men are back and the camera has shifted closer but in front of the large front window. There are men moving around inside the store. Back out to the larger shot of the store and the camera is out of focus while the sputtering continues, almost like a needle stuck on a vinyl record. The sputtering sound stops but the camera switches rapidly between up close shots and far away shots, flashes of light highlighting the characters moving around in the shadows. The scene fades to black.

    There is a creature floating in the black. It looks like a female shape but has no face and is pale like an alien. It vomits into the blackness, something that looks like silly putty or plastic. The creature has horns. We zoom into its vomit and see hundreds of small egg shapes and one dark glob with BOB’s face. One egg breaks from the fluid and floats off. Inside the fluid, eggs are floating all around along with bubbles. There is a burst of music and flame with jets of explosions shooting across the screen. There are multiple explosions happening but a large pool of fire in the middle that takes on the shape of what looks like a heart, out of which a golden amorphous org emerges and moves towards us. It eventually consumes the screen, reflecting all the explosions around it. The camera moves into the golden orb and the music speeds up rapidly and we are moving very fast, like blood cells in a vein, thousands and thousands of red orbs moving past us at blinding speed; we are clearly moving rapidly against the flow of whatever this environment is. We eventually start to slow down and shift into a view of...

    ...a massive dark ocean, the orbs disappear and the great waves and strong wind take over focus. We see a large black tower in the distance, a large protrusion jetting up from this immense ocean. Massive waves break against the rocks, spraying water up the cliffs. The wind whistles as we start moving up the cliff to a huge metallic structure that looks like a Battlestar Galactica Cylon. We move closer into a rectangular dark window high up the structure. Ambient vintage music starts playing over a gramophone as we move into a room where a beautiful woman in an ornate sparkly dress sits on a couch. There is an iron screen in front of her and a standing lamp with a teardrop shade with tassels rooted to a circular mat on the ground. There is a large gramophone piece of furniture next to the couch she sits on and two recessed circular structures on the ceiling. There are windows but they are covered over, a rectangular tapestry hangs to her right on the wall behind her. There is a large bell shaped object with two transistors on top and two dials on the front, sitting on a larger circular rug. There are curtains behind it and the floor has a swirly appearance. There is either a mirror on the ceiling or a large beam running down the center of the ceiling. The woman is swaying to the music, her hands folded in her lap. A metallic clanking alarm starts pinging and ???????? appears from behind the bell structure. He turns to look at the woman and then turns around to look into the camera. He seems concerned with what he sees. Eventually he turns to the bell structure and pushes a button. The alarm stops after ringing 64 times. ???????? looks at the lady again and turns to walk behind the bell.

    The music has stopped and ???????? is now ascending an ornate staircase with a railing that starts halfway up. His steps have that familiar half scratching sound that movement in the Red Room has.

    He enters a large room that looks like the gathering hall of a classic theater. There is another bell structure here on top of another larger circular rug. There are two light sconces on either side and both are lit up. A similar wavy carpeting is all over the room and there appear to be distant floating lights in the background with the same covered windows lining the sides of this room. ???????? walks through the room.

    ???????? walks into a theater with a large screen, a balcony, and another bell structure. He approaches the stage, climbs a few stairs and stands on stage as atmospheric music plays. He gestures to the screen and the same film we saw earlier of the bomb starts playing. He seems disturbed by what he sees. The fireball grows larger. We see the convenience store lights flashing and the men walking in phase. We see the creature vomiting again and the screen freezes on the BOB bubble. ???????? walks forward a few steps and turns to face the direction of the camera. An organ starts playing in the music as he ascends into the air. A light shines into the room and we see the lady from the gramophone room walk in, her way lit by a spotlight. There are flashes illuminating the room from the front. She approaches reverently. BOB’s bubble appears in screen and she seems very worried. Her shadow appears in spotlight underneath ????????, who is now floating laterally high up in the air, arms at his side. The woman climbs the stairs to the stage and a glowing substance emanates from the ???????? head. The image of BOB changes to a space background as beautiful sparkling golden gas starts flowing into the room from ????????. The woman is looking up, smiling in reverence at what is happening. The sparkling gas creates a flowing river like structure that looks like a tree. Some of the sparkles grow into glowing golden orbs. Lights start flashing in the room as a universe of sparkles swim in the air. One orb grows large and floats out of this universe. It floats down to the woman who holds it religiously, gazing into the glowing orb. She brings it close and we see the face of Laura Palmer from her senior picture. She gives the orb a long kiss and lets it go, floating upward to a tube that looks like a curving horn with three holes in it. The horn moves toward the screen, which changes to an image of the Earth like one would see in an old 1950s animation. The orb drops onto the screen and becomes black and white momentarily, a satellite moving towards the Earth, glowing golden again. We see a long view of the room from the back, the lady watching the orb’s descent as the image fades to black.

    We are back in the New Mexico desert and the year 1945 appears on screen again and the numbers tick up to 1956 and we find out it is August 5. The wind roars as the camera zooms in flashes, eventually onto an egg that is hatching with squishing liquid sounds. A creature crawls out of the egg, looking like a frog with beetle wings. It crawls on the sand and flutters its wings, leaving a slimy trail as it crawls offscreen.

    Cut to dark clouds moving fast across the face of the full Moon.

    Cut to the outside of another convenience gas store. It is nighttime and crickets are chirping. Two young people emerge from the shadows, a young boy and girl. The boys asks, “Did you like that song?” The girl says she did. She stops, looks at the ground and exclaims, “Oh, look! I found a penny! Oh, and it’s heads up. That means it’s good luck.” She runs her thumb across Lincoln’s face. The boy says, “I hope it does bring you good luck.” She smiles at him.

    Cut to the desert at night. A dark man comes floating from the sky diagonally. There is another one following him. They are the Woodsmen and their eyes are crazy, their skin blackened.

    Cut to a couple driving at night, the Woodsmen approach a stopped car in the other lane and shadows cross the headlight. There is an electric scratching noise as the Woodsman stumbles up to their car. He leans in with a cigarette and asks, “Got a light?” (three times). The other Woodsman is in front of the car, looking in. The wife begins screaming as the husband stares in shock at the Woodsman with the cigarette. Her wail is drawn out and distorted as the electricity continues to crackle. The Woodsman continues to ask, “Got a light?” The man slams on the gas and the car takes off, avoiding other Woodsman and careening into the dark night. The husband and wife hold hands in fear as they tear away from the scene.

    Cut to the boy and girl walking on a dirt road in a valley with a large hill on their left. Crickets are chirping still. The girl asks, “You live in town, don’t you?” He says yes. She asks, “You live by the school?” He asks how she knows that. She says she just does. She says, “So, I thought you were going with Mary.” He says, “No, that’s over.” She asks if he’s sad about that. He says no. She says, “Oh. Okay, that’s good.” They are at her home now. She says, “It was really nice of you to walk me home.” He says that he really wanted to and asks if she minds if he gives her a kiss. She doesn’t know. He begs for just one. She exhales and closes her eyes. They kiss softly and she exhales again. They say goodbye and wave at each other a final time before she goes into the house.

    Cut to footsteps in the desert toward a flat building with a large antenna on top; it is the Woodsman walking in the dark. He sees the antenna and starts beelining toward it. The Platters “My Prayer” starts playing. The lyrics are:

    When the twilight is gone / And no songbirds are singing / when the twilight is gone / you come into my heart / and here in my heart you will stay / while I pray / my prayer / is to linger with you / at the end of the day / in a dream that’s divine / my prayer / is a rapture in blue / with the world far away / and your lips close to mine / tonight while our hearts are aglow / oh tell me the words  that i’m longing to know / my prayer / and the answer you give / may they still be the same

    We see the outside of a radio station KPJK. According to the clock on the wall, it is 10:16 PM. A DJ flips through pages in a binder with a headset on while a 7” record plays next to him.

    Cut to a mechanic working on a car in a garage, listening to the radio. 

    Cute to a woman is waiting tables in a restaurant, closing up for the night.

    Cut to the young girl is listening to the radio in her bed. There are dark, circular marks on her knees. She is smiling.

    The Woodsman approaches the radio station and enters the front door. A woman is filing with her back turned to the door. She says, “Yes” and turns in horror to see the man in front of her. He says, “Got a light?” and the electric hum grows as she seems both frozen and drawn toward him. He gruesomely crushes her skull with one hand. He sees the DJ in the booth and enters, asking, “Got a light?” The man turns around in horror and the Woodsman grabs his head and squeezes but doesn't’ kill him as quickly as he did the woman. There is a horrible squishing sound and the record scratches as the woodsman pulls the arm and needle off the record. The mechanic, the waitress, and the girl all listen to the dead air hiss over the radio. The Woodsman flips a switch and grabs the microphone, bringing it close to his mouth. With cigarette hanging from his mouth, he recites the following verse several times over and over:

    This is the water
    And this is the well
    Drink full and descend
    The horse is the white of eyes
    And dark within

    The waitress, hearing this recitation, collapses to the ground.

    The mechanic, hearing this recitation, drops his wrench and collapses to the ground.

    The frog beetle is crawling on the ground outside a home.

    The girl is looking at the radio with distaste. She is reaching for the dial. She doesn’t make it and falls asleep on the bed. The frog beetle crawls and we can hear the Woodman's voice on the radio. We see her window is open. The frog beetle jumpflies to the sill. The girl is peacefully sleeping and the frog beetle crawls up to her face. It flutters its wings and the girl’s mouth opens wide enough for the frog beetle to crawl inside. She swallows. 

    Cut to the Woodsman who ends his recitation, emphasizing a final “withIN.” He finally crushes the DJ’s skull, his eyes turning white as he brutally rips the man’s head apart, blood pouring onto the floor. The Woodsman then turns, leaves the radio station, and walks into the darkness as lights flash in front of him. A horse whinnies in the distance several times.

    Cut to the girl lying asleep in the bed, her eyes blinking rapidly and her brow furrowing.

    ????


    Cast

    Kyle McLachlan:Mr C

    Leslie Berger:New Mexico Wife

    Robert Broski:Woodsman

    Cullen Douglas:Disc Jockey

    Erica Eynon:Experiment

    Tikaeni Faircrest:Girl(1956)

    George Griffith:Ray Monroe

    Tad Griffith:New Mexico Husband

    Sheryl Lee:Laura Palmer

    Xolo Mariduena:Boy(1956)

    Joy Nash:Senorita Dido

    Tracy Phillips:Receptionist

    Frank Silva:Bob

    JR Starr:MC

    Carel Struycken:????????

    Trent Reznor:”The” Nine Inch Nails

    Atticus Ross:”The” Nine Inch Nails

    Mariqueen Maandig Reznor:”The” Nine Inch Nails

    Robin Finck:”The” Nine Inch Nails

    Alessandro Cortini:”The” Nine Inch Nails

    Joey Castillo:”The” Nine Inch Nails


    Music

    • “She’s Gone Away” : Written by Trent Reznor and Atticus Ross : Performed by Nine Inch Nails

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

    • “Threnody for the Victims of Hiroshima” : Written by Krzysztof Penderecki : Performed by Warsaw National Philharmonic

    • “Slow 30’s Room” : Written and Performed by David Lynch and Dean Hurley

    It is clear, when you look at the data that the story being told so far in Twin Peaks Returns is Cooper's Escape but even this is overshadowed by the mystery dropped in our laps in Part 8. 

    It is clear, when you look at the data that the story being told so far in Twin Peaks Returns is Cooper's Escape but even this is overshadowed by the mystery dropped in our laps in Part 8. 


    CLICK HERE to read A Skeleton Key to Twin Peaks Returns Part Nine

    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.

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    Purchase JB Minton's Book on Amazon Kindle

    A Skeleton Key to Twin Peaks: Part Seven

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

    New Narrative Conflicts Introduced

    No new narrative conflicts were introduced in Part Seven.

    Episodic Structure

    Frost and Lynch significantly cranked the dial on Revisiting Twin Peaks in Part 7, with 392% jump over what's been aired, on average for the past six episodes, including a lot of the Hornes and a strange humming noise in the Great Northern. We have to wonder if this situation is going to be host to a convergence of narratives (maybe the funeral of an old Sheriff and/or a strange lady who carried a log around) and characters all staying in the Great Northern and getting closer to that hum.

    In addition, they cranked up two other storylines also, the FBI finding Cooper and Hawk is Missing Something, both of which contribute to the primary narrative of Cooper escaping. My guess is that the amplification of these storylines is a leading indicator that we are about to see a major convergence of narratives over the next few episodes, likely resulting in Cooper coming back and/or Laura Palmer making a surprising reappearance (all speculation at this point). 

    Frost and Lynch turned down the amplitude on the primary narrative of Cooper Escaping for the first time in several episodes, as well as the Murder in South Dakota. The Richard Horne is evil narrative is also significantly muted as is Meet New Twin Peaks characters.

    All other narratives were dropped from this part.

    Episodic Part Summary By Scene and Focus


    Scene 1 Twin Peaks, Woods (0:01:40 - 0:03:34)

    Jerry Horne is not doing well in the woods. It is daytime and he is standing still, breathing heavily and scanning the treeline all around him. We see what’s in front of him and something moves in the brush ahead. Could be a bird. Could be a light. Could be something else. Light is definitely moving strangely here. He pulls out his iPhone and calls his brother. Ben answers with his brother’s name; he is concerned. He calls his brother’s name another two times. Jerry finally says, “Someone stole my car,” just as Ben is asking, “Jerry, what’s going on?” Ben asks, “What?” Jerry asks, “Didn’t I tell you?” Ben asks, “Jerry, what is going on? You say someone stole your car?” Jerry says, “You say the same thing?” Ben asks, “What?” He calls his name again. Jerry yells, “I think I’m high!” Ben admonishingly says, “Oh, good Lord, Jerry.” Jerry is near-hysterical now and yells, “I don’t know where I am!” He hangs up and Ben looks sadly at the phone.

    Revisit Old Twin Peaks


    Scene 2 Twin Peaks, Sheriff’s Department (0:03:34 - 0:08:07)

    Hawk and Frank Truman are in the conference room looking at three hand written notebook pages. Hawk says, “This is what I found.” Frank asks, “From Laura Palmer?” Hawk confirms. Frank takes one of the pages and reads it out loud, “This came to me in a dream last night. My name is Annie. I’ve been with Dale and Laura. The good Dale is in the lodge and he can’t leave. Write it in your diary.” Frank asks, “Dale, as in Special Agent Dale Cooper?” Hawk confirms. Frank asks, “What do you think this means?” Hawk says, “I don’t know but I’m sure this is what the Log Lady wanted me to find. I think that Annie is Annie Blackburn, a girl that went into that place.” Frank asks, “And these pages are for sure from Laura’s diary?” Hawk says, “Yeah, these are from her diary, the diary found at her friend Harold Smith’s. These are three of the four pages that we saw were torn out, missing. And there’s still one missing.” Frank asks, “And how do you think they got here, inside our bathroom stall door?” Hawk says, “I’m not sure, but look at this.” He flips one of the pieces of paper over. Frank reads, “It’s 1:30 AM. I’m crying so hard, I can hardly  breathe. Now I know it isn’t Bob. I know who it is.” Hawk says, “I’m sure it was Leland who hid these pages. He found ‘em and realized that she knew.” Frank says, “Well, I remember this. Leland Palmer, her father. When do you think he hid these?” Hawk says, “I don’t know. Leland came into the station several times. Once around that time, we brought him in for the questioning of the murder of Jacques Renault. Maybe he thought we were going to frisk him and that’s when he hid ‘em.” Frank says, “Laura never met Cooper. He came here after she died, didn’t he?” Hawk says, “She said that these words from Annie came to her in a dream. This thing she said--’the good Dale is in the lodge and can’t come out.’ But Harry saw Cooper come out of the lodge with Annie that night. Doc and Harry took him over to the Great Northern. But if the good Cooper is in the lodge and can’t come out, then the one who came out of the lodge with Annie that night was not the good Cooper.” Frank says, “And he left town soon after. Who else saw him that day?” Hawk says, “Well, like I said, Doc Heyward, but I don’t know who else.” Frank wants to bring Harry up to speed to see what he thinks.

    Cut to Frank on the phone asking someone if they can get Harry. He says, “Harry, where the hell they got ya?...Oh, no kidding...Damn...I’m sorry, Harry...Uh, just wanted to talk to you about a few things...get some rest, I’ll check in later.” Frank says it’s nothing urgent and urges him to get rest. Finally he says, “Harry, do me a favor. Beat this thing.” He calls him brother before saying goodbye.  

    Hawk is Missing Something


    Scene 3 Twin Peaks, Residential (0:08:07 - 0:09:10)

    Andy is pointing at the truck that killed that little boy, telling a man that it’s his. A man with long hair, a baseball hat and a flannel shirt confirms that it’s his truck but says he can’t talk to him about this here and would he please go away. Andy says if he wasn’t driving, he needs to know who was. The man says he’ll tell him the whole story but not here, he’ll meet Andy somewhere. Andy says, "The logging road above Sparkwood and 21." That man asks, “By Jones’?” Andy says, “Just past Jones’, down by the creek.” The man says he knows it and that he’ll see Andy there in two hours. Andy confirms this is 4:30. The man asks Andy to please leave now and he does. The man has a very worried look on his face as Andy walks away. He goes back into the house.

    Richard Horne is Evil


    Scene 4 Twin Peaks Sheriff Department (0:09:10 - 0:12:47)

    Frank is on the phone with Doc Hayward, who asks where Harry is. Frank tells him that Harry is under the weather these days and Doc says to give his best to him. Frank gets him on Skype and has a wonderful hidden computer screen controlled by a wooden handle on his desk. Doc’s Skype handle is MiddleburyDoc. They are Skyping now. Frank asks him if he remembers way back when the night Harry called him in to examine Special Agent Dale Cooper at the Great Northern. Doc says he can’t remember what he had for breakfast this morning, but he remembers that. He says they all knew Coop but that morning he was acting mighty strange. He took him to the hospital and had him checked out while he made his rounds. An hour later, he saw him sneaking out of intensive care, fully dressed. He said, “He turned and he looked at me and I saw that strange face again. I called out to him but he didn’t say a word. He just turned around and walked out.” Frank asks what he was doing in intensive care. Doc says, “I thought at the time he might have been looking in on Audrey Horne. That terrible business at the bank, and she was in a coma.” Frank changes the subject and asks how they’re biting back there. He says, “Just the other morning I caught two brown trout in my pajamas.” This makes Frank laugh. He says, “How they got in my pajamas, I’ll never know.” Frank asks if he made a breakfast out of them and Doc says he panfried ‘em right out there by the river. “I had some scrambled eggs and an English muffin with huckleberry jam.” They leave the call friends and Doc says, “Whatever this is about, well I hope it turns out all right for you.” Frank says, “Keep working the sunny side of the river, Doc.”

    Hawk is Missing Something


    Scene 5 Buckhorn South Dakota (0:12:47 - 0:16:52)

    Lieutenant Cindy Knox walks into Detective Macklay’s office and introduces herself. They exchange pleasantries and she gets right to business, saying she needs to verify the source of the fingerprints they submitted. He says he can show them to her but their search was blocked from their end. Cindy smiles and says she’d like to see the prints. She mistakenly believes they were lifted from a crime scene and is shocked to discover they came from a body.

    Cut to the morgue and Major Brigg’s body is exposed on a gurney tray. Cindy asks where the rest of him is. Macklay shrugs and says, “We don’t know.” She asks how old the man was. The coroner says, “Late 40s.” She asks when this man died. The coroner says, “Within the last five or six days.” Cindy scoffs and asks if the coroner is sure this is the body she took those prints from?” The coroner offers to pull the prints again if she likes. Cindy excuses herself and steps into the hallway to call Colonel Davis to tell him they have a body. He confirms that she’s sure and she is. He says, “Okay, I have to make that other call.” But there’s one more thing. Actually two. The head is missing and he’s the wrong age.” An electric hum starts growing louder as The Woodsmen appears behind Cindy and starts walking down the hallway. The Colonel says, “If he died recently, Major Briggs should be in his 70s.” Colonel Davis tells her to stay there, that he’ll get back to her. She looks behind her at the woodsman and says, Yes, sir. She goes back into the morgue and Colonel Davis makes his call. Cindy tells them that no one else gets access to this body. Macklay asks if she’d care to share any of this with them. Cindy says, “You didn’t hear it from me, but I don’t think this is going to be your investigation for too much longer.” The Woodsman walks past the room and continues down the hallway.

    A Woman is Murdered in South Dakota


    Scene 6 Philadelphia, Pennsylvania, FBI Field Office, Gordon Cole’s Office / Seattle (?), Diane's Apartment / Private Jet in the Air / Sioux City, South Dakota,Yankton Federal Prison (0:16:52 - 0:30:01)

    Gordon Cole is whistling in his office, making bird-like sounds. There is a large picture of an atomic explosion behind him. There is a loud knock at the door and Gordon’s ear piece spikes, causing him pain. He winces and calls for them to come in. Albert walks in and Gordon asks him how it went. Albert says not well, that he said, “Hello Diane. She said, ‘This is about Cooper, isn’t it’” I said, Maybe. She said, and I quote, ‘No fucking way.’” Gordon says, “Oh.” Albert says he was at home dripping wet on the verge of pneumonia fifteen minutes later and then asks how Gordon’s evening was. Gordon says this isn’t good news, that she needs to see him. Albert says, “Your turn.” Gordon asks, “But you’ll go with me?” Albert says, “Say please.” Gordon pretends he didn’t hear and Albert calls his bluff. Gordon says please.

    Cut to the outside of Diane’s apartment, a nice walk up brownstone. A knock on the door and a man answers - it’s Gordon and Albert. Gordon announces himself, saying, “FBI Champ, friends of Diane.” The man invites them in and announces them to Diane. She is not happy to see them. The man blows her a kiss and says he’ll see her later. She says, “Well, this won’t take long. I’m just gonna say the same thing to you that I said to him.” Gordon tells her to take it easy and they should just sit down and have a nice simple chat. He asks if she has coffee. She says, “No. I don’t have any cigarettes either,” while she is drinking coffee and smoking a cigarette. Gordon says, “Ah, the memory of tobacco. But I gave it up.” Diane exhales and says, “Fuck you, Gordon.” Albert leans in and says, “Now you’re getting the personal treatment.” Diane says, “Oh, you want personal? Fuck you, too, Albert.” Gordon says, “Now that we got the pleasantries out of the way.” Albert confirms he didn’t even get this far. Gordon says, “Diane, your former boss and former Special Agent Dale Cooper, is in a Federal lockup in South Dakota.” She says, “Good.” Gordon says, “Diane, this may require a slight change of attitude on your part.” Diane says, “My attitude is none of your fucking business.” She leaves the room to get coffee for them. Gordon looks at Albert and says, “Tough cookie. Always was.” She comes back in with a tray and both men reach for the coffee and Gordon thanks her profusely. She sits across from them. Gordon compliments the coffee and Diane says, “So, say what you came here to say.” Albert says, “We have a feeling something is wrong. We don’t know exactly what it is, but we need someone else who knows him extremely well to have a talk with him and afterwards to tell us what you think.” Gordon confirms that it’s extremely important, “and it involves something that you know about, and that’s enough said about that.” Diane exhales, pauses and says, “Federal prison. South Dakota.”

    Cut to a private jet in flight. There is a pattern of lights that reflect off the plane’s windows but it could just be the sunlight. Inside the aircraft, Gordon is looking at Diane who sitting in the forecabin with her back to them. Albert hands her a small bottle of liquor and says, “Judge not, lest ye be judged.” She can’t even deal with Albert. He says, “Listen, just the fact that you’re here speaks louder than words.” She looks at him with both love and hatred, toasts him, and says, “Fuck you, Albert.” Albert walks back to Cole smiling and sits down opposite him. Tammy Preston gets up from her seat where she was obscured from view. She is holding a microsoft laptop (but uses a Mac at work. hmmmm) and brings it to rest on the table between Gordon and Albert. She says, “Look at this.” They are looking at a side by side comparison between Cooper’s prints 25 years ago and 2 days ago in prison. She says, “Identical, right?” Albert says maybe but notes that the prison print, “codemarks on the wrong side.” She asks what it tells him and he says, “That some cro-magnon at the prison tried to line this up to make it look like the original but he had to reverse the print to do it.” Gordon points at the print and says, “YREV, the backwards word.” Tammy asks what this all means and Cole tells her she’s been doing excellent work, passing one test after another.” He asks her to put out her hands and flip them over. He counts her fingers between his thumb and finger and says, “I’m very, very happy to see you again, old friend.” He points to her left ring finger and says, “This is the spiritual mound, the spiritual finger. You think about that, Tammy.” She looks perplexed as Albert opens a file and pulls out a photo of Cooper in a white sport coat, walking in front of a beautiful mansion in a hot place. He says this is the only known photograph they have of Cooper in the last 25 years, outside of Rio, his house. He says, “By the time we checked it out, it belonged to some girl from Ipanema.” Tammy says it looks like the man they met in prison and Gordon says, “The man we met in prison.” Diane is listening to all of this with dread on her face.

    Cut to Yankton Federal Prison, Sioux City. They are walking down the prison hallway and Diane says, “Ten minutes and I speak to him alone. Ten minutes, tops or it’s over when I say it’s over.” Gordon emphatically says, “That’s exactly the way it’s going to be, Diane. You control the curtain and the microphone.” Agent Preston interrupts and says, “And we’re very appreciative.” They stop and Gordon, Albert, and Diane look at Tammy. Diane asks her name again and after she tells her, she says, “Fuck you, Tammy.” Diane enters the dark room and and adjusts the mic, then braces herself. She lifts the screen and, breathing heavily, stands and looks Cooper in the face. He says, “I knew it was going to be you. It’s good to see you again, Diane.” She says, “Oh, yeah. When was that Cooper? When did we see each other last?” He asks, “Are you upset with me, Diane?” She asks, “What do you think?” He says, “I think you’re upset with me.” She asks again, “When was the last time we saw each other, Cooper?” He says, “At your house.” She confirms this and asks, “Do you remember that night?” He says, “I’ll always remember that night.” She says, “Same for me. I’ll never forget it.” She steels herself and leans in to ask, “Who are you?” Mr C seems slightly unnerved by the question and says, “I don’t know what you mean, Diane.” She tells him to look at her. He does. She emphatically tells him again to look at her. He stares at her and says nothing. She lowers the screen, gathers her bag, and runs from the room.

    Cut to them walking down the prison hallway. Gordon shakes the Warden’s hand as they leave and thanks him, then says, “Hold this man until you hear from us.” Outside, they wait to regroup. Gordon approaches Diane and they walk away from the others. Diane is almost hysterical and says, “Listen to me. That is not the Dale Cooper that I knew.” Gordon says, “Please tell me exactly what you mean.” She says, “It isn’t time passing or how he’s changed, or the way he looks. It’s something here [points to heart]. There’s something that definitely isn’t here.” She is crying now. Gordon says, “That’s good enough for me, Diane. That’s good enough for me.” She hugs him and he hugs her back. Ominous music starts playing and Gordon asks her, “That last night you mentioned in there, something I need to know about?” Sobbing, she says, “You and I will have a talk sometime. You and I will have a talk. Okay?” He confirms. There is hurt and anger on her face as she pulls out a small bottle of alcohol. She toasts him and says, “Cheers to the FBI,” then drinks half the bottle while staring at him, exhaling, and screwing the lid back on. 

    Cut to Mr C being lead back down the hallway to his cell by two guards. As they close the door and remove his restraints, he says, “Listen to me a minute. Tell Warden Murphy I have a message for him. I need to speak with him in his office.” The guard laughs and says, “Yeah, right.” Mr C says, “Just tell him we need to speak about a strawberry.”

    The FBI Finds Cooper

    Mr C’s Plan


    Scene 7 Twin Peaks Mountain (0:30:01 - 0:31:13)

    Original Twin Peaks music is brooding as thunder crackles over the mountain. Andy is waiting at the logging road Sparkwood and 21. A bird caws as Andy waits, looking both ways. Thunder rumbles and Andy looks worried.

    Cut to the man’s house, an open door.

    Cut back to Andy who checks his watch; his Rolex says it’s 5:05. He goes back to his car.

    Richard Horne is Evil


    Scene 8 Sioux City, SD, Yankton Federal Prison (0:31:13 - 0:33:41)

    Warden Murphy is in his office and there is a knock at the door. Mr C is lead in, shackled to the chair, and the guards leave. The Warden says that he turned off the security cameras and they can speak freely and privately. He pulls out a gun. Mr C says, “The dog leg. That dog had four legs. One you found in my trunk. The other three went out with the information you’re thinking about right now to people you don’t want coming around here if anything bad happens to me.” Warden asks, “How do I know you know anything about this?” Mr C says, “Joe McClusky,” and the Warden is disheveled. He sits down, shocked, and asks him what he wants. Mr C says, “I want a car. Cheap rental, if you like, for myself and Ray Monroe. I want a friend in the glove compartment. One A.M. tonight. Smooth and safe. And if your mind should wander to a place where I might not make it out of here alive, remember the dog legs. I’m not interested in you. You’ll never see me again, and no one will ever hear anything more about Joe McCluskey or your late Mr. Strawberry.”

    Mr C’s Plan


    Scene 9 Las Vegas, Nevada, Lucky 7 Insurance Company (0:33:41 - 0:42:11)

    These are all the words that Cooper as Dougie Jones repeats in this scene. 

    These are all the words that Cooper as Dougie Jones repeats in this scene. 

    Janey-E is waiting out front by the statue, while inside Anthony Sinclair is grilling Dougie about what he and Bushnell were talking about earlier. Dougie ignores him. Janey-E gets tired of waiting and slams the car door to come inside the building. Dougie continues ignoring Sinclair, while he makes scribbles on case files. The pretty lady from before comes in to let Dougie know that police officers are here to see Dougie. This forces Sinclair from the room as he suddenly remembers a call he has to make. She motions for him to come with her and he motions the same back to her and she goes to bring the police officers in. She comes back in with three detectives who are all named Fusco. Cooper sees the badge and reaches for it. Janey-E comes in and demands to know what’s going on here. She says he’s his wife. The cops say they are here about his car and she says that’s why she’s here. They want to know what she means by that. She says she’s picking him because he doesn’t know where his car is. A detective asks if it was stolen. She asks him if it was stolen. They ask if he reported it stolen. Janey-E confirms he did not, that it went missing, they haven’t seen it and asks them if that isn’t their department. They ask where he last left it which makes Janey-E mad. She says, “It’s a terrible car, always in the shop. Silver, four-door, cheap Ford, the kind they call down at that dealer a previously owned car.” Janey-E confirms it went missing a few days ago. The detectives ask if there was a reason they didn’t report the car missing and Janey-E says, “There’s more to life than cars. Too many cars, too much going on, and Dougie’s been under a lot of stress lately, and you want to know the truth, so have I.” Bushnell is in the office and asks if they’ve found the car. He introduces himself. The detective confirms that the car’s been found, and it was involved in an apparent explosion with multiple fatalities. Janey-E asked why they didn’t tell them this to begin with. The Detective says that the deceased individuals were associated with multiple car thefts. Janey-E says there’s their answer and if they don’t mind, their son’s home alone waiting for his supper. She says he’s being watched by a neighbor. The detectives need them to fill out paperwork, but say they can do it at the Jones’ convenience. He offers her his card and wants to complete the paperwork tomorrow. One detective says to Bushnell, “I guess he won’t have any trouble collecting the insurance.” Bushnell is mildly amused. Bushnell says to Dougie that he has some questions about those files he covered for him but it can’t wait until morning.

    Cut to Janey-E and Cooper walking out of the lobby, Janey-E tells him about what happened with the men he owes money to. She lectures him about blowing that money gambling. As they are walking out, Ike the Spike runs out of the crowd with a gun (because his spike was damaged in his last murder spree) but Cooper dispatches him with agility and force. Cooper is squeezing his hand on the gun and the Evolution of the Arm appears, rooted in the concrete, and screams, “Squeeze his hand off. Squeeze his hand off. Squeeze his hand off.” Ike has been dispatched and Cooper stands up, back in his daze. Cut to later in the same place, now dark, where they are explaining what happened to the police and bystanders are being interviewed. A little girl says that Ike smelled funny. One woman says, “Victim, Oh no, that guy didn’t act like any victim. Douglas Jones, he moved like a cobra. All I saw was a blur.” A police officer peels what looks like skin from the handle of the gun and puts in an evidence bag.

    Cooper Escapes


    Scene 10 Twin Peaks, Great Northern Lodge (0:42:11 - 0:47:01)

    It is late at the Great Northern and Ben and Beverly are trying to find the source of ringing hum in Ben’s office. Ben asks when she first started hearing this. She says last week and it seems louder now. They walk around the room and have some near intimate interactions. Ben remains a gentleman. As they pass Ben’s desk, she sees the key to room 315 and tells Ben it may be of interest, that it came in the mail today. Ben confirms that they went to cards over 20 years ago. He remembers that this was the room Cooper was shot in. Beverly asks who agent Cooper was. He says, “FBI. He was here, I don’t know, maybe 25 years ago, investing the murder of Laura Palmer.” Beverly asks who Laura Palmer was and Ben says, “That, my dear, is a long story.” She seems to wait for him to tell it but the memory seems to descend or maybe the sexual tension makes him uncomfortable. He says to have maintenance check out that hum in the morning. They look at each other with what seems to be affection and Ben says, “It’s getting way past quitting time.” She laughs and gathers her things to leave. She says, “Thank you, Mr. Horne.” He says to call him Ben. She will. She turns and looks at him again and says, “Goodnight, Ben.” He smiles back and says, “Beverly.” She leaves and he looks down at the key, frowning. The camera pans up to the native art hanging on the wall as the ringing grows, then into the wooded corner of the room before fading to black.

    Revisit Old Twin Peaks


    Scene 11 Twin Peaks, Beverly’s House (0:47:01 - 0:49:15)

    As Beverly arrives, an older lady, Marge, is walking out of her house and Beverly asks how he is. The woman says it was a rough day, that he was waiting and she had to give him extra pain medication. She also says that dinner is on the stove. Beverly thanks Marge after she tells him that he’s been missing her. She comes into the living room and a very sick, bald man is in a wheelchair, not looking healthy at all. She calls him honey, apologizes for being late, and he asks why she was late. She says she had some things to do, work things. He asks what things, the jealousy and anger obvious in his voice. He is not hungry and he’s not happy. She gets angry and tells him not to fuck with her and make her lose this job. She shouts at him to not fuck this up!

    Meet New Twin Peaks


    Scene 12 The Bang Bang Bar (0:49:15 - 0:52:39)

    A man sweeps the floor for over two minutes while “Green Onions” plays. The phone rings and Jean Michele Renault answers the phone as “Roadhouse.” He laughs and says, “Of course he loved it. Who wouldn’t?” He says, “What? Two. I sent him two. He owes me for two. What? I don’t know their names. Uh, he wanted blondes. I sent him two blondes. What? Fuck, I--how old? They had IDs. They both had good IDs. Look, this has nothing to do with the Roadhouse. Roadhouse has been owned by the Renault family for, for 57 years. We’re not gonna lose it now because of a couple of 15-year old straight-A students. No, No. Those girls, they were whores, pure and simple. Ah, from what I hear, though, they were straight-A whores. He owes me for two.” He hangs up.

    Revisit Old Twin Peaks


    Scene 13 South Dakota, Sioux City, Yankton Federal Prison (0:52:39 - 0:55:03)

    It’s late in the prison and the hallway door clanks open. A guard has a flashlight. Mr C’s door opens and so does Ray’s cell. Ray starts walking towards Mr C. They greet each other coldly and walk down the hall, Mr C following Ray. An outside door to the prison opens and the men walk down the steps into the prison parking lot. A guard gestures towards the beige rental and hands Mr C his phone, telling them the keys are in there. Mr C tells Ray to drive. They pull away into the night, while the Warden watches in shame. The music swells uncomfortably.

    Mr C’s Plan


    Scene 14 Twin Peaks, Above the Trees / RR Diner (0:55:03 - 0:57:23)

    The RR is bustling tonight as Santo & Johnny’s “Sleep Walk” plays. A young man runs in and shouts, “Hey, has anybody seen Bing?” A woman says, “Nope.” The young man runs away and the bustle of the RR closes this episode down while Norma does the books and Shelly hands out menus and banters with the guest.

    Revisit Old Twin Peaks


    Cast

    Kyle McLachlan:Special Agent Dale Cooper/Mr C

    Jane Adams:Soccer Mom

    Madchen Amick:Shelly

    Chrysta Bell:FBI Agent Tammy Preston

    Richard Beymer:Bejamin Horne

    Brent Briscoe:Detective Dave Macklay

    Larry Clarke: Detective T. Fusco

    Laura Dern:Diane Evans

    Hugh Dillon:Tom Paige

    Edward ‘Ted’ Dowling:Farmer

    Judith Drake:Nurse

    Eric Edelstein:Detective “Smiley” Fusco

    Miguel Ferrer:FBI Agent Albert Rosenfield

    Rebecca Field:Another Mom

    Robert Forster:Sheriff Frank Truman

    Warren Frost:Doc Will Hayward

    Ivy George:5-Year-Old Girl

    Harry Goaz:Deputy Andy Brennan

    George Griffith:Ray Monroe

    Andrea Hays:Heidi

    Michael Horse:Deputy Chief Tommy “Hawk” Hill

    Ernie Hudson:Colonel Davis

    Jesse Johnson:Younger Man

    Ashley Judd:Beverly Paige

    David Patrick Kelly:Jerry Horne

    David Koechner:Detective D. Fusco

    Sheryl Lee:Laura Palmer

    Peggy Lipton:Norma Jennings

    David Lynch:FBI Deputy Director Gordon Cole

    Riley Lynch:Bing

    Mark Mahoney:Prison Guard

    Karl Makinen:Inspector Randy Hollister

    James Morrison:Warden Dwight Murphy

    Don Murray:Bushnell Mullins

    Walter Olkewicz:Jean Michel Renault

    Adele Rene:Lieutenant Cynthia Knox’

    Elena Satine:Rhonda

    Tom Sizemore:Anthony Sinclair

    Naomi Watts:Janey-E Jones

    Christophe Zajac-Denek:Ike “The Spike” Stadtler


    Music

    • “Sleep Walk” : Written by Santo Farino : Performed by Santo and Johnny

    • “Green Onions” : Written by Al Jackson Jr., Stephen Cropper, Booker T. Jones, Lewie Steinberg : Performed by Booker T. and the M.G.s


    Voice of The Return (Summary)

    When this is all said and done, this tool is going to demonstrate what a true editing genius David Lynch is and what a true narrative composition and pacing genius Mark Frost is. I mean, just look at this work of art unfolding before our eyes. You wouldn't think that they have spent nearly 73% of the entire narrative over seven parts actually telling the story of Cooper coming back from the Red Room (this combines the top 5 narratives under the same large story). They have done such an amazing job of mixing up and breaking up the narrative so as to fracture it to the viewer. Not only does a mosaic pattern of story telling preserve the mystery at the heart of the show but it is a far more interesting way to ingest a story. Here at the Red Room Podcast, we are firm believers in preserving the mystery, while at the same time drawing a bold frame around the narrative and laying its components and relationships out like one of those pinned frogs we all had to dissect in high school Biology class. The meter under each narrative in the left sidebar clearly shows the skill of pacing for these story lines and some skip parts and some bring consistent beats in delivery to every part, all of them seeming to lead us back to the town of Twin Peaks in what will either be the largest cosmic showdown in history or the longest time anyone has sat in a chair in the history of our species. 

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

    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 Six

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

    New Narrative Conflicts Introduced

    No new narratives were introduced in Part 6.

    Episodic Structure

    Part 6 continues the primary story of Cooper escaping with 45% Share of Voice. The rest of this episode is a potpourri of supporting narratives. At 12% SOV, Designer Drugs in Twin Peaks is the second largest narrative, combining the Richard Horne is evil narrative with the Meet New Twin Peaks narrative as we meet the dangerous Red who seems to be responsible for bringing the Sparkle designer drug into Twin Peaks, foiling Bobby Brigg's no doubt elaborate wolf and bear capturing camera system. Next up at 10% SOV, is the Richard Horne is Evil and boy does he commit some damage with that 10%. Next up is the Murder Hit from Vegas storyline (and a new character Ike "The Spike"), which we haven't seen since Part 2 . The Bang Bang Band on Stage sucks up 9% SOV with a great performance by Sharon Van Etten. We spend 6% SOV revisiting with old friends in Twin Peaks and another 5% catching up with Hawk as he tries to solve the Log Lady's challenge. The final 4% SOV is The FBI Finding Cooper and we finally get to meet Diane!

    Episodic Part Summary By Scene and Focus


    Scene 1 Las Vegas, Nevada, Lucky 7 Insurance Company / Twin Peaks, WA, Sparkwood & 21 / The Red Room (0:02:15 - 0:19:09)

    These are all the words that Cooper as Dougie Jones repeats in this scene. 

    These are all the words that Cooper as Dougie Jones repeats in this scene. 

    Cooper is still standing outside in front of the cowboy statue with his case files. The cop comes up to him and says there’s no loitering. He asks where he lives and Cooper says, “Home.” The cop asks him if he’s been taking any drugs or medication. Dougie gives him enough details to get him home and the cop obliges. Cut to Dougie’s house. The cop and a partner have brought Dougie home. Janey-E is grateful and when the cop says he was disoriented, she says, “That’s on a good day.” She thanks them and welcomes them in. Cooper touches his badge as they leave and says, “Badge.” The cop smiles and says, “He likes my badge.” As she shuts the door, the cop sees an envelope on the stoop and hands it to her. They leave and she asks if he’s eaten, then goes to make him a sandwich. They are eating sandwiches and her’s crunches strangely. She says that tomorrow she’s taking him to see Dr. Ben. She notes there is nothing written on the envelope the cop handed her, then says he needs to go upstairs and says goodnight to Sonny Jim, that he’s been waiting up for him. She urges him upstairs by touching his elbow and he finally makes it upstairs, going first into the bathroom. Sonny Jim is reading in his room, which is all dark except for an LED reading light. He has an old western chair rail and a western lamp and an old alarm clock, some paintings on the wall and western curtains. Sonny Jim motions twice for Cooper to sit down on the bed, which he does while continuing to eat his potato chips. He offers one to Sonny Jim, who declines and says that he already brushed his teeth. Cooper sets it on the bed. Sonny Jim asks if he can leave his cowboy light on and if Cooper will stay with him until he falls asleep. Sonny Jim turns off his reading light and lies down, then claps and his cowboy light comes on. This catches Cooper’s attention and he puts his chips down and claps the light off. They get into a clapping war to turn the light on and off. Sonny Jim laughs and calls him Dad twice. Janey-E opens the envelope and she yells at him to “Get down here, right now. Right now!” Sonny Jim protests that he was going to stay with him and she says, “Not tonight, he isn’t! Mommy will be up soon, honey!” Sonny Jim lies down, defeated. As he comes downstairs, she takes him by the nape of the neck, like a dog and leads him to sit down at the dining room table. She tells him he’s in the dog house because he didn’t call and set up a time to pay them off and tells him to look at what was in the envelope, a picture of him and Jade coming out of the house. He sees Jade, says her name and smiles. He says, “Jade give two rides,” and Janey-E says, “I’ll bet she did!” Janey-E is not amused. The phone rings and she asks if he’s going to answer that, “Maybe it’s Jade calling!” He repeats Jade’s name and Janey-E grows more disgusted, saying, “Oh my God, Dougie! We are not done with this!” She answers the phone and motions for him to keep silent, asking who this is. He puts his index finger up and places it to her lips, which she smacks away in anger. She says, “He’s indisposed.” She asks how much he owes them, that she’s just finding out about this right now. She asks how he’s supposed to get that, who can get that kind of money? She asks, “And what if he doesn’t have it? What are you gonna do then, break his legs? Think about it. It’s hard enough to get that kind of money, let alone with broken legs.” She tells them to not dare go to his office, that she’ll meet them tomorrow in the park at the corner of Guinevere and Merlin, by the mall. She says she’ll be the one carrying the red purse at, “Noon Thirty tomorrow.” She hangs the phone up and says, “What a mess you’ve made of our lives, Dougie!” She asks what she’s going to do with him, that she was going to take him to see Dr. Ben tomorrow during his lunch hour but now has to meet his friends at 12:30. She asks where his car and wallet are. She points at the case files and says, “And if that’s work then you better get started right away! The last thing we need is you losing your job, Dougie!” She goes upstairs to say goodnight to Sonny Jim and that, “Tomorrow’s a big day.” She calls him sweetheart and kisses him before leaving and he looks up to the ceiling. He leans forward and touches the 7 logo on the case files, while an electric hum grows.

    Cut to the traffic light at Sparkwood and 21, which grows in electric hum and starts to crackle.  

    Cut to the Red Room, where Phillip is walking around feeling the air.  

    Cut to the Jones kitchen table, where Cooper has a case file opened on the table and is staring at the page. He looks at the fireplace and the Red Room grows superimposed again. Phillip says, “You have to wake up. Wake up.” He is feeling around in a backwards motion. “Don’t die. Don’t die. Don’t die.” The Red Room and Phillip disappear and Cooper stares again at the case file. Smooth Jazz starts playing. A small bright light appears on the paper and he puts his pencil on the dot and starts making marks, looking around the table. He grabs another file and, almost in a trance, opens the file and sees two dots. He grabs his pencil and draws a straight line down the page and circles something. He moves the pencil up the page and draws a ladder with stairs next to them. He makes a mark next to Anthony Sinclair’s name. He grabs another case file and opens it. He sees another dot and makes a mark next to the names of the Investigating Officers “Det. Loomis & Det. Stockton.” He draws another ladder in the middle of the page  and another set of stairs above it and and a curvy line connecting the detectives names.

    Cooper Escapes


    Scene 2 City, Jazz Bar at Night (0:19:09 - 0:21:15)

    Albert is driving at night and it is raining. He is talking to Gordon and tells him to, “Have a super night too.” He doesn’t know when he’ll get home. Gordon thanks him and tells him the work he’s doing tonight is, “Very, very important!” Gordon says he’ll be thinking of him as he drinks this (handed to him by what sounds like a young woman) fine Bordeaux. Albert says, “Yes, I love a night on the town when it’s 34 degrees and raining.” He parks and it is pouring rain outside. He opens his umbrella and gets out of the car, looking around at the buildings. Albert says, “Fuck Gene Kelly, you motherfucker!” He enters Max Von’s Bar and it is loud and packed. He makes his way, trench coat buttoned, to the middle of the bar and sees his target. He walks up behind a platinum blonde woman in an ornate oriental dress with bobbed hair. She is smoking a cigarette, an empty martini glass in front of her. Albert takes a moment and solemnly says, “Diane.” The woman pauses and turns to look at him, breathing a bit heavily when she does. They stare at each other for a moment and she says, “ Hello Albert.” They look at each other and the runs her thumb across the filter of her cigarette.

    The FBI Finds Cooper


    Scene 3 Twin Peaks, Logging Yard Warehouse (0:21:15 - 0:27:53)

    We see a logging yard. Cut to a Camara’s hood with an intimidating man in a chauffer’s cap leaning against the car, pan across a large smiling man with a massive assault rifle and finally to Red, a man we last saw in Part 2 in the Bang Bang Club, pointing air guns at Shelly. We hear sniffing and see Richard Horne snorting up a drug that gets him going. Red says, “That’s right, Small Time. You can pick the rest of it up at Mary Anne’s.” Richard asks him how he knew that name, if he knows the area and then twitches and says, “Shit, this stuff kicks.” Red makes a grabbing punch move at him and he flinches. Red holds his claw out, palm up to Richard and asks him, “Have you ever studied your hand?” He turns his palm over and punches forward, while the big man behind him continues to smile. Red says, “What do you think? I been all around here the last couple of weeks. I like it. We can move the sparkle right down from Canada.” He groans and stomps his foot on the ground several times, then grabs his side and says that he has a problem with his liver. Richard Horne is still taking this all in, finally saying, “Hey, these fucking little towns are a pushover right? Law enforcement’s asleep at the wheel. Fuckin’ sheriff here’s like 90 years old or something.” Red punches the air with both hands and then runs his hands through his hair before asking, “Did you ever see the movie The King and I?” Richard asks “What?” Red says, “I said I like it. What do you think?” Red looks down at Horne’s shoes or his crotch and asks if he’s got this under control. Horne says, “Yeah.” Red says he better have and then makes awkward hand gestures while saying, “There’s one problem. I don’t know you yet.” The big man is not smiling anymore. Red makes the poke eyes gesture and says, “I’m going to be watching you, kid. I’m watching you. Got that?” Horne says, “Yeah, I got it. don’t call me kid!” This makes Red laugh and the big man behind him starts laughing again also. Red straightens his coat and says, “Just remember this, Kid. I will saw your head open and eat your brains, if you fuck me over.” He then puts two air guns up, pointed right at Richard and says, “You can count on that.” Red reaches in his pocket, sniffs and pulls out an Eisenhauer dime. He flips the dime in the air and Richard looks up at it. It hangs spinning in the air. Red is looking at Richard looking at the dime. There is the sound like someone caught the dime and we hear Richard’s mouth click. He pulls the dime from his mouth and looks at it, then looks at Red. The spinning sound resumes and Red catches the dime, opening his hand and showing the tails side up. Richard looks at his finger and sees the dime is gone. Red looks at the dime and says, “This is you.” He holds his left fist out and slaps the dime on it, showing the heads side up and says, “This is me. Heads I win. Tails you lose.” The big man behind him is not smiling.

    Cut to Richard Horne driving a truck with tears in his eyes. He is very upset at being called, “Kid.” He pulls himself together somewhat and drives on.

    Designer Drugs in Twin Peaks

    Richard Horne is Evil

    Meet New Twin Peaks


    Scene 4 Fat Trout Trailer Park / RR Diner (0:27:53 - 0:31:31)

    Carl Rodd is on the move and we hear a passing train whistling. Carl says good morning to Bill and starts getting into a vehicle as Mickey runs out of a trailer, calling his name. He asks if he can get a ride into town with Carl because he has to pick up Linda’s mail at the P.O. Carl says sure and they get into the van, another man driving them. Carl remarks that it’s a beautiful morning. Mickey asks if Carl goes into town every day about this time and Carl says, “Damn near.” Mickey asks why. Carl says, “Gets me out of this trailer park. How much I got to look forward to at my age, Mickey? Except the hammer slamming down?” Mickey admonishes him and says, “You got a lot of tread left.” Carl asks how Linda is and Mickey says she’s doing a lot better since the government agencies finally got her an electric wheelchair. Carl says, “Fuckin’ war,” and asks if the government’s taking care of him. Mickey says “Not hardly,” that it took six months to get the wheelchair Carl says, “Fuckin’ government.” Traffic passes and cut back to Carl as he lights a cigarette, offering one to Mickey. Mickey wants one but quit about a year ago. Carl scoffs and says, “I’ve been smoking for 75 years, every fucking day.” He laughs and Mickey laughs.

    Cut to the RR Diner where Heidi is talking to a customer while Shelly checks her station. Miriam is joyously talking about cupcakes and pie with Heidi, saying they are magic that they always have them when she wants them. Shelly says, “Well Miriam, turns out you are one of our best pie customers ever,” to which Miriam replies, “Because Norma makes the best pies.” Miriam asks for two cups of coffee to go. One for her and one decaf for one of the Moms who loves RR coffee. Heidi asks how school is and Miriam says the kids this year are so cute. Miriam leaves a big tip and leaves with a smile. Heidi says she can’t afford a tip like that and Shelly agrees, saying they should treat her next time.

    Revisit Old Twin Peaks


    Scene 5 Place (0:31:31 - 0:36:10)

    Richard Horne has does the opposite of calming himself down. He is driving fast and berating the, “Stupid magic motherfucker!” Red. Horne is going to show Red, “Fucking kid.” He downshifts and hits the gas, laughing maniacally.

    Cut to Carl Rodd, smoking and drinking coffee peacefully in a park, looking up at the trees and looking to fight off tears. A woman and child come running up, playing a game where the child runs a bit ahead, turns around to watch the woman, and the woman runs up to, “get him,” repeating the cycle over and over. This touching scene of mother and child at play makes Carl smile.

    Cut to Richard Horne in the truck, still trying to get himself under control. He enters the same intersection where Leland and Mike had their shouting episode and Horne does not want to slow down. He says, “Fuck this,” and hits the gas and punches the ceiling. Cut to the stop sign. The music swells as the young boy reaches the crosswalk, waiting for his mother to get him. She catches up to him and is waved on by the man in the truck at the stop sign. No one sees Horne barreling up the road yet. The boy runs out in the road and turns to look at his mother. Horne shouts out, “Hey,” but doesn’t slow down. He plows through the boy and the mother screams. Cut to Carl Rodd who hears the scream and jumps. The mother runs to the boy who is dead in the street. People are getting out of their cars, their hands over their mouths. The mother has her son in her arms and is hysterical on the ground. The man in the truck puts his hand over his eyes. Horne is livid, shouting, “Hey, Hey I told you to get out of the fucking way!” He passes by Miriam, who has seen the whole thing. They look at each other. She is in shock. The witnesses are either looking down, covering their mouths or covering their eyes. Carl Rodd walks up and witnesses the scene, seeing a light gaseous cloud ascend from the boy, past the power lines, and evaporate into the sky. Seeing this, he says, “God.” He walks to the woman, kneels down and puts his arm around the mother, looking into her eyes, almost as if he’s absorbing her grief. Cut to the power pole with a large number 6 etched into the pole and the numbers “324810” over this etching. Thunder rumbles in the distance as we scan up the pole and see the power lines and boxes, the electricity humming and crackling.

    Richard Horne is Evil


    Scene 6 Las Vegas Casino / Rancho Rosa / Motel Room (0:036:10 - 0:40:08)

    Mr Todd is clacking away at his keyboard in his office when a large red box appears over the email he is typing. He is taken aback and looks horror struck. He hits a key to make the box go away and gets up to open the safe behind him, first grabbing a cloth napkin. He pulls an envelope out, using the napkin and shuts the safe. The envelope has a single dot on the cover and Mr Todd lies it on the desk, careful to not touch it. He clears his throat and resumes typing, stopping again to look in fear at the envelope.

    Cut to the coroner pulls into the neighborhood. Cut to the tow truck backing Dougie’s blown up car onto the rack. The police have catalogued the scene with evidence flags. One cop is climbing a ladder to the Drugged-Out lady’s house across the street, calling out that he found the plate on the piece of car that landed on their roof. Cut to the Drugged-Out Mom calling out, “One-One Nine,” again twice. The camera pans the carnage and there are pieces of the car all over the ground.

    A little person is rolling dice and writing down the results in a notebook. There is a bottle of whiskey on the dresser and a large ice pick. A used room service tray sits next to the spike. The envelope from Mr Todd’s office is slipped under the door by an unknown person. The man walks over and picks up the envelope, opening it with his bare hands. BluntedBeatz “I Am (Old School Hip-Hip Beat) starts playing as he pulls out a picture of Loraine and Dougie. He grabs his ice pick and starts circling Loraine’s facial features with the tip. He does the same for Dougie. He stabs Loraine’s face in the picture with the ice pick then does the same for Dougie’s picture, leaving the pick in Dougie’s picture. There is a Lucky 7 Insurance card with Dougie’s name paperclipped to his picture.

    A Murder Hit From Vegas


    Scene 7 Las Vegas, Lucky 7 Insurance Company (0:40:08 - 0:48:38)

    These are all the words that Cooper as Dougie Jones repeats in this scene. 

    These are all the words that Cooper as Dougie Jones repeats in this scene. 

    The elevator doors open and Phil runs out while Dougie stands holding his coffee and case files, smiling. Phil turns around and tells him to come on and quit clowning around. Finally Cooper starts walking and gets caught in the elevator door, but eventually makes his way into the office. Bushnell sees him in the lobby and calls him over to his office (Jones three times and finally, “Dougie!”). Anthony is watching this with trepidation. He clearly does not like Cooper being in Bushnell’s office. Cut to Bushnell’s office as he goes through Dougie’s work while Dougie drinks coffee. The slow jazz is playing again. Bushnell is not amused and asks, “What the hell are all these childish scribbles? How am I gonna make any sense out of this?” Bushnell thinks Dougie may need good professional help. Cooper looks up at Bushnell’s Battling Bud poster again while Bushnell digs into the other case files. Cooper puts his hands up like a boxer. Finally Bushnell sees a pattern that makes sense to him. He compares a few case files and puts his hand over his mouth, finally saying, “Dougie. Thank you. I want you to keep this information to yourself. This is disturbing to say the least. I’ll take it from here but I may need your help again. You’ve certainly given me a lot to think about.” Bushnell stands up and puts his hand out. Dougie stands up and puts his hand out and turns around. Bushnell laughs and says, “Dougie, you’re an interesting fellow.”

    Janey-E is waiting for the men that Dougie owes money to. Two scuzzy-looking men walk up and ask if she’s Jones. She says, “Yes. Now let’s get to it.” Turns out that Dougie borrowed money, which is why he owes it. He took points on a football game, got greedy and doubled down. “It didn’t work out for him.” Turns out he owed 20 grand plus interest three weeks ago. Janey-E goes on a tirade which includes, “We are not wealthy people. We drive cheap, terrible cars. We are the 99 percenters and we are shit on enough and we are certainly not going to be shit on by the likes of you.” One of the men says, “Nevertheless lady…” Janey-E interrupts him and says she is going to pay them back more than what the bank she works at pays their customers. She gives them 25% interest on their loan. She says, “What kind of a world are we living in where people can behave like this? Treat other people this way without any compassion or feeling for their suffering? We are living in a dark, dark age and you are part of the problem.” She tells them to take a good, long look at themselves because she never wants to see either of them again. She shoves the money into one man’s chest and she storms away. They watch her walk away and one finally says, “Tough dame.” The other man agrees.

    Cooper Escapes


    Scene 8 Office Building (0:48:38 - 0:49:47)

    Loraine is talking on the phone and we are peering into her office, the primary focus on the hallway. She says, “Three bodies? What do you mean he wasn’t in the car? Three bodies?” There is a screaming from down the hallway and Loraine gets up from her chair, looking worried. We see Ike the Spike run around the corner with the ice pick in his hand. He runs into her office with the ice pick held up. He dances with her a moment and then stabs her. He stabs her over and over again, digging the ice pick into her chest. She dies. He looks up and there is a woman in the doorway. He growls and runs after her. We stop at the hallway again and we hear furniture shattering and a scuffle. Af ew seconds later, Ike comes walking around the corner, bloody and almost innocent looking. He notices that his ice pick is bent and has a moment of real sorrow, saying, “Oh no.”

    A Murder Hit From Vegas


    Scene 9 Twin Peaks, Field (0:49:47 - 0:50:50)

    Richard Horne comes rumbling up in the truck and parks under power lines. Electricity crackles. He gets out of the truck and examines the grill, kicking it and screaming “Fuck!” He gets back in the truck and comes back with a bottle of water and a rag, attempting to wash the blood off.

    Richard Horne is Evil


    Scene 10 Twin Peaks Sheriff’s Station Bathroom (0:50:50 - 0:53:29)

    Hawk is washing his hands in the bathroom and takes two paper towels out to dry them. He reaches into his pocket for his comb and drops a coin, which goes rolling under a toilet. He goes to retrieve it as dark music starts playing. He picks up the buffalo nickel and examines the Indian head on the front. He looks around him and sees the Nez Perce Manufacturing plate on the bottom of the stall door. He looks at the door and sees it has been pried open at the top corner. He stands up and examines the bend. He retrieves a ladder, flashlight, and crow bar, looking into the door. He sees something and pries the bent side of the door off. Deputy Chad walks in with a book and his coffee. He asks, “What the hell?” Hawk tells him to use the ladies room. Chad asks if he cleared this with the Sheriff and that he’ll tell him if he don’t. Hawk says, “Yeah, you do that, Chad.” Hawk gets the door off and pulls out two pieces of paper with hand writing on them.

    Cut to the command center in the Sheriff’s station where Sheriff Frank Truman is consoling his deputies about filling out paperwork. In comes Doris Truman, irate about her Dad’s car not being fixed. Frank says it sounds like he left the emergency brake on. Frank tries to calm her down and she just wants to know why he’s always against her. Deputy chad says he sure wouldn’t take that kind of shit off her. The dispatcher tells him he doesn’t know what he’s talking about, that she didn’t use to be like this. Her son committed suicide. Chad said, yeah he heard that, [tear gesture and mock weeping] “he couldn’t take being a soldier.” The other deputy is staring upward at the ceiling.

    Hawk is Missing Something

    Meet New Twin Peaks


    Scene 11 Bang Bang Bar (0:53:29 - 0:58:28)

    Sharon Van Etten is on stage performing “Tarifa.” The lyrics are:

    Hit the ground / The yard I found something / I could taste your mouth / Shut the door / Now in the sun tanning / You were so Just / Looking across  the sky / Can’t remember / I can’t recall no / i Can’t remember / Anything at all / let’s run under / cursing myself at night / Slow it was seven / i wish it was seven all night / /Tell me when / Tell me when this is over / Chewed you out / chew me out when I’m stupid / I don’t wanna / everyone else pales / Send in the owl / Tell me I’m not a child / you summon / forget about everyone else / fall away somehow

    Bang Bang Band on Stage

    Cast

    Kyle McLachlan:Dougie Jones / Special Agent Dale Cooper

    Madchen Amick:Shelly

    Tammy Baird:Lorraine

    Ronnie Gene Blevins:Tommy

    Juan Carlos Cantu:Officer Reynolds

    Candy Clark:Doris Truman

    Lisa Coronado:Hit and Run Mom

    Jeremy Davies:Jimmy

    Laura Dern:Diane Evans

    Josh Fadem:Phil Bisby

    Eamon Farren:Richard Horne

    Miguel Ferrer:FBI Agent Albert Rosenfield

    Patrick Fischler: Duncan Todd

    Robert Forster:Sheriff Frank Truman

    Pierce Gagnon:Sonny Jim Jones

    Hailey Gates:Drugged-out Mother

    Balthazar Getty:Red

    James Grixoni:Deputy Jesse Holcomb

    Andrea Hays:Heidi

    Michael Horse:Deputy Chief Tommy “Hawk” Hill

    Jay Jee:Patrol Officer

    Sheryl Lee:Laura Palmer

    Jeremy Lindholm:Mickey

    Sarah Jean Long:Miriam Sullivan

    David Lynch:FBI Deputy Director Gordon Cole

    Don Murray:Bushnell Mullins

    John Pirruccello:Deputy Chad Broxford

    Hunter Sanchez:Hit and Run Boy

    Tom Sizemore:Anthony Sinclair

    Harry Dean Stanton:Carl Rodd

    Al Strobel:Phillip Gerard

    Jodee Thelen:Maggie

    Naomi Watts:Janey-E Jones

    Nafessa Williams:Jade

    Christophe Zajac-Denek:Ike “The Spike” Stadtler

    Sharon Van Etten:Sharon Van Etten

    Carolyn Pennypacker Riggs:Sharon Van Etten

    John Phillip Iron III:Sharon Van Etten

    Zeke Hutchins:Sharon Van Etten


    Music

    • “Windswept” : Written by Johnny Jewel from the album “Windswept”

    • “Tarifa” : Written and Performed by Sharon Van Etten

    • “I Am (Old School Hip Hop Beat) : Written and Performed by BluntedBeatz


    Voice of The Return (Summary)

    In Part 6, Hawk makes a major turning point in his quest when he finds something in the stall door of the Sheriff's bathroom. This is a milestone that will likely assist this narrative into merging with the FBI Finds Cooper and the Woman Murdered in South Dakota. It seems that all supporting narrative roads lead to the sleeping town in the title. Seeing Carl Rodd was a comforting factor and one of the only moments of comfort during the awful scene with the poor boy that Dick Horne ran over without remorse or even applying the brakes. Part 6 is one of the most brutal episodes yet aired, when we combine that vehicular manslaughter with Ike "The Spike" going on a murderous rampage, ending poor Lorraine's worry once and for all. We will all likely look back on this episode as the one where Twin Peaks The Return shifted into third gear. 

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

    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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