A Skeleton Key to Twin Peaks: Part Three

Cooper Escapes bolts to the lead narrative in Part 3, consuming 61% Share of Voice for the episode and Scene 11 is one of the most important scenes of the entire narrative, as three critical narratives collide into one mother smashing scene that will melt your brain!

Cooper Escapes bolts to the lead narrative in Part 3, consuming 61% Share of Voice for the episode and Scene 11 is one of the most important scenes of the entire narrative, as three critical narratives collide into one mother smashing scene that will melt your brain!

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

New Narrative Conflicts Introduced

  1. The FBI Finds Cooper: Okay, they don't really find him because, who knows where the hell he is right now? But, Gordon and Albert are on the trail of...someone who sure looks a lot like Cooper.

  2. Bang Bang Band on Stage: No nonsense dialogue and cameos here. Just pure live music from the Roadhouse (or, Bang Bang Bar as it's known nowadays).

  3. Dougie Might Be Dying: Spoiler alert, he does in what is sure to be the shortest narrative on this list. Ah, Dougie Jones, you went before your time, before anyone's time.

Episodic Structure

Clearly, this is Cooper's episode and he makes big moves (or maybe he doesn't move at all...) for 61% of this part's Share of Voice. Mr C's story is mostly quick cut scenes that leaves him soaking in a corny black pool of his own vomit for only 9% SOV. Hawk keeps looking for something missing (8% SOV). Dougie Jones is a manufactured being that soaks up a mere 5% of the storyline with his demise. We watch Jacoby spray paint shovels golden for 5% of the SOV and we see the moments before and after Gordon Cole and Albert discover Cooper is still alive, taking up 7% of the SOV. The final 5% is The Cactus Blossoms rocking their slow Everly Brothers style to put this part to bed with a final 5% SOV.

Episodic Part Summary By Scene and Focus

Scene 1, ??? (0:01:39 - 0:14:36)

Cooper is falling through space. He seems to be falling down. There is an explosion of sperm-like substance into a smokey space.

Hard cut to a modern looking ledge that is in three sections, unevenly raised in the middle, with what looks like a door set back on the left side and high walls climbing into the shadows. The drop could be very steep or it could be a few feet. The sound is hollow, like being on the ocean when it’s calm but still loud. Cooper falls straight down so gravity is at work here. His impact isn’t very loud.

Cut to an immense ocean that is moving rhythmically and fades into black. The sky is that smokey space color we saw with the “spermy” explosion.

Cut to a wide upshot of that veranda. It looks immense.

Cut to the original view of the veranda. Cooper stands up and looks around. He seems unhurt. The air seems to ripple around him but it could just be the lighting. The veranda comes up to his heart level. He peers over into the ocean below. He seems to resolve himself that he has to do something besides gaze into the abyss.

He looks to his right and sees the window in the recess of the veranda. He approaches and it is a large, floor to ceiling, double set of windows that swing inward. They are unlocked and he enters, cautiously, hopping down into the dark room. There is a flickering light casting on the corner as he enters.

Cut to a frightening looking woman in a red dress with skin sewn over her eyes; she looks frozen. Cooper shuts the window behind him, because that’s what a responsible investigtor does. He walks slowly into the room and when he sees the woman, time seems to stutter with “[odd reverberations].” Quick cuts to a burning fire in the fireplace. When Cooper enters and sees the woman, she seems to animate. We see a view of her from across the room, seated from a different angle. The fire again. There are two three legged short posts with balls at the entrance to the fire. There are electric sconce lights on the walls above the mantle of the fireplace. Cooper seems to nod in stutters at the woman. She turns towards him. She is seated in a short backed dark but plush chair that is surrounded by a circular wall behind her. The flames cast flickering shadows behind her, turning the scene positively medieval. She tilts her head in what seems to be acceptance of his presence, maybe even welcoming. She raises her open palm to him in what could be a halting gesture, then puts it down, then raises it again. Cooper leans in and walks towards her. Both her hands are in front of her but seemingly more in resignation now than warding off. She is reaching out to him and he to her. He grasps her right hand in his left hand. Her left hand is still up with the palm open. She grabs his other hand and looks straight into his belly, then away, then back to him.

Time seems to become normal speed when they are touching each other. Cooper looks around the room and we see a long shot of the room; the ceiling is rounded. He asks her, “Where is this? Where are we?” She moves her right hand up his sleeve to just above his elbow and seems to pull him in closer. He sits down next to her and she takes both his hands in hers again. She reaches up to touch his face in what seems a loving gesture. She feels his face as if searching for recognition. She is saying something, but it sounds like the words are going internally, truly in reverse, like they are sucking the air out of the room into her body.

They are interrupted by a loud pounding, what sounds like a hammer on a steel door, like some kind of alarm. Cooper looks at the door and the woman holds her right finger up to her lips in a “stay silent” gesture. They continue these actions while the pounding continues. Something wants in and it does not seem to be friendly.

A light turns on by a credenza, highlighting a panel on the wall. It is a steampunk brass-like panel with the number 15 engraved on it. There are rivets and a long tube running around what seems to be a plug with a circle in the middle. The woman seems to be thinking and coming to a decision. The light comes back on by the credenza, drawing Cooper’s attention again. This scene replays several more times. The woman seems to whisper another warning. Cooper’s curiosity gets the better of his fear and he stands but she keeps her hand on his shoulder and arm, as if to ward him away from the panel. She reaches for him when he walks towards the panel but she hasn’t risen from her seat yet. Cooper rounds that circular wall and walks towards the panel. She seems to scream something but her words get sucked inside again. Is she warning him or upset that he’s going to the panel? He approaches and she seems to grow more agitated.

As Cooper approaches the panel, an electric hum begins to grow and he seems to fall under a spell the closer he comes. Finally, as he nears the panel, he seems to grow ill and falls back. She is up and at his side, swiping in the air towards the panel. Now she is standing between him and the panel. She clearly does not want him to approach any further. She makes slicing gestures with her hand across her lower chin and there are knife slicing noises as she does this. This scene repeats itself a few times. The pounding at the door resumes at this point.

She is drawing Cooper away, towards the door being pounded on. Under a sconce on the wall is another door, something like a utility closet. She turns a light on and Cooper follows her into the room. He is looking up and we see her ascending a ladder to the ceiling; it seems bolted to the wall. She opens a hatch...and we cut to the outside of a roof...in outer space. There are support structures above the hatch and what seems to be a a large copper pipe with rivets behind the hatch. The hatch clangs metallically as he finishes opening the door.  

She climbs out of the hatch onto the roof and the camera pans back to show a small metal box, about the size of that closet (not the large room with the fire). That copper pipe is about three feet taller than she is and about three times as round. Is is wide at the bottom and narrow at the top. Cooper finishes climbing out and the woman seems to be saying something to him, like she’s explaining what she’s about to do. There are two circular instrument panels near her, both with needles and three indicators, the top circle indicators are dots and the needle in halfway between the first and second. The lower circle’s indicators are lines and the needle is on the third line. Cooper shakes his head at her as if he’s telling her he doesn’t understand but still senses the urgency. The knocking continues at the same insistent pace. Her face expresses that she has made herself understood and she begins to move around the large copper pipe.

Cooper starts following her but she seems to say, “Stay,” and the words don’t seem to go inside her as much as they did in the fire room. She says other words to him but they are indiscernible. She seems resolved and continues on around the pipe. Cooper gets the message and stays put, holding onto the support structure. It’s clear he wants to help and is frustrated. She is moving towards a lever with a handle, in the up position. She grabs the handle and turns back to the Cooper. She looks at him with resolution and kindness and pulls the handle. A light goes out and electricity starts to hum. She places both hands on the pipe and seems to start to conduct the electricity through her body. She is getting shocked and eventually is thrown off the structure into space. Cooper is very surprised by this. She does an elegant upwards back flip into space (gravity does not work here like normal outer space) and Cooper moves to try to help her but can only stand and watch her flow downward into blackness to eventually disappear. The needles on those dials did not move as she was thrown off. Cooper looks around into space and sees nothing that can help him.  The structure creaks and moves in the (winds of space - what?).

As Cooper stares down into space, the misty ghost face of a fat bald man appears on the right of the screen, crawling to the left. It is the head of Major Garland Briggs and he says the words, “Blue Rose” (but the ‘Rose’ sounds like ‘Ross’).

Cooper resolves to go back down the hatch. The pounding has stopped but there is still a hum in the air. As he walks back into the fire room, the light seems to be white on the ceiling now and the sconces on the fireplace have turned into pillars instead of electric lights. A new woman is sitting in the chair but her back is to Cooper. He looks to the plate on the wall and the number has changed from 15 to 3. The small plate it is engraved in also seems to have changed to a brighter metal. The lamp on the credenza next to it is no longer lit.

Cooper walks towards the woman and she turns to him. The chair seems to be a blue color. She is wearing a red dress and her eyes are fine. She turns back towards the fire and raises her her arm. Cut to a close up of her watch and we see the digital display change from Saturday 1st at 2:52 to 2:53. The light on the credenza comes on as 2:53 hits and a high hum starts. Cooper looks towards the panel. The humming grows in volume and the panel seems to draw Cooper towards it. The camera zooms in and we move through the plate plug and cut.

Cooper Escapes

Scene 2 Desert Road (0:14:36 - 0:15:02)

Mr C is driving a black Lincoln on a desert road. There is a horse rider caution sign. He is speeding. Cut to the inside of the car and the hum is loud here. His eyes seem to drift in and out of focus. He can’t barely read the clock in the Lincoln which has just changed to 2:53. The cigarette lighter seems to be the source of the hum.

Mr C Has a Plan

Scene 3, ??? (0:15:02 - 0:15:58)

Cooper is walking towards the panel. His curiosity seems to be fading into awareness. The woman in the red shirt and dark jeans is standing now. Cooper leans towards the panel and his head gets shocked and his face smokes. He is taken aback and looks at the woman. She is twitching and starts speaking in the backwards language, “When you get there, you will already be there.”

Cooper seems to take this in and accept it. He looks back to the panel, understanding that he needs to go through. There is a scratching sound as he approaches and his face violently contorts. His eyes grow wide, almost as if he were struck dumb.

Cooper Escapes

Scene 4, Desert Road (0:15:58 - 0:16:15)

Mr C isn’t doing well. He is starting to weave and at this high speed, a crash is inevitable so naturally he slams on the gas.

Mr C Has a Plan

Scene 5, ??? (0:16:15 - 0:17:09)

The scratching continues as Cooper recuperates from that last blast. The pounding starts on the door again. The woman twitches and says, “You’d better hurry. My mother’s coming.” Cooper doesn’t move forward but starts to be taken by the plug which lights up and his head contorts. He is getting sucked into the portal as smoke, his entire body disappearing except for his shoes.

Cooper Escapes

Scene 6, Desert Road (0:17:09 - 0:19:02)

Mr C crashes the car spectacularly, like an old Knight Rider stunt, and the car rolls backwards onto the road. Mr C is unhurt but still in pain. As he looks at the at the lighter plug, he begins to get sick but desperately tries to stifle his vomit. It is still 2:53 according to the car clock. The hum grows and he sees the Red Room curtains appear around the car.

Mr C Has a Plan

Scene 7, Rancho Rosa, Las Vegas (0:19:02 - 0:20:42)

Establishing shot of an empty suburban neighborhood, the kind that was decimated by The Recession of 2009. There is a billboard of all white people smiling with a Rancho Rosa estates sign. Cut to a view of a street in this neighborhood, where we can see several houses have For Sale signs in the yard. The cars are all muted in color except for a yellow Jeep which stands out strikingly. The camera pans on a long turn towards the house where the Jeep is parked. Cut to a voluptuous naked black woman embracing a man who looks just like Dale Cooper. They appear to be post-sex. He is holding his arm and she calls him Dougie and asks him what is wrong with his arm. He doesn’t know, thinks it fell asleep, that it's tingly. She leaves to wash up but not before taking hundreds of dollars from him. She’s a prostitute it seems. He gets up, nursing his arm and tries to put his jacket on, obviously in pain, his arm now hanging limp at his side. Now his stomach is very upset, causing him to fall to the floor.

Dougie Might Be Dying

Scene 8, Desert Road (0:20:42 - 0:20:53)

Mr C is still about to vomit.

Mr C Has a Plan

Scene 9, Rancho Rosa, Las Vegas (0:20:53 - 0:21:54)

Dougie is now on his hands and knees, in major pain. There are what looks like Sunday morning ads from the paper scattered on the floor as he crawls on his hands and knees. Cut to Jade getting in the shower. Dougie is trying to open the bathroom door from his position on the floor but she’s locked it. He can’t even call for help, he’s in so much pain. He starts crawling away, making sounds like he’s choking back vomit. Cut to a wall socket where we hear that same electric scratching noise we heard in the Power Station. Cut to Dougie crawling and grunting into an empty room with slatted sunlight coming in through the blinds. As Dougie vomits, the Red Room curtains appear around him. With a close up of his vomit, we see what looks like thick garmonbozia. There is a large flash and a bang and Dougie is pulled upwards and backwards, disappearing along with the Red Room curtains. Jade hears all of this from the bathroom and yells out, “What the fuck was that? Dougie!”

Dougie Might Be Dying

Scene 10, Desert Road (0:21:54 - 0:22:26)

Mr C is still about to vomit and we are seeing through the semi-transparent Red Room, as if watching him from the other side of the car window which have themselves become the Red Room. Cut to the inside of the car and we see Dougie sitting in a chair in the Red Room. He quickly disappears, along with the Red Room curtains. Cut to a close up of the cigarette lighter in the car, out of focus and bouncing; the electric scratching noise is intense and loud now. Mr C begins vomiting yellow garmonbozia that turns into a black oil, pouring from his mouth. The scratching continues as does the vomit. Disgusting gurgling sounds as Mr C passes out. Whatever is happening here, it’s more powerful than Mr C and beyond his control.

Mr C Has a Plan

Scene 11, The Red Room / Rancho Rosa, Las Vegas (0:22:26 - 0:32:27)

An open electric guitar strum welcomes us to a pan right along the Red Room curtains. Dougie is sitting in a chair in the Red Room and seems distressed to see Phillip standing up watching him. Phillip is distressed to see him as well. Something is wrong. Dougie, still in pain, says, “I feel funny.” He looks around briefly and asks, “What’s happening to me?” Phillip stars reverse talking, “Someone has manufactured you.” ‘Dougie looks at him incredulously and asks, “Whuuut?” Phillip continues, “...for a purpose...but I think now that’s been fulfilled.” Dougie asks, “It has?” and then starts looking around, almost like he’s about to get up and leave. Then he looks to his left arm, which begins to shrink. He is wearing the Owl Cave ring. He says, “That’s weird.” The ring falls off as his arm disappears, clinking ominously on the floor. Something else is wrong by the look on Dougie’s face. He head explodes and a geyser of dark vapor appears in its place. Phillip seems confused by this. A golden ball rises from the blow hole in Dougie’s neck, through the geyser. Dougie’s clothes fall down, wicked witch style in the Wizard of Oz. There is an electrical hiss and what remains looks like the head of arm’s doppleganger, floating above the chair. Phillip continues to look confused, covering his eyes with his one arm, as this burnt head looking apparition begins vomiting some kind of viscous liquid. The gold ball pops out and what remains of the head goes fluttering off and disappears. There is a bright light and electrical crackling sounds, as we we see Phillip, eyes still covered, covered in smoke and lightning. The lightning and sound stop and Phillip take his arm down, looking at a gold ball sitting on the cushion of the chair. He walks over and picks up the ring from the floor, then picks up the golden ball from the chair. Cut to the Red Room chevron floor moving towards the deis of the formica table with the golden base and table. Phillip places the ring ceremoniously on the table and then looks around suspiciously, turns and starts stumbling away.  

A close up on the electric socket with a steady electric hum, the Red Room curtains are semi-transparent across the frame and disappear. We see Dougie’s vomit on the floor. Close up on the electrical socket again There are four sockets and the upper right one begins to light up and crackle, a black smoke pouring out from each of the two prong holes. A cylindrical object is coming towards the vomit on the floor. It is Dale Cooper, in full suit. His shoes are gone and there is a hole in his right sock at the big toe. We hear Jade ask, “What was that noise Dougie? Where are you?” We hear her footsteps. She comes in fully dressed. She is surprised to see him in a suit and his hair and he lost weight and smells the vomit and asks if we was sick. Cooper is looking up at her. They have to get out of this house! They walk out of the house together but Cooper doesn’t have his shoes. He seems very slow, just staring ahead. He follows her back in the house and then back out, surprising her. She is agitated and gets angry at his slowness. She ends up putting his shoes on for him. Cooper doesn’t have Dougie’s car keys so Jade has to drive him. As she’s reaching in to check, she pulls out the Room 315 key from the Great Northern Lodge. She asks him, “You mean Jade has to give you two rides?” They are in her Jeep now. We see the license plate on his car is “DUGE LV.” As they drive down the street, another car passes them and the camera holds, letting us know we are not done watching this scene. The camera pans to track this other car, the driver clearly casing the house they were just inside. He gets on a walkie talkie and says, “She just drove by in a Wrangler. Looked like maybe two people, but...his car’s still here.” They are looking for Dougie. Cut to a bearded man who is also holding a walkie. He says, “I’m all set near the entrance. If he’s in the car, I’ll get him here.” Cut back to the Jeep where Jade is telling Dougie that once he finds his walled and cell phone or some money, he can call AAA. That they will help him. They pass Sycamore Street and this seems to flash some memory in Cooper’s mind. He starts looking around, sees her and says, “Jade give two rides.” She responds to this with, “Oh my God.” Cut to the second walkie talkie man. He is getting ready for whatever is about to happen. Cut to Cooper who seems perplexed. He starts digging in his pocket. Cut to a Speed Bump Ahead sign then back to Cooper who has pulled something from his pocket, the Great Northern Key. He is looking at it with almost a smile. They hit the bump, the key falls to the floor and Cooper goes after it, bending down at just the moment they pass the second walkie talkie man, who has pulled out a high powered sniper rifle. He doesn’t fire though because Jade appears to be alone. Cooper comes back up. The walkie man reports Dougie’s absence to Gene. Cut to Gene who is still parked outside the house and who says, “Yeah he must still be inside. I’ll load up his car.” The other walkie guy says, “All right. I’ll see you at Mikey’s.” As Jade pulls out of the neighborhood, they pass a shopping cart lady. Cut to Gene who gets out of the car and places what looks like a plastic explosive under Dougie’s trunk. We see him do this through the slatted blinds of a window in the house across the street from the one Dougie’s car is parked at. Cut to a young boy watching this scene from inside his house. A woman shouts out “One One Nine!” She looks like a drug addict, sitting at a card table with pills, whiskey a pipe, cigarettes and a filled up ashtray. There is a red balloon on the floor behind her. She shouts the numbers again and then again. She is obviously distressed. Gene is walking away after placing the explosive but the boy has seen him do it. The boy turns around and the woman shouts out the numbers again, as she pours a pill into her hand from one of the bottles. She pours herself a half rocks glass of Evan Williams whiskey and gingerly examines the pill, then swallows it down with the whiskey. The young boy eats from a ripped open box of saltine crackers. The woman is lighting a cigarette with a small blow torch, like meth heads use. She seems to settle into some state of calm.

Cooper’s Escape

Mr C Has A Plan

Dougie Might Be Dying

Scene 12, Desert Road (0:32:27 - 0:34:24)

Mr C is passed out in his Lincoln and two State Troopers pull up, get out, and look around at the accident site. TROOPER BILLY looks into the driver’s side window, which is opened from being crashed, and immediately starts gagging and drops to his knees. The other Trooper, interrupted from reading the license plate, runs to his aid. TROOPER TWO calls for aid and asks for gas masks.

Mr C Has a Plan

Scene 13 Twin Peaks Sheriff's Department (0:34:24 - 0:39:08)

It’s morning time in Twin Peaks and the sun is breaking over the tall trees behind the Twin Peaks Sheriff’s Station. Hawk enters the conference room. He carries with him takeout donuts and coffee from the RR. Andy and Lucy are sitting at the table and there are boxes, folders and piles of paper covering the entire table, the Laura Palmer case files. They are all looking for something that’s missing. What follows is a near-ridiculous Abbott and Costello-like routine, where Hawk asks the existential question, “If it’s not here, then how do you know it’s missing?” To which Lucy responds, “But if it is here, it isn’t missing?” Andy gestures to everything on the table and says, “This is here…” Lucy remembers that she ate the bunny and launches into an odd memory about having gas. Here we learn that Andy’s pet name for Lucy is “Punky.” A quirky catchphrase here, one that will be repeated for decades is, “It’s not about the bunny! … Is it about the bunny?” And the scene ends with the question.

Hawk is Missing Something

Scene 14 Twin Peaks, Jacoby’s Trailer (0:39:08 - 0:41:28)

Jacoby has rigged up some crazy Rube Goldberg contraption that holds the shovels upright. He has a home-made gas mask on and is spray painting the shovels golden with a can of spray paint. The contraption not only moves the shovels down the line, it rotates them so that he can spray them evenly with minimal effort. This is a very long scene.

Jacoby Fights the Power

Scene 15 Las Vegas, Silver Mustang Casino (0:41:28 - 0:51:24)

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

Jade and Dougie pull up to the Silver Mustang Casino. Jade tells Cooper to go inside and ask for help. She tells him, “You can go out now,” and this conjures an image of Laura Palmer telling him the same thing in Part 1. Cooper struggles with the revolving door of the casino but makes his way inside. He holds his five dollars out to the security guard and is directed to the cashier. Cooper follows pointing fingers rather well. The cashier has an odd exchange with him where he repeats phrases and she gives him his change with a sincere look of worry and genuine compassion. According to Cooper, he needs “Some Change” to play a “Game” named “Call for help.” Cooper staggers into the casino and watches a man pull the arm on a slot machine, yelling out “HELLLOOOOOH” when he wins. Cooper senses a pattern here. As he looks around, a flaming Red Room chevron and curtain image appears above a slot machine. He knows what that is! He goes to that machine and performs the ritual he just witnessed. What follows is a hilarious repetition of this ritual across several jackpots. There is a nasty looking wench who has nothing but contempt for Cooper. A casino concierge comes up to Cooper and tells him he is a Mega-Winner, that he’s won two jackpots for $28,400.  Cooper says, “Call for help,” and she says she’s here for that and goes to get him a bigger bucket. After Cooper walks away, the old wench looks longingly at the quarters he left behind and then around for anyone watching her, then to the ceiling at the Eye in the Sky camera, to which she flips it the middle finger. But after Cooper wins a third jackpot, the Old Lady pulls the arm on the machine next to her, the one he pointed at before she gave him the finger, and she wins!

Cooper’s Escape

Scene 16 FBI Headquarters, Philadelphia, PA (0:51:24 - 0:55:39)

We see Gordon and Albert sitting at a conference table with six other people in suits. One of them is a gorgeous Tammy Preston, who we only know from her voice and words in the margins of Mark Frost’s book The Secret History of Twin Peaks. They seem to be talking about the brutal South Dakota murder. Albert is telling Gordon that, “he’s been officially accused now of brutally murdering his wife. He claims he’s innocent and knows who did it, but can’t say because it would breach national security.” Apparently, the man got word to Chris, that these items were buried in the man’s garden in Georgetown (this means they are actually talking about a different murder than Ruth Davenport’s). The items are: a photo of a blonde voluptuous woman in lingerie, posing seductively; a pair of pliers, a photo pair of women in a bikini, a little boy on the beach in a sailor suit with a cap, a sub-machine gun with a silencer a jar of dry beans. Gordon says, “The Congressman’s dilemma.” He sends the team off to get to work on this but asks Tammy to stay and show him and Albert what she found in New York. Tammy turns on the television and displays the mutilated bodies of Tracey Barbareto and Sam Colby. She says that the NYPD is way over their heads, that there were supposed to be guards onsite 24/7 but no one can find any of them. She said the the police confiscated hundreds of digital files showing various angles of this glass box. She says that once in awhile they show some blurred shape pass through, but only a few frames. Then she shows them a ghostly image that appeared in the box the night of the murders. It looks like an amorphous alien. Gordon says, “What the hell?” She says, “The other cameras saw nothing and as soon as this thing moved, it disappeared.” Albert asks about forensics and she says, “The bodies were violently mutilated but no prints, no DNA, no fibers.” A woman’s voice interrupts from the intercom, telling Gordon (in a very Lucy-ish voice and tone), “On your phone, it’s Cooper!” Gordon, with a very worried look on his face, touches Albert’s shoulder and says his name. They both get up and rush from the room. Tammy seems perplexed and follows. They all enter Gordon’s office (a huge picture of an atomic explosion behind his desk with a large American flag next to it) and he picks up the phone, saying he’ll hold. Gordon asks the questions, “What? Where? Are you sure it’s him? What do you mean trouble?” He tells the person on the phone they will be there first thing in the morning and to set up an interview for, “9’ o clock sharp!” He hangs up and tells Albert they are head for, “The Black Hills of South Dakota.” Albert is not amused. What follows is a funny exchange where Gordon tells him, “Happy as this makes us, we can’t put this on the radio.” Gordon then says, “We fly at dawn and Tammy, you’re coming with us.” After he leaves, Albert shakes his head and says, “The absurd mystery of the strange forces of existence.” He then looks at Tammy and asks her, “How about a truckload full of valium?”

Cooper Escapes

A Billionaire Has A Plan

Scene 17, Twin Peaks The Bang Bang Bar 0:55:39 - 0:58:40)

This is a musical exit, with The Cactus Blossoms playing “Mississippi,” the lyrics on screen as follows:

“I’m going down to the sea / M-I-S-S-I-S-S-I-P / I watch the sun / Yellow and brown / Sinking suns in every town / My angels sings down to me / She’s somewhere on the shore / Waiting for me / With her wet hair and sandy gown / Singing songs, waves of sound / There’s a dive I know on River Street / Go on in and take my seat / There’s a lot of friends I’ll never meet / Gonna take a dive off River Street / You look different from way down here / Like a circus mirror / I see flashes of you on the surface"

Bang Bang Band on Stage


  • Kyle MacLachlan:Mr C / Special Agent Dale Cooper / Dougie Jones
  • Phoebe Augustine:American Girl
  • Chrysta Bell:FBI Agent Tammy Preston
  • Don S. Davis:Major Garland Briggs
  • John Ennis:Slot Machine Man
  • Miguel Ferrer:FBI Agent Albert Rosenfield
  • Brian Finney:Security Guard
  • Meg Foster:Cashier
  • Hailey Gates:Drugged-out Mother
  • Harry Goaz:Deputy Andy Brennan
  • Travis Hammer:First Trooper
  • Stephen Heath:Second Trooper
  • Michael Horse:Deputy Chief Tommy "Hawk" Hill
  • Sheryl Lee:Laura Palmer
  • David Lynch:FBI Deputy Director Gordon Cole
  • Josh McDermitt:Wise Guy
  • Linda Porter:Lady Slot-Addict
  • Kimmy Robertson:Lucy Brennan
  • Sawyer Shipman:Little Boy
  • Al Strobel:Phillip Gerard
  • Sabrina S. Sutherland:Floor Attendant Jackie
  • Russ Tamblyn:Dr. Lawrence Jacobie
  • Bill Tangradi:Jake
  • Greg Vrotsos:Gene
  • Nafessa Williams:Jade
  • Nae Yuuki:Naido
  • Jack Torrey:The Cactus Blossoms
  • Page Burkham:The Cactus Blossoms
  • Joel Paterson:The Cactus Blossoms
  • Beau Sample:The Cactus Blossoms
  • Alex Hall:The Cactus Blossoms


  • “Dream Recall” :  Written and Performed By David Lynch and Dean Hurley
  • "Mississippi" : Written by Jack Torrey and Performed By The Cactus Blossoms

A Skeleton Key to Twin Peaks Returns Part 3.png

Voice of The Return (Summary)

In Part 3, we see the exact same Share of Voice (70%) for the Cooper Escapes and Mr C stories when combined, but the narratives shift and Cooper Escapes actually takes over primary focus by double and Mr C's Plan declines by over 2/3rd. This Part is Dougie's show and the numbers prove it. The Hawk thread continues and we pick Jacoby's storyline back up for 5% of the voice.

It is fascinating to watch how Cooper escaping from the Black Lodge blossoms over these first three hours of Twin Peaks Returns.

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

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