A Skeleton Key to Twin Peaks: Part Six
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New Narrative Conflicts Introduced
No new narratives were introduced in Part 6.
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)
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.
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)
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.
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
Kyle McLachlan:Dougie Jones / Special Agent Dale Cooper
Ronnie Gene Blevins:Tommy
Juan Carlos Cantu:Officer Reynolds
Candy Clark:Doris Truman
Lisa Coronado:Hit and Run Mom
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
James Grixoni:Deputy Jesse Holcomb
Michael Horse:Deputy Chief Tommy “Hawk” Hill
Jay Jee:Patrol Officer
Sheryl Lee:Laura Palmer
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
Naomi Watts:Janey-E Jones
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
“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.
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