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


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


  • “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

A Skeleton Key to Twin Peaks Returns Part 7.png

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. 

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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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