TV Review: Twin Peaks 2.22 “Beyond Life and Death” (dir by David Lynch)


“How’s Annie?”

— Dale Cooper (Kyle MacLachlan) in Twin Peaks 2.22 “Beyond Life and Death”

“The Log Lady stole my truck!”

— Pete Martell (Jack Nance), same episode

“Some of your friends are here.”

— The Man From Another Place (Michael Anderson), same episode

“I’ll see you again in 25 years.”

— Laura Palmer (Sheryl Lee), same episode

Here we are.

Starting exactly one month ago, we started our Twin Peaks recaps.  I handled some, Leonard handled some, and Jeff handled some.  Gary added a post on David Lynch’s first three short films.  Val shared music videos that were either inspired by Lynch or directed by Lynch himself.  Jeff devoted his Movie a Day posts to reviewing films that all had a Twin Peaks connection.  As Leonard put it on twitter, projects are fun and I know we certainly had a lot of fun putting all of this together.

But, all good things must come to an end and, at least until the third season premieres on Showtime later this month, we have reached the end of Twin Peaks.  Episode 30 brought the story to a temporary end.  (The movie, Twin Peaks: Fire Walk With Me, was a prequel about the last days of Laura Palmer.  It’s a haunting film and one that we’ll look at tomorrow but, at the same time, it doesn’t offer up any answers to any of the questions that the finale left hanging.)

A little history: Twin Peaks was a huge success during its first season but, during the second season, ratings plunged.  According to the book, Reflections: An Oral History of Twin Peaks by Brad Dukes, neither David Lynch nor Mark Frost were as involved during the second season as they had been during the first.  As compared to the genuinely unsettling first season, the second season struggled to find its voice.  Was it a mystery?  Was it a broad comedy?  Was it a show about the paranormal or was it a soap opera?  It was all of that and, for many people, that was too much.  Today, of course, audiences are used to quirkiness.  They’re used to shows that straddle several different genres.  It’s no longer a revolutionary idea to be openly meta.

But in 1991, Twin Peaks was the show that ABC both didn’t know what to do with and, by the end, didn’t really want.  It was regularly moved around the schedule and, often, weeks would pass without a new episode.  Consider this: nearly two months passed between the airing of The Path to the Black Lodge and the final two episodes of the show.  (Miss Twin Peaks and Beyond Life and Death were both aired on June 10th, 1991.)

For the final episode, David Lynch returned to direct and, though hardly anyone saw it when it originally aired, it’s an episode that left such an impression that — 25 years later — Showtime agree to bring the series back.  The third season of Twin Peaks will premiere later this month but until then, let’s go ahead and recap Beyond Life and Death.

One last time, we open with Angelo Badalamenti’s beautiful theme music and those haunting shots of Twin Peaks.

We start at the sheriff’s station, with Lucy (Kimmy Robertson) and Andy (Harry Goaz) having a moment.  Lucy talks about how scared she was when the lights went out and then says she found herself wondering what would happen if they were stuck in an elevator in the hospital and she went into labor.  Andy replies that, if that happened, he would deliver the baby “in front of God and everyone.”  Awwwww!

In Harry’s office, Cooper (Kyle MacLachlan) and Hawk (Michael Horse) stare at the cave drawing while Harry (Michael Ontkean) says that he has deputies in three counties looking for Windom Earle.  Windom appears to have vanished.  Cooper replies that the only hope they have of finding Windom and Annie is in the map.

“Fire walk with me,” Cooper says, softly, “Fire walk with me.”

Pete (Jack Nance) steps into the office and announces that the Log Lady stole his truck.  I love the way that Jack Nance delivers the line, “The Log Lady stole my truck!”  (Sadly, Nance was murdered just a few years after the end of Twin Peaks.)  Pete says that, when last seen, the Log Lady was driving into Ghostwood Forest.

“Pete,” Cooper announces, “the Log Lady did not steal your truck.  The Log Lady will be here in one minute.”

“12 rainbow trouts in the bed,” Pete says.

This triggers Harry’s memory.  He announces that there is a circle of 12 sycamores in Ghostwood Forest.  It’s called Glastonbury Grove.  Hawk says that Glastonbury Grove is where he found the pages from Laura’s diary.  Cooper suddenly says, “That’s the legendary burial place of King Arthur!  Glastonbury!”

“King Arthur is buried in England,” Pete says, dismissively, “Last I heard anyway.”

Right on time, The Log Lady (Catherine E. Coulson) shows up at the office.

“Where’s my truck?” Pete demands.

“Pete, Windom Earle stole your truck,” Cooper says.

Pete looks very confused.  Jack Nance really acted the Hell out of this scene.  (Interestingly enough, Catherine Coulson was, in real life, Nance’s ex-wife.)

The Log Lady ignores Pete.  She has a jar of oil that she hands to Cooper.  The Log Lady says that her husband claimed that the oil was the opening to a gateway.  Everyone agrees that it smells like scorched engine oil.  Cooper has Hawk bring in Ronette Pulaski (Phoebe Augustine), who says that she smelled the oil the night that she was attacked and Laura Palmer was killed.

Out in the woods, a pickup truck comes to a stop in front of Glastonbury Grove.  Inside the truck, Windom Earle (Kenneth Welsh) forces Annie (Heather Graham) to look at the 12 rainbow trout in back.  Annie tells Windom that, if he’s going to kill her, to go ahead and get it over with.  Windom says that there is plenty of time for that but, right now, he is enjoying the fear that he is feeling.

(After being portrayed in far too cartoonish a manner over the past few episodes, Windom is finally menacing again.  For that matter, this is the first — and, as fate would have it, the only — episode where Heather Graham seems to be truly committed to her role as Annie.  This episode directly challenges anyone who thinks that David Lynch is merely a visual artist who can’t direct actors.)

As Annie recites Psalm 141, Windom drags her through the woods.  Windom shoves her into the the middle of the grove.

“I tell you, they have not died,” Windom recites, “Their hands clasp, yours and mine.”

Suddenly, in the middle of the woods, the red curtains appears.  Windom leads the now zombified Annie through them.

At the Hurley House, Doc Hayward (Warren Frost) is looking over the heavily bandaged Mike (Gary Hershberger) and Nadine (Wendy Robie).  Meanwhile, Ed (Everett McGill) is cheerfully talking to Norma (Peggy Lipton) by the fire place.  (I like the fact that, with everything that’s going on, Ed and Norma are just happy to be together.)  Just as Ed and Norma start to dance, Nadine suddenly gets her memory back and starts to shout about silent drape runners.  Nadine demands that Ed make everyone go away.

At the Hayward house, Eileen (Mary Jo Deschanel) sits in her wheelchair and stares at Ben Horne (Richard Beymer).  Donna (Lara Flynn Boyle) comes walking down the stairs, carrying a suitcase.  Eileen begs Donna not to leave but Donna starts screaming about not knowing who her parents are.  Ben steps forward and apologizes.  He says he only wanted to do good.  He wanted to be good.  He says that it felt good to finally tell the truth.

Doc Hayward arrives home and is not happy to see Ben.  Ben is begging for forgiveness when, suddenly, his own wife (Jan D’Arcy) comes walking through the front door.  She demands to know what Ben is trying to do to their family.

Donna looks at Doc Hayward and starts to chant, “You’re my Daddy!  You’re my Daddy!”  Eileen looks away, which is a polite way of saying, “No, Ben’s your Daddy and you’ve got a half-sister that everyone likes more than you.”

Ben tries to apologize again and, after 29 episodes of never losing his temper, Doc Hayward finally snaps and punches Ben.  Ben falls back and hits the back of his head on the fireplace!  Oh my God!  Is Ben dead!?  Is Doc Hayward now evil!?

(I know the answer but I’m not going to tell you until the end of this review.)

At the Martell House, Andrew (Dan O’Herlihy) is all excited because he’s figured out that the key is the key to a safety deposit box.  He steals the key from the pie plate and replaces it with a duplicate.  However, Pete steps into the room just in time to see Andrew doing it.

In the woods, Cooper and Harry come across the abandoned truck.  They walk into the forest but Cooper suddenly announces that he must go alone.  Cooper takes Harry’s flashlight and walks through the forest.  Eventually, he hears the hooting of an owl and comes across Glastonbury Grove.  Cooper steps into the circle and the red curtains appear.  As Harry watches from a distance, Cooper steps though the curtains.

(Though it may just be coincidence, the red curtains always make me think about the opening of Dario Argento’s Deep Red.)

Cooper finds himself in the red curtained hallways.  He walks until he reaches the room from his dreams.  As the lights stobe, the Man From Another Place (Michael Anderson) dances while a lounge singer (Jimmy Scott) sings about Sycamore Trees.  The Man From Another Place eventually hopes into a velvet chair.  It’s deeply unsettling to watch because we know that, behind one of those curtains, BOB is lurking.

In the forest, Andy finds Harry.  They sit outside of Glastonbury Grove and wait for Cooper to return.

Morning comes.  We get a few final shots of the countryside around Twin Peaks.  The mountains.  The bridge where, 29 episodes ago, Ronette Pulaski was discovered battered and nearly catatonic.  The forest.  The countryside was beautiful when we first saw it but, after spending 31 hours in the world of Twin Peaks, it is now impossible to look at that wilderness without wondering what secrets are being concealed beneath the tranquil surface.

Harry and Andy are still sitting outside of Glastonbury and there is something truly touching about the sight of these two friends loyally waiting for their third friend to return.  Andy volunteers to go to diner to get them breakfast.  Harry says, “Yes.”  Andy lists off all of the usual Twin Peaks food.  Coffee.  Pancakes.  Desert.  “Yeah,” Harry replies.  When Andy finally asks if Harry wants pie, Harry falls silent.  How can anyone eat pie with Cooper missing?

Meanwhile, at the bank — OH MY GOD!  YOU MEAN WE’RE NOT GOING TO THE BLACK LODGE TO FIND OUT WHAT’S GOING ON WITH COOPER YET!? — an old lady sleeps at the new accounts desk. (It’s a very Lynchian image, to be honest.)

Audrey Horne (Sherilyn Fenn) comes in and says hello the elderly bank president, Mr. Mibbler (Ed Wright).  Mibbler is really happy to see Audrey, even after she explains that she is going to be chaining herself to the vault as a part of her environmental protest.   For whatever reason, almost all of David Lynch’s film features at least one elderly character who moves slowly and is utterly clueless about the world around them.  Mr. Mibbler is certainly a part of that tradition.

(Speaking for myself, I like the way that the scene in the bank is shot and acted but it still frustrates me that, during the 2nd season, Twin Peaks could never quite figure out what to do with Audrey.  When Kyle MacLachlan vetoed any romance between Cooper and Audrey, it pretty much destroyed Audrey’s storyline.  To make us believe that Cooper and Audrey could actually fall in love with other people, the writers kept Cooper and Audrey from interacting and, as a result, it often seemed that Audrey was trapped in another, rather less interesting show.  While Cooper investigated the Black Lodge and Windom Earle, Audrey was stuck playing Civil War with her father and improbably falling in love with John Justice Wheeler.  Even in the finale, Audrey mostly serves as a distraction from the show’s main storyline.  The character deserved better.)

Andrew and Pete show up at the bank.  Mibbler is shocked to see that Andrew is still alive but Andrew is more concerned with opening up that deposit box.  It takes Mibbler a while to find the box but when he does, he promptly opens it.  What’s inside the box?  Well, there’s a note from Thomas that read, “Finally got you, Andrew.  Love, Thomas.”  And there’s a bomb, which promptly explodes.

Oh my God, is Audrey dead!?  Well, the episode never reveals who died or survived in the bank.  However, having looked through the recently published The Secret History of Twin Peaks, I know the answer and I will reveal it at the end of this review.

At the Double R, Major Briggs (Don S. Davis) and Betty (Charlotte Stewart) are sharing a booth and, as opposed to the way they were portrayed all through the first season, they appear to be very much (and very playfully) in love.

At the counter, Bobby (Dana Ashbrook) watches his parents making out and then turns to Shelly (Madchen Amick.)  He asks her to marry him.  Shelly mentions that she’s still married to Leo and then she and Bobby start going, “Arf!  Arf!  Arf!,” which is a strangely cheerful callback to the way that Bobby and Mike taunted James Hurley at the end of the pilot.  Bobby says that Leo is up in the woods, having the time of his life.  A jump cut quickly reminds us that Leo is actually up in the woods trying to keep a bunch of tarantulas from falling down on his head.

Suddenly, Dr. Jacoby (Russ Tamblyn) and Sarah Palmer (Grace Zabriskie) step into the diner.  They walk right over to Maj. Briggs.  Dr. Jacoby says that Sarah has a message for him, one that she felt was very important.  Speaking in the distorted voice of Windom Earle, Sarah says, “I am in the Black Lodge with Dale Cooper.  I’m waiting for you.”

And here is where the finale basically goes insane.  Seen today, the final 20 minutes of this episode remain genuinely unsettling and often rather frightening.  I can only imagine how audiences reacted in 1991.  I did a little research (which is a fancy way of saying that I looked on Wikipedia) and, believe it or not, the top-rated television show in 1991 was 60 Minutes.  Needless to say, the finale of Twin Peaks was about as far from 60 Minutes as you could get.

In the Black Lodge, Cooper still sits in the room with red curtains.  The Man From Another Place tells him, “When you see me again, it won’t be me.”  The Man From Another Place explains that the room with red curtain is a waiting room.  (Purgatory, perhaps?)

“Some of your friends are here,” The Man From Another Place continues.

Laura Palmer (Sheryl Lee), dressed in black, walks in and sits down beside The Man From Another Place.  “Hello Agent Cooper,” she says, speaking backwards.  “I’ll see you again in 25 years.  Meanwhile.”  Laura vanishes.

(The 25 years explains why, way back in the third episode, Cooper appeared to be a much older man in his dream.  It’s also interesting to note that, later this month, the 3rd season of Twin Peaks will air roughly 25 years after the 2nd season ended.)

Suddenly, the room service waiter (Hank Worden) appears with a cup of coffee.  “Hallelujah,” he says.  “Hallelujah,” the Man from Another Place agrees.

The waiter places on a table next to Cooper.  Suddenly, the waiter is gone and the Giant (Carel Struycken) stands in his place.  The Giant sits down next to The Man From Another Place.

“One and the same,” he says.

(Even though I know what’s going to happen, watching this scene still makes me nervous.  The Giant, the Waiter, and The Man From Another Place are the only friends that Cooper has in the Black Lodge.  Once the Giant leaves, who will be the next to come out?)

The Giant vanishes.  The Man From Another Place rubs his hands together and gets a sinister little smile on his face.  As he has done so many times since the series began, Cooper attempts to drink his coffee but discovers that it is now frozen solid.  Suddenly, it’s not frozen and it pours out of the cup.  Then, just as suddenly, it’s thick and only slowly dribbles out when Cooper tips the cup.

“Wow, BOB, wow,” the Man From Another Place says.  He looks directly at the camera and says, his voice now much more rougher, “Fire walk with me.”

It’s an incredibly unsettling moment in an already unsettling episode.  By this point, we all know what “Fire walk with me” means.

There’s an explosion.  A woman (Laura or Annie?) screams.  The lights start to strobe.  Cooper walks out of the room and finds himself, once again, in the hallway.  Having heard the scream and knowing what BOB did to Ronette, Laura, Maddy, and countless others, it is a coincidence that the only decoration in the hallway is a reproduction of the Venus de Milo, a beautiful woman who does not have the arms necessary to protect herself?  As well, it is surely not a coincidence that the Black Lodge could just as easily pass for an “exclusive” section of One-Eyed Jack’s.

Cooper steps through another set of curtains and finds himself in a second room, one that looks just like the first room except that it’s deserted.

Cooper returns to the first room where The Man From Another Place snaps, “Wrong way!”

Cooper goes back to the second room.  At first, it appears to be deserted but suddenly The Man From Another Place appears, laughing maniacally.  “Another friend!” he says and suddenly, Maddy Ferguson (Sheryl Lee), dressed in black much like Laura, steps into the room.   “Watch out for my cousin,” she says and then vanishes.

Cooper returns to the first room, which is now deserted.

Suddenly, the Man From Another Place appears beside him.

“Doppleganger,” the Man says.

Laura, her eyes white, suddenly stands in front of Cooper.  “Meanwhile,” she says.

Suddenly, Laura screams and the lights start to strobe again.  Still screaming, Laura charges at Cooper.  Cooper runs from the room and suddenly, finds himself in the Black Lodge’s foyer.  He realizes that, like all of Windom Earle’s victims, he has been stabbed in the stomach.  Cooper staggers back into the hallway and, following a trail of bloody footprints, he returns to the second room.

In the room, he sees himself lying on the floor next to Caroline Earle (Brenda E. Mathers).  Like Cooper, Caroline has been stabbed.  Suddenly, Caroline sits up and … IT’S ANNIE!  Cooper calls out her name but suddenly, the bodies disappear and the strobe lights start again.

Calling Annie’s name, Cooper returns to the first room.  Annie is waiting for him.  “Dale,” she says, “I saw the face of the man who killed me.  It was my husband.”

“Annie,” Dale says.

“Who is Annie?”

Suddenly, Annie is a white-eyed Caroline and then she transforms into the still shrieking Laura.  Laura turns into Windom Earle.  As Cooper and Windom stare at each other, Annie materializes and then vanishes again.  Windom says that he will set Annie free but only if Cooper gives up his soul.

“I will,” Cooper says and, for the first time, Cooper’s voice is now as distorted as all the other inhabitants of the Black Lodge.

Windom stabs Cooper in the stomach and suddenly, there’s another explosion.  The strobe lights start again and Windom is screaming for help.  Cooper, no longer wounded, sees that BOB (Frank Silva) has grabbed Windom.  Windom screams and BOB snaps, “BE QUIET!”

(As scary as BOB is, it’s undeniably satisfying to see Windom Earle finally not in control.)

BOB tells Cooper to go.  Windom, BOB explains, is wrong.  “He can’t ask for your soul.  I will take his!”

Windom screams as BOB literally rips his soul out of his head.  Finally, Windom falls silent.  As BOB continues to laugh, Cooper runs from the room.  Suddenly, someone else comes running through the room and — OH NO!  IT’S A DOPPELGANGER COOPER AND WOW, IS HE ACTING WEIRD!

Cooper walks through the hallway when suddenly, Leland Palmer (Ray Wise) steps out from behind a curtain.  His hair is brown again but his eyes are now white.  Leland smiles and says, “I did not kill anybody.”

Doppelganger Cooper appears and chases after the real Cooper.  They run through the Black Lodge until Doppelganger Cooper manages to grab the real Cooper.

BOB appears and stares straight at the camera.  AGCK!

Suddenly, at Glastonbury Grove, the curtains appear.  Night has fallen again but Harry is still loyally sitting in the forest, waiting for Cooper’s return.  When he sees the curtains, Harry runs into the circle of trees and finds the bodies of both Cooper and Annie.

Cut to the Great Northern.  Cooper wakes up in bed, with Doc Hayward and Harry sitting beside him.  Speaking in an oddly mechanical tone of voice, Cooper first says that he wasn’t sleeping and then asks, “How’s Annie?”  Harry says that Annie is at the hospital and she’ll be okay.

“I need to brush my teeth,” Cooper says.

In the bathroom, Cooper squeezes an entire tube of toothpaste into the sink.  He then rams his head into the mirror and, as the reflection of BOB stares back at him, he starts to laugh.  “How’s Annie?” he mocking repeats.  “How’s Annie?”

AGCK!

And, with that deeply unsettling turn of events, Twin Peaks came to a temporary end.  This brilliantly directed episode ended with three cliffhangers.  What happened to Ben?  Who died at the bank?  What happened to Dale Cooper?

I promised you answers to some of those question so, according to The Secret History of Twin Peaks, here they are:

Ben survived his injury.

At the bank, the bomb killed Mr. Dibbler, Andrew, and Pete.  (Perhaps not coincidentally, both Dan O’Herlihy and Jack Nance died long before Showtime announced that it was reviving the show.)  Audrey survived, largely because Pete shielded her with his body.  Shaken by the violent death of both her brother and her husband, Catherine returned to Ben everything that he had signed over to her.  Catherine became a recluse.

As for what happened to Dale — well, that’s question that we will hopefully get an answer to when Twin Peaks returns to Showtime on May 21st!

Well, that concludes our Twin Peaks recaps!  Thank you everyone for reading and thank you, Jeff and Leonard, for going on this adventure with me!

Now, how about we all get some coffee and slice of cherry pie?

(Love ya,)

Previous Entries in The TSL’s Look At Twin Peaks:

  1. Twin Peaks: In the Beginning by Jedadiah Leland
  2. TV Review: Twin Peaks 1.1 — The Pilot (dir by David Lynch) by Lisa Marie Bowman
  3. TV Review: Twin Peaks 1.2 — Traces To Nowhere (directed by Duwayne Dunham) by Jedadiah Leland
  4. TV Review: Twin Peaks 1.3 — Zen, or the Skill To Catch A Killer (dir by David Lynch) by Lisa Marie Bowman
  5. TV Review: Twin Peaks 1.4 “Rest in Pain” (dir by Tina Rathbone) by Leonard Wilson
  6. TV Review: Twin Peaks 1.5 “The One-Armed Man” (directed by Tim Hunter) by Jedadiah Leland
  7. TV Review: Twin Peaks 1.6 “Cooper’s Dreams” (directed by Lesli Linka Glatter) by Lisa Marie Bowman
  8. TV Review: Twin Peaks 1.7 “Realization Time” (directed by Caleb Deschanel) by Lisa Marie Bowman
  9. TV Review: Twin Peaks 1.8 “The Last Evening” (directed by Mark Frost) by Leonard Wilson
  10. TV Review: Twin Peaks 2.1 “May the Giant Be With You” (dir by David Lynch) by Leonard Wilson
  11. TV Review: Twin Peaks 2.2 “Coma” (directed by David Lynch) by Jedadiah Leland
  12. TV Review: Twin Peaks 2.3 “The Man Behind The Glass” (directed by Lesli Linka Glatter) by Jedadiah Leland
  13. TV Review: Twin Peaks 2.4 “Laura’s Secret Diary” (dir by Todd Holland) by Lisa Marie Bowman
  14. TV Review: Twin Peaks 2.5 “The Orchid’s Curse” (dir by Graeme Clifford) by Lisa Marie Bowman
  15. TV Review: Twin Peaks 2.6 “Demons” (dir by Lesli Linka Glatter) by Leonard Wilson
  16. TV Review: Twin Peaks 2.7 “Lonely Souls” (directed by David Lynch) by Jedadiah Leland
  17. TV Review: Twin Peaks 2.8 “Drive With A Dead Girl” (dir by Caleb Deschanel) by Lisa Marie Bowman
  18. TV Review: Twin Peaks 2.9 “Arbitrary Law” (dir by Tim Hunter) by Lisa Marie Bowman
  19. TV Review: Twin Peaks 2.10 “Dispute Between Brothers” (directed by Tina Rathbone) by Jedadiah Leland
  20. TV Review: Twin Peaks 2.11 “Masked Ball” (directed by Duwayne Dunham) by Leonard Wilson
  21. TV Review: Twin Peaks 2.12 “The Black Widow” (directed by Caleb Deschanel) by Leonard Wilson
  22. TV Review: Twin Peaks 2.13 “Checkmate” (directed by Todd Holland) by Jedadiah Leland
  23. TV Review: Twin Peaks 2.14 “Double Play” (directed by Uli Edel) by Jedadiah Leland
  24. TV Review: Twin Peaks 2.15 “Slaves and Masters” (directed by Diane Keaton) by Lisa Marie Bowman
  25. TV Review: Twin Peaks 2.16 “The Condemned Woman” (directed by Lesli Linka Glatter) by Leonard Wilson
  26. TV Review: Twin Peaks 2.17 “Wounds and Scars” (directed by James Foley) by Lisa Marie Bowman
  27. TV Review: Twin Peaks 2.18 “On The Wings of Love” (directed by Duwayne Dunham) by Jedadiah Leland
  28. TV Review: Twin Peaks 2.19 “Variations on Relations” (directed by Jonathan Sanger) by Lisa Marie Bowman
  29. TV Review: Twin Peaks 2.20 “The Path to the Black Lodge” (directed by Stephen Gyllenhaal) by Lisa Marie Bowman
  30. TV Review: Twin Peaks 2.21 “Miss Twin Peaks” (directed by Tim Hunter) by Leonard Wilson

TV Review: Twin Peaks 2.18 “On the Wings of Love” (dir by Duwayne Dunham)


Welcome back to Twin Peaks!

This episode opens at the Bookhouse, where lingerie-clad Jones (Brenda Strong) is climbing on top of Harry (Michael Ontkean).  Harry, in his whiskey-dazed state, thinks that she is Josie (Joan Chen).  He comes to his senses right when Jones wraps a garrote around his neck and starts to strangle him.  Harry manages to overpower her, leaving her knocked out cold on the couch.

At the Great Northern, Audrey (Sherilyn Fenn) delivers room service to Wheeler (Billy Zane).  I am not sure what to make of Wheeler.  I know that he was brought in so that Audrey would have a love interest other than Cooper but, since he’s played by Billy Zane, I don’t trust him.

At the sheriff’s station, Harry tells Cooper (Kyle MacLachlan) that he has not been able to get anything out of Jones.  She wants to talk to the South African consulate.  Harry wonders why Eckhardt would have wanted him dead.  “Sexual jealousy,” Cooper replies before saying that it is good to have Harry back.

In the sheriff’s office, Doctor Hayward (Warren Frost), Harry, and Cooper look at a Bonsai tree that was delivered that morning.  Harry looks at the card.  It was a present from Josie.  Before Harry can get too depressed, Hayward tells them about Windom Earle coming back his house and he shows them the knight that Earle gave to Donna.

Gordon Cole (David Lynch) enters the office, yelling as always and making Harry’s headache worse.  Cole shouts that he has just come from Bend, Oregon, that he is bringing Cooper the classified portion of Windom Earle’s file and that he is reinstating Cooper in the FBI.

What no one knows is that the Bonsai tree is hiding a microphone and Windom Earle (Kenneth Welsh) is listening to every word that they say.  Earle complains to Leo (Eric Da Re) that Cooper is refusing to play fair.  Earle has Leo pick three cards.  They are all queens — Queen Donna, Queen Audrey, and Queen Shelly.  Earle has Leo pick a king card — “Little Dale.”  Earle reaches behind Leo’s ear and produces one more card — the Queen of Hearts.  The Queen of Hearts will be whoever is named Miss Twin Peaks.

Cole tells Cooper that, in the institution, Earle was put on the same drug that the One-Armed Man used.  Cooper notices that Earle was involved with Project Blue Book, just like Major Briggs.  Cooper says that there is some definite linkage, which makes Cole think of sausage patties and breakfast.

At the Great Northern, Donna (Lara Flynn Boyle) spies on her mother, Eileen (Mary Jo Deschanel), meeting with Ben Horne (Richard Beymer).  Donna goes to the front desk and, as Mike (Gary Hershberger) and Nadine (Wendy Robie) check out, Donna asks to speak with Audrey.  When Audrey comes out, Donna asks her if there’s any reason why Donna’s mother would visiting Audrey’s father.  Audrey leads Donna to the secret passageway so that they can spy on their respective parents in Ben’s office.

In the office, Eileen tries to get Ben to take a bundle of letters but he refuses, saying that they are her letters.  They were written to her.  Ben says that he hasn’t held Eileen for nearly 20 years.  Ben asks if Eileen has “told her.”  Eileen tells Ben to stay away from her and to never come by the house again.

At the diner, Cole, Harry, and Cooper show up for breakfast. While  hungover Harry is busy throwing up, Cooper and Cole get a booth.  Cole spies Shelly and shouts, “What a beauty!”  Cole walks over to the counter and loudly asks Shelly if he might ask her for a cup of coffee “and in the process, engage you with an anecdote of no small amusement.”  Shelly says that he doesn’t have to shout and Cole is shocked to discover that he can hear her, even when she is speaking in her normal voice.

Back at the booth, Harry and Cooper are debating cars when Annie (Heather Graham) comes over and pours them both a cup of coffee.  Cooper and Annie flirt while Harry Days music plays in the background.  Annie notices that Cooper has drawn a picture of the three marks on Major Briggs’s neck and tells him that the same design can be found at Owl Cave.  Cooper tells Harry that he has to see this Owl Cave.

At the Hayward house, Donna gets a postcard from James.  He says that he is in San Francisco.  When Dr. Hayward steps into the room, Donna tells him that Ben visited yesterday.  Dr. Hayward tells her that Eileen and Ben are probably just working on a charity together.  Suddenly, roses arrive.  They are for Eileen.  There’s no card.

At the library, Audrey is getting a book on political science and civil disobedience when she runs into pipe-smoking Edward Perkins, who is actually Windom Earle in disguise.  Perkins says that he is a professor who teaches a class in poetry so Audrey asks him about the poem that she received.  Perkins tells her that it is by Shelley and that Audrey looks like a queen.  Realizing that there is something strange about Edward Perkins, Audrey says that she has to go and makes a hasty exit.

At the diner, Annie finds an advertisement for Miss Twin Peaks.  Shelly asks her if she is going to enter but Annie says life is already strange enough without wearing high heels and a bathing suit.  Annie says that it’s also strange being around men again and asks Shelley what she knows about Cooper.  Shelly tells Annie to go for it.

Back at station, Lucy (Kimmy Robertson) thanks Andy (Harry Goaz) for helping out during yesterday’s weasel riot.  “That’s more than a certain Dick did,” Lucy says.

At the Great Northern, Ben is talking to Audrey about the Kennedy Brothers.  Ben says that he needs Audrey to be his Bobby Kennedy.  He needs her to be by his side, always willing to tell him the truth.  Ben apologizes for not being a better father and then says that he needs Audrey to go to Seattle to meet with the environmentalists.  When Wheeler steps into the office, Audrey says she is not sure that she can leave on short notice but Ben will hear nothing of it.

After Audrey leaves, Ben confesses to Wheeler that he is not really sure how to be good.  Ben asks Wheeler, “What’s the secret?”  Wheeler tells him to keep his eye on his heart and always tell the truth.  Wheeler confesses that he is falling in love with Audrey.  He and Ben eat a carrot.

Meanwhile, Johnny Horne (Robert Bauer) is outside, shooting rubber arrows at wooden buffaloes.

That night, at Owl Cave, Cooper, Andy, Harry, and Hawk (Michael Horse) explore.  They find the markings on the cave and discover that they are a combination of the markings on the Major’s neck and the Log Lady’s leg.

Thanks to wonders of incredibly primitive CGI, an owl flies around the cave.  Andy panics and swings his pickaxe, accidentally embedding it in the symbol.  Part of the wall falls away, revealing a stone lever that is decorated with a petroglyph on an owl.  Cooper smiles and says he does not know where this is going to lead but he is sure it will be somewhere “both wonderful and strange.”

Annie sits alone in the Great Northern cocktail lounge, when Cooper, fresh from Owl Cave, enters.  Annie tells Cooper that it is strange being back in the real world.  Cooper notices the scars on her wrist.  Annie says that she worries that she might try again.  Annie tells Cooper that some people think that she is strange.  Cooper says that he knows the feeling.

Back at Owl Cave, Earle sneaks in and sees the lever.  He turns it and, as the episode ends, the entire cave starts to shake.

This episode, which played like a cross between Picket Fences and Lost, shows just how much of an identity crisis Twin Peaks suffered during its second season.  Is it a comedy? Is it a romance?  Is it supernatural?  No one seems to know.

The best part of the episode was the trip to the Owl Cave and Ben’s conversation with Audrey.  The worst part of the episode?  Annie, who spent a few years in a convent but is written like an Amish girl on rumspringa.

Up next: Variations on Relations.

Previous Entries in The TSL’s Look At Twin Peaks:

  1. Twin Peaks: In the Beginning by Jedadiah Leland
  2. TV Review: Twin Peaks 1.1 — The Pilot (dir by David Lynch) by Lisa Marie Bowman
  3. TV Review: Twin Peaks 1.2 — Traces To Nowhere (directed by Duwayne Dunham) by Jedadiah Leland
  4. TV Review: Twin Peaks 1.3 — Zen, or the Skill To Catch A Killer (dir by David Lynch) by Lisa Marie Bowman
  5. TV Review: Twin Peaks 1.4 “Rest in Pain” (dir by Tina Rathbone) by Leonard Wilson
  6. TV Review: Twin Peaks 1.5 “The One-Armed Man” (directed by Tim Hunter) by Jedadiah Leland
  7. TV Review: Twin Peaks 1.6 “Cooper’s Dreams” (directed by Lesli Linka Glatter) by Lisa Marie Bowman
  8. TV Review: Twin Peaks 1.7 “Realization Time” (directed by Caleb Deschanel) by Lisa Marie Bowman
  9. TV Review: Twin Peaks 1.8 “The Last Evening” (directed by Mark Frost) by Leonard Wilson
  10. TV Review: Twin Peaks 2.1 “May the Giant Be With You” (dir by David Lynch) by Leonard Wilson
  11. TV Review: Twin Peaks 2.2 “Coma” (directed by David Lynch) by Jedadiah Leland
  12. TV Review: Twin Peaks 2.3 “The Man Behind The Glass” (directed by Lesli Linka Glatter) by Jedadiah Leland
  13. TV Review: Twin Peaks 2.4 “Laura’s Secret Diary” (dir by Todd Holland) by Lisa Marie Bowman
  14. TV Review: Twin Peaks 2.5 “The Orchid’s Curse” (dir by Graeme Clifford) by Lisa Marie Bowman
  15. TV Review: Twin Peaks 2.6 “Demons” (dir by Lesli Linka Glatter) by Leonard Wilson
  16. TV Review: Twin Peaks 2.7 “Lonely Souls” (directed by David Lynch) by Jedadiah Leland
  17. TV Review: Twin Peaks 2.8 “Drive With A Dead Girl” (dir by Caleb Deschanel) by Lisa Marie Bowman
  18. TV Review: Twin Peaks 2.9 “Arbitrary Law” (dir by Tim Hunter) by Lisa Marie Bowman
  19. TV Review: Twin Peaks 2.10 “Dispute Between Brothers” (directed by Tina Rathbone) by Jedadiah Leland
  20. TV Review: Twin Peaks 2.11 “Masked Ball” (directed by Duwayne Dunham) by Leonard Wilson
  21. TV Review: Twin Peaks 2.12 “The Black Widow” (directed by Caleb Deschanel) by Leonard Wilson
  22. TV Review: Twin Peaks 2.13 “Checkmate” (directed by Todd Holland) by Jedadiah Leland
  23. TV Review: Twin Peaks 2.14 “Double Play” (directed by Uli Edel) by Jedadiah Leland
  24. TV Review: Twin Peaks 2.15 “Slaves and Masters” (directed by Diane Keaton) by Lisa Marie Bowman
  25. TV Review: Twin Peaks 2.16 “The Condemned Woman” (directed by Lesli Linka Glatter) by Leonard Wilson
  26. TV Review: Twin Peaks 2.17 “Wounds and Scars” (directed by James Foley) by Lisa Marie Bowman

TV Review: Twin Peaks 2.15 “Slaves and Masters” (dir by Diane Keaton)


“Get a life, punk!”

— Albert Rosenfield (Miguel Ferrer) in Twin Peaks 2.15 “Slaves and Masters”

Well, it had to happen some time.

We have reached the “Slave and Masters” episode of Twin Peaks.  Judging from what I’ve read online, most fans seem feel that this episoode was the worst in the show’s history.  Myself, I don’t know whether it is or isn’t.  I’m writing this introduction before watching the episode.  I guess I’ll know soon enough.

Interestingly enough, this episode was directed by actress Diane Keaton.  When I first saw Keaton’s name listed as director, I assumes that she must have been a fan of the show and that she lobbied for the chance to direct an episode.  However, according to Relections: An Oral History of Twin Peaks by Brad Dukes, the opposite was true.  While the cast all liked and respected Keaton as a director, there was also a feeling that she didn’t seem to actually know much about the show.  Considering that the show had suffered a severe ratings decline during the 2nd season, it seems probable that Keaton was hired to direct in an attempt to generate some new interest in the once hot show.

If that was the plan, it didn’t work.  Apparently, the ratings for this episode were so low that Twin Peaks was put on hiatus a week after it aired.  It was only due to a letter-writing campaign that ABC decided to air the last six episodes of the season.  In short, it can be argued that this episode was truly the beginning of the end for Twin Peaks‘s original network run.

So, with all that in mind, let’s take a look at the 23rd episode of Twin Peaks, “Slaves and Masters.”

As always, we begin with the haunting opening credits and Angelo Badalamenti’s lushly romantic (yet ominously threatening) score.  The mood has been set.  We have returned to the world of Twin Peaks.

After the credits, we immediately cut to a close-up of a chess board.  In slow motion, the camera glides over all of the pieces.  The Queen, The pawns, the King, the Bishop, the little horsey guy.  (I don’t know much about chess, sorry.)

Suddenly, we’re no longer looking at chess pieces.  Instead, the camera is panning up the legs of Evelyn Marsh (Annette McCarthy), who is dressed in black and even wearing a black veil and — OH MY GOD, HAS THIS STORYLINE NOT BEEN RESOLVED YET!?  Seriously, when people talk about Season 2 not being as inspired as Season 1, they’re talking about this half-assed film noir rip-off that James (James Marshall) rode into after he hopped on his motorcycle and left Twin Peaks.  From the minute that Evelyn first showed up, I knew exactly what was going to happen with her, James, and her husband.  Much like the whole Audrey kidnapping subplot, the Evelyn Marsh subplot should not have lasted any longer than an episode and a half.  Instead, it’s still going on!

Anyway, the cops are talking to Evelyn and Malcolm (Nicholas Love) about how someone might have killed her husband.  Malcolm is quick to blame James but Evelyn seems a little bit more conflicted about it.  There is a funny moment when Malcolm says that James was hired to fix the Jaguar and the cop can’t figure out how to spell Jaguar.  That made me laugh but, otherwise, this whole scene felt predictable and unnecessary.

Meanwhile, at Wallie’s Bar, a dozen cops are sitting at the bar, smoking cigars and listening to opera music.  (Weird image is weird but it’s just weirdness for the sake of weirdness.)  James and Donna (Lara Flynn Boyle) are in a corner of the bar.  Donna says that they need to get help but James is all like, “I don’t need nobody!”  He says that Malcolm framed him and that he just needs to talk to Evelyn.

Donna goes to call Ed but ends up having to talk to Nadine instead.  Though we only hear Donna’s side of the conversation, it sounds like Nadine is talking about her new boyfriend.  If her new boyfriend is Mike (Gary Hershberger) than that means that Nadine is now dating Donna’s ex and yet, Donna seems to be remarkably okay with that.

Back at the Sheriff’s station, Harry (Michael Ontkean) and Cooper (Kyle MacLachlan) are interrogating Bobby (Dana Ashbrook) and Shelly (Madchen Amick).  Bobby wants to know why Harry and Cooper aren’t making more of an effort to track down Leo.  Cooper asks Bobby about the night that the mill burned down.  Bobby lies and says that Hank Jennings shot Leo.

Harry says that he’ll have some deputies watch the house.  Bobby claims that he’s all the protection that Shelly needs.  (For some reason, Bobby is acting like a methhead in this scene.)  When Bobby and Shelly leave, they pass Albert Rosenfield (Miguel Ferrer), who takes one look at Bobby and shouts, “Get a life, punk!”

(We love you, Albert!)

After giving Harry an out-of-character bear hug (but that’s okay because I like it when dudes hug it out), Albert explains that he’s been sent to Twin Peaks by Gordon Cole.  He has brought with him a picture of Windom Earle, in which Windom looks like an extra in a 1930s gangster movie.  He also brings the news that Windom has been mailing different pieces of clothing to police agencies across the country.

Windom has mailed:

1. A white veil

2. A garter

3. A pair of white slippers

4. A peal necklace

5. A wedding dress

Oh my God, I said as Albert listed the items, Windom Earle is marrying Pippa Middleton!

Cooper says that the clothing belonged to Windom’s dead wife (and Cooper’s ex-lover), Caroline.  Albert says that Windom is definitely making his move and then says that Cooper looks good in the muted earth tones of a flannel shirt.  That was nice of Albert.

Meanwhile, in his cabin, Windom Earle (Kenneth Welsh) plays a flute while Leo (Eric Da Re) lies on the floor.  (I have to be honest that these cabin scenes between Windom and Leo made me think about Peter Boyle burning down Gene Hackman’s hut in Young Frankenstein.)  Once Leo wakes up, Windom — who was previously described as having a mind like a diamond, cold and precise — starts acting like a Satanic little wood sprite.  He jumps around the cabin.  He says a lot of evil quips.  He beats Leo with a flute and then reveals that he’s placed a collar around Leo’s neck.  Windom can electrocute Leo whenever he feels like it.  Windom forces Leo to eat gruel while Windom pretends to be a kitty cat.  “Purrrr,” he says.

(Windom’s a genius so why is he acting like a sadistic towel manager?)

We cut to Ed (Everett McGill) laying in bed with Norma (Peggy Lipton) and talking about how it’s been twenty years since they first fell in love.  They agree that it’s sucked not being together.  Suddenly, they hear Nadine (Wendy Robie) arriving home.  Norma starts to leave but Ed says, “No, no.  We may as well talk to her now.”  Sure, Ed — have this conversation with Nadine while you and Norma are laying in bed in your underwear.  That’ll really avoid any hurt feelings.

Suddenly, Nadine rips the bedroom door off of its hinges.  She comes into the room, carrying a wrestling trophy, and then jumps into bed with Ed and Norma.  Nadine apologizes for beating up Hank and then says that she knows about the two of them.  Nadine says it’s okay because she’s in love with Mike now.

Cut to the Martell house, where Harry and Cooper are talking to Josie (Joan Chen) about what happened to her in Seattle.  Josie says she doesn’t know who killed Jonathan.  Harry begs Josie to tell him the truth.  Out of nowhere, a surprisingly cheerful Cooper announces, “I think I’ll get another cup of Joe!”

(Somewhere, Joe Biden looks up and says, “Oh my God, they’re talking about me in an old episode of Twin Peaks!”  No, Joe, they’re not.  Sorry.  Maybe later.)

While Cooper’s getting more coffee, Pete (Jack Nance) stumbles in.  He has picked up the dry cleaning and can barely see above all of the clothes that he’s holding.  He and Cooper do that thing where, instead of being smart and putting the clothes somewhere first, they stand around and attempt to have a conversation, despite the fact that Pete is about fall over backwards.  When the phone rings, Pete gives the clothes to Cooper and now its Cooper’s turn to struggle to remain standing.  Eventually, Cooper puts the clothes on a chair (was that so hard!?) and then picks one thread off of a jacket.

Speaking of Josie, the phone call was for her.  It turns out that the call is from Thomas Eckhardt (David Warner) and he is wondering if he and Josie could get together.  Thomas reveals that he is responsible for Jonathan’s death.

After hanging up the phone, Thomas and his assistant, Jones (Brenda Strong), stare at a black trunk.

Meanwhile, Ben Horne (Richard Beymer) is apparently still convinced that he’s a Civil War general because he’s talking to Dr. Jacoby (Russ Tamblyn) about Stonewall Jackson.  Much like all that stuff with Evelyn Marsh, this is a plotline that should have been resolved after an episode and a half.  Instead, it’s been dragged out way past the point of being amusing.  The Ben-Goes-Crazy storyline is the epitome of how Season 2 abandoned surrealism in favor of just being weird for the sake of being weird.

It turns out that Ben and Jacoby have an audience.  Audrey (Sherilyn Fenn) and Jerry (David Patrick Kelly) are listening.  Johnny Horne (Robert Bauer) is rocking back and forth while wearing a Native American headdress.  And there’s a few members of the Hotel Staff, who have been transformed into some sort of marching band.

While Ben rants in his really crummy Southern accent, Jerry and Audrey leave the office.  Audrey is worried about her father but Jerry seems to be fairly indifferent.  (Needless to say, this goes against everything that we’ve previously seen about Jerry and his relationship with Ben.)  Audrey points out that, conveniently enough, she is set to inherit the entire Horne business empire if anything happens to Ben and that Jerry better do what she says or she’ll cut him off.

Audrey returns to Ben’s office, where Dr. Jacoby looks perplexed.  Audrey walks up to him and says she wants her father to turn back to normal. Jacoby says that he’s got it all taken care of.  Bobby shows up, dressed like a Confederate soldier.  Ben sings Dixie.  Can this storyline just end, please!?

Meanwhile, at Walli’s, Evelyn is still dressed in black.  Though the bar appears to be closed (there are chairs on the tables and everything), Evelyn is drinking.  Suddenly, Donna walks up to her.  Why is Donna still there?  How much school can you miss in Twin Peaks?  Why are Evelyn and Donna both hanging out in a bar that appears to be closed?

Suddenly, the bartender wanders by, lingering just long enough for Evelyn to order Donna a drink, “one that has a little umbrella in it.”  Okay, is this bar closed or open?  If it’s open, why are the tables covered in chairs?  This stuff is confusing, especially for a non-drinker like me.

Anyway, Donna gets mad when Evelyn says that she won’t help James.  Evelyn explains that life is crap.  (Her words.)  Suddenly, Malcolm (Nicholas Love) shows up and tells Evelyn to go home.  He then threatens Donna and Donna reacts by yelling and then crying.

Back at the station, Albert reveals that the thread that Cooper found was from the carpet outside of Cooper’s hotel room.  Apparently, this proves that it was Josie who shot Cooper at the end of Season 1.  Bad Josie!

After swearing Albert to secrecy, Cooper heads to Harry’s office, where Harry is playing darts.  Harry tells Cooper that the dead vagrant has been identified as being Eric Powell, a former member of the Merchant Marines.

“Powell was Caroline’s maiden name!” Cooper says.

Cooper says that this is all a big chess game to Windom.  Harry says that, if Cooper needs a chess expert, they have one of the best right in town.  And his name is Pete Martell!

At the diner, Pete shows of his mad chess skills by playing and winning four games at once.  Cooper is impressed and invites Pete to help him play Windom’s chess game.  Pete better be good because, every time that Cooper loses a piece, Windom is going to kill an innocent person.

Shelly walks into the diner and asks Norma if she needs any help.  Norma hires her back.  Then Harry shows up and says that he needs to talk to Norma.  They slip into the kitchen where Harry explains that Hank is going away for a long time.  Norma’s okay with that but I’m not.  Hank may be a sociopath but he’s hella charming.

That night, Thomas shows up at the Martell house, where he is greeted by Catherine (Piper Laurie).  Thomas appears to be slightly surprised by the sight of Josie in her maid’s uniform.  Thomas and Catherine drink wine, eat dinner, and discuss art and killing.  It quickly becomes apparent that Thomas has shown up to take Josie and that Catherine is more than willing to allow him to do that, for a price.

Meanwhile, at the Marsh house, Evelyn is stunned when James shows up in the living room and demands to know why Evelyn killed her husband and attempted to frame him.  James says that it was hella lame to manipulate him with everything that he’s been going through.  Evelyn confesses to everything.  She says that she set James up.  She says she did it for the money and also just because she felt like doing it.

Suddenly, Malcolm barges into the room and knocks James out.  Malcolm says that they can now kill James and claim that it was self-defense.   And you know what?  He has a point.  Bye, James.

Meanwhile, Ben and the gang recreate another Civil War battle.  This whole Civil War subplot is so freaking stupid that I don’t even feel like talking about it anymore.  While pretending to be General U.S. Grant, Dr. Jacoby announces that he’s surrendering.  Having won the Civil War, Ben proceeds to faint.  When he wakes up, Ben says that he had the strangest dream about being a general during the Civil War.  He even does the whole “And you were there …. and you … and you!” thing.  Anyway, Ben appears to be back to normal.

At the cabin, Windom is putting on a disguise.  He continues to torment Leo with the electroshock collar.

At the Marsh mansion, James is still unconscious on the floor while Malcolm and Evelyn look down on him.  Donna watches from outside the window.  When Malcolm repeats that they can kill James and make it look like self-defense, Donna runs into the living room and screams, “NO!”

As Evelyn watches Donna cry over a motionless James, she stands up.  Uh-oh, she’s got a gun.  Evelyn shoots Malcolm and then says that she’ll frame Malcolm for her husband’s death though I don’t think it’ll be that difficult a frame-up because Malcolm is actually guilty.

At the Great Northern, Cooper walks down a hallway and stops in front of an elevator.  He looks at a picture of Caroline that he has in his wallet.  As he does this, a poorly disguised Windom Earle steps off the elevator.  Windom goes to the front desk an drops off a note for Audrey.  (Oh, goddamnit, is this going to be the start of yet another Audrey-gets-kidnapped storyline?)  He also notices several postcards that all feature owls.  “Owls,” he says.

Cooper arrives back at his room.  He finds a white mask on his bed.  Windom Earle has been there and he’s left a taunting message.  The episode ends with Windom’s line: “It’s your move.”

Agck!

As for this episode, it definitely felt a bit off.  The main problem is that it focused on two largely uninteresting subplots — Evelyn Marsh and the Civil War — and portrayed Windom Earle as so cartoonishly evil that it’s hard to believe that he could also be the villainous mastermind that Cooper’s spent the last few episodes describing.  It was a weak episode but at least it finished off the whole Evelyn Marsh thing.

Always look on the bright side of life.

Previous Entries in The TSL’s Look At Twin Peaks:

  1. Twin Peaks: In the Beginning by Jedadiah Leland
  2. TV Review: Twin Peaks 1.1 — The Pilot (dir by David Lynch) by Lisa Marie Bowman
  3. TV Review: Twin Peaks 1.2 — Traces To Nowhere (directed by Duwayne Dunham) by Jedadiah Leland
  4. TV Review: Twin Peaks 1.3 — Zen, or the Skill To Catch A Killer (dir by David Lynch) by Lisa Marie Bowman
  5. TV Review: Twin Peaks 1.4 “Rest in Pain” (dir by Tina Rathbone) by Leonard Wilson
  6. TV Review: Twin Peaks 1.5 “The One-Armed Man” (directed by Tim Hunter) by Jedadiah Leland
  7. TV Review: Twin Peaks 1.6 “Cooper’s Dreams” (directed by Lesli Linka Glatter) by Lisa Marie Bowman
  8. TV Review: Twin Peaks 1.7 “Realization Time” (directed by Caleb Deschanel) by Lisa Marie Bowman
  9. TV Review: Twin Peaks 1.8 “The Last Evening” (directed by Mark Frost) by Leonard Wilson
  10. TV Review: Twin Peaks 2.1 “May the Giant Be With You” (dir by David Lynch) by Leonard Wilson
  11. TV Review: Twin Peaks 2.2 “Coma” (directed by David Lynch) by Jedadiah Leland
  12. TV Review: Twin Peaks 2.3 “The Man Behind The Glass” (directed by Lesli Linka Glatter) by Jedadiah Leland
  13. TV Review: Twin Peaks 2.4 “Laura’s Secret Diary” (dir by Todd Holland) by Lisa Marie Bowman
  14. TV Review: Twin Peaks 2.5 “The Orchid’s Curse” (dir by Graeme Clifford) by Lisa Marie Bowman
  15. TV Review: Twin Peaks 2.6 “Demons” (dir by Lesli Linka Glatter) by Leonard Wilson
  16. TV Review: Twin Peaks 2.7 “Lonely Souls” (directed by David Lynch) by Jedadiah Leland
  17. TV Review: Twin Peaks 2.8 “Drive With A Dead Girl” (dir by Caleb Deschanel) by Lisa Marie Bowman
  18. TV Review: Twin Peaks 2.9 “Arbitrary Law” (dir by Tim Hunter) by Lisa Marie Bowman
  19. TV Review: Twin Peaks 2.10 “Dispute Between Brothers” (directed by Tina Rathbone) by Jedadiah Leland
  20. TV Review: Twin Peaks 2.11 “Masked Ball” (directed by Duwayne Dunham) by Leonard Wilson
  21. TV Review: Twin Peaks 2.12 “The Black Widow” (directed by Caleb Deschanel) by Leonard Wilson
  22. TV Review: Twin Peaks 2.13 “Checkmate” (directed by Todd Holland) by Jedadiah Leland
  23. TV Review: Twin Peaks 2.14 “Double Play” (directed by Uli Edel) by Jedadiah Leland

 

 

 

TV Review: Twin Peaks 2.13 “Checkmate” (directed by Todd Holland)


Welcome back to Twin Peaks!

This episode starts with Major Briggs (Don S. Davis) explains what happened the night that he disappeared.  He says that he remembers “stepping from the flame, seeing a vague shape in the darkness, and then nothing until I found myself standing next to the cooled remains of our campfire the next morning.”  While Briggs is saying this, he’s sitting on a stone throne in the middle of what appears to be a lush rain forest.  Briggs says that hypnotism will not help him conquer his amnesia because his memories are “immune to regression.”  He does, however, remember seeing a giant owl.

Suddenly, Briggs is in the conference room at the sheriff’s office, describing the owl to Cooper (Kyle MacLachlan), Doctor Hayward (Warren Frost), and Harry (Michael Ontkean).  Harry asks Briggs what exactly his work involves.  Briggs replies that information is classified but some information has to be revealed for the good of the soul.  Briggs asks if they are familiar with Project Blue Book, the Air Force investigation into UFOs.  Briggs explains that Project Blue Book was officially disbanded in 1969 but it still continues in an unofficial capacity.  Briggs says that they are looking for a place called “The White Lodge.”

At that exact moment, two MPs step into the room and announce that they have arrived to take the major back to the base.  “Colonel O’Reilly’s orders,” they say.  (Colonel O’Reilly or The Cigarette Smoking Man?)  Despite Harry’s objections, Briggs leaves with the MPs.

In another office, Denise (David Duchovny, who would later continue the work of Project Blue Book in Twin Peaks‘s spiritual successor, The X-Files) is pressuring Ernie (James Booth) to make the call to Jean Renault.  Cooper comes in and eats doughnut while Ernie finally makes the call.

(This episode was directed by Todd Holland, who also directed several episodes of another show famous for its David Duchovny guest spots, The Larry Sanders Show.)

With the call having been made, Cooper checks with Lucy (Kimmy Robertson), who says that she checked all of the personal ads in all of the national newspapers that Cooper listed and she did not find any mention of Windom Earle or any chess moves.

At the diner, Ed (Everett McGill) gives Norma (Peggy Lipton) a five dollar tip and also slips her a note telling her that they need to talk.

At the Johnson house, Leo (Eric Da Re) is still spitting up on Shelly (Madchen Amick) and Shelly is still complaining to Bobby (Dana Ashbrook) about having to do all the work.  Bobby tells Shelly that she is looking at Ben Horne’s new apprentice and that he has better things to do than hang out with her and give Leo bubble bath.  Shelly slaps him.  Bobby leaves.

As the Marsh house, James (James Marshall) finally calls Ed and lets him know that he’s okay.  James says that he needs a favor.  As Evelyn (Annette McCarthy) listens, James says that he needs Ed to get all of the money out of his savings account.

“That’s only $12, James,” Ed says.

Once James has arranged to receive all twelve of his dollars, Evelyn asks him to tell her about his life in Twin Peaks.  James talks about Laura and, how after she died, he felt as if she had stolen his life.  James and Evelyn kiss and James notices that Evelyn is wearing sunglasses to hide a bruise on her face.  Evelyn tells James that she needs his help.

Back at the diner, Nadine (Wendy Robie) sits down at the counter next to Mike (Gary Hershberger) and asks him if he wants to share a piece of cherry pie with her.  “Oh Lord!” a horrified Mike shouts.  Mike explains that he wants nothing to do with Nadine.  He doesn’t want to talk to her.  He doesn’t want to walk with her.  He doesn’t want to see her.

Nadine replies with, “Mike Nelson, you are the handsomest boy I know and I would really like it if you and I could go out on a date.”  She kisses him, leaving Mike stunned.

After being questioned by a suspicious Hank (Chris Mulkey), Norma leaves to see Ed.

Harry comes to the Martell house and demands to know why Josie (Joan Chen) did not move into his place and why she is working as Catherine’s maid.  Josie says she is no good for Harry.  Harry disagrees and soon, they’re kissing as passionately as Nadine tossing a teenager at wrestling practice.

At the Great Northern, Audrey (Sherilyn Fenn) discovers Ben (Richard Beymer) on the floor of his office,  wearing a gray Confederate uniform and recreating the Civil War with miniature army men.  Ben explains that a war has broken out between the States and that he can not do anything until the war is over.

Norma arrives at the Hurley house and tells Ed that he is the last thing she thinks of before she goes to bed and the first thing that she thinks of when she wakes up.  She wants to be with him.  Ed has no problem with that.

At the Sheriff’s station, Cooper and Harry watch as Hawk (Michael Horse) gets Ernie wired up for his meeting with Jean Renault.  Ernie talks about serving in the Korean War.  Cooper tells him to focus on the here and now and they talk about how they’re going to set up Jean Renault.  Cooper says that he wishes he could take part in the operation but he’s been suspended by the FBI.  Harry deputizes Cooper.  Denise steps into the office and is now wearing a suit.  “You can call me Dennis,” he announces.

Andy (Harry Goaz) and Dick (Ian Buchanan) are breaking into an orphanage, searching for information on Little Nicky’s parentage.  Dick finds Nicky’s file but then a happy couple step into the office.  They are the Burnstons and they have arrived to see Donnie, the child that they will be adopting.

“Where is Donnie?” Mr. Bursotn asks.

“Little Donnie is dead,” Dick replies.  “Dead-tired, I mean!  I’m afraid Little Donnie isn’t feeling up to snuff.”

Andy suggests that maybe they should leave but Dick insists on “helping out these nice people.”

While this is going on, Donna (Lara Flynn Boyle) is knocking on the door of the Hurley house.  When Ed answer, Donna says that she needs his help.  She says that she can’t find James.  Ed says that James has left town but not to worry because he will soon have $12.

Donna leaves and then Norma slips out the back door.  No sooner has Ed finished saying goodbye to Norma then Hank pops up and punches Ed.  Nadine comes home from cheerleading practice, just in time to see Hank beating up Ed.  Since Nadine is now She-Hulk, she has little difficulty beating the crap out of Hank.

At the Great Northern, Ben is discussing Confederate war strategy with Bobby.  Bobby leaves the office and tells Audrey that her father has gone insane.  Audrey says that Dr. Jacoby is going to see Ben tomorrow.  “Don’t worry, baby,” Bobby says, “Bobby’s on the case.”  While they talk, Catherine sneaks past them and enters Ben’s office.  Ben recognizes Catherine and asks if she’s come to gloat.  “Well, go ahead and gloat,” Ben says, “I have defeated General Meade.”  Catherine says that, despite the whole attempted murder/insanity thing, she still loves Ben.

At the Marsh mansion, James reveals that he has fixed Evelyn’s car.  They drink champagne to celebrate.  Evelyn tells James that she can always tell what he’s thinking and then asks him for his plans.  She asks where he will go and James says he doesn’t know.  Evelyn tells him not to leave.  They kiss, with James not realizing that they are being watched by Evelyn’s brother, Malcolm. (Nicholas Love).

Outside of a farmhouse, Cooper watches through a pair of binoculars as Ernie and Dennis talk to Jean Renault (Michael Parks) and Preston King (Gavan O’Herlihy).  Renault notices that Ernie is sweating, like a man wearing a wire.  Ernie explains that he is naturally a heavy sweater.  However, the sweat causes the wire to short circuit and soon, smoke is coming from Ernie’s shirt.

Realizing that Cooper is watching, Renault comes out of the farmhouse, holding Dennis and Ernie as hostages.  He demands that Cooper show himself.  When Cooper steps out from hiding, Renault demands safe passage across the border.  Cooper offers a trade.  If Jean releases Dennis and Ernie, Cooper will agree to take their place as the hostage.  While this goes on, Harry orders Hawk to call in the state police.

That night, at the Marsh mansion, Evelyn leaves behind a sleeping James and goes to Malcom.  “How’s our baby boy?” her brother asks, “Lucky baby boy.  Lucky lucky lucky lucky lucky lucky….”

Back at the hostage standoff, the state police have arrived and even Andy is aiming a gun at the farmhouse.  Inside the farmhouse, King tells Jean that he wants to make a deal and then make a run for it.  Cooper, who has been beaten up, replies that the police will not make a deal and they will not let them run.  Surrender is the only option.

“Okay,” Jean says.  The only question is whether they give up quietly or if they kill Cooper first.

“Then we both die,” Cooper says.

Jean says he doesn’t care if he dies.  He just wants to avenge his two brothers.  He explains that everything was quiet until Cooper showed up.  After Cooper showed up, Bernie was shot in the woods and Jacques was smothered in a hospital.  Jean knows that Cooper did not kill either one of them but he suspects that Cooper brought “the nightmare” with him.  Maybe, Jean explains, the nightmare will stop if Cooper dies.

King says that he doesn’t know what Jean’s talking about but that they have a problem and it has to be solved.  King looks outside and sees a waitress approaching the farmhouse.  Is it Norma?  Could it be Shelley?  No, it’s Denise and, as soon as she entered the farmhouse, she reveals that she has a gun in her garter.  As Denise slams King against the wall, Cooper grabs the gun and kills Jean.

At the Johnson house, Shelly lies on the couch while the power goes on and off.  When Shelly gets up to investigate, she discovers that Leo is not in his bed or his wheelchair.  Instead, Leo’s standing in a corner, smiling at her and saying her name.  Shelly screams as the lights go out.

At the Sheriff’s office, Cooper, Harry, Hawk, and Andy arrive and Lucy tells them that someone called in to say that there was a bomb hidden in the woods.  Then there was a huge explosion and all of the lights went out.  As Hawk goes to turn on the backup generator, Cooper steps into the darkened station.  Using his lighter for illumination, Cooper discovers something.  He calls Harry into the station and tells him to come alone.

In Harry’s office, a dead man (played by Kyle MacLachlan’s brother, Craig) has been propped up in front of Harry’s desk.  On the desk, in front of the man, is a chess game.

Windom Earle has come to Twin Peaks!

This was an okay episode.  I can’t bring myself to care about anything that’s happening with James but “Checkmate” did a good job of wrapping up the Jean Renault plot and setting up the show’s next big storyline, Windom Earle.  Again, I was surprised to see that the whole Nadine goes to high school subplot holds up a lot better than I thought it would.

Tomorrow, I’ll be back with “Double Play,” in which the history of Windom Earle will be revealed!

Previous Entries in The TSL’s Look At Twin Peaks:

  1. Twin Peaks: In the Beginning by Jedadiah Leland
  2. TV Review: Twin Peaks 1.1 — The Pilot (dir by David Lynch) by Lisa Marie Bowman
  3. TV Review: Twin Peaks 1.2 — Traces To Nowhere (directed by Duwayne Dunham) by Jedadiah Leland
  4. TV Review: Twin Peaks 1.3 — Zen, or the Skill To Catch A Killer (dir by David Lynch) by Lisa Marie Bowman
  5. TV Review: Twin Peaks 1.4 “Rest in Pain” (dir by Tina Rathbone) by Leonard Wilson
  6. TV Review: Twin Peaks 1.5 “The One-Armed Man” (directed by Tim Hunter) by Jedadiah Leland
  7. TV Review: Twin Peaks 1.6 “Cooper’s Dreams” (directed by Lesli Linka Glatter) by Lisa Marie Bowman
  8. TV Review: Twin Peaks 1.7 “Realization Time” (directed by Caleb Deschanel) by Lisa Marie Bowman
  9. TV Review: Twin Peaks 1.8 “The Last Evening” (directed by Mark Frost) by Leonard Wilson
  10. TV Review: Twin Peaks 2.1 “May the Giant Be With You” (dir by David Lynch) by Leonard Wilson
  11. TV Review: Twin Peaks 2.2 “Coma” (directed by David Lynch) by Jedadiah Leland
  12. TV Review: Twin Peaks 2.3 “The Man Behind The Glass” (directed by Lesli Linka Glatter) by Jedadiah Leland
  13. TV Review: Twin Peaks 2.4 “Laura’s Secret Diary” (dir by Todd Holland) by Lisa Marie Bowman
  14. TV Review: Twin Peaks 2.5 “The Orchid’s Curse” (dir by Graeme Clifford) by Lisa Marie Bowman
  15. TV Review: Twin Peaks 2.6 “Demons” (dir by Lesli Linka Glatter) by Leonard Wilson
  16. TV Review: Twin Peaks 2.7 “Lonely Souls” (directed by David Lynch) by Jedadiah Leland
  17. TV Review: Twin Peaks 2.8 “Drive With A Dead Girl” (dir by Caleb Deschanel) by Lisa Marie Bowman
  18. TV Review: Twin Peaks 2.9 “Arbitrary Law” (dir by Tim Hunter) by Lisa Marie Bowman
  19. TV Review: Twin Peaks 2.10 “Dispute Between Brothers” (directed by Tina Rathbone) by Jedadiah Leland
  20. TV Review: Twin Peaks 2.11 “Masked Ball” (directed by Duwayne Dunham) by Leonard Wilson
  21. TV Review: Twin Peaks 2.12 “The Black Widow” (directed by Caleb Deschanel) by Leonard Wilson

TV Review: Twin Peaks 2.9 “Arbitrary Law” (dir by Tim Hunter)


“Fire, walk with me!”

— Leland/Bob (Ray Wise) in Twin Peaks 2.9 “Arbitrary Law”

Well, this is it.

This is the episode where the “Who Killed Laura Palmer?” storyline was finally resolved.  So, let’s jump right into it:

Following the haunting opening credits, the show opens with a shot of the dead body of Maddy Ferguson (Sheryl Lee), still wrapped in plastic.  A flashlight shines on her face.  It’s a very disturbing shot, for all the obvious reason.  It is perhaps not a coincidence that this episode was directed by Tim Hunter, who previously directed River’s Edge, an entire movie that revolves around a lifeless body that is dumped next to a river.

This fades into a shot of Cooper (Kyle MacLachlan), Harry (Michael Ontkean), Albert (Miguel Ferrer), and Hawk (Michael Horse).  It’s the morning and they are walking through the woods.  It’s an interestingly framed shot and the fact that it’s done in slow motion gives it a dream-like feel.  It’s as if they’re four gunslingers walking towards some alien version of the O.K. Corral.

Albert is holding the letter “O” that was put underneath Maddy’s fingernail.  Albert tells them what they already know.  The same man who killed Laura also killed Maddy.  White strands of fur, perhaps from a rug, where also found on Maddy’s body.

Harry says that they need to call Maddy’s family.  “Leland should have their number…”

NO, HARRY, LELAND’S THE MURDERER!

Fortunately, Cooper speaks up.  He asks Harry to give him 24 hours so that Cooper can “finish this.”  Albert says that only Cooper knows where he’s going but that he needs to do whatever needs to be done “before this beast bites again.”  Albert has such a way with words.

Cut to a restaurant that I don’t think we’ve seen before.  Donna (Lara Flynn Boyle) is sitting in a booth when James (James Marshall) comes to meet her.  Wait — are Donna and James meeting somewhere other than the Double R or the Roadhouse!?  Well, just stab Norma in the back, why don’t ya?

Anyway, James is all happy because he went for a drive on his motorcycle.  He then gives Donna a ring and says that he just feels that they should be together all the time.  Donna agrees but I have a feeling that this won’t last.

Meanwhile, at the Double R, Norma (Peggy Lipton) is probably wondering where Donna and James are.  She’s also having to deal with Vivian (Jane Greer), who is eating her food and being just as critical as ever.  Norma complains that nothing she does is ever good enough.  Vivian, who is pretty obvious M.T. Wentz, gives Norma advice on how to make the perfect omelette.

Andy (Harry Goaz) eats a slice of pie and keeps repeating “I am a lonely soul,” in French.  Donna and James walk up to him so I guess they were at the diner all the time.  That’s weird because that booth that they were sitting in earlier looked nothing like anything we’ve ever seen in the Double R before.  Anyway, they want to know what Andy’s talking about, like it’s any of their business.  Andy tells Donna that he’s repeating the words of Harold Smith’s suicide note and that, of course, reminds Donna that she’s essentially responsible for Harold killing himself.  Donna says that she needs to find Agent Cooper.

Apparently, she manages to do just that because, in the next scene, Donna is leading Cooper up to the house of Mrs. Tremond.  Fortunately, for all of us who had forgotten, Donna explains that Mrs. Tremond told her about Harold Smith and, also, that Mr. Tremond had a strange grandson who performed magic and said the same French phrase — J’ai une âme solitaire — that Harold used in his suicide note.  Donna says that the note had to be a message.

(Yes, Donna, the message was probably something like, “Someone who pretended to be my friend totally betrayed me and now I’m dead.”)

Reaching the Tremond House, Donna is shocked when the door is answered by a woman that she’s never seen before.  Yes, the woman is named Mrs. Tremond.  No, there is no old woman or little boy living in the house.  However, this Mrs. Tremond does have an envelope that was left in her mailbox on the day that Harold killed himself.  The envelope is addressed to Donna.

And what’s in the envelope?  A page from Laura’s secret diary!

Laura wrote that, on February 22nd, she had a strange dream.  She was sitting in a chair in a red room, with a small man (Michael Anderson) and an old man.  Laura wanted to tell the old man who BOB was but she couldn’t make herself understood.  Cooper realizes that he and Laura had the same dream!  Laura also wrote that BOB was only scared of one man, a man named MIKE.

On February 23rd, Laura wrote, “Tonight is the night that I die.  I know I have to because it’s the only way to keep BOB away from me.”

(If you’re not already totally disturbed by all this, just reminds yourself that Laura is writing about her father.)

Cooper goes to see MIKE (Al Strobel).  Doc Hayward (Warren Frost) is there, which is not surprising since Doc Hayward appears to be everywhere.  He explains that Gerard/MIKE is in pretty bad shape.  Cooper asks how he can find BOB.  MIKE says that Cooper must ask the Giant but he is not clear on just how exactly Cooper can find the Giant.  MIKE tells Cooper that 1) he has all the clues that he needs and 2) Cooper has “so much responsibility.”

Cooper steps out into one of the Great Northern hallways and sees the old waiter (Hank Worden) carrying a tray that has one glass of milk on it.  “I know about you,” the waiter says.  “That milk’ll cool down on you but it’s getting warmer now.”

“Getting warmer now,” Cooper repeats before heading over to Ben’s office.  Harry is in the process of searching Ben’s office and is super excited because he thinks that he’s found more evidence proving Ben’s guilt.   Both Harry and Cooper notice the white fox rug, which would seem to indicate that Maddy was in Ben’s office.

“He killed Maddy here!” Harry says.

As if by magic, Albert pops up and reveals that Maddy died the night before last, between 10 pm and midnight.  “That fits,” Harry said, “we didn’t take Ben in until after midnight…”

Cooper nods but you can tell he’s thinking, “Nope, the Giant would totally disagree with you on this point.”

At the Sheriff’s station, Andy approaches Lucy (Kimmy Robertson) and says he wants to talk about “his” child.  Not now, Andy!  I mean, I think you and Lucy are a cute couple and all but there’s some important stuff going on….

In the holding cell, Ben (Ricard Beymer) is visited by Catherine (Piper Laurie), who is still poorly disguised as a Japanese man.  (So, I guess anyone can just wander around the sheriff’s station whenever they feel like it?)  Not realizing that he’s talking to Catherine, Ben says that he cannot proceed on the Ghostwood Estates deal until he gets a better lawyer and gets out of prison.  Catherine then reveals her painted toenails and says that she intends to make the rest of Ben’s “pathetic existence” miserable.  Ben signs over the mill and Ghostwood Estates to Catherine, hoping that she’ll give him an alibi for the night Laura was murdered.  Catherine says she’ll consider it and then leaves.

(Silly Ben!  You should have signed over the Mill first and then held off on Ghostwood until after Catherine talked to the Sheriff.  Of course, if Twin Peaks took place today, DNA testing would have already gotten Ben out of jail.)

At the Palmer house, Leland (Ray Wise) greets Donna, who is dropping off a tape of a song that she and Maddy did with James.  Donna is wearing a pair of Laura’s old sunglasses.  She also lights a cigarette in the Palmer house.  Donna’s the best!

Anyway, Donna tells Leland about Laura’s secret diary.  Needless to say, Leland is disturbed by the news.  Suddenly, he gets a call from Maddy’s mother.  Maddy hasn’t shown up in Montana.  As Donna listens, Leland says that he took Maddy down to the bus station.

After hanging up, Leland pops a stick of gum in his mouth and announces that Maddy never made it home.  (“That gum you like is going to come back in style.”)  Anyway, Donna is worried but Leland tells her not to worry.  He goes over to a mirror and straightens his tie.  BOB (Frank Silva) stares back at him.

Leland goes to get a glass of lemonade.  When he returns, Donna is staring at all of the pictures of Laura on the mantle.  Leland walks up behind her and — AGCK! — strokes her hair.  He tells her that he knows the “cure for what ails you.”  He puts some cocktail music on the phonograph and, suddenly, we’re no longer seeing Leland.  Instead, we’re seeing BOB and he is pure nightmare fuel.  However, Donna still just sees Leland acting like goofy old Leland.

Leland starts to dance with Donna in the middle of the living room but suddenly, he yanks her close to him and violently embraces her.

The doorbell rings.  Leland goes to answer it, leaving a very shaken Donna.  Fortunately, it’s Harry at the door.  He explains that they need Leland’s help.  There’s been another murder.  Harry says he can’t go into specifics but he needs Leland to go with him.  Leland and Harry leave and Donna is able to make her escape.

Donna meets with James at the park.  (James rides up on his motorcycle and — well, I’ve defended James in the past but here, he just looks like kinda dorky.  Sorry, James.)  Donna tells James that Maddy’s dead.

“I gotta go,” James says, “Nothing matters.  Nothing we do matters.”

Having discovered ennui, James jumps on her motorcycle and leaves Donna behind.

Night rolls in.  Thunder.  Lightning.

At the otherwise deserted Roadhouse, Ben sits in a booth.  Cooper and Albert sit at the bar.  Everything important happens at the Roadhouse, apparently.

Leland, escorted by Harry and Ed (Everett McGill), enters.  After telling Leland that they are going to be meeting someone, perhaps the killer, Cooper has all the tables and chairs cleared off the floor.  While this goes in, Hawk enters with the catatonic Leo (Eric Da Re) and Bobby Briggs (Dana Ashbrook).  Everyone who has been a serious suspect in the murder of Laura Palmer is now in the Roadhouse.

“Hail, hail,” Ben says, “the gang’s all here.”

Cooper then proceeds to do the Agatha Christie thing, announcing that the killer is someone in the room.  He talks about his duty as a member of the FBI.  He seeks simple answer to difficult questions.  (Don’t we all?) Dale says that, after employing all of his other deductive techniques, he is going to try to something new.  “For a lack of a better word,” he says, “magic.”

Suddenly, Major Briggs (Don S. Davis) shows up with the waiter.  Major Briggs says that he was on his way home when the waiter flagged him down and asked for a ride to the roadhouse.

The waiter gives Cooper a stick of gum.  Leland/BOB smiles and says, “I know that gum.  I used to chew it when I was a kid.”

(That’s an interesting line, for many reasons.  Last episode, Jerry wondered how he and Ben had grown up to be who they were.  Leland is now talking about the gum that he used to chew as a child, which presumably would be the same time that BOB was living next door to his summer house.  Throughout Twin Peaks, the innocence and hope of youth is contrasted with the dark secrets of adulthood.)

The waiter tells Leland that the gum is going to come back in style, which leads to several freeze frames.  Time has stopped for everyone but Cooper, who is now seeing the Man from Another Place dancing in the room with the red curtains.  Laura is whispering in Cooper’s ear but this time, he hears what she has to say.  “My father killed me.”  The Giant appears and hands the ring back to Cooper.  The Giant vanishes.

“Ben Horne!” Cooper announces, “I would like you to accompany me back to the station!  You might like to bring along Leland Palmer as your attorney.”

At the station, Ben is forcefully led to down to interrogation.  Leland/BOB follows behind them.  However, once they reach the interrogation room, Harry suddenly shoves Leland into the interrogation room, slamming and locking the door behind him.

Leland/BOB starts to howl like a wild animal while pounding on the walls.  Cooper tells Hawk to release Ben.

“Leland?” a stunned Ben says.

“That’s not Leland,” Cooper says.

Cooper then explains that Laura told him that Leland killed her in a dream.  Always the master of the understatement, Harry says, “We’re going to need stronger evidence than that.”  That’s okay.  Cooper’s sure that he can get a confession.

While Hawk aims a gun at Leland’s head, Cooper interrogates him.  It quickly becomes obvious that Leland is now totally possessed by BOB.  BOB taunts Cooper about something that happened in Pittsburgh and then says that Leland was a good ride but he’s too old and weak now.  BOB says that it’s time to “shuffle off to Buffalo…”

(The implication, throughout both the show and the feature film that followed, is that Leland — as BOB — had been molesting Laura since she was a child.  Since most child molesters were themselves molested as children, the suggestion that BOB used to live next door to Leland would suggest that BOB previously possessed someone who molested Leland.  Twin Peaks has such a reputation for being a “strange” show that I think people overlook just how disturbing its portrait of the “perfect” family truly was.)

Having gotten their confession, Harry, Cooper, and Hawk leave Leland alone in the interrogation room.

Meanwhile, Dick Tremayne (Ian Buchanan) shows up to see Andy and … no, I’m sorry.  I love Andy and Lucy and I enjoy Ian Buchanan’s performance as the hilariously shallow Dick but now is not that time for the baby subplot.  There’s some serious stuff going down with Leland/BOB right now…

(Lucy does say, “I’m going to keep my baby.”  Papa don’t preach…I’m in trouble now…papa don’t preach…)

Outside the interrogation room, Cooper reveals that 1) Ben had the wrong blood type and 2) both Leland and the Man from Another Place danced.  In other words, it’s a pretty good thing that they got that confession because I’m not sure dream dancing would hold up in court.

Uh-oh, Leland/BOB is shouting in the interrogation room.  It’s the fire walk with me poem!  That’s never good!

“I’LL CATCH YOU WITH MY DEATH BAG!” Leland/BOB shouts, “I WILL KILL AGAIN!”

Suddenly, the smoke detector goes off and the sprinklers come to life.  With water raining down upon him, Leland/BOB rams his head into the door, leaving a mix of blood, skin, and probably brains behind.

Harry and Cooper rush into the room, to discover Leland lying on the floor, dying.  Leland, who now seems to be Leland again, cries for his daughter and begs for forgiveness.  Leland says that he saw BOB in a dream and that he invited BOB in.  And when BOB “came inside” him, he made Leland kill Laura.  As Leland died, Cooper tells him that it’s time to walk down the narrow path and enter the light.  Leland says that he can see Laura and then dies.

(That may sound silly but I had tears in my eyes.  MacLachlan and Wise are brilliant in this episode.)

We cut to daylight.  Cooper, Harry, and Albert walk through the woods, where they run into Maj. Briggs.  Harry says that Leland was insane but Albert argues that people actually did see BOB in visions.

Maj. Briggs says, “Gentlemen, there is more in Heaven and Earth, than is dreamt of in our philosophy.”

Harry says he’s having a hard time believing that BOB existed.  Cooper asks — and this question gets to the heart of the David Lynch aesthetic — whether it’s any more comforting to believe that a man would, of his own free will, rape and murder his own daughter.

Major Briggs asks if it matter what causes evil.  Cooper says that it does.  “It’s our job to stop it.”

Albert suggests that BOB may have just been “the evil that men do.”

(Meanwhile, the spirit of Shakespeare looks up and says, “I sense that I am being quoted without attribution…”)

“Where’s BOB now?” Harry wonders.

Cut to an owl flying straight to the camera.  End with a freeze frame!

AGCK!

Seriously, that was a great episode.  I wonder how people reacted to it in 1990.  From what I’ve read, a lot of people stopped watching before this episode, which is a shame.

Well, Laura’s murder has been solved.  I guess the show’s over now.  Thanks for reading everyone and…

What?

Oh.  Apparently, the show did go on and we’ve got 13 more episodes to review.

So, join us tomorrow for another review!  And until then, why not check out the story so far:

Previous Entries in The TSL’s Look At Twin Peaks:

  1. Twin Peaks: In the Beginning by Jedadiah Leland
  2. TV Review: Twin Peaks 1.1 — The Pilot (dir by David Lynch) by Lisa Marie Bowman
  3. TV Review: Twin Peaks 1.2 — Traces To Nowhere (directed by Duwayne Dunham) by Jedadiah Leland
  4. TV Review: Twin Peaks 1.3 — Zen, or the Skill To Catch A Killer (dir by David Lynch) by Lisa Marie Bowman
  5. TV Review: Twin Peaks 1.4 “Rest in Pain” (dir by Tina Rathbone) by Leonard Wilson
  6. TV Review: Twin Peaks 1.5 “The One-Armed Man” (directed by Tim Hunter) by Jedadiah Leland
  7. TV Review: Twin Peaks 1.6 “Cooper’s Dreams” (directed by Lesli Linka Glatter) by Lisa Marie Bowman
  8. TV Review: Twin Peaks 1.7 “Realization Time” (directed by Caleb Deschanel) by Lisa Marie Bowman
  9. TV Review: Twin Peaks 1.8 “The Last Evening” (directed by Mark Frost) by Leonard Wilson
  10. TV Review: Twin Peaks 2.1 “May the Giant Be With You” (dir by David Lynch) by Leonard Wilson
  11. TV Review: Twin Peaks 2.2 “Coma” (directed by David Lynch) by Jedadiah Leland
  12. TV Review: Twin Peaks 2.3 “The Man Behind The Glass” (directed by Lesli Linka Glatter) by Jedadiah Leland
  13. TV Review: Twin Peaks 2.4 “Laura’s Secret Diary” (dir by Todd Holland) by Lisa Marie Bowman
  14. TV Review: Twin Peaks 2.5 “The Orchid’s Curse” (dir by Graeme Clifford) by Lisa Marie Bowman
  15. TV Review: Twin Peaks 2.6 “Demons” (dir by Lesli Linka Glatter) by Leonard Wilson
  16. TV Review: Twin Peaks 2.7 “Lonely Souls” (directed by David Lynch) by Jedadiah Leland
  17. TV Review: Twin Peaks 2.8 “Drive With A Dead Girl” (dir by Caleb Deschanel) by Lisa Marie Bowman

What do you think, Cooper?

TV Review: Twin Peaks 2.4 “Laura’s Secret Diary” (dir by Todd Holland)


“Heaven is a large and interesting place, sir.”

— Dale Cooper (Kyle MacLachlan) in Twin Peaks 2.4 “Laura’s Secret Diary”

I have to admit that I initially got really excited when I saw who had directed Laura’s Secret Diary.

That’s largely because I misread the name and I briefly thought that the episode was directed by the veteran horror director, Tom Holland.  I happen to be friends on Facebook with Tom Holland and I immediately started to try to figure out the least intrusive way to ask him about his experience directing for Twin Peaks… But no, on second glance, it turned out that the director of this episode was Todd Holland.  Todd Holland is another veteran director, though he’s best known for directing sitcoms.

Speaking of credits, this episode is credited to four different writers.  Along with Twin Peaks mainstays Mark Frost, Harley Peyton, and Robert Engels, credit is also given to Jerry Stahl.  Like Holland, Stahl worked on several sitcoms but he’s probably best known for his memoir, Permanent Midnight, in which he wrote about his experiences as a drug addict in Hollywood.  Permanent Midnight was later turned into a movie, starring Ben Stiller as Stahl.  (Of course, before all that, Stahl wrote the script for an odd sci-fi film called Cafe Flesh, a movie that many consider to be one of the best pornographic films of all time.)  As quoted in Reflections: An Oral History of Twin Peaks, Mark Frost says that Stahl wrote the initial script for Laura’s Secret Diary but the script was a “an absolute car wreck… He turned in a completely incomprehensible, unusable, incomplete script a few days late and as I recall there were blood stains on it.”  Stahl’s script was rewritten by Frost, Peyton, and Engels.

How did they do?  Well, let’s take a look at Laura’s Secret Diary!

As always, we start with the opening credits, attempting to lull us into the town’s false sense of security.  What’s interesting is that, with each subsequent viewing of the opening credits, those shots of Twin Peaks and the woods and the waterfall become more and more ominous.  Since the series started, we’ve learned a lot about goes on in those woods.  We know what’s lurking underneath the surface.

The show begins with a disturbing image, one that feels extremely Lynchian even if it was directed by Todd Holland.  We start with an extreme closeup of … well, we don’t know what we’re looking at it.  It appears to be a white surface that is covered with dark holes but, only as the camera pulls away, do we realize that we’re looking at the wall of the police station’s interrogation room.  On the soundtrack, we hear screams and a distorted voice repeating the words, “Daddy!” over and over again.

(As unsettling as this may be, it’s even more disturbing if you know what’s going to happen in the next few episodes.  Twin Peaks is one of the few shows that is even more unsettling in retrospect.)

We then see that Leland (Ray Wise) is staring at the wall while Harry (Michael Ontkean) and Cooper (Kyle MacLachlan) attempt to talk to him about the death of Jacques Renault.  Leland confesses to the murder, crying as he does so.  As always, Doc Hayward (Warren Frost) is standing in the background, watching.  Doc Hayward is always watching in the background, almost enough to make me wonder if he’s real or if he’s just a dream character, a symbol of old-fashioned decency who has been fantasized into existence by the beleaguered citizens of Twin Peaks.

After Leland’s confession, Hayward and Cooper talk.  When Hayward expresses some sympathy for Leland, Cooper snaps, “Do you approve of murder, doctor?”  (This is our first clue that Cooper’s going to spend most of this episode not acting like his usual friendly self.)  Cooper then storms off, probably leaving Hayward to wonder just what exactly he did wrong.  However, Hayward doesn’t have long to wonder because suddenly, he’s got Andy (Harry Goaz) to deal with.

Andy is concerned that he “flunked” his “sperm test” and wants another shot.  Doc Hayward gives him a specimen jar and tells him to put it in a brown paper bag once he’s done with it.  “I’ll be in the car,” Hayward says.  Andy goes off with the jar and a copy of Flesh World (and I think it might be the same copy of Flesh World that contained Laura and Ronette’s personal ads).  Of course, he happens to run into Lucy (Kimmy Robertson), who is none too happy to see her ex-boyfriend heading to the men’s room with a pornographic magazine.  “Hmmphf!” Lucy says.

While this drama unfolds, Harry informs Cooper that the judge will be arriving that afternoon.  His name is Clinton Sternwood.  He travels the circuit in a Winnebago.  The district attorney is also coming.  His name is Darryl Lodwick.  Also, it turns out that no one named Robertson ever rented the house next to the Palmers’ summer cabin.  The house is currently rented to a family named Kalispell.  I’m assuming that it must be Funny Name Day in Twin Peaks.

Andy wanders by and, being Andy, he accidentally drops his specimen jar and it rolls underneath a chair in the waiting room.  As Andy tries to retrieve it, Cooper sees that Andy is wearing the same brand of boots that they found at Leo Johnson’s house.  Cooper asks about the boots and Andy thinks he’s asking about sperm and hilarity ensues.  Anyway, it turns out that Andy bought the boots from the One-Armed Man, who is apparently still missing.

At the Great Northern, a frantic employee runs up to Ben Horne (Richard Beymer).

“Mr. Horne!” she says.

“Walk and talk,” Ben says and…

Wait a minute!  WALK AND TALK!?  AARON SORKIN, YOU’VE JUST BEEN RIPPING OFF TWIN PEAKS!

But anyway, the employee informs Ben that she’s heard a rumor that M.T. Wentz is coming to Twin Peaks.  Well, of course, he is.  It’s Funny Name Day, after all.  But apparently, M.T. Wentz is some sort of famous travel writer.  No one knows what Wentz looks like but a favorable Wentz review could put the Great Northern on the map.

Ben steps into his office and finds Jean Renault (Michael Parks) waiting for him.  Oh my God!  M.T. Wentz is Jean Renault!?  No, actually, it turns out that Jean is just there to show Ben a video tape of Audrey (Sherilyn Fenn) being held hostage.  Renault wants money and he wants Dale Cooper to serve as the delivery man.

At the Double R Diner, Hank (Chris Mulkey) tells Donna (Lara Flynn Boyle) that she looks pretty today and Donna says, “Thanks,” and considers that Hank is just as troubled as James Hurley but he doesn’t cry as much.  However, Hank ruins his chances by making fun of the people on Donna’s Meals on Wheels route.  “You wouldn’t understand,” Donna tells him.

Norma (Peggy Lipton) tells Hank that she’s just heard that M.T. Wentz is in town.  Hank has no idea who that is.  Apparently, they don’t read restaurant reviews in prison.  Norma explains that a good review from M.T. Wentz could being a lot of business to the Double R, especially if it appears in a “Seattle paper.”  Apparently, Norma is hoping to corner the vegan hipster market.

Though Hank doesn’t know who M.T. Wentz is, he still grabs a hundred dollar bill from the register and then leaves to buy flowers and other stuff that could make the Double R look worthy of a good review.  He also tells Norma to call Big Ed.  Big Ed can help clean the place up!  Norma nods.  It’s not as if Big Ed ever has anything else to do.

Meanwhile, Donna is having lunch with Harold Smith (Lenny Von Dohlen) and it must be said that Harold is probably on the cuter end of the recluse scale.  Donna has to be happy that she didn’t get stuck with some sort of Howard Hughes-type with uncut finger nails and empty Kleenex boxes on his feet.  Harold offers to read something from Laura’s secret diary.  Donna says sure.

Harold reads a passage where Laura talks about how much she loves Donna.  Laura worried that Donna wouldn’t be her friend if she knew “what my insides are really like.”  Donna starts to cry and Harold apologizes.  Donna says its okay but she wonders if maybe they should give the diary to the sheriff.

“No,” Harold says, “I’ve read this from cover to cover.  There are no solutions.”

(Harold wasn’t the only person who read Laura’s diary from cover to cover.  The Secret Diary of Laura Palmer was written by Jennifer Lynch and published shortly before the start of the second season.  I’ve ordered a copy from Amazon and I’ll read it as soon as it arrives.  Maybe if y’all are really nice to me, I’ll even write a review of it.)

Harold explains that people tells him their stories and he places them in a larger context.  “Friends and lovers,” Harold says, even though there don’t seem to be any around.  “Maybe you’ll be come one,” Harold says, as the creepy meter goes off the charts.

Meanwhile, at the Great Northern, Ben tells Cooper that Audrey has been kidnapped.  Cooper is upset that Ben has circumvented “normal channels” and has contacted him directly.  Uhmmm … is it just me or is Cooper kind of being a dick in this episode?  This definitely does not seem to be the same Dale Cooper who has been present in every other episode of the show.  It’s almost as if the script for this show was written by an outside writer who 1) hadn’t ever really watched Twin Peaks and 2) was struggling with personal issues of his own.

Meanwhile, at the Martell House, Josie (Joan Chen) has returned from Seattle.  Oh my God, could Josie be M.T. Wentz!?  IT WOULD EXPLAIN SO MUCH!  But anyway, Josie tells Pete (Jack Nance) that she’s sorry about the mill burning down and that she’s happy that Catherine was around to take care of things.  Pete mentions that Catherine died in the fire.  Josie and Catherine share a hug, even as Pete explains that they still haven’t found Catherine’s body but they’re still going to have a service.

“I don’t know what, exactly, we’ll be burying,” Pete says…

Wait!  If they haven’t found Catherine’s body, then she’s probably still alive!  Maybe Catherine is actually M.T. Wentz…

At One-Eyed Jacks, Emory (Don Amendolia) leads Audrey into an office where a displeased Jean is waiting.  Emory says that “Ms. Horne was a very bad girl, refusing to take her medicine.”  When Jean realizes that Emory has been hitting Audrey, Jean shoots him.  Good for Jean!

At the police station, Andy tries to approach Lucy but Lucy’s like, “Go talk to your magazines!” and she starts waving a big pair of scissors at him.  At that point, Cooper walks into the station and tells Andy to go get some air.   Cooper’s not in a good mood.  He doesn’t have time for all of this.  (In the past, Cooper would have made time but, in this episode, Dale Cooper is suddenly a raging jerk.)  After Andy leaves, Cooper orders Lucy to explain what’s bothering her.

Lucy complains that Andy doesn’t work out, doesn’t wash his car, and doesn’t own a sports coat.  That’s why she dumped Andy and started going out with Dick Tremayne.  Tremayne owns a lot of coats, Lucy explains.  Cooper asks Lucy if she knows what she wants.  “I don’t know!” Lucy wails before running off.

Having ruined Lucy’s life, Cooper tells Harry that, even though he can’t give any specific details, he needs one of the Book House Boys.  “The best one,” Cooper says.  (In other words, not James.)  “I’ll set it up,” Harry says, “9:30 at the Roadhouse.”

(Why do I have a feeling that Cooper’s going to show up at the Roadhouse and find Doc Hayward waiting for him?  Actually, the Book House Boys are starting to remind me of the Brets from Flight of the Conchords.)

That night, at the nearly deserted Double R Diner, Norma and Hank watch as a fat man with a beard (Ritch Brinkley) walks in.  “That must be him!” Norma says.  The fat man orders a cheeseburger and then heads to the bathroom.  Hank, proving the he really doesn’t understand how parole works, steals the man’s wallet while he’s gone.  Hank quickly discovers that the bearded man is not M.T. Wentz.  Instead, he’s Darryl Lodwick, the district attorney.  Hank might want to return that wallet.

At another booth, Donna and Maddy (Sheryl Lee) talk.  Maddy tries to apologize while Donna smokes a cigarette and glares at her.  She wants to steal the diary from Harold’s house.  She’ll do it with or without Maddy’s help.

As it rains outside, Harry goes to the Martell house and sees Josie.  Josie tries to distract him by modeling a sexy black dress that she bought in Seattle.  Being a paragon of truth and justice, Harry refuses to be distracted.  He demands to know if Josie set the fire at the mill.  “How could you!?” Josie responds.  Josie and Harry end up making love on a couch while a mysterious Asian man watches from outside.

(M.T. Wentz, maybe?)

At the police station, as lightning flashes outside and thunder rumbles, Lucy drinks a cup of coffee.  Judge Sternwood (played by Royal Dano, a veteran Western character actor) shows up at the station, followed by Harry and Cooper.

Sternwood asks how Cooper is finding Twin Peaks.

“Heaven, sir,” Cooper replies.

“Well, this week, heaven includes arson, multiple homicides, and an attempt on the life of a federal agent,” Sternwood replies.

“Heaven is a large and interesting place, sir,” Cooper says, a line which immediately made me think of Eraserhead and that radiator woman singing that, “In Heaven, everything is fine.”

Judge Sternwood and Cooper walk off and Lucy finally thinks that she can relax and drink her coffee.  Suddenly, here comes Dick Tremayne (Ian Buchanan).  Now, I have to say that, of all the new characters who showed up during the second season, Dick Tremayne is probably my favorite.  He’s just such a salesman.  Of course, he’s a jerk, too.  But Ian Buchanan gives such a lively performance.

Dick says that he hasn’t slept.  He hasn’t eaten.  He’s been a fool.  Dick has realized that he must do the right thing and that means … giving Lucy $650 for an abortion.  Lucy kicks him out of the station and then locks herself in Harry’s office, loudly sobbing.

Andy escorts Leland to his meeting with the judge, only briefly stopping when he hears the distraught Lucy cry out, “OH DICK!  WAS IT JUST YOUR ASCOT?!”

Judge Sternwood talks to Leland, saying that he knows Leland to be a decent man and a good attorney.  Sternwood says that procedures must be observed but promises to raise a glass with Leland in Valhalla.  Since Lodwick is still at the diner, the Judge decides to hold off on determining bail until the morning.  Leland says that’s fine and that everyone’s being very nice to him in jail.

After Leland is escorted out, the Judge tells Harry and Cooper that they all have very difficult jobs.  Maybe not as difficult as M.T. Wentz’s job but difficult nonetheless.

At the Great Northern, Ben is talking to the Lumber Queen semi-finalists while the mysterious Asian man stares at him.  Ben and the Asian Man bow towards each other.  The Asian man is checking into the hotel.  He says that he only pays in cash and that he’s from Seattle.  Oh my God, could it be M.T. Wentz!?  That’s certainly what the desk clerk thinks…

Except, of course, we know that it’s not M.T. Wentz.  It’s pretty obvious that the Asian man is actually Catherine Martell in disguise.  It doesn’t matter how much makeup she wear or how much she lowers her voice, Piper Laurie is Piper Laurie.

At the Martell House, Josie’s cousin, Jonathan (Mark Takano), has arrives.  Josie introduces him to Pete. Pete goes off to get coffee and suddenly, Jonathan sneers and says he doesn’t know how Josie survived living in Twin Peaks.  Jonathan says they have to get back to Hong Kong.  “Are there any complications?” Jonathan asks.

(Oh, there’s always a few.  It’s Twin Peaks!)

Meanwhile, at the Roadhouse, Dale waits for the arrival of the best Book House Boy.  Now, I have to admit that I was expecting either Hank or maybe M.T. Wentz to come walking through the door.  Instead, it’s Harry!

“Are we in any particular hurry?” Harry asks.

“Harry, let me buy you a beer,” Dale says.

Sure, Cooper, why not?  I mean, hey, IT’S NOT LIKE AUDREY’S BEEN KIDNAPPED WHILE TRYING TO HELP YOU OUT OR ANYTHING!

Seriously, what’s going on with Dale in this episode?

Hey, Cooper — remember Audrey!?

At the Double R, Hank (who apparently lives in the diner) is woken up by someone knocking on the front door.  When Hank goes to answer the door, he is attacked by Jonathan.  Jonathan knocks him to the floor and then says, “Blood brother.  Next time, I take your head off.”

And this rather frustrating and uneven episode of Twin Peaks comes to an end.

It’s hard to know what to make of Laura’s Secret Diary.  There were parts that I really liked, like the opening shot in the interrogation room and some of the humor between Andy, Lucy, and Dick.  But, at the same time, you’ve got Dale acting totally out-of-character, the strangely unresolved M.T. Wentz thing, and it’s hard not to feel that Audrey Being Kidnapped is a storyline that should have been resolved in two episodes, as opposed to being dragged out for as long as it was.  Audrey is too important a character to spend the first half of season 2 in a daze.

Tomorrow’s episode — The Orchid’s Kiss!

(That sounds like the title of one of the paperbacks that my sister would select for Artwork of the Day, doesn’t it?)

Previous Entries in The TSL’s Look At Twin Peaks:

  1. Twin Peaks: In the Beginning by Jedadiah Leland
  2. TV Review: Twin Peaks 1.1 — The Pilot (dir by David Lynch) by Lisa Marie Bowman
  3. TV Review: Twin Peaks 1.2 — Traces To Nowhere (directed by Duwayne Dunham) by Jedadiah Leland
  4. TV Review: Twin Peaks 1.3 — Zen, or the Skill To Catch A Killer (dir by David Lynch) by Lisa Marie Bowman
  5. TV Review: Twin Peaks 1.4 “Rest in Pain” (dir by Tina Rathbone) by Leonard Wilson
  6. TV Review: Twin Peaks 1.5 “The One-Armed Man” (directed by Tim Hunter) by Jedadiah Leland
  7. TV Review: Twin Peaks 1.6 “Cooper’s Dreams” (directed by Lesli Linka Glatter) by Lisa Marie Bowman
  8. TV Review: Twin Peaks 1.7 “Realization Time” (directed by Caleb Deschanel) by Lisa Marie Bowman
  9. TV Review: Twin Peaks 1.8 “The Last Evening” (directed by Mark Frost) by Leonard Wilson
  10. TV Review: Twin Peaks 2.1 “May the Giant Be With You” (dir by David Lynch) by Leonard Wilson
  11. TV Review: Twin Peaks 2.2 “Coma” (directed by David Lynch) by Jedadiah Leland
  12. TV Review: Twin Peaks 2.3 “The Man Behind The Glass” (directed by Lesli Linka Glatter) by Jedadiah Leland