Here we are at Twin Peaks episode 7. It’s the beginning of the second act (if we are to split the series into three groups of six episodes), and let’s consider the idea that the number 7 itself has been a significant number in the world of Twin Peaks. So what would the seventh episode of the revival give us? Clarity, I think was the hope. Lord knows that despite how much we’ve been enjoying the zaniness and the weirdness we would really like to see some sign that the series is out to tell a story and is not being used as a dumping ground for every odd thought that David Lynch has had in the last quarter century…
So we open on Jerry Horne in the middle of no where calling his brother to tell him that his car was stolen, or maybe he’s just high. Yeah, he’s just high. I admire the restraint of Lynch and David Frost to wait seven episodes before giving us the obligatory pot humour, especially since it was revealed in episode one that Jerry is now a legalized drug kingpin. And kudos to Richard Beymer and David Patrick Kelly for playing it straight.
While Jerry re-enacted Dude, Where’s My Car? there were actual consequential things happening at the Great Northern, like a mysterious hum in the office that sounds like wind passing through an open pipe. Ben and his secretary Beverly investigate but they can’t identify the source as it’s another one of those ethereal background sounds that we hear in the background throughout the series, and forces us to question if the sounds is actually there or whether its for the audience’s benefit. Meanwhile, the key to Cooper’s old room arrived after Jade put it in a Vegas mailbox two episodes ago, and Ben immediately remembered who room #315 belonged to 25 years beforehand.
As Ben was presumably left to ponder why he would get this relic in the mail, Beverly, who you’ll recall is played by Ashley Judd, goes home to her husband Tom played by Hugh Dillon. Tom, it seems, is deathly ill, sitting in a wheelchair and having air piped into his nose from an oxygen tank. He’s also bald, but that just might be a Hugh Dillon thing. It seems that Tom is suspicious of Beverly being home late from work, which upsets Beverly because she said she didn’t want to go back to work, but had to because of Tom’s illness. That was the extent of what we learned about these characters, but given Ben’s background, and the way Beverly was hovering, Tom may be right to be suspicious.
But I don’t think Ben, or Jerry for that matter, was the Horne we were hoping to catch up with in this episode. Child killer Richard Horne was unseen this week, but the vehicle he used to cold-bloodedly run over a boy in last week’s episode was found by Deputy Andy, along with the man who owned it, who wasn’t Richard Horne. The man told Andy nervously that he would talk, but he couldn’t talk then and there. We last saw Andy waiting in the spot for the informant to come meet him and looking at his watch, which showed the man more than 35 minutes late.
Another Horne came up in conversation, Audrey Horne. To get there, we had to learn that the pages Hawk found in the Sheriff’s Department mens room were, in fact, three of the four missing pages of Laura Palmer’s diary. What they said, we’ll get to in a minute, but their contents forced Frank Truman to reach out to Doc Hayward (RIP Warren Frost), one of the last people to see Agent Cooper before he left town. Haywood recalls that he last saw Cooper in the intensive care ward. The Doc thought Cooper was there checking up on Audrey, but Hayward also remembers calling out to Cooper who looked back silent before leaving the hospital.
As to what it said in Laura’s missing diary pages, it was a message from Annie Blackburn, from the future, to Laura’s dreams a few days in advance of her murder. Annie warned Laura that the “good” Cooper has still in the lodge and can’t get out, and that a bad Cooper was on the loose outside. Laura, of course, would not have known who Dale Cooper was considering he didn’t come to town till after she was murdered. I hate to say it, but that scene where Hawk lays it all out for Frank was almost too expository, or maybe I’m just used to the series being purposefully oblique and making us figure stuff out on our own without the help…
Speaking of the bad Cooper, he was still in federal lock-up at the start of the episode, but he wasn’t there by the end. After Gordon’s able to convince Diane to help him and Albert, they head to South Dakota for Diane to have a face-to-face with Bob/Cooper, which predictably ends with Diane revealing to Gordon that the man in custody is not Dale Cooper.
Bob/Cooper knows that his conversation with Diane has just made his life more difficult and he forces a “get out of jail free” card from the warden. Bob/Cooper, it seems, knows something about the warden, a Joel Mccluskey, and a Mr. Strawberry, and it’s something that the warden looks very shaken over the possibility that it might become public knowledge. So in exchange for keeping his mouth shut, Bob/Cooper extorts the warden for a free ride out of prison for him, and his associate Ray Monroe, whom Bob/Cooper was supposed to have been meeting up with earlier. What they might get up to now is anyone’s guess, but might a stop in Las Vegas be out of the question?
Meanwhile in Vegas, life as Dougie Jones gets more complicated for the real Cooper when the police pay him a visit about this blown up car. The people killed by the explosion were apparently a gang of car thieves, so no loss there, of course they weren’t the ones the bomb on Dougie’s car was supposed to kill. Then, Ike “the Spike” gets his shot at Dougie, coming after him in broad daylight as Cooper left the Lucky 7 building with Janey-E. Cooper, like an amnesic Jason Bourne finds his inner bad ass to fight off Ike while being egged on by the evolved form of the Man from Another Place to “freeze” or “squeeze” his head off. Ike escapes, but the police are going to have a ton more questions for “Dougie”. Hope he gets his faculties back soon.
In other mysteries, Lt. Knox arrived in Buckhorn to consult with the police about Maj. Garland Briggs fingerprints, and is surprised to find out that the prints came from a body and weren’t just found at the scene. Apparently, this Air Force mystery is a string of incidents where Brigg’s prints are found at a crime scene with no indication as to how they got there, so imagine her surprise when the lieutenant finds out there’s a 40-something cadaver that died a week ago with Garland’s prints, especially since the major’s been dead for years and would be over 70 years old now.
Back in Twin Peaks, Walter Olkewicz is still tending bar at the Roadhouse; of course he’s not playing Jacques, but he’s still playing a Renault. For what is re-affirmed is that the Renaults are still very much involved in the criminal enterprises of Twin Peaks, especially the prostitution enterprise. It was surprisingly refreshing to spend so much of our time this week with familiar characters, both old and new, with no non-sequiturs or other scenes that are pointedly more poetic than plotted. Either Lynch was having an off-week, or the various elements are starting to coalesce, and I’m not sure which possibility is the more concerning.