Twin Peaks: Episode 12


The description of this episode is “Let’s rock,” taken from a line by Diane. It’s almost an ironic title, given the relatively slow pace of this episode, the lack of actual plot development, and a typical Lynchian tactic of unnecessarily drawing out scenes.

Las Vegas

I start with Dougie, not because he’s first chronologically in the episode, but because it’s our shortest location. Our only scene with Dougie is a short one – he plays catch with his son. Or, I suppose, “catch” is a loose term. The kid throws the ball at him, and he doesn’t react. It’s maybe 35 seconds. Why is this scene here? Just to remind us that Dougie is still around and not quite Dale Cooper? Your guess is as good as mine.

Twin Peaks

Jerry Horne is finally out of the wood but still stoned out of his mind – bless you, Jerry.

At the grocery store, we watch Sarah Palmer buy a lot of alcohol and cigarettes. Poor Sarah is losing it a bit, fixating on turkey jerky behind the cash register and demanding to know when it arrived at the store. She then says, “Your room looks different. And men are coming.” She tells the cashier that, “you have to watch out,” and proceeds to scream in the store that she doesn’t feel good. Eventually, she takes off, leaving behind her $133 worth of vices.

Later, Hawk goes to Sarah’s house to check on her. He knows about the grocery store incident and tells her that people were worried about her. As Hawk approaches, the camera focuses in on the ceiling fan – another throwback to the original. As they talk, there’s an odd rustling sound in the house, and when Hawk asks if someone’s in the house, Sarah replies, “No. Just something in the kitchen.” Uhh, okay. Out of nowhere, Sarah says, “It’s a goddamn bad story, isn’t it, Hawk?” We’re not sure if she’s referring to Laura, herself, or maybe just the town in general. 

In the “non sequitur of the week” segment, good ol’ Carl approaches a man named Kriscol and asks him if he’s selling his blood again. Kriscol says yes, and Carl asks him if he’s getting paid for any of the odd jobs he’s doing around – he’s not. So, Carl gives him $50 and tells him not to pay rent this month. He tells him to keep his blood.

At the Great Northern, Truman visits Ben Horne. Truman tells him that his grandson, Richard, is the person who ran over and killed the little boy. Aaaand he also tried to kill poor Miriam. Ben is clearly upset, especially when Truman tells him that the poor woman doesn’t even have health insurance. Before Truman leaves, Ben tells him that they received the key to Room 315 – a/k/a Agent Cooper’s room, and he thought Harry (who’s still off-screen, vaguely sick) might like it as a memento.

We get another lovely rant from Dr. Jacoby – I’m sorry, Dr. Amp. Nadine is still listening with glee.

Back to Dr. Jacoby’s – I’m sorry, Dr. AMP’s – crazy conspiracy show. Nadine is still listening.

And then we see… AUDREY HORNE! It’s taken 12 hours of television, but she’s finally back. She’s frustrated, telling her companion that she’s not going to wait around for the phone to ring and that she’s going to the Roadhouse to find Billy. Her companion is reluctant. She calls him a “spineless, no-balls loser.” He insists that he has a deadline. “Billy is out there somewhere, but you’re not going to find him tonight.” Apparently Billy is her lover, and he’s been missing for two days. And turns out that her companion is Charlie, her …. husband?! Audrey says she has to find Tina before she finds Billy – Tina was the last person in the room with him, after all. Audrey and Charlie are clearly not married for love, which is evident even before Charlie asks, agast, if she would go back on their contract. Audrey finally talks Charlie into calling Tina. But he won’t tell Audrey what she said, sending Audrey into a rage. We, of course, have no idea who any of these people are, and we also have no idea what Audrey has been doing for the last 20 years. Ma’am, are you aware that your son recently killed a small child?

We end, of course, at the Bang Bang bar, where two women we’ve next met wonder where Angela is. She was supposed to show but didn’t. She might be with Clark – one of the girls is surprised, because she saw Clark with Mary here a couple nights again. The other one scoffs. She hates Mary, and Angela does, too. Some guy named Trick shows up, disheveled after another driver almost ran him off the road. Again, as with Audrey and Charlie’s dialogue – who are these people? How do they fit into the plot? DO they fit into the plot? My guess, knowing Lynch, is no, and that we will never see them again.


Albert, Gordon, and Tammy share a drink. “Here’s to the Bureau,” Gordon says. Albert brings Tammy into the Circle of Trust and begins to explain some things: “In 1970, the United States Air Force shut down Project Bluebook, their 20 year investigation into UFOs. They concluded that no credible evidence existed and therefore they posed no threat to national security. In other words, a massive cover-up. A few years later, the military and FBI formed a top secret task force to explore the troubling abstractions raised by cases Blue Book failed to resolve. We called it the Blue Rose after a phrase uttered by a woman in one of these cases just before she died. Which suggested these answers could not be reached except by an alternate path we’ve been traveling ever since.” Albert points out that the other members, except for him, of Blue Rose have disappeared under mysterious circumstances, but nonetheless, they ask Tammy to join them, and she agrees. Diane joins them, and Albert tells her that they want to bring her back into the group as well, even though she’s no longer with the Bureau. She’s in, too. “Let’s rock,” she says.

Diane sits alone at a bar, drinking. An unknown number texts her, “Las Vegas?” And she responds, “THEY HAVEN’T ASKED YET.”

Gordon is telling war stories to a beautiful French woman when Albert shows up and says he needs to talk to Gordon. Gordon lets the French lady know that she’s gotta leave, but, in Lynchian fashion, she takes her – and the audience’s – sweet time doing so. Once she’s (finally) gone, Albert tells Gordon about Diane’s text, but neither of them know what the text is referencing.

Hutch and Chantal, Evil Cooper’s associates who you may recognize from every Quentin Tarantino movie, are holed up in a van, waiting to kill the warden of the prison from which Evil Cooper escaped. Chantal tells a disappointed Hutch that “we ain’t got time for torture, babe.” Tim Roth doesn’t like that. “I can shoot him in the leg.” You know, torture him later. But no, that idea is shot down (ha!), as Tim Roth fires two bullets into the man.

At the bar, Diane enters the numbers that were written on Ruth Davenport’s arm – she has them memorized after realizing on scene that they were coordinates. And what do they lead to? Twin Peaks.

Dragons, what did you think of this week’s (somewhat infuriating) episode? Are you glad Audrey’s back? Do you know if any of this is relevant? Are we actually caught in a Lynch/Tarantino crossover? Leave your thoughts in the comments!



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