By Caitlin Malcuit

Parts 14 and 15 together make for a poignant two hours, running down the list to check off a host of emotions. You’ve got heartbreak, you’ve got grief, you’ve got delight—rollercoaster sure does work as a metaphor here, because the lump in your throat and tears in your eyes are physical reminders of mortality. It’s red curtains for all of us, eventually.

Part 14: I Cannes Dream about You

The fine folks of the Twin Peaks Sherriff’s Department and the FBI bring each other up to speed on their respective storylines, but not before Gordon Cole nearly deafens Lucy with his shouting. Frank Truman reveals they have the missing pages of Laura Palmer’s diary and that there may be two Coopers out in the wild.

Albert elaborates on the Blue Rose nomenclature to Tammie; the case of origin involved a woman named Lois Duffy, who shot her doppelganger. The double, with her dying breath, utters, “I’m like the Blue Rose.” Agent Preston observes that such a color rose does not occur in nature—the fake Duffy was “a tulpa”—a manifestation of Lois, separate from her own consciousness. We, the audience, slowly realize this conceit indulges Lynch’s passion for transcendental meditation.

Diane is questioned about her last encounter with Cooper to see if Major Briggs ever came up in conversation. She claims that he did not, and learns about the ring found in Briggs’ stomach. Turns out Janey-E is Diane’s half-sister, who lives in Las Vegas with her husband Douglas Jones. They do not get along. In turn, Cole gets Las Vegas agents Wilson (Owain Rhys Davies) and Headley (Jay R. Ferguson) on the horn, asking them to round up Dougie and Jane.

Cole loudly announces to his colleagues that, “Last night, I had another Monica Bellucci dream.” Yeah, honest-to-god, it’s Monica Bellucci, even more cryptic here than she was in “The Matrix: Reloaded.” In his dream, Cole joined Bellucci and her friends for coffee at a Parisian café. Dale Cooper materialized, his face indistinguishable. Monica woefully recites a philosophical text: "We are like the dreamer who dreams, and then lives inside the dream. But who is the dreamer?" Cole is compelled to look behind him, following his companion’s gaze, and sees his younger self. This triggered a memory of Phillip Jeffries sudden reappearance in “Fire Walk with Me.”

Deputy Chad runs out of opportunities to sneak in conference room lunches when he’s arrested by his co-workers, who have their lunch on the table, taunting him.

Bobby, Hawk, Andy, and Frank head to the forest and Jack Rabbit’s Palace, coming upon a clearing with fog swirling about. A young woman’s body lies on the ground, but she’s still alive. Her face is eyeless; this is the woman who helped Cooper escape his interdimensional limbo. As 2:53 hits, a vortex appears in the sky, all staring at it—only Andy disappears. He drops in to the black and white from the premiere. The giant arrives, projecting a brief film that shows Andy the creation of BOB, Laura, as well as Cooper and his evil double. The vortex disappears as the sheriff’s team snap out of their daze. Andy reappears with the young woman in his arms. Our usually cyclical, repetitive deputy lays down the facts: the tall man is called the Fireman, who explained the woman is very important, and people want her dead.

Lucy and Andy get Naido (per the credits) set up with nice cozy pajamas and keep her in a cell, where Chad and a bloodied drunk also sit. Naido starts clicking and cooing, and the drunk grunts as well. Chad screams at them to shut up to no avail, and starts mocking them with ape sounds before he screams.

James Hurley, taking a break from his security detail at the Great Northern, shoots the shit with his coworker Freddie (Jake Wardle), obliterating walnuts with his grip. They’re heading to the Roadhouse for James’ birthday, but James has another b-day request: the story behind Freddie’s green, rubber-gloved right hand.

After a night of drinking at a London pub, Freddie was compelled to tackle a stack of boxes in an alley. But once he jumped, he levitated. Like Andy, he saw a vortex and was dropped into the Fireman’s room. Freddie was instructed to stop in a hardware store and pick up a lone green rubber glove that would grant him staggering strength. From there, he’d travel to Twin Peaks to seek his destiny. The clerk didn’t want to sell an opened package with a single item, but Freddie paid and decked the clerk, breaking the guy’s neck. The glove wouldn’t come off even with a doctor’s assistance. Freddie figured he’d head to Twin Peaks, but to his surprise, his plane ticket had already been purchased.

James decides to check out a noise in the hotel boiler room, but we’re spared a Winkie’s jump scare and instead find Sarah Palmer depositing herself at the Elk’s Point #9 Bar to get her Bloody Mary fix. A trucker zeroes in on her, but Sarah’s not amused by his (un)smooth talk. The jerk keeps hounding her, escalating with threats, but Sarah does him one better: she pulls off her face. The trucker stares in horror into a dark void as a floating mouth sasses, “Are you sure you want to fuck with this?” She fixes her face back in place and rips out the trucker’s throat. He drops to the floor as Sarah campaigns for an Emmy, acting as if she’s mortified. The bartender thinks something is fishy, but she icily replies, “Sure is a mystery, huh?”

At the Roadhouse, we’re back to another mystery: Where the hell is Billy? Megan (Shane Lynch) chats with her friend Sophie (Emily Stofle) about his last-known whereabouts. Megan and her mother caught sight of him in their yard, frightening them both. He dashed into their kitchen, bleeding from his mouth and nose before taking off again. Sophie’s face and the music darkens as she asks, “What’s your mother’s name?” “Tina,” Megan replies.

Part 15: Lights Out

Golden shovel in hand, Nadine Hurley marches down the highway and stops at Big Ed’s Gas Farm. Following her conversation with Dr. Jacoby, Nadine tells Ed that she came to a realization: she’s changed. She loves Ed so much, but, as she puts it, “I’ve been a selfish bitch to you all these years, and you’ve been a saint.” Nadine knows that Ed always pined for Norma, but kept them apart out of spite, taking advantage of her husband’s guilt. She just wants him to be free and gives her blessing to the couple. After one last embrace, Nadine swings her shovel over her shoulder, strutting out into the sunset.

Ed, overcome with newfound freedom, bolts to the Double R Diner as Otis Redding’s “I’ve Been Loving You Too Long” swells, probably the best, most breathtaking musical moment of the show. He rushes up to Norma, telling her everything’s changed, that they’re free to be together. For the Double R’s owner, that’s great and all…but Walter’s here. Ed’s face drops, and so do our hearts. He slumps onto a stool as Norma tells her beau that she’s selling the franchise to him, holding on to the original location. The regulars are her family, and she wants to take care of them. Walter storms off.

Ed sits in silence—practicing his Transcendental Meditation® Technique, no doubt—but Norma’s hand slides over his shoulder. He swivels around and they hold one another, together at long last. Ed says, “Marry me,” to which Norma smiles, “Of course I will,” as Shelly warmly looks on, coffee carafe in hand.

Mr. C arrives at the Convenience Store. Led by a Woodsman to the floral wallpapered space Cole saw in his vortex trip, they venture to a new realm beyond the store: a motel. A woman with a shadowed face brings Mr. C to Philip Jeffries, occupying the form of a large steam teapot-type machine. C wants to know if he sent Ray to kill him—Jeffries did not call Ray, and never spoke to the doppelganger five days prior because he doesn’t have Mr. C’s number. The conversation steers toward someone named Judy, first mentioned by Jeffries back in the 1989 FBI HQ incident. C wants to know who Judy is, but the teapot claims they’ve already met. Jeffries knows her whereabouts, however, and spouts out coordinates via steam signal. He fades away, leaving Mr. C to answer a telephone, teleporting him back outside.

Cooper’s double is greeted by Richard Horne, pistol drawn. Richard says he recognized Mr. C back at the Over the Top farm. His mom had a picture of him in his FBI glory. “Who’s your mom?” Mr. C asks. Richard answers, “Audrey Horne.” Ruh-roh!

Mr. C beats and disarms Richard for threatening him, then makes the young man enter the truck. They’ll chat when they ride. Practicing driver safety, C shoots off a text that reads, “Las Vegas?”

In the forests of Twin Peaks, Steven Burnett and Gersten Hayward clutch each other under a large tree, the former twitchy from his high. He loads a gun to Gersten’s dismay, threatening suicide because his life is a mess. The pair are discovered by a man (Mark Frost) walking his dog, and Gersten scurries off, clutching her head as she hears a gunshot. The man walks back to his home at the Fat Trout Trailer Park, telling Carl what he saw.

At the Roadhouse, James and Freddie enjoy their night out when they spot Renee (Jessica Szohr), the crier at James’ show. Hurley the younger dares to say hello, and is promptly hassled by her husband Chuck. For some reason, James blurts out that he likes her, taking a punch to the face in kind. Chuck and his pal gang up on James and Freddie steps in, striking the men with his gloved hand. This lands the bullies in intensive care, James and Freddie in a jail cell, and starts another howling session in the Twin Peaks Sheriff’s Department.

In Las Vegas, Agent Wilson rounds up the wrong Dougie and Jane Jones. Todd Duncan asks his assistant Roger to find Tony Sinclair, but both are shot to death by Chantal. One down, one to go, she tells Hutch.

The true Cooper gets a piece of chocolate cake from Janey-E, enjoying it along with an airing of “Sunset Boulevard.” The mention of character Gordon Cole causes Cooper to pause the film in shock. His eyes are drawn to the electrical outlet on the wall and he crawls toward it, fork outstretched. He inserts the handle into the socket, blowing out the power as Janey-E screams in fright.

The Log Lady calls Hawk once more to let her old friend know that she’s dying. She knows that it’s her time, but there’s always room for a little fear. Margaret and Hawk have a shared knowledge though, that death is “just a change, not an end.” They exchange their final good nights, and, after Hawk hangs up, a good-bye, Margaret.

Audrey Horne has made it as far as the foyer of her home where Charlie waits. He’s even ready to go, coat on and all! Audrey still experiences periodic dissociative spells, blinking in confusion. It’s almost as if she can’t head out the door, descending into a pissing match with Charlie. He threatens to take off his coat and just forget about going to the Roadhouse (he’s still so, so sleepy, after all). Audrey feels like she’s meeting a different person, demanding to know who he is. Charlie sighs, removes his coat and plops on the couch. Ms. Horne can’t take it anymore, and rushes at Charlie and chokes him.

So they don’t make it to the Roadhouse. Ruby (Charlyne Yi) sits slumped in a booth to check out The Veils’ performance. Two bikers approach, but she says she’s waiting for someone. They lift Ruby up and set her on the floor. She crawls through the crowd, screaming violently as the concert comes to a close.

‘Twin Peaks’ Recap: Parts 14 & 15

Part 14: I Cannes Dream about You

Part 15: Lights Out

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