Twin Peaks, Episode 2.13: Checkmate

Twin Peaks: Checkmate

Here are the actual pertinent things that happen in “Twin Peaks, Episode 2.13: Checkmate.” The recently returned Major Briggs confirms that the local Air Force branch in Twin Peaks is investigating the strange, supernatural forces within the woods. (As an off-shoot of Project Blue Book.) Cooper continues to attempt to clear his name, by confronting Jean Renault at Dead Dog Farm. Coop's former partner, turned insane supervillain, Windom Earle draws ever closer to the town, leaving more ominous hints and dead bodies in his wake. But lots of other shit happens too.

Initially, I thought “Fright Night/Child's Play” director Tom Holland directed this one but, no, it's Todd Holland, who previously directed  episode 2.4, “Laura's Secret Diary.” While Todd doesn't have the horror pedigree as that other Holland, having mostly done television and family films like “The Wizard” or “Krippendorf's Tribe,” he does bring some likable horror-like visuals to the episode. “Checkmate” begins with the oddball image of a radiation logo rushing towards the camera, before Major Briggs appears on a stone throne in the woods. What that means exactly, who knows? But it's a fittingly “Peaks”-esque image. The episode concludes with the Shelly/Leo story arc finally moving forward again. This sequence features a creepy clown doll in a bed, the empty wheelchair squeaking across the floor, and finally Leo leaping out the dark with a disturbing look on his face. It feels like something out of one of the classier eighties slasher flick. You can also see this instinct in the grisly discovery made at the episode's end.

“Checkmate” also sees another long-lingering subplot moving towards an actual resolution. After staking out Dead Dog Farm, Cooper comes face-to-face with Jean Renault. Denise ends up saving the day, in a relatively well-handled sequence. It's a decently directed series of scenes, making good use of shadows. What really makes it interesting is the monologue Jean delivers while confronting Cooper. Michael Parks, adapt even when speaking with a goofy accent, certainly brings a degree of menacing gravitas to this sequence. From the moment Parks first showed up on “Peaks,” I was waiting for him to get a stand-out scene like this. The show waited almost literally to the last minute but at least Parks was finally allowed to deliver.

“Checkmate” sees another long-gestating story arc actually threatening to get interesting for a few minutes. Ed and Norma meet up at his home and – for the first time in the 21 episodes of the show that aired up to this point – actually consummate their passion for one another. It's refreshing to see, after so much teasing and discussion between these two, for them to finally get back together. Naturally, the simmering tension between Hank and Ed explodes into violence shortly afterwards. It would be a satisfying pay-off to this lingering story arc... If it didn't end with super-strong “teenage” Nadine wandering in and throwing Hank through some banisters. Truly, “Twin Peaks: Season Two's” frustrating balance between goofy comic relief and overstuffed writing has never been more apparent than in this moment.

While “Checkmate” is one of the better episodes to emerge out of this period in the show's history, there's still a lot of time wasted on season two's unfortunate filler. Sweet, stupid James Hurley is still being drawn into some half-assed film noir “Double Indemnity”/Skinemax plot. Andy – who I must reiterate that I like – and Dick continue to investigate the possibly demonic origins of Nicky. Ben Horne's obsession with the Civil War continues to grow. (Both of these are also examples of the show's then-difficulty with re-creating the quirky humor of the earlier episodes.) I really have to keep myself from holding down the fast-forward button during these scenes. Still, “Checkmate” earns some points for actually resolving, or at least moving forward, some plot points. [7/10]