Twin Peaks, Episode 2.7: Lonely Souls

Twin Peaks: Lonely Souls

With ratings sagging in season two, network executives demanded that the identity of Laura Palmer's killer be revealed. In order to resolve this mystery, David Lynch would return to direct. With the MIKE personality taking full control of Philip Gerard, he leads the Twin Peaks PD to the Great Northern. They also investigate Harold Smith's cabin, finding he has committed suicide and discovering Laura's secret journal. Audrey confronts her father and discovers he was sleeping with Laura, who then passes this info on to Cooper. This is enough to convince Truman and Coop that Ben Horne might be their perp. While intrigue abounds all around town, the real killer – Killer BOB's host – reveals himself in the Palmer household, just as Maddie is about to head home.

Though “Peaks” was always a nice looking show, the Lynch directed episodes were especially distinguished by his particular visual approach. “Lonely Souls” features some especially great sequences. Lynch ramps up the absurdity in that uniquely disquieting, Lynchian way when he has MIKE convulsing and freaking out while surrounded by clog dancers. Just the use of camera makes simple moments memorable. Such as the way the Log Lady enters the shot in the police station. Or a long shot in the Palmer home, scored to Louis Armstrong's “What a Wonderful World,” a simple enough scene that plays as very creepy in retrospect.

Because, of course, anyone reading this blog probably knows who Laura Palmer's killer actually was. Lynch reserves his most unnerving directional decisions for the reveal of Killer BOB's true identity. A record spins listlessly on the phonograph, filling the room with a clicking noise. Sarah Palmer crawls through the house, disorientated, as she observes the pale horse of death. Finally, BOB smiles from the mirror as Leland snaps gloves onto his hands. The following minutes have to rank among network television's most unnerving events. Lynch turns up the slow-motion shrieks of anguish. The high contrast lighting makes the scene even more nightmarish. The punches connect with Maddie's face with such ferocity, I can't believe the show got away with it. The final concussive act of violence that ends her life is so blunt, so sudden, it absolutely unnerves.

I'll never forget when I was watching through “Peaks” with my mom. Her reaction to that scene was a horrified shout of “Leland is Bob?! Leland raped and murdered his own daughter?!” I can only imagine everyone watching in 1990 reacted similarly. Of course, Laura's father being her killer is the ultimate example of “Twin Peaks'” exploration of the dark underbelly of the American small town. Behind closed doors, a father raped and molested his own daughter... A crime that happens in every small town. Maddie's death, an extension of Laura's death, causes everyone in the Road House to pause in stunned, crying silence. (A mood furthered by the mournful melody of Julee Cruise's “The World Spin,” one of two songs from “Industrial Symphony No. 1” used in this episode.) The murder is simply another form of the death of innocence that Laura experienced the first time her dad touched her.

Simply put, it's one of the most mesmerizing moments I've ever seen in any television series. It's so good that, honestly, you wonder how it can even be on the same television show as some of “Peaks'” other plot lines. It's certainly a lot harder to be invested in the reveal that Horne's mysterious Japanese investor is actually Catherine, a twist that was easily seen coming. (Though how exactly she reveals this info to Pete is kind of cute.) The plot line surrounding Bobby, Shelly, and Leo continues to revolve, with an audio tape discovered in a boot. At least Audrey actually does something productive in this episode, revealing crucial information to Cooper. It's good to know that character can still be used well, when the show isn't spinning its wheels.

Yet I can't really be too annoyed with “Lonely Souls.” David Lynch managed to sneak something truly subversive and unnerving onto regular TV in 1990. The murder of Maddie could easily rank among any moment from his films for its pure power. It all adds up to what might be the show's best episode. It's my favorite at the very least. Lynch wouldn't come back to “Peaks” for a while but he certainly left off on an unforgettable note. [9/10]