Leland Palmer I Will Kill Again

7th episode of the second flavour of Twin Peaks

"Episode fourteen"
Twin Peaks episode
Leland Palmer inhabited by Killer BOB. The scene is the beginning of 1 which reveals the answer to the long-running plot arc for the series.
Episode no.	Season two Episode 7
Directed by	David Lynch
Written by	Mark Frost
Production lawmaking	2.007[ane]
Original air engagement	November ten, 1990 (1990-eleven-10)
Running time	47 minutes[2]
Invitee appearances
Grace Zabriskie as Sarah Palmer Wendy Robie as Nadine Hurley Al Strobel as Phillip Michael Gerard / MIKE David Lynch equally Bureau Main Gordon Cole Fumio Yamaguchi as Mr. Tojamura Gary Hershberger equally Mike Nelson Catherine East. Coulson equally Margaret Lanterman / "The Log Lady" Carel Struycken as The Giant Hank Worden every bit The Elderly Room Service Waiter Frank Silva every bit Killer BOB (uncredited)
Episode chronology
←Previous "Episode xiii" Next → "Episode 15"
Listing of episodes

"Episode 14", also known as "Lone Souls",^{[nb 1]} is the seventh episode of the 2nd season of the American mystery television series Twin Peaks. The episode was written by series co-creator Mark Frost and directed by serial co-creator David Lynch. It features series regulars Kyle MacLachlan, Michael Ontkean, Ray Wise and Richard Beymer; and guest stars Frank Silva (uncredited) every bit Killer BOB, Hank Worden as The Waiter, Julee Cruise as Singer, and David Lynch as Gordon Cole.

Twin Peaks centers on the investigation into the murder of schoolgirl Laura Palmer (Sheryl Lee) in the modest rural town in Washington country after which the series is named. In this episode, during the ongoing investigation into Laura's decease, FBI special agent Dale Cooper (MacLachlan) and Sheriff Truman (Ontkean) continue to search for her killer, the demonic BOB, who has possessed a human host. Aided by Mike (Al Strobel), Cooper and Truman abort Benjamin Horne (Beymer), believing him to be inhabited by BOB. Later that night, The Giant (Carel Struycken) warns Cooper "it is happening once again," while BOB'due south real host, Leland Palmer (Wise), murders Madeline Ferguson (Lee).

"Episode fourteen" was commencement circulate on November ten, 1990, on the American Dissemination Company (ABC) and was watched past an audience of 17.iimillion households in the U.s.a., almost 20percent of the available audience. The episode was well received, garnering positive reviews after its initial broadcast and in subsequent years. Academic readings of the entry have highlighted the theme of duality and the cinematography in the revelation scene.

Plot [edit]

Background [edit]

The small fictional town of Twin Peaks, Washington, has been shocked past the murder of schoolgirl Laura Palmer (Sheryl Lee) and the attempted murder of her friend Ronette Pulaski (Phoebe Augustine). FBI special agent Dale Cooper (Kyle MacLachlan) has been sent to the town to investigate,^[iv] and has come to the realization that the killer was possessed by a demonic entity—Killer BOB (Frank Silva).^[5] MIKE (Al Strobel), a similar spirit, has spoken to Cooper and his FBI superior, Regional Agency Master Gordon Cole (David Lynch), explaining the nature of their beingness.^[six]

Meanwhile, Madeline "Maddy" Ferguson (Lee), Laura's cousin, has arrived in Twin Peaks from Missoula, Montana, and helps Laura's friends Donna Hayward (Lara Flynn Boyle) and James Hurley (James Marshall) investigate the killing. Donna finds Harold Smith (Lenny Von Dohlen), one of Laura's friends to whom she had given a secret diary, and Donna and Maddy attempt to steal it from him.^[six]

Events [edit]

Information technology is morning at the Sheriff'due south Station. Amanuensis Cooper, Chief Gordon Cole, Sheriff Harry Southward.Truman (Michael Ontkean), Deputy Andy Brennan (Harry Goaz), Deputy Hawk (Michael Horse), and Phillip Gerard (Al Strobel) are drinking coffee in the lobby. Truman informs that preparations accept been made for them at The Great Northern. Gerard, currently possessed by MIKE, mutters his description of Bob's current location. Truman tells Hawk to search Harold Smith's apartment. Cooper tells Hawk to search for Laura Palmer's secret diary. Cole bids all farewell and leaves for Curve, Oregon.

Cooper, Medico Hayward (Warren Frost), Brennan, and Gerard / MIKE are in the lobby of The Slap-up Northern Hotel attempting to find BOB's homo host. The hotel is hosting a contingent of sailors who are bouncing rubber balls in the hotel antechamber. MIKE is seated while hotel guests are brought to him one by 1 for "inspection". One after some other, MIKE turns each away. An angry Benjamin Horne (Richard Beymer) enters the lobby demanding to know what is going on. Simply then, Gerard enters a fit and collapses while grasping at his missing arm.

Meanwhile, Deputy Hawk visits the residence of Harold Smith and finds him hanging dead amongst his orchids. Maddy announces to her Uncle Leland (Ray Wise) and Aunt Sarah (Grace Zabriskie) that she is leaving Twin Peaks to render to her domicile in Missoula, Montana. Cooper, Truman, and a police squad arrive at Smith's residence. They notice the torn-up remains of Laura Palmer's secret diary strewn about, and a suicide note that reads "J'ai une âme solitaire." Cooper translates, "I am a lonely soul".

Elsewhere, Bobby Briggs (Dana Ashbrook) and Shelly Johnson (Mädchen Amick) talk over their financial concerns regarding Shelly's catatonic married man Leo (Eric Da Re). Audrey Horne (Sherilyn Fenn) confronts her father Ben over his buying of the brothel Ane Eyed Jacks. He confesses that he and Laura Palmer had a sexual relationship. When Audrey asks him if he killed her, he replies "I loved her." Later, Shelly arrives for work at the Double R Diner and tearfully tells Norma Jennings (Peggy Lipton) she has to quit the diner to care for Leo total-time. Ed Hurley (Everett McGill) and his wife Nadine (Wendy Robie) enter the diner. Nadine, believing she is an xviii-year-erstwhile high school student, asks Norma about her human relationship with Ed, to their embarrassment. Nadine and then accidentally shatters her milkshake glass. At the Johnson residence, Bobby Briggs and Mike Nelson (Gary Hershberger) intermission open the heel of Leo Johnson's kick, discovering a microcassette subconscious within.

Cooper examines the remains of Laura'south underground diary at the police force station, finding repeated references to BOB, and a description of sexual abuse since childhood. Laura wrote that BOB was a friend of her father, and in some other entry wrote, "Anytime I'm going to tell the world about Ben Horne." Audrey and then enters and tells Cooper virtually Ben and Laura's thing. After she leaves, Cooper reminds Sheriff Truman of The Giant'southward message, "Without chemicals, he points".^[5] Cooper states that MIKE manifests when his human host, Philip Gerard, is not medicated,^[vii] and that MIKE fainted that forenoon just as a certain person approached him. Cooper exclaims to Truman, "Harry, we demand a warrant... a warrant for the arrest of Benjamin Horne!"

Later that evening, Benjamin Horne is meeting with Mr. Tojamura at The Great Northern. Mr. Tojamura gives Horne a bank check for $5million to purchase the lands of the Packard Sawmill. Immediately later accepting the check, Sheriff Truman, Deputy Militarist, and Amanuensis Cooper enter Horne's function. Truman arrests Horne for murder. Horne attempts to flee but is restrained and handcuffed. At the Palmer habitation, a severely impaired Sarah Palmer crawls downwardly the stairs, crying to Leland for help. A phonograph is spinning in the groundwork, its needle skipping at the end of the record.

After jailing Horne at the Sheriff'due south Station, Cooper and Truman encounter the Log Lady (Catherine East. Coulson), who tells Cooper, "...at that place are owls in The Roadhouse." Cooper replies, "Something is happening, isn't it, Margaret?" The moon is full, partially obscured by a dark and cloudy sky.

At the Packard residence, Pete Martell (Jack Nance) is fixing himself a midnight snack. He encounters Mr. Tojamura in the dark, who roughly embraces and kisses him, causing Pete to drop and shatter his plate. In a high dudgeon, Pete orders Tojamura to leave. Tojamura coyly reveals that he is actually Catherine Martell (Piper Laurie) in disguise. The two comprehend as Pete emotionally dissolves.

Sarah Palmer crawls into her living room. She sees a vision of a pale white horse then passes out. Leland Palmer is fixing his necktie in the mirror, ignoring her.

Cooper, Truman, and The Log Lady visit The Roadhouse, which is filled with sailors. Donna Hayward (Lara Flynn Boyle) and James Hurley (James Marshall) are seated together discussing Harold's decease and Maddy's difference from Twin Peaks. Bobby Briggs is seated at the bar next to the old waiter (Hank Worden) from The Great Northern. While a singer and band perform, Cooper has a vision of The Giant standing alone on stage. The Giant says to Cooper, "It is happening again." He repeats this warning.

At the Palmer home, Leland smiles at himself in the mirror. BOB stares back at him from the reflection and cackles madly. Leland dons a pair of latex gloves. Maddy comes downstairs complaining of a called-for smell and sees Sarah unconscious on the floor. She sees Leland grinning at her, then sees BOB announced in Leland'south place. She screams in terror and attempts to flee. Leland chases Maddy up the stairs, and drags her to the living room. He strangles and punches her, then taunts and chases her around the living room. He corners her and punches her in the face until she is catatonic. He dances with and cries over her limp torso, calling her "Laura", while Bob kisses her. Leland / BOB then becomes enraged and screams, "Leland says you're going back to Missoula, MONTANA!" every bit he rams her head into a glass moving-picture show frame, the words "Missoula, Montana" in the lower corner of the picture. Maddy collapses, bloodied and dead. A crazed Leland places a cutout of the letter "O" under the blast of Maddy's left band finger.

Cooper'southward vision of The Giant ends, replaced by the vocalist and ring. The old waiter walks over to Cooper and says, "I'1000 so sorry." Donna begins to sob. James comforts her, to no avail. Bobby Briggs turns from the bar, overcome past a mysterious sadness. Cooper stares out, bewildered, every bit the ring repeats a melancholy refrain.^[5]

Production [edit]

"Episode 14" was written by series co-creator Marking Frost, who had written vi previous episodes and directed the first-season finale, "Episode7".^[8] Frost co-wrote three further installments—"Episodesixteen", "Episode26" and Episode29"—and all the episodes of the 2017 limited series.^[viii] This episode was directed by Lynch, the fifth such episode of Twin Peaks; he later directed "Episode29", the serial' finale, and all the installments of the limited series.^[9] Lynch has subsequently said he feels he was able to show more on screen in the episode than he expected the network'due south standards and practices office to permit. He credits this to the unusual imagery used, adding "if it'south not quite standard information technology sneaks through, but it could exist that the 'non quite standard' things make information technology fifty-fifty more terrifying and disturbing."^[10] This is the but episode of the series edited by frequent Lynch collaborator Mary Sweeney.

The bandage of Twin Peaks did not know who would be revealed as Palmer's killer for some time. Wise had hoped his character Leland would not be the eventual murderer; as the parent of a young girl he was disturbed past the idea of portraying a man who had murdered his daughter. Wise was called to a meeting with Lynch, Frost, Sheryl Lee and Richard Beymer, during which Lynch told those assembled that Leland Palmer was the killer: while addressing Wise, Lynch said "Ray, information technology was you, it was ever you."^[11] However, Wise felt the finish outcome was "beautiful" and that it left him and his character "satisfied and redeemed".^[eleven] Before this coming together, the only people to know the killer'south identity were Frost, Lynch, and Lynch's girl Jennifer, who had been given the information so she could author the 1990 tie-in novel The Secret Diary of Laura Palmer.^[12]

Lynch has mentioned that he tried to avoid thinking about the morality of the narrative, or how it would exist received past censors or critics, feeling that if he allowed that worry to affect him it would ultimately bulldoze him to create something that made him uncomfortable, preferring instead to just produce the episode he wanted to and be prepared to defend it if necessary.^[xiii] He has also compared the search for Laura's killer to the primal narrative of the 1960s television receiver serial The Fugitive, which featured an ongoing search for a one-armed man. Contrasting the two, Lynch stated "each week, you lot know, they [the writers for The Fugitive] inappreciably ever dealt with that. And that's the beautiful thing. You continue wondering, 'When will he detect this guy and set everything straight?' But then you knew information technology would be the end."^[14]

Cinematography [edit]

The climactic murder of Madeline Ferguson in the episode features extensive utilise of leap cuts to portray Leland Palmer'south spirit possession, switching apace betwixt actors Ray Wise and Frank Silva.^[15] The scene is unusually long for a murder on television, lasting over four minutes.^[16] Some of its elements, including the insertion of a paper alphabetic character under Ferguson's fingernail and the apply of jump cuts to events in the Roadhouse bar, are intended to echo similar aspects of "Pilot".^[17]

Erica Sheen and Annette Davison, in their volume The Cinema of David Lynch: American Dreams, Nightmare Visions, have drawn attending to the use of mise en scène early in the episode. A scene featuring Ferguson, Leland and Sarah Palmer sitting in the Palmers' living room pans across the family's bric-a-brac. This technique draws attending to the painting with which Ferguson volition be assaulted, and it highlights the similarity between Ferguson and Palmer by focusing on "the famous homecoming queen shot" of Palmer while Ferguson'south face is visible.^[18] Sheen and Davison argued that the scene highlights the "emotional claustrophobia" felt by Ferguson, and that the set surrounding her was deliberately assembled to create this feeling.^[xviii]

Themes [edit]

The revelation scene, in which Bob is shown to have inhabited Leland Palmer, has been noted for its sense of duality, a common theme throughout Twin Peaks. In Total of Secrets: Disquisitional Approaches to Twin Peaks, David Lavery wrote that upon The Behemothic's appearance to Dale Cooper, "The Giant has transmuted the public identify into something private". Lavery added that the murder scene is "in the living room, the public within the individual".^[19] He summarized that the ambiguity betwixt the public perception and the private perception—"the outer and the inner"—"reverberates" throughout the scene.^[19] In his view, Maddy Ferguson was Laura Palmer's "double" and Leland is "doubled" by Bob. However, Lavery referred to the duality of Leland and Bob as a "subjective germination" and added that the employ of bound cuts "could be Maddy's view of Leland only every bit much as Leland'due south view of himself".^[20]

This scene has also been noted by critic Sue Lafky from the Journal of Film and Video as one of several in the series that suggest incest and necrophilia. She speculated that "Leland/Bob may accept raped the dead or dying Maddie",^[21] comparing this to the "necrophilic fantasies" that Laura Palmer'due south corpse evokes, and Ben Horne's unwitting brush with incest when he encounters his daughter Audrey at a brothel.^{[21] [22]} Before in the episode information technology is revealed that Laura had been discipline to sexual abuse by BOB, and implicitly Leland, which was further explored in the 1992 prequel pic, Twin Peaks: Fire Walk with Me.

Broadcast and reception [edit]

"It'due south a promise of sorts that nosotros've still got a reason to exist with the prove, and it sets us up for the middle portion of this bicycle. This expert will is carried through episodes 15 and 16, as the killer is finally unmasked, and as the Log Lady tells us in her intro, shifts the queries from who to why."

—DVD Talk'southward Jamie S. Rich on the episode'due south identify in the series^[23]

"Episode 14" first aired on the ABC network on November 10, 1990. The initial broadcast was viewed past 17.2million households in the Us, making it the fifty-first most-viewed broadcast episode for the week. These viewing figures represented 20per centum of the available audience and 10.4pct of all households in the state.^[24] This represented a significant rise in viewing figures compared to the preceding episode, "Episode13", which was seen by eleven.3meg households.^[25] All the same, the post-obit episode, "Episode15", suffered a drib in viewing figures, attracting thirteen.iii1000000 households.^[26]

The episode was well received critically. Writing for the Chicago Sun-Times, Richard Roeper noted that fans and critics had begun to lose interest in the series by this point, but he felt that "even at its about strained and birdbrained, [Twin Peaks] displays more than imagination and effort than nigh everything else in TV land."^[27] He added that viewers may have been put off by the series' frame of time, explaining that only two weeks of narrative time had elapsed since "Pilot", a slow step contrasted with the "fast-forward, instant payoff philosophy of most television".^[27] AllRovi's Andrea LeVasseur described the installment as "pivotal", noting that it "answers some of the series' long-running questions".^[28]

Writing for The A.V. Lodge, Keith Phipps rated the episode an "A", adding "information technology's not like there's any shortage of action."^[29] He felt the furnishings used in the episode were effective and frightening while still seeming low-cardinal. In his view, the episode'due south blending of surrealism and horror was similar to scenes from Lynch's 2001 film Mulholland Drive. Phipps described the climactic murder every bit "one of the well-nigh disturbing moments in the Lynch filmography", adding that it was a recurring Lynchian theme to represent the cease of innocence equally an actual decease.^[29] IGN's Matt Fowler included the murder at number16 in a listing of the "Top twentyCreepiest Moments on Idiot box", describing it as "nightmare fuel".^[30] Fowler felt the depiction of the killing was "savage" and unusually long for a television scene; however, he added that the rampant speculation equally to the identity of the killer meant the revelation would be "somewhat expected".^[30]

Keith Uhlich, writing for Slant Magazine, described the episode as "quintessential Lynch, perhaps his finest piece of work", noting that the climactic murder scene was more powerful considering of its necessary employ of implication and proposition.^[31] Nonetheless, Uhlich felt the installment was "a tough act to follow", arguing that the just subsequent installments that competed with it were the series' finale and the 1992 psychological thriller flick Twin Peaks: Fire Walk with Me, which is based on Twin Peaks.^[31] DVD Talk's Jamie S. Rich described the installment every bit "a violent, disturbing revelation".^[23] Rich felt the entry's supernatural elements assured the audition there was "a grander scheme to the Laura Palmer story", elevating the serial' long-running murder plot beyond "merely a random dark partying with drug dealers gone incorrect".^[23]

Notes [edit]

1. ^ Although the series did non originally have episode titles, when it was circulate in Germany, the episodes were given titles, which are now used past some fans and critics.^[3]

References [edit]

1. ^ "Twin Peaks (a Titles & Air Dates Guide)". epguides. Archived from the original on September 10, 2012. Retrieved August 28, 2012.
2. ^ "Twin Peaks, Flavour 2". iTunes Store. Apple. Retrieved August 27, 2012.
3. ^ Riches 2011, p. 40.
4. ^ David Lynch (writer and director); Marker Frost (author) (April 8, 1990). "Pilot". Twin Peaks. Flavor 1. Episode 1. ABC. {{cite episode}}: CS1 maint: multiple names: authors list (link)
5. ^ ^{a b c} David Lynch (writer & director); Mark Frost (author) (September xxx, 1990). "Episode 8". Twin Peaks. Season two. Episode 1. ABC. {{cite episode}}: CS1 maint: multiple names: authors list (link)
6. ^ ^{a b} Lesli Linka Glatter (manager); Harley Peyton & Robert Engels (writers) (Nov 3, 1990). "Episode thirteen". Twin Peaks. Season 2. Episode 6. ABC. {{cite episode}}: CS1 maint: multiple names: authors listing (link)
7. ^ Lesli Linka Glatter (director); Robert Engels (writer) (October 13, 1990). "Episode x". Twin Peaks. Flavor 2. Episode 3. ABC.
8. ^ ^{a b} "Mark Frost movies, photos, movie reviews, filmography, and biography". AllRovi. Rovi Corporation. Retrieved August 9, 2012.
9. ^ Ankeny, Jason. "David Lynch movies, photos, moving picture reviews, filmography, and biography". AllRovi. Rovi Corporation. Retrieved Baronial nine, 2012.
10. ^ Rodley & Lynch 2005, p. 178.
11. ^ ^{a b} Hyden, Steven (December 4, 2008). "Ray Wise | Television set | Random Roles". The A.V. Club. The Onion. Retrieved August 9, 2012.
12. ^ Jennifer Lynch, 00:09–00:41
13. ^ Rodley & Lynch 2005, p. 179.
14. ^ Rodley & Lynch 2005, p. 180.
15. ^ Odell & Le Blanc 2007, p. 75.
16. ^ Odell & Le Blanc 2007, p. 76.
17. ^ Odell & Le Blanc 2007, pp. 75–76.
18. ^ ^{a b} Sheen & Davison 2004, p. 99.
19. ^ ^{a b} Lavery 1995, p. 75.
20. ^ Lavery 1995, p. 76.
21. ^ ^{a b} Lafky, Sue (October 1, 1999). "Gender, power, and civilisation in the televisual world of Twin Peaks: A feminist critique". Journal of Movie and Video. Academy Flick and Video Association. Retrieved Baronial ix, 2012. (subscription required)
22. ^ Mark Frost (writer and director) (May 23, 1990). "Episode seven". Twin Peaks. Season ane. Episode 8. ABC.
23. ^ ^{a b c} Rich, Jamie S (March 27, 2007). "Twin Peaks—The Second Season: DVD Talk Review of the DVD Video". DVD Talk. Internet Brands. Retrieved August 21, 2012.
24. ^ Donlon, Brian (November xiv, 1990). "Nielsens: 'Cheers' Sweeps up for NBC". Us Today. Gannett Company. Retrieved August 10, 2012. (subscription required)
25. ^ Donlon, Brian (Nov 7, 1990). "Nielsens: NBC Wins with Fewer Viewers". United states of america Today. Gannett Company. Retrieved August 10, 2012. (subscription required)
26. ^ Donlon, Brian (November 21, 1990). "Nielsens: ABC Pulls Past CBS in Sweeps". USA Today. Gannett Company. Retrieved August 10, 2012. (subscription required)
27. ^ ^{a b} Roeper, Richard (November 15, 1990). "'Twin Peaks' nonetheless piques a devoted fan's involvement". Chicago Sunday-Times. Sun-Times Media Group. Archived from the original on March 9, 2016. Retrieved August x, 2012. (subscription required)
28. ^ LeVasseur, Andrea. "Twin Peaks: Episode 14 (1990) Trailers, Reviews, Synopsis, Showtimes and Cast". AllRovi. Rovi Corporation. Retrieved August 10, 2012.
29. ^ ^{a b} Phipps, Keith (February six, 2008). "'Episode 14' | Twin Peaks | Tv Club". The A.V. Society. The Onion. Retrieved August ix, 2012.
30. ^ ^{a b} Fowler, Matt (October 29, 2009). "The Tiptop 20 Creepiest Moments on TV". IGN. News Corporation. Retrieved September 12, 2012.
31. ^ ^{a b} Uhlich, Keith (April 3, 2007). "Twin Peaks: The Second Season | DVD Review". Slant Magazine . Retrieved August 10, 2012.

Sources [edit]

• Lynch, Jennifer (2010). Interview with Jennifer Lynch (DVD). Los Angeles: Universal Home Entertainment.
• Odell, Colin; Le Blanc, Michelle (2007). David Lynch. Harpenden: Kamera Books. ISBN978-1-84243-225-nine.
• Riches, Simon (2011). "Intuition and Investigation into Some other Identify: The Epistemological Role of Dreaming in Twin Peaks and Beyond". In Devlin, William J.; Biderman, Shai (eds.). The Philosophy of David Lynch. Lexington: University Press of Kentucky. ISBN978-0-8131-3396-6.
• Rodley, Chris; Lynch, David (2005). Lynch on Lynch (2nd ed.). London: Macmillan. ISBN0-571-22018-5.
• Sheen, Erica; Davison, Annette (2004). The Movie theatre of David Lynch: American Dreams, Nightmare Visions. United States: Wallflower Press. ISBN1-903364-85-X.
• Lavery, David (1995). Full of Secrets: Disquisitional Approaches to Twin Peaks. Detroit: Wayne State Academy Press. ISBN0-8143-2506-8.

External links [edit]

• "Lonely Souls" at Offset
• "Episode 14" at IMDb

timberylosixecas.blogspot.com

Source: https://en.wikipedia.org/wiki/Episode_14_%28Twin_Peaks%29

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