Twin Peaks: Season 2, Episode 22

Episode #2.22 (10 Jun. 1991)

TV Episode  -   -  Crime | Drama | Mystery
9.0
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In the cliff-hanging series final, Cooper must face his inter-most fears as he tracks down Windom Earle, who has abducted Annie, and takes her into the hellish realm of the Black Lodge. ... See full summary »

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Title: Episode #2.22 (10 Jun 1991)

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Cast

Episode cast overview, first billed only:
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Shelly Johnson (as Madchen Amick)
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James Hurley (credit only)
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Jocelyn Packard (credit only)
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Storyline

In the cliff-hanging series final, Cooper must face his inter-most fears as he tracks down Windom Earle, who has abducted Annie, and takes her into the hellish realm of the Black Lodge. Meanwhile, Nadine, wounded by a hit on the head during the beauty pageant, wakes up now back to her old self, and becomes very upset when she sees Big Ed with Norma. Donna struggles to control herself from Ben Horne's news, which leads to a fistfight between him and Dr. Hayward who angrily knocks Ben into a fireplace mantle for interfering with his family, and apparently killing him. While Truman and Andy wait and wait for Cooper to return from the Black Lodge, Andrew and Pete steal the safety deposit box key and go to the Twin Peaks Savings & Loan where Audrey is staging a feeble act of civil disobedience. But when Andrew and Pete open Thomas Eckhardt's final box, they instead find a bomb... which explodes. Major Briggs receives a cryptic message from Windom Earle in the Black Lodge through the ... Written by Anonymous

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10 June 1991 (USA)  »

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Did You Know?

Trivia

Last show of the series. See more »

Goofs

In the bank scene, when the teller is bringing Audrey a glass of water, a boom mic is clearly visible at the top of the screen for several seconds. See more »

Quotes

Annie Blackburn: [praying] Our bones are scattered at the grave's mouth / As when one cutteth wood upon the earth / But mine eyes are unto thee, O God the Lord: / In thee is my trust: leave not me / Keep me from the snares they have laid for me / And the gins of the workers of iniquity / Let the wicked fall into their own nets / Whilst that I withal escape.
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Soundtracks

Sycamore Trees
Lyric by David Lynch
Music by Angelo Badalamenti
Performed by Jimmy Scott (as The Legendary Jimmy Scott)
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User Reviews

 
one of the few truly inspired series finales in TV history
9 May 2007 | by (United States) – See all my reviews

What a way to go out on a bang! The series finale to Twin Peaks is not only superb as an episode in tying together loose ends in an entertaining way, it transcends what are usually the limitations of the TV medium. David Lynch directed the episode, which is obvious from every single minute that was shot. It's a lot more like the most surreal art-film shot by a European cameraman than your typical prime-time network finale. We see finally, as has been hyped for the previous episodes, the Black Lodge, what could almost be considered the truest form of a haven for the dark side of the universe. Cooper finds that the map will show him how to follow Windam-Earl, who's kidnapped Annie, Cooper's new love, to bring the worst evil imaginable. Passing sycamore trees, we finally enter what is the ultimate labyrinth as dictated by Lynch and company, where we see old "friends" (the Man from Another Room, the room service man at the Great Northern, Laura, Mr. Palmer, the Giant, et all), and see the most frightening outcome imaginable.

In one of Lynch's most staggering displays of bravura directing, the Twin Peaks finale is alternately hysterically funny (the wrap-up of what happens at the bank), dramatically exquisite (the mess over at Donna's), plain goofy in its obviousness (Nadine's come around reminds me of the climax of Muppets Take Manhattan), and absolutely thrilling in how only Lynch and Frost can pull it off. Everything from the lighting- going so over-the-top with the flashing lights and the slow-to-fast pacing- to the sound design, to the completely out-of-this-world turn of performances by everyone in the Black Lodge, it all just clicks so well that it gives one who's already very used to Lynch's wild theatrics the chills. Indeed, the very end left me feeling the same way I did the first times I saw Lynch's best work in Eraserhead and Mulholland Drive: it makes total sense, even if it makes no sense all the same. And yet, the emotional impact is concise, direct, and with a punch that's undeniable. Meanwhile, it's all on TV, not in a cinema, where one would expect to see such artful craft and simple touches of visual wizardry.

Wow, Bob, Wow. That's all I could say once this ended.


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