10 Things We Learned From Twin Peaks: The Return Part 5
1. ...But The Old Dale Cooper Is Also A Long Way From Home
The final scene of Part 5 disrupts the pattern formed in the previous four parts in that the credits roll over the image of Dale Cooper plaintively touching the foot of a statue outside his office building.
The figure is decked out in a Sheriff's hat, its armed hand ready to aim. Its meaning may present itself in time. But as Johnny Jewel's Windswept played on the soundtrack (again, the melody was Badalamenti's stock in trade, but purposefully orchestrated by an unfamiliar composer to reinforce Cooper's alienation), its haunting saxophone and minor key evoking feelings of elusive belonging, it was impossible not to project Harry Truman's face onto the bronze.
This followed an episode where Cooper took baby steps towards recovering both his humanity and his identity. Something within him - or illuminated for him - led him to deduce that colleague Anthony Sinclair (played with a subtle, domineering menace by Tom Sizemore) is on the take. "He's lying," Cooper said, channelling the preternaturally gifted agent of the original series pilot.
Still, it feels hopeless; Cooper is alone, embracing the statue as dusk settles. He has been there for hours, unable to reconcile his place in the world nor articulate the dormant memories within him.
It was heartbreaking.