The Sublime Response
Feb. 25th, 2026 02:18 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
armsholdairIn response to: https://filmdaze.net/lets-rock-the-dialectic-of-the-sublime-in-twin-peaks/
Discourse on Twin Peaks is becoming hopelessly stagnant, as dead in the water, as the poor victims of BOB. A place David Lynch intended for there to be "room enough to dream" is becoming hopelessly boxed in, borders enforced to see it solely about Laura Palmer's abuse at the hands of her father, thus using it as the common place condemnation of the patriarchy. Lynch typically eschewed including politics in his work. Ideas were what mattered to him.
Long past the need to make everything about my sex, I've exonerated Leland Palmer and subsequently found an interpretation of Twin Peaks that answers far more questions than when I entertained any possibility of his guilt.
While you claim Ben became better than Leland, I believe he was always far worse and bore many of the sins placed on Leland Palmer inside of the dream of Twin Peaks. Ben (BOB) really abused Audrey (Judy), which resulted in a child, Billy (the grandson). That child was in turn abused by both his grandfather and mother, but while he hated the former, his feelings were more complicated for the latter, whom he equally loved. Accidentally causing the fire at the motel where they lived (Do you want to play with fire, little boy?), Billy moved in with his great grandmother above a convenience store where she had previously raised her two sons. When she died, 12 year old Billy was sent to live with his strict born-again uncle, Jerry (MIKE), which echos the fate of Berthe in Madame Bovary, a book the grandson was seen holding in a promotional image, as fire flared from out of it.
The mentally unwell Billy soon became obsessed with a high school classmate (American Girl), whom reminded him of his mother's good aspects. When she "betrayed/failed" him, he killed her, however, seeing inside of her (falsely) his mother's dark side. To escape his guilt, he fashioned the world of Twin Peaks, wherein he projected his family's traumas on to his victim's family instead.
Meanwhile, his family was spared (the Convenience Store becoming Hornes Dept Store and the seedy motel becoming the Great Northern). Billy dreamt himself as the noble Dale Cooper, whom played detective, essentially discovering why he had killed the poor girl, while still distancing himself from the guilt. He also could play protector to his mother, from a chaste distance, keeping her safe while trying to redeem his family by sacrificing another. In his feelings for his mother, love and hate, the two Lodges are born, as is his conflicting desire to both save and destroy, condemn and adore her.
By the end of the series, as he has avoided detection as "Laura's" killer, Billy has gone from a disturbed boy to an outright sociopathic killer, represented by the good Dale being trapped and the bad Dale coming out, with BOB (the imago) fully in tow. Billy has become a serial killer.
Season 3, 25 years later, Billy finds himself in danger of discovery again, his assistant Betty|Naido, contacting his victim's mom about his having killed her daughter and framed the husband|father. Now he frantically scrambles to dig himself out of the dirt as the memory of his victim has been resurrected, resurrecting his dream world as well, so he can avoid punishment and detection, just as he did through it the first time around.
FWWM sits between both series as an intermission, wherein Billy once more projects his family trauma on to his victim's family. It also conveys the now trapped vestiges of his humanity's regret that he went down a path he can no longer go back from.
In the modern push to focus on FWWM, to the exclusion of everything else, the series as a whole suffers. For instance, you focus on the "Questions in a World of Blue" scene while ignoring the musical performances in the Return, although you began the article with them.
It was at the Roadhouse where 25 years earlier, Cooper paused to watch Audrey on stage talking about saving that which you love. And it will be in that same Roadhouse where Audrey will find her missing lover Billy, although not in a way she understood or was even recognized by the audience. He was the mirror she was holding, mirroring another trait of the mentally disturbed, and one we witnessed Dougie|Dale managing to survive by doing.
All of the songs performed and used throughout the Return deal with this reading of Twin Peaks as being about the man who killed Laura Palmer.
Part 1's "American Woman" is the song that drives Mr. C, because just as Laura was really American Girl, Betty|Naido is the American Woman that Billy must stop now.
Part 2's "Shadow" is self explanatory, given Coop's shadow self.
In the OG, Coop's father figure enemy sent items from the dead woman they both loved, ending in Jackson "Mississippi". Jack was a code word (One Eyed Jack's) seemingly for the identity of Billy's father (Ben). In Part 17, Ben receives a call from a WILLIAMS from another place called JackSON.
"Lark" makes reference to an open window. BOB gained access to Laura through her bedroom window. Billy likely got to American Girl through her own.
The band Trouble plays Snake Eyes as Audrey's son Richard is introduced. From her father's casino/brothel, Audrey phoned Dale and said she was in trouble, a common euphemism for pregnancy.
"Tarifa" references the number 7. In motel room #7, Cooper engages in an act which will turn him into Richard. Tarifa also references "Send in the owl" when the only owls seen in Twin Peaks were Great HORNEd owls. The lyric, "Tell me I'm not a child" harkens back to Richard killing the child as he riled over Red treating him like a kid.
"Sleepwalk" plays as someone asks the recurring question of has anyone seen Billy?
Lynch wanted something ugly and aggressive by the NIN. "Threnody to the Victims of Hiroshima" evokes how the innocent are often hurt by bombs, the word bomb synonymous with secrets. "My Prayer" precedes the girl's impregnation with the frog moth with itself. This, and many other events, echo Audrey's conception, in a comatose state, of her own son, after a bomb went off at the Twin Peaks bank. Audrey said a prayer once to Cooper, it has its own theme.
"A Violent yet Flammable World" dreams of a place calling someone, "It's a whisper, It is always just a dream." Laura continually whispers something that distresses the dreamer.
"No Stars" foreshadows Dale's attempt to "save" Laura: "My dream is to go to that place, You know the one where it all began."
Dougie|Dale is entranced by the "Heartbreaking" song a pianist is playing as a mother comes up and thanks him for repairing her relationship with her son, before they go off arm in arm together.
"Just You and I" is sung to a crying and ultimately unavailable woman. Before it was sung while one woman (Maddy) was confused with another (Laura).
"Wild West" reveals "There's a world where...All that you lost, you get back." In Billy's dream world this is true.
"Sharp Dressed Man" plays, invoking Dale's FBI suit, which Richard mentioned. Laura's whisper to Dale is "Don't assume (that) nobody can spot your dark suit off but me." In the mug shot on his arrest report, containing William Hastings info, Mr. C was naked.
Ruby, a word associated with a pair of slippers intended to take the wearer home, waits for someone whom hasn't shown up. Eventually she crawls to "Axolotol" a song named after a highly inbred species locked in a juvenile state.
"Out of Sand" confesses "I stare at my reflection to the bone, Blurred eyes look back at me, Full of blame and sympathy
So, so close, Right roads not taken, the future's forsaken...Now it's gone, gone, And I am who I am, Who I was I will never come again, Running out of sand," as Audrey finally makes it to the Roadhouse, where Cooper, the good Cooper, last stared at her.
"Audrey's Dance" plays as she takes to the floor for everyone to admire, but as a fight breaks out over another woman (sharing the name of the woman whom asked whom the dreamer was) she runs to Charlie begging for him to get her out of there. Acquiescing, the dreamworld disappears and Charlie reveals himself as Billy, the mirror Audrey stares into in horror. When Dale went to save Audrey from Jack's, Titian's Venus with a Mirror was shown. The painting depicts Venus looking into the mirror her son, Cupid, is holding for her. It can also be seen in Psycho, as Norman discusses his relationship with his mom.
The episode ends with "Audrey's Dance" playing in reverse, as if in a mirror. Now the Lodgespeak makes sense: those on the edge of the dream are aware of Billy reflecting them and attempt to find their own voice.
"The World Spins" is resurrected along with Laura. Her bloodcurdling scream indicates that Dale trying to save her accomplished nothing good.
Dale engages in uncomfortable sex with Diane in motel room #7 and "My Prayer" plays again, recalling the girl's impregnation by and with the frogmoth. At the end of this, Dale will become Richard, his own son with Audrey.
All of these connect to Billy, the real killer at the heart of Twin Peaks. And there we find a paradox. You claim that "those with evil souls have no place in the land of the sublime," and yet the music of Twin Peaks, if it is sublime, is mostly related to Billy and the Hornes.
"Questions in a World of Blue" even seems more about Billy's longing for his mother, or his victim, both interchangeable inside of his mind, than about Laura herself. The lyrics seem a sad response to "My Prayer" especially with the lyrics from that song claiming, "At the end of the day in a dream that's divine, My prayer is a rapture in blue."
You claim that Leland Palmer never experienced a moment of the sublime. Even at his death, during a scene where Lynch explained to actor Ray Wise it would be a beautiful thing which redeemed his character, you seem to delight in your belief he died before it could be achieved.
But if you were truly looking at the series as a whole, and more objectively and free of prejudice, you would see that Leland was given his own sublime moment accompanied by music. And if you claim Laura's chronologically is the first, his would naturally be the second and even more important.
For what else is the scene where Leland starts playing the song Pennsylvania 6-5000 and dances with Laura's portrait? But even this is tainted with the pall of Billy and his family: Pennsylvania 6-5000 is named after the famous phone (often called a Horn) number of a famous hotel. The song derived its title because of the amount of musicians who played there, making it similar to the Roadhouse.
Except here, now, Leland, wounded, reaches his own sublime moment as he offers his blood (and perhaps Sarah's) to his daughter, falling to his knees in the pose of contrition. Now, both father and daughter achieve a momentary reprieve from the horrible spell of the dreamer and what better way to represent this then the fact that the music breaks free from Billy's influence and becomes Laura's own beautiful theme.
Leland holding Laura's photo, his forehead pressed to it, evokes the scene from FWWM when he kissed her forehead when he told her that he loved her. This scene too then led to another musical clue, one which goes unnoticed by those quick to condemn Leland. After her father has left the bedroom, Laura turns to the painting of the angel on her wall and asks it if it is true, presumably that her father has been the one abusing her. She becomes entranced by the angel then, focusing on its wings. And as she does, Lynch plays the faintest chords of Angelo Badalamenti's "The Voice of Love".
When she believes it is true her father has been hurting her, the angel disappears. However, at the end, as she sits inside of the Red Room, the angel returns. Once again, Lynch focuses on her wings but now he has "The Voice of Love" outright playing. And as Laura sees the angel, she falls into tears that are joyous and also convey a certain amount of what looks like relief. Why shouldn't they? The angel shows to her finally that, no, Leland hadn't hurt her. He did infact love her, just as he told her before the song was first heard. This is the moment that Laura is obviously referring to when she told Lynch in Between Two Worlds, "And then there was a time when I cried because I was so happy, because I saw what it was. And it was so beautiful. I was awake."
Laura thus becomes free from the dreamer's attempt to place his own family's trauma on to her.
You reference the scene where Margaret approaches Laura outside of the Roadhouse, basically equating the fire inside of her with a forest fire, but once again this can be connected far more with the Hornes. In the Pilot, Ben's first scene involves him spitting into the fire, while Audrey is seen smoking at her locker, an ashtray hidden inside warning of forest fires. Ghostwood, the forest that surrounds Twin Peaks, infact belongs to the Hornes. The desecration of it can easily be equated with Benjamin's desecration of his daughter, just as surely as the scene of Ben's father passing him the shovel to continue the hole where their home is to be built corresponds with Ben's abuse by his own father.
None of this fits the Palmers.
Leland, as Ben's lawyer, actually more equates to the woodsmen that enable BOB. And yet he is also connected to the Giant|Fireman, I believe, one of the most pure characters in the series. In a deleted FWWM scene, Leland pretends to be not only a woodsman, complete with axe, but one whom is equally a giant. The chase Funko for Twin Peaks was actually the Giant in Leland's box. There is a huge possibility that the Giant|Fireman represents an amalgamation of both Leland and his grandfather, both of them unfairly blamed inside of Billy's dream as abusers, or toxic masculine patriarchs as you might say.
But Leland is tied to the sublime Fireman, whom only tried to help. The connection becomes explicit as the Fireman and Senorita Dido, Leland and Sarah respectively, both send the Laura orb out into the world. And how the "home" of the Fireman's in the mystical land of Dale's Twin Peaks, becomes the actual Palmer household in the far more ordinary dream of Richard. And this too, as well as both aliases of the grandson having infiltrated the Palmer household, give deeper meaning to the Fireman's words, "It is in our house now."
Billy has repeatedly placed the horrors that belong to him into his victim's family's house. And he has thoroughly destroyed them in the process, the lights all going out, indicating that the resurrected memory of the daughter has possibly gotten her own mother killed, the reason for Carrie|Laura's horror whenever her mother is mentioned.
Dark Space Low plays over the credits, one of the most darkest, saddest songs of the series, and Laura continues to whisper to Cooper. Unfortunately, he will never allow himself to understand what she is telling him, choosing to blame others instead, just like he blamed Leland (Laura's whisper blaming him was suspiciously not in Lodgespeak) or even Carrie|Laura, herself. This is the truth behind the elderly waiter's words to Dale Cooper at the Roadhouse. He was sorry that he could take neither blame nor responsibility for what he had done and whom he had become. Just like Carrie|Laura asking Richard|Dale upon meeting him, "Did you find him?" Only, as he continued to focus on her instead, leading her to confront him with the wholly accurate statement, "You got the wrong house, mister."
Cooper always did, something he would have known if he had truly stopped to listen to the music.
Discourse on Twin Peaks is becoming hopelessly stagnant, as dead in the water, as the poor victims of BOB. A place David Lynch intended for there to be "room enough to dream" is becoming hopelessly boxed in, borders enforced to see it solely about Laura Palmer's abuse at the hands of her father, thus using it as the common place condemnation of the patriarchy. Lynch typically eschewed including politics in his work. Ideas were what mattered to him.
Long past the need to make everything about my sex, I've exonerated Leland Palmer and subsequently found an interpretation of Twin Peaks that answers far more questions than when I entertained any possibility of his guilt.
While you claim Ben became better than Leland, I believe he was always far worse and bore many of the sins placed on Leland Palmer inside of the dream of Twin Peaks. Ben (BOB) really abused Audrey (Judy), which resulted in a child, Billy (the grandson). That child was in turn abused by both his grandfather and mother, but while he hated the former, his feelings were more complicated for the latter, whom he equally loved. Accidentally causing the fire at the motel where they lived (Do you want to play with fire, little boy?), Billy moved in with his great grandmother above a convenience store where she had previously raised her two sons. When she died, 12 year old Billy was sent to live with his strict born-again uncle, Jerry (MIKE), which echos the fate of Berthe in Madame Bovary, a book the grandson was seen holding in a promotional image, as fire flared from out of it.
The mentally unwell Billy soon became obsessed with a high school classmate (American Girl), whom reminded him of his mother's good aspects. When she "betrayed/failed" him, he killed her, however, seeing inside of her (falsely) his mother's dark side. To escape his guilt, he fashioned the world of Twin Peaks, wherein he projected his family's traumas on to his victim's family instead.
Meanwhile, his family was spared (the Convenience Store becoming Hornes Dept Store and the seedy motel becoming the Great Northern). Billy dreamt himself as the noble Dale Cooper, whom played detective, essentially discovering why he had killed the poor girl, while still distancing himself from the guilt. He also could play protector to his mother, from a chaste distance, keeping her safe while trying to redeem his family by sacrificing another. In his feelings for his mother, love and hate, the two Lodges are born, as is his conflicting desire to both save and destroy, condemn and adore her.
By the end of the series, as he has avoided detection as "Laura's" killer, Billy has gone from a disturbed boy to an outright sociopathic killer, represented by the good Dale being trapped and the bad Dale coming out, with BOB (the imago) fully in tow. Billy has become a serial killer.
Season 3, 25 years later, Billy finds himself in danger of discovery again, his assistant Betty|Naido, contacting his victim's mom about his having killed her daughter and framed the husband|father. Now he frantically scrambles to dig himself out of the dirt as the memory of his victim has been resurrected, resurrecting his dream world as well, so he can avoid punishment and detection, just as he did through it the first time around.
FWWM sits between both series as an intermission, wherein Billy once more projects his family trauma on to his victim's family. It also conveys the now trapped vestiges of his humanity's regret that he went down a path he can no longer go back from.
In the modern push to focus on FWWM, to the exclusion of everything else, the series as a whole suffers. For instance, you focus on the "Questions in a World of Blue" scene while ignoring the musical performances in the Return, although you began the article with them.
It was at the Roadhouse where 25 years earlier, Cooper paused to watch Audrey on stage talking about saving that which you love. And it will be in that same Roadhouse where Audrey will find her missing lover Billy, although not in a way she understood or was even recognized by the audience. He was the mirror she was holding, mirroring another trait of the mentally disturbed, and one we witnessed Dougie|Dale managing to survive by doing.
All of the songs performed and used throughout the Return deal with this reading of Twin Peaks as being about the man who killed Laura Palmer.
Part 1's "American Woman" is the song that drives Mr. C, because just as Laura was really American Girl, Betty|Naido is the American Woman that Billy must stop now.
Part 2's "Shadow" is self explanatory, given Coop's shadow self.
In the OG, Coop's father figure enemy sent items from the dead woman they both loved, ending in Jackson "Mississippi". Jack was a code word (One Eyed Jack's) seemingly for the identity of Billy's father (Ben). In Part 17, Ben receives a call from a WILLIAMS from another place called JackSON.
"Lark" makes reference to an open window. BOB gained access to Laura through her bedroom window. Billy likely got to American Girl through her own.
The band Trouble plays Snake Eyes as Audrey's son Richard is introduced. From her father's casino/brothel, Audrey phoned Dale and said she was in trouble, a common euphemism for pregnancy.
"Tarifa" references the number 7. In motel room #7, Cooper engages in an act which will turn him into Richard. Tarifa also references "Send in the owl" when the only owls seen in Twin Peaks were Great HORNEd owls. The lyric, "Tell me I'm not a child" harkens back to Richard killing the child as he riled over Red treating him like a kid.
"Sleepwalk" plays as someone asks the recurring question of has anyone seen Billy?
Lynch wanted something ugly and aggressive by the NIN. "Threnody to the Victims of Hiroshima" evokes how the innocent are often hurt by bombs, the word bomb synonymous with secrets. "My Prayer" precedes the girl's impregnation with the frog moth with itself. This, and many other events, echo Audrey's conception, in a comatose state, of her own son, after a bomb went off at the Twin Peaks bank. Audrey said a prayer once to Cooper, it has its own theme.
"A Violent yet Flammable World" dreams of a place calling someone, "It's a whisper, It is always just a dream." Laura continually whispers something that distresses the dreamer.
"No Stars" foreshadows Dale's attempt to "save" Laura: "My dream is to go to that place, You know the one where it all began."
Dougie|Dale is entranced by the "Heartbreaking" song a pianist is playing as a mother comes up and thanks him for repairing her relationship with her son, before they go off arm in arm together.
"Just You and I" is sung to a crying and ultimately unavailable woman. Before it was sung while one woman (Maddy) was confused with another (Laura).
"Wild West" reveals "There's a world where...All that you lost, you get back." In Billy's dream world this is true.
"Sharp Dressed Man" plays, invoking Dale's FBI suit, which Richard mentioned. Laura's whisper to Dale is "Don't assume (that) nobody can spot your dark suit off but me." In the mug shot on his arrest report, containing William Hastings info, Mr. C was naked.
Ruby, a word associated with a pair of slippers intended to take the wearer home, waits for someone whom hasn't shown up. Eventually she crawls to "Axolotol" a song named after a highly inbred species locked in a juvenile state.
"Out of Sand" confesses "I stare at my reflection to the bone, Blurred eyes look back at me, Full of blame and sympathy
So, so close, Right roads not taken, the future's forsaken...Now it's gone, gone, And I am who I am, Who I was I will never come again, Running out of sand," as Audrey finally makes it to the Roadhouse, where Cooper, the good Cooper, last stared at her.
"Audrey's Dance" plays as she takes to the floor for everyone to admire, but as a fight breaks out over another woman (sharing the name of the woman whom asked whom the dreamer was) she runs to Charlie begging for him to get her out of there. Acquiescing, the dreamworld disappears and Charlie reveals himself as Billy, the mirror Audrey stares into in horror. When Dale went to save Audrey from Jack's, Titian's Venus with a Mirror was shown. The painting depicts Venus looking into the mirror her son, Cupid, is holding for her. It can also be seen in Psycho, as Norman discusses his relationship with his mom.
The episode ends with "Audrey's Dance" playing in reverse, as if in a mirror. Now the Lodgespeak makes sense: those on the edge of the dream are aware of Billy reflecting them and attempt to find their own voice.
"The World Spins" is resurrected along with Laura. Her bloodcurdling scream indicates that Dale trying to save her accomplished nothing good.
Dale engages in uncomfortable sex with Diane in motel room #7 and "My Prayer" plays again, recalling the girl's impregnation by and with the frogmoth. At the end of this, Dale will become Richard, his own son with Audrey.
All of these connect to Billy, the real killer at the heart of Twin Peaks. And there we find a paradox. You claim that "those with evil souls have no place in the land of the sublime," and yet the music of Twin Peaks, if it is sublime, is mostly related to Billy and the Hornes.
"Questions in a World of Blue" even seems more about Billy's longing for his mother, or his victim, both interchangeable inside of his mind, than about Laura herself. The lyrics seem a sad response to "My Prayer" especially with the lyrics from that song claiming, "At the end of the day in a dream that's divine, My prayer is a rapture in blue."
You claim that Leland Palmer never experienced a moment of the sublime. Even at his death, during a scene where Lynch explained to actor Ray Wise it would be a beautiful thing which redeemed his character, you seem to delight in your belief he died before it could be achieved.
But if you were truly looking at the series as a whole, and more objectively and free of prejudice, you would see that Leland was given his own sublime moment accompanied by music. And if you claim Laura's chronologically is the first, his would naturally be the second and even more important.
For what else is the scene where Leland starts playing the song Pennsylvania 6-5000 and dances with Laura's portrait? But even this is tainted with the pall of Billy and his family: Pennsylvania 6-5000 is named after the famous phone (often called a Horn) number of a famous hotel. The song derived its title because of the amount of musicians who played there, making it similar to the Roadhouse.
Except here, now, Leland, wounded, reaches his own sublime moment as he offers his blood (and perhaps Sarah's) to his daughter, falling to his knees in the pose of contrition. Now, both father and daughter achieve a momentary reprieve from the horrible spell of the dreamer and what better way to represent this then the fact that the music breaks free from Billy's influence and becomes Laura's own beautiful theme.
Leland holding Laura's photo, his forehead pressed to it, evokes the scene from FWWM when he kissed her forehead when he told her that he loved her. This scene too then led to another musical clue, one which goes unnoticed by those quick to condemn Leland. After her father has left the bedroom, Laura turns to the painting of the angel on her wall and asks it if it is true, presumably that her father has been the one abusing her. She becomes entranced by the angel then, focusing on its wings. And as she does, Lynch plays the faintest chords of Angelo Badalamenti's "The Voice of Love".
When she believes it is true her father has been hurting her, the angel disappears. However, at the end, as she sits inside of the Red Room, the angel returns. Once again, Lynch focuses on her wings but now he has "The Voice of Love" outright playing. And as Laura sees the angel, she falls into tears that are joyous and also convey a certain amount of what looks like relief. Why shouldn't they? The angel shows to her finally that, no, Leland hadn't hurt her. He did infact love her, just as he told her before the song was first heard. This is the moment that Laura is obviously referring to when she told Lynch in Between Two Worlds, "And then there was a time when I cried because I was so happy, because I saw what it was. And it was so beautiful. I was awake."
Laura thus becomes free from the dreamer's attempt to place his own family's trauma on to her.
You reference the scene where Margaret approaches Laura outside of the Roadhouse, basically equating the fire inside of her with a forest fire, but once again this can be connected far more with the Hornes. In the Pilot, Ben's first scene involves him spitting into the fire, while Audrey is seen smoking at her locker, an ashtray hidden inside warning of forest fires. Ghostwood, the forest that surrounds Twin Peaks, infact belongs to the Hornes. The desecration of it can easily be equated with Benjamin's desecration of his daughter, just as surely as the scene of Ben's father passing him the shovel to continue the hole where their home is to be built corresponds with Ben's abuse by his own father.
None of this fits the Palmers.
Leland, as Ben's lawyer, actually more equates to the woodsmen that enable BOB. And yet he is also connected to the Giant|Fireman, I believe, one of the most pure characters in the series. In a deleted FWWM scene, Leland pretends to be not only a woodsman, complete with axe, but one whom is equally a giant. The chase Funko for Twin Peaks was actually the Giant in Leland's box. There is a huge possibility that the Giant|Fireman represents an amalgamation of both Leland and his grandfather, both of them unfairly blamed inside of Billy's dream as abusers, or toxic masculine patriarchs as you might say.
But Leland is tied to the sublime Fireman, whom only tried to help. The connection becomes explicit as the Fireman and Senorita Dido, Leland and Sarah respectively, both send the Laura orb out into the world. And how the "home" of the Fireman's in the mystical land of Dale's Twin Peaks, becomes the actual Palmer household in the far more ordinary dream of Richard. And this too, as well as both aliases of the grandson having infiltrated the Palmer household, give deeper meaning to the Fireman's words, "It is in our house now."
Billy has repeatedly placed the horrors that belong to him into his victim's family's house. And he has thoroughly destroyed them in the process, the lights all going out, indicating that the resurrected memory of the daughter has possibly gotten her own mother killed, the reason for Carrie|Laura's horror whenever her mother is mentioned.
Dark Space Low plays over the credits, one of the most darkest, saddest songs of the series, and Laura continues to whisper to Cooper. Unfortunately, he will never allow himself to understand what she is telling him, choosing to blame others instead, just like he blamed Leland (Laura's whisper blaming him was suspiciously not in Lodgespeak) or even Carrie|Laura, herself. This is the truth behind the elderly waiter's words to Dale Cooper at the Roadhouse. He was sorry that he could take neither blame nor responsibility for what he had done and whom he had become. Just like Carrie|Laura asking Richard|Dale upon meeting him, "Did you find him?" Only, as he continued to focus on her instead, leading her to confront him with the wholly accurate statement, "You got the wrong house, mister."
Cooper always did, something he would have known if he had truly stopped to listen to the music.
