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He retrieved the gun, checked the chamber, and demanded that Ray cough up the digits in his head. Dirty Cooper was the first to pull trigger — but the gun didn’t fire. “Tricked you, f—er,” quipped Ray, who then put Dirty Cooper down with two bullets in the chest.

A gang of spectral hobos bolted from a grove of trees and hustled to Dirty Cooper’s fallen body — a bum rush.

He had no intention of giving up whatever it was that he knew — a string of numbers; coordinates, I believe — unless the man he called “Mr.

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Twin Peaks Dirty Cooper directed Ray to exit the highway and take an alternate road to their final destination.

Still, I officially gave up trying to make sense of everything during my first viewing right about the time the eyeless transhuman entity known as Experiment started barfing foamy ejaculate containing speckled eggs and a creamed corn glob of BOB’s face. I stopped worrying about it and just enjoyed all the crazy bomb drops.

I quit taking notes, quit pressing PAUSE so I could Google things like The Manhattan Project, quit sweating that I wasn’t getting it. Lost’s “Across the Sea” episode — a big bang creation myth for the evil that haunts Twin Peaks America, an origin story for the show’s cosmic horror predators; it was Lynch’s version of a ’50s sci-fi/horror movie, spliced with some pure cinema philosophizing about the nature and fate of mankind reminiscent of .

I found myself thinking of a Peter Gabriel song called “Digging In The Dirt.” Ray was horrified and transfixed by the spectacle, and maybe stuck within it.

I got the sense the Woodsmen generated a magnetic field that trapped people within their locality, even drew people close to them.