FBI special agent Dale Cooper (Kyle MacLachlan) has been sent to the town to investigate[2] and has discovered that the killer was Laura's father, Leland Palmer (Ray Wise), who acted while possessed by a demonic entity, Killer BOB (Frank Silva).

Cooper's doppelgänger, exhausted from the process, crashes his car and passes out, allowing the police to capture him;[5] he subsequently manages to escape, dividing his time between his search for access to "the Zone"[6] and organizing his minions' attempts to eliminate the now catatonic Cooper, whom Jones's family and colleagues take for the real Dougie.

[8] Lucy Brennan (Kimmy Robertson), the station's secretary, shoots the doppelgänger; when BOB, in the form of an orb, tries to escape, he is punched to his destruction by Freddie Sykes (Jake Wardle), an English boy with a Lodge-powered gardening glove.

MIKE (Al Strobel) creates a new Dougie Jones, who rejoins his wife Janey-E (Naomi Watts) and his son Sonny Jim (Pierce Gagnon).

"[9] There he stops three cowboys (Matt Battaglia, Heath Hensley and Rob Mars) harassing a waitress, Kristi (Francesca Eastwood).

When Cooper insists that she is Laura and offers to take her home to Twin Peaks, Carrie, who is already eager to leave Odessa, agrees to follow him.

As Carrie packs her things, Cooper takes a quick look around her residence, seeing the body of a man dead from a gunshot wound on her couch, a white figurine of a horse, and an assault rifle on the floor.

The woman identifies herself as Alice Tremond, and, after speaking to her unseen partner, tells them that they bought the house from a Mrs. Chalfont and that they do not know who the prior owner was or who Sarah Palmer is.

She suddenly screams like Laura; at that moment, all the lights in the house go out, and everything shown onscreen is plunged into darkness.

She called the episode a "brilliant and no doubt controversial ending for a show that had come back after 25 years to leave fans wanting yet again.

Club's Emily L. Stephens gave the episode an A−, writing that it smashes Part 17's "answers to pieces and poses more staggering questions", ultimately enforcing the "bitter, brutal truth that closure is a luxury, not a guarantee.

[19] In his recap for Entertainment Weekly, Jeff Jensen favorably compared the episode and its predecessor to Lynch's Lost Highway, praising the series as a whole as Lynch's "do-over at a big saga fantasy, produced at a length and rich with the poetic abstraction that he couldn't get from a Hollywood feature film.