"Part 2", also known as "The Stars Turn and a Time Presents Itself",[a] is the second episode of the third season of the American mystery television series Twin Peaks.

Two cells away from Hastings, a dark figure[b] (Stewart Strauss[c][7]) sits on the bed and disappears, leaving only its head to float upward.

Phyllis returns home; in the living room, she finds Cooper's doppelgänger, whom she recognizes and greets as a pleasant surprise.

In Las Vegas, Nevada, Duncan Todd (Patrick Fischler) calls Roger (Joe Adler) in his office; after handing him money, he instructs him to tell "her"[8] that she has the job.

[8] In a restaurant, Cooper's doppelgänger eats creamed corn with Darya (Nicole LaLiberte), Ray (George Griffith) and Jack (Steve Baker).

Ray sarcastically remarks that Jack barely touched his "three dinners";[8] he then discusses the plan for the coming days with the doppelgänger, who says he will need to be on his own for a while.

Hawk thanks her and promises to tell her what happens, then ends the call; he arrives at Glastonbury Grove, where red curtains faintly appear and disappear.

The curtains billow and take off, revealing a pale horse standing on the seemingly endless chevron floor and darkness.

Darya tries to escape, but the doppelgänger smashes her head against the headboard of the bed and plays a recording of her phone conversation with Ray, in which the two discuss his imprisonment in a South Dakota federal prison for interstate transportation of firearms and their task to assassinate Mr. C, which was assigned to them by a man named Jeffries and is now entrusted entirely to her.

The doppelgänger pulls an ace of spades card from his jacket, with the symbol covered by a scribbling of a black sphere with two thin protrusions like antennae, and tells Darya that is what he wants.

The doppelgänger, now uncertain if the man on the other end of the line truly was Jeffries, opens a laptop and logs into an FBI database to download files related to Yankton Federal Prison, where Ray claims to be.

The doppelgänger tells her that he needs her and her husband to be in a specific location in the following days; he then calls her to him, opens her bathrobe and touches her groin area, saying she is "nice and wet".

The statue morphs into a doppelgänger of the arm, identical to it except for the yellow color of its brain; the stripes forming the chevron pattern of the floor begin to move upward and downward under Cooper's feet and, as the doppelgänger screams "non-exist-ent,"[8] they open up horizontally, causing Cooper to fall into a black liquid.

[g] At the Roadhouse, the band Chromatics (Ruth Radelet, Adam Miller, Johnny Jewel, Nat Walker) performs its song "Shadow".

Shelly (Mädchen Amick) takes a tequila shot with her friends Hannah (Gia Carides) and Renee (Jessica Szohr); she says Steven is not the right husband for her daughter, Becky.

"[8] From the bar counter, Red (Balthazar Getty) winks at Shelly, while Jean-Michel Renault (Walter Olkewicz) serves drinks.

Additionally, several sped-up fragments of Lynch's song "Last Call" from his 2013 album The Big Dream are hidden during the scene in the Palmer house.

The initial broadcast was watched by 506,000 viewers in the United States,[1] a low number by premium cable network standards.

[14] The critics' consensus reads, "'Part Two' delivers all the addictively, terrifyingly inscrutable storytelling that Twin Peaks fans and David Lynch devotees could hope for.

"[14] Writing for IndieWire, Liz Shannon Miller gave the episode a B+, expressing disappointment at the "pretty staggering" violence against women in both this episode and Part 1, especially Darya's death, "an excruciatingly painful sequence"; but she praised the show as "fascinating in our current era of revivals, because it eschews all the conventions used by other series".

Club's Emily L. Stephens gave the episode an A, writing that the "comfort" of the original Twin Peaks is "entirely eschewed", praising the Glass Box subplot as "a remark upon the creation and the consumption of television and film" and calling the episode an "unfiltered Lynchian vision, unfettered from the structures of soap operas, police procedurals, or thrillers that gave shape to the first few original outings into Twin Peaks.