Lost in the Movies: Hank Jennings (TWIN PEAKS Character Series #36)

Hank Jennings (TWIN PEAKS Character Series #36)

The TWIN PEAKS Character Series surveys one hundred ten characters from the series Twin Peaks (1990-91 on ABC and 2017 on Showtime as The Return), the film Twin Peaks: Fire Walk With Me (1992), and The Missing Pieces (2014), a collection of deleted scenes from that film. The series will be rebooted in 2023 to reflect the third season (and patrons will have immediate access to each entry a month before it goes public), but this entry will remain intact. There will be spoilers.

It's hard to say what Hank enjoys more - being a bad guy or pretending (just barely) that he isn't one.

Tuesday, February 28, 1989
Hank Jennings emerges in the hallway of the state penitentiary to talk to his wife Norma. There's a menacing air about him right away, and his first few comments to her are brusque and vaguely threatening - why hasn't she been to see him? Norma is reserved. Then Hank leans in and, in a contrite, helpless whisper, pleads for assistance. "You gotta back me up in there, Norma, please. I gotta get out, they're putting the zap on me big time. I know I have no right to ask, and you have no reason to believe me, but I'll change. I swear on my life I have changed. Give me a chance to prove it to you." It's disarming; we can see Norma simultaneously re-consider her aversion (maybe even feel bad about it), internalize the power she was projecting onto him, and embrace the relief that comes with the realization he needs her. This knockout concoction of fear, guilt, sympathy, attraction, and lingering unease is Hank's trademark. And it works. As he sits before the parole board, "earnestly" recalling the accident that sent him away on charges of manslaughter, Norma tells the officials she'll employ Hank at her diner and reluctantly concedes that they'll live "as man and wife." Hank smirks slightly. On his way out, he tells Norma, "Catch you later." That night, having received word that he'll be released the next day, Hank calls another woman in Twin Peaks: Josie Packard, a wealthy widow whose husband he killed (the vagrant killed in the accident was an alibi to avoid the more serious charge). He repeats the same phrase to her, more openly threatening this time, and sucks on the domino keepsake hanging from his keychain.

Wednesday, March 1, 1989
Hank plays the jukebox at the RR Diner and sits in a booth, listening with devilish bemusement to teenagers discussing the recent death of their friend. Norma and an employee show up with bouffants from the beauty salon, but their cheerful facade falls away when they see Hank. He attempts to ingratiate himself to Norma and says he'll get started as soon as he finishes his coffee. That night, outside the Johnson household, Hank blindsides Leo Johnson, a local drug dealer, punching him in the face and making his displeasure clear: "I told you to mind the store, not open your own franchise."

Thursday, March 2, 1989
Hank is meek and mild again at the diner the next day, cleaning the counter and chatting with Shelly Johnson, a waitress (and Leo's wife). He teases some crucial information from her: Big Ed Hurley has been helping out at the diner, ringing alarm bells in Hank's jealous mind. Hank steals a customer's cigarette lighter before Sheriff Harry Truman and FBI Agent Dale Cooper walk in. Hank's ingratiating efforts are less successful with them, although he relishes their irritation. The sheriff lays out the terms of Hank's parole and scowls as his ex-friend ambles away. In the evening, Hank hangs out with Josie as she receives a call from local hotel magnate Ben Horne about burning down her own mill. Josie gives Hank the $90,000 she promised when he killed Andrew Packard for her, but he wants more. He explains that, depending how long he lives, his eighteen months locked away may be worth a higher amount. To drive home the point that she can't get rid of him so easily, Hank slashes both of their thumbs with a knife and makes a bloody pact by pressing the fingers together: "Once you're in business with someone, you're in business for life. Like a marriage." Back at the diner, Hank calls Catherine (sending her to the mill which Ben, via Leo, is about to burn). Then he switches into his other mode to woo Norma, wondering if she can ever forgive him, and in "aw, shucks" fashion declares, "I talk too big, that's my biggest fault." This folksy appeal taken care of, Hank makes another call, to Ben concerning Leo: "Time to black-flag that little firebug." Hank sneaks past patrols to find Leo inside his home, raising an axe above his head. Hank shoots through the window, knocking Leo back onto the couch, his chest soaked in blood as he gasps for air.

Friday, March 3, 1989
Hank amiably cleans the counter at the diner, pausing to salute Major Briggs on his way out the door. Hank also exchanges a knowing glance with the Major's teenage son, Bobby, when Norma returns to the RR and brushes off her husband. Hank visits the Great Northern that night, updating Ben and his brother Jerry about Josie, Catherine, and Leo (who somehow survived his shooting, but is now in a vegetative state). The Hornes pace in circles around Hank, relishing their condescension toward his lowly position: "Hank, you leave the creative thinking to the brothers Horne. You're a bicep. Relax until we say flex." Jerry grabs Hank's arm and they nearly come to blows, but instead Hank bursts into laughter and treats it all as a joke. The Hornes look uncomfortable as he throws his arms around them.

Saturday, March 4, 1989
Hank checks in with Harry and Cooper, mocking the deer's head mounted on the sheriff's wall and displaying his utter disregard for the lawmen.

Monday, March 6, 1989
Donna accepts a Meals on Wheels tray from Hank. Norma tells Hank that M.T. Wentz, famed travel writer and food critic, is coming to Twin Peaks; together, they plot to impress him. Hank is enthusiastic and entrepreneurial, offering to buy decorations but also throwing in a little jab - he tells Norma to call Ed so he can direct any potential visitors from the gas station to the diner. That evening, a man appears at the diner and Norma and Hank excitedly serve him. But he wants a plain dish and seems uninterested in the restaurant's amenities. Hank steals his wallet and discovers the man is a state prosecutor. Late at night, in the midst of a thunderstorm, someone breaks into the diner and assaults Hank. At the end of this beatdown, the man wipes blood from Hank's face, presses their thumbs together, and delivers a message from Josie: "Blood brother, next time I take your head off."

Tuesday, March 7, 1989
Hank strolls into the Great Northern as Bobby suspiciously hovers behind him. Emerging from a semi-secret passageway into Ben's office, Hank announces Cooper's arrival and then listens as Ben sets up the ransom payment for his daughter Audrey (who has been kidnapped). Once Cooper leaves, Hank re-emerges and Ben tells him Cooper won't be coming back. "If you can manage it, bring back Audrey and the briefcase." That night, Hank speaks to Ben over a walkie-talkie outside One Eyed Jack's, a Canadian bordello, as he watches Cooper, Harry, and Deputy Hawk Hill flee with Audrey. Jean Renault, Audrey's kidnapper, sneaks up behind Hank and holds a gun to his head while retrieving his wallet. He sees the state prosecutor's badge that Hank stole the night before.

Friday, March 10, 1989
After a long absence, Hank returns to the diner and tries to comfort a furious Norma ("forty-eight hours isn't late, it's missing," she points out). He says that he had to hide from some people in his past and she is soothed, telling him to ask for help next time. Hank's mother-in-law Vivian emerges from the kitchen; she immediately asks him about prison and invites them all to dinner. At the Great Northern, Vivian and Norma go to the restroom and leave Hank alone with Vivian's new husband, Ernie Niles, secretly a fellow ex-con who did time with Hank. Hank tacitly blackmails his nervous new father-in-law.

Wednesday, March 15, 1989
At a wake, Hank puts together a plate of food for the widow and makes sure Norma notices his generosity. That evening, he and Ernie go on a "hunting trip" to One Eyed Jack's where they gamble, cavort with prostitutes, and plot a major drug operation with Jean and a corrupt Canadian Mountie, Preston King.

Thursday, March 16, 1989
Norma asks the camo-clad duo about their hunting trip when they return to the diner and Hank tells her it was "a little fatiguing" (get it?). Ernie is bummed that Vivian has already gone back to Seattle but Hank reminds him he has some cocaine to move, and it'll be easier without her around. Then Hank pays Ben a visit. Much has changed such their conversation nine days ago. Ben is unshaven and unkempt, watching home movies on an old projector while ranting and raving about his travails (since Audrey was returned, Ben has been arrested for murder, lost his lawyer - the actual murderer, and was forced to sign the mill over to Catherine, who survived the fire). A bemused Hank informs Ben, "I don't work for you anymore," and tells him that that One Eyed Jack's has been taken over by Jean. "You screwed up, bossman," Hank scowls, holding Ben roughly by his collar, "You're out, Ben."

Friday, March 17, 1989
In the diner, Hank watches Norma as she touches Ed's hand and talks with him at the counter. Hank plays with his domino and turns away.

Saturday, March 18, 1989
Norma leaves the diner and barely bothers to explain her absence to Hank. He follows her to Ed's and hides inside until his wife leaves. "Oh, Ed," Hank snickers, "the things we do for love." He attacks his cuckolder and is brutally beating him down until Ed's wife arrives home in a cheerleader costume. With superhuman strength she attacks Hank, effortlessly tossing him around the room and finally crashing him into her shelves.

Tuesday, March 21, 1989
Hank hobbles into the sheriff's office on crutches. He has been arrested for a parole violation (the drug operation turned into a sting in which Ernie was an informer and Jean was killed). Worse, he's been identified by a witness as the man who shot Leo. Hank seems unperturbed, proposing a deal to Harry: they'll drop the charge and offer immunity if he can turn in Andrew Packard's killer. Harry says no, and Hank points out that the sheriff is sleeping with the woman who did it. Deputy Hawk kicks Hank's crutch out from under him and drags the finally flustered criminal away, but the jab landed; Harry is quite upset. Norma visits Hank in his cell. He plays the humble, contrite husband once again, but knows he can no longer save their marriage. Instead he asks her for one last favor - provide him an alibi for the night of Leo's murder. She refuses and he grabs her through the bars, accusing her of being Ed's whore. "I'd rather be his whore than your wife," she snaps back, and exits. Hank shouts after her, furious that his snaky charisma no longer does the job. That's it; Hanks three-week experiment has failed...he can't balance the roles of active criminal, paroled ex-con, and dutiful husband. He's returning to where he really belongs.

Characters Hank interacts with onscreen…

Norma Jennings

Josie Packard

Shelly Johnson

Leo Johnson

Harry Truman

Catherine Martell

Major Briggs

Bobby Briggs

Ben Horne

Jerry Horne

Agent Cooper

Donna Hayward

Daryl Lodwick

Jonathan Kumagai

Jean Renault

Vivian Niles

Sarah Palmer

Ernie Niles

Mountie King

Ed Hurley

Nadine Hurley

Deputy Hawk

Impressions of TWIN PEAKS through Hank
When I think of Hank, three observations came to mind. First, although all associated Twin Peaks lore underscores his status as a local, and he's mentioned as early as the pilot, I never really think of him as "belonging" to Twin Peaks the way most of the other major characters do. Somehow, he reads like an interloper from a more "realistic" series. Maybe it's because he shows up after the pilot (though I don't feel this way about others, like Maddy or Jerry, or even season two additions like Harold), maybe it's because we meet him in a very un-Peaksian state prison - the very worldly criminal is injected into the already dangerous but dreamy small town like a plague bacillus (to paraphrase Churchill on Lenin), maybe it's because the nature of Hank and especially Mulkey's acting style stands at odds with the more archetypal characters who surround him. On the other hand - maybe because of this slight "apartness"? - Hank does serve as a hub for the many characters and subplots of season one. Just look at the eclectic ensemble he interacts with, by far the longest list so far: twenty-two characters (more than a quarter of this whole series) from wildly different storylines with divergent tones.

Second, partly for both halves of the above observation, Hank looks much more like a Mark Frost than a David Lynch creation. While Frost had just as much of a hand in crafting the town of Twin Peaks, he was always interested in expanding it and linking it up to the real world and other genres. We'll further explore the ramifications of this in a couple entries, but for now we can note that Hank could be a character straight out of Hill Street Blues. Maybe that sums up his difference from so many other Twin Peaks figures - the guy feels very urban. As such, he belongs more to the author of The Believers (New York), Storyville (New Orleans), The List of 7 (London), and Buddy Faro (Los Angeles) than to Lynch (who was drawn to rural or small-town worlds in Blue Velvet, The Cowboy and the Frenchman, Twin Peaks, Wild at Heart, and The Straight Story; even his L.A. portraits are more otherworldly than grittily metropolitan). Hank is a big city hoodlum plunked down in a frontier town. It's no coincidence that his biggest episode - the season one finale (written and directed by Frost) - has perhaps the most urban vibe of the whole series.

Thirdly, I really appreciate this character for some reason - I especially enjoy the hell out of this performance. Hank doesn't click with everyone. Some viewers find his shtick grating and unconvincing but from my own earliest episode guide I praised Mulkey's work: "he seems likable enough but, like Norma, we get the sense that his pleas for a second chance aren't quite sincere - that look in his eyes is at once vulnerable and cunning." In a later review I noted that the actor "does wonders mixing baleful facial expressions with sinister subtext." Hank doesn't correspond to most of the qualities that draw me to Twin Peaks. As already noted, he doesn't fit the mystic Pacific Northwest flavor, even in season one he has nothing to do with Laura Palmer, he barely interacts with Agent Cooper, and we can't even imagine the existence of a surreal spirit world when he's skulking about onscreen. Nonetheless, I really appreciate him on his own terms. And in a certian thematic sense, he does link up with the show's ethos: this is a character who presents a different front depending who he's talking to. There's also a sharp day/night split to his work - good-natured, humble husband in the sunlit diner and leather-clad hooligan when the (abnormally frequent) gibbous moon casts its wan glow over the landscape. In a way, Hank plays as Frost's effort to internalize the Blue Velvet dynamic within his own very different sensibility...another reason Hank is as intriguing as he is, at times, incongruous.

Hank's journey
Hank's season one/season two split is more subtle than many other townspeople's. His stories don't really change - in both seasons he's playing puppy-dog to Norma at the diner, dabbling in the drug trade, and working as an enforcer for Ben Horne. However, it's hard not to see his character as being slightly "demoted." Daniel Smith has observed that Hank is a candidate for the top villain of the first season. He easily clobbers the previously intimidating Leo, has an eye on every corner of the Twin Peaks underworld, and always seems to be in control of the given situation, smiling with sinister authority in his badass leather jacket. If he "works" for Josie and Ben, he quickly plays his power hand against the former and maintains a respectable distance from the latter. And of course his duality - however unconvincing the "good" side - makes him an ideal figurehead for Twin Peaks' unique brand of evil.

But this is quickly undone in the second season. As early as the premiere, the Hornes assert their authority over him, even if he cleverly turns the tables at scene's end. The M.T. Wentz shenanigans display a light, goofy side to his character and then he's subjected to a series of beatdowns or hostage situations, from Jonathan to Jean to Nadine to Hawk. Hank lords it over Ernie, which isn't hard to do, but really his only moment of real power in season two is the confrontation with Ben (and even Mr. Horne is a shadow of his former self). Ultimately, Hank is not only undone by the wacky antics of Nadine, but the bratty disregard of Bobby Briggs, who almost whimsically decides to turn him in when the cops finally ask who shot Leo. However, Hank manages to maintain his cool through most of the series - even as Harry brusquely confronts him with murder charges, he seems unflustered. Indeed, right up to the moment when it finally becomes clear that Norma isn't going to protect him, Hank is able to execute his bullshit brilliantly.

Actor: Chris Mulkey
There are roughly three sets of actors cast in Twin Peaks. There are those whom casting director Johanna Ray found and advocated for, including some she cast in earlier or simultaneous David Lynch projects (she worked with him from Blue Velvet onward). There are a handful of actors whom David Lynch brought from his own pre-Ray work, like Jack Nance, Catherine Coulson, Charlotte Stewart, and Kyle MacLachlan. And then there's "the Minnesota mafia," a surprising number of actors connected to the Frosts from their years in Minneapolis. Most appear in Invitation to Love or bit parts (Hank's parole board, for example), but the most prominent Frost friend is probably Chris Mulkey. Mulkey took Warren Frost's acting class when he was a wrestler at the University of Minnesota; he later co-wrote and co-starred (with his late wife Karen Landry) in an independent Minneapolis-based film, Patti Rocks, which he likes to highlight. However, both it and Twin Peaks are just small drops in the bucket of his filmography. Mulkey has one of the most astonishingly prolific and remarkably consistent careers of any actor we've covered, with two hundred twenty-five credits to his name.

He has shown up in such films as First Blood, 48 Hrs. (with Twin Peaks co-star David Patrick Kelly), The Hidden (starring Kyle MacLachlan as another offbeat FBI agent), a voice part in Rain Man, Gas, Food, Lodging, Broken Arrow, The Fan, Behind Enemy Lines, Bulworth, Mysterious Skin (heavily influenced by Fire Walk With Me), Cloverfield, The Purge, Captain Phillips, and Whiplash. His TV guest spots include Baretta, M*A*S*H, Charlie's Angels, The Waltons, CHiPS, The Dukes of Hazzard, Magnum, P.I., Matlock, Beauty and the Beast, Thirtysomething, Grace Under Fire, Murder, She Wrote, Blossom, Walker, Texas Ranger, Touched by an Angel, CSI Miami, JAG, Lost, Criminal Minds, NCIS, CSI:NY, 24 (starring Fire Walk With Me alum Kiefer Sutherland, of course), CSI, Justified, Scandal, Agent Carter, and Chicago Justice among many others- basically a history of network TV over the past four decades! And that's not including recurring guest roles on four episodes each of Boardwalk Empire and Friday Night Lights, five episodes of Arresting Behavior, nine episodes of Saving Grace, seventeen episodes of Bakersfield P.D., and four seasons (spanning the millennium) and eighty-three episodes as Colliar Sims on the soap opera Any Day Now. He currently has eleven projects in various stages of production, and is also a blues musician. Ten years ago, he discussed his musical, cinematic, and televisual work with Twin Peaks Archive. (film pictured: First Blood, 1982)

Episode 4 (German title: "The One-Armed Man")

Episode 5 (German title: "Cooper's Dreams")

Episode 6 (German title: "Realization Time")

*Episode 7 (German title: "The Last Evening" - best episode)

Episode 8 (German title: "May the Giant Be With You")

Episode 9 (German title: "Coma")

Episode 11 (German title: "Laura's Secret Diary")

Episode 12 (German title: "The Orchid's Curse")

Episode 15 (German title: "Drive with a Dead Girl")

Episode 17 (German title: "Dispute Between Brothers")

Episode 18 (German title: "Masked Ball")

Episode 19 (German title: "The Black Widow")

Episode 20 (German title: "Checkmate")

Episode 23 (German title: "The Condemned Woman")

Hank's first appearance is written by Robert Engels, another member of the Minneapolis Frost squad. Engels also co-writes two Hank episodes with Harley Peyton (and a third with Peyton, Mark Frost, and Jerry Stahl), while Peyton pens three solo scripts featuring Hank. Frost writes another three of Hank's scripts alone, and brother Scott Frost writes Hank once. Barry Pullman writes two Hank teleplays and Tricia Brock authors one (only Lynch is absent from the list of writers, aside from his "story by" credit in the season two premiere). Hank is directed by Tim Hunter, Lesli Linka Glatter (twice), Caleb Deschanel (three times - once very briefly), Frost, Lynch (twice), Todd Holland (twice), Graeme Clifford, Tina Rathborne, and Duwayne Dunham.

Hank is onscreen for roughly forty-five minutes. He is in thirty scenes (by far our record at this point) in fourteen episodes, taking place over just three weeks. He's featured the most in episode 7, when he threatens Josie, sets up Catherine, and shoots Leo. His primary location is the diner. He shares the most screentime with Norma. He is one of the top ten characters in episodes 11, 15, 17, and 18, and one of the top five characters in episode 7.

Best Scene
Episode 23: After shifting perpetually between appearance of penitent everyman and reality of calculating criminal, Hank finally plays both sides of his personality together in his final scene; when Norma turns him down and leaves him in his jail cell, the balance breaks.

Best Line
“You know, that's an awfully cute buck, Harry.”

Hank Offscreen

The Pilot: Hank is one of the few characters introduced in the pilot without actually being seen (Albert is another). When Ed and Norma meet at the Road House, she encourages him to leave Nadine and he asks about Hank. "I'm going to give him his walkin' papers," she reports. Ed worries that Hank will get parole soon (introducing the idea that he's in prison).

Episode 3: Norma meets with Hank's smarmy parole officer, who hits on her until she reminds him her husband is in prison for killing a man.

Episode 4: The parole officer prepares Norma for Hank and nervously apologizes for his behavior the day before. At the diner, Norma and Shelly talk about having two men each (and being married to the wrong ones), and then Norma receives a phone call. Hank has received parole; she seems upset. That night, Josie opens an envelope and discovers a sketch of a domino just before Hank calls her.

Episode 5: Norma tells Ed that Hank is coming home and it wasn't the right time to tell him she's leaving. Ed says he can't leave Nadine now either, and they decide not to see each other for a while.

Episode 7: Leo is about to kill Bobby when Hank shoots him. Bobby peeks out the window and sees Hank's face.

Episode 8: Ed tells Cooper how Nadine lost her eye (the story involves Norma running off with Hank for a weekend when she was still dating Ed). Bobby has a flashback of Hank's face outside Leo's window when he sees him in the diner.

Episode 11: Josie tells Jonathan there may be a problem with Hank, and he says he'll deal with it.

Episode 19: Ben hires Bobby to follow Hank; Bobby takes pictures of him meeting with Jean, the Mountie, and Ernie at Dead Dog Farm. Audrey gets her hands on these photos and shows them to Cooper.

Episode 20: Ernie asks where Hank is during the drug deal, and tries to use his absence as an excuse to call the whole thing off.

Episode 21: Hawk tells Harry that Hank missed the Dead Dog Farm sting because he was in the hospital, supposedly having been hit by a bus. Hawk arrested him for parole violation. Norma tells Ed a different Hank excuse: he was hit by a tree. Ed chuckles and tells her the truth: "That tree was a redwood named Nadine."

Episode 22: Bobby finally tells Cooper and Harry that Hank shot Leo. Nadine apologizes to Norma for beating up Hank, but says she was worried about Ed. Norma, who is lying in bed naked with Ed as Nadine tells her this, could care less about Hank at this point and thanks Nadine. At the diner, Harry tells Norma that Hank shot Leo and is going away for a long time. Norma is relieved.


• The Access Guide details the 1968 season of the Twin Peaks Steeplejacks, an all-star high school football squad that included Hank alongside Harry, Ed, Hawk, and Toad. Dubbed "the Lonesome Half-Back," Hank "refused to practice and eventually refused to join the huddle. But he could run! Easily the most gifted of the team, but with an attitude that bordered on anti-social, Hank would stand six or seven yards away from the huddle and wait for the team to come to the line of scrimmage. Then, through an elaborate set of hand signals from the head of the Science and Industry Club, who was receiving the plays from Coach Hobson's son, Sammy, Hank would be given the play. The effect, of course, was mesmerizing and brilliantly effective. Most of the time Hank was unstoppable." Yet Hank is suspended from one game, and the team is only saved from losing by a ferocious downpour. They are forced to punt sixteen times and the game ends with no score. The team never loses all season.

• According to Jennifer Lynch's book, Laura mentions Hank in her diary on Christmas Eve - he "killed a man on the highway late last night, coming back on the Lucky 21 from the border, I think." She says she's "never been really impressed with" him and she's "glad he'll be away for a while. Norma always seems so upset by him. I'm sorry for Norma. Not for Hank."

• Hank gets quite a bit of play in Mark Frost's The Secret History of Twin Peaks. We meet his grandfather, an alcoholic ne'er-do-well (the family's disreputable status is underlined) who encountered a U.F.O. in the late forties but changed his story after a stern, vaguely threatening visit from Man in Black Dougie Milford.

• The Secret History introduces Hank himself in the Andrew Packard file. His involvement with Andrew's death is reiterated, but we also receive an alternate account of that storied football season in 1968. The team is called the Lumberjacks this time and Hank is a fullback. They make it to the state championship but there the story takes a twist. Hank fumbles the ball on the two-yard line with less than a minute to play, losing the game. It turns out Hank knew Jean long before the kingpin pulled a gun on him in the woods; according to this version of events, Jean fixed the game by buying off Hank, offering him a Chevy pickup and the start of a career working for his gang. Harry and Hank have their falling out over the fumble.

• Before the fight with Harry, Secret History reveals that Hank was recruited to the Bookhouse Boys by the future sheriff and his older brother Frank (also a future sheriff). Oddly enough, Hank's favorite book still sits on the shelf with the other Bookhouse Boys' tomes in a photo from the late eighties: James M. Cain's Double Indemnity. We're also informed that Hank took to the work of Jack Kerouac, Raymond Chandler, and Irwin Shaw (an acclaimed playwright and novelist probably best known for the seventies bestseller Rich Man, Poor Man, albeit after Hank's Bookhouse days).

According to Secret History, Hank, who has worked at Norma's family diner for years (his mother was a lifelong waitress there), steals the letters Ed sends Norma from Vietnam. He makes her think Ed has dropped her and slowly wins her over himself - obviously a very different version of their courtship from what we hear on the series.

• Hank is probably the only character in Twin Peaks with a recorded death between the end of the original series and the start of the new one. Around 1992, Frost tells us, Hank is stabbed in prison by a distant Renault relation. He is able to scrawl out one last plea for sympathy, apologizing profusely for his life yet still making excuses "to my former friends and my former wife Norma": "I loved you all, in my own way as best I could, but that wasn't enough."

Additional Observations (including Deleted Scenes)

• Before we get to the outtakes (which will take up most of this section), I wanted to observe one nice little moment that actually is onscreen, when Hank tells Ben off. While Ben rambles, Hank casually lifts Ben's lighter from the desk and takes it with him when he goes, always the petty thief.

• In the episode 8 script, Hank sniffs a chemical to make him cry and pretends, for Norma's sake, to be upset about what happened to Shelly and Leo. He suggest buying her flowers and offers Norma money.

In episode 9, Hank was supposed to buy Norma a GTO. He shows her a picture of it in the diner and comes on to her strong: "The car I'd get you one day. Remember? Tell me you remember, Norma." After Hank leaves the sheriff's office, Harry tells Cooper the reason their friendship ended: "One day he set his heart on Norma. And he took her from Big Ed. 'Never cheat a pal.' That was our code. Hank broke it."

In the episode 12 script, Hank shoves Tojamura's face into a plate of food, mistaking "him" for Jonathan. He realizes his mistake when it's too late. He contacts Ben from outside One Eyed Jack's before as well as after the raid, informing him that Cooper and Harry have shown up hours before the intended drop-off at another location.

As written in episode 14, Norma notes Hank's absence and wonders if he left because he knows her mother's coming to town ("Hank's kind of allergic to her," she says).

• A deleted scene from episode 16 reveals how much pressure Hank needed to apply to get Ernie onboard with his drug scheme. "Remember that fourth floor game room," he reminisces about prison. "Where the boys did business? You played along or they tossed you over the rail. Four floors down to the cement. Guy landed it sounded like a cannon." Then he tells Ernie about One Eyed Jack's, and how he's going to steal money from Vivian and finally drives the point home: "we got a fourth floor on the outside, too. Don't make me give you the rail, Ern."

• Episode 17's script depicts Hank and Ernie leaving for their "hunting" trip as Vivian watches fondly and Norma airs her suspicions.

• On the audiobook for The Secret History, Chris Mulkey himself narrates Hank's final words. It's a fitting farewell from the actor to Twin Peaks.

SHOWTIME: No, Mulkey is not on the cast list for 2017. We know how Hank died - or at least, we think we do, depending on the trustworthiness of The Secret History's "alternative facts." Was there ever the slightest bit of integrity beneath Hank's endless manipulation and selfishness? We never quite knew on the series, despite our suspicions to the contrary, and now we never will.

Next (active on Wednesday, August 9 at 8am): Janey-E Jones
Previous (active on Friday, August 7 at 8am): Bradley and Rodney Mitchum

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