1:10 – Print match

Lynch establishes that we’re back in Buckhorn with a shot of the Police Department exterior that strongly calls to mind the kind of front-on set-ups scene in 1986’s Blue Velvet. In fact, Buckhorn feels kind of similar to the Lumberton of that film. A sort of seemingly wholesome Middle American town with, of course, a seamy underbelly.

Inside, Constance Talbot (Jane Adams) is running prints from the Ruth Davenport crime scene. It’s 12:18 pm. She nearly chokes on her coffee when the computer system brings up a match. She calls out, “Dave” and Detective Macklay (Brent Briscoe) enters.

“The head is definitely Ruth Davenport, the woman who lived in the apartment,” Constance brings us up to speed, “And we’ve got a male John Doe. We don’t know who’s body that is; nothing’s come back on that. But there’s another set of prints all over the apartment. And we’ve got a hit, a definite local hit.”

Macklay comes around to look at her screen and we see what they’re both looking at. The prints in the apartment are those of William Hastings (Matthew Lillard) of 439 East Elm Street, Buckhorn, SD.

Dave knows the man, calling him ‘Bill’. Buckhorn is evidently small enough to have quite a personable community; that and Mr Hastings is principal of the local high school. The two of them are mildly dumbfounded – clearly ‘Bill’ is not someone they would ordinarily think capable of the grimly staged scene they found earlier…

* * *

A police cruiser and an unmarked car pull up at the Hastings residence. Det. Macklay leads the way as his colleagues wait by their cars. Phyllis Hasting (Cornelia Guest) answers the door and she calls for Bill at Macklay’s request. They’re familiar with ‘Dave’ and Bill walks to the door with pleasant cheer. That community spirit clearly works both ways.

The informalities of friendship are interrupted by Macklay’s duty. He cuffs Hastings – a little apologetically – and leads him back down to the waiting officers.

Phyllis’ cry of, “But the Morgans are coming for dinner!” seasons the scene with a little humour, but in the main these are two brief, functional scenes that help get us where we’re headed.

“Call George and tell him where I am,” Hastings calls over his shoulder, referring to his lawyer (who is also the man his wife is having an affair with). Phyllis nods, but doesn’t appear overly concerned; the first tip that (on several levels) Bill has been betrayed…



Next time:  Boxes

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