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not first see her, rather we see her reflection. The last person we see is Dale Cooper looking into a mirror. The reflection however is not his own but Bob's. This is another important clue to the image. For a large part of the series the only image we have of the killer Bob is in mirrors. The connection between Cooper, Josie Packard, and the killer Bob is emphasized in the scenes surrounding Josie's death. Again, as in the beginning of the series, we see her reflection in a mirror. After she dies Cooper has a vision in which Bob asks him "what happened to Josie?"

Clearly one of the purposes of the images throughout the series is to show connections between various story elements. This is obviously the case with the image of the red drapes. We first see the drapes in Cooper's dream. Later we learn that this place is actually the Black Lodge. The red drapes connect this central location in the series with other important places. There are red drapes in the Roadhouse bar on stage where Cooper has several visions and finally brings all the pieces together to solve the murder of Laura Palmer. Cooper sees the importance of the red drapes in his dream when he connects them to Jacques Renault's cabin in the woods; an important location on the night of the murder. Finally, we see the red drapes at One Eyed Jack's; a casino across the border in Canada which figures prominently in the series.

A rather unusual visual image in the series is the television soap opera "Invitation to Love." We see, or sometimes simply hear, this television show several times in the first few episodes. There is a curious parallel between this soap opera and the story of Twin Peaks. One is tempted to speculate on the possibility that this image represents a parody of soap operas in general and "Twin Peaks" in particular.

There is clearly a comic element in Twin Peaks and one cannot help think that part of the purpose of this particular image is to acknowledge this. Soap operas are infinitely complex with large casts of characters and many interrelationships between them. While the soap opera plots themselves are notoriously serious, their often grave tone and immense complexity often render them more comedy than melodrama. Not unlike the mood many times in Twin Peaks.

Lastly, two images need to be mentioned if only for their recurrence throughout the series. The first is the stoplight. We see this at several different places in the series and in different colors. Sometimes it is simply red and

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