This post contains spoilers for Twin Peaks: The Return Episode 13.

David Lynch has only five episodes left to wrap up his Twin Peaks revival, and it’s growing increasingly difficult to imagine how he’ll do so. He literally threw one of Cooper’s potential saviors—fingerprint records that prove that Dougie Jones is actually him—in the trash. Instead, Sunday night’s episode, much like the installment that preceded it, seemed to be a meditation on a theme: purgatory. Throughout the hour, we see characters trapped in tragic loops: Sarah Palmer literally watches a boxing clip looped on her TV; Ed Hurley is back to pining after Norma; an increasingly frantic Audrey can’t quite figure out how to get to the Roadhouse; and James Hurley is reprising his infamous ballad from the original series—albeit to a bigger crowd this time. As Dark Cooper says during his circuitous arm wrestling match, “The starting position is much more comfortable.”

Of everything, James’s song near the end is perhaps the most winking moment. Fans have jokingly suggested that James Hurley, a less accomplished musician than the venue’s usual headliners, take the stage at the Roadhouse. For him to do so—performing a song from an infamous scene in the original Twin Peaks—feels distinctly playful. But as amusing as this is on its surface, it also hints at a more sinister theme. When James first sang the song to Donna—with Laura’s doppelgänger, Maddy, singing along—his inability to focus on just one girl drove home the heartbreak standing in his and Donna’s way. As cringe-inducing as the scene—and James’s falsetto—can be, there’s also an emotional, distinctly teenage tenderness at play. Will Jessica Szohr’s Renee become more important now that we’ve seen her crying to the same song?

And then there’s Ed Hurley, James’s uncle who is apparently suffering through romantic malaise of his own. Norma kisses someone else, and he’s left to watch them from another booth with a similarly afflicted Bobby Briggs. (Those Double R women are real heartbreakers.) What’s more, it seems Nadine might have found a new love interest of her own: Dr. Jacoby, who goes by Dr. Amp on his Web show. Watching Ed sit alone at the end of the episode, burning a piece of paper, it’s hard not to feel deeply sorry for him—and wonder what on earth is on that paper.

But perhaps the most interesting characters in this episode were Audrey Horne and Sarah Palmer, both of whom seemed to be trapped in something more supernaturally sinister. In Audrey’s case, there’s reason to believe that she perhaps never woke up from her coma following the explosion at the bank in the original series. When Sherilyn Fenn finally made her debut in the revival last week, fans were somewhat frustrated by her drawn-out, confusing return, which found her arguing with a man who appeared to be her husband. (For what it’s worth, some fans now suspect he’s actually her psychologist.) This week, we once again find Audrey screaming at Charlie, but this time she seems far more helpless as she suddenly can’t decide what she wants to do: go to the Roadhouse or stay. What’s more, she apparently has no idea where the Roadhouse is. The house’s retro decor, Audrey’s apparent disorientation, and the fact that no one ever references or calls Audrey about her son all support the idea that she’s actually not lucid right now, and that what we’re seeing is what she’s experiencing inside her mind mid-coma. Still no word on who Billy is, though.