NOTE: Analysis is mixed in with the relation of
scene contents as well as at the end of scenes. Because of the nature
of Lynch's and Frost's work together, I'm approaching this analysis
differently from how I do usually. As I proceed in the analysis, I am
only looking at the "present" and back to information that has been
given previously. I keep in time with what is revealed per part,
looking at connections that link back to previous parts, old
episodes, and other Lynch and Lynch/Frost works, for the manner of
unfolding is my primary interest. I will likely repeat history from
part to part so I ask your patience with this. This 18 hour film is
made for one who knows Twin Peaks from the beginning and so
I am also approaching it as such a viewer--their expectations and
questions as they receive new information.
In my Kubrick analyses I include a screengrab of each shot, and number the shots from the beginning. I am also careful with the Kubrick to have dialogue associated only with the shot in which we hear it. I'm doing things differently here. I am listing shots but not providing screengrabs of each, and am numbering them from the beginnings of scenes. I am also not strict, in the Twin Peaks analysis, about keeping dialogue within the context of a shot. For instance, if a character starts speaking in shot 2 but the bulk of the dialogue is in shot 3 then I will have that dialogue associated with shot 3. Also, as a matter of convenience for me, I'm not being a stickler about numbering shots in this analysis. Often I group them in blocks, and their number may not even be exact. The use of them at all is to provide some structure as far as ease in separating a relation of shots and dialogue from commentary, and to give a sense of approximate number of shots. Usually a lot. Lynch/Frost do a lot of back-and-forth response shots between people. I'm a little surprised at how many shots are used in some scenes. In my Kubrick analyses I'm very careful with shots to get them exact, to have the exact number, to associate them exactly with what is going on in dialogue etc. I don't feel it's as essential to pay such meticulous attention to certain particulars with Lynch. His works show some bit of Kubrick influence, but they are very different directors.
(1) Sun-lit mountains of the Twin Peaks area. (1) Though part nine ended on what seems to be Thursday night, as we shall see, we appear to be backing up to Thursday, and it might make sense that it's Thursday as it was on Wednesday that Richard hit the boy (part six). Miriam will be wondering why Richard hasn't been picked up by the police and this gives time for her to have spoken to them and to realize he is still free. (2) We see a green and white trailer home next a wooden shed. (3) A car with replaced parts in various colors (silver, rust, black, a 1996 Saturn SL) pulls up before a small barn, cut brush gathered in a pile on the lawn.
It strikes me that the colors of Richard's car are reminiscent of Diane's harlequin, multi-colored nails, such as we closely observed in part nine when she was dealing with the text she received from Mr. C. The fact the car is a Saturn of course reminds of the black lodge.
Richard Horne exits and approaches Miriam's trailer, its yard still decorated for Christmas time with candy canes and an angel before the door. He calls to her, "Hey, Miriam". We hear her voice from within the trailer, "Go away, Richard." Smiling, he says, (4) "Hey, hey, I just want to talk to you." (5) We see her at her trailer door telling him, "I I already told the police it was you who ran over the little boy." Richard is reflected in her door, and the way he's reflected in her door he stands out more prominently even then she does, and because he's smaller, if one only glanced at the screen, one might think he was instead a child standing before her within the trailer.
Up close we see a nativity scene upon the trailer and a small model of a Christmas tree in her window.
(6) Richard asks, "You already told the police?"
(7) MIRIAM: Yes! Stay away, Richard!
(8) RICHARD: Did you tell anybody else?
(9) MIRIAM: No. But I don't know why you're not arrested, so I also wrote a letter.
(10) RICHARD: What do you mean, a letter?
(11) MIRIAM: I wrote a letter to the Sheriff, Sheriff Truman, and mailed it, telling him everything I know, and I told him if anything happens to me, it was you who did it. So there.
(12) RICHARD: Sent that letter today?
(13) MIRIAM: That's right.
(14-16) Richard breaks in Miriam's door, as she screams, ramming his knee through its glass, and entering. (17) We hear him yelling, "Come here, come here, come here! Shut up!" A scuffle, then silence, and finally a heavy thud as he hits her one last time. We hear a knob (suggested to be the oven), a match being lit, (18) and see a flame through the window. Richard leaves the trailer and closes the door, (19) making a phone call.
(20) Chad answers and asks, "What's up?" Richard tells him, "That little bitch Miriam sent a letter to the sheriff today. You got to intercept that motherfucker." Chad tells him, "That ain't gonna be real easy, Richard." To which Richard hisses, "What a pussy you are! Don't let that letter get to the sheriff, you chickenshit, or I'll fuck you up bad." Chad says, "You're asking a lot there, pal. I'll try." Richard tells him, "You do more than try, fuck face. I'm taking off."
Richard gets in his car and backs away. (21) The camera zooms in on Miriam's door, (22) then cuts to a candle in a holder on the kitchen counter, the gas oven door left open, continues panning down to show Miriam, in a floral patterend top lying face down on the ground, a pool of blood under her.
Richard's reflection viewed so clearly in Miriam's glass door is of note, and his breaking of it. The last scene we had of breaking glass was when Johnny Horne went running through the house and slammed his head into the wall. It had knocked down a picture of the falls, its glass shattering.
The viewer will assume that Chad is the officer to whom Miriam reported Richard and that's why no action was taken. The viewer will assume Miriam is now dead. The viewer will wish that Miriam had lied and told Richard that she had told everyone about him. Although, knowing Richard, that might not have saved her.
Laura had a picture in her bedroom in which was an angel. The evening of her death, she saw the angel disappear. In Fire Walk with Me, an angel appeared during Laura's death scene and seemed to aid in the escape of Ronette Pulaski before disappearing again. At the end of the film, we see Laura in the Red Room, she crying happily, Cooper standing by her side, as the angel returns to her. The angel in Laura's picture was protectively looking over a scene of children dining at a table, and Miriam is a children's teacher.
The angel disappeared before Laura's death.
Miriam's angel still stands outside her trailer home. Is she really dead?
(1) The main road of the Fat Trout Trailer Park, facing the street at the end. Pan left to show that Carl sits before his manager's trailer, playing "Red River Valley" on his guitar.
From this valley they say you are leaving
We shall miss your bright eyes and sweet smile
For you take with you all of the sunshine
That will brighten my pathway a while
Then come sit by my side, little darling
Do not hasten to bid me adieu
Just remember the Red River Valley...
Here the song is interrupted by the next shot, but these are the remainder of the lyrics.
And the cowboy that's loved you so true
For a long time, my darlin', I've waited
For the sweet words you never would say
Now at last all my fond hopes have vanished
For they say that you're going away
Then come sit by my side if you love me
Do not hasten to bid me adieu
Just remember the Red River Valley
And the cowboy that's loved you so true
(2) Close after the singing of "red", suddenly the peace is interrupted by a bright red coffee cup breaking through the window of another trailer and landing on the lawn. We hear a man yell, "Fuck". (3) Carl stops and stares. (4) Zoom in on that bright red mug.
The viewer is intended to focus on the red of that mug. The last red mug we saw was at the LVPD, taken from Cooper-Dougie for his prints and DNA.
That the mug is thrown through the window builds on the violence of Richard breaking through the glass of Miriam's door in the previous scene.
From within the trailer we hear, "I will throw all of this shit out the window! Quit fucking speaking to me, and what I do or don't fucking doesn't concern you!"
(5) "It's a fucking nightmare," Carl says.
(6-11) Then cut to the interior of the trailer of Becky and Steven. She cowers on a sofa, he leaning over her in a fury, yelling. We see clothes hanging, drying on a line strung next the ceiling behind him.
STEVEN: I don't tell you shit like why the fuck you don't ask for a raise! How much money do you make anyways? You barely make minimum wage! We can't even afford this shithole. I don't tell you to clean this fucking place up! (She strikes at him and he holds her down.) Don't you fucking move. Don't you fucking...
He raises his arm to strike her and she covers her head. He stops himself and doesn't strike her.
Becky and Steven fight
(12-15) STEVEN: Listen to me. Don't you give me that fucking innocent look. I know exactly what you did. Exactly what you did. You fuck.
Steven draws away. A last shot of Becky cowering.
For the most part, the original Twin Peaks was decidedly, comfortably middle class. With the exception of Shelly having to worry about how to take care of a debilitated Leo, if there were money worries they had to do with the teens needing enough to get their drugs.
Twenty-five years later, most, if not all, of the new characters are beset with financial difficulties such that even Miriam and Becky, who have gainful, full-time (likely) employment, are only able to afford a trailer. Miriam is a teacher and is in a trailer. Becky works for a bakery is in a trailer. Shelly seems to be doing all right now, but that hasn't flowed down much to her daughter. Also, most of the old middle class Twin Peaks characters don't figure in much as far as any representation of their life style, except that we know Ben's business is kept afloat by Jerry's new and legitimate drug trade, Norma appears to be OK with her business, Nadine has her business, Andy and Lucy must be doing OK, and Doc is happily retired. One of the few old middle class characters we get to really view in their home environment is Jacoby, and as with the new generation he is not doing well financially and also lives in a trailer. While down in Las Vegas we have the suburb that has gone bust, and Dougie and Janey were not at all destitute, their home is comfortable, they look like the don't want for anything, but Janey has worried about their future and an inability to get ahead.
Financial anxieties and problems of class disparities and the dwindling middle class were not explored in the early Twin Peaks though these problems were not alien then. However, they are now so critical that Lynch/Frost have decided to incorporate them and their effects.
Such as we see now here with Steven and Becky, building on our last scene with them when she had borrowed money from her mom and Steven promised to take her out for a good time.
Lynch/Frost, with Doris, Frank's wife, first had the viewer in the position wherein many would immediately deride her as a harpy. Then we learned that she was not the same since their son committed suicide, and Frank seems largely emotionally distant. The viewer became less, perhaps, willing to make an immediate judgement. Just as Albert had said to Diane, "Judge not lest ye be judged."
Lynch/Frost now put us in a difficult position with Becky and Steven. Yes, he is abusing her. This should not be happening. He should not have her cowering on the sofa. He is yelling at her for not having a better paying job, when he himself is not working.
He is about to hit her but he stops. We have heard before that Steven is a likable guy, people love him (or used to), so let's assume he has changed, but here he does manage to stop himself so that he doesn't hit Becky. Is his behavior excused? No. But he stops himself.
We feel not just the abuse that's begun, but the stresses behind it. They can't get anywhere. There is hopelessness. They are in the weeds.
And then Lynch/Frost throw in the WTF? As in, Steven says, "I know exactly what you did!"
What Becky did nor did not do makes no difference in that violence is never acceptable. But suddenly things are not so simple. What did Becky do? We don't have an answer. For all we know, it could have been anything. Someone abusive will be happy to assault you for having not crossed a t. But Lynch/Frost don't tell us what she might have done.
Which may be the point Lynch/Frost are making here. It doesn't matter what she has done. Violence is not an option. Even when you're stresses to the breaking point, violence is not an option.
(1) From the chaos of Steven and Becky, cut to Las Vegas, the home of the Mitchum brothers, a pristine and monied environment to contrast what we've just observed. Rodney is checking over a "Casino Surveillance Log" sheet.
We hear a fly buzzing. We are 20 seconds into the scene when Candie enters, holding a red napkin. She's following the fly, determined to get it, and occasionally whips the napkin at it.
We've always had the Red Room. We've seen red used pointedly in stop lights and stop signs. There is the red door at the Jones house. The red balloons. The sculpture with the red balloons. But red seemed to enter as something to be especially looked at (look at me! look!) when the red quadrangle appeared on Duncan's computer monitor as a signal for the hit on Cooper-Dougie. For after that we had the red quadrangle connected with the red chair Lucy made the choice to order. Then the red chair that held the secret about 10/1 and 253. We had all the red shoes. The red bandana as a sign for Mr. C. We had the red coffee mug come flying out the trailer window when Carl sang "Red River Valley". And now Candie pursues a fly with this red napkin.
(2) A minute into the scene a very brief cut to the seemingly oblivious Rodney. (3) And immediately back to Candie pursuing the fly. (4) Ten seconds later, a shot of Rodney. (5) The Casino Surveillance Log. (6) Candie continues to pursue the fly.
She now drops the napkin and follows the fly over toward Rodney. The fly bothers him briefly and he swishes it away. Candie, determined, watches the fly. (7) She picks up a remote control. (8) At nearly 2 minutes into the scene, the fly lands on Rodney's cheek.
Pow. Candie swats the fly on Rodney's cheek. He yells. She screams, anguished, crying, "I've hurt you!" Rodney's brother rushes in to ask, "What happened? What happened?"
CANDIE: I'm so sorry, I'm so sorry.
BRADLEY: Jesus, Rodney, let me see that.
RODNEY: It's all right!
BRADLEY: Let me see this.
(9) Candie hangs onto Rodney's back crying, Bradley asking, "What the fuck did you do, Candie?" Rodney saying, "Keep off of me!" He turns to her and she sees the cut on his face and screams. (10) Bradley now starts reassuring Rodney that everything is going to be all right, it's bleeding a little but will be all right. The distraught Candie grabs hold of Rodney and pulls him back toward her. Bradley and Rodney struggle to get her to calm down and release him.
It's kind of funny that Rodney is struck with the "remote", and I'll get into that in a moment.
There are at least a couple of ways to look at this scene, and neither one cancels out the other. A lot of violence occurs in The Return. People's heads are torn off. There are dismemberments. People are blown away with guns. The attack on Lorraine by Spike is exceptionally ugly. We've just seen Miriam either killed by Richard (there's the red kind-of-quadrangle on his car) or left for dead. The red coffee mug crashed through the window of the trailer--and in that case at least Steven ended up not hitting Becky, but he was abusive with her. Now? We're given the contrast of Candie accidentally striking Rodney (not with the red of the napkin, but the balloon-like red vase in the cabinet presides over the shot) and she is undone by it. Her remorse is profound.
Peculiarly, Rodney barely reacts. He accepts it as an accident, which is not something we would expect as in another part we had seen Rodney beat someone up.
What is supposed to register is the remorse of the woman who has hit this man.
But there's also something kind of odd about the hit.
What about all these "accidents"? This is another version of the accident theme, and to look at it properly we need to return to what I've written in part nine about the "chroma" world as versus the "formica" world. Put together, the dialogue in the room above the convenience store forms this continuous statement, "We have descended from pure air. Going up and down. Intercourse between the two worlds. Light of new discoveries. Why not be composed of materials and combinations of atoms? This is no accident..."
What is not an accident? Is Lynch inferring there are no accidents? That what occurs below comes from above? (As above, so below.) In which case, that Candie dropped the red napkin, and whacked Rodney with the "remote", ends up being word play related to this. Candie isn't aware she's walking a destined path. She follows the fly and slaps and slaps at it and keeps missing. Then she picks up the "remote" (as in what happens next is an unconscious, guided destiny) and whacks Rodney with it.
What if Candie wasn't such a sleep-walking character? It's as if she is completely oblivious to Rodney's presence, so focused is she on the fly. If she wasn't "asleep" would she not have been the hand used by the upper world to whack Rodney?
Why is Rodney being whacked by the upper world in the first place?
(1) From that confusion, cut to the physician's examination room. We see Janey's red shoes attached to her legs in a chair and realize that the patient is Cooper-Dougie, who is not responding to the physician's pats on the examining table that should signal him to sit down on it. "Have a seat," the physician tells him, and Dougie only pats the table, not having learned from the time Sonny Jim patted his bed for him to sit down.
PHYSICIAN: All right. I'll examine you standing up. (He unbuttons Dougie's shirt.)
JANEY: Anyway, as I told you, Dr. Ben, it started last week when Dougie disappeared for three days. He missed Sonny Jim's birthday party, which we'd been planning for six months, and then he shows up straight from the casino. You know about his gambling problems, and then the drinking, and then the drinking feeds the gambling and vice versa, and the whole thing is just a downward spiral.
PHYSICIAN: Dougie, have you been exercising?
PHYSICIAN: You have lost a good amount of weight, also.
PHYSICAN (to Janey): Go on.
JANEY: Well, he's just acting peculiar.
PHYSICAN (attempting to keep Cooper-Dougie from touching the stethoscope): Oh, no, no, no, Dougie, I've got to listen here. Listen. No, Dougie. Okay. Well, Dougie, your heart and lungs sound fantastic so let's check your blood pressure.
JANEY (gazing on appreciatively): How much weight has he lost? I think he's lost a lot of weight. In a good way.
PHYSICIAN: Oh, yes. Dougie, last time I saw you, you were quite overweight.
PHYSICIAN: Yes, overweight and headed for trouble. One-ten over seventy. Perfect. Remarkable.
After shot #1 we don't view the black dot again. As the black dot was pointedly used on the hit file for Lorraine and Cooper-Dougie, and seemed to thus alert us that the black dot on the coffee cups in New York was of deliberate design, then we notice this black dot.
Nothing wrong here. Cooper-Dougie's great, at least physically. The doctor seems so in wonder over the change in his physical state that he doesn't pay any attention to Cooper-Dougie's behavior. Janey, watching, for the first time becomes conscious of how much her Dougie has changed physically "in a good way".
(1) The Mitchum brothers home. It's now evening. Candie sits, still crying, as the other two Ds, Mandie and Sandie, pour and serve drinks. One of the women approaches Candie but she refuses any comfort.
(2) The extended forecast comes up on the news, Thursday thru Wednesday.
RODNEY: Candie, candie, I'm fine. I'm okay.
She continues to cry and (4) he switches to channel 12 KQRY news. Temperature 82 degrees. (5) The female anchor asks, "Paul, where do we go next?" The male anchor responds, "Roll the dice, Sheena." She hits a red button above the square of a white number 12 on a red background. (6) Graphics for dice spin down a slide and come up "LOCAL NEWS". Sheena says, "Local news!" As we see footage of Ike the Spike being led away from the motel by the Fuscos, Paul continues, "Well, in local news, major excitement at a downtown hotel today..."
(7-18) RODNEY: Brad, Brad! They got Ike!
BRADLEY: No shit. Ike finally stepped on his dick.
RODNEY: Brad, remind me to call off that hit on Ike.
BRADLEY: Save us a whack o dough. Nice!
SHEENA: Stadtler is a suspect in a number of gangland-related murders, including an attempt yesterday on the life of this local businessman, Mr. Douglas Jones.
WOMAN INTERVIEWED: Victim. Oh, no. That guy didn't act like any victim. Douglas Jones, he moved like a cobra. All I saw was a blur.
JANEY: Then we came down and I was holding on to Dougie, we were having a regular conversation about his money and insurance and, no, Dougie, don't do that (she draws Dougie's hand back from touching the officer's badge, the screen reading "underworld hitman arrested, local hero nabs him)...and we were just walking along, minding our own business, and I held on to him, and then out of nowhere someone came right at us, pointing a gun at my husband, and we were just...Dougie! He was, he started, the gun went off, and it scared me, and my Dougie, he gave him a good old karate chop in the throat, and I punched him a couple times, I said, "Don't you touch--just get off him! Get off him!" And then we, he ran off! I don't know where he went, and it was, it was just...
BRADLEY: Freeze it there.
(20) JANEY: You just took care of business, right Doug...
(21-23) That's our Mr. Jackpots, Rodney.
RODNEY: I think you're right, Bradley.
BRADLEY: Turns out our Mr. Jones is actually Mr. Jones.
RODNEY: What a fucking world?
(24) CANDIE (still crying, finally speaks): How can you ever love me after what I did?
Freeze showing the red pause symbol
We are now forced to rethink our Las Vegas timeline. We know from part nine that we were up to, seemingly, Thursday, in Twin Peaks and Buckhorn, as anticipated. But now here in Las Vegas we see a 10 day forecast beginning on Thursday, and as far as we already know it is already Thursday night. We see the projected low for Thursday night as being 92 degrees, then we see on another channel that it is 82 degrees, much lower already than the projected low. So is it Wednesday instead? Did Cooper-Dougie replace Dougie on Sunday rather than Monday when doppelcoop had his crash? But--and this is a big "but", in part nine we finally had doppelcoop communicating directly, on a supposed Thursday, with Duncan in Las Vegas, asking him if he had "done it yet". That was Thursday morning for doppelcoop, and in Las Vegas, on Wednesday, if it was Wednesday, Ike had failed in his hit on Dougie. On Thursday morning, Duncan is wearing a dark jacket with a thin white checker pattern in the weave. By the end of this part, we will see Duncan still in this jacket, conversing with someone about Ike being picked up that day.
We also have differences in the interview and at least the darkness of the interview shots. In part seven we were given the impression we were watching television interviews directly, the manner in which they were cut, and things felt later, in the early evening, but then there was heavy vignetting.
In part seven, Janey and Cooper-Dougie came first, followed by a woman and a girl who said the man with the gun smelled funny, and then there was the woman who said Douglas Jones moved like a cobra. In part ten, we instead have first the woman who says Douglas Jones moved like a cobra, and then Janey and Cooper-Dougie.
We had a similar reversal in order in introductor shots of the falls and lodge between the first time Beverly and Ben were looking for the ringing tone and the second.
News part ten
With Janey, the differences are significant, and the background people are positioned differently as well. In part seven she said: "And he just, he just...Dougie took right over, and he just chopped him right in the throat, and said, 'You get off', and I kicked him and I punched him and that was it. And, and, Dougie just took care of business. Right, baby?" Then Cooper-Dougie reached for an officer's badge and Janey grabbed his hand in a close-up.
Below is what she says in part nine, and I give the few words that are directly repeated in bold.
Then we came down and I was holding on to Dougie, we were having a regular conversation about his money and insurance and, no, Dougie, don't do that...and we were just walking along, minding our own business, and I held on to him, and then out of nowhere someone came right at us, pointing a gun at my husband, and we were just...Dougie! He was, he started, the gun went off, and it scared me, and my Dougie, he gave him a good old karate chop in the throat... and I punched him a couple times, I said, "Don't you touch--just get off him! Get off him!" And then we, he ran off! I don't know where he went, and it was, it was just...You just took care of business, right Doug...
News part ten
News part ten
Finally, Candie is still so torn up over having hit Rodney, that she wails, "How can you ever love me after what I did?" Earlier, Steven had accused Becky saying, "I know exactly what you did."
(1) It's now night at the Jones house. We see their red front door illuminated. (2) Cut to Janey's red shoes.
Lynch/Frost began focusing on the red shoes in part nine, with Diane and Janey in flats and another woman in red heels. The red heels reminded of Audrey, but this shot above also connects to our first view ever of Audrey in the Twin Peaks pilot when she was climbing in the car to go to school.
Audrey's shoes, the pilot
Pan up to Janey eyeing Cooper-Dougie lustfully (3) as he struggles with eating a piece of chocolate cake.
(4-14) JANEY: Dougie. Do you find me attractive? Well? Do you? (He doesn't respond, just continues to eat.) I find you attractive. Dougie.
(15-28) Cut to a lovemaking scene, (29) after which Janey snuggles up to Cooper-Dougie to tell him, "Dougie? I love you." Cooper-Dougie echoes, "Love you." Fade to black. The scene ends on a lush synth track but as one note sounds in the black it begins to sound like a train's whistle, carrying over to the following scene.
(1) The exterior of Jacoby's trailer. "And the fucks are at it again! Fuck you who betray the people you were elected to help!" Cut to the interior and Jacoby doing his internet show.
(2-6) JACOBY: We're sheep to these monsters, and they don't give a shit! We grow our wool and just when we're getting warm they come along with their electric clippers and shear our wool off, and we're just naked, screaming little fucks! No wool for us! Freezing and hungry! In the night! In the dark!
Cut back and forth between Jacoby and Nadine watching him from her store.
JACOBY: They don't give a shit! Then, when we get sick, the pharmaceutical companies make billions. They own the fucking hospitals. Filled to the brim!
JACOBY: They own the morgues! They own the embalming fluids! They own the mortuaries! The graveyards! These fucks!
Getting spittle on himself, he picks up a red towel and rubs off his face. (7-8) Cut to the exterior of Nadine's "Run Silent, Run Drapes" store (street # 112), a golden shovel the only thing in the black-drape lined windows. The windows are backed with drapes, and to the front is another layer of drapes that continually opens and closes. Then a shot of Nadine as Jacoby continues.
Run silent run drapes
(9-13) JACOBY: Is it the government's business who we marry? What the fuck do we care what the government thinks about who we marry? Are we going to invite them to the wedding? Fuck, no! They wouldn't come anyway. They're too busy fucking! Fucking us at the grocery store! At the bank! At the gas pump! They're feeding our children chemical shit, coated in sugar. Why don't these monsters bite into those tasty treats themselves? Because they'll die in the streets! Just like us! And then they'll bloat like a big red fucking balloon! Stop! Stop distracting yourself with all this diverting bullshit and save the children! Every parent wants to save their child. Buy yourself a shovel. Dig yourself out of the shit and get educated.
(14) NADINE: Oh, he's so beautiful.
The last Jacoby show we saw was in part five, and it seemed, at least in Las Vegas, to be Tuesday. Prior to it, Dougie had left work his first day back, Andy and Hawk were researching files, then after the Jacoby show we had Cindy saying they'd gotten the Buckhorn ping on Briggs, and Richard had choked the woman at the roadhouse.
Jerry was watching Jacoby's show, still present-and-accounted for then. He's not watching it now.
The red balloons take us back to the reds that have been so pointedly used, and the red balloons on the sculpture in particular.
Nadine never had children. Jacoby, to our knowledge, didn't have children. I suppose there is supposed to be a certain poignance considering there was no saving the child who Richard hit in the street? But it is interesting to Jacoby has, this time, focused on how every parent wants to save their child, and Nadine responds so positively to this, obviously infatuated with this man who was her former doctor.
When I think of Jacoby's assertion that "every parent wants to save their child", my mind goes first, actually, to Audrey and Richard. If Richard is her son (of course he is) then where is she and why has he turned out to be a brutal maniac? Did anyone try to save him?
Nadine's "Run Silent, Run Drapes" will likely be a play on the 1958 submarine film, Run Silent, Run Deep, but the movie I thought of first off was Silent Running, which is a pretty good sci fi film, from 1972, about a botanist/ecologist (played by Bruce Dern, Laura Dern's father) caring for plants on a spaceship, these plants having been preserved for future reintroduction on Earth, where plant life has gone extinct. The ship is biding its time outside Saturn's orbit when they get the news they are supposed to jettison and blow up the domes carrying the plant life and return the commercial service. Several are blown up before Dern traps the other crewmen in one of the domes before it blows up, and then sets about trying to rescue the last. It's a suicide mission, but the last surviving dome makes it through the rings of Saturn. The final shots, as I remember it, are of this forest floating in space being tended by a little drone robot. You feel sorry for the drone robot as it's by itself and seemed attached to two other drones that "died" earlier. But it's got the forest to care for, that was saved by Freeman Lowell (Bruce Dern). The three drone robots--named Huey, Dewey and Louie for Donald Duck's nephews--are the best ever, not too anthropomorphized like Star Wars, and I no doubt wept for them all, the two that died and the one that flew off into infinity with the last surviving trees.
(1) It would now be supposedly Friday morning in this scene in Las Vegas before the Jones' door as they prepare to start the day, Janey sending Sonny Jim to wait in the car. She stops Cooper-Dougie and tells him, "I can't stop thinking about last night. You're so wonderful." Cooper-Dougie echoes, "Wonderful." She kisses him then says, "I just had to tell you that. Okay, let's get you to work."
As I said, according to the earlier timeline it should be Friday morning, but that is messed up by Rodney watching a forecast, beginning with Thursday, on the prior night's news. So we're kind of in limbo here.
(1) Woodsy mountain. (2) Deep in the forest, Jerry stands with his phone out, it showing (3) no service.
No Service on Jerry's mobile
(4) JERRY: You can't fool me! I've been here before!!!!
We've had the quandry of was it Wednesday rather than Thursday in Las Vegas, the forecast showing Thursday through Wednesday, when it should be Thursday already. As I noted, Lynch/Frost had taken care to, before this quirk in the timeline, have doppelcoop in communication with Duncan on what would have been Thursday for him. Plus, it seemed, by Hastings' signature, to be Thursday 9/29, and Bobby, Frank and Hawk were speaking of, in a couple of days, going to Jack Rabbit's Palace in 10/1. The timeline seemed good. But then there was the forecast showing the low for Thursday night of 92, but it was already 82 degrees. The kiss between Dougie and Janey, she sending him off for work, should be Friday morning. But after this wrench in the timeline, Jerry, still lost in the woods, is standing there with no service and screaming that, "You can't fool me! I've been here before!" Now it's to be wondered if he yells this because he feels that he is repeating experience, which is why he says he has been here before.
(1) The Twin Peaks Sheriff's Department, a nice, bright sunny day. (1) Inside, we see Lucy and she's dressed in the same clothing she was wearing on what seemed to be Thursday, in part nine, when she ordered the red chair rather than the beige chair. However, we had seen her wearing other clothing when Hawk, Bobby and Frank had passed through with Briggs' secret silver casing, that had been discovered in the chair, and she had said, as she was on her lunch hour, she wasn't there.
Chad enters the waiting/reception area from the rear of the station and stops before her counter.
(2) LUCY: What are you doing up here, Chad?
(3) CHAD: I'm thinking...what a beautiful day it is, Lucy. I'll bet you're a girl who appreciates a beautiful day.
(4) LUCY: Well...
(5) CHAD: I bet you and Andy wake up each morning and say, "Oh, what a beautiful day it is."
(6-7) LUCY: That depends on what time it is. I mean, sometimes there's not even enough time to think of anything. One time, Andy was even thinking that the clock had stopped, and then we realized that we didn't even know what time it was. It seemed like forever. When...
(8-9) CHAD (seeing the postal truck): Oh. I'm going out, Lucy. I see the mailman. I'm going to collect the mail.
(10) LUCY: But he'll bring it in.
(11) CHAD: Well, I'm going to save him the trouble and go out and enjoy this beautiful day.
Chad and Lucy
(12-13) Chad steps out. (14-16) Lucy, wondering what's up with him, looks out the window as he collects the mail. (17-24) Even the postal worker, seeing Chad leafing through the mail, looks with suspicion at him. Chad waves him off. He has come upon the letter of a Miriam Hodges.
(25-27) Chad slips the letter into his shirt and returns to the station with the rest of the mail for Lucy. (28) He tells her it's such a beautiful day it calls for another doughnut, and he takes one from a stack on the counter. (29-31) Lucy goes through the mail piece by piece, as if she is looking for something missing. But if she doesn't know what is missing, how can she find it? The same problem was posed with looking for what was missing that was to be found through Hawk's heritage, which turned out to be the missing pages of the diary.
It is either Thursday or Friday. Twin Peaks is a small town and it might be that if Miriam mailed the letter first thing in the morning it would go out in that day's mail delivery. Lucy is wearing the outfit she was wearing (supposedly) on Thursday morning, but later, on Thursday, when she was eating lunch, she was wearing a different outfit.
Lucy is talking about time here and it seems she is wearing two watches around her neck. They must play into perception of time. That time is being discussed here even may serve to point out the time problem revealed in Lucy's attire.
Though Lynch/Frost gave us the anchor of a date in part nine, when we see the letters in Chad's hand, we see no dates. So Lynch/Frost are intentionally obscuring the date again so we are unmoored.
Chad is supposed to stop the letter from Miriam but he selects the letter from Miriam Hodges, when Miriam's last name is instead Sullivan. Lucy had told the insurance agent on the first day he needed to tell her which Sheriff Truman he wanted as it could make a difference. Chad makes the wrong choice when he pulls Miriam Hodges' letter.
(1) We see Richard driving. He looks at his cell phone and sees, DONE.
Chad is informing he has intercepted Miriam Hodges' letter, which he doesn't realize he hasn't done.
(2) Cut to Johnny Horne, the left side of his face swollen horribly from when he had bashed it into the wall. The staging is a dining room, a fire burning in the fireplace. He wears a black helmut. He is seated at a dining room table, strapped into his chair. Before him, on the table, sits the bear body of a plush toy with a plastic head and peculiar face illuminated by a light that flares when the toy talks. (3-4) The toy says, "Hello, Johnny, how are you today? Hello, Johnny, how are you today? Hello, Johnny, how are you today? Hello, Johnny, how are you today?" This loop runs on throughout the scene as the music "Charmaine" plays.
The last (and first) time we'd seen Johnny was in part nine, where I made a comparison between Johnny's clothing and distantly-observed form with Cooper in his blue pajamas, and with the Doppelcoop emerging from the Red Room, rather than Cooper, and bashing his head in the mirror. He had then repetitively chanted, "How's Annie?", so that we blatantly heard, within the seeming sympathetic inquiry, a frightening hatred.
Mrs. Horne is alerted by the front gate that her grandson, Richard is on his way in. She rushes through the dining room, passing Johnny. (5) We see him drive up as she runs out tell him (6) "Don't even think of getting out of your car, Richard."
(7-9) RICHARD: Came to see you, grandma.
SYLVIA: Stay away! Or I'll call the sheriff!
RICHARD: Come on, grandma.
SYLVIA: No! Stop it!
RICHARD (forcing his way in): I just want a couple of dollars.
(10) Return to Johnny as we hear Richard enter the house.
RICHARD: Just want a couple of dollars!
(11-18) During the exchange between Sylvia and Johnny, we see Johnny frantically trying to get out of his chair. SYLVIA: No. Go ask your grandfather. He won't give you any more, will he?
RICHARD: I got money but I want more. You always wanted me to leave town, right? So help me out and I'll be out of here.
SYLVIA: Don't come any closer, Richard. I mean it.
RICHARD: Money, grandma!
SYLVIA: No! (Johnny, upset by Richard, struggling against his restraints, falls over in his chair.) Oh, Johnny!
RICHARD (choking her): I will squeeze the shit out of you, bitch! You cocksucking bitch! And I'll cornhole that piece of shit! Now give me some fucking money!
RICHARD: Not your purse, bitch! The safe! The combination!
SYLVIA: What did you do? (Unintelligible to me. This is the closed caption.)
RICHARD: What? Fucking speak up. I cannot understand a fucking thing you're saying.
SYLVIA: Nine, zero, four, seven.
Richard fights his grandmother
Richard throws her down, telling her to "font color="blue">"Stay there!" and leaves the room. (30-33) Johnny struggles on the floor as Sylvia says, "Oh, I'm sorry. Look at you. We can't make him mad."
(34-50) Richard returns and empties her purse, staffing cash in it, her jewels from her jewelry box, and what appears to be silver. "Yeah, I will take your purse! Why do you have to make something simple so fucking difficult?! Cunt!"
Richard storms out the door and Sylvia crawls over to console Johnny.
"Charmaine" was famously used in One Flew Over the Cuckoo's Nest as music played to pacify patients in a mental hospital, but presented also a stultifying feeling of the stopping of time and a ceaseless repetition of nearly identical days. Jack Nicholson, as Randie McMurphy, arrives on the ward and by his simple, early bids for some freedom is seen as a dangerously rebellious and upsetting to the order of things. In the war that evolves between adherence to community order and exercising some personal authority, a young man named Billy is one of the more vulnerable, looking up to Randie as an older brother figure. When Randie arranges to escape the ward, he ends up instead bringing his girlfriend in through the unlocked window, having a party, and she sleeps with Billy who is still a virgin. Everyone, drunk, passes out, and the escape is foiled by carelessness. When the authoritarian Nurse Ratched threatens to tell Billy's mother she found he'd slept with a woman on the ward, he becomes overwhelmed and commits suicide. McMurphy, blaming Nurse Ratched, chokes her nearly to death. After this, he is surgically turned into a vegetable.
In the movie, if I remember correctly, Randie was only on the ward in order to get out of going to jail. He didn't really belong there, and he was surprised to find out that everyone on the ward was there voluntarily. Randie had his problems but Nurse Ratched and the hospital were decidedly the bad guys, presenting themselves as good, and Randie was trying to get everyone to wake up and live.
Here, Richard charges in like a Randie, but we know Richard is violent, and we also know that Johnny appears to have been kept locked up for his own safety. He's strapped to a chair because he ran into a wall and hurt himself badly when he was left unobserved. We know from the old series he was a danger to himself. Sylvia Horne is not the bad guy, and Richard's temper is so feared by them that Johnny struggles hopelessly to help his mother while Sylvia warns him not to make Richard mad.
Though Sylvia is not the evil Nurse Ratched, even if we don't know One Flew Over the Cuckoo's Nest, we have the unsettling face of the plush animal that informs us all us is not right in this placid existence formed by the pacifying, dreamy, syrupy orchestration of the music, and the toy endlessly intoning, "How are you today?"
Lynch has remarked on Kubrick being a favorite director of his, and it seems Lynch/Frost would be mindful this scene might remind individuals of a certain famous scene in The Shining. In The Shining the animal costume is altered to be just off enough that it can't be defined as a bear, and due its eyes we aren't even entirely sure we are seeing a costume. What are we seeing? Other than menacing, one thing I've written about it in my analysis on The Shining is that the creature's mouth is as unsettling as it is because the ends of the mouth are both turned up and down, it is both a smile and a frightening, fanged scowl. The feel of that scene and this one are different, but with both we have a setting of violence in which is a thing that should not be there. The plush bear seated before Johnny doesn't feel threatening, yet it is because of its baffling incongruity. The Kubrick creature should not be there in the paranormal sense. The hotel should not have other guests. Lynch's reconfigured toy bear shouldn't be there as it reads as Lynch art inserted directly into the film without any care that this plush is absolutely not what we should be seeing on the Horne dining table as Johnny's babysitter. This central prop breaks an otherwise normal staging. In that respect it rips a hole in the fiction of the story we're watching, not true to it. And yet we also sense within that hole a very fundamental truth about the situation that can only be psychically and emotionally approached with this altered bear.
We are returned also to the scene in the old Twin Peaks in which Leo has tied up Shelly in the Packard Saw Mill, so that she will burn up with it, and Catherine Martell is called to the mill as well so that she will be trapped in the inferno. Upon seeing Shelly, Catherine, hilariously says to her, "I can't understand a word you're saying, you have a thing in your mouth," before removing her gag. I've a difficult time drawing any parallel beyond the obvious, which doesn't seem that meaningful.
Finally, we have it confirmed for us that Richard is a grandson of Sylvia and Ben. Yet there is no mention of Audrey. The fact of Audrey's absence becomes more and more profound.
(1) Aerial of Las Vegas, no hotel signs closely on display, but instead a spire with a double red light like the freeze symbol when the news footage of Cooper-Dougie was paused. This is the stratosphere observation tower, the gallest in the U.S., and the tallest tower west of the Mississippi.
Tony and Duncan
(2-5) Duncan's office. Roger enters and tells him, "It's true. It's all over the news. They got Ike."
Duncan thanks him and Roger leaves. We now see Anthony is in the room. (6) Duncan calls him over. (7) Tony traverses the room and is about to take a seat when Duncan tells him, "Don't sit down, Anthony."
(8-20) DUNCAN: Anthony, I asked you here because you're a creative individual, and you're going to need every ounce of that creativity to do what I'm about to tell you.
TONY: What's that, Mr. Todd?
DUNCAN: Do you recall my business rivals and bitter enemies, the Mitchum brothers? You're gonna visit the brothers now. You're gonna pin the blame for the insurance claim, that we conspired to deny for them, a loss of 30 million that hit them hard, on the back of Douglas Jones. You're going to convince them that Mr. Jones has it out for the brothers, a personal vendetta, and then we're gonna sit back, and we're gonna watch as the Mitchum brothers take care of our Mr. Jones problem.
TONY: But what if...
DUNCAN: Don't speak, Anthony. If you fail to deliver on this, then you'll have to kill Mr. Jones yourself.
Tony and Duncan
As it turns out, Anthony works for Duncan, and by extension he works for Mr. C. I'd not anticipated this at all. Plus, this must be an arrangement that has gone on for some time.
Which begs the question, how did Mr. C know about Dougie in Las Vegas in the first place? Who manufactured and planted him there, and in such a way that Dougie, in the Red Room, seemed to have no knowledge at all of what he was seeing? He didn't know he was manufactured.
(1) The exterior of the Mayfair Hotel. Night. (2) Inside, in the dining room, we observe Albert dining with Constance. We briefly see a woman walking through the room, carrying flowers and what appears to be a French flag, though the blue of the flag seems more a deep turquoise than navy.
(3) Cut to Gordon watching from just outside the dining room. He motions Tammy over and they both smile (4) over the scene, (5-8) Gordon telling her, "Albert, and the lady from the morgue." Tammy laughs, saying, "Sweet, sweet." (9) Gordon leads Tammy away.
Albert and Constance
Janey's in love. Nadine's in love. Albert and Constance are in love. This is the love episode.
(1) An exterior night shot of the Silver Mustang Casino. (2) Interior shot of the Casino control room, multiple views of surveillance footage running on monitors. Tony is observed on one of the cameras approaching Warrick. (3) We see Rodney Mitchum watching, a bandage on his face where Candie had cut him. In the background we see Candie, Sandie and Mandie.
RODNEY: What does he want?
(4-9) Shots of Bradley, Rodney and the surveillance footage of the casino floor. BRADLEY: Who?
RODNEY: That insurance fuck. It's after midnight.
BRADLEY: The bastard. I could throw a car farther than I'd trust that rat fuck.
WARRICK: Anthony Sinclair to see you.
RODNEY: Stay put. We'll come get him. Candie! Candie, go get him!
(10) Zoned out, Candie doesn't respond.
(11-18) BRADLEY: Candie!
CANDIE: Yes, sir.
RODNEY: Candie, go get him.
CANDIE: You want me to bring him here?
BRADLEY: Yeah. What did he just say?
CANDIE: You want me to get him and bring him here.
Candie, as ever, though seeming to have an intimate relationship with Rodney, instead ends up responding to Bradley's voice.
She is not simply questioning what she should do, she is questioning the decision of the Mitchum brothers to see Sinclair.
Candie saunters slowly out of the room. (19-34 approx) The brothers watch as she appears on the monitor, approaching Tony. Instead of bringing him right there she points to the left screen of the room, then gestures to the right, raising her arms.
BRADLEY: What the fuck?
RODNEY: Did we ask her to tell him her life story?
BRADLEY: For four fucking hours?
RODNEY (calling down): Warrick? Send Candie in here, with him, now.
BRADLEY (loud enough that Warrick's ear is hurt): Now!
They watch as she begins to return, Warrick radioing she's on her way.
RODNEY: I know.
BRADLEY: We fire her, she's got no place to go.
RODNEY: I know. I know.
(35-47) Candie saunters back in with Sinclair. CANDIE (entering, with a bow): Here he is.
BRADLEY: What the fuck were you two guys talking about.
TONY: She was talking.
RODNEY: What were you talking about to him out there on the floor?
Again, it's Bradley's voice to which Candie finally responds.
(48-53) CANDIE: Uhm, oh, that we're in the version layer, that it's gonna be hot and smoggy tomorrow, and I told him that we are so lucky to have air-conditioning cooling our casino.
When we were watching the surveillance camera of Candie on the casino foor, we were seeing also side videos on repetitive loops. One that is most prominent and interesting is a close-up of the roulette table with some white chips on the number 8. It consistently cycles from 2:35:33... to 2:35:43... then goes back to 2:35:33. We also see repetitive movements in the videos.
These same recycling videos were playing alongside surveillance footage of Cooper-Dougie during his win at the jackpot machine.
What is interesting about the roulette table video is that we have these cycles set within 2:35, which is a permutation of 2:53, the time at which Cooper was given to come out. The Tree as the Arm had said, "2-5-3. Time and time again." But we also have time-and-time-again with the recycling of 2:35.
Candie's confusion over the "inversion" layer seems to fit with the time-and-time-again cycling of the 2:35 roulette table video, in that 2:35 shows an inversion of the 53 of 2:53.
(54-84) RODNEY: Okay, Mr. Insurance Man, what do you want?
TONY: Mr. Mitchum. Mr. Mitchum.I'm here to tell you something that you will want to know about.
TONY: Your new hotel, which burned badly down to the ground a few months back, was ruled arson by an official investigation. Now, I may have sold you your policy, sirs, but I didn't handle the claim. It was done by Douglas Jones, who works at our firm.
RODNEY: Douglas Jones.
TONY: I thought you should know from me, unofficially, on my own, that this Mr. Jones did everything in his power to prevent you gentlemen from getting the insurance relief from the loss you suffered that I believe to this day you deserved. Douglas Jones seems to have a personal vendetta against you. And he still insists that claim will never be paid out, and he'll do everything in his power to make sure that it never happens.
RODNEY: Is that it?
TONY: Yes, sir. You have an enemy in Douglas Jones. That's what I came to tell you.
BRADLEY: Candie, show him out. (Candie is lost in moving her hand in waves.)
RODNEY AND BRADLEY: Candie!!!
TONY (as he is shown out by Candie): You have an enemy in Douglas Jones!
(85-87) Cut to the Mitchum home, Bradley passing the bar as Candie, Sandie and Mandie enter behind the counter to fix him a drink. Bradley takes his drink and goes to the couch where Rodney is already seated.
RODNEY: Now I know how Brando felt. Calling him tomorrow, this Douglas Jones, to set up a meeting.
BRADLEY: Right you are, Rodney. Right you are.
RODNEY: He took us for 30 million, 447 thousand dollars.
BRADLEY: Motherfucker. You fuck us once, shame on us. You fuck us twice, shame on you. You're dead.
(1) The hallway outside Gordon's room, #1123. (2) Cut to the interior of the room, Gordon seated at his coffee table drawing, a bottle of Bordeaux to the side on the coffee table. There's a knock on the door and as he stands to go answer it the camera zooms in on what appears to be a spotted dog-like creature with antlers, a hand reaching out to perhaps grasp the antlers.
(3) Gordon opens the door to see Laura crying at it.
Laura at Donna's Door
(4) We then have a view of Gordon seen through Laura, looking at him from the hallway.
Laura at Donna's Door
The second image, as we look at Gordon, is the naturally aligned one from Fire Walk with Me. Laura, after seeing Bob looking in the secret hiding place where she had kept her diary, had then observed Leland leaving the house, and had been frantic with the possible realization that Bob was Leland. She had gone to her friend, Donna's house, asking her, "Are you my friend?", sobbing. They'd hugged and Laura had been at least briefly comforted.
The first view of Laura, from Gordon's point of view within the door, is reversed from what was seen in Fire Walk with Me.
(5) We return again to Gordon's point-of-view of Laura crying. We hear Sarah cry, "Laura!" as Laura fades so that we see Albert standing in the hall. (6) Go again to Albert's point-of-view as he looks at Gordon, (7) then to Gordon staring bewildered into the hall. Albert turns and looks behind himself to see what may be there. There is nothing, (8) and Gordon, reorienting himself, behaves as though nothing as happened, (9-10) telling Albert to "Come on in".
(11) Albert has Gordon turn up his hearing aid.
ALBERT: Diane received this text on her phone at 11:13 this morning. "Around the dinner table, the conversation is lively." Now that came in after Cooper escaped. It pinged off a cell tower in Philly, so, at first, I thought it was one of her boyfriends. It seems she has a stable of male suitors. But Tammy traced this one back from there to a server in Mexico.
GORDON: Mexico. Did she respond?
ALBERT: She sent the following heavily encrypted message: "They have Hastings. He's going to take them to the site." Doesn't sound like boyfriend talk.
GORDON: I felt it when she hugged me, but this confirms it.
ALBERT: What should we do?
GORDON: Keep her close.
(12) Slow motion of Tammy coming down the corridor outside Gordon's room, then quickly moving to normal speed at his door. (13) She knocks loudly which causes feedback on Gordon's hearing aid. Gordon opens the door and she enters.
TAMMY: You remember the penthouse murders in New York City.
TAMMY: This was just found on one of the earliest cards.
(14) She hands them a picture showing the doppel with an unknown man in a white coat--perhaps a scientist--standing before the glass box.
(15-17) GORDON: Damn! (Or Dale!)This is something. This is really something.
Gordon penning the drawing on the coffee table might be peculiar if not followed by the dramatic vision of Laura. This is is a Lynch drawing, not a Gordon drawing, and is as if the artist-creator asserting himself in The Return, reminding us that Lynch is Gordon and that this is his art.
What is the relationship of the artist to the art? That is one way of looking at it. For what follows is a vision of Laura at Donna's begging, "Are you my friend?" I've pondered this section, and I may not be right but this is what it strikes me as, not Gordon but Lynch confronting this larger-than-life character with which he has lived for so many years. If one has striven to make a character come alive for the audience, the character is alive for the artist as well.
But why at this point? And why obscuring the face of Albert?
In the script for Fire Walk With Me, immediately after Laura begs Donna for the security of their friendship, and Donna affirms it, Donna then asks Laura if she wants to talk, to which Donna responds, no, she wants to smoke. We had hints of smoking as a bond of friendship with Diane and Gordon in part nine, and the vision of Laura appears over Albert when he is there to deliver disconcerting news about Diane.
We now know that Diane is indeed in communication with Mr. C, and has not revealed this to Albert and Gordon. Why? We've no idea. We (I) feel there is truth in the story of the rape. So why is she in communication with the doppel? How long as she been in communication with him? Gordon, we learn, had drawn away from Diane when they hugged as he had felt something false there. And all this despite Diane also avowing and confirming for them that "Cooper" is not Cooper. He is different. He is something other.
The shot of the doppel in the New York penthouse is also another artistic insertion. This shot, according to its direction, would be from camera #3 (and is shown as being so), but it is too low for camera #3. Then down where we have the notation of #003, the 2 "0s" and not true 0s. They are Lynch artistic 0s. The first one resembles flame, and the second one resembles a droplet of water.
(1) The Great Northern. Night. We see the lodge through the mist of the falls, as in other scenes that end in Ben and Beverly speaking of the ringing tone. (2) Then inside we see Ben speaking on the phone in his office. If this is chronological with the prior scene then it is Thursday night--but in the part nine scene with Beverly, which was perhaps on Thursday, Ben was wearing a white shirt and maroon tie. Yet, this call certainly fits with the Thursday timeline of Richard attacking Sylvia and Johnny.
BEN: What did he do?
SYLVIA: He came in and attacked us and stole all my money.
BEN: Oh, damn it. Is Johnny okay?
SYLVIA: No concern for me, as usual. What do you mean, Johnny? It was me he attacked.
BEN: Sylvia, of course I'm concerned about you, too. How much money did he take?
SYLVIA: Everything I had in the safe, thousands of dollars, and you're going to make this up to me.
BEN: No, I am not sending you any more money, Sylvia.
SYLVIA: Yes, you are!
SYLVIA: Yes, you are. I'm calling my lawyer right now. (She hangs up.)
Ben sits with his head in his hands then calls out, "Beverly? Do you want to have dinner with me?"
It's now revealed that Ben and Sylvia are separated. Which makes perfect sense, after everything that went on in the original series. Ben wears his wedding ring so they are not divorced.
Still not a word about Andrey. Richard has assaulted Sylvia and no one speaks about calling Audrey.
(1) Cut to the exterior of Margaret's cabin. Night. (2) The keypad of Margaret's phone. (3-13) Margaret. This time she is not holding the phone but speaking via the speaker. Cut back and forth between her and Hawk.
MARGARET: Hawk. Electricity is humming. You hear it in the mountains and rivers. You see it dance among the seas and stars and glowing around the moon. But in these days, the glow is dying. What will be in the darkness that remains? The Truman brothers are both true men. They are your brothers. And the others, the good ones, who have been with you. Now the circle is almost complete. Watch and listen to the dream of time...and space. It all comes out now, flowing like a river. That which is and is not. Hawk, Laura is the one.
Margaret finishes, and Hawk reflects on what she has said.
Lynch/Frost use Margaret to reinforce their use of world play and legitimize speculations based on word play. They voice a bond between the Truman brothers and Hawk, as well as the "good ones" who have been with him, then raise the question of what is real and what is not. One would suppose that the Truman brothers, and "the good ones", due the voicing of these bonds, that they are true, won't be winnowed out as unreal.
Such an ambiguous statement, "Laura is the one". Does this refer back to, "That which is and is not"? Or is the statement a new paragraph and separate from the idea before it?
"Laura is the one" what? A similar statement was in FWWM, made by Donna about James. "James is the one."
I wouldn't pay much heed to it as it as Donna is musing about how James loves Laura with everlasting love, a true love, but part ten has had much in it about love. Janey voices her love for Cooper-Dougie and we feel that rather than he simply parroting back her words he expresses his love to her as well. Candie worries over how Rodney will be able to continue loving her. We see that Nadine is likely in love with Jacoby. Albert and Constance are an item, which Tammy says is "sweet". This is the same thing that Laura says in response to Donna's musings, but in a sardonic way, she seeming to be also aware that what Donna is expressing is her own love for James. From there, the discussion switches to talking about falling through space, how it would feel. We can tell that Donna's ideas will likely be romantic, whereas Laura's are darker, one bursting into fire (like a comet) and left without the help of angels as they have all gone away. And what does Margaret's statement about Laura follow up but her having just told Hawk to "listen to the dream of time and space". After which we will then have Rebekah del Rio musing on the stars.
James, however, didn't turn out to be "the one". After Laura's death, James fell in love with Donna and both felt that they had been falling in love all that while. Both feel guilty over this, as if they have betrayed Laura.
Laura has always been the instigator for the series, it wouldn't have existed without her death, but she is reinstated here as still a prime mover in some way. "Laura is the one." This is emphasized by Gordon, who never had any personal contact with Laura, seeing a vision of her visit with Donna after she had seen her father, as BOB.
(1) The wind howls as a cut is made to a nearly half-moon. (2) At the Bang Bang Bar, (3 and etc) Rebekah Del Rio, in a dress that is the same pattern as the Red Room zigzag floor, sings "No Stars".
My dream is to go to that place
you know the one
Where it all began
On a starry night
On a starry night
When it all began, you said hold me
hold me, hold me
Don't be afraid
We're with the stars
I saw them in your eyes
En tus palabras
Y en tus besos
Llena, llena de estrellas
Under the starry night, long ago
but now it's a dream...
Rebekah Del Rio was featured in Mulholland Drive.
She sang at the Club Silencio, evoking strong emotions with her powerful voice, then suddenly collapses on the floor, and the song continues, so it is revealed she was not actually singing. This isn't a matter of lip syncing so much as revealing her as an instrument for something beyond herself, and we have the sense that perhaps she has been overcome by the strain of it.
How she was used in Mulholland Drive, I consider may also be communicated here by history and association.
She also seems to me to have her hair dressed and make-up done in a manner that might recall Audrey Horne. Is this just my peculiar perception or is this something that is being communicated, and if it is being communicated what does it mean in light of Audrey's not having made an appearance yet? So much has happened with Richard and yet she remains absent.
Rebeckah sings partly in Spanish and I wonder if we are to draw some association with Albert's revealing that the message Diane received may have pinged off a cell tower in Philly, but was traced back to a server in Mexico. The message she received was essentially the same as what Mr. C had sent out, but it was also different.
A timeline as best as can be reasoned on information given thus far:
1. Supernatural - B&W room
2. Jacoby's trailer, day - Wednesday
3. New York, Sam and Tracey, after 10 at night - Wednesday
4. The Great Northern Lodge, Ben and Jerry, day - Thursday
5. Twin Peaks Sheriff's Department, Lucy and the insurance agent, day - Thursday
6. Buella's, night - Thursday
7. New York, 2nd night (we know this is certain) - Thursday
8. Buckhorn, South Dakota, discovery of Ruth, day - Friday
9. Twin Peaks, Margaret calls Hawk at work, night - Friday
10. Buckhorn, the coroner's, day - Saturday
11. Buckhorn, Hastings taken into custody, day - Saturday
12. Twin Peaks, Hawk, Lucy and Andy in the conference room, day - Saturday. (Lucy wears the same clothes as in the scene with the insurance salesman, but this scene and that one are separated by at least one night in Twin Peaks. Hawk spoken with Margaret at night, at the office, but this scene is in daylight and so is another day.)
13. Buckhorn, Hastings interrogated. We have the initial Thursday to Saturday timeline from this. - Saturday
14. Buckhorn, Hastings home searched - Saturday
15. Supernatural - B&W room.
1. Buckhorn, Phyllis visits Bill in jail -- Saturday (Bill was picked up on Saturday, presumably)
2. Buckhorn, Mr. C kills Phyllis -- Saturday night
3. Las Vegas, Duncan and Roger in Las Vegas, a woman is given a job -- Saturday night
4. Buckhorn, Darya, Ray, Jack and Mr. C eat at the motel's diner -- Saturday night
5. Twin Peaks, Hawk visits Glastonbury Grove - Saturday night
6. Laura disappears from the Red Room -- Undetermined time but perhaps equivalent to Saturday night in real time
7. Buckhorn, Jack and Mr. C hide the Mercedes, Ray lands in prison -- Sunday
8. Buckhorn, Jack and Darya killed by Mr. C -- Sunday
9. Supernatural, Cooper looks out on Mr. C driving the car -- Monday (as for as Mr. C goes)
10. New York, Cooper drops into the New York box -- Fall back to NY Thursday
11. Twin Peaks, Sarah Palmer watches television -- Undetermined time, can't be stated with any confidence right now due to Cooper's slipping into Thursday and then being swept out into space again. Perhaps Thursday.
12. Twin Peaks, Shelly and James are seen at The Bang Bang -- Undetermined time, can't be stated with any confidence right now due to Cooper's slipping into Thursday and then being swept out into space again. Perhaps Thursday.
1. Cooper falls through space, spends time with Naida and American Girl, then takes Dougie's place. The American Girl's watch seems to read Saturday the first. Frost's The Secret History of Twin Peaks is based on a dossier of events relevant to Twin Peaks that is being researched by Tammy Preston in August of 2016, and which is finally determined to have been put together by Major Briggs. Saturday falls on a 1st on 2/1/2014, 3/1/2014, 11/1/2014, 8/1/2015 and 10/1/2016. If this is 2016 then this Saturday the 1st that was on the American Girl's watch would likely have to be October 1st of 2016--but in the otherworldly space who's to say what year it is? SA could instead refer to Saturn (and perhaps does as well). If the date is Saturday the first, we still have Mr. C driving down the highway on, according to prior events, what should/could be a Monday. Right now we would take it for granted that Dougie is replaced by Cooper during the same time frame, on Monday, though it may be Saturday, October the 1st in this room with the American Girl. - Monday, as well as Saturday October 1st
2. Buckhorn, Mr. C found on the highway - Monday
3. Twin Peaks Sheriff's Dept bunnies. Perhaps this is Monday. - Monday
4. Twin Peaks, Jacoby's shovels. Also perhaps Monday. - Monday
5. Las Vegas, Back to Vegas and the Silver Mustang Casino, this occurring on the same day that Cooper replaces Dougie. - Monday
6. Philadelphia, The FBI meeting at sunset. Phillie timeline appears to link right in with Buckhorn/SD - Monday
7. Twin Peaks, The band at the Roadhouse would be a night scene. Just based on all previous shots in this episode being during the day, I will go with this being Monday night. - Monday
1. Las Vegas, The house with the red door. If it was Monday when Cooper returned as Cooper-Dougie, it is still Monday as he is still at the casino. He goes to the Jones household on Monday night. - Monday
2. Philadelphia, The meeting of Gordon with Denise over taking Tammy to South Dakota would be Monday night as Gordon had earlier said they would be in South Dakota the next morning. - Monday
3. Twin Peaks, Frank Truman's return to the Twin Peaks Sheriff's Department fits with possibly being Monday night as Maggie tells him about an incident, seemingly that day, of a boy overdosing in class, a school day. - Monday
4. Las Vegas, Tricked. Las Vegas morning at the Jones household. This would be the following morning. - Tuesday
5. Buckhorn. Access denied. A seeming wrench is thrown in. It looks like night at Buckhorn in Constance's office with the news that there is a security issue on the prints of the John Doe. But, as I've pointed out, there are many peculiarities about this scene. - Undecided as anomalous
6. South Dakota. Faces of Stone. The ride to the Yankton prison would be Tuesday morning. They are to be there at 9. - Tuesday
7. South Dakota. The meeting with Cooper's doppelganger. This is approximately at 9 on Tuesday morning. Another wrench is thrown into the timeline with the date, perhaps, of Cooper being picked up given as 9/22. 9/22 in 2016 is on a Thursday. 9/22 in 2015 is on a Tuesday. 9/22 in 2014 does fall on a Monday, so that would fit if we were moving 25 years forward from the Twin Peaks events of February 1989 (aired in 1991), but The Secret History of Twin Peaks has Briggs' dossier being research in 2016 and the comments made wile it is being researched don't indicate any knowledge on Cooper or Briggs past when the original series ended so it seems it would be researched before the events in the Return. Cooper's birthdate on his prison information is also wrong, off by nineteen years. - Tuesday (I'm sticking with Tuesday for now, based on the Thursday death of Ruth)
8. South Dakota. The blue night scene in which Gordon and Albert discuss Cooper and the Blue Rose cases. I think it's not night, that it is instead blue because of Blue Rose. - Tuesday.
This is not chronological. All scenes appear to have happened on Tuesday, we having returned to Tuesday dawn at the beginning of this part. The idea of altering your reality was raised at the beginning of this part with the neon Las Vegas sign for the David Copperfield show. I am led to question what happened here that is a revision of Tuesday in Part Four. This may not just be filling in with information for Tuesday that wasn't covered in Part Four. We may have something that has occurred that altered reality.
1. Las Vegas - Lorraine and the hit men. Argent.
2. Device in unknown place, called by Lorraine.
3. Buckhorn. Coroner, Dave and Dan. The ring to Dougie from Janey-E. About 7:00 a.m. by clock.
4. South Dakota. Mr. C in prison, sees Bob within. Morning.
5. Twin Peaks. Mike rejects Steve's application.
6. Twin Peaks. Doris and Frank. Leak and car problem. (Car was checked two hours before which may or may not be too late for early morning.)
7. Las Vegas. Janey prepares Sonny Jim and Dougie for drive to school and work.
8. Las Vegas. The hit men go past Rancho Rosa house.
9. Las Vegas. Lucky 7. Dougie arrives at work at 8:55 a.m. Calls Tony a liar. Meeting with Bushnell.
10. Las Vegas. Mitchum brothers fire Burns and put Warrick in his place.
11. Las Vegas. Rancho Rosa. Car explosion.
12. Las Vegas. Jade mails key.
13. Twin Peaks. Shelly gives Becky money. Becky gives Steven money. Earlier he was looking for work.
14. Las Vegas. 5:30 p.m. Dougie leaves work.
15. Twin Peaks. Night. Andy and Hawk research files.
16. Twin Peaks. Jacoby's internet show at 7:00 p.m. Jerry in woods. See Nadine.
17. Alexandria, Virginia. Military gets ping on Briggs. Cindy will fly out immediately to South Dakota.
18. Twin Peaks. Richard at roadhouse chokes woman.
19. Philadelphia. Back in Phillie, Tammy researches the seemingly reversed print.
20. South Dakota. Mr. C takes control of prison with cow jumped over the moon.
21. Buenos Aries, Argentina. Seeming morning scene. But seems possibly the same morning as when device was shown at the beginning of this Part, though what happens with the device is different after the red dots flash. So another wrench..
1. Las Vegas. Carry over from Part Five. Cooper-Dougie still stands before the statue. He is taken home. Janey gets an envelope with photo of Dougie and Jade from a different day. She arranges to pay the loan sharks the next day. Cooper-Dougie goes through the files for Bushnell. Still Tuesday.
2. Philadelphia. Albert finds Diane. Possibly Tuesday night.
3. Twin Peaks. Meeting between Richard Horne and Red. Chronologically, would be Wednesday.
4. Twin Peaks. The New Fat Trout Trailer Park.
5. Twin Peaks. Miriam at the Double R.
6. Twin Peaks. Richard Horne hits the boy. 3-6 are all one event stream.
7. Las Vegas. Duncan gets red message, pulls file for Ike.
8. Las Vegas. Rancho Rosa. Cleaning up explosion scene likely from day before, Tuesday, so this would be Wednesday. Time glitch. the 1-1-9 woman is back to Monday.
9. Las Vegas. Ike the Spike gets the envelope with the hit on Lorraine and Dougie.
10. Las Vegas. Wednesday. Cooper-Dougie gives Bushnell the files that implicate Tony.
11. Las Vegas. Janey meets loan sharks at park as arranged day beforehand. Wednesday.
12. Las Vegas. Ike the Spike kills Lorraine.
13. Twin Peaks. Richard Horne cleans blood off the truck.
14. Twin Peaks. Hawk finds Laura's missing pages.
15. Twin Peaks. Doris and Frank argue again about the car. We learn their son committed suicide.
16. Bang Bang.
1. Twin Peaks. Jerry missing in the woods. We last saw him possibly Tuesday night watching Jacoby's show in Part Five.
2. Twin Peaks. Hawk gives Frank the missing pages. Still Wednesday it seems.
3. Twin Peaks. Andy goes to speak with man whose truck hit the child. Still Wednesday it seems, or at least the Richard Horne timeline.
4. Twin Peaks. Frank speaks with Doc Hayward.
5. Buckhorn. Cindy shows up and finds they have Briggs' body. Would be Wednesday.
6. Philadelphia. Gordon and Albert go to speak to Diane.
7. Gordon, Albert, Diane and Tammy fly to South Dakota.
8. South Dakota. Diane sees doppelcoop. Wednesday (still going by Part One).
9. Twin Peaks. Andy waits to speak to owner of truck who does not show. Possible wrench? Andy's watch reads it's the 10th. 5:05.
10. South Dakota. Doppelcoop arranges for his escape with the warden for that night, same night as seeing Diane.
11. Las Vegas. Cooper-Dougie interviewed by police over the explosion of his car. Would be Wednesday still for them.
12. Las Vegas. Ike the Spike attacks Cooper-Dougie. Evening to night.
13. Twin Peaks. Beverly and Ben look for source of noise that began sometime the prior week. She gives him the old key that came in the mail for Cooper's room.
14. Twin Peaks. Beverly goes home to her husband. Night.
15. Twin Peaks. The sweeping scene. Night.
16. South Dakota. Cooper released at 1:00 a.m. on Thursday.
17. Twin Peaks. Time glitch. 1:00 a.m. in South Dakota but still dinner hour in Twin Peaks at the Double R. Bing looks for Billy. Have we simply dropped back in time to earlier Wednesday night?
Part Eight begins with Thursday about 1:00 a.m. in South Dakota and then goes back to July 16, 1945 and the Trinity bomb. It then moves forward to August 5, 1956.
1. South Dakota. Doppelcoop meets Hutch and Chantal. Probably Thursday.
2. Diane, Albert and Gordon are flying back to Philie when they're rerouted to Buckhorn due Briggs. They find out Doppelcoop escaped. Would be Thursday.
3. Las Vegas. The Fusco brothers meet with Cooper-Dougie as arranged the day beforehand. Would be Thursday morning.
4. Las Vegas. Ike the Spike is picked up. Thursday.
5. Twin Peaks. The buying of the red chair rather than the beige one scene with Andy and Lucy.
6. Twin Peaks. Johnny Horne hits his head.
7. Twin Peaks. The meeting with Mrs. Briggs. She gives the message from the secret compartment of the chair.
8. Buckhorn. Diane receives the message from seemingly doppelcoop. Meeting with coroner over Briggs.
9. Twin Peaks. Jerry has problems with his foot.
10. Twin Peaks. After meeting with Mrs. Briggs, Bobby, Frank and Hawk open the cylinder which has the message for going to Jack Rabbit Palace 2:53 10/1, 10/2. They say they will go in two days, which fits with this being Thursday and Saturday being 10/1/2016. But, a wrench is thrown in. Lucy is wearing different clothes when they pass her than when she ordered the chair. Eating lunch, she says she's not there.
11. Buckhorn. Smoking scene with Diane then Tammy meets with Hastings. He speaks about the Thursday before, and dates a paper 9/29 but can look like 9/20.
12. Twin Peaks. Ben refuses to kiss Beverly.
13. Bang Bang. The woman with the itch.
In part nine we had the problem of Hastings voicing 9/26, though his writing of the date was 9/29. For now I am sticking with 9/29 as having been the Thursday date. But that is a big problem.
1. Twin Peaks. Richard assaults Miriam. Perhaps Thursday.
2. Twin Peaks. Carl sings. Becky and Steven fight.
4. Las Vegas. Cooper-Dougie's physical. Thursday.
5. Las Vegas. News of Ike's arrest and the assault on Cooper- Dougie. Timeline problem. May show Wednesday now for Las Vegas.
6. Las Vegas. Janey and Dougie make love. Wednesday or Thursday.
7. Twin Peaks. Jacoby's 2nd internet broadcast.
8. Las Vegas. Thursday or Friday. The next day for them, Cooper-Dougie shown leaving for work.
9. Jerry in the woods. I've been here before!
10. Twin Peaks. Chad gets the mail. Is it Friday now, the day after Miriam mailed her letter? Or is it Thursday? Lucy wears what she was wearing in part nine in the early red or beige chair scene. Lucy speaks of the sense of time standing still. As Twin Peaks is such a small town, if Miriam mailed her letter early on Thursday, it could be that mail delivery might occur on the same day and that it is still Thursday.
11. Twin Peaks. Richard assaults his grandmother, Sylvia Horne. Let's assume it is Thursday. It seems after he assaults Miriam he would want to get out of town pronto.
12. Las Vegas. Thursday or there may be a drop back in time to Wednesday night? Duncan tells Anthony to put the Mitchums on Dougie's trail.
13. Buckhorn. Albert has dinner with Constance. Maybe Thursday if we go with 9/29 as when Tammy interviewed Hastings. Tammy was wearing the lacy blouse in part nine and appears also to be wearing the lace blouse in part ten.
14. Las Vegas. Sinclair meets with the Mitchum brothers. Wednesday or Thursday.
15. Buckhorn. Albert gives Gordon news about Diane's message from the doppel. Thursday.
16. Twin Peaks. Sylvia tells Ben about Richards. Broken timeline problem here if this is Thursday, for in part nine we had believed it was Thursday when Ben wouldn't kiss Beverly. He is dressed differently here. He has on his shirt with the finely checkered lines and a dark tie.
17. Twin Peaks. Margaret's message to Hawk that Laura is the one.
18. The Bang-Bang. Rebekah del Rio.