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) Establishing view of Las Vegas at night and speed forward as the sun rises over the MGM Casino, a sign showing "Alter Your Reality" with the name David under it, which would be the magician, David Copperfield, but must also bring to mind David Lynch.
Altering one's reality by causing one to look differently at it is the magic of art.
(2) Ride down a Las Vegas street under the neon for a large martini glass and Griffin cocktails. (3) Cut to a slash of light highlighting the RR of the Rancho Rosa suburb sign, which again reminds of the Double R (railroad) Diner in Twin Peaks. (4) Cut to Gene and the bearded man, Jake, in Gene's red car. These are the two who had been sent to kill Dougie on what was perhaps a Monday, but had missed seeing him in Jade's car.
GENE (on phone): We just drove by. His car's still there.
LORRAINE (off screen): What the hell, Gene? Is he still inside?
GENE: Can't tell, but the lights are on in there.
(5) LORRAINE (off screen): Fuck, Gene! This job was supposed to be done yesterday. Are you trying to get me killed?
(6) GENE: What do you want us to do? We're all over it.
(7) LORRAINE (off screen): Fuck! (She hangs up.)
(8) JAKE: She's a worrier.
We had begun, in part four, to realize the timeline might not be chronological from scene to scene. Things started not adding up. We know that Ruth was killed on a Thursday and found on a Friday. We know that the doppelganger was present at Phyllis Hastings' house when she returned from seeing Bill at the jail on Saturday after he was picked up. We have every reason to assume that on Sunday the doppelganger killed Darya and that, the day after, on Monday, he eluded being returned to the Black Lodge and Dougie was instead taken. It appeared to be chronological and right that the FBI would, Monday night, hear from Yankton prison that they were holding an FBI agent of theirs. Gordon said they would be there the next morning. It seems entirely plausible that we saw Cooper-Dougie, Tuesday morning, getting ready to go to work and eating breakfast. But at Yankton the date of the doppelganger's arrest appeared to be 9/22. If this is supposed to be September of 2016, the date of his arrest could not be on the 22nd as that is a Thursday and Ruth was killed on a Thursday (see earlier timelines at ends of the parts for more thoughts on this). It seems plausible that Frank Truman would have returned from his fishing trip on a Monday, for he is told about an overdose that happened that school that day. It seems right then that Cooper-Dougie would have been seen preparing for work the following morning, on a Tuesday. But then we have a seeming night scene where Constance finds the military has information for the prints on her male corpse. This is followed by Cole, Albert and Preston arriving in South Dakota, which would mean there could not be an intervening night. They were going to South Dakota the morning after having learned of Cooper showing up there, and were supposed to be at the prison at nine in the morning. That should be Tuesday morning.
This conversation with Lorraine indicates that Dougie was supposed to have been killed the day before, which would mean Monday, and that it is thus Tuesday. The events in part four began on Monday and ended Tuesday night. We appear to have dropped back in time to Tuesday dawn.
We could just be looking at simple non-linearity of story telling of a story that is linear. However, there are things we can't rectify. I'm not going to worry about it. But Lynch does push certain anomalies and glitch-wrenches at us and they need to be looked at for that reason.
(9) Cut to Lorraine at her desk. Her face is bruised. She has obviously been beaten up, and we imagine it is in connection with Cooper-Dougie still being alive. Anxious, she pulls out her Blackberry and types something in.
(10) Cut to a lightbulb in a decrepit building, a spider web dangling from it. (11) Cut to a lovely wood bowl with a device inside in a black case. The bowl speaks sophisticated taste, the device speaks sophisticated technology. The two paired together present a sense of zen aesthetics but the bowl and device are in a setting that is falling apart. The device beeps.
(12) Cut to Lorraine. We are shown her typing in 2 (above an E on the key) on her Blackberry. Then we are shown what she has typed in full.
Over in the far right corner of the screen, on the ARGENT line, we see 159.
(13) Cut to the device which beeps red.
Argent is the root for Arengtina. Argent means silver in French. It also means money. We have Cooper-Dougie having won all that money (silver) at the Silver Mustang Casino.
Curiously and probably coincidentally there was a band that was called Argent, its first album released in 1970 also titled Argent, and an unidentified symbol exhibited on that cover resembles slightly the symbol on the green ring. Their second album, "Ring of Hands", also exhibited the same symbol, so the symbol must have been a logo for the band. This symbol was abandoned by the time of their third album.
I'm thinking it's likely the symbol used by Argent, the band, was from the Norse Elder Futhark odal rune that means "homeland" and "inheritance" (associated ideas are prosperity and father). There is another version with wings, that is very similar to the symbol on the green owl ring. I'm unclear when the wings were added but it was used by the 7th SS infantry division, and is now used by white supremacists in America as it's less identifiable than the swastika. Like the swastika, in Germany it has been banned.
Tolkein used variations of runes his works as a semi-fictitious rune system, this symbol included. The use of the symbol by the Argent band I would imagine has to do with Tolkein, the Lord of the Rings books being very popular back then. The "arms/wings" of this symbol on the owl ring are removed a little from the point of the diamond and set back. But I have wondered if the symbol is based on this odal rune and if a certain homage was paid to Lord of the Rings via it.
Rod Argent, of Argent, was in the Zombie's and wrote the song "She's Not There".
The corresponding Greek letter for the original Elder Futhark rune is the Omega, which we see in the horseshoe at the casino.
The "E" below the 2, seen on the same key, is interesting to me, and we'll see why in the next scene.
Lorraine, it would seem, was the woman to whom Duncan gave the job to make the hit in part one. She had hired two men to carry it out for her and things did not go as they should have. We've no idea to what or whom she has sent this message, but she certainly seems terrified when doing so. Scratch the "seems". She is scared as hell.
The music that plays over Lorraine is "I am (Old School Hip Hop Beat)" which has samples from "Good Man".
The idea of "old school" was aligned with Gordon Cole when Denise questioned his motives in taking Tammy Preston on the trip to South Dakota, she assuming he was going to hit on her, and he told Denise that he was "old school".
In the original series, when Gordon saw Shelly Johnson for the first time, he said that she reminded him of the woman without an arm (Venus de Milo) and added, "That's the kind of girl that makes you wish you spoke a little French." Lorraine is a French name (similar to Laura) and argent is a French word. I'm not suggesting that these ties point to anything bad going on with Gordon. Lynch/Frost keep putting in bits that tie scenes together. Such as Lucy's tale of gas during the "it's not about the bunny" scene was between scenes that also had to do with gas. Lynch/Frost like to keep a person questioning whether it's about the "bunny" or not.
(1) The male corpse, which was discovered Saturday, on an autopsy table. (2) We see the two detectives, Dave and Don, who had searched Bill Hastings home on Saturday. The clock on the wall behind them reads about 6:55. We last saw Dave in part four, with Constance, when she had gotten a hit on the print from this John Doe who I suppose to be Briggs due his build.
(3-9) Shots of Constance and reaction shots of the men.
CONSTANCE: Cause of death. Took me a while, but I think someone cut this man's head off. (The two men glance at one another.) Here's the headline. Actually, I just gave you the headline. (She waits for them to laugh. They don't.) Yeah, I'm still doing stand-up on the weekends. This man hadn't eaten for days, at least not any food, but I found this in his stomach. (She shows them a ring.) Maybe it's just me, but I'd start with the wife.
(10) DON: It's inscribed.
(11-13) She examines the ring under a magnifying glass. CONSTANCE: Yes, it says, "To Dougie, with love, Janey-E."
So it appears that Briggs (I've been supposing he was Briggs, believing we're intended to suppose he is Briggs) has in his stomach Dougie's wedding ring, while Dougie was wearing the green jade ring when he was swept into the Red Room, his body going up in a puff of black smoke, the final remnant being a little gold ball.
A reasonable explanation might be that Briggs had swallowed Dougie's wedding ring, knowing that his body was going to be found and that the ring would be thus found and in that way Dougie, or Cooper-Dougie, might be eventually associated with him via the ring? But how did Briggs come by the ring? And how did Dougie, who had not a clue what was going on when he manifested in the Red Room, come by the green jade ring?
Anyway, we know Major Briggs' wife didn't kill him. That's just something we know.
When Lorraine had typed in the "2" on her Blackberry, we had seen underneath an "E". I'm paying attention to that "E" as we need not have been shown it. Janey-E is a weird nickname. It is rather difficult to say two "e's" in a row and nicks usually make a name easier to say. Janey-E. The "E" is likely the initial of a middle name or maiden name. But as we were just shown the 2/E in the former scene I don't feel like we can simply ignore it. I don't mean a concrete lead. Instead one of those Lynch/Frost associations.
So many names in in this series end with an "e" sound. Janey. Dougie. Sonny. Bobby. Shelly. Tracey. Andy. Lucy. Tammy. Audrey. Jerry.
A color association is that when Constance examines the ring through the magnifying glass, we have the color green forming a ring around it via the glass, which reminds of the green ring around the outlet in Mr. C's Lincoln. And reminds of the green ring.
It stands to reason, considering the presence of Dougie's ring in Briggs' stomach, that Dougie went missing the night that Ruth and Briggs were murdered, on Thursday. Though Dougie was said to have been three days without a word, Janey may have meant there was no word from him Friday through Sunday, not counting Monday as he returned on Monday. We know he ended up being with Jade, but where was he that his wedding ring would be exchanged for the green ring? For it must have happened during those three days. Was he there, Thursday night, when Briggs was murdered? That seems reasonable to assume that he might have also been transported to where-ever Briggs was.
(1) We observe the doppelganger in his jail cell. No artificial light is on in the cell, light drifting in from the artificially lit corridor. If it is Tuesday morning in Las Vegas, is it Tuesday morning in Yankton? Is this a scene before the doppelganger's meeting with Gordon and Albert on Tuesday morning? We've no way of telling. He says, "And now, food is coming." After this we hear a door, the jangling of keys. (2) A guard enters the corridor and carries a tray down to the doppelganger's cell. There is orange juice. This must be breakfast. I have a hard time imagining a federal kitchen serving orange juice any other time that at breakfast. The doppelganger takes the tray then goes to wash his hands. (3) He looks in the mirror above the sink and (4) flashes back to the Red Room, twenty-five years before, when he appeared with BOB, before overtaking Cooper and taking his place.
The scene of the pair in the Red Room repeats several times, about 9, then we jump to the doppelganger in Cooper's bathroom at the lodge, the morning after his emergence into the world twenty-five years beforehand. He bashes his head into the mirror as BOB does so on the other side.
(5) Back to the doppelganger in his jail cell, looking in the mirror. BOB's face appears to merge with the doppelganger's.
The doppelganger says to the mirror, "You're still with me. That's good." This means that the doppelganger had some reason to doubt that BOB might still be with him after Monday's events.
As the doppelganger had crashed his head into the mirror the morning after his emergence from the Black Lodge, mirroring BOB doing the same, it would make sense, story-wise, that his reflecting on the mirror in the jail cell and having this flashback would occur the morning after the doppelganger had successfully escaped returning to the Black Lodge. So this scene would seem to be before the meeting with Gordon and Albert. And we think back on Cooper-Dougie seeing himself in the mirror just before having his breakfast and being reintroduced to coffee.
If a viewer didn't know anything about BOB then now is when they would realize that Mr. C is more than Mr. C.
The connecting link with the prior scene in the morgue seems to be Constance having observed that the corpse hadn't eaten any food for days (except for the ring), and the doppelganger anticipating that food was coming.
(1) A Twin Peaks street, clouds low over the mountains. We see a sign for a car dealer. Chevrolet. (The sign info is for Chaplins. ...Bend Chevrolet. Good Old Fashioned Business! chaplinschevrolet.com. This is Chaplins in North Bend, Washington at 106 Main Street. If we know this, then we see a connection to a Bend Street that was given as an address with the doppel's mug shot. Again, there's no connection, as in how people usually look for meaningful associations. There is instead a flow of simple associative connective links.)
(2) Cut to an office with a deer's head hanging on the wall and Mike sitting before a lot of paper work. Another old character returns. This is Mike Nelson, who had been a friend of Bobby Briggs. So now we know what has happened to these high school buddies. In part four we saw Bobby had become a deputy, and in part ifve we find that Mike runs a car dealership.
A critical relationship/story of Mike's was that he had become a paramour of Nadine Hurley. After she emerged from a coma, following a suicide attempt she'd made by pills, she believed herself to be a teenager and high school student again. She had returned to school and pursued Mike aggressively, which was awkward but she won him over. In the final episode of the original series, subsequent being hit on the head, Nadine's memory for those intervening years returned, but she also lost any memory of the relationship with Mike and her belief she had been a teenager. He was crestfallen, having fallen in love with her.
When we had seen Bobby in part four he had been swept back twenty-five years to his high school days with Laura. Mike is an individual who had twenty-five years prior lived with the problem of a confusion in time, having a relationship with a woman who believed she was about twenty or so years younger than she actually was.
Clearly upset, Mike asks for Steven to be sent in. The viewer has no idea who this Steven is, except that Shelly, in part two, had told some friends that her daughter was with "the wrong guy". Her friends had protested that everyone loved Steven. Shelly had insisted that no, there was something wrong, she could see it in Becky's face. (3-4) So when we cut to a young man leaping up outside Mike's office, knocking on his door and entering, we wonder if this might be that Steven.
We see on a little side table a statue of a duck.
Steven, disheveled, his tie undone, says, "Sir, you wanted to see me?" Mike tells him, "Yes, I wanted to see you," and asks him to sit down. Steven nonchalantly takes a seat.
(5) STEVEN: Great.
(6) MIKE: Yeah, well, not great. You think you're some sort of hot shot?
(7) STEVEN (baffled): Excuse me?
(8-12) MIKE: This resume is one of the worst written I've ever seen, and you didn't fill out this form properly. Not even close. It's incomplete. It's worse than sloppy. I wanted to see you to tell you that if you ever want to find work anyplace, then you better get your act together, do things properly, and start showing some respect for a possible future employer, because based on this shit, you'd never get hired here, and I would never recommend you for any work, anyplace. Now, you can get up and get your ass out of here.
(13) Steven rises and now we see another deer head on the left wall and a rifle hanging beside it. He grabs the resume that Mike has returned to him and is clearly upset. As he exits, slamming the door,
(14) Mike says, "What an asshole."
If Mike is still acquainted with Shelly, who had been Bobby's secret girlfriend while she was married to Leo Johnson, then it may be that he knows Shelly's daughter, Becky, and it may be that he knows Becky is with Steven. If he has has not only turned Steven down for a job, but upbraided him as he has, then Steven's got some problems. If Mike does have an acquaintance with Steven through Shelly and Becky, it may be that is why he came down as hard on Steven as he did, giving him this warning, instead of just brushing him off. It may also be that Steven didn't attend to details because he thought he had a pretty easy in with Mike.
Mike has complained about Steven not filling out the form correctly, which takes us back to the prison form for the Cooper doppelganger and how it has a very incorrect birthdate and how the 9/22 arrest date doesn't seem to fit.
That's it for Mike. We will not see him again in The Return so he has fulfilled his purpose here in the meeting with Steven and his playing the car dealer.
All the viewer knows for certain about this new face is that it's looking for a job but it's not cut out for selling cars. We don't know if this will turn out to be a major story line.
(1) Exterior of the Twin Peaks Sheriff's Department. Day time. But it seems we may hear tree frogs.
(2-3) Cut to Sheriff Truman in what appears to be Hawk's office. He speaks on his cell phone, saying, "That's rough. When do you get those tests back?" The viewer will assume he must be talking to Harry. Lucy breaks in on the intercom to let him know his wife is there. Lucy says, "She went to your office and you weren't there. I could have told her that. She's now walking to Deputy Chief Hawk's office, where you are." Frank, seeming to panic, thanks Lucy and tells the person on the phone that Doris is coming, then adds, "You hang tough, Harry." So he is talking to Harry--and he says he'll check in with him the next day. We already knew from part one that Harry was ill.
Is Frank hiding from Doris in Hawk's office?
(4) As Frank gets off the phone, a blond woman wearing a sweater in a forest pattern comes banging into Hawk's office.
(5) DORIS (angrily): Why aren't you in your office?
(6) FRANK: Because I'm here.
(7) DORIS: You making fun of me?
(8) FRANK: What is it Doris?
(9-13) DORIS: Dwight's got diarrhea. The twins are coming this weekend. He got in the upper cupboard again. And I am not going another day with a leaking pipe. It soaked the pantry floor, and we're gonna get that black mold, Frank! Did you call them?
(14-16) FRANK (expressionless): Yes. They're very busy. They know all about the leaking pipe and promise to have it fixed by tomorrow night.
Truman and wife
(17-18) DORIS: So I have to go a full day with a leaking pipe? Do you realize what this is gonna cause?
(19) FRANK: You have a bucket under it?
(20) DORIS: Yes, but it filled up and it slopped all over the floor. I can't keep my eye on a bucket all day, Frank.
(21) FRANK: Can you get a bigger bucket?
(22-26) DORIS: Oh, oh, so I can spend money on a bucket that we'll probably never use again, but I can't spend money on that new rug that I really like. Is that it? That is not fair, Frank! And what about Dad's car? I'm not going to have him killed in that damn death-trap car! I told you this.
(27) FRANK: Sammy looked at it and it's fine.
(28) DORIS: When?
(29) FRANK: About two hours ago.
(30-34) DORIS: Well, I wish you've called me. I've been just waiting at the house in case Dad needed a ride somewhere. (Frank continues to stare at her, expressionless.) You're impossible!
(35) Doris slams out of the room.
Who is Dwight? Who are the twins? Who got into the cupboard? This is the kind of everyday they-have-back-story-but-I-don't exchange where if you were overhearing it as a phone conversation you wouldn't have a clue and would never know, but you might make some educated guesses based on tone. Based on tone and intimacy, we're guessing family.
The viewer already knows that Frank is a nice guy who is rather put out by Lucy and Andy but tolerates them and respects Hawk and accepts who he respects. Then Frank's wife barges in and unloads on him, furious with him, feeling he's not really paying attention to her needs. One wonders what's up?
We have a minor bucket theme going on. When Cooper-Dougie was becoming Mr. Jackpots at the casino, and Jackie was having to run to get him "a bigger bucket" for his winnings, it seems that Doris was having trouble with a leaking pipe spilling water all over the floor. Frank suggests she gets a bigger bucket which makes her protest that she doesn't want to spend the money, that she instead wants a new rug.
The twins refer to Lynch's doubles. The black mold recalls the Black Lodge.
It would seem, based on Doris having said that she's been waiting hours, that this would be some time late in the day.
(1) Cooper-Dougie's red front door in Las Vegas. It opens and Sonny Jim and Janey exit. They are wearing the same clothes as in part four at breakfast, so it is the same day and early in the morning as Janey is preparing to take Sonny Jim to school. She gives him the keys and tells him to go get in the car. She reaches in the front door and, exasperated, pulls Cooper-Dougie out into the sunlight. His tie is still undone but is at least now around his neck.
(2) JANEY (tying the tie): Okay, I hid the money. I counted it. $425,000.
(3) We have a shot of Sonny Jim in the back seat of the car staring dully, vacantly, at nothing. (4-5) Cooper-Dougie takes notice of him while Janey continues doing his tie.
JANEY: Don't worry. It's in our secret place. Now, when you get to work, call them and set up a time and pay them their 50 grand, okay? Then we'll be free and clear.
Where is their secret place? In the stereotypical cookie jar that happens to be an owl? I'm just kidding, but who knows. It could be.
(6-9) Still gazing at Sonny Jim, Cooper-Dougie begins to cry, a tear falling from his eye. First we have Cooper-Dougie, then an interesting shot of Sonny Jim that "breathes' in that that there is a very slight zoom in/out, then Cooper/Dougie, then a repeat of this interesting breathing shot of Sonny Jim, the camera only very slightly, subtly pulsing once. That pulse adds something to the shot that keeps it from being too removed. It becomes more intimate.
Not only does Cooper-Dougie cry, but he also slightly smiles. One gets the impression that he is already feeling affection for Sonny Jim and that to be in the presence of Sonny Jim is pleasing to him. But there also seems to be in his expression, briefly, a profound grief that goes beyond simple empathy for the boy's vacantness as he waits to be driven to school.
What is happening is Cooper is being given a life. A ready-made life. He was away for twenty-five years and we have no idea how he experienced that passage of time, whether it was as only an instant had passed or eternity. But now he has returned, and he has a wife who is exasperated with him, who had every reason to be angry with a husband who disappeared for three days, who for some reason doesn't seem to take seriously his lack of expression and response, but the manner in which she cares for him seems loving. He has suddenly a son who seems to enjoy him even as he is. What the son's relationship was like with Dougie is unknown, but he is gentle with Cooper-Dougie, jokes a little with him, and also lovingly responds to him, such as in his sense of play with him at the breakfast table and his caring for Cooper-Dougie in the way he looks at him and assists him. We don't know how much of this Cooper-Dougie comprehends, but he seems to have experienced a deep soulful reaction, one that may be beyond his understanding. He remembers enough to have loved coffee and to experience joy over this pleasure returned to him. He is remembering enough of something else to now experience tears of sadness that also shift to the sweetness of tears and a slight smile.
Janey grabs his face to get his attention.
JANEY (taking his face in both hands): Okay, Dougie, you're acting weird as shit. Just don't forget to call them, okay? And no more drinking and gambling. Now, get going. You'll be late for work.
JANEY: Damn. Your car. Okay, get in. I'll drive you. Where is your car, anyway?
Cooper-Dougie doesn't answer this. (11) He follows her over to the driver's side of the car and she points to the passenger's side, exclaiming, "In the car!"
Janey has finally commented on there being something weird about her husband! But, still, she doesn't seem to acknowledge how weird is this weird.
The manner in which Janey grabbed Cooper-Dougie's face, the limp and expressionless manner of his face in her hands, returns us to the doppelganger's killing of Jack (or he stated he killed him) after his squeezing his expressionless and slack face. There had been some question of why he would kill Jack, and why he would grab his face and squeeze it as he did. A correspondence seems to be drawn between these slacknesses.
We are getting wide ranges of emotion. Here we began with the humor of Cooper-Dougie still not being fully present, then his sadness over seeing the vacant expression in Sonny Jim's face, with which many of the viewers would have connected, but there is no risk of crossing into the maudlin as we then return to incapable Cooper-Dougie and Janey's frustration of having even to direct him to the passenger's seat.
I know that I, as a viewer, am all for seeing where Cooper-Dougie works and what happens next with that.
(1) The viewer is unable to answer most questions, but they can answer Janey's question as to where Dougie's car is and we feel even vaguely competent that we can at least answer this question! The car is back at Rancho Rosa. We see the sign for the Rancho Rosa subdivision, surrounded by tumbleweeds. (2) We then see Gene's red car driving down Little Rock street--and it doesn't look at all good for that neighborhood, that slice of the dream of the American good life, some of the windows of houses covered with plywood, the vegetation browning. (3) The car stops before the house before which Dougie's car is still parked. (4) They drive on past houses for sale and up for auction, clattering over a speed bump.
The red car (1971 Chevrolet Chevelle) having driven on, the camera pans back right to show a sleek black car (1972 Dodge Charger), no chrome, coming up the street. The metal booming out its windows is Uniform's "Habit" off its "Wake in Fright" album.
(5-8) The sleek black car stops before the house where Dougie's car (2000 Ford Taurus) is parked. They take note of the car. We are shown again a close-up of the Nevada Silver State DUGE LV license plate of the car which has a 03 sticker.
(9) They then drive on.
I don't know if there's supposed to have a little joke here, the 1971 car being followed up by a 1972 one.
We have a car theme with these scenes. The doppel's car had wrecked. Steven was rejected for a job at a car dealership by Mike and told to shape up or he would never get a job. Doris complains to Frank that she doesn't want her father to die in a death-trap car, but Frank tells her that the car has been checked and it's fine. Janey rightfully wondered where in the world Dougie's car was, and then we are shown that this car, with a bomb attached to it, is still sitting in the driveway on Little Rock in the Rancho Rosa subdivision.
Why are we again shown the license plate? This isn't for the benefit of the men in the car. The viewer is being shown the car again because of something to do with the license plate. Because of Nevada being the silver state? Are we intended to think back on Argent 2? Because of DUGE LV? Because of the 03 sticker that may remind us of camera #3 that was the only one that recorded footage of the experiment and was also the camera with which there was the seeming continuity problem of Sam changing the SD card in an opposing camera?
This sticker only shows the month of expiration, not the date. Lynch and Frost are still playing coy with time.
(1) Janey drops Cooper-Dougie off at work in a business area ornamented with tall palm trees.
(2-4) JANEY: Get out of the car, Dougie. (Unbuckling her seat belt so that she can lean over and undo his when he doesn't respond.) I think you're having one of your episodes. Now, listen to me, you need to pull yourself together and get to work. Get out of this car now. Get out of this car and go to work. Dougie, get to work!
(5) She prods him out of the car and must lean over and close his car door herself.
Now we know why Janey has not been alarmed by Cooper-Dougie's behavior. It's because he has occasional "episodes" that must be similar to Cooper-Dougie's behavior, which raises more questions about Dougie. Why would he have such episodes?
(6) We see now the front of Cooper-Dougie's place of work, a skyscraper fronted by a large plaza on which are potted plants, some umbrellas over seating areas, a white sculptural form that resembles the top of a mountain but has red balloons pimpling its peaks, and a bronze statue of a man in a hat pointing a gun. (7-10) Cooper-Dougie is entranced by the statue, the pointed gun. He raises his left hand and points it, mimicking. His brain is trying to remember. We imagine he must be trying to remember himself as the special agent, and his own gun. But then, instead of comprehending the gun, (11-13) he registers the statue and its gun as simply pointing him to the building and he walks toward it. (14) Which is how he comes to stand in front of the building in which he works.
The red balloons may remind of the red balloon in the 1-1-9 home across from where we first saw Dougie with Jade, and the red balloons for Sonny Jim's birthday.
If we return to the Buckhorn police office, we see in the corridor-like area between Constance's office and Dave's office, on a file cabinet, a bronze statuette of an officer, though it seems with pistol holstered. There is also a bronze bust on Constance's desk.
At the front of the building, surrounded by many people talking, arriving for their work day, going about their business, Cooper-Dougie has no idea where next to go and stops and stares. A man finally walks up carrying eight cups of coffee.
PHIL BISBY: Off in dreamland again, huh, Dougie? Get the lead out, pal. Staff meetings starts in three minutes.
Janey had referred to Cooper-Dougie as "dreamweaver", presumably because of his episodes. Now a fellow worker appears and indeed also knows about these episodes for he observes that Dougie's off in dreamland again.
The idea of dreamland should return us to the "dreamland" book that was in Ruth Davenport's bookcase. Also, Bill Hastings (who peculiarly shares the same 1973 birthdate with the doppel) had insisted he had been in Ruth's apartment in a dream.
The man scurries off, passing the exterior elevators, and goes to an interior one. Dougie, knowing at least what coffee is all about, follows him, wanting more coffee. (15) The clock beside the elevator reads 8:55. The elevator opens and Phil steps in, greeting a woman named Mary. Cooper-Dougie follows, facing the rear of the elevator. "Seven up," says Phil, punching for the seventh floor. The doors close and (16) Cooper-Dougie turns to Phil, excitedly saying, "Coffee." Phil tells him that he's sorry but he didn't get one for him, that he didn't know if he'd "be there today" (which would fit with him having missed work on a Monday). Cooper-Dougie persists and Phil says, "All right, you can have Frank's. He never drinks his anyway, and I got an extra green tea. Maybe he'll like that, huh?" In response to Dougie's rapture as he drinks the coffee, Phil says, "Damn good joe, huh, Dougie?" Cooper-Dougie repeats after him, "Damn good joe." Mary, who is rather puzzled by Cooper-Dougie's behavior, occasionally looks on askance.
(17) The elevator opens and we see the reception area and that Cooper-Dougie works at Lucky 7 Insurance.
Insurance. An insurance company. What viewer would have ever imagined Cooper landing in insurance. Remember the images of Kafka, the idea of metamorphosis? Guess who was in insurance. Kafka. Kafka worked in insurance. He didn't want to but he did until he was too ill from tuberculosis. He was apparently pretty good at it.
We should go back to the first episode and recall that when first introduced to the Twin Peaks sheriff's department again, a man selling insurance had been trying to see Truman but he couldn't say which one.
Phil goes striding in. Cooper-Dougie follows but is distracted when Mary goes over to sit with a man who thanks her for coming in and has two coffees in regular cups already waiting for them on the coffee table before the sofa at which they sit. Mary asks Cooper-Dougie if he's all right then glances at the man next to her who says he doesn't know him. Phil tracks back and gently retrieves Cooper-Dougie, telling him to "come along, pal", caretaking Cooper-Dougie through his "episode".
(18) A meeting room. Ten chairs are around a large table, one man already seated. Another enters. At the rear of the room an older man sits separately at a small desk, looking over some papers.
(19-21) Then the room fills up with people, and Phil guides Cooper-Dougie in. A man comes up from behind and grabs Cooper-Dougie around the neck, exclaiming, "Hey! Look who's back from Bendersville, with a new haircut." The man is Tony (Anthony Sinclair played by Tom Sizemore), who whispers in Cooper-Dougie's ear, somewhat hostile, "I covered your ass, pal. You owe me big time for that." Then he pulls back and smiles. Noticing how Cooper-Dougie's clothing is now too large, he asks him, "What'd you do? Did you go drinking in a steam bath?"
(22) He goes to take a seat.
Bendersville of course refers to drinking. But the doppel's prison mug sheet showed that he lived at 6147 Bend Dr. in Harrisburg, PA, and the car dealership plainly showed a real dealership in North Bend, Washington.
We might also remember Laura's mysterious statement to the effect that she feels like she knows Laura Palmer but sometimes her arms bend back. A question of self-identity is involved, and Cooper-Dougie's got some identity problems.
(23) At the table, another man asks a woman, "Did you get my note?? She responds, disinterested, "No, I didn't get your note." He says, "I sent you one." She replies, "Tell it to your wife, Darren."
(24) Cooper-Dougie downs his coffee.
(25) Darren watches as Cooper-Dougie approaches Phil who has taken a seat at the coffee table.
(26) Frank, sitting across from Phil, notices Cooper-Dougie, but it is because he is carrying a cup labeled "Frank".
(27-29) Phil apologizes to Frank, telling him, "I gave Dougie your coffee, sorry. He really wanted it." He asks Frank if he will have the "green tea latte" instead.
(30-37) Frank protests, no, he wants the coffee, but then takes the tea, saying he'll "try it". He smells, then tastes it, skeptical, but then is obviously pleased and smiles. Frank has been introduced to something new and pleasant through Cooper-Dougie taking his coffee.
Because of identity confusion it's to be wondered if we aren't supposed to give some consideration to Dougie-Cooper being here associated with Frank, assuming his name briefly be way of having his cup.
(38-39) Bushnell Mullins (Don Murray), the boss, who was at the smaller desk, walks over and takes a seat, saying, "Let's get started." He tells Dougie to "take a seat". When Cooper-Dougie doesn't respond, he tells him to "cut the shit". He doesn't seem quite as familiar with Dougie's episodes. (40-42) Phil stands and assists Cooper-Dougie to a chair.
(43) BUSHNELL: Tony, lead us off.
(44) TONY: Okay, I've got 16 new claims this week and 2 claims from last week have been processed and approved, so we have to pay out.
(45) BUSHNELL: Which ones are those?
(46) TONY: The Beakers, who had the broken water main, and Littlefield.
(47) BUSHNELL (in disbelief): Forensics made Littlefield for arson.
(48-51) TONY: Uh, there's no arson, Bushnell. Um, the inspectors cleared it. It checks out. It's legit. We have to honor the claim.
(52) Cooper-Dougie sees a green light, the same shade as his jacket, flicker over Tony's face.
(53) COOPER-DOUGIE: He's lying.
(54-58) Bushnell and all else react in shock.
The viewer is not so shocked because the viewer has seen Cooper-Dougie be guided into winning beaucoup dollars by the Red Room flashlight at the casino. We knew Cooper-Dougie could see things others couldn't--and now we discover there's even more he can see. He can tell if others are lying, or at least he can tell (or is being shown) that Tony is lying. We know this opens more for a plot concerning Tony.
As for the sickly color green that is used to highlight Tony as a liar, we also had just had Frank pleased with green tea, which he'd never tried before. So the green itself is not "bad". Green tea had worked great for Frank. The green is just not working out for Tony.
The green is also the color of Dougie's jacket that is too large on Cooper-Dougie. What I most connect this color green with, in Twin Peaks, is the Saturn's-rings light in the Red Room, which was perhaps hinted at with the green ring around the electrical outlet in the Lincoln, and the green reflection within the circle of the magnifying glass when Constance was examining the love ring, from Janey-E to Dougie, found in John Doe's stomach.
And then, of course, there's the green ring.
The broken water main, I should note, carries on the theme of the broken pipe over which Frank and Doris had an argument.
(59-63) TONY: What'd you say? (When Cooper-Dougie doesn't repeat himself, Tony persists.) What'd you say? Are you calling me a liar, Dougie? Hey, where the hell do you get off calling me a liar!
(64-66) BUSHNELL: What do you mean by that, Dougie? I want you in my office as soon as we're finished here.
(67-69) TONY: So, like I was saying, Littlefield's legit. (To Busnhell.) May I continue? (To Cooper-Dougie.) Is that okay with you, Dougie? My friend?
(70-72) Cut to Bushnell's office, he waiting for Cooper-Dougie. A secretary and Phil lead him in, one to either side. Bushnell tells them both to "close the door" behind them on their "way out".
(73) BUSHNELL: Dougie, where do you get the stones to call my best agent a liar?
(74) COOPER-DOUGIE: Agent.
(75) BUSHNELL: He closes more cases in a week than you do in a month.
(76) COOPER-DOUGIE: Agent.
(77) BUSHNELL: This is serious, Dougie. This is no game.
(78) COOPER-DOUGIE (recognizing the word from the day before at the casino): Game.
(79-83) BUSHNELL: Okay, Dougie, we'll play a game. It's a homework game, since you missed the last two days of school. Smart guy. I want you to take these case files home with you tonight. (He hands him a stack of files.) I need a full assessment on each case. And what you come back with tomorrow will have a whole hell of a lot to do with your future at this company.
(84) COOPER-DOUGIE: Case files.
Meg Foster, the woman at the casino who had given Cooper-Dougie change for his five, had been in the film They Live in which a man could see things others couldn't. A little like what is happening with Cooper-Dougie. She had asked him if he was going to play a game, then what game. "Call for help," he'd said. That game has been exchanged for a homework "case files" game.
I've noticed that light blue often occurs in occurence with this green. When Cooper-Dougie had declared Tony a liar we could see, in the background, a light blue seat cushion on a chair in a neighboring area. The case files, when pressed against Cooper-Dougie's chest, show a light blue post-it note on them that reads "For Review". The case files themselves have green numbering tabs. There are other instances of the green and light blue but I've not been recording them. We should remember, perhaps, that the felt undercollar of Dougie's suit was blue.
(85) Cut to Cooper-Dougie standing alone in the corridor, grasping his crotch in agony, his case files on the floor. He needs to go to the bathroom but doesn't know where to go. (86-87) The woman who had turned down Darren approaches and asks, "Is the men's room locked? Come on, I'll sneak you in the ladies." (88) Unlocking its door, she turns to him and says, "You know, I was thinking, maybe I'll let you kiss me now, handsome." Cooper-Dougie only groans, needing to use the bathroom, and she laughs and lets him in the door and says she'll "keep watch" outside while he goes.
We recall that Bobby had the urgent need to use the bathroom when he and Frank were talking about how Bobby had seen nothing recorded, and Frank had reminded him that he had seen nothing recorded on the known trails.
Cooper-Dougie had experienced the urgent need to use the bathroom in the morning. Now, at work, not knowing where the bathroom is, he has a repeat of the problem.
We return to the theme of infidelity. The woman had turned down Darren, mentioning his wife. We get the idea that Dougie has likely previously tried to make a play for her as well as she tells him he can now kiss her. Dougie, who had been with Jade, the prostitute, would have taken her up on this, but not Cooper-Dougie.
We wonder what she would find attractive in Cooper-Dougie. We wonder why she would reject Darren, who is married, but is now open to kissing the married Cooper-Dougie.
Cooper-Dougie being let in to use the women's bathroom continues the gender-bending theme.
The woman who had proposed the kiss now acts as a kind of security guard, keeping watch on the door while Dougie's inside. Which takes me back to the glass box in New York and Sam checking the bathroom when the security guard had disappeared.
This green that works for good and ill may be connected with Saturn here though Saturn is typically associated with black. What if we looked at it alchemically, such as with the popular symbol of the green lion eating the sun. The green in this case is vitriol that purifies matter leaving the gold within--perhaps connected to the gold ball that was all that remained of Dougie after he went "pop" like a ballon. Up in smoke. With a person ruled by base human desires, the green lion is given as representing a person ruled by violent and frustrated desires, acting out destructively. But in connection with a person on a higher spiritual plane, the alchemist permits the green lion to eat them in order that they be purified and become golden.
There is this one green lion, which closes and opens the seven indissoluble seals of the seven metallic spirits which torments the bodies, until it has perfected them, by means of the artist's long and resolute patience. — The Cosmopolite, (16th century)
Now, let us try whether, or how far, 'tis possible to Reconcile these Contradictions concerning the Green Lion. The Cabalist (much admired by me) says, the Matter is actually green, both before 'tis dissolved and afterwards also: This doth not deny, but confirm, that 'tis Spoke of, and considered, in divers States; and then it may not be absurd to suppose, that it may be, and is, described by one in one state and degree of Perfection, and by others in another: By one in its Impurity; by another in its Passage from thence to its Purity (for Ripley says 'tis unclean); and by a third when 'tis Purified. For as Matters, when more or less pure or mature, are of a different Texture, so they also differ in Colour. And 'tis in this Sense, I make no doubt the Philosophers are to be understood not only with relation to this Subject, but 'Tis not therefore every Matter which is foul or, green (as vitriol is, which Ripley says, Fools take to be their Green Lion) that intitles it to this wonderful Name; no, but it must have all the other Virtues and Powers in it, that are assigned by Philosophers: Which thing lies very obscure, and seemingly base, but it is, in its Purity and exalted Virtue, their Subject of Wonders. To Produce which, this fond Minera, they tell us, must be dissolved and exactly purified, in a pure Homogeneal Water, which is its own Blood, as White as Milk; which Name some have rather imposed. This Leprous Body, Sendivo and others have called Saturn, and Saturn's Child and what some have called flood and Milk, he calls Urine. -- (Eugenius Philalethes, A Short Enquiry Concerning the Hermetic Art)
On Saturn and putrefaction:
In alchemy, one of the symbols of nigredo is the 'decapitation', and also the 'raven's head' (caput corvi). Those symbols refer to the dying of the common man, the dying of his inner chaos and doubt because he is unable to find the truth in himself. In one of his works, Hercules cleanses the Augias stables. It is the cleansing of all the impurities in oneself. -- (Johann Daniel Mylius, Philosophia reformata, Frankfurt, 1622)
We can look at Cooper-Dougie, on an alchemical level, as passing a number of tests by which purification is being effected. The casino was a test wherein he was unsullied by greed. It doesn't occur to him to kiss the woman when she gives him permission. He calls out a fellow agent as a liar and thus also a purification begins at the Lucky 7.
(1) An establishing shot of the Silver Mustang Casino.
(2) Then Burns and Warrick in the Casino control center.
(3) Burns is clearly frightened.
WARRICK (speaking over a radio he wears on his wrist): Yes. I'll tell him now. They're on their way up.
(4) We are shown black-and-white footage of Cooper-Dougie playing a BigPayDay one-armed-bandit. He holds out his arms, and though we watch from behind we can tell he's yelling "Helloo" in anticipation of a jackpot.
If we look at the footage of Cooper-Dougie playing BigPayDay, we will see that the footage is mostly desaturated but that a bright green line cuts across the screen from the right, touching the light on the top of the machine Cooper-Dougie is playing.
(5) Cut to Candie entering and loudly closing the door. (6) Recorded footage of Dougie.
(7) Cut to the Mitchum Brothers, already present and standing before Burns.
RODNEY MITCHUM (Robert Knepper): Thirty jackpots in a row. We haven't paid out that many in a year. Turn him around.
(8) We see security guards holding Burns so he faces the video of Cooper-Dougie. He's turned around.
(9) Cut to Candie (Amy Shiels) standing between two other women, Mandie and Sandie, attired as she is, in short pink dresses.
Mandie and Sandie are a joke referering to what Hugh Hefner gave as his favorite names. Sandy an Mandy were the names of twins who had been his girlfriends, and he had also been dating a woman named Brande at the same time.
We've had several Sams and Bills. Though the spelling of the name wasn't the same, we had another Candy. She was a woman in red sequins who had been with Bill Shaker at the casino when they happened upon Cooper-Dougie after his winning spree. She had worried about Cooper-Dougie, believing that he wasn't okay. She guessed that he wanted to go home and Bill had given Cooper-Dougie the name of the street he lived on.
(10-11) The Mitchums. (12) Cut to the footage of Cooper-Dougie again, coins spilling into his lap. Back to Rodney.
(13) RODNEY: How much did that man there on the television win?
(14) WARRICK: $425,000.
(15) RODNEY: Hmmm.
(16-18) He punches Burns hard in the face. Cut to Candie and the other Ds watching, then back to Rodney.
RODNEY: Four hundred twenty five. And you've trying to tell us that you weren't in on this? How much did that man win again?
(19) WARRICK: $425,000.
(20-22) Rodney punches Burns, who collapses to the ground, and violently kicks him.
(23) Cut back to the 3 Ds against the wall. Throughout the assault, Candie undulates her right arm in a slow swan-like wave, watching it.The other two women look on mutely, not simply disinterested but as if they are blind to what is happening. Candie's preoccupation with her hand is such that it seems she's almost self-hypnotizing herself as a means of avoidance (though Lynch could be using this wave-like gesture as a metaphor), and the other two also seem almost self-hypnotized into a different space so that what happens before them doesn't concern them.
We continue to hear absolutely brutal kicks.
This is much like the scene in Blue Velvet in which Frank beats up Jeffrey while the prostitute dances on the hood of the car, similarly oblivious.
(24-27) Rodney tells Burns he's "fucking fired" and orders the security guards to "get him out of here". As they drag him out, (28) Bradley Mitchum (Jim Belushi) tells Burns, "Leave town. Don't ever come back." (29-31) He then goes to Warrick and tells him he's got Burns' job. He pulls him over to show him (32) Cooper-Dougie on the screen (33) and tells him, "You let us know if this man ever comes in here again." (34) Dougie-Cooper on the screen looking about.
In Mulholland Drive the director's life begins to fall apart. The producers tell him who he should cast in his film and he violently reacts to that out of frustration. He finds his wife with another man and reacts violently against that out of frustration. He ends up being called to a corral at night where he meets the "cowboy". He's told his attitude goes the way his life will be, then is asked if he believes this to be truly right. He's told that the cowboy is driving the buggy and if he fixes his attitude he can ride on it. He's told to go back and audition many girls and say "This is the girl" to the one whose picture he was shown. The next day he sees Betty, and one can tell that he would want to cast her, but instead he must cast Camilla Rhodes, a blonde who reminds a good deal of Candie. She later morphs and becomes Rita, a brunette who was in a mysterious accident at the beginning of the film, subsequently lost any memory of who she was and ended up taking refuge in the house of Betty's aunt. Shades of Dougie-Cooper who has no idea who he is!
(1) A shot of the bomb on the underside of Cooper-Dougie's car, its red light blinking away. (2) Then go to the little boy who lives across the street. He watches the car through the living room's window blinds while he eats. (3) Cut back to the car (4) and then the boy. (5) The boy steps into the foyer of the house and in the room beyond we see his mother passed out at the card table. They both still wear the same clothes as they had the day before. The boy passes out of view to the right. (6) Medium close-up of the mother. We hear the door open, see the light from outside fall on the mother, and the door closes.
We have some interesting differences between part five and part three. First, the mother has moved 90 degrees in her chair so that she is resting against the wall. The table hasn't switched positions, and we still see the red balloon beyond in the same place. On the left we now see stairs, which is a little odd as at least the front of the house shows no second floor. Maybe there's half a second floor to the rear. I don't know. Also, the orientation had the boy looking out the living room window, and we were initially led to believe that his mother was seated against the wall behind and opposite him and he appeared to be looking directly at her at her table. Now, as he exits, he cames from the left and crosses to the right in front of her. I'm not sure how this works as far as layout. The thing is that it is confusing as far as orienting logical flow, especially with the mother having switched positions.
(7) Cut to the boy outside, in his t-shirt with the bright red #1 emblazoned on the front, (8) curiosity leading him across the street to look at Dougie's car. (9) At the street he stops, remembering to carefully look both ways. You love him for it. You love everything about him. Here this neglected child stops at the street and looks both ways. You want to swoop in and make the world right for him and right for his mom so she can take care of him. (10) The street empty, he crosses, the wind hollowly blowing, crows cawing.
I'm thinking, well, mother is passed out and not caring for him, but thank you to her or whomever taught him to look both ways before he crosses the street. I, as a viewer, am also thinking this wonderfully cute kid, who has had to be too self-reliant, is also way too smart, and inquisitive, as part of that self-reliant package deal, because he's going to head right for that bomb, attracted by the oddity of the red blinking light. And I don't want Lynch/Frost to blow this kid up. But it's a possible.
(11) The red light on the bomb. (12) Cute kid finishes crossing the street and crawls underneath the car (13) to look at the red flashing light of the contraption, not knowing it's a bomb, (14-15) and even touches it. (16) At that moment he hears screeching wheels and (17-21) the black car that had driven by earlier comes roaring up. (License 974-6UH). Inside are five men. Three of them pile out, (22-24) one yelling at the boy, "Fuck off, kid! Get the fuck out of here!" He picks up a stone from out of the driveway and throws it at the boy who runs a few yards away.
This isn't two birds with one stone but we might be reminded of it.
(15-18) One of the other men jimmies the lock of the car, as the boy watches, and climbs in. (19-25) A third man hands him a device by which to start the car. As soon as it starts, cut to the boy as we hear an explosion. The three men are blown away.
There's one death-trap of a car. This connects back to Doris' concern over the death-trap of a car she is afraid to let her father drive, and before that to Doppelcoop's accident.
(26) The two remaining men jump in their car and drive off. (27) The boy, safe (but, hell, he's also just seen three men burnt to cinders) runs back across the street. (28) We view the corpse of one of the men burning black.
(29) We see the interior of the boy's house again as he enters, the mother passed out in the living room. Hear the door slam. (20) She wakes up as the door slams and looks around. (31-32) Through the window, we see the boy enter the front room through a door (so he's not even in the same room as his mother, it turns out) and runs to the window to look out across the street at the burning car. (33) The mother rouses herself, sitting up, her expression inscrutable, her eyes encased in dark circles. (34-35) Mournful music plays.
Moving the plot along, the viewer thinks, well, a blown up car is a way to get the police involved and bring Cooper-Dougie to their attention, and thus possibly to the attention of the FBI. But how long will this take in Lynch/Frost world?
We are so, so glad cute kid wasn't killed. Or at least most of us are.
On a societal level we are being presented a picture of the horrors of opioid addiction and its effect on individuals and their family. On a Twin Peaks Black Lodge level, we feel like there's a gateway here through which Black Lodge energy is killing this household and even this neighborhood.
(1) A car wash. We see a web blue rag under a car being washed and then a gust of air picks it up and blows it in front of the car.
Okay. Wait a minute. What??? As I've pointed out we keep having light blue touches pop up, often in coincidence with blue. Now, just after seeing a car blown up due a bomb under it, we see a blue rag under a car and then I guess a gust of air picks it up and blows it in front of the car. I don't know. I suppose it could happen.
Pan right and now we see Jade's jeep being dried off by a man who uses a red rag as well as a blue rag tripped with red . (2) As she approaches, the man working on her car yells out to her, "All done, Jade", (3) then asks her if she has "a john in the state of Washington". (4-5) He shows her the hotel key he found in the car. (6) A close-up of the 315 key. (7) "Oh, Dougie," she says, looking at it. (8) Flipping the key over we see the Great Northern advertised itself as a "clean place, reasonably priced". Below this is a sticker urging the key be mailed to the Great Northern Hotel in Twin Peaks, Washington. (9-10) "Give me a second, Chris," Jade says. (11-12) She crosses over to a blue postal box and drops the green key in.
Mailing the key
The Lynch/Frost team have decided to give the audience the forward-plot-pushers of two ways now for Cooper to re-enter the sphere of Twin Peaks. With the blown-up car, he might come to the attention of the police and consequently the FBI. With the key being returned to the lodge, the Hornes will be reminded of Cooper. They won't know where the key came from however.
Speaking of the color green, we have Jade who drops the green key in the mail box.
(1) The exterior of the T-MAR RR Cafe. (2) Inside we see Norma Jennings (Peggy Lipton), the owner, doing paperwork at a booth. On the wall is a framed newspaper clipping, "Double R Diner Wins Award for Best Local Take-out Meal". She goes through the receipts by hand, listing figures in a ledger. We see a phone and a rolodex.
It will strike the viewer as somewhat odd that Norma hasn't caught up to present technology in that she has stuck with paperwork and a rolodex rather than moving over to a computer. This is old school, one supposes.
(3) We see Shelly's daughter, Becky, enter. Out the window, across the street, we see the sign BEND. (4) Norma looks up. (5-6) She and Norma exchange smiles, then Norma calls out, "Toad! Bread's here!" (7-8) An older man, Toad, goes up to receive the bread that we see Becky is delivering. So Becky has a job, it seems, with a bakery. Becky crosses over to talk to her mother as we watch from Norma's point of view.
BECKY: Hi. I can't stand this.
SHELLY: What's up?
BECKY: I need some more money. I'm sorry. He's looking for work.
(9) Cut to Norma watching. Her watch reads perhaps 4:05. She takes off her glasses, concerned, as Shelly tells Becky, "That's a lot." (10) Becky insists, "He'll find a job." (11) Norma watches as (12) Shelly goes to her purse, takes out money and gives it to Becky. (13) Norma folds her arms, critical. (14) Shelly gives the money saying, she can give her this, "but it's all I've got". Becky takes it, saying, "Thanks, I love you." Shelly tells her, "I love you, too", and Becky leaves.
(15) Norma gets up from her booth. (16) We see through a window Becky climbing into a white Pontiac Firebird with red interior. Steven is driving.
(17) Norma goes over to Shelly.
NORMA: Shelly, this is the third time she's asked you for money in two weeks.
SHELLY: I know.
NORMA: If you don't help her now, it's gonna get a lot harder to help her later.
SHELLY: We both know that tune, don't we.
The two women hug.
Shelly had been briefly returned to the viewers in Part Two. Now Norma is back, and Shelly as well, along with the Double R cafe. Norma and Shelly are still together. They're still a team. Still looking out for one another. As for Becky? She's in trouble, seemingly, just like her mother had once been, just like Norma had once been in trouble with her husband, Hank, who had been in prison and was an abuser and all-around bad guy louse. Just like Shelly's husband, Leo Johnson, had been an all-around bad buy louse who abused Shelly.
(18) Go to Becky and Steven in their vintage, 1979, flashy, white Firebird car. He is, indeed, the Steven with whom Mike had been so harsh earlier at the Chevy dealership. He looks like he's on his way to being as much a physical wreck as the drugged-out mother back in Las Vegas.
STEVEN: How much money did we get?
BECKY (counting): Seventy-two dollars. (She gives it to him, angry.)
STEVEN: Hey, cheer up. I'm good for it. I'll pay her back.
Seventy-two was the year of the Dodge Charger that just went out in a big blaze. That car blows up and is followed by this scene with a Firebird car. (Two birds with one stone isn't here, but the Dodge Charger men had thrown a stone at the boy and now we have the Firebird.) Mythically, the Firebird can refer to the phoenix that is born again through self-combustion, rising out of the ashes of its former self. But I don't know how we could tie Becky or Steven into any idea of rebirth. Cooper-Dougie, yes. There is certainly rebirth symbolism all over his reappearance after missing for three days.
(19-20) He affectionately rubs her hair, then sees Norma and Shelly watching them through the window.
(21) STEVEN: They're watching us. I'm gonna roll.
He starts the car and as he does so we see two men across the street, at an intersection by a RR crossing X. They approach the corner of the block as he he turns the key and then as the engine turns over we see the men now in reverse walking back to the building. This is not just a simple reverse. The first man, approaching the corner is walking face-forward and the second man is walking face-forward. Then the second man walks backward, as if we are seeing him walking in reverse, while the individual who was the first man turns and walks back in the opposite direction. But the person walking backwards certainly looks like it's a reverse of him walking forwards. Why does this happen?
(22) Norma and Shelly watch. (23) He backs away and (24) we see Shelly and Norma again watching, a sign behind them for charbroiled burger with fries for $8.95. License plate of the car is ER327LL. (25) He backs up to the RR tracks and cuts off the car.
Because of the focus that has been on keys and cars, I'm inclined to think the reverse walk above isn't an error. We have to think about it in relationship to the car that blew up. In the RR, Rancho Rosa subdivision, when Dougie's Taurus is illegally started it blows up and we're left with char-broiled bodies (like the char-broiled burgers) spread all around. Meanwhile, across the street, is the drugged-up mother who had the day before yelling 1-1-9, and the son who had barely escaped danger by having a rock thrown at him. Then we go to the Great Northern key, 315, and Jade dropping it in the postal box. From there, we go to the RR Mar T diner and the Firebird car. Steven starts it up and we have the strange reverse walk in the background, one unnatural, and the other with a person simply turning around. We know this is intentional due the proximity of the 1-1-9 woman and Dougie's torched car.
(26-30) He asks Becky to kiss him. She is reluctant, then does.
STEVEN: And now I'm gonna take my girl out to dinner. Hey, I saved some for you. Want a taste? (He pulls out a bottle of a powdered substance and begins to tap out some on the back of his wrist.)
BECKY: Did you take all of that today?
STEVEN: Yeah. Why? Why wouldn't I? For my interviews. You know how nervous I get. Come on. Besides, I got some great fucking feedback today.
(31-32) She takes a toot and he does.
STEVEN: I'll tell you all about it at dinner. And, in between, I'll tell you how much I love you, and I'll tell you how beautiful you are, and I'll tell you how sexy you are, and those tits, how majestic they are, and that ass--give me a break--and I'll get you some bread.
STEVEN: Because I heard you've been kneading (needing) it all day.
Becky laughs and pushes him, the drug lightening her mood. (33) He turns on the Alpine radio of the car to FM2 87.7. (34) The Paris Sisters, "I love how you love me" plays. (35) He starts the car, and they drive off, Becky viewed from above, smiling, blissful, caught up in the music and the drug, ecstatic. Despite how fucked up it all is, it's a beautiful moment, communicating the attractiveness of the high, of being swept up in rapture for life, grasping for a little heaven on earth, an escape from the bitterness of never-ending disappointment and the heartbreak of failures.
This is a complex scene. The original Twin Peaks, despite Laura Palmer and the prostitution and the drug dealing, felt like fantasy soap-land horror. The raw wasn't quite real and was therefore, to a very great extent, safe for TV-land consumption. Just like even though Blue Velvet had taken Jeffrey over to the bad side of town, the way the bad side played out was fantasy dreamland bad. Yes, Blue Velvet was certainly horrifying in parts, and Isabella Rosselini did a magnificent job playing the tortured Dorothy who self-abused when she wasn't being abused. One of the more startling scenes in cinema history is Dorothy wandering, nude, out of Jeffrey's bushes, beaten up, in a wretched mental state, zombie-like, seeking Jeffrey, as Sandy, Jeffrey's right-side-of-the-tracks paramour, looks on in anguish, realizing the truth of Dorothy and Jeffrey's relationship, and yet she also has the sense of compassion and responsibility to help Dorothy into her home. Isabella was wonderful. Still, these happenings were a little like the art version of bad life cooked up by the creative arts students from fairly well-off to well-off families, who have solid incomes behind them, who have big safety nets and secure futures, who think it's fun to go down and party at the strip club popular with artists and students, people who want to brush shoulders with sleaze occasionally and get a touch of its dangerous glamor--but that is not their lives. What really goes on twenty-four hours a day on the other side of the tracks wasn't touched. It was rather like a dream.
We're getting real here. And it's complex. The drugged-out mother with the neglected child in the neighborhood of foreclosed homes has the flavor of real.
There is the flavor of real to Steven and Becky. Steven is a loser, but when he feels a need to drive away from the glares of Shelly and Norma, we get why. I wouldn't want them judging me from beyond that cafe window either. Because he's a loser, and doesn't want to be, but that's what he is right now. We don't know what he used to be but something attracted Becky to him and he may have once been different. He tells Becky he got great feedback, which is a lie, but he wants Becky to think he's bigger and better than he really is. And he's confident, probably, it can't always be like this, that one day he'll start winning. He's drugged up, and he's probably telling the truth that a reason he's that drugged up is to deal with the anxieties of life. She gets drugged up, too. She gets money and gives it to him. And what does he do? I'm going to take my girl out to dinner. That's going to blow half the money right there. And it's the kind of thing this Steven would do. Take Shelly-Becky's money and to make himself feel bigger, and to appease her, he'll blow half of it on taking her out. He affectionately fondles Becky's hair. He tells her how beautiful she is. He snorts. She snorts. And then it takes a minute but with the assist of the drug she's feeling that love that she wants, she's feeling that beauty. For a few minutes, life doesn't desperately suck. In the old Twin Peaks, people were getting beaten up, horribly abused, shot all the time, being put into comas and coming out of them, but it wasn't raw and real like this little scene painting certain aspects of this youthful relationship. They're going to go out and have a dinner that's gilded with fantasy maybes that will be felt like certainties of whatever dreams they have come true, and then come down off that high of the drugs and those dreams and take a look around and find the same old real shit that keeps getting realer and shittier.
Encapsulated in this scene we have so many different kinds of love--the bonds and caring and responsibilities of parental love, the need of child love, the supportive love of romantic companionship, the physical side of romantic love, and the seeming glue of it all as the desire for the meaningfulness and bliss of high-riding spiritual love.
(1) The exterior of Cooper-Dougie's workplace. (2) Then Cooper-Dougie in the elevator, going 7 down, he working against the tide, facing everyone and the rear, they all facing Cooper-Dougie and the door. (3) His face it is as expressionless as was Sonny Jim's that morning.
(4) It's 5:30. The elevator doors open. People say, attempting to get around Cooper-Dougie, "Okay, all right, buddy", "Excuse us". They urge Dougie to move, that they have arrived, and begin pushing out as he doesn't move. Phil, also on the elevator, care-taking him again, guides Cooper-Dougie off, turns him around, and urges him forward.
(5) Cut to outside and a nearly empty plaza. (6) Cooper-Dougie stands beside the statue of the gunman, staring at it.
(7) Time passes, the evening darkens, and still he stares. He steps a little closer. He examines it closely.
(1) Night. The exterior of the Twin Peaks Sheriff's Department. (2) In the conference room, Hawk and Andy sit with papers from the Laura Palmer case, take-out food spread over the table. Andy goes through sheet by sheet, as does Hawk. Meticulous, they search for what they don't know will be missing, but is. The bunny box sits in the center of the table, reminding that it either is or isn't about the bunny. No one knows.
ANDY: Hawk? Have you found any Indians? Anywhere? I haven't found any Indians.
HAWK: No, Andy.
(1) Night and the outside of Dr. Jacoby's trailer. (2) Inside, Jacoby is a bit of a shock. He is dressed up in a hat and uniform jacket that at first glance look to have a neo-Nazi slant, especially due those lightning bolts on his bowtie. That's what grabs the eye. The double sig rune, looking like two lightning bolts side by side, was used by the SS, standing for their initials and also for victory. Jacoby?? This isn't the Jacoby we remember. Then we begin to see him more clearly. His hat is actually a pom-pom hat. The coat is red. He has overalls underneath. And the single lightning bolt (not double) on eiher side of his bowtie is a symbol for the electricity of Dr. Amp, his internet personality.
(2) He looks up at the clock which reads 7:00. (3) The alarm rings. He speaks into a microphone set-up on a table, broadcasting live.
JACOBY: It's seven o'clock. Do you know where your freedom is? (4) He winds up his record player so it plays Sousa's "Stars and Stripes Forever".
(5-9) JACOBY: Coming to you live, and electrified, from studio A, high stop the escarpments of White Tail Peak, the roof, ruff, ruff, of the American Hindu Kush, this is Dr. Amp, doing the vamp for liberty, climbing the ramp to justice, and lighting the lamp of freedom. (He cuts on the lamp of his rather amazing Lady Liberty diorama, the sound of fireworks exploding. He cuts it off.) So, what's on your mind tonight. I mean, you know I'm going to tell you what's on mine. We're sinking down deep in the mud. And the fucks are at it again. The same vast global corporate conspiracy. Different day. You can't see it without a cosmic flashlight. Guess what! I've got one. (He shines a Dr. Amp flashlight on his face. Shines it at the camera.) And its beam, it penetrates the ignaceous rock of innocence. It flips that rock over, and there they are, exposed, wriggling, squirming, crawling on their bellies like foul maggots, frantically racing back to the cover of darkness that they so crave. We're coming for you.
Ignaceous? What in the world is ignaceous? The captions give "ignaceous" as having been said. Most will think Jacoby means igneous rock. Instead, I think it's Ignatius, as in a stab at the Holy Roman Empire/Catholic Church as in Ignatius being he first known "Christian" writer (what was Christianity then, it was still forming), who used the word "catholic", katholikos, which is "universal", "whole" as applied to the church. When the church states it is the holy Catholic Church, it means that it is the one church and that no other real church exists outside of it, and its doctrines are infallible, whole, the only true path. This is the only reason I can think of for Jacoby to use the word, and relates it as the "rock" as St. Peter was the "rock" upon which the church was to be founded, and the Catholic church considers itself also the only true church with a direct and unbroken lineage back to St. Peter, the original rock. Which is pretty clever of Frost or Lynch, whichever came up with this for Jacoby. It lets us know that he's railing against a systemic problem that has been around for at least a couple of thousand years, and is not only secular but sacred.
This section follows Andy saying to Hawk, "Have you found any Indians? Anywhere? I haven't found any Indians." So I think the catholic reference, following this idea of the lack of Indians is due the 1493 Papal Bull, known as the Doctrine of Discovery, by which Pope Alexander gave spiritual/political authority to go out and take pretty much everything and, essentially, kill all those Indians that Colombus had stumbled upon and take their gold and land.
Among other works well pleasing to the Divine Majesty and cherished of our heart, this assuredly ranks highest, that in our times especially the Catholic faith and the Christian religion be exalted and be everywhere increased and spread, that the health of souls be cared for and that barbarous nations be overthrown and brought to the faith itself. ...[W]e ... assign to you and your heirs and successors, kings of Castile and Leon, ... all islands and mainlands found and to be found, discovered and to be discovered towards the west and south, by drawing and establishing a line from ... the north, ...to ...the south, ... the said line to be distant one hundred leagues towards the west and south from any of the islands commonly known as the Azores and Cape Verde.
Thus the dearth of things "Indian" in the United States. I think Frost/Lynch were remarking on this as well.
I wouldn't be surprised if there is a touch of "Church of the Subgenius" going on here, which, by the way, has J. R. "Bob" Dobbs as its iconic figurehead, conspiracy-oriented parody that is also counterculture.
(10) Cut to Jerry watching Dr. Amp on his computer in the woods as he says, "Yeah, we're coming for you. Let's just see what they're cooking up today." Jerry says, lighting a cigarette, "I know what I'll be cooking up." Jacoby continues, "Know the ingredients."
Cut back to Jacoby.
(11-12) JACOBY: Read what's on the box. In fact, read between the lines. What's lurking in that--that toaster waffle? Those muffins?
(13) We see Nadine watching, smiling, as Jacoby continues, "That frozen children's treat? Poison! Deadly poisons! That's what's there."
Back to Jacoby. A reaction shot from Nadine and then back to Jacoby.
(14-16) JACOBY: And what's waiting for you? Cancer! Leukemia! Autoimmune disorders. Pulmonary embolism! Warts! Psoriasis! Eczema! Cardiac arrest! Where are the cops when we need them? Anorexia, body-image bullshit, microbial toxins, bacterial toxins, environmental toxins! Our air, our water, our earth! The very soil itself! Our food! Our bodies poisoned!! Poisoned!! (Overextended, he takes a drink.) That's huckleberry extract in clean, boiled water from the pure, artesian springs of White Tail Peak. Yeah! Fuck that acai berry shit from the Amazon.
(17-18) He shoots a bird with a little hand on his middle finger. Jerry, watching, laughs.
(19-21) JACOBY: Yeah. In the immortal words of Pete Seeger, if I had a hammer. (He picks up a hammer.) Guess what. I've got a hammer! (He strikes a shovel with the hammer, as a bell. The tone diminishes, ringing.) You must see, hear, understand, and act. Act now!
(22) We briefly see Nadine watching, (23) then cut back to Dr. Amp cutting on his shovel commercial. (24) Nadine watches his commercial.
(25-29) THE COMMERCIAL: Friends. We all live in the mud. In the shit! Shovel your way out of the shit! (He shovels some of the mud. Then the scene transforms and he is standing in the same place but atop dry ground, and has cut on a lamp so that it glows golden on him.) This is your shiny gold shovel. Two coats guaranteed. Shovel your way out of the shit and into the truth. (Cut briefly to Nadine and back.) Dig yourself out of the shit--$29.99. That's right. Only $29.99 plus shipping. Accept no substitute. Get yours now.
This is what Jacoby does now for a living, as he can't work in his originally chosen profession. He's not selling false prayers for healing. He's selling shovels that symbolize digging your way out of the shit, referring to the "immortal words" of Pete Seeger as he strikes the bell of the shovel with his hammer.
Watching Jacoby, we get Nadine Butler Hurley (Wendy Robie) back. She has her silent-running drape business going, it looks like, she's surrounded with swatches, and she's loving Jacoby. (She was once his patient.) The story of how Nadine lost an eye is fuzzy on the edges, but the base story is that she and Ed were on their honeymoon, were hunting, he fired his rifle and some buckshot ricocheted off a rock and struck her eye. He hadn't really wanted to marry her, he was in love with Norma, but after putting out Nadine's eye like that, how could Ed leave her? All that guilt.
Peculiarly, Ruth was found with her left eye blown out and Coop's doppelganger blew out Phyllis' left eye as well.
It makes sense but is interesting that Lynch/Frost chose to bring back Nadine and Mike in the same episode, considering the relationship they'd had when Nadine lost about twenty years worth of memory and believed herself to be a teen and back in high school again.
(1) An establishing shot of the Pentagon in Arlington, Virginia. (2) Interior of a Colonel Davis' office. We hear a door opening. (3) A woman stops before a desk outside the office and an off-screen voice tells her she can go in now.
WOMAN: We got another database hit on prints for Major Garland Briggs.
(4) DAVIS: Major Garland Briggs. All right. And how many is that?
(5) WOMAN: This would be the 16th time.
(6) DAVIS: Sixteen hits in, what, 25 years? And where'd this one come from?
(7) WOMAN: Police. Buckhorn, South Dakota.
(8) DAVIS: Another wild goose chase, I bet, but we've gotta check it out. You ever been to South Dakota, Cindy?
(9) CINDY (laughing): I hear it's lovely this time of year.
(10) DAVIS: And remember, if this is real, but it won't be, but if it's real, we have to alert the FBI.
(11-14) She salutes him. He salutes her. She says, "I'm booking the flight." He tells her, "First class, Cindy."
Those viewers who have been thinking that the body of the male found with Ruth was Major Briggs now have their confirmation. The plot pushes forward in his direction with the military flying out to Buckhorn, and we already know that it is real and that they will be bringing in the FBI.
We wonder, though, what in the hell was happening in the "meanwhile" with the missing Major Briggs, that they had gotten sixteen hits on him during those years.
(1-2) The exterior of the Bang Bang, a foot trodding through a pool of water. (3-7) Cut to the band, Trouble, playing Snake Eyes.
(8-10) Under a no smoking sign, in a booth, a man sits smoking a cigarette. In a booth next to him are four women, one of whom glances back at him. (11-15) Cut back to the band. (16) Then to the man in the booth. (17-19) An employee advances and, pointing out the sign, tells him he has to ask him "to stop smoking", put that cigarette out. (20-22) The man replies, "Make me." (23-25) Chad, in civilian drag, advances and says, "I'll take care of this." (26) When the employee walks away, Chad smiles and says, "Give me a smoke." (27) The man pulls out a pack and tells him to keep the whole pack. (28-29) Chad says, "Thanks, Buddy," and walks away. (30-31) He opens the box and inside is a roll of $100 bills.
(32-39) Back to the band.
(40) A woman in a black shirt, in the next booth, leans over and asks, "Can I have a light?"
(40-43) RICHARD: Come here. Sit down.
(44) A little nervous, but interested, she sits. (45-46) He immediately grabs her by the waist and pulls her against him, (47) his other hand grabbing her breasts.
(48) RICHARD: Hey what? What's your name?
(49) CHARLOTTE: Charlotte.
RICHARD (his hand now around her throat): You want to fuck me, Charlotte? You want to fuck?
CHARLOTTE: No, no, stop it!
WOMAN IN WHITE SHIRT: Hey! Leave her alone!
(51-53) RICHARD (still grasping Charlotte's throat): Little fucking smoking babes. Makes me laugh. I'm gonna laugh when I fuck you, bitch!
(54-55) Back to the band. The white light of a strobe.
First, the viewer finds out that Chad is a true shit. We assume he's working with those moving drugs through the area. He's the unknown trail on which there is no camera. If it wasn't for his association with the scene, it would appear to have no other relation to the Twin Peaks story other than taking place at the roadhouse. Even with this scene letting us in on Chad's activities, at this point the rest feels dissociated, but for the violence.
We don't know yet that this character's name is Richard, and only learn from the credits that it's Richard Horne. We have no idea yet how he relates to the Hornes, but it is doubtful that Lynch/Frost are pulling in someone who isn't an immediate family member. His age makes him a good candidate to be a son of Audrey's, but that is just conjecture. If he is a son of Audrey's, we wonder what happened with her that she ended up with such a psycho for a son. It's a shock. We don't know what to think of this example of the next generation of the Horne family. Because he's so psycho we might wonder if he could, by any chance, be a son of Mr. C? Is that possible?
Earlier, I was writing that Lynch/Frost were realer and rawer here than they've been before. Laura Palmer had all the soap and horror decorative elements to defuse and distance. But this is real, and it's a terrifying scene. I've had this happen. Variations on it. And just these words, out of nowhere, in response to no romantic intention . "You want to fuck me, bitch?" The aggression, the sudden explosion of hatred is like being beaten, in response to a purely innocent, convivially intended social exchange. Eamon Farren is spot on--his suddenness, his tone of voice. The out-of-the-blue of a violent and absolutely unexpected response. The horror of it. This is something with which many, many women watching the show will be able to relate.
The scene with Richard replays Doppelcoop's assault on Darya before his murder of her. The scene with Darya was down the line of old Twin Peaks. The monster, rather than the man, killed her. He's not "real". The fight between Darya and Mr. C is vivid and horrid, but there is still a distancing and defusing by way of the monster and the violence occurring within the storyline of a woman involved in an X-files situation. With this scene between Richard and the woman, these individuals are sitting in a bar and there is no distancing and diffusing. There are just individuals in a bar and it's raw and real. And the people respond as normally. The men in the next booth pay no attention. One of the woman's friends says something but otherwise they don't know what to do. There is no calling of the police. The woman Richard is holding is going to be in complete shock, terrified, immobilized by his hand on her throat, and also wondering what she did to cause this. Should she not have asked for that light? Was her asking for that light the reason for this? Of course not. But that is the kind of shaming of the victim that happens so that these shamings become also the burden of the victim. Others will also ask, "What did you do?" Richard is crazy as fuck. The woman did nothing except ask for a light.
With its "Can I have a light?", this also links back to Dr. Jacoby's cosmic flashlight.
Everyone certainly got an illuminating look at Richard.
(1-4) Tammy Preston looks at an old photo of Cooper. (5-6) She then compares it to the mug shot of the Cooper she saw at the prison. (7) Then she brings up fingerprints from now and then. (8) She pauses, looking at one of them, wondering. (9-12) The print that has provoked her curiosity is the left ring finger print, which is backwards in comparison to the old. She's puzzled. What she has neglected to observe is that the lettering is reversed as well. So she is puzzled for both the wrong and right reasons. She has not observed that the image is simply backwards as indicated by the L RING lettering. But the viewer knows that coincidentally the error is spot on, that it speaks to this being the doppelganger. That it is reversed connects to Gordon's earlier asking Albert if he got up on the wrong side of the bed in Part Four.
I was trying to learn a little more about Tammy from an image of an equestrian statue on the wall beyond her. It looks very familiar but I can't find an exact match.
(1) Mr. C sits at Yankton waiting for his phone call. Warden Murphy enters with a phone, plugs it in and tells him, "One phone call." (2) Mr. C looks at him in a way that unsettles the warden and thanks him stonily. (3-6) Murphy retires to a room showing images from security cameras to watch. He asks, "Are we recording?" and is told, "We're recording everything."
(7-9) Mr. C, staring at the camera, says, "Now that everyone's here, I will make my phone call. Now, who should I call? Should I call Mr. Strawberry?" (10) This attracts the Warden's attention, he whispering, "What the hell?" (11-13) Mr. C continues, "No, I don't think I'll call Mr. Strawberry. I don't think he's taking calls. I know. I know who to call."
(14-17) Mr. C taps in a few numbers, waits and taps in a long string of numbers. (18-19) The prison suddenly goes crazy with alarms blaring, lights flashing. (20) The Warden yells, "What the hell?" (21) "How is he doing this? How is he doing this?" (22-24) The Warden asks, "Did he make a call? What number did he dial?"
(25-30) We see that even the monitors are no longer showing what's on their security cameras but other videos. The top left one shows a man working on some kind of machinery. The top right one is of a cooking lesson, three women standing at a table around a bowl containing a red substance. A woman on the left wears large black sunglasses that stand out as odd for a cooking show.
Mr. C says into the phone, "The cow jumped over the moon." He hangs up and the mayhem stops. Everything returns to normal.
(33) "What did this guy just do?" the Warden asks, staring at the feed of (34) Mr. C staring back at them.
With the display of Doppelcoop on the prison's security camera and his taking control of them, we probably should think back to the casino scene in which footage of Cooper-Dougie is being watched.
The cooking show takes us back to Dr. Jacoby talking about being wary of what's being cooked up by the establishment, you need to know the ingredients and read between the lines as it might be poisoned. Recollect that when Jacoby first appeared he had on the sunglasses which he removed, stepping outside, showing his red and blue glasses. In this cooking show inside a woman is wearing a large and obvious pair of sunglasses.
Buckets are not mentioned here but we have a Mr. Strawberry. Buckets were the theme through the flowing coins at the casino and Doris Truman's anxiety over the leak that she's certain will cause black mold. Frank had asked if she'd tried a bigger bucket. In Lost Highway a Fred Madison is imprisoned for killing his wife. One day, though on death row, suddenly he disappears and has been replaced by Pete Dayton. The switch is inexplicable and Fred Madison seems to be nowhere to be found. Pete Dayton is an innocent man with no relation to this case, he has no idea what is going on, and thus is released. Apparently, something happened to Pete, the night of the switch, that was witnessed by some family and friends and was so bizarre that they resolutely do not discuss it, so the viewer never finds out what happened either. He is taken home to recuperate and is having trouble reintegrating into his life. One scene has him going out one night, his parents thinking this will be a good thing for him, and they are shown watching, on the television, pickers in the fields who are said to be filling buckets with strawberries. Because we've had the focus on buckets in this show, I'm inclined to think the strawberry scene in Lost Highway is being referenced.
In Bergman's Wild Strawberries an old man, with a visit to a strawberry patch, is so vividly reminded of his past that it returns to him with the strength of current events.
I'm inclined to think that Murphy has no previous knowledge of Doppelcooper and that is one of the reasons he is so surprised by Doppelcooper speaking of Mr. Strawberry, who is perhaps someone in Murphy's past, now being recalled to him, who is dead and the circumstance of his likely association with that death is going to be illegal. Else the warden wouldn't be so panicked. Else Mr. C wouldn't be so confident in the warden becoming panicked.
Hey diddle diddle, the cat and the fiddle
the cow jumped over the moon
the little dog laughed to see such sport
and the dish ran away with the spoon.
Doppelcoop mysteriously had a dog's paw with his cocaine and gun. Does this dog's paw fit in with the rhyme, the threat concerning Mr. Strawberry, and Doppelcoop's imprisonment? He had, after his murder of Darya, downloaded information on this prison which is what apparently gave him the ability to make their systems go briefly haywire. Had he planned to be arrested or did he know it was a possibility? He did, after all, seem to want to get Ray out and back in his hands, and his own imprisonment would have been a means by which to do it--a risky and extreme means, but a means.
He would have been aware that with his arrest his prints would draw the FBI's notice to him as Cooper. Was he also prepared for this and thus expected the meeting with Gordon?
(1) An establishing shot of Buenos Aires, Argentina, the Obelisco de Buenos Aires at the Plaza de la Republica, erected in 1936 in commemoration of the city's founding 400 years prior.
(2) Cut to the lamp hanging from a decaying wall that we saw at the beginning of Part Five, after Lorraine texted:
Argent can represent the moon, as well as silver. Curiously, Taurus is a cow and the bumper from Cooper-Dougie's car, with the explosion, landed on the roof of the druggie mother's house.
(3) The camera pans around the space down to the bowl that holds the rectangular device. The device blinks red twice, then mysteriously and quickly shrinks.
The shots are so similar to those earlier, that we only know that we haven't gone back to early morning as the two beeps here seem to be maybe a half-step lower and the device immediately shrinks, whereas before the camera held on the device for around two seconds after the beeps. We don't hear the device ring, either, but in the earlier scene, after the device rang we returned to Lorraine punching in the text, then back to the device.
However, the muted light on the device is the same as in the morning.
This is not the simple reuse of footage. We are tasked with instead thinking about time in relation to this object, as well as to part five.
The audience is wondering how in the hell this device seemed to magically self-destruct, and what it could possibly have to do with Lorraine's phone call at the beginning of the episode. What remains in the wooden bowl looks like tit could be now a little piece of silver--thus the ARGENT 2?
We had observed Dougie both go up and smoke and be resolved to a ball of gold. Now this item resolves down to perhaps a small piece of silver. Down in Buenos Aires. Buenos Aires, of course, was where Phillip Jeffries was last known to be, from where he disappeared back in 1989 after having been missing for two years.
The zen aesthetics of the bowl and device have the flare of Doppelcoop as exhibited in the space containing the glass box in New York. Why would Lorraine, who had been hired to set up the hit on Dougie, be given a code that results in this? Her anxiety in typing the code in had been palpable. She only did so when she knew it was unavoidable.
Phillip Jeffries. Phillip Jeffries. And who was it Mr. C had spoken to in the motel room, who he had believed to be Jeffries, who had missed him in New York, who knew about Briggs, who stated he would be again with BOB with Mr. C returning to the Black Lodge and was telling him goodbye?
(1) Return to the statue of the gunman in the plaze before Cooper-Dougie's work place. (2-4) Cooper-Dougie, still standing before the statue, now he has focused on the shoes of the statue and touches them gently. A policeman steps over to tell him there's no loitering allowed. "Move it along, champ." Cooper-Dougie pays no heed, focused upon the statue. Instead of the Bang Bang club, the credits this time run over Cooper-Dougie as he considers the statue. The dedication is to Marv Rosand, who played Toad, the cook.
The viewers will consider that Cooper-Dougie is as entranced with the shoes as he is due the loss of his own during his transition. It's a wonderful ending, poignant, Cooper-Dougie's quiet passivity as he waits, without expectation, for what he is next to do to happen, even unconscious of the wait. Simply being.
In parts 1 through 3, Lynch had no outstandingly lengthy static shots. In parts 2 and 3 we had a lengthy amount of time devoted to Cooper's journey back, but that's different. I could be wrong, but I think the first static shots that probably stand out for the viewer as long are in the Wally Brennan scene in 4. This is followed by the lengthy amount of time spent on Cooper-Dougie at the breakfast table, but that involved again no excessively long static shots. Then there is this, a static shot that sticks with Cooper-Dougie's focused attraction to the statue for some time--a time which probably feels a little longer than it is due to our having already observed Cooper-Dougie's fascination with the statue in the morning, then again after he had initially left work, beginning at 5:30 p.m. He has been there for hours. The static shot gives an opportunity to absorb fully, in a different way, Cooper-Dougie's mental state and response to things, by themselves accompanying Cooper-Dougie in that long static, focus.
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.
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, and Doris complains she has been waiting at home for hours to act as a chauffeur, so the time frame doesn't seem to fit with a morning one.)
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..