TWIN PEAKS RETURN -- PART SIX -- DON'T DIE

AN ANALYSIS OF THE UNFOLDING

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.

WHERE'S HOME?

ABOUT THAT LEFT HAND / THE ABSENCE OF THE WEDDING RING THAT WAS REPLACED BY THE OWL RING ON DOUGIE'S HAND / THE COINCIDENCE OF COOPER-DOUGIE STRUGGLING TO COVER HIS LEFT HAND AFTER TAMMY'S EXAMINATION OF THE PRINT OF THE LEFT HAND RING FINGER / IN THE LAND OF THE LOTUS EATERS / THE ARTHURIAN COURT AND SIR GAWAIN AND THE GREEN KNIGHT AND THE REMINDER TO ALWAYS BE HONEST

(1) We return to (perhaps) Tuesday night, the dark statue of the gunman on the plaza. (1) Cooper-Dougie still stands before the statue of the gunman, but he is no longer focused upon it. For some reason he is now trying to stretch his left sleeve down to cover his hand. The policeman returns, and as he speaks with Cooper-Dougie, Cooper-Dougie continues struggling to cover his hand with the sleeve and finally succeeds.

POLICEMAN: I told you to be on your way half an hour ago, sir. There's no loitering here. (2) POLICEMAN: What's your name, sir? What's your name, sir?
COOPER-DOUGIE: Dougie Jones.
POLICEMAN: And where do you live Mr. Jones?
COOPER-DOUGIE: Home.
(3) POLICEMAN: Where's home? (4) Dougie reaches out to touch the officer's badge. (5) POLICEMAN: No, no, no, no. Don't touch the badge.
(6) COOPER-DOUGIE: Lancelot.
(7) POLICEMAN: Lancelot Court?
(8) COOPER-DOUGIE: Red door.
(9-11) POLICEMAN: Have you been drinking sir? Any drugs or medications? Have you taken anything?
(12) COOPER-DOUGIE: Case file.
(13) POLICEMAN: Come with me. Come on.

Pulling his sleeve
Pulling his sleeve

A difference between this scene of Cooper-Dougie before the gunman statue, and that with which we ended in part five, is Cooper-Dougie's attempt to draw down the sleeve over his left hand. He tugs and tugs and tugs, determined, and perhaps oblivious as to why. Lynch/Frost are intentionally drawing us to the hand rather than this being a random quirk. Does Cooper-Dougie do this as the left hand is the same as the gun hand for the statue, and it has to do with his struggle to remember? Is he trying to make that left hand like the gun? We've also the fact that Cooper-Dougie used to have a wedding ring on that hand and it is no longer there, it was found in Major Briggs' stomach. But Cooper-Dougie shouldn't know about this, or that Dougie was wearing the jade symbol ring on that hand when they changed places. The left hand was certainly brought to our attention in part four, however, with Tammy examining the fingerprints of the youthful Cooper with the one in prison, and believing that she'd found that doppelcoop's left ring finger was reversed from the prints of twenty-five plus years ago.

For the viewer we have the continuation of Cooper-Dougie's saga as he endeavors to find his way home, like Odysseus. It's as if he is in the land of the lotus eaters and has forgotten about the struggle to reach home, and needs to remember it.

But home for him is also, now, here, with Janey and Sonny Jim, on Lancelot Court.

Lancelot Court. We are given another opportunity to consider its connection to the Arthurian Court.

And with that, let's take a look at the story of Sir Gawain and the Green Knight in the Arthurian Court. One day, a giant of a man, dressed in green, astride a green horse, appears at Arthur's court. It's New Year's Day, a time of feasting and games. The knight wears no armor, carrying an axe and a holly bough. He refuses to participate in gaming battles with the others as he is too strong for them. Instead he proposes that one among them may strike him with his axe, and he will gift them that axe, with the agreement that in a year and a day's time he will return the blow. Gawain accepts the challenge and chops off his head. The Green Knight picks up his head, displays it to Guinevere, grotesquely reminding her of the conditions of his game, and leaves. When the time approaches for the return blow, Gawain sets out to ride the Green Chapel of the knight. On his way he, he stops at the castle of Bertilak de Hautdesert, meeting both his wife and an old and ugly lady who goes unnamed but is treated with great respect. Learning of Gawain's mission, Bertilak tells him he may remain with them until the appointed time. The next day Bertilak proposes his own game. He his going hunting and will give Gawain what he catches, if Gawain will give him what he catches during the day. After Bertilak leaves, his wife attempts to seduce Gawain, but he only permits her a kiss. Bertilak, on his return, gives Gawain a deer and Gawain gives him the kiss. This happens again the next day, only with a boar exchanged for two kisses. On the third day, the lady instead attempts to give him a ring. When he refuses she persuades him to take a "charmed" girdle of green and gold that will protect him from harm. They also kiss three times. When Bertilak returns that night, Gawain gives him three kisses in exchange for a fox, but does not divulge the gift of the girdle. On the following day, wearing the girdle, Gawain leaves for his meeting with the Green Knight. Meeting him, Gawain shows the giant his neck so he may strike him. The giant, however, only slightly wounds Gawain's neck. As it turns out, he is Bertilak, his true self hidden by magic. The trick was the doing of the sorceress Morgan Le Fay, Arthur's sister, who had masqueraded as the elderly woman. Her intention had been to frighten Guinevere as well as to test the knights. Gawain is ashamed that he didn't reveal the gift of the girdle and resolves to wear it as a witness to his failure to keep his promise, but the other knights instead say that it should be a reminder to always be honest.

I'm placing the above story here as for-the-thought, considering that Cooper-Dougie is dressed in a green jacket that is far too large for him, and that green of a similar color had aided him that day in his identifying Tony as a liar and immediately challenging him, which we can take as a variation of the Gawain story in which the green reminds him to be honest. We don't know yet how this open challenge will aid Cooper-Dougie, but the feeling is had that this will be too his benefit.

In the old Twin Peaks, Cooper had once told Audrey that he had no secrets, and some of what has been going on in this Twin Peaks seems tied to the idea of fidelity, which I covered in parts one and two.

DON'T DIE

SONNY JIM'S GOLD STAR BLANKET, THE CASINO AND THE "STARS" THROUGH WHICH COOPER FELL / THE OFT-ASKED QUESTION OF WHERE IS DOUGIE'S CAR / VOLUME #3 OF THE HARDY BOYS MYSTERIES, THE SECRET OF THE OLD MILL / THE HARDY BOYS' FATHER WAS A DETECTIVE / YOUR LATE / JADE GIVES DOUGIE A RIDE TWO TIMES / THE TWIN PEAKS TRAFFIC LIGHT CHANGES FROM GREEN TO RED, INTRODUCING THE RED ROOM / STAIRS AND LADDERS / STOCKTON AND CLARK

(1) The red door of the Jones' home. (2) As the doorbell chimes, we see Sonny Jim in bed, reading a book by nightlight. His blanket is blue covered with gold stars, which may remind of the casino's starry carpet and the "starry" cosmic sky through which Cooper plummeted. Sonny Jim's pajamas are covered with illustrations of cars.

(3-4) We see the interior of the front door as there is a knock. We hear Janey yell out "Just a second" and she answers it. There stands Cooper-Dougie between two policemen.

JANEY: Dougie!
POLICEMAN: Ma'am, do you know this man?
JANEY: Yes, of course I do. He's my husband, Dougie Jones. Where have you been?
(5) POLICEMAN: He seems a little disoriented?
(6) JANEY: That's on a good day.
(7-9) POLICEMAN: He has no identification, and he wasn't able to give me the street address. He only knew the house by the color of the door.
(10-11) JANEY: Oh, thank you very much, officers, for bringing him home. Come on, sweetheart. Let's get you in.(She reaches out and pulls Cooper-Dougie in.
COOPER-DOUGIE (touching the officer's badge): Badge.
(12) POLICEMAN: Yes. That's my badge, sir.
(13) JANEY: Yeah, he...
POLICEMAN: He's got this thing for my badge. I don't know.
JANEY: Yeah, he likes...thank you. Thank you, officer. Come on in.
(14-15) POLICEMAN: Oh, ma'am. There's an envelope here for you.
(16) JANEY: Oh, thank you again...

The policeman picks up the manila envelope off of the porch and hands it to Janey. (17) Dougie inside, she closes the door and apologizes. "Dougie, I'm sorry, I forgot, your car. Where is your car? Come on. I'm gonna fix you a sandwich."

Again, the viewer at least knows the answer to the question of where is Dougie's car. We may not know much else, but we knew Dougie's car was at Rancho Rosa and now we know that Dougie's car is toast. Score one for us. But, indeed, it's kind of reassuring that we are able to answer this. "Janey-E! Dougie's car is toast!!!"

(18-19) Cut to the pair eating sandwiches at the dining table.

JANEY: Tomorrow at lunchtime I'm taking you to see Dr. Ben. He needs to take a good look at you.
(20) COOPER-DOUGIE: Look at you.
JANEY: And what are these? (She pats the files.)
COOPER-DOUGIE (pats the files): Case files. Case files.
JANEY (looking at the envelope): And this one? There's nothing written on it. Okay, Dougie, you need to go upstairs and say goodnight to Sonny Jim. He's been waiting up for you.
COOPER-DOUGIE: Up for you.
(21) JANEY (urging): Go upstairs and say goodnight to Sonny Jim.

The stairs
The stairs

(22-27) Holding a bag of chips, Cooper-Dougie ambles into the corridor, passing the steps. Janey calls out to him, "Upstairs!" He draws back, looking at the stairs, then slowly mounts them. It's a wonderful and poignant bit of comedy.

(28) Upstairs we see Sonny Jim still reading. (29-33) He watches as Cooper-Dougie passes and goes in the door opposite. We hear some clinking sounds. (34) Cooper-Dougie emerges from across the hall and glances at Sonny Jim's door, as if perhaps remembering he was supposed to say goodnight to Sonny Jim. (35) Sonny Jim pats his bed for him to come in and sit down. (36-38) Cooper-Dougie enters and pats the bed as Sonny Jim had done. (39-43) Sonny Jim pats the bed again, smiling, and Cooper-Dougie gets the meaning and sits down. (44-46) Cooper-Dougie eats chips and offers one to a smiling Sonny Jim--which is a big thing, as he's not mimicking, he is instead doing something of his own accord. Sonny Jim turns it down, saying, "I've already brushed my teeth", so Cooper-Dougie leaves the chip on the blanket.

Hardy Boys
Hardy Boys Mystery

(47-49) Sonny Jim asks, "Can I leave my cowboy light on?" then asks, "Will you stay with me until I fall asleep?" (50) Cooper-Dougie replies, "Asleep." (51) Sonny Jim closes his book, the #3 volume from the old Hardy Boys mysteries, "The Secret of the Old Mill". The plot is fairly convoluted, so I won't go into it here, but it has to do with the discovery that counterfeiting of money is going on, and it turns out the counterfeit money is being made at the old mill that was protected by an electric eye that cut off the electricity to the water wheel whenever anyone was approaching, this serving as a warning to the counterfeiters inside. The mission of the villains was actually to stop United States missile development.

The Hardy brothers had a detective for a father. Sonny Jim now has a man who was once an FBI agent for a father. The mill might remind us of the Packard lumber mill.

(52) Sonny Jim settles back and with a hand clap he cuts on his cowboy lamp. Now we see that Sonny Jim's night table has not only the cowboy lamp but cowboy figures on it, and he has cowboy figures on his curtains and cowboy figures on some paper lining his wall. Sonny Jim likes cowboys.

(53-58) Cooper-Dougie seems to remember something, riveted by Sonny Jim's clap having cut on the lamp. He claps his hands for the light to go off. Sonny Jim claps for the light to come on. They continue, back and forth, Sonny Jim laughing.

(59-60) 8 We see Janey downstairs, at the dining table, curious about the manila envelope. (61-68) We return briefly to Sonny Jim and Cooper-Dougie. Their clapping game is interrupted by Janey who calls for Dougie to "Get down here right now! Right now!" She is furious. Sonny Jim calls out that he was going to stay while he went to sleep, but Janey says, "Not tonight, he isn't! Mommy will be up soon, honey!"

(69) Cooper-Dougie goes down to the first floor and approaches with some trepidation as Janey grabs him by the collar of his jacket, pulls him over to the table, and sits him down.

JANEY: You are in the doghouse, mister. You were supposed to call them and set up a time to pay them off, and look, this shows up!

She displays a photo of Dougie with Jade. Dougie is in a blue blazer and brown slacks, and Jade is in a red dress and black backet, so the photo must have been made at the time of another assignation for on the day that Cooper took Dougie's place, Jade was dressed in black and Dougie was wearing a yellowish-tan blazer.

Photo of Jade and Dougie
Photo of Jade and Dougie

JANEY: Do you have an explanation for this?
DOUGIE (smiling): Jade.


(70) We see on the back of the photo, in cursive, "Your late..."

This would be intended as a threat, but Dougie is "late", as in dead.

We might also flash back to Mr. C telling Gordon Cole that he was "behind schedule" when he had his wreck. He had repeated this twice.

(71) JANEY: Jade. So that's her name, is it?
(72) COOPER-DOUGIE: Jade give two rides.
(73-75) JANEY: I'll bet she did. You admit you know her? Look at you two, holding each other like that.

(76-79) The phone rings, startling Cooper-Dougie.

Dougie is being unfailingly honest, but then he has no choice to be. He doesn't know how to lie.

JANEY: Aren't you going to answer that? Maybe it's Jade calling!
(80) COOPER-DOUGIE: Jade.
(81-82) JANEY: Oh my god, Dougie. We are not done with this. (She answers the phone.) Hello?
(83-84) MAN: Doug Jones?
JANEY (gestures with a finger over her lips for Dougie to keep quiet): Who is this?
MAN: Doug. Jones.
(85-86) JANEY (slaps Cooper-Dougie's hand away as he puts a finger to her lips, imitating her): He's indisposed.
MAN: Did you get our envelope?
JANEY: Yes, I did, thank you very much. Now, you listen to me. How much does he owe you?
MAN: Did he tell you?
(87) JANEY: No, he didn't tell me. I'm just finding out about all this right now.
(88) MAN: Fifty thousand.
JANEY: And how's he supposed to get that? Hmm? Who can get that kind of money? And what if he doesn't have it? What are you gonna do then? Break his legs? Think about it. It's hard enough to get that kind of money let alone with broken legs.
MAN: Fifty thousand dollars. Past due. It'd be real smart for Mr. Jones to have that on him tomorrow when we call his office.
(89-90) JANE: No, no, no, no. Don't you dare go to his office. I'll talk to you myself. In the park. At the corner of Guinevere and Merlin. By the mall. I'll be the one carrying the red purse.
(91) COOPER-DOUGIE: Red purse.
(92-100) MAN: When?
JANEY: Noon-thirty tomorrow. (The man hangs up.) What a mess you've made of our lives, Dougie. Now what am I gonna do with you? I was gonna take you to see Dr. Ben tomorrow during your lunch hour, and now I have to meet your friends at 12:30. Wh-where's your car? And your wallet? What happened to your wallet and your identification? And if that's work, you better get started right away! The last thing we need is you losing your job, Dougie! Okay, now. I'm gonna go upstairs and say good night to Sonny Jim. (Clears away the plates.) Tomorrow's a big day.
COOPER-DOUGIE: Big day.
JANEY: Oh, Dougie.
COOPER-DOUGIE: Big day.
JANEY: Yes, sweetheart.
(101) She kisses his head and he gazes skyward as she walks off.

Again, with Jane arranging for a meeting at Guinevere and Merlin, we are asked by Lynch/Frost to keep the Arthurian court in mind.

(102) Cooper-Dougie reaches out and touches the logo for Lucky 7 on the files. Humming-music starts.

(103) Cut to a Twin Peaks road light. Static crisps the music.


Traffic light

The traffic light was often used in the original episodes of Twin Peaks with scene transitions. Why revive the old traffic light footage and put it here, now?

Has this to do with the change of the light from green to red?

The traffic light has changed from green (a color of the day) to red, (104) and now we cut to Phillip Gerard in the Red Room, he wandering about with his right hand outstretched, which is the same position he had taken in part five when he was seeing Dougie and spoke to him in the bedroom, telling him that he had been tricked.

(105) Cooper-Dougie is looking at claim forms in the files he's been sent home with, uncomprehending. (106-110) He then looks to the side and sees Phillip appear, in the Red Room, superimposed in the Jones' living room before the fireplace.

Vision of Phillip in the living room
Vision of Phillip in the living room

PHILLIP: You have to...wake up. Wake up! Don't die. Don't die! Don't die! (Phillip pushes and pulls his arm in the air in a cyclical gesture.)

(111-113) Phillip disappearing, Cooper-Dougie looks back at his papers. (114-119) The ones he first looks at are for a burglary for Jake Cavallo. 0340-639256010045 claim number and policy number 1384393 004 011 94771. Las Vegas. Hotel owner. The rear entrance broken into at 3-4 AM. A bright light shines on the paper next to Jake Cavallo on the 4 line. Cooper-Dougie takes a pencil and draws a large dot where the light was. He opens the next file. (120-121) This time 3 bright lights appear moving down the page. (122-129) In close-up we see two bright lights, one shining net to the name of the insurer, Anthony (Tony) Sinclair, the other down lower. Cooper-Dougie draws a line connecting the dots. He then draws lines on his own, without our seeing any dots of light. (130-131) The lines look like a ladder beside stairs. (132-135) He scrawls a large dot next to the name of the insurer at the bottom of the page. (136-138) He opens the next case file and again (139-142) a light appears at the bottom of the page, beside the names Det. Loomis and Det. Stockton. He scrawls an extra large dot beside these names. (143-147) Again, further up, he draws a ladder and this tie above the ladder the staircase. which then comes down and connects to the star in the scrawled dot beside the detective's name.

Lights on the papers
The lights on the papers

Ladder and zigzag
Ladder and zigzag

The stairway shape can instead remind of the zigzag of the Red Room floor.

We take note of the name Detective Stockton, as Wally Brennan had spoken of traveling from Alexandria, Virginia (the military in Alexandria has become aware of Briggs' prints) to Stockton, California.

We take note of Clark county as Wally Brennan had spoken of following in the footsteps of Lewis and Clark.

This is a remarkable scene, the way Cooper-Dougie's pencil attacks the papers, one-by-one, manipulated slowly, stiffly, but with great determination. It's doubted that he has any idea what he is doing. He's following the signs of the lights and from these possibly (obviously) deriving connections that we ourselves can't make out, nor can he. Cooper-Dougie hasn't Dougie's memory so all so what he is doing here will have to be by following signs, without any comprehension of the significance of his actions, only that they must take place. He must do these things.

FUCK GENE KELLY

GENE KELLY'S SINGING IN THE RAIN, IN WHICH A SINGER LIP SYNCS AN ACTRESS, AND KUBRICK'S "SINGING IN THE RAIN" IN WHICH A WOMAN IS RAPED / THE MAX VON BAR, SUNSET BOULEVARD AND MAX VON MAYERLING / QUEEN KELLY, THE PROSTITUTE / GLORIA SWANSON AND JOE KENNEDY

(1) Albert, at night, driving through rain.

ALBERT (on the phone): You have a super night, too, Gordon. I don't know when I'm going to get home.
GORDON: Thank you, Albert. And let me remind you that this work you are doing tonight is very, very important. And I will be thinking of you as I drink this...(Woman in the background interrupts, "Here you go.")...thank you...fine Bordeaux.
ALBERT: Yes, I love a night on the town when it's 34 degrees and raining.


Albert stops the car (2) and steps out into the pouring rain with an umbrella. He exclaims, "Fuck Gene Kelly, you motherfucker!"

He enters Max Von's Bar, advertised with a neon megaphone.

(3) He makes his way through the crowded bar, wearing a beige trench coat. (4) From behind we see a woman white white-blond hair at the bar. (5) "Diane," he says. (6-8) She turns around, a cigarette in hand, a Martini glass before her. "Hello, Albert."

Diane
Diane

Diane. Ah, Diane. Everyone has been waiting for the possibility of the return of Diane, who we never saw in the original series. She was Cooper's secretary. She was pretty much his diary, as he sent her voice recordings of not only his professional but personal observations. And now here she is, in the flesh, and is the wonderful Laura Dern who has appeared in so many of Lynch's films.

The viewer focuses on Albert having exclaimed, in the rain, "Fuck Gene Kelly, you motherfucker", and so is reminded of Gene Kelly's not only of his brilliant dance scene in Singing in the Rain, but Kubrick's parody of it with the violent Alex beating and tying up the writer, Alexander, and raping his wife. As a consequence of this, Alexander was left in a wheel chair, cared for by a weightlifter, and his wife eventually died of pneumonia, but he claimed it was the rape that killed her.

In the Gene Kelly movie, a woman named Kathy does voice-overs for film, but is more talented than the vain actress for whom she serves as voice when the actress attempts to move from silent films to talkies. When the actress must sing her song live, Kathy stands behind a curtain and does the singing while the actress lip-syncs. The actress is revealed as being a fake and the talented Kathy is introduced by Gene Kelly as the real star.

This gets complex, because Alfred says this when he is about to enter the Max Von bar, the Max Von in neon over a director's megaphone. What this refers to is Sunset Boulevard in which Gloria Swanson plays Norma Desmond, an actress who didn't transition from silent to talkies and clings to the fantasy of a comeback, this fantasy bolstered by her devoted butler, Max von Mayerling. As it turns out, Max was not only once her director, but was also her first husband. He was played by Max von Mayerling, a famous director who served as director for Gloria in the film Queen Kelly. In that film, a Prince Wolfram, who is to marry Queen Regina, has a problem playing with other women. Kitty Kelly is a convent student who he flirts with, remarks on his being able to see her underwear that had fallen to her ankles, and in her embarrassment she has the bright idea to throw it at him. He went to prison for not wanting to marry Regina, preferring Kelly, and Kelly was banished from the castle. In the original version, Kelly, under duress of an aunt, marries a repulsive man. When her aunt dies, she leaves the man and becomes the madam of her aunt's brothel. Thus, "Queen Kelly", for she is the queen of the brothel. In the alternate ending, she instead dies in despair after being humiliated by Regina. (A clip of this appears in Sunset Boulevard.) The film was produced by J. F. Kennedy's father. She and Joe were lovers.

We have then, in the mentioning of Kelly, a possible reference to four different films: Queen Kelly and Sunset Boulevard, Singing in the Rain and Clockwork Orange.

A Kennedy had entered earlier via the Richard Chamberlain character, named Kennedy, showing Gordon into Denise's office. I had wondered if that wasn't a word association with Camelot and King Arthur.

IT'S MAGIC

SPARKLE / RED'S LEFT HAND AND COOPER-DOUGIE'S LEFT HAND / THE KING AND I / TIME STOPS WITH THE TWIRLING SUSPENSION OF THE MAGIC DIME / 7:14 AND THE DIVER'S SUBMARINER WATCH WITH THE DATE BLOCKED OUT / HEADS I WIN, TAILS YOU LOSE

(1) We view logs piled up for a saw mill. (2) Then cut to a black Corvette Stingray inside a battered industrial building with what appear to be bulletholes in a black wall. A man stands behind the car. To the side is a man with a gun. Another man, Red (Balthazar Getty), is recognized as the individual in Part Two who, in the Bang Bang, aimed his hand at Shelly like a gun, and one could tell they had a relationship and that it was likely a bad idea.

(3-5) Cut to Richard Horne, reacting to some drug he'd just taken. Part five just introduced to Richard, a truly vile character, passing money along to Chad in connection with the drug trade, then choking a woman while he hatefully demanded if she wanted to fuck him.

RICHARD: Ah, shit. Ah! Whoa! That is...whoo!
(6) RED: That's right, small time. You can pick the rest of it up at Mary Anne's.
(7-11) RICHARD: How'd you know that name? You know the area? (Still feeling the drug.) Shit. That stuff kicks.
(12-22) RED (taking Richard by surprise by assuming an abrupt martial arts stance, holds his right hand at his chest and draws his left hand up extended before him): Have you ever studied your hand? (He thrusts his right hand out in a fake punch toward Richard's stomach, grunting loudly. He withdraws his hands.) What do you think? I've been all around here the last couple of weeks. I, uh...I like it. We can move the sparkle right down from Canada.
(23) RICHARD: Yeah.

Red's focus on the left hand, asking Richard if he's ever studied his hand, reminds of Cooper-Dougie's attempt to pull the sleeve of his jacket over his left hand. And also reminds of the idea of doppelcooper having perhaps a reversed left fingerprint, or so Tammy Preston imagines.

The drug plot being moved further along, we now know who is carrying the drugs over from Canada, and what they are porting. A thing called Sparkle. It would be what Richard has just taken, and is likely what Becky and Steven were taking, rather than coke. We also wonder if it might be what the drugged-out mother in Las Vegas is taking.

(24-30) RED (stomps his right leg five times, rubs his hip): I have a problem with my liver.
(31-33) RICHARD: Hey, these fucking little towns are a pushover. Law enforcement's asleep at the wheel. Fucking sheriff here is like ninety years old or something.
(34-36) RED (thrusts his arms out with an obviously fake whip sound effect, raises his hands and smooths his hair back): Did you ever see the movie The King and I?
(37) RICHARD: What?
(38-42) RED: I said I like it. What do you think? You, uh, you got this under control?
(43) RICHARD: Yeah.
(44-48) RED: You better have. There's, there's one problem. I don't know you yet. I'm gonna be watching you, kid. Got that?
(49) RICHARD: Yeah. I got it. Don't call me kid.
(50-57) RED (laughs): Just remember this, kid, I will saw your head open and eat your brains if you fuck me over. (He points his hands like two guns at Richard.) You can count on that.

Well, that threat of eating Richard's brains will strike the viewer, considering how poor Sam and Tracey had their brains devoured.

Reference is made to The King and I. In that film, Deborah Kerr, as a governess-tutor, enters the court of the King of Siam in order to train his children, as he desires, to be prepared for a modern world. Conflict results, despite his wishes for his children to be modern, for he is a traditionalist. In the end, he dies, and the children are thus released from traditionalism, but at the same time the old king had won the governess' deep respect and his passing is greatly mourned by all.

Out with the old, in with the new.

But I think what he is perhaps referring to here is the song "Getting to know you", that is sung after the governess tells the children that, having lived among the people of Siam, she likes them, whereas before they were just a spot on the map.

(58-60) Red pulls out of his pocket a dime and (61-68) displays it in the palm of his hand. A slight whirr-hum starts. (69-70) He flips the coin, heads up, into the air. (71) The coin sings like a crystal bowl as it slowly turns against a background of seeming dust motes frozen in flight. (72) Red stares at Richard. (73) Richard stares, (74) at the coin, (75) as Red watches him. (76-78) Then there's a clink and the singing stops. Richard swallows. Confounded, he reaches and pulls the dime out of his mouth.

Up
Looking up at the dime

The dime
The dime

Dime from his mouth
Richard takes the dime from his mouth

(79-80) Then we hear the singing coin again and it drops into Red's hand, (81) tails up. (82-84) Richard looks at his now empty hand and then at Red in confusion. (85-86) "This is you," Red says. (87-88) He slaps the coin on the back of his left hand, heads up. (89-93) "This is me. Heads, I win. Tails, you lose."

Red wears a Rolex Submariner watch that shows no date though it should. The "archetype of the diver's watch...launched in 1953". It reads 7:14. Where we should be able to read a date we instead only see black and white.

Durn. There was a "diver's" sign somewhere else in the series and I took note of it in the background but didn't right it down. I should have. It must have been a machine at the casino.

Rolex and dime
Rolex and dime

(94) We see Richard, frantic, furious, driving a truck. Angry at Red, humiliated, he fumes, "Kid! Fuck you, man!" He struggles with his high as he drives, telling himself, "Go. Come on. Come on. Come on."

Richard driving
Richard driving

What Red has just done seems like magic to the audience and to Richard. Richard, however, is under the influence of Sparkle and, despite the paranormal phenomena that goes on, it's the Sparkle that may play a part (perhaps the whole part) in somehow abetting this magic.

Red has already, continually, taken Richard off his guard, first with his martial arts moves, asking Richard if he's ever studied his hand, and then his stomping his foot loudly and remarking on his liver.

We note that Red stares up at the coin as it begins to spin, and that Richard continues to stare, his sense of time expanded, Red observing him. Becky had also stared up at the sky when under the influence. How the coin comes to be in Richard's mouth we don't know, but then it actually isn't, it is instead on Red's hand.

The viewer will be reminded of the boy (he seemed to be a little David Lynch) who was studying to be a magician and had an interaction with Donna in the original series. She delivered a meal to the home of a woman named Tremond who seemed to be a grandmother of the boy. The elder woman complained there was creamed corn on the plate. (The creamed corn would be an expression of garmonbozia, pain and suffering.) She asked Donna if she saw the creamed corn there, which she had not ordered. It was there, and then it wasn't, it was magically in the hands of the boy. The older woman told Donna that the boy was training to be a magician. When Donna next visited, she found a different, younger, Mrs. Tremond, her furnishings different, who said her mother was dead and that she herself had no children--so it would have been impossible for Donna to have visited the older Mrs. Tremond, who had different decor, and had no grandchildren. This same pair was also in Fire Walk with Me as the Chalfonts who lived in the Fat Trout trailer park where the first girl who was killed also lived. Out in the parking lot (where we saw Steven with Becky in part five), they had given Laura a picture of a flowered room and told her it would look nice on her wall. When Laura put it on her wall, while she slept she was transported to the red room.

Heads, Red wins. Tails, Richard loses.

Who is this Red? We had just seen at Sonny Jim with his book, The Secret of the Old Mill, where money was counterfeited. Now we have this scene seemingly in connection with a mill, all those logs on the water, and this matter of the peculiar, magical, silver dime.

The only thing we really have on Red is that the color red is associated with the Red Room, that earlier we were shown the traffic light changing from green to red, that he's seen The King and I and that he's trafficking Sparkle, a very dangerous mind-bending and physically destructive drug that might be the "Chinese synthetic" drug that Frank Truman had spoken about.

RETURN OF THE FAT TROUT TRAILER PARK

CHALFONT AND THE FAT TROUT TRAILER PARK / THE VIEWER'S SEARCH FOR LINDA

(1) We hear a train as we go to the New Fat Trout Trailer Park. The old Fat Trout Trailer Park had been in Deer Meadow, Washington, and was where Teresa Banks was living when she was killed. With the scene of Red, we have just just been reminded of the Chalfonts, the elder woman and her grandson, who lived at the park, taking the place of other Chalfonts who had lived there. So just as Jade gives two rides to Dougie, and other periodic instances on "two", there had been two Chalfonts at the trailer park. Chester Desmond had disappeared when he had found, at the park, under the Chalfont trailer, a man-made hill of earth upon which the green owl ring was perched.

Fat trout trailer park
Fat trout trailer park

(2) Carl Rodd (Harry Dean Stanton) approaches a van, saying to the driver, "Morning, Bill." In the background we see a man running toward them, yelling, "Hey, Carl! Can I get a ride with you into town? I gotta pick up Linda's mail at the P.O." Carl says, "Sure, Mickey" and climbs into the van, followed by Carl. (3) Bill climbs in the driver's seat and starts up.

Harry Dean Stanton is back now. He wasn't in the series, he was instead in Fire Walk with Me as the owner of the Fat Trout Trailer Park. Frost's The Secret History of Twin Peaks reveals that he was with Margaret, the Log Lady, and an Alan Traherne, when they shared a disappearance/abduction experience, each emerging from it with the same scar.

Carl had given the impression in Fire Walks with Me that he'd seen and done a lot (or what he needed) and wanted to stay put.

For some reason he has picked up stakes and moved back to Twin Peaks.

(4-8) CARL: Beautiful morning, huh?
MICKEY (Jeremy Lindholm): You, uh, you go into town about this time every day, don't you?
CARL: Damn near.
MICKEY: How come?
CARL: Gets me out of this trailer park. Not much I got to look forward to at my age, Mickey, except the hammer slamming down.
MICKEY: Don't say that, Carl. You got a lot of tread left.
CARL: How's Linda?

Linda's wheelchair
Linda's wheelchair

MICKEY: She's doing a lot better. Got the government agencies to finally get her one of them electric wheelchairs.
CARL: Fucking war. So the government's taking care of you, huh?
MICKEY: Not hardly. Took us about six months to get this wheelchair for her.
CARL: Fucking government.
(9) A blue truck carrying blue and green equipment roars by. (10) Carl lights a cigarette. CARL: Want a smoke?
MICKEY: Yeah. Yeah. But I quit.
CARL: Quit?
MICKEY: Yeah. Quit about a year ago.
CARL (laughing): I've been smoking for seventy-five years, every fucking day.

Mickey mentons a Linda, which may cause the viewer to sit up and take notice. ??????? had said for Cooper to remember a Richard and Linda. Richard Horne was in the scene before this, and now we have a Linda who is in a wheelchair. Lynch and Frost have also coupled this with the theme of smoking, Richard having attacked the woman after she'd asked him if he had a light.

We know from what Carl says Linda seems to need a wheelchair due the war, so perhaps she was a soldier. Is she "the" Linda for whom we are supposed to be watching? Lynch/Frost don't make this clear by making her tangential to Mickey who is going to pick up her mail.

Carl speaking of not having much to look forward to except the hammer sliding down may remind us of Jacoby banging his gold shovel with his Pete Seeger hammer. "If I had a hammer...I'd hammer out love between my brothers and sisters...If I had a bell...I'd ring out love between my brothers and sisters."

Well, I've got a hammer and I've got a bell and I've got a song to sing all over this land. It's the hammer of justice, it's the bell of freedom, it's all about love between my brothers and sisters...

Lyrics from Pete Seeger's If I Had a Hammer

Frost/Lynch have shifted tone in presentation so that instead of so many characters fictional bits of metaphorical bling, they present as real, in this case battling the trailer park stereotype by making them intimately personable in this task of picking up the mail.

MIRIAN AND MAGIC

MIRIAM AND THE MAGIC PIE WITH HER NAME ON IT

(1) Go to the exterior of the MAR T RR Cafe. We had previously been here when Becky had asked her mother from money then gone out to meet Steven outside in his Firebird. (2-8) Inside, Heidi, a waitress (Andrea Hays), speaks with customer Miriam Sullivan (Sarah Jean Long).

MIRIAM: So, when I pass that shop, I say, "Oh, I wonder if they have a cupcake with my name on it." And when I go in, sure enough, they have it.

Two empty plates before her, she giggles, as does Heidi.

Miriam, Heidi and Shelly
Miriam, Heidi and Shelly

MIRIAM: It's magic. And when I pass by the Double R, I say, "Hm, I wonder if they have a slice of cherry pie with my name on it, and when I come in, sure enough, you have it. Today you had two pieces of cherry pie with my name on it, each one.
(9) SHELLY (from behind the counter): Well, Miriam, it turns out you're one of our best pie customers ever.
MIRIAM: Because Norma makes the best pies.
SHELLY: She sure does.
(10) MIRIAM: Oh, hey, can I get two cups of coffee to go? One decaf and the other one regular for one of the moms who loves Double R coffee?
SHELLY: Coming right up.
MIRIAM: Excellent.
HEIDI: How is school, Miriam?
(11-13) MIRIAM: Oh, the kids this year are so cute! (She rises and goes to the counter.)
SHELLY (handing her the coffees): Here you go.
MIRIAM (handing over money): Keep the change. The tip is for you all.
SHELLY: Oh, thank you, Miriam.
MIRIAM: Bye.


Miriam, a bright light and new character, who we may never meet again, exits the diner, and Shelly and Heidi commiserate over the tip. She, with her giggling exchange with Heidi, is also raised above stereotype into the real. She speaks of magic. This episode so far seems to be all about magic, but so has The Return, and nearly all of Lynch's works. The magic here speaks to the daily level with Miriam. She wonders if something will be there with her name on it and she goes in and there is what she wants with her "name on it".

(14) HEIDI: She can't afford to leave a tip like that.
SHELLY: I know, poor thing. But she just loves our pies. You know what? Next time, let's treat her.
HEIDI: Oh, yeah, great! (Giggles.) Great idea!

CARL WATCHES A GAME OF CATCH-ME

CARNIVAL OF SOULS, THE TREES IN THE PARK, AND THE CONFUSION OF REALITY WITH DREAM / TIME AND TIME AGAIN, THE GAME OF CATCH-ME, AND COOPER AND HIS DOPPEL / COMPARING THIS STORY OF THE CHILD WHO IS KILLED TO THE STORY OF THE BOY WHO IS NOT KILLED BY THE BOMB UNDER DOUGIE'S CAR / THE TELEPHONE POLE CATCHES UP WITH CARL, HE HAVING SEEN IT BEFORE AT THE OLD TRAILER PARK / RED AND RHODD / THE SAME CORNER WHERE GERARD HAD THE CONFRONTATION WITH LELAND AND LAURA IN "FIRE WALK WITH ME"

(1-3) Cut to Richard in the truck, still furious. "Stupid magic motherfucker. Ha, yeah, kid? I'll show you fucking kid." (He speeds up the car.) "Whoo!!!! Yeah."

Cut to a park. Carl is seated on a bench with a cup of RR coffee and a cigarette in the other. He inhales, listens to the chirping birds with satisfaction, (2) gazes up through the leaves of a tree above him toward the sun. He looks content, even more than content. (3) But when we return to him after his looking up at the trees, he appears to be disconcerted, sad. (4) As he looks back up at the trees, the sounds of the birds stop.

His looking up to the trees brings back the idea of magic, Richard looking up at the spinning coin. I am also reminded of the great horror film, Carnival of Souls. Looking up to the sun through the trees in a park is a transitional element in that film. Mary, having survived a car she was in having plunged off a bridge into a river, continues with her life and moves to a job in Utah. Along the way, she begins to see the disturbing face of an otherworldly man. She's shopping for a dress for her new job when she realizes that suddenly no one can see or hear her. Bewildered, she rushes out the store. In a park, she transitions back to being part of the world after looking up through the trees and seeing the sun. People can see and hear her again. This happens later as well after she has some trouble with her car and takes it in to be fixed, and this incident instead seems much like a dream, for she enters the soundless world while her car is being fixed, leaves it to rush around town in a panic, and then she wakes up and is back at her car and in the "real" world. The phantom souls she sees, whom she tries to escape, turn out to be visible to Mary as she was either intended to die in the car wreck or had died in it. At the end of the film, she joins these souls, and her footsteps disappear in the sand (so she was definitely physically present). After this, we see the car being lifted out of the river and that she is dead inside it. We are still left to question if she had actually left the car, or if her body was in the car the entire time and a double of her had left it.

Carl in the park
Carl in the park

Trees
Trees

(5) A boy (wearing a light blue jacket) and a woman play before him, the boy running a little way, the mother running to catch him, the boy running, a little way, the mother running to catch him. (6) This cheers Carl. He smiles.

Catch
Catch-up

(7-10) Over and over again the woman catches the boy. It is a lovely scene, heartwarming, but I am also reminded of the Red Room and doppelcooper's catching him and replacing him. I also feel, watching this scene, that we are taken back to the statement of "Time and time again" made by The Tree as the Arm. Watching him being caught over and over by his mother, it makes me wonder if it is a statement on perhaps Cooper being caught over and over by his doppel, that it isn't a one-time thing. If it isn't a one-time thing, then what might make it stop?

(11-12) An ominous music beings as we return to Richard speeding the truck down the road. "Whoo!" (13-17) He comes up behind several vehicles at an intersection. "What the fuck? Fuck this?" The tires of the truck squeal as Richard pulls into the left lane to pass the cars. He punches the ceiling of the truck. (18) The red STOP of a street sign.

For once, the viewer knows exactly what is going to happen. The cute boy with the drugged mother, who looked both ways at the street before going to look at the bomb under Dougie's car, survived Dougie's car exploding. This boy will not be so lucky, and we know it by the manner in which this scene has built.

(19) We see the boy and mother have reached the corner. They stop at the intersection, careful. (20) A man at the head of the line of cars waves at the boy and mother to go on ahead. (21) The mother waves thanks. (22) Richard's truck approaches. (23) The boy runs into the intersection, continuing the game, (24) the boy pauses in the street and looks back at his mother (25) who now sees the truck, (26) Richard yells, "Hey!!", (27) the boy turns to the truck, (28) and the black truck Richard is driving ploughs over him. (29) The woman screams, "No!" (30) Carl, back at his bench, hears. (31-32) The woman runs into the crosswalk to pick up her child and hold him. (33-36) Individuals step out of their cars, shocked. The woman wails. The man who had waved for them to go on lowers his head, disconsolate.

The woman holding her son
The woman holding her son

(37-38) Richard, in his truck, speeding away, yells, "Hey! Hey! I told you to get out of the fucking way!!" (39-42) He passes a shocked Miriam, who sees him, and he sees that she sees him.

Golden flame
Golden flame

(43-45) Back to the woman holding her son. No one approaches, not knowing what to do. (46-48) At the intersection, Carl watches the woman holding her son, (49-52) and sees a gold flaming light rise up from the boy's head, rising past the power lines, disappearing into the sky. "God," he says, amazed. (53-61) All else standing in shock, he goes to the woman in the intersection.

(62) We see a telephone pole with the number 6 on it, above this the number 324810. Pan up to a transformer. We hear electricity crackling.


Telephone pole

Transformer
Transformer

A woman in a green shirt with Kokopelli on it had been standing by as a witness. I don't know if that's an intentional placement, and there are so many conflicting origin possibilities of Kokopelli to consider, even whether Kokopelli, the hunch-back, is playing a flute, or if it is a robber-fly with a long proboscis. Most often, Kokopelli is probably thought of as a trickster figure and fertility figure. Some stories have him carrying, on his back, the souls of children waiting to be born.

The boy and his mother did everything right and yet he was still hit. The boy back at the RR Rancho Rosa also looked both ways at the street, he was careful, but he touched the bomb not knowing what it was, then was chased away by the men in the black Charger who threw a stone at him. He was lucky. This boy was unlucky despite he and his mother doing what they were supposed to do and being cautious. By not having the other boy killed, Lynch and Frost prep us to expect, to know that this boy will be killed. We know there will not be two brushes with fate, that since the first boy escaped unharmed, this boy will not.

Lynch/Frost are saying, with the ascent of the golden light, "Believe", at least within the environment of this film, that spirits are real. Carl Rhodd is not under the influence of any drug. He simply sees what he sees, which is a golden light rising from the boy.

That the golden light rises and passes the telephone lines speaks to the disturbances that sometimes sound electrical or play with lights malfunctioning.

The shot of the telephone pole and the numbers on it is a repeat from Fire Walk with me. Not an exact repeat of a shot, but there was a pole with these numbers observed in that film. It was in the below scene in which detectives are looking around the trailer home of the murdered Teresa Banks. Carl has brought them coffee. A woman, smudged dark all over, holding a compress to her right eye, is suddenly standing at the trailer door. All take notice of her, and she wanders off without saying anything when asked if she knew Teresa. Carl stands staring blankly, suddenly as if out-of-sync the world. We are shown an image of the telephone pole in the trailer park, as if he is seeing it in his mind's eye. Carl then returns to the present and says, "I've already gone places. I just want to stay where I am."

Upon seeing the weird woman in Fire Walk with Me, Carl has perhaps had a premonition that was fulfilled these many years later.


Telephone pole

The scene of Red performing magic was leading directly into this one and so from that point to this forms a whole section. Red performs his magic that will remind of the Tremond/Chalfont boy, who was studying to be a magician, and who also lived at one point in Carl's old trailer park. We are then shown Carl's new trailer park. Over at the Double R, Miriam speaks of magic, the pie having her name on it. Then this startling event occurs, of which Carl may have had a premonition. Richard's rage at Red, and his being influenced by Sparkle, may have caused him to hit this boy. We've already seen he's psycho, but he might not have hit the boy had the earlier events not happened. Miriam becomes involved by having been a witness to Richard driving the truck. And he has seen her.

Oh, no. As viewers, we know that Richard having seen Miriam probably means no good for her. Which is too bad. We like Miriam. Damn.

I don't at all know if there's intended to be a connection but the color red plays strongly here with the stop sign that Richard speeds through, and Carl Rhodd wears a red shirt, and is seated on a cedar red bench. Rhodd in Celtic is red. So it may be that we had the bad Red, and now we have the beneficial red. Richard should have paid attention to the red stop sign. Carl is the one who has the courage to approach the woman in her grief and look her in the eyes, connecting with her in it.

This is the same corner where Gerard had a confrontation with Leland and Laura in Fire Walk with Me. They are driving down a street and a white trailer-truck comes up behind them, and swerves and swerves as if impatiently trying to get around them. Laura smells something burning. They stop at the corner behind a large logging truck. We see an old man crossing at the intersection (in the same direction as the boy had been going) using a walker, aided by a woman. The truck impatiently honks and then goes speeding away through a right lot. The man crossing the intersection is having a difficult time and nearly falls. The trailer-truck circles around, going through the intersection, and comes up on the left hand side of the road, going in the opposite direction from Leland and Laura, stopping beside them. He yells at Leland, "You stole the corn! I had it canned, over the store! And, miss, the look on her face when it was opened! There was a...stillness! Like the formica table top! The thread will be torn, Mr. Palmer! The thread will be torn! It's him! It's your father!" He shows Laura the green ring on his own pinky finger." Gerard goes speeding off. Nearly hysterical, Laura and Leland pull up into the lot of Mo's Motor. Leland is warned to take it easy with his engine or he'll burn it out. "A man comes out of the blue like that, starts screaming like a crazy person and harassing my daughter!" Leland cries out, asking if Laura is all right. He has a flash back to the Red Diamond City Motel where he'd gone the year beforehand, having arranged a foursome through the prostitute, Theresa Banks, but he had seen that Laura was one of the girls and had fled. The Chalfont/Tremond boy had, in his mask, gamboled around him. Alarmed, asking her father if he was all right, Laura had asked him if he had gone home (the day she saw BOB), and he'd said yes.

Creamed corn is the garmonbozia, the food of pain and suffering.

Richard Horne, in his truck, is also wild, but Gerard killed no one at the intersection. Carl is a uniting factor. Theresa Banks had lived at his trailer park and it was when her death was being investigated he'd had the vision of the utility pole in the trailer park. Which has now become associated with one at this corner where Leland had his flashback to Theresa Banks, Laura, and Ronette Pulaski at the motel.

THE ENVELOPE WITH THE BLACK DOT

THE RED SQUARE AND THE BLACK DOT

(1) Las Vegas. This time we have a view of the Fremont, Queens and the D hotel. (2) Duncan is in his office working on his computer. (3) A large bright red square appears on its screen.

The red square
The red square

(4-5) He clicks it away. (6) He gets a cloth and uses it to withdraw a white envelope from a safe. (7) He places it on his desk and (8-9) returns to his work briefly then stops and stares at the envelope.

Envelope with black dot
Envelope with black dot

Considering the sophisticated aesthetics, and Duncan's horror of the man for whom he works, my belief is still that doppelcoop is his boss. The symbolic language is code (and keeps "red" powerfully in play). We know that the the hit on Dougie (now Cooper-Dougie) failed as the bomb went off when the gang of car thieves tried to steal Dougie's car the previous day. The question is, if it is doppelcoop, how was he able to send Duncan this message, considering that he is in prison. Or has someone sent it for him? Because doppelcoop is in prison, we've got a problem with his sending that message unless it was somehow timed to go out. If doppelcoop can take over the prison as he did, I figure we are supposed to assume he can pretty much do whatever he wants to do technologically.

This same black dot was on the coffee cups that Tracey brought to share with Sam in the scenes of the glass box. The black dot was part of the logo, coming after the last of the two Zs on the cups. So this scene links us back to that, so the viewer will wonder if those black dots have anything to do with one another. Do they? Is it just an association with no concrete meaning?

DAVID UNION GEORGE EDWARD LINCOLN VICTOR

TIME AND TIME AGAIN AND THE DRUGGED-OUT MOTHER IN AN EXACT REPEAT OF HER ACTIONS THE DAY COOPER TOOK DOUGIE'S PLACE / LINCOLN AND THE LICENSE PLATE

(1) A coroner's van drives by the Rancho Rosa suburb sign. (2) Cut to the scene of the explosion of the car. Yellow number markers dot the lawn and sidewalk. 8, 3, 28, 4. What remains of the car is being transferred to a truck's flat bed. Several police cars are in the road. (3) An officer climbs a ladder to the roof of the house of the boy and his mother. (4) "Greg!" he calls back to another officer. "I found the plate!"

The roof
The roof

(5) Inside we see the mother seated before the card table, the blue pill she had taken the other day still in its bottle. This is an exact replay of a scene from Monday, as the bomb was placed under Dougie's vehicle. She yells, "One, one, nine! One, one, nine!"

119
119

(6-7) The officer on the roof yells out, "David, Union, George, Edward, Lincoln, Victor. Copy?" The recording officer on the ground tells him he's got it. (8-9) We have a last couple of looks at evidence tags and their yellow flags waving.

We have seen that it is likely Wednesday in Las Vegas, the day after the car explosion (it's had time to chill). However, the shot of the mother calling out 1-1-9 is an exact repeat of a shot from Part Three, when the mother called out 1-1-9 when the bomb was being placed on Dougie's car.

119
119

We've been intentionally returned to the state of her and the table before she took the blue pill in the bottle. I don't believe this is simply taken to be a flashback. Instead, in that environment, a loop appears to be happening. This occurs just after the scene concerning the numbers on the telephone pole after the death of the little boy,it having the same numbers as were on the telephone pole that was shown while Carl had a vision, in Fire Walk with Me.

Copy? Indeed.

So, what in the world is happening in there, because that recycling of events is not also occurring outside where the bumper of Dougie's car is now being retrieved from the roof.

Note that Lincoln appears again, this time associated with the license plate and letter L.

Lincoln was the street in Blue Velvet where was the apartment building with no 7th floor. Lincoln was on the 5 dollar note that Jade had given Cooper-Dougie, which had been changed into jackpot-winning coins for him. Lincoln was on the 2:52 clock in the Lincoln car Mr. C was driving. We had the stony face of Lincoln on Mount Rushmore. Now Lincoln is associated with the L on the license plate on Dougie's car's bumper.

IKE THE SPIKE

GAME OF CHANCE AND STATISTICS / ANOTHER PHOTO OF DOUGIE

(1) The exterior of a motel with the address 5333. We hear sirens as we cut to inside and (2) see Ike "The Spike" Stadler (Christope Zajac-Denek) throwing dice on a desk. He records the resulting number and tosses the dice again. He seems to be analyzing chance. The probability that a number 1 through 6 will come up on a roll of a dice is always 1 in 6 or 1/6. (3) His experiment is interrupted when an envelope is slipped under his door, (4-5) which he retrieves. (6) It's the white envelope with the black dot. He opens it as the "I am Old School" music plays, which had accompanied Lorraine in Part Five. He pulls out two photographs. One is of Lorraine, the other is of Dougie. He examines them both closely, then stabs first Lorraine's with a spike (the music stops), then Dougie's photo, to which is paperclipped a Lucy 7 Insurance business card for Douglas Jones. Lorraine's picture shows her wearing the same jewelry she had on in part five. The image of Dougie shows him dressed as he was on Monday, when he was swept away into the Red Room. He is at least wearing the same jacket. We never saw him, I don't believe with a tie. In the photo it's a red-striped one.

Photos and Spike
Spike and the photos

The best chance for a dice roll is 7 and the least common rolls are 2 and 12. The probability of rolling a 7 is 1/6 and the probability of rolling a 2 or 12 is 1/36.

Cooper-Dougie is still in the crosshairs, and Lorraine is now as well as her men didn't kill Dougie.

I hate it that Cooper-Dougie has hit men after him. It pains me. "Oh, no! They can't get Cooper-Dougie!"

MAKE SENSE OF IT

OKAY, NOW I FEEL LIKE THEY'RE TALKING TO THE VIEWER, TELLING THEM TO MAKE SENSE OF IT, THAT IF BUSHNELL CAN PARSE COOPER=DOUGIE'S MYSTERIOUS SYMBOLS AND CONNECTIONS THEN SO CAN YOU PARSE LYNCH AND FROST

(1) The elevator door opens at Dougie's work place to show Phil carrying an order of eight coffees. Cooper-Dougie stands behind him in Cooper's suit, carrying a cup of coffee labeled DOUGIE. He looked almost normal there for a minute, (2-5) but as Phil rushes out, Cooper-Dougie doesn't move. Phil calls back to him, "Dougie." (3) The elevators door close. Ding. Then they open again on Dougie smiling. (6-11) Phil tells him to quit clowning around. The elevators close again. Ding. Open to show Cooper still blankly grinning. The elevators close again. Ding. Open on Cooper-Dougie grinning. Phil motions for Dougie to follow him and Cooper-Dougie does, drinking his coffee, grinning. (12-13) He does not make it out before the elevators close on him, striking his shoulders. Buzz. He steps out, puzzled, and follows Phil.

(14) We see Bushnell step out of his office in which is a large steer head, white horns with black tips, fixed to a wall. Seeing Cooper-Dougie, he yells out, "Jones! Jones! Jones!" Phil has paused, wondering if he needs to help Dougie. (15) Tony looks out from his office, observing the scene. (16-23) Cooper-Dougie turns, as if frightened. Then hears Bushnell call, "Dougie! In my office! Now!" With "Dougie" he has faced Bushnell but does not otherwise respond. Phil has to go and push him into Bushnell's office. Tony continues to watch.

(24-25) Bushnell is seated at his desk going through the files Cooper-Dougie had worked on the night before (presumably Tuesday). (26) Cooper-Dougie drinks his coffee. (27-32) "What the hell are all these childish scribbles?" Bushnell asks. "How am I going to make any sense out of this?" (33) Dougie responds, "Make...sense of it."

We notice a large black dice with white spots on Bushnell's desk.

(34) BUSHNELL: I'm thinking you may need some good professional help, Dougie.
(35) COOPER-DOUGIE: Help...Dougie.

(36-39) Cooper-Dougie gazes up at the boxing poster of the (40-44) young "Battling" Bud Bushnell Mullins. Tougher than the rest. His Everlast gloves. Cooper-Dougie forms a hand in a fist. Then the other. (45-67) He looks at Bushnell who has continued going through the files and now bows his head in frustration. Cooper-Dougie looks back up at the image, seeming to have realized this is the same man, that he has gone through the metamorphosis of age.

Bushnell looks again at Cooper-Dougie with exasperation. Then he stops on a file. Looks closely at another. Somehow things are beginning to make sense for him. He's stunned, then speaks kindly.

(68-72) BUSHNELL: Dougie. Thank you. I want you to keep this information to yourself. This is disturbing, to say the least. I'll take it from here. But I may need your help again. You've certainly given me a lot to think about.
(73) COOPER-DOUGIE: Think about.

(74-76) Bushnell holds out his hand to shake Dougie's. (77-78) Cooper-Dougie holds out his hand, mirroring, then turns 180 degrees. Bushnell is perplexed then says, "Dougie, you're an interesting fellow."

Bushnell and Cooper
Bushnell and Cooper

Cooper-Dougie had performed this same motion, mirroring then taking the position of the person he's mirroring, with Sonny Jim.

Cooper-Dougie's an interesting fellow? Bushnell's an interesting fellow. He takes the scrawls that Cooper-Dougie gives him and, at Cooper-Dougie's urging to "make sense of it" (just a repeat of what Bushnell had said), he eventually does.

We know from the night before that Cooper-Dougie was partly drawing according to signs (lights) he saw on the pages. But what strikes me about the scene with Bushnell is that he is listening to his own urging "to make sense of it" when Cooper-Dougie repeats his words. One could possibly take this to mean that had Bushnell been paying the right kind of attention, the potential was there all along for him to find these things in his files. Cooper-Dougie could be interpreted as opening the door for Bushnell to make his own connections.

I have also the feeling the viewer is being encouraged to "make sense of it". Just keep plugging away at The Return, and if Bushnell can make sense of Cooper-Dougie's signs, then so can you as well make sense of what Lynch and Frost are tossing your direction. Don't give up! A nice bit of encouragement.

NOON-THIRTY--WHAT KIND OF A WORLD ARE WE LIVING IN WHERE PEOPLE CAN BEHAVE LIKE THIS, TREAT OTHER PEOPLE THIS WAY WITHOUT ANY COMPASSION OR FEELING FOR THEIR SUFFERING?

MORE RED / A SAVVY JANEY / AGAIN, THIS SEEMS A DIRECT ADDRESS TO THE VIEWER, AFTER ALL THE HORRIBLENESS OF THE PREVIOUS SCENES, AS TO HOW PEOPLE CAN ACT WITHOUT COMPASSION

(1) A playground with a couple of children swinging. Sounds of children playing. (2) We see Janey seated at a picnic bench, holding a red bag, jogging her foot. (3-5) Two men approach her. Tommy and Jimmy. One asks, "You Jones?"

That red quadrangle of a bag should remind of us the red quadrangle that had come up on Duncan's computer screen.

(6) JANEY: Yes, now let's get to it. Explain to me exactly what Dougie did to make him owe you money.
(7) MAN IN STRIPED SHIRT: He borrowed it.
(8) JANEY: What do you mean, he borrowed it?
(9-11) MAN IN JACKET: He took points on a football game. He got greedy, he doubled down. It didn't work out for him. Out twenty grand, he was, plus interest. Now, that was three weeks ago.
MAN IN STRIPED SHIRT: Meter's still running. It's up to 52.
(12) JANEY: So, let me get this straight. People were playing games. He made a bet where he lost twenty thousand dollars. But you want him to pay you back fifty-two thousand.
(13) MAN IN JACKET: Very good. That's correct.
(14-17) JANEY: Okay. So you get this straight. My husband has a job, he has a wife, he has a child, he does not make enough money to pay back $52,000 for anything. We are not wealthy people. We drive cheap, terrible cars. We are the 99 percenters. And we are shit on enough. And we are certainly not gonna be shit on by the likes of you.
MAN IN STRIPED SHIRT: Nevertheless, lady...

Janey's meeting
Janey's meeting

(18-26 approx) JANEY: So, here's what we're gonna do. Without my knowledge, my husband came to you for a loan of $20,000. You were nice enough to give it to him, but he should never have been gambling like that. I'm gonna pay you back. Now, at my bank, where we make less than one percent interest on what little money we have, people would be turning cartwheels just to get 25 percent interest on any loan. And that is what I'm generously gonna give to you right now. $25,000. That is my first, last, and only offer to you. (She takes out the money and the man in the jacket reaches to take it but she jerks away.) What kind of a world are we living in where people can behave like this? Treat other people this way without any compassion or feeling for their suffering? We are living in a dark, dark age and you are part of the problem. Now, I suggest you take a good long look at yourselves because I never want to see either of you again. (She slams the roll of money into the chest of the man in the jacket, storms off, gets in her car and drives off.)
(27) MAN IN STRIPED SHIRT: Tough dame.
MAN IN JACKET: Tough.


The hit on Cooper-Dougie that Duncan is fielding is still an ongoing plot, but it seems that Cooper-Dougie is now at least "free" of the loan sharks, as taken care of by the more-than-capable Janey at the park at Guinevere and Merlin.

If any viewers had been considering perhaps that the hit was being arranged instead by loan sharks, one now knows this is not the case.

It is pure screen "magic" that Janey is able to take control of the situation in this way and get away with it, but it makes us (me) love her. She's fighting for her family. Lynch and Frost are getting in a few socio-political jabs and directly addressing the viewers. "What kind of a world are we living in where people can behave like this? Treat other people this way without any compassion or feeling for their suffering?"

THE DEATHS OF LORRAINE AND THE WOMAN IN PINK

THE CARDBOARD AROUND THE PIPE IN LORRAINE'S OFFICE, THE GLASS BOX, AND THE PETROGLYPH AT OWL CAVE

(1) We see Lorraine in her office. We hear her say, "What do you mean he wasn't in the car? Three bodies?" The "I am Old School" music plays. We hear a scream and Lorraine looks up. She stands. Ike the Spoke comes running down the hall and into Lorraine's office.

Lorraine's face doesn't look roughed up here so my assessment in part five that she appeared to have bruises on her face may have been in error.

Spike and Lorraine
Spike and Lorraine

(2-25 approx) He stabs her repeatedly with the spike, grinding it into her chest, blood soaking the walls. As Lorraine lies dead, he looks up and back to see a woman in a pink shirt, black sweater and slacks, standing looking in the door. She screams as he pursues, blood splattered. Off screen, we hear a clattering of furniture and him stabbing her. He comes out and examines his spike, which as been bent. "Oh, no."

The bent spike
The bent spike

Ike the Spike, a maniacal terror, has put an end to the character of Lorraine. No more plot development for her!!

Let's take a look at that cardboard on the wall around the pipe behind Lorraine's desk. We only see it briefly.

Spike and Lorraine
Spike and Lorraine

That pipe sticking out of the wall and the box. We might be reminded of the glass box in New York, which has the lens like object sticking a short way out of the wall. And all the boxes around it. We had also earlier had the black dot on the envelope delivered to Ike that drew an association with the black dots on the coffee cups in the scene of the glass box.

Portal Side
The Portal Side View


Do not drop

The pipe sticking out of the wall might also remind of the discovery of the petroglyph behind the petroglyph in the original series. First, below, we see the petroglyph that was initially found.


The initial petroglyph

An owl flew into the cave and Andy, of all people, struck at it with a Simond (style) ice axe, striking the flame portion of the petroglyph. As you can see, the pick part of the axe went into a ring symbol in the flame that was not viewed from a distance.


Andy's Simond (Style) Ice Axe striking the petroglyph

We get a good look below of how it is an old Simond style ice axe, and that when it hits the petroglyph, there are sparks and a burst of light.

The Simond style ice axe, I don't know when it was developed, but it is very similar to the Pulaski axe, which I have spoken about in an earlier part of the analysis. I even wonder if the Pulaski axe, made in 1911, might have been developed based on the Simond style? I don't know. The Pulaski style axe is different from a regular axe in that it has the addition of the adze on the back of it, as with the Simond ice axe.

I had earlier noted how Ronette Pulaski was pretty much the last "civilian" Cooper saw before entering the Red Room at Glastonbury Grove, she identifying the oil the log lady said had been collected by her husband. And I had noted that I wondered if this was why we had Ronette Pulaski, as the American girl, seated before the fireplace in the room with the giant sparking electrical outlet through which Cooper would pass.


Andy's Simond (Style) Ice Axe striking the petroglyph

After Andy's axe struck the petroglyph, the center diamond popped out revealing the pipe-like object with the ring symbol on it.


The middle triangle pops out showing the owl symbol

Andy, Cooper, Harry and Hawk had left the cave. After they left, Windom Earle entered. He saw on the wall opposite the petroglyph the symbol that was on the "pipe" only turned upside down. So he realized he should turn the pipe around.


Windom Earle turns it like a key so it is upside down

He turned the pipe and the wall parts of the wall seemed to start to fall to dust.


The petroglyph under the petroglyph

The next day, Cooper returned with the others to find this petroglyph that had been hidden behind the other one. Cooper had told Andy to make an exact duplicate of the petroglyph. As we can see below, it is not quite exact but Andy's duplicate is like the duplicate that Windom Earle is shown to have.

Map from Owl Cave
Map from Owl Cave

Immediately after the revelation of the full petroglyph, we switch to Windom Earle telling the story of the wonderful and good White Lodge, and its opposite, the Black Lodge. He says of it, the spirits there are, "as like to rip the flesh from your bone as greet you with a happy “good day”. And, if harnessed, these spirits in this hidden land of unmuffled screams and broken hearts will offer up a power so vast that its bearer might reorder the Earth itself to his liking."

Just putting that there.

After all, Janey has just spoken of people having no compassion and it being a "dark age".

Now, what happened with the discovery of the petroglyph behind the petroglyph in the second season? Andy had rammed that ice axe into the petroglyph of shielding wall. What happens in this scene between Spike and Lorraine? Spike brutally stabs Lorraine with a conventional ice pick. (But he had also previously stabbed their photos.) He turns and sees a woman in a pink blouse watching, then so brutally stabs her with the pick that the shape of the pick is blunted twice at perfect right angles. Somehow.

I really can think of no reason for Ike the Spike to use a spike other than to draw an association back to the Owl Cave petroglyph and the ring symbol.

Windom Earle played a flute in the scene of his relation of the story of the White Lodge and the Black Lodge. When the child was hit by Richard's truck, a woman in a green shirt with Kokopelli was present.

RICHARD WASHES THE GRILL

1973 AND THE TRUCK AND MR. C

(1-2) Richard Horne drives the black, flatbed truck into an open field surrounded with trees. A yellow car and a white pick up with the hood popped are also parked there. We see the reflection of a the top of a utility pole in the windshield of the truck, which should remind of the utility pole where he had struck the boy. (3) He gets out and kicks the grill of the truck, enraged to see blood on it. He takes a cloth and bottle of water from the truck (4) and wipes blood off the grill of the truck (license NP8B3JD). Clean areas now are left amongst sooty areas on the grill and are themselves a "tell". He carelessly tosses the bloody rag and water in the grass and climbs back in the truck.

Richard washes the grill
Richard washes the grill

A theme of washing now enters, and with Ike the Spike soaked in blood it might have entered one's mind that he needed to wash up before anyone saw him.

The truck is a 1973 6th generation Ford F-Series. Perhaps only coincidence but Bill Hastings' birthdate was 1973, as was Mr. C's. We know that it is impossible for Mr. C to have a birthdate of 1973 yet there it is on his mugshot and prints sheet. The same birthdate as Bill Hastings. So, I do wonder about this death truck, that ran over the little boy, especially when we consider the mother and son playing the catch-me game that reminds of the doppel catching up with and grabbing Cooper to take his place. The viewer is still struggling with Richard Horne, who he is, if he might be a son of Audrey, who has yet to enter the story, and who might his father be. Might it be Mr. C? Do we have a hint of that with the truck? But why 1973? Perhaps only coincidence.

Another 1973 truck in The Return was the red one that was in our first view of Twin Peaks in part one, that delivered the shovels to Jacoby.

We were to remember 4-3-0 and Richard and Linda and birds with one stone. If its' 2016, then the trucks and Bill Hastings are 43 years of age, and Mr. C, according to his prison document, is supposedly 43 years of age as well. This isn't 4-3-0, but it may be interesting that we might have a version of 4-3-0 here.

HAWK'S INDIAN HERITAGE LEADS TO THE MISSING PAGES OF LAURA'S DIARY

FROM RED'S COIN TO HAWK'S COIN / HAVE YOU STUDIED YOUR HAND? AND NEZ PERCE MANUFACTURING / COIN MAGIC AND ARGENT / JACOBY'S COSMIC FLASHLIGHT AND HIS INJUNCTION TO LOOK AT WHAT'S LURKING IN THAT TOASTER OVEN

(1) We carry forward the theme of washing with Hawk now observed washing his hands in a bathroom at the sheriff's department. He towels his hands, looks at himself in the mirror. As he is looking at himself in the mirror he pulls a comb for his hair out of his pocket and (2) a coin falls out and rolls past a couple of pipes sticking out of the wall and into a stall.

We should be reminded of how Red had jingled the coins in his right pocket before pulling out the dime and playing his magic game with Richard.

(3) Hawk follows the silver coin (4) into the stall and sees it is a silver Indian head coin. (5) Hawk seems now to feel odd, he knows something else is there. (6-8) He turns and looks at the bathroom door and sees another indian head, the door made by Nez Perce Manufacturing. (9-11) He looks up and sees an upper right bolt missing in the door and that the corner of the metal is bent. (12) He looks at the door then (13-19) returns with a flashlight, crowbar and stepladder. He shines a light into the door and uses the wrench to pry the metal away. (20) Chad enters.

Indian head coin
Indian head coin

Nez Perce door
Nez perce

Shining the light in the door
Shining the light in the door

The manner in which Hawk had looked at the Indian head nickel, we know that he was surprised that it was in his pocket. He hadn't realized it was there. This Indian head has led to the Nez Perce head, and Hawk happens to be Nez Perce.

The choice of the word "manufacturing" is to be noted. As far as I can tell, there is no "Nez Perce manufacturing" so this has been created for the show. Dougie, too, was said to have been manufactured. So let's consider the etymology of "manufacture". As it turns out it comes from the Latin manu meaning hand. It is hand + working. What had Red said to Richard? "Have you ever studied your hand?"

Coin magic began before the coin dropped out of Hawk's pocket, with Red's dime--head's I win, tails you lose. Perhaps even before that with the "argent" (silver, money) of the day before.

CHAD: What the hell?
HAWK: Use the ladies room, Chad.
CHAD: What the hell are you doing?
HAWK: Please, Chad, use another rest room.
CHAD: Clear this with the sheriff?
(21) Hawk has pried the lock off the stall door. (22) CHAD: I'll tell him if you don't.
HAWK: You do that, Chad.


(23-26) Chad having exited, Hawk pulls out yellow pages with handwriting on them.

Hawk had first heard from Margaret concerning something that was missing, and his way to find it would have to do with his heritage, in part one after Ruth's head was found above Briggs' body in her bed. On Ruth's bookcase had been the books Indian Heritage as well as Dreamland.

Peculiarly, we should think back to the day before, in Las Vegas, when Dougie needed to use the rest room and a female associate had used her key to let him into the ladies room. Chad has entered while Hawk is looking in the door for the pages of Laura's diary, and Hawk tells him to use the ladies room.

With Hawk shining his flashlight in the door, we should also likely look back to Jacoby's cosmic flashlight, and his encouragement to read between the lines, his querying what's lurking in your toaster waffle?

What's lurking in the bathroom stall door? What was lurking behind the facade wall of the petroglyph in owl cave?

The same vast global corporate conspiracy. Different day. You can't see it without a cosmic flashlight. Guess what! I've got one. 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. Read what's on the box. In fact, read between the lines. What's lurking in that--that toaster waffle? Those muffins?

That is not to make an equation that would identify Laura's pages as part of the global conspiracy. Instead, we've the linking back to the idea to use the light to find what's hidden, and read between the lines.

The old stalls from the original series were quite different and didn't have the bolted panel doors.


The stalls as they appeared when looking for Phillip Gerard

Maybe we are supposed to imagine this is a different bathroom, but I feel like it probably took some searching to find those bolted panel stall doors for The Return.

They had been itching, since Bobby's need to urinate lest he float in part four, to get us into the bathroom. Now we know why.

DORIS' PAIN AND CHAD'S HEARTLESSNESS

ASKING THE VIEWER TO EXAMINE KNEE-JERK ASSUMPTIONS AND HAVE SOME COMPASSION

(1) Maggie is at her station, fielding calls. (2) In the background, the sheriff tells Chad and others, "Filling out paper work's no fun, I know that, but it's gotta be done, I want you to handle that..."

(3-9) He is interrupted by Doris storming down the hall.

DORIS: That motherfucking piece of shit. Well, surprise, surprise! It's not fixed!
FRANK: What's that, Doris?
DORIS: Dad's car! This morning he went to drive, couldn't even get it out of the driveway, Frank! It just lurched and lurched!
FRANK: Sounds like he left the emergency brake on.
DORIS: Are you telling me my father doesn't know how to drive a car, is that what you're telling me?! Don't you dare, don't you dare, don't you dare try to blame my father for that car not running right!
FRANK: We'll get it looked at again if it'll make you feel better.
DORIS: Feel better? Feel better? Why, why are you always against me, Frank!
FRANK: Let's go to my office.
DORIS: They did a lousy job fixing that car. They have to make it right or we're not paying them until we do.

Maggie, Chad and Jesse
Maggie, Chad and Jesse

(10-12) Frank having guided Doris away, Maggie, Chad and Jessie watching, Chad speaks up.
CHAD: I sure wouldn't take that kind of shit off her. (Maggie looks scornfully at him.) What?
(13) MAGGIE: You don't know what you're talking about.
(14) CHAD: Oh yeah? How's that?
(15) MAGGIE: Forget it.
(16) CHAD: What's the matter? It's a free world. I can voice my opinion.
(17) MAGGIE: Oh, you sure can.
(18) CHAD: Oh, brother.
(19) MAGGIE: She didn't use to be like this. You didn't know that their son committed suicide?
(20-22) CHAD: Yeah, I heard something about that. (Contemptuously, he wipes his eye, pretending to cry.) He couldn't take being a soldier.
(23-24) MAGGIE (answers a call): Sheriff's Department. What's your emergency? What's your location? What's your telephone number?

Sharon Van Etten's "Tarifa" plays. Chad looks over at Jesse who is gazing up screen left, seemingly at nothing.

This finish has more to do with the viewer than Doris. Earlier, Janey had assailed the world for its lack of compassion. In part five we were introduced to Doris who was all over Frank for the plumbing and issues with her dad's car. The viewer likely felt zero sympathy for her. Now, we are asked to take another look at Doris and consider the hidden side, what is behind her behavior. She and Frank lost a son, a soldier, to suicide. She is all exposed nerves and frayed edges, and rails against Frank for being impossible in his refraining from ever giving her an openly sympathetic response. His use of only using methodical reason instead, she interprets as his being always "against" her. She wants him to feel the urgent care that's needed for what must be fixed. They've both got some grieving yet to do. And it will never be done with, as we know from Sarah Palmer. We are being asked to use the cosmic flashlight to read between the lines of Doris' behavior and her dynamic with Frank.

The main connections for empathetic engagement, nurturing furthering it, are principally Cooper-Dougie as the nexus for the world around him, and Harry Dean stanton as the nexus for the world of old/new Twin Peaks. By means of Cooper-Dougie's frailty, his need for others to take care of him, to really pay attention to him in order to begin to get him, and his slow and lingering consideration of all that goes on around him, the viewer is forced to slow down and inhabit his environment and his worth as a human being apart from what we expect of the personality of Cooper. Again, as discussed earlier, to consider the concept of inherent being and definitions. Janey and Sonny Jim and Bushnell are the ensemble that makes it work. While over in Twin Peaks, Harry Dean Stanton is the conscientious, mindful, critical heart of the town.

By means of getting involved in the side stories, that become more than postcards due the way that they're managed, the viewer forgets, for a moment, to be so invested in the big story of getting Cooper back to the way he was and back to Twin Peaks where whatever will happen between him and Mr. C and BOB. Twin Peaks becomes much larger.

Cut to the Bang Bang Bar and the band.


The band

STAB AT A TIMELINE

A timeline as best as can be reasoned on information given thus far:

PART ONE:

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.

PART TWO

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.

PART THREE

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

PART FOUR

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. - Undecided as anomalous
6. South Dakota. Faces of Stone. The ride to the Yankton prison would be Tuesday morning. They are to be there at 9. - Tuesday
7. South Dakota. The meeting with Cooper's doppelganger. This is approximately at 9 on Tuesday morning. Another wrench is thrown into the timeline with the date, perhaps, of Cooper being picked up given as 9/22. 9/22 in 2016 is on a Thursday. 9/22 in 2015 is on a Tuesday. 9/22 in 2014 does fall on a Monday, so that would fit if we were moving 25 years forward from the Twin Peaks events of February 1989 (aired in 1991), but The Secret History of Twin Peaks has Briggs' dossier being research in 2016 and the comments made wile it is being researched don't indicate any knowledge on Cooper or Briggs past when the original series ended so it seems it would be researched before the events in the Return. Cooper's birthdate on his prison information is also wrong, off by nineteen years. - Tuesday (I'm sticking with Tuesday for now, based on the Thursday death of Ruth)
8. South Dakota. The blue night scene in which Gordon and Albert discuss Cooper and the Blue Rose cases. I think it's not night, that it is instead blue because of Blue Rose. - Tuesday.

PART FIVE

This is not chronological. All scenes appear to have happened on Tuesday, we having returned to Tuesday dawn at the beginning of this part. The idea of altering your reality was raised at the beginning of this part with the neon Las Vegas sign for the David Copperfield show. I am led to question what happened here that is a revision of Tuesday in Part Four. This may not just be filling in with information for Tuesday that wasn't covered in Part Four. We may have something that has occurred that altered reality.

1. Las Vegas - Lorraine and the hit men. Argent.
2. Device in unknown place, called by Lorraine.
3. Buckhorn. Coroner, Dave and Dan. The ring to Dougie from Janey-E. About 7:00 a.m. by clock.
4. South Dakota. Mr. C in prison, sees Bob within. Morning.
5. Twin Peaks. Mike rejects Steve's application.
6. Twin Peaks. Doris and Frank. Leak and car problem. (Car was checked two hours before which may or may not be too late for early morning.)
7. Las Vegas. Janey prepares Sonny Jim and Dougie for drive to school and work.
8. Las Vegas. The hit men go past Rancho Rosa house.
9. Las Vegas. Lucky 7. Dougie arrives at work at 8:55 a.m. Calls Tony a liar. Meeting with Bushnell.
10. Las Vegas. Mitchum brothers fire Burns and put Warrick in his place.
11. Las Vegas. Rancho Rosa. Car explosion.
12. Las Vegas. Jade mails key.
13. Twin Peaks. Shelly gives Becky money. Becky gives Steven money. Earlier he was looking for work.
14. Las Vegas. 5:30 p.m. Dougie leaves work.
15. Twin Peaks. Night. Andy and Hawk research files.
16. Twin Peaks. Jacoby's internet show at 7:00 p.m. Jerry in woods. See Nadine.
17. Alexandria, Virginia. Military gets ping on Briggs. Cindy will fly out immediately to South Dakota.
18. Twin Peaks. Richard at roadhouse chokes woman.
19. Philadelphia. Back in Phillie, Tammy researches the seemingly reversed print.
20. South Dakota. Mr. C takes control of prison with cow jumped over the moon.
21. Buenos Aries, Argentina. Seeming morning scene. But seems possibly the same morning as when device was shown at the beginning of this Part, though what happens with the device is different after the red dots flash. So another wrench..

PART SIX

1. Las Vegas. Carry over from Part Five. Cooper-Dougie still stands before the statue. He is taken home. Janey gets an envelope with photo of Dougie and Jade from a different day. She arranges to pay the loan sharks the next day. Cooper-Dougie goes through the files for Bushnell. Still Tuesday.
2. Philadelphia. Albert finds Diane. Possibly Tuesday night.
3. Twin Peaks. Meeting between Richard Horne and Red. Wednesday morning?
4. Twin Peaks. The New Fat Trout Trailer Park. Same Wednesday.
5. Twin Peaks. Miriam at the Double R. Same Wednesday.
6. Twin Peaks. Richard Horne hits the boy. 3-6 are all one event stream.
7. Las Vegas. Duncan gets red message, pulls file for Ike. Wednesday?
8. Las Vegas. Rancho Rosa. Cleaning up explosion scene likely from day before, Tuesday, so this would be Wednesday. Time glitch. the 1-1-9 woman is back to Monday.
9. Las Vegas. Ike the Spike gets the envelope with the hit on Lorraine and Dougie.
10. Las Vegas. Wednesday. Cooper-Dougie gives Bushnell the files that implicate Tony.
11. Las Vegas. Janey meets loan sharks at park as arranged day beforehand. Wednesday.
12. Las Vegas. Ike the Spike kills Lorraine.
13. Twin Peaks. Richard Horne cleans blood off the truck. Wednesday.
14. Twin Peaks. Hawk finds Laura's missing pages.
15. Twin Peaks. Doris and Frank argue again about the car. We learn their son committed suicide.
16. Bang Bang.

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Next: Go to Part 7

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