NOTE: Analysis is mixed in with the relation of
scene contents as well as at the end of scenes. Because of the nature
of Lynch's and Frost's work together, I'm approaching this analysis
differently from how I do usually. As I proceed in the analysis, I am
only looking at the "present" and back to information that has been
given previously. I keep in time with what is revealed per part,
looking at connections that link back to previous parts, old
episodes, and other Lynch and Lynch/Frost works, for the manner of
unfolding is my primary interest. I will likely repeat history from
part to part so I ask your patience with this. This 18 hour film is
made for one who knows Twin Peaks from the beginning and so
I am also approaching it as such a viewer--their expectations and
questions as they receive new information.
In my Kubrick analyses I include a screengrab of each shot, and number the shots from the beginning. I am also careful with the Kubrick to have dialogue associated only with the shot in which we hear it. I'm doing things differently here. I am listing shots but not providing screengrabs of each, and am numbering them from the beginnings of scenes. I am also not strict, in the Twin Peaks analysis, about keeping dialogue within the context of a shot. For instance, if a character starts speaking in shot 2 but the bulk of the dialogue is in shot 3 then I will have that dialogue associated with shot 3. Also, as a matter of convenience for me, I'm not being a stickler about numbering shots in this analysis. Often I group them in blocks, and their number may not even be exact. The use of them at all is to provide some structure as far as ease in separating a relation of shots and dialogue from commentary, and to give a sense of approximate number of shots. Usually a lot. Lynch/Frost do a lot of back-and-forth response shots between people. I'm a little surprised at how many shots are used in some scenes. In my Kubrick analyses I'm very careful with shots to get them exact, to have the exact number, to associate them exactly with what is going on in dialogue etc. I don't feel it's as essential to pay such meticulous attention to certain particulars with Lynch. His works show some bit of Kubrick influence, but they are very different directors.
(1) Jerry's in the woods, dressed seemingly as he was when we saw him in part one at the Great Northern. We don't know how long he has been there, but we do know he was in the woods in part five, watching Dr. Jacoby at 7:00 p.m. on what may have been Tuesday. He was going to be "cooking up" something and Jacoby had warned his viewers to be knowledgable of the ingredients in one's food. (2-6) Now Jerry stares at the forest before him, seeking something or uncertain.
If it's Wednesday, then he may have been in the woods since only the previous night. The viewer feels like it has been a while, time stretched out, due to the intervening events in part six which began on Tuesday night and switched over to Wednesday.
The forest seems to be partly out-of-focus for him.
(7-8) Jerry calls Ben.
We haven't seen Ben since part one. He calls Jerry's name but Jerry doesn't answer. He asks him "what's going on". (9-10) Finally Jerry says, "Someone stole my car? Didn't I tell you?" (11) Ben asks, "What's going on? Someone stole your car?" (12) Jerry replies, "You say the same thing," (13-15) which confounds Ben. (16) "I think I'm high!" Jerry finally exclaims. (17) "Oh, good lord, Jerry," Ben says. (18) Jerry cries out, "I don't know where I am!" (19) The line clicks as Ben listens, the call ending, and we hear a ring tone.
Poor Jerry. He's high. He's lost out in the forest. Great humor. He may also be speaking for some of the viewers. "I don't know where I am."
Was Jerry's car stolen or is he so high that he doesn't know what is going on and his car might be exactly where he lef it? If we assume that his car was indeed stolen, considering that Richard Horne is on the run, we don't know yet Richard's relationship to the rest of the Hornes, but might he have stolen Jerry's car? Perhaps Uncle Jerry's car?
But, all in all, I do think Jerry is speaking for the viewer. The Return is not playing out like the early Twin Peaks which had some renegade elements but did keep to traditional television and film storytelling narratives in terms of a seeming fairly linear construction. For those, too, who are familiar with Lynch's films, The Return is very different in its combining seeming traditional storytelling but in disjointed ways. The paranormal and mystical elements before were woven in traditionally, but in The Return Lynch veers off into artistic journeys that make no apologies in birthing hundreds of unanswered questions, instead stamping the viewer with the sense of an experience.
(1) Exterior of the Twin Peaks Sheriff's Department. (2) Then the interior, three plastic envelopes marked "evidence" hold each a page of writing that Hawk had discovered in the bathroom earlier that day.
HAWK: This is what I found?
(4) FRANK: From Laura Palmer.
(5-6) FRANK (reads): This came to me in a dream last night. My name is Annie. I've been with Dale and Laura. The good Dale is in the lodge and he can't leave. Write it in your diary. Unquote. "Dale" as in Special Agent Dale Cooper?
(7) HAWK: Right.
(8) FRANK: What do you think this means?
(9) HAWK: I don't know, but I'm sure this is what the Log Lady wanted me to find. I think that "Annie" is Annie Blackburn, a girl that went into that place.
FRANK: And these pages are for sure from Laura's diary?
(10) HAWK: Yeah, these are from her diary, the diary found at her friend, Harold Smith's. These are three of the four pages that we saw were torn out, missing. There's still one missing.
(11) FRANK: And how do you think they got here, inside our bathroom stall door?
HAWK: I'm not sure, but look at this. (He flips over a page and hands it to Frank.)
(12) FRANK (reading): It's 1:30 a.m. I'm crying so hard I can hardly breathe. Now I know it isn't Bob. I know who it is.
(13) HAWK: I'm sure it was Leland who hid these pages. He found 'em and realized that she knew.
(14) FRANK: Well, I remember this. Leland Palmer, her father. When do you think he hid these?
(15) HAWK: I don't know. Leland came into the station several times. Once, around that time, we brought him in for the questioning of the murder of Jacques Renault. Maybe he thought we were gonna frisk him and that's when he hid them.
(16-17) FRANK: Laura never met Cooper? He came here after she died, didn't he?
HAWK: She said that these words from Annie came to her in a dream. This thing she said, "the good Dale is in the lodge and can't come out"--but Harry saw Cooper come out of the lodge with Annie that night. Doc and Harry took him over to the Great Northern. But if the good Cooper is in the lodge and can't come out, then the one who came out of the lodge with Annie that night was not the good Cooper.
(18) FRANK: And he left town soon after. Who else saw him that day?
(19) HAWK: Like I said, Doc Hayward, but I don't know who else.
(20) FRANK: Let's bring Harry up to speed. See what he thinks.
(21-23) Cut to Frank alone and on the cell phone.
FRANK: Can you get him for me? I'd be happy to wait. Harry. Where the hell they got ya? Oh, no kidding. Damn. I'm sorry, Harry. Uh, just wanted to talk to you about a few things. Uh, right. Get some rest. I'll check in later. No, don't worry about it. Just get rest. And, Harry, do me a favor. Beat this thing. All right, brother. Later.
Laura's diary is problematic. She had been keeping one but, one day found several pages torn out and one torn out some pages later in the diary. This is when she gave it to Harold Smith. She was also keeping a cover diary. Soon after, prompted by the Chalfont/Tremond pair, the boy telling her "the man behind the mask is looking for the book with the pages torn out", she returned to find BOB/Leland looking in the diary's hiding place. It was that night, after she gave the diary, to Harold Smith, that she had her dream of Annie, so it wouldn't have been in the diary. Then after Laura's death, when Donna and Maddy tried to take the diary from Harold Smith, he destroyed it.
Also, the diary pages were white, not this yellow that is the same yellow as the bathroom stalls. In the image below only one pages appears to be very yellow, and so there may be a color temperature thing going on, but when we are earlier shown the three pages together they are yellow. I don't think we can simply explain away the pages as having yellowed with age, for there were peripheral things going on with the diary's discovery, in the original series, that placed yellow notes in close approximation to it, now as if making an association.
Above, the missing pages as they are in The Return. Below is the diary with the pages torn out of it in Fire Walk with Me.
In the original series, when Hawk finds the diary torn up at Harold's, it is mixed with torn yellow pages as well. But it looks like many pages of Harold's archives have been torn up, and his orchids along with them.
When we see Cooper assembling the torn diary, the pages are white.
Another story, the day that Donna and Maddy tried to steal the diary from Harold, was Lucy going out of town to visit relatives who had just had a baby. This meant that Andy was left to deal with messages, which he put on post-it notes and stuck everywhere.
It was during this that he found out from the doctor that his oligiopermia (few seed) was no longer a problem. In fact he was a "whole town". He located the number of Lucy's relatives to call them, one that she had left on the desk, and instead reached an abortion clinic. He was then worried she had gone to get an abortion.
Fertility is a theme in that episode as Harold shows Donna his orchids (testicles in Latin) and describes to her their composition, including the lower lip of the labellum (which sounds sexy but just means "small basin, tub" from "to bathe") and which he describes as a landing pad for pollinators.
In the same episode, having visited two women to learn more about Leland's claim of having met the gray-haired man as a child, and having had to go through three pots of chamomile tea with them, he makes a bee line for the bathroom at the station.
I'm not saying these are fake pages or that we have simple problems with continuity, we probably need to look at this instead as part of the Twin Peaks mystery. Note, however, are we are not shown the original remains of the diary in The Return. Also, the missing pages being found in the bathroom stall seems oddly associative with the orchids strewn among the shredded diary and Harold having gone on about the labellum, which as I said sounds sexy but comes from a word meaning "to bathe".
So, pages were missing, and Lynch/Frost specifically have the Chalfont/Tremond boy say that the person behind the mask is looking for the book with the missing pages. So we are confident they were torn out before Laura met them and later had the dream. Unless Lynch/Frost would later explain it away that she met them, had her dream, wrote it all down, found the pages torn out, gave the diary to Harold, and then forget about the dream etc. and had these experiences a second time but didn't ever write them down. This seems far too convoluted even for Lynch/Frost. As the bathroom stall door states it was "manufactured" I prefer to go with the stall itself as being tulpa-like, fashioned like Dougie was manufactured.
The writing in the diary, as Hawk and Frank discuss, is curious as Laura, of course, never knew Dale Cooper, and as far as we know she didn't know Annie. That she had the dream represents either a time warp or premonition--and from where come mysterious premonitions? Annie Blackburn had appeared in Laura's bed and told her to write these things, and was communicating from when she was in the lodge with Cooper, wearing the dress she was wearing that night and her face bloodied.
Harold Smith was a person to whom Laura had been delivering Meals on Wheels, as well as to the Tremond household.
One of the missing pages has Laura noting that she knows "it isn't BOB. I know who it is". But she didn't come to that realization until after she had given the diary to Harold, when the Tremond/Chalfont pair sent her home to see who was looking for the book with the missing pages.
These are, indeed, missing pages, as they've not been seen before by Hawk. But they can't be (or may not be) the pages that Laura had found missing.
Why have Hawk be the one who must find these pages, however, due his heritage? Why would Lynch/Frost make this part of the equation?
The viewer has been aware that the doppel replaced Coop and that Coop was stranded. Now, at last, Hawk and Frank have been alerted to the possibility that there is a second Dale Cooper running around, and that he's a bad character.
Lynch/Frost, by having Frank call Harry but not speak with him about what's going on, are illustrating how ill Harry is, but with this following on the call between Jerry and Ben they are focusing, it seems, on brother relationships.
The viewer, however, is also handed a disappointment, this opportunity to question Harry about Cooper not being taken, and the viewer will wonder at the wisdom of his not questioning Harry even briefly. But they are supposed to wonder at this. They are supposed to ask these questions. They are supposed to experience this measure of disappointment and bafflement.
I think it's hilarious how every opportunity is taken to brand--such as with the coffee cups.
(1) Cut to a patrol car parked with lights flashing. We see the truck that Richard Horne had been driving. Andy is talking with a bearded man about it.
ANDY: But that's your truck.
MAN: I know it's my truck. I can't talk to you about this here. I told you, please go away.
ANDY: But if you weren't driving, I need to know who was.
MAN: I'll tell you. I'll tell you the whole story. I'll meet you somewhere, but I can't talk to you here. Please, you've got to get out of here now.
ANDY: The logging road above Sparkwood and 21.
MAN: By Jones'?
ANDY: Just past Jones', down by the creek.
MAN: Yeah. Yeah, yeah, I know it.
ANDY: See you there.
MAN (looking at his watch): I'll meet you there in two hours.
ANDY (checking his watch): 4:30 then.
MAN: Please leave. Please leave now.
This is an unusual shot for Lynch, as it begins with the truck and police car, pulls back to show Andy and the man from behind, then begins to pan right showing Andy and what's behind him, and continues to pan until it comes to rest on the man. As the camera has circled around the men, it now faces what we believe is the man's house, its door open, and we see to the side of the house a rake and at least a couple of shovels leaning against it.
(2) Andy returns to his car (3-5) and the man enters not the house we had seen directly behind Andy, which we would have taken for granted as being this man's house as we saw it first, but the one opposite it before which he had been standing.
In the credits, the man is only identified as a farmer.
The viewer thinks it's highly likely we won't be seeing this man again. Richard Horne is somewhere around and will be doing away with him.
For some reason a location was chosen that had two neighboring white house in close proximity and none other showing. We believe at first the man's house is the one with the door open, but when Andy leaves the man turns and walks a few steps into the other white house that is close by. If one isn't paying attention, one may not note that there are two houses rather than one.
We don't know why Andy doesn't ask why the man can't talk to him now, why it's so urgent that he leave. The viewer is likely thinking that they would themselves certainly ask these questions. Andy doesn't. He appears to know the man if he trusts him enough to believe that this man wasn't driving the truck when it hit the child earlier that day. We don't know why Andy might not be concerned that the man is in danger at that moment, thus the adamancy that Andy leave now.
The viewer is set-up to know that the man will go missing and to question why Andy would act as he does. Set-up, also, to be frustrated with this opportunity for Richard Horne to be identified to go down the drain.
(1) Frank is in his office on a landline. We see behind him, on a counter, three carved wood stalks of corn, as well as an owl.
FRANK: Is that you, Doc? This is Sheriff Frank Truman calling.
HAYWARD: Good to hear your voice. Where's Harry?
FRANK: Harry's, uh, a little under the weather these days.
HAYWARD: Well give my best to him.
FRANK: Uh, do you know what Skype is, Doc?
HAYWARD: I use it all the time. Just the other day, I diagnosed Mrs. Mueller's eczema. Never had to get out of my chair.
FRANK: What's your Skype handle, Doc? I'll, uh, saddle up.
FRANK: Be right with you, Doc.
Frank hangs up, lifts a handle, and a hidden wood-cased computer monitor rises up out of his desk. He turns the computer on and logs into Skype. (2) We see a shot of Skype on the computer screen and then Doc Hayward. He wears a "Got Trout?" cap.
(3) FRANK: There you are, Doc.
(4) HAYWARD: What's this all about?
(5) FRANK: Doc, do you remember way back when, the night Harry called you in to examine Special Agent Dale Cooper at the Great Northern?
(6) HAYWARD: I can't remember what I had for breakfast this morning but I remember that.
(7) FRANK: Tell me what you remember.
(8) HAYWARD: Well, we all knew Coop, but that morning he was acting mighty strange.
(9) FRANK: And?
(10-16) HAYWARD: I took him to the hospital and I had him checked out while I made my rounds. About an hour later, I saw him sneaking out of intensive care, fully dressed. He, he turned, and he looked at me, and I saw that strange face again. I called out to him, but he didn't say a word. He just turned around and walked out.
(17) FRANK: What was he doing in intensive care?
(18-20) HAYWARD: I thought at the time he might have been looking in on Audrey Horne. That terrible business at the bank, and, she was in a coma.
(21) FRANK: How they biting back there, Doc?
(22) HAYWARD: You know, just the other morning I caught two brown trout in my pajamas?
(23) FRANK: Yeah?
(24-25) HAYWARD: How they got in my pajamas I'll never know.
(26) FRANK: Did you make a breakfast out of them?
(27-29) HAYWARD: Panfried them right out there by the river. I had some scrambled eggs and an English muffin with huckleberry jam.
(30) FRANK: Yeah. Mighty good talking with you, Doc. I'll give your good wishes to Harry.
(31) HAYWARD: Whatever this is about, well I hope it turns out all right for you.
(32) FRANK: Keep working the sunny side of the river, Doc.
(33) HAYWARD: Ah, so long, Frank.
(34-36) Frank signs off and deliberates.
Lynch/Frost seem determined to show Frank and others as not being behind the times, but are doing it on the sly. We notice Frank has a keypad on his desk but we're focused on him and don't think too much about where the monitor might be. Then he punches a button and the monitor slides up out of a secret compartment and he and Doc have their conversation via Skype. Personally, it seems to me an awkward set up for a monitor.
We also had the old set-up of Lucy at the receptionist desk, but the new Twin Peaks sheriff's department tucked away in the back room and buzzing with activity.
In some ways, it's not too different from the theme of what's hidden behind the mask--such as Laura's missing pages in the bathroom stall door, and the secret petroglyph behind the facade of a petroglyph.
Doc's appearance, which has the feel of being his one and only (Warren Frost was Mark Frost's father), returns us to his relationship with the Horne family. By the end of the original series we had learned that Donna Hayward was actually Ben's daughter, he having had an affair with Eileen, Donna's mother. Ben was somehow attempting to make things right with Eileen again (but also pursuing her), much to Doc's displeasure. He had struck Ben and Ben had hit his head and the viewer had been left with the cliffhanger as to whether Ben was all right. The first episode of The Return answered that. We don't know however what happened to Donna, who was emotionally devastated to learn she was Ben's daughter.
We don't learn much from the conversation, only that Doc saw Cooper leave intensive care, that he believed he was perhaps visiting Audrey who was in a coma, and he never saw him again. All that he gives us is that he recognized Cooper's face appeared strange to him.
The viewer is wondering who Richard Horne is, and a likely thing to consider is that he might be Audrey's child. Her name, via this conversation, has finally been brought into The Return for the first time.
Some viewers will begin to wonder if Mr. C raped Audrey Horne and if Richard is a child of that rape.
Where is Audrey Horne? Doc says, "I thought at the time he might have been looking in on Audrey Horne. That terrible business at the bank, and...she was in a coma." He gives a significant pause and a sigh before saying, "she was in a coma."
Frank breaks off his questioning rather than pursuing it. He changes the subject as if to something less uncomfortable, asking him about fishing.
(1) The exterior of the Buckhorn Police Station. No. 11. (2-17) Cut to the interior. We see Lt. Cindy Knox, who last we knew, Tuesday night, was booking her ticket to follow Briggs' prints to Buckhorn. Striding up to Detective Macklay's desk, she introduces herself. She thanks him for seeing her and says it won't take long. "You submitted a set of fingerprints a few days ago to our database and we need to verify the source." Macklay tells her, "Well, I can show them to you, but our search was blocked. That must have been from your end?" Rather than answering she says, "I'd like to see the prints please. Where did you lift them from, a crime scene?" He tells her, "No, off the body." She seems surprised. "Off the body?" He laughs. "There's a body, all right."
(18) Cut to Constance swinging open the door to the refrigerated compartment holding Briggs' body and pulling him out. She draws aside the sheet for Cindy to see him.
(19-21) CINDY: Where's the rest of him?
(22) DAVE (shrugging): We don't know.
CINDY: How old was this man?
CONSTANCE: Late 40s?
CINDY: When did this man die?
CONSTANCE: Within the last five or six days.
(23) CINDY: You're sure this is the body you took those prints from.
(24) CONSTANCE: Yeah. I'm happy to pull 'em again for you if you like.
DAVE: It would sure help our investigation to know who this is.
(25-26) CINDY: Excuse me for a moment. She steps out into the corridor and makes a call. (27) CINDY: Sir, Lt. Knox, sir. It's not just prints this time. It's a body. It's him.
(28) DAVIS (back in Alexandria): You're sure?
CINDY: The prints came off this body.
DAVIS: Okay. Okay, I have to make that other call.
(29) CINDY: There's just one thing, sir.
(30) DAVIS: What's that?
(31) CINDY: Actually two things. The head is missing. And he's the wrong age.
(32) DAVIS: What do you mean, Cindy?
(33-35) CINDY: What I mean is that his head is not here. It's missing. And the body is that of a man in his late 40s who died a few days ago.
As she speaks we hear a low drone, and a dark figure has appeared in the background after she remarked the head was missing.
DAVIS: If he died recently, Major Briggs should be in his 70s. There must be some mistake.
(37) CINDY: I've seen the body myself. Coroner verified the age and the prints.
(38-39) DAVIS: Stay there. I'll get back to you. I'm making another call now.
CINDY (seeming to feel something, turns and looks behind her at the dark man): Yes sir.
She hangs up and, unsettled, leaves the hall. (40) Davis makes another call. This would be to the FBI.
(41) Cindy returns to Constance and Dave. CINDY: No one else gets access to this body.
DAVE: You care to share any of this with us?
(42) CINDY: You didn't hear it from me, but I don't think this is going to be your investigation for too much longer.
(43) We see, outside the morgue door, the dark figure pass.
The comment that Briggs is the wrong age reminds that Mr. C, on his prison papers, is the wrong age as well.
Pushing the plot along. The viewer finally has confirmation this was Briggs' body. And now the FBI will make its way to Buckhorn.
The viewer doesn't know why Major Briggs didn't age in twenty-five years when Cooper, off in Red Room land, did.
We know that Briggs is in some way connected to Hastings as we saw an oily man two cells down from Hastings, and now we see another one here.
Dave states it has been four or five days since Briggs died. However, according to the timeline thus far, it is Wednesday and Briggs died Thursday beforehand then it has been a week. It has been five days now that the body has been in their possession.
(1) We see a monochromatic image of an ear of corn against clouds hear a man whistling. It's Gordon, sitting before his enormous picture of the Trinity mushroom cloud. (2) A knock at the door (3) causes his hearing aid to go haywire. "Yes! Come in!" (4) Albert enters.
GORDON: How did it go?
(6-8) ALBERT: Not well. I said, "Hello, Diane." She said, "Is this about Cooper?" I said, "Maybe." She said, and I quote, "No fucking way."
(9) GORDON: Oh.
(10) ALBERT: I was at home, dripping wet, on the verge of pneumonia 15 minutes later. How was your evening, chief?
(11) GORDON: This is not good news, Albert. She needs to see him.
(12) ALBERT: Your turn.
(13) GORDON: But you'll go with me?
(14) ALBERT: Say "Please".
(15) GORDON: What?
(16) ALBERT: You heard me.
(17) GORDON: Please.
We saw decorative wooden corn stalks in Frank's office, and Gordon has a picture of an ear of corn in his. As the veteran Twin Peaks viewer is alert to the problem of corn in the Twin Peaks universe, via the creamed corn appearance of garmonbozia, the pain and suffering that is food for The Arm, they will wonder just what this portrait of an ear of corn is supposed to mean.
As the picture of corn is in proximity to the giant image of Trinity, is an association being made between the two?
Gordon can apparently hear more than he sometimes admits, and Albert is aware of this.
Gordon also seems to be a little wary of visiting Diane.
What is he whistling? Some think it's Rammstein's "Engle" (Angel) from the album "Sehnsucht", which means nostalgia. Others believe it is the theme from Fellini's Amarcord. It may not matter which one as amarcord (according to wikipedia) is a univerbation (several words become one word) of the Gomagnola phrase "a ma'acrod", which means "I remember". Wikipedia states, "The title then became a neologism of the Italian language, with the meaning of 'nostalgic revocation'." So we have with both the same thing. We had been dealing some with remembrances earlier with the Doc, and soon enough we will have Diane asking Mr. C, "Do you remember that night?"
(1) Rowhouses in a nice neighborhood. (2) A large white-walled apartment with an eclectic mix of contemporary and mid-century modern furnishings and details, some Japanese and Chinese decorative elements. A young man is putting on his jacket as there is a knock at the door. He answers it and we hear Gordon say, "FBI, champ. Friends of Diane." He tells Albert and Gordon to come on in. They follow him into the living room and we hear Diane call out, "Who is it?" Entering from the dining room in a red dressing gown/kimono, she says, "Oh, my god.". (3-4) The man tells Diane he'll see her later and throws her a kiss as he exits.
(5-6) DIANE: Well, this won't take long. I'm just gonna say the same thing to you I said to him.
(7-8) GORDON: Now, take it easy, Diane. Let's just sit down and have a nice simple chat. (Sitting himself on the blue sofa.) You got any coffee?
(9) DIANE: No. (Taking a drag, holding a coffee cup in her hand.) I don't have any cigarettes either.
(10) GORDON: Ah, the memory of tobacco. But I gave it up.
(11) DIANE: Fuck you, Gordon.
(12) ALBERT: Now you're getting the personal treatment.
(13) DIANE: Oh, you want personal? Fuck you, too, Albert.
(14-16) GORDON: Now that we got the pleasantries out of the way...
ALBERT: I never even got this far.
GORDON: Diane, your former boss and former Special Agent Dale Cooper, is in a federal lockup in South Dakota.
(17) DIANE: Good.
GORDON: Diane, this may require a slight change of attitude on your part.
(19-20) DIANE: My attitude is none of your fucking business. (She exits.)
(21-25) GORDON: Tough cookie. Always was. (Diane enters with coffee for all.) Thank you, Diane. Damn good coffee.
(26-28) DIANE: So? Say what you came here to say.
(29-31) ALBERT: We have a feeling something is wrong. We don't know exactly what it is, but we need someone else who knows him extremely well to have a talk with him and afterwards tell us what you think.
(32) GORDON: This is extremely important, Diane, and it involves something that you know about, and that's enough said about that.
(33) DIANE: Federal prison. South Dakota.
The viewer learns that Diane is not happy with the FBI, but we already knew that from Albert's report to Gordon.
The scene also affords the viewer an opportunity to see her apartment and solidify her as a person. Plus we are aware that the attractive Diane is sexually active with younger men. I don't know, but my immediate take is that she is possibly a relatively high class prostitute/companion whose patrons don't mind being seen with her. It's perhaps a false read. But I wonder where's she making her money these days if not with the FBI and she doesn't have to worry about checking in at work. And it just feels like a good bet to me. But, like I said, it may be a false read.
Back to her reaction to hearing about Cooper. This used to be a woman who was very close to Cooper. This woman was, in effect, Cooper's diary. He told her just about everything. Then he disappeared. And this is not someone who has been worried about Cooper. This is someone who hates Cooper with a passion. This is someone who likely hates the FBI because of Cooper. This is someone who isn't surprised to hear he's in prison and doesn't care that he is. Many woman are already going to be thinking, "This is a woman who was raped by Mr. C and never told anyone."
(1) A jet passing white-capped mountains. (2) Interior of the jet, Gordon sitting beside a window. (3) He watches Albert offering the smoking Diane (red blouse, black skirt, leopard print jacket) a small bottle of alcohol. (4-5) Albert says, "Judge not, lest ye be judged." (6-8) Diane sighs and opens the bottle as Albert adds, "Listen, just the fact you're here speaks louder than words." (9) Raising the bottle in a toast to him, Diane says, "Fuck you, Albert." (10) He continues back to Gordon, smiling. He sits and Tammy emerges with her computer.
(11-13) TAMMY: Look at this. (She shows them the image of the prints, Diane listening in from up front.) Cooper twenty-five years ago. Cooper in prison two days ago. Identical, right?
(14) ALBERT: Maybe.
TAMMY: What do you see?
(15) ALBERT: This code mark's on the wrong side.
TAMMY: What does that tell you?
(16-17) ALBERT: That some Cro-Magnon at the prison tried to line this up to make it look like the original but he had to reverse the print to do it.
(18) GORDON (pointing at the backwards print): YREV, the backwards word.
(19-22) TAMMY: What does this all mean?
GORDON: Tammy, you've been doing excellent work, passing one test after another. Put out your hands. (She puts them out palms up.) Flip them over. (She does so and as he says the following, with each word he grabs a finger and releases it, starting with her left pinkie finger.) I'm very, very happy to see you again old friend. (He indicates the left ring finger.) This is the spiritual mound, the spiritual finger. You think about that, Tammy.
ALBERT (hands her a photo of Cooper by a pool, palm trees in the background): That's the only known photograph we have of Cooper in the last 25 years. That's outside of Rio, his house. By the time we checked it out, it belonged to some girl from Ipanema.
(25) Diane listening in. TAMMY: Looks like the man we met in the prison.
(26) ALBERT: The man we met in prison.
(27) The photograph again. (28) A pensive Diane.
I don't quite get Albert's rationale that someone was trying to make the print "look like the original but he had to reverse the print to do it" as the flipping of this print reverses it and makes it stand out from the original. Maybe I'm overlooking something very simple there.
What Gordon says to Tammy takes us back to Gordon's saying to Albert, in Part Four, after seeing Cooper, "I don't think he greeted me properly, if you take my meaning." How Mr. C had greeted Gordon was, "It's very good to see you again, old friend." Gordon had replied, "It's very, very good to see you again, old friend." The doppel had replied, "I haven't see you in a long, long time." It seems that perhaps, "I'm very, very happy to see you again old friend", was code between them for a "proper" greeting and that the doppel failed the code test. Gordon is working from the old idea that the "vein of love", Vena amoris, ran through the left ring finger and that it connected to the heart. There is no such vein. But Gordon associates the reversed print with the failure to be greeted properly, a "very" omitted, and thus the yrev, Gordon reversing the one "very", belonging to the ring finger, to match the reversed print.
From what I read, according to palmistry, the ring finger belongs to the mount of Apollo while the middle finger belongs to the mount of Saturn, and the index finger belongs to the mount of Jupiter.
What's not being discussed is the wrong birthdate, that is off by 19 years, or the seeming arrest date of 9/22 which doesn't work with a 2016 timeline. Even if the arrest date is right, the 1973 birthdate as opposed to a 1954 birthdate stands out and is something the viewer will catch as their attention has been drawn, by the prints, to look carefully at the record.
The one photo of "Cooper" reveals him to be a wealthy individual and that at least for a time he was living in Rio De Janeiro in Brazil. The veteran viewer will likely quickly learn that the joke is that the house, which is in Miami, once belonged to gangster Al Capone. The photo of "Cooper" by the mansion's pool is actually one in which Deidre Marie Capone was removed and "Cooper" photoshopped in to take her place.
When Albert had handed Diane the bottle of alcohol, he had said, "Judge not lest ye be judged." I have the feeling (I could be wrong) that he was not asking her to not be judgmental of them so much as stating he was not being judgmental of her and her drinking.
1. Judge not, that ye be not judged.
2 For with what judgment ye judge, ye shall be judged: and with what measure ye mete, it shall be measured to you again.
3 And why beholdest thou the mote that is in thy brother's eye, but considerest not the beam that is in thine own eye?
4 Or how wilt thou say to thy brother, Let me pull out the mote out of thine eye; and, behold, a beam is in thine own eye?
5 Thou hypocrite, first cast out the beam out of thine own eye; and then shalt thou see clearly to cast out the mote out of thy brother's eye.
I'm going to focus on this a moment. An associated biblical passage is the story of the adulterous woman. I had earlier been wondering at the women who were being killed who had had adulterous relationships, both Phyllis and Ruth, and the men instead framed so that they would languish in prison. Did that have to do with Windom Earle taking vengeance on Cooper for his relationship with Annie? As BOB had taken Windom Earle's soul, is Mr. C partly acting out Windom's vengeance? I'm not saying there wasn't perhaps some other plan to go along with it all, but it is something I was thinking about, and now we have this passage that ties to the adulterous woman. And stoning. In John, the adulterous woman is brought before Jesus and people are eager to stone her. They say, by law, she is to be stoned, and ask what he would say on this. As if not hearing them he stoops and writes on the ground, so they persist, and he stands and tells them , "Let anyone among you who is without sin be the first to throw a stone at her." He then wrote something on the ground. Everyone left and when left alone with the woman he asked her had anyone condemned her. No, she said. He replied, "Neither do I condemn you. Go your way, and from now on don't sin again."
Judge not lest ye be judged.
Let those without sin cast the first stone. Will this play into the "Two birds with one stone" that the viewer is supposed to be seeking?
(1) An establishing shot of Yankton Federal Prison in Sioux City. (2) Then an interior shot of Gordon, Diane, Tammy and Albert walking down a corridor . Diane insists, "Ten minutes, and I speak to him alone. Ten minutes, tops! Or it's over when I say it's over." Gordon agrees, "That's exactly the way it's gonna be, Diane. You control the curtain and the microphone." Tammy adds, "And we're very appreciative." Diane asks Tammy what her name was again? And in response to Tammy's reply that it's "Tammy", Diane says, of course, "Fuck you, Tammy."
(3-4) Diane takes a seat in the dark, her white hair and red shirt standing out. (5-7) She raises the curtain and there sits doppelcoop. (8-9) She stands and they stare at one another.
MR. C: I knew it was going to be you. It's good to see you again, Diane.
(10-12) DIANE: Oh yeah? When was that, Cooper? When did we see each other last?
(13) MR. C: Are you upset with me, Diane?
(14) DIANE: What do you think?
(15) MR. C: I think you're upset with me.
(16) DIANE: When was the last time we saw each other, Cooper?
(17) MR. C: At your house.
(18) DIANE: That's right. Do you remember that night?
(19) MR. C: I'll always remember that night.
(20) DIANE: Same for me. I'll never forget it. Who are you?
(21) MR. C: I don't know what you mean, Diane.
(22-26) DIANE: Look at me. Look at me!
(27-31) She lowers the curtain.
(32) The corridor. Diane stalks out, followed by Albert, Tammy and Gordon. Gordon thanks the warden, telling him to "hold this man until you hear from us".
(33) Out at the car, Gordon approaches Diane and (34-35) she grabs his arm and pulls him away from the others to speak to him alone.
(36-38) DIANE: Listen to me. That is not the Dale Cooper that I knew.
(39) GORDON: Please tell me exactly what you mean.
(40-42) DIANE: It isn't time passing. Or how he's changed. Or the way he looks. It's something here. There's something that definitely isn't here. (She points to her chest.)
(43-44) GORDON: That's good enough for me, Diane. That's good enough for me.
(45) She grasps him and gives him a hug. He at first responds, (46-51) then draws his hand away from her back, as if reluctant. Ominous music. Diane continues to cry.
(52) GORDON: The last night you mentioned in there. Something I need to know about?
(53-59) DIANE: You and I'll have a talk sometime. You and I will have a talk. Okay? Cheers. To the FBI.
She downs a small bottle of alcohol.
(60) We see doppelcoop led back to his cell by two guards. He tells them to tell Warden Murphy that he needs to speak to him..."about a strawberry".
The viewer is given Diane's confrontation with "Cooper" after perhaps twenty-five long years and we learn that they had apparently a meeting at her place after the doppel returned in Cooper's place, and that this meeting was clearly devasting to Diane. The implication is that she was terrorized, tortured, raped, and that this rape and betrayal perhaps has to do with her heavy drinking. She has been living with that night ever since, and Laura Dern's portrayal of Diane's horror upon seeing "Cooper" again is sterling. What we are not given is why Diane would never have told the FBI about this, especially considering "Cooper's" subsequent disappearance, and Lynch/Frost have her still holding off, not wanting to discuss it yet with Gordon.
So, the doppel raped Diane. That would bolster the theory that he might have raped Audrey Horne and Richard Horne is his son.
Though Diane confirms for Gordon, Albert and Tammy that something is off with "Cooper", when Diane hugs Gordon, for some reason he draws his hands away from her, as if he is puzzled about something. Why? The viewer doesn't know if this is the case or if he is simply uncomfortable with the intensity of the physical contact with Diane.
(1-2) The mountains of the Twin Peaks area enveloped in mist. Thunder. (3-6) We see Andy's car on a winding road in the forest. Hear thunder. He is waiting for the man who had promised to meet him earlier.
(7) We are given a view of the man's black truck but at his place, still there. (8) We are given a brief, slow zoom view of the door to his place, standing open, ominous music.
The open door
(9) Andy checks his watch. (10) It's a Rolex Oyster Perpetual Date. The time reads 5:05. The date reads 10. (11-12) Resigned that the man for whom he waits won't be appearing, he returns to his car.
As we suspected, the man with whom Andy was to meet will not be showing up at this place down by the Jones'. His truck still sits in his yard. His open door serves to alert the viewer that something has gone wrong. Our suspicion is that, as Richard was using his truck, that he has likely killed him so he can't inform on him to the police.
A big question is Andy's Rolex watch. It is plainly shown. Red's Rolex was also plainly shown. Red's Rolex looks like it would be somewhere around $16,000, whereas Andy's would be cheaper, around $6000? That is still a very expensive watch for a deputy like Andy to have. We are probably supposed to think back to Red's Rolex and make an association with it--but are we actually intended to wonder if Andy, like Chad, is in on helping the drug trade? Most viewers will simply be unable to accept this of Andy, plus we also know he hates Chad and Chad has no use for him. And the fact is that we, as viewers, know we can trust Andy. With absolutely certainty we know this.
So what about that expensive Rolex? What's it supposed to say to us? In the meanwhile, did he and Lucy somehow come into some money that we don't know about and they have kept their jobs but live on a higher grade? Wally Brennan was just visiting. Where does Wally get his money for travel? Is it from his parents or does he have some great-paying income where he is able to possibly afford to gift Andy such a watch? Or is it just a plain old fake Rolex? Or does Andy or Lucy have the money for such a watch because they have practically lived down at the sheriff's department all these years? And this is just a way Lucy treating Andy or Andy treating himself?
We also have to consider that the date on Andy's watch reads the 10th. Doppelcooper's arrest record seemed to read the 22nd of September, which wouldn't have been right for 2016 as I've previously discussed. And now Andy's watch reads the 10th. Is this possibly just because Andy hasn't set the correct day on his watch? We don't know.
Mr. C said he had a story to tell Gordon, all its twists and turns. So far we've not heard it. The farmer said he would tell Andy his story, and now he hasn't shown. Diane said she would one day have a talk with Gordon. Will that ever happen?
(1) Warden Murphy in his office. (2-6) There's a knock at the door and doppelcoop is shown in by two guards who lock him to a chair. The warden tells them to leave.
(7) MURPHY: I've turned off the security cameras. We can speak freely. (He takes out a gun and points it at Mr. C.) And privately.
(8-12) MR. C: That dog leg. That dog had four legs. One you found in my trunk. The other three went out with the information you're thinking about right now. Two people you don't want coming around here if anything bad happens to me.
(13) MURPHY: How do I know you know anything about...this?
(14) MR. C: Joe McClusky.
(15-17) MURPHY (he sits, stricken): What do you want?
(18-24) MR. C: I want a car. Cheap rental if you like, for myself and Ray Monroe. I want a friend in the glove compartment. 1 a.m. tonight. Smooth, safe. And if your mind should wander to a place where I might not make it out of here alive, remember the dog legs. I'm not interested in you. You'll never see me again and no one will ever hear anything more about Joe McClusky or your late Mr. Strawberry.
The viewer is left to wonder who Joe McClusky is, and, again, who is Mr. Strawberry.
I had noted in part five, when the doppel first mentioned Mr. Strawberry:
Buckets are not mentioned here but we have Mr. Strawberry. Buckets were the theme through the flowing coins at the casino and Doris Truman's anxiety over the leak that she's certain will cause black mold. Frank had asked if she'd tried a bigger bucket. In Lost Highway a Fred Madison is imprisoned for killing his wife. One day, though on death row, suddenly he disappears and has been replaced by Pete Dayton. The switch is inexplicable and Fred Madison seems to be nowhere to be found. Pete Dayton is an innocent man with no relation to this case, he has no idea what is going on, and thus is released. Apparently, something happened to Pete, the night of the switch, which was witnessed by some family and friends and was so bizarre that they resolutely do not discuss it, so the viewer never finds out what happened either. He is taken home to recuperate and is having trouble reintegrating into his life. One scene has him going out one night, his parents thinking this will be a good thing for him, and on the television they are shown watching pickers in the fields who are said to be filling buckets with strawberries. Because we've had the focus on buckets in this show, I'm inclined to think the strawberry scene in Lost Highway is being referenced.
In Bergman's Wild Strawberries an old man, with a visit to a strawberry patch, is so vividly reminded of his past that it returns to him with the strength of current events. I'm inclined to think that Murphy has no previous knowledge of Doppelcooper and that is one of the reasons he is so surprised by Doppelcooper speaking of Mr. Strawberry, who is perhaps someone in Murphy's deep past, now being recalled to him, who is dead and the circumstance of his likely association with that death panics him.
Hey diddle diddle, the cat and the fiddle
the cow jumped over the moon
the little dog laughed to see such sport
and the dish ran away with the spoon.
Doppelcoop mysteriously had a dog's paw with his cocaine and gun. Does this dog's paw fit in with the rhyme, the threat concerning Mr. Strawberry, and Doppelcoop's imprisonment?
Lynch had "strawberry" barely tangentially associated with the inexplicable prison switch of Fred Madison and Pete Dayton, which meant release for Pete as Pete was innocent of any crime. We have as well a confusion of identity here. The FBI Cooper that is expected is not the man who the others have interviewed in prison. Lynch, via the strawberry, does seem to be referring us back to Lost Highway. We are also of course reminded of Cooper entering the Red Room and the doppel exiting. As if we could forget it.
We have now the conviction that the doppel planned his being put in prison in order to arrange for Ray's release. The cocaine and gun ensured he'd be arrested. The dog's paw was inexplicable until becoming a threat, with three paws sent out to others with the information on Mr. Strawberry. Why dog paws? I don't know. Story-wise, a less complex version would have the doppel threatening the warden outside of prison, but then we would not have the FBI brought into the mix with Cooper's sudden reappearance. It seems that, inexplicably, the doppel wanted Cooper to appear again? No doubt, Mr. C is counting on his being able to go underground again, if only one picture of him has been captured in twenty-five years. This is a hard guy to pin down. I also wonder if the idea was played with by Lynch/Frost that Mr. C was planning that if he did get swept back into the Black Lodge, Cooper would be found in the wrecked car with the cocaine and the gun and the dog's paw and would have a hard time explaining all that away.
The Godfather was already referenced via Wally Brennan and the birthdate he is said to share with Marlon Brando, who played Vito. In the film, Santino (Sonny) Corleone (played by James Caan) becomes acting boss of the family after Sollozzo's attempt on the life of his father, Vito. Sonny demands that the other Mafia families hand over Sollozzo or face a war. Sonny is convinced to wait as a corrupt NYPD captain, Captain Mark McCluskey, has agreed to be Sollozzo's bodyguard, and Sonny is warned that killing him would violate a rule against killing law enforcement. Regardless, Sonny approves a hit on Sollozzo and McCluskey, which sets off a long Mafia war. Eventually Sonny is killed. I wonder McClusky is another nod.
In the end, one of the beauties of the mysteries is that they are open-ended and viewers can imagine tangential stories endlessly, or not. They can be permitted to remain only atmosphere.
I don't like the Fusco brothers. Thought I'd say that right off. I don't get this story element. These guys do nothing for me, but maybe they're just right for others.
(1) The gunman statue before Cooper-Dougie's work building. (2) We see Janey standing beside their car, waiting for him.
(3) Cut to Cooper-Dougie's office. He sits at his desk, scribbling something on a paper. (4) Tony stands to the side and asks him if there's a reason he's not talking to him. (5) Dougie says nothing. (6) Cut back to Janey who gives up on waiting and stomps toward the building. (7) Back to Tony asking Cooper-Dougie what he and Bushnell were talking about earlier. (8) Again, Cooper-Dougie says nothing. The camera pans down and we see that though he had begun his scribblings on a form, his pen has wandered off the page and he now scribbles on the blotter, bearing down hard with his pen. Absolutely beautiful. I love it. Cooper-Dougie has no clue what he's doing but he's doing it rigorously.
(9) His secretary enters and tells him that there are police to see him. Tony leaves the room saying that reminds him he has some calls to make. Cooper-Dougie stands, says, "Police." He gestures his hands toward himself, so that the secretary understands he's asking them to be sent in.
(10) Enter the three detectives. One brandishes a badge and says, "Detectives Fusco." They are three brothers, D. Fusco (Larry Clarke), Smiley Fusco (Eric Edelstein), and T. Fusco (David Koechner).
(11) "Badge," Cooper-Dougie says, holding out his hand. (12) Janey, entering, asks, "What's going on here?" Defensively, protectively, she takes Cooper-Dougie's arm, explaining she is his wife.
(13-39 approx) The detectives explain they are there about his car. Janey says that's why she's there, she's picking him up as he doesn't know where his car is. When she's asked if it was stolen, she asks Cooper-Dougie if it was. The Fuscos ask if it was reported stolen and Janey explains it went missing and they haven't seen it and tells them that there was, yes, a very strong possibility it was stolen. "Stolen," Cooper-Dougie says. He is unable to respond where he last left the car. Asked to describe the car, Janey says it was a terrible car, Ford, cheap, silver, always in the shop. "The kind they call down at that dealer a 'previously owned' car." When did it go missing? Dougie doesn't answer so Janey says a few days ago, and he repeats this. Why wasn't it reported missing? "Because there's more to life than cars," Janey says. "There are too many cars, too much going on, and Dougie's been under a lot of stress lately. And, if you want to know the truth, so have I."
(40-62 approx) Entering, Bushnell asks the officers, "Have you found the car?" He explains he's Dougie's boss. The detectives concede the car has been found, involved in "an explosion with multiple fatalities". The deceased individuals had ties to a gang associated with multiple car thefts. "Well, there's your answer!" Janey says. She tells the detectives they have to go, their son is at home being watched by neighbors and they were supposed to be back by now. It's been a very long and stressful day. The Fuscos decide to put off the paperwork that needs to be filled out. They exit, laughing about how Cooper-Dougie won't have any trouble collecting the insurance. Bushnell says he also has questions for Dougie about his paperwork but that he'll let that wait.
The paperwork theme continues from when Steven was berated by Mike for his negligence with filling out his paperwork, to the strange discrepancies on Mr. C's prison paperwork, to Frank Truman insisting the department fill out its paperwork though it's not something they like to do, to whether or not Cooper-Dougie has any idea what he is scribbling (no), and putting off the paperwork that needs to be filed concerning Dougie's automobile.
The plot is pushed in the direction of the possibility of Cooper-Dougie's real identity being discovered through his car which was blown up. Again, Janey is fiercely protective of Cooper-Dougie, and Bushnell is now protective as well.
The "previously owned" car would seem to serve as a metaphor for Cooper taking Dougie's place.
(1) Cut to Janey and Cooper-Dougie leaving the office building, still inside it. She tells him, "So I met with them, I told them what the arrangements were going to be and I gave them more than they deserved, and that's the end of them. Okay? Now, with this car business, yes, there's going to be some insurance money, I don't know how much, but just think..." (2) They continue toward the doors, the large white sculpture with the red balloons looming outside. JANEY: ...if you hadn't blown that money gambling, $25,000 plus the insurance, we could have gotten you a great new car." (3) She opens the door for him. JANEY: Now, who knows what you'll get? But I do not want you running off and gambling any more of that jackpot. That money is for Sonny Jim and our future. Just because you have it now, doesn't mean you can run off and risk one more penny."
(4) Ominous sound design enters, but Cooper-Dougie already suddenly looks on alert.Cut to Ike the Spike running through the crowd with a gun raised and pointed at them as Janey says, "Do you hear me?"
(5) Cooper-Dougie shaves Janey to the side, (6) Ike the Spike continues forward rather than shooting, (7-8) Cooper-Dougie grabs the gun arm of Ike and (9) slams it to the ground. (10) The gun goes off, Ike still holding it. (11) Cooper-Dougie chops him in the throat but Ike does not let go of the gun. (12-14) Janey grabs hold of Ike from behind, shaking him by the neck, yelling at him to get off. (15-16) Cooper-Dougie holds Ike's gun arm against the ground. (17) The Tree as the Arm appears, protruding from the concrete, and tells Cooper-Dougie, "Squeeze his hand off." (18) Janey pulling on Ike the Spike. (19) The Tree as the Arm again says, "Squeeze his hand off." (21) Janey pulling on Ike the Spike. (22) Cooper-Dougie, as we hear again, "Squeeze his hand off!"
(23) Cooer-Dougie chops Ike's neck again. (24) Ike releases the gun. (25) Ike runs away. (26-27) Cooper-Dougie rises. After behaving so efficiently, knowledgeably, Cooper-Dougie returns to his manner of standing limply, waiting. Janey hugs him asking if he's okay.
(28-30) Police sirens. Fast pan shot. Night. The click of cameras and flashes. We see a building named Equinox. (29) Janey tells the police, "And he just, he just...Dougie took right over, and he just chopped him right in the throat, and said, 'You get off', and I kicked him and I punched him and that was it. And, and, Dougie just took care of business. Right, baby?" Cooper-Dougie reaches for an officer's badge and Janey grabs his hand.
(31-33) A woman in a pink shirt is interviewed by the news. "It was, it was terrible." When asked, "What about the man with the gun?" she says he ran right at her and almost knocked her down. Her daughter adds, "He smelled funny."
(34) Another woman says, "Victim? Oh, no, that guy didn't act like any victim. Douglas Jones, he moved like a cobra. All I saw was a blur."
(35) Cut to a vignetted close-up on the gun, earlier in the evening, when still daylight, of the flesh of Ike's palm being peeled off of it and put in a bag.
This is nice and quick, pushing the story along. Lynch/Frost don't have Ike waste any time pursuing "Dougie" after he has done away with Lorraine, but his spike bent he uses a gun. Cooper-Dougie's mental faculties may be on vacation, but his agent reflexes are so engrained as to instinctive--and we, as an audience, like it that he pushed Janey out of the way, protecting her, and we absolutely love it that Janey was right on top of Ike, choking him and trying to help defend "Dougie" from him. If there were any who were thinking of her as only interested in the money (which we would know isn't so from her having stayed with a gambler), and not really in love with Dougie, she risked her life trying to help her husband.
The television interview causes the viewer to wonder if Cooper-Dougie's television appearance will come to the attention of the FBI--so that is two ways the FBI could now learn of Cooper in Las Vegas, through the Fusco brothers investigating the car explosion, and through Cooper making it onto the television as the subject of a failed hit.
An interesting aspect of Janey's interview is that she her experience seems slightly different, or she misremembers the event, for she ascribes to Cooper-Dougie dialogue which he did not say. She was the one who was yelling, "Get off!" Cooper-Dougie said nothing, and once he had Ike's hand pinned to the ground he was seemingly uncertain what to do next until The Tree as the Arm appeared. We have seen Phillip Gerard interacting with Cooper-Dougie from the Red Room. Indeed, on Tuesday evening, he was pleading with Cooper-Dougie to wake up and not die. The Tree as the Arm is on the dark side of things, Mike/Phillip having cut off the arm when he saw the face of god, in order to dissociate himself from Bob. But just as The Tree as Arm was involved in returning Cooper to the world, the Tree as Arm now even pops up through the concrete to give Cooper-Dougie instruction on what to do.
The little girl states the gunman smelled funny, which takes us back to part one and the story of Mrs. Houseman, at the Great Northern, perturbed the skunk that had gotten into her room, and Ben deciding to refund part of her money while insisting that there was no skunk.
We had assumed that the statue of the man with the gun, on the plaza, was reminding Cooper-Dougie of how he was FBI--and I believe this was the case, also due Cooper-Dougie's fascination with its shoes and he has some dim awareness that his shoes were left behind--but now a flip association has been brought in. Instead, it could be interpreted as a foreboding of Ike the Spike.
Cooper-Dougie's amusing preoccupation with badges continues, but now that he is back in his suit we should perhaps be aware that he has no FBI pin, he has no badge. If he still had his FBI pin on in the violet world, might he not as well still had his badge? But he came through the outlet with only his suit, not even his shoes.
(1) Night. The falls below the Great Northern. (2) The Great Northern in mist. (3) Then, inside, the reception desk. The camera pans left to a totem pole as a ringing sound commences. It's the reception area outside Ben's office. The camera continues panning and stops on a lamp before Pacific Northwest Indian art of a bear. (4) Ben, and his secretary, Beverly, are listening. (5) A shot of the lamp across the room from them. (6) Ben asks, When did you first started hearing this? She says that it was sometime "last week. But I think it's louder now. Maybe that's because nobody's here." Ben tells her, "Don't move, just listen carefully. (He smiles a little as she meditatively closes her eyes.) Where do you think it's coming from? Uncertain, she points to the corner with the lamp. But when they go to that corner the sound becomes weaker (to the viewer) and they laugh. Ben says, "Now it sounds like it's coming from over there. No?" Beverly agrees, Ben pointing to the opposite corner with the totem pole. (7) Zoom in on the totem pole and the corner beyond it. (8) When they go stand by the pole, they both agree it's not there either. Ben points elsewhere and as they move in that direction the sound becomes louder again. Passing by her desk, Beverly picks up Cooper's 315 key, saying, "Oh, this might be of interest. It came in the mail today." (9-11) She tosses Ben the green key. Ben says, "Wow, my god, that's an old one. We switched to cards over twenty years ago. Room 3-1-5. Wait a minute. I think that was the room where Agent Cooper was shot." (12) Beverly asks who Agent Cooper was. (13) Ben says, "FBI. He was here, I don't know, maybe 25 years ago, investigating the murder of Laura Palmer." (14) She asks, "Who's Laura Palmer?" (15-21) Ben tells her, "Oh, that, my dear, is a long story. Have maintenance check out the hum in the morning. (An uncomfortably long pause suggests feelings veering toward intimacy, and denied.) It's way past quitting time." (22) She says, "Thank you, Mr. Horne." (23) He replies, "Ben." (24-26) She leaves, saying, "Goodnight, Ben,", and he nods and responds, "Beverly." (27) Pensive, he looks at the key, pockets it, and goes to his office. (28) The camera returns to the corner in which is the lamp and the hanging of the bear, zooming in on the paneling.
Why is no one there? That's the first question. We knew the lodge was in trouble--but that much trouble? Or are we to extract especial meaning from this?
The ringing sound appears to have begun about the time of the murders of Ruth Davenport and Major Briggs. This does return us to the story line, already covered earlier, of Josie Packard, as with her death her spirit seemed to have been absorbed into the lodge itself, and her face later observed by Pete and possibly Ben.
This would seem to be Wednesday, according to other timelines going on. It was back in part five that Jade mailed the key, so the viewer feels a sense of distance that way. But Jade mailed the key on Tuesday. Would it have had time to reach the lodge? Maybe.
The viewers will be wondering about Audrey. Where is she? Because of Richard Horne, and learning that Doc Hayward believed Mr. C had been to see Audrey while she was in the coma, some viewers will wonder (or believe) that Mr. C must be Richard's father, but when we examine Ben's response to the key there seems to be no suggestion of his feeling any discomfort over Cooper.
Again, the prospect of a story to be told. We feel we already know the story so why do we need to hear it again, though we might wonder how Ben would describe it. What's more significant is that as with the other stories it remains untold. Ben lets it go and changes the subject.
Indeed, speaking of Josie, Ben associating the key not simply with Cooper, who stayed there a while, instead describing it as the key to the room in which Cooper was shot, also brings back up Josie as she was the one who had shot Cooper.
The viewer has been given clues for which to watch. On top of these clues, numerous and seemingly unanswerable questions have arisen. The viewer, like Ben and Beverly, keep looking for answers that one might have the feeling are suspended ever and purposefully just beyond one's reach.
(1) The porch of house #16832. As Beverly arrives home, a caretaker emerges from the door, ready herself to go home. Beverly apologizes for being late and asks, "How is he?" She's told that, "We had a kind of rough day. He's better, but I had to give him extra pain medication." Has he eaten yet? "He was waiting. Dinner's on the stove. He's missing you." Beverly thanks Marge.
(2) Inside the house we see the living room converted into a bedroom for a very sick man, Beverly's husband, Tom (Hugh Dillon). He sits in a wheelchair hooked up to an IV, wearing a breathing apparatus.
(3-18) BEVERLY: Sorry I'm late, honey. Are you hungry?
TOM: I heard you drive up. Why were you late?
BEVERLY: I had some things to do. Would you like your dinner?
TOM: What things.
BEVERLY: I had some work to do. Some things came up and I needed to do them. Are you hungry?
TOM: Not really.
BEVERLY: Listen to me, Tom. I know you're sick and suffering. I know it. But do not use that to fuck with me. Do not fuck with me! I didn't want to go back to work! Do you know how goddamn lucky I am to have this job to help us survive? (He looks at her with a seeming plaintive appealing gaze.) Oh, for crying out loud, do not fuck this up, Tom!
The significance of the storyline of Beverly is not yet apparent, other than to remind of Ben's womanizing in the original Twin Peaks and to contrast with now as he attempts reformation, not involving himself in an affair with Beverly, a married woman.
We would have recognized but may not have thought too much about Beverly's seeming attraction to Ben in the previous scene. Now? We don't know what to make of Beverly. We had learned, with Doris, not to judge her relationship with Frank due their son having committed suicide. We're perhaps uncomfortable with Beverly behaving bitterly and angrily with someone so obviously ill as her husband, Tom, who it seems feels she is distancing herself from him. We may feel for him, for his being ill and vulnerable. Beverly gives us reason to believe, however, that he is being manipulative, she worries about his fucking "this up". The viewer doesn't know with whom to empathize, which is perhaps the point. We could empathize with either, or both, depending on the viewer's point of view.
Lynch and Frost are making it intentionally difficult for the viewer to know with whom to empathize. Most storylines in television and movies are pretty straightforward on this. And if it's a situation where one is to empathize with opposing individuals, then we are plainly directed often to have empathy for them booth. That's not happening here. What we do know is, due the Doris storyline, the viewer is hesitant to leap to any conclusions.
(1) Cut to the exterior of the Bang Bang. We hear Booker T. and the M.G.'s "Green Onions".
(2) Inside, we watch a man sweeping up cigarette butts in the empty club as Renault works behind the bar. That is all. The man sweeps.
The phone rings and Renault answers it. "The Roadhouse. Jean-Michel." The music stops. "Yeah, of course he loved it. Who wouldn't. Two. I sent him two, he owes me for two. What? I don't know their names. He wanted blonds, I sent him two blonds. What? Fuck? How old? They had IDs. They both had good IDs. Look, this has nothing to do with the Roadhouse. The Roadhouse has been run by the Renault family for 57 years. We're not going to lose it now because of a couple of 15-year-old straight-A students. No. Those two girls, they are whores, pure and simple. From what I hear, though, they were straight-A whores. He owes me for two."
Here comes a biiiig stretch as far as associations.
Earlier in this part, we had seen the picture of "Cooper" at his mansion that was later owned by the girl from Ipanema. This seems like a simple joke. However, Tom Jobim and Vinicius de Moraes, who wrote "The Girl from Ipanema" had also written music for Black Orpheus...and this is where I look at this extended sweeping incident in the Bang Bang and consider if there is a relationship to Black Orpheus.
"The Girl from Ipanema" was intended for a musical about, it's said, a Martian who arrives in the middle of carnavale and is attracted to a girl in a bikini. This was after Black Orpheus, which is also a film that takes place during carnavale. It is the Orpheus and Eurydice myth. Orpheus is a singer. Eurydice is his lover and is killed during carnavale. In a striking sequence, Orpheus goes to the Bureau of Missing Persons to look for her. There is no one there. It's empty but for a janitor sweeping up, who says that all that is there, in this tall skyscraper (in contrast to the earthier physicality of carnavale), are piles and piles of papers. As he says, no one is ever found here. Indeed, once their names enter, they become missing, and that's that, they are never found. The sweeping janitor turns out to be Orpheus' guide to the underworld. He takes him down spiral steps to where a religious rite is being performed in which individuals are possessed by the spirits of the dead and thus are able to speak. (Indeed, this can be called being "ridden", where the person acts as a horse and the spirit that possesses them, either the deceased or god/goddess, rides them. And if Lynch/Frost are referring to Black Orpheus we then need to look back at Cooper-Dougie's first words having to do with getting "two rides" from Jade.) In the Orpheus story, sound, music is vital. His song is the means by which he gains the sympathy of the underworld, who agree to let Eurydice return with him, as long as he doesn't look back at her as they make their return. Storytellers interpret this myth differently, and in Black Orpheus, after he is encouraged by the janitor to sing, he hears Eurydice. He is told to not look back, that it is only by hearing her voice he may keep her. But that is not enough. He must physically hold her. He turns around and sees that it's an old woman who is speaking, she being a medium for Eurydice, being ridden by her. Orpheus refuses this, exclaims he has been tricked and runs out. Eurydice is lost to him.
A reason I pay attention to this is due the sweeper, janitor, and the sweeper-janitor being in a place of music. Many viewers will wonder at the "why" of the importance of the music, why Lynch/Frost allot in nearly every episode some time for a musical performance at the Bang Bang. Some will think it is simply to eat up time, and that may be part of it for all I know. But I prefer to think it exemplifies music as a gate to the "underworld", to the past, to "spirits" of a sort, music and sounds returning the vitality of certain memories, people, experiences in a way that no other medium can do. Every song, if the lyrics are examined, seems to be relevant to what's going on in the series.
There's a bit more to this. The bikini. There's the bikini that the girl from Ipanema wore that helped inspire the song. Thus far the only bikinis have been in Part Three. A case was being presented at the FBI office concerning a congressman charged with his wife's death. He said that he didn't do it but as a matter of national security he couldn't say who did, he could only give clues, two of which were women in bikinis, one photographed on a jeweled background, and two other women resting on concrete beside a pool (Lynch/Frost use resemblances in their films and one of the women looks like Tammy Preston, and I think is the same actress possibly). Now we have had this photograph of "Cooper", the only one of him said to exist, in which he is walking away from a cabana of an estate, alongside a bright blue pool. We might have cause to remember the photo of the two women in the bikinis alongside the pool.
In Part Three we had gone directly from images of those women in those bikinis, to the case in New York, and Cooper having surfaced in South Dakota, and we are shown the huge image of Trinity in Gordon's office. Bikinis reference the atomic blast as the bikini was named for the tests going on at Bikini Atoll at the time the bikini was invented in 1946. I didn't make this association in Part Three, but now having been given the Girl from Ipanema info, I realize that the bikini links to the atom blast, and that "Cooper" is somehow associated with this linkage.
Let's go back and take a look at the other girl in the bikini in Part Three.
This will sound quirky but she already had reminded me of a triskelion, a motif of three bent human legs (three legged) which is said to be based on Archimedean spirals. The symbol is so ancient that its original meaning is unknown, though the spiral is a symbol for eternity. With Christianity the triskelion became a symbol for the trinity 3-in-1 godhead (linking with the Trinity bomb in Lynch/Frost universe). It is the traditional symbol of Sicily and this is said to be due the triangular shape of the island, the spirals representing its three capes. Is there a link being made to "Cooper" and his home having been the home of Al Capone (in real life) and the girl from Ipanema? Al Capone was not himself of Sicilian origin but he was a mobster. The main linkage to me is the bomb. Trinity. Bikini. The woman in the first photo, however, neither of her arms goes in the direction of her legs. Yes. But this reminds me of Laura's speaking of how sometimes her arms bend back. If one did "bend back", we would then have the true triskelion.
The wrench sits between the photo of the potentially triskelion woman and the two women in the bikinis wearing sunglasses. Wrench comes from a word meaning to twist, trick, bend. (Or maybe they're pliers. Same result. Plier is to bend or to fold.) We could view the wrench as being the part of the puzzle in which something is bent, such as one of the arms.
In the second photo that shows two women, coming after the appearance of the wrench, it could be said that their arms "bend back". They don't, actually, but they are in a reverse position from the woman in the first photo and so their arms are bent "back" in respect of the woman in the first photo. Again, the girls in the bikinis being a reference to the 1946 Bikini Atoll blast, they are wearing sunglasses, which is typical everyday eye protection, but it is also associated with visual protection against the atomic blasts.
We've had a number of ideas come up with bending. First, today, I think of how Ike's spike had been bent so he pursued Cooper-Dougie with the gun. But we have also Cooper's prison paperwork showing him living on Bend street, and we have the Bend sign seen from the RR Diner, and in the original series Gordon Cole went to Bend, Oregon and we never knew why. This was in the "Lonely Souls" episode. It starts with Cooper and others preparing to go up to the Great Northern with Gerard. He says, "A large house made of wood, surrounded by trees. The house is filled with many rooms, each alike, but occupied by different souls, night after night." They are going there to give Gerard an opportunity to check out people and see if any are BOB. Hawk has the warrant to search Harold Smith's place for Laura's diary (recollect there were pages torn out of it). Gordon tells them all that, "...pages found near the bloody towel down the train tracks from the crime site were from a diary!" What were those pages? We've never heard. But because of this Gordon is interested in the diary at Smith's. Gordon then leaves for Bend Oregon on official business. "Real hush hush." At the hotel, there are sailors all over, bouncing balls. Gerard has a seizure, and it seems to me it's perhaps brought on from the stress and all the bouncing balls. The sailors ignore him. That evening, sailors fill the Roadhouse, where Cooper has his vision of the Giant saying, "It is happening again." Eleven episodes later, Cole returns in "On the Wings of Love". He ways, "Been on over to Bend, Oregon. A whole lot of shaking on down in Bend."
The sailor boy? I don't know, but I'm reminded of the sailors above. Then there's the gun with the silencer--a gun is itself an "arm". At the end of the puzzle trail we have that great big jar of Great Northern White beans. A reference to the Great Northern hotel.
Gordon had stated this was the congressman's dilemma. This is possibly a version of the prisoner's dilemma: "(in game theory) a situation in which two players each have two options whose outcome depends crucially on the simultaneous choice made by the other, often formulated in terms of two prisoners separately deciding whether to confess to a crime."
I know this is confusing, but let's see how it plays out.
Back to the sweeping scene. It is wonderful. All that time watching the bar's floor being swept up as "Green Onions" plays. All those cigarette butts swept up despite the fact Richard Horne had been told in part five there's no smoking there. Earlier, we've also been introduced to Diane who constantly smokes, and Gordon thus constantly reminded how he no longer smokes. The "memory of tobacco," he says. Nostalgia. Diane had said she had no cigarettes but she obviously did as she was smoking.
"Green Onions" is a great song, but it may be chosen due the use of the color green in the series (such as in the liar sequence, and my proposing there may be a Sir Gawain and the Green Knight connection which ends in Gawain wearing an article from that association that reminds him not to lie).
(1) A roaring sound as we cut to the corridor outside doppelcoop's cell, #27. We hear a voice extremely slowed down. (If it's sped up, I believe it may be saying, "Come with me.") After the jangling of keys, a guard appearing, the bright light of his flash light appears at the corridor's end. Doppelcoop's door unlocks. He stares down toward the camera. Then at the opposite end of the corridor a door opens and Ray Monroe walks toward him. The two exit.
(2) Outside, they descend stairs, led by a guard who takes them out to a car. They're told it's the beige rental. Doppelcoop is given a burner phone. Doppelcop tells Ray to drive. They climb in, (3) as gazes on from above. (4-5) They drive away.
As far as we know, based on Ruth's death having been on a Thursday, it is now Thursday, a week later, at 1:00 a.m.
(1) A roar continues as we move over the dark trees of the forest outside Twin Peaks.
(2) Then we are inside the bright and cheerful Double R cafe, Santo & Johnny's "Sleep Walk" playing.
(3) A man runs up, seen through the window, (Bing--played by Riley Lynch--from the band, Trouble, that was in part five, the scene with Richard Horne). (4) A shot of Norma doing paperwork. (5) Opening the door he yells out, "Hey! Has anyone seen Billy?" Closed captioning gives him as asking if anyone has seen Bing.
Someone says no. Shelly looks around, disconcerted, then returns to work. (6) Norma, shown at her booth, also returns to her work, not knowing what to make of it. Her watch reads 4:05, as it did in the part five scene in which Becky delivers bread, borrows money from Shelly, and returns to Steven in the Firebird, but the lighting in the shot has been dimmed. Later in part five was when we had seen Bing playing at the Bang-Bang with Trouble, and we had our first look at Richard Horne.
(7) Dedicated to Warren Frost, the credits run as business continues on in the cafe.
Who is the missing Billy?
The viewer doesn't know why, but in this scene we are given three different combinations of customers at the diner.
The customers in image two and three, when Bing is involved, seem to match up. What we do know time-wise is that in image four, Shelly is welcoming the three men at the counter, giving them menus and asking them if they want coffee, so that would seem to come before image two when one has his menu placed to the side. A bearded man who is seated at the counter in image four, is likely leaving in images two and three as we see, I think, his finished meal at the counter, and the older woman and man who were seated at a booth behind him seem also to be leaving in images two and three and we see also a bit of the remains of the meal on their table. So at least we know image four comes before images two and three. In image one, a man in glasses is on the left, next to the girl in the beret, but is seen entering toward the end of the credits and taking a seat at a booth. The girl in the beret is certainly there in image two and she is there in image three as well and so is the person sitting to her right but they now have on a coat. Many of the people are there from image to image but it is only images two and three that are united time-wise. It would seem image one might come after images two and three but we're not secure in this. On the far left, the girl in a brown shirt, facing the camera in image one, a vanilla milkshake before her, is, in image three, instead seated facing away from the camera and the milkshake is in the same place but before another girl.
If I have to put in a time-line, I would say image 4 above comes first, then image 1 and then images 2 and 3. So, shot 7, then 2, then 3 and 5.
Shouldn't the approximate time for dinner be more around 8:00 if, say, on September 28th, sunset in that area is at 6:43?
As for Norma, though she is shown seemingly responding to Bing, we have no voice track at all overlaying her shots, only the music.
A timeline as best as can be reasoned on information given thus far:
1. Supernatural - B&W room
2. Jacoby's trailer, day - Wednesday
3. New York, Sam and Tracey, after 10 at night - Wednesday
4. The Great Northern Lodge, Ben and Jerry, day - Thursday
5. Twin Peaks Sheriff's Department, Lucy and the insurance agent, day - Thursday
6. Buella's, night - Thursday
7. New York, 2nd night (we know this is certain) - Thursday
8. Buckhorn, South Dakota, discovery of Ruth, day - Friday
9. Twin Peaks, Margaret calls Hawk at work, night - Friday
10. Buckhorn, the coroner's, day - Saturday
11. Buckhorn, Hastings taken into custody, day - Saturday
12. Twin Peaks, Hawk, Lucy and Andy in the conference room, day - Saturday. (Lucy wears the same clothes as in the scene with the insurance salesman, but this scene and that one are separated by at least one night in Twin Peaks. Hawk spoken with Margaret at night, at the office, but this scene is in daylight and so is another day.)
13. Buckhorn, Hastings interrogated. We have the initial Thursday to Saturday timeline from this. - Saturday
14. Buckhorn, Hastings home searched - Saturday
15. Supernatural - B&W room.
1. Buckhorn, Phyllis visits Bill in jail -- Saturday (Bill was picked up on Saturday, presumably)
2. Buckhorn, Mr. C kills Phyllis -- Saturday night
3. Las Vegas, Duncan and Roger in Las Vegas, a woman is given a job -- Saturday night
4. Buckhorn, Darya, Ray, Jack and Mr. C eat at the motel's diner -- Saturday night
5. Twin Peaks, Hawk visits Glastonbury Grove - Saturday night
6. Laura disappears from the Red Room -- Undetermined time but perhaps equivalent to Saturday night in real time
7. Buckhorn, Jack and Mr. C hide the Mercedes, Ray lands in prison -- Sunday
8. Buckhorn, Jack and Darya killed by Mr. C -- Sunday
9. Supernatural, Cooper looks out on Mr. C driving the car -- Monday (as for as Mr. C goes)
10. New York, Cooper drops into the New York box -- Fall back to NY Thursday
11. Twin Peaks, Sarah Palmer watches television -- Undetermined time, can't be stated with any confidence right now due to Cooper's slipping into Thursday and then being swept out into space again. Perhaps Thursday.
12. Twin Peaks, Shelly and James are seen at The Bang Bang -- Undetermined time, can't be stated with any confidence right now due to Cooper's slipping into Thursday and then being swept out into space again. Perhaps Thursday.
1. Cooper falls through space, spends time with Naida and American Girl, then takes Dougie's place. The American Girl's watch seems to read Saturday the first. Frost's The Secret History of Twin Peaks is based on a dossier of events relevant to Twin Peaks that is being researched by Tammy Preston in August of 2016, and which is finally determined to have been put together by Major Briggs. Saturday falls on a 1st on 2/1/2014, 3/1/2014, 11/1/2014, 8/1/2015 and 10/1/2016. If this is 2016 then this Saturday the 1st that was on the American Girl's watch would likely have to be October 1st of 2016--but in the otherworldly space who's to say what year it is? SA could instead refer to Saturn (and perhaps does as well). If the date is Saturday the first, we still have Mr. C driving down the highway on, according to prior events, what should/could be a Monday. Right now we would take it for granted that Dougie is replaced by Cooper during the same time frame, on Monday, though it may be Saturday, October the 1st in this room with the American Girl. - Monday, as well as Saturday October 1st
2. Buckhorn, Mr. C found on the highway - Monday
3. Twin Peaks Sheriff's Dept bunnies. Perhaps this is Monday. - Monday
4. Twin Peaks, Jacoby's shovels. Also perhaps Monday. - Monday
5. Las Vegas, Back to Vegas and the Silver Mustang Casino, this occurring on the same day that Cooper replaces Dougie. - Monday
6. Philadelphia, The FBI meeting at sunset. Phillie timeline appears to link right in with Buckhorn/SD - Monday
7. Twin Peaks, The band at the Roadhouse would be a night scene. Just based on all previous shots in this episode being during the day, I will go with this being Monday night. - Monday
1. Las Vegas, The house with the red door. If it was Monday when Cooper returned as Cooper-Dougie, it is still Monday as he is still at the casino. He goes to the Jones household on Monday night. - Monday
2. Philadelphia, The meeting of Gordon with Denise over taking Tammy to South Dakota would be Monday night as Gordon had earlier said they would be in South Dakota the next morning. - Monday
3. Twin Peaks, Frank Truman's return to the Twin Peaks Sheriff's Department fits with possibly being Monday night as Maggie tells him about an incident, seemingly that day, of a boy overdosing in class, a school day. - Monday
4. Las Vegas, Tricked. Las Vegas morning at the Jones household. This would be the following morning. - Tuesday
5. Buckhorn. Access denied. A seeming wrench is thrown in. It looks like night at Buckhorn in Constance's office with the news that there is a security issue on the prints of the John Doe. - Undecided as anomalous
6. South Dakota. Faces of Stone. The ride to the Yankton prison would be Tuesday morning. They are to be there at 9. - Tuesday
7. South Dakota. The meeting with Cooper's doppelganger. This is approximately at 9 on Tuesday morning. Another wrench is thrown into the timeline with the date, perhaps, of Cooper being picked up given as 9/22. 9/22 in 2016 is on a Thursday. 9/22 in 2015 is on a Tuesday. 9/22 in 2014 does fall on a Monday, so that would fit if we were moving 25 years forward from the Twin Peaks events of February 1989 (aired in 1991), but The Secret History of Twin Peaks has Briggs' dossier being research in 2016 and the comments made wile it is being researched don't indicate any knowledge on Cooper or Briggs past when the original series ended so it seems it would be researched before the events in the Return. Cooper's birthdate on his prison information is also wrong, off by nineteen years. - Tuesday (I'm sticking with Tuesday for now, based on the Thursday death of Ruth)
8. South Dakota. The blue night scene in which Gordon and Albert discuss Cooper and the Blue Rose cases. I think it's not night, that it is instead blue because of Blue Rose. - Tuesday.
This is not chronological. All scenes appear to have happened on Tuesday, we having returned to Tuesday dawn at the beginning of this part. The idea of altering your reality was raised at the beginning of this part with the neon Las Vegas sign for the David Copperfield show. I am led to question what happened here that is a revision of Tuesday in Part Four. This may not just be filling in with information for Tuesday that wasn't covered in Part Four. We may have something that has occurred that altered reality.
1. Las Vegas - Lorraine and the hit men. Argent.
2. Device in unknown place, called by Lorraine.
3. Buckhorn. Coroner, Dave and Dan. The ring to Dougie from Janey-E. About 7:00 a.m. by clock.
4. South Dakota. Mr. C in prison, sees Bob within. Morning.
5. Twin Peaks. Mike rejects Steve's application.
6. Twin Peaks. Doris and Frank. Leak and car problem. (Car was checked two hours before which may or may not be too late for early morning.)
7. Las Vegas. Janey prepares Sonny Jim and Dougie for drive to school and work.
8. Las Vegas. The hit men go past Rancho Rosa house.
9. Las Vegas. Lucky 7. Dougie arrives at work at 8:55 a.m. Calls Tony a liar. Meeting with Bushnell.
10. Las Vegas. Mitchum brothers fire Burns and put Warrick in his place.
11. Las Vegas. Rancho Rosa. Car explosion.
12. Las Vegas. Jade mails key.
13. Twin Peaks. Shelly gives Becky money. Becky gives Steven money. Earlier he was looking for work.
14. Las Vegas. 5:30 p.m. Dougie leaves work.
15. Twin Peaks. Night. Andy and Hawk research files.
16. Twin Peaks. Jacoby's internet show at 7:00 p.m. Jerry in woods. See Nadine.
17. Alexandria, Virginia. Military gets ping on Briggs. Cindy will fly out immediately to South Dakota.
18. Twin Peaks. Richard at roadhouse chokes woman.
19. Philadelphia. Back in Phillie, Tammy researches the seemingly reversed print.
20. South Dakota. Mr. C takes control of prison with cow jumped over the moon.
21. Buenos Aries, Argentina. Seeming morning scene. But seems possibly the same morning as when device was shown at the beginning of this Part, though what happens with the device is different after the red dots flash. So another wrench..
1. Las Vegas. Carry over from Part Five. Cooper-Dougie still stands before the statue. He is taken home. Janey gets an envelope with photo of Dougie and Jade from a different day. She arranges to pay the loan sharks the next day. Cooper-Dougie goes through the files for Bushnell. Still Tuesday.
2. Philadelphia. Albert finds Diane. Possibly Tuesday night.
3. Twin Peaks. Meeting between Richard Horne and Red.
4. Twin Peaks. The New Fat Trout Trailer Park.
5. Twin Peaks. Miriam at the Double R.
6. Twin Peaks. Richard Horne hits the boy. 3-6 are all one event stream.
7. Las Vegas. Duncan gets red message, pulls file for Ike.
8. Las Vegas. Rancho Rosa. Cleaning up explosion scene likely from day before, Tuesday, so this would be Wednesday. Time glitch. the 1-1-9 woman is back to Monday.
9. Las Vegas. Ike the Spike gets the envelope with the hit on Lorraine and Dougie.
10. Las Vegas. Wednesday. Cooper-Dougie gives Bushnell the files that implicate Tony.
11. Las Vegas. Janey meets loan sharks at park as arranged day beforehand. Wednesday.
12. Las Vegas. Ike the Spike kills Lorraine.
13. Twin Peaks. Richard Horne cleans blood off the truck.
14. Twin Peaks. Hawk finds Laura's missing pages.
15. Twin Peaks. Doris and Frank argue again about the car. We learn their son committed suicide.
16. Bang Bang.
1. Twin Peaks. Jerry missing in the woods. We last saw him possibly Tuesday night watching Jacoby's show in Part Five.
2. Twin Peaks. Hawk gives Frank the missing pages. Still Wednesday it seems.
3. Twin Peaks. 2:30 p.m. Andy goes to speak with man whose truck hit the child. Still Wednesday it seems, or at least the Richard Horne timeline.
4. Twin Peaks. Frank speaks with Doc Hayward.
5. Buckhorn. Cindy shows up and finds they have Briggs' body. Would be Wednesday. However, Dave says Briggs died 4-5 days beforehand, when he has been in their possession for 5.
6. Philadelphia. Gordon and Albert go to speak to Diane.
7. Gordon, Albert, Diane and Tammy fly to South Dakota.
8. South Dakota. Diane sees doppelcoop. Wednesday (still going by Part One). This would have a problem fitting in with the timeline of Andy speaking earlier to the owner of the truck at 2:30 p.m. Right now I'm just looking at Philie as being Wednesday scenes not in the same hourly framework as Twin Peaks.
9. Twin Peaks. Andy waits to speak to owner of truck who does not show. Possible wrench? Andy's watch reads it's the 10th. 5:05.
10. South Dakota. Doppelcoop arranges for his escape with the warden for that night, same night as seeing Diane.
11. Las Vegas. Cooper-Dougie interviewed by police over the explosion of his car. Would be Wednesday still for them.
12. Las Vegas. Ike the Spike attacks Cooper-Dougie. Evening to night.
13. Twin Peaks. Beverly and Ben look for source of noise that began sometime the prior week.
14. Twin Peaks. Beverly goes home to her husband. Night.
15. Twin Peaks. The sweeping scene. Night.
16. South Dakota. Cooper released at 1:00 a.m. on Thursday.
17. Twin Peaks. 1:00 a.m. in South Dakota but still dinner hour in Twin Peaks at the Double R. Bing looks for Billy. Have we simply dropped back in time to earlier Wednesday night? The shots are also out of sequence with the last needing probably to come first, and Norma belongs back in part five.